INTERVIEW: Chris Peluso, currently starring in The Woman in White at the Charing Cross Theatre

Chris is currently starring the the new revival of The Woman in White at the Charing Cross Theatre. He made his West End debut, direct from working on Broadway, playing Chris in Miss Saigon at the Prince Edward Theatre. Since then he has gone on to star as Gaylord Ravenal in Showboat (New London), Nick Arnstein in Funny Girl (UK tour) and Death in Death Takes a Holiday (Charing Cross Theatre). His American credits include Mamma Mia, Beautiful, Wicked and Assassins. After opening the show in December, Chris takes a little time to chat to us about this revival of the Andrew Lloyd Webber classic. 

You first came over to the UK to play Chris in Miss Saigon, and have now become one of London’s favourite leading men. What made you want to hang around after Miss Saigon? 

I love London! The charming historic aesthetic is surreal. There is no greater city. Also the parks are all pet friendly! Since the majority of my life is spent with my awesome dog Peety this is a game changer. 

A lot of the shows you’ve done over on Broadway and over America are currently playing in the UK, would you ever like to return to any of these shows? 

I would love to get a change to be in Les Mis as either of the older male leads! I’d also love a change to play Gerry Goffin in beautiful some day! I love the role and the show! 

REVIEW: The Woman in White at the Charing Cross Theatre

The Woman in White opened on the West End at the Palace over 10 years ago in 2004, with a star cast that included Maria Friedman and Michael Crawford. The story is based on the 1859 Victorian novel by Wilkie Collins, “A tempestuous tale of love, betrayal and greed, adapted from Wilkie Collins’ haunting Victorian thriller, this is the premiere of Andrew Lloyd Webber and David Zippel’s revised score.” The Charing Cross Theatre has its flaws as a building, where I was sat I felt very out of the action and the chance to really immerse yourself was sort of lost by tunnel vision from my seat. 

The story itself is lacking in content, the show moves very fast but nothing really happens most of the time. Even though the content may be a little empty, the performances and direction knew exactly what they were trying to achieve and this is where the heart and success of the production lies. 

Thom Southerland directs this production, the ups and the downs were portrayed beautifully and this innovative production, with Morgan Large’s set design, gives us drama and heart all in one.