Image Credit: Photo of Alan Souza

Alan Souza arrives at the Marylebone Theatre this December with Daniel’s Husband, the UK premiere of Michael McKeever’s acclaimed play – a deeply human story wrestling with love, commitment, and the convictions that anchor (or unravel) us. Directed with Souza’s signature blend of emotional clarity and bold contemporary relevance, the production brings together an exceptional cast, including Olivier winners David Bedella and Liza Sadovy, alongside Luke Fetherston, Joel Harper-Jackson, and Raiko Gohara, each bringing rich texture and lived experience to this intimate, high-stakes drama.

A New Jersey native who built his career across the US before increasingly embedding himself in London’s theatre ecology, Souza speaks of the creative “cross-pollination” between both cultures – admitting, “my heart is always in London”. Looking ahead to 2026, he hopes for theatre that invites wider audiences into honest conversations, sparking compassion and progress in an ever-fractured world.

Let’s start at the beginning. Looking back, what were your earliest forays into storytelling and theatre-making? Was there a particular moment – or person – that made you think: this is the world I want to live in?

I grew up in New Jersey, not so far from New York City, and I was fortunate to have parents who always took my sister and I to the theatre. My Mother says I would always point at the stage and say, “I wanna do that!” So, when I reached a certain age, I was encouraged to go towards my passions. I was an actor, onstage and on television, for many years but eventually I realised that my true calling was in assembling a team of artists to attend to telling the stories in full. I like conceiving of the canvas on which we can paint together and interpreting the words and ideas of scripts in fresh and progressive ways.

Daniel’s Husband has travelled across the US and now arrives for its UK premiere. What made you feel this was the right inaugural production for Plastered Productions in London? And what, for you, gives the play such resonance in 2025?

I have wanted to direct Daniel’s Husband for some time now. And when the opportunity came to direct Plastered’s inaugural production, I returned to the story, hoping the ideas would still resonate with me. I have found the writing just as rich and because LGBTQ rights are still under attack, especially in the United States presently, it seems as resonant as ever. It also touches on so many universal themes: about the nature of commitment, the complexities of our childhoods, and whether our convictions can co-exist with what our hearts desire. I know London audiences will identify greatly with the commonality of the human experiences examined throughout.

Image Credit: Photo of Daniel’s Husband cast and creative on the first day of rehearsals.

At its core, the play asks us to consider where our convictions truly live – in the heart or in the mind. What emotional or philosophical questions did you find yourself wrestling with as you prepared to direct this production?

This play challenges all of us to be receptive to the ideas and convictions of others. To love someone is to not only accept but also learn to embrace their core values and desires, even if they conflict with our own. As I, in essence, make behaviour for a living, I have spent time musing on how the relationships I have most access to function, either successfully or otherwise. There seems a great deal of compromise and flexibility in those that endure the best. And commitment seems a slope rife with obstacles.

Image Credit: Daniel’s Husband actors Luke Fetherston and Joel Harper-Jackson. Photograph by Matt Crockett.

The cast is extraordinary – Olivier winners, West End favourites, rising screen talent. Can you talk us through the collaborative process with this company? What did David Bedella, Liza Sadovy, Luke Fetherston, Joel Harper-Jackson, and Raiko Gohara each bring to the room? And how have your creative team shaped the world of the play?

The casting director, Arthur Carrington, and I worked hard to assemble the most dynamic and exciting cast who are not only all compelling in their own right, but also would seemingly work well with and in terms of one another and this play. We are so fortunate that this cast took to one another instantly and that they all seem devoted to both playing their individual roles and to inhabiting the characters in this story. They each bring a richness of experience to the room; we learn from and grow with one another daily. And, indeed, they are a rather esteemed bunch. From Liza and David we get grounded wisdom, from Luke and Joel we get pride and passion, and from Raiko we get youthful vitality and fresh perspective.

This is also your first time working at the Marylebone Theatre. What drew you to the venue, and how has the space influenced the atmosphere, tension and intimacy of Daniel’s Husband?

Well, we’ve not yet brought the play into the Marylebone; we’re still in the rehearsal hall. But Alexander, who is the artistic director there, shares my enthusiasm for this play and agrees it will play well in both the theatre and for their audiences. The theatre is so lovely and a very valuable size for storytelling of both an intimate nature but with a grandness of ideas and presentation.

Film Credit: Daniels’ Husband cast, in conversation during rehearsal.

You split your time between the US and the UK – two cultures, two theatre ecosystems. At this moment in history, how do those worlds compare? What excites you about making work in London right now, and what do you feel you’re bringing from the American tradition?

Both NYC and London are very sophisticated theatre towns. But I do find that attending the theatre seems much more widely practiced in the UK, by folks of all generations, socio-economic backgrounds, ethnicities, etc. The tickets are also cheaper here, so there is more accessibility. But I like to think that we should always cross-pollinate. My sensibility is American and Daniel’s Husband is definitely an American story, but with universal themes. Interacting with artists from British traditions and training has only expanded my communication toolbox. In many ways my heart is always in London while my soul remains attached to NYC; the juxtaposition of those two sensibilities is why telling stories on this side of the pond is so compelling for me and, hopefully, extends to the audiences.

Image Credit: Daniel’s Husband actors, David Bedella and Raiko Gohara. Photograph by Matt Crockett.

Reflecting on your own values – compassion, relevance, connection – which three London venues, communities or creative collectives are inspiring you at the moment? Where do you feel that spark of risk, generosity or artistic curiosity? Please could you name three places / groups you’d recommend to our readers to check out?

I love everything I see at the Bush Theatre. Those stories are so honest and direct and always reflective of a wide range of perspectives.

And I tend to think the Almeida Theatre takes some intimate swings at epic stories, which isn’t always easy to juxtapose.

Otherwise, every time I’m in London, I always try to attend the work of one theatre company, or artist that I have no prior knowledge of. While I’m not often blown away by the content, I usually revel at the level of creativity in the execution. Really, necessity breeds creativity, and I applaud all theatre artists who continue to reach out to audiences in authentic, albeit challenging ways.

Finally, looking ahead: what’s stirring for 2026? On a micro level – as a director and producer – what are you itching to explore next? And on a macro level, what shifts do you hope to see in how we make, experience or talk about theatre?

I have a list of projects I am pursuing at different levels of progress. I will direct a National Tour in the US, upcoming: a re-think and update of a classic and beloved musical. I can’t quite mention it yet as it hasn’t been officially announced. But, I am also in conversation here with various artists whose work inspires me greatly; I seem determined to bring my sensibilities to stories that others already have passions for and ideas about. It is our obligation, as theatre-makers, to make work designed to invite as many folks as possible into the conversation, especially in a time when voices are being silenced so casually. If we can get strangers into a dark room together and present an honest story to reflect upon, we can incite conversation, which hopefully leads to compassion and progress in terms of our humanity.

Find Alan at alansouzaofficial.com and on Instagram @alansouzaman

Daniel’s Husband
4 December 2025 – 10 Jan 2026

Marylebone Theatre
Rudolf Steiner House
35 Park Road
London NW1 6XT
marylebonetheatre.com