Following the news that 11 drama school students from across the UK have been awarded Laurence Olivier bursaries, we caught up with a few of the recipients to find out what the bursary means to them. 

Now in its 38th year, the Laurence Olivier bursaries are awarded to exceptional students who are entering their final year of drama school. Past recipients include some of the UK’s most celebrated performers, such as Michaela Coel, Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, and Michael Sheen.  

Let’s meet some of this year’s recipients… 

What does this year’s bursary mean to you? 

Elysia Showan (far left top): I am so honoured and so grateful to receive this award! I absolutely love my training at BOVTS. Every day I do something that scares me – dig a little deeper and learn a little bit more about myself and the craft of acting. Entering third year is incredibly exciting and at the same time slightly daunting. Now with the financial help of the award I do feel the pressure is slightly lifted and I can focus fully on the next step and really enjoy the hard work and excitement that comes with my final year at drama school. 

Jack Roriston Baird (far left bottom): Receiving this bursary means so much to me. I was incredibly honoured to have been invited to audition, let alone be awarded it. It is also so exciting to be showcasing the brilliant teachings of the RWCMD Musical Theatre course, so it’s further represented in the industry. 

Orlaigh Dempsey-Clark (centre left top): This bursary means that I can afford to finish my final year at drama school, which involves moving to London. I can now focus on what’s important – creating beautiful art instead of paying the bills at the forefront. 

Nadya Stoycheva (centre left middle): Receiving this bursary is an absolute honour and it will impact my final year significantly. The experience of auditioning on a West End stage was surreal and will always be an unforgettable moment. As a girl who once thought drama school wasn’t going to be an option, to now be going into my final year at Arts Ed is a dream come true. 

Jasmine Carson (centre left bottom): Winning this bursary means the world to me. I have always been financially independent and managing this alongside the hours that drama school requires has been an incredibly draining experience. To have the heavy burden of my financial worries lifted is something I’ll forever be grateful for. I’m now able to give myself time to work on both my health and my craft instead of trying to juggle it all. 

Olivia Mae Baker (centre right top): This bursary means so, so much to me. It is proof that finances for working class families doesn’t have to be a hinderance – meaning that my third and final year of study doesn’t have to be filled with financial anxiety! I am extremely lucky to have been given this opportunity and thank everyone at the SOLT & Laurence Olivier Bursary Team for making this a reality. 

Joseph Koroma (centre right bottom): It lets me know I truly have no limits; I can go as far as my hard work extends. Gaining this bursary is the recognition of that hard work and motivates me to push further to prove that the panel were right to choose me.  

Scarlett St Clair (far right top): Receiving the Laurence Olivier Bursary is a great honour and comes at a crucial point in my training. As I begin my final year, this support not only eases financial pressure but also serves as a meaningful vote of confidence in my potential. Most importantly, it allows me to focus fully on why I’m here – to grow as an artist, refine my craft, and make the most of every opportunity in this final stage of training. I’m deeply grateful for this recognition. 

Lex Richardson (far right bottom): Receiving the Laurence Olivier Bursary has been an incredible honour and a true turning point in my training. It has not only eased my financial strain and lifted a massive weight off my shoulders, but being recognised in this way has strengthened my confidence.  I feel even more motivated to grow as a performer and contribute to the future of theatre. Getting to meet and perform in front of such an amazing panel of professionals was an experience I will take with me throughout my journey.    

What do you see as being the most important to the future of the theatre industry? 

ES: I think our job as actors is to tell the stories that people need to hear – and should hear -and to give a voice to those who may otherwise not get heard. Theatre and the arts are a gift, and we need to continue to support and protect it. The future of the theatre industry rests on every one of us continuing to support the arts whilst making theatre accessible to all. One of the most important things for this to happen is for children of all ages, from every walk of life, to have access to be a part of theatre. That is our future and that is how we can continue to not only survive but to thrive as an industry. 

JRB: In my opinion, the theatre industry needs to continue driving towards more equal representation of all aspects in all shows. For example, as a plus size performer, it can often be disheartening seeing a lack of body diversity at multiple shows. To me, there is no reason why a plus size performer cannot play more than just the “fat funny friend” typecast. The theatre industry needs more representation & diversity. 

OD-C: Keeping the support of up-and-coming artists and supporting in any way we can to help keep voices being heard and stories being told. 

NS: I believe the most important factor, and what I would love to continue to see in this industry, is the sharing of new writing and stories which represent everyone – allowing people to feel seen. For me personally, I aspire to add my own stories through the lens of both my Bulgarian background and my multicultural upbringing in London! 

JC: Representation for all whose stories and lived experiences are yet to be represented on stage. I think it is imperative that we do not shy away from realities that can be far removed from our own and that we stay truthful to what is going on currently in the world. The theatre industry must be an inclusive space for all and everyone’s voice must be heard. 

OMB: As we’re seeing a great growth in diversity and inclusion in our industry, I think it’s more important than ever that this continues! Whether this is ethnicity, age, gender, sexuality – or where you come from, everyone has a place within our industry – and these stories MUST be told! We need to see more working-class artists – northern voices need to be heard! 

JK: The stories and struggles of people of colour being pushed to the forefront of theatre. Where I’m from, people don’t watch plays because they feel they can’t relate. I used to be one of those people but since coming to drama school, I was exposed to a host of black playwrights and plays which ignited a passion for theatre within me. 

SSC: Theatre is a reflection of the society we live in, which makes it essential that it represents all kinds of people and experiences. For the future of theatre, what matters most to me is creating lasting opportunities for everyone – regardless of background, race, gender, or socioeconomic status. Too often, talented individuals are held back, not by their abilities but by systemic challenges. Viola Davis once said, “The only thing that separates women of colour from anyone else is opportunity.” Her words highlight the urgent need for greater equity in the industry. To truly reflect the diversity and complexity of our world, theatre must continue to break down barriers and actively support underrepresented voices both on stage and behind the scenes. 

LR: I believe the most important factor for the future of the theatre industry is accessibility – both in terms of who gets to tell stories and who gets to experience them. Creating inclusive, diverse and affordable theatre ensures that new voices are heard and broader audiences feel represented. Embracing innovation while honouring tradition will keep theatre alive, relevant and reflective of the world we live in today.   

What’s your dream role, and why? 

ES: I want to be a part of stories that mean something by playing characters who are gritty, honest and real – to represent women as we are in life, not a 2D idea of a woman. So, for me there isn’t a particular dream role but a need to give every role understanding and truth. To be raw and honest, bring all the strengths and weaknesses that we as humans have. But whatever I do I would like to come off the stage every time thinking “yeah, I did that character justice tonight – I told their story.”  

JRB: It would be a dream to be in Operation Mincemeat! It’s such an incredible show and to tell a brilliant true story eight shows a week would be a major life highlight!  

OD-C: I think I’m too greedy to have one dream role! but I would love to follow the footsteps of David Tennant and Jodie Comer and the stories they bring to life.  

NS: My dream stage role would be as Helena in A Midsummer Night’s Dream. I saw the 2019 Bridge Theatre production and the immersive qualities heightened the magical world of the play and developed my love for Shakespeare. For a screen role, I would love to play something similar to Jodie Comer’s portrayal of Villanelle in Killing Eve because I love the emotional complexity and the three-dimensional elements of the character. 

JC: My dream role is Puck from A Midsummer Night’s Dream, which wasn’t a character I’d ever thought of playing before I started a Shakespeare term in second year and had the opportunity to play him. I don’t think there’s a bigger, bolder, more excitable character than him. I don’t think there’s anything more exciting than getting to play a naughty fairy running around a forest causing mischief for everyone! 

OMB: I have a few actually! I hope to go into Six as a graduate – I was always obsessed with Tudors and history as a child in high school so it would be so fun to do! I’d also love to play the likes of Sally Bowles in Cabaret or Diana in Next to Normal – or ANYTHING at the National Theatre – I think it’s such an incredible space that produces some of the finest works! 

JK: Well currently it is the main male lead in Open Water by Caleb Azumah Nelson, but generally I have always wanted to play a slightly unhinged, charismatic, mercurial character like The Doctor (David Tennant) or The Joker (Heath Ledger). 

SSC: I wouldn’t say I have one specific dream role. My passion lies in telling the stories of real people. I am always most inspired by characters based on a person’s lived experience. Bringing their story to life as an actor, is one of the biggest responsibilities, yet the greatest of honours. So perhaps my dream role hasn’t been written yet, because someone still needs to live it. 

LR: My dream role would have to be Bonnie, in Bonnie And Clyde. I love that musical and have done since I started training. I think Bonnie is fearless, passionate and emotionally complex. Her journey from dreamer to outlaw offers such rich depth and intensity and I’m drawn to her fierce loyalty and longing for more. It’s a role that demands both vulnerability and fire – and I’d love the chance to bring that to life and sing some of the amazing songs in the show!   

Congratulations to all the winners of this year’s Laurence Olivier Bursaries – you can find out more about the bursaries and see all the winners here.  

Now in its 37th year, the Laurence Olivier bursaries are awarded to exceptional students who are entering their final year of drama school. Previous winners have included Michael Sheen, Paterson Joseph, Ewan McGregor and Michaela Coel. Let’s meet some of this year’s recipients…

What does this year’s bursary mean to you?

Erin Findlay (top left): I feel absolutely over the moon and extremely grateful to have been accepted as a recipient. The audition process was a fantastic opportunity within itself, so to have been selected is a cherry on the cake. And because financial stress has been alleviated, I feel extremely motivated to work even harder and make the most out of my final year of training.

Cormac McAlinden (top far left): I am honoured to have even been considered for this bursary and had a fantastic experience on audition day. I felt so welcomed by the panel and everyone involved in making the day possible. This bursary is a lifeline for me as I move into final year and prepare to enter the industry.

Nico Minnott (top right): I am forever grateful for this blessing, as this bursary is crucial to following my dream of becoming a successful actor. I won’t have to worry too much about compromising investment into my art for rent and groceries. Of course, I can’t talk about my love for acting without talking about my love for my mum. Being a single immigrant parent hasn’t been easy for her, and she had always supported me financially, even if it came at the cost of her own comfort. With the bursary, I can finally give myself some independent support – and gift my mum some thank-you cards as well!

Alasdair Linn (lower left): Winning this bursary means feeling ease and relief for the final year of my training. It means dedicating my time to preparing our Rep plays, building characters, and thriving in rehearsal. It means feeling confident and excited to dive feet first into next year. I am incredibly grateful for the support and encouragement in which SOLT has entrusted me.

Thomas Barrett (far right): After having so many issues with Student Finance throughout my first two years, I feel like such a huge weight has been lifted off my shoulders. It takes some of my financial concerns surrounding funding my final year and allows me to focus my attention on completing my course. I am beyond grateful to the board for awarding me The Sir Peter and Lady Saunders Laurence Olivier Bursary.

Gabriel Whalley (centre left): It means a lot to me, and I’m really thankful to everyone on the panel and at SOLT for choosing me. As I head into my third year, the most crucial part of my acting school journey, this support will let me focus entirely on my craft without any distractions. I’m so grateful for this opportunity because it allows me to give my all to my studies, performances, and the connections I make with my peers and mentors, ultimately strengthening my future in the industry.

Elise Aldred (centre right): I was so excited to be given the opportunity to perform on a West End stage, I didn’t even think about winning! For the last two years, I have really struggled working upwards of 24 hours a week, plus my full time training. This money means that I can now really focus on my third year and my career. I am forever grateful!

What do you see as being the most important to the future of the theatre industry?

TB: One of the most important things is the accessibility to theatre, whether it be attending a show or career pathways into the industry. That’s why opportunities such as this are so crucial in breaking down barriers for working class people.

CM: It hinges on recognising and supporting young talent from diverse backgrounds. It is crucial to provide a fair and level playing field for all aspiring talents, both on and off stage, regardless of their socioeconomic background. By offering the support necessary to foster a rich and diverse environment, we can move closer to achieving the goal of ensuring that no deserving talent goes undiscovered.

EF: Funding is crucial to the future of the industry, so that there can be a consistent influx of new talent – and that opportunities can be given to people from all backgrounds and experiences. Theatre shouldn’t be exclusive, it’s a community and opening doors to everyone makes it exciting and powerful.

EA: Musical theatre training needs to be more affordable. I have watched so many incredibly talented young people have to stop following their dream due to financial restrictions. Even after training, actors are having to work 2-3 jobs on top of their show to afford to live. Something does need to change!

AL: Affordable, accessible performances and bold, innovative productions. As a recipient of the bursary, I am passionate about accessibility, in terms of financial, physical, and, as a northerner, regional accessibility. With most of my experience in devised, fringe theatre, I am excited by unconventional, new theatre.

NM: Freedom of expression. We all say “art is subjective,” but I don’t think we really live by that statement. Art deserves to be seen, even if said art is polarising, controversial or unconventional. No great artist in history ever found success by following the rules; they challenged tradition, despite whatever criticism they faced. Not everyone will like what you do, but thus is the way of life.

GW: Diversity in storytelling, both in the characters we play, the stories we tell and the people who play/tell them. Frequent cuts to funding of the arts and threats to funding in arts education means it is now more important than ever to champion inclusion.

What’s your dream role, and why?

NM: Spider-Man – Miles Morales. This was my first ever role, which I played when I first learned how to talk. Swinging around my bedroom, spinning imaginary webs at the mirror; there was no feeling like it. I personally prefer darker characters, but Spider-Man is the exception. I pray that I get to wear the web-slinger’s mask on the big screen one day!

CM: My dream role is Kostya in The Seagull. I studied the character in my course’s first-year Chekhov intensive and got to play the character in the famous bandage scene with his mother. I found him fascinating; he unlocked a deeper appreciation in me for what is possible in theatre. I would love to revisit the character in the future and tell his whole story.

TB: I don’t have a particular dream role as there are so many avenues I’d like to explore. I do have a new-found love for Shakespeare and would love to perform at Shakespeare’s Globe – and I’d also love to originate a theatre role, one day!

EF: I’d love to create my own dream role! I feel really inspired to create my own work at this stage of my training. And while there are thousands of exciting characters out there, I would love the opportunity to bring my own words to a stage – words that reflect my own experiences, influences, and voice.

AL: My dream role is Macbeth. The first play I remember watching was a schools version of Macbeth. We were in our school hall on a summer’s day, and I remember feeling the Court, feeling the witches, feeling the drama. As part of the schools version we created Lord and Lady versions of ourselves: I was Lord Linn of Sheffield, and I loved playing him! My passion for the play – its poetry, its atmosphere – has only increased since. Indeed, the ‘vaulting ambition’ speech was one of my monologues for the SOLT Bursary audition.

GW: I have many dream roles on my bucket list but if I had to say one, I’d love to play an anti-hero like Hamlet, or a villain. I want to have the most fun with a role as I can, and what role is more fun to tackle than these?!

EA: Throughout my childhood, Mary Poppins was on a constant rotation of films I watched with my family. It was the first musical I was in, so I think of it as the musical that got me into musicals. I recently played Mary Poppins for the wonderful Mark Hedges in the Midlands Academy of Dance and Drama showcase, which has made me realise she’s my dream role. What a beautiful and magical character to play!

Congratulations to all the winners of this year’s Laurence Olivier Bursaries – you can find out more about the bursaries and see all the winners on the Official London Theatre website.

Established by SOLT in 1987 to mark the 80th birthday of Lord Olivier, the Laurence Olivier Bursaries aim to provide financial support to exceptional students entering their final year of drama school, and facing financial difficulties which might jeopardise their studies.

Previous bursary winners have included Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, Juma Sharkah, Michaela Coel and Michael Sheen.

Nominees, put forward by drama school principals across the UK, are auditioned on a West End stage and interviewed by a panel of theatre industry professionals, led by West End producer and Chair of the Laurence Olivier Bursaries Committee, Lee Menzies. This year’s auditions took place at St Martin’s Theatre. The bursaries were formally presented during a ceremony at the SOLT offices on 20 September.

This year’s Laurence Olivier Bursary recipients are Esme Allen, Rosie Clay, Ruby Crepin-Glyne, Amesh Edireweera, Louis Ellis, Jasmine Jones, Mirren Mack, Aidan Nightingale, Melissa Shirley Rose and Samuel Stafford.

The Laurence Olivier Bursary and Doreen Jones & Mary Selway Bursary 2018, donated by Society of London Theatre and the Casting Directors’ Guild, was awarded to Samuel Adebayo. The Behrens Foundation Bursaries 2018 went to Ojan Genc, Aron Julius and Shaofan Wilson. The Carmen Silvera Bursary 2018 (given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett) went to Beshlie Thorp, while the Clothworkers’ Laurence Olivier Bursary 2018 was awarded to Paul Kennedy

Funds awarded individually through the scheme can range from £500 to a maximum of £7,500, and are given at the discretion of the judges.

Lee Menzies, Chair of the Olivier Bursaries Committee, said: “Each year we are astounded by the talent and dedication of the bursary recipients – individuals who, despite financial hardship, are pushing forward to realize their potential. Many have made sacrifices to continue their studies, and without assistance we risk losing gifted performers to other industries. Drama courses require a huge amount of hard work; these bursaries give performers the freedom to focus on their studies without financial pressure.

“We are grateful to our partners and donors, and I urge the industry to help us secure the future of UK theatre – by supporting schemes like this, and also by continuing to make theatre tickets financially accessible to students, allowing the next generation of acting talent to be inspired by our world-class stages.”

The Clothworkers’ Foundation bursary is worth a total of £37,500 over five years with £7,500 awarded to a student annually as part of the Laurence Olivier Bursaries scheme. Funds donated by The Behrens Foundation, The Casting Directors’ Guild and by leading London theatrical agent Barry Burnett are also given in conjunction with the scheme.

The annual Society of London Theatre Bursary for Musical Theatre Dancers has been awarded to four recipients over the past year. Chosen by Dancers’ Career Development, the bursary was established to provide support for professional musical theatre dancers transitioning into post-performance careers in the creative industries.