Alfred Mitchell
When were you first enchanted by (musical) theatre? What was the experience?
Probably when I was around three years old. My parents had a VHS tape of the musical Cats by Andrew Lloyd Webber and I was completely spellbound by it. Notoriously at a family gathering not long after I subjected my family to my one man unabridged performance of the show.
Why do people sing instead of speak?
People sing because they're feeling something so strongly that speaking just won’t suffice. Music can express emotions in a way that words alone can't. Opera and Musical Theatre are often seen as over the top, but that's exactly what I love about them - they give character’s and performer’s alike, permission to express emotions at their zenith.
What role can or should music theatre play in today's society?
I think music theatre can make difficult topics more accessible. Shows like Cabaret prove that music can help audiences connect with challenging stories on a much deeper level. If people leave the theatre thinking differently or talking about what they've seen, then I think it's done something really important. At the same time I also think it's incredibly important that audiences are simply entertained. Theatre has to remain a place where people can find escapism from the monotony of the everyday.
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Born in
Nottingham, UK
Education
MMus Royal Conservatoire of Scotland
Important engagements
Tamino in Magic Flute II (Théâtre du Lido)
Garsington Alvarez Emerging Artist 25/26
Cyril in Princess Ida (National Gilbert and Sullivan Opera Company)
Male Chorus in Rape of Lucretia (British Youth Opera)
Collaborations that shaped you as an artist
Working with Marin Alsop on Bernstein’s Mass
Working with Damon Alban on his sequel to the Magic Flute
Significant awards and honors
Chris Treglown Prize Overall Winner, 2026
Website
