We sat down for an exclusive interview with Adam Haddour who plays Anatoly in Royal Academy of Music’s Chess. The iconic musical where power and passion collide. It’s America versus Russia at the World Chess Championship, where the espionage and romance are as complicated and exhilarating as the game itself.
This show runs from 2-5th July at Susie Sainsbury Theatre – Tickets here
You came to musical theatre from a philosophy background; has studying how people think and make decisions influenced the way you approach characters?
Yes, definitely. One of the things philosophy teaches you is to understand how different people see and interpret the world, and how those beliefs shape their decisions. That has had a big influence on the way I approach character work.
When I’m analysing a role, I’m always interested in understanding a character’s internal logic- the beliefs, values and experiences that lead them to make the choices they do. That helps me avoid judging a character’s actions and instead focus on finding their truth.
Having played roles from Sweeney Todd to Roger in Rent, what surprises you most when tackling the very different worlds in the musicals you perform?
One of the most exciting things about being a theatre performer is getting to step into completely different worlds with each show. What always surprises me is how quickly those worlds stop feeling distant or abstract once you’re inside them. Whether it’s the dark, heightened reality of Sweeney Todd or the contemporary world of Rent, the focus is always the same: pursuing the truth of the moment. When you’re fully invested in a character’s objectives, these seemingly different worlds start to feel remarkably similar because they become completely real to you.
As both a musical theatre performer and singer-songwriter, do you find yourself approaching storytelling differently onstage than when writing your own music?
I definitely think my songwriting and acting have informed one another. My acting has probably had the greater influence on my songwriting because musical theatre exposes you to such exceptional storytelling. Engaging so closely with the work of Sondheim and the intricacies of his writing motivates me to strive for a similar level of nuance in my own songs.
At the same time, songwriting makes you acutely aware of how word choice, rhythm and phrasing shape the way a feeling is communicated. When writing music, my focus is often on capturing a particular emotion, sensation or experience and expressing it through song in a way that allows the listener to feel it alongside me. As an actor, I am similarly trying to evoke emotion in an audience, but the process begins from a different place.
The key difference is that storytelling in theatre is rooted in character. My first responsibility is to understand who that person is, what they want and why they make the choices they do. My songwriting, by contrast, is not necessarily concerned with revealing much about my own character. Instead, it tends to focus on a specific experience or emotion and finding a way to communicate it that others can connect with and relate to.
Chess explores loyalty, ambition and political division; what themes from the show feel most relevant to audiences today?
The political themes of Chess feel as relevant as ever. Anatoly’s anthem is perhaps the clearest example of that, exploring the tension between loving and feeling connected to your country while struggling with the actions of those who govern it. That conflict between identity and political disillusionment is something many people can relate to today.
One thing that Bruce and Ben’s version for the show brings into particularly sharp focus is the way major sporting events can become vehicles for wider political agendas. Chess shows how powerful individuals and institutions can use these events to advance their own interests. In a world where sport, politics and media are increasingly intertwined, those themes feel remarkably contemporary.
You’ve performed everything from classic musicals to new writing and original music—what kinds of stories are you most drawn to telling?
I honestly just love telling stories, regardless of the medium. Whether it’s a classic musical, a new work, or my own music, what draws me in is the opportunity to connect with people through a compelling narrative. That said, there is something particularly special about performing new or original material. Being involved in the creation of a piece, contributing your own ideas, and helping to shape a character or story from the ground up is incredibly exciting. It feels like a genuine collaboration, and because you leave your own imprint on the work, the storytelling becomes deeply personal.
The Royal Academy productions showcase emerging talent; what have you learned from collaborating with fellow performers at this stage of your training?
I learn from my Academy cohort every day. Everyone brings a unique perspective to character work and performance, which constantly challenges me to see things in new ways. Sharing the role in this final production has made that process particularly rewarding. Alongside performing Anatoly myself, I’ve had the opportunity to watch and learn from George’s interpretation of the character. Seeing the role approached from a different angle has encouraged me to continually reassess my own choices and explore alternative possibilities within the scenes. As a result, I’ve developed a richer, more nuanced understanding of the character and of the collaborative nature of storytelling itself.