Meet the Actor: A Theatre33 Interview with Christophe Peyras

Tell us about yourself.

That’s not the best place to start—I hate talking about myself! But to keep it simple, I’m a French theatre enthusiast with an undying passion for the stage. Theatre has been part of my life for as long as I can remember, and whether performing, reading plays, or watching productions, it always feels like home.

What is your earliest memory of wanting to be an actor?

That’s a tough question because I honestly don’t remember a time when I wanted to do anything else. I was introduced to theatre when I was around nine years old, as part of our French literature curriculum.

In France, watching live theatre is a core part of learning, and I think the first play I ever saw was Les Fourberies de Scapin, a Molière classic. What truly made an impact on me wasn’t just the play itself, but speaking with the actors afterward. That’s when it hit me—acting wasn’t just something magical that happened on stage; it was a craft, something you could learn and master.

Which actor—past or present—do you most admire, and why?

I’ve always been fascinated by the Comédie-Française, also known as The House of Molière. Whenever I lived in Paris, I made sure to see as many of their productions as possible. They’re known for their precision, classical training, and unparalleled mastery of the craft.

One actor who always stood out to me is Éric Ruf. His voice, technique, and stage presence are the perfect example of what a great actor should embody. Every time I watched him perform, he made me rethink what it means to command a stage. Another one that comes to mind immediately would be Andrew Scott. His most known work might be on television, but his theatre roles have been brilliant every single time. I discovered him in his interpretation of Hamlet, which as of now, if probably the best I've seen.

What’s the most challenging role you’ve played, and what did you learn from it?

I’ve taken on a lot of challenging roles over the years, but the one that stands out the most is Constellations by Nick Payne.

It wasn’t necessarily the complexity of the character or the text that made it difficult—it was the fact that it was my first English-language play. That presented a completely new challenge for me, both linguistically and psychologically. Acting is about authenticity, and performing in a non-native language felt like an added layer of vulnerability.

But what I learned from it is this: a story is a story. No matter how imperfect the language might feel to me, if the emotions and storytelling are genuine, the rest becomes secondary. That experience gave me the confidence to push my boundaries and explore theatre in a different language, unlocking new creative possibilities.

How do you approach developing a character?

I’d say I’m method-agnostic, meaning I don’t follow any single technique—I borrow from everything. For me, believability is the most important aspect of performance, so I approach each role in whatever way makes the most sense for that particular character.

Since English isn’t my first language, I spend extra time reading and re-reading the text—not just to memorize, but to understand everything that’s left unsaid. I want to uncover the layers that aren’t explicitly written but exist between the lines.

From there, I try to bring the character as close to myself as possible. I start with questions like:

• If I were in this situation, what would I do?

• How would I react if I were this person?

Once I have that foundation, I experiment—talking to myself, finding the right tone, the right physicality—and it’s always a work in progress. I constantly look for small nuances that can make the performance just a little more authentic each time.

What’s your process for preparing for a role, from first read to opening night?

I guess I touched on this already! But to break it down: My work starts as soon as the project is discussed—even before I’m officially cast, I make sure to get the script and start familiarizing myself with it. Because of the language barrier, I can’t do cold reads unless I’ve read the play a million times beforehand. For the first table read, my goal is to already understand the character’s core so that I can focus on listening and responding naturally. I memorize the text completely—not just my lines, but the rhythm of the dialogue, so I can stop thinking about the words and focus on the storytelling. The closer we get to opening night, the goal isn’t just knowing my lines—it’s being able to listen, react, and stay fully present in the moment.

By opening night, any nerves I have aren’t about performing itself, but about living up to the expectations of the audience and delivering a believable, meaningful experience.

Do you have any pre-show rituals or superstitions?

Not really—I’m not a superstitious person. My only routine is to stretch a little, loosen up my body, and stop overthinking my first lines. I do catch myself pacing around backstage, silently repeating my lines for reassurance, but at that point, I already know them—it’s just a mental habit.

How do you handle stage nerves or performance anxiety?

I try to make sure I don’t have any anxiety.

For me, anxiety comes from being unprepared or uncertain—about the script, the production, my scene partners, or even the blocking. If I feel unprepared, I don’t think I could physically step on stage. So I eliminate that variable by doing my part: being fully prepared and reliable for my castmates.

Stage fright often comes from fearing that something will go wrong. But by the time we perform, we’ve already rehearsed every scenario—including what to do if things go wrong. At that point, I trust my preparation and let my character take over.

How do you memorize lines and stay in character throughout a performance?

I have a strong visual memory, so simply reading something multiple times allows me to absorb it. Repetition is my best tool—if I need to know a scene by the next day, I’ll go line by line, repeating it over and over until it sticks.

As for staying in character, I don’t think of it as “playing” a role—I think of it as the character borrowing parts of me. That way, stepping into the role doesn’t feel like pretending—it’s simply a different perspective of myself.

Have you ever had a major on-stage mishap? How did you recover?

Every actor has had that nightmare moment of forgetting a line or skipping an entire section of the play. The funny thing is, those moments always feel much worse for the actor than for the audience.

I’ve had moments where I blanked for what felt like eternity, but in reality, it was barely noticeable. The key is to keep going—the show must go on. The audience rarely notices unless you let them.

What’s the most unforgettable moment you’ve experienced on stage?

For me, the best moment happens in every single production—it’s that first bow, when the audience claps, the cast shares a look of relief, and we realize all the work was worth it. That’s the magic of theatre.

What’s a dream role you’d love to play one day?

Without hesitation—Cyrano de Bergerac.

Ever since I first saw Gérard Depardieu, Jean-Paul Belmondo, and Jean-Paul Roussillon play Cyrano, I’ve been captivated by the language, wit, and depth of the character. I’ve never had the opportunity to be part of a Cyrano production, but if I ever do, I might have to change my answer to most challenging role I’ve played!

What’s the biggest lesson theatre has taught you?

Theatre has given me confidence that extends far beyond the stage. No matter how many people are in the audience—whether it’s a packed theatre or just a few faces in a room—I’ve learned to speak with clarity, presence, and purpose. Performing has helped me articulate my thoughts more effectively, making me more comfortable in any public speaking situation.

Beyond that, theatre has made me more aware of emotions—both my own and those of others. It has taught me to truly listen, interpret subtext, and understand how feelings shape communication. Whether on stage or in real life, I now approach conversations with greater sensitivity and awareness, which has strengthened both my performances and my everyday interactions.

How do you balance rehearsals, performances, and the rest of your life?

I consider myself lucky to have the flexibility to integrate theatre seamlessly into my life. Theatre has always been a constant—whether performing, working with a company, or simply reading plays. Because of that, I’ve never really had to make sacrifices or difficult choices when it comes to being involved.

For me, theatre isn’t something I have to “fit in” around everything else—it’s just part of who I am. Rather than balancing it against other aspects of life, it naturally weaves into everything I do.

What advice would you give to someone new to acting?

Read as many plays as possible—start with the classics to build a foundation. Watch as much live theatre as you can—learning from great actors is invaluable. Take classes and surround yourself with people who push you to grow.

Most importantly—just start. Theatre is about learning by doing.

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