In early 2026, Guildford Shakespeare Company staged a bold new adaptation of Charles Dickens’ David Copperfield at Holy Trinity Church in Guildford. The high-spirited production, performed by just three actors, ran from Friday 6th to Saturday 28th February before preparing to make its international debut in New York later this year as part of the Brits Off Broadway season.
Among the cast is actor and writer Louise Beresford, whose stage credits include Present Laughter and Noises Off in Frinton, as well as Magic Goes Wrong at London’s Apollo Theatre. In this inventive retelling of Dickens’ beloved novel condensed from 64 chapters and more than 50 characters into a fast-paced theatrical experience Beresford is part of a company that uses physical theatre, puppetry and quick transformations to bring David’s memories vividly to life.
I spoke with Louise about the challenge of condensing such a monumental novel, the excitement of taking the show from Guildford to New York, and how her experience as both actor and writer shapes the way she approaches storytelling on stage.
This new adaptation of David Copperfield reimagines such a beloved novel in a three-actor format. What was your first reaction when you encountered this version of the story?
The concept alone is quite a daunting prospect, considering how much the book covers and how many characters that entails (that’s 64 chapters, and over 50 named characters). However, after the success of Guildford Shakespeare Company’s three-person adaptation of Pride and Prejudice, I knew I was in good hands, and I was beyond excited to work with the same team. When I got the rehearsal script, Sarah Gobran, Matt Pinches (the GSC founders) and Abigail Pickard Price (our director) had already done most of the heavy lifting condensing the story into a play, our job in rehearsals was just honing that more and finding the characters which I absolutely love!
The production mirrors David’s own journey by transferring from Guildford to New York as part of Brits Off Broadway. How does that parallel resonate with you personally?
I’d never actually thought of it like that. Reflecting on it now, it does feel quite pertinent. I’ve never performed in America and it’s a great feeling to actually get to do that, especially in New York which is a place I absolutely love. Much like David who follows his dream of writing, I’m getting to fulfil a personal dream myself.
Dickens’ work can sometimes feel very rooted in its period. What makes this adaptation feel vibrant and immediate for a contemporary audience?
I think that regardless of time, this particular story tackles a lot of timeless themes that are relatable for anyone, from love and loss to identity and nostalgia. The whole story is told through David’s memory and much of that is the memory of a child, so we played with that concept.
A lot of the characters seem larger than life or other worldly, using puppets or even just hats to represent people, this is to accentuate that we are meeting these people from David’s memory, seeing them as he did at the time (not to mention the fact that there are only three of us onstage at any given time). Audiences have loved seeing the creativity and ingenuity in how this is achieved (the majority of which is completely down to the creative genius of our director Abigail and movement director Amy Lawrence). It is pretty insane, and admittedly early on I personally had no idea how we were going to pull it off… but we do.
Taking the show to New York later this year is a huge moment. What excites you most about performing for an American audience?
I’m excited to see how it’s received! We’ve had a great reception with the UK and I’m keen to see what America thinks of it.
Looking back at your career so far, are there particular roles that have shaped you most as a performer?
I’m always learning as I go. I don’t think that will ever change. I’ve definitely learnt something new on every job, good and bad, all of which has continued to shape me as a performer. I’ve learnt a great deal on this job, particularly about precision and having trust in the process.
If I had to pinpoint one thing, I’d say my time writing and performing sketch comedy in London and at the Edinburgh Festival taught me so much at the start of my career. A lot of which I apply to this show in particular. At the Ed Fringe you perform every day, with one day off for the whole month so you are building stamina, trying stuff out, taking risks and experiencing different audiences every day. Not to mention getting out there and seeing new things and meeting fellow creatives. I was very lucky to have opportunities to perform there. It was financially tricky then, but I know it’s a lot less feasible now which is a shame.
Does being a writer change the way you approach a script? Are you more analytical about structure or character motivation?
I think the writer in me helps to approach a script from two angles – one side is always aware of the story as a whole rather than just the character I’m playing, and the actor part is then understanding how the character fits into that. Writing has definitely given me a broader analytical view when approaching a script. I also think the writer part of me makes me far less precious about my role, particularly when developing a new piece like David Copperfield. There’s a lot of trying things and cutting things out. My view is always ‘what serves the piece/story best?’ rather than ‘what gives me more stage time or lines etc.
When you’re working on someone else’s text especially Dickens do you ever find the writer in you wanting to reshape or reinterpret?
As a writer I understand that everything is there for a reason, so with other people’s writing I always want to honour and understand what they intended. I love digging into the ‘why’ something is in the script/scene/character arc, but reshaping and reinterpretation isn’t something I’d do, unless I am working directly with the writer on a brand-new piece dramaturgically.
With regards to David Copperfield specifically, it’s such a classic that we really wanted to honour it. So, it was all about boiling it down to the core elements that told that story in the time we had and plucking out the clues about each character from Dickens’ rich descriptive writing. It’s certainly our interpretation but I think it’s still very loyal to what Dickens intended with his book.
What creative role feels most instinctive, and which feels most challenging?
Acting definitely feels most instinctive. It’s always been my preferred creative role. Writing is great when you have the idea and you’re in the flow of it but it’s a slog in the beginning. My Achilles heel is being a bit of (understatement of the century) a perfectionist. I’m my own worst critic. When writing you have to get comfortable with it being utter rubbish at first. Get it out there, and then you have something to work with. That stage is the most difficult, whereas in acting I’m comfortable to offer ideas or try things out that might be rubbish because they might actually work or spark something better.
What would you say is the most underrated play?
Gosh, I don’t know about underrated as I imagine my suggestions are probably all pretty commonly loved. But there are several plays I have read but never seen which I’d love to see! Blackbird by David Harrow, Girls and Boys by Dennis Kelly are fantastic pieces of storytelling, I love a twist and when reading these I just didn’t see it coming. Four Minutes Twelve Seconds by James Fritz is one that I picked up because of another play he had written, and I really loved it. Following a mother and father torn between their inert desire to protect their child and the moral reality of their son’s behaviour and character was compelling to read.
One obscure play that does spring to mind is one I saw on the fringe back in 2019 written and performed by Declan Perring called ‘Sam the Good Person’. It follows the life of a compulsive liar who is seeking help for his condition and has a deep desire to ‘be good’, but you are always questioning what truth is and what is a lie. I was blown away by it, both by the writing and performance. I’m still waiting for it to come back to a bigger audience someday.
Is there a question that you would like to be asked but never have been?
I mean, I’ve never been asked this one before! Probably “would you like a lot of money right now for free?’ and fyi my answer is ‘yes’.
Is there a character that you would like to play. It could maybe dead or alive?
There are so many I’d love to have a crack at that are so varied. What I’d love to do is something really meaty. I’m not quite old enough yet but something like Martha in ‘Who’s Afraid of Virginia Woolf’, or even the narrator in Dennis Kelly’s ‘Girls and Boys.’
If you weren’t a performer, what would you be doing?
Most likely something with animals. I’m always tempted to disappear to a hot climate and start some sort of animal sanctuary. Niall Harbison is one of my all-time hero’s.
Louise Beresford’s reflections reveal the creative ambition behind this inventive adaptation of David Copperfield. From the challenge of distilling Dickens’ vast world into a three-actor production to the thrill of taking the show to New York, the project embodies the kind of playful ingenuity that keeps classic stories alive for new audiences.
With her background in comedy, writing and stage performance, Beresford brings both analytical insight and theatrical instinct to the work qualities that clearly shine through in this production. As the show continues its journey beyond Guildford, it carries with it the same spirit of adventure that defines Dickens’ hero: a story of dreams pursued, risks taken, and new stages waiting just over the horizon.