Interview: Stephen Hagan On Playing Frederick II Opposite Brian Cox in THE SCORE at Shakespeare Theatre Company

Shakespeare Theatre Company presents Theatre Royal Bath's production of THE SCORE, Oliver Cotton's play pitting creativity against the whims of power, now extended through October 25 in what is the play's only American engagement. Directed by the legendary Trevor Nunn, the play is set in spring 1747, when Johann Sebastian Bach, played by Golden Globe winner Brian Cox, reluctantly visits the court of Frederick II and must confront how to rise to the king's musical challenge without forsaking his own morality.

Playing Frederick II opposite Cox is Stephen Hagan, who makes his STC debut having appeared in the original production of the show in Bath and on the West End. His international stage credits include work with the Royal Shakespeare Company in TWELFTH NIGHT, THE COMEDY OF ERRORS, and THE TEMPEST. This marks his third collaboration with Trevor Nunn. On screen, Hagan has appeared in C.B. STRIKE, YOU, MEDICI, and the Hallmark Channel's PARIS IS ALWAYS A GOOD IDEA.

BroadwayWorld spoke with Hagan about finding the humanity in a warmonger king, the rollercoaster of sharing the stage with Brian Cox, and why the play's confrontation between art and power feels especially electric just around the corner from the White House.

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What drew you to the role of Frederick II, and how did you approach playing a historical figure who was both a warmonger and an intellectual?

When Sir Trevor Nunn calls, how can you say no? I then read the wonderful script by Oliver Cotton and was informed that I would be playing opposite the powerhouse that is Brian Cox. If I'm honest, I called my agent back and asked what the catch was?

How do you balance portraying Frederick's atheism and ruthlessness with making him a compelling, three-dimensional character rather than a simple villain?

As with every character, you have to figure out what makes them tick. It's not just what they say, it's what has happened to them and what other people say about them. I've played a few "horrible" people in my career but I always find the good in them. No bad people think they are bad, they all think they are doing the right thing and are actually really good people, so that is the key for me. I read a wonderful book about Frederick by Tim Blanning, which is superb and I would encourage everyone to read it if you are trying to understand why a leader becomes the person they are. Once you start reading about Frederick you can see all his dimensions very quickly. He was openly gay, he was also married (to keep his father happy), he loved art and music, he was a pretty good flautist, he became an extraordinary war strategist (to keep his father happy), he modernised agricultural practises throughout Prussia, and that's just for starters.

This is your third collaboration with Trevor Nunn. How has your working relationship evolved, and what does he bring out in your performance that's unique to his direction?

I think he trusts me. Which is a very important thing in a rehearsal room. It gives me the freedom to try things and experiment in the knowledge that if it doesn't work, Trev will let me know. He can see the bigger picture at all times. Actors can very easily get lost in their own character and forget that they are telling a bigger story. It's great having Trevor there to remind you of that. Acting is a strange profession, if no one says anything to you about your performance then you have to assume it's brilliant. You only get notes if something is missing or off.

What was it like originating this role in Bath and the West End, and how does bringing it to American audiences at STC feel different?

We started doing this play in 2023 and each time we come back to it we find more and more layers to all the characters. The different audiences have helped us make these discoveries too. I think the American audiences have helped us find even more moments and details within the play due to their reactions.

You've spoken about American audiences responding differently to the play than UK audiences. Can you elaborate on what those differences look and feel like from the stage?

This is not a Ted Talk about Bach or a lecture about Frederick the Great. The American audiences really understand that it is an entertaining play and also very funny. They are tuned into the relationships that Bach and Frederick both have with God and War. A laugh is very easy to hear on stage but in America we are getting gasps and groans and ooh's and ahh's. We can really feel the nuances landing in the audience throughout the play, even more so than in the UK.

Given the play's themes of challenging corrupt and dangerous leaders, how conscious are you of the parallels audiences might draw to contemporary politics, especially performing this in Washington, D.C.?

When we first did the play, there were parallels with what was going on in Ukraine at the time. Now there are new parallels and it has become even more pertinent as a piece of theatre. Having Bach challenge one of the most powerful men in the world right round the corner from the most powerful house in the world is electric to be part of and brings even more relevance to the piece today.

What is it like sharing the stage with Brian Cox, and how does his approach to Bach shape your own performance as his sparring partner?

Wow! Just wow! At first I thought, playing a King, I had to be respected and the most powerful person in the room. To try and achieve this I used to try and out-act him. I learnt very quickly that this is a pointless exercise, it's Brian Cox! As long as I am being present and listening to everything he has to say I just have to let him affect me and see where it takes us in the scene. It's like a rollercoaster. You just get on and accept that you are strapped in and can't get off until the curtain call. Try and enjoy the ride.

What do you hope American audiences take away from watching this confrontation between artistic integrity and political power in today's climate?

The British Ambassador saw the show on opening night, the week before he was taking Andy Burnham to meet the President in New York. He said that he took some notes from our confrontation/meeting in Act 2 that he will pass on to Andy. I'm not sure that Bach went the right way about it, but I do think he was able to affect Frederick. The play also helps us see that no person is born bad and children are malleable at a very young age. My mother is a teacher and used to say, "Show me the boy at 10 and I will show you the man." She has since changed that to, "Show me the boy at 4 and I will show you the man." The most important thing to take away is that we all need culture, art, music and love to survive, regardless of your beliefs.

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