Sam Goodchild

Sam Goodchild

Sam Goodchild - Headshot
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Sam trained at Drama Centre London, graduating in 2016. His recent stage credits include Thérèse Raquin at the Southwark Playhouse, Holding The Man at the Brockley Jack Studio Theatre and the sell-out Party at Above the Stag Theatre.

Further credits include Emoticon (Brockley Jack Studio Theatre); Up4aMeet? (Waterloo East Theatre); Brace (Up+Up Productions); and Seasonal (Old Red Lion Theatre).

Credits whilst training include Agamemnon in After Troy; Tom Moody in Golden Boy; Dr. Ferdiere in Artaud at Rodez; and Jenny Diver in An Opera From The East, a new version of Brecht’s Threepenny Opera.

Whilst at Drama Centre he was chosen to represent the school at the Sam Wanamaker Festival and was also chosen for the Hobson Prize.

Holding The Man – Brockley Jack Studio Theatre

A particular favourite of mine is Goodchild’s representation of Juliet ‘smother, with handbag, pursed lips, and a repeated use of the phrase “Lovely.” Not only is his characterization hilarious, but the accuracy of it has the audience in fits of laughter – we all know someone’s mother who is just like this.
A Younger Theatre

Of note is Sam Goodchild’s Marie, who consistently raised hearty laughs from the audience. He plays a she, y’see, and carries it off with such believable poise and mannerisms that it’s a performance, however brief, almost worth the price of a ticket in itself: it certainly added to the play’s engagement factor when it could so easily have subtracted from it.
LondonTheatre1

Sam Goodchild played, amongst other characters, Peter, a friend of John’s who helped nurse the dying boy. In this role he showed much emotion and the audience shared the depth of feeling in John’s last days. Goodchild will also be remembered for his performance as Juliet’s mother. He was the epitome of femininity and a delightful light touch in contrast to the heaviness of plot to come.
Live Theatre UK

Goodchild is a standout in his roles.
British Theatre Guide

Thérèse Raquin – Southwark Playhouse

As Camille, Sam Goodchild conjures a brilliant little twerp, as well as a very frightening (and athletic) corpse. Goodchild’s Camille is less vile than Zola’s simply because he is so funny — not least when he breaks down weeping with joy at the unveiling of Laurent’s abysmal portrait of himself.
Financial Times

Sam Goodchild shows incredible versatility and physicality in the role of Camille
A Younger Theatre

Sam Goodchild hams it up mercilessly as the preposterous Camille, getting plenty of laughs tinged with plenty of tragedy as his closeted life is turned upside down.
Broadway World

Party – Above the Stag

Sam Goodchild delivers a sexy, sultry James – a skilful performance that seduces with stillness.
Gay Times

One other person to give a mention to and that was Sam Goodchild who, as James, provided one of the funniest moments of the night.
LondonTheatre1