Hannah Waddingham clears her throat, her voice carrying a slight rasp from a recent whirlwind of professional engagements. Just two days prior, the acclaimed actress captivated audiences as the host of Saturday Night Live UK, a demanding role that saw her participate in nearly every segment. From a comedic sketch featuring "two top-heavy, Reading-based drama teachers" named Janet, to a musical number playfully exploring the optimal number of glasses of wine at a bar, and a sharp portrayal of a stern northern leader at a speed awareness course, Waddingham showcased an impressive range. Her opening monologue further underscored this versatility, effortlessly shifting through a spectrum of accents and impressions, prompting a jubilant crowd to cheer as she declared, "Range! Range."
This demonstration of her broad capabilities is a vital reminder of Waddingham’s multifaceted talent, especially as she navigates a significant period of career ascendance. We meet in a discreet private dining room within a London hotel, a fitting backdrop for an artist born and raised in the city she still calls home with her young daughter. Even as she moves through the hotel lobby, her tall, striking presence garners attention. Clad in the ubiquitous baseball cap that serves as an actor’s off-duty uniform, Waddingham exudes a quiet confidence. Her global recognition surged during the lockdown era, primarily through her role as Rebecca Welton, the formidable owner of the fictional AFC Richmond in the amiable football series Ted Lasso. The show’s immense popularity, extending across the Atlantic, culminated in a Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series in 2021. At 47, after a career built on sustained effort rather than fleeting fame, it felt unequivocally like her time to shine.
During our initial pleasantries, I confess a long-held misconception: for years, I had assumed she hailed from the North of England. "No, really?" she responds with good-natured surprise. "Well, my mum was from the Isle of Man, so there’s probably that." I press on, elaborating on my theory, suggesting she possesses a certain "northern energy," akin to a seasoned barmaid at a beloved local pub. Her laughter rings out, though a subtle shift in the atmosphere suggests my observation may have landed less favorably than intended. "Oh my God," she exclaims, "Is that a compliment? I don’t think so." I hastily clarify that it is indeed a high compliment, realizing in that moment the potential for misinterpretation. "I think that comes from theatre… I’m just taking a moment. I don’t think anyone’s ever said that." Attempting to salvage the situation, I add, "I mean, you have a kind of brassy campness. It’s a good thing!" She replies, "OK. It’s switch-on-able, and switch-off-able, I assure you. It’s just wanting to make people smile and laugh." This exchange highlights a recurring theme: Waddingham’s aversion to being narrowly defined by perceptions that might overshadow the depth and breadth of her artistic identity.
Now 51, Waddingham is firmly in what could be described as her Hollywood era. Recent years have seen her share the screen with titans of the industry, featuring in major cinematic releases such as Mission: Impossible – Dead Reckoning Part One, alongside Tom Cruise, and The Fall Guy, with Ryan Gosling and Emily Blunt. Our meeting, however, is primarily to discuss the highly anticipated return of Ted Lasso and her new series, Ride or Die. This comedy-drama caper, which she co-stars in with the esteemed Octavia Spencer, sees Waddingham portraying an undercover assassin with a penchant for both libations and romantic entanglements. The show’s opening episode immediately establishes her character’s audacious nature, as she athletically leaps from a first-floor window to evade giving her number to a barman encountered that night.
As lunchtime approaches, we peruse the menu. Waddingham reveals herself to be a dedicated foodie. "Oh, doesn’t it all look gorgeous? Obviously, I’m going to have the shrimp cocktail," she declares. I playfully remark on its "camp" quality, a jest that, like my earlier observation, seems to fall slightly flat. "Is it? I just like shrimp," she responds, before opting for the tomato and burrata salad.
Her previous public appearances, including co-presenting the Eurovision Song Contest in 2023, her extensive career in musical theatre, her memorable guest judging stint on RuPaul’s Drag Race, and her festive Hannah Waddingham: Home for Christmas special for Apple TV, have undoubtedly contributed to a public perception that sometimes leans into a perceived "campness." However, Waddingham is quick to challenge this notion. "Trust me, I would be very bored of myself if I were perpetually camp," she asserts. While my surprise at her candor might be evident, for Waddingham, this reductive labeling is a point of frustration. Even her Christmas special, she argues, transcends a simple categorization. "It’s too simple to say that it’s camp, or that I’m camp. What I wanted for my Christmas special was a timeless example of my voice, and something to make people smile." She explains that she leverages her extensive theatre background to infuse her performances with a certain lightness, aiming to "create something that is light and joyful and removes people from the humdrum of every day." Her role as a judge on the Drag Race "Rusical" (a drag queen’s musical performance challenge) further fuels this perception, but she reiterates, "From musical theatre. What I’m saying is, it signs me off to say that I’m camp, or that I’m a northern barmaid."
H2: Navigating Perceptions and Professional Journeys
"I feel as if I’ve insulted you," I admit, "and that wasn’t my intention." Waddingham responds with quiet conviction, "There’s just a lot more to me than that." She clarifies that while she isn’t personally offended, she would be disheartened if such narrow perceptions defined her public image. "We’re all the sum of different parts," she emphasizes.
Waddingham’s upbringing was steeped in creativity. Her early career was forged in the demanding world of theatre, a path that required years of dedication and hard work. She balanced small television roles with critically acclaimed stage performances in both the West End and on Broadway, eventually leading to a series of breakthrough screen roles. Her impactful, albeit brief, appearance as Septa Unella, the "shame nun" in Game of Thrones, remains a potent internet meme. She also played the supportive parent to a sensitive jock in the popular series Sex Education. The COVID-19 pandemic paradoxically propelled her to a new level of fame, joining a cohort of actors who, while isolated, found their work reaching an unprecedented audience.
The immense success of Ted Lasso marked a significant turning point. In the series, Waddingham’s character, Rebecca Welton, inherits AFC Richmond as part of a divorce settlement. Initially driven by a desire to sabotage her ex-husband’s beloved club by hiring an inexperienced American football coach, Ted Lasso (Jason Sudeikis), she gradually evolves, finding genuine connection with the team and its titular coach. The heartwarming friendship that developed between Rebecca and Ted became a cornerstone of the show’s appeal, resonating with audiences for its genuine warmth and optimism.
The recent announcement of a fourth season of Ted Lasso, focusing on a women’s football team, has generated considerable excitement among fans. Waddingham expresses her own surprise at the series’ return, noting, "There were always rumblings. Of course, we finished with Keeley [Juno Temple] handing Rebecca the women’s team, so I actually thought it was going to come around quicker than it has. When it didn’t, you start to think, is that it? Is that ebbing away?" She confirms that the cast remains "thick as thieves" and maintains close contact, but admits to feeling a pang of sadness at the thought of not reprising her role as Rebecca. "It sounds silly and theatrical, but if you’ve really felt a bond with them, losing a character is like losing a friend," she reflects.
Waddingham is an enthusiastic follower of women’s football, stating, "I’m more into women’s football than men’s." She shares that Karen Carney, a prominent figure in women’s football, wished her luck before her SNL hosting gig. She also recounts meeting Lionesses Leah Williamson and Jill Scott in the early days of Ted Lasso. "They are such pioneers for my daughter’s generation," she emphasizes. Her father, now in his mid-80s, also expresses a preference for watching women’s football. Our conversation touches upon the persistent hostility directed at female athletes. Waddingham recounts a recent conversation with goalkeeper Mary Earps, detailing the backlash Earps faced regarding comments in her autobiography. "My jaw was on the floor," Waddingham states, expressing a degree of disbelief at the intensity of the criticism. "I had a level of incredulity that she [Earps] actually found funny. Maybe I’m naive, but I found the things she was saying unfathomable."
H3: Standing Firm Against Misogyny
The subject of hostility leads to a discussion of Waddingham’s own experiences with public scrutiny and her assertive approach to challenging inappropriate behavior. In a 2023 interview with Glamour, she detailed instances of misogyny she encountered during her modeling career in her 20s, and her consistent practice of calling out such behavior. Her experience at the 2024 Olivier Awards ceremony, where she was slated to host, became a viral moment. Upon arriving on the red carpet, a paparazzo requested she "show leg." Waddingham’s swift and direct response—"Oh my god, you’d never say that to a man, my friend. Don’t be a dick, otherwise I’ll move off"—resonated widely, sparking conversations about sexist double standards. While acknowledging the public support for her stance, she approaches the topic with a degree of caution, stating, "I know where you’re going with this."
Regarding the incident, Waddingham clarifies that her sharp retort was not directed at a personal enemy. "Because I’ve known him for 20 years and have immense respect for him," she explains, referring to the photographer. This reveals another instance where public perception, fueled by a snippet of viral footage, diverged from the nuanced reality. She elaborates, "That’s why I said, at the end of my sentence, ‘You wouldn’t say that to a man, my friend.’" The photographer, she reveals, was not a personal acquaintance but someone she had respected for two decades. "No, not my friend, but he’s someone I’ve respected as a photographer for 20 years, and we’re fine now. He took it on the chin, I called him out, he emailed me, I emailed him back. I was like, ‘Dude, that’s not cool,’ and fair play to him, he was apologetic, and I said, ‘You can’t do that.’"
She believes the photographer "forgot himself" in a moment of overfamiliarity, rather than acting with malicious intent. "No, I think he forgot himself. There was an overfamiliarity. I just thought, don’t do that, because this is a bespoke Marchesa gown. It stopped on the mid-thigh, and it had a beautiful, diaphanous over-layer," she explains. The incident’s reduction of her achievement, she notes, was disheartening. "I was going off to host an entire evening live, and my sadness at the time was that [the evening] had been reduced to that, instead of my live performance directly after that, which is one of the greatest achievements of my life." She lists other significant achievements: the birth of her daughter, single motherhood, her Christmas special, and "how I hold myself, for younger women." She frames calling out such moments as "the flip side of that."
H3: A Foundation of Good Manners and Integrity
Good manners are a cornerstone of Waddingham’s personal philosophy. She reiterates their importance multiple times throughout our conversation: "Good manners are more important to me than work in any form. Manners first, always." She is acutely aware of her role as a mother, stating, "I’m always mindful that my daughter is watching. So I try to be elegant and have a firm kindness about myself." When asked about the source of her conviction to stand up for herself, she attributes it to her upbringing: "That’s just inherent in how I’ve been brought up. It’s the old school – if you can’t say something nice, don’t say anything at all." She then observes, with a steady gaze, "I’m just aware that we’re not talking about my work as much as my conduct."
When I probe further, she clarifies her observation: "Just, the photographer…" I interject, explaining that a profile aims to understand the person behind the public persona. "Purposefully so," she nods in agreement. "What I mean by not talking about the work is that it’s easy to get caught up in – oh, I call people out. Yes, I do, and I’m proud of that." She reiterates her desire to avoid being pigeonholed, but also emphasizes the value of good manners. "We, as the females in society, us older ones, we need to encourage the younger ones, to make sure that we are respected, because it’s too easy for us to just take it on the chin."
H2: The Path to Stardom: A Life in Performance
Waddingham’s journey into the performing arts began in her childhood in Wandsworth, southwest London. Her father, a marketing director and special constable, and her mother, a professional opera singer, fostered a creative environment. Her mother’s career, which included an 11-year hiatus to raise Waddingham and her brother before returning to the chorus at the English National Opera, profoundly influenced her. This connection to the London Coliseum, where her mother sang, is why Waddingham insisted on filming her Christmas special there, despite suggestions for more globally renowned venues. "Apple were saying, ‘Do it at Radio City Music Hall, Carnegie Hall, the Royal Albert Hall.’ I said, ‘No, it can only be the London Coliseum, because I’ve run around there since I was a little girl.’"
It appears almost predestined that Waddingham would become a performer. "I don’t remember ever wanting to do anything else. I don’t know whether I would have been very good at anything else." Her early inspirations included Whitney Houston and Ella Fitzgerald, fueling a desire to be a singer who could evoke deep emotions in listeners. Concurrently, she harbored aspirations of acting. Her career path, however, naturally merged these disciplines. "I auditioned for things, because you will need to get on the ladder and work. And it just kind of snowballed."
A homebody by nature, Waddingham pursued her studies at a local drama school, remaining close to her family. She continues to reside in southwest London, a choice rooted in her "old-fashioned" values. "I have a big thing about being around my parents until I don’t have them, and then I’ll move." Tragically, her mother passed away two Christmases ago, a loss she has only recently begun to discuss publicly. "No, no, it’s fine. It’s good, because she should be celebrated." She expresses a desire to speak about her mother, stating, "I know that I’m known for being a spokeswoman for theatre as well, but that’s her, and it’s good that I talk about her, and I don’t mind getting upset, because it is the love that you feel for someone, still."
H3: Echoes of a Mother’s Legacy
The profound bond with her mother, Melodie Kelly, likely informs Waddingham’s nuanced perspective on performance. "I suppose that’s why I prickle at the idea of ‘theatrical being big,’ or whatever," she reflects. She recalls teasing her mother, an opera singer, about the dramatic flourishes often associated with opera. However, she paints a picture of her mother as "a very quiet, self-effacing, glorious, gentle, soft, uber-talented woman. And she was pure theatre." This personal connection fuels her unwavering advocacy for theatre professionals, whom she believes are driven by passion rather than financial gain or fame. "I always fight the corner of theatre people, because they’re certainly not in it for money or fame, and that’s where I come from." This deep-seated respect for the theatrical world, she explains, provides context for her occasional prickliness when her own career is perceived through a narrow lens.
Waddingham’s own experience as a new mother during the filming of Game of Thrones added another layer of complexity to her professional life. She gave birth to her daughter just weeks before filming the iconic "Shame!" scene. Despite an acclaimed musical theatre career and numerous television roles, she auditioned for Septa Unella with the strategic aim of being noticed by the show’s creators, David Benioff and Dan Weiss. "I was eight months pregnant," she reveals, "Pregnant from the nose out!" Like her mother, she initially intended to take time off to focus on motherhood. However, the immense scale of Game of Thrones proved irresistible. She brought her nine-week-old daughter to set, and the cries of her infant can be heard during the infamous scene. "And I just thought, oh my God, what am I doing?" she recalls. While part of her recognized the necessity of providing for her family, another part grappled with severe separation anxiety. "The other part was going, I’ve got terrible separation anxiety. So when I watch it back, I just see a woman who doesn’t know whether she’s coming or going."
H3: Single Motherhood and Redefining Success
Waddingham has navigated single parenthood since her daughter was young, following her separation from her daughter’s father, Italian luxury hotel manager Gianluca Cugnetto. Her daughter is now 11 years old. A poignant moment at the 2024 Screen Actors Guild Awards saw Waddingham proudly carrying a vibrant, rainbow-colored cardboard clutch, adorned with the word "Epic," handcrafted by her daughter. "I picked it up and went, ‘It’s actually got more space in it than a normal, designer, ridiculous handbag, so I’m going to take it up the red carpet.’ I did it on purpose, to show her that she’s never far away from me." The pang of guilt that accompanies her professional obligations, particularly when leaving for press tours, remains a constant challenge. "God, all the time. I’m about to go away to do press for the next season of Ted [Lasso], and the mummy guilt descends. But I have to try and combat it."
Her decision to step away from the demanding schedule of theatre, where she hasn’t performed since the early 2010s, is largely driven by the desire to be present for her daughter. She firmly believes that theatre audiences, who invest significant sums in tickets, deserve a performer’s full commitment. "I don’t think my daughter is ready," she states, referring to her capacity to undertake an eight-show week for an extended period. "I need to find the time to be able to go, ‘I’m taking this coat off for now and I’m putting my theatre coat back on.’"
H3: Embarking on New Adventures: Ride or Die
To film Ride or Die, Waddingham relocated to Prague for five months, enrolling her daughter in an international school. In the series, she plays Judith, a forensic accountant whose professional life serves as a cover for her clandestine career as a highly trained assassin. Judith is depicted as a skilled skier, marksman, and lover of fine wine. "She’s an assassin of some 30 years," Waddingham explains. Her involvement in the series stemmed from an invitation by her co-star, Octavia Spencer, whom she affectionately calls "my magnificent counterpart." Waddingham expresses ongoing disbelief that Spencer sought her out for the role. The series is replete with demanding action sequences, and Waddingham reveals, "I did 75-80% of my own stunts. But, Rebecca, it was partly not a good idea, because I did mangle myself senseless." At its core, however, Ride or Die is a celebration of female friendship. Spencer portrays Judith’s best friend, Debbie, who becomes inadvertently entangled in the assassin’s world. "It’s about calling each other out, holding each other up, and showing that women in their 50s can be all things, when they decide to chop and change."
H2: Late Bloom and Enduring Ambition
Fame arrived later in Waddingham’s career, a journey marked by a significant transition from stage to screen. "I’ve talked about it to a couple of people, who’ve had that thing of the ‘overnight success’ later in their careers. There are a few of us who have been right in the belly of things, working in places that are not as la-di-da as you would have in TV," she explains. "An overnight success after 25 years is delicious. And I’m fine with it, because I’m very at peace with who I am. I’m more than happy to share that I’m 51 and proud of it."
As our conversation draws to a close, Waddingham checks her phone with a hint of panic. "Oh my lord, how long have we been talking?" Our planned 45-minute chat has stretched to nearly 90 minutes. "I hope I’ve improved your initial…" she begins, with a laugh. I assure her that my appreciation for her multifaceted talent, including her fondness for camp, has only deepened. "I’m a big fan of camp as well," she agrees. "But I like these profiles, because it’s important for people to see that, as with anyone else, there’s light and there’s shade." She is rushing off to her daughter’s school for an event that her "little one" had only just remembered to mention. "I’m always conscious," she says, donning her baseball cap, "that with her school, if I’m late, they’re going to think, oh, bloody actors…"
Ride or Die is currently available on Amazon Prime Video.
