IN CONVERSATION WITH HUGH SKINNER

interview by JANA LETONJA

Hugh Skinner has built a career defined by sharp comedic instinct and an ability to bring unexpected depth to even the most hapless of characters. From his breakout role in Fleabag to standout turns in The Windsors, The Witcher, and Mamma Mia: Here We Go Again, he has become a familiar and quietly essential presence across British and international screens. Now, he returns to one of the UK’s most beloved comedic worlds in Twenty Twenty Six, a new chapter inspired by the cult classic W1A, reuniting with Hugh Bonneville in a timely and sharply observed take on the chaos behind a global football tournament. With its blend of satire and absurdity, the series marks a welcome return, and another perfectly suited stage for his distinct comedic voice.

suit, shirt, tie and sunglasses DUNHILL
loafers MANOLO BLAHNIK

Twenty Twenty Six revisits the world of W1A. What drew you back to this universe?

I love John's writing and I was excited to return and see how it would be this time around. It’s rare in my experience to have another go with the same character, and work with the same team years later, so I leapt at the opportunity. 

How does this new chapter expand on your character compared to where we last saw him?

Well, I’ve changed a bit so there’s a bit on the cusp of a hair transplant/haggish flavour to him now, but other than that, he’s still in a seemingly incredibly unproductive working relationship with Ian. He still thinks Ian is absolutely fantastic, and he's a sort of guru, spiritual leader to him, but who helps who is increasingly surprising in this series. As well as managing to fail upwards on occasion, he also increasingly knows more than he lets on which was enjoyable to play. 

The series is known for its sharp satire. What makes its humor feel especially relevant right now?

I love the way John satirises corporate culture, so I suppose as long as people are skipping into the workplace, it’ll always be relevant. The way he observes how people lean on phrases in a panic when they mean something else, or much more, is what I find hugely relatable. 

The show revolves around organizing a major global event. What kind of chaos can audiences expect?

Well, it’s a major football event and at one point there's a story line where Will works on his keepy uppies. My football skills are completely non-existent, but Will's not supposed to be great either so I thought it would be ok. It turns out even if you are kicking a ball badly, it still has to end up in shot. People love football and there was a hot sadness that radiated off the crew when they witnessed my startling lack of coordination. 

Looking back, how did Fleabag shape your career and the types of roles you were offered afterward?

Phoebe is just an extraordinary writer and I'm so happy I got to be a part of it. I can’t wait to see what she does with Tomb Raider. If anything, it made me realise how much I love doing writer led things, like John Morton on Twenty Twenty Six and also Catherine Shepherd who wrote 2 Weeks in August. They're all unique voices who don't feel restricted by received ways of making stuff.  

You’ve worked across comedy, drama, and even musical film. How do you choose your projects?

To a large extent it's what I get offered. Having said that, I love things that are out on a limb, unexpected, or authored stuff where the director/writer has free reign. I'm also definitely drawn to characters who don’t get it right, where the audience knows more than they do. I love variety and different tones, and trying to work out how you can fit into it. And working with brilliant people.

What was it like stepping into a global hit like Mamma Mia: Here We Go Again?

Initially quite daunting, but so exciting. I loved Ol Parker’s script. It was quite a surreal experience in hindsight, but a raucously good time, led by Judy Cramer. 

How does performing in a musical differ from your work in television comedy?

I think I approach them the same. I haven’t done a musical for a very long time. It’s different circumstances, but I think on the whole, the same things apply.

leather jacket and white shirt CONNOLLY
tie DRAKES
trousers EDWARD SEXTON
boots CHURCH’S

How do you keep your performances feeling fresh, especially in comedic roles?

I think it’s normally down to the material and the other people in the scene. But I suppose you try and find new ways of doing things in the effort to make something actually happen or at least seem like it is. 

Has your relationship with the industry changed as your career has grown?

I'm sure it has, but I’m not really sure how. I hope I care less, in a good way. The big change has been self-taping. And I hope my relationship with that changes, because my current attitude towards it stinks. I weirdly used to quite enjoy auditions, and I miss that experience of reading with people. 

What kind of stories or characters are you most interested in exploring next?

I mean, the dream is to have your mind completely blown by the experience and see existence from a new angle. But honestly, I’m up for most things if the people are nice. I love original voices and working with people who can push whatever the form is into new places, people Like John Morton and Catherine Shepherd.

Outside of acting, are there creative areas you’d like to develop further?

I want to draw more and make more things in general. I used to draw lots, and it’s gotten less, but I want to readdress that this year. And more gardening, which feels like a more manageable measurement of time as I hurtle through middle age. 

TEAM CREDITS:

photography PHILIP SINDEN
stylist CATHERINE HAYWARD
groomer CHARLEY MCEWAN