Alexander Arnold on David Ireland’s Most Favoured, faith and KFC at Soho Theatre

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“With a play like this and it being one act, I love it. With this you can only truly prepare for that first moment before you step into the scene. After that, you just have to see which way the wind is blowing.”

Alexander Arnold is discussing the unique pressures of Most Favoured, the latest stage work from David Ireland (which first saw a stage as part of Oran Mor’s 2013 Play, a Pie & A Pint season), currently running at Soho Theatre. It is a description that feels entirely appropriate for an Ireland script. The playwright, celebrated for the bruising satire of Ulster American and The Fifth Step, rarely offers audiences—or actors—a comfortable ride. His work is usually a gale-force wind of provocation, and for Arnold, stepping into this specific storm requires a willingness to abandon strict planning in favour of raw reactivity.

Best known for his breakout role as Rich Hardbeck in Skins and subsequent screen turns in Poldark and Save Me, Arnold returns to the stage to play Mike, an enigmatic American tourist. The premise is typically Ireland-esque: a hotel room, a post-coital encounter, and a bag of Kentucky Fried Chicken. But beneath the bizarre setup lies a script that Arnold suggests is grappling with themes far weightier than the “festive comedy” marketing might imply.

David Ireland’s Most Favoured at Soho Theatre

The production is billed as a “theatrical snack”—a succinct 45-minute one-act. For the critic, this brevity is often a mercy; for the actor, it removes the safety net of a slow build. Arnold, starring alongside Lauren Lyle, views this constraint as a liberation rather than a hindrance. It forces a reliance on the partner that keeps the performance dangerous.

“It’s completely down to how Lauren and I work with each other each night,” Arnold explains. “It creates such variety. Lauren is incredibly reactive and flexible so it’s great fun.”

This lack of a “cut” command is the primary distinction Arnold draws between his recent film work—such as the upcoming thriller Fuze—and the Soho stage. While he insists he does “the same type of prep for characters on stage as I would on film,” the live environment fundamentally alters the output.

“Working with an audience, you are shaping their experience, and so that becomes a part of it,” he notes. “If you’re really listening to [the] other actor, each night will produce different moments and will hit you differently. That’s exciting.”

Kentucky Fried Chicken as a Narrative Device

The play’s synopsis leans heavily on Mike’s “love for Kentucky Fried Chicken” and a “hell of a secret.” In the hands of a lesser writer, the fast-food element might be a throwaway gag, a cheap signifier of American excess. Here, Arnold hints it carries more structural weight.

“I suppose it’s a deeper narrative device in the play,” he says, though he is careful to protect the plot twists. He adds a curious detail about his character’s relationship with the Colonel’s famous recipe: “Mike hasn’t ever tried KFC before, though, which is quite bizarre, being an American! You’ll find out why as the play unfolds.”

That “bizarre” detail is the breadcrumb trail leading to the play’s core tension. Mike and his counterpart Mary, are, as Arnold puts it, “both hiding secrets from each other.” For the actor, the joy lies in the contrast between the subterfuge and Mike’s personality. “Mike is so wide-eyed and open to new experiences, so that’s been great fun,” Arnold observes.

Finding Faith in the Absurd

However, the most compelling aspect of Most Favoured is not the chicken or the secrets, but the timing of its creation relative to its creator’s personal life. David Ireland has built a reputation for skewering sacred cows—nationalism, identity, and the arts themselves. Yet this play is being framed around “generosity, hope, faith.”

When asked how an Ireland play tackles the obligation of festive cheer, Arnold suggests the writing is earnest rather than cynical. “I would say David’s writing here reflects more on those themes [generosity, hope, faith] and are the types of things we’re all thinking about at this time of year.”

It is a surprising admission for a writer known for shock value. But the real revelation comes when Arnold discusses the insights he received from the creative team regarding the play’s message.

“Well, without letting David speak for himself, as far as I understand, David hadn’t found God until after he wrote this play, and that’s really fascinating, as this play is laden with messages about faith and hope.”

Featured Image: Most Favoured – Soho Theatre Poster

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