Interview with Arthur Boan, One Flew Over the Cuckoo’s Nest at The Old Vic
Arthur Boan.
This Spring, a major revival of One Flew Over the Cuckoo’s Nest is staged at The Old Vic. The stage adaptation of Ken Kesey’s novel follows a rebellious patient in a mental institution who challenges the oppressive authority of the head nurse, exposing the tension between individuality and control. Arthur Boan plays the core protagonist, Chief Bowden. He joins us at Theatre and Tonic to discuss playing this important role in this production.
You are starring in Dale Wasserman’s adaptation of One Flew Over the Cuckoo’s Nest. What was your knowledge of this story before being involved in the show itself?
I was familiar with the story, it being a very important part of the curriculum for most North American schools. But I'd only watched the film or at least parts of the film throughout my childhood. I hadn't read the book until I got the audition and the first workshop, after which I delved into the novel and the film in depth.
It was enlightening and heartening to discover just how vibrant and important Chief Bromden's perspective is in the novel, it being told entirely from his point of view.
What initially drew you to the role of Chief Bromden, and what was your first impression of him as a character?
I was really drawn to Chief Bromden because of the link I have through my own heritage, but also through my neurodivergence and this idea of being different and being “fixed” by a system and being told to conform to a system that I do not fit. I liked that relatability.
Another thing that really drew me to the part of Bromden was the immense pain and brokenness that he had to endure, having his entire home and culture stripped from him by a system he refers to as "the Combine". It's these kinds of parts that require immense vulnerability and emotion and ra; my ancestry is Prairie Cree. However, I did grow up in the Moose Cree First Nation community of Moose wness, that call to me as an actor.
You are of Métis heritage and grew up in the Moose Cree First Nation Community of Moose Factory. How has your culture, identity and upbringing impacted how you have developed this character?
I'm of Métis heritage, my ancestry is Prairie Cree. However, I did grow up in the Moose Cree First Nation community of Moose Factory in Northern Ontario. The most prevalent thing about growing up in Moose Factory was this idea of community. This community accepts and encourages collaboration from absolutely all walks of life. I was brought on trips and expeditions and taught the artwork, and how to make a Dreamcatcher, and I went to funerals and weddings and Powwows – and all of these experiences taught me what part of a Tribe being really means in a modern context.
Another thing that's deeply important is Bromden's connection to nature, coming from the Celilo Falls region of Oregon in America. It's also something that I relate to deeply, with nature being an incredibly important part of my upbringing in Moose Factory, an island community that many here in London would deem almost uninhabitable. Truly wild, with packs of dogs, wolves, bears, and whales. With deathly cold winters that freeze the lungs but the most beautiful Northern Lights on planet Earth. It's a very important aspect to Bromden's journey, being in the sterile environment of the psychiatric ward, to yearn for a place where he feels connected to the earth, the core of his being.
Read More: One Flew Over the Cuckoos’ Nest at The Old Vic Review
Were there any particularly challenging scenes to perform emotionally or physically?
The most challenging scenes are always the most fun and the most cathartic and the ones that I look forward to most. Challenging sort of implies a negative connotation, but to me, it's the most inspiring and positive part of being an actor.
If I had to pick, it would have to be my Act Two duologue with McMurphy, which I won't get into the detail of, but that goes into a little bit of Bromden's backstory – and how he feels about McMurphy and his own situation within the confines of “the Combine”. The opening scene also contains a lot of physically and emotionally demanding aspects. It's a lot to go through every night, being abused and restrained by the orderlies, but we're very safe, and it’s vital to keep committing to telling Bromden's story in a real and authentic way.
“Clint Dyer, our director, is obsessed with making this project as visceral and as sensorially impressive as possible.”
Arthur Boan (Chief Bromden) and Samson Ajewole (Aide Warren) in One Flew Over the Cuckoo’s Nest at The Old Vic (2026). Photo by Manuel Harlan
What elements have been used in this production of One Flew Over the Cuckoo’s Nest that further develop the story?
Some interesting elements that have been used in this production involve it being set in “the round”, which means that the audience is on all four sides of the stage. It gives the audience a very immersive experience. Clint Dyer, our director, is obsessed with making this project as visceral and as sensorially impressive as possible. So there is projection and light and sound and music and dance and movement – all aspects of which, combined with the fact that the cast never really leave the stage but are actually seated with the audience at times, means that you get an all-encompassing experience. I'm also proud to have been involved with aspects of the design in the last scene that have immense significance to my character, which I won’t spoil for you. Buckle up!
There’s a great cast working on this show. What has it been like to work alongside them, especially when some of the themes are quite difficult?
You're right, the cast working on the show is unbelievable. Aaron is a stalwart leader of energy and generosity. Giles and Kedar give vulnerable and heartfelt performances day in and day out. And Olivia, who truly is our “veritable angel of mercy” (reappropriating a line of Dale Harding here), has taken on a mammoth task and made it look effortless. She also, unlike her character Nurse Ratched, happens to be one of the loveliest people I've worked with! Then there's our ensemble made up of some of the most revered industry talents like Jason Pennycook, Javone Prince, Matthew Steer and more – the amount of skill on that stage is phenomenal. Having such a close-knit and collaborative group of individuals has made dealing with the difficult but important themes an absolute pleasure from both an artistic and emotional standpoint.
Arthur Boan (Chief Bromden) and Aaron Pierre (Randle P. McMurphy) in One Flew Over the Cuckoo’s Nest at The Old Vic (2026). Photo by Manuel Harlan
Olivia Williams (Nurse Ratched) and Amy Newton (Nurse Flinn) in One Flew Over the Cuckoo's Nest at The Old Vic 2026. Photo by Manuel Harlan
Ken Kesey’s novel is nearly 65 years old. How do you think it sustains its relevance to today’s audience?
Ken Kesey's novel is relevant to today's audience simply by looking at the current political climate, and also by looking at the residential school systems, for instance. In North America, we have something that's known as the residential school system, which closed in Canada in 1996, so not that long ago. Indigenous children were taken from their homes forcibly and taken to these “schools” where they were abused sexually, given drugs and alcohol, converted to Christianity and stripped of their culture and their language. Somewhere between 4000 to 25,000 of these kids were found buried underneath these schools. They never got to go home. I feel like the play and the book are so relevant today because we as humanity haven't quite learned the lessons that Kesey was trying to impart on us. It's a call for social change.
What do you hope people will take away from watching this production at The Old Vic?
I hope that people take away a greater understanding of the emotional truth of what it means to be conformed to a system that doesn't allow you to be your authentic self. Hopefully, watching the play empowers them to unapologetically be true to themselves.
One Flew Over the Cuckoo’s Nest plays at The Old Vic until 23 May 2026
