Everyone has their ‘almost’ moments. That promotion you didn’t get, the love that slipped away, the dream role that went to someone else. In Second Best, Asa Butterfield makes his stage debut as Martin Hill, a man whose life was shaped by one of those almosts: he was a finalist for the role of Harry Potter at ten years old but didn’t get it. Now an expectant father, Martin reflects on that pivotal disappointment and the ways it quietly shaped his life.
Adapted from David Foenkinos’ novel and directed by Michael Longhurst, Second Best takes this idea of missed opportunities and spins it into something tender, funny, and achingly relatable. You’d think it would be a morose affair, but thanks to Foenkinos’ wit and Butterfield’s charm, it’s anything but. Martin doesn’t wallow; he reflects with warmth and self-deprecating humour. There’s an endearing honesty in his confessions, and yes, the obligatory Harry Potter jokes land perfectly.

For someone more known for screen work (Sex Education, anyone?), Butterfield transitions to the stage with surprising ease. There’s an unpolished intimacy to his performance that suits this story of quiet disappointments. His Martin is understated, vulnerable, and charming – both the grown man grappling with regret and the boy who never quite got over it. His delivery feels so natural that you’re pulled right into his world. You can’t help but root for him.
Asa Butterfield’s heartfelt and witty performance makes Second Best a first place winner
The staging, under Longhurst’s direction, is a perfect companion to this introspective tale – spectacular in its simplicity. Naomi Kuyck-Cohen’s set design is stripped back, keeping the focus on Martin’s journey without unnecessary frills. Meanwhile, subtle shifts in lighting and sound mirror his emotional state, enriching the experience without distracting from the narrative. It’s an environment built to support Butterfield’s performance, and it works beautifully. How did that cot even happen?
What makes Second Best linger is how well it taps into universal feelings. Foenkinos explores how we define ourselves by the things we didn’t achieve, by the paths we almost took. It’s a theme that resonates deeply. Most of us haven’t had a chance to play the Boy Who Lived, but we all know what it’s like to carry a ‘what if.’ The play gently suggests that perhaps those missed opportunities aren’t the defining moments we think they are. Maybe, just maybe, they’re part of a larger story we’re still writing.

There is a moment where the second half begins to lose momentum, with a few flashbacks and reflections dragging more than necessary. However, Butterfield’s natural charm keeps the audience engaged, and those slower moments don’t detract much from the overall impact. You’re still invested in Martin’s journey, holding on to each word as he works through his unresolved emotions.
Final Thoughts ★★★★★
Would I recommend Second Best? Without hesitation – in fact, just see it. Butterfield’s heartfelt and witty performance transforms his stage debut into something special. He commands the stage with a quiet magnetism, turning life’s missed chances into a deeply moving, relatable story. His comic timing is spot on, guiding us smoothly between laughter and reflection. The spectacularly simple staging places all the focus on Butterfield’s emotional depth, and he doesn’t disappoint.
This is theatre at its most quietly profound; an exploration of regret, resilience, and how life’s twists shape us in ways we don’t always see. It leaves you pondering your own near-misses with a comforting sense that perhaps things turned out exactly as they should. Butterfield’s move to the stage? Not a second thought – it’s a clear win.
Playing at Riverside Studios until 22 February 2025.
Disclaimer: Ticket was purchased without any association or endorsement from the theatre.
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