Lucy trained at the London Academy of Music and Dramatic Art, following a degree at the University of Cambridge.
Alongside her acting, she now runs Go People, a theatre company specialising in entertaining and joyful drama on an intimate scale. Their previous productions include the UK premiere of American smash hit Almost, Maine and the 7-actor production of A Midsummer Night’s Dream, starring Freddie Fox and Maddy Hill.
Her theatre credits include Daisy Pulls It Off at Park Theatre Dir Paulette Randall MBE, The Resistible Rise of Arturo Ui alongside Lenny Henry at The Donmar Warehouse and A Day in the Death of Joe Egg at the Trafalgar Studios.
Most recently she appeared in Staged with Michael Sheen, David Tennant, Samuel L Jackson, Adrian Lester, Nina Sosanya and Dame Judi Dench for the BBC filmed during lockdown.
Staged on BBC
The sharpness of the script and the skill of the actors makes us feel as if we are eavesdropping on the affectionate bickering of two fed-up friends.
⭐️⭐️⭐️⭐️ The Independent
“BBC One’s new thespian comedy nails the quirks of life under lockdown”
⭐️⭐️⭐️⭐️ The Times
“The reason it worked was that Sheen and Tennant seem genuine, likeable men who don’t take themselves too seriously.”
“David Tennant and Michael Sheen’s Zoom comedy is better than The Trip”
⭐️⭐️⭐️⭐️⭐️ The Stage
“Tennant and Sheen are excellent, perennially, even when performing as themselves to their own laptops. Here, joined by Evans and by their real-life family – they are on top form, crackling with snide chemistry. The whole thing is a treat. Watch it.”
⭐️⭐️⭐️ The Guardian
“It’s a light, charming offering.“
A Day in the Death of Joe Egg Reviews
“Lucy Eaton gives a lethally accurate portrayal” – The Guardian
“Lucy Eaton is wonderfully comical without ever stretching into caricature as Pam” – The Times
“Clarence Smith and Lucy Eaton breathe hilarious life into Freddie and Pam” – Aleks Sierz
“Lucy Eaton and Clarence Smith, both very good” – Evening Standard
“Lucy Eaton is also excellent” – The Reviews Hub
- “Simon Evans’s super-starry production, is both worthy tribute and a resounding vindication: the play, if anything, feels more savagely true than ever.” The Stage
- “The show is undoubtedly an important and illuminating piece of theatre,” London Theatre Direct
- “Simon Evans’s terrific production presents a perfect balance between tragic desperation and uneasy laughter” The Arts Desk
Daisy Pulls It Off Reviews
The reviews for Daisy Pulls It Off at the Park Theatre are in!
- “Whether it’s having water bottle fights, midnight snacks or recreating a particularly brutal and suspenseful hockey match, it’s clear the actors are all having a blast and daring the audience not to join in.” The Reviews Hub
- “Lucy Eaton impresses both as tough Irish prefect Alice Fitzpatrick and as fearsome headmistress Miss Gibson.” British Theatre
- “In the season of goodwill, Daisy Pulls It Off could be a perfect alternative to the panto for family groups, with its mixture of comedy and social commentary delivered deliberately unsubtly but most effectively, particularly in the later stages of the evening.” British Theatre Guide
- “It is clear that the likes of Pauline McLynn, Shobna Gulati, heck the whole cast are having the time of their lives as jape follows jape in the attempts to save Grangewood School for Girls.” There Ought to the Clowns Blog
- “Those actors who portray multiple characters do so very well, with effective physical and vocal differences delivered. Lucy Eaton (Alice/Miss Gibson) and Freddie Hutchins (Belinda/Mr Scoblowski) particularly stand out in the portrayal of their contrasting characters.” The Spy in the Stalls
- “One of the more interesting aspects of Daisy Pulls It Off is that the play isn’t focused purely on making fun of the class system or private education (although it still does), it’s principal purpose is wring the most laughs out everything it possibly can.” View from the Cheap Seat
- ” I particularly liked Lucy Eaton’s doubling of the headmistress who lands firmly on random words and the Irish Alice with an enormous crush on head girl Clare (beaming Melanie Fullbrook) “a shining example of British girlhood”. What’s on Stage
- “Paulette Randall stages it elegantly with the aid of six chairs, a stepladder and a good deal of imagination as in a wind-strewn cliff-top rescue evoked through billowing skirts.” The Guardian
- “Despite its age, the way it pokes fun at the extraordinarily white, privileged 1920s boarding-school world has only intensified and it’s sharpened by director Paulette Randall’s choice to cast colour-, age- and even gender-blind.” Time Out
- ” The more eccentric the choices, the more they pay off, nailing down the tricky territory of Deegan’s script there is excellent support too from Lucy Eaton and Melanie Fullbrook in a handful of roles between them, exuberant and tongue in cheek at the same time” The Stage
- “Lucy Eaton gave a frightfully accurate and audibly hilarious portrayal of a peppy private school headmistress.” Everything Theatre
- “In a production that makes a virtue of age-blind casting, an experienced ensemble some decades past their own schooldays, were clearly having a terrific time: occasionally the script seemed to be abandoned in favour of ad libs and spontaneous laughter. At times it was impossible to hear the dialogue as members of the audience were crying with laughter.” Islington Gazette
Lucy Eaton in 'The Resistible Rise of Arturo Ui'
Rave reviews have been rolling in for ‘The Resistible Rise of Arturo Ui’.
- “This is a superb ensemble effort…Lucy Eaton’s Dockdaisy and Gloria Obianyo’s Flake are differently memorable.” Simon Jenner, Fringe Review
- “Lucy Eaton’s Dockdaisy is the perfect gangsters moll who’s end is the only one befitting a lady of her dubious character.” Byron Butler, West End Wilma
- This slangy, modern and irrepressibly lively adaptation by Bruce Norris utilises a fine ensemble directed by Simon Evans and turns all expectations upside down.” Philip Fisher, British Theatre Guide
- “The most fun I’ve had in the Donmar for a couple of seasons’ director Simon Evans efficiently handles to both evoke the spirit of Brecht’s theatrical methods complete with audience participation and anachronistic songs that give it flair and the necessary detachment that consistently reminds us of its theatricality. Dom Hanlon, London Theatre