Tony Nominee Susannah Flood Reveals Why She Was ‘Never Afraid’ of “Liberation”’s Nude Scene (Exclusive)

**Susannah Flood Discusses the Impact of ‘Liberation’ on Broadway and Her Journey in Theatre**

Actress Susannah Flood has opened up about her experience in the Pulitzer Prize-winning play, *Liberation*, which has recently gained significant acclaim on Broadway. Known for her roles in *Life & Beth* and *For the People*, Flood has also received her first Tony Award nomination for her standout performance in this production.

Flood reveals that she was well aware of the demanding nature of *Liberation*, particularly its notable requirement for full-frontal nudity. “When I received the script, it clearly stated, ‘Full nudity is required. It’s not debatable,’” she explained in an interview. This element, while daunting for many actors, did not deter her. Instead, she embraced the challenge, viewing it as an opportunity to create a memorable experience for the audience.

Reflecting on her past experiences, Flood recounted a formative theatrical moment from over a decade ago. She attended a performance of Young Jean Lee’s *Untitled Feminist Show*, which featured multiple women performing entirely nude under harsh fluorescent lighting. Initially, this experience made her uncomfortable, leaving her sweating and anxious. However, as the play progressed, her discomfort morphed into exhilaration. “It was one of the most thrilling experiences I’ve ever had in a theatre,” she remarked.

This moment stuck with Flood and informed her approach to *Liberation*. “I was never afraid,” she stated. “I remembered how transformative it was as an audience member, and I wanted to facilitate that transformation for others.” Her perspective allowed her to approach the character of Lizzie, who navigates the complexities of womanhood and identity, with both courage and enthusiasm.

Written by Bess Wohl, *Liberation* explores the protagonist’s journey into her mother’s memories and the feminist awakening of the 1970s, seeking answers about personal freedom and identity. Flood’s portrayal of Lizzie was a blend of vulnerability and warmth, enabling her to engage deeply with the audience and provoke thought on themes that resonate with many contemporary viewers.

One of the production’s unique features was a rule that required audience members to surrender their phones upon entering the theatre. Flood believes this policy significantly enhanced audience engagement. “It was a play about conversation, about unlocking truths through dialogue,” she shared. “Without the distractions of cell phones, people were truly present.” This level of engagement is rare in theatre, which Flood ardently advocates for, wishing that more productions would adopt similar practices.

The conversations prompted by *Liberation* did not yield easy answers, which Flood found to be a crucial aspect of the performance. Each night, she interacted with the audience, fostering discussions that were both spontaneous and thought-provoking. However, she candidly admitted that even now, months after concluding the run, she is still grappling with some of the questions posed in the play. “Those inquiries stay with me, whether I’m performing or not,” she noted. “This journey is about accepting the uncertainty and being comfortable with not having all the answers.”

In addition to her theatrical challenges, Flood balances her career with the responsibilities of motherhood, raising her three-and-a-half-year-old son, Abel. Immediately after stepping off stage, she transitions into her role as a parent, a task which she describes as demanding in its own right. This juxtaposition offers her a unique lens through which to appreciate the emotional nuances of her character in *Liberation*.

She described a poignant scene in the play involving her co-star Betsy Aidem, whose own performance has earned critical praise. “As a mother, I no longer get the experience of being parented myself,” Flood revealed. “In that moment, being able to express the need for care is profoundly moving.” Her connection with Aidem on stage became a source of strength, as they created a supportive environment that enriched their performances.

*Liberation* has received five Tony Award nominations, including Best Play, a significant achievement for the production. Flood expressed her gratitude for the lasting impact of the play. “To know that it continues to resonate with people, that they’re still unpacking the experience, is a privilege,” she stated.

As the anticipation builds for the 2026 Tony Awards, set for June 7 at Radio City Music Hall, the excitement around *Liberation* shows no signs of waning. The production is set to tour in London in 2027, alongside various venues across the United States, highlighting its universal themes and appeal.

For Susannah Flood, participating in *Liberation* has not only been a career milestone but also a profound personal journey, connecting her artistry with the realities of womanhood and the complexities of life. Her reflections on the experience underline the transformative power of theatre, both for actors and audiences alike.