Gus Kenworthy, the 34‑year‑old British‑American freeskier who grew up in Telluride, Colorado, has spent this winter juggling two very different stages: the Olympic halfpipe and the theatrical stage. He came out of retirement to represent Team GB at Milano Cortina 2026 and—at the same time—signed on as a producer for Sugar Daddy, a one‑man play by Sam Morrison. That overlap has captured attention not just because it’s unusual, but because both endeavours are deeply personal and public at once.
What Sugar Daddy is
Sugar Daddy is an intimate, sometimes funny, often wrenching account of a summer romance in Provincetown that ends in tragedy during the COVID‑19 pandemic. Performed by Sam Morrison, the play explores grief, queer identity and the practical realities of living with Type 1 diabetes after a partner’s death. Kenworthy describes the piece as a blend of levity and pain—the kind of honest story that can make strangers feel less alone.
Why Kenworthy got involved
Kenworthy has spoken openly about early brushes with loss—a friend’s death when he was a teenager—and how those experiences shaped his emotional life. He saw in Morrison’s script a resonance with his own journey through bereavement and resilience, and he wanted to help bring that story to a wider audience. His role as producer is more than a celebrity credit: it’s a way to use his platform to push conversations about mental health, queer experiences and caregiving into public view.
A production built on candid storytelling
The show’s backers include notable names—Alan Cumming, Billy Porter and Sally TM (of RuPaul’s Drag Race UK season 7)—and reviews so far praise its ability to mix humor with raw feeling without tipping into melodrama. By candidly depicting grief alongside the day‑to‑day realities of a chronic condition, Sugar Daddy invites audiences to confront subjects that often stay behind closed doors.
Practical details
Sugar Daddy runs at the Underbelly Boulevard in Soho for five weeks, from 5 March to 4 April. The piece sits comfortably Off‑West End—an environment that favors bold, experimental work—and Kenworthy’s involvement has broadened the production’s profile, drawing in people who might not usually seek out theatre about bereavement or queer life.
The sporting side: Olympics and halfpipe
Kenworthy isn’t new to the Olympic spotlight. He won silver at Sochi 2014 and later competed for the United States before switching allegiance to Team GB for Milano Cortina 2026. On 20 February he qualified for the men’s halfpipe final, demonstrating the same focus and resilience that inform his off‑snow interests.
Why this matters
What’s striking about Kenworthy’s season is how sport and culture are feeding each other. Athletes increasingly use their public visibility to champion social causes; in Kenworthy’s case, that looks like bringing attention to mental‑health issues, queer stories and chronic‑illness advocacy through theatre. The crossover gives the play a wider platform and gives his Olympic campaign an added layer of meaning.
What’s next
Kenworthy will compete in the halfpipe final and, once the Games conclude, the production team will shift into full promotional and outreach mode ahead of the Soho run. Expect more statements from the cast and producers about community partnerships, fundraising and how the show will connect with audiences beyond the theatre. Whether on snow or in the theatre, he’s using visibility to shine a light on difficult but necessary conversations about loss, identity and care.