After graduating with a first class honours degree from The Guildford School of Acting in 2017, Lewis has worked continuously as both an actor and writer.

This year Lewis has been part of the prestigious Criterion New Writing Group. His new play ‘Mummy’s Boy’ was selected by the Criterion Theatre to be showcased on the Criterion Stage. This year he was also selected as an Artist Spotlight for BEAM 2025.

Last year Lewis’ new play ‘Cows Milk’ was given a place at Omnibus Theatres Engine Room where it received its first public reading. He also wrote music and lyrics for new young adult show ‘You’re Not The Boss of Me’ for Nosy Crow/ Salisbury Playhouse. His musical ‘KIDNEY4U’ is currently in development with support from Birmingham Hippodrome.

In 2023 Lewis was awarded the New Musical Theatre Award, giving him a commission to write a brand new musical for British Youth Music Theatre. ‘Harry & Greta’ received its debut production at the New Wolsey Theatre, Ipswich that summer.

His debut play ‘Daddy Issues’ received its debut in 2022 at Seven Dials Playhouse to critical acclaim. Before this his one-man show ‘The Curious Case of Lewis Cornay’ was premiered at The Other Palace. His musical, ‘Snowflake’, was workshopped at the Lowry Theatre as part of the ReWrites Festival. It was nominated for an Offie Award for Innovation and a song from the show was selected as a finalist for the Stiles and Drewe Best Song New Prize. He’s also alumni of Soho Writers Lab.

As a proud queer writer, Lewis’ key aim is to dissect the truth and unravel the stories we tell ourselves, with a smattering of dark comedy. 

★★★★★

Everything Theatre: ‘Cornay’s script skilfully weaves comedy and tragedy to portray a difficult and transformative night of Imi’s life, highlighting how humour is often used as a coping mechanism for grief and trauma.’ 

★★★★

Broadway World: ‘Lewis Cornay offers a forensic dissection of the ramifications of mourning and suicide through the eyes of a young person.’ 

★★★★★

Theatre Weekly: ‘It takes enormous skill as a writer to pull this off as well as Cornay does, because it never once feels like the play is making light of the subject or diminishing the feelings of those affected.  Imi’s anger at her father is teased out slowly, in subtle and nuanced ways and it’s a joy to see a character so perfectly developed.’