interview | jon lukas

oversized shirt. BOLTAD
rings. UNODE50

Rising from the Basque Country with quiet determination and a deep respect for his craft, Jon Lukas is quickly establishing himself as one of Spain’s most compelling new screen presences. His path into acting wasn’t linear — shaped by detours through academia and everyday life — but that unpredictability now feeds into performances grounded in authenticity and emotional precision. In just a few short years, he has moved from early roles to breakout recognition, earning widespread attention for his work in ‘Desaparecido’ (Desagertuta) and taking home the PRODU Award for Best Breakthrough Actor.

Now, with the highly anticipated ‘Boulevard’ on the horizon, a major adaptation backed by Sony Pictures International Productions and WEBTOON Productions, Lukas stands at a pivotal moment. Balancing rising visibility with a clear-eyed understanding of the industry’s demands, he approaches each role with curiosity, discipline, and a desire to keep evolving. In conversation with Schön!, he reflects on the unexpected turns that led him here, the challenges of stepping into beloved literary worlds, and the mindset that keeps him grounded as his career accelerates.

fur jacket. BURBERRY
jeans. Levi’s
opposite
wool sweater. CARLOTA BARRERA
suit trousers. EMPORIO ARMANI

What first sparked your interest in acting, and when did you realize it was something you wanted to pursue professionally?

From a very young age, I loved watching films and then dressing up as the characters I saw on screen. Life, however, took me down a different path for a while, until I returned to the Basque Country to study Economics. One day, while working in a clothing store, a colleague suggested that I sign up for acting classes. At first, I didn’t give it much importance, but shortly after, the academy itself — Binahi, in Donostia — contacted me, and that’s where my training truly began.

I’m deeply grateful to both my colleague and the academy. It was when I started auditioning and realized there were real possibilities of working as an actor that I truly understood this is what I want to dedicate myself to.

Looking back at your earliest roles, what experiences were most formative for you as an actor?

I’ve been working in this industry for about three and a half years now, and I truly believe that every experience has taught me something valuable. From my first steps in smaller projects like Power Up, where I began to understand what it means to be in front of the camera, to ‘Desaparecido’, where, during three months of filming, I learned a great deal on a technical level — about camera work, sound, production, and the overall process. That experience helped me understand how a film or series really works and everything that goes on behind the scenes.

‘Desaparecido’ (Desagertuta) brought you wide recognition. What did that project change for you, both personally and professionally?

It changed my life in many ways. I had studied a completely different degree and was working at a bank, just about to be offered a permanent contract and a stable job. Saying yes to ‘Desaparecido’ changed everything. I’m young, and it was a dream I really wanted to pursue.

Before, people didn’t recognize me, and now they stop me on the street. It still feels a bit strange, but it’s also very rewarding, especially because people often tell me how much they appreciated my work in ‘Desaparecido’. Since the series was released, I’ve done many auditions and taken part in new projects that I’m really excited to see premiere, such as ‘Boulevard’, among others.

dungarees. KENZO
mary janes. CAMPERLAB
cap. EMPORIO ARMANI

Winning the PRODU Award for Best Breakthrough Actor is a major milestone. How did that recognition impact your confidence or career direction?

It was an award I truly didn’t expect. Being my first major series and receiving that recognition was incredibly special, especially competing alongside such talented people and having my work acknowledged outside of Spain. Rather than feeling like an endpoint, it has motivated me to keep working, learning, and growing within this craft, fully aware of how demanding and challenging this profession is.

How do you usually approach building a character, especially in emotionally demanding roles?

When I received the role in Desaparecido and saw everything I had to prepare, I honestly didn’t know very well how to approach it at first (laughs). On top of that, it was a series shot twice, in two languages — Spanish and Basque — and I learned Basque specifically for the project. I searched for a lot of information online, watched interviews with actors, and spoke with acting coaches, and that’s when I started to understand the process better.

For character development, I usually focus on the emotional arc throughout the entire series: what the character goes through, why they behave the way they do, and the relationships they have with the rest of the characters. I also pay close attention to how they relate to others, their way of looking or reacting, and I create imagined scenes to understand where the character comes from, before what’s written and in between scenes.

What drew you to the role in ‘Boulevard’, and how did you prepare to adapt a character so beloved by readers of the novel?

For ‘Boulevard’, I auditioned for several different characters. At first, the casting came with different character names and very little information, so the project remained quite “mysterious.” Once we received the script and I knew which character I was going to play, I researched the novel and became aware of the huge impact it has had. I believe we all treated both the characters and the source material with great care and respect, and I’m confident the audience is really going to enjoy the film.

Did knowing the story already had a huge fanbase influence the way you approached the performance?

We did talk about it among the cast, and we were aware of the impact the book has and the reach the film is likely to have. However, we didn’t want to give it too much importance, so it wouldn’t affect our work while shooting. Personally, I don’t think it influenced my performance. In the end, I believe you shouldn’t focus too much on those things, but rather on doing your job to the best of your ability. This is a profession that requires you to stay active at all times and always give one hundred percent, without thinking too far ahead.

suit with jacket, trousers + bow-tie shirt. Dries Van Noten
opposite
full look. KENZO
shoes. BIRKENSTOCK 1774 Uerzell Plasma Collection Ensamble by Thibo Denis

How did you connect emotionally with your character in ‘Boulevard‘, and what aspects of their journey resonated most with you?

I don’t want to give away too much, but what I wanted with my character was for the audience to enjoy him and feel fully engaged with the film every time he appears on screen. I think he brings something different to the main storyline, so I approached him emotionally from that perspective.

What were the biggest challenges of bringing a well-known literary character to the screen?

I believe the key is not to overthink it — or to think about it as little as possible — and instead focus on creating the character and bringing it to life.

How closely did you work with the director and creative team to shape the tone and emotional core of the film?

This was something the director had very clearly from the beginning, and she gave us the guidelines to achieve it together. I think ‘Boulevard’ is very much a team-driven film, even though the main storyline focuses on Luke and Hasley. We did rehearsals to better understand what the director was looking for, and most of the cast and crew were living in the same residence, which brought us very close together. That connection made the shooting process much easier, because we weren’t just colleagues anymore.

What do you hope audiences will take away from your performance in ‘Boulevard’?

I would love for the audience to take away that sense of balance Zev brings to the story. While the two protagonists carry most of the emotional weight, Zev and Dylan offer a different kind of relief that adds surprise and freshness to the film. It also reflects how life itself is made up of all kinds of moments.

How was your experience working with Sony Pictures International Productions and WEBTOON Productions compared to smaller-scale projects?

It was a great experience, and honestly, I couldn’t quite believe it. When it happened, I remember thinking, “Wow, this is really happening — I’m truly living a dream, and I don’t want it to stop.” They were very approachable, came to set, we shared conversations, and everything felt very warm and familiar. Working with Webtoon was also incredible, because it connects you directly with the original essence of the book. We had the chance to meet Flor, the author, and spend time with her and her mother, which made the experience even more meaningful. It was truly enriching.

You’ve worked in series, films, miniseries, and short films. How do these formats challenge you differently as an actor?

I try to approach every project in the same way, without being influenced by the size or type of the role, always with professionalism and hard work. That said, each format uniquely challenges me. In a feature film, you usually have more time to add layers and nuances to a character, while in a short film, you have to convey a lot in a very limited amount of time. Series are a challenge because you need to maintain consistency throughout the entire story, and smaller roles teach you how to make an impact in just a few scenes. Ultimately, each format forces you to adapt, and that’s what helps me grow as an actor.

From ‘Karmele’ to ‘Power Up!’, what have you learned from moving between different genres and tones?

Yes, absolutely. They are very different tones: one is comedy, and Kármele is a historical drama. Seeing the final results helps you learn how to adjust your performance to the specific demands of each genre. It allows you to discover different layers within yourself as an actor, and moving between genres makes you more complete. Through these experiences, I’ve learned that no matter the genre, everything has to come from a place of truth, because that’s how you truly connect with the audience.

As an actor working within the Spanish and Basque audiovisual landscape, how important is cultural and linguistic diversity in your work?

For me, it’s very important because Spain’s linguistic diversity is a true reflection of who we are. Where I live, many people speak Basque in their daily lives, so I think it’s essential for that reality to be represented on screen, just as it should be with the other languages spoken in the country. I believe this humanizes stories and helps create a more genuine connection with the audience.

ripped jeans. DIMONI STUDIO
opposite
full look. Dsquared2
earrings. SUOT STUDIO

Is there a role you’ve played recently that pushed you outside your comfort zone?

I experienced this in ‘Desaparecido’ when we had to shoot in Basque, as I didn’t know how to speak it. I could understand some of it thanks to my grandmother, who has always spoken it to me, but I couldn’t actually speak it. That pushed me far outside my comfort zone: I worked with a private tutor, enrolled in additional classes, and put a lot of effort into learning the script thoroughly.

It was a huge challenge for me, and I’m very happy with the result. It required a great deal of effort, but it was incredibly rewarding to see that I was able to achieve it. If they want to test me in other languages, I’m more than open to it! (laughs). I’m also very interested in roles that push me out of my comfort zone, including those that involve major transformations. I’m open to everything.

Are there any actors or filmmakers who have particularly influenced your approach to acting?

I’ve always said that Marta Etura has had a strong influence on the way I understand acting. I’ve taken several intensive courses with her, and she helped me greatly to understand what acting truly means and how to approach this profession. She’s given me very valuable advice that I’ll carry with me forever. I would love to work with her one day — I’m sure our paths will cross in the future.

What kinds of stories or characters are you most eager to explore next?

I don’t want to limit myself to any one thing — I want to explore it all. I’d love to take on an action role, work in horror, comedy, and move through as many genres as possible. I’d also love to lead a historical film and face complex characters that truly challenge me as an actor. I want to keep pushing myself and telling stories that leave a lasting impact.

As your career continues to grow, how do you stay grounded and selective about the projects you choose?

I feel that my career has only just begun, and I hope it continues to grow. I don’t want to set any limits for myself — this is my dream, and I don’t want it to stop. At the same time, it’s such a demanding profession that it forces you to stay grounded. There are months with a lot of work and others with none, so it’s important to keep that in mind, remember where you come from, and avoid creating unrealistic expectations, as your mind can sometimes work against you.

fur jacket. BURBERRY
jeans. Levi’s

photography. Edward Córdoba
creative direction. Edward Córdoba + Andreas Sichel
fashion. Elisa Sanz
talent. Jon Lukas
hair + make up. Gino Mateus
digital + film. Andreas Sichel
producers. Julia Navarro + Arancha Fernández
production. Sun Sea Sands Agency
special thanks. Shahar Levi
photography assistant. Isra Lozano
fashion assistant. Yaiza Diaz + Manuel Perez
interview. Kelsey Barnes

available at amazon.

download your ebook.

popular on Schön!

interview | michaela mcmanus

sweater. Toast
dress. Nili Lotan
jewellery. Mejuri

With a career spanning nearly two decades, Michaela McManus is stepping into a defining new chapter. In the multiverse-driven thriller ‘Redux Redux’, she delivers a gripping, emotionally charged performance as a mother propelled by grief and vengeance. The film, which premiered to strong acclaim at the SXSW Film Festival 2025, marks a bold evolution in her work, showcasing both physical intensity and nuanced restraint. At the same time, McManus is making waves on the small screen in ‘Memory of a Killer’ alongside Patrick Dempsey, further highlighting her range and presence across genres.

Schön! caught up with McManus to talk about stepping into complex, female-driven storytelling, balancing action with emotion, and why this moment feels like just the beginning.

opposite
dress. Nili Lotan
jewellery. Mejuri

‘Redux Redux’ explores grief through a multiverse lens. What drew you to this story, and how did you emotionally prepare for such an intense role?

What really drew me to ‘Redux Redux’ is that although this genre is typically male dominated, the story is very female driven. I hadn’t seen a story told like this told through a female lens and I was excited to be part of that. When it came to preparing for the role, I could draw from my own experience as a mother and that deep need to protect my children at all costs.

Your performance balances ferocity with restraint. How did you find that equilibrium while portraying a mother driven by loss and vengeance?

I think balancing ferocity and restraint is the core experience of being a mother. Childbirth is the perfect example of that. I was lucky enough to birth my kids without an epidural, and it required a level of physical demand while at the same time I had to channel my deepest patience and zen. It’s not too far off from what Irene has to access daily.

The film premiered at SXSW Film Festival 2025 to strong reactions. What was it like experiencing that first audience response?

There’s always some trepidation for me when sharing my performance with an audience. This performance felt particularly vulnerable because it was so different from anything I had ever had the chance to play. There were definitely some nerves. But ultimately, I felt so proud of this project, and everyone involved. Getting to screen it at such an impressive film festival, with my family in the audience was a career highlight.

Multiverse narratives can sometimes feel abstract. How did you keep your character grounded and relatable amid the high-concept elements?

My brothers Kevin and Matt McManus, who wrote and directed the film, really deserve the credit for building such an approachable and grounded setting for this sci-fi story. I think sometimes people can get lost in the details of high concept storylines. It’s a real gift for the audience to be able to sink into a story without being bogged down with excessive exposition.

blazer. Iro
dress. Reiss
shoes. Stuart Weitzman
earrings. Mejuri
opposite
sweater. Toast
jewellery. Mejuri

This role has been described as “career-defining.” Did it change how you see yourself as an actor or the types of roles you want moving forward?

Getting to sink my teeth into such a complex character was deeply fulfilling. I just want to continue on this path and take on more challenging roles. It sparked the passion I felt when I first started out in this business and made me excited for what’s to come.

Without giving too much away, were there particular scenes in ‘Redux Redux’ that pushed you further than anything you’ve done before?

Something new for me was jumping into the stunt and weapon work. I loved sharpening that skill set and working with such an incredible team to tackle those scenes.

You portray a mother navigating unimaginable grief. Did you draw from personal experiences, research, or imagination to shape that emotional depth?

There was a little bit of everything when preparing for this role. I have my own process of pulling from personal experience combined with imagination. I did as much prep as possible, but when you show up to set you have to be able to let all of that go and just be in the moment. That’s where the magic happens.

What conversations did you have with the director about tone, especially balancing the film’s action elements with its emotional core?

My brothers gave me a list of movies to watch in preparation that matched the desired tone. A film they introduced to me that I think was very successful in balancing action elements with the emotional core was BLUE RUIN. It left me thinking about it for days and weeks after watching which for me is always the mark of a good film.

In ‘Memory of a Killer’, you’re working alongside Patrick Dempsey. What has that collaboration been like?

Patrick is a true professional. It was clear from day one his committed investment in the show which I think raised the bar for everyone. I really enjoyed working with him and the entire cast and crew.

dress. Nili Lotan
jewellery. Mejuri

How does your role in ‘Memory of a Killer’ differ from ‘Redux Redux’ in terms of character mindset and performance style?

The characters are different for sure, but they’re both very layered. As an actor, I love getting to play strong, grounded women who have depth and vulnerability which these two roles definitely have in common.

With the series unfolding over several weeks, how do you approach character development differently in television versus film?

In television, the story is sometimes evolving and changing as you’re shooting which can be very challenging. You have to put a lot of trust in the show runner to help guide you through the process. So much of acting relies on trust. I often talk about how working on ‘Redux Redux’ was such a gift because I’ve frequently collaborated with my bothers so that trust was built-in and already established at the start of the shoot.

With both ‘Redux Redux’ and ‘Memory of a Killer’ releasing so close together, this feels like a major moment in your career. What excites you most about this chapter?

This chapter is thrilling because I’m being challenged in new ways. I got to try my hand in comedy with a really fun guest role on the newly released second season of TED. I just wrapped a really cool pilot for NBC — THE ROCKFORD FILES. I had such a blast working on that one too. I’m nearly twenty years into this career and I love that it still feels fresh, new, and exciting at every turn. I can’t wait to see what’s next.

jewellery. Mejuri

photography. Raul Romo
fashion. Emily Bogner
talent. Michaela McManus
hair. Michael Dueñas
make up. Caroline Hernandez

available at amazon.

download your ebook.

popular on Schön!

review | miguel live in london

It’s been 15 years since Miguel performed in London. On 16 April, he reminded a sold-out O2 Brixton Academy exactly why he’s one of the greats. The Schön! 40 digital cover star is an irreplaceable voice in R&B, penning modern classics like “Adorn” and viral tracks like “Sure Thing.” At his core, Miguel is the rockstar of R&B, so it’s only right that his “CAOS” world tour leans heavily into the sounds of rock. The show’s gritty guitar riffs and punchy percussion were a harmonious contrast to Miguel’s sultry vocals. He was pitch perfect, effortlessly switching between hardcore belts and melodic vibrato. The set was minimal, featuring moody lighting and an overturned car as a platform, but with an angelic falsetto like Miguel’s, there’s no need for fanfare.

Miguel’s raw talent and hit-worthy discography is perhaps why his crowd was so forgiving when things didn’t go to plan. Although it wasn’t glaringly obvious from the audience, some unexplained technical issues meant the show had an impromptu intermission and Miguel inevitably had to skip some songs on his setlist to make curfew. It’s clear that the artist sets a high standard for himself and wanted to deliver a good show for a city that doesn’t get to see him often.

Although the show’s sound engineering was lacklustre, the night peaked most in its quieter moments. British crowds were raised on choral singing in school assemblies ,so when Miguel instructed the entire venue to sing the melody of “Girl with the Tattoo” in unison, it was a beautiful moment of connection. When it was just Miguel and his electric guitar, singing in Spanish and English while fans clutched their chests or their partners in adoration, is when the magic of his music shined brightest.

photography. Isha Shah
words. Shama Nasinde

available at amazon.

download your ebook.

popular on Schön!

interview | sepideh moafi

suit. Dolce & Gabbana
shoes. Alaïa
jewellery. Marie Lise Lachapelle Studio

Critically acclaimed film and television actor Sepideh Moafi is on the cusp of a new dawn on our screens and onstage. Featuring in several fan-favourite dramas, including Apple TV’s ‘Black Bird’, HBO’s ‘The Deuce’, Showtime’s ‘The L Word: Generation Q’ and the Emmy Award-winning HBO Max drama ‘The Pitt’, Moafi is one to watch for eclectic and versatile drama performances.

It’s no wonder that one of the most-watched TV shows of 2025 features a strong cast of talented actors such as Noah Wyle, Katherine LaNasa, Shawn Hatosy and Gloria Underwood. Joining the fortified cast for Season 2, Moafi delivers the role of the punctilious Dr. Baran Al-Hashimi, a highly educated and clinically precise attending doctor and the natural rival of Pittsburgh Trauma Medical Centre’s preceding attending, Wyle’s character, Dr. Michael “Robby” Robinavitch.

Discussing her comeuppance and career trajectory, Moafi invited Schön! ahead of the season 2 finale of ‘The Pitt’ to explore the thespian thinking that shapes her performances, including self-reflection, activism, cultural awareness and a thrilling insight into the works of tomorrow.

dress + belt. SEMSEM
shoes. Manolo Blahnik
jewellery. Marie Lise Lachapelle Studio
opposite
dress. Armani
jewellery. Marie Lise Lachapelle Studio

How did you set Dr. Al-Hashimi apart from the stereotypical “new-girl-in-town” trope?

When you get a role, you kind of throw yourself in, and it’s always kind of nice when parts of who you are connect to parts of who the character is. I tried not to think about it so much as “How I will be perceived?” Although that was intimidating, being the only new series regular entering ‘The Pitt’, the only other senior attending opposite Noah Wyle, Dr. Robby, who spent most of his career playing a professional doctor on screen. So, of course, it came with its complexities. But in general, I tried to home in on who she was and what was revealed through the scripts.

As an actor who wants to really serve her character and the world, it was important to remember that you can’t care what other people think. You can’t prove yourself. You have an entire life’s worth of experience, and you’ve devoted so much of your life, countless hours, decades to this career, to this path. For me, as an artist, for her in medicine. You know that you belong here, despite any other people’s second guessing in your ability. She’s not there to be liked. She wants to be of service; she wants to be effective. And I think that that also shifts the dynamic because it’s less about entering a space from a place of insecurity and just being very grounded in her sense of purpose.

You crafted Dr. Al-Hashimi to really home in on that half-Iranian, half-Iraqi descent, and we know that you also have an Iranian background. Being a person of colour, is the constant barrier of potential prejudice, always something you’re aware of — whether it’s for you as Sepideh or the character of Dr. Al?

It depends. As a woman of colour, and as any woman in any field, you have to work so much harder than your male counterparts. We need to establish and reestablish our worth and value in a system that doesn’t naturally accept us or create paths for our success. I think that’s a huge part of her. Also, something that I share with this character is that it’s almost like she had to compartmentalise that reality in order to see beyond it and go beyond any trace of victimhood or injustice. The injustice does fire her up, and it’s a foundational driver in her. She will advocate fiercely for herself; you see throughout the season Robbie being pretty hard on her and condescending, which is relatable for a lot of women in any field, whether it’s conscious or subconscious.

The way that we are viewed is that we are less capable, unless we sort of mask ourselves in the masculine, tough, impenetrable way. What I love about her is that she has that tough exterior, but she is vulnerable, and she has great communication skills, and she is such a devoted teacher/mentor and empath with her patients. Her years of experience and her vast medical background did not harden her. It made her better.

suit. SEMSEM
jewellery. Marie Lise Lachapelle Studio
opposite
suit. Dolce & Gabbana
shoes. Alaïa
jewellery. Marie Lise Lachapelle Studio

My first impression of Dr. Al was that she is pragmatic, stern, and self-assured. Calloused by a difficult life and refined by her prestigious education, a serious attending and more so, a tough opponent for Dr. Robbie. Could there be some intimidation that Dr. Robbie must confront within himself because this other brilliant attending is a woman?

It’s incomprehensible. It’s a very sort of capitalistic approach to success and medicine. It’s like there’s only room for one — they need to push you down to get ahead or be seen as powerful. But I do think that at its core, their tension is not personal. It’s part of what we’re talking about, the deeply ingrained patriarchy, but it’s also philosophical. He leads through heroic endurance and instinct. And she has a background in clinical informatics, which is data science, research and medicine. She also has a background in humanitarian aid work as a doctor, so bridging that global field work with this more science-based research world, she understands systems, and she’s trying to work within the system to shift things and improve through prevention and accountability.

Over time, I think these approaches actually strengthen one another. If they could put their differences aside, they could be a really powerful team. When different cultures, traditions and systems meet, there’s often friction. But that friction isn’t a problem — it’s where new forms can emerge.

Well, we hope that by season three, we see more of the synergy! Maybe a bit more professional chemistry, more of that collaboration.

To be honest, it’s so easy for me to tell the truth about this — I know nothing about season three. Okay? Absolutely nothing!

coat. COS
shoes. Fendi
jewellery. Marie Lise Lachapelle Studio
opposite
ensemble + shoes. Armani
jewellery. Marie Lise Lachapelle Studio

Arguably, today’s America hosts categorical tension between people who believe they’re different but are actually very much connected. ‘The Pitt’ has explored that in part, also, notably in the “ICE episode” (Season 2, Episode 1) where we see systemic oppression affect realistic situations. How important is community as a theme in ‘The Pitt’?

Extremely. When you scratch past the surface, it’s really about all the societal issues that we’re facing, not just in the States, but in the world, particularly in the Western world. What it does so beautifully is that it shows the human cost of the pressures, the emotional toll on people trying to hold the line. It explores the moral density of the emergency department and the relentless pace and urgency of life, and yet, in the hospital, there’s an inevitable confrontation with our existential nature. We have to confront the fact that we are mortal creatures — we will die. ‘The Pitt’ is medicine meeting the full spectrum of human life, and you can’t separate politics or society or culture from hospital culture.

I’m really grateful that ‘The Pitt’ hasn’t shied away from that. I shadowed the LA General Medical Centre in the emergency department, and the day that I went was after the mass protests in June in Los Angeles. The hospital was almost empty. The attending there asked why it seemed like a manageable triage, and said it was because of the protests and the crackdown. People, in particular undocumented citizens who have a legal right to healthcare, are terrified of going to the hospital. To have that reflected in our show this season, I thought it was poignant and very important for the moment we’re living through.

Touching on the technological aspects of Dr. Al-Hashimi’s interests… she’s very positive about AI, and she insists on using it for the betterment of patients. Do you share similar attitudes towards technology and medicine, or do you have a different perspective?

As a doctor, you’re always weighing the pros and cons. You’re always weighing those risks. So, I don’t think she’s naive to the potential dangers of AI. I think she’s well aware. She is living inside a system that is crumbling and impossible to keep up with. The need is impossibly high, and time is limited. So, she sees AI not as a saviour, not as a form of replacement, but as a tool to help relieve the burden for healthcare workers with things like diagnostics, charting and admin. But it can’t be left unchecked; with this technology, it’s so much about stewardship. It’s a bullet train that is speeding by, and if we don’t hop on and try to pave the path ahead, then we are, pardon my French, f***ed. But these are things that will be dealt with case by case.

But for me personally? I’m terrified. I’m terrified of the inevitability of what AI is doing. You see algorithmic bias, job displacement, how it’s affecting labour unions, and deep fakes that are so troubling. They’re so real. And if they’re this good now, what are they going to be like in two years, four years and 10 years? It’s a moving train, but it’s inevitable.

blazer. SEM SEM
earrings. Marie Lise Lachapelle Studio
opposite
top. Armani
jewellery. Marie Lise Lachapelle Studio

Surely you know a lot more about ‘Newborn’, the play listed for the Minetta Lane Theatre. You star in your own monologue of three one-woman shows. What has it taken to get here, and how do you feel about what is to come of Newborn?

I cannot put into words how excited I am to get back on stage, get into this process and do a play. More than anything else, I’m collaborating with these unbelievably talented, brilliant artists. The playwright Ella Hickson, the director Ian Rickson, Hugh Jackman, Mariana Gailus, and then being in the broader company of Corey Stoll and Cecily Strong. I’m so excited. It’s a very athletic and demanding endeavour, but theatre is my home and doing this play feels like a homecoming. I started as an opera singer, and I just come alive when I get to be on stage and in rehearsal. There’s nowhere to hide in this show; the piece is very intimate and psychologically demanding, which is exhilarating and terrifying.

You seem to have such a deep connection to New York — you’ve worked there and live there currently. What has New York revived or sparked within you that has ignited this passion for Newborn?

Before I got the offer for this role in ‘Newborn’, I did a workshop of the play. It was me, Hugh Jackman and another actor in the West Village at the Minetta Lane Theatre. The moment we stepped into the rehearsal room, we just sat there, and our director Ian Rickson set the space. My monologue has a lot to do with light. I’m reading it, and the sun from outside is hitting my face as I say the word “light.” It was one of those magical moments where you’re saying these words and thinking I can’t believe I get to live inside of this playwright’s brain and bring this character to life.

So that, for me, sums up why I love New York. You walk out, and you’re dealing with the subway and people. There’s something harsh and stark, but so beautiful about being alive. You’re in this magical moment, and then the next, you’re waiting for your train that’s 20 minutes behind. There’s urgency and creative intensity in New York that I love. It pushes you to be more of who you are. There’s a reason it’s a Mecca for artists—it’s so alive, vibrant, and full of possibility. And that makes you want to live more fully and confront all of yourself.