IN CONVERSATION WITH ELIZA SCANLEN

interview by JANA LETONJA

Award-winning Australian actress and director Eliza Scanlen is known for her work in ‘Little Women’, ‘Sharp Objects’, ‘Babyteeth’, ‘The Starling Girl’, and ‘The Devil All the Time’, among other standout projects. She is currently starring in ‘The Importance of Being Earnest’ at The National Theatre, running from 21st November to 25th January, which is marking her West End debut following her appearance on Broadway in ‘To Kill a Mockingbird’. ‘The Importance of Being Earnerst’ was released exclusively in cinemas in February. Currently she also stars in the BBC One crime drama ‘Dope Girls’, which premiered on 22nd February.

Your breakout role in ‘Sharp Objects’ brought you critical acclaim. How did that experience shape your career trajectory, and what did you learn from working on such an intense project?

I didn’t have much acting experience before I did ‘Sharp Objects’ so it was a huge learning experience for me in many ways. It was also an exciting time for television, largely thanks to Jean-Marc Valleé himself and the success of ‘Big Little Lies’. People were excited by the idea of a limited series and its cinematic possibilities, and on this set it really felt like we were making something different. 

Jean-Marc has had a huge influence on me. We had a wonderful creative relationship that was always rooted in play. He had a creative spirit that extended beyond just directing – he’d often operate the camera himself – and one day he even got into a pair of rollerblades to shoot me roller-skating, just to get the ‘right feeling’. He also introduced me to musicians like the B-52s, Led Zeppelin, Janis Joplin, and Jimi Hendrix who I now love. But most of all, his kindness was something I took with me. 

And I can’t mention Jean-Marc without mentioning Amy and her influence on me. Being in her presence, watching her work and how she managed herself with such professionalism taught me an incredible amount. I was so inspired by the way she handled such dark and difficult material and really took her lead. We stay in touch and are looking for projects to collaborate on, which is exciting.

Congratulations on your West End debut. How does your role in ‘The Importance of Being Earnest’ differ from your previous experiences in theater?

Cecily is a dream role and I think the most challenging role I’ve played on stage. It’s quite demanding physically and vocally. It’s also the first time I’ve been in a comedy and I’ve loved relishing in the pure joy that happens on stage and the direct contact we have with the audience. It’s a lot of fun.  

What excites you most about working alongside Ncuti Gatwa, and how has the rehearsal process shaped your approach to this iconic play?

I absolutely adore Ncuti, both as an artist and a person. He is an incredibly skilled theatre actor, especially in physical comedy, and I learnt a lot watching him find Algernon in the rehearsal room. 

The rehearsal process was playful and inventive, but also challenging. Comedy, especially physical comedy, doesn’t allow room for self-consciousness. So for me, it was all about overcoming my insecurities, trusting my instincts and making bold choices. And usually, the bolder the better with Oscar Wilde.

How do you balance the distinct demands of theater and screen acting?

Theatre and screen acting demand different things. There is something about the process of theatre that feels very grounding. Becoming close with a company, learning a text and a character deeply, and interacting with a live audience night after night are all things that make the experience incredibly special. 

I also love the technicality and subtlety of screen acting. Instead of interacting with a live audience you are interacting with a camera, moving with it and around it. Sets can be chaotic, so it’s important to conserve your energy. 

Your upcoming project ‘Dope Girls’ is generating buzz as a major BBC crime drama. Can you tell us about your role in the series and what drew you to the project?

Violet is a young woman who comes to London to try out as one of the first female police officers in London post WWI. Tasked with the job of finding suspects linked to a murder, she goes undercover as a sex worker. 

Shannon Murphy, the director and EP of ‘Dope Girls’ had reached out to me about the project. Since working on ‘Babyteeth’ together, we’ve remained close and had been looking for the next project to work on together. I loved the tone of the show and the world that Polly Stenham and Alex Warren had built. It felt like a side of the story post-WWI that was yet to be told. It was punk and shocking and ruthless, and I was really drawn to that. 

You’ve played a diverse range of characters, from Eleanor Roosevelt to deeply personal roles in films like ‘Babyteeth’. What attracts you to a project or character the most?

Beyond the script and the director, I’m always looking for something different in a character. Reading scripts, I’m always asking myself “Have I done this before?“

You’ve worked with some incredible directors, including Greta Gerwig and M. Night Shyamalan. What have been the most impactful lessons or experiences from these collaborations?

I think working with directors like Greta Gerwig has taught me that you don’t have to wait for the phone to ring. If you have a desire to do something or make something, you should go for it. I remember being on the ‘Little Women’ set and pondering going into theatre and making a short film, and Greta really encouraging me to follow those creative instincts. And I went on to do both.

Do you find that your Australian roots influence your approach to storytelling or character development?

Not particularly. 

After years of playing nuanced, emotionally rich roles, how do you continue to grow as an actor?

Over the last five years, I’ve been building my knowledge and experience as a writer and director, and have found that has really informed my acting. Having an understanding of story mechanics has been useful when reading scripts and on sets I find I’m more aware when something in the script isn’t working. 

What have been some of the biggest challenges in transitioning between different mediums and markets, from Australian TV to Hollywood, Broadway, and the West End?

Being an actor, you have to get very comfortable with uncertainty. You never know what the next job is going to be and what skills it will require of you. But you learn to be prepared for anything, and that sense of adaptability can be quite emboldening too.  

TEAM CREDITS:

talent ELIZA SCANLEN
photography ANNABEL SCANLEN
styling OISÍN BOYD and ELLIE MAY BROWN
hair BEN TALBOT
makeup ISABEL CONCETTA
retouch KELVIN BULLUCK