IN CONVERSATION WITH ALEX LAWTHER
interview ELIANA CASA
British actor Alex Lawther is known for his compelling performances in both film and television. In 2014, Alex gained recognition for his breakout role as the young Alan Turing in the Academy Awards winning film ‘The Imitation Game’, earning him the London Film Critics' Circle Award for Young British Performer of the Year and a place among BAFTA's 2015 Breakthrough Brits.His other credits also include ‘Black Mirror’, and ‘Andor’, amongst others. Coming up this summer, he will star in FX’s highly anticipated series ‘Alien: Earth’, which will premoere on Hulu and Disney+ on 12th August. In addition to his on-screen and stage work, Alex is also a rising filmmaker. His short ‘For People in Trouble’, starring Archie Madekwe and Emma D’Arcy, was produced by Ben Affleck and Matt Damon.
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Your stage career began with John Blakemore in Sir David Hare's South Downs. How did that opportunity come about? Looking back, do you remember the feeling of stepping on stage for the first time?
There was an open audition to perform the main character in a one-hour play at a local theatre in Chichester. There was something in John Blakemore’s character that attracted me. As a weird 16-years old I could somehow relate to his loneliness. I don’t remember the first performances of the show, but I do remember the rehearsals in London, the first read-through, feeling shy and nervous but at the same time, being part of a new family. Not to mention, director Jeremy Herrin’s wisdom and sense of humour, working along young actors, Anna Chancellor making scones and egg mayonnaise sandwiches when we went on a research trip to Worthing, and the writing - it was simply wonderful.
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You then slowly gained wider recognition through The Imitation Game. How was the transition from stage to film for you?
My role in The Imitation Game was a gift - it was only two days of filming, and the scenes sat amongst a much bigger story carried by Benedict Cumberbatch and Keira Knightley. I just had a few scenes that were written very tenderly, but the weight of the film’s narrative was pulled by much more experienced actors.
Working in theatre felt like an extension of the improv club I took part in at school. On the other hand, I did find the film's language alien to me. That big glass eye staring at me felt exposing. It took me a while to learn how to relax in-front of a camera.
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Then came The End of the F* World. James is such a uniquely layered character. How did you prepare to balance the show’s dark humor with its emotional depth?
I think Charlie Covell’s writing does that balancing. It began as a horror or some kind of genre piece, and then it sort of melted into a romance. My character James matched perfectly into Charlie’s writing - when it’s that easy, it’s the best.
Speaking of dark humor, your Black Mirror episode, Shut Up and Dance, left an almost disturbing impact on viewers. How did you personally navigate the role of Kenny and how was stepping out of it after?
Again, Charlie Brooker's writing carries a lot of the weight. The sucker punch of that story is the twist at the end of the episode. But you’re right, it is extraordinarily dark.
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You've returned to the stage multiple times, including your recent portrayal of Hamlet and your participation in An Oak Tree. Do you feel you reveal a different side of yourself on stage compared to on set? What’s the biggest difference for you in terms of performance?
There’s more space in theatre than in the screen work, both literally and creatively. So sometimes I feel like I have more room to play. However, there’s intimacy and honesty - a sort of celebration of interiority - when working with a camera, and that’s also really exciting.
Many of your characters explore themes like human connection, mental health, and emotional discomfort. How do you mentally prepare to step into those roles? Has there ever been a moment where it felt too overwhelming?
When the work is emotional, I don’t find it overwhelming. Sometimes, the pressure can get to my nerves, and that stops me from doing my work properly. But, I think a lot of actors might feel the same way. If a scene is particularly emotional, it’s actually thrilling, and out of my control. Sometimes, It can get tiring.
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In May 2025, you took part in the 20th anniversary revival of Tim Crouch’s An Oak Tree—a production with no prior rehearsal or script study, and a different guest actor each night. What’s your favorite memory from that experience, and how did you prepare for such a spontaneous performance?
It was extraordinary from the inside! Tim took such good care of the performers, and the space felt incredibly safe. The audience is with you, they want to be moved, they want to laugh, and so everything is allowed. It feels like a fever dream for the actor on stage; you can’t prepare for it, you can only tell yourself to stay open. It’s the same feeling you chase after you spend weeks rehearsing in a traditional piece of theatre.
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Beyond acting, you're also an emerging and upcoming filmmaker. What was it like working with producers like Ben Affleck and Matt Damon on your first short For People in Trouble, starring Archie Madekwe and Emma D’Arcy? Where did the inspiration for that story come from?
The inspiration sort of came from Suzanne Sundfør’s album “Music for People in Trouble”, hence the title. I was listening to it on repeat whilst attending climate protests and speaking to friends about what the future held for us, and the dread we were all feeling. The result is essentially a film about the beginning and ending of a relationship - set against the fear of a climate collapse.
Your second short film Rhoda once again features Emma D’Arcy, and it explores the complexities of human connection. Did your past roles influence the themes or direction of this story?
Definitely. I was part of a workshop around a Rachel Cusk novel “Aftermath”, and I played the charter of a lodger. I worked as a lodger in London for years, and it was a really happy time. At the same time, I was inspired by an exhibition by Joanna Piotrowska. The tension and weirdness, within a domestic setting grabbed my attention. I took these different elements and feelings, and that’s how “Rhoda” was born.
Whether as an actor or filmmaker, you're constantly communicating human stories in new ways. How does it feel to be behind the camera, and what kind of stories are you most excited to tell next?
It feels wonderful to be behind the camera and in the editing room. Even production meetings are exciting in a nail biting way, to me. And it allows me to have more freedom in language, compared to when I work as an actor.
I’d love to write something centered about two people again, but adding more characters and locations. I’m driven to the idea of describing the thrill of the infinite possibilities that exist when two people are in the same room together.
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brooch ARA VARTANIAN
rings TOM WOOD
suit, shirt and tie SAINT LAURENT
brooch ARA VARTANIAN
rings TOM WOOD
shoes ROKER
TEAM CREDITS:
talent ALEX LAWTHER
photography CONNOR HARRIS
styling BRIAN CONWAY AT SAINT LUKE
groomer CHARLIE CULLEN
styling assistant AHMAD ALEK
retoucher EDD KASPAR
editor TIMI LETONJA
editorial direction and interview JANA LETONJA
