IN CONVERSATION WITH AMBREEN RAZIA

interview by JANA LETONJA

From the stage to the screen, Ambreen Razia is an unstoppable creative force redefining what it means to tell authentic, unapologetic stories. An acclaimed actor and playwright from South London, she’s carved a multifaceted career that spans award-winning theatre, critically acclaimed television, and hit streaming series. Best known for her standout roles in ‘Ted Lasso’, ‘Starstruck’, ‘Black Mirror’, and Sundance-winning ‘Scrapper’, Ambreen now takes centre stage as Blair Khan in Paramount+’s ‘The Agency’ alongside Michael Fassbender and Richard Gere, with Season 2 set to launch later this year. With her Channel 4 drama ‘In Flight’ also on the horizon and a slate of exciting writing projects, including the hotly anticipated ‘Wasted’, Ambreen continues to push boundaries both in front of and behind the camera.

blazer THE FRANKIE SHOP

tights FALKE

shoes FENDI

‘The Agency’ has such a powerhouse cast. What was it like stepping back into Blair Khan’s shoes for Season 2, and how does she evolve this time around?

It’s always a little daunting on the first day back on a second season, and not a huge amount of time has passed from season one to two. Starting from where you left off is always harder than starting something fresh for me, but the writers of the show, Jez and John-Henry Butterworth, have given her such an great arc this season which has been very exciting to explore. We get to see many sides of her. She makes mistakes, doesn’t have all the answers and is extremely vulnerable at times, which has been liberating to play. 

What can the fans expect when the show returns?

Season one was a slow burn, a real psychological introduction to the CIA. Audiences are in for a serious ride this season. Everyone’s been introduced now and the writers haven’t allowed anyone to get off lightly this season. 

You’re also starred in ‘In Flight’ this year. What can you share about the show’s tone and your role without giving too much away?

It’s a dark and claustrophobic thriller set around Jo, an air stewardess, who has been blackmailed by gangsters into smuggling drugs abroad in order to save her son who is doing time in a Bulgarian prison. This show doesn’t let up either, so between ‘In Flight’ and ‘The Agency’, my adrenaline has been pretty high over the past few months. I play Zara who is Jo’s best friend. Zara’s a streetwise but discontented air hostess whose confidence has been shaken by her inability to conceive. Strong single mothers are a reoccurring theme in the show, which is what really attracted me too it. 

You’ve moved fluidly between comedy, drama, and more experimental projects, from ‘Ted Lasso’ to ‘Black Mirror’ to ‘Scrapper’. What usually makes you excited about a role?

The writing, the writing, the writing. I don’t generally like to play the same role twice, but if the writing is good, then it can be hard to resist. Someone once said to me that I’m both sides of the law and the different types of characters on each side vary so much. I’m attracted to conflict within drama and within characters. I grew up with a lot of it around me so I think rhythmically it sits somewhere inside me. All of these shows have been distinctly different in their process. ‘Ted Lasso’,  although a comedy, had a surprisingly strict formula behind it. Same with ‘Black Mirror’. On ‘Scrapper’, there was room for improv.

‘Scrapper’ went on to win the World Grand Jury Prize at Sundance—what did being part of that project mean to you personally and creatively?

I adored this job. I was only in for a few days, but I felt so grateful to be part of such a beautiful film, and working with the brilliant Lola Campbell and Alin Uzin was amazing and terrifying. It was their first film and they were exceptional. In between takes, Lola would ask me what I’d had for lunch and I felt nervous about saying a healthy salad because she’d pretend to gag and joke that I didn’t have a McDonald’s. If you want a quick lesson in how to be totally truthful, work with kids. I was given the freedom to improvise by the film’s amazing director Charlotte Regan who I think is such a special talent. Molly Manning Walker was our Director of Photography, and watching those two collaborate together was inspiring. 

You’re equally celebrated as a writer, with plays like ‘The Diary of a Hounslow Girl’ and ‘Favour’ earning critical acclaim. How does your writing inform your acting, and vice versa?

It makes you more particular as an actor in terms of picking and choosing roles. Most of my time is spent reading characters for auditions or creating them. It’s a blessing and a curse. Because of my experience in creating the art of conversational flow, if something doesn’t sound right when you’re filming it, there’s a part of you that’s somewhat trained to offer up alternatives if the director/writer allows. 

Your upcoming drama ‘Wasted’ takes on addiction and depression in Muslim communities. Why was it important for you to tell this story now?

It’s the need to shift the needle in terms of South Asian representation on screen. To show a family on screen that feels complex and universal at the same time, giving them room to breathe without the need to shoehorn in anything to do with their race or culture. There’s no denying that these things play a huge role in our existence, but we need to be given space to not feel like we have to include that within the dialogue between characters to satisfy audiences. I find that unbearable. Human beings do weird things, and yes, those things live deep within us and reroute our decisions and choices, but in unexplainable, strange and totally mortal ways. 

You’ve been part of writers’ rooms for shows like ‘We Are Lady Parts’ and ‘Extraordinary’, both of which break ground in representation. How do you see the landscape changing for diverse voices?

My hope is that it changes in ways which feel fresh, nuanced and challenging. I’m aware I always bring up these shows, but ‘Atlanta’ and ‘Beef’ have nailed it. I truly believe specificity unlocks greater universality and as writers we need to be given the trust to do that. 

As someone who’s worked across stage, TV, and film, what do you think each medium allows you to explore differently?

I’m always drawn back to a chapter in Stanislavki’s book ‘An Actor Prepares’ on communion which refers to the deep, organic connection and communication between actors on stage. It’s more than just communication. It's a deep spiritual connection between actors and then depending on the technicals, I try and operate through that wherever I go. 

Looking back, what moments have been the biggest game-changers in your career so far?

Probably ‘Diary of a Hounslow Girl’. Doing a 90-minute show twice a day for three months gave me physical, technical and emotional stamina like nothing else. It was a great way to enter the industry. Eerything felt quite easy, but somewhat dissatisfying for a little while. Season 2 of ‘The Agency’ feels game-changing in terms of the work and the remarkable talent around me. 

Between acting, writing, and developing your own projects, how do you recharge and unwind?

A good old episode of ‘The Sopranos’ usually chills me out for some odd reason. Otherwise, having a lazy lunch and an aimless browse around shops with my sister and putting the world to rights. I’m reading an amazing book called ‘Faith Hope and Carnage’ at the moment by Nick Cave, which I’d highly recommend. 

CREDITS

photography DAVID REISS

styling SARAH HARRISON

hair and makeup REBECCA RICHARDS

pr RK PR