interview | dorothy

crochet dress. Roberta Einer
ring. Nada Ghazal
opposite
top. Hildur Yeoman
ring. Missoma

crochet dress. Roberta Einer
ring. Nada Ghazal
opposite
top. Hildur Yeoman
ring. Missoma

×

Credits

Everyone, at some point, craves a sense of escapism in their lives. For many, that’s changing hairstyles, buying a jacket in that colour you swore you’d never wear, or trying a new hobby. Unfortunately, our realities are slightly more mundane – taking the same route on the way home, becoming regulars at the same coffee shops, ritualistic and comfortable.

Emily Barber, however, consistently prods the boundaries of reality, shapeshifting through different personas, periods and realities in both television and theatre. Rather than a split-second decision, Emily’s been riding the wave of acting from a young age, often leading to characters far removed from herself. In the West End, Emily’s been critically acclaimed for her performances in ‘Shakespeare’, ‘Oscar Wilde’ and more recently, ‘Operation Mincemeat’.

And now, playing Alice in Guy Ritchie’s new series, ‘MobLand‘, centring around a war between two powerful families, the Harrigan’s and the Stevenson’s, Alice takes a more dynamic role, getting caught in the crossfire as she integrates into the world of London gangsters.

In conversation with Schön!, Emily Barber takes us behind the scenes of ‘MobLand’, her time in theatre and television, and navigating a diverse range of characters.

Do you remember the moment you first thought, “I want to be an actor”?

I weirdly feel like I’ve never had a moment. I don’t remember doing anything else, it’s kind of been something that I’ve always done. I was really into ballet when I was about three and that got me into joining musical theatre, and then acting classes. It’s just been this trajectory of this is obviously what I was gonna do, even though I have no family or anyone connected to it. But I used to do the summer schools at Key Theatre in Peterborough, where I’m from, every summer. We did Jesus Christ Superstar – it was the first time I’d gotten not narrator number two.

I was cast as Judas, which is a funny theme because I’ve played men quite a lot. Anyway, I remember every summer that those summer schools were the most fun I’d ever had. And I remember my dad being like You were pretty good then. So I think that was maybe him noticing, saying, you’ve actually got something – whatever that is, you’ve got it. And so maybe from there? But, certainly, you find your tribe, and that was when I thought, I could do this for the rest of my life. I would happily do it.

What was your first audition like? Was it a total disaster, or surprisingly smooth?

It probably was a disaster. I was really lucky that I did National Youth Theatre when I was a teenager, and I did a play in The Old Vic Tunnels, which is now the Vaults Theatre. I signed with an agent when I was about eighteen, so I was kind of thrown out into the industry quite young. I do think I finished my first TV audition, they said, “Okay, thank you.” And I was like, “Are you sure you don’t want me to do anything else?”

I was really confused by the idea that it was just a quick in-and-out process. I was like, you don’t want me to do a dance or a song? I’ve got so much I can show you. I was quite clueless but you live and learn. I went to drama school and probably learned how to audition, and then went out into the world and was alright by then. But I think those early auditions, you’re also riddled with nerves, and you do just get used to that, which is a fascinating thing.

Now you’re playing Alice in ‘MobLand’. Tell me a bit about that and the character that you play.

We meet Alice in episode one at a group therapy session where she becomes friends with Jan, who’s played by Joanne Froggatt, who’s married to Harry Da Souza, played by Tom Hardy. They become very fast friends because they’re bonding over their marital problems, among other things. And as their friendship grows, Alice becomes more intertwined in the Harrigan family – the twists and turns of their world. There is a lot to Alice that you don’t see on first meeting, because she has a lot of faces that she shows the world, but certainly as her journey goes through the series, you’ll learn a lot more about her.

dress. Azzi & Osta
opposite
caped gown. Stella McCartney
thumb ring. Tami & Tami @ Wolf & Badger

dress. Azzi & Osta
opposite
caped gown. Stella McCartney
thumb ring. Tami & Tami @ Wolf & Badger

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Credits

Like peeling the layers of an onion. Is there anything that you particularly relate to playing Alice?

It’s interesting because the crime world, obviously, is something I don’t have a huge amount of experience in. Alice is really complex and very complicated – there were a lot of things that I didn’t necessarily connect with. She has a huge amount of confidence, and boldness, and humour – a Guy Ritchie wit to her which I’d like to think I connected to.

Weirdly, because I was doing a musical at the same time as filming ‘MobLand’, and I was playing this confident man in ‘Operation Mincemeat’ in the West End. Interestingly, I think those characters slightly merged into each other. I kind of connected with this inner confidence because I was playing two characters that were so confident. I wouldn’t say I naturally am, but, actually, I think it was really useful for me as Emily to play two people who have so much belief in themselves. That was quite fun to live through them.

So you were on stage in ‘Operation Mincemeat’ whilst filming ‘MobLand’ – they’re quite different characters, I’m surprised to hear there was a similarity.

The confidence was probably the only thing. You’re right. There’s one thing doing a play at night and doing filming, but I think a musical is so much bigger in terms of the medium, it’s so much more performative. Luckily, it was not the first time I’ve been on stage, and it wasn’t the first time I’ve filmed, so once you’re in the world that you’re in, you know how to navigate it. There was part of me that I wondered if my acting on stage would become more TV or they would merge, or I forget which medium I’m in, but I don’t think that was the case because also they’re quite clear worlds that I could separate mentally.

Have there been any memorable moments or takeaways from set, especially when sharing the screen with big names like Tom Hardy, Pierce Brosnan, and Helen Mirren?

So many. The whole experience was a little bit ‘pinch me’, but there were so many moments when you’re on set with people like that where you forget, and you’re suddenly faced with Bond and a Dame and, you know, all these people. I had a three-day shoot of a dinner scene that comes in later in the series, which was a unique experience being around a table, partly because my character was invited to dinner at the Harrigan’s. So it’s a formed family, and my character is the outsider coming in. I, as Emily, already felt like an outsider just because I’m entering this world, but also my character was on the back foot.

I had Helen Mirren passing me the potatoes. I had Pierce Brosnan cutting up the ham. Tom Hardy is next to me on his phone. There’s this weird dysfunctional family that I’ve somehow joined, and yet they are incredible heavyweight actors. Certainly, after a while, you realise that whatever level any actors are on, everyone’s the same. Everyone’s just trying to do their best work and worried about remembering their lines. We were getting the scripts as we were going, there was that huge immediacy to learning your lines that you go, they’re all professionals, we’re all in the same boat, we’re all on this adventure together, so that was quite comforting.

Speaking of big names, are there any actors or filmmakers who have significantly inspired you or the roles that you play?

Interesting. I was really lucky that one of my first jobs was in the West End with David Suchet, and he really was a mentor. I think I was 24, just got a lead in the West End and was auditioning for something at Shakespeare’s Globe at the time, and he took me under his wing and gave me Shakespeare lessons in between shows on a Saturday. He’s just an incredible man and actor, but also Shakespeare is his forte, and he helped me get a job at the Globe, and he’s really helped give advice whenever I needed it.

I’ve been lucky because I worked with Penelope Wilton a few years ago, who was useful to talk to about career, longevity and making sure you pick roles that inspire you or challenge you. They’re all actors that I admire who often manage to do all the mediums together.

I think the actors that I am impressed by are the ones that can be on stage, but then also have a comedy aspect of their performance, and also have an incredibly deep dramatic performance. People who manage to just do everything on every medium. So certainly David, Penelope, and then Helen Mirren, I spoke to her about balancing theatre and film, and she was pretty inspirational in that sense.

You’ve played some really diverse characters as well – Monty in ‘Operation Mincemeat’, Imogen in ‘Cymbeline’, Kathleen in ‘Bodies’, Alice in ‘MobLand’. When you get a script, what’s the first thing you look for in a character?

Interestingly, I think often it’s when I can read the script and know exactly what my point is, or something that I know that I can bring to it. Because sometimes you just read so many, and I go, I know what I would do with this, but I don’t know if it’s the most unique or interesting version of that character. But sometimes you just read something and it clicks, and I know exactly what take I would want to do with it. Also, generally something that’s different where you’re like, “Oh, I’ve not explored that.” Or often, I’m drawn to comedic characters, I guess. I’ve done quite a lot of that. I’m saying that, but I’ve done lots of drama as well.

Often, it’s whatever you’ve last done as well – that you are then drawn to the opposite. I just love being thrown all the sides of everything all the time. As soon as anything feels the same as what I’ve done, I feel less creative and fun about it.

It must be interesting to step out of your comfort zone and learn with each new role and new genre.

Yeah, it is interesting. I have probably played some characters that are in the same world, and actually then working out what their differences are and also there are certain niche characters that I know I suit or can feel really comfortable with me. But I guess I came into acting because I could play Judas – I could play whatever. So you want to be able to test yourself always, and particularly, voice has always been a huge thing for me. I love different accents, different physicalities, making sure everything feels different and a new experience, I guess.

top + flares. Hildur Yeoman
shoes. Essen
ring. Missoma
opposite
crochet dress. Roberta Einer
platform heels. Casadei
ring. Nada Ghazal

top + flares. Hildur Yeoman
shoes. Essen
ring. Missoma
opposite
crochet dress. Roberta Einer
platform heels. Casadei
ring. Nada Ghazal

×

Credits

Looking back at all of these roles that you’ve played, was there a particular one or project, maybe, that felt like a turning point for you as an actor?

Getting to play a lead at the Globe quite quickly out of drama school was a real moment, I guess, because it was the lead in a company, and I’ve never had that experience before. That certainly felt like a real-life moment. It’s funny, I look back at it now, and I’m like, god, what an amazing, mad thing to happen.

And I did ‘The Alienist’, which was a Netflix show, and that was the first time that I was a regular in a TV show, and was able to, kind of, chart an entire journey with a character. That felt like a real moment because it was the first time I really explored TV and got really excited by that world and realising that you can be really challenged in that sense as well.

But I guess that I’ve just had a few little moments along the way. Nothing’s been like, “That was the job that changed my life,” or anything. Everything’s just been a stepping stone in the right direction.

Were there any instances where your time in theatre shaped your television career or vice versa? Maybe a role that changed the way you see acting, or even yourself?

Such a good question, I don’t know. I feel like I’ve been lucky in theatre, doing ‘Cymbeline’ and I did a play called ‘Cost of Living’, at the Hampstead with Adrian Lester. Both of them were emotionally challenging roles that really required me to go into places that I’ve never really been. I’d say that doing them on a stage, interestingly, I find probably easier to access because you get to chart the whole journey, and there’s an adrenaline to it. Sometimes I find, with TV, accessing those areas or parts of myself are slightly harder, but, actually, I think doing them on stage has helped me when I’ve then got more dramatic roles on screen. Just knowing how to navigate that and knowing how to get yourself in the right headspace, I think.

It’s different on stage and on set – do you have a favourite place to be or does it depend on the project?

I think it depends on the project. I certainly feel very at home on stage, probably because that’s where I began. But ‘MobLand’ opened my eyes to how exciting television can be. My character didn’t get to do huge amounts of action, but I had snippets of what that world could be like. I had a running scene – there was police, and these drones creating the feeling of helicopters and whatever. I was just like, “This is incredible, this is a whole world that I am really excited by now.” I think theatre will always be my first love, really.

Is there a moment behind the scenes that still makes you smile when you think about it, either in theatre or TV?

I mean, there always is. When I did ‘The Importance Being Earnest’  in the West End with David Suchet, there was just a day when, I think, when you do Oscar Wilde that many times, it is one of the funniest plays ever written. I truly believe that. Being in that play was one of the funniest experiences.

We would just get the giggles to a point where I was slightly worried I was going to have an accident because trying not to laugh when something is the funniest thing – I don’t know if you’ve watched this program, ‘Last One Laughing’, a new show where comedians aren’t allowed to laugh – most of my funniest memories are ones where you’re not allowed to laugh on stage because you’re in a play and the funniest thing that’s ever happened has happened. I’ve had a lot of plays like that. Sometimes it isn’t even a line. It’s just, like, a face that someone’s pulled or somebody’s forgotten a line or something’s happened.

But also in ‘MobLand’, Helen Mirren gave a monologue to my character about marriage and I will never forget that experience of having someone of her calibre give me the most incredible monologue. Since this character she’s playing is so out of anything we’ve ever seen her doing – she’s so foul-mouthed and goes into some dark places – that was quite a life moment for sure. Sitting opposite Helen Mirren, giving you marriage advice.

Looking ahead, are there any roles or genres you haven’t tackled yet that you want to try?

Interestingly, I’m doing a job in May that’s a fantasy. I have never ever been in that world before. So my answer before of wanting something the polar opposite, this answers my prayers. I’ve got prosthetic ears so that’s a new world to explore. And because of ‘MobLand’, I’m experiencing a bit of what it would be like to be in an action film or, something where it’s just high stakes like driving. I’ve done a lot of dinner scenes or characters that are much more within a domestic environment, whereas I would love to be in a car chase.

You need to manifest a car chase.

Interestingly, I did manifest ‘Operation Mincemeat’. I wrote down that I really want to do a musical. I’ve never manifested in my life, but I was like, “I really want that this year.” And then it happened. So I now fully believe in manifestation but I’ve got to get better at driving first.

caped gown. Stella McCartney
opposite
dress. Azzi & Osta

caped gown. Stella McCartney
opposite
dress. Azzi & Osta

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Credits

MobLand is out now.

photography. David Reiss
fashion. Alexandria Reid
talent. Emily Barber
casting. Alabama Blonde
hair. Michela Olivieri @ Caren Agency using Kérastase
make up. Jade Bird using Laura Mercier
creative production. Clara La Rosa
interview. Rhea Lobo

all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik

all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik

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Credits

Fresh off an intense five-and-a-half-hour tennis match, Jason Isaacs appears anything but drained; his enthusiasm is evident even over Zoom. Despite being deep into an exhaustive press tour — and likely having fielded every imaginable question — he’s genuinely eager to chat with Schön! about ‘The White Lotus‘. Perhaps it’s the setting — a tennis camp in Spain — that leaves him eager to fill downtime. More likely, it’s because Isaacs himself is a genuine fan. “I’m slightly marvelling that I’m in it. I’m used to being in indie movies that don’t come out – or come out and close quickly,” he laughs.

Season three of Mike White’s acclaimed dark comedy-drama transports viewers to a wellness retreat in Koh Samui, with Isaacs portraying Timothy Ratliff, a wealthy patriarch travelling with his family. Landing a role in such a coveted ensemble required Isaacs to step outside his norm and audition. “Because I don’t normally audition,” he shares, “I was the same bumbling, stuttering, insecure fool that I had been for the first ten years of my career.”

Isaacs is known for his remarkable ability to fully inhabit each character he portrays, seamlessly adopting new accents as needed. In ‘The Death of Stalin’, the Yorkshire accent felt natural from the script itself, while for ‘Harry Potter’, he crafted Lucius Malfoy’s voice to “drip with entitlement and arrogance and scorn.” Yet that performance almost didn’t happen. “I came up with his voice and they weren’t going to let me do it,” Isaacs recalls. “I did the first rehearsal, and [Chris Columbus and David Heyman] went, ‘I don’t know, it’s very, very extreme.’ Daniel [Radcliffe] was standing there, and he went, ‘I think it’s cool.’”

In his forthcoming film ‘The Salt Path‘, a poignant biographical drama adapted from Raynor “Ray” Winn’s memoir, Isaacs plays Moth Winn, a man grappling with homelessness and the devastating effects of corticobasal degeneration, a rare neurological disorder. “It’s a horrible cliché when people say that the landscape is a character in the film, but it’s a huge character in their life,” Isaacs reflects, noting the remarkable improvement in Moth’s condition during long walks. “Every audience member can guess, ‘Is it love? Is it nature?’,” he muses. “I like to believe it’s love.”

Looking ahead, Isaacs is gearing up to begin shooting several independent films, chosen as much for the creative challenge they offer him as for the enjoyment they promise audiences. “I’m not looking to build a career,” he explains. “I’m not looking to be anything that I’m not. I just want to keep having an interesting time at work.”
For now, he’s savouring time with his daughters — “Any time I can be on the same continent, my heart just settles a bit.” — and anticipating how many more hours of tennis he can squeeze in tomorrow.

full look. ZEGNA

full look. ZEGNA

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Credits

shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer

shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer

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Credits

all clothing. Edward Sexton
shoes. Harrys of London
opposite
full look. ZEGNA

all clothing. Edward Sexton
shoes. Harrys of London
opposite
full look. ZEGNA

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Credits

jumper. Connolly

jumper. Connolly

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Credits

‘The White Lotus‘ Season 3 is streaming on Now TV. ‘The Salt Path’ is in UK cinemas on 30th May.

Get your print copy of Schön! 48 at Amazon Globally, Amazon Germany, Amazon France, Amazon Italy, Amazon Spain, Amazon Netherlands, Amazon Poland, Amazon Belgium, Amazon Sweden and the UK Schön! store.

Download your favourite cover now at the Schön! store.

photography. Lee Malone
fashion. Gareth Scourfield @ One Represents
talent. Jason Isaacs wearing Burberry + Manolo Blahnik
grooming. Nohelia Reyes using Merit Beauty + Maria Nila
photography assistant. Jake Milsom
fashion assistant. Andrew Burling
words. Amber Louise

Kaytranada’s sold-out show at London’s Alexandra Palace on April 26 was nothing short of a full-bodied experience. From the moment the lights dimmed and the first track dropped, it was clear that the crowd were locked in for a good time. Kicking off with ‘Pressure’ from his latest album ‘Timeless’, Kaytranada immediately set the tone for what was to come.

Between songs, the Canadian producer kept the atmosphere relaxed. There was no ego, just a DJ vibing with the crowd. Spectators became part of Kaytranada’s journey for the night, feeding off his infectious energy. Halfway through, the show shifted gears to some classic remixes. When his take on Beyoncé’s ‘Break My Soul’ and Rihanna’s ‘Kiss It Better’ dropped, the crowd naturally went wild. Familiar pop songs felt fresh in his hands, transformed into a bass-driven tracks that kept everyone moving.

Visually, the production was simple but on point. Strobes flashed in sync with the music, amplifying the energy and adding to the overall atmosphere. It was almost too easy to get lost in the dance. Kaytranada was ever-present behind his setup with a glass of wine propped on a stand of its own, looking as though he was having as much fun as the crowd—maybe even more so.

Kaytranada’s live performances are a testament to his ability to elevate his already incredible studio work. By the time ‘Be Your Girl’ rang through the speakers, the night was at its peak and the energy in the room was contagious, becoming the kind of show where time disappears. By the finale, it felt as if the evening had passed in minutes rather than hours. 

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photography. Isha Shah
words. Holly Turton