From Spring Issue 61
Glass speaks to British actor Rosy McEwen on the magic of acting, the film that inspired her and her upcoming role in forensic crime drama Scarpetta
Rising British actress Rosy McEwen has captivated audiences across theatre, film and television — notably in 2022 when she starred as Desdemona in Othello at the National Theatre. The role saw her named one of Screen International’s Stars of Tomorrow and that same year she gained critical acclaim for playing the lead in British drama, Blue Jean.
A project close to her heart, it follows a teacher navigating Thatcher-era homophobia, exploring themes of identity and self-acceptance. Both the drama and McEwen’s performance were praised and she ending up scooping Best Lead Performance award at the British Independent Film Awards.
Building an impressive filmography, we’ve also seen her in Harvest, a BBC Films feature that premiered at the 2024 Venice Film Festival, and she appeared alongside Julia Garner in Apartment 7A, a prequel to Rosemary’s Baby. As for this year, she’s kicked it off in style, attending the Sundance Film Festival for Rabbit Trap, a psychological thriller she appears in with Dev Patel.
Photographer: Nick Thompson
We can expect to see more of McEwen with upcoming roles in Scarpetta, a TV series from Amazon Prime based on fictional forensic pathologist Kay Scarpetta – she plays the young Scarpetta alongside Nicole Kidman’s older version – as well as Black Mirror, the mega-hit dystopian anthology, and the movie Mission, directed by Paul Wright.
For McEwen, it’s all about crafting the characters, adding layers of emotions and nuances to bring them to life — perhaps nodding to her love of the 2003 film Monster, featuring Charlize Theron as serial killer Aileen Wuornos, that kickstarted her love for acting. That same commitment to powerful narratives, particularly the stories of strong women, continues to inspire her work. Constantly evolving, she remains one of the most exciting talents to watch, appreciated for her layered performances.
Photographer: Nick Thompson
Growing up, can you remember any performances that shaped you?
Monster with Charlize Theron. It blew my mind. To see a woman playing a role so undefined by her aesthetic was glorious! I saw so much freedom suddenly, so much possibility in the roles that were out there. More than that, I revelled in seeing a female character so unhinged, wild and unpredictable. I still feel attracted to that now – roles that are far away from who I am and far away from what’s expected of women, breaking free from the invisible shackles of patriarchal societal expectations.
What initially drew you to acting and how did your journey begin?
I always loved drama at school and I was in play after play. But honestly, I never really thought that I could do it as a profession. I didn’t know any actors – I thought they were these magical humans all existing on another planet. I felt that I was someone who had to get a degree and do the 9 to 5 thing.
In my final year of university, I was a bit lost, so I googled ‘University Drama Clubs’ and up came an audition for a play that day at 5pm, and I just rocked up. I met wonderful people, remembered how fun and ridiculous the whole acting thing was, and thought ‘this is going to be unpredictable and scary but I have to at least give it a go or I’ll never know’. I applied for drama school, with my new cast mates leading the way, and the rest is history.
Photographer: Nick Thompson
How did you get into Bristol Old Vic Theatre School?
It was the only one I got into — and I only just managed it. Shout out to whoever gave up their place that year and [so I was] upgraded me from the reserve list. Getting into drama school is unfairly tough – there were only 14 places on our course and only half of those for women. There were only four schools I wanted to go to, so the odds were stacked against me, but I secretly loved Bristol the most. I liked being out of London and at Bristol they celebrate everyone’s individuality, which I think is important.
The main benefit I got was that those few years offer you a chance to ask all the silly questions and get stuff wrong … really wrong! I could be terrible and fall on my face. I started to learn how I like to work, so that when I was finally on camera or on stage, my understanding of myself as an actor was a bit more streamlined. This ultimately leads to walking into a rehearsal room and feeling that tiny bit more confident.
You’ve worked on the stage, as well as on TV and film. Are you drawn to a particular medium?
Both. Equally. They are too different to compare. The acting is the same but the skill set is different. Stage is where I grow and learn instantly. Because you’re getting live feedback from an audience, you know the moment a line has come out of your mouth if it has landed or not; you just feel it. Whereas you won’t really know what’s working on screen until you see the finished product and that might not be until a year later.
Theatre also offers you the practice of presence; keeping something fresh and alive. Film, however, can be much more satisfying. You only get one chance to get a scene locked in; the build up to that moment, the focus needed and then the relief when it’s in the can and it’s gone well, there’s nothing like it. I hope I’m lucky enough to be able to do both throughout my career.
Photographer: Nick Thompson
How do you approach character development when taking on a new role?
It changes every time. I feel like I’m starting from scratch when I’m faced with a new role. But I’m learning that I just need to sit with it and that each character needs something different. I remember when I was prepping for Blue Jean, I would write her name out in a blue notebook for pages and pages, as perfectly as possible.
I have no idea why. I think it was to do with the control she was desperately trying to hold onto. For Daphne in Rabbit Trap, an addict and a musician, I drank wine and smoked cigarettes and ran my lines with loud electronic music playing because I felt like she needed that. It all sounds a little nuts now but I have to find a way to access and reach my instincts. I do love the prep so I try to do as much as I can. It’s where I discover all the detail and grounding and layers. And then the moment I get on set I just try to listen and then say the words, trusting all the groundwork is there.
Have your preferences changed as time has gone on?
Yes and no. I think I’m changing all the time in life, so I guess I crave different things at different points. I have been on set for a while now so I’m craving the stage and the freedom of a play, but you also never really know what is going to cross your path. I’m trying not to be too precious but equally have the confidence to say “no” if I don’t feel connected to the role. Ultimately, I owe total dedication to the production too.
Photographer: Nick Thompson
Which projects, people, and roles have shaped you as an actor?
Every project keeps shaping me. Some characters really get under your skin and they stay with you a little longer than expected. This sounds a little cringeworthy, but it can feel like a privilege to get to know these characters so deeply, to get to tell these women’s stories and endeavour to find total authenticity for them. It sort of makes me feel less like an alien in the world.
I see things in these women, I resonate with or Iearn things about them that makes me understand humans a little better. I always leave a job hoping I’ve done the best I can do for the character, like I owe her total truth so that people will watch with clarity. Maybe it is about giving a voice to women, to be understood and heard.
Photographer: Nick Thompson
How do you choose the projects you want to be a part of?
If my heart beats a little faster when I read her lines for the first time, that is usually it.
Your performance in Blue Jean gained you a BIFA. Could you tell us about the experience?
It was a very special project. It felt like all the stars aligned. I loved everyone who worked on Blue Jean and it felt like all of our visions, brought together and led by Georgia [Oakley, writer], for what the film should be were aligned. It was my first lead role and one of the main things I took away was that I could do it! I think that film might have changed my life in more ways than one. It will always mean a lot to me.
Photographer: Nick Thompson
You’ll be starring in Black Mirror. What was your reaction when you first heard that you’d be part of the franchise?
I’ve always loved Black Mirror so being part of something you were a fan of before all the acting malarky started always feels quite surreal. Plus, Charlie [Brooker, series creator] really allows his actors to play – the parts he writes are pushing boundaries both story-wise and emotionally and that’s fun. It also goes without saying that his writing is just so good and good writing is half the hard work done. The Rory Kinnear one from Series 1 [The National Anthem, 2011] still haunts me! It is groundbreaking. What programme has been able to get to Series 7 and is still so watched and loved? It is very rare.
You’ve just released Rabbit Trap which went to Sundance, how was that?
I enjoyed Sundance, it is nice and chilled. You can wrap up warm and not totter around in heels. I think festivals are always quite special. To come back together with the people who made the film and get to celebrate as a group before it goes out into the world feels like the perfect way to wrap up an experience. I find all the press stuff quite stressful, so I admire those actors who seem so chilled and laissez-faire. I hope with time, it’ll just become easier.
Photographer: Nick Thompson
You’ve also you’ve got the upcoming tv series, Scarpetta. There are some huge names in the cast – how do you hype yourself up?
God, who knows? You can’t really prepare yourself for anything in a way. You have just got to step onto the stage or set and hope for the best and feel confident knowing you’ve done the work. Being prepared will always help. I think I just try to roll with whatever I’m feeling. Luckily, I’m doing a job where emotions are useful, so I’ll just try to take any fear or nerves and mould it into something useful for the scene. No rituals – I’m not superstitious or anything. I think I’d go mad if I started to be. I think being present is the most helpful thing, so if I’m a bit lost in my mind I’ll come back to my ears and just listen.
by Felicity Carter
Black Mirror S7 is available to stream on Netflix from 10 April 2025
Photographer: Nick Thompson
Stylist: Phoebe Lettice-Thompson
Hair: Mark Francome-Painter
Make up: Gina Kane using FARA HOMIDI BEAUTY
Manicurist: Charly Avenell using DIOR Manicure Collection, Le Baume and DIOR Vernis
Styling Assistant: Leonor Carvalho
Talent: Rosy McEwen
All clothing LOUIS VUITTON Spring/Summer 2025 Collection