Sandra Oh, a seasoned and stylish actress, recently shared her insights during an energetic post-rehearsal session at London’s National Theatre. The 54-year-old, who found widespread acclaim with the hit TV spy thriller “Killing Eve,” spoke about her journey to finding her stride in her career. She revealed that it took a considerable amount of time for her to truly hit her groove, and the success of “Killing Eve” was a transformative event.
Oh described the demanding nature of theatrical rehearsals, likening the initial “stagger-through” to a “brutal” process. She highlighted the unique advantages of performing in spaces like the Lyttelton Theatre, where the clarity of spoken verse can be deeply appreciated, going beyond mere volume or speed to convey intention and meaning. She also touched upon the importance of collaborative efforts in theatre, particularly in prestigious institutions like the National Theatre, noting that the shared commitment to the art form fosters an environment where everyone strives to perform at their best and celebrates each other’s successes.
Currently, Oh is in London preparing for her role as Alice in a contemporary adaptation of Molière’s “Le Misanthrope.” This engagement marks a significant return to the city where she filmed “Killing Eve” eight years prior, a show that propelled her to global recognition. In the series, she portrayed Eve Polastri, a complex and brilliant British intelligence agent, whose dynamic with Jodie Comer’s Villanelle captivated audiences and established the show as a standout spy thriller of recent years.
Her current theatrical role sees her playing a novelist, a gender-flipped interpretation of the 17th-century original, in a new adaptation by Martin Crimp. This character is depicted as being disillusioned with the superficiality and insincerity she encounters. This move towards theatre is a deliberate artistic choice. Last summer, Oh also appeared as Olivia in a well-received production of “Twelfth Night” at the Delacorte Theater in New York’s Central Park, and in the autumn, she made her debut at the Metropolitan Opera in Donizetti’s opera “La Fille du Régiment.”
Contrasting her experiences in screen work, Oh emphasized that theatre, especially at institutions like the National Theatre, is inherently a “collaborative thing.” She suggested that this collaborative spirit, perhaps partly fueled by the fact that participants aren’t primarily motivated by financial gain, encourages everyone to contribute their most genuine and open selves, fostering a supportive environment where mutual success is cherished.
She also alluded to channeling her inner “rage” into her performances, suggesting that this emotional intensity fuels her creative output across her various projects.