In the oversaturated mediascape, audiences find themselves clinging to their “comfort” shows, films, actors, and stories that feel uniquely relatable, evoke nostalgia, or simply never disappoint. Contrarily, for actors and performers, variation fuels authenticity in their art. 

Exercising and proving one’s range is what has defined the greats. So what happens when we, as the audience, put our trust in our idols’ hands? Can we sustain our support for our beloved performers who are eager for their next big role? British actor Nikesh Patel seems to have perfected this balance. In each of his projects, Patel brings his audiences to new territory, satisfying both the craving for comfort and the joy of a new story. 

In addition to Patel’s new projects this year, he has reconnected with the very genre that introduced him to acting: stage plays. After an eight-year hiatus from performing in front of a live audience, Patel recently concluded a role at the Bush Theatre, starring in the play SPEED, written by Mohamed-Zain Dada and directed by Milli Bhatia. The play takes place in the basement of a hotel where one rehabilitator and three offenders go through a speeding awareness course. With several roles spanning across television, film, and theater, Patel has had an exciting year, including taking on the ultimate role early last year: fatherhood. We sat down with Patel as he told us about managing his various roles on and off the screen, and some insight into how his personal experiences have bled into his recent roles.

You are returning to the stage after a long hiatus to star in the play SPEED by Milli Bhatia at the Bush Theatre. What aspects and traits do you look for when taking on a project/role? Are there specific types of stories or genres that you’re more drawn to than others? How has that changed over the years?

It’s been a long time since I’ve done a play, but theater was how I fell in love with acting. There’s nothing like the excitement of telling a story in front of a live audience. I was itching to get on stage again, but I was holding out for something that felt meaty enough to justify the commitment. Now that I’m a father, it’s a long time to be away from my family. Then SPEED came along, and it felt like it was exactly what I was looking for: provocative, original, and surprising.

I’d been looking to work with Milli for a long time–we’ve been friends for several years, and I think she’s one of the most exciting and important young British theater directors working. We have a shared love of genre storytelling and wanting to make work that doesn’t shy away from the complexities and the messiness of being British and South Asian. SPEED encapsulates all of that. When I read for the part of Abz, it was unlike anything I’d ever seen. He starts out like an Alan Partridge, and his story ends in more of a Greek Tragedy. It’s a credit to Zain’s [SPEED’s writer] imagination that he was able to write something that feels so accessible for an audience, but also takes them on this wild journey.

In SPEED, you play Abz, a leading expert on road safety tasked to teach an aggressive class of drivers who are reluctant to change. Are there ways in which you feel you are reluctant to change in your daily life, both inside and outside of your profession?

Oh wow, we’re going there! One of the best things about acting is the variety and the potential for change that is baked into the job. It would be boring if I tried to recreate the same show every night because I have the best version of it stuck in my head. I guess there’s a positive version of what you’re describing, which for me is about principles and sticking to your guns. I’ve definitely become better at listening to my instincts if something doesn’t feel right, and not worrying so much about pleasing people all the time. 

You also star in the British drama thriller, The Devil’s Hour, playing Ravi Dhillon, a detective who meets a terrible end in the season two finale. Whether it is an on-screen death or just the wrapping up of production on a project, how do you, as an actor, let go of a role or character? Are there aspects of Ravi or other characters you’ve played that you take with you even after the project is over?

I’m pretty good at letting characters go, particularly when it’s screen work, as it’s not something I’ll have to sustain over a very long period. SPEED was a different beast because it was eight shows a week for six weeks. Even now, I can still feel the tensions I carried in the show in my body. I’ve had a few nights where I’ve caught myself grinding my teeth and thought, Abz is still in there. Maybe I need to exorcize him with some yoga. 

Your character in The Devil’s Hour also has a fear of blood. Do you have any phobias of your own? How do you overcome your own fears?

I’m quite fortunate I don’t have any phobias. In terms of overcoming my fears, I’ll either run towards them and confront them, or if that’s too scary, I’ll speak to my therapist. 

What is the biggest difference between performing on a stage and performing in front of a screen? How do your processes differ, looking at your most recent on-screen performance in Picture This and your performance in SPEED?

The biggest difference is the stamina that the stage requires. SPEED was clocked at just over 80 minutes, and I was onstage for virtually all of it —there’s no hiding. With screen, the story is broken up into these smaller fragments because you’re shooting scenes out of chronological order. It requires a different kind of focus. I do think screen work has made me a better stage actor, and I would like to switch between them more in the future—once I have a break and stop grinding my teeth. 

You’ve starred in several romantic comedies, including the recently released Picture This. When working with stories that involve romantic relationships, how does the process differ from developing the character on their own and developing a relationship with another performer/character?

A lot of the fundamentals are no different from any other kind of scene: be present, be responsive, be open to what the other person is giving you, even if that might mean throwing away what you’ve prepared. I suppose with a romantic scene, there’s something about being able to look into someone’s eyes and really hold them, and that can only really come from trusting and feeling at ease with your fellow actor. Other than that, I don’t think my process massively changes.

Picture This deals with the concepts of fate, expectation, and predictions about the future. Do you feel that you are someone who has trouble remaining in the present? Do you tend to fixate on the past or future in your daily life?

Like anyone, I struggle to be present all the time, but having a child is a surefire way to get me out of my head—or off my phone, which can be just as bad, if not worse. There’s nothing like trying to stop a tiny person from braining herself to keep your attention or engage with your surroundings. 

Photographed by David Reiss

Styled by Aartthie Mahakuperan

Written by Zoe Swintek

Grooming: Laura Dexter