Sarah Eve is an actress who is steadily making a name for herself in both film and television. From her role in Death on the Nile to her recent portrayal of Hannah Dawson in Season 5 of The Bay, she has shown a talent for bringing complex characters to life. Her experiences working with renowned directors, such as Kenneth Branagh, have shaped her approach to acting and storytelling.
In this interview, Sarah reflects on her latest projects, the characters she’s drawn to, and the lessons she’s learned along the way. She also shares her hopes for future roles and collaborations as her career continues to evolve.
Congratulations on your recent role as Hannah Dawson in Season 5 of The Bay. What attracted you to this character, and how did you prepare for the role?
Thank you! Well firstly, it’s set in and around Lancaster which is where I grew up, so it oddly feels like I’ve been preparing my whole life! It’s also written by the wonderful Daragh Carville who lives there and is a real champion of authenticity in regards to the actors who are cast in the series.
The Bay has been a hugely successful series. How does it feel to be part of such a well-loved show, and what was the experience like on set?
I personally feel hugely proud to be a part of something that has a connection to my hometown. The experience on set was lovely, albeit freezing, but that comes when filming up north! I especially loved the hair and makeup team as besides working tirelessly, they made me feel comfortable by having a laugh and chat, whilst you prepare yourself for a day’s filming.
You played Hattie Pyne in Death on the Nile, directed by Kenneth Branagh. What was it like working on such a high-profile project, and how did you approach your role in this iconic story?
I felt incredibly lucky for Death on The Nile to be my first acting job after leaving RADA. It was amazing to be on such a huge film set for three months, which meant I could watch and learn about both film acting and etiquette on set. There was a group of us from RADA working on the project, so there was instant camaraderie, and already formed relationships which helped to create the characters.
Your role as Anna Swinton in the upcoming feature film The Undertaker is intriguing. Can you tell us more about the character and what drew you to this project?
I instantly wanted to be involved when I saw that Tara Fitzgerald was attached, as I remember seeing her in Macbeth at The Globe when I was at drama school. In The Undertaker I play a young police officer who is struggling with the morality of the job which was interesting to think about.
Having worked with directors like Kenneth Branagh and Michael Wright, how have these experiences shaped you as an actress, and what have you learned from them?
Mike is incredibly supportive and encouraging with a great aesthetic eye. Whilst watching Ken be so present and patient on set whilst acting and directing was phenomenal. I also began rehearsals for The Browning Version by Terrence Rattigan with Ken, but it was unfortunately cancelled due to COVID. However, those few weeks of rehearsals and Zooms with him were invaluable as I use many of techniques and notes he gave me; such as knowing as much about your character as you know about yourself. Both directors gave me such confidence by them just wanting to work with me.
Each of your roles, from Death on the Nile to The Bay, has been quite different. How do you choose your projects, and what do you look for in a script or character?
For me, it’s always about complexity and often that’s in the script and then it’s up to you to draw it out further. With young female characters, it’s especially great when you get something really interesting to explore, be that a complex backstory, or a time period, or something interesting you manage to unlock about their psychology.
You’ve now worked in both film and television. How do you adapt your acting style when switching between mediums, and do you have a preference?
It sounds so pretentious but acting is about truth. And you find that, hopefully, in the eyes of the other actor, so your performance can take care of itself. Every day is a learning day! I love filming but I do have a special love for the theatre.
The Bay deals with intense, real-world issues. How do you approach roles in such serious dramas, and how do you balance the emotional demands of these parts?
I usually find the more intense the part/project the more you have to laugh with your fellow actors as a healthy coping mechanism. In regards to those emotional scenes, my favourite actress Helen McCrory once said that it’s easier to believe than pretend, and that’s the trick, but easier said than done!
As your career continues to grow, are there any dream roles or genres you haven’t explored yet that you’d love to take on in the future?
I adore period dramas such as Wings of a Dove and Gosford Park, so I would love to be in something similar. I would also love to tackle a biopic at some point. Playing who? I don’t know! But that would be something really challenging to delve into.
Looking ahead, what are your goals for your acting career, and are there any particular actors or directors you hope to work with in the future?
I’m currently writing my first full-length play at the moment, so that’s been keeping me occupied. Acting-wise, I want to work at the Globe, as well as the RSC; to be in such sacred spaces, speaking some of the most beautiful things ever written would feel like a dream. I also love the theatre work of Simon Stone, Jez Butterworth, and Sam Mendes (Motive and The Cue at the National Theatre was phenomenal!). Film directors I love are Greta Gerwig and Emerald Fennell, and I adore actors Helena Bonham Carter, Emma Mackey, Mark Rylance, Olivia Colman, Jodie Comer, and Marion Cotillard. It’s a long wish list!
