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From Mexico to LA to SA: actor Alonso Grandío on his exciting and varied acting career

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Mexican-born Alonso Grandío started acting in 2013 when he moved to Los Angeles. After four years, South Africa was calling – and now Alonso’s career is going from strength to strength. He played characters in South African TV series ‘Rhythm City’, ‘Legacy’ and ‘The Docket’, and landed a breakthrough role in Olivier Megaton’s film ‘The Last Days of American Crime’. Here he talks about his childhood imagination, the people who inspire him, and moving into writing and producing…

What have been your favourite acting experiences?

“I’ve been blessed to be a part of some of the biggest TV series here in South Africa – ‘Rhythm City’, ‘Legacy’ and ‘Binnelanders’. It’s still mind-blowing that people will come and ask me about my characters and what they’re up to; I think that shows it’s been a great project, something that left an impact. Working with the best of the best has been a dream come true.”

What are you currently working on?

“There are a few on the cooking pot right now, but I’ll be making an appearance in the hit TV show ‘Diepe Waters’ as Mr James. We also just finished production on a character arc for the long-running ‘Binnelanders’ as Julio Herrera.”

“A couple of projects are in pre-production as we speak, but the most exciting one has to be ‘Bloody Proposal’: this is the first film I’ve written, alongside the brilliant Ferdinand Gernandt.”

“We’ve received a ‘recommend’ status through coverage in Los Angeles, and we’re currently developing the film.”

Photo credit: Production company Arcade Content, DP Justin Prins

Who have you enjoyed working with?

“Wow, so many people come to mind. The Mexican actor Jorge Luis Moreno – we instantly had this brotherly bond when we met, which served us well when we were in the 2015 short film ‘Camarillo St.’ The amazing indie directors Jaime Carbajal and Eduardo Hidalgo. Olivier Megaton, director of ‘The Last Days of American Crime’ for Netflix. And more recently I’ve been blessed to work with masters of their craft here in South Africa: Justin Strydom, Clint Brink, Bianca Amato, Amo Chidi, Jesse Suntele, Jolette Roux, Charl Van Biljon… The list goes on and on, but humility comes to mind. Everybody is at the top of their game, but they are incredibly grounded and kind human beings.”

Any future projects that you’re looking forward to?

“I can’t wait to start production on ‘Bloody Proposal’. I’m hopping into the producer’s chair and learning as much as I can from incredible people. We currently have the acclaimed South African actor Sean Cameron Michael in the project; it has been a dream so far. This fast-paced film will definitely excite audiences. There’s comedy, action and horror elements to send chills down your spine… Honestly, just talking about it makes me want to start production already.”

Photo credit: Production company Arcade Content, DP Justin Prins

How did you get started in acting?

“It might sound cheesy, but I’ve always been a bit of a storyteller. Pair that with an over-the-top imagination and I think you get an actor. My mom still tells me the story in which, as a child, I told her that the three wise men visited us, complete with robes and animals. Did it really happen? That’s for you to decide. “

“Professionally speaking, I think my first paid acting job was ‘Furious 7’, as a young actor in LA. I was over the moon.”

Who’s helped you get where you are today?

“In this industry, it takes a village. So I want to thank all the amazing, talented friends and colleagues who are beside me. And of course my beautiful wife Monique Grandio – without her, none of this would be possible. It has been a heck of a ride so far, and it is only the beginning.”

Featured photo credit: Production company Arcade Content, DP Justin Prins

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We Speak Actors

Born in Tehran, Raised on the UK Stage: How Mohsen Ghaffari’s Dual Vision and Multilingual Craft Define His Acting Identity

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With a career spanning theatre, television, and award-winning international productions, Iranian-British actor Mohsen Ghaffari is quietly carving out a name as one of the most compelling emerging talents of his generation. Born in Tehran and having built his career in the UK, Ghaffari brings a uniquely global perspective to every role—comfortable working in Farsi, English, Kurdish, Dari, Turkish and Arabic, and equally at home on a classical stage or a high-stakes international drama set.

Fresh off his breakout performance in The Deal—a powerful political series that earned acclaim and multiple awards at Series Mania—Mohsen is now starring in The Government Inspector at Chichester Festival Theatre, directed by the legendary Gregory Doran. From embodying multilingual characters in complex geopolitical narratives to championing cross-cultural stories with emotional resonance, his work is defined by depth, nuance, and a fierce commitment to authenticity.

In this conversation, Mohsen reflects on the power of language, cultural duality, and what it means to bring your full self to the stage and screen.

1. The Deal has received fantastic reception and even won multiple awards at Series Mania. Can you share what the experience has been like for you as an actor, and how the success of the show has influenced your career?

The success of The Deal is really down to the incredible team behind it, especially Jean-Stéphane Bron, our director. Jean dedicated over five years of his life to this story, and it shows in every frame of the show. His rich background in documentary filmmaking brought a unique, almost raw authenticity to the production that pushed us all to dig deeper into our characters and the narrative. It was an experience that felt real in a way I hadn’t anticipated, and it was Jean-Stéphane’s vision and relentless dedication that gave the project such a powerful heartbeat.

For me as an actor, working on this show was a journey of growth. The accolades it received—particularly at Series Mania—are humbling, but ultimately, it’s the experience of collaborating with such a talented team that I’ll always treasure. The success of the show has opened up new doors and opportunities, which I’m really grateful for, but it’s not just about the recognition. It’s the chance to continue working on projects that excite me and challenge me creatively that really fuels my passion.

Photo by Oscar Davidson

2. You’re currently working on a new theatre project at Chichester Festival Theatre, directed by Gregory Doran. How has this collaboration with such a legendary director shaped your approach to the production? What can audiences expect from the show?

Believe it or not, working with Gregory Doran has been a dream come true. For years, I’ve wanted to collaborate with him, especially when he was at the RSC, so it’s incredibly special to finally have that opportunity. Gregory has this incredible ability to give actors the freedom to explore their roles. He makes you feel so comfortable, in fact, that you somehow end up bringing a bit of yourself, your culture, your accent, your unique perspective, into the performance in ways you didn’t even expect. It’s truly magical how he creates a space where you feel empowered to take those risks while also grounding you with a solid foundation.

His direction is graceful and intuitive, and somehow he allows you to take ownership of your character while remaining true to the story’s core. I honestly don’t know how he does it, but it’s one of the rare qualities in a director that really makes you feel seen and heard.

As for what audiences can expect from The Government Inspector, it’s a brilliant, satirical show with a sharp wit and biting social commentary. It’s funny but layered with deeper meaning, exploring themes of bureaucracy and human nature.

“The energy in the room is electric, and I believe the audience will truly connect with both the humor and the more poignant moments in the story.”

And, if we do justice to the play, I hope the audience can see a bit of themselves reflected on stage or find elements that resonate with them.

Photo by Oscar Davidson

3. As an Iranian-British actor, your background likely gives you a unique perspective on the roles you take on. How has your heritage influenced your work in both theatre and television?

Being Iranian-British has certainly shaped how I approach acting, especially when it comes to roles that involve cultural depth and authenticity. Growing up in Iran and then moving to the UK, I’ve had the opportunity to experience life through both perspectives. It gives me a kind of “dual vision” when I’m preparing for a role, seeing it from both a Western and Middle Eastern viewpoint. It also means I’m attuned to how characters might experience life in two worlds, which adds layers to their stories.

I think a lot of the roles I’ve taken on reflect that: whether it’s portraying an Iranian-Kurdish character in Ostan, or an Iranian officer in Flight 422, there’s a richness that comes from understanding both sides of the cultural experience. My heritage allows me to approach roles with that level of detail, ensuring I’m capturing the right elements of the character’s identity and personal journey.

Ultimately, it’s about telling more authentic and grounded stories. I feel incredibly fortunate to be able to bring this perspective to both the stage and screen, and I’m excited for more opportunities to explore those roles moving forward.

4. Your multilingual abilities are a distinctive part of your career. How have they helped you connect with a wider range of roles and audiences, and how do you see this skill shaping your future projects?

Being a native Farsi speaker definitely gives me a solid foundation to connect with other Middle Eastern languages, like Dari, Arabic, Sorani, and Kurmanji, and even different dialects, like Moroccan Arabic. I’ve always felt that understanding the culture and language makes a huge difference when playing characters. It’s not just about speaking the words; it’s about capturing the emotion, the context, and really living in the character’s world.

For example, in Phaedra at the National Theatre, I understudied one of the characters when the original cast member got hit by COVID. I had to step in and perform in Moroccan Arabic, and even though I hadn’t done that before, my familiarity with Arabic really helped me feel comfortable with the language. And in The Syrian Baker at Farnham Maltings, there weren’t many Arabic lines, but just having that cultural understanding was so helpful in adding authenticity to the role.

“From playing an Iranian-Kurdish character in Ostan, where I was juggling five languages (English, Farsi, Arabic, Kurdish, and Kurmanji), to playing Iranian army officers in Flight 422 and The Deal, I feel like my multilingualism really opens doors. It lets me connect with a broader range of characters and makes it easier to bring those roles to life authentically.”

Looking ahead, I’m excited to keep using this skill to tackle even more diverse roles and share stories that reflect different cultures. It’s something that I hope will continue to shape my career, giving me the chance to tell even more stories from all over the world.

Photo by Oscar Davidson

5. Looking to the future, what types of stories are you most passionate about telling, and what are you excited about in the next chapter of your career?

I’m drawn to stories that centre real, complicated people, especially those who exist between cultures, or who are navigating systems bigger than themselves. I love character-driven screen work that carries emotional depth and political or social weight , but I also enjoy projects that surprise me formally or tonally. The Deal really opened that door further for me, and I’d love to keep working across international productions that challenge and inspire.

At the same time, I have a real love for classical theatre, especially Shakespeare. Working with Gregory Doran, who ran the RSC for years, felt like being one step away from the big Shakespearean leagues. Hopefully it’s just a matter of time now, I’ve waited patiently, surely it’s my turn! (laughs) I’d love the chance to bring my own perspective to those stages, whether at the Royal Shakespeare Company or Shakespeare’s Globe.

Ultimately, I’m excited by collaboration, with bold directors, writers, and teams who want to tell human, resonant stories. And I’m beginning to develop some of my own work too, which feels like a natural next step.

Fetured photo by Oscar Davidson

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