We Speak Actors
Rising star Evan Hengst on his “rocket-powered” role in new film ‘Novocaine’

South African actor Evan Hengst’s star is on the rise. His latest role is chaos-fuelled Ben in action-comedy movie ‘Novocaine’, which also stars Jack Quaid from ‘The Boys’. ‘Novocaine’ is about Nate (played by Quaid) who becomes a superhero when he uses his inability to feel pain to rescue his kidnapped girlfriend. Evan, who studied at Act Cape Town before beginning his acting career in the theatre, tells us about training for fight scenes, playing cops and robbers, and getting in the headspace of a maniac…
Tell us more about your role in ‘Novocaine’?
“Ben is a rocket-powered rage train fuelled by a love of chaos. Whatever he chooses to do, he’s going to cause as much mayhem as he can and enjoy every second of it. He’s that guy in the bar nobody wants to mess with because he’ll buy you a tequila, right before biting your ear off. Which was a joy to play, because I’m actually a big softy! I almost lost the role because I was working on three different projects at the time, so scheduling all the training and stunt rehearsals was a challenge. It’s truly miraculous how we managed to make it work out.”

What was your experience working on the film?
“Getting to work alongside such an extraordinary cast and crew was a dream come true. We were all just a bunch of kids playing cops and robbers, but with a lot more gore.”
“The directors Robert Olsen and Dan Berk cultivated such an infectious, fun and collaborative space on set from the get-go.”
“From the cast to the crew, the excitement was palpable and you could feel what we were making was going to be a really wild ride.”
What did you do to prepare for the role?
“It’s definitely the most physical role I’ve done to date and I was blessed to be given a whole team of trainers and coordinators to guide me. I annihilated so many chicken breasts to turn me into a tank, and got my ass handed to me by the stunt coordinators for a few hours each day. Lots of personal training and sparring sessions to get me moving like a fighter, and then I played video games – I played a lot of Grand Theft Auto 5 to prepare myself for robbing banks! I made this really wild playlist of country, German oompa, heavy metal and classical music to create a constant circus in my head. I also watched the movie ‘Heat’ about five times just to get a feel of the shootout scene.”
What was it like being involved in such an intense fight scene?
“‘Slow means flow’ was in my head every day for six weeks.”
“We would run through the scene meticulously piece by piece and in the end put it together like a beautiful dance.”
“It was an incredibly humbling experience to go through. My mind and body were pushed to the limit and was shown what I was truly capable of doing.”
What was your favourite moment on set?
“Being with Jack [Quaid] on his birthday. We filmed our big fight scene that day and were both exhausted between takes, but the crew got him a beautiful cake to celebrate. We both were on strict meal plans at the time and he was being extremely disciplined, but I managed to convince him to have a few slices. The satisfaction on his face was priceless.”

Who would enjoy watching this film?
“Anyone who likes action, romance and comedy with a touch of sadism and a great underdog story. For people who happen to be a bit squeamish about blood, this might cure you once and for all. Or maybe not!”
What does the future hold for you?
“I have a film coming out called ‘A Kind of Madness’, which I’m really excited about – it’s released in South Africa on 11 April. My focus is on building my career internationally and finding the right people to give me the opportunities to be a part of the stories I want to tell. I think South Africa has such untapped talent and I want the chance to show the world what we have to offer.”
‘Novocaine’ is released in US cinemas today (14 March) and is out in the UK on 28 March
Featured photo credit: Chris Pizzello, Invision
We Speak Actors
Born in Tehran, Raised on the UK Stage: How Mohsen Ghaffari’s Dual Vision and Multilingual Craft Define His Acting Identity

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.

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.

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.

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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