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

The post Born in Tehran, Raised on the UK Stage: How Mohsen Ghaffari’s Dual Vision and Multilingual Craft Define His Acting Identity appeared first on WE SPEAK MEDIA.

Mohsen, can you share how your acting career began?

I started out in Iran, performing in theatre productions. But when I moved to London in 2010, everything changed. I didn’t speak any English at the time, but I was determined to break into the UK theatre scene. I sent over 120 emails to various theatre companies and individuals, asking for an opportunity. Unsurprisingly, no one responded! Looking back, I don’t blame them—I had no idea what I’d written in those emails. My English was so poor that even I couldn’t understand what I was asking for! (laughs) But then, out of the blue, I heard back from the Almeida Theatre. They invited me to join their Young Friends of the Almeida programme. I was ecstatic.

“I attended countless workshops there, and for a while, the Almeida became my second home. I learned so much and I’m deeply grateful for that experience.”

Who were your early inspirations in acting?

Growing up in Iran, I was fascinated by Hollywood films. Actors like Marlon Brando, Al Pacino, and Robert De Niro were huge inspirations for me. But I was also motivated by those who discouraged me from pursuing acting—especially my parents. I remember a family friend, an actor and director himself, telling my father not to encourage me to become an actor. He said the industry was unstable and full of uncertainty. I remember thinking, If it’s not worth pursuing, why does he continue to work in it? (laughs) And here I am today, doing exactly what I love. I wouldn’t change it for the world.

What has been your most memorable project to date?

That’s a difficult question. I’ve truly enjoyed every project I’ve worked on, each offering its own unique experience. However, if I had to choose, I’d say last year’s production of Phaedra at the National Theatre stands out. “

“Working with Simon Stone and such a talented cast was an unforgettable experience.”

“Simon’s approach to theatre-making was transformative for me as an actor, and it’s an experience I will always hold dear.

Do you have any behind-the-scenes stories you can share?

During the pandemic, I performed in A Midsummer Night’s Dream at Kew Gardens with the Australian Shakespeare Company. It was an outdoor performance, and we had a small tent backstage for costume changes. One evening, while I was getting changed, a woman entered the tent and asked to speak with me. I had to laugh and say, “Let me finish dressing first!” (laughs) When I stepped out, she was in tears. She told me she hadn’t laughed in almost two years due to the pandemic and everything it brought with it. But my performance that evening made her laugh so much that it helped lift the emotional weight she’d been carrying. It was an incredibly touching moment that reminded me of the true power of theatre and why I do this work.

You’ve also worked in television. How does that compare to your stage work?

The main difference is in the scale of the performance. In theatre, everything—your voice, your movements—has to be bigger to reach the audience. But with TV and film, the camera does a lot of the work for you, so you can be more subtle. However, at the end of the day, whether it’s on stage or on screen, it’s all about storytelling. The medium may differ, but the essence of the work stays the same for me.

Featured photo credit: Jake Bush

The post Spotlight on Actor and Voice-Over Artist Mohsen Ghaffari appeared first on WE SPEAK MEDIA.