Jack Brett Anderson isn’t interested in fitting into boxes—and his career so far reflects that. A promising name across both stage and screen, the British actor has already taken on roles ranging from a conflicted inmate to a 14th-century royal to a modern-day romantic caught in the gravity of a single night. And no matter the challenge, Anderson brings commitment to each performance.

His journey first began on the stage, where he made a memorable debut as Prince Edward in Christopher Marlowe’s Edward II. He followed with the demanding dual roles of Jamie and Flynn in Tina Jay’s Held, a raw, character-driven piece exploring the fractured lives of prison inmates. The performance showcased his range, but it was directing Jay’s follow-up play Syndrome—a psychological look at soldiers during Operation Desert Storm—that marked another bold move. And naturally, stepping behind the scenes for the first time only deepened Anderson’s connection to story, tension, and emotional truth.

Now, with a slate of screen credits spanning fantasy dramas, award-winning docudramas, and international festival films, Anderson continues to evolve as both an actor and director. Most recently, he stars in A Night Like This, a tender, atmospheric feature focused on an unexpected bond over the course of one transformative night. Following its debut at BFI Flare and a strong international festival run, the film is now set for theatrical release on September 26, 2025.

As he reflects on the roles that shaped him—and the creative risks still ahead—Jack Brett Anderson is opening up to Stardust about the choices, challenges, and moments that have defined his path so far.

You’ve played everything from a wolf in Wolfblood to a prince onstage and a con man in Genius: Picasso. What draws you to a role, and has that changed as your career has evolved?

Jack Brett Anderson: I suppose it's a very fortunate thing to be able to play such different roles spanning a nice period of time. I think I would get bored playing the same thing again and again, but that also really depends on the project also. Getting to work on anything for a long time is a blessing because, as we know, this game is far and few between, so having many in between is a lovely thing. I’ve wanted to be all those things; who doesn’t want to try everything in life once!

Your stage debut in Edward II received high praise—and that’s a pretty powerful first impression. What stands out most in your memory from taking on that role for the first time?

Jack Brett Anderson: Firstly, at such a tender age, getting to be in a classical play, to be a prince, and then to be praised for my performance was and will always be a special thing for me. Getting recognised at the start of my career like that is such an amazing thing and only filled me with confidence to keep going and see what else I can achieve. Never mind each night doing it and stepping into a past to play a prince/King who became one of the longest reigning male monarchs in history.

In Held, you tackled dual roles—Jamie and Flynn. How did you approach playing two characters in the same production, and what did it teach you about your range as an actor?

Jack Brett Anderson: [Laughs] Yeah, Held was a chance for me to really showcase myself after playing Matei on Wolfblood and was an opportunity to open up my range up as an actor. When the opportunity came to do this, I was so nervous because I had to play two characters and not mess it up [laughs]. I based each character on two very different people that I knew, and it was a chance to have fun and experiment. I’m so grateful to Tina Jay for believing I could and letting me run with the characters.

You also made your directorial debut with Syndrome, a powerful play set during Operation Desert Storm. What was it like stepping behind the scenes, and how did directing shift your perspective on performance?

Jack Brett Anderson: Syndrome was Tina Jay believing in me again. I believe that directing is a form of leadership, and having been a Sergeant 4 star Army Cadet when I was younger meant I already had that experience of leadership. I also wanted to be the kind of director that I hadn’t really had directing me before. It was nice to have my ideas and to see my approach come to life, to navigate the actors the way I wish I had been at times. In the casting process of Syndrome, I really saw the other side for the first time—seeing the actor come into the audition room and do their thing. I gave me such a different perspective on it. I was really feeling for each actor and wanting them to perform well. It’s allowed me to zoom out and see a broader perspective.

Your upcoming film A Night Like This has already made waves on the festival circuit. What can you tell us about your character, Lukas, and what resonated with you when you first read the script?

Jack Brett Anderson: When I first read the script, Diego, the writer, captured me. I was grabbed by this young, hopeful actor who has been crushed by disappointment and feeling darkness that lurks for the vulnerable. All actors have had their fair share of ups and downs and with this being written so well, it needed to be told and brought to life. Lukas, is a beautiful soul really, he sees the world naively I suppose and was stung by that. But, it doesn't mean he was wrong to have seen it the way he did, because what came with meeting Oliver showed that things come when you least expect them to. I’m glad this story is finding its way and making waves.

The film has been compared to Before Sunrise and Weekend—intimate, character-driven stories. How did you and Alexander Lincoln build the on-screen chemistry that the story hinges on?

Jack Brett Anderson: You know, me and Alexander only met at the start of this process, and fortunately, we were both into the film and our characters. In many ways, how we first came together is similar to how our characters came together. It’s really a conversation, the characters’ stories really drive the film, and especially since we filmed it chronologically, it really fed our performances, and we grew alongside our characters as friends.

Across your screen credits—BBC dramas, Hulu’s The Great, National Geographic’s Genius: Picasso—you’ve worked in such a wide range of genres. Is there one format or style you feel most at home in, or do you thrive on the variety?

Jack Brett Anderson: I guess I just feel really lucky to be able to cross so many genres and to take in what each of them offer, and in turn, I’ve really got to learn a lot about myself. I always felt that drama was where my heart felt at home, but in doing such a variety, I think I have been able to grow by testing myself and not getting too comfortable.

You’ve also walked for Dolce & Gabbana and starred in a Wolf Alice music video, as well as Perrie Edwards’ new music video —how does your experience in fashion and music intersect with or influence your acting?

Jack Brett Anderson: Both of these artistic mediums also require an element of acting. Being present and captivating the viewer, no matter what the medium, is the acting skill. Runway is like a play, and music videos allow you to get as close as possible to what a music artist does. It’s all been a great insight into the whole industry, and it’s fun to keep it moving and interesting.

Your next project, The Insect Life, is a mental health drama. What can you share about the story, and what conversations do you hope it opens up for audiences?

Jack Brett Anderson: I wish I could say more, but the film touches on struggles, substances, love, and the difficult choices people have to make to survive, and about how sometimes we have to let go of something in order to keep going. I think it’s going to be an emotional, visual wormhole for the audience.

A Night Like This is released in cinemas on September 26, 2025.