Rising British actor Viola Prettejohn steals her scenes in Mona Fastvold’s musical drama The Testament of Ann Lee, showing at BFI London Film Festival. She talks about the projects that shaped her and starring opposite Amanda Seyfried. 

The latest collaborator between one of contemporary cinema’s most evocative writing pairings, The Testament of Ann Lee is sure to be the cause of many a debate. Following the success of The Brutalist, a film which wife Mona Fastvold and husband Brady Corbet co-wrote – with the latter directing – the dual creative forces swap roles here. Fastvold takes charge of the direction for a script they collective wrote, bringing her unique lens to this historic musical epic.

The film follows the titular character, the founding leader of the Shaker movements and a proclaimed female Christ by her followers, as she embarks on establishing a utopian society through song and dance. It’s an offbeat, unique and idiosyncratic film, worth purely witnessing without much knowledge of its details. The film 

Starring alongside Amanda Seyfried, Christopher Abbott and Thomasin McKensize, Viola Prettejohn is the film’s breakout star. Best known for portraying a young princess Elizabeth in the sixth series of Netflix smash The Crown, the 22-year-old boasts an impressive portfolio despite being so early in her on-screen tenure – from Ben Wheatley’s horror-comedy Generation Z to HBO series The Nevers, and BBC’s Wolf Hall. 

We won’t say too much about Viola’s role in the film, but just know it’s a step forward for the promising riser. Connecting with Wonderland, she talks past works and the ins and outs of her journey with The Testament of Ann Lee.

Is there a person or project that first sparked your love for acting? 

I was very lucky growing up in London that my parents took me to the theatre a lot so my first experience of acting was watching some of the country’s top performers on stage which was invaluable. But it was really when I started going to the cinema by myself on a weekly basis that I became so focussed on it and began to see it as something I could pursue. I saw Phantom Thread at the upstairs screen at Curzon Mayfair on a rainy day when I was 14 and watching Daniel Day-Lewis, Lesley Manville and Vicky Krieps was transformative for me – to this day it’s one of my favourite films (I have an original poster in my room at home). 

But mostly it was playing around in school plays and getting that opportunity to really spend extended time with a character that kickstarted everything for me. 

You had your start in huge projects such as The Witcher and The Crown – how do you think these projects shaped you as an actor? 

I actually think it’s the smaller projects that have shaped me more as an actor. With those huge shows they’re well oiled machines that you can just slot into. Of course with The Crown it had the added experience of getting to play a real person which was such a valuable opportunity. But yes I think doing Ann Lee has been the project that has shaped me the most, purely from watching the exceptional artists – Mona, Amanda, Celia, Daniel, William – all people at the tops of their game and so in touch with their voices, it made me strive to have that same clarity of creative vision. 

Congratulations on The Testament of Ann Lee! How did this project land on your lap? 

I was actually out in Budapest filming a different project and did a self tape in my hotel room – I think I balanced a chair on top of a table and put my phone on a stack of books with my friend reading in over zoom. Then about a month and a half later, I was back in Budapest for Ann Lee! As soon as I learned about the project I was desperate to be a part of it. I’d been a fan of Mona and Brady’s previous work and could tell that it was something special and unlike anything i’d had a chance to be a part of before or since. It’s entirely unique. 

Did you have any highlights from filming? Is there a particular scene you’re most proud of? 

The whole shoot was an absolute dream. It also transformed how I felt about singing – before the shoot I was really apprehensive about that aspect of the film but by the end of the shoot it had become my favorite part of the whole experience. So I’m very proud of the scenes we shot on the boat particularly because I chose to sing live for Today Today, I’m not sure if the vocal used is the live take but it showed to me how much more confident I had become in my voice. And the dancing scenes are just spectacular and I know how much of a huge undertaking they were for all the cast and crew so getting to see those play out so beautifully on screen was lovely to see. 

Your upcoming project is an all singing spectacle! Has singing been a big part of your life before this project? 

Yes it had been. I’ve had singing lessons practically all my life but I had learnt to use my voice in a very particular, quite safe way – this blew all of that out of the water. It was a completely new way of using our voice, experimental and it required a lot of trust and vulnerability from all of us. It’s an unusual thing to be given the space to shout, screen, wait – make any number of strange noises, and it’s immensely liberating. 

What’s your go-to karaoke song? 

Anything High School Musical. I was an absolute obsessive growing up – I had the cheerleader outfit and everything. 

Amanda Seyfried is your co-star in this project, what are some lessons you’ve learned from her and what’s it been like to work alongside her? 

I think her complete fearlessness. She’s such a force of nature both in the film and in life but is also so kind and generous, she was so open right from the moment I met her and I so appreciated that going into a project that was pretty intimidating for me. She’s become such a wonderful friend and confidant – I keep calling her my fairy godmother, i’ll always be grateful for this film bringing us together. 

Dream future co-star? 

This is so tricky but I think Willem Dafoe. He never fails to astonish me, his performance as Van Gogh in At Eternity’s Gate is one of my favourites on film and is absolutely heartbreaking. I met him when we were in Venice with Ann Lee but I was so overwhelmed that I think I embarrassed myself slightly. I’d like a do-over. 

After these two very exciting projects, what’s next on the agenda? 

I’m not allowed to talk about it yet but I’m about to start something very exciting out in Budapest again! I can say, much like Ann Lee, it’s not playing it safe.

Words – Ben Tibbits

Photographer / Hair Artist – Stefan Bertin

Stylist – Sarah Rose Harrison