Leah Harvey brings real depth and honesty to everything they do, from acclaimed stage performances, standout TV Cinematic roles …
From Shakespeare’s Globe to Apple TV+’s Foundation, where they earned a BAFTA nomination for Best Supporting Actress, Harvey brings an unmistakable depth and presence to every role they inhabit.
Now returning to the stage in the laugh-out-loud musical comedy The Ministry of Lesbian Affairs, Harvey plays Lori, a member of the UK’s only lesbian choir, fighting for their spot on the Pride mainstage. With humour, heart, and harmony under pressure, the production explores love, identity, and community in all its messy glory.
Harvey reflects on nuance in performance, the importance of authenticity over labels, and why playing a “modern-day lesbian” doesn’t require extra layers, just honesty, time, and truth. As they put it: “People just be people-ing, you know?” …
Please introduce yourself … name, what you do, where you’re from, your heritage or area, and your star sign.
My name is Leah Harvey. I’m an actor and creative. I’m from East London and I’m 1/4 Grenadian, 1/4 Welsh and 1/2 St Lucian. Star sign? Typical Cancer, I’ve been told.
Describe your life right now in a word or a sentence …
Like that bit when you’re long boarding and you’ve hit a smooth bit of the path in the park which is starting to get steeper … but you’ve pushed one too many times with your foot and you’re not sure if you’re going to get the wobbles or just cruise like a badass … that feeling.
Why are we here?
We’re here because I’m in a brilliant play called The Ministry of Lesbian Affairs, which focuses on
community, forgiveness, and solidarity amongst difference.
What first drew you to The Ministry of Lesbian Affairs. Was it the script, the character, or something else entirely?
Recently, I’ve really enjoyed playing characters who align with different parts of my identity so when this came up, I knew it was an opportunity for me to explore what it’s like to play a very on centre, modern day character while telling a story which is very important to a lot of people.
Your character Lori is part of a very eclectic and chaotic choir. How would you describe her journey within the group dynamic?
Lori is reluctant to be in a space which labels itself as being for Lesbians. But after discovering the joy of being in the choir, she opens up to the community in a way which allows her to really have a bloody good time in all her lesbianness for once. There are some great characters and every night I really enjoy discovering the things my cast mates are doing in the moment which helps bring Lori out of her shell.
The play shifts from “found family” warmth to deeper discussions around inclusion. How did you navigate those shifts in your performance?
Our director, Hannah, once used the word “passive” to describe Lori. I hold that when I’m in these more challenging scenes. Lori just wants to exist without ruffling feathers or being ruffled and struggles to fit into a role when things start to go sideways. If anything, she just wants everyone to get along. I mean… most people do don’t they? There’s a moment when shit hits the fan where I kind of melt beside the piano and try to disappear… of course she doesn’t disappear, but it speaks to how she’s responding to the situation.
Your performance has been described as “softly commanding”. How did you find that balance of subtlety and power in your character’s voice and presence?
Oh! “Softly commanding”. I mean, it’s an ensemble piece and that’s very important in my practice (repping LAMDA ensemble training). Though I’m in most scenes, everyone pulls their weight and has their own journey to share with the audience. As for how I manage that balance? I suppose I try to connect with the invisible fourth wall from the get go, knowing that I’m playing a character they’ll see in perhaps the widest variety of high stake situations. I like to think of it as I’m holding the audiences hand, we have a secret language. Maybe that’s what they’re picking up on?
The play touches on queerness without over-labelling, showing people as whole humans first. How important was that nuance to you as a performer?
A lot of projects I’ve been involved in have required this degree of nuance. So, regardless of the boxes the character does or doesn’t tick, the story, the words and emotional journey are the key things for me to focus on. I don’t have to work harder to be black, I just am. I’m not putting any extra effort into being a lesbian as I walk through my own life (as long as I’m not being harassed), so why do I need to layer on extra things when playing a modern day person who is a lesbian? Everyone has a different way of doing this, of course, and it doesn’t just happen. It requires time and effort and technique. But I find that some things can be nuanced and clear without being complicated. People just be people-ing, you know?
Act Two deals with topics like outing, cultural closeting, and ableism. What was it like stepping into scenes that reflect such real and rarely explored issues?
Though these issues are rarely spoken about, these are things that affect people every day. Complex situations with varied perspectives are always going to be challenging to step into as an actor but the writing does such a good job of laying it out for us all, that I find it just flows when we’re on stage.
This production thrives on ensemble energy, what’s been most rewarding about working with this cast?Rehearsing scenes where the topics being discussed are hot and affecting can be emotionally difficult (and certainly was) but the cast and our director really pulled together to ensure that everyone felt looked after. It’s hard, telling these stories, but it means the world to shine a light on topics that don’t always get the spotlight. So it’s worth it.
This play doesn’t shy away from political realities, particularly anti-trans sentiment in the UK. How does it feel to be part of a production that takes such a clear stand?
It’s extremely emotional. We, as a cast, have to look after each other, as we all should be doing outside of the theatre world too. This play gives voice to different perspectives but doesn’t want to necessarily tell the audience what to think. So it feels like we’re doing a service, in a way, but it also just feels like this is just what theatre is.
What ongoing conversations do you hope this play sparks after audiences leave the theatre?
Something I’ve been talking to my close ones about after they’ve seen the play is accountability; particularly with those who have made a mistake but want to improve. The first step to any change is recognising that something’s got to give. When people aren’t able to acknowledge their flaws or mistakes, we struggle. But also, when people who make mistakes but want to improve are shunned for doing so, or pushed out of the conversation, that’s going to create struggles too.
Community is not only about accepting each other and ourselves; it’s also about accepting that we and those around us won’t always get it right. But we must find a way to move forward with good intentions and love in abundance, I say. It’s hard.
Looking back at standout roles like in Foundation or Small Island at the National Theatre, how do you choose projects and what stories are you most drawn to telling?
I enjoy telling stories that I sense will illicit strong responses in an audience and in recent years I’ve gained a bit more agency in choosing projects I take part in. Those elements combined mean that when the right play or project comes along, I’m ready to tackle it. Each project seems to add something new and fantastical to the tapestry that is my experience of the world. Sometimes it’s been very difficult to manage the pressure of being a part of these storytelling teams, and I’ve certainly learned a thing or two and become a little jaded after getting a stung by the beast that is this industry. But when I’m on the tube and a young person taps me on the shoulder to tell me they saw themselves in me up on the stage, I’m reminded of the importance of being seen and doing projects that will mean something to people.
You’ve taken on some brilliant, varied roles throughout your career, what does this one add to your personal and professional journey?
Well, this is the longest time I’ve spent playing someone who aligns with my sexuality on stage and that’s meant a lot to me. Lori expresses what it’s like to experience her sexuality through the intersection of being a black woman and that’s something I have always floated around with in my own life. I never really ‘came out‘ publicly. I mean, who’s asking? But it’s been nice to be a part of something that really feels like it’s utilising a lot of my own life experiences. Flying a spaceship and saving the universe is cool and all but being part of the only lesbian choir in the country definitely takes the win for me.
GETTING TO KNOW YOU …
If not this, then what? Thought about this recently and finally found the thing; I’d be an engineer working on sustainable vehicles and space rockets and cool stuff like that, with the focus being on the sustainable bit.
What’s made you sad, mad, and glad this week? Sad, just the state of things. Mad, London is not equipped for hot weather. Glad, I had a really lovely family day this week and I’m so grateful for that and them.
What are you watching? The US Office for the fourth time.
What are you reading? Screen Deep: How Film and TV can Solve Racism and Save the World. By Ellen E.Jones.
The last film you watched?Finding Dory because my cast mates quote it constantly and I have a brain like a sieve.
The last play you saw? Retrograde (it was excellent).
The last live music event you attended? Beyoncé Cowboy Carter tour.
What’s currently on your music playlist? Rizzle Kicks’ new album: Competition is For Losers.
Which song are you listening to on repeat at the moment? “Dramamine” by Flawed Mangoes (super random but it keeps me super calm on my journey to the theatre)
Which podcast(s) are you currently listening to? The Office Ladies.
What’s on your bucket list? I would like to perform with a flying trapeze troupe. Maybe join a whole circus?
Where’s your happy place? Anywhere she is :).
Celebrate someone else, who’s doing great work right now? Fanta Barrie. She plays Ellie in The Ministry of Lesbian Affairs. She’s a wonderful, clever and very funny person. And, as a performer, so enigmatic and natural that I want to soak up everything she’s doing while I’m on and off stage. She’s brilliant in this play and I want to big her up big time. Gwarn Fantaaaaaaa.
Celebrate yourself …
I started writing recently. Just had an idea and tried it. I’m loving it and super proud of myself for taking the step.
What’s next? Filming season two of Sweetpea later this summer. Very excited.
Where can we find you? I’m on Instagram @leah_harvey.
Where can we see you at work? The Ministry of Lesbian Affairs is playing at the Kiln Theatre until 15th July. Come and join us.