Fra Fee’s career so far is characterised by versatility — and he shows no sign of slowing down, sharing he’s “grateful to be able to keep things varied” between acting in both theatre and on-screen roles. With previous credits including Les Misérables, in both its West End production and the screen adaptation, and the Emmy award-winning series Lost Boys and Fairies (2024), his career bridges both worlds of performance. METAL caught up with him on the release of Netflix’s new series Unchosen, where he stars as a troubled young man Sam, to talk about the character’s complexity, the challenges of moving between stage and screen, and what lies ahead for him.
Fee’s career in screen acting began with his role in the film adaptation of Les Misérables (2012), which he was cast in from his time acting in the West End production: since then, he has appeared in a range of projects across TV and film, despite saying that theatre was the only career he ever imagined for himself whilst growing up in a small town in Northern Ireland.
Unchosen, his latest project, is a psychological thriller that drifts through the tensions between faith and desire. Rosie (Molly Windsor) has never known a life beyond the boundaries of a rural cult, based in England, where desire is buried and women are defined by obedience and restraint. After a chance encounter with Sam (Fra Fee), her faith is challenged, as she begins to struggle with feelings of lust and longing: not only for another person, but for a life outside of the confines of her upbringing. However, as Rosie reaches for a life beyond the cult, the boundaries between liberation and control begin to blur.
Perhaps the most compelling element of the series is the complexity of Sam’s character, defined by impulsivity and contradiction. At odds with a cult built on ideals of self-control and simplicity, he cannot be defined as a hero or a villain but rather emerges as a figure shaped by shifting impulses and unresolved trauma. Fee delivers a nuanced performance of Sam, allowing the complications of his character to exist without the need for explanation.
Hi Fra! Now that Unchosen is out in the world, how are you feeling about its release?
It’s incredibly exciting to finally have Unchosen out there. It’s been a while since we wrapped filming, so it’s really rewarding to see audiences now experiencing this truly riveting story.
What was it about the story that made you want to be a part of it?
I was immediately drawn to the show because of its unique setting. Unchosen takes place within a secluded, highly conservative religious community somewhere in England, and I’ve always found worlds like that fascinating — it felt like the perfect ground for a compelling story. Even more than that, I was excited by the role itself. I hadn’t come across a character so brilliantly complex before, and I relished the opportunity to try and figure him out. I’m not sure I ever fully did, he’s such a paradox at times, but that challenge made it all the more satisfying.
Throughout your career, you’ve taken on a wide range of roles across both screen and stage: how did Unchosen challenge you in new ways as an actor?
I think the challenge was specific to this character. While I’ve played dark roles before, villains and antagonists, I felt a real responsibility to understand this complicated young man as fully as I could.
Julie Gearey, our incredible writer, gave me an extensive backstory for Sam, which was invaluable in helping me grasp how and why he behaves the way he does. I also did a lot of research into the impact of childhood trauma, as well as the effects of a long prison sentence on a young person — how someone survives in such a hostile environment, and how that shapes them when they try to re-enter the world and rebuild their life.
Julie Gearey, our incredible writer, gave me an extensive backstory for Sam, which was invaluable in helping me grasp how and why he behaves the way he does. I also did a lot of research into the impact of childhood trauma, as well as the effects of a long prison sentence on a young person — how someone survives in such a hostile environment, and how that shapes them when they try to re-enter the world and rebuild their life.
What’s your favourite part of playing TV roles, and how does that differ from your experience in theatre?
To be honest, growing up, theatre was the only career I ever really imagined for myself. I had no grand plans to pursue screen acting, so it wasn’t until the Les Misérables film that I first found myself on a movie set, and not until Hawkeye that I properly explored the long-form nature of a multi-episode TV series.
In terms of approach, there isn’t a huge difference between preparing for stage and screen, you do as much groundwork as possible and build the character as vividly as you can. It really varies from project to project how much guidance you have along the way. Sometimes you’re working solely from the script and have to fill in the gaps yourself; other times, the writer or director is there to help shape that backstory.
The main difference, I think, is that with screen acting you’re often shooting out of sequence, so you need a very clear sense of the character’s emotional journey and timeline. You have to be able to drop into any given moment of their story. In contrast, telling a story from beginning to end over the course of a single evening on stage can feel more straightforward.
In terms of approach, there isn’t a huge difference between preparing for stage and screen, you do as much groundwork as possible and build the character as vividly as you can. It really varies from project to project how much guidance you have along the way. Sometimes you’re working solely from the script and have to fill in the gaps yourself; other times, the writer or director is there to help shape that backstory.
The main difference, I think, is that with screen acting you’re often shooting out of sequence, so you need a very clear sense of the character’s emotional journey and timeline. You have to be able to drop into any given moment of their story. In contrast, telling a story from beginning to end over the course of a single evening on stage can feel more straightforward.
It’s a really exciting time for you, with your roles in other recent projects such as Rebel Moon as well as Unchosen. How are you balancing everything at the moment? What’s been keeping you grounded through it all?
All is grand, to be honest. I’ve been really fortunate with the timing of my recent projects. It’s been a great mix of screen work and time in the theatre, which I feel very lucky to have experienced. I’ve also had some genuinely lovely downtime. I used to dread the in-between periods, waiting for the phone to ring, as so many actors do. While it can still be challenging at times, I’m getting much better at simply enjoying that space.
I live in the countryside now, having moved out of the city during Covid, and it’s kept my day-to-day life very grounded. It’s a simple, unflashy routine — lots of dog walks, reading, exercising, copious amounts of tea and coffee, and just trying to live well. I’m also very close to my family. They’re based in Ireland, I visit regularly, but we're in touch a lot. I make time to see friends too, many of whom are actors, so I love going to support whatever they’re working on. And staying aware of what’s happening in the world beyond my own, privileged experience keeps me grounded for sure.
I live in the countryside now, having moved out of the city during Covid, and it’s kept my day-to-day life very grounded. It’s a simple, unflashy routine — lots of dog walks, reading, exercising, copious amounts of tea and coffee, and just trying to live well. I’m also very close to my family. They’re based in Ireland, I visit regularly, but we're in touch a lot. I make time to see friends too, many of whom are actors, so I love going to support whatever they’re working on. And staying aware of what’s happening in the world beyond my own, privileged experience keeps me grounded for sure.
Unchosen grapples with some complex themes — faith, power and forgiveness, to name a few. What do you think feels most relevant for viewers right now?
The story of Unchosen exists as a kind of microcosm of wider society. The Fellowship of the Divine is built on a deeply patriarchal structure, where the men at the top hold and exercise extreme power and control.
It doesn’t take much to recognise parallels with mainstream society today. In some ways, it feels even more pronounced now; there are figures openly displaying and even celebrating harmful behaviour, often using their platforms to influence more susceptible young men. Because of that, I think the show’s themes will strongly resonate with a modern audience.
It doesn’t take much to recognise parallels with mainstream society today. In some ways, it feels even more pronounced now; there are figures openly displaying and even celebrating harmful behaviour, often using their platforms to influence more susceptible young men. Because of that, I think the show’s themes will strongly resonate with a modern audience.
The leading characters within the show, including your character, Sam, all struggle with balancing desire and morality. Did that tension change the way you understood your character throughout filming?
I wasn’t actually told exactly what happens between episodes four and six until a few weeks into filming the first block (episodes one to three), so yes there was absolutely an element of discovery.
I think what became clearer to me was the extent to which Sam acts on his suppressed desires in ways that are unpredictable, irrational, and ultimately self-destructive. I already understood why he was in prison, and Julie had provided a really detailed backstory, but it was a realisation to see just how reactive he is and that his time inside hasn’t helped him manage those darker impulses.
I think what became clearer to me was the extent to which Sam acts on his suppressed desires in ways that are unpredictable, irrational, and ultimately self-destructive. I already understood why he was in prison, and Julie had provided a really detailed backstory, but it was a realisation to see just how reactive he is and that his time inside hasn’t helped him manage those darker impulses.
The buzz around Unchosen has initiated discussion about the importance of characters in TV having depth and dimension. Do you think your character Sam reflects this?
100%. Sam’s actions act as a catalyst for the story in many ways, but it would be reductive and unfair to the writing to label him simply as a bad guy or a villain. He’s such a richly complex character, which feels much closer to real human experience. None of us are one-dimensional; we’re all full of contradictions, and it was a real gift to try to unpack this brilliantly complicated man.
That same complexity runs through all the central characters in Unchosen. You have these men of God, portrayed by Christopher Eccleston and Asa Butterfield, who present themselves as virtuous and pure of heart, yet are capable of deeply abhorrent behaviour. Then there’s Siobhan Finneran’s character, who appears stern on the surface but is, in reality, carrying a great deal of hurt and vulnerability.
That same complexity runs through all the central characters in Unchosen. You have these men of God, portrayed by Christopher Eccleston and Asa Butterfield, who present themselves as virtuous and pure of heart, yet are capable of deeply abhorrent behaviour. Then there’s Siobhan Finneran’s character, who appears stern on the surface but is, in reality, carrying a great deal of hurt and vulnerability.
You’ve spoken about your upbringing, growing up Catholic and spending time at an all-boys Catholic grammar school. How did this experience influence the way you approached your role, considering the religious subject matter?
I don’t think it necessarily had a particular impact on my preparation. As Sam says in the show, they weren’t much of a Bible family, so that background didn’t really inform him in a direct way. But I’m certainly acutely aware of the impact deep faith and religion can have on a society, particularly growing up in Northern Ireland, where it created such division between our two communities. I suppose I also sympathised with the members of the Fellowship, who have essentially been brought up and, in many ways, brainwashed with this doctrine from birth.
Some of the more conservative teachings I would have been exposed to as a young boy — around homosexuality, abortion, suicide, and so on — that I had to unlearn for myself, felt very familiar in that sense. But as I said, Sam doesn’t actually come from a world where religion is at the centre of his life, though it was fascinating territory to explore all the same.
Some of the more conservative teachings I would have been exposed to as a young boy — around homosexuality, abortion, suicide, and so on — that I had to unlearn for myself, felt very familiar in that sense. But as I said, Sam doesn’t actually come from a world where religion is at the centre of his life, though it was fascinating territory to explore all the same.
Do you have a scene that was particularly poignant or memorable to film?
There were some particularly delicious bits of writing that were a real joy to tackle. At one point, I had a scene with Christopher Eccleston’s character, Mr Phillips, and I was given a fantastic line: “I’ll pray for you.” I won’t spoil it by saying what the context is! I remember reading that in the script and thinking, oh, that’s going to be fun to do. I was also really excited about the water work; there were a couple of very enjoyable days filming in the water tank at Pinewood Studios.
So, what’s next for you? You’ve built your roots in theatre. Do you feel drawn to go back to it, or are you excited to keep developing your career on screen?
Oh, I’ll always be doing theatre, I don’t think I’d be able to function without it. I start filming a new TV project in Belfast in a few weeks, which will be lovely as I’ll be so close to family, and then I’ll be tackling a new play by Martin Sherman, who famously wrote the extraordinary Bent.
It’s about the iconic Vegas pianist and showman Liberace, who will be played by none other than Simon Russell Beale, and directed by Alan Cumming. I have enormous admiration for both of them, and Martin’s play is something very special, so I’m really looking forward to it. I’m just grateful to be able to keep things varied. No doubt after doing the play I’ll be ready to do something completely different again. We’ll see.
It’s about the iconic Vegas pianist and showman Liberace, who will be played by none other than Simon Russell Beale, and directed by Alan Cumming. I have enormous admiration for both of them, and Martin’s play is something very special, so I’m really looking forward to it. I’m just grateful to be able to keep things varied. No doubt after doing the play I’ll be ready to do something completely different again. We’ll see.
You’ve filmed a major role in Zack Snyder’s upcoming film, The Last Photograph. Having worked with him before on Rebel Moon, what about this project are you most excited about?
Yes, we filmed The Last Photograph at the end of last year. Zack called me out of the blue last May and told me about this film he’d had on his shelf for several decades, and that he finally had an opportunity to go and make it. He asked myself and Stuart Martin — who’s a wonderful Scottish actor and an even better human being — to be his leading men, which was a profound honour.
I have such admiration for Zack. He’s a true artist; his creativity and curiosity are completely infectious, and he’s a fantastic leader. This film is quite a departure for him. He’s known for big, expansive, world-building projects, whereas this is much quieter and more meditative. We shot it in Colombia in South America, so aesthetically it looks and feels exquisite. I’m really excited for it to be released into the world.
I have such admiration for Zack. He’s a true artist; his creativity and curiosity are completely infectious, and he’s a fantastic leader. This film is quite a departure for him. He’s known for big, expansive, world-building projects, whereas this is much quieter and more meditative. We shot it in Colombia in South America, so aesthetically it looks and feels exquisite. I’m really excited for it to be released into the world.
One final question: if audiences could take one thing away from watching Unchosen, what would you want it to be?
I really just want people to be entertained. I don’t think any of us set out to make any particular point with this show — it exists in an utterly intriguing world, populated by these brilliantly fascinating characters, and at its core it’s simply a very good story. I want audiences to be entertained, and I don’t mind if we shock them a little along the way too.
