British South Asian actor Karen Johal shares her first-hand account of working as a co-star on Netflix’s The Diplomat.
Karen Johal is best known for playing Nicole Shelley in the Emmy Award-winning Apple TV+ series Ted Lasso. As graduate of The American Academy of Dramatic Arts in New York, she began building her career with off-Broadway work including The Public Theater’s production of Julius Caesar as part of Shakespeare in the Park, The Journey to America at Carnegie Hall and Charly Clive’s Camel.
She can be seen in the first two seasons of the BBC drama Phoenix Rise, playing the recurring role of ‘Noreen Khan’. Her further screen work includes the MTV short film The Waves, directed by BAFTA Award-winning filmmaker Sindha Agha, Frank’s Plan for Amazon Prime and the award-winning psychological thriller Man on the Phone. Most recently, Karen filmed a role in the upcoming fourth season of Netflix’s The Diplomat.
In this article, Karen shares the practical realities of working on a large-scale production, filming scenes with Keri Russell and how her experience working in television, film and theatre helped prepare her for the role.
From the Audition to Booking the Role
The audition for The Diplomat was via self-tape. I didn’t have a lot of time, but luckily I knew the show already, so I could prepare with the tone and premise in mind. By the time I got through to the callback, the level of consistency I needed had naturally transpired. I met with showrunner Deborah Cahn and director Alex Graves via Zoom.
Then about a week later, I was told that I was very close to booking the role, but my casting had to be approved by the executives at Netflix. Which is the thing about such a large production: even for a co-star, everything is carefully considered and you never really know what could happen until you’re signing a contract.
Preparing for a Co-Star Role
When I got the script, it was for a very short scene, set at Windsor Castle, where Keri Russell’s character is making her way through its opulent halls. It was deceptively simple, but with a show like The Diplomat, detail and precision are everything. So I knew that I had to do my research. The staff at Windsor Castle undergo extensive training. They look so regal and carry themselves with a quiet authority. So physicality was really important.
When I met with costume designer Jenny Gering, I knew that the uniform would not only be pristine, but it would provide so much of the character’s physical world. The Windsor Castle staff always look kempt, so that gave me so much information about who the character was. She takes pride in her appearance, because it’s intrinsically linked to her life’s work.
Arriving on a Major Set
When I arrived, I had no notion of what a Netflix set would be like, even working on a show like Ted Lasso. There are so many moving parts to the process of filming that the scale of The Diplomat can’t really be felt until it’s all put together and on the screen. What I will say is that so much of what makes a major set run like a well-oiled machine is the crew. From the production coordinator, the 1st and 2nd ADs, to the runners. Everyone made sure I knew exactly what to expect, and that I was where I needed to be, at the right time.
By the time I was in hair and make-up, I had already met Allison Janney and Nanah Mensah. We talked about the show The Hunting Wives over our morning coffees. The unremarkable truth about arriving on a major set is that it can feel like any other job. The moments when I caught myself being awe-struck made me realise how lucky I am that this job is mine. When you see the show, the sets really remind you of how grandiose The Diplomat is. Where else could a high-stakes, high-drama show like this be filmed but between Steiner Studios in New York, Italy and Lancaster House?
Working With an Established Cast
I have experience working with an already established cast; with Ted Lasso, I joined the show in series 3. But the wonderful thing about a cast that has built rapport and comfort over a longer period of time is that they have a warm, inviting nature. I was folded into the mix, sort of like when you integrate new Christmas gifts into your belongings.
After I wrapped my scenes with Keri Russell, she thanked me. She stayed so present with me, working out the blocking and it felt so collaborative. I knew that I had to scope out how things operated, maybe observe and just be ready to contribute when the occasion arises. Everything moves so fast on a set like The Diplomat and the cast have already had the time to get to know each other and learn each other’s working habits.
What made my job easier was that the cast was so open and welcoming. I remember meeting Rufus Sewell while we were travelling over to set and even though we didn’t have any scenes together, he took the time to introduce himself. It was in these moments that I felt like I didn’t have to try and become a part of the furniture.
What a Co-Star Actually Does
A co-star usually only has between 1-5 lines of dialogue and even though the level of preparation on the surface might seem minimal. A co-star can help establish the world of the show. My role as Windsor Castle staff didn’t necessarily move the plot along or affect Kate Wyler’s emotional arc during that episode. But writers have thought about the purpose of each character, no matter how many lines they have and so my job is to bring that to life. Finding the right balance between efficiency and authenticity, without overplaying the moment.
What the show does so brilliantly is build this visual feast. You can see it in every scene, especially with Allison Janney’s character, ‘President Grace Penn’. In reality, the president would be surrounded by Secret Service agents at all times. If you didn’t see them in the show, it would undermine the world that Deborah Cahn has created. So the key thing to remember about what a co-star does is shape the image of the show, upholding the authenticity. Every supporting artist you’ll see in Season 4 is committed to the work, which is what makes the show so brilliant.
The Reality of Filming
A typical day on set for me involved a very early call time… on my birthday! I was driven to the studios in North London. Once I had breakfast and got set up in my trailer – along with all my cards and gifts – I was taken straight to hair and makeup. Everything ran so swiftly, but getting into the costume was probably the longest part of getting ready.
The uniform was historically accurate: a tailcoat, shirt and tie, lace-up shoes, and a waistcoat with gold buttons. I also had the honour of wearing a real Royal Victorian Medal. It belonged to a Leading Palace Attendant, who had kindly borrowed it out to the props department. The award is for Personal Distinguished Service to the Sovereign or Members of the Royal Family. Getting to wear that was a very cool part of my job.
Shoot days can be long, and what I learned from Ted Lasso and working for the BBC is to develop a good, repeatable routine. Stay hydrated, get fresh air whenever you can, measure your caffeine intake and plan for the afternoon slump, especially after lunch when everyone starts to feel a little tired. At Lancaster House, they have these gorgeous gardens that overlook Green Park. So I took walks throughout the day, coffee in hand, absorbing the Spring sunshine.
What I Learned From Working on ‘The Diplomat’
What I learned honestly came from watching Keri Russell work. She set the standard right from the start, even when she worked through the blocking of the scenes. There is urgency to Kate’s physicality, which Keri was just able to inhabit as soon as the cameras were rolling. The application of technique, to take a simple walk and express the characters’ inner world.
Working with Alex Graves too was incredibly educational, even in scenes that from the outside might not feel imperative to the story. He was so dedicated; he’s been directing the show for years and I could see that so much of what The Diplomat is and has become is because of his vision and his work ethic on set.
Each time I step onto a set, I go back to drama school. I do my character preparation, I show up on time and I try to stay in an open mindset to learn and apply the techniques. There is no ‘getting it right’ or doing it the ‘correct’ way – which I think can be difficult to retain when you arrive on a Netflix set, but even with a show like The Diplomat, it’s creative at its core.
Creativity is exploration; you don’t know where it will take you. That is what I want to remind myself of throughout my career. I’ll never know what direction it’ll take, what opportunities I might get, but honing the craft of acting remains at the heart of everything I do.
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