Latvian actress Agnese Jēkabsones is moving away from the Piafa role she previously held, as she now seeks different types of work.
Following her acclaimed performance in the musical Piaf, Jēkabsones is now tackling the harrowing solo role of a sexual assault survivor in the new monodrama Prima Facie.
The transition marks a significant evolution for the Liepāja Theatre star, who is currently navigating a career defined by sharp contrasts between vulnerability and strength. While she prepares for the Spēlmaņu nakts awards ceremony on November 23, her focus remains on the heavy emotional labor required by her latest stage endeavors, as reported by Diena.
Jēkabsones shifts toward dramatic monologues and solo roles
- Career Pivot: Jēkabsones is moving away from musical theater toward gritty, text-heavy dramatic monologues.
- Critical Recognition: She holds a nomination for Best Actress of the 2025/2026 season for her role in Trīs bēres un divas kāzas.
- New Challenge: The monodrama Prima Facie tests her ability to carry a production entirely alone without a stage partner.
From musical stardom to surgical drama
For many performers, the “musical high” is a difficult cycle to break.
The play follows Tessa Ensler, a criminal defense attorney who specializes in sexual assault cases, only to find herself on the other side of the legal system after becoming a victim herself. Here, the “velvet” is replaced by a “surgically white” set that leaves the actress exposed to every audience reaction.
The shift is not merely stylistic; it is a calculated move into high-stakes psychological realism. Jēkabsones noted that the play’s lack of a traditional partner makes the experience “frightening,” as she cannot rely on a colleague to balance the emotional tempo.
The discipline of the Klaipėda school
Jēkabsones attributes her rigorous approach to her training at the University of Klaipėda, part of the celebrated “Klaipėda Course” of 2010. This cohort, which includes actors now entering their forties, is noted for maintaining a youthful energy and a disciplined, no-nonsense work ethic. She emphasizes that her training instilled a belief in the “truth” of the work, a philosophy that dictates her preparation for even the smallest roles.
Mēs gaidām, kad rīt iznāks "Kultūras Diena", jo šoreiz mums tā – ak, cik īpaša! Savukārt Agnese jūs gaida uz savu monoizrādi "Prima Facie" 13., 14. un 22. novembrī! Tava biļete ir te: https://t.co/r6Q2qqsXlq pic.twitter.com/YZlY3G84j5
This discipline was evident in her recent performance as Pepe, a dog in Mārtiņš Freimanis’s production. Despite having no lines, Jēkabsones spent months researching canine perspectives, studying films, and analyzing how animals communicate to create a multi-layered character. She described the role not as a “second-tier” part, but as a dream fulfilled through intense physical and psychological study.
| Production | Role Type | Key Creative | Thematic Focus |
|---|---|---|---|
| Prima Facie | Monodrama (Solo) | Inese Mičule | Legal truth vs. human experience |
| Sunīte Pepe | Non-verbal (Animal) | Mārtiņš Freimanis | Loneliness and human-animal bonds |
| Trīs bēres un divas kāzas | Leading Dramatic | Mārtiņš Eihe | Award-nominated character study |
Breaking the silence of trauma
The motivation behind Prima Facie extends beyond personal artistic growth. Jēkabsones views the play as a tool for social impact, aiming to give voice to women who have historically been pressured into silence or self-blame.
The production also highlights a tension between the legal system and the lived experience of survivors.
As she prepares for the upcoming awards season, the industry is watching to see if this focus on heavy, solo dramatic work will solidify her status as one of the most versatile talents in Baltic theater.
Is the future of high-end theater moving toward these intense, solitary psychological studies, or will the demand for traditional ensemble dynamics keep the “velvet skirts” of musical theater in play?
