Performer Borris Anthony York talks upcoming Neil LaBute’s ‘America The Beautiful’: “The most valuable voices are the ones that provoke reflection rather than agreement”

Considered one of the most divisive authors in modern theatre, a new collection of his works sets foot on the London stage for the first time, presenting nine different plays performed by a cast of only four actors. Guillermo Nazara chats with one of its leads to learn more about the show’s development, its brutal topics, and how it will demand audiences to look alive.

How does it feel to be part of such an ambitious performative project?

It feels incredibly exciting. What drew me to the project immediately was its scale and its bravery — both structurally and emotionally. You’re asking an audience to engage with nine completely different worlds, and that requires a real sense of trust between the performers and the audience. It feels less like presenting a single play and more like inviting people into a living conversation about human behaviour.

Nine plays to be interpreted by a cast of four. Is it as daunting as it sounds?

It definitely sounds daunting on paper- and at times, it is -but it’s also incredibly energising. The challenge becomes the joy of it. As actors, we have to shift gears constantly, which keeps us extremely present. There’s no autopilot. Each piece demands its own rhythm, psychology, and emotional temperature, so the work stays alive every night.

From plots involving brutal murders to drawing models turning the tables, the show will feature a broad variety of roles and topics. How do you manage to encompass such a wide range of characters in such a short time span?

For me, it starts with action rather than transformation. Instead of trying to “put on” different characters, I focus on what each person wants and what they’re doing to get it. Once the intention is clear, the physicality and voice tend to follow naturally. The key is specificity — allowing each character’s point of view to be fully lived rather than externally indicated.

LaBute has been described as one of the most challenging, divisive, iconic voices in theatre. Personally, in what aspects of his work do you find those traits?

LaBute refuses comfort. His work often asks audiences to confront behaviour they might prefer to distance themselves from, and he rarely offers moral reassurance. The characters are recognisably human- flawed, contradictory, sometimes unsettling -and that ambiguity can feel provocative. That willingness to sit inside discomfort is what makes the work so compelling.

Are defying, divisive voices the worthiest listening to?

I think the most valuable voices are the ones that provoke reflection rather than agreement. Theatre at its best expands empathy and challenges certainty. Divisive work can be incredibly important because it forces us to question our assumptions — not necessarily to change our minds, but to examine why we hold them.

As a performer, what other particular challenges have you faced in this production?

The biggest challenge has been stamina — emotional, mental, and physical. Moving between radically different stories within a single evening requires clarity and discipline. You have to fully commit to each world while letting the previous one go instantly. It’s a real exercise in presence.

Are there any highlights in the show that you’d like to flag?

Without giving too much away, one of the highlights for me is how unexpectedly the tone shifts throughout the evening. Moments of humour sit right alongside deeply unsettling material, and audiences often find themselves laughing before realising they’re confronting something quite profound. That emotional unpredictability is very exciting.

Why come see America The Beautiful?

Because it’s theatre that invites conversation. The evening doesn’t tell audiences what to think — it asks questions about morality, identity, power, and perception, and trusts viewers to wrestle with those ideas themselves. It’s bold, provocative, and deeply human.

America The Beautiful plays at London’s King’s Head Theatre until 21 March. Tickets are available on the following link.

By Guillermo Nazara