When “Adolescence” quietly premiered on streaming earlier this year, few could have predicted the cultural wave it would set off. With its unconventional four-episode structure and emotionally devastating long-take format, the Stephen Graham and Jack Thorne-created drama quickly became one of the most talked-about series of the year. Anchored by a quietly blistering performance from Graham and bolstered by a remarkable ensemble of new and established talent, “Adolescence” upended expectations—and shot to the top of streaming charts.
For all its creative risks, the series’ emotional spine rests largely on the shoulders of one previously unknown actor: Owen Cooper, who delivers one of the year’s most unforgettable breakthrough performances as Jamie. That discovery belongs to casting director Shaheen Baig, whose approach to ‘Adolescence’ is a testament to the quiet power of precise casting.
Baig’s reputation as one of the UK’s premier casting directors is well-earned, with credits spanning acclaimed features and television, including “Boiling Point”, “A Thousand Blows”, and numerous collaborations with Warp Films, Plan B, and Jack Thorne. But “Adolescence” posed a unique challenge: a story built on real-time tension, layered trauma, and performances that had to thrive under the unforgiving conditions of long-take filmmaking. “It was almost like casting for a piece of theatre,” Baig tells “Awards Focus”. “We knew the actors had to think on their feet—and sustain that emotion, moment to moment.”
That challenge was especially acute in casting Jamie. Baig led a wide-ranging search across the north of England, turning to street casting, youth clubs, drama groups, and open calls that yielded over 500 self-tapes. In Cooper, who had never acted on screen before, Baig found a rare mix of vulnerability, presence, and emotional stamina. “He just consistently brought an individuality to it,” she shares. “And when it came time to screen test, he could repeat it again and again. That’s extraordinary.”
The risk paid off. In an already stacked ensemble, Cooper’s work in Episode Three—opposite the seasoned Erin Doherty—feels like a star being born in real time. Shot first in the production schedule and featuring only the two of them for over 40 minutes, the episode is an exercise in restraint and rawness. For Baig, watching the final result was deeply moving. “I was really blown away. I knew it was a huge episode, but to come in at that level, with that kind of confidence—it felt fearless.”
Baig’s casting throughout the series runs deep—far beyond Jamie Cooper. She entrusted Christine Tremarco as Manda Miller, Amélie Pease (credited as Lisa Miller) in a key supporting role, and nailed Ashley Walters’ portrayal of DI Luke Bascombe. But the breakout star is Owen Cooper, whom Baig spotted through Drama MOB and Articulate Drama School in Bradford. What could have been a routine casting credit instead feels like a defining moment—an act of true talent-spotting and confidence in underrepresented performers.
Shaheen Baig spoke to “Awards Focus” about the process of casting “Adolescence”, the search for Owen Cooper, and what it takes to make space for young actors to shine under extraordinary pressure.
Awards Focus: “Adolescence” arrived with almost no pre-release buzz—and then suddenly it was the number one show on Netflix, with viewers binging all four episodes in one sitting. The casting has been one of the most talked-about aspects. Given the scale and sensitivity of the material, how did you first come onto the project, and what convinced you it was something you wanted to take on?
Shaheen Baig: I have worked with various people involved in “Adolescence” before. I recently worked with Phil on the television series of “Boiling Point.” I’ve been working with Warp Films for years. I worked with Matriarch on “A Thousand Blows” for Disney, and I had also worked with Plan B a number of times. I’d worked with Jack Thorne for years on and off on different productions. So I already had a relationship with lots of different people on the production. They approached me quite early and we discussed the nature of the show. Obviously, it was an unusual way to shoot, and I was brought on fairly early to start the search for the role of Jamie. We knew that was going to be a search, and there were other young people in the story, too, so we had to start early. At that point, only Stephen was attached to play the dad—that was it.
AF: You mentioned the show’s unique shooting style. How did the one-shot format shape your casting process? Beyond the role of Jamie, were there specific traits or experiences you prioritized in auditions?
Baig: Yeah. I mean, we had extraordinary scripts, but I knew that on the day there might be some improvisation, just because of the nature of the shoot. We needed actors that were entirely comfortable with improvisation—not all actors are. Some actors are brilliant tacticians, some don’t like improvising. So while this wasn’t an improvised piece, we needed actors confident enough to think on their feet.
Practically, we needed actors available for a rehearsal week, a tech week, and a shoot week. That was non-negotiable. It was almost like casting for a piece of theatre. Normally on a film or TV series, actors come in for a week or two days and then leave. We couldn’t do that here. It’s an ensemble piece and everyone had to be there the whole time. That ruled some people out because of availability.
AF: You mentioned it briefly, but one of the most critical casting choices you made was Owen Cooper as Jamie. How did you discover him, and—assuming he auditioned—what convinced you he could carry the role?
Baig: It was a long process. We went out wide and looked across the north of England—lots of shout-outs, street casting, social media calls. We looked in drama and non-drama places: sports groups, schools, youth clubs. Probably had between 500 and 600 tapes come in. Me, Phil, and Joe, the producer, worked through them.
Owen was someone who had never acted on screen before. He attended a weekly drama group but had no on-screen experience. He was in the first wave of recalls. He consistently showed focus, confidence, individuality. We were lucky to have a small group of boys who were all strong, which is rare. But with the added complication of how we were filming, we had to be sure Jamie could handle the pressure. Owen did an extraordinary screen test and was able to do it again and again. That repetition is rare, especially for someone new.
Awards Focus: Were there any casting decisions that sparked debate or required extra convincing?
Baig: No, we were really well aligned. Everyone—cast and crew—wanted to tell this story truthfully. That unity is rare, and I think it shows on screen.
We got down to five young actors for Jamie, and any of them could have done it differently but successfully. Owen’s screen test stood out, and he could repeat it. We were able to give the other four actors roles in the show—also rare.
AF: Even though you felt confident in casting him, did Owen’s performance end up surprising you?
Baig: Absolutely. We shot Episode Three first, and it was essentially a two-hander between Owen and Erin Doherty. It was a huge episode to start with. When I watched it, I was blown away. To come in at that level was extraordinary. I’m sure he wasn’t fearless, but it appeared that way. Erin is incredible and helped create a safe, confident space. That support contributed to his performance.
AF: It’s such a unique viewing experience. Did Erin’s experience help guide Owen? Did that factor into other casting decisions—surrounding Owen with actors who would support the scenes?
Baig: Yes, we discussed that. Most of the young cast were new to screen acting, so it was important to have patient, supportive actors around them. Erin is a great collaborator and team player. I never worried about her dynamic with Owen. That episode made me cry. I was so proud.
AF: The show deals with youth, identity, trauma—did that affect your approach to diversity and representation in casting?
Baig: Not specifically. I just wanted it to reflect the north of England. Even though it’s not set in a specific place, it’s clearly northern, and many cities in the north are hugely diverse. We weren’t making a bold statement—just aiming for authenticity.
AF: Stephen Graham was the only one attached at the start. Was there ever discussion about someone else playing the dad so he could focus on filmmaking?
Baig: Not that I’m aware of. Stephen is an integral part of this. I love Episode Four too. It may seem simpler, but it’s deeply affecting. The work Stephen, Christine, and Emily do there is incredible.
AF: Christine and Emily were also standouts. What went into casting the rest of the family?
Baig: For Amanda, we had a short list. It was important that Stephen felt comfortable. He and Christine grew up together—they’ve known each other for years. It was a natural fit. Emily came out of the open casting. She had a different energy from Owen—gentle, unassuming, very natural. In Episode Four, so much is happening, and Lisa, her character, ends up being the adult in the room. She holds her own beautifully.
AF: The van scene is so powerful. I also wanted to ask about Ashley Walters—he was brilliant. What was the approach to casting DI Luke Bascombe?
Baig: Ashley is a brilliant, respected actor in England. He doesn’t always get roles like Luke, and everyone felt he’d be amazing. He gives the audience a way into the story. He’s accessible, unpretentious, truthful. You follow his thread of confusion and discovery. He plays it beautifully.
AF: For young actors out there, Owen’s story seems like a dream. What advice do you have for those looking to break into the business?
Baig: If you’re passionate and curious, join a class. Find the best one you can afford. Be around others who love the same thing. That gives you tools and community. Don’t worry about the speed of progress. Watch films and shows. Study how performances evolve. Surround yourself with people who inspire you.
AF: Could the theme of “Adolescence” be repeatable? Any talk of future seasons?
Baig: Not that I know of. I think everyone is just enjoying and digesting what just happened.
AF: Last question—what projects are on the horizon for you?
Baig: I never know what I’m allowed to say! But broadly—a couple of feature films that have wrapped and might release later this year, some going to Cannes, and a number of TV series currently in production. Things are busy, and it feels like the industry here has picked up again.
AF: That’s great to hear. I really appreciate your time—it was a real pleasure to speak with you.
Baig: Thank you so much. Take care!