Toronto-based non-binary performer Noah Lamanna has carved out an impressive acting career over the years, and more work is on the horizon.
Lamanna grew up in Newmarket, Ontario, where they studied theater and the arts. This led to being on Starz’s American Gods and Netflix’s The Umbrella Academy in 2022. The following year, they joined the cast of Star Trek: Strange New Worlds on Paramount+ as Chief Jay and portrayed Jessie on the big screen in Dream Scenario.
They recently appeared on HBO’s zombie drama The Last of Us as Kat and as Tris on the Netflix series Ginny & Georgia.
Noah sat down for a one-on-one interview in Canada about their thriving career and upcoming projects.
Windy City Times: Begin with your background.
Noah Lamanna: I went to school for musical theater many years ago. I did indie theater in the city over the years before moving into film and television.
WCT: Were you born in Toronto?
NL: I was and grew up in a town an hour north of here.
WCT: What is your favorite musical of all time?
NL: Cabaret. The last musical I did was Cabaret and I played Sally Bowles, so I left musicals on a high.
WCT: Was the role a challenge for you?
NL: It was, but it was also fun. There is not a lot in life that lives up to performing “Mein Herr” live.
WCT: I read you worked with puppets.
NL: Yes, I was a professional puppeteer for a while. It was a funny thing to fall into. I worked in schools and did marionettes for a little bit.
WCT: Do you still perform in drag?
NL: I occasionally still do drag. I had a heavy stint in 2019, which I think a lot of people do in terms of gender exploration. I was doing it until the pandemic hit and hated making video performances instead of performing live, so I stopped.
I don’t have the nightlife hustle and drag shows start so late at night. If I were going to jump in again, it would be for a one-person drag show where I could set the hours.
WCT: That sounds similar to the hours for stand-up comedy.
NL: I am not a party queen and my drag isn’t fun. It’s either theatrical or political. The audience has to pay attention to the story beats. No one is paying me to perform Chappell Roan and I don’t liven up the party. My drag is not marketable or commercial, so it doesn’t play well at a bar.
WCT: What is the LGBTQ+ scene like in Toronto?
NL: It is one of the gayest cities in the world statistically. It is thriving and diverse. Have you been here before?
WCT: I have covered Toronto’s World Pride in the past.
NL: Oh fun. I was there and I stayed for the whole five-hour parade.
WCT: How did you build the career you have today?
NL: After I did musical theater right out of school, I got an agent. I did some small commercials here and there.
Things petered out and I left the industry for a while. My friend who cast me in my early musicals called me to ask if I would join his new agency. I had nothing to lose so I he became my rep. I did one gig at a time and now I have been fortunate that things have picked up in a sustainable way.
WCT: What project felt like the first big break for you?
NL: Let the Right One In at Berkeley Repertory Theatre, working with John Tiffany, felt significant. That was the first time I was paid to do theater and it was my first gig in the States. I was flown out to make a show that was both crazy and fun.
WCT: Did you see zombies while on the set of The Last of Us?
NL: I saw a few, but no live ones, just dead ones. I had one scene with an eviscerated bear carcass, which was very realistic.
The art on the show is incredible. They built an entire town that came to life before my very eyes when I was sitting on a horse. The scale of the artistry was impeccable. Even when I watched it, I was so shocked at what I saw.
The second episode of this season was relentless and it never stops. There was so much happening and I don’t know how they pulled it all off.
WCT: The second season of The Last of Us was queerer than the first season.
NL: Yes, and I am glad to have played a part in the representation.
WCT: Were people respectful of pronouns on the set?
NL: Yes, and there were many queer people on set.
WCT: What was your experience being in the A24 film Dream Scenario?
NL: It was cool watching Nicolas Cage work. He is so talented. In the first scene, when he gives a lecture about the zebras, every single take was pitch-perfect. He never stumbled and didn’t drop a line. It was funny and nuanced in different ways every single time. That is how to do this job.
WCT: Sounds like you learned from him.
NL: Yes and he was very professional. He was always prepared and constantly delivered.
WCT: Did you spend time with him away from work?
NL: No. He was whisked away by his handler to his own space. He was very polite and professional, but was not there to chat. He introduces himself, does the scene and goes away.
WCT: That boundary makes sense to me.
NL: I am sure people have many annoying questions for him. It must be hard to be Nicolas Cage around the public.
WCT: How would you describe your time on The Umbrella Academy?
NL: It was a whirlwind, and I was there for only one day of filming. I had a chaotic day when I was shooting it, but Elliot Page was really cool. Some stuff went down, and he stood up for me. He rallied for me and that meant a lot because he doesn’t know me. He’s a good Canadian boy from the East Coast.
WCT: That’s good to hear. Do you have a favorite Canadian singer?
NL: Hawksley Workman.
WCT: I will check him out. I see his music was featured on Queer As Folk. What are you working on next?
NL: I am producing something of my own right now. It has been a fascinating and slow process. It has been sitting on the shelf for a long time. I don’t have funding for it, but I am pushing through to get it done. I am taking it one step at a time and figuring it out. I am very excited about it.