The world was first introduced to Saoirse-Monica Jackson as the awkward and expressive schoolgirl Erin Quinn in Derry Girls, navigating Troubles-era Northern Ireland and its conflict with the same fervor as her crushes, convent school, and cringe-inducing teenage chaos. The Irish coming-of-ager, created by Lisa McGee, became a cultural phenomenon that transcended time and place. Now, four years after its end, Jackson has reunited with McGee for the zany murder-mystery How to Get to Heaven From Belfast.
In the years since the world said goodbye to Erin and Derry, the Irish actor has cemented herself as a comic force, a deft character actor, and a sharp, swift hand at Chekhov. Last year she made her New York theater debut in Irishtown, a sly and smart off-Broadway comedy about cultural identity; and she played Natasha in Three Sisters at Dublin’s Gaiety Theatre, charting the chilling transformation of a shy, ridiculed woman into a tyrannical head of house. Elsewhere, as Cheryl Crawford in the Liverpool-set “Scouse Sopranos” series This City Is Ours (soon to release its second season), Jackson tells a story of life compromised by power, greed, and ambition; and later this year, she will hit the big screen alongside the late Isiah Whitlock Jr., Stephen Rea, and Aunjanue Ellis-Taylor in Vicky Wight’s The Body is Water.
And then, outside of film, television, and theater, Jackson was the central character of plenty of bridal Pinterest boards after her wedding to Hector Barbour (a.k.a. the Scottish DJ Denis Sulta.), where Derry Girls castmate Jamie O’Connell was among her bridesmaids and she walked down the aisle to the show’s theme, “Dreams” by The Cranberries.
Now back in McGee’s writing, so central to her initial rise, Jackson is embracing that lighter register again with a new sense of perspective. Below, Jackson talks with Vogue about the work and embracing all parts of herself.
Vogue: It’s over a year on, but we have to talk about the cultural impact of your wedding.
Saoirse-Monica Jackson: We really had the time of our lives. I had such a strong vision for everything across the three days, and I was lucky to have people around me—like my wedding planner [Tara Fay] and stylist Kate Bryce—who just speak my language. It’s so funny to see how far it’s traveled. The whole thing felt like a fairytale.
And the sausage?
Honestly, I would have done anything to make sure the day went right. There’s nowhere more beautiful than Ireland in good weather. My sister saw this “ritual” on TikTok about burying a sausage in the ground to guarantee sunshine—it felt mad, and very Irish, so we just went with it. We still haven’t had our honeymoon—we’re going to the Caribbean after this—because we went straight back to work after the wedding.
You’re back filming Season 2 of This City Is Ours in your adopted hometown, Liverpool. How’s that been?
I leave straight after tonight’s screening to go back to set tomorrow morning. After the year I’ve had, it’s lovely to return to something familiar, but it feels even bigger this time. The scripts are so exciting—the stakes are higher, the jeopardy really ramps up. It has a real Sopranos feeling. I love playing my character Cheryl Crawford. She’s strong, determined, raw—such a gift of a role. And I get to have a great time on set, then go home, cook in my own kitchen, and sleep in my own bed.
Quite rare for an actor!
I need some form of control. When you’re working constantly, the hours don’t belong to you. So I hold on to small things—meal-prepping, knowing what I’m eating, skincare, a Pilates class. Those little anchors make a huge difference.
You’ve had the rare chance to live with characters over multiple seasons, from Erin to Cheryl. What has that brought out in you?
It creates a real intensity. I was 24, just out of drama school, doing a sales job I was terrible at when I got Derry Girls. That kind of longevity lets you grow with a character. And getting Cheryl has been a true gift. I wanted the role so badly from the first audition. She has this foresight and maturity, but people are split on her—some think she’s unhinged, others connect with her honesty. I find that fascinating, how people interpret a character’s pain. In the second series, she’s more centered, more determined. And I just love playing a Scouse woman.
Do you have a happy place between theater, film, or TV?
That’s hard. Theater has this immediacy and shared experience that feels really special—especially now, when people can live quite separate lives. Being part of that communal moment is electric. And once it’s done, it’s done—no one can change it. But I also love TV for its longevity—so many people contributing to one big tapestry.
I spoke to Denise Gough recently, and she described how each medium gives her something different when she needs it most, but theater’s ability to evolve and change shape over the course of a run is particularly special.
She’s one of my favorite actresses. I think I always leave the stage a better actor. You build in real time—you see what works and what doesn’t. The experience itself becomes as important as the story. Seeing Denise in People, Places & Things was life-changing for me as a younger actress. She’s so specific with her words, so powerful—just incredible.
Have you seen any good theater lately?
Not as much as I’d like, but Hector and I saw Hadestown just after Christmas, which was so much fun. During the Dublin Theatre Festival, I saw some amazing work—Eileen Walsh in The Boy at The Abbey was phenomenal. And there was a beautiful production of Hamlet performed by actors with Down syndrome.
You’ve reunited with Lisa McGee for How to Get To Heaven From Belfast. That must have been special.
I was so honored. I didn’t even need to read the scripts—I said yes to Lisa straight away. She was describing it over the phone and I honestly zoned out because I was just so excited to work with her again.
She has such a distinctive voice and an amazing, wonderful, crazy, hilarious mind. When we were doing Derry Girls, she’d reference old mysteries, or Murder, She Wrote, blending that tone with a higher state of comedy. This show just feels really fresh. It’s very female-led, very Irish, and at its heart it’s about friendship—what people are willing to do for each other, where boundaries lie, how those bonds evolve, what that does to your own identity and values. It’s also completely wacky and joyful. No one balances those tones like Lisa.
And your character?
As always, she’s… intense.
Looking ahead, what do you want from your next roles?
I’d love to keep doing theater. It really suits where I am right now. Doing Chekhov—Three Sisters in Dublin—felt like the right challenge. Natasha is such a fantastic role: ambitious, driven, complex.
I feel lucky to move between comedy and drama. After Derry Girls, I worried about being boxed in. I thought: Okay, now it’s time for the serious stuff. But actually, embracing the full spectrum has been the best thing for me. I love making people laugh, but I also grow in parts that reflect the trauma, pain, and the pressures my generation is facing right now in the world. For me, those things can exist in the same breath.
This conversation has been edited and condensed.
