By Ikaros Kyriakou
Alex Lykos is one of the most active and creative representatives of the Greek Australian artistic scene, with a significant career in both theatre and film. With a multifaceted presence as a writer, director, and actor, he has managed to shape a distinctive artistic identity.
He is the creator of the highly successful stage series Alex & Eve, which includes productions such as Alex & Eve, The Wedding, The Baby, and The Complete Story. These performances were met with great acclaim, attracting more than 40,000 audience members across Australia.
The success of the series led to its adaptation for the big screen, with Lykos himself adapting and co-producing the film Alex & Eve, which premiered in cinemas in 2015. This work contributed to his broader recognition beyond the theatre world.
His cinematic journey continued with Me & My Left Brain, released in Australian cinemas in 2019. The film was screened at eight international film festivals and secured distribution in 23 countries, demonstrating the global appeal of his work.
His most recent film, Disconnect Me, achieved notable distinction as the only Australian production pre-selected for the Venice International Film Festival in 2023. This achievement further strengthened his standing in the international film industry.
The same film had its US premiere at the prestigious Santa Barbara International Film Festival in 2024 and is now streaming worldwide, expanding the reach of his audience.
In theatre, Lykos has written, directed, and performed in ten stage productions. Among them are Better Man, It’s War, A Long Night, The Negotiating Table, and Australia’s Game The Musical, all reflecting the thematic and stylistic diversity of his work.
A special place in his body of work is held by his one-man show Jawbone, through which he highlighted the power of personal storytelling on stage. This production reaffirmed his ability to combine personal expression with theatrical intensity.
More recently, Lykos presented the stand-up comedy show Neanderthal at the Sydney Comedy Festival in 2025, which was so successful that it returned for the 2026 festival, showcasing his versatility in the field of comedy.
Today, he continues his creative journey, currently working on adapting I Zoi Etho Telioni (Life Ends Here) for the big screen. With a steady presence and continuous evolution, Lykos confirms his role as one of the most important contemporary creators of the Greek diaspora.
In an interview with The Greek Herald, Lykos describes the premiere of Alex & Eve as the defining turning point in his career. As he reveals, before the curtain even rose, rehearsals had gone so badly that he had discouraged friends and acquaintances from attending. However, within the first minutes of the premiere, the audience’s laughter completely changed the atmosphere. That moment, when he realised his work resonated with the audience, proved pivotal, giving him his first real confidence as a creator.
At the same time, he emphasises that his work is not limited to personal experiences, but is also inspired by observing human behaviour and the dynamics of a multicultural society. His stories may begin from personal experiences, but they evolve into broader narrative worlds that allow audiences to connect. For him, cultural diversity is not merely part of his identity, but an endless source of inspiration that organically fuels his storytelling.
From the stage productions of the Alex & Eve series to international film successes, what do you consider the defining turning point in your career?
I would say the debut of the stage play Alex & Eve was a significant turning point. At the time, I was an inexperienced writer and had no idea whether I could write or whether I would even pursue a career as a writer. During the premiere, rehearsals had gone so badly that I told everyone I had invited not to come, because I thought the play was terrible. About 20 minutes into the performance, the audience had started laughing at certain moments.
I stepped backstage briefly, and one of the actors said to me, ‘They really like it.’ I will never forget that moment. By the end of the show, I had gained some confidence that what I had to say resonated with the audience. I began to believe in myself as a writer/creator.
Your work often bridges different cultures. How conscious is this choice, and how much does it reflect your personal experience?
I like observing human behaviour. I’m fascinated by how people act and react, especially in difficult situations. There’s no doubt that the seeds of my work come from personal experiences, but I don’t limit myself to them — that would be boring and self-indulgent. I use them as a starting point to create a fictional world that audiences can relate to. We live in a multicultural society, and our cultural diversity organically feeds many of the stories I tell.
Your film Disconnect Me being selected for the Venice Film Festival is a major achievement. What does that recognition mean to you as a creator?
Out of all the Australian films made that year, ours was the only one pre-selected. I was stunned when I heard the news. Disconnect Me was made on a small budget. I didn’t want to create a typical documentary that was dry and overloaded with information. I felt that if I wanted it to resonate with audiences — especially younger viewers who I knew might be hesitant — it needed to be entertaining, slightly unconventional, and to break some rules, so I experimented with many cinematic techniques. A low budget gives you the freedom to be more experimental, whereas a big production often requires you to be more conventional, creatively speaking.
That recognition gave me confidence, which is extremely important. I put my soul into every project, and there’s always the fear that audiences won’t love it or connect with it. But when recognition comes, you begin to trust your creative choices more, especially when they become bolder. Additionally, your collaborators trust your vision more and follow you on the creative journey, even when they have doubts. So recognition helps enormously.”
How different is the creative process between theatre and film? Where do you feel more free?
It’s a complex question and difficult to answer briefly. Simply put, theatre is primarily based on dialogue. There is, of course, room for storytelling through movement, music, lighting, and sound — something we do in Life Ends Here — but dialogue remains the foundation. There are also limitations, such as a smaller cast, but these limitations can become advantages because they push you to be more creative.
In film, imagination can expand without limits, but that can also lead to a lack of clarity if you’re not careful.
I love both mediums for different reasons. The common element is telling a good story that resonates with audiences. At the moment, I am also preparing a stand-up show, which is a completely different form of storytelling.”
Your works combine humour with social commentary. How difficult is it to balance entertainment with reflection?
It’s demanding. I’m always interested in finding light within darkness. In difficult moments in life, a small humorous element can relieve intense emotions. I try not to be didactic, but to suggest and provoke thought. To achieve this, I show my work to experienced writers before actors see it, so I can avoid that trap.
The title of your latest work Life Ends Here is emotionally charged. What is the core idea or feeling you want to convey?
My father passed away a little over two years ago. Last July, I was listening to some CDs from his car, and one song deeply moved me. It made me think of my father, and I broke down in tears. At that moment, I realised I had to tell this story — and that’s how the title was born.
I wanted to honour the migrants of the 1950s and ’60s, but also explore the theme of parental acceptance. Did my father leave proud of me? It’s a question that concerns many people.
I was also interested in the idea of ‘light’ — both our physical and emotional light — and the paradox that sometimes something must fade in order for something else to reignite.”
Is this a more personal or social work?
It’s my most personal work. Creating it was a deeply emotional but also cathartic experience. The audience response has been overwhelming, and many people have shared touching messages with me.
We see a more mature and dramatic direction. Is this a new artistic phase for you?
I hope so. As I grow older, I become more reflective and see the world in more complex ways, searching for answers to existential questions.
You are preparing a film adaptation. What should we expect?
We are in the early stages. In the film, I will be able to expand the story, delve deeper into family relationships, and create a more layered narrative, with greater emphasis on visual storytelling.
What is your next big step?
“We are at the beginning of this project’s journey. We are planning more performances, a tour across Australia and possibly the US, while also working on the film adaptation. At the same time, I am developing a new film project titled The Lady Echidnas.
