A Q&A With Aliyah Mastin

photography TJ BAKER / @tjbakerstudio, Makeup DANIELLE MITCHELL / @makeupby_danielle, Hair KARRIS REEVES-ROBINSON / @thecollectivesalonatl

Aliyah Mastin doesn’t just portray characters—she brings history to life, reimagines the future, and uses her voice to bridge the space between art and activism. From her powerful embodiment of Phyllis Wheatley in Stamped From The Beginning to her emotionally complex role as Presley Collins in Paradise, Mastin approaches every performance with intentionality and grace. In this conversation, the Broadway alum turned screen standout reflects on the roles that have shaped her, the stories that drive her, and the impact of creating art with purpose in a world that’s constantly shifting.

If you could have a conversation with any character you've portrayed, what advice would you give them, and what would you hope to learn from them?

It would have to be Phyllis Wheatley, the first African American woman to publish a book of poems, whom I embody in Stamped From The Beginning. Wheatley persevered through immense hardship, and I’m certain there were times when she wanted to give up—yet she still beat the odds. I’m sure she could offer me far more profound advice than I could give her, but I’d tell her that because of her determination, her story has become a source of encouragement for women everywhere. We now use her legacy to inspire ourselves and those around us. But for Wheatley, who didn’t have that same external encouragement, how did she self-motivate and rebuild herself after facing so many obstacles meant to break her down?

In Paradise, Presley Collins navigates a complex world beneath the surface. How do you think Presley would perceive the world above ground, and what parallels do you draw between her environment and today's society?

I believe Paradise presents a few plausible outcomes that could very well happen today—if they aren’t already. The show explores themes of power, climate change, and autocracy, which, in many ways, mirror our present reality, just reframed. I don’t think Presley would see her world as drastically different from today’s society, except that hers is more calculated in how it fabricates and controls information. Ultimately, both worlds serve only a certain class of people.

Portraying Phyllis Wheatley, America's first published African American poet, in Stamped From The Beginning, how did embodying her story influence your perspective on art and activism?

I think Phyllis Wheatley embodies both art and activism. Not only was she an artist who shared her work with the world, but her story and struggles are essential for artists—especially artists of color—to understand. Playing her has reinforced for me that persistence is truly key.

Having started your career as Young Nala in The Lion King on Broadway, how has your approach to embodying characters evolved from stage to screen?

When I joined The Lion King, I had no idea I’d be working with puppets, climbing seven-foot sets, and singing in tight, fragile, beaded corsets—but I wouldn’t have wanted my introduction to performing to be anywhere else. One of the greatest lessons it taught me was the importance of adaptability and always being ready for anything. Taking care of my body, keeping it warm, and ensuring it’s comfortable is vital. Stage and screen are very different, but this practice is essential for both. With each new project, whether on screen or stage, I discover new ways to show up braver and more confident.

If you could choose any historical figure to guest star in Paradise, who would it be, and how do you envision their storyline intertwining with Presley's journey?

Though I’m not entirely sure she’s considered a historical figure, Octavia E. Butler, the brilliant author, would be my pick. I imagine her as Presley’s teacher—someone Presley could confide in. Her novel Parable of the Sower promotes female leadership and rebellion in a collapsing society, themes that I think would deeply resonate with Presley and influence her journey.

Imagine Presley Collins had a playlist to navigate her life in Paradise. What three songs would be essential tracks, and why?

"So Far Away" – Carole King

“Doesn’t anybody stay in one place anymore?” This lyric perfectly captures Presley’s sense of loss. Her mother, Uncle Billy, and now her father—the three people she trusted most—are all gone, and I can only imagine how tough that is for someone her age.

"Running Up That Hill" – Kate Bush

“I’d make a deal with God, and I’d get him to swap our places.” I’m sure Xavier feels that way about Teri, wishing it had been him instead of her. Since that wasn’t the case, he’s doing everything he can to bring her back. This song could serve as a reminder to Presley of her parents’ love and her father’s determination.

"Another Day in Paradise" – Phil Collins

The title alone makes it a fitting choice, but the song’s themes of struggle and perspective align with Paradise’s narrative.

In an alternate universe where you were not an actress, what career path do you think you'd be pursuing, and how might that profession fulfill your creative passions?

I could absolutely see myself following a similar path to Lin-Manuel Miranda or Julie Taymor—writing and directing for film and Broadway. I could even dive into costume design, puppetry, or stage production. Exploring all facets of the creative and performing arts industry would still fulfill my artistic passions. I simply adore the art and the process of creating it.

Reflecting on your time with Broadway Kids Against Bullying, how has advocacy through art shaped your choices in roles and projects?

Broadway Kids Against Bullying was a song I and other young Broadway actors performed to advocate for inclusion and anti-bullying efforts. When I think of “advocacy through art,” I think of work that reflects the times—something that is crucial in today’s world. I once saw a post online that said:

"Ask yourself: Who writes these stories? Who benefits from these stories? Who is missing from these stories? And are these stories true?"

I keep these questions in mind when choosing roles and projects. They not only influence my career decisions but also encourage me to speak up, share knowledge, and advocate for authenticity in representation.

If you could direct a crossover episode between Paradise and any other television series, which one would you choose, and what would be the central plot?

A crossover with The Last of Us would be interesting—though I feel like the people of Paradise have already been through enough, and adding zombies to the mix might be a bit much! Maybe Joel, while being chased by zombies, stumbles upon the bunker and manages to sneak inside. He decides to stay and live among the citizens undercover, only to later attempt to leave and bring his loved ones to safety. In doing so, he accidentally leads zombies into the bunker, forcing the citizens of Paradise to evacuate. Then again, Jane would probably snipe nearly every single zombie with ease, so maybe that’s too easy.

What personal memento or ritual do you rely on to ground yourself amidst the dynamic and often unpredictable nature of the entertainment industry?

The unpredictability of this industry is actually what helps keep me grounded. It reminds me to always remain a student. Some years, my career might have momentum; other years, the metronome might slow down a bit. But neither outcome should stop me from learning and growing. This mindset also gives me grace, allowing me to be okay with making mistakes or struggling with something at first. I’m constantly working on not being afraid to be seen trying.

For Aliyah Mastin, storytelling is more than performance—it’s preservation, rebellion, and reflection. Whether she’s channeling the resilience of Phyllis Wheatley or navigating dystopian truths as Presley Collins, her work consistently challenges expectations and champions authenticity. As she continues to evolve as an artist and advocate, one thing is clear: Aliyah isn’t just acting in stories—she’s telling them with heart, history, and a vision for what’s possible.