Jon Mykul Bowen’s journey to becoming an actor wasn’t a straight path—it was one filled with unexpected twists, deep self-discovery, and a relentless pursuit of his passion. Hailing from Holder’s Hill, Barbados, Bowen initially set his sights on the sciences, studying Physics, Chemistry, Mathematics, and Biology. But life had other plans.
During his first year of secondary school, a personal loss left him feeling isolated and deeply affected. In search of a way to heal, he turned to his school’s drama club, a decision that would ultimately change his life. “I was extremely depressed and lonely, but through acting, I found a way to connect with people again,” he recalls. “Since then, I’ve taken to it so closely because, to me, it’s transformative.”
Growing up in Barbados, Bowen was shaped by the country’s strong sense of discipline and pride in excellence, qualities that would later set him apart in the acting world. However, like many aspiring artists, he faced the societal stigma of pursuing a career in the arts. “At first, it helped a lot—we are a very disciplined people,” he explains. “But there was also this idea that a career in the arts wasn’t a ‘real’ option. I had to work around that and remind myself that I am just as deserving of success in this field.”
Despite initial skepticism from his family, Bowen’s talent and determination eventually won them over. His involvement with Operation Triple Threat (OTT) , a renowned performing arts program in Barbados, played a crucial role in gaining their support. “At first, I had to do a lot of convincing and planning to show them I was serious,” he says. “But once I joined OTT, they were at every show. When I got accepted into the American Academy of Dramatic Arts (AADA), they helped me every step of the way.”
Shifting his career path from Forensic Science to Acting at the last possible moment, Bowen auditioned for top conservatory schools, determined to receive the best training. His connection to AADA was serendipitous—while in OTT, he attended a workshop with an AADA instructor. Inspired by the experience and the success of two OTT alumni who had trained there, he decided to audition.
Studying at AADA in New York was a turning point. “Before, my acting was based on what other people wanted from me,” he reflects. “But at AADA, I learned to listen, to breathe, to be present. You don’t perform in front of a general audience until your graduation play, which meant I could focus on the craft without the pressure of performing.”
One of his most profound lessons came during a Voice & Speech class in his second year. After delivering a monologue he thought was strong, his teacher asked, “Are you enjoying the work?” His honest answer— “I don’t know.” That moment shifted his entire approach to acting. “In Barbados, we are so focused on education and being ‘good’ at things,” he explains. “I had to learn that acting wasn’t just about skill—it was about allowing the work to affect me.”
His final AADA production, Everybody by Branden Jacob-Jenkins, directed by Ryan Quinn, was a standout experience. Playing Stuff , a representation of material wealth, was a role that deeply resonated with him. “To have people say it was one of the best theater productions they had ever seen—it gave me so much hope before stepping into the real world,” he shares. Bowen’s time with Operation Triple Threat was equally transformative. Seeing one of their productions, 13 the Musical , at Frank Collymore Hall inspired him to audition. Though he wasn’t a singer or dancer at the time, he pushed himself, eventually performing in Once On This Island, The Little Mermaid, Matilda the Musical, and The Theory of Relativity. “One of my favorite moments was during Matilda ,” he recalls. “I played a Russian mob boss, and my scene partner Ammunikee Gomez and I were given the freedom to play with our entrances and exits. We only had to run it once, and that same version ended up in the show. It was all about trust between us and our director, Janelle Headley.”
Comparing his experiences in Barbados and New York, Bowen notes key differences. “InBarbados, we usually have more rehearsal time, whereas in New York, a production can beready in just a month,” he explains. “Also, in New York, you often meet the playwrights ofthe shows you perform in, and there’s more flexibility in adjusting scripts if something doesn’t work.”
Since moving to New York, Bowen’s career has flourished. One of his most memorable roles was in MAD MAD MAD , a devised theater production using Clown technique that explored the Cold War and nuclear tensions. “We performed at the Target Margin Theater—the same theater Pedro Pascal once performed in,” he says. Another major milestone? “I had my face on a Times Square billboard,” he laughs. “It was surreal seeing myself up there for a promotional shoot for MAD MAD MAD”.
He’s also been invited to join the Episcopal Actors Guild, one of the oldest acting guilds in New York. Other notable roles include Charlie in Dirty Legal Secrets, a New York premiere production, and various performances in The Secret Theater’s One Act Play Festival and The Oven workshop series. One of the short films he was in, Threnody, was even screened at a film festival in Costa Rica.
Currently, Bowen is working on A Crucible , a devised play with The Humanist Project for the New York Fringe Festival. The play, featuring the same Clown technique used in MAD MAD MAD , explores themes of conflict, villainous men, and witch hunts.
When choosing projects, he follows a guiding principle instilled by his teacher: “Does it make us laugh? Does it make us think? Does it reveal something about the human condition?” If a project ticks those boxes, he knows it’s worth pursuing.
Beyond his own success, Bowen is passionate about putting Barbados on the global acting stage. “People lean in when I say I’m from Barbados,” he says. “There’s a space for our unique perspective in the arts. Other countries showcase their actors internationally, and I believe Barbados can do the same.”
He sees theater as both an export and an import for Barbados, with potential for sending Bajan actors overseas and developing a thriving local industry for visitors to experience. “I want younger Bajan artists to see the work I do and realize they can do it too,” he says. “It might be different, but there’s a place for us to grow and be ourselves in this art.”
Jon Mykul Bowen’s journey—from a high school student seeking solace in acting to a New York-based performer making waves on stage and screen—is a testament to perseverance, passion, and the belief that no dream is out of reach.