Jamie Campbell Bower

Age: 37

male

Jamie Metcalfe Campbell Bower (born 22 November 1988) is an English actor, model and singer. He made his feature film debut in 2007 with a supporting role in Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street, before going on to feature in The Twilight Saga (2009–2012) and as the young Gellert Grindelwald in Harry Potter and the Deathly Hallows – Part 1 (2010) and Fantastic Beasts: The Crimes of Grindelwald (2018). Bower was part of the main cast of the fantasy series Camelot (2011, Starz) and Will (2017, TNT), both of which only ran for a single season each. From 2015 to 2020, he served as the frontman of London-based band Counterfeit. In 2020, he began releasing music as a solo artist. In 2022, Bower joined the cast of the Netflix science fiction horror series Stranger Things, where he plays Henry Creel/Vecna in the fourth and fifth seasons, a role for which he has garnered wide critical acclaim. On 19 December 2025, he reprised the role onstage in his Broadway debut, a surprise appearance in the final scene of Stranger Things: The First Shadow. Bower will reportedly appear in the third season of The Lord of the Rings: The Rings of Power, as well as a starring role in the Screen Gems horror The Haunting in Wicker Park. Description above from the Wikipedia article Jamie Campbell Bower, licensed under CC-BY-SA, full list of contributors on Wikipedia.

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Fan Casting

Jamie Campbell Bower

Death

for Death in Elisabeth The Musical

Suggested by syaramogot

Elisabeth The Musical

Elisabeth is a Viennese, German-language musical commissioned by the Vereinigte Bühnen Wien (VBW), with book/lyrics by Michael Kunze and music by Sylvester Levay. Based on the tragic life and death of legendary Austrian Empress, Elisabeth of Austria ("Sisi") wife of Emperor Franz Joseph I. It is narrated from beyond the grave by Luigi Lucheni, the Italian anarchist who assassinated her in 1898. Elisabeth recounts the enthralling tale of her fatal, lifelong love affair with Death, heralding the decline of the Habsburg Empire. Focussing on Elisabeth’s struggle against the stifling constraints of imperial protocol, her determination to assert her own identity, her reaction to the tragic fate of her son, Rudolf, and her morbidly romantic, lifelong love affair with Death–who is here presented as a dashing and darkly charming seducer. For more than three decades now, ELISABETH has been playing in a class of its own: since its world premiere in 1992 at Vienna’s Theater an der Wien, the musical has been translated into seven languages and seen by over ten million spectators worldwide, making it the most successful German-language musical of all time.

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