Laura Donnelly will make her Broadway debut as The Other Woman opposite The Man, Hugh Jackman, for his reappearance on the stage this fall. The plot of The River remains secretive with teasers hinting a dark-theme that unravels when a fisherman is caught up with two women. Donnelly, who first played the role at London's Royal Court Theatre in 2012, is ready to re-hook the audience with her performance.

The 32-year-old actress spoke to Enstars about the interesting audition process, working with Jackman and being on Broadway for the first time.

Enstars: What was your experience like auditioning for The River at the Royal Court Theatre?

Donnelly: My audition at the Royal Court was one of the most enjoyable and interesting auditions I've ever done. Ian Rickson [director] and Jez Butterworth [playwright] were both in the room and the first thing Ian asked me was how the play made me feel. It was such a great way to begin the process because he wasn't interested in discussing the plot or characters straight off but rather to find out what my instinct was telling me. That sparked some really interesting conversations about music and our favorite artists and other subjects that made me feel like we were all really on the same wavelength and that all three of us had made a real connection before we even read a word of a scene together.

Enstars: And now you're reprising your role for Broadway, what has that experience been like?

Donnelly: Broadway has always been an ultimate goal of mine so the very fact that I'm there at all is mind-blowing. But to be privileged enough to get my first experience of it in a play that I adore, playing a character I enjoy so much and in such trusted company is so exciting. And yet, because I'm among different actors... and we're beginning the whole process afresh it allows me to explore entirely new avenues in the play and my character as if this was the first time.

Enstars: How do you channel the character of The Other Woman?

Donnelly: Well I suppose most of the channeling is done during the rehearsal process. Exploring my character's needs and desires, making decisions about where she has come from and where she feels she is heading and particularly how the character of The Man affects that. That can include moments like finding songs and pictures and poems that I feel inspire me to explore her deeper and understand her better. Then when it comes to actual performance I like to feel that anything useful from that process has seeped in and that I can just go on stage, forget about it and play.

Enstars: What has it been like working with Hugh Jackman?

Donnelly: To say Hugh Jackman is a lovely man would be a massive understatement. From the first moment I met him when I auditioned for him in London he made me feel so at ease in his presence. As an actor he is incredibly inspirational because he has such a level of enthusiasm, energy and playfulness that he brings every day and he is so willing to explore and try anything that might help the process.

Enstars: What's you're favorite part of being on Broadway?

Donnelly: Broadway has such a unique atmosphere, there is genuinely nowhere else like it. There is a palpable buzz that exists around the whole area and a sense that everyone is there for the same reason and that is that they love what they do. And the fact that I get to live in New York for several months - a city I have always loved visiting and in which I had hoped to one day work - is a real bonus.

Enstars: What are you looking most forward to when it opens?

Donnelly: I'm most looking forward to being able to try new things every night on stage. At the Royal Court we only had three weeks of performance and when we finished I felt so strongly that I wasn't done with my character - that I had only just begun to explore her and the play. So to get to take a whole fresh look at it and really play with it every night for months, not knowing what may come from that and from the other actors - that's what I'm most excited about.

The mystery-filled production will open on Broadway on Nov. 16.