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insanityclause · 1 day ago

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“Pressure,” Tom Hiddleston says, “is a privilege.” He apologises for appropriating the title of Billie-Jean King’s memoir, but it’s a sentiment that feels pertinent to him and his co-star Hayley Atwell. They have known each other for 20 years, have both starred in the Marvel universe (Hiddleston as the charmingly villainous Loki; Atwell as the wartime spy Peggy Carter), but this is the first time they have worked together — if you don’t count their group audition to get into drama school.

In a baggy sweatshirt (Atwell) and natty pale-blue jacket with clasps (Hiddleston), they are in a south London studio to rehearse Shakespeare’s bantering would-be lovers Beatrice and Benedick in Much Ado About Nothing. It will be only the second Shakespeare play performed at the 2,000-seat Theatre Royal Drury Lane in London since 1957. And the pressure Hiddleston refers to comes from the fact that the previous one — The Tempest, starring Sigourney Weaver, also directed by Jamie Lloyd — failed to go down a storm.

Atwell and Hiddleston in rehearsal for Much Ado About Nothing

MARC BRENNER

Withering reviews such as The Times’s (“Sigourney Weaver’s blank Prospero makes zero impression”) poured cold water on a desert island story that had been relocated by the director Jamie Lloyd to a charcoal-black netherworld. Prices were cut, and an onstage protest by Just Stop Oil looked like light relief.

“We can exclusively reveal that [Much Ado] is not set in a charcoal netherworld,” Hiddleston deadpans. The pair start each day of rehearsals with an hour of dancing. How much dancing will make it into the show? The pair, who are friendly but guarded, can’t or won’t reveal.

What they will say is that you don’t do a show like this by halves. It turns out that Shakespeare is more like a Marvel film than you’d think. “You’ve got to commit with heart and soul and body, like you do for action sequences,” Hiddleston explains. “All acting can be boiled down to how much you commit.”

“I like pressure,” Atwell says. “There is a part of it that is very healthy and useful. But any sort of pressure attached to an idea of my name as a brand or a public persona is so arbitrary and abstract. I turn off the noise that is inconsequential. I find the bit of it I can use.”

Tom Hiddleston as Loki, a mischievous Marvel villain

ALAMY

In 2022 Atwell had to do this while filming Mission: Impossible — Dead Reckoning Part One amid bogus reports of a relationship with the film’s star Tom Cruise; the pair are teaming up again for Mission: Impossible — The Final Reckoning, released this summer.

Hiddleston tells a story about his first big London Shakespeare opening, in 2007. He was playing Cassio in Othello, alongside Chiwetel Ejiofor as Othello and Ewan McGregor as Iago. At five o’clock the three popped out to a Covent Garden Pret a Manger to get a pre-show sandwich. (It is hard, the Much Ado two agree, knowing exactly when to eat before a show.) There was a first-night tension you could cut with a knife. Or there was until Ejiofor just said bluntly: “‘Well, this is a big night. No question.’ And it made us all laugh. Cos, yeah, it’s kind of a big deal — but what can you say?”

“’This is not your average Thursday,’” Atwell says.

“It’s not!” Hiddleston agrees.

Now 44, he already had an agent when he auditioned at Rada, having got one while studying Classics at Cambridge. Atwell, now 42, who grew up with her mother in west London, had delayed higher education to travel around with her American father and work for a casting director. When they met, in the final stage of auditions, it was on a day of working in a group.

Atwell and Hiddleston at the premiere of Jamie Lloyd’s The Tempest last year

ALAN CHAPMAN/DAVE BENETT/GETTY IMAGES

Atwell feels she handled the pressure less well than Hiddleston. “The woman from Rada said to us, ‘We are now looking for the next generation of actors who will be making a profound contribution to the arts.’ And I was, like, ‘I don’t know about that, mate, I’m just trying to get out of being in a housing association — if I can make a living I will be very happy.’ I was very intimidated.”

“It was very intense,” Hiddleston says.

“I was too shy,” Atwell says. “I didn’t commit.”

“I thought you committed,” Hiddleston says. “I thought you committed hard.”

He got in, she didn’t, and went to Guildhall School of Drama instead. But after leaving in 2005 she got a big role in the TV adaptation of Alan Hollinghurst’s novel The Line of Beauty almost immediately. A few posh roles followed, including in the film Brideshead Revisited.

“There was probably a bit more classism around then, and I suppose my own prejudice about ‘I’ve got to sound a certain way to even be considered for the kind of parts that might lead eventually to a film career’. So I thought if I could go down a period drama route, as opposed to the soap route or more working-class plays, I might give myself more of a chance. I had no back-up plan. I didn’t have any kind of privilege, didn’t come from money.”

The Eton-educated Hiddleston may come from a more prosperous upbringing but insists that, as an actor, “you never feel you are on solid ground. I have had to remind myself to smell the roses, because they don’t bloom all that often.”

His next theatre role was Lloyd’s revival of Pinter’s Betrayal in London and New York in 2019, which is how he met his fiancée, Zawe Ashton, who was a castmate. Atwell, meanwhile, last appeared in the West End in Ibsen’s Rosmerholm in 2019. Before that her work included another Donmar Shakespeare (Measure for Measure) and an Olivier-nominated performance in Lloyd’s production of Alexi Kaye Campbell’s The Pride. She didn’t know it at the time, but theMission: Impossible director Christopher McQuarrie saw her in it — something that led, seven years later, to him casting her as the con artist turned secret agent Grace.

He had a moment like that in 2013 — when the second Thor film came out at the same time as he was earning rave reviews for Coriolanus at the Donmar theatre in London. Hiddleston was the man of the hour. “And then you’ve got to do another 75 nights on stage, and make sure you are careful in the fight scene not to slip on the blood. The work anchors you.”

“You can’t predict,” she says. “There’s so much luck involved. I’ve worked for a number of years … and failure is allowed. I didn’t used to find it easy to fail and get a second chance. Particularly as a woman there was this sense of ‘you have to be perfect’. But while you want to deliver, after a while it’s not yours any more. It’s for the audience, and if they don’t like it, or if it doesn’t work, they’re allowed, that’s allowed.”

Atwell as the wartime spy Peggy Carter in Captain America: The First Avenger

JAY MAIDMENT/MARVEL STUDIOS/THA/SHUTTERSTOCK

Hiddleston, meanwhile, who has been filming the second series of John le Carré’s The Night Manager after a nine-year gap since the first, is still Loki to much of the world. The pair have never been in a Marvel scene together, though they did appear at the same event: Comic Con in San Diego in 2013, to which Hiddleston turned up in costume. “Nobody knew it was happening , it was insane and foolish and really fun.”

“I was backstage,” Atwell says cheerfully. “I will never forget the vision of Loki brushing his teeth in full costume.”

She says she is glad she was 15 years into her career before her five-year tour of duty on Mission began with filming in 2020. “I’m so grateful for that, because the level of global exposure on it, purely from being alongside Tom Cruise, can uproot and upend your life. But actually I’m too old to go, ‘What’s next?’ A real sense of security only comes from the commitment to work for work’s sake.” Offstage, both are engaged to their partners: Hiddleston to Ashton (the couple have a two-year-old), Atwell to the music producer Ned Wolfgang Kelly.

What led to today’s professional pairing? Hiddleston and Lloyd wanted to do another play together after Betrayal, and the actor suggested Much Ado. “It seems so light and warm,” he explains, a nice contrast to the heartbreaks of Betrayal. When Lloyd suggested Atwell, Hiddleston said yes immediately. “We’ve known each other for so long, and Beatrice and Benedick have known each other for so long.”

“I had only one question,” Atwell says, “which was, ‘Jamie, how ‘hey-nonny-nonny’ is it going to be?’” Lloyd assured her the hey-nonny-nonny levels would be minimal. “So I thought, this sounds really exciting.”

And if this pulls in a crowd more inclined to Marvel than Much Ado, well, marvellous. Hiddleston, who likes to spin a yarn, gives an impassioned speech about the magic of storytelling in all its forms, about “something being transmitted, from the stage or from the screen, that leaves you feeling more connected, more human, more alive, less alone in the world”.

And that applies to Marvel — famous dislikers of the franchise such as Martin Scorsese and Francis Ford Coppola notwithstanding — too?

“One hundred per cent,” they say in unison.

Atwell sees superhero stories as modern-day mythology. “I don’t believe in highbrow or lowbrow — I think it’s just art and film and theatre. You wouldn’t necessarily connect Marvel with Shakespeare. But both can be for everyone.”

Hiddleston remembers going to a screening at the Tribeca Film Festival in New York of the first Avengers film. A group of first responders who had been at 9/11 a decade earlier were there too. “They were all wearing their uniform in the cinema. And the film is about how the Avengers have basically saved New York from Loki. And when Loki gets smashed by the Hulk like a fish at the end, they literally threw their hats in the air and cheered. That was so moving.”

Much Ado About Nothing is at the Theatre Royal Drury Lane, London, Feb 10-Apr 5, thejamielloydcompany.com

#posting the whole thing because it's behind a paywall #and I refuse to give Murdoch any more money #tom hiddleston #hayley atwell #much ado about nothing

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