ART & CULTURE

STYLING
GIANLUCA COCOCCIA & MICHAEL JASINSKI

PHOTOGRAPHY
WILLIAM FERCHICHI

Luke Thompson wearing: total look - VALENTINO.

A fascination with the elusive world of Shakespeare made a young Luke Thompson study drama at the University of Bristol and train at the Royal Academy of Dramatic Art in London. Soon after, he played Lysander on the stage of the Globe Theater in A Midsummer Night’s Dream. Fast forward to 2022, Thompson is known worldwide as Benedict Bridgerton, the sensitive and endearing artist that streams into our houses via Netflix. As of writing, the numbers are in; Bridgerton Season 2 smashed Netflix’s rating records, dethroning Squid Games with 193 million hours streamed in its debut weekend. Although Bridgerton skyrocketed Thompson’s fame, he prefers to stay grounded and humble. “In my eyes, what you call fame, at this moment, is something happening between Bridgerton and people watching Bridgerton. That may change, but right now, as the filming is over, I feel separate from it, in a way. Now that I’ve finished the job, I want to get out of the way and let the dialogue between the show and the audience happen.” In this exclusive interview with Vestal, Thompson reveals the ups and downs of his career, insights into his most-known character Benedict Bridgerton, his reticence towards social media, and his everlasting love for theater.

Creative director DAVID GARGIULO. Interview VIOLETA NICOLA.

Violeta Nicola __ Tell me about your route to acting. What was your first break?

Luke Thompson __ Well, I've always enjoyed showing off and playing around, but in terms of a break, as a kid, I was mesmerized by Shakespeare, how elusive and dark it is, how you have to lean in to get something out of it, but also how it is as much about rhythm as it is about sense. My first ever job was A Midsummer Night's Dream at the Globe Theatre, and so that felt like a real 'break' as I'd dreamt about being in that space. It's not without its challenges, but it feels charmed for me somehow.

VN __ What were some of the high and low points while pursuing acting?

LT __ The high point has been working with Robert Icke, director and writer, on Oresteia and then on Hamlet. To do adaptations of those older plays, and to have felt like something was actually happening, that people were genuinely moved or shaken by them (something Rob is committed to try to unearth, as opposed to it all becoming an exercise in cultural nostalgia), that’s pretty much why I want to act in a nutshell. The lows…well, not working is shit.

VN __ Your character Benedict is dimensional. How do you prepare to portray such a complex character?

LT __ I prefer not to prepare. What hopefully makes a character believable is psychological inconsistency, one to match how contradictory real people are. But strangely, in fiction, some idealist side of us wants to make characters consistent and logical, so we come up with ‘ideas’ and start ‘preparing.’ I try to limit that as much as possible. Often it’s just a control issue or anxiety. Prepared ideas from actors mostly aren’t that good. It’s not really the job. Showing up open-minded, open-hearted, and paying attention to what’s happening is often the only helpful preparation.

VN __ How did the art department team create the Regency London world of Bridgerton? Specifically, the exterior London scenes?

LT __ It’s kind of miraculous. The art department, and in fact every department, work tirelessly is the short answer. They constantly refine and elaborate on the original gambit of series 1, taking it further and tightening its lens. Actors seem front and center on the screen, but we are a small part of an immense process; it’s very humbling. There is this constant balance between consulting the period and elaborating playfully on it. Even its geography is a mixture of London, other locations, and studios, making Bridgerton feel like its own universe, with its palette and rules, rather than a museum. I love a museum, just not in drama.

VN __ What was the most challenging part of bringing Bridgerton’s books to the screen?

LT __ The most challenging part is that the books and the show are separate. What works in a book does not necessarily work on a screen in 2022. It’s a delicate exchange, the fans of the books have welcomed us into the Bridgerton’s world they know and love, so we’re grateful tenants in that sense. Still, we have to get to a point where we can fully take ownership of that world, push it somewhere else, perhaps surprise them with twists they hadn’t expected while hopefully not bending it out of recognition. It’s a tricky challenge, but I think the writing has navigated it superbly.

Follow Luke’s fan page @luke_thompson_uk

VN __ What can we expect from Benedict in the future? Anything you can share with us as the character keeps evolving?

LT __ The more you stay with a character, the more you start to see the chinks in the armor, a bit of vulnerability, and Benedict is no exception this season, no matter how blasé he seems to want to be.

VN __ Were there any exciting moments that stayed with you after filming the latest season?

LT __ The horse racing sequence was extraordinary to watch. And getting high was exciting because it feels quintessentially Bridgerton in the way it takes a modern trope (two brothers getting high together) and dresses it in Regency clothes, which is something I think the show excels at and feels very satisfying to play. It was probably too gratifying, and we were told to tone it down after a while.

VN __ If there is a leading lady that you would love to act next to, who would that be?

LT __ Ha! I don’t necessarily think about it in terms of gender or age! But I would say that acting is about chemistry; it’s something that happens between people rather than something innate about someone. There are some brilliant actors out there, but who knows what combination would be interesting. Me skipping this might be a missed opportunity, as I could come back and blame this interview.

VN __ Are there any actors that you feel inspired by, and what do you see in them that inspires you?

LT __ Lia Williams and Angus Wright played my parents in Oresteia, and they have this striking grace and stillness about them. I tend to run around and shout a lot, so I was transfixed. Hopefully, it will rub off on me one day. I’ve also watched plays by Toneelgroep Amsterdam, and those actors just don’t give a shit; they seem fearless, like children in a playground. I love that.

VN __ I noticed you seem private. I couldn’t find you on social media; this is unusual for a public figure, and it shows that social media is not a prerequisite for success. Why did you decide to shy away from social media?

“ACTING is not a competition to win, and it’s not about being the best or even about being ‘good,’ but an exploratory process that goes on until you decide to stop or you die.”

Shoes PRADA, jacket and shorts VALENTINO

LT __ I don't think 'shy away' is the right word. For many actors, social media is an ingenious way of continuing the performance. So on some level, I'd love to get involved; I just don't think I can make it work. I've realized that a constantly updating platform is not something I feel equipped to deal with; it takes a sledgehammer to my attention span. And I want to be able to focus when I need to. It also seems like a lot of effort, so maybe I'm just horrifically lazy.

VN __ What inspires you? Can you describe fate moments where you felt an inexplicable magnetic pull towards a subject or work of art?

LT __ It’s challenging to choose. Pop culture and older stuff transfix me all the time! But The Brothers Karamazov by Dostoevsky is one of my favorite books. After reading it when I was younger, I got to record it this year with my brother, an audiobook producer, which did feel pretty fateful. The book and author have this reputation for being grand and dry and heavy, which feels to me like inverted snobbery: it’s a gripping family murder thriller, told in a folksy, amusing, and heartbreaking way that digs into things we like to be glib about, good vs. evil, and faith.

VN __ What are some of your upcoming projects? Anything in the future for your fans to keep an eye out for?

LT __ I’m filming a job on another show, but I can’t talk about it. Beyond that, who knows? I’d love to go back to theatre and tackle an old or new play; I’d love to work in French or in a musical production; I’m up for anything.

VN __ Do you have any advice for young aspiring actors?

LT __ I’d say, don’t listen to too much advice. No one knows, not really anyway, and for me, the feeling of restlessness that leads to asking for advice is an inner motor to be cherished, not solved. Acting is not a competition to win, and it’s not about being the best or even about being ‘good,’ but an exploratory process that goes on until you decide to stop or you die. So only you, and the people you’re acting opposite, have anything even resembling answers.

Photography William Ferchichi, Styling Gianluca Cococcia & Michael Jasinski, Interview Violeta Nicola, Groomer Rino Riccio (using Daviness), Makeup Brooke Simons (using Dr Sebagh, Cover FX, Benny Hancock), Talent Luke Thompson (Public Eye Communications)