'There is a moment in NT Live’s Vanya – a one-man version of Anton Chekhov’s 1898 classic Uncle Vanya – where it feels fully possible that Andrew Scott could have cloned himself, and that three versions of him are on stage at once. He’s chameleonic enough that you’d believe it.
Vanya shows how life on a rural estate is completely upended when famous filmmaker Alexander, and his young, glamorous second wife Helena, visit. During this time, estate manager Ivan (Vanya) and country doctor Michael both fall for Helena, and consequently reevaluate their lives. The play stars Andrew Scott portraying all seven characters – including Ivan’s niece Sonya, housekeeper Maureen and local boy Liam – in a powerhouse, multipronged performance. The production enjoyed a sell-out run on the West End last year, alongside a spate of five-star reviews.
In a way, it feels like Scott’s career has been building towards Vanya, so varied are his most celebrated roles. Starting out on the stages of his native Ireland, the West End and Broadway, Scott burst onto our television screens in 2010 as the delightfully unhinged villain Jim Moriarty in BBC’s Sherlock. He gave a playful, terrifying edge to a character who is usually dull and professorial in his ruthlessness. Since then, Scott has been a mainstay of stage and screen, his characters running the gamut from Hamlet to Bond antagonist (Spectre), fantasy hero (His Dark Materials) to droll matinée idol (Present Laughter), the latter of which earned him an Olivier. With every part, Scott conveys a sense of something deeper going on under the surface – unsaid, but clearly legible on his face.
With his beloved ‘Hot Priest’, hired to officiate a family wedding in series two of Fleabag (2019), Scott further demonstrated this facility for internal performances. His clergyman forms a tentative, transgressive romantic relationship with Phoebe Waller-Bridge’s titular tearaway, which simultaneously heals and serves as rock bottom for both of them. Scott brings a quiet confidence to the priest as he flirts with abandoning his vows, trying to do the right thing no matter how much it hurts. It’s terrifically subtle, deeply felt work.
Scott is uniquely adept at holding space for emotion, as seen with Adam, a man dealing with the impact of a lifetime of loneliness in Andrew Haigh’s All of Us Strangers. He brings a guardedness to the character, who discovers that his late parents are alive and waiting for him in the house he grew up in. His visits home become the key to opening himself up to a romantic relationship with his neighbour (Paul Mescal). Throughout the film, we feel Adam’s gratitude and grief as he discovers the love and support he’s denied himself for so long. Scott is a master of smiles that never quite make it to the eyes, of lit-up eyes downplayed with hesitant smiles. His emotions are fluid, never vacillating, never overwrought.
He takes his considerable skills to new heights in Vanya, where he showcases his immense versatility as an actor. One minute, he’s a beleaguered and gossipy housekeeper, and the next – literally, the very next – he’s a bored and depressed doctor. Another moment, and he’s a young woman filled with hope and energy, and, almost in the same breath, he’s transformed into her uncle, whose decline from cringey jokester to an utterly lost man has happened before our eyes.
Scott introduces us to each of his characters slowly: establishing their physicality, their voices, their mannerisms. His transitions between them are more marked at the beginning, when he uses props and leaves space for us to register his change in posture, or physically moves from one side of the room to another. He accustoms us to the characters’ different voices – Helena’s is cold, reserved and posh; Alexander’s slow and scatterbrained; Ivan’s jovial and tense, like something could imminently break. Some characters are linked with certain props: Sonya with her tea towel, Michael with his tennis ball, Ivan, again, with his comedy sound-effects box.
But eventually these visual clues fall away, and we know everyone by their sound and posture. Soon, Scott is setting one character down and picking another up as he rises. He is both the person being blocked and the one doing the blocking, the person being comforted and the one tenderly stroking their head. Even the scenes of sexual intimacy between two characters are made believable, handled in a way so focused and naturalistic they don’t seem contrived or actorly. By the play’s end, Scott is throwing his voice as one character and reacting as another, and we know who is who by the arc of his brow, the curve of his smile or the movement of his hand.
These smaller movements, which would be felt more than seen from anywhere other than the front rows of a theatre, are what give this cinematic version of Vanya its magic. It’s in the way Sonya can handle a tea towel both nervously and with resolve, the way Michael’s slumped posture goes from listless to lustful and the way Ivan slowly crumbles, sloughing off layer upon layer of coping mechanisms. All of the decisions Scott makes as an actor are clearly rooted in a deep empathy for each of these characters. Quite a feat, then, to maintain this dedication for more characters than can be counted on one hand over the course of two hours.
Vanya is an acting masterclass, a beautiful unfurling of Scott’s multifacetedness. It’s a culmination of what we love about him as an actor: his constant, daring shapeshifting. If he was at the top of his game before, then now he is absolutely stratospheric.'
Am I disappointed neither David nor Andrew won the Olivier for best actor? Yes, yes I am.
Am I near tears seeing them be ecstatic for their friend Mark Gatiss winning? Abso-fucken-lutely.
David's face lighting up and going "oh wow!" And Andrew literally jumping out of his seat SHUT UP I'M EMOTIONAL MY SHERLOCK FANGIRL IS FIGHTING WITH MY GOOD OMENS FANGIRL IT'S A WEIRD TIME
Gerade noch geschafft. Eine Woche, bevor die Produktion im Londoner Westend am 22.10.2022 schliesst, hatten wir noch die Möglichkeit, diese grossartige Produktion mit dem überragenden SAM TUTTY als Evan Hansen zu sehen, Tutty wurde hierfür zu Recht mit dem Olivier Award als “Bester Schauspieler in einer Musical-Produktion” ausgezeichnet…
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'Where to start when profiling such a talented and charismatic actor as Andrew Scott? How about the fact that, aside from some youth theater workshop experience, this Dublin-born actor has had no official drama training? At 17, he was cast in a substantial role in an Irish film called Korea and, from there, joined the prestigious Abbey Theatre company in Dublin. His move to England in the late 80s corresponded with small parts in British, Irish, and American films and TV series and paved the way for his career to take off.
Among other projects, Andrew Scott appeared as an extra in Saving Private Ryan's Omaha Beach sequence, as well as several guest starring roles in British TV series like Garrow's Law and Foyle's War. All in all, he spent the first decade or so of his career building a solid body of work that would soon catapult him into pop culture stardom.
Let's take a look at some of Mr. Scott's iconic characters and lesser-known projects.
Sherlock (2010 – 2017)
Who can forget when Sherlock first revealed the character of Jim Moriarty to audiences in "The Great Game" episode? Scott played Mr. Holmes's famous nemesis as a deranged mastermind with a playful sing-song creepiness and a palpable presence of malice. He won the Best Supporting Actor TV BAFTA for that role in 2012.
The Bachelor Weekend aka The Stag (2013)
Some may have missed the delightful indie comedy, The Stag, about a group of friends who set out on a hiking excursion in the Irish countryside. Mr. Scott leads the ensemble as Davin, the groom's best man, in charge of their mild-mannered weekend. Their plans are wholly upended when The Machine (Peter McDonald), the bride's laddish brother, crashes the party. Lest you expect an Irish Hangover clone, emotional confrontations ensue between Davin and our groom, Fionnan (Hugh O'Conor), when unresolved issues from their past rise to the surface.
Pride (2014)
The feel-good, historical dramedy Pride depicts a group of London-based lesbian and gay activists who raised money to help families affected by the Welsh miners' strike in 1984. Scott plays Gethin, owner of a gay bookshop, who lends support to the group but hesitates to get actively involved due to his experiences as a gay youth coming out in Wales. He earned the best supporting actor trophy for his performance from the British Independent Film Awards.
Spectre (2015)
Once an actor is lauded for playing a baddie well, you have to expect the 007 franchise will come calling. In the 24th Bond film Spectre, Scott played Max Denbigh, aka C, Director-General of the Joint Security Service, an organization created by merging MI5 and MI6. While at first his disagreements with M (Ralph Fiennes) seem to be internal power struggles, it turns out C is a danger to democracy worldwide.
This Beautiful Fantastic (2016)
This Beautiful Fantastic is a quirky fairytale for adults and tells the story of Bella (Jessica Brown Findlay), a young woman who aspires to be a children's author but lacks the skills to navigate her out-of-control garden, let alone her nebulous career. Befriended by a kindly chef/housekeeper named Vernon (Scott), Bella begins to conquer her issues and blossom into the person she wishes to become. The film also stars Tom Wilkinson as Bella's gardening mentor.
Denial (2016)
A biographical legal drama, Denial depicts the libel case brought against American professor Deborah Lipstadt (Rachel Weisz) by Holocaust denier David Irving (Timothy Spall). Mr. Scott plays Anthony Julius, the lead solicitor of Deborah's legal team, who guides her through the UK justice system and their arduous path to obtaining justice.
1917 (2019)
In the innovative war drama 1917 (which starred a who's who of British talent), two English soldiers run a harrowing gauntlet through enemy territory to deliver a message that could save the lives of over 1500 troops. Along the way, the young men meet up with a handful of officers who help them on their journey, all played by respected British actors, including Messrs. Cumberbatch, Firth, Strong, and you guessed it – Scott. His portrayal of Lieutenant Leslie stands out a mile for its humor and hopelessness.
Present Laughing (2019)
Mr. Scott garnered theatrical acclaim for his performance as Garry Essendine in Present Laughing, a semi-autobiographical piece by Noel Coward performed at the Old Vic. Farcical in tone, the play depicts the harried life of a successful and self-obsessed light comedy actor facing an impending mid-life crisis. Andrew won the Laurence Olivier Award for Best Actor in a Leading Role in a Play.
Fleabag (2019)
Andrew Scott's name may have been synonymous with Moriarty until the world witnessed his portrayal of a character known only as "Hot Priest" in Fleabag. In the second season of Phoebe Waller-Bridge's award-winning dark comedy, Scott was introduced as the cleric who would be marrying Fleabag's dad and his fiancé. The couple has an immediate connection at the dinner table, and a trinity of friendship, spirituality and physical attraction ignite throughout the six-episode season. Scott's contribution was perfection!
This is only a brief sampling of Andrew Scott's work and impressive range...'