Exploring the Depths of Drama: Will Tudor on Wolf Hall, Moonflower Murders, and His Transformative Journey in Acting
Will Tudor, the versatile actor known for his compelling performances across historical dramas and modern thrillers, continues to captivate audiences with his layered portrayals. From stepping back into the intricate world of Wolf Hall: The Mirror and the Light as Edward Seymour to navigating dual roles in the mystery series Moonflower Murders, Tudor exemplifies the art of transformation. In this exclusive interview, Tudor reflects on the challenges of embodying complex characters, the privilege of working alongside esteemed talents like Mark Rylance, and the enduring intrigue of narratives steeped in power and mystery. Whether navigating the political tensions of Tudor England or unraveling literary whodunits, Tudor’s craft highlights his dedication to authenticity and his passion for exploring the depths of human experience. Fans of historical drama and gripping mysteries alike will find much to admire in Tudor’s latest ventures.
Photography: @bypip
SD – You’re returning as Edward Seymour in Wolf Hall: The Mirror and the Light, a role that captures such a pivotal time in British history. What does it feel like to step back into this character, and how has Edward Seymour evolved since we last saw him?
WT – Firstly, it is an absolute privilege to be joining such esteemed company in as important a production as this one. I feel incredibly lucky to have the opportunity to work with people at the top of their craft. Peter (Kosminsky), our director, is wonderful, and it was a joy to be involved. Stepping into the role of Edward Seymour was incredibly special to me – this period in history is one we all know well, and has always resonated with me, being associated with my namesake! The Mirror and The Light follows a real turning point in the life of Edward Seymour. His house had been mired in scandal, but now, through the political machinations of Cromwell and Edward himself, his sister is marrying the King of England. So, this is very much a man on the rise – a familiar of Henry, he finds himself at the centre of court, with the ear of the King, and his sister Queen of England. His power has never been so great. And from that position, he sees how far he has come, and how far he would have to fall, if he does not maintain that position. If Jane cannot bear Henry an heir, she might go the way of Anne Boleyn, and the family would be out of favour once more. So, it is an exciting time for the character, but also a precarious time. It was wonderful to step into this period of his political life, as, when the stakes are high, the tensions are higher, and that is always fun for an actor to play.
SD – Wolf Hall has such a rich narrative, with powerful figures like Thomas Cromwell at its core. How did working alongside actors like Mark Rylance and Damian Lewis influence your portrayal of Edward Seymour, and what did you take away from that experience?
WT – This production is filled with some of the best actors in the world today. It was an immense privilege to share scenes with Mark and Damian, and Timothy Spall. Even to have the opportunity to watch them work was an extraordinary experience. I think they influenced my portrayal in a few ways – their commitment to absolute truth really helped us all live completely in the world of the scene, such that you can work with complete trust – actors of that calibre elevate everyone, as the world they create is so rich, one wants very much to join them in it. Also, the reaction of Edward Seymour to both the King and to Cromwell is interesting – he is a true ally to Cromwell, and a favourite of the King at this point of his life. But in court, there is danger at all turns. Those positions of familiarity do not mean one is completely at ease – with the King, favour can be withdrawn as quickly as it is given. And with Cromwell, he is so powerful, one might never know what he might do, but whatever it might be, you do not want to be on the wrong end of it. Both Mark and Damian’s beautiful performances helped these relationships to feel so real, and in being so, very much influenced my portrayal, heightening it, I think. It is a great privilege. All jobs help develop you as an actor, but working in such esteemed company is a real lesson, and I am honoured to have been able to learn from some of the best!
SD – Hilary Mantel’s work is beloved by readers worldwide. What can fans expect from this final instalment?
WT – Fans can expect more intrigue, more political machinations and a Cromwell who is becoming more powerful and more reckless. Henry is more dangerous in this instalment – and his tyrannical tendencies are more entrenched. It is a true testament to her work and talent, that this second series maintains its power, its beauty, and its fierce intelligence. It is a terrible loss that Hilary Mantel sadly passed away before the production had begun, but I hope that fans will agree that this series is as important and powerful as the last.
Photography: @bypip
SD – In Moonflower Murders, you have the opportunity to play two distinct characters: Aiden, a grieving husband, and Algernon, a 1950s cad. How did you prepare to switch between these quite different roles, and did you face any unique challenges in portraying them both?
WT – The two character really were opposites! I think in a way, their opposition was helpful, as it meant it was slightly easier to differentiate the two in my head. Thankfully, we filmed both timelines separately, so I was able to prepare for Algernon first and then had time to get into the Aiden headspace, once the other had been completed. For this project I really wanted the character to be as distinct in as many ways as possible, so I worked hard on physical and vocal differences – I did a lot of improvisation in character to find their mannerisms and work out their histories and paths through the story. I tried to learn all scripts before getting to Dublin, so that I could focus solely on character. The challenges came in the transition stage between characters – because Algernon is such a big defined character, jumping to a more natural characterisation felt quite exposing – but luckily, the character work I had done in prep allowed me to settle in quickly to Aiden’s personality and physicality.
SD – The contrast between Aiden and Algernon in Moonflower Murders really highlights your range as an actor. Was there a particular scene or moment that made you pause and think, “This is why I love acting”?
WT – I have always said I want to be challenged as an actor – it is through challenges that you grow and develop. So that transition moment – and then finding my way through it – was a moment that really excited me. I remember also the first day playing Algernon – you have been prepping for months, and you cannot truly know what will come out until you get on set, and then suddenly, when the cameras rolled, there he was! It is exciting, and the moment when everything comes together in a sort of synergy is immensely powerful. They say acting is like a drug – and that synergy and the calm that comes with things falling into place is why I do what I do.
SD – The original series, Magpie Murders, garnered an impressive response from audiences. What do you think it is about these literary mysteries that captivates viewers, and how does Moonflower Murders elevate the story further?
WT – People revel in the mystery – the opportunity to try to work out who might have committed the crime speaks to an inner-detective in all of us! I suspect that’s why true-crime is in its hey-day now. Also, there is something comforting about the certainty of it all – the criminal will be put to justice at the end, and along the way there is the opportunity to have a cast of huge variety. There is something familiar about the world but so dangerous at the same time. As with Wolf Hall, the intrigue and mystery of people’s inner intentions really speak to us, I think. We cannot see inside other people’s heads, but mysteries are a paradigm in which we can speculate, all the while knowing at the end, we will find out the solution. Moonflower is incredibly special in that it takes the conventions of a detective mystery and subverts them – providing two interlinked narratives in which to find clues. It takes another thing that people like about a mystery – the diverse cast of interesting characters – and plays with their relationships in other ways, allowing actors to play dual roles, interact in diverse ways.
Photography: @bypip
SD – From the historical drama of Wolf Hall to the literary intrigue of Moonflower Murders, both series have their own unique worlds. What excites you most about shifting between these two roles, and what differences do you notice in the filming process of a period drama versus a mystery thriller?
WT – What excites me most is the variety of characters and the sheer breadth of the opportunities that one must play across the two worlds, in Moonflower and the historical world of Henry’s court. Each world is so distinct – the joy of being an actor is that one can time travel – jump into different worlds and truly explore and live as those people. Moonflower allows me to do that within one single production, so I feel lucky within these two productions to have played three very different characters! As an actor, variety is what excites me, and these worlds and characters could not have been more different. But it is an immense privilege despite this to have worked with such incredible teams on both. The filming process is similar in that once the prep is done, you get on set, and you play – you create the world. The stakes are high in both productions but for different reasons. The tone of the set is ever so slightly different but that is always affected by the tone of the scene you happen to be shooting at that time.
SD – You’ve had an incredibly versatile career, from playing the anthropomorphic robot Odi in Humans to Christopher Dean in Torvill and Dean. How have these roles influenced your approach to portraying complex, layered characters like those in Wolf Hall and Moonflower Murders?
WT – I, as an actor, am very much the culmination of all the roles I have played. Every role one takes on requires a different approach, and with every new approach you find or try, you add a tool to your arsenal. So, in a way, every role I have played has prepared me for Wolf Hall and Moonflower. It might not be within the specifics of a role but in how one discovered the specifics of the previous roles that affects the current production. I am a very curious actor, and I enjoy trying new approaches to the work. Odi required a completely new tool kit as he was so distinct from me. But that process uncovers so many things that you can use in future productions. I am incredibly lucky that I have been able to play a variety of very different characters – and I think the process of discovery for each of those roles has really helped me grow as an actor.
SD – Wolf Hall is a series steeped in political tension and power dynamics, while Moonflower Murders is a mystery that toys with perception and identity. How do these themes resonate with you, and did exploring these narratives give you a new perspective on your craft?
WT – I am really interested in the human mind and interpersonal relationships – the dynamics of human beings interacting have always interested me – that is one of the reasons why I am an actor. I am sensitive to the shifting moods and dynamics at play in any given room – and both productions absolutely play on those changes. In Moonflower, we are constantly asking “Why did they do that? Does that suggest guilt?” – and in Wolf Hall, every character is trying to get inside the King’s mind asking, “How can I please him?” They are all about questioning what is going on in others’ minds and that is the bread and butter of my job. What makes human’s tick? What are they thinking? How might they react in any given circumstance? And both productions play on those themes. I think the exploration of subtext regarding this is what gave me a new perspective for my acting. What Mark can do brilliantly is play the thought so cleanly – he does not have to say a thing and yet the thought is there for all to see. The inner becomes outer, and the outer becomes inner. I find the connection with one’s inner life to one’s outer life fascinating. Truth is seen in the eyes – the screen actor’s goal is to let their eyes do the talking – so that the thought plays out with no interference.
Photography: @bypip
SD – Looking ahead, you have had such a rich career so far. Are there any particular genres or types of characters you are eager to explore next, or any projects you are especially excited about?
WT – My next project is the story of Kate Moss and her time being painted by Lucian Freud. It is a fascinating look at two of the most iconic people in our culture. I am excited for people to see it as it is a beautiful performance by Ellie Bamber as Kate Moss – and I had a wonderful time shooting in New Zealand earlier this year. I play Jefferson Hack, the father of her child, and the Co-founder of “Dazed and Confused.” And looking forward, I would certainly like to do more period dramas – I enjoy the narrative of “what is left unsaid” that we often see in those pieces. I also would like to do some more pieces that are really character driven – about the relationships and the shifting tides within them. But really my main aim as an actor is just to be challenged. So, I hope that the next role I get, I can approach not knowing how I am going to begin!
