As a writer and artist, Bernardine Evaristo and Lennie James have shown incredible courage and vulnerability in their work, especially with the depiction of intimate scenes in their latest project. Their personal experiences, shaped by their unique backgrounds in religion and family dynamics, have undeniably influenced the depth and authenticity they bring to their stories.
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Six years prior to winning the Booker Prize jointly with Margaret Atwood for her novel “Girl, Woman, Other,” author Bernardine Evaristo published “Mr Loverman.
This remarkable book delves into the covert, longstanding romance spanning several decades between Barrington, a prosperous London resident of Caribbean descent and his closest confidant Morris. As he approaches his seventies and grapples with marital troubles, Barrington seeks to discontinue the facade of their relationship.
Transformed into an eight-episode series on BBC, this tale, both heartbreaking and humorous, delves into themes such as sexuality, love, fear, religion, and family. Lennie James portrays Barrington, Sharon D Clarke embodies his wife, while Ariyon Bakare takes on the role of Morris.
BREATHING LIFE INTO BARRINGTON
In one of my creative writing workshops, a fellow mentor and playwright arranged an intriguing exercise using various passport photos spread across a table. She challenged us to select a character and compose from their perspective, as if they were disrobing in front of a mirror. During this activity, I began writing about Barrington. Initially, I didn’t plan on creating a novel, but he seemed to take control of my writing process instead. It was an enjoyable experience, almost as if he was dictating the story himself: “This is what will transpire from now on…
This character, Lennie, stands out from the usual depictions of West Indian men from his generation in literature. While stories about the early days of the Windrush Generation are valuable, I appreciate that this one isn’t a stereotypical tale like “No blacks, no Irish, no dogs.” Instead, it presents a story about a successful black man who is intelligent, well-read, and accomplished.
Bernardine: Indeed, when I shared with others that the novel centers around an older black man who is also gay, some immediately presumed he would be financially struggling and a stereotypical victim of racism, expecting it to be a tale of hardship. However, what truly challenges Barrington isn’t his race or economic status; instead, it’s his sexuality. The Windrush Generation is often associated with the struggles they faced early in life, but there’s a lack of stories depicting their later years, so readers are asked to envision what their lives might have been like beyond those hardships.
Lennie For a long time we’ve had to write stories that the people who make decisions understand, even when we’re trying to tell stories about ourselves and our community. I hope this encourages people to write the stories they want to write, and that it encourages the people who make decisions about [commissioning TV dramas] to understand that different stories can be told, and that everything doesn’t have to be issuebased when involving people who look like me. Barrington is a truly complicated, complex and interesting character. It’s very rare that you play a character who is more complicated than you are. He’s also huge fun to play. He gave me license to run riot. I don’t want to play someone I could do standing on my head, juggling. I get to play him between his 40s until his 70s, which is a gift for an actor. Although I was in make-up for close to two hours every morning!
CASTING CONUNDRUMS
Bernardine It’s quite likely that this view might stir debate, but I firmly believe that roles should be given to the most suitable actor for the part. As an author of the script, my primary concern is finding the individual who can bring the character to life in the most compelling way, irrespective of their sexual orientation.
Lennie It seems we need to discuss something, yet as an actor, I’m not in favor of absolute prohibitions. When I met with the team from Fable Productions for this role, my first question was, “Are you absolutely certain that it should be me?” This isn’t a point I intend to spend excessive time arguing. There are numerous reasons why Barrington was portrayed in this manner in this production. I suspect there are specific aspects of myself that breathe life into this character. I acknowledge that this discussion will continue, but if I felt I was undermining the character, I wouldn’t have considered it. This is a role any capable actor would strive to perform. And that’s exactly what I did.
FACING UP TO PREJUDICE
Bernardine, I take delight in crafting narratives about challenging topics such as bigotry and individuals grappling with crises. The audience’s journey alongside Barrington through the instances of homophobia – both external and internal – adds depth to the drama. Although I have worn the badge, visited clubs, and marched for LGBTQ+ rights, I have experienced homophobia in a more subtle way. It manifested as limitations on how I could publicly express affection towards a woman. In the 1980s, society was incredibly homophobic, and the culture was vastly different. However, my purpose in writing fiction and screenplays is to portray characters overcoming adversity. This struggle is what makes them intriguing; it’s through these challenges that they grow. That’s why, in Mr Loverman, Barrington seeks out cottaging in a cemetery and is brutally attacked.
In instances when I need to delve into Barrington’s personal experiences… I’ve encountered situations where I’ve been discriminated against due to my race. Growing up in the late 70s and early 80s, I dealt with groups like the National Front, and was an active member of the Anti-Nazi League. I’ve had to run from angry mobs and defend myself to escape dangerous situations. The fear and hatred I felt in those instances, how it affected my self-perception, my identity, and the limitations it imposed, is something I drew upon during those moments. It’s not the same situation, but the raw emotion is relatable. The fear was overwhelming, almost as if there was no need for acting.
Family is just as strong in my work as race and sexuality
NO SHYING AWAY FROM SEX SCENES
In the course of our conversation about the script, I expressed my thoughts to those responsible for it, “It’s crucial that we portray the actual physical act between these two men, without any ambiguity.” I felt strongly that it shouldn’t be something kept secret or something to feel ashamed about. Later, when I began watching, I was taken aback. I thought, “Are they truly going to depict that?” Then, I recalled, “Bernardine, you authored this [novel], and you instructed them to include it.” And they did! My intention was for viewers to witness their physical relationship, to see them engaging in sexual acts, as it was essential to me that it not be something kept hidden or shameful because of societal taboos.
In this project, we’re delving into a heartfelt tale of an enduring romance between two elderly individuals of African descent. Simultaneously, we’re exploring their emotional bond through intimate scenes that depict their love-making experiences at different ages – 40 and 70. These scenes are crucial as they reveal character depth and advance the story, much like a song in a musical. If these scenes don’t serve a purpose in the narrative, there’s no reason to include them. We worked closely with an intimacy coordinator named Robbie who ensured our portrayal remained faithful to the tale. Throughout the process, we gained valuable insights. There were instances where scenes seemed ordinary or non-explicit, but Robbie would remind us, “Are you comfortable in this situation?” Some situations, such as a scene where Barry bathes and I am physically exposed before filming, were not initially recognized as intimate due to their lack of sexual content. However, with Robbie’s guidance, we discussed ways to minimize my exposure, such as filming earlier or reducing the length of time I am exposed. In short, having Robbie on set was invaluable!
TALKING OF GOD…
Bernardine was raised within the Catholic Church, and at the age of 15, I broke free from its confines. Prior to that, I attended church every Saturday, and my initial education took place in a convent school. We held mass daily. My skepticism towards organized religion is quite pronounced. The book subtly exposes some of Christianity’s hypocrisy, but it’s more of a gentle jab. My mother carried me for nearly a decade, and I spent my formative years in a bustling household [Evaristo being the fourth of eight siblings]. However, that upbringing – which was a blend of Catholicism, socialism, and dual heritage in the predominantly white part of Woolwich, south London – significantly influenced me. Family is a recurring theme in my literature. It’s not always immediately apparent, as people often focus on race, gender, and sexuality instead.
Lennie, a significant portion of my upbringing was shaped within the Pentecostal Church, which has deep roots in West Indian culture. I attended services four times weekly, twice on Sundays, until around age 11 when I resided with my parents. Tragically, we lost our mother at that time, leading my brother and me to a children’s home. At the age of 15, I was placed in foster care, where I have found an enduring family ever since. My offspring came early in life, always serving as my primary focus. They remain the reason for my existence. Although I am proud of my professional accomplishments, my family holds far greater importance to me.
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2024-10-09 19:11