Approximately a week prior to the passing of Rose Dugdale, I had the opportunity to interact with Tom Vaughan-Lawlor, a prominent actor from Ireland. The death of Dugdale brought a sudden relevance to Joe Lawlor and Christine Molloy’s movie, Baltimore. The contemplative film zeroes in on the significant role a late IRA volunteer played in an infamous art theft at Russborough House in Wicklow County, exactly half a century ago. The character played by Vaughan-Lawlor is notably one of Dugdale’s associates. The story was somewhat sidelined from public consciousness until a vexed headline was published by the Daily Mail during Baltimore’s global unveiling.
Intrigued by this information, Vaughan-Lawlor questioned, “Truly? I was unaware.”
Yes, it’s fact. The Daily Mail in October had queried, “Why does the recent movie glorify the posh maiden from Devon who commandeered a helicopter to dispense IRA explosives on a military base?”
However, that’s just one viewpoint on the film. From what I gathered, there was slight glorification. Imogen Poots portrays Dugdale, who came from a well-off English clan, as a tenacious, passionate, and resolute individual. There is no representation of her being a horrifying creature or a hero for that matter.
“The narrative of the film doesn’t categorise it as a biopic. It doesn’t label the characters as heroes or villains,” explains Vaughan-Lawlor, shedding light on his character as an “imagination”. “The focus is on a woman who has made specific choices – displaying a unique individuality and dedication. This reflects on the distinctiveness of artists and applies to debating class and identity through the robbery and the safe house.”
Vaughan-Lawlor, born in 1977, didn’t witness when Dugdale and her group invaded the residence of Sir Alfred Beit. Dugdale, an unlikely participant, was a graduate of a finishing school and St Anne’s College, Oxford. After earning her PhD, she worked as an economist for the UK government. The stolen artwork, which at the time was valued at £8 million, featured works by Gainsborough, Rubens, Vermeer, and Goya. Vaughan-Lawlor’s knowledge about the aftermath is limited.
“I recall bits and pieces of the story from my father,” he states. “I remember hearing it was one of the biggest art thefts in history. And about how she transitioned from British high society to becoming a Marxist IRA rebel. If it were a fabricated movie, it’d be considered exaggerated. But it’s stupendous journey. Christine and Joe have succeeded in making the biographical film interesting. They’ve ingeniously blended it with heist elements and a taste of the 1970s new-wave style.”
The Dubliners, who established themselves as visual artists with the pseudonym Desperate Optimists many years prior, have shown such unique perspective in films like Helen, Mister John, and Rose Plays Julie.
“Even with restricted budgets and timeframes, everyone is allowed the necessary moments to complete their tasks,” says Vaughan-Lawlor. “Their guidance is very soulful. Their suggestions are subtle yet purposefully conflicting, as they strive to maintain your openness and kept your options diverse and quirky.”
Vaughan-Lawlor spoke from his residence in Whitstable, where he and his wife, fellow actress Claire Cox, have settled down to escape London’s hustle and bustle. They are now parents to two children by the Thames Estuary. Vaughan-Lawlor grew up in Dublin as the child of actor Tom Lawlor. Although experiencing a significant part of the Troubles, he confessed it felt distant.
“He acknowledges his statements were factual”,” he said, “but I would add more to that. Being an Irishman residing in the UK is really fascinating. When you survey the local population, their grasp of Irish history and its conflicts is remarkably indistinct. It’s almost shocking how unclear they are about Irish history. Additionally, their interpretation of imperialism is quite astounding. Frequently, people enquire about my hometown. On hearing ‘Dublin’, they would ask, ‘Is that situated in the North? South?'”
He made a reference to a documentary that had recently aired on BBC.
“That’s the reason why Once Upon a Time in Northern Ireland was a revelation to many. Watching the series, people would exclaim: ‘Aha!’. The same held true for me too. However, residing here has broadened my perspective about the English people’s inadequate understanding.”
What notably piques his interest is the fact that Baltimore is centred on an English woman who grew up on a massive estate in Devon. Class distinction is a dominant theme throughout the film. The interpretation of Dugdale in the film and her assertive nature derive from her upper-class background.
“The gang’s roles in their hideout are quite diverse”, says Vaughan-Lawlor. “She is somewhat the provider, while they prepare tea. They somewhat adore and fear her. They certainly respect her, but are also cautious around her. Additionally, she’s English, which adds another layer of complexity.”
“I was introduced to many great actors from the ’50s, ’60s, and ’70s by my father”, he adds. “My life was surrounded by theatre and cinema. Hence, it has always been a part of me. Having pursued drama at Trinity College Dublin, I view acting as a means of escapism and a way of understanding my own identity. The process of exploration is something I appreciate enormously.”
His pursuits led him to the esteemed Royal Academy of Dramatic Art in London. It’s an intriguing exercise to investigate who studied at Rada alongside notable actors such as Ben Whishaw, Gugu Mbatha-Raw, and Tom Burke. Not all those who graduate launch successful careers, but Rada offers a chance to build extensive networks. Isn’t the competition among graduates strenuous? And is it a challenging adventure?
He admits, “Training at a drama school is truly arduous,” adding, “It was for me, at any rate. The course’s intensity and pressure could be likened to marine training. The daily regime from nine to six involves continuous testing and expansion of your capabilities. It’s all about pushing your comfort boundaries and challenging what you can achieve. The goal is to transform you into an expert performer. And for that, I am deeply grateful.”
In earnest, if we contemplate Vaughan-Lawlor as part of a cohort, a learning establishment, the immediate thought is not of Rada but the iconic ‘Love/Hate’ series by RTÉ. The crime drama that aired from 2010 to 2014 marked a new era, proving that local television could rivale the English and the American productions. It also propelled a host of gifted young actors into prominence: Ruth Negga, Barry Keoghan, Charlie Murphy, Killian Scott, Robert Sheehan. However, it was Vaughan-Lawlor, with his vibrant portrayal of Nidge, the gang leader, who stood out the most. The character encapsulated Ireland in the 2010s. So, what went right with the series production? And how did it showcase such gifted performers?
“Maureen Hughes was the casting director, and she had an eye for recognising fresh talent, scouting for faces that were new to the television audience,” he reveals. “It was strange for me because during my time at Rada, we had no training for acting on screen. I had absolutely no experience with filming. Thus, I learnt by observing Aidan Gillen on the set. It was an unanticipated transfer of expertise. The focus at Rada was theatre-based training. It was entirely unfamiliar territory for me.”
Still, the actor managed to make a significant impact.
Vaughan-Lawlor, a likable man who seems jovially surprised by his success, has certainly become skilled in mastering the nuances of camera acting. He tackled PJ Mara’s role with enthusiasm alongside Aidan Gillen’s Charles Haughey in Charlie, produced by RTÉ. He embraced the challenge of portraying a deeply troubled personality in Peter Mackie Burns’s intense film, Rialto.
Furthermore, there’s something to be mentioned. If one were to rank Irish actors based on the revenue their films generated, he’d be rivaling Kerry Condon towards the peak. The reason? They both bear credits from the Marvel Cinematic Universe. In fact, Vaughan-Lawlor could boast (not that he’s the type) of starring in a movie that once claimed the highest grossing record. His performance was configured and animated as Ebony Maw, a lanky villain and Thanos’ offspring, in Avengers: Infinity War and Avengers: Endgame.
Vaughan-Lawlor recalled the experience of working on the Marvel set in Atlanta, Georgia. “On my first day, I was working alongside all these film stars. It’s a hit or miss. You either deliver or more likely head home. That’s part of the job. It’s both nerve-wracking and thrilling. It’s a test of courage in many ways. The whole crew was fantastic. They were all very welcoming, hospitable and laid back. It was an unforgettable, though surreal at times, experience.”
So, despite undergoing motion-capture, was he amongst Iron Men and the Captains America? He was not isolated in a drab room collaborating with a small group of experts.
“Absolutely, you’re in your motion-capture attire, covered with all these dots. But the rest of the crew is present. As it was the climax of that MCU phase, everyone was on set. It was remarkable.” He further related his experience of playing an Irish middle-class character, expressing that the challenge excited him, as embracing an unfamiliar role leads to splendid discoveries, making acting a truly amazing experience.
There’s no method of training that can prepare one for the onset of stage fright; at least, that was previously thought. However, it’s now believed that training can aid individuals in managing their stage anxiety. Learning to control and manage one’s nervousness is crucial.
Being an actor comes with its share of joy, especially when concurrently involved in two significant projects. After the unveiling of Baltimore, the actor will be seen working alongside Bill Nighy in an emotionally impactful film, The Beautiful Game. The Netflix film, which revolves around the Homeless World Cup, has been directed by Thea Sharrock, just recently popular for Wicked Little Letters.
The Homeless World Cup was an event the actor confesses to being unacquainted with until he moved to England in 2000. He quotes a stat that states in London, three quarters of the homeless population were of Irish descent. This fact made a significant impact on him, and he developed a habit of identifying Irish accents among the homeless in the city. The opportunity to portray an Irish homeless person and give them a smidgen of recognition seemed only right to him.
Baltimore is now widely available.