Paapa Essiedu

He made his name playing Hamlet for the Royal Shakespeare Company and stunned audiences with his nuanced performance as Kwame in the groundbreaking I May Destroy You. The Ghanaian-British actor talks to Charlie Brinkhurst-Cuff about lessons learned from his mother, the stories he wants to tell and the pull between humility and ego

Essiedu wears AMI Paris throughout   

Paapa Essiedu bleeds a self-effacing familiarity that I suspect is part of his gentle charm. Heart-shape faced and speaking often with his heart tucked up just past his sleeve, the actor becomes, in the space of an almost two-hour dinner on a late summer’s night in north London, something like a friend.

You too should know Essiedu by now. He is canonised – the lead male in undoubtedly the most talked about TV show of 2020; caught in a perfect storm of mutual genius and circumstance. The 30-year-old’s friendship with I May Destroy You writer and director Michaela Coel led him indirectly into her light, and the perfectly placed role of Kwame, a beautiful gay man struggling with self-esteem issues throughout the course of the series.

Though this role feels like a defining one at this time, he’s also currently starring in Gangs of London as brainy gangster Alex Dumani and is well known in theatre circles for his turns in Shakespeare plays; dazzling as a youthful Romeo in 2015 and, notably, playing Hamlet for the Royal Shakespeare Company the following year. His lead role on Press in 2018, a TV miniseries centring around tabloid journalism, may be less infamous, but is nonetheless, as it turns out, one of the shows that got me through early lockdown.

“I find it really difficult to relish it or to even talk about it or feel it,” he tells me of his successes. “You know? I’ve got such a fear of things being taken away from me. A fear of loss. I think it’s my instinct to downplay or trivialise even incredible things that have happened.”

Essiedu is caught in an all-too-familiar pull between humility and ego and the subsequent worry that the former is actually just a more covert type of the latter. His biggest fear, he tells me, is “getting carried away with himself”. He would never want to become conceited, like other actors he knows who think they’re better at their craft than they are. “I think constant self-reflection can protect you from doing that,” he adds. But his success at this stage is undeniable, and, thanks in part to his therapist, he knows that he needs to move forward in a way that allows him to address it without spiralling into worry.

“A lot of what I’m trying to do now is to recognise that I’ve been so fortunate and relish the pride of it,” he says. “This addiction to humility at the expense of even experiencing joy or fortune is actually mad.” He also credits Coel with making him face the magnitude of his acting achievements, as they sat down together to watch episodes of I May Destroy You.

“She was just like, ‘Look, especially when it’s going out live, you actually need to feel the madness of the fact that those many million people are doing the same thing at this precise moment because of you. Don’t get lost in the minutiae of your own ego. Just put that aside and enjoy it.’ She really taught me that.”

His humility, however you want to look at it, seems genuine. Throughout two courses of Thai food and a large glass of white wine, he checks in often about using the correct phrasing in his answers to questions, is quietly spoken – apart from a gurgle of a laugh – and, when we stand up to leave, looks genuinely abashed when a fan jumps up from a table to shake his hand.

Brought up in Walthamstow, east London, Essiedu was surrounded by the fierce love of his Ghanian mother, who was his protector and the initiator of his cautious ambition. “My surroundings were always kind of at odds with the future she was painting for me. It’s a weird kind of psychological mathematics to be doing from a young age, you know?” Looking down at his plate, he chuckles. “I’ve come from a background where nothing’s ever been promised, and, really, things have been quite hard. We’re here right now at a Thai restaurant which, I mean, for me, is mad. I remember I used to have the option of having rice and stew or rice and butter – and I’d be buzzing about it!”

In his teenage years, he decided to become a doctor but changed his mind before he donned the scrubs. “Obviously, when you’re a kid you’re like, ‘What the fuck is a job?’ I thought maybe I’d be a doctor; that seems like a nice thing to do – you help people; maybe you’ll get rich and earn money,” he says. “I think even I didn’t realise being an actor was really a job. I thought it was something that you did at school for a laugh or to hang out with girls.” In the end though, having dabbled in acting at school, he somewhat nonchalantly decided to give it a shot, auditioning for Guildhall and graduating as part of the class of 2012. 

Despite being described as a “strong singer and dancer” on Guildhall’s website, drama school was not always a song and dance for Essiedu. “I just felt like I was playing catch-up with every single aspect of it,” he explains. He was thrown into a crisis of confidence – caught between thinking he wasn’t good enough, trying to figure out how to be more like his received-pronunciation (RP) peers who had attended Sylvia Young’s school, and his own desires.

He speaks of one particular experience at drama school with a touch of well-earned bitterness. A teacher, “definitely racist”, picked him out of the entire group of trainees to practice a line from a David Hare play. He focused, read out the line in his very best RP and waited for the response. “All of my friends were like, ‘It was fine,’ or, ‘It was good,’” Essiedu says. “(But the teacher said), ‘No no, it sounds like he’s got a piece of cake in his mouth.’ It was basically her saying, ‘You’re trying to ascend to this type of language, but it’s not for people like you: He can do it; she can do it; you can’t do it.’ So yeah, basically, fuck her.”

It was at Guildhall that he met Coel. “I was her friend before any of it. We’ve got a very specific type of friendship that’s very divorced from acting, really. We used to go jogging together. . . not jogging, running. And for me it’s always seeing the effect she has on other people. I’m like, oh shit, it’s real, you know? People are really deep in this. She’s held in such a particular regard which is so overwhelmingly positive, at least for now. Please, long may it continue. Very rarely do I get anyone chatting shit about her, and so often I’m like, ‘She’s a god.’ Obviously, she is like sensationally, uniquely her, and that’s why I really love her.”

Essiedu’s dad died when he was 14, and his mum passed away from cancer when he was 20, in the midst of his studies. He thinks she would be proud of where he is now – though, he adds, laughing, “For her, and a lot of my family, the question was ‘But when are you going to be in EastEnders?’ Like that was the pinnacle. Fuck winning an Oscar or any of that – when are you going to be in EastEnders?” 

You get the feeling he wouldn’t be against a stint on the soap on principle. He adores acting; loves the feeling of storytelling, connecting with audiences. “It’s about sharing. It’s not about you; it’s about you and someone else – you and people,” he says. “I feel like, if ever the attention is about how my. . . what my experience is of doing it, that’s so self-effacing and, like, actually divorced from the experience, which is to tell a story and connect with someone.”

Later he adds: “It fucks you up – your personal life; but it also feeds you, it teaches you a lot. I’ve learnt a lot about myself, acting.”

In the future, he hopes to write and direct his own projects, to tell Black stories, but also to change the expectations of those kinds of stories on both screen and stage. He references Lovecraft Country and Moonlight as inspirations. “As soon as I watched it, I was like, ‘I’ve never seen a single Black person in this kind of genre of story,’” he says about Lovecraft Country. “I’m actually not that big a fan of that sort of genre, but it’s incredibly radical to see that. I thought that Get Out was a real trailblazer, in terms of taking a genre and flipping it – making you think it’s a film about something else, but it’s actually still ticking all the boxes of your classic horror film. Or even something like Moonlight. That’s the kind of thing that I’m interested in as an artist; actually stretching the limitations of stories that we tell.”

This is a man deeply committed to remembering his roots; not for a crass desire to “keep it real”, which he deems “clichéd”, especially when it’s across class lines, but for the type of person he can be. “[It’s about] the fundamentals that I’ve learned from my mother that I want to implement in the adult that I want to be, in the father I’d like to be one day like; the kind of person, friend.”

Essiedu is a great listener as much as he is a talker, a proud second-gen Ghanian, an actor who thinks the joy of his craft is not found so much in how it makes him feel, but how it makes you feel. Watch his work with that in mind. Essiedu will tell you that he’s not able to be objective about himself, nor his brilliant catalogue of work, but my subjective opinion is that he doesn’t always need to be: He has plenty of people who have his back.

Photography Liz Johnson Artur

Styling Mitchell Belk

Grooming Carlos Ferraz at Carol Hayes Management using ecooking

This article is taken from issue 27. To buy the issue or subscribe, click here

Call Me by Your Name

Paapa Essiedu and Weruche Opia recreate iconic films with Port and Persol

“We had the stars, you and I. And this is given once only.”
― André Aciman, Call Me by Your Name

Michaela Coel’s recent BBC and HBO series, I May Destroy You, was a rare beast – a TV show that breaks hearts, makes sides ache and changes the way a generation thinks about race, consent, justice and sexuality. In addition to the fierce central performance by Coel, much of the show’s strength is drawn from the chemistry, intimacy and brilliance of the supporting characters presented by Paapa Essiedu and Weruche Opia (Kwame and Terry respectively). Their fully realised turns leave indelible marks, images like a mournful Essiedu in a bob wig and angel wings, or Opia catching her threesome partner’s falsehood from the window, burnt into retinas.

 

Essiedu and Opia now take another star turn in two short films created by Port and Persol, recreating iconic scenes from Call Me by Your Name and The Irishman. The former picks Luca Guadagnino’s sunshine-soaked adaptation of André Aciman’s novel, playing both Armie Hammer – who originally wears Persol 649 in the film – and Timothee Chalamet – donning titanium pilot shades – in a sharply cut play of mirrors and angles. Simultaneously suave, coy, vulnerable, he aptly captures the tragic romance of the scene. Opia, meanwhile, chooses Scorsese’s Netflix epic and the swaggering monologue delivered by Robert De Niro on how to best ice someone (with two guns and a bathroom visit pre-shooting). Slinking, leaning back into the chair, she looks calm and collected in a pair of square tortoise-shell sunglasses from the 2020 woman’s range, echoing De Niro, who wears Persol throughout.

 

The shorts are the latest in Persol’s long love affair with cinema. Established in Turin, 1917, the luxury eyewear brand which takes its name from the Italian per il sole, meaning “for the sun”, first supplied optics to pilots, sports drivers and athletes. However in 1961, Italian actor Marcello Mastroianni wore the Model 649 (originally designed to protect the eyes of local tram drivers) in the hit film Divorzio all’italiana, formally beginning Persol’s relationship with moving pictures. Regularly gracing the big screen since – from Steve McQueen’s folding 714 in the Thomas Crown Affair to Daniel Craig’s wrap around in his first outing as Bond – frames have come to help define frames, specs and shades styling seminal characters. Beyond starring in films, they have enlisted directors to make their own – Wim Wenders paid homage to Rome, La Dolce Vita and Neorealism via two short films back in 2015 – launched a Film Noir capsule collection inspired by the genre, and even celebrated their 100th Anniversary at the 2017 Festival de Cannes. From Cinecittà to Hollywood, long may they continue their reign eyes wide shut.

Produced by: Map Studio 

Film Production Company – Untold Studios

Director/Photographer – The Reids
Executive Producers – Dan Keefe & Tessa Wood 
Producer – Tia Varnnard 
Production Runner – Edward Lloyd 

Director/Camera Assistant – Jacob 
Gaffer – Vincenzo Marranghino
Sound Recordist – Anthony Lam
 

Art Director – Liza Radlov 

Stylist – Adam Winder
Stylist Assistant – Helen Oke

Hair Stylist – Sheila Safo
MUA – Claudia Cavalli

The New Normal

In a content series curated by Rose Forde, friends of Port consider the new normal. Here, actor Paapa Essiedu – currently starring in Gangs of London and I May Destroy You – shares his lessons from lockdown

I weirdly entered lockdown with a feeling of relief. There’s a low level tightness in the chest that you carry around as a freelancer, especially as an actor. The next job is never guaranteed so you are forever stressing about where it’s coming from, when the next audition is, what your peers are doing, where are you in the rat race? And if you’re lucky enough to work, is it the right thing? Are you any good? Will they like me?  It can all be very inward facing.

So when Covid shut everything down, it felt good to step away from those thoughts and just take a second to breathe. But it really did feel like just a second. Then your mind turns to the future. What’s going to happen? How are we going to safely protect and sustain our industry and community? Why haven’t I written the final draft of my Great Corona Comedy? Again, thinking inwardly.

So I have tried to focus my thinking outward and search for inspiration and calmness through a curiosity in what I’m doing. I’ve been listening to Kokoroko and Ezra Collective, reading Yuval Noah Harari’s Sapiens, watching Alex Garland’s DEVS, doing a decent amount of exercise – it’s all helping me get out of my head and just breathe. 

Now as we move out of lockdown into an ever more challenging environment, I feel like taking this time and finding this space for self recognition and self love is radical and indeed vital.

Essiedu won critical acclaim for his RSC performance as Hamlet, as well as in Pass Over at the Kiln earlier this year. He currently stars alongside Joe Cole in Gangs of London and will next be seen in Michaela Coel’s new show, I May Destroy You