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James Forsyteplayed by Jack Davenport
One of Debbie Horsfield’s great skills is that she’s able to wrestle these giant, creaky old galleons of novels into more modern shapes and reframe what the focus is. She and Damien [Timmer, The Forsytes’ executive producer] said they were interested in exploring patriarchy and its structures, such as primogeniture [the right of succession belonging to the first-born son] and how that system eats people alive.
Isn’t The Forsytes about Britain and its relationship with money and power?
Don’t forget that the Forsytes are not aristocrats. They are upper-middle-class, and they have made their money by taking advantage of other people. When I’m in central London and I look up at the limestone buildings, I think to myself: this is a small island that can fit into the state of Texas seven times and yet look at this place! It’s a lot of blood and treasure that made this.We had our foot on a lot of people’s throats to achieve what we achieved. My character is a ghastly human, and I welcome Debbie’s subtle critique of the system that has madehim extremely wealthy.
Jolyon Forsyteplayed by Danny Griffin
Yeah, it is a big deal. I was very nervous when I started on the show. I wanted to prepare — overprepare, really — as it’s all you can do. I had a lot of questions for Debbie when we first met. Questions about the stuff that the audience wouldn’t know that I would be aware of, so I could have it in the back of my mind.
His jacket. It shows that he really wants to be a Forsyte — because all the Forsyte men wear jackets — but because his is a bit different, it shows that he’s not conforming exactly to the Forsyte way. My “hero jacket”, was customised so it seemed more casual, and a combination of the jacket and the hair really helped me find him.
We had long discussions about it. At one point, it was going to be a wig, but the one we got looked like a discount Thor. So it evolved into what you see on the telly because we wanted to show that he had a lot of hair. Then the question was, “How would you smarten that up?” To which the answer was “curling it endlessly”. We ended up doing that and I love the result.
Louisa Byrneplayed by Eleanor Tomlinson
I’d heard of the adaptations and I knew the novels, but because my character was created by Debbie, I didn’t watch or read anything as there wasn’t an awful lot of point. Normally, if my character had been in the books, that’s absolutely what I would have done — that’s what I did with Poldark. Having said that, Debbie’s scripts are so rich that everything you need to know about your character is on the page.
She’s a dressmaker who had a love affair with Jolyon 10 years prior to the events of The Forsytes, long before he married Frances. As she was a lady’s maid and he was the scion of a family like the Forsytes, the affair was doomed. But now she’s back in London, in the Forsytes’ orbit, which she realises is problematic — not least because she has two children and he’s the father.
No matter how long a woman had her children, if a man knew they were his, he could take them away. Initially, she lives in fear of that but once she realises that he’s still in love with her, and he’s trapped in a world where he doesn’t belong, that gives her more agency, power and strength.
Frances Forsyteplayed by Tuppence Middleton
When I got the part, I started reading the books. Then I realised that Debbie’s version was so different that I stopped. Because Frances didn’t feature in the books, I decided I wanted to focus on the scripts and get my information from them.
Ann [Francesca Annis] is obviously the queen of the family but she’s at the stage where she’s handing over more of the responsibility, so Jolyon Sr [Stephen Moyer] is running the house and Frances is his right-hand woman. They are the ambitious ones with big ideas for the company and she has more of a business head than her husband Jolyon.
When you’re making a version of something that already exists, the most important thing is to accept that there will be people who have their definitive version of it, and know that you’re making it for a modern audience. So, then you ask yourself: how can you make it feel alive and relevant for that audience?
A period drama is always of the time it’s made, and this is a feminist take on The Forsyte Saga. But I think it also taps into a contemporary fascination with powerful families like the Murdochs and the Trumps, especially after Succession.
Soames Forsyteplayed by Joshua Orpin
He can be, though I don’t think he thinks he is. When I’m playing him, I don’t judge him. I do try to understand him, though. He’s a guy born into this family of enormous wealth and privilege with ambition and drive to succeed and dominate. Those traits have been fostered by his parents, particularly his father, and he’s power-hungry. He thinks he’s the best man to run the family stockbrokers, not his cousin Jolyon. And he’s probably right.
The last man to play Soames — Damian Lewis — went on to great things, not least Homeland and Billions. As an Australian, is moving to the USA the big draw?
Is Soames a tragic figure?
How have your good looks factored in your career?
True, but do you feel under pressure to stay buff?
In my life, I don’t feel that pressure. But if the role calls for it, it’s there. I played Superboy on Titans and he was a superhero, so there’s an expectation there for him to have a certain physique. For a role like that, I felt pressured to transform my body. But when it comes to other roles, not so much.
Irene Herronplayed by Millie Gibson
I wasn’t. However, as soon as I got the audition, I started doing my research and reading the book. But the book is very much from the male perspective. Then Debbie explained that this was going to be a new, fresh version, more about the female characters, so I stopped reading the book. Which was pretty hard-going anyway, if I’m honest. And along with so many brilliant, strong female characters, we had two female directors, and Debbie obviously, so it’s an amazing thing to be a part of.
She’s completely transformed, and it helps getting into character that I am completely transformed, too — I don’t think people will know it’s me and I love that. So compared to the noughties version, Irene is a lot younger. She’s 19 in this version and has such a youthful zest and energy — she just wants to be a ballerina and live life — which I think makes it more heartbreaking when these terrible things start to happen to her.
It’s not as simple as that. Debbie has written the characters with such nuance and in such a complex way. The audience gets to see them fall in love, which previous versions didn’t show, so when it starts to go bad, it connects with you more. Irene falls in love with Soames for a reason, he’s not a baddie from the off, so there are different dynamics going on between the characters that audiences haven’t seen before.
It’s funny because I’ve broken my streak of only being in shows that are more than 60 years old — by being in a show that’s a version of a 58-year-old show.
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