Jason Watkins: A Journey Through Theatre and Life
Jason Watkins estimates that he has graced the stage in approximately 120 plays over an impressive span of 40 years. Graduating from the prestigious Royal Academy of Dramatic Art (Rada) in 1985, he shared that outstanding year with notable talents like Ralph Fiennes, Jane Horrocks, and Iain Glen. Long before he became a recognizable face on television as Prime Minister Harold Wilson in The Crown, a BBC bureaucrat in W1A, and a quirky music teacher in the Nativity! series, the theatre served as his foundation and a place where he met both of his former wives.
His latest theatrical endeavor is nothing short of monumental. Directed by the acclaimed Thomas Ostermeier, known for works like Enemy of the People, and adapted by the talented Duncan Macmillan, who penned People, Places and Things, the Barbican’s rendition of Chekhov’s The Seagull features an astonishingly talented cast, including Cate Blanchett, Emma Corrin, Tom Burke, and Kodi Smit-McPhee. This production has quickly become one of the most sought-after tickets in town.
“It truly is a remarkable cast, isn’t it?” Watkins muses, as if the caliber of talent has only recently dawned on him. It’s week five of rehearsals in a south London studio, and he has taken refuge in a cozy basement lounge to discuss the production. “Cate’s involvement certainly draws people in. You want to collaborate with her under any circumstances. She exudes expressiveness, fluidity, and inventiveness. Moreover, Thomas is a leading European director. But it’s also about the play itself. There’s plenty to delve into.”
The Seagull stands as a cornerstone of theatrical history. Although its debut in 1896 was met with harsh criticism, a subsequent production by Konstantin Stanislavski transformed the landscape of acting forever. Since then, it has been reinterpreted by theatrical titans such as Tennessee Williams and Tom Stoppard, as well as adapted into various films, musicals, and ballets.
Watkins describes it as “a wonderfully intricate play.” He draws parallels between Chekhov and literary giants like Dickens, noting, “He astutely observes human nature. You find yourself rooting for the characters. Their experiences are so relatable that they evoke both laughter and tears in mere moments. He shines a light on their flaws while inviting compassion.”
In this production, Watkins takes on the role of Sorin, the unfulfilled brother of Blanchett’s illustrious actress, Arkadina. A retired civil servant, Sorin finds himself reluctantly banished to the countryside to manage the struggling family estate. “He feels trapped,” Watkins explains. “He doesn’t believe he has truly lived, especially when compared to his sister. He lacks the courage and strength to seize life’s opportunities.”
Watkins once quipped that he is often cast as “geeky intellectuals, professors, and eccentrics.” However, in person, he exudes a lively and energetic demeanor, practically bouncing off the sofa as he speaks. Despite his strong screen presence, he hardly resembles a 62-year-old.
As a teenager, he was on track to become a professional footballer. Struggling with dyslexia and, he suspects, undiagnosed ADHD, he found solace in sports and drama when traditional academics proved challenging. When football didn’t pan out, he turned to Rada. “I had exhausted my options. I aspired to be a PE teacher, but I lacked O-Level qualifications in English and Maths,” he recalls.
No offense to PE instructors, but that detour was serendipitous. Throughout his twenties and thirties, Watkins was a versatile performer. While theatre became his mainstay, he made appearances on various British television staples like EastEnders, James Bond films, Agatha Christie adaptations, and even Bridget Jones.
“I was constantly exploring diverse characters,” he reflects. “My roots in the north, my upbringing in the Midlands, and my life in London allowed me to master various accents. I loved observing and impersonating people. Nowadays, I’m channeling my own emotions and voice more than ever before.”
It wasn’t until 2009, when Watkins was in his late forties, that he gained widespread recognition through his roles in Nativity! and the supernatural comedy-drama Being Human. The former remains particularly beloved by younger audiences. “During the holiday season, you can’t walk down the street without being recognized,” he chuckles. “It’s woven into the cultural fabric. It’s beneficial for my fan base as they continue to grow up and remember me.”
The second movie concludes with an emotionally charged dedication: “In memory of the brightest star in the sky, Maude Watkins.” On New Year’s Day 2011, tragedy struck when his two-year-old daughter Maude passed away suddenly from undiagnosed sepsis, uprooting his family’s life. Returning to set after Maude’s death felt surreal to him, as he grappled with existential questions about the purpose of his work. Yet, with financial pressures looming, he forged ahead. “It turned out to be therapeutic,” he admits. “I think it was the act of embodying someone else or adopting another perspective that provided solace. It was work that consumed me entirely.”
Watkins, who shares two children with his wife, actor Clara Francis, and has two from a previous marriage, believes that the experience of bereavement transformed him fundamentally. “Absolutely. I was quite self-centered before. This business requires a thick skin,” he acknowledges. “Now, I find healing in helping others. The pain I’ve endured can be somewhat alleviated. You can’t succumb to despair; you must keep moving forward. This journey has unveiled a new world for me.”
Both Watkins and Francis have immersed themselves in sepsis and bereavement awareness charities. Two years ago, they produced a poignant ITV documentary titled Jason & Clara: In Memory of Maudie. The experience was not without its challenges. “While sorting through Maude’s belongings, I questioned, ‘Is this the right thing to do?’ We understood it would be emotionally taxing, yet being in control of the narrative made it bearable,” he reflects.
His choice of roles now reflects a growing commitment to social issues. He has portrayed characters grappling with systemic failures and reckless media narratives: a retired teacher wrongfully accused of murder in the Bafta-winning The Lost Honour of Christopher Jefferies and Phil Jones, a scientist ensnared in the infamous “climategate” scandal in The Trick.
Watkins finds value in highlighting the rectification of falsehoods. “This is even more crucial today. Donald Trump can utter something patently false, and because it’s disseminated, people start to perceive it as containing some truth,” he observes. These roles linger with him; he recently participated in a panel discussion alongside Jefferies for the Press Justice Project. “Little has changed, and such injustices could easily recur,” he warns.
His experience on The Crown was equally enlightening. “Delving into Wilson’s life was captivating,” he remarks. “I came to admire him and his political stance. You could argue that Keir Starmer represents the closest modern parallel to Harold Wilson. He embodies a sensible, solid, and intelligent approach. We’re not caught in this chaotic whirlwind of gossip and drama.” He shakes his head, “It felt like a wild movie, didn’t it?”
The Seagull is being performed at the Barbican Theatre in London until April 5 (theseagullplay.co.uk)
