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Ashana Lynch is wearing a long, padded coat and a beanie, trying to blend in as her friend checks her into a well-known members’ club in London. Once her friend leaves, Lynch sees me and smiles, but I can’t help but imagine the 36-year-old actress performing an axe-kick to my face. This was more her style, as seen in her groundbreaking role as M16 agent Nomi in Daniel Craig’s final Bond film, “No Time to Die” in 2021. However, today she is unassuming. In fact, besides the reception manager, no one has recognized her. This isn’t a big issue, except that our group does not include any club members, breaking the club’s rules.
Lynch exchanges words with a server while attempting to order peppermint tea without a membership card. The server asks for a name, but Lynch’s friend provides the necessary information over the phone. However, phone usage is not allowed, so the call goes unanswered. After consulting with a manager and agreeing to settle the bill immediately, the tea is finally served. Lynch remarks on the uncomfortable situation, comparing it to a time when discrimination against Black people was more prevalent. She expresses feeling like an outsider and decides not to repeat the experience.
Lynch may appear unremarkable when not in her famous action roles. She gained recognition in 2019 for her portrayal of single mother and fighter pilot Maria Rambeau in Captain Marvel. In 2022, she won the Bafta Rising Star award for her role in the Bond franchise. Later that year, she demonstrated her skill as a warrior in Gina Prince-Bythewood’s The Woman King, wielding a machete with ease alongside Viola Davis in the ensemble cast. She also showcased her singing talent as Miss Honey in Matilda the Musical and surprised viewers with a brief appearance in the post-credits scene of The Marvels in 2023.
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Next up, Lynch will play reggae matriarch and singer Rita Marley, Bob Marley’s wife, in the forthcoming biopic Bob Marley: One Love. Directed by Reinaldo Marcus Green with Kingsley Ben-Adir in the title role, the film focuses on a few years in the 1970s to tell the lesser-known stories of the man who became a legend in the decades after his death, aged 36, in 1981. It was shot in Jamaica, from which country Lynch’s family originate.
Lynch was raised in Hammersmith and Shepherd’s Bush in London. She has expressed that her social class influenced her strong work ethic. During her time in primary school, she recognized disparities between herself and some of her peers. They had au pairs (which she was unfamiliar with) and took regular weekend trips, which she believed were only for special vacations. She recalls being envious of her friends’ large homes and the casual way they would offer her things. Lynch is a captivating conversationalist, with wide eyes and a husky voice. As she grew older, her drive sometimes caused her to push herself too hard. She explains that coming from a working-class background, she always felt the need to keep going and not miss out on anything or disappoint anyone.
She is a hard worker. At the beginning of her career, she had roles in the 2012 movie Fast Girls and a 2015 stage adaptation of Educating Rita. While pursuing acting, she also held day jobs to support herself financially. One of her jobs was working as a receptionist for the NHS. In 2016, she landed the role of Rosaline Capulet in Still Star-Crossed, a period drama produced by Shonda Rhimes that explores the aftermath of Romeo and Juliet’s families. Coming from a non-privileged background, Lynch had to carefully plan her career moves.
“I acquired the pilot, filmed the pilot, returned home, and still couldn’t cover my rent or credit card debt. I was even in a negative balance in my overdraft,” she explains. During the gap between filming the pilot and the rest of the series, “I used my per diems from the show,” which is the allowance for living expenses provided to cast and crew while on location. “I was filming so much that I didn’t have a chance to spend them, so I brought them back to London, converted them into pounds, and used them for groceries and other necessities. It was a tough situation.” She chuckles dryly. “I had to choose between buying eggs or adding money to my Oyster card, and I had to make that choice many times.”
In recent news, Peter Capaldi, an actor, expressed concern over the limited opportunities for actors from working-class backgrounds. He believes that there is a decline in representation of his demographic in the arts industry and blames gatekeepers for filling it with unauthentic and boring actors. Research on social mobility in 2022 revealed that the percentage of working-class individuals in the fields of acting, music, and writing has decreased by half since 1970. In contrast, a study conducted in 2021 found that actors from middle-class backgrounds often falsely claim to be working class in order to create a certain image or narrative about their upbringing.
However, for Lynch, growing up in a supportive but not wealthy household is not a fabricated story. She believes that discussing social class is crucial, as an artist’s success can create the illusion of coming from a higher social status, when in reality, that was not her experience. Her working-class upbringing has equipped her with vital qualities like perseverance, determination, and the ability to keep moving forward even in the face of rejection. Lynch remarks that until there is a shift in the system, the drive born from being rejected, which is a common trait in working-class individuals, can lead to incredible projects that send a powerful message to those in charge of decision-making.
Lynch is the youngest of three siblings, and the sole daughter. She explains, “I would like to say that I naturally grew up as a tomboy, but with two older brothers, nurture must have played a role.” She adds, “I was outspoken in some ways, but not in others. As the younger sister, I felt protected, but I never felt like my brothers needed to protect me.” Her mother worked in housing while her father worked in social care. Lynch also spent a significant amount of time with her grandmother, who she credits as a strong influence on her personality. During our conversation, she casually mentions her self-confidence, stating “I am quick to address my problems” and “I am always able to find a solution to a problem.” These traits can be traced back to her early years and the strong foundation they provided.
Would she rush into the initial day of school or hesitate? “I was quite anxious. It’s always nerve-wracking for me on the first day of anything,” she laughs. “Entering new environments always brings me back to my first day of nursery when no one would listen to me.” Lynch had eczema and required special accommodations to prevent flare-ups. “For example, I had to switch to soy milk instead of cow’s milk, even though soy milk wasn’t very good in the 90s.” This meant having to explain her skin condition to skeptical adults. “I learned how to use my voice to stand up for myself at a young age, although I wasn’t as confident and outspoken as I am today. Definitely not.”
Her supportive former deputy headteacher, Miss Amable, who she still affectionately refers to as Miss Honey, reminded Lynch of the changes she has undergone. “After Matilda, I caught up with her and she said, ‘You had a real passion for singing and being on stage, but you were so shy! We had to find different ways to bring that out of you.'” Miss Amable helped Lynch come out of her shell.
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During the filming of Matilda, Lynch had to embody the character of Amable. As the intimidating headteacher Miss Trunchbull, Emma Thompson’s performance was so convincing that Lynch felt the need to protect the child actors. In an interview with the Wrap in 2022, Lynch shared that there were numerous children on set who were amazed by Thompson’s transformation with prosthetics, teeth, and boots, and how effectively she portrayed the mean character. However, Lynch also mentioned that off-camera, Thompson was actually very warm and nurturing towards the children. With so many children on set, it was crucial for them to understand the difference between playing pretend and being themselves.
When I inquire about the well-known performers she has worked alongside, from Daniel Craig to Viola Davis, and whether they have imparted any wisdom to her, she responds: “They have consistently allowed me the opportunity to learn and discover my own path. If I have gained anything from them, it’s the understanding that no matter how seasoned you are, every experience is new. The first-day-of-school jitters affect everyone.” She admits she found comfort in knowing they also experienced nerves. “Many of them are open about their fears and acknowledging their lack of knowledge.”
Lynch’s family supported her pursuit of singing and acting during her childhood, without pressuring her to have a backup plan. She attended the Sylvia Young theatre school on weekends and later enrolled in the Arts Educational Schools in Chiswick. She realized that her Jamaican heritage influenced her perception of home in unique ways. “A beautiful, well-furnished kitchen with a Dutch pot,” she recalls with a laugh, or a constant supply of plantains on the counter.
Bob Marley’s music was definitely there, and his success on a global scale was personally meaningful.
When Lynch recalls her first encounters with the Marley family, she remembers completing household tasks while jamming out to Bob Marley and the Wailers at maximum volume. She credits this experience for her current enjoyment of cleaning, as it was not a tedious task but rather a spiritual one on the weekends when she would play their music alongside other reggae icons.
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What was your experience like in portraying Rita Marley, a well-known public figure from Jamaica? Overwhelming? “Insane, insane, insane, insane. So insane. And I will probably say that forever.” A moment of silence. “Many people ask, ‘Are there any roles you aspire to play? What is your dream role? What is your preferred genre?’ And there are certain things I do not think about, that I do not consider.” One of those things being the Marley family. “I never once imagined playing Rita. I am still trying to grasp the feeling, beyond feeling honored and grateful.”
Rita and two of her children, Bob, Cedella, and Ziggy, along with Ziggy’s wife, Orly, are producers for the film. When Lynch was given the role, she immediately inquired about Rita’s whereabouts and when she could visit her. Rita graciously welcomed Lynch into her home on two occasions, sometimes joined by Cedella and Rita’s daughter Sharon (Bob’s adoptive daughter), who helped arrange the meeting. Lynch describes the experience as being like a heavenly version of meeting a god-like, ethereal queen, with their back turned to her. After settling in, Lynch freshened up before meeting Rita, and Sharon informed her that Rita could sense her positive energy and was happy to have her there. Lynch recalls her response of gratitude with a hand to her throat and a stage-whispered “thank you.”
They shared homemade meals and engaged in lengthy conversations. According to Lynch, “We laughed about young love and reminisced about vivid and powerful memories.” While there were countless interviews and Lynch had read her book, she sought a deeper connection with the subject. Rather than simply taking notes on Rita’s mannerisms, Lynch was searching for a more organic foundation for her interpretation. In the film, the Marley matriarch is the cornerstone of the story, as Lynch explains, “Despite facing many challenges, she maintained her grace and resilience. That is no easy feat.”
During filming, Lynch took advantage of their time together to further explore her character. Ziggy and Cedella were also present to provide on-set guidance for her and the rest of the cast. She expressed gratitude for having them by her side to address any questions that arose, such as the appearance of her character’s bangle and the appropriateness of her head-wrap. When she had doubts, she drew upon the energy of Rita that she had absorbed during their lengthy discussions. While she may not always be certain about her choices, she trusts that they felt right at the time.
After completing filming for One Love in early 2023, Lynch decided to shave her head as a way to move on from the role, which required her to wear a wig. She typically takes a quiet approach to decompressing after a challenging job, avoiding contact with others and limiting her phone usage. She allows herself as much time as necessary to fully process and recharge before taking on her next project. As she has grown older, she has learned to give herself longer breaks between jobs, realizing that she may need up to six months of rest and relaxation to feel fully recovered.
It appears that she shifts between two extremes: working intensely and then taking a break instead of releasing tension. She had to learn how to stand up for herself to reach this point. Lynch recalls a ballet instructor who believed her poor posture was due to the curve of her back. “I was very aware of my Blackness, or my melanated-ness, because of how different my body was. This is something that many older Caucasian women wouldn’t consider when telling you to ‘stand up straight’. And I do have excellent posture,” she says, smiling as she adjusts in her seat. Her teacher was not impressed, and Lynch did not argue with her. “This was an example of me not learning early on how to use my abilities instead of being taken advantage of. In that moment, I was taken advantage of because this white teacher didn’t understand and took it out on me.” Lynch left ballet shortly after, around the age of seven, and began participating in track and field and netball.
As an active child and teenager, Lynch was well-prepared for physically demanding roles. In The Woman King, she performed her own stunts, including one that posed a significant challenge. She describes it as running in a straight line and then jumping on a man’s back, similar to a long jump or high jump event. She had to roll onto her back while still on the man’s back, land on her feet, and strike a strong pose. She mimics the pose with her arms forming an angular X and recalls how she couldn’t stop laughing at the absurdity of it all. But she managed to pull it off, and it became the opening scene of the film. As she speaks about it now, she can’t help but laugh at the memory. Although she considers Gina, the director, to be a wonderful person, she still hasn’t fully forgiven her for asking her to do such a crazy stunt. She lets out a hearty laugh at the thought.
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Training to become a ninja for the filming of No Time to Die and performing live action stunts in The Woman King initially seemed impossible. Actress Lynch shares that directors often have confidence in her abilities and challenge her to push herself. When asked to slide along a balcony floor on her shoulder while being shot at for No Time to Die, she was initially apprehensive but ultimately surprised herself by successfully completing the stunt.
Upon reflection, Lynch acknowledges that she pushed herself towards this level of confidence rather than embracing her introversion as a strength. She used to view her shyness and anxiety as barriers to overcome in order to reach a state of self-assurance.
The No Time to Die stunt team informed her that she was the only one who did not sustain any injuries during training and filming. Her determination to push through physical strain and self-doubt seems to have paid off. She credits her childhood for instilling in her an athletic approach, and she also thanks her ballet teacher for her guidance. She playfully raises an imaginary cup to toast her success, and then laughs before adding, “Now I get to kick people in the face on screen.”
Source: theguardian.com
