Ask her something more serious, though, and the perfectionist often pauses to correct herself. She slows right down as she explains why she thinks the success oftriggered a wave of copycat productions from women: “I could talk poetically about, you know, taking up space, but it just revealed itself to be a route [to success],” she says, explaining it was a reaction to a lack of “interesting and complex” roles for women.
She’s even more careful when it comes to describing why she doesn’t see herself represented by the wave of widely-hailed “relatable” characters that came out of it. “‘Relatability’ has somewhat become a synonym for a certain kind of flawed or imperfect,” she says. “But I relate to different people: ones who overthink things, and spend too much time in prep, and end up not doing things at the expense of spontaneity, fun, joy. I’m very private. I like people to see the finished product.
Kingsman’s going to have to spend a lot of time apart from Emmet in the coming months. She’s about to begin production on another French comedy show. . And she’s got plans to takehome to Australia. “Then I will just sort of just get on the floor and lie horizontally for a bit,” she laughs.ready for opening night at the Ambassadors Theatre on 14 December.
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