Robert Emms on quiet love and queer identity in The Choral: ‘Art has the power to connect, heal and save’ (EXCLUSIVE)
In conversation with Attitude, the actor discusses the power of vulnerability, the defiance of queer existence, and how art can become a form of survival
By Callum Wells
Robert Emms shines in The Choral, the stirring period comedy-drama directed by Nicholas Hytner and written by Alan Bennett.
Set amid the factories and high moors of a fictional 1916 Yorkshire mill‑town Ramsden, the film follows the local choral society as it recruits a group of teenagers for a performance of Edward Elgar’s The Dream of Gerontius.
Emms delivers a quietly devastating performance as Robert, a gay man navigating love and defiance, alongside Ralph Fiennes as Dr. Guthrie, with the film capturing the fragile beauty of connection through glances, silences and song.
In conversation with Attitude, the actor discusses the power of vulnerability, the defiance of queer existence, and how art can become a form of survival.
The Choral is such a moving and quietly radical film, set in a time when love like your character’s couldn’t be spoken aloud. What was it that first drew you to this story?
Apart from initially being drawn to the amazing creative team, I was quite personally drawn to my character of Robert. I felt I could really identify with his political beliefs against the war and his defiance in standing out against it as a gay man in 1916 rural England. I hugely admire him actually, and there was something about his story that provoked an emotional response in me, which is what you want as an actor approaching a new project.
Your character’s connection with Guthrie, played by Ralph Fiennes, feels tender yet full of restraint. How did you and Ralph approach building that unspoken intimacy on screen?
I found Ralph to be incredibly disciplined in the way he works, with a high level of quiet focus. This really helped us to hone in on that relationship without really doing too much. The script guided us so effortlessly. Ralph has an elegance and grace as Guthrie which I think Robert finds quite captivating. The gentleness, sensitivity and intellect that they share with one and other, through music, is the heart of their relationship.
The film’s queer storyline is handled with such sensitivity, it’s never explicitly named, but it’s deeply felt. Was that subtlety something that appealed to you?
Yes exactly, this was hugely appealing because it gives you a character that is full of an inner life with things left unsaid but present in the air between characters. They have a quiet understanding that they are both gay and the very respectful offering of friendship to one and other helped me to see that whilst there may have been a physical attraction too, what was clear was that companionship in a time of total devastation was something they were both longing for.
You’ve spoken about your character’s “defiance against the war” and his “quiet vulnerability”. Do you see a connection between that defiance and the courage it can take to live openly as a queer person?
Most definitely. In Robert’s case the two are intrinsically linked. Even today queer existence still often requires defiance on a daily basis, whilst the landscape is very different to 1916 unfortunately we are now seeing attacks on LGBTQ+ communities with regards to certain rights and general acceptance of each other. So standing up for who you are is a glorious act of defiance against the status quo.
You’ve said that music helped you find people like you and discover your sexuality when you were younger. How did that personal journey feed into the performance we see in The Choral?
My own personal journey only served to feed into my empathic response to Robert. This is what is beautiful about the film, it is a reminder that art is a shared self expression and comes from a deep personal place and is likely to have the power to save lives. In it, we connect, we find communities, we find love and we accept one and other. War is about killing life, the polar opposite to this and in Robert’s case something he could never get behind because music is what keeps him alive.
Queer representation in period films often leans toward tragedy. What felt different about this story, and what did you hope to bring to it as a queer actor yourself?
It’s really important that the arts represent historical truth as well as a wide spectrum of queer existence. Whilst there have been painful and difficult parts of queer history there has also been great joy and wonder and of course queer people are not only defined by being queer. Robert’s sexuality is presented as something private and restrained but not painful, solitary perhaps, but ultimately for him it is music that brings him joy and acceptance.
Looking back now, what do you hope queer audiences in particular will take away from your character’s story and from The Choral as a whole?
I think the film reminds us of the power of art. If we have been lucky enough to discover our ourselves and find acceptance of ourselves through an art form we should cherish that experience, pass on that knowledge to younger generations and continue to support the arts so it can continue to transform peoples lives in the future.
The Choral is in cinemas from today (7 November).