IN CONVERSATION WITH THOMAS BRODIE-SANGSTER

interview by JANA LETONJA

Thomas Brodie-Sangster returns as Jack Dawkins in the second instalment of Disney+’s hit historical heist drama ‘The Artful Dodger’, premiering globally this February. A bold continuation of Charles Dickens’ ‘Oliver Twist’, the series reimagines the legendary pickpocket 15 years later in 1850s Australia, blending crime, romance, and reinvention. After a critically acclaimed first season, ‘The Artful Dodger’ has become a standout success for Disney+, with Thomas at its centre—bringing wit, vulnerability, and modern edge to one of literature’s most enduring characters.

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‘The Artful Dodger’ was a breakout success in its first season. What did you take away from the audience’s response?

I am happy that the show found its audience and that people connected with it. It can be hard to predict if a show will succeed at this. I think the thing that’s great about ‘The Artful Dodger’ is there’s something for everyone. There’s the Victorian medical drama, the comedic heist elements, and the star-crossed romance. There’s also the literary significance of the original Dickensian characters, which I think is handled very playfully. 

Returning to Jack Dawkins for Season 2, how has the character evolved since we last saw him?

Jack’s been in prison for six-months, so has had a lot of thinking time on his hands. He believes he’s been completely abandoned by those he loves, Fagin and Belle, and is facing immanent death. He’s lonely and quite resentful.

Jack is a character rooted in classic literature, yet the show feels very contemporary. How do you balance tradition with reinvention?

I think ‘the show does this really well. It’s not a straight period drama by any means, but there are many easter eggs for Dickens’ fans worked through the series. It was always fun to spot these in the scripts. I like to think that ‘The Artful Dodger’ could be a gateway to a new audience discovering Dickens. If a fan of the show is inspired to read Oliver Twist, that would be wonderful. I think the themes the show deals with are timeless and universal. The idea of being an outsider, and of being not worthy enough for the type of love we aspire to. The heart of the show doesn’t need translating. 

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The series is set in 1850s Australia. How does that setting shape Jack’s identity and choices?

Jack feels keenly on the opportunity presented for a new life. Australia equals freedom to him, which is why the cliffhanger at the end of season 1 hits so hard. He’s managed to create an incredible life for himself, he’s gone from thieving street urchin to successful surgeon, and he desperately wants to believe that in this new place he can be an equal match for Belle, a match based on true compatibility and love, something that would have been unthinkable in England. 

What new challenges does Season 2 present, both emotionally and physically?

Emotionally, Jack is fighting to control his urge to see Belle, something which has been forbidden this season. With Fagin, it is the same push and pull of wanting to believe that he might be capable of being a supportive father figure and then dealing with the disappointment of realising he can never be that. Dodger gets let down time and time again and has to cope with heartache from all directions. Physically we had to deal with the combination of Victorian wool costumes and Australian summer heat.

‘The Artful Dodger’ exists in a world of reinvention and second chances. Is that theme something you personally connect with?

Absolutely. Again, I think that is one of those universals that doesn’t need any explaining. The idea of redemption is fundamental to being human. And reinvention is something I particularly connect with. Acting is a constant play on reinvention from job to job. 

Do you feel a responsibility when reinterpreting characters from literary history?

I think it depends on the type of production. With ‘The Artful Dodger’ less so, as it’s a definite reinvention and sequel, rather than an adaptation of the novel. The biggest responsibility comes when portraying real people, historic or otherwise, like Rafe Sadler in ‘Wolf Hall’, or Paul McCartney in ‘Nowhere Boy’. 

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shoes MANOLO BLANIK

Many fans have grown up watching your work, from ‘Love Actually’ to ‘The Queen’s Gambit’. How has your relationship with acting changed over time?

My relationship with acting hasn’t actually changed much. As a little boy, I thought of acting as play, and I still think of it that way to this day.

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shoes MANOLO BLANIK

How do you keep grounded and recharged while you are not on set?

I live a very quiet kind of life. I enjoy being with my friends and family. I live in a small village in the English countryside, surrounded by wonderful neighbours. We have lots of animals at home. My current passion is motor-racing, I’m in the process of getting my full racing licence. 

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Looking ahead, what kinds of stories or creative challenges are you excited to pursue next?

One of the things I love about acting is that you never know what’s coming next. It’s great to receive scripts and see what people have been thinking about and working on. This collaboration, trying to imagine myself in a part, deciding what I could bring to a role, if I could do it, what stories are prescient, why people are choosing to focus on certain stories at certain times, I love the alchemy of it. I don’t like to try and preempt anything, or drive it, I just love the unfolding. 

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shoes GH BASS

TEAM CREDITS:

talent THOMAS BRODIE-SANGSTER
photography CONNOR HARRIS
styling HOLLY MACNAGHTEN
hair and makeup JOSH KNIGHT
styling assistant HELENA PRINGLE
photography assistant THEO BOUGOUNEAU
retouching EDD KASPAR
editor TIMI LETONJA
editorial director and interview JANA LETONJA
cover design ARTHUR ROELOFFZEN
publicist ROMILLY BOWLBY