Victoria Broom on Complexity, Craft, and Cause-Driven Storytelling

With a fearless approach to storytelling and a deep commitment to authenticity, actress Victoria Broom has carved out a space where her on-screen roles and real-life advocacy intersect with purpose. From her standout performances in Marcella and Cheaters to her latest role in the gripping murder mystery I, Jack Wright, Broom brings complexity and compassion to every character she inhabits. Beyond the screen, she's an outspoken champion for LGBTQIA+ rights, period equity, and stroke awareness—causes that are deeply personal and woven into the fabric of her identity. In this conversation, Victoria opens up about the discipline behind her craft, the power of representation, and the stories that move her to act.

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LO'AMMI: In I, Jack Wright, your character Mary Robbins is someone who keeps secrets and stays under the radar. What drew you to this role, and how did you prepare to embody a character so different from your vibrant, outspoken advocacy work in real life?

Victoria Broom: The role of Mary Robbins is a multifaceted one. She takes pride in her work within the Wright household, and loyalty is at the forefront of her beliefs. Working in that environment, there is a high level of trust you're given, and she is proud that Jack and Sally Wright—as well as the rest of the Wright family—trust her implicitly.

She sees and hears everything... she's a great character, and you learn more and more about her in every episode. It's delicious, and Chris Lang expertly injects this intrigue into all the characters.

With every role I take on, I do the groundwork; I create and know their backstory inside and out, and I know the dynamics between each of the characters in the story and what their relationships are. Each scene is a moment in time for that character, so you need to know where they have come from to end up in that particular moment, where they will go afterward, who they see, and where they go. With Chris's writing, nothing is accidental; every beat, every line, every word is there for a reason.

I connected with Mary instantly. There is so much you learn about her from the other characters and from her journey within the series. I cannot wait for you to become absorbed in the unravelings.

L'A: You've played a wide range of characters—from Fran in Different for Girls to Sasha Kyte in Marcella and Karen in Cheaters. What are the key factors that help you decide whether a script or a role is the right fit for you?

VB: I focus on characters with depth. I avoid one-dimensional characters and try not to paint the same picture twice. That's the joy of being an actor—you can transform into as many different people as you like, live their life, and then switch it off again.

I find so much joy in transforming into different characters and their backstories.

Each role brings with it a different life, a different beginning, a different journey, and a different experience, and I love finding those subtle dynamics between the other characters as they interact with my character.

I've been lucky that the roles I've had come my way have been well crafted, especially over the last eight years. Some I’ve had to turn down for various reasons, but when you get a gem of a script, like with I, Jack Wright, it excites you and you cannot wait to be part of the unraveling of that world.

L'A: As an actress who's also a vocal advocate for LGBTQIA+ rights and gender equality, do you ever find that your personal beliefs shape the kinds of stories you want to tell on screen?

VB: Yes, I think that is inevitable. Every role I play is always going to have a piece of me hidden in there somewhere. And like everyone, my journey and experiences are unique, so I will read into something differently than other actors might. That's why I love watching other actors—their personal journeys have shaped how they react or take on certain things as that character.

With regard to my writing projects, I am passionate about telling LGBTQIA+ stories. Those stories are so much more powerful when they come from someone who has lived them. Take It’s a Sin, for example—you can tell that was written and created by someone who has lived through those experiences as a queer person. It's that storytelling and that authenticity that excites me as an artist. It's so powerful.

L'A: You're a proud patron of Bloody Good Period and The Stroke Association—two very different but deeply impactful causes. Can you share what led you to support each of these and how your personal journey has influenced your activism?

VB: I'm passionate about removing the stigma around period poverty. So many menstruating people cannot afford period products, and there is no shame in that; we need to talk about it so young people and families can, too. Bloody Good Period has been pushing for free period products in schools—this should be a no-brainer. Of course, period products should be free; it's a natural cycle.

In general, I talk about periods a lot, so when I discovered Bloody Good Period, I wanted to become an ambassador for them to help push for change.

With The Stroke Association, I became involved because of my Gran. Eleven years ago, we lost her after she suffered numerous strokes. Since her first stroke, I wanted to know more about what a stroke actually is and what research is going into preventing them. So I contacted the Stroke Association and have been part of hosting their research events, where they share with sponsors what research is happening.

Both of these charities mean a lot to me. Do check them out.

L'A: You've been named one of the most influential LGBTQIA+ people in the UK. Do you feel a sense of responsibility to represent your community through your work, or do you focus more on universal stories with emotional truth?

VB: Thank you. Yes, that is true. I never set out for accolades, though. I’ve just always lived as my authentic self, and with that has come the recognition.

I feel that living as your authentic self allows those people who do not have that privilege to have hope—to not feel alone—and to know their community is there.

It's important to see yourself represented with positivity in the media. Media is the most powerful form of influence, and I have always been proud to live my truth.

L'A: Your background in martial arts and stage combat is fascinating—how does that physical discipline feed into your approach as an actor, whether emotionally or technically on set?

VB: Ha, I haven't been asked about this in years, so it's nice to revisit. Yes, you learn discipline—physically and mentally—that stays with you for a lifetime.

I studied Kung Fu from a young age; you learn and focus on consistency and discipline through repetition and mindfulness. It's almost a self-mastery. This obviously helps in all aspects of life, but I think that, particularly within a creative setting, adopting that discipline to keep going through tough times really pushes you through. I love my industry, but over the 20-plus years, there have been difficult moments, and mindfulness practice physically and mentally pushes you through those barriers.

I also feel the training allows my body to physically become what is needed in those moments. When I started out, I was on stage a lot—from The Globe and Theatre Royal Drury Lane to venues around Europe. That can be physically and mentally exhausting, but having had the training I did for so many years, your body knows how to cope. I know how to find that calm, even when riding the waves of this wonderful industry.

L'A: From crime thrillers to heartfelt dramas, your roles often explore complex emotional terrain. Are there particular themes or character traits that you find yourself especially drawn to, or perhaps trying to avoid?

VB: I love playing complex roles: roles that have depth, a life outside of the pages, and a web of detail. I played the leading role of Fran in Different for Girls, and she had such an amazing journey. She was one complex character—from addiction to being misunderstood to self-destruct. She went on a journey; she pushed people's buttons and boundaries.

It was the same for Sasha Kyte in Marcella—there was so much to her. She wanted to make her partner happy, yet she couldn't give her everything she wanted, so she sourced a way to get it for her out of love. Karen in Cheaters was drawn into something with her member of staff, yet had a dynamic at home that was kept under wraps. She kept it under wraps to avoid hurting someone she loved—but temptation was too much.

Mary Robbins, in I, Jack Wright, has so much going on—from being a divorcée with a young daughter at home to her work life, of which she is so proud. She is a consummate professional, but she also has some faults. She has a level of trust that is granted to her in the position she has within the Wright family and values that. But she has a lot more going on... and with each episode, more and more is revealed. I think complexity and a character with substance are what I look for and get excited about in roles.'

L'A: Looking back at your career so far and the roles you've championed, what would you say you've learned most about yourself through the characters you've played?

VB: To trust my own instincts. Before rehearsals even start, I know my lines and my character inside and out, but you always get first-day nerves. But what I realised on I, Jack Wright is that even the most veteran of actors also get first-day nerves. No matter the experience, no matter the number on the call sheet—everyone gets first-day nerves.

Just knowing that is a comfort. It's a comfort to trust yourself with the job at hand and do your best, because in life, that is all you can do.

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Team Credits:

Photography by Jemima Marriott 

Styling by Prue Fisher 

Hair & Make Up by Megan McPhilemy