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вЂњI was sort of brought up to believe that I was this - all of which is true, by the way - privileged, upper-middle-class, sort of bohemian well-educated white girl from a very prestigious family background,вЂќ Hall said. Her mother, Maria Ewing, an American raised in Detroit, is one of operaвЂ™s most celebrated sopranos, famous for her daring portrayal of Salome in Richard StraussвЂ™s production, in which she followed the Oscar Wilde-penned stage directions to the letter and went nude onstage.ДЄfter her parents divorced in 1990, Hall lived for many years with her mother in a manor in the English countryside, where she remembers rooms filled with the sound of jazz on vinyl, her mother making herself at home in the relative isolation and remoteness of an adopted country. Hall grew up steeped in performance: Her father, Sir Peter Hall, was known for founding the Royal Shakespeare Company and serving as the director of the Royal National Theater for many years, and possessed what she describes as a preternatural ability to know when and how an actor could be gently pushed into an even better performance. But she didnвЂ™t really know it wasnвЂ™t available to her.вЂќ вЂњSometimes she would intimate that maybe there was African American ancestry, or sometimes she would intimate that there was Indigenous ancestry. Over the year that we had corresponded, Hall hadnвЂ™t been acting much and had instead spent time writing screenplays from the Hudson Valley home that she shares with her daughter and her husband, the actor Morgan Spector. Her voice is calm and poised, with a warm polish to it, and she tends to speak in composed paragraphs. вЂњI was spending time in America, and I knew that there had been vague, but I mean really vague, talk about my motherвЂ™s ethnicity,вЂќ Hall explained over the phone this spring. Raised in England within the elite circles of classical theater, Hall, who is 39, had her first introduction to the concept of racial вЂњpassingвЂќ in the pages of LarsenвЂ™s novel. When she sees the ease with which Clare re-enters and ingratiates herself within Black society, it threatens IreneвЂ™s feeling of real, authentic belonging.

But ClareвЂ™s sudden presence begins to raise a sense of dangerous possibility within Irene - one of unacknowledged desires and dissatisfactions. Why should I?вЂќ She adds, вЂњYou see, Clare, IвЂ™ve everything I want.вЂќ And maybe itвЂ™s true that the respectable, high-status life Irene has built in Harlem encompasses everything a serious woman, committed to lifting up her race, should want. When Clare asks Irene if she has ever thought about passing in a more permanent way herself, Irene responds disdainfully: вЂњNo. The friendsвЂ™ reunion crackles with tension, charged with curiosity, envy and longing. One day, while passing for convenience on the rooftop restaurant of a whites-only hotel, Irene is recognized by a beautiful blond woman, who turns out to be Clare - who now not only lives her life as a white woman but is also mother to a white-passing daughter and married to a bigoted man who has no clue about her mixed-race heritage.

When ClareвЂ™s father died, she was sent off to live with white relatives, while Irene went on to become firmly ensconced in the vibrant Black artistic and cultural community of 1920s Harlem, wife to a Black doctor and mother to two dark-skinned young boys. The novel follows Irene Redfield and Clare Kendry, two light-skinned Black women who grew up in the same Chicago neighborhood and shared a friendship complicated by differences in class and social status. The story seemed to clarify so much that was mysterious about her own identity - the unnameable gaps in her family history that shaped her life in their very absence, the way a sinkhole in the road distorts the path of traffic blocks away. When Rebecca Hall read Nella LarsenвЂ™s groundbreaking 1929 novel, вЂњPassing,вЂќ over a decade ago, she felt an intense, immediate attachment to it.

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