June 15, 2023 • 67 mins
Got Queen Charlotte questions you need answers to?? Submit them here!: https://bit.ly/ask-shondaland
In this episode, actors Adjoa Andoh, Keir Charles, and Cyril Nri dish on all the things left unsaid between the Danburys and Ledgers. Adjoa picks up where we left off, savoring the intrigue and mystery around Lady Danbury before we poke around her love lives. Then, we shed light on Lord Danbury's representation, and collect threads of history Shonda Rhimes stitched into this fantasy series. Join us on our laughter-filled exploration of Queen Charlotte, A Bridgerton Story, and discover the new dimensions these talented guests bring to the scandalous world of the ton.
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Speaker 6 (01:53):
Queen Charlotte. The official podcast is a production of Shondaland
Audio in partnership with iHeartRadio we're going to explore the
impact of these characters' choices on their own lives and
(02:17):
those around them, and the ripple effects that reverberate through
this tale of love and friendships that span decades. So
through our engaging conversation with Cyril, Henri kir Charles and
first with Adua Endo, we're going to shed some light
on this rich tapestry of Bridgerton and Queen Charlotte of
(02:39):
Bridgerton story, hopefully providing really valuable perspectives into the exploration
of race and society and the human spirit, y'all within
the backdrop of British history and opulence. So I hope
you've worn your best, because baby, we've got a special
(03:02):
special guest, a force and a breath of fresh breeze
Azua And oh that's right, fall out roll around, because yes,
she's giving us the privilege of her time again. She's
super busy shifting whole mindsets right now in her current
stage project, but has dropped everything everything to talk to
(03:25):
us again about Lady Danbury and Brownie points for going
back to listen to our first conversation in Bridgerton Season one.
Go back and listen, leave a comment and show me
you're a real one. But seriously, our conversation this morning
is based on that foundation, the foundation of the conversation
(03:46):
we had during that time, and Golda joined us to y'all,
and that little note I got from Shonda as well,
she told me in my ear okay, that Azua was
freely sharing insights about Black British history and influence. I'm
going to stop right there and let Ajua take us away. Ajua, Ando,
(04:10):
we are so happy to have you with us. I
can't even begin to tell you. I have been looking
forward to this welcome.
Speaker 7 (04:20):
Thank you so much, Gabby.
Speaker 8 (04:22):
I'm just going to say now, if people hear weird
snuffling noises, it's not me, honest.
Speaker 7 (04:27):
It's my job. I'm blaming the dog.
Speaker 8 (04:29):
I have a very ancient black labrador. She's blind, she's lame,
but she's still my Millie.
Speaker 6 (04:36):
Oh. I feel like, just looking back at you and
your work, do you always seem to find a way
to bring it back to some social issues or whatever
is in you feel that needs to be spoken about.
Speaker 8 (04:55):
I just think storytelling, you know, first and foremost. I
like dressing up and pretending to be other people for
a living.
Speaker 7 (05:04):
Lucky me. That's the job. You don't have to clock watchful.
Speaker 8 (05:08):
It's a privilege and I carry that privilege with great humility.
And so what do I do with the privilege that
I've been given? You know, what do I do with
the gifts that I've been blessed with? How do I
use them in the world to have a conversation that
is about the humanity of each one of us, That
is about letting people know that they are seen, that
(05:30):
they are valued, and anything I can do to push
back against the enjoy So yeah, so I guess it's
not about me wanting to bang on in a socially
conscious way.
Speaker 7 (05:45):
It's just about the little kid in me that goes.
Speaker 8 (05:49):
But you can't be like that to people. It's not fair,
And I feel that really strongly even now. You know
about what's not fair? How do we treat our refugees,
how do we treat poor people? How do we get
access to justice for people who can't pay for it?
All that sort of stuff. It's just about be nice,
be kind, be fair. You know, we should all be
(06:09):
enjoying all the abundance that there is.
Speaker 6 (06:14):
I have to make it full circle. But that also
kind of reminds me of Lady Agatha Danbury.
Speaker 9 (06:22):
Well, yes, of course, of course he wants to have
a swagger game on, but she also wants to make
sure that those people that need her protection get it
and those people that need a bit of a clip
around the back of her knees get it too.
Speaker 3 (06:39):
You know.
Speaker 6 (06:39):
I we had a conversation with Shonda Rhymes, the writer
Shonda Rhymes, and she said, you offered healthy helpings of information,
insight about the black British experience and some of the
historical nuance, maybe about Lady Agatha Danbury as well. Can
(07:02):
you tell me a little bit about that.
Speaker 8 (07:04):
Well, this country it offshot its slavery, it took the profits,
but you know, it tried to keep it off country.
So getting people to understand and acknowledge the racialized nature
of much of the structure of our society is hard
in a way because people go, oh, none of that
happened here. It makes it complicated for people to acknowledge
(07:28):
where we are as a nation now, to acknowledge that,
you know, the industrial Revolution, the scientific Revolution, the creative Revolution,
the architectural revolution, all those revolutions were fueled by the
illegal kidnapping and trafficking and exploiting of black bodies.
Speaker 7 (07:49):
That's what happened.
Speaker 8 (07:51):
And the triumph of that is the fantastic contributions that
nonetheless have come forth, shining creativity, the joy, the humor,
the swagger, the brio with which people of African descent
still conduct their lives. There was a flow backwards and
(08:14):
forwards through Europe, through Portugal, through the United Kingdom, through
other European countries, people of hierarchical status from abroad interacting
with people of hierarchical status in this country. There were
lots and lots, for example, of Southeast Asian, Asian and
African children educated in the Great August Seats of Learning.
(08:40):
In this country, there were the children who were the
offspring of enslaved women and slave owners, who were then
brought over to Europe and educated.
Speaker 10 (08:53):
The Chevalier Saint Gange, who.
Speaker 8 (08:56):
Was Marie Antoinette's court, he introduced Europe to Mozart. A
black man introduced Europe to Mozart. There's another guy who
again the offspring of an enslaved African woman and a
slave owner. His father had educated at Eton. He owned
(09:17):
half of Wales. He had twenty three between two wives
God blessed them twenty three children.
Speaker 7 (09:24):
Those children married.
Speaker 8 (09:26):
Into all the local noble families of Wales, mixed raised children.
You know, we have been here at all levels of
society forever, and a day at Queen Charlotte.
Speaker 7 (09:36):
When she came to this country.
Speaker 8 (09:38):
There were complaints about her mulatto skin, her thick lips,
in her ugly wide nose.
Speaker 7 (09:44):
You know, we've been here.
Speaker 8 (09:47):
There was a who built Hadrian's Wall in this country,
the African Roman emperor Severus. So I guess I would
bang on to Chandra about that stuff. Particularly for Agatha.
We were thinking about her origins into this country, and
we were thinking about that as I was saying those
(10:07):
hierarchical cross traffics that happened between Africa and the United Kingdom,
and so we lean into a particular cross traffic there.
I don't want to go more into it than that,
but it's just interesting, isn't it.
Speaker 6 (10:22):
And are you talking about the Sierra Leone reference. Yeah,
I'm really curious about that because we only get just
a taste of it when we have that moment when
young Agatha is kneeling down to her son the same
way you did as Lady Danbury in the per season
(10:43):
of Bridgerton to.
Speaker 7 (10:44):
The young Young Simon.
Speaker 6 (10:46):
Yes, and that's I think the first time my ears
if it was mentioned before that moment, that's the first
time my ears perped up.
Speaker 7 (10:56):
You know.
Speaker 8 (10:56):
The character young Agatha is named fortually was an advisor
to a Sierra Leone chief in the boh Men Day tribe.
That's gb what Men Day tribe. And she was a general,
a political advisor, a powerful woman in her own right
(11:18):
within that major tribe on the Sierra Leone land.
Speaker 7 (11:22):
So I thought, you know, let's.
Speaker 8 (11:26):
Celebrate and if it makes people's ears prick up a
bit and go who was that again, let me just
do on huh, and then go and do some research
on them.
Speaker 10 (11:34):
I love, I love putting those little nuggets.
Speaker 8 (11:36):
Having those little nuggets in work is great. So Schondou
is incredibly generous and open and listening and.
Speaker 7 (11:47):
And curious in all those things.
Speaker 8 (11:48):
And I'm just I'm so thrilled to be in a
show that has the space for those little moments, those
little extra bits of.
Speaker 6 (12:00):
Oh that, yeah, that's a barrier that I want to squeeze.
I definitely went down the rabbit hole with the c
early On reference.
Speaker 7 (12:08):
I'm so glad. I'm thrilled.
Speaker 6 (12:11):
Yeah. And as you're describing all of these individual contributors
to music and art and politics throughout history, I'm thinking
about that scene after Herman Danbury has passed and Agatha
(12:32):
is faced with all of these members of society who
are looking at her like, now, what what are you
going to do now?
Speaker 10 (12:39):
Exactly?
Speaker 6 (12:40):
And I wonder if what you said about privilege, if
there's some connective tissue there that you can tease out
for us, because that young Agatha also is telling young
Charlotte the same kind of thing.
Speaker 8 (12:56):
Yeah, well, you know, how do we survive on a
pragmatic level, how do we survive on a spiritual level,
How do we survive on a psychological level. We have
to make relationship where we can. You know, it's really important.
You know, we are human beings are built to be
in communion with one another. You put a bunch of
(13:17):
women on tour together for long enough, we'll all have
our periods.
Speaker 7 (13:19):
At the same yours.
Speaker 6 (13:23):
True.
Speaker 8 (13:24):
You sit a bunch of people together in a theater
or in a church, our heartbeats will align together. You know,
we're biologically made to be in communion. And so when
you are the only one which when you're you know,
which is an experience that many people of color will have.
(13:45):
You know, in the West, you need to make your
alliances where you can, and you need to be generous
and open hearted and strategic because it's your duty to
get in a position and then you help the next
general up. When I started in this business, the way
I got my next job was because other black actresses
(14:07):
told me about auditions. They made me competition for scarce
work out of an act of solidarity and generosity.
Speaker 11 (14:17):
And I.
Speaker 8 (14:19):
Would be remiss in my duty and my joy if
I did not continue to repay that act of generosity
to me forty years ago. You know, you pay it
forward always. You make the door wider, you let the
ladder down further. You encourage you see people, spot I
(14:41):
spot the crew on Bridgeton, I see the trainees. I
see them all. You know, each one teach one. We
are all gifted, share your gift together.
Speaker 7 (14:50):
We are strong.
Speaker 6 (14:52):
About how you always reach out and offer an opportunity
for those who are coming up to show outshine and
go further. Yeah, Shanonda Rhimes wanted in this story to
tell the stories of present day Lady Bridgerton, present day
Lady Danbury, and present day Queen Charlotte. And it made
(15:12):
me wonder for women watching, who can relate to those
three characters, who was teaching them and pouring into them.
And I'm wondering how you feel about that.
Speaker 8 (15:24):
Well, none of us start off the finished article. We're
all just groping our way forward. And that is what's
so beautiful about going back in time in this way.
How do we grope our way forward in the world.
Speaker 6 (15:39):
That scene where Lady Danbury, Lady Bridgerton, and the Queen
are sitting together to have some tea, This is when orangery.
What is that?
Speaker 8 (15:48):
Oh, an orangery. It's the glasshouse where they could grow oranges.
It was such a sign of what that was. Yeah, yeah,
it's such a sign of do you remember that. Then
they have the scene earlier where young Queen Charlotte goes
to pick an orange and someone rushes forward.
Speaker 7 (16:06):
I can pick my own orange, Grimsley. Yes, your majesty orange.
Speaker 6 (16:17):
That's the same place.
Speaker 7 (16:19):
It's the same place.
Speaker 6 (16:20):
I didn't know that was this.
Speaker 8 (16:22):
Oh, so to be able to grow tropical fruit on
freezing cold little England was a sign of great privilege.
It meant you had to construct these enormous glass houses
to you know, keep in the heat of the sun.
All these things. They were the height of wealth and prosperity.
So anyway, the girls are sitting in the orangey and
(16:42):
still at it on the plotting front.
Speaker 6 (16:44):
Oh, I love that, and I just love now that
extra understanding that that is where the queen chose to
sit and invite you all to That's so interesting.
Speaker 10 (16:55):
Yeah.
Speaker 6 (16:55):
Yeah, that's a really nice little nuance there.
Speaker 7 (16:58):
Yeah.
Speaker 6 (16:58):
Oh so I was wondering who's pouring into these present
day women, older women, and they're pouring into each other.
That's why they're sitting together. They're holding on to each other.
Speaker 8 (17:11):
It's like, just get get me a little war canceled
together here, we have to huddle.
Speaker 7 (17:16):
Now, what are we going to do about X, Y
and Z.
Speaker 8 (17:19):
But you know, they've still got the little digs going
on there, you know, children. Yes, thank you for was
quite enough for me, you know, all of that stuff
that's going on somebody.
Speaker 7 (17:32):
Yeah, yeah, yeah.
Speaker 8 (17:33):
What I love about the show is that the variety
of depictions of women. You know, you have Violet who
loves her kids, her kids are rather the center of
her world. And have needed to be because she was
widowed so young, so that has had to be her
focus in a way, and it's her joy.
Speaker 7 (17:51):
You know, I've always said, you know.
Speaker 8 (17:53):
Women be who you be, not every womb needs to
be filled. Whoa who I will go there.
Speaker 7 (18:01):
Yeah, but it's you know, it's true.
Speaker 6 (18:03):
You whoa Yeah. Let's pause a moment and when we
come back, we'll unravel the subtleties of Queen Charlotte of
Pricheton story with Atua Ando.
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Speaker 6 (20:57):
We're back and yes we're hungry for more. Here's more
with actress Adua Endo. I want you to talk to
me a little bit about that friend in your life
though that has had that secret for decades. I'm thinking
about the moment when Lady Danbury and Lady Violet Bridgerton
sit down silently surrounded by lord letters hat people had
(21:22):
Adua that scene spoke volumes. Can you yeah, well, I know.
Speaker 7 (21:29):
Actually he's given me goosebumps thinking about it.
Speaker 8 (21:31):
I was so moved to have that be part of
her story, that Agatha has been enormously and utterly in
love and that, you know, a bad marriage does not
obviate the possibilities of love. You know, life goes on.
(21:55):
But also that sacrificial love that kind of went this
cannot be pursued because there is too much difficulty around
it and the way in which the love for Lord
Ledger translates into her love for Violet and anything pertaining
(22:15):
to violets happiness and wellbeing. So why does she care
about all these Bridgeston kids?
Speaker 7 (22:21):
Why? Why not some other kids?
Speaker 8 (22:24):
And then you understand why, you know, yes, and I
love that. There was one day where I was going
to shoot a scene when Lady Danbury remembers that bed
and the two different experiences of being in that bed
that she had, oh yeah, with her husband and with
Lord Ledger. And I passed here and I hadn't met before,
(22:45):
and I met him and I saw him, and my
little heart went for drinking. Okay, yeah, yeah, yeah, yeah, yeah,
Lady downby too and love this one. Oh yeah, I
just I was like giddy. My face flushed. I was like, oh,
he's lovely. So yeah, I was very thrilled about casting.
Speaker 6 (23:08):
Do you have a favorite scene with Lady Danbury that
you got to dig into and a favorite scene maybe
from the whole show?
Speaker 7 (23:16):
I really like the scene with me and Violet just
not saying and saying everything.
Speaker 8 (23:26):
Oh those are my birthday hats.
Speaker 2 (23:30):
I believe I may have told you about them.
Speaker 7 (23:32):
Yes, you did.
Speaker 8 (23:33):
Your father made them for you every year on your birthday, correct.
Speaker 7 (23:40):
Yes, And I used to make them for Edmund.
Speaker 8 (23:43):
And there are, of course the ones I used to
make for the children over the years. You keep them
all on display. I did not always, but lately I
suppose I am feeling sentimental. Look, these are the ones
my father made.
Speaker 13 (24:00):
They are tweerful, are they not?
Speaker 7 (24:05):
They are?
Speaker 8 (24:08):
I love the spoken and the unspoken. I love the
generosity and the love between those excuse me, two women.
Speaker 7 (24:15):
Yeah, the love and the generosity of those two women
towards each other. But also in memory. Wow, you're okay,
I am. It's very interesting.
Speaker 8 (24:27):
Sometimes when something is powerful that needs to be spoken,
sometimes it's hard to get it out. So I say
to you that scene of speaking and not speaking and.
Speaker 7 (24:38):
Then suddenly I'm coughing. Interesting.
Speaker 8 (24:41):
Yeah, the generosity of those two women that they both
love this man and they love each other and they
don't want any of those relationships to be damaged. So
they have to find a way to have that conversation
in a way that stays kind, that stays open, and
that it's not going to die image them going forward
(25:02):
or damage their memories of the past. I just love
the delicacy of Shonder's writing for that scene. And you know,
I get to work with Ruth Gemmel, who I adore.
She's known as Gemma and I'm known as Ange Gemma
and Ange.
Speaker 7 (25:22):
I love working with her. She's brilliant.
Speaker 8 (25:25):
And Tom Verica I have to shout out loud and
hearty to his direction on Queen Charlotte.
Speaker 7 (25:33):
It is beautiful, beautiful.
Speaker 8 (25:37):
He works with such generosity and such delicacy and such
thoughtfulness and also such efficiency. He's fantastic and it's beautifully
lit by Jeff Jill. So I love that scene.
Speaker 6 (25:50):
Sam Clement, who plays Young Brimsley, told me that Hugh
Sachs sat in on some of his scene work with
Tom Errika to take that into his performance. He studied
the dance, did you and have time together?
Speaker 8 (26:04):
Oh my god, she's so I'd love her so much.
She's just got this joy about her, this skill about her,
this openness, A smart, lovely, lovely woman.
Speaker 7 (26:18):
Yeah.
Speaker 10 (26:18):
We we had many phone calls.
Speaker 7 (26:20):
The two of us. We had one.
Speaker 8 (26:22):
I think we had like like a two and a
half three hour zoom where we just went through the
script and we talked about, oh wow.
Speaker 10 (26:30):
Who you know who Danbury was in?
Speaker 8 (26:33):
Who I had imagined Danbury to be as I was
creating her. Because you know, when you come when you
come at a character who has already you know, lived
a life, you can't just you can't die well I can't.
I think lots of actors can't. Actually you can't just
dive into them with what's on the page. You have
to go yes, But who would the person be that
(26:55):
would respond in that way? So I'd done my young
Danbury think think stuff already. You know, you know we
actors how we study I love it. So yeah, So
I just I'd kind of thought about all of those
things already, and I'd actually been a bit scared that
when I read Queen Charlotte, I'd go, I don't think
(27:18):
you do that and no, not at all, absolutely on point, emotionally, vibrationally.
Speaker 6 (27:25):
Vibrationally oh so yeah, I'm big on vibrations, and I
just yeah, the vibe was good.
Speaker 8 (27:33):
And I found a photo of me in casualty I think.
I put it up on Twitter and a picture of
our summer and Asma and I look the same, like
really spookily.
Speaker 7 (27:47):
Oh they look the same.
Speaker 8 (27:49):
I send it to Tom Veragrat. I was like gus,
so we did work together. We talked a lot. She
painted me as a farewell gift arsthma as a great painter.
She's done a portrait of me. I mean, like, gosh,
she's a lovely woman.
Speaker 16 (28:05):
I love her.
Speaker 6 (28:06):
Adua and you are from Saturn. You are just I'm
thinking Stevie Wonder when I say that, you are just.
Speaker 10 (28:16):
Stevie Wonder now of this world. He is a golden
monks man.
Speaker 6 (28:21):
I'm so, so so privileged to be able to sit
here with you, and thank you for giving us this
slice of time and dropping all this knowledge on us.
You are remarkable.
Speaker 8 (28:32):
I'm very happy to have been able to chat with you.
Gabrielle really pleasure, absolute pleasure.
Speaker 6 (28:39):
Isn't she amazing? Like need a Thesaurus to capture the
amazingness Amazing. Don't go too far because just ahead here
Charles and Cyril Henri will talk about their characters' motivations
and the portrayals of the men of the time. We'll
be right back, Hi, everybody.
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Speaker 6 (31:38):
Welcome back. So, as promised, we have the pleasure of
being joined by two extraordinary talents who bring death and
complexity to their respective roles. Please join me in welcoming
Sirl Henri, who plays the esteemed Lord Danbury, and Keir Charles,
who embodies the charismatic cat Daddy Lord Ledger. So they
(32:00):
are going to join me on unpacking the intriguing dynamics
of the Ton. The elite society reborn out of the
union of Charlotte and George and Cyril and Kir are
going to help us shed light on the relationships between
Lord and Danbury, Lady Danbury and Lord Leger, but real quick,
I wanted to share this insight from Kelly Valentine Henry.
Speaker 17 (32:22):
First, Cyril, who plays Lord Dunburry. That's an interesting self
tape request. I have to say. When one of the
scenes is as you will have seen him being very
excited in the marital bed, Lovely Cyril just weaver it
day one and when we had to read through the
(32:42):
very first time, Cyril was just having the time of
his life in Arsena was sitting next to him just grinning.
Speaker 7 (32:47):
Oh, we laughed.
Speaker 16 (32:49):
It was so joyous.
Speaker 6 (32:51):
That was Kelly Valentine Henry, the casting director of Queen
Charlotte Bridgeton story. Isn't that interesting? Let's talk about it
with these two right now. So we are here finally
with Lord Ledger and Lord Danbury. We've got Kier Charles
and Syriah Henri with us today and we're going to
(33:13):
get into episode five all of the memes you guys
have of these characters out there, and just learning more
about these phenomenal actors who come from stage and screen
and have just completely blessed us with really really interesting
characters that allow us to learn more about some of
(33:36):
the characters we've already come to love over the last
couple of years. Welcome, Welcome, Welcome Kier and Cyril.
Speaker 18 (33:42):
Thank you so much going to be here.
Speaker 6 (33:46):
What was your audition experience like, because these two characters
are so important to how we understand Violet and Agatha.
What were your sides? What was your audition?
Speaker 18 (34:00):
I seem to remember the sides were the first scene
in which you meet the Ledgers, when Violet is discussing
Lord Leger's friends and stuff, and so I seem to
remember that being one of the sides, and then actually
the arrival at the Danbury ball as well, when he
(34:22):
and Lady later and you know, it suggests, you know,
hopes that Lady Danbury and he could be friends.
Speaker 19 (34:29):
Be friends at that stage.
Speaker 18 (34:42):
But I mean it developed, sure, but on first encounter,
I think it was just genuinely. But I think I
seem to remember auditioning for one of the children, one
of the Queen's kids, you know, in the future, as
(35:03):
it were in the Bridgeton times. I seem to remember
doing that. So that was my experience.
Speaker 6 (35:08):
Where were you when you did a self tape, Cyril?
Speaker 20 (35:10):
Well, I was at home, actually, I was just upstairs
from where I am now, and I did my self
tape with my daughter filling in as Agatha, and it
was all very I read the scene where he.
Speaker 6 (35:26):
Rolls off and their first lines.
Speaker 20 (35:30):
That was a very good ride. Yeah. The way I
read this scene, it's obviously we had just used the
I just did it on my iPhone and I said, well,
what what I'll do is that I'll start with me
just above you, okay, and and then I'll roll off
(35:54):
to the side and you roll the roll the thing
with me. You really went to town, you don't, but
it wasn't town really. I just thought we'll do it
from a point of view, and I just did it
on my bed, you know, and just yeah, you know,
(36:17):
and so yeah, my daughter held the camera and just yeah.
Speaker 6 (36:21):
Wow.
Speaker 20 (36:25):
Yeah, And so you know, it's quite quite a short scene.
Speaker 19 (36:29):
You know.
Speaker 20 (36:30):
I take my teeth out during it, and I had
to pretend that I was taking it because obviously I
didn't have the teeth at the time. But so I did.
I did, you know, I did what I could, and
I think it must have made them laugh or something.
Speaker 6 (36:48):
For sure, I'm sure I did.
Speaker 20 (36:50):
But you know, I mean, yeah, they teach all that stuff,
you know, get their attention so I thought, well, they've
written this as Bill, and I said, well, you know,
if they write the stuff, then they are to here
the stuff.
Speaker 6 (37:04):
So yeah, so I just.
Speaker 20 (37:08):
I just gave it a yeah, and they came back.
They did, they did ask me to redo, you know,
a little more placid. But I think the the.
Speaker 16 (37:20):
The same side, red the same side when.
Speaker 20 (37:22):
You and and a couple of others, actually.
Speaker 18 (37:26):
Right, obviously your foot was in the door by then
you've got that exactly.
Speaker 19 (37:31):
Yeah.
Speaker 20 (37:31):
You know, as they say, if you notice my hat,
then you will be my next.
Speaker 6 (37:35):
Lover, because I got you.
Speaker 20 (37:39):
There go the eyes around you. So that's why I'm
wearing this flashy hat. And now you looked into my
eyes and it's all over for you. Yeah, so that
was good.
Speaker 6 (37:55):
Have you both seen any I don't know if you
spend any time on social media. I'll just say social
media as an umbrella. But have you seen the little
images of your characters where there's and it's a photo
of Lord Danbury making a face.
Speaker 20 (38:13):
I haven't seen it, unfortunately. If you've got it there,
show me, yes, I.
Speaker 16 (38:20):
Want to see it.
Speaker 6 (38:22):
It says I want a sugar, and then in the
inbox is Lord.
Speaker 18 (38:27):
And then that's wish for as there's a there's.
Speaker 6 (38:32):
A ton of that out there, these two characters. People
love these characters and what they represent.
Speaker 18 (38:39):
Connie, who plays Silot, sent me, just sent me a
couple of things on.
Speaker 16 (38:46):
Top the tiktop.
Speaker 18 (38:49):
Yes, but she just sent me them. But she's quite
active on those kinds of things. But I'll leave that
to her because she's young and young.
Speaker 6 (38:59):
And can you describe one of the ones Connie sent
to you?
Speaker 18 (39:03):
It was something uh, oh god, I can't really. I
think it's quite which is not rude as such, but
it's someone saying to Connie or Connie's character saying.
Speaker 16 (39:16):
I want my daddy, and then someone else saying I
want you.
Speaker 6 (39:26):
Yeah, I loved, I loved, I loved, loved, loved love
seeing how audiences reacted. But yeah, completely connected to yes,
Young Violet and Young Agatha. I was wondering what your
first encounters with the script were, if you had your
own memes in your head about these characters, or you know,
(39:47):
any serious thoughts about these characters and the roles that
they play in a society that you know is not
is not necessarily woman forward. I think Cyril, you said
you have a daughter here, you had a lot of
uh scene work with Kannie, who's you know, an emerging performer.
(40:08):
Just wondering how your encounters with the script influenced your
thinking about the roles your characters play in these worlds.
Speaker 18 (40:16):
Yeah, I'd say Lord Letter is a pretty progressive guy
for those times.
Speaker 16 (40:23):
You know, he's he seems from.
Speaker 18 (40:27):
My point of view, he seems to see people very
much as individuals rather than you know, gender or race,
which is rare and is highlighted in the script. You know,
he he's you know, he's very forward thinking for those times,
and I think he stands out for that reason. You know,
(40:47):
he's just his asking lady down before a dance, his
constantly adorable encouragement of his daughter, and the little relationship
they have with kind of iron them. Who's you know,
let's face it, not so nice. Sometimes it was interesting
(41:08):
how it's quite a gentle way he shows these kind
of forward thinking ideas that he has because he'sn't really
confront his wife, but he just but in his actions
he demonstrates that that's not what he thinks at all.
Speaker 6 (41:25):
Which I think is fascinating when you think about conversations
today across the pond for me and here in the
United States about privilege and who should be speaking up
and when that's.
Speaker 18 (41:38):
Exactly wow, yeah, exactly, it's I don't.
Speaker 20 (41:44):
Know, I've got a slightly different day because he does cheatad.
Speaker 16 (41:50):
I mean he does.
Speaker 18 (41:50):
He's absolutely absolutely no listen, he's no saint.
Speaker 16 (41:54):
I'm not.
Speaker 20 (41:54):
I'm not.
Speaker 18 (41:55):
Actually he does, you know, good people do bad. He
does a very very you know, undeniably pad thing.
Speaker 20 (42:05):
I think with all these characters, you know, they have
both sides, and you know, when I was thinking about Danbury,
he doesn't. He lives in a certain society. He has
been brought up with a lot of wealth, and he
feels that he should have a position. It's shown enough
(42:28):
in the script just how much he suffers at each
little you know, slight, at each turned down, at each
you know, despite putting all this stuff in, and he's
trying desperately hard to to move himself up but doesn't
know how to do it. And he's not a letter
(42:49):
he's not the you know, reconstructed male. You know, he
doesn't think about Lady Danbury in terms of you know,
her rights, partly because he's getting it in the net,
you know. And actually I think that a lot of that,
you know, when I look back at the you know,
if you look further into the future and you look
at the struggles of as things move on, you go, well,
(43:13):
was there a lot of time for those people who were,
you know, being lynched to think about you know, the
missus you know, and you know, are you facing the
everyday struggles and trying to And I sort of thought
about it in that way and just thought, well, he doesn't.
(43:36):
He doesn't even think about it, doesn't come into his
radar that she might Agatha. Yeah, that Agatha might you know,
want emancipation or rights or whatever, or any of those things.
And as far as he's concerned, well, she is his, damn.
Speaker 10 (43:59):
But yeah, he doesn't.
Speaker 20 (44:01):
Yeah, she's just his. He doesn't think about it in
any other way, you know. And the the sad part
is that you get to see on his level of
understanding some quite tender moments where although he doesn't afford her,
you know, the freedom to think or be hurt or
(44:24):
any of those things, he wants her to hold him
in that way, you know. And I think there are
there are just enough of those scenes to show how
somebody who is quite so hurt is not thinking of others.
Speaker 16 (44:41):
Well, that's what's interesting.
Speaker 18 (44:42):
It's I mean, it makes everyone, every character you know,
fully rounded and complicated. You know, everyone is complicated. There
is no you know, no one is perfect and no
one is.
Speaker 16 (44:52):
Awful that they are.
Speaker 18 (44:54):
They are real, you know, kind of confusing gray a
mesh of kind of different characteristics. So it's which is
what people are. It's fun to play and fun to watch.
I think as well.
Speaker 20 (45:09):
Yeah, and you know that that sense of privilege where
you just dismiss other people because you think it's yours.
So I mean, like when he gets the key and
to the new Danbury House and you know, actually it's
one of my of my favorite moments. It's just such
(45:33):
a naughty moment from He's quiet woman.
Speaker 6 (45:38):
You think it's gonna be this moment where they both
are like you have made it, dear.
Speaker 13 (45:46):
I never thought that I would see this today. Do
you know how this happened?
Speaker 7 (45:52):
I have no idea.
Speaker 13 (45:54):
I will tell you how this happened. The King sees
me for who I am, my value, my word. He
understands that the old days are over and that this
is a new world.
Speaker 20 (46:12):
That men are men, regardless from whence they come.
Speaker 15 (46:25):
That's this is.
Speaker 11 (46:27):
The beginning of a new year.
Speaker 10 (46:30):
You know, I believe I.
Speaker 20 (46:32):
Will try the key at every single opportunity where he
gets the opportunity to celebrate them going up in the world.
He takes the phrase because this is all me.
Speaker 6 (46:49):
I laughed till I cried and replayed it and replayed it.
I'm wondering if you both saw, for instance, Cyril, although
Lady Danbury in a sense belonged to Lord Danbury and
Young Violet was Lord Ledger's daughter, I feel like Lord
Ledger was able to see and appreciate young violets budding
(47:15):
brilliance and agency. And I wonder if Lord Danbury was
also able to see that in Agatha. Do you do
you think he was able to see that? And Agatha
although because he confided in her, Yeah, I think.
Speaker 20 (47:31):
There is enough there to show that, Yes, in those
bed moments when he confides in her that you know,
they'll never give this to me. You know, he's also
got the thing of age, because he's like forty years
older than she is, if not more so, the idea
that she would understand because she hasn't lived through all
(47:53):
that he's lived through, you know, so he can say it.
He can say yes in this way of no, they'll
ever give this to me, you know, and you're being
naive to think they will, you know, because you just
haven't experienced the fact that not only I, but my
father was the person who propped up this throne with
(48:13):
his wealth. It was his wealth that propped up this throne.
And yet we're not accepted. And actually historically that is
the fact, and it's there in the lines as well.
There there is a point when you know, Agatha talks
about it to the dowager Queen. Yeah, and she she
(48:36):
mentions her husband's wealth and her you know, the fact
that a lot of the rewritten history, you know, simply
wipes out the wealth that you know, was taken from
those African princes and kings and you know, to buoy up.
And one of the things I found was because it
(48:59):
came out in a nation week.
Speaker 6 (49:02):
Which was brilliant.
Speaker 20 (49:03):
Yeah, you know, good timing, you know, we especially when
you've got discussions about you know, the jewels on the
head of this king coming from Africa and India or
wherever else, and you've got that sort of actually the
Dan breeze, the reason why they're in that society, even
(49:26):
though they're not given the recognition up until that point
when they're useful, you know, is that they have actually
supported this state, you know, so you know, it's it's
really interesting. Of course that's then paralleled in the idea
that you know, the queen has come from you know,
(49:46):
that background and comes to save this monarchy.
Speaker 6 (49:49):
Essentially, Wow, that's for me, makes Agatha's what she whispers
while the two of you are sitting at the wedding
a little more nuanced for me now where she says,
everything's falling into place and understanding Agatha understands that history
in a broad sense is oh wow, okay.
Speaker 20 (50:11):
I think that the problem for Danbury is that he's
old and he just he cannot get round the idea
that even though you know, like that conversation at the wedding,
you know, he sort of misses those moments where she
is absolutely brilliant, and I don't think he can quite see,
(50:33):
you know, that she should be allowed that, you know,
that freedom.
Speaker 6 (50:38):
Which makes Ledger such a breath of fresh air in
her in her life.
Speaker 16 (50:45):
Yeah.
Speaker 18 (50:46):
Well, exactly because he doesn't miss those moments. He you know,
he notices, as he says, he kind of sees that
sees the person and sees their vulnerability and sees their
dilemmas and their pain, and it's not lost on him.
And that's you know, and all any of us one
needs to be seen, especially Lady Danbury at that time,
(51:07):
you know what I mean. So that's where I think
that connection blossoms between the two of them, because he's
I feel he's been lost as well in that kind
of loveless marriage that he's in, you know, probably to
the wrong person, or to not to the person that
she was when they got married. I think, you know,
(51:31):
I think she's probably I think they must have been
in love or there must have been something there originally,
but as the years have gone by, they've drifted apart
in their views and their attitudes have separated.
Speaker 6 (51:46):
Yeah, she's she's very much like Lord Butte, I think,
in her thinking right very much.
Speaker 18 (51:53):
Very much, And she's much more conservative and then Lord
Ledge's much more liberal. And it's just that parting of ways.
These two ships that were potentially once parallel have now
gone separate ways. She's such a strong force and so
(52:14):
vocal about her right beliefs, and he is more passive
and introspective and internal about his and so it's a
delight when he meets Agatha and someone who's more like
him in so many ways than you know, than his
wife has turned out to be.
Speaker 6 (52:34):
Hearing what you just said, Cyril, and what you just
said here, you're able to really capture who should be
together who shouldn't be And like, oh, if only Lord
Danbury were wasn't carrying that hurt with him.
Speaker 20 (52:48):
Yeah, pretty much all the characters are trapped in a
social etiquette prison that doesn't allow them to be fully
who they are.
Speaker 6 (53:00):
I've got to ask Shonda, like, why do you write
men and women? Because I think Princess Augusta said very triggering.
And one of my favorite favorite favorite Shonda land shows
is Scandal and my favorite character Eli Pope, and he
plays Olivia Pope's father. Okay, so Olivia was in an
interracial relationship with the president. Not only was it interracial,
(53:23):
it was also a power dynamic. And Eli's whole thing
was You're not really powerful, Olivia, you are a pawn,
you are a kncubine. There is something about whatever Eli
was bringing to that conversation from his pain and his
hurt and upbringing into that conversation with the next generation
(53:45):
reminded me so much of Lord Danbury talking to Agatha,
and I'm thinking specifically about the line where he tells
her to act like she's been there before.
Speaker 20 (53:57):
Yeah, because it's important because you know, this is about show.
It's also about you know, knowing you fit in here.
And he hasn't got time to keep explaining, you know,
the whole rigors of you know, civil rights, how we
got here, where I marched, what I've given up for you,
(54:20):
those sorts of characters, which I think you get all
the time quite often, particularly with you know, black parents.
I'm struggling to hold down a job and do this
and that and whatever, and you know, even at the
highest level, you know, I haven't got time that is
to be explaining to you the last three hundred years.
Speaker 6 (54:49):
The moment Lord Ledger decides to knock on Agatha's door
and say he's not there, I am so curious about
the her sold table reads and just kind of as
an actor, what state of mind you put yourself in
to make that scene? So I guess palpable is the word.
Speaker 18 (55:12):
Just yeah, Well, I don't really know what I don't
even know if he knew what he was thinking really
when he turned up.
Speaker 16 (55:19):
Oh he turned up with what? He turned up with?
A birthday hat?
Speaker 13 (55:22):
So is.
Speaker 18 (55:24):
Action really the objective is a handover this birthday?
Speaker 16 (55:27):
That's his excuse.
Speaker 6 (55:29):
Shot anyway, shot.
Speaker 18 (55:35):
Letter lady, what is.
Speaker 16 (55:41):
That birthday hat? I make them? I made this one
for you.
Speaker 18 (55:50):
He turns up with the birthday hat. So it's purely
to you know, to say happy birthday. Yeah, you have
missed your birthdays this week. I know, I know it's
sometimes happy birthday.
Speaker 16 (56:02):
Now.
Speaker 18 (56:02):
I think he thinks that that's all. But I mean,
if you were to pop him on the psychiatrist couch
and if you really kind of got your hands dirty
in his head, I'm sure there's He wouldn't admit it,
but I think there's elements of him going thinking or
(56:24):
hoping that something more may happen.
Speaker 20 (56:27):
I think it was therefrom would you mind if I
danced with your wife?
Speaker 18 (56:30):
Of course you're you're a suspicious mindset. Well, there was
there may have been something there, a spark, but you know,
and perhaps an indefinable spark. Initially you think, oh, there's
she's nice, and it can be simply that initially, but
(56:51):
then they get to know each other on these rambles
on these walks that they do, and I think that's
where they didn't in love, and this is a culmination
of that period they've spent together and it's it's come
to a head, and they've been so incredibly honest with
(57:12):
each other and they like they haven't been with anyone else.
They've really confided into each other and got to know
each other and talk to each other and be so honest.
That brings a closeness they may not have experienced either
ever or in a long long time, and that is
(57:34):
attractive and exciting and.
Speaker 16 (57:41):
An aphrodisiac.
Speaker 6 (57:42):
Ha.
Speaker 18 (57:45):
So I think that's why he knocked on the door,
you know, not knowing even why, just kind of being
pulled there.
Speaker 6 (57:53):
Yeah, Lord Ledger and Lady Agatha Danbury definitely sapio sexual.
As you guys were eating each other's brains. I was
so with it. I was. I loved it, And I
guess I'm always curious about how you all film. So
were there any scenes that you had to shoot like
(58:16):
more than fifteen times because you were just giving so
many different variations or something was just needed to be just.
Speaker 20 (58:23):
Right the big ballrooms and things, of course, coverage rather
than rather than retaking as such. You know, there were
you know, every single angle is covered yea and more.
Tom you know, he he would even shoot stuff that
(58:46):
I don't know, for his own entertainment, for the for
the what you call it real you know, he had there.
There are some wonderful bits in the in the out
takes reel. The Danbury ball we had this you knowlan
moment where it went from the ballroom dancing into full
on you know, soul.
Speaker 6 (59:08):
Train, okay, shandala, And you have to post this video
somewhere because everyone is talking.
Speaker 20 (59:11):
About it, I mean full on, you know. And all
these dances are fantastic, you know, and then you you
have musicians there, you know, live musicians know, absolutely fantastic.
Speaker 16 (59:26):
They were great fun.
Speaker 18 (59:26):
I was really kind of sorry for you, sir, or
that you weren't really dancing in videos, because what was great,
what was brilliant and an incredible kind of introduction to
everyone before I was shot anything, was the dance rehearsals
that we do.
Speaker 16 (59:42):
So that was meeting.
Speaker 18 (59:44):
Everyone was in like a few different rehearsal rooms with
Jack Murphy, thet the choreographer and kind of the cast.
And for a few weeks before we shot anything. We
just hung out and learned these dances, which we was
an incredibly kind of feels like.
Speaker 16 (01:00:02):
A luxurious way to work. Yeah.
Speaker 11 (01:00:04):
Yeah.
Speaker 18 (01:00:04):
Often you meet people on set in costume five minutes
before your take.
Speaker 20 (01:00:10):
I was deeply jealous. I was deeply jealous because I
wanted to dance.
Speaker 13 (01:00:14):
You know.
Speaker 16 (01:00:16):
How cold you do.
Speaker 18 (01:00:18):
So I was really sorry that you couldn't.
Speaker 20 (01:00:23):
He was deemed too old.
Speaker 6 (01:00:26):
Yes, according to the memes, someone would have been like, hey,
cat daddy, and you can come dance with me. So
any full circle moments for you, Ridgardton is so much
about full circles, looking back, looking forward, anything like that,
or any pinch me moments like wow.
Speaker 18 (01:00:46):
So many there were a million pinch me moments. Every
day is a pinch me moment on Queen Charlotte, really,
and there's some of the just the scale of it,
the people, the locates we went to just incredible. Being
in those costumes and looking out, you know, it kind
of turned your back to the camera and you.
Speaker 16 (01:01:07):
Could have been back, you know, you could have been
two hundred years ago.
Speaker 18 (01:01:10):
The scale of it was something I hadn't really encountered
before or for a long long time. And the detail
on it is just you know, second to none.
Speaker 20 (01:01:21):
Yeah, pinch me moments. Well, I mean just I suppose
the first read through which we did and Shonder came
and you know, I mean just sitting in a room
with you know, you were there in a room with Shonder.
Oh my god, I mean I'm going you know, it
(01:01:47):
is yeah, I mean it is a you know, it's
it's an Oscar moment for me, you know, And I
have to pinch myself about that stuff. But the you know,
in terms of false Cole, that will be when I
come back to play my son the post Bridgeton world.
(01:02:07):
Just putting that out there.
Speaker 6 (01:02:08):
Shuder, you two have been an absolute joy to spend
time with today. I could keep going.
Speaker 16 (01:02:16):
Garri has been a delight.
Speaker 20 (01:02:18):
Thank you.
Speaker 6 (01:02:18):
Thank you so much. Seriously, you've totally given us emotional
whiplash with your performances. I mean also a little dizzy
with some of the opening scenes with the Danbury's.
Speaker 20 (01:02:32):
But by the way, I thought I thought Danby actually
gave better sex.
Speaker 16 (01:02:40):
Well I'm just there, let's ask.
Speaker 20 (01:02:45):
You can ask. But actually he was technically more proficient.
Speaker 16 (01:02:52):
Technical technical exercise, very curate.
Speaker 6 (01:03:03):
Thank you so much, and don the note of technical proficiency.
We made you all the Good Day Special. Thanks again
to Adua and Do and her sweet dog. She'd unschooled us. Again,
There's never enough time. We love Adua. Thank you, and
(01:03:24):
again to Cyril Henri and kir Charles, thank you for
not holding back. I'm so glad we had the time
to get into the minds of Agatha's booth things and
that we got to look at some memes together. You know,
I've got more to bring to you right on our
next episode.
Speaker 11 (01:03:43):
You see all of those people who are now part
of the Ton, being part of a completely new society
that they've never been there, now in another culture and
they have to assimilate, you know, act like they've been
there before. It's like, it's what Lord Danbury says to her, which.
Speaker 6 (01:03:59):
Is you know, wait, that was so funny, though it's true.
Speaker 11 (01:04:04):
It's like the slogan for anyone who's ever moved to
another like place.
Speaker 6 (01:04:10):
It's like, act like you've been here before. Stop gawking
our semma my bff in my head. She's joining us
for an afternoon tea, so bring your shades because she
shines brightly. Queen Charlotte. The official podcast is executive produced
by Sandy Bailey, Lauren Homan, alex Alja Tyler Klang, and
(01:04:34):
me Gabrielle Collins. Our producer and editor is Tarry Harrison.
Subscribe to the podcast anywhere you get your favorite shows.
Get the book I'm a Crispy Turned the Page, Smell
the Binding kind of Queen. But you can download it
and you can find Queen Charlotte a Bridgeton story on Netflix.
(01:04:55):
We'll see you next week, Queen Charlotte. The Official podcast
is a production of Shondaland Audio in partnership with iHeartRadio.
For more podcasts, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.
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Speaker 2 (00:35):
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Speaker 4 (01:20):
Hey, it's Wilfredll and Sabrina Bryan and we're the hosts
of the new podcast, Magical Rewind.
Speaker 5 (01:26):
You may know us from some of your favorite childhood
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Speaker 6 (01:53):
Queen Charlotte. The official podcast is a production of Shondaland
Audio in partnership with iHeartRadio we're going to explore the
impact of these characters' choices on their own lives and
(02:17):
those around them, and the ripple effects that reverberate through
this tale of love and friendships that span decades. So
through our engaging conversation with Cyril, Henri kir Charles and
first with Adua Endo, we're going to shed some light
on this rich tapestry of Bridgerton and Queen Charlotte of
(02:39):
Bridgerton story, hopefully providing really valuable perspectives into the exploration
of race and society and the human spirit, y'all within
the backdrop of British history and opulence. So I hope
you've worn your best, because baby, we've got a special
(03:02):
special guest, a force and a breath of fresh breeze
Azua And oh that's right, fall out roll around, because yes,
she's giving us the privilege of her time again. She's
super busy shifting whole mindsets right now in her current
stage project, but has dropped everything everything to talk to
(03:25):
us again about Lady Danbury and Brownie points for going
back to listen to our first conversation in Bridgerton Season one.
Go back and listen, leave a comment and show me
you're a real one. But seriously, our conversation this morning
is based on that foundation, the foundation of the conversation
(03:46):
we had during that time, and Golda joined us to y'all,
and that little note I got from Shonda as well,
she told me in my ear okay, that Azua was
freely sharing insights about Black British history and influence. I'm
going to stop right there and let Ajua take us away. Ajua, Ando,
(04:10):
we are so happy to have you with us. I
can't even begin to tell you. I have been looking
forward to this welcome.
Speaker 7 (04:20):
Thank you so much, Gabby.
Speaker 8 (04:22):
I'm just going to say now, if people hear weird
snuffling noises, it's not me, honest.
Speaker 7 (04:27):
It's my job. I'm blaming the dog.
Speaker 8 (04:29):
I have a very ancient black labrador. She's blind, she's lame,
but she's still my Millie.
Speaker 6 (04:36):
Oh. I feel like, just looking back at you and
your work, do you always seem to find a way
to bring it back to some social issues or whatever
is in you feel that needs to be spoken about.
Speaker 8 (04:55):
I just think storytelling, you know, first and foremost. I
like dressing up and pretending to be other people for
a living.
Speaker 7 (05:04):
Lucky me. That's the job. You don't have to clock watchful.
Speaker 8 (05:08):
It's a privilege and I carry that privilege with great humility.
And so what do I do with the privilege that
I've been given? You know, what do I do with
the gifts that I've been blessed with? How do I
use them in the world to have a conversation that
is about the humanity of each one of us, That
is about letting people know that they are seen, that
(05:30):
they are valued, and anything I can do to push
back against the enjoy So yeah, so I guess it's
not about me wanting to bang on in a socially
conscious way.
Speaker 7 (05:45):
It's just about the little kid in me that goes.
Speaker 8 (05:49):
But you can't be like that to people. It's not fair,
And I feel that really strongly even now. You know
about what's not fair? How do we treat our refugees,
how do we treat poor people? How do we get
access to justice for people who can't pay for it?
All that sort of stuff. It's just about be nice,
be kind, be fair. You know, we should all be
(06:09):
enjoying all the abundance that there is.
Speaker 6 (06:14):
I have to make it full circle. But that also
kind of reminds me of Lady Agatha Danbury.
Speaker 9 (06:22):
Well, yes, of course, of course he wants to have
a swagger game on, but she also wants to make
sure that those people that need her protection get it
and those people that need a bit of a clip
around the back of her knees get it too.
Speaker 3 (06:39):
You know.
Speaker 6 (06:39):
I we had a conversation with Shonda Rhymes, the writer
Shonda Rhymes, and she said, you offered healthy helpings of information,
insight about the black British experience and some of the
historical nuance, maybe about Lady Agatha Danbury as well. Can
(07:02):
you tell me a little bit about that.
Speaker 8 (07:04):
Well, this country it offshot its slavery, it took the profits,
but you know, it tried to keep it off country.
So getting people to understand and acknowledge the racialized nature
of much of the structure of our society is hard
in a way because people go, oh, none of that
happened here. It makes it complicated for people to acknowledge
(07:28):
where we are as a nation now, to acknowledge that,
you know, the industrial Revolution, the scientific Revolution, the creative Revolution,
the architectural revolution, all those revolutions were fueled by the
illegal kidnapping and trafficking and exploiting of black bodies.
Speaker 7 (07:49):
That's what happened.
Speaker 8 (07:51):
And the triumph of that is the fantastic contributions that
nonetheless have come forth, shining creativity, the joy, the humor,
the swagger, the brio with which people of African descent
still conduct their lives. There was a flow backwards and
(08:14):
forwards through Europe, through Portugal, through the United Kingdom, through
other European countries, people of hierarchical status from abroad interacting
with people of hierarchical status in this country. There were
lots and lots, for example, of Southeast Asian, Asian and
African children educated in the Great August Seats of Learning.
(08:40):
In this country, there were the children who were the
offspring of enslaved women and slave owners, who were then
brought over to Europe and educated.
Speaker 10 (08:53):
The Chevalier Saint Gange, who.
Speaker 8 (08:56):
Was Marie Antoinette's court, he introduced Europe to Mozart. A
black man introduced Europe to Mozart. There's another guy who
again the offspring of an enslaved African woman and a
slave owner. His father had educated at Eton. He owned
(09:17):
half of Wales. He had twenty three between two wives
God blessed them twenty three children.
Speaker 7 (09:24):
Those children married.
Speaker 8 (09:26):
Into all the local noble families of Wales, mixed raised children.
You know, we have been here at all levels of
society forever, and a day at Queen Charlotte.
Speaker 7 (09:36):
When she came to this country.
Speaker 8 (09:38):
There were complaints about her mulatto skin, her thick lips,
in her ugly wide nose.
Speaker 7 (09:44):
You know, we've been here.
Speaker 8 (09:47):
There was a who built Hadrian's Wall in this country,
the African Roman emperor Severus. So I guess I would
bang on to Chandra about that stuff. Particularly for Agatha.
We were thinking about her origins into this country, and
we were thinking about that as I was saying those
(10:07):
hierarchical cross traffics that happened between Africa and the United Kingdom,
and so we lean into a particular cross traffic there.
I don't want to go more into it than that,
but it's just interesting, isn't it.
Speaker 6 (10:22):
And are you talking about the Sierra Leone reference. Yeah,
I'm really curious about that because we only get just
a taste of it when we have that moment when
young Agatha is kneeling down to her son the same
way you did as Lady Danbury in the per season
(10:43):
of Bridgerton to.
Speaker 7 (10:44):
The young Young Simon.
Speaker 6 (10:46):
Yes, and that's I think the first time my ears
if it was mentioned before that moment, that's the first
time my ears perped up.
Speaker 7 (10:56):
You know.
Speaker 8 (10:56):
The character young Agatha is named fortually was an advisor
to a Sierra Leone chief in the boh Men Day tribe.
That's gb what Men Day tribe. And she was a general,
a political advisor, a powerful woman in her own right
(11:18):
within that major tribe on the Sierra Leone land.
Speaker 7 (11:22):
So I thought, you know, let's.
Speaker 8 (11:26):
Celebrate and if it makes people's ears prick up a
bit and go who was that again, let me just
do on huh, and then go and do some research
on them.
Speaker 10 (11:34):
I love, I love putting those little nuggets.
Speaker 8 (11:36):
Having those little nuggets in work is great. So Schondou
is incredibly generous and open and listening and.
Speaker 7 (11:47):
And curious in all those things.
Speaker 8 (11:48):
And I'm just I'm so thrilled to be in a
show that has the space for those little moments, those
little extra bits of.
Speaker 6 (12:00):
Oh that, yeah, that's a barrier that I want to squeeze.
I definitely went down the rabbit hole with the c
early On reference.
Speaker 7 (12:08):
I'm so glad. I'm thrilled.
Speaker 6 (12:11):
Yeah. And as you're describing all of these individual contributors
to music and art and politics throughout history, I'm thinking
about that scene after Herman Danbury has passed and Agatha
(12:32):
is faced with all of these members of society who
are looking at her like, now, what what are you
going to do now?
Speaker 10 (12:39):
Exactly?
Speaker 6 (12:40):
And I wonder if what you said about privilege, if
there's some connective tissue there that you can tease out
for us, because that young Agatha also is telling young
Charlotte the same kind of thing.
Speaker 8 (12:56):
Yeah, well, you know, how do we survive on a
pragmatic level, how do we survive on a spiritual level,
How do we survive on a psychological level. We have
to make relationship where we can. You know, it's really important.
You know, we are human beings are built to be
in communion with one another. You put a bunch of
(13:17):
women on tour together for long enough, we'll all have
our periods.
Speaker 7 (13:19):
At the same yours.
Speaker 6 (13:23):
True.
Speaker 8 (13:24):
You sit a bunch of people together in a theater
or in a church, our heartbeats will align together. You know,
we're biologically made to be in communion. And so when
you are the only one which when you're you know,
which is an experience that many people of color will have.
(13:45):
You know, in the West, you need to make your
alliances where you can, and you need to be generous
and open hearted and strategic because it's your duty to
get in a position and then you help the next
general up. When I started in this business, the way
I got my next job was because other black actresses
(14:07):
told me about auditions. They made me competition for scarce
work out of an act of solidarity and generosity.
Speaker 11 (14:17):
And I.
Speaker 8 (14:19):
Would be remiss in my duty and my joy if
I did not continue to repay that act of generosity
to me forty years ago. You know, you pay it
forward always. You make the door wider, you let the
ladder down further. You encourage you see people, spot I
(14:41):
spot the crew on Bridgeton, I see the trainees. I
see them all. You know, each one teach one. We
are all gifted, share your gift together.
Speaker 7 (14:50):
We are strong.
Speaker 6 (14:52):
About how you always reach out and offer an opportunity
for those who are coming up to show outshine and
go further. Yeah, Shanonda Rhimes wanted in this story to
tell the stories of present day Lady Bridgerton, present day
Lady Danbury, and present day Queen Charlotte. And it made
(15:12):
me wonder for women watching, who can relate to those
three characters, who was teaching them and pouring into them.
And I'm wondering how you feel about that.
Speaker 8 (15:24):
Well, none of us start off the finished article. We're
all just groping our way forward. And that is what's
so beautiful about going back in time in this way.
How do we grope our way forward in the world.
Speaker 6 (15:39):
That scene where Lady Danbury, Lady Bridgerton, and the Queen
are sitting together to have some tea, This is when orangery.
What is that?
Speaker 8 (15:48):
Oh, an orangery. It's the glasshouse where they could grow oranges.
It was such a sign of what that was. Yeah, yeah,
it's such a sign of do you remember that. Then
they have the scene earlier where young Queen Charlotte goes
to pick an orange and someone rushes forward.
Speaker 7 (16:06):
I can pick my own orange, Grimsley. Yes, your majesty orange.
Speaker 6 (16:17):
That's the same place.
Speaker 7 (16:19):
It's the same place.
Speaker 6 (16:20):
I didn't know that was this.
Speaker 8 (16:22):
Oh, so to be able to grow tropical fruit on
freezing cold little England was a sign of great privilege.
It meant you had to construct these enormous glass houses
to you know, keep in the heat of the sun.
All these things. They were the height of wealth and prosperity.
So anyway, the girls are sitting in the orangey and
(16:42):
still at it on the plotting front.
Speaker 6 (16:44):
Oh, I love that, and I just love now that
extra understanding that that is where the queen chose to
sit and invite you all to That's so interesting.
Speaker 10 (16:55):
Yeah.
Speaker 6 (16:55):
Yeah, that's a really nice little nuance there.
Speaker 7 (16:58):
Yeah.
Speaker 6 (16:58):
Oh so I was wondering who's pouring into these present
day women, older women, and they're pouring into each other.
That's why they're sitting together. They're holding on to each other.
Speaker 8 (17:11):
It's like, just get get me a little war canceled
together here, we have to huddle.
Speaker 7 (17:16):
Now, what are we going to do about X, Y
and Z.
Speaker 8 (17:19):
But you know, they've still got the little digs going
on there, you know, children. Yes, thank you for was
quite enough for me, you know, all of that stuff
that's going on somebody.
Speaker 7 (17:32):
Yeah, yeah, yeah.
Speaker 8 (17:33):
What I love about the show is that the variety
of depictions of women. You know, you have Violet who
loves her kids, her kids are rather the center of
her world. And have needed to be because she was
widowed so young, so that has had to be her
focus in a way, and it's her joy.
Speaker 7 (17:51):
You know, I've always said, you know.
Speaker 8 (17:53):
Women be who you be, not every womb needs to
be filled. Whoa who I will go there.
Speaker 7 (18:01):
Yeah, but it's you know, it's true.
Speaker 6 (18:03):
You whoa Yeah. Let's pause a moment and when we
come back, we'll unravel the subtleties of Queen Charlotte of
Pricheton story with Atua Ando.
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your me moment, take a pause and enjoy a Keebler Sandies.
Speaker 6 (20:57):
We're back and yes we're hungry for more. Here's more
with actress Adua Endo. I want you to talk to
me a little bit about that friend in your life
though that has had that secret for decades. I'm thinking
about the moment when Lady Danbury and Lady Violet Bridgerton
sit down silently surrounded by lord letters hat people had
(21:22):
Adua that scene spoke volumes. Can you yeah, well, I know.
Speaker 7 (21:29):
Actually he's given me goosebumps thinking about it.
Speaker 8 (21:31):
I was so moved to have that be part of
her story, that Agatha has been enormously and utterly in
love and that, you know, a bad marriage does not
obviate the possibilities of love. You know, life goes on.
(21:55):
But also that sacrificial love that kind of went this
cannot be pursued because there is too much difficulty around
it and the way in which the love for Lord
Ledger translates into her love for Violet and anything pertaining
(22:15):
to violets happiness and wellbeing. So why does she care
about all these Bridgeston kids?
Speaker 7 (22:21):
Why? Why not some other kids?
Speaker 8 (22:24):
And then you understand why, you know, yes, and I
love that. There was one day where I was going
to shoot a scene when Lady Danbury remembers that bed
and the two different experiences of being in that bed
that she had, oh yeah, with her husband and with
Lord Ledger. And I passed here and I hadn't met before,
(22:45):
and I met him and I saw him, and my
little heart went for drinking. Okay, yeah, yeah, yeah, yeah, yeah,
Lady downby too and love this one. Oh yeah, I
just I was like giddy. My face flushed. I was like, oh,
he's lovely. So yeah, I was very thrilled about casting.
Speaker 6 (23:08):
Do you have a favorite scene with Lady Danbury that
you got to dig into and a favorite scene maybe
from the whole show?
Speaker 7 (23:16):
I really like the scene with me and Violet just
not saying and saying everything.
Speaker 8 (23:26):
Oh those are my birthday hats.
Speaker 2 (23:30):
I believe I may have told you about them.
Speaker 7 (23:32):
Yes, you did.
Speaker 8 (23:33):
Your father made them for you every year on your birthday, correct.
Speaker 7 (23:40):
Yes, And I used to make them for Edmund.
Speaker 8 (23:43):
And there are, of course the ones I used to
make for the children over the years. You keep them
all on display. I did not always, but lately I
suppose I am feeling sentimental. Look, these are the ones
my father made.
Speaker 13 (24:00):
They are tweerful, are they not?
Speaker 7 (24:05):
They are?
Speaker 8 (24:08):
I love the spoken and the unspoken. I love the
generosity and the love between those excuse me, two women.
Speaker 7 (24:15):
Yeah, the love and the generosity of those two women
towards each other. But also in memory. Wow, you're okay,
I am. It's very interesting.
Speaker 8 (24:27):
Sometimes when something is powerful that needs to be spoken,
sometimes it's hard to get it out. So I say
to you that scene of speaking and not speaking and.
Speaker 7 (24:38):
Then suddenly I'm coughing. Interesting.
Speaker 8 (24:41):
Yeah, the generosity of those two women that they both
love this man and they love each other and they
don't want any of those relationships to be damaged. So
they have to find a way to have that conversation
in a way that stays kind, that stays open, and
that it's not going to die image them going forward
(25:02):
or damage their memories of the past. I just love
the delicacy of Shonder's writing for that scene. And you know,
I get to work with Ruth Gemmel, who I adore.
She's known as Gemma and I'm known as Ange Gemma
and Ange.
Speaker 7 (25:22):
I love working with her. She's brilliant.
Speaker 8 (25:25):
And Tom Verica I have to shout out loud and
hearty to his direction on Queen Charlotte.
Speaker 7 (25:33):
It is beautiful, beautiful.
Speaker 8 (25:37):
He works with such generosity and such delicacy and such
thoughtfulness and also such efficiency. He's fantastic and it's beautifully
lit by Jeff Jill. So I love that scene.
Speaker 6 (25:50):
Sam Clement, who plays Young Brimsley, told me that Hugh
Sachs sat in on some of his scene work with
Tom Errika to take that into his performance. He studied
the dance, did you and have time together?
Speaker 8 (26:04):
Oh my god, she's so I'd love her so much.
She's just got this joy about her, this skill about her,
this openness, A smart, lovely, lovely woman.
Speaker 7 (26:18):
Yeah.
Speaker 10 (26:18):
We we had many phone calls.
Speaker 7 (26:20):
The two of us. We had one.
Speaker 8 (26:22):
I think we had like like a two and a
half three hour zoom where we just went through the
script and we talked about, oh wow.
Speaker 10 (26:30):
Who you know who Danbury was in?
Speaker 8 (26:33):
Who I had imagined Danbury to be as I was
creating her. Because you know, when you come when you
come at a character who has already you know, lived
a life, you can't just you can't die well I can't.
I think lots of actors can't. Actually you can't just
dive into them with what's on the page. You have
to go yes, But who would the person be that
(26:55):
would respond in that way? So I'd done my young
Danbury think think stuff already. You know, you know we
actors how we study I love it. So yeah, So
I just I'd kind of thought about all of those
things already, and I'd actually been a bit scared that
when I read Queen Charlotte, I'd go, I don't think
(27:18):
you do that and no, not at all, absolutely on point, emotionally, vibrationally.
Speaker 6 (27:25):
Vibrationally oh so yeah, I'm big on vibrations, and I
just yeah, the vibe was good.
Speaker 8 (27:33):
And I found a photo of me in casualty I think.
I put it up on Twitter and a picture of
our summer and Asma and I look the same, like
really spookily.
Speaker 7 (27:47):
Oh they look the same.
Speaker 8 (27:49):
I send it to Tom Veragrat. I was like gus,
so we did work together. We talked a lot. She
painted me as a farewell gift arsthma as a great painter.
She's done a portrait of me. I mean, like, gosh,
she's a lovely woman.
Speaker 16 (28:05):
I love her.
Speaker 6 (28:06):
Adua and you are from Saturn. You are just I'm
thinking Stevie Wonder when I say that, you are just.
Speaker 10 (28:16):
Stevie Wonder now of this world. He is a golden
monks man.
Speaker 6 (28:21):
I'm so, so so privileged to be able to sit
here with you, and thank you for giving us this
slice of time and dropping all this knowledge on us.
You are remarkable.
Speaker 8 (28:32):
I'm very happy to have been able to chat with you.
Gabrielle really pleasure, absolute pleasure.
Speaker 6 (28:39):
Isn't she amazing? Like need a Thesaurus to capture the
amazingness Amazing. Don't go too far because just ahead here
Charles and Cyril Henri will talk about their characters' motivations
and the portrayals of the men of the time. We'll
be right back, Hi, everybody.
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Speaker 6 (31:38):
Welcome back. So, as promised, we have the pleasure of
being joined by two extraordinary talents who bring death and
complexity to their respective roles. Please join me in welcoming
Sirl Henri, who plays the esteemed Lord Danbury, and Keir Charles,
who embodies the charismatic cat Daddy Lord Ledger. So they
(32:00):
are going to join me on unpacking the intriguing dynamics
of the Ton. The elite society reborn out of the
union of Charlotte and George and Cyril and Kir are
going to help us shed light on the relationships between
Lord and Danbury, Lady Danbury and Lord Leger, but real quick,
I wanted to share this insight from Kelly Valentine Henry.
Speaker 17 (32:22):
First, Cyril, who plays Lord Dunburry. That's an interesting self
tape request. I have to say. When one of the
scenes is as you will have seen him being very
excited in the marital bed, Lovely Cyril just weaver it
day one and when we had to read through the
(32:42):
very first time, Cyril was just having the time of
his life in Arsena was sitting next to him just grinning.
Speaker 7 (32:47):
Oh, we laughed.
Speaker 16 (32:49):
It was so joyous.
Speaker 6 (32:51):
That was Kelly Valentine Henry, the casting director of Queen
Charlotte Bridgeton story. Isn't that interesting? Let's talk about it
with these two right now. So we are here finally
with Lord Ledger and Lord Danbury. We've got Kier Charles
and Syriah Henri with us today and we're going to
(33:13):
get into episode five all of the memes you guys
have of these characters out there, and just learning more
about these phenomenal actors who come from stage and screen
and have just completely blessed us with really really interesting
characters that allow us to learn more about some of
(33:36):
the characters we've already come to love over the last
couple of years. Welcome, Welcome, Welcome Kier and Cyril.
Speaker 18 (33:42):
Thank you so much going to be here.
Speaker 6 (33:46):
What was your audition experience like, because these two characters
are so important to how we understand Violet and Agatha.
What were your sides? What was your audition?
Speaker 18 (34:00):
I seem to remember the sides were the first scene
in which you meet the Ledgers, when Violet is discussing
Lord Leger's friends and stuff, and so I seem to
remember that being one of the sides, and then actually
the arrival at the Danbury ball as well, when he
(34:22):
and Lady later and you know, it suggests, you know,
hopes that Lady Danbury and he could be friends.
Speaker 19 (34:29):
Be friends at that stage.
Speaker 18 (34:42):
But I mean it developed, sure, but on first encounter,
I think it was just genuinely. But I think I
seem to remember auditioning for one of the children, one
of the Queen's kids, you know, in the future, as
(35:03):
it were in the Bridgeton times. I seem to remember
doing that. So that was my experience.
Speaker 6 (35:08):
Where were you when you did a self tape, Cyril?
Speaker 20 (35:10):
Well, I was at home, actually, I was just upstairs
from where I am now, and I did my self
tape with my daughter filling in as Agatha, and it
was all very I read the scene where he.
Speaker 6 (35:26):
Rolls off and their first lines.
Speaker 20 (35:30):
That was a very good ride. Yeah. The way I
read this scene, it's obviously we had just used the
I just did it on my iPhone and I said, well,
what what I'll do is that I'll start with me
just above you, okay, and and then I'll roll off
(35:54):
to the side and you roll the roll the thing
with me. You really went to town, you don't, but
it wasn't town really. I just thought we'll do it
from a point of view, and I just did it
on my bed, you know, and just yeah, you know,
(36:17):
and so yeah, my daughter held the camera and just yeah.
Speaker 6 (36:21):
Wow.
Speaker 20 (36:25):
Yeah, And so you know, it's quite quite a short scene.
Speaker 19 (36:29):
You know.
Speaker 20 (36:30):
I take my teeth out during it, and I had
to pretend that I was taking it because obviously I
didn't have the teeth at the time. But so I did.
I did, you know, I did what I could, and
I think it must have made them laugh or something.
Speaker 6 (36:48):
For sure, I'm sure I did.
Speaker 20 (36:50):
But you know, I mean, yeah, they teach all that stuff,
you know, get their attention so I thought, well, they've
written this as Bill, and I said, well, you know,
if they write the stuff, then they are to here
the stuff.
Speaker 6 (37:04):
So yeah, so I just.
Speaker 20 (37:08):
I just gave it a yeah, and they came back.
They did, they did ask me to redo, you know,
a little more placid. But I think the the.
Speaker 16 (37:20):
The same side, red the same side when.
Speaker 20 (37:22):
You and and a couple of others, actually.
Speaker 18 (37:26):
Right, obviously your foot was in the door by then
you've got that exactly.
Speaker 19 (37:31):
Yeah.
Speaker 20 (37:31):
You know, as they say, if you notice my hat,
then you will be my next.
Speaker 6 (37:35):
Lover, because I got you.
Speaker 20 (37:39):
There go the eyes around you. So that's why I'm
wearing this flashy hat. And now you looked into my
eyes and it's all over for you. Yeah, so that
was good.
Speaker 6 (37:55):
Have you both seen any I don't know if you
spend any time on social media. I'll just say social
media as an umbrella. But have you seen the little
images of your characters where there's and it's a photo
of Lord Danbury making a face.
Speaker 20 (38:13):
I haven't seen it, unfortunately. If you've got it there,
show me, yes, I.
Speaker 16 (38:20):
Want to see it.
Speaker 6 (38:22):
It says I want a sugar, and then in the
inbox is Lord.
Speaker 18 (38:27):
And then that's wish for as there's a there's.
Speaker 6 (38:32):
A ton of that out there, these two characters. People
love these characters and what they represent.
Speaker 18 (38:39):
Connie, who plays Silot, sent me, just sent me a
couple of things on.
Speaker 16 (38:46):
Top the tiktop.
Speaker 18 (38:49):
Yes, but she just sent me them. But she's quite
active on those kinds of things. But I'll leave that
to her because she's young and young.
Speaker 6 (38:59):
And can you describe one of the ones Connie sent
to you?
Speaker 18 (39:03):
It was something uh, oh god, I can't really. I
think it's quite which is not rude as such, but
it's someone saying to Connie or Connie's character saying.
Speaker 16 (39:16):
I want my daddy, and then someone else saying I
want you.
Speaker 6 (39:26):
Yeah, I loved, I loved, I loved, loved, loved love
seeing how audiences reacted. But yeah, completely connected to yes,
Young Violet and Young Agatha. I was wondering what your
first encounters with the script were, if you had your
own memes in your head about these characters, or you know,
(39:47):
any serious thoughts about these characters and the roles that
they play in a society that you know is not
is not necessarily woman forward. I think Cyril, you said
you have a daughter here, you had a lot of
uh scene work with Kannie, who's you know, an emerging performer.
(40:08):
Just wondering how your encounters with the script influenced your
thinking about the roles your characters play in these worlds.
Speaker 18 (40:16):
Yeah, I'd say Lord Letter is a pretty progressive guy
for those times.
Speaker 16 (40:23):
You know, he's he seems from.
Speaker 18 (40:27):
My point of view, he seems to see people very
much as individuals rather than you know, gender or race,
which is rare and is highlighted in the script. You know,
he he's you know, he's very forward thinking for those times,
and I think he stands out for that reason. You know,
(40:47):
he's just his asking lady down before a dance, his
constantly adorable encouragement of his daughter, and the little relationship
they have with kind of iron them. Who's you know,
let's face it, not so nice. Sometimes it was interesting
(41:08):
how it's quite a gentle way he shows these kind
of forward thinking ideas that he has because he'sn't really
confront his wife, but he just but in his actions
he demonstrates that that's not what he thinks at all.
Speaker 6 (41:25):
Which I think is fascinating when you think about conversations
today across the pond for me and here in the
United States about privilege and who should be speaking up
and when that's.
Speaker 18 (41:38):
Exactly wow, yeah, exactly, it's I don't.
Speaker 20 (41:44):
Know, I've got a slightly different day because he does cheatad.
Speaker 16 (41:50):
I mean he does.
Speaker 18 (41:50):
He's absolutely absolutely no listen, he's no saint.
Speaker 16 (41:54):
I'm not.
Speaker 20 (41:54):
I'm not.
Speaker 18 (41:55):
Actually he does, you know, good people do bad. He
does a very very you know, undeniably pad thing.
Speaker 20 (42:05):
I think with all these characters, you know, they have
both sides, and you know, when I was thinking about Danbury,
he doesn't. He lives in a certain society. He has
been brought up with a lot of wealth, and he
feels that he should have a position. It's shown enough
(42:28):
in the script just how much he suffers at each
little you know, slight, at each turned down, at each
you know, despite putting all this stuff in, and he's
trying desperately hard to to move himself up but doesn't
know how to do it. And he's not a letter
(42:49):
he's not the you know, reconstructed male. You know, he
doesn't think about Lady Danbury in terms of you know,
her rights, partly because he's getting it in the net,
you know. And actually I think that a lot of that,
you know, when I look back at the you know,
if you look further into the future and you look
at the struggles of as things move on, you go, well,
(43:13):
was there a lot of time for those people who were,
you know, being lynched to think about you know, the
missus you know, and you know, are you facing the
everyday struggles and trying to And I sort of thought
about it in that way and just thought, well, he doesn't.
(43:36):
He doesn't even think about it, doesn't come into his
radar that she might Agatha. Yeah, that Agatha might you know,
want emancipation or rights or whatever, or any of those things.
And as far as he's concerned, well, she is his, damn.
Speaker 10 (43:59):
But yeah, he doesn't.
Speaker 20 (44:01):
Yeah, she's just his. He doesn't think about it in
any other way, you know. And the the sad part
is that you get to see on his level of
understanding some quite tender moments where although he doesn't afford her,
you know, the freedom to think or be hurt or
(44:24):
any of those things, he wants her to hold him
in that way, you know. And I think there are
there are just enough of those scenes to show how
somebody who is quite so hurt is not thinking of others.
Speaker 16 (44:41):
Well, that's what's interesting.
Speaker 18 (44:42):
It's I mean, it makes everyone, every character you know,
fully rounded and complicated. You know, everyone is complicated. There
is no you know, no one is perfect and no
one is.
Speaker 16 (44:52):
Awful that they are.
Speaker 18 (44:54):
They are real, you know, kind of confusing gray a
mesh of kind of different characteristics. So it's which is
what people are. It's fun to play and fun to watch.
I think as well.
Speaker 20 (45:09):
Yeah, and you know that that sense of privilege where
you just dismiss other people because you think it's yours.
So I mean, like when he gets the key and
to the new Danbury House and you know, actually it's
one of my of my favorite moments. It's just such
(45:33):
a naughty moment from He's quiet woman.
Speaker 6 (45:38):
You think it's gonna be this moment where they both
are like you have made it, dear.
Speaker 13 (45:46):
I never thought that I would see this today. Do
you know how this happened?
Speaker 7 (45:52):
I have no idea.
Speaker 13 (45:54):
I will tell you how this happened. The King sees
me for who I am, my value, my word. He
understands that the old days are over and that this
is a new world.
Speaker 20 (46:12):
That men are men, regardless from whence they come.
Speaker 15 (46:25):
That's this is.
Speaker 11 (46:27):
The beginning of a new year.
Speaker 10 (46:30):
You know, I believe I.
Speaker 20 (46:32):
Will try the key at every single opportunity where he
gets the opportunity to celebrate them going up in the world.
He takes the phrase because this is all me.
Speaker 6 (46:49):
I laughed till I cried and replayed it and replayed it.
I'm wondering if you both saw, for instance, Cyril, although
Lady Danbury in a sense belonged to Lord Danbury and
Young Violet was Lord Ledger's daughter, I feel like Lord
Ledger was able to see and appreciate young violets budding
(47:15):
brilliance and agency. And I wonder if Lord Danbury was
also able to see that in Agatha. Do you do
you think he was able to see that? And Agatha
although because he confided in her, Yeah, I think.
Speaker 20 (47:31):
There is enough there to show that, Yes, in those
bed moments when he confides in her that you know,
they'll never give this to me. You know, he's also
got the thing of age, because he's like forty years
older than she is, if not more so, the idea
that she would understand because she hasn't lived through all
(47:53):
that he's lived through, you know, so he can say it.
He can say yes in this way of no, they'll
ever give this to me, you know, and you're being
naive to think they will, you know, because you just
haven't experienced the fact that not only I, but my
father was the person who propped up this throne with
(48:13):
his wealth. It was his wealth that propped up this throne.
And yet we're not accepted. And actually historically that is
the fact, and it's there in the lines as well.
There there is a point when you know, Agatha talks
about it to the dowager Queen. Yeah, and she she
(48:36):
mentions her husband's wealth and her you know, the fact
that a lot of the rewritten history, you know, simply
wipes out the wealth that you know, was taken from
those African princes and kings and you know, to buoy up.
And one of the things I found was because it
(48:59):
came out in a nation week.
Speaker 6 (49:02):
Which was brilliant.
Speaker 20 (49:03):
Yeah, you know, good timing, you know, we especially when
you've got discussions about you know, the jewels on the
head of this king coming from Africa and India or
wherever else, and you've got that sort of actually the
Dan breeze, the reason why they're in that society, even
(49:26):
though they're not given the recognition up until that point
when they're useful, you know, is that they have actually
supported this state, you know, so you know, it's it's
really interesting. Of course that's then paralleled in the idea
that you know, the queen has come from you know,
(49:46):
that background and comes to save this monarchy.
Speaker 6 (49:49):
Essentially, Wow, that's for me, makes Agatha's what she whispers
while the two of you are sitting at the wedding
a little more nuanced for me now where she says,
everything's falling into place and understanding Agatha understands that history
in a broad sense is oh wow, okay.
Speaker 20 (50:11):
I think that the problem for Danbury is that he's
old and he just he cannot get round the idea
that even though you know, like that conversation at the wedding,
you know, he sort of misses those moments where she
is absolutely brilliant, and I don't think he can quite see,
(50:33):
you know, that she should be allowed that, you know,
that freedom.
Speaker 6 (50:38):
Which makes Ledger such a breath of fresh air in
her in her life.
Speaker 16 (50:45):
Yeah.
Speaker 18 (50:46):
Well, exactly because he doesn't miss those moments. He you know,
he notices, as he says, he kind of sees that
sees the person and sees their vulnerability and sees their
dilemmas and their pain, and it's not lost on him.
And that's you know, and all any of us one
needs to be seen, especially Lady Danbury at that time,
(51:07):
you know what I mean. So that's where I think
that connection blossoms between the two of them, because he's
I feel he's been lost as well in that kind
of loveless marriage that he's in, you know, probably to
the wrong person, or to not to the person that
she was when they got married. I think, you know,
(51:31):
I think she's probably I think they must have been
in love or there must have been something there originally,
but as the years have gone by, they've drifted apart
in their views and their attitudes have separated.
Speaker 6 (51:46):
Yeah, she's she's very much like Lord Butte, I think,
in her thinking right very much.
Speaker 18 (51:53):
Very much, And she's much more conservative and then Lord
Ledge's much more liberal. And it's just that parting of ways.
These two ships that were potentially once parallel have now
gone separate ways. She's such a strong force and so
(52:14):
vocal about her right beliefs, and he is more passive
and introspective and internal about his and so it's a
delight when he meets Agatha and someone who's more like
him in so many ways than you know, than his
wife has turned out to be.
Speaker 6 (52:34):
Hearing what you just said, Cyril, and what you just
said here, you're able to really capture who should be
together who shouldn't be And like, oh, if only Lord
Danbury were wasn't carrying that hurt with him.
Speaker 20 (52:48):
Yeah, pretty much all the characters are trapped in a
social etiquette prison that doesn't allow them to be fully
who they are.
Speaker 6 (53:00):
I've got to ask Shonda, like, why do you write
men and women? Because I think Princess Augusta said very triggering.
And one of my favorite favorite favorite Shonda land shows
is Scandal and my favorite character Eli Pope, and he
plays Olivia Pope's father. Okay, so Olivia was in an
interracial relationship with the president. Not only was it interracial,
(53:23):
it was also a power dynamic. And Eli's whole thing
was You're not really powerful, Olivia, you are a pawn,
you are a kncubine. There is something about whatever Eli
was bringing to that conversation from his pain and his
hurt and upbringing into that conversation with the next generation
(53:45):
reminded me so much of Lord Danbury talking to Agatha,
and I'm thinking specifically about the line where he tells
her to act like she's been there before.
Speaker 20 (53:57):
Yeah, because it's important because you know, this is about show.
It's also about you know, knowing you fit in here.
And he hasn't got time to keep explaining, you know,
the whole rigors of you know, civil rights, how we
got here, where I marched, what I've given up for you,
(54:20):
those sorts of characters, which I think you get all
the time quite often, particularly with you know, black parents.
I'm struggling to hold down a job and do this
and that and whatever, and you know, even at the
highest level, you know, I haven't got time that is
to be explaining to you the last three hundred years.
Speaker 6 (54:49):
The moment Lord Ledger decides to knock on Agatha's door
and say he's not there, I am so curious about
the her sold table reads and just kind of as
an actor, what state of mind you put yourself in
to make that scene? So I guess palpable is the word.
Speaker 18 (55:12):
Just yeah, Well, I don't really know what I don't
even know if he knew what he was thinking really
when he turned up.
Speaker 16 (55:19):
Oh he turned up with what? He turned up with?
A birthday hat?
Speaker 13 (55:22):
So is.
Speaker 18 (55:24):
Action really the objective is a handover this birthday?
Speaker 16 (55:27):
That's his excuse.
Speaker 6 (55:29):
Shot anyway, shot.
Speaker 18 (55:35):
Letter lady, what is.
Speaker 16 (55:41):
That birthday hat? I make them? I made this one
for you.
Speaker 18 (55:50):
He turns up with the birthday hat. So it's purely
to you know, to say happy birthday. Yeah, you have
missed your birthdays this week. I know, I know it's
sometimes happy birthday.
Speaker 16 (56:02):
Now.
Speaker 18 (56:02):
I think he thinks that that's all. But I mean,
if you were to pop him on the psychiatrist couch
and if you really kind of got your hands dirty
in his head, I'm sure there's He wouldn't admit it,
but I think there's elements of him going thinking or
(56:24):
hoping that something more may happen.
Speaker 20 (56:27):
I think it was therefrom would you mind if I
danced with your wife?
Speaker 18 (56:30):
Of course you're you're a suspicious mindset. Well, there was
there may have been something there, a spark, but you know,
and perhaps an indefinable spark. Initially you think, oh, there's
she's nice, and it can be simply that initially, but
(56:51):
then they get to know each other on these rambles
on these walks that they do, and I think that's
where they didn't in love, and this is a culmination
of that period they've spent together and it's it's come
to a head, and they've been so incredibly honest with
(57:12):
each other and they like they haven't been with anyone else.
They've really confided into each other and got to know
each other and talk to each other and be so honest.
That brings a closeness they may not have experienced either
ever or in a long long time, and that is
(57:34):
attractive and exciting and.
Speaker 16 (57:41):
An aphrodisiac.
Speaker 6 (57:42):
Ha.
Speaker 18 (57:45):
So I think that's why he knocked on the door,
you know, not knowing even why, just kind of being
pulled there.
Speaker 6 (57:53):
Yeah, Lord Ledger and Lady Agatha Danbury definitely sapio sexual.
As you guys were eating each other's brains. I was
so with it. I was. I loved it, And I
guess I'm always curious about how you all film. So
were there any scenes that you had to shoot like
(58:16):
more than fifteen times because you were just giving so
many different variations or something was just needed to be just.
Speaker 20 (58:23):
Right the big ballrooms and things, of course, coverage rather
than rather than retaking as such. You know, there were
you know, every single angle is covered yea and more.
Tom you know, he he would even shoot stuff that
(58:46):
I don't know, for his own entertainment, for the for
the what you call it real you know, he had there.
There are some wonderful bits in the in the out
takes reel. The Danbury ball we had this you knowlan
moment where it went from the ballroom dancing into full
on you know, soul.
Speaker 6 (59:08):
Train, okay, shandala, And you have to post this video
somewhere because everyone is talking.
Speaker 20 (59:11):
About it, I mean full on, you know. And all
these dances are fantastic, you know, and then you you
have musicians there, you know, live musicians know, absolutely fantastic.
Speaker 16 (59:26):
They were great fun.
Speaker 18 (59:26):
I was really kind of sorry for you, sir, or
that you weren't really dancing in videos, because what was great,
what was brilliant and an incredible kind of introduction to
everyone before I was shot anything, was the dance rehearsals
that we do.
Speaker 16 (59:42):
So that was meeting.
Speaker 18 (59:44):
Everyone was in like a few different rehearsal rooms with
Jack Murphy, thet the choreographer and kind of the cast.
And for a few weeks before we shot anything. We
just hung out and learned these dances, which we was
an incredibly kind of feels like.
Speaker 16 (01:00:02):
A luxurious way to work. Yeah.
Speaker 11 (01:00:04):
Yeah.
Speaker 18 (01:00:04):
Often you meet people on set in costume five minutes
before your take.
Speaker 20 (01:00:10):
I was deeply jealous. I was deeply jealous because I
wanted to dance.
Speaker 13 (01:00:14):
You know.
Speaker 16 (01:00:16):
How cold you do.
Speaker 18 (01:00:18):
So I was really sorry that you couldn't.
Speaker 20 (01:00:23):
He was deemed too old.
Speaker 6 (01:00:26):
Yes, according to the memes, someone would have been like, hey,
cat daddy, and you can come dance with me. So
any full circle moments for you, Ridgardton is so much
about full circles, looking back, looking forward, anything like that,
or any pinch me moments like wow.
Speaker 18 (01:00:46):
So many there were a million pinch me moments. Every
day is a pinch me moment on Queen Charlotte, really,
and there's some of the just the scale of it,
the people, the locates we went to just incredible. Being
in those costumes and looking out, you know, it kind
of turned your back to the camera and you.
Speaker 16 (01:01:07):
Could have been back, you know, you could have been
two hundred years ago.
Speaker 18 (01:01:10):
The scale of it was something I hadn't really encountered
before or for a long long time. And the detail
on it is just you know, second to none.
Speaker 20 (01:01:21):
Yeah, pinch me moments. Well, I mean just I suppose
the first read through which we did and Shonder came
and you know, I mean just sitting in a room
with you know, you were there in a room with Shonder.
Oh my god, I mean I'm going you know, it
(01:01:47):
is yeah, I mean it is a you know, it's
it's an Oscar moment for me, you know, And I
have to pinch myself about that stuff. But the you know,
in terms of false Cole, that will be when I
come back to play my son the post Bridgeton world.
(01:02:07):
Just putting that out there.
Speaker 6 (01:02:08):
Shuder, you two have been an absolute joy to spend
time with today. I could keep going.
Speaker 16 (01:02:16):
Garri has been a delight.
Speaker 20 (01:02:18):
Thank you.
Speaker 6 (01:02:18):
Thank you so much. Seriously, you've totally given us emotional
whiplash with your performances. I mean also a little dizzy
with some of the opening scenes with the Danbury's.
Speaker 20 (01:02:32):
But by the way, I thought I thought Danby actually
gave better sex.
Speaker 16 (01:02:40):
Well I'm just there, let's ask.
Speaker 20 (01:02:45):
You can ask. But actually he was technically more proficient.
Speaker 16 (01:02:52):
Technical technical exercise, very curate.
Speaker 6 (01:03:03):
Thank you so much, and don the note of technical proficiency.
We made you all the Good Day Special. Thanks again
to Adua and Do and her sweet dog. She'd unschooled us. Again,
There's never enough time. We love Adua. Thank you, and
(01:03:24):
again to Cyril Henri and kir Charles, thank you for
not holding back. I'm so glad we had the time
to get into the minds of Agatha's booth things and
that we got to look at some memes together. You know,
I've got more to bring to you right on our
next episode.
Speaker 11 (01:03:43):
You see all of those people who are now part
of the Ton, being part of a completely new society
that they've never been there, now in another culture and
they have to assimilate, you know, act like they've been
there before. It's like, it's what Lord Danbury says to her, which.
Speaker 6 (01:03:59):
Is you know, wait, that was so funny, though it's true.
Speaker 11 (01:04:04):
It's like the slogan for anyone who's ever moved to
another like place.
Speaker 6 (01:04:10):
It's like, act like you've been here before. Stop gawking
our semma my bff in my head. She's joining us
for an afternoon tea, so bring your shades because she
shines brightly. Queen Charlotte. The official podcast is executive produced
by Sandy Bailey, Lauren Homan, alex Alja Tyler Klang, and
(01:04:34):
me Gabrielle Collins. Our producer and editor is Tarry Harrison.
Subscribe to the podcast anywhere you get your favorite shows.
Get the book I'm a Crispy Turned the Page, Smell
the Binding kind of Queen. But you can download it
and you can find Queen Charlotte a Bridgeton story on Netflix.
(01:04:55):
We'll see you next week, Queen Charlotte. The Official podcast
is a production of Shondaland Audio in partnership with iHeartRadio.
For more podcasts, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.
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