Press Release 3

Interview with Daisy Goodwin 7

Interview with Jenna Coleman 10

Interview with Tom Hughes 14

Interview with Dame Diana Rigg 17

Interview with Nigel Lindsay 20

Interview with David Oakes 23

Interview with Nell Hudson 26

Interview with Ferdinand Kingsley 29

Episode Synopses 34

Cast Credits 36

Production Credits 39

Publicity Contacts 42

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Contents

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HISTORICAL DRAMA, VICTORIA, RETURNS FOR A HIGHLY-ANTICIPATED SECOND SERIES

 

Following critical acclaim and record ratings in both the UK and America, this summer sees the return of ITV’s hugely popular drama, Victoria, produced by Mammoth Screen. Once again written by creator and executive producer, Daisy Goodwin, the brand new eight-part season will see Jenna Coleman (Doctor Who) and Tom Hughes (The Game) reprise their roles as Queen Victoria and Prince Albert, as they face new challenges both at home and abroad. Resuming one month after the first series ended, the new season establishes Victoria as a working mother, learning to balance her responsibilities as both parent and Queen. However, Prince Albert is still struggling to find a role for himself alongside his powerful wife as she returns to her duties, intent on proving that she can be both a mother and dutiful Queen. Joining the leads are much-loved cast members including Nigel Lindsay (Unforgotten) as Sir Robert Peel, Alex Jennings (The Lady In The Van) as King Leopold, Peter Bowles (To The Manor Born) as Duke of Wellington, David Oakes (The White Queen) as Prince Ernest, Daniela Holtz (Circle Of Life) as Baroness Lehzen and Catherine Flemming (Tatort) as the Duchess of Kent. Below stairs Nell Hudson (Outlander) returns as Nancy Skerrett, Ferdinand Kingsley (Borgia) as chef Francatelli and Adrian Schiller (The Secret Agent) as Penge. Young talent Bebe Cave (Frankie) and Leo Suter (Maleficent) have also joined the cast for the second season. The new series will also see some new faces arrive at the palace, with iconic BAFTA Award-winning actress Dame Diana Rigg joining the regular cast as the Duchess of Buccleuch, the young Queen’s new Mistress of the Robes, and guest appearances from fellow leading actors including Emerald Fennell (Call The Midwife), Martin Compston (Line Of Duty), Bruno Wolkowitch (Spin) and Denis Lawson (New Tricks, Marchlands). The eight-part series and two-hour Christmas special has been commissioned by ITV’s Head of Drama, Polly Hill, and production is being overseen for ITV by Senior Drama Commissioner Victoria Fea. It is being executive produced by Mammoth Screen Managing Director Damien Timmer, Kate McKerrell (Lost In Austen) and Daisy Goodwin for Mammoth Screen, and once again produced by Paul Frift (Room At The Top). Directors for the series are Lisa James Larsson (Striking Out), Geoffrey Sax (Tipping The Velvet), Jim Loach (Oranges And Sunshine) and Daniel O'Hara (The Game). Creator, Daisy Goodwin said: “In series one Victoria married the handsome prince, but in this series she and Albert get down to the serious business of living happily, sometimes stormily, ever after. Victoria is the only Queen Regnant to marry and give birth while on the throne and the challenges of being head of state as well as a wife and mother are legion. In many ways Victoria’s dilemma is a modern one - how do you have a successful marriage and a happy family when you are holding down an important job.  Can you really have it all?”

Victoria

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Executive Producer and Managing Director of Mammoth Screen, Damien Timmer added: “Series one of Victoria was a big success both at home and abroad, and it is a privilege to continue to tell the story of this fascinating woman at a particularly interesting point in her reign. Audiences will be intrigued by the stories we have lined up this year, full of scandal, romance and tragedy. At the centre of it is a beautifully nuanced study of a young marriage, and it’s a joy to watch Jenna and Tom find new layers to this iconic couple.” The first series of the drama was ITV’s highest rating drama of 2016, receiving critical acclaim and a consolidated average of 7.7m viewers with a 29% share. It is distributed by ITV Studios Global Entertainment and has been sold in 350 territories worldwide. It has also proved hugely popular in the US, with the first series reaching an average audience of 6.3m viewers and the first episode drawing in a 28% share - more viewers than the first series of Downton Abbey. Victoria is a co-production with MASTERPIECE on PBS, with Rebecca Eaton serving as executive producer. Victoria premiered on MASTERPIECE on PBS on January 15, 2017.

Notes to Editors: Daisy Goodwin is an acclaimed writer and producer. Her novels MY LAST DUCHESS and THE FORTUNE HUNTER were best sellers, and her award winning credits as a factual television producer include GRAND DESIGNS. Mammoth Screen is one of the UK's leading production companies. Current and forthcoming shows include POLDARK series 3 and 4, NOUGHTS AND CROSSES and THE WAR OF THE WORLDS for BBC1, THE CITY AND THE CITY for BBC2,  VICTORIA series 2, ENDEAVOUR series 5, FEARLESS, NEXT OF KIN, VANITY FAIR and DESIRE for ITV. Mammoth Screen is an ITV Studios Company.  VICTORIA is distributed internationally by ITV Studios Global Entertainment. HarperCollins will publish a lavishly illustrated companion book to the second series entitled ‘Victoria and Albert: A Royal Love Affair’ (Daisy Goodwin, Sara Sheridan) on 21 September 2017. Press Contacts: Katy Mason - katy.mason@itv.com / 0207 157 3039 Lisa Vanoli - lisavanolipublicity@googlemail.com / 07899 060 230

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Victoria was such a huge success with viewers - how did that feel and did you expect it to be such a hit? I was thrilled, obviously, and relieved. I have always been fascinated by Queen Victoria, and was glad to be able to share that with the viewers. I was surprised by its success - of course: no sex, no shirtless men, no violence - but I knew that it was exactly the show I dream of watching on a Sunday night, so luckily I seem to be in tune with the Great British public.   Why do you think British people love to watch drama about the royal family? It’s the ultimate soap opera, but it’s true! The strange thing about writing it is that all the things that defy belief when you are plotting them are all factual. There is a scene in the Christmas special, which feels like something that you would put in a soap whose ratings were slipping, but it’s actually true.   Where did you find inspiration for the second series? My primary sources were Victoria’s diaries, Albert’s letters, contemporary newspapers and so on. Because this series is set in the 1840’s I have been re-reading the novels written at the time - Dickens, Mrs. Gaskell, Thackeray. And then there are all the brilliant new biographies of Queen Victoria. Whenever I get really stuck I go to the London Library in St. James Square. It was founded in 1842 by Thomas Carlyle and smells like the nineteenth century.  

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CREATOR & WRITER, DAISY GOODWIN

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Where do we pick up with Victoria and Albert in the new series? They have just had their first baby and they are adjusting to shock of parenthood. Victoria finds it hard to juggle marriage, motherhood and her job: being Queen. Their relationship is extremely volatile, I think of them as the Taylor and Burton of the nineteenth century - tears, tantrums, and fabulous jewels!   What moments from history will be covered during the second series? Are you always looking for new areas of historical research or does this all come from your knowledge and imagination? Two huge historical moments we cover are the Irish Famine and the Repeal of the Corn Laws. I studied nineteenth century history at university so I know the parameters but making these enormous shifts work dramatically has been a great challenge. In the Irish story I have used a character Dr. Robert Traill who is actually my Great Great Great Grandfather. I had written about him before and I thought his story would be a good way to illustrate the terrible way in which the Irish were treated by the British government. Writing about the repeal of the Corn Laws feels all the more relevant just as we go into the Brexit negotiations. In 1846, free trade seemed the progressive way forward, now not so much.    How does it feel creating this world for television and then watching it come to life? It is the best feeling ever. To have best actors, designers, directors give your vision life is pretty breathtaking. I still cry at the sad scenes and laugh at my own jokes.

Do you have a favourite new character from this series? I first met Dame Diana Rigg when I was a teenager and she was appearing in one of my Dad’s films (Evil Under The Sun). I knew how funny she could be and I was thrilled when I heard she wanted to play the Duchess of Buccleuch, who is one of my favourite characters in the series. I'm so excited to have Martin Compston playing Dr. Traill, the silver fox French actor Bruno Wolkowitch to play King Louis Philippe, and Denis Lawson as the Duke of Atholl. It’s such a bonus for the series to attract guest stars of this calibre.   How was it to film in Scotland? In Scotland we go to Blair Atholl, which Victoria and Albert did visit in the 1840’s. It is rather wonderful to be filming in the place where they actually stayed. When I went up there I could quite understand why Victoria fell in love with Scotland.

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JENNA COLEMAN IS QUEEN VICTORIA

Setting the scene for series two, Jenna continues:  "At the beginning of this series, Victoria is one month on from where we left her at the end of series one. She has been in confinement for since the birth of her child, which means she is told she can’t do anything for herself. She has to lie horizontally whilst she is pretty much treated like a child. As you can imagine, this means that she is not in the best of tempers. She is yearning for the outdoors and for work, and Albert has taken over whilst she has been away, leaving Victoria feeling very threatened.    "A lot of what I have read in her diaries are details about what time she rose, what she ate for breakfast and similar, so you can really get a sense of the rhythm of her day: keeping up with the paperwork whilst having time to spend with the children, an hour in the evening to herself... We see Victoria negotiating a balance both within her marriage and between being a mother and Queen.”   Giving insight into the monarch, Jenna says: “It is a really interesting story, that second pregnancy. Although a beautiful thing, it is not a choice for Victoria and not what she wants. She feels imprisoned by it after only just finding her independence. It’s something I have never seen on screen before and a really interesting route to go down - a woman who loves and adores her husband  

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Jenna Coleman is clearly fascinated by Queen Victoria, the character she has immersed herself in during the filming series two of Victoria.   "I think what I have grown most to love about her is her absolute candidness and frankness to say exactly what she thinks. Unapologetically so,” explains Jenna.   “As I feel I’ve got to know her more and more, I’ve found that she is so incredibly human; vital and full of secrets hidden behind misconceptions. The Victoria we explore this series is in her honeymoon period, which is interrupted by numerous pregnancies. She is hugely disappointed to be what she calls, ‘caught’.    “We see Victoria, as ever, deeply in love with Albert, learning to navigate her new life as a mother and keep her hands firmly on the crown, whilst ring true to her independent and stubborn nature. Such a balancing act leads to inevitable fireworks.”  

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“We see Victoria negotiating a balance both within her marriage and between being a mother and Queen.”

but also loves her job and doesn’t necessarily want to be pregnant. She wrote in her diary that ‘it is the ONLY thing I dread’, but she does love her children. I think there is a misconception that she wasn’t very tender and motherly towards them, but it was just that being pregnant was a great, great misery for her, and frankly deeply resented.” “She is unashamedly fierce and obstinate but also has huge heart when she connects with something tangible. She is loyal and industrious. All these qualities give her the ability to be the Queen and a Mother whilst enjoying a passionate, stormy marriage. She was the first queen ever to have children, and to manage nine children, a husband and being Queen is a remarkable feat.    "It is an interesting question in regard to Victoria of nature versus nurture.  Did she have this fire in her and veins of iron because she was born that way? Or was it because she was in a world where she was 4ft 11 and a woman and had to fight her way to be heard and taken seriously? I think it was a mixture of both."   And what of her relationship with Albert in series two?   "With Victoria and Albert you have complete opposites, which on paper should never work. You have a logical, scientific and mathematical mind; a rational and sensitive  

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man, and then Victoria who is selfish, dismissive, impulsive, reactive, emotionally led, romantic and passionate. "The biggest thing in this series to get right was how those dynamics between them shift and change.  Albert is incredibly ambitious and has a great vision for the country. He is a workaholic and Victoria is threatened and initially resents any attempt to take away any of her power. You have to remember how long she has striven to be independent. It is a complex dynamic and creates a thunderous clash of wills.   "It is interesting to read what they wrote about each other. Victoria saw that Albert, in marrying her and not being master of the house, had made a huge sacrifice and she would spend her life trying to make that up to him. There was potentially guilt there, but despite this and because Victoria was so inconsistent, she was reluctant to relinquish any control to him.”   Jenna has researched the role thoroughly, saying: “What is incredible about playing her is that we are surrounded by their legacy and there is so much resource material.”   She explains what, in her opinion, makes the relationship between Victoria and Albert work.    

     

"It is an unusual marriage because there aren’t many marriages which hold such intensity and are under such public scrutiny. I guess you could say it was unique. Victoria worshiped Albert and as they grew older together, the love got more and more as she learnt to rely upon him.  "I famously read that she told her children they had to be like their angel father, Albert. However, what is very interesting is that whilst they were very different in temperaments and as people, their childhood has left them with a void for something they both craved - family, security and love in the purest sense of the word. I suppose it’s why the Victorian era represents family so strongly.   “What really drew Victoria’s attention when she was younger - and what she tended to sketch a lot - was the domestic, people. Not pomp and circumstance, but something much more direct and human.  If you go to Osborne House it is very familial and cosy.”   And what were the challenges this series?   "We have lots of riding and Victoria wants to get out of the palace and experience some freedom. We filmed in Scotland and there is a sequence where Victoria and Albert get lost on horseback in the Highlands. We were filming across massive vistas, across beautiful mountains on Highland ponies, which was beautiful. I had

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never ridden a horse before, but now have learned to ride side saddle. "The hardest thing about this series, though, is learning how to do a scene with three children! I’ve not developed that multi-tasking function yet; maybe it comes with motherhood. There are certain tactics we adopted, including using dolls and the rocking horse, which is a favourite in the nursery. We move through time so fast this series, so we filmed with lots of different children. It was hilarious filming scenes in the nursery, because you have the entire crew alongside us trying to find games to play with the children so we can film scenes!” Lastly, Jenna hopes the series will bring a new, accessible side of Queen Victoria to the screen.    "I do hope it is empowering for women. It’s an extraordinary story of a very relatable spirit. She is our flawed heroine, navigating growing up in unique circumstances.    "I hope the audience feel they have a window into the era of Victoria and Albert; into their home, the politics of the time and ultimately to go beyond the portraits and get to know them for the people they were.”

     

     

Returning to the role of Prince Albert in the second series of Victoria came naturally to Tom Hughes.   "It's the first time I've revisited a character. Ordinarily, I'm always keen to move on to a new challenge, but with Albert part of the appeal was the opportunity to really take my time with mapping out the character and his life. As such, coming back this year truly felt like a seamless continuation of that story telling, and feels like an extension and growth of all that we have shown so far," he explains.   "My take on Albert is that he is a meticulous man which probably makes me meticulous in my approach. Once I discovered him, I have found the shoes easy to step back into. I don’t remember forming him, as my take on him just happened.”   Detailing what is in store for Albert this series, Tom says: "Continuing from series one, there is a definite growth in Albert. It's important to remember that he and Victoria are only in their very early twenties at the end of series one. Series two picks up only a few weeks later, so they are still these two young spirits, and there is a freshness, a vitality, perhaps an idealism and drive in them. We see Albert navigate his way not only through his growing maturity, but parenthood, love, passion, invention, science and loss.

   

TOM HUGHES IS PRINCE ALBERT

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The new series also sees Albert explore the scientific and technological advances of the time. "From a story telling point of view, I think the Babbage storyline is exciting because if you look at our modern world, computers are our everything in terms of communication. To go back and see the primitive form of the idea and the genius behind it is very exciting. Babbage was very much at the heart of the growth of computers. When you walk through the halls of Buckingham Palace, there are candles - no electric lights - and yet someone has perceived a machine that can think for you. I understand why Albert would have been fascinated by that.   "Because of the benefits of the position Albert holds, he witnesses these things and hopefully the audience will enjoy discovering them afresh alongside him. We take for granted trains and computers, but going back makes you appreciate how life changing they are as ideas and the impact they had on society. I think it is an interesting prism through which to discover those advancements because Albert and Victoria would have had the fortune to discover them very early on in their conception.”

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“We see Albert navigate his way through not only his growing maturity, but parenthood, love, passion, invention, science and loss.”

Discussing his relationship with newly-appointed Prime Minster Sir Robert Peel, Tom explains: "In our telling of the story, they both found themselves trying to find their feet at a similar time. I think as a result of this, there was the opportunity from both sides to not only just see the other's position, but also see the person behind it, which provided the opportunity for a closeness and trust to grow between the pair.”   When we first met Albert he was young and living in a different country. Has he settled in more now and what differences will we see in him and in his position?   "I think, naturally, the more time one spends in an environment the more at ease one feels within it. Or, the more one understands of it, at least. That is true of Albert, but circumstance has it that others may not be quite as comfortable with this growing stability and strident expression!"   On the power struggle between himself and Victoria, he adds: "In my interpretation of Albert, there is a strident, inquisitive and at times restless nature within him. As such, I am not sure if he would ever truly feel as if he has finished striving.” The new series also sees Albert adopt a new role as a father, which is influenced by the loss of his mother at an early age. Tom explains: "To me, the awareness of the potentially finite nature of one's

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relationship with a guardian is what drives Albert, on some level, to ensure he is a very present father.” Was it rewarding to film with the babies and young children who play their children?   "It brings a real spirit and energy. When you are on a film set, you hope to immerse yourself in that reality and suspend your disbelief. If you have a lot of energy in the room and it feels spontaneous, that is great and is what actors are always striving for. Kids naturally have that playfulness, which brings a much-needed anarchy and life to scenes.”   Some of Tom’s favourite scenes have been those which incorporate music, art or literature from the time though, saying, “To me these are the most visceral and enjoyable as they reach to a more subconscious connection with the period."   You have filmed in some remarkable locations. Have there been any that have stood out for you this series?   "It's difficult to highlight just one. However, due to the change of environment and the breath-taking landscapes, I think filming at Blair Castle and the surrounding area of Pitlochry has to be the particular highlight of this series."

       

For Dame Diana Rigg being able to laugh at her character's general disapproval really drew her to the role of the Duchess of Buccleuch in the second series of Victoria.   Dame Diana explains: "The duchess is very loyal to the queen. As a member of the establishment, she is very proper in many respects, but she also has deep prejudices which make me laugh a lot and hopefully will make the audience too. She doesn’t really care for the Germans or French and she really doesn’t care for the Belgians either! In that respect, she is unique and great fun to play.”   What does she like best about the duchess?   "I love her candour, the fact she is straightforward. I like the fact that I don’t think she would lie - she is what you see. She is a very efficient sort of woman, but then so am I so we have that in common.”

   Known for another outspoken role in Game of Thrones, Dame Diana explains: "Olenna Tyrell is not the sort of person who behaves in an acceptable fashion just to be accepted, she very much goes her own way, and I hope that she encourages young women to be the same.   "Likewise with the Duchess of Buccleuch - she does her own thing, until Victoria tries to put her in her place occasionally. Although, I think it bounces off her!”

 

DAME DIANA RIGG IS THE DUCHESS OF BUCCLEUCH

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  But Dame Diana admits her character has some lighter moments.   "There has to be a bit of comedy and I try to find it in every scene. It is not exactly laugh out loud, but the writer Daisy Goodwin is wonderful and she has given me some terrific lines. The duchess is great fun to play."   The Duchess of Buccleuch was Queen Victoria's Mistress of the Robes. Dame Diana explains how they first become acquainted.   "To begin with it is a bit prickly because the duchess had been working for Queen Adelaide beforehand and comparisons are made. Victoria, in her youth, does not measure up as far as the Duchess was concerned. However, as time goes by she accepts her more and more. However, it takes a long time for her to accept the German retinue!”

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“She is a very efficient sort of woman, but then so am I so we have that in common.”

Thankfully Dame Diana did not have to endure the restrictions of a corset while filming Victoria.   "I am beyond a corset so I don’t have to suffer that. I am not interested in having a waist – forget that. I only take half an hour in wardrobe and make-up because I am long past improving my appearance, so try to have it all done as quickly and efficiently as possible!” But there was one challenging aspect to the filming, as Dame Diana describes: "Getting in and out of horse drawn carriages at my age! They are very high and impossible to get into and impossible to then get out of. There is very little that I have to acknowledge I can’t do anymore as an actress, but I can’t do that in front of the camera as it is very ungainly and almost impossible! I do it, but thank God I pleaded with the director to not make me do it on camera. There is a lot of huffing, puffing and groaning.” Dame Diana was also thrilled to be filming in Yorkshire.   "I love Yorkshire as I was brought up there and I am of Yorkshire blood. Driving to the locations in the depths of the countryside, you realise just how absolutely ravishing it is. It’s really the most impressive and rather nice drive to work."

   

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She was also hugely impressed by the Buckingham Palace set for the series, exclaiming: "It is beautiful, absolutely wonderful! The designer has done quite an extraordinary job. It is built on an airfield in Church Fenton and as you drive in, there is a plaque with a spitfire on as a commemoration of the Battle of Britain. It was from Church Fenton that they sent off all the planes with so many young men in. I paid homage to them every morning as I drove by.”   Towards the end of the series an episode is filmed in Scotland. Dame Diana relished the experience.   "I love Scotland and have spent a lot of time there. Blair Atholl, where we filmed, is still going strong and is absolutely wonderful. You drive through these wooded slopes in the depths of Scotland and come across these wonderfully impressive castles. The effort to build that there in the first place was huge and then to schlep all of the stuff they need there… They even have a stuffed polar bear in the hall!"  

Although Peel did not start off on the right note with Queen Victoria, Nigel Lindsay who portrays him in Victoria is confident their relationship will improve in series two.   "Peel’s relationship with Victoria didn’t get off to the best start, mostly because she had a very close relationship with Melbourne. She’s not too keen on Peel at the beginning, but they go through a transition this series," he explains.   "From Peel’s point of view, there is an 18-year-old girl who becomes queen and he doesn’t know how to deal with it, particularly as he isn’t very good with ladies or the young. He wasn’t the easiest man to get along with by all accounts, so when Peel comes into power, Victoria was worried that he wouldn’t be up to the job. It must be said that Victoria got off to a bad start with a lot of people, though. She seemed to be the kind of person who really disliked you until you proved different in her eyes and then she really liked you.” So this series we see Peel prove himself and Victoria grow to trust him?   "Jenna and I did a really lovely scene where we both tell each other the truth. Peel reveals that he has come to admire her

dedication to the job and her sense of purpose and innate abilities, whilst Victoria has come to see that Peel is a man who sticks by his guns, even if that means detriment of himself and his party.” "Victoria always liked the way that Albert and Peel got on - they were kindred spirits right from the beginning. Albert was always searching for the new and was very industrious, believing that the monarchy should work for the good of the nation. He kept Victoria on the straight and narrow and was always looking to evolve himself. Peel really admires him for that. They were both fish out of water when it came to social interaction, so bonded on that level.”   Nigel explains how lucky he was to land such a role in a historical drama, saying, "I have always been fortunate in that I have done mainstream comedy, musicals and contemporary drama. However, I had never done a period drama, so to be asked to come in and play a very serious Prime Minister in a big ITV series like Victoria was great for me. "There is a real journey for Peel because the series starts just after he is elected and goes right through until he resigns, splitting his own party. It’s very interesting for me from an acting point of view.”

     

 

NIGEL LINDSAY IS SIR ROBERT PEEL

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“Victoria seemed to be the kind of person who really disliked you until you proved different in her eyes .”

Nigel admits he is very keen on history so researching the role was key for him.   "I bought all the books I could find on Peel. However, I was slightly disillusioned when every book I read said he was a very boring, prosaic man who was disliked by a lot of people within his own party.   “He mellowed towards the end of his life. He wasn’t very popular at the beginning, but became more popular later in life. People thought of him as a man of integrity towards the end. When he split his party, they realised he did that out of reasons of integrity and not selfishness.   "He believed that he had a duty to protect those less fortunate. It is so interesting how often you can look back in history and find parallels."   And for Nigel the costume was also key to the role of Sir Robert Peel.   "I’m one of those actors who work from the outside in. As soon as I had the wig and coat on, I was there. The way the Victorian costume works is that it really does button you up, and I always thought of Peel as quite a stuffy man; quite erect in the way he carries himself. I found putting my costume on really helped me."

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“Anything that helps distance you from modern day and from yourself is very helpful. I asked for a watch on a chain for my waistcoat. It didn’t work but I found myself looking at it and clicking it open which made me feel like I was in another era.”   Was there a highlight from this series that came anywhere near the thrill of riding a steam train in series one?   "There was a particular day when it was boiling hot, and Tom and I had to keep walking towards a point where Jenna and Daniela were sitting by a lake with their parasols up. Tom and I had to stride around these beautiful grounds. We did it about five or six times and I just remember it being such a lovely day, strolling along in beautiful grounds, looking at two beautiful women who looked like they were out of a Manet painting. I remember thinking I wanted a snapshot of that day.   "Also, the horses have been really fun this series. I was on horseback more this year. Tom and I had another scene with horses and we decided to gallop off after and that was a laugh."

     

Returning to the role of Prince Albert’s roguish older brother, Ernest, David Oakes reveals why the German playboy is his favourite character thus far in his career.   “Ernest is by far the most exciting character I have played because he is a chameleon. He is in equal parts charming (devilishly so at times), indulgent and almost Faustian in his disregard for morality. Yet at the same time he is caring and compassionate to his brother, and very proud of the country he is running. He is everything to everyone at different times.   “Ernest gives up so much of himself in order to make everybody else happy and when he finally gets the chance to live the life he wants, it is not necessarily allowed. In a world of melodrama you often end up with caricatures, which can be fun, but if you can inject them with a sense of humanity and try to give them the sorrow that real existence has along side it, you end up with something great. One moment he will be pulling a stupid face and stretching the artistic abilities of his moustache and then the next he will hopefully be making you remember some tragic or heartfelt moments in your own life.”

David confirms that Prince Ernest definitely sees his fair share of both tragedy and romance this series.   “Ernest is infamous for having relationships with the women at court and in the first series there was a poignant relationship with Harriet, the Duchess of Sutherland. The manner in which their relationship develops is quite human, romantically tragic but full of heart and promise. Ernest believes himself to be in love, no longer the playboy we knew he was beforehand, but unfortunately there may still be repercussions of the lifestyle he was leading.”   Talking about his character’s relationship with his brother, David uses an unexpected, famous comparison.   “I have always viewed Ernest’s relationship with his brother, Albert, as similar to that of Pinocchio and Jiminy Cricket’s. Pinocchio goes off and has wonderful adventures and every now and then Jiminy Cricket turns up and leans over his shoulder to tell him not to worry or to stop lying so much. Ernest is still the dutiful brother who comes from a sense of social grounding that Albert doesn’t have.

     

 

DAVID OAKES IS PRINCE ERNEST

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“Ernest gives up so much of himself in order to make everybody else happy.”

“Their relationship is interesting because when something goes wrong in his or his family’s life, Albert takes it very personally and reacts internally. Ernest’s response is the opposite; he stretches out and embraces his brother to help him out in these situations.   “Albert is the dutiful prince who marries Victoria and takes Coburg into international notoriety, so should be the strong one when it comes to emotionally difficult situations. However, without Victoria and Ernest he would be lost. The irony is that through supporting his brother in these ways, Ernest ends up alone. You don’t often realise how much you rely on each other’s affection and compassion under moments of stress when you need someone to turn to. A good brother is just that.” Whilst au fait with the Victorian era before taking on his role, David explains how much he has enjoyed learning and discovering new tales of the time.   “Daisy is always rifling through the drawers of history to try and find interesting stories to tell. Every episode has a new character, invention, desire or historical pertinence

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that we then probe and explore in a dramatic sense. You, as a performer, get to find these little nuggets of joy. For example, I found out that Ernest and his wife, Alexandrina, opened an orphanage for his illegitimate daughters back in Coburg, which is very touching.   “I went to Coburg back in January to see where Ernest grew up. Whilst I was there I found that there is a retro fitted lift in the centre of the main winter palace in Coburg, which was for Queen Victoria. It has been a joy to learn about the history of the period.   “This drama shows you all of the people Victoria was surrounded by during the age of ingenuity and innovations. You have people making radio waves for the first time and you have Brunel coming along to suggest building a tunnel under the Thames. These things were unfathomable. This was the time when ideas were allowed to sing and that alone is worth watching the series for.”

     

Nell Hudson reveals that this series of Victoria has plenty of drama in store for her character, Nancy Skerrett.   “Skerrett is promoted at the beginning of the series. She is now Mrs Skerrett, the Head Dresser at Buckingham Palace. She is more serious this series, diving head first into her work, as she is in a more senior position with additional responsibility.”   “I think there are a lot of parallels between Skerrett and Queen Victoria. What I initially liked about Skerrett was her resilience. Like Victoria, she stays strong throughout the opportunities and near fortunes life has thrown at her. She is also very perceptive and astute, which guides her through everything she does.”   As one of the closest members of the royal household to Queen Victoria, Nell tells us about the friendship between her character and the queen, played by Jenna Coleman.   “We started to see the bond between them in series one. Victoria seemed to be slightly more informal with Skerrett and let her get away with certain things. Now that Skerrett is her Head Dresser, they definitely bond even more. There is a lovely, girlish intimacy in some of the scenes that Jenna and I have had together this year. Victoria comes to Skerrett directly for advice a few times.   

“One of those moments is when Victoria and Albert go to France and bring along some of the palace staff. Victoria notices that the French ladies are a little bit more done-up and further forward in terms of fashion and style. French women wore make-up whereas Victoria didn’t at the time and so in an effort to fit in, Victoria asks Skerrett if she can locate some for her to wear, which was fun.”   Skerrett’s romantic relationship with the palace chef, Francatelli also sees some highs and lows this series.   “Last series, Skerrett made the brave decision to turn Francatelli down. She says no to his proposal because she has her job and therefore security. She also has a cousin with a child to take care of. When series two begins, Francatelli is no longer working at the palace, but the new chef is dreadful and Queen Victoria wants Francatelli back. Baroness Lehzen orders Skerrett to go and ask him to return but it doesn’t exactly go to plan… Things are a bit tense between Skerrett and Francatelli at the beginning, but there are things they both want to say to each other. We get that lovely will-they, wont-they throughout the series.”  

     

 

NELL HUDSON IS MRS SKERRETT

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“Skerrett leads with her head over her heart and that can be difficult.”

Filming this series has allowed Nell to travel to some wonderful locations. One in particular stuck out to her. We filmed in Scotland this series and it was incredibly beautiful. One scene in particular that we shot was of this Midsummer Night’s Dream party in the woods. We had about 100 candle lanterns hanging from trees, wildfires and a stage with real Scottish ceilidh dancing. Skerrett finally has a little bit of fun as she literally lets her hair down, putting on a new yellow dress. She also has a wee flirtation with a Scottish footman who is very charming and rather handsome!”   With so many ups and downs to come this series, Nell tells us why playing Skerrett is both a challenge and a thrill.   “Skerrett leads with her head over her heart and that can be difficult. Not only does she lead a double life, but she also stops herself from following her heart in order to be professional and independent. There is an inner conflict that she is constantly struggling with and has been challenging as

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an actress. You want to portray that she has things going on inside, whilst not letting that be too obvious so as to not give it away to everyone at the palace. “It is a really brave decision to come to the palace and be someone she isn’t and she manages to pull that off whilst charming everyone around her. Skerrett is gutsy and she has integrity and she is a joy to play.”  

     

Ferdinand Kingsley talks to us about his role as Francatelli, chief cook to England’s youngest monarch, Queen Victoria.   “Charles Francatelli is a high-flying, continental chef who was born in Italy, studied cookery in France and then lived in London. Whilst working for Buckingham Palace is the ultimate honour for most people, for Francatelli things are not up to scratch and standards in the kitchen are not what he would like them to be. The people there view cooking more as functional rather than an art form, and he’s interested in developing the art of cookery.”   Whilst Francatelli is a focused chef with an incredible task on his hands, he can’t help but fall for another member of the palace staff.     

“In the first series, Francatelli sets his sights on Skerrett and takes a fancy to her straight away. At first it is quite unwelcome - he is well intentioned, but he has very little experience with the emotional side of relationships with women. They soon developed a friendship and a bond though, earning each other’s trust. Francatelli knows the truth about where Skerrett has come from and learns her name, which is a big secret as she is not who she claims she is.   “There was a sliding doors moment towards the end of series one when Francatelli wants to take Skerrett away and set up an establishment of their own, but she isn’t sure if she should leave her position. At the end of series one, they are both very much alone and Francatelli has left the palace and gone to work in a club in the centre of London.”   With a dramatic and lonely end to the first, Ferdinand reveals a little of what we can expect from the second series.  

     

FERDINAND KINGSLEY IS FRANCATELLI

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“It is wonderful having people rooting for Skerrett and Francatelli.”

“At the beginning of series two there is a new, Scottish chef called Craddock. Victoria doesn’t like him and neither do the staff. He is not the best-tempered man, nor is he a very good chef. It falls upon Skerrett to try to convince Francatelli to return to the palace. It is not really a request as such, but rather a politely worded instruction as it has come from the Queen of England. As a man of great pride, his ego is damaged by being dragged away from his important role at a club. To him, it feels like a step back to be returning to the palace where nothing has changed.   “The world didn’t give Francatelli what he thinks he deserves, and he feels constrained by everything in the palace and slightly depressed by it. The connection he had built with Skerrett is now ruined. There are a lot of things they want to say to each other but cannot, so the atmosphere is somewhat claustrophobic.” Ferdinand explains why he thinks the bond between the queen’s dresser and chef may have struck a chord with the nation.  

 

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“It is wonderful having people rooting for Skerrett and Francatelli. I think people like them because they are two go-getters in their own way. They both have strong desires to make their way in the world and rather than being defined by the person they’re in a potential relationship with, they’re both keen to be defined by the things they achieve. People relate to that in a show that is about royalty, duty and the the monarchy. Bringing them together could be wonderful.”  

     

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Episode One – “A Soldier’s Daughter”

Picking up a month after the birth of her first child, the new series sees Queen Victoria surprise the court when she insists on returning to her duties as soon as

possible.

Having taken charge in her absence, adoring new father Albert decides not to trouble his wife with worrying news regarding the British soldiers in Afghanistan. However, as the reports worsen, Victoria grows increasingly suspicious that he and Prime Minister Robert Peel are hiding something from her.

Determined to reclaim her place with characteristic impulsiveness, Victoria brings in the formidable Duchess of Buccleuch as her new Mistress of the Robes and demands that former chef, Francatelli, return to the palace kitchens.

Meanwhile, Albert’s family descend on the palace for the Christening of baby Vicky and their dynastic plotting only intensifies Victoria’s sense of frustration.

Convinced that the truth is being kept from her, Victoria seeks answers from the Duke of Wellington.  

  Episode Two – “Green-Eyed Monster”

 Having resumed her royal duties, Victoria is disconcerted when Albert appears to be drawn to erudite female mathematician, Ada Lovelace, who is working

with the acclaimed Charles Babbage. Victoria arranges a cultural evening to meet the pair, but starts to fear that she is losing her husband’s attention.

Realising that she is pregnant again, Victoria is thrown into further turmoil, fearing she is once again destined to be relegated to the nursery. With tensions

between her and Albert at breaking point, how will she reveal the happy news to him?

The mood below stairs is equally unsettled as the servants begin to notice items mysteriously disappearing. Timid new dresser Cleary fears that the palace is

haunted, but Brodie discovers the real culprit.   

     

Victoria, Series 2 – Episode Synopses

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Queen Victoria JENNA COLEMAN   Prince Albert TOM HUGHES   Duchess of Buccleuch DAME DIANA RIGG King Leopold ALEX JENNINGS Duke of Wellington PETER BOWLES Sir Robert Peel NIGEL LINDSAY Prince Ernest DAVID OAKES Baroness Lehzen DANIELA HOLTZ Duchess of Kent CATHERINE FLEMMING Penge ADRIAN SCHILLER Skerrett NELL HUDSON Francatelli FERDINAND KINGSLEY Brodie TOMMY KNIGHT Drummond LEO SUTER

Lord Alfred Paget JORDAN WALLER Lady Emma Portman ANNA WILSON-JONES Duchess of Sutherland MARGARET CLUNIE Wilhelmina Coke BEBE CAVE Cleary TILLY STEELE

Character Credits

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Duke of Coburg ANDREW BICKNELL Archbishop of Canterbury PETE IVATTS Craddock PETER FORBES Duke of Sutherland TOM PRICE Dr Brydon ALEXANDER OWEN MP John Bright PHIL ROWSON Boy Jones TOMMY RODGER Charles Babbage JO STONE-FEWINGS Lady Lovelace EMERALD FENNELL Ira Aldridge ASHLEY ZHANGAZHA

Character Credits cont’d

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MD of Mammoth Screen/Executive Producer DAMIEN TIMMER Executive Producer / Creator / Writer DAISY GOODWIN Executive Producer KATE MCKERRELL Producer PAUL FRIFT Writer (Episodes 4 & 7) OTTILIE WILFORD Director (Block 1) LISA JAMES LARSSON

Director (Block 2) GEOFFREY SAX Director (Blocks 3 & 5) JIM LOACH Director (Block 4) DANIEL O’HARA Director of Photography (Block 1) JOHN LEE Director of Photography (Block 2) RASMUS ARRILDT Director of Photography (Block 3) ED RUTHERFORD Director of Photography (Block 4) JAMES FRIEND Director of Photography (Block 5) DENSON BAKER Production Designer MICHAEL HOWELLS Costume Designer ROSALIND EBBUTT Make-Up and Hair Designer NIC COLLINS Casting Director SUSIE PARRISS Editor (Blocks 1 & 3) BEN DRURY

Production Credits

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Editor (Block 2) JOSH CUNLIFFE Editor (Block 4) ANNIE KOCUR Editor (Block 5) SIMON SMITH Supervising Location Manager JIM ALLEN Choreographer SAMMY MURRAY Composer RUTH BARRETT Music Associate NIGEL LILLEY

Production Credits cont’d

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If you use any material from this press pack, please include a full credit for the show. For any other enquires, please contact:

Katy Mason – katy.mason@itv.com / 0207 157 3039 Publicity Manager

Lisa Vanoli - lisavanolipublicity@googlemail.com / 07899 060 230

Patrick Smith – patrick.smith@itv.com Picture Publicity Manager

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