THE LAST MAGAZINE – It’s December, a week before Christmas, and the English actress Jenna Coleman finally has some time to herself. “We just wrapped another season of Victoria, which is amazing because I’m home,” she exhales, referring to the PBS series on which she plays the eponymous queen so momentous she had an entire era named after her. “I’m literally cutting up vegetables as I speak to you—in my own clothes for probably the first time this year.”
Coleman has been acting since she was eighteen years old, when she landed a part in the long-running British soap opera Emmerdale. This experience proved more useful than drama school, offering her the opportunity to work with a range of different actors and directors during her four years on the show. Over the course of the last decade, her career has continued to blossom, first as the companion of the eleventh doctor (played by Matt Smith) on the classic series Doctor Who and now as the sex-loving, perennially pregnant young queen in Victoria, which returns for its third season this week. None of this, however, prepared her for her latest role as Joanna.
In the new Sundance Now miniseries The Cry, Coleman’s Joanna is a schoolteacher who falls for Alistair (Ewen Leslie), a media savant with a commanding presence and a way with words that clearly overpower her. After losing their infant son to unforeseen circumstances, the couple face the insatiable media, relentless and untrusting detectives, concerned relatives, and even agitated exes.“I felt like she was the last person in the world who would ever want that kind of attention, especially when we first meet her,” explains Coleman. “She’s kind of small and wearing this gray sweater and wants to curl up into a ball.”
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Flaunt Magazine – “New mothers are a silent tribe of warriors,” actress Jenna Coleman tells me, just a few minutes after her arrival for our meeting in London’s bohemian Soho neighborhood. She’s effortlessly pretty—deep brown eyes, a winning smile, chestnut hair and striking brows. The words, she explains, are not hers but those of a close friend: a new mother she spoke to ahead of filming her latest drama, The Cry. Whilst Coleman, a youthful 32-years-old, is not a mother herself, she already knows a thing or two about motherhood: playing the titular queen in television series Victoria, she’s already given birth on screen not one, but seven times. “Seven babies, nine altogether,” Coleman laughs. “Two more to go yet!”
Her role as new mother Joanna in The Cry is one of Coleman’s most controversial to date. A psychological thriller based on the novel by Australian author Helen Fitzgerald, the drama is already winning praise for its unflinching portrayal of motherhood. In the early episodes of the program, Coleman’s character struggles to adapt to the manifold challenges that motherhood brings. “She’s lost her identity,” Coleman says of Joanna, a new mum whose ideas of motherhood prove at odds with the reality. More truth is needed, Coleman says, about portrayals of mothers—and women—on our screens.
“There’s so much pressure on it being the most beautiful, precious, and special time of your life. If you don’t treasure every minute of it, then somehow you’re a failure. The reality is wildly different,” Coleman says, matter-of-factly. The two characters Coleman plays—Queen Victoria and new mum Joanna—couldn’t be further apart. Yet playing each emphasized to Coleman the differences in the way modern society treats new mothers compared to the past. “In the Victorian era if you had a baby, you had to go into confinement for a month to help your body to recover, and people helped you with the transition into motherhood. Now, you can literally be out of the hospital in six hours and you’re left to it. In our society, perhaps we need to be more open to how much of a challenge it can be…we need greater empathy.”
Fans of Coleman jumped to conclusions recently when a picture of the star pushing a pram was posted on social media. When I mention the story, Coleman turns scarlet with embarrassment. “I’m not insane, I promise… I was practicing,” she tells me, staring down at her white sneakers. Coleman hadn’t given birth—to help immerse herself in character, she took a pram out as she went shopping. The preparation didn’t end there either: she visited a midwife at a hospital, spent extensive time with children on set, and emailed all of her friends with children in the hope of garnering as many experiences as she could.
“Each of their experiences was so completely different,” Coleman says, explaining how nervous she was before filming began. “There’s this primal bond between a mother and a child. I emailed my friends and was like, ‘I’ve taken on this part and I really feel like I’m not…’” her voice trails off. “In the prep I definitely felt a growing pressure. The fact that I’d taken on a mountain hit home.” While her performance has been widely praised for its realism, Coleman tells me she had fears about authenticity, not being a mother herself. She reels off the questions she asked her friends: “What does it feel like? What are your hormones doing? What does the lack of sleep do to you? What’s the day-to-day like?”
We’re sitting alongside each other on a comfy sofa-seat inside a private members club in Soho on a sunny autumn afternoon. Dressed in a smart pinstriped dress and sneakers, Coleman often traverses the formal and the informal. Her answers are thoughtful and considered, and she’s exceedingly modest: when I mention how she is often described as “driven,” she angles her head away, turns scarlet once more and winces. “It feels like there’s something ruthless about it,” Coleman says of the term “driven”—her demeanor demonstrating that she’s anything but. “I used to balk at it.”
After we talk about it at length, Coleman concludes that the reason she is so uncomfortable with the term comes down to portrayals of women in the media. Just as her latest character Joanna is vilified by the media for being a “bad mother,” women who seem ambitious or career-driven still attract similar criticisms. “I don’t think being described as driven is anything that you should be ashamed of—that you love your job and want to keep doing it, that you really value it and want to explore it… yet for some reason, I always felt like being described as ‘driven’ or ‘determined’ was a dirty word.”
“I think I just perhaps need to own that, and not actually see it as a bad thing and be proud of the fact that I’m passionate about my job and that’s okay.” She looks down at the floor again, as if she only half believes it. “I shan’t apologize anymore,” she tells me, mimicking the regal voice of Queen Victoria. “I love how I’ve just said that in the most polite way possible…I need to stop apologizing.”
Part of the apologizing may come down – at least in part – to her working class background and education. Growing up in Blackpool, a seaside town in the north of England, Coleman began her first professional acting role aged just 18, in the long-running British soap opera Emmerdale. It was an inspirational drama teacher, Mr. Snell, who encouraged her to pursue acting, giving her practical advice and support through a self-funded theatre company run via her school. “Without him, I wouldn’t have known where to begin. We operated as a semi-professional theatre company in between school and holidays. We’d do all the props and set up ourselves…and travelled just anywhere it would take us; the shows would eventually pay for themselves. That kind of experience was invaluable. I’ve definitely not taken the traditional route, that’s for sure.”
Since then, she’s worked continuously in a number of increasingly high-profile roles, including as Doctor Who’s assistant on the long-running cult sci-fi television show and Lydia in the Pride and Prejudice spin-off Death Comes to Pemberley. But despite her rapid ascent, Coleman admits she still struggles with feeling unqualified, which she pins on her unorthodox path to acting. “I definitely feel a hole from having not been to drama school,” she tells me. “I still don’t feel qualified in any sense.” This is remarkable for an actress who is regularly acclaimed for her work.
Next year, for the first time since being a member of Mr. Snell’s theatre company, Coleman is heading back to theatre for a leading role in Arthur Miller’s All My Sons, alongside Sally Field and Bill Pullman, in London’s West End. “It definitely doesn’t feel like a muscle I’ve flexed in a while,” Coleman says when I ask about her preparation and rehearsals. They’ll begin next year, after a rest and some time to stand still. “It’s an unknown, and I’ve got the fear,” Coleman says about the role. “But it’s a good fear,” she quantifies, laughing.
Coleman draws parallels between her role in The Cry and All My Sons, speaking about the depth and nuance of both roles. “There’s so much to play with under the veneer again…it’s like you’re playing chess but you’re playing chess with one of the most emotionally traumatic and scarring experiences that someone can go through,” she says of The Cry, after a dark secret is revealed mid-series. Is investing so much in characters with such emotional weight exhausting? Yes, she says, but she knows how to switch off. “Once you get into a filming schedule it takes over and you go home, you switch the lights off and you go to sleep… because the role was such an emotional marathon, I somehow trained myself to be light in between takes. Otherwise it would be like walking through mud all the time.”
Coleman tells me, through a deep sigh, that characters like this don’t come around very often. “It’s been really eye opening. I’ve realized there are not many places I can say I’ve seen it on television before,” she says of struggling mum Joanna. Scripts depicting age-old stereotypes of women are still more likely to land on her desk.
“I think there’s definitely a movement of people wanting to see everyday society reflected in film and television, and I definitely think there’s need for such a movement. But for every decent script that I’ve read, I’m still sent ten scripts that are very much ‘the girlfriend’ or ‘girl next door’ roles that revert to type. This is why The Cry felt really exciting. When you read a script and there’s so much going on between the lines, it’s invigorating.”
As a young actor auditioning for roles, Coleman made dozens of audition tapes, shifting between hundreds of identities, often feeling in a perpetual transient state. The idea of doing more film work soon is attractive to her, not least because it allows stability. “There’s something about a film where you can research it and immerse yourself for longer. There’s one director, one piece, one telling of a story. I think there’s something nice about that.”
We walk downstairs to the streets of Soho. Coleman dons a checked winter mac, stepping out into the strange autumnal sunshine. She tells me she is looking forward to standing still for a time and, crucially, not giving birth on-screen for a few months until Victoria has her next two. “No more babies. I’ll babysit my friends’ children for a little while, but then happily give the child back,” she beams, before walking off to her next audition.
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Jenna Coleman has lifted the lid on the “complex narrative” of BBC psychological thriller The Cry. The former Doctor Who star also revealed, in an interview with Deadline, that she’s looking forward to not “wearing a maternity bra” in her next role as she prepares to star alongside Sally Field in a stage version of Arthur Miller’s All My Sons.
In The Cry, which just finished its run on BBC One, where it was the British public broadcaster’s second best new drama this year, Coleman plays Joanna, a mother who faces the glare of public scrutiny after a deeply personal trauma involving her young child.
The four-part series, which is produced by Synchronicity Films, is told in a non-linear fashion, jumping from her and her husband Alistair, played by Top of the Lake: China Girl star Ewen Leslie being in Australia, to flashbacks about their initial romance.
She told Deadline, “For everybody across the production from costume to continuity, it’s the most complex narrative because you have to always keep the linear version in your head as well as the non-linear and the psychological thriller aspects. So, you have to play the truth of what you know as the story but how and what you reveal and how you play the truth of that emotion has to be perceived in numerous eventualities of the story and we didn’t film it in order either.”
It is based on Helen FitzGerald’s book. “The ending is on page one of the book so we’re telling people to buy the book but to read it after,” she added.
Synchronicity Films’ Founder and Creative Director Claire Mundell, who exec produced the series, said the show was developed over four years with Jacquelin Perske adapting. “We’ve taken the essence of the book and the ending and there’s a few surprises in there. We spent a lot of time talking about what is the order of this story because we need to take the audience on a journey; we need to get to know these characters, understand them and find out how they came together but then it’s a thriller and it’s all about what you reveal and when,” she added.
Victoria star Coleman said she initially read the scripts on a plane, fitting given that some of the key initial scenes in the show feature on an airplane, and was drawn to the complicated characters. “So much of episode one is about being a new mother in such an unflinchingly honest way but the story then takes on such a different psychological element. I also feel each episode is its own thing; the disintegration of Joanna’s psychology and then being in the camera lens of the media. It feels really dense. Even with the post-natal depression at the beginning, we then go into traumatic stress and as it unravels you understand more and more, but to have someone at the edge of such emotion and unimaginable circumstances but has to suppress it means that it feels like every scene is at breaking point.”
Coleman, who is represented by UTA and Troika, admitted that she initially felt miscast in the role as she didn’t have children herself. “Fundamentally, everything for Joanna is the connection between her and her child, even when the child goes missing, everything is about the umbilical cord and the pressure I put on myself to be really access the truth of that and that’s not something [I’ve got].”
The show is set to launch on Sundance Now in the U.S. later this year. “We’re really excited about the U.S launch and I think Sundance is the right home, particularly because of the way the show is directed by Glendyn Ivin, who is a film director, who has a very filmic sensibility and it looks like top notch home.”
Up next for Coleman is Arthur Miller’s All My Sons alongside Sally Field, Bill Pullman and Colin Morgan next April. The adaptation is being directed by Jeremy Herrin. “I’m excited; it’s far enough away not to feel the fear. I’ve been looking for a while for the right [stage] part and it’s such an ensemble thing. It’s playing within veneer; it’s all coded. It’s something that is presented with so much simmering underneath and that will be really interesting to explore.”
Coleman, who has been regularly pregnant on ITV period drama Victoria, admitted that she’s looking forward to not playing a mother in her next small screen role. “I’d love to not wear a maternity bra in my next role; I’ve run out of labor noises,” she said. “After Doctor Who, the idea of doing something sci-fi [didn’t appeal] and then I wanted to do The Cry after Victoria because it was so so different. I think when the scripts come and where they catch you in your life and what you’ve been doing. It feels like an incredibly rich time in TV to try and can wait out for those good roles.”
Allow me to introduce the “impossible girl”. She’s visited hundreds of galaxies with a Time Lord and ruled the British Empire, dealt with dukes and Daleks (I’ll leave you to decide which are worse), but right now the most impossible thing she’s facing is trying to find somewhere to chat to me on the phone without cracking up the people around her. “Sorry!” She laughs when we finally connect. “You just caught me in the car with my driver and I knew he’d just giggle at everything I’m saying!”
Of course, the girl in question is Jenna Coleman, who obtained the tagline from her role as the Eleventh Doctor’s companion in the beloved BBC series Doctor Who. Accompanying both Matt Smith and Peter Capaldi, Jenna rose to fame as Clara Oswald, the witty school teacher with the ability to charm alien life forms in numerous universes.
The chance to escape to different worlds has always appealed to Jenna and exploring alternate realities is what first made her want to get into acting. “I remember reading Enid Blyton and loads of books and their worlds becoming very vivid in my head,” she recalls. “I just remember being really, really young and for some reason it always just felt very simple. Acting was always what I wanted to do, it was more the ‘how’ that was always the more complicated thing.”
Currently heading into their third series, Jenna’s brief break from resuming Victoria filming wasn’t as relaxing as one might expect. Heading to Australia in February, instead of having some well-deserved chill time on the sunny beaches, she got straight into her most challenging role yet.
Starring in the BBC’s upcoming psychological thriller The Cry, Jenna plays the lead role of Joanna, a young mother who travels to Australia with her newborn son and slightly shitty husband amidst a custody battle over her husband’s daughter from a previous marriage. Once they’ve landed, all seems to be going okay when suddenly her life is thrown into disarray after her son disappears. Based on the Helen Fitzgerald novel of the same name, if you’ve watched the trailer, you’ll know that it’s destined to be one of those shows that’ll have you glued to your television screen, barely breathing, with twists and turns that will leave you speechless.
Shooting between Oz and Glasgow, it’s set to come out on September 30th, filling that inevitable Bodyguard-shaped hole within our lives. Quite a difficult filming process, the show runs on two different timelines − one taking place when the baby goes missing and the other in the present day at a trial, although “a trial for what?” is a question I’m yet to learn the answer to. “We kept calling it ‘going down the vortex’ because you’re shooting all these timelines and obviously it’s a psychological thriller so there are certain aspects of what you can give away and when.” Jenna explains. “There’s a certain version which kind of keeps everyone at arm’s length a little bit, so you’re never giving too much away at once.” She pauses. “This will all make sense once you’ve seen it, but, oh my god, in terms of playing it, it was the most narratively complicated job I’ve ever done!”
Not only were the timelines hard to grasp at first, but Jenna originally found her role quite struggling too. “I had real issues with the idea of playing a mother with issues. That would be fundamentally something that I maybe wouldn’t be able to do justice because I’m not a mother,” she discloses. “It was hugely challenging. But to be honest, a lot of my friends have got new babies and a couple of them sent me the most incredible emails. I spoke with them and got really amazing, and searingly honest, details about the realities of being a new mum. It’s the most beautiful thing in the world, but just because it’s so beautiful it doesn’t mean it doesn’t come without questions about your own identity and loneliness. I think it was a really interesting way to explore post-natal depression in a way that I don’t feel I have ever really seen very much on the screen.”
Her portrayal of a struggling mother is, at many times, difficult to watch. In the first episode, she’s on the 24-hour-long flight to Australia, screaming baby in arms, husband fast asleep, getting disapproving looks from other passengers as she frantically tries to settle her son. It’s a moment that I’m sure many have been a part of, I know that I’ve given my fair share of eye rolls to crying children on flights before, and it’s this aspect that The Cry wants to tap into. “It has a lot of questions,” Jenna muses. “It questions our society about the pressures on new mums. But also the pressure of the media, and how media can spin a version of the truth.”
The latter is in response to the “whodunnit” aspect of the show, the twist in the first episode which leads you to believe that maybe the baby hasn’t only gone missing. “I guess it’s the funny thing of going through one of the most extreme emotional experiences of your life at the same time as being under this media scrutiny,” Jenna details. “Those two things coinciding and happening at once is really quite an interesting angle to look at psychologically. And an interesting story to tell.”
“Who do you think did it?” She asks, cueing me to launch into the various theories that are spinning around in my mind. Is it too obvious to be the ex-wife? Or how about the struggling young mum? Maybe it’s the husband’s daughter who is secretly jealous of her dad moving on and creating a new life? Maybe it’s someone else altogether? “That’s what I felt like reading it!” She laughs. “I felt like I didn’t quite know what was going on. It was leading me in different directions and I just kept turning the page!”
What’s not up for debate though, is the fact that Jenna is breathtaking in the show and her portrayal is sure to get her even more critical acclaim. For the “impossible girl”, it really seems like she can do anything.
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BBC MEDIA CENTRE – Filming in Scotland and Australia and directed by Glendyn Ivin (Safe Harbour, Gallipoli, The Beautiful Lie), The Cry is the first scripted television commission for Scottish-based production company Synchronicity Films.
Joanna (Coleman) and her husband Alistair (Leslie), travel with their baby from Scotland to Australia to see Alistair’s mother, Elizabeth (Gonet) and to fight for custody of Alistair’s daughter Chloe (Kavenagh) against his Australian ex-wife Alexandra (Keddie). However, when they arrive in Australia, Joanna and Alistair are forced to face an unthinkable tragedy that changes their lives and their marriage forever. It is the catalyst for a journey into the disintegrating psychology of a young woman, exposing the myths and truths of motherhood.
Elizabeth Kilgarriff, BBC Drama Senior Commissioning Editor, and Gaynor Holmes, BBC Drama Commissioning Executive, say: “We’re very excited to have started filming in Australia and to have such an incredible array of Australian talent joining Jenna and Ewen, topped off with some of Scotland’s most accomplished actors. Watching them bring Helen FitzGerald’s gripping, page-turner novel and Jacquelin Perske’s wonderful scripts to life is a joy and we can’t wait for BBC One audiences to see The Cry.”
Claire Mundell, Executive Producer for Synchronicity Films, says: “I am delighted to have such a talented cast joining Jenna, Ewen and the team. It’s so exciting to have such brilliant Scottish actors as Stella and Sophie joining our absolutely stellar Australian cast Asher, Alex, Markell and Shareena and to tell this thrilling story which spans the two countries. The start of shooting marks an incredible moment for our company as we start production on what is a truly international drama with Scottish roots. We could not be more thrilled to be shooting the show in the incredible Australian light of Melbourne, and contrasting that with the beautiful West End of Glasgow.”
The Cry is a 4×60’ drama written by Jacquelin Perske. The drama will be produced by Brian Kaczynski and Executive Produced by Claire Mundell for Synchronicity Films and Elizabeth Kilgarriff and Gaynor Holmes for BBC One. The Cry is currently being filmed in and around Melbourne and Glasgow with the support of Film Victoria and Creative Scotland. DRG hold the distribution rights. Stuart Menzies and December Media are the local Australian producer and ABC is the Australian broadcaster.
VARIETY – Jenna Coleman will return to her role as British monarch “Victoria” after ITV and PBS Masterpiece greenlit a third season of the royal drama. Coleman plays the young Queen Victoria opposite Tom Hughes as Prince Albert, and who also returns for Season 3, which will continue to follow the life of the monarch and her family and the events of the day.
The second series followed Victoria from her accession to the throne to her marriage to Prince Albert. The show was created by Daisy Goodwin, who revealed the setting for the next outing. “Series three will start in 1848 which was a hugely dramatic and eventful time for both the royal family and Europe, with revolutions on the continent and uncertainty around the monarchy. Viewers can expect more drama than ever before in the third series,” she said Tuesday.
The show has fared well on ITV in the U.K. with Season 2 garnering a 25% audience share. It is sold internationally by the broadcaster’s distribution arm, ITV Studios Global Entertainment, which has done deals in 150 territories for the show.
It is produced by ITV-backed Mammoth Screen. Company managing director Damien Timmer said: “Jenna Coleman and Tom Hughes shine as Victoria and Albert and it’s an honor to have them back for a third series, which covers a tumultuous period in our country’s history, filled to the brim with royal scandals, political skirmishes and constitutional crises, as new historical figures enter the saga to challenge Victoria and Albert as never before.”
“Victoria” is a co-production with Masterpiece on PBS, with PBS’ Rebecca Eaton among the executive producers. The new season was commissioned by ITV’s head of drama, Polly Hill, who said: “Filled with romance, political crises and family drama, Daisy Goodwin’s scripts bring this fascinating part of history to life so vividly and we look forward to regaling audiences with the next part of the illustrious queen’s reign.”
Jenna Coleman (Victoria, Doctor Who) and Ewen Leslie (Safe Harbour, Top of the Lake) star in The Cry, a four-part thrilling, psychological BBC One drama written by Jacquelin Perske, adapted from the novel by Helen FitzGerald.
Filming in Scotland and Australia and directed by Glendyn Ivin (Safe Harbour, Gallipoli, The Beautiful Lie), The Cry is the first scripted television commission for Scottish-based production company Synchronicity Films.
On being cast in The Cry, Jenna Coleman says: “I first read Jacquelin Perske’s script on a plane, it felt like walking a tightrope, racing page to page, unsettling, unknowable, uncomfortable, and thrilling. I look forward to tackling this challenge and bringing it to the screen with such a talented team in Glendyn Ivin, Brian Kaczynski and Claire Mundell with Synchronicity Films and the BBC.”
Ewen Leslie says: “From Helen FitzGerald’s addictive and exciting novel, to Jacquelin Perske’s beautifully written scripts, I’m absolutely thrilled to be a part of the amazing team that has been formed to bring these complicated characters and thrilling story to the screen. Synchronicity Films have a great track record in producing high quality drama and Glendyn Ivin is without a doubt one of the most exciting directors working today. I’m over the moon that they’ve asked me to join this amazing project.”
Joanna (Coleman) and her husband Alistair (Leslie) deal with unthinkable tragedy under the white light of public scrutiny and in their private lives when their newborn baby is abducted from a small coastal town in Australia – changing their lives and their marriage forever. It is the catalyst for a journey into the disintegrating psychology of a young woman, exposing the myths and truths of motherhood.
Claire Mundell, Executive Producer for Synchronicity Films, says: “We couldn’t be more excited to have Jenna and Ewen as our lead cast, and to be bringing this emotional rollercoaster of a story to BBC and international audiences. I’m honoured that Synchronicity’s first scripted commission for BBC Drama is Helen FitzGerald’s Scottish-Australian page turner The Cry, brought to the screen by the combined talents of writer Jacquelin Perske and director Glendyn Ivin.”
Piers Wenger, Controller of BBC Drama, says: “The Cry is an intense, psychological thriller which constantly surprises and I know that with the fantastic Jenna Coleman and Ewen Leslie leading the cast as the young couple thrown into haunting and exceptional circumstances, this will be a truly unmissable series for BBC One.”
The Cry is a 4×60’ drama written by Jacquelin Perske. The drama will be produced by Brian Kaczynski and Executive Produced by Claire Mundell for Synchronicity Films and Elizabeth Kilgarriff and Gaynor Holmes for BBC One. The Cry will be shot in and around Melbourne and Glasgow with the support of Film Victoria and Creative Scotland and DRG hold the distribution rights.