Eleanor Tomlinson is set to become a household name thanks to her role as Demelza in the BBC’s highly anticipated new version of Winston Graham’s Poldark. Here she tells us about the series and playing such an iconic character.
For Eleanor playing Demelza in Winston Graham’s Poldark is the Scarlett O’Hara of roles.
“For me Demelza was the character who really stood out as having the most incredible journey in Debbie Horsfield’s script,” says Eleanor.
” For a start she’s completely different from anything I’ve played before. She also has the most fantastic journey; she starts out as an urchin being mistaken for a boy, then becomes Ross’ servant and gradually moves up to become head maid and the best worker that he has and then eventually his wife. The journey for her in only eight episodes is just extraordinary and roles like this just don’t come around that often.”
And Eleanor was prepared to do whatever she could to get the role.
“I was looking for that next really challenging role and wanted to break away from my usual roles in period dramas, the well-educated ones. So I spoke with the casting director and asked to be seen for the part.
“I wanted to really show the director and producers that I could transform myself for this vastly different role. I borrowed by brother’s clothes and went into the audition and tried to just stay in character as much as possible as they’ve never seen that side of me. I’ve never really done it that way before, as when you go in to play the leading lady roles, or the roles like Elizabeth, you’re much more talkative and polite, you dress nicely but with Demelza I think that was the whole point to have that rougher edge.”
So what attracted Eleanor to this urchin?
“She is extremely resilient and has this streetwise edge to her but she never becomes too hard. She has to be vastly different to Elizabeth but you still have to love her, so for me that was really interesting to play. Also not giving away what happens, or creating that relationship too quickly, you have to let her flower and evolve. There’s a vulnerability in the character which I really liked. Female roles as strong as this don’t come around very often.”
And how did she feel taking on such a well loved role?
“When I found out they were making the project I spoke to my parents about it over dinner and they were like ‘Oh my God, Poldark, that’s amazing,’ and it wasn’t until then did I realise how successful the previous adaptation had been. I then read the first two books that our series covers, looked further into it and watched little bits of the old series. I deliberately didn’t watch the whole series as I wanted to do my own thing with the character. But I was fascinated at how Angharad Rees managed to capture the public’s heart the way she did as she was so popular.”
One of the hardest elements of the role for Eleanor was the Cornish accent…
” It was very hard, and being from East Yorkshire I had never really ventured to Cornwall as a kid so that was a continual experience for me as well. I worked very hard with the voice coach who was fantastic and so helpful. With Demelza’s accent, she never loses it but she tames it a little bit – I was anxious that she never totally becomes a lady, she is never like Elizabeth and I wanted to keep that trueness to her roots.
“The accent is hard to master and the Cornish people are so passionate about Poldark, they’re going to be listening for the accent and want it to be perfect.
“I learnt about how their jaws were a lot tighter because of the wind, and living so close to the sea, the salt makes you speak in a different way. They clench their jaw tightly so you get a completely different sound. One of the main things I found hard was that the language is like Old English, they use words we haven’t even heard nowadays.”
And do the costumes and make up help the transition along Demelza’s journey?
“Marianne (Agertoft) the costume designer was fantastic. She is so open to involving the actors on creating that journey, and especially with Demelza who has a massive journey with her clothes – she goes from being a rag-wearing urchin to being Mistress Poldark. It was fantastic to work with Marianne and come up with this look because I particularly wanted Demelza to look practical. Gradually we move on but she still wears the same dress a lot; it’s not that she’s suddenly come to the Nampara and immediately becomes a lady, her transition into a lady is much slower. The costumes were immensely helpful, and the same with make-up; we gradually change her look and make her hair more classic, and as she got grander she wore it down and free.”
So will audiences be drawn into the relationship between Ross and Demelza?
“I think they’re very similar personalities and along the way she will make Ross notice that his relationship with Elizabeth would never have worked as they are not alike. Whereas Ross and Demelza are cut from the same rock; Demelza is equally as fiery as Ross and puts him in his place but at the same time they just understand each other’s moods. It was a really fun dynamic to play with.
“Aidan is a brilliant actor and think he’s done an amazing thing with the character. He was under a lot of pressure, as were we all playing such iconic characters, so that is quite intense but he is a very clever actor and it was nice to work alongside him.”
And what does the Cornish landscape bring to the story?
“I had the greatest time in Cornwall – it is so beautiful, I almost can’t believe I’d never been there before. So much of the piece came alive when we were filming in Cornwall and everyone found their character in the outdoors, particularly with Demelza as she is very connected to the landscape.
“I also love the countryside and just enjoyed exploring all the different coves and beaches and the endless beautiful blue water, it was so gorgeous. It is such a peaceful and relaxing place.”
The Miniaturist Interviews: Romola Garai
Romola Garai plays Marin Brandt in The Miniaturist, premiering soon on BBC-1, here she talks about what drew her to the drama and being in a costume drama where she pretty much only gets to wear one costume.
What attracted you to the role of Marin?
I’d read the book shortly after it came out and I thought it was a really surprising novel, really interesting and with very strong feminist themes in it, so I was very excited about it. Time passed and then an email popped into my inbox with the subject, The Miniaturist. I thought it was fantastic they were making it and I was really excited to read the script.
It’s a very genre-bending novel; it appears to be like a costume drama we have seen before, but very quickly we realise that it’s not that. It’s about a woman coming into her own in a society that’s very patriarchal, it’s about a love affair, it’s about discrimination, and it’s about people trying to survive in an incredibly controlled state. It’s a thriller and it’s also a story about political and emotional awakening.
Marin is a particularly interesting character, I think she has one of the best arcs. When I first read the book, she was the character that stayed with me, and when I read the scripts I immediately remembered everything about her. She’s told in beautiful detail in the novel, which John has retained in the script. Marin is just a great character to play, it was a real treat.
Tell us about Marin.
When you first meet her, because the story is told through Nella’s perspective, you meet a woman who seems very cold and intimidating. Then gradually you get this drip-feed of information about her; you see she’s been helping Johannes run the business and you learn that they were orphaned at a young age. She’s very intellectual, she’s very well read, and she’s not married, which is very unusual at the time.
One of the reasons I found her such a fascinating character is that she’s full of secrets and she’s layered; very conflicted and has great faith, but also passions. The house they live in is essentially a tinder box of secrets that Marin has been sitting on to try and stop the secrets exploding out. However although it seems she is trying to keep a lid on it I think she believes that they could subtly break all the rules and be free within the house at least, if only her brother stopped acting so recklessly.
Hopefully audiences will question what is driving her hostility towards Nella. Marin needs Nella a lot to maintain the appearance of being a normal household but it’s also very important that Nella is afraid of her so that she doesn’t try digging and discovering the secrets that they are all trying to keep – because if anyone finds out then their futures are ruined.
What was it like doing the scenes between Marin and Nella?
I loved working with Anya, she’s an incredibly accomplished actress. She’s got a difficult job in this, because Nella has to be very innocent at the beginning of the story, which is always difficult for an actor to play, and also more innocent that a woman of that age would be now. She’s constantly making discoveries, she doesn’t have the information that the rest of us do so she’s always learning new things, and she’s done that with real beauty and subtlety. I really enjoyed doing all our scenes together.
Tell us about Marin’s costume.
Marin only had one costume until a very late stage of the story. Her costume is typical of the puritan values of the period which rejected anything that smacked of luxury or louche values. They also didn’t wear make-up in this period at all, certainly not women of this class and station, and the hair was very simple and scraped back. Her head would have been covered at all times, so I had a black cap that I wore, but to be honest when I wore it I couldn’t really hear what anyone was saying and also talked incredibly loudly because I couldn’t hear myself, so essentially I was shouting at the other actors!
What makes The Miniaturist stand out from other period dramas?
I’ve done lots of historical pieces but there’s something very unusual about this. When you do contemporary novels set in the past the writers are able to do a lot more, and tackle complex themes which writers writing at the time weren’t able to do. More than that, it’s interesting in that it explores a number of different genres. It has elements of a thriller and then it becomes a family drama and then it becomes a polemic about what happens in societies that are so controlling.
I hope people will sit down to watch the show because it’s a pretty costume drama and will be surprised that it is actually rebellious and constantly bringing up important issues – and that they’ll be so engaged they won’t be able to look away.
Trust Me Interviews: Sharon Small
Interview with Sharon Small, who plays Dr. Brigitte McAdams in new three part psychological thriller Trust Me which airs this August on BBC One.
What attracted you to this project?
I liked the character and the premise of the piece – I don’t think we’ve seen this before. And everyone is like an armchair detective, everyone is an armchair actor or doctor, so I thought that people would get off on that and think, gosh what would I do in that circumstance? The audience are the people who are privy to the truth and not us. With my character, Brigitte, I like her neediness, her sassiness – she’s fun and quick-fire talking – and quite honestly I rather fancied myself as a doctor [laughs].
How would you describe your character?
Brigitte is a good person; she’s sassy and is a really good doctor. She has got some issues, but she is trying her best to run this ward and with great intentions, which I think a lot of NHS doctors are.
How did you prepare for the role?
I grew my hair so that I could tie it up – normally I have short hair. We had a fantastic medical training day with Dan and got to do airways and cannulas and stitching and things like that, I loved that. The most important thing for me was to go around the actual A&E department (or ED department as I now know it’s called) in Edinburgh. We met this fantastic doctor – just watching him and really getting to observe what goes on in a ward, the dynamic, what people do and noticing that people are always looking at folders, everyone’s always collaborating and talking to each other. Everyone is always moving around, a lot more than you think and not that quickly. It’s less dramatic than you think.
Is your character challenging to play?
She was. Similarly in something that Jodie mentioned, I had quite a lot of medical jargon to say quite quickly, but I had less of the procedural stuff to do in terms of operational things. As the character is more and more revealed I had to make sure that I took care of how that happened, and that it was subtly done.
What makes a hospital a good arena for a drama?
It’s an ever-changing landscape, a hospital. Every new sort of event that you’re presented with means that you’re having to make life-saving decisions. People’s lives really are at stake, and honestly, my little taste of pretending that I was an ED doctor made me feel quite powerful. If I could fix people so that they survived, that would be an amazing ability.
What are the biggest challenges that you have faced so far during filming?
Saying the medical words Metronidazole – Met-ron-ida-zole, Metron-i-dazole – and trying to make scrubs look even remotely interesting, I don’t rock scrubs like Jodie does, I’m way too curvy for that!
What do you hope audiences will take away from this drama?
I hope that they’ll find themselves in that dilemma of wanting Cath/Ally to succeed, because she’s a good person and she ironically is brilliant at the job. I’m hoping that they’ll see the dilemma that she has, and as you want her to keep succeeding, it means she’s going to keep compromising people as she goes, as well as herself.
Trust Me Interviews: Jodie Whittaker
Jodie Whittaker plays Cath in three part psychological thriller Trust Me which airs on BBC One this August.
What appealed to you about this project?
I was sent the script for the first episode and it fascinated me because it went in a completely different direction to how I thought it was going to. Particularly at the beginning when she’s suspended for whistleblowing and loses her job. It could have gone so many ways, and the fact that she takes on this new identity isn’t the way that I thought it would go. I love the fact that her choices are quite morally dubious – they certainly aren’t black and white. She makes decisions that are quite challenging to justify, even though we know her reasons. I’ve never acted in anything medical before, so it felt completely new.
How does Cath’s lie come about?
Cath starts off by having a conversation with her best friend, Ally, who is a middle grade doctor in A&E and is giving it all up to emigrate to New Zealand. Ally is packing up the life that Cath would have loved to have had, leaving it all behind to go and do something completely different. Suddenly there is an opportunity for her to take on the identity of her friend and in that panic, not necessarily the clearest thinking moment in her life, she does it. Once you set off on a path of lies it’s very difficult to undo it without bringing everything crashing down.
Did you receive any training on medical procedures?
Yes! The writer, Dan, who is also medical consultant and a doctor outside of TV production, showed us a load of stuff that he used when he was training people. He brought in the CPR dummy and showed us how to do a cannula and he, very bravely, let me put a cannula in his vein. I did it right, thank God! Also, YouTube is amazing. The genius of the internet is that you can basically sit at home and Google medical procedures, and TV shows such as 24 hours in A&E, which I watched hours of.
How else did you prepare for the role?
With regards to the technical stuff, we had an on-set consultant so that there was always someone to help when we had to do the procedures. The best thing for me was that my character was also out of her depth and didn’t always know what she was doing, so it kind of covered my own personal fumbles. I’m not someone who likes to over prepare for dialogue scenes, because I think that makes me not listen to what the other person is saying as I’ve already decided how I’m going to do it. It immediately makes it interesting and new and you can’t plan for that, which is great. You can’t ‘wing’ the medical stuff so I had to do my research for that. One of my friends is a Sister in A&E and I sent her a lot of messages asking ‘how do you pronounce this?’ and ‘what does that mean?’, so basically she was my personal medical coach even though she works full time!
Is it challenging playing someone who leads a double life?
Yes, but no more challenging that playing someone who has had something happen to them that I haven’t personally experienced. What’s hard is trying to gauge how good a liar she is, or how in a panic she is. You’ve got to be careful, because you can’t make the other actors seem stupid. These are intelligent, fully formed characters that you’re working with, so it was a fine line of being able to deceive and it not being something that comes easily to her. However, it can’t be that it makes everyone around her feel a bit like an idiot for not working it out. That was tricky, but the director is there to help guide you through it.
Did the uniform help to get you into character?
Yes. It feels odd when you put it on. I did five weeks of studio filming, back to back – all the medical stuff was contained so everything started to become a bit like second nature. The first few times I had to put on an apron, the ‘take’ ended up being about 15 minutes long. Then I worked out that you shouldn’t put the gloves on before the apron! There was lots of daft stuff like that, but you then get into a rhythm. It’s good because it makes you immediately feel like you look the part and then all I had to do was make sure that I knew the lines!
What were some of the challenges that you faced during filming?
I’m not very good with learning dialogue when there are lots of medical terms! I enjoy the adrenaline of being on set because I’m quite good at choreography, I respond well to being taught something physically. That’s why I was terrible at school, because they talk you through things rather than physically show you. I enjoyed doing the different types of surgery as it was fascinating, it’s nerve-wracking but you realise that you can do it. Also, the team who created the props put in so much hard work to make sure we didn’t mess up our bits. I struggled with having massive speeches that involved these medical words. I don’t have a brain for that!
Did you enjoy working in Scotland?
I absolutely loved Glasgow! The crew were phenomenal and the city is wonderful. I could move my family up there and we had a great time as there were loads of brilliant restaurants and everyone was lovely. It was brilliant and I would snap up another job there very quickly, although it does get very dark and cold over winter!
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