Golda Rosheuvel on ‘Bridgerton’ spinoff: ‘Queen Charlotte’ is ‘delicate in its darkness’

One of the elements that makes “Queen Charlotte: A Bridgerton Story” a fascinating spinoff is the way it weaves the so-called Great Experiment into a tale that astutely “desegregates the predominantly white British high society.”

As we watch a young woman break the glass ceiling after she’s thrust into her “destiny,” we’re also introduced to a groundbreaking love story—admittedly a “work of fiction inspired by fact”—we don’t often see in films and TV series about the British royalty.

In “Queen Charlotte’s” case, we see Regency-era monarch, King George (dashing Corey Mylchreest), marrying a Black woman, Charlotte, portrayed by Golda Rosheuvel (as the older queen) and India Ria Amarteifio (as her irrepressible teenage iteration).

The six-part origin story spun off from “Bridgerton,” which launches on Netflix on May 4, shuttles between two timelines as it follows the rise to power and prominence of Queen Charlotte.

“The first time I heard about the plan to create a spinoff about my character, it was a very humbling, thrilling and exciting moment—I felt very blessed,” said the 53-year-old actress when Inquirer Entertainment spoke to her in a recent roundtable chat. “As actors, you advocate for the characters you play, and Queen Charlotte is no different for me. She’s very dear to my heart.

“In the last four years, I’ve worked tirelessly to bring her to life. You put your work out into the world and hope that it is received positively. So, when [creator] Shonda Rhimes and Netflix came to me and said, ‘Look, we’re really interested in this character, and we’d like to see what more we can discover about her. Would you be OK with that?’ I was like, ‘That’ll be really great!’

“I know she’s a queen from the 18th century, but there’s something quite modern about her and the relationships she forges with the people around her … particularly her love for the king and their family. For me, it was interesting to take a deep dive into that world and incorporate modern ideas and a modern sensibility into those moments of history.”

Golda embraced the chance to explore not just the queen’s friendship with Lady Danbury (Adjoa Andoh, Arsema Thomas) and Violet (Ruth Gemmell, Connie Jenkins-Greig), but also her character’s awkward beginnings as a soon-to-be decisive queen.

“Charlotte is a great leader,” she pointed out. “And we see that in her unapologetic nature—she knows who she is and is always sure of herself. We see that in her even at 17 years old. I think it’s important for young girls, young people to see that so they can also look at themselves and take a bit [of that confidence] from Charlotte to explore themselves even more.”

Our Q&A with Golda:

In the new series, we see Queen Charlotte embracing her role as a mother, which we do not see a lot of in “Bridgerton.” What was it like embracing this different side of the queen for everyone to see?

That’s what was great about it for me. In “Bridgerton,” I always make sure that I think of George and our family in every scene. That’s always in the back of my thoughts, because we never see them, and we see George only very briefly.

So, to have the 13 children physically there in front of me—who used to be just figments of my imagination—was a very unique experience. It makes my character even more human.

“Queen Charlotte” takes a very intimate look at this character and the “Bridgerton” world. “Bridgerton” is glitz, glamour and balls, with so much color and opulence. The spinoff is small and very delicate in its darkness, yet it’s still under the same banner. So I found that really fascinating to be a part of.

Since you’ve spoken about “incorporating a modern sensibility into moments of history,” were the winking references to current events, particularly about Meghan Markle, deliberate? I’m talking about the scenes where Charlotte’s mother-in-law, Princess Augusta (Michelle Fairley), expresses concern over her “very brown skin,” and later, Charlotte herself declares she didn’t want her son betrothed to an actress because she would be “unsuitable” for him. Your thoughts?

I don’t think they were deliberate at all. It’s very much a kind of nod, so I like the word that you used: Wink. Because that’s what Shonda does brilliantly. She manages to make Queen Charlotte wink at certain historical details. But … it is just a wink! We don’t dive deep into it. It’s like, “Let’s take that historical little thing and see what we can do with it. Can we play around with it? Can we expand it? Can we shrink it?”

That’s why I’m an actress, because the world of storytelling is like a breathing entity that allows you to either look back or create a different future. But it’s a very beautiful wink at the past nonetheless.

Moving forward, I’m going to use that word from hereon, if you don’t mind.

Your Queen Charlotte is always immaculately dolled up with beautiful hair, jewelry and clothing, while India’s Queen Charlotte starts off at a place where she doesn’t necessarily need all of that “armor” … she’s very pared back. Aren’t you jealous that India only has to spend maybe half the time to get ready?

(Laughs) I think India would agree with me that the people who make these costumes and wigs are at the top of their game. I feel very honored to be able to wear these pieces of art, because that’s what they are. The storytelling that goes into creating the costumes and wigs is just extraordinary! So yeah, we celebrate them every single day by wearing them.

What do you miss the most about being on the set of “Bridgerton” and “Queen Charlotte”?

I like catching up with my mates. So when the balls, especially on “Bridgerton,” are held, that’s when all of the cast members are together—the Featheringtons are there, the Bridgertons are there, I am there, Brimsley (Hugh Sachs, Sam Clemmett) and the kids are there, as well most members of the Ton.

So, that’s when we get together and catch up on everybody’s life. We’re always late on set because we ask each other, how are the kids? How’s the dog … is he better? Have you been away? You bought the car? Great! Oh, you put the deposit down on your flat … amazing! So, those are my favorite parts of the whole shoot.

One of the most appealing things about “Queen Charlotte” is the great ensemble work, like we learn more about Brimsley and his unexpected lover, etc. In the midst of all these fascinating characters, which one do you relate to the most?

Gosh … that’s an interesting question! Obviously, I have a connection with Charlotte, but her “unapologetic-ness” is something that I don’t necessarily have as Golda. I learn more about feminine strength every single time I speak her words.

I know that wasn’t the question you asked, but Charlotte is the one I learn so much from. In the show, I kind of come away saying, “Wow, this woman is quite extraordinary! How can I do something like that?” I’ve never had that with any other character I’ve played … I’m in awe of her.

What was the most memorable scene for you in “Queen Charlotte”?

That’s an easy one. It’s my scenes with Brimsley. It’s so wonderful to finally show what their relationship means to each other and how important it is to Charlotte. Brimsley is her confidant, her best mate, her enemy. There’s such a pull and push there as with most intimate relationships.

To give you an idea, Hugh (Sachs) and I cried when we did one of the first scenes that we shot together. It’s the scene where I say in exasperation, “Why are my children not getting married?” And when I don’t like Brimsley’s answer, I tell him, “Go and stand over there” … because I can’t face [the reality of what he’s saying].

Hugh and I cried because it was such an “Oh my God” moment … our characters were really communicating! Finally, they’re saying more than just “Come here, Brimsley” or “Yes, your Majesty!’ to each other. It was such a joy to see that unravel.” INQ

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