Jace Lacob: I’m Jace Lacob, and you’re listening to MASTERPIECE Studio.

Audrey Hall — Mrs. Hall, to most — is the heart of Skeldale House. She cooks a mean roast, bakes a delicious cake and knows where all the best whiskey is hidden.

CLIP

Mrs. Hall Oh my. What happened here?

Tristan I was tryin’ make you a surprise shepherd’s pie supper, Mrs H.

Siegfried The oven fought back!

Jace But she also holds a tragic secret even closer to her own heart. Her only son, Edward, stole from a former employer, and her revelation of that crime sent Edward to prison and forever divided mother and son.

CLIP

Mrs. Hall Not a day’s gone by where I’ve not felt guilty for what I did.

Edward Hall The past can’t be changed.

Mrs. Hall No, you’re right. It can’t be. But I’ve felt far more guilty that you got in that position in the first place.

Edward Hall I don’t understand.

Jace Finally, after years of doubt and pain, Edward and Audrey meet again, in person. It’s a devastating, beautiful reunion with powerful impacts for both of the Halls.

CLIP

Mrs. Hall I didn’t do it to punish you. I didn’t. I thought it would fix the mistakes I had made, somehow. I’m sorry, Edward. I’m so sorry. I never stopped loving you.

Jace Anna Madeley knew this would be a challenging episode when she first got the script, but she and the team behind the series gave her Audrey space to tell this emotional story properly. She returns to the podcast to reveal how they made it work.

Jace And this week we are joined by All Creatures Great and Small star Anna Madeley. Welcome.

Anna Madeley Thank you. It’s lovely to speak to you again.

Jace So before we get into the specifics of this episode, I’m just curious, how did Ben Vanstone and the producers pitch this episode to you? Were there were there any conversations about it getting this ahead of getting the script and reading it?

Anna The idea of meeting Edward had sort of gone in and come out of various different points and this felt like the right time with everything else that’s going on in the world, with the, you know, and the war is in the background, the war is becoming more and more part of their lives during this series. And that gave us that opportunity to to play that storyline with Edward. They didn’t talk to me a huge amount before it other than that they were very, very excited about it. And then when we got the script, this episode was actually written by a new writer called Karim Khan, and he just wrote the most beautiful episode and it’s absolutely stunning on the page, and it lifted beautifully onto the set. And so it was really exciting. And I think because we spent quite a lot of time now with Mrs. Hall and we’ve got a bit of history, it was really lovely to then finally get to meet him and to explore that relationship and what had gone wrong and what the possibilities of it might be. It was a point of great excitement, I think, for, for everybody and, and a very special one. I remember when we were working on set, the crew as well. Everybody knew it was a really, really special piece of writing. And so yeah, so it was wonderful to get to play it.

Jace I mean, you’ve said it’s sort of stunning on the page. And to me, episode five, Edward, is just such an exquisite piece of television, and the Audrey scenes almost function as a short film within the overall narrative. So when you first got the script for this episode and read it through, what was that initial reaction when you got to the final page?

Anna Oh, I thought of it in pieces. I mean, it’s complicated because there’s me as a person, who’s reading it, and my response to it. You know, it’s so beautiful and moving and complex and yeah, really stunning. And then me, the actor, read it and was thrilled. I mean, what a privilege to have something like that written for your character and and then slightly daunted because it was so good that it was slightly nerve wracking then to go on set to film it. And so the build up to actually doing it, I remember feeling quite, quite nervous about that. That I wanted to do it justice because it was such a good piece of writing. And I just think it’s really wonderful to get those layers of Mrs. Hall, it felt very true, very unsentimental and they were just really fun scenes to dig into. He managed to put in so many layers. I mean, that’s why he’s so brilliant and they’re such a great team, when Ben Vanstone and Melissa Gallant put together the arc for this series, there’s so much care has gone into that. And then, you know, it just means you’ve got so much to play with as an actor. It’s really wonderful. So. So yeah, I was both in bits, and very excited and slightly scared.

Jace Well, no, I’m glad you say that because I would imagine it would be particularly daunting. I mean, this is largely an Audrey Hall episode. She is, we’ll say, maybe a somewhat restrained character much of the time. But there is so much emotion in this episode, both emotion that’s expressed an emotion that is repressed within this episode. So I’m not surprised that there was some sort of trepidation about carrying this episode. Can you be sort of specific about was there a moment, a scene, or was it just the overall feeling that, as you said, sort of felt daunting?

Anna You know, once you get stuck into something, once you start working on it, it’s always fine, which is when I guess the anticipation of it before you can actually get there to do it. And that was the period where I felt a bit nervous, once I was on set doing it, it’s fine. And I think also because Karim Khan’s writing was so accurate and true to Mrs Hall, that it was then, you know, when someone is able to find her voice like that so well that it does so much for you and it lifts off the page and you can just enjoy playing it. Once you start, it’s always okay.

Jace I mean there is a vulnerability and unease to Audrey in the early scenes this episode that are somewhat unlike her and she nearly leaves after waiting. It seems sort of endlessly for Edward to turn up. What sort of direction did Andy Hay provide in terms of the tone of these scenes?

Anna Um, well, we did talk it through beforehand a little bit. And he made a decision that Conor Deane who claiming to play Edward, who was just lovely, he kept us apart as actors. I think he wanted to keep that sense of, you know, even though these two people know each other really well, there’s also the cause of this estrangement, there’s this distance between them. And I think he really wanted to have that awkwardness of the unfamiliarity of somebody, even though on the one hand, you know them very well. On the other hand, he’s now a young man arriving in naval uniform. And so I think that sense of not knowing quite what you’re walking into, of feeling hopeful, but also a little anxious — trying to do the right thing by her little boy, at the same time as this young man appears. Yeah, we just wanted to have all those layers in it and not have any preconceived idea really, of how how that day was going to play out for her. She’s had so many disappointments, I think, with Edward before. And, you know, we’ve seen her reach that point of saying, ‘He knows where I am, if he wants me, he knows where to find me,’ that she’s had to reach that conclusion because she’s just putting herself in pain every time she reaches out and gets nothing back. And so I think for me, it was that that measure of how excited does she allow herself to be at the same time is accepting the fact that it may happen again. And we sort of know this, I think, about Mrs. Hall, that her heart will be open to it and she’ll want to believe it. And it will be hard to accept that if it doesn’t work out, that she’ll be hopeful again. Yeah, I just think it was, perhaps slightly heightened this time in terms of having the war in the background. I wonder whether that perhaps makes it feel like it might be more likely to happen. But yeah, it was a sort of careful calibration, I suppose, of the hope versus the cold reality of what it’s been like in the past. So. It was like that all the way through, I think, of just all those different layers of their relationship, sort of. In terms of, Andy, yeah, just partly steering that and just those fine points about when you when she gives up say when she gave up at the clock, watching the clock go. And at what point do you finally say, ‘Okay, I’ve had enough,’ when she resigns herself to it, you know telling those story beats, Andy was really great at helping find all of those those small but very significant moments and and he was wonderful so that shaping it through the the station, because on the page certain things happened in different places and once we got we were filming at Keighley Station where they have the old trains run on one track and then bizarrely on the other side there’s all the modern trains. And so he choreographed it really beautifully using the tunnel there and the tea room and the waiting room. All of that really helped in telling that story physically, as well as as the emotional side of it.

Jace And we we experienced Audrey’s nervousness through her exchange with Penny, played by Lara Steward, who even amid the chaos of the train station, senses Audrey’s anxiety here. In these small moments, these two women form a brief bond.

CLIP

Penny You change your mind?

Mrs. Hall Yes please. Thank you.

Penny Did you miss your train?

Mrs. Hall No. I’m waiting for someone.

Penny Who?

Mrs. Hall No. That’s not why I’m here. Are the trains late?

Penny Sometimes. I’m sure they’re on their way.

Mrs. Hall I hope you’re right. Mm, please! Yes.

Penny Is that for them?

Mrs. Hall Yes.

Penny What’s their name?

Mrs. Hall It’s – Edward.

Penny Edward?

Mrs. Hall Edward, that’s right, yeah. He’s my son. My, my son? Baby.

Penny Son.

Mrs. Hall Son? All right.

Jace What are these Audrey-Penny scenes made to you? And how does Audrey read Penny’s kindness here?

Anna I think she’s really grateful for it. It’s a really a really lovely moment where she’s got thrown off, and offers her some tea. I think it’s a very warm kind thing to do. It’s the sort of thing Mrs. H would probably do, to have someone who’s noticed, someone who’s not being intrusive, she’s not butting in, but she’s just just noticed and is doing something kind. I think that really lovely. And it makes the day a little bit exciting to have somebody ask, ‘Well, who are you meeting and what’s happening?’ I think it’s a it gives Mrs. Hall a sort of moment to be a little bit excited about the prospect of of meeting Edward, someone who doesn’t know the history and just thinks, ‘Oh, how lovely you’re going to meet your son.’ I think for a moment that’s, you know, it’s a lovely, normal, exciting thing to have happening and it’s a very sweet journey that then she helps her out, shows her somewhere she can go to have that chat. It’s the kindness of a stranger, I suppose, isn’t it? As someone who’s noticed that can kind of sort of understand what you need in that moment. I think Mrs. Hall’s used to being that person more than she’s used to getting it. So I think it’s, yes, she is very touched by that and that kindness from Penny.

Jace Before this next question, a brief word from our sponsors…

The blocking in this episode is brilliant. There’s a two shot of you and Conor Deane, who plays Edward, and you’re sitting on either side of the central line of the screen, marking the sort of physical and emotional chasm between your characters. What did you make of the blocking choices that Andy made in the luggage room scenes?

Anna I really liked it. It was really important to have that journey where. These two people couldn’t quite, they couldn’t sit opposite each other yet. So it was important that they had that space to be able to both look out and not be intimidated by staring straight at each other. And I think it gave the audience the train station is a working station behind. So it gives that sense of time. And there are trains coming and going and people coming and going, and they’ve just got this small, quiet moment. The clock is ticking on. And, you know, things like Conor and the choice to, he dropped his bag down between them. There’s definitely a sense to the beginning that he’s not… he wants to be there on the one hand, but on the other hand, he’s angry with his mom and he has questions and he’s quite a young, young man, who I think probably finds it quite difficult to know how to have these conversations. So they have to find their way to one another. And I think, you know, people often say that if you mean to have a difficult conversation, don’t try and sit opposite each other, go for a walk or do something where you could be side by side. You can have your thoughts and a bit of space. And I think that really worked for that scene that these two they’ve met, they’ve made it into a room together, that they’ve they’ve a journey to go on. And you see that through the episode as well, that, you know, they go and get a cup of tea and then they start to have a more confrontational conversation as it goes on that they need to have to get past and as it goes on. So all those things. Yeah. They really matter in terms of how you’re playing it and they add a whole nother layer to the relationship and how close you allow to get to somebody, you know, him keeping his hat on, eventually taking his hat off and her being allowed to physically be comforting to him, put her hand on his head, notice that his hair has been cut for military service. You know, he’s her little boy at the same time that he’s this young man going off to war. I think the physicality of it is really important and for how you see the evolution of their relationship through that episode.

Jace It’s a great sort of negotiation of space, as you say, as they sort of negotiate their way through this physical space. They are sort of negotiating their emotional intimacy. And as you say, as he sort of puts his bag down between them and there’s a gap between them. And by the end of the episode, they have managed to sort of form a tentative sort of renewed bond in their sort of physical space. And it’s just such, to me, such beautiful acting that we see that manifests so physically on screen. And it to me makes the episode so much deeper than if they had, as you say, sort of met up for tea and they’re sitting across from one another and it’s just a stilted conversation. But that physical negotiation sort of makes the episode, I think.

Anna Oh, thank you. Because I think also it’s, what I liked was that it wasn’t easy, that it is a hard journey that they’ve got to go on together. It’s not as simple. They’ve got a complicated history together. I think sort of, with a foundation of love in there and care, but they just don’t understand what’s happened to them. So, yes, it was really important that that journey wasn’t slight, that it wasn’t sort of simply done. That it cost them both to be there and to do that, and that actually that will make it better in the future, having gone through that.

Jace I mean, he does come into the conversation sort of in a very sort of childish, spiteful way, refusing that the biscuits Audrey had baked him, which to me felt so sort of rotten and cruel. But as much as the biscuits are sort of this peace offering, they’re also symbolic of this earlier time in their friendship. It’s sort of nostalgia brought to life. With her

CLIP

Mrs. Hall You must be ravenous. Here, have these.

Edward I had a sandwich before I left.

Mrs. Hall A sandwich don’t fill you up.

Edward Did me, I’ve got no appetite left.

Mrs. Hall Well, there’s always room for something sweet. That’s what you used to say, remember? Look inside, go on, open it up.

Edward  You shouldn’t have gone to so much trouble.

Mrs. Hall You used to like them.

Edward I still do – sometimes.

Mrs. Hall You can take them with you for the trip, if you’d like. You don’t need to eat them now.

Edward Me bag’s full to the brim.

Jace And it almost seems like his attempt to sort of refuse it is sort of refusing to look back on any of their past happiness in that moment. I mean, for Audrey, is she trying to bring those happy memories back to life for herself, to remind Edward of that time, or both? What is she hoping to achieve? Or is it just a simple sort of kind gesture to her son?

Anna I think on one level, it’s a simple kind gesture. And she knows he likes them and she’s sent him shortbread before, I think. I wonder whether it’s one of those things that, you know to do, you know that person likes that, so you hope it will be….and, you know, she just tries again and slightly driving herself mad, I suppose, trying again and again. But I think it brings up an interesting dynamic in terms of, I feel she’s missed her little boy. And the shortbread is something that her little boy liked, her little boy who had trouble making new friends or, you know, I think all those lovely memories of getting to be his mum and look after him and and and see him blossom, she’s really missed. And I think this young man comes along who’s about to have to do a very, very grown up thing in his life. And so they sort of sit in conflict, I suppose. And there is bit of him that I think is being a little bit cruel towards her over it, but I think she can take it as well because she’s his  mum, you know that thing where in families, you think, ‘Kids do that don’t they?’ And it’s okay because you can get through it and get past it and apologize and then move forward. So I think they become quite a lovely, very well-meant gesture that by the end is well received. Does she look back with slightly rose tinted specs on her little boy? But then he’s like, ‘No,he wants to deal with the difficult stuff.’ He wants to have those conversations, I think so.

Jace And this conversation said it does happen like they do finally discuss the sort of massive elephant in the room that Audrey turned her son into the police for stealing from her employer, which is something that Edward really can’t wrap his head around.

CLIP

Edward No one really knew me before w started, so I could pretend to be someone good… which is nice I suppose.

Mrs. Hall You are someone good. Look at me. Edward Hall, I’ve always seen the good in you.

Edward Then why did you give me to police? Did you see the good in me then?

Mrs. Hall Yes. I always have…I did that for your own good.

Edward For my own good?

Mrs. Hall I know it didn’t seem like that at the time, or now even –

Edward Borstal ruined me.

Mrs. Hall I know it were hard.

Edward It took away all the good I had left. All the good you saw in me then – it’s all gone.

Mrs. Hall No it isn’t. You’re stronger than you think –

Edward No, it has – and you did that to me.

Jace What did Audrey hope to achieve by having him sent to Borstal?

Anna Gosh. I mean, when she describes it on the rundown, it sounds like it wasn’t something she had a huge amount of time to think about. Her sense of what was right and wrong was really strong. And I think the idea that it would be doing him any kind of a favor to to not make him face consequences for his actions. He did it he did a wrong thing, I suppose. And she couldn’t see another way around that. I don’t think it was her intention for him to have a really terrible time at the same time as he needed to face consequences for what he did, and she needed to do something that sat well with her conscience. You know, if she hadn’t done that, I think it would have weighed on her and she’d have then herself have done something bad in her view, I think. So I think she acted with integrity, but I don’t think. You know, his desire to be well protected by his mom doesn’t mean that she should always, you know, protect him from the consequences. It’s a complicated one. And it’s another thing, which is that he has to grow up a bit and realize, you know, his mom can’t make things better for him. And he can’t he can and he can’t blame her for it. I think it’s a complicated one, and I think she will always feel bad about it. At the same time as she made the best decision she could at the time.

Jace I mean, is this then the moment that she needed with Edward, the chance to to explain, to make amends? Is this what she hoped to achieve in this meeting?

Anna I don’t think she went into it necessarily consciously hoping to be able to say that to him. But I think that’s the thing. At the end of the day, that gives her the relief to be able to say, ‘I have actually said what I wanted to say and he can go away knowing that.’ You know, the idea that he  thought she might have done a mean thing on purpose or that she didn’t love him or that she wasn’t constantly thinking about him and caring about him, I think that to her is actually heartbreaking, I think. I think it really matters to her that he knows that he’s loved by her. And, um, so yeah, I don’t know that it was necessarily a sort of pre-planned idea to be able to say that, but I think when she sits down at the end of the day with a cup of tea, that’s the thing that will bring her comfort and is that they were able to exchange that their feelings for one another.

Jace Audrey tries to hold on to Edward and he slips out of her arms. He says he’ll take the biscuits in the end, but he ends up accidentally dropping them. And then he’s shouting something. But Audrey can’t hear his words. How tricky was this bit the sequence to film with, as you say, sort of that ticking clock element inside that deep emotion?

Anna It was technically quite hard because the movement of it, they were running down the platform. We came running down the slope. We were running towards a train that had to be timed to leave the station while we played through that sequence. So it was, technically, we had to be sort of spot on with that. But in terms of the emotion, I think because the writing was so good and it felt that those scenes really built to that, in a way that it felt quite easy on the journey to then go there. Andy does this wonderful thing where he’s as much as he can, he’ll film in sequence. So you have the journey in the right order where you can, and especially for something like this, that was really, really helpful. You can’t always do it, for practical reasons. But that was great. And so it allows you to feed that in, you know. We didn’t film that scene on day one and then go back to the other stuff. So we had the history of those scenes with us to then take into that moment. And also sometimes the ticking clock and the you know, worrying about the train and the time and all of that, the energy that you get from that is something that you can really use in terms of this is true for these characters. This train is about to go. Things are going to be said. A door is going to be open, someone’s got to get on the train, I’ve got to try and grab a hug in there if I can. You know, the reality of it helps with playing their reality. And we were up against the clock. You know, you’re only got the day you have on the station to film. So and sometimes those things can work in your favor to you know that you have that experience is what you need for the scene so and so yeah that challenging and you know, there were times where I had to take myself off and shut my eyes and stay away from the hubbub of, of, of the sort of. I guess there’s a bit of behind the scenes element of it so it can stay focused on what I was doing. And, you know, you always really appreciate the sensitivity of the crew in those times where they understand that you just need to concentrate on what you’re doing, you can’t cut and have a chat about something in between and and especially, say, with your makeup artist or someone who knows, you know, you need to concentrate on something for a while, then they know when to to leave you be and when to be present. And and that’s, you know, that’s an amazing skill. And so that’s one of the benefits as well. We’ve had a familiar crew throughout that you know as our third series with a lot of the same people and and you can build those relationships with them. It’s really, really great. And so it was challenging in a really fun way, you know, is the duty to those scenes wanting to do it well it was a. Yeah, I don’t want to it was enjoyable. That sounds a bit odd because a scene like that. But yeah, as an actor, it was, it was a good challenge. I really enjoyed filming it.

Jace I mean, I have sobbed watching that scene every single time, and I’ve seen it now many, many times, and it reduces me to tears every time. Audrey can’t hear Edward’s final words, but you’re sort of delivered with almost wild desperation. But Penny is there, and she reads Edward’s lips and says that he said, ‘I love you ma.’

CLIP

Mrs. Hall What did you say? … Edward? I can’t hear you! Say that again. What is it? … Edward?

Penny I love you ma.

Mrs. Hall Wha…?

Penny He said – “I love you, ma.”

Jace What does this moment mean to Audrey? Is it a revelation? In a way?

Anna I think It is surprising, but it’s also a relief. It’s also wonderful. It’s also, ‘Oh, my God. He’s managed to say that as he’s leaving the station.’ And it’s sort of an imperfect, perfect thing to happen. I sort of adored it because it felt as if having got to know Edward that bit better, it felt like such an Edward way to sort of leave out at that moment, instead of saying it earlier or. It was so endearing. I sort of loved him more for that. The sort of chaos of it and that it wasn’t this sweet moment where they could exchange that and have a hug. But he’s left the station as she’s hearing it. And it’s wonderful to hear. And it’s also, Mrs. Hall had a slight urge to hug Penny in that moment. You know, it’s a moment for a hug but here’s not there, he’s on a train.

Jace No, it’s been this sort of pressure cooker sequence of sequences really, in which all this emotion is sort of built up and it’s finally released, but it has nowhere to go. So, yeah, I mean it. Yeah.

Anna Yeah. Eat some shortbread. Have a cup of tea.

Jace Ben Vanstone and the writers have very sort of slowly and deliberately doled out Audrey’s past, giving us clues over these past three series and then giving Audrey the sort of inner life that the Mrs. Hall of the original All Creatures wasn’t given. How rewarding has it been to see Audrey be given this the rich complexity that she deserves as a character?

Anna Oh, it’s…I love it. For me it has really made the experience of doing this, that they’ve put that care and attention and detail into who she is, you know, has her psychology, her backstory, who she is and how she’s come here and why the things matter that matter to her do. And you know, they’ve given her real integrity as a character. And so she’s allowed to be flawed and funny and get things wrong. And also, you know, she is that heart of gold who is that moral center to the household. And it really is really rich and rewarding. It’s, you know, when, when you get those beautiful scripts, it’s a real privilege to, to get to play them and have your input and, and collaborate on them. It’s, um, yeah, I, I really love it and, and it’s interesting sort of as we go on, it does get richer and you, and you start to get to know them as people with a history, you can refer back to something that happened a few years ago between the characters. I have not had that experience before. So it becomes complicated and a memory task. But it’s really worth it because you get those rich layers of their relationships with each other. And as they evolve, as the stories evolve and as they evolve as as people, it’s and yeah, it’s incredibly rewarding and fun. It’s you know, she’s a really fun character to play in the midst of all those other guys. I think it’s. Yeah. That’s all, I’m smiling.

Jace I can hear. I can hear the smile. I mean, I love in this episode that she comes home, Siegfried says to Audrey:

CLIP

Siegfried How was it?

Mrs. Hall I don’t know how to explain it really. It were all too brief, over before I knew it – and yet – the very ground beneath me feels like it’s shifted. I feel…lighter.

Siegfried He’s finally realized how deeply you care?

Mrs. Hall Oh, I don’t know. I hope so.

Siegfried I don’t think any of us know quite how to express our gratitude to you, Mrs Hall – believe me.

Jace Does Audrey feel loved in this moment, between Tristan tidying the house and making her a shepherd’s pie and a cup of tea, Edward’s final words, and Siegfried acknowledging how much they owe to her — is this sort of the pinnacle of happiness for Mrs. Hall?

Anna In this moment, oh, I think so. Yeah. It’s. I think it’s probably a little bit overwhelming. Absolutely. I think it will. It’s a moment that she will cherish to feel and to feel acknowledged and feel loved and taken care of. And she’s not often made a cup of tea and they recognize that she needs that and that there to be her cushion. Yeah it really matters really. I think that is incredibly meaningful to her. And just lovely, for a woman who does her best to care for everybody and is so careful with her relationships that she, you know, she puts a lot into them. They really are what make her a tick, you know that they are really important to to know that that’s received well and that, you know, that there’s love coming the other way. I think that sort of means everything to her. And yeah, it’s probably a moment where she can breathe and fall asleep very easily.

Jace Mm hmm. And finally, there are two episodes left of All Creatures Great and Small this season. What can you tell us about what might be coming up in these final two?

Anna Oh, gosh. I think the war comes into play, sort of the screws tighten on it a little bit further and it starts to impact on their lives, I think it starts to happen to everybody throughout the series very much towards the end of of who matters to you and what matters to you and and what are you going to put your energy into at this time, and and sort of the reveal, I think for Mrs. Hall the reveal of, when you when you take away all your thinking and you just act on instinct, what happens? It’s quite a bit it’s quite a fun, fun idea to see someone who drops their guard because life’s just thrown them a curve ball and they have to respond. And we have a lovely Christmas. We have a new addition to the household at Christmas who brings a lot of joy to everybody and brings a cultural exchange and gives us all a sense of hope and joy. And we have a very grumpy Santa. Yeah, big decisions and big love and yeah and a very happy Christmas.

Jace Very well teased. Anna Madeley, thank you so very much.

Anna Thank you.

Jace We’re back to Victorian England again next time, with the long-awaited other side of Miss Scarlet and the Duke: the Duke himself.

CLIP

Duke It’s possible that one of these groups has been following me and seen who I associate with.

Eliza I’d hardly call Moses one of your “associates.

Duke He‘s regularly worked for Mr Nash, who in turn has worked for me several times this year.

Eliza Several?

Moses I just go where the money is.

Jace Stuart Martin joins the podcast to dissect the season three finale of Miss Scarlet and the Duke, February 12.

MASTERPIECE Studio is hosted by me, Jace Lacob, produced by Nick Andersen and edited by Robyn Bissette. Elisheba Ittoop is our sound designer. The executive producer of MASTERPIECE is Susanne Simpson.