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

Eliza Scarlet may be orphaned, broke, and romantically thwarted, but she does have one thing her rivals lack: housekeeper Ivy Woods.

CLIP

Eliza I know I’m not an expert with matters of the heart…

Ivy No you are not. If you were, there’d be a ring on that finger. I’m sorry, I’m just not in the best of moods.

Eliza Really? I’d never have guessed.

Ivy You get to work, I’m fine.

Eliza Alright. But we shall talk later.

Ivy No we won’t.

Eliza Yes we will!

Jace Ivy, a longtime Scarlet family employee — and, yes, despite their class differences and the realities of friendship with those who pay your salary, a friend and surrogate mother — keeps Eliza on her toes, and occasionally ventures out into crime-solving territory herself when her charge is otherwise occupied.

CLIP

Eliza Oh good you’re still here. I have a favor to ask Mr. Potts. I need all the details you have on a murder victim…

Mr. Potts If you think you are coming in here madam, you are very much mistaken.

Jace And now, after a much-delayed courtship, Ivy and her would-be beau, Mr. Potts, are engaged!

CLIP

Eliza Do you have a date for the wedding?

Ivy Not yet no, there’s plenty of time for that.

Mr. Potts Well, not too much time.

Ivy We’re planning a long engagement.

Mr. Potts Long… ?

Ivy Long enough.

Jace Much of Ivy’s subtle charm comes from the similarly subtle skills of Irish actor Cathy Belton, who joins the podcast to talk Ivy, Eliza, and the power of friendship on and off the screen.

Jace And this week we are joined by Miss Scarlet and the Duke star, Cathy Belton. Welcome.

Cathy Belton Hi, Jace. So lovely to talk to you.

Jace And you. Miss Scarlett and The Duke might be named after its romantic leads, but the show is a true ensemble. And three seasons in Ivy remains one of my favorite characters. Now that you’ve played her for several years, I’m curious what your first impressions were of Ivy Woods and what you think of her now.

Cathy Oh, great question, Jace. She’s, I think of all the characters, I think she has one of the biggest arcs over the seasons from season one. What I think was so great about Rachael New’s writing — and Ben, of course — is that, everything is condensed. So even though in season one we had quite short scenes with Ivy and Miss Scarlet, but there was so much in them, so much to get your teeth into. They were quite potent. And that was very exciting to play that journey. You know, we see at season one by the end, where she has started to be educated by Lizzie. And I think, you know, when Lizzie hands over the pen to her, I think it’s probably one of the greatest gifts. That’s where we really see Eliza Scarlet as a true feminist who is bringing up her sisters behind her in the ladder. And that was really exciting, so the potential then for Ivy to blossom and bloom with education. I think education is the greatest gift and the greatest path to freedom for anybody in the world. And so I was very excited when that happened. You know, that this woman is all the traditional Victorian, you know, the Victorian housekeeper, mother figure to Eliza. There’s a lot of heart, there’s a lot of love there. But the education is something really interesting and it was very exciting to see that being developed through the seasons as we move on.

Jace You mentioned potent scenes, and that is to me, one of the most potent scenes from season one, when Eliza is teaching Ivy to write out the vowels of the alphabet.

CLIP

Eliza Dry your hands and come upstairs.

Ivy Whatever for?

Eliza There’s something I want to show you. These letters are called vowels. A-E-I-O-U. Write them out.

Ivy Lizzie.

Elia Come on, you can do it.

Ivy I won’t remember.

Eliza Of course you will, you remember far better than I, even things from my own childhood.

Ivy Well, that’s because you were so naughty.

Eliza Come on. That’s it. A-E-I-O-U.

Jace  It is such a beautiful scene about female solidarity and you mentioned sort of bringing her along on this ladder, which is a great metaphor. What did you make of that scene in particular, and what it says about both Ivy and Eliza, who come from very different backgrounds and classes?

Cathy I think it’s one of my favorite scenes, and I love working with Kate Phillips. She’s she’s a gifted actress and she’s a beautiful human being. And I still find that scene quite emotional to look at. You know, it’s like teaching somebody, you know, the path, the chords for life, you know, with the vowels. And it was beautiful to play. It was very easy to play, I guess, when something is so well-written. And Rachael does write very potent, condensed scenes. If you trust the music and the language and the writing, when it is that good, it’s very easy just to sing and play the music of the scene.

Jace And that episode in particular seems to contrast Ivy’s position as one of servitude, even if her employer is a woman, with that of the suffragette Margaret, whose methods are violent in order to achieve her goal. Does Eliza’s act of helping Ivy then push both women closer to emancipation?

Cathy Yes. Really, really well absorbed. I’m so delighted that you picked up on that. I think that episode is very powerful, that we see Eliza thinking she’s doing great work, you know, with the suffragettes. And it turns out that she, you know, that she becomes selfish, and the suffragette tells her that she’s actually selfish. And so I think with her emancipating Ivy on a personal level, is it’s true revolution. You have to start in the engine room. You have to start at home before we can really change the world. And it feels like they’re tectonic plates that have started to move. And I really have that sense that a lot of these scenes then happen in the kitchen, which I feel is the heart and soul of the Scarlet world. The heart and soul and the hearth and soul. And I think that those tectonic plates and emancipation for women, a lot goes on in the basement where it’s all starting to fuel. And that fire is kind of, is burning up paths of freedom for both these women and very different people, obviously. You know, this is a much more traditional woman that Ivy– I think what Eliza’s done is opened up a door for her to say, ‘Have a look outside and see the potential and the possibilities for you’. So Miss Scarlet has always been outside. I mean, I think what’s so brilliant about this series is, it’s a little band of outsiders and misfits who have found each other in the world. I think Ivy is more on the threshold of holding on to old values, but she’s opened the door and she sees the light and she might come back behind the threshold and go out farther again. But everybody has their own pace in finding freedom and finding their own truth, I think. So Ivy is moving at a nice pace, for now.

Jace Our Ivy is steadfast. She is loyal to Eliza, even when her employer can’t afford to pay her. And that loyalty extends to always being honest with Eliza, even when it’s not what Eliza wants to hear. What do you make of Ivy’s sense of loyalty and honesty? Are the two connected?

Cathy I think they’re very connected. I think that’s who she is. She is on very little wages, but I think she is completely loyal to Miss Scarlet, and she was loyal to the family before this. And she doesn’t have children of her own. I often think Ivy got luckier, she found Eliza Scarlet. And so her loyalty and truth is the only way she can live in this world. And I think she kind of always she is a great reflection for Lizzie, Eliza as well, to always live by your own truth, because that’s all you really have at the end of the day, no matter how much you are changing or how much you’re trying to tear down barriers and how much of a pioneer you are, it has to come from a truthful place, and Ivy always calls a spade a spade. There’s no messing around with her.

Jace Since season one, we’ve really seen Ivy come into her own. Whereas she once struggled with vowels, she took to practicing her reading in Henry Scarlet’s old law books. She went undercover in series two. She opened herself up to love. How has Eliza’s chosen profession opened the larger world to Ivy and given this housemaid her own sense of agency?

Cathy I think it’s opened up a huge world for her. There’s a newborn confidence in Ivy and stepping outside, as I say, outside that door into the work world has been really exciting for her. She’s she is mainlining the law books, the father’s law books, she’s a bright spark and that is infecting her world. It’s coming into her old world and it’s infecting her openness, perhaps, to love, which it does with Mr. Potts.

Jace Is it Ivy’s narrative arc, then, about her finding her own way in this carefully ordered world by bending or even breaking the rules about what’s expected of her?

Cathy That’s exactly what it is, Jace. She is finding her own path her way, and she is learning to break some rules and break down some barriers in order to be more truthful, more inspired, more alive in the world. And Eliza has given her very powerful tools, and that with a combination of her own street quickness, brightness, street cred, I think they’re a lethal combination.

Jace In series two, Ivy awakens Wellington and finds him at the home of a woman in the early hours of the morning. But Ivy doesn’t seem shocked at all by this turn of events. Is that something that the old Ivy perhaps would have been scandalized by, but the new Ivy doesn’t blink an eye about?

Cathy I think you’re absolutely right, I think the new Ivy is just going, ‘Yeah, whatever,  there you are, having your night with your prostitutes. But we’ve other important things to do.’ And I think she almost treats the Duke like a son, as well. You know, it’s a mother kind of dragging the son out of the, you know, the nightclub and going, ‘Come on, we have things to do.’ And I love that about her.

Jace She has developed this fantastic dynamic with Moses that was so surprising to me. What does Ivy make of Moses and what do you think of their relationship now that Eliza has brought them together, these two people who never would have been brought together previously?

Cathy Well, they share one big love, and that’s Eliza Scarlet. So I think that’s what brings Moses and Ivy together. Both of them would do anything for her. And I think she again, when Ivy likes you, she’ll cook for you. And I love the fact that she’s brought Moses in and is making meals for him. And she sees that Moses would do anything for Eliza, too. And I think that brings the two of them closer together. You could almost say, I think it’s funny again, this outsider and Ivy’s stepping outside with them, that they’re almost like surrogate parents to Eliza, which is actually, that’s a wonderful idea.

Jace You mentioned the engine room. I want to get more into the engine room here because the kitchen has become the beating heart of this show, the place around which all of the characters orbit. I do love that you call it the engine room, because it’s a fantastic metaphor for it. It’s Ivy’s domain.

CLIP

Eliza I don’t have to be at Scotland Yard for another hour. Shall I make us a cup of tea…?

Ivy  I’m not thirsty. He’s a good man, I just didn’t want to see him today. That’s all there is to it.

Eliza Ivy…?

Ivy In my day people used to mind their own business. They left people to deal with things in their own way.

Eliza And your way is the aggressive folding of bed linen?

Ivy When you fell over on your first day at school, you got a scab on your knee and I said leave it, don’t pick at it and it’ll heal in its own time. And what did you do? You picked off the scab and it didn’t heal for weeks. Some things are best left alone, Lizzie.

Jace It’s a place of awkward dinner parties, but it’s also of hearth and home and love, as you said. What do you make of how significant a location the Scarlet Kitchen has become in the world of Miss Scarlet over these past three series?

Cathy I love it. I always loved filming in the kitchen, even back in season one. I guess they’re always less busy, it’s an intimate space. And I loved the way Rachael always kind of placed Eliza when she needed to let down barriers in the kitchen and placed her in front of Ivy in the warmth and the comforting arms of Ivy and that room. And I guess you could say, you know, as you say, I think it is the engine room. I really do. I think the fire is burning, the love is burning very, very brightly in that room and makes people feel comfortable. And I love now how Moses comes and the Duke arrives many times, maybe sometimes he’s not wanted there. I think it’s a place of ideas. I think ideas are exchanged, truths are exchanged there. And I think that room is becoming more and more powerful in our transformation for a lot of characters. And it’s Ivy who is the CEO of that little business, which is wonder-counselor, psychologist, mother, cook, whatever you want it to be. I love that Rachael has placed so much of our journeys and our sharing in that room. It’s home. It’s home. It’s where we all gather. Home is where we gather around the hearth. And I certainly want my own. You know, I look at so many Irish playwrights and screenwriters, the kitchen, I know it’s my own family in Galway, that the kitchen was the boardroom. That was where it all kicked off. That’s where we all, you know, finished around the hearth in the kitchen.

Jace Series two brought Ivy closer to the center of the show, and her turn as Cecilia Thackery was so utterly convincing that even Ivy herself seemed surprised by it. How do you feel, Ivy going undercover marked a major turning point for her character?

Cathy I think it was a crucial turning point for her character. I think we saw Ivy come out of the home and go into and into the work world. And I often I often used to say to Rachael go and, you know, ‘I think Ivy would be a great Watson to Eliza Scarlet’s Holmes,’ And we discover, which I was thrilled by, that Ivy is a great little actress and can take little disguises. So who knows where that could lead? I think she’d be quite useful at work with Eliza.

Jace Oh, I would love that. I would love to see that. Her stint as an undercover agent brings her, of course, in contact with the aforementioned Mr. Potts. And I’ve loved seeing Ivy’s confidence and resolve in her unfolding relationship with Barnabas. In series two, Mr. Potts takes Ivy up on her offer of a homemade steam pudding with more raisins, which I told Rachael was possibly the most Victorian foreplay imaginable.

Cathy I love it.

Jace What do you make of these two, of Ivy and Barnabas’s together?

Cathy Oh, I think it’s beautiful. I think it’s really sweet. They are chalk and cheese, the two of them, I think. Mr. Potts, loves things by the book. He’s kind of annoying. He’s kind of straight. He’s awkward in the world. Protocol is everything to him. And he meets this kind of mad housekeeper who takes off for him, and most importantly, loves him and opens up his world as well, the way her world has been opened up. I think the dynamic is beautiful and it’s a lot of fun to play. It really is. We laugh a lot filming the Potts and Ivy scenes, because the dynamic between these two…God, totally different characters, I don’t know who else would put up with Mr. Potts, and I don’t know who else would put up with Ivy! There’s a lot of fun, and it’s good to be allowed to play another aspect of Ivy, which is, you know, her comedy. And Rachael has written some very funny scenes between the two of them. It’s lovely to get an opportunity to exercise the comic muscle as well.

Jace What is Simon Ludders like as a scene partner then? And what does he bring to those Ivy-Barnabas scenes?

Cathy Oh, he’s wonderful. He’s first of all, a beautiful actor with great comic timing, and forensic in his work. And he’s a joy to play opposite. Yes, he’s a great pal. And it’s been a joy getting more and more to know him. And as we go on through the seasons and I think and I, I don’t know how long they last. I don’t, you know, as we see with Ivy, she stresses this will be a long engagement because she wants full transformation herself. So if Mr. Potts can hang in there, I think he deserves her. But this could go on for a long time.

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

This week’s episode began with Ivy refusing to see Barnabas when he calls at the Scarlet House. But she won’t tell Eliza what’s going on between them. It’s only later that she comes clean to Eliza after Eliza’s already interfered and spoken to Mr. Potts.

CLIP

Eliza If this is about Mr. Potts I can explain. He came to see me and asked for my advice, I didn’t want to get involved.

Ivy He proposed to me, Lizzie.

Eliza What?

Ivy Down on one knee, big bunch of flowers in the middle of our street for everyone to see.

Eliza Well I certainly didn’t tell him to do that. From his reaction I take it you said no?

Jace Why is Ivy so flustered by the publicness of the proposal? And is that what’s actually going on?

Cathy The publicness of it is only one tiny aspect of it, I think. I think if she was truly convinced that this is what she wants, I think she might have enjoyed this proposal. But Ivy, as I said earlier on, she’s changing. A new world has been opened up to her. And I think she you know, she her old Victorian preconceptions that she was brought up to get married, be a wife, and that was her lot. But Eliza’s opened the door for her and she’s seen beyond the mountains and she loves what she sees. So I think she’s fearful that if she accepts this proposal, that that door will shut again, or that she’ll have pulled the door closed, and she wants to get out of the cage. I think there’s half of Ivy that wants to go and see what’s out there.

Jace As you say, she, she is in this state of transformation. She’s sort of a caterpillar becoming a butterfly at the moment. She’s in this kind of cocoon stage and it could go either way. But to have this proposal come along when she is sort of about to emerge from the cocoon, maybe become a butterfly, I think it is scary. Change is scary. But also giving up something you never knew you wanted before might be even scarier for Ivy.

Cathy Yes, exactly. And she needs time to figure that out. I think, you know, the long engagement, she’s biding time. She needs to figure out what she wants, how maybe she can try and unify the two, the old and the new Ivy. And that is very exciting to play. And it’s very exciting to see a character being created like that.

Jace She says she does love Barnabas, but she’s worried about what it would mean for her and Eliza.

CLIP

Ivy I’ve been avoiding Barnabas, not because I don’t like him. Just the opposite. He’s a kind, sweet man and I’ve grown very fond of him.

Eliza So what’s the problem?  

Ivy I’m worried about where it might lead. If we become man and wife… I love living in this house, seeing you every day. You’re like a daughter to me Lizzie, I don’t want that to change.

Eliza Nothing will ever change that.

Jace In as much as this is about her needs and wants, but it is also a selfless action. It’s very Ivy to say, ‘I don’t want my relationship with you to change.’  What did you make of her need to sort of position Eliza and Eliza’s happiness potentially before her own?

Cathy Absolutely. The main reason why she doesn’t want to marry Barnabas is because she doesn’t want to leave Eliza leave her on her own. This is her daughter. This is her true love. She loves that girl. And I think she’s terrified that she’ll lose her if she marries Barnabas. And that’s beautiful. And it’s very typical of Ivy. It’s the truth. She’ll always follow the truth. And her loyalty again, the loyalty to this young woman who’s out in the world. I don’t think Ivy could ever leave Eliza.

Jace As you said, she also raises the specter of her own childhood beliefs about what her lot in life would be. That you met a man, you got married, you had kids. But Eliza, as you said, has sort of challenged what she thought possible for a woman. What did you make of this scene and how far Ivy has come since the beginning of series one to get to this point? Because this is not a scene I ever thought we would see with her.

Cathy I think it’s huge. The arc has been huge from the first season series to this, to this Victorian housekeeper sitting down with her young surrogate daughter and saying, ‘All my life, all I ever wanted to do, I was taught to go “you grow up, you get married, have kids, and that would be your lot.’ And suddenly, Ivy has become this modern woman in front our very eyes. And it’s not a fairy tale. It’s a complex fairy tale, now. It’s a very, very complex fairy tale. And I think I honestly don’t know how she can figure it out. And we certainly know that Mr. Potts couldn’t move in, or there’d be war you know, if they got married. So it’s interesting to play those two again. I think always my motivation to play Ivy is always these two tectonic plates inside her, the old and the new. And they keep– that’s the core tension inside this woman. And of the old and the new, the loyal, the truth, the, you know, the education of Victorian values and that constant tension.

Jace And Barnabas isn’t exactly Eliza’s biggest cheerleader, and he can in fact, be a bit of a thorn in her side. Does Ivy see that changing at all during this extremely long engagement period?

Cathy God, she does her best to get them to get along, but they don’t. And she becomes a bit more of a negotiator and an arbitrator. And, you know, Eliza needs access into the mortuary. You know, perhaps she can use…she has Barnabas around her finger. She can get around Barnabas. And I think that with her, with her little steely business head, Ivy is learning to use Barnabas to help Eliza as well. And, you know, it’s all negotiation and arbitration, and that becomes more and more apparent in season four. Let’s just say we have a lot of tense dinners in that engine room.

Jace Given that she has now found love, have Ivy’s views on Eliza and the Duke changed at all? How does she see Eliza and William’s own prospects as a potential couple, given how well she knows them both?

Cathy Oh, I think Ivy always seen these two people trying to find each other, trying to finally admit that they love each other. She sees a huge friendship between them. But most importantly, I think she’s on the sideline going, ‘You have to sort this out, or you’re going to be miserable. And you will lose probably the love of your life if you let it go.’ But she also sees that Eliza has worked so hard to break down so many barriers and walls in this world that she can actually understand in a way or in a strange way, Ivy is doing the same thing on a smaller level with Potts, you know, what do you compromise if she…William, she’s never wanted to be wife and settle down and have kids with William, but she loves him. So it’s a great dilemma for these two. And Ivy can see both sides. But I think as it goes on, she realizes that these two need to be together.

Jace So I have to ask. You’re back filming series four of Miss Scarlet now. Is there any chance that wedding bells might ring out for Ivy and Barnabas?

Cathy Oh, that’s a really good question. I don’t know. I don’t know. I think there’s every chance. And but I think there’s a lot more drama to play out before they ever get to that stage or maybe break up and come back together. I don’t know. I would hope that there is. I would hope that maybe that might be something in the future, but I don’t know.

Jace You have a drama degree from Trinity College, Dublin. Growing up, did you always want to be an actor?

Cathy Yes, I think I did. I grew up in Galway and which is in the west of Ireland, and it was extraordinary city to grow up in we, you know, with the arts and the world-famous Druid Theatre Company. So from a young age, I think everybody went to the theater in Galway, everybody was exposed to a lot. So it seemed like more of a possibility that you could actually do this, that I could do this as a living. And yeah, I guess I always wanted to be an actor and I remember seeing great plays in Druid and see an extraordinary world class theater come to the Galway International Arts Festival. And I wanted to be part of that. I wanted to join the circus. It felt like my tribe.

Jace How did Mike Diskin, the manager of the Town Hall Theatre, change your career with one act of kindness?

Cathy He came in, I was working in an office, getting ready to go back to study, and he came in. He said, ‘What are you doing here? You should You should take this play.’ And with that one act of kindness, I went, ‘Okay, I’ll do this play.’ And that was it. That was Eclipsed  by Patricia Burke Brogan and Mike Diskin said, ‘You’re being silly. You should you should do this play.’ So I won’t forget that act of kindness, ever.

Jace How much of a turning point was then landing the role of Lucy Reilly on the RTE drama Glenroe for you then?

Cathy Well, Glenroe was a huge series in Ireland, and everybody watched it every Sunday night. I grew up in it and watching it with my parents. I remember there was a bank opened in in Galway when I was at school, and the wonderful Mick Lally, who was the lead in Glenroe and Joe Lynch, the other lead, came down and opened the ATM machine and thousands of people were there because of Glenroe, because of these two actors from Glenroe. So when I got offered the part of Lucy Reilly, it was a great part. It was the vet. And she had all these, well, I was out in my jeep going around Wicklow Hills. I loved it. And it was working with great actors who were so…they were so on top of their craft and getting the recognition that I had never got before. And it opened up a lot of doors for me and I’m very grateful to that. It changed, something changed after that for me.

Jace You’ve worked with everyone from Alan Rickman and Kate Winslet to Dame Judi Dench, with whom you appeared opposite in Philomena. Were you intimidated at all by working with Dame Judi?

Cathy I thought I would be. I adore her. I think she’s one of the most extraordinary actresses we’ve been lucky to have, and she is one of the most beautiful, funny, humble people I have ever worked with. So I was yeah, I was terrified. My first scene was with Judy and lovely Steve Coogan, and immediately she put me at my ease. She was glorious, and I just felt that I was being allowed to do my work and respected for it. And I loved her. I fell in love with her. She’s glorious.

Jace You mentioned home. You’re far away from your native Ireland on Miss Scarlet. When you first signed on, the show was being shot basically in your backyard in Dublin, and then the production was moved to Belgrade. What is it like being on the set in Serbia and what do you miss most about your life back home in Dublin?

Cathy It’s wonderful being on the set in Serbia. It’s bizarre. Yes, as you say, the first season we filmed in Dublin, it was lovely to work from home and come home to my husband and dog in the evenings and we shot more on location then, Dublin is a great location for Victorian England. We still have a lot of cobbled streets and it was lovely being able to work in my hometown, but it was really exciting to travel to a place that I’ve never been to before. And first of all, Belgrade is beautiful. Second of all, I think as an artist, it’s it’s really interesting when you’re on tour. I feel like it’s on tour. You have more time. Real life doesn’t get in the way and that’s kind of great for the work as well. But also it was it was it was bizarre setting stepping into all our sets. And because I live very near by the street in Dublin where our Eliza Scarlet’s house is, and then to be in Serbia and see this amazing set that they built, I mean, the craftsmanship on the Serbian crew are extraordinary how they have built this amazing lot. And it’s you go, ‘I’m not in Dublin.’ And first of all, last year we’re in the middle of I’ve never experienced the heat that and yet I was standing on the street going, ‘Oh my God, this isn’t Rathmines, it’s Serbia.’ And they have built it to a T. It’s beautiful. And that was amazing. I mean, I’m in awe of the craftsmanship and it’s lovely to be able to experience a new country. I guess it’s one of the joys of being an actor, you get new experiences and you meet new people and you put that all inside for the next job or you know, what will that do to you as an artist and will that change your perceptions? So I feel very privileged. I do miss my home, of course I do. I miss my lovely husband. But it was lovely, he came out last year and spent some time here and we’re looking forward to maybe him coming out again and doing some traveling this time because we couldn’t with COVID the last time we were here.

Jace Cathy Belton, thank you so very much. Such a pleasure.

Cathy It’s been an absolute pleasure, Jace. Thank you for listening to me and sharing. Thank you.

Jace We didn’t plan it this way, really, but we’ll stick with beloved housekeepers on our next episode — even if our destination is a little bit later in time and a bit farther north in England.

CLIP

Edward Mother.

Mrs. Hall. Edward.

Edward Sorry for making you wait this long.

Mrs. Hall It’s quite alright.

Edward I really am sorry, honestly.

Mrs. Hall Don’t be silly. I’ve not been here that long.Jace All Creatures Great and Small star Anna Madeley returns to the podcast February 5 to look at a devastatingly moving episode for her Mrs. Hall.

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.