IN CONVERSATION WITH RUTH GEMMELL
interview by JANA LETONJA
As the devoted matriarch of Netflix’s beloved Shondaland series ‘Bridgerton’, Ruth Gemmell has anchored the show with compassion, intelligence, and a steady grace that resonates deeply with audiences around the world. In the fourth season, which premiered its second part on 26th February, we see her rediscover herself beyond motherhood: exploring desire, laughter, and the possibility of love once again. With an illustrious career spanning film, television, and theatre, Ruth continues to prove why she’s one of Britain’s most enduring and quietly powerful performers.
You’ve been with ‘Bridgerton’ since the very beginning. What does it feel like returning to Lady Violet for Season 4?
It’s an utter joy to be returning to these stories, and really quite humbling that people are still so engaged with us. It feels like coming back to a family now. We’ve seen Violet navigate her children’s love lives and then experience a reawakening of her own sexuality. Lord Anderson’s interest in her has really moved that story forward, and it’s been such fun to give this character a bit of joy.
This season we see Violet exploring romance again. How did it feel to step into that side of her story?
I may well have been almost as nervous as Violet clearly is, but working with Daniel Francis was wonderful. We actually had a lot of fun. Ultimately, Edmund was and always will be Violet’s one true love, he can never be replaced, but there is definitely room for Lord Anderson, this kind and gentle man. That feels like something worth pursuing.
It was lovely to give Violet her moment in the sun. She’s had quite enough time on her own. Thankfully, everyone was very respectful and open about how far I was prepared to go. I’m over 50 and have no intention of getting my arse out for anyone. But the crew, the cast, and especially the intimacy co-ordinator was great. There’s nothing sexy about filming a love scene, it’s all about how it looks. What feels comfortable is most likely unflattering, as I was told on more than one occasion.
The show has always celebrated love in many forms. What does “love” mean to Violet at this stage in her life?
Edmund was, and is, her one true love. But through her children, she’s come to recognise that love exists in many forms. Her vulnerability and her hope feel entirely recognisable. The grief has never gone away. I think loss is universal, everyone has been touched by it in some shape or form, and you simply learn to live with it. But you still must live.
Violet is tentative about being brave again, and it takes someone rather special to have the patience and the desire to see that through. Recognising that in Lord Anderson has allowed that bravery to begin. A bit of baggage in life is surely something to celebrate. It means a life has been lived. I hope I reflect what is probably quite a large demographic of our audience.
‘Bridgerton’ fans adore Violet’s wisdom and warmth. How have you personally evolved with her over these four seasons?
If only. To be honest, most characters are emotionally layered, so you try to be as truthful as possible with the script. It’s lovely that Violet possesses such qualities. She’s an iconic character from the books, and I’m truly honoured that people enjoy my interpretation. I do concur with her mantra about love, that is worth listening to. But if only I could be more like Violet.
That said, my love for the children has certainly evolved with me. I couldn’t ask for better kids, they are fantastic to work with. Talented, generous, kind, and bloody funny.
Violet’s relationships with her children are such a central thread. Which of those dynamics has been most rewarding for you to explore?
Shooting the ‘Bridgerton’ moments at home has really cemented that feeling of being part of a family, and it has reaped rewards for all of us. Filming with the children has been a joy. I’ve really loved exploring those relationships. They are amazing to work with.
As in previous seasons, I’ve had some truly touching scenes with them and this season those are with both Luke and Hannah. We’ve been together as this family since 2019, and I’ve watched everyone grow. Flo and Will, who play the youngest children, were just 12 when we began, and they’ve blossomed into such remarkable young adults.
How would you describe the second part of this season?
A real roller-coaster of emotions, not just with Benedict, but also with Francesca. Violet, as a mother, faces a great deal of turmoil with everything that’s going on, and she increasingly finds it difficult to navigate her burgeoning new relationship with Lord Anderson. He is, as ever, very patient.
That said, this is ‘Bridgerton’, and there’s always light at the end of the tunnel. There’s a lot of fun to be had.
The show’s success has been extraordinary, reaching audiences worldwide. How has that global recognition changed your perspective on your work?
I think the career path I’ve chosen is always full of difficulties and disappointments as well as its highs, and that has taught me a lot about resilience. Things can be fleeting, so you learn to enjoy the highs and the here and now. I feel very lucky to be part of this series, especially in an industry that can be so unpredictable.
You’ve portrayed everything from period characters to modern heroines. Is there a role or genre that still feels like unexplored territory for you?
It’s been quite some time since I’ve worked in theatre, and I’d really like the opportunity to go back there. It’s where I started, and I love it very much. Theatre is what first drew me to this career. My first introduction was seeing the RSC perform ‘A Midsummer Night’s Dream’ on a school trip. It was my first Shakespeare, and I was utterly mesmerised.
At the end, Oberon took a pause, and to this day I don’t know if he dried or just paused for effect, but I couldn’t breathe. It felt like an eternity, you could hear a pin drop. That command of an audience was just spellbinding to me. When it came time to applaud, I remember standing with the entire audience, my hands hurting from clapping. It was astonishing to think that one individual could have such an effect on a group of people.
Do you see yourself exploring directing or producing in the future?
I would feel completely and utterly ill-equipped to do either of those things. I leave all of that to the professionals and I’ll stick to what I do. I often feel inarticulate myself, so it’s always nice to play people who can speak their mind and command a room, something I never feel I can do.
TEAM CREDITS:
photography DAVID REISS
styling MIRANDA ALMOND
make-up CHARLOTTE YEOMANS
hair ADAM COOKE
