Hannah Dodd on facing Francesca’s grief-filled scenes in ‘Bridgerton’

This article contains spoilers for Season 4, Part 2 of Netflix’s “Bridgerton.”

Hannah Dodd recalls her intense audition process for the initial season of “Bridgerton.” The 30-year-old English actress aimed for the role of Daphne Bridgerton, a central character in the first installment of the historical romance series. However, fate intervened, and Phoebe Dynevor secured the part. A few years later, Dodd was asked to submit a self-tape for a “very secretive” production.

“I had no idea it was ‘Bridgerton’ again,” Dodd reveals during an interview at London’s 180 House in mid-February. We chose a secluded table at the exclusive club to prevent any spoilers from being overheard, though other patrons were engrossed in their own discussions, oblivious to Dodd’s disclosures about Season 4, Part 2, which premiered on Netflix this past Thursday.

It was only several months later that Dodd discovered the project was indeed “Bridgerton.” “Part of me was like, ‘Oh, do I want to go through that again?’” she admits. “But I genuinely loved the material. A few days later I met with the team at Shondaland and a week after that I was at piano lessons.”

“We had seen hundreds of people and no one had felt quite right,” explained showrunner Jess Brownell, speaking remotely via Zoom from Los Angeles. “We saw Hannah really late in the process and we instantly knew. She is such a subtle actor. She’s able to play shyness without seeming weak and you sense she has an inner strength that’s waiting to blossom, which was really necessary for a character who starts out in Season 3 as quite shy and reserved. But from this season and beyond, she’s a character who goes through quite a bit and is going to have a fierceness to her to survive it.”

Dodd ultimately secured the role of Francesca Bridgerton for the third season, taking over from Ruby Stokes, who had portrayed the character in the first two seasons before departing due to scheduling conflicts. Dodd acknowledged feeling some pressure joining the already established Bridgerton family ensemble.

“Their chemistry was incredible and I could see from interviews that they seemed to absolutely love each other,” Dodd comments. “I was like, ‘Oh my God, how do I join that and make sure that I have that chemistry?’ But the cast are so lovely and made me feel at home straight away.”

Francesca’s storyline throughout the first four seasons largely unfolds prior to the events depicted in Julia Quinn’s novel “When He Was Wicked,” which fans refer to as “Francesca’s book.” In Season 3, Francesca made her societal debut and eventually formed an unexpected bond with John Stirling, the Earl of Kilmartin (played by Victor Alli). By the start of Season 4, the couple had married and settled into his London residence. Tragically, John dies in Part 2. The majority of Francesca’s narrative thus far has been an original creation by the show’s writing team.

“People who have read the books understand that none of what they’ve seen so far happens in the books,” Dodd confirms. “You don’t get to see her on the marriage mart. In Chapter 1 of her book, John dies and her story starts after that.”

“John’s alive for about 10 pages of the book and then there’s a time jump, so we’re not spending a ton of time in what her immediate grief feels like,” Brownell elaborated. “But it’s enough that we had some clues from Julia Quinn about how she might react.”

Both Dodd and her co-stars anticipated John’s death, but the exact details of its unfolding remained unknown until they received the scripts for Episodes 6 and 7. At that point in the “Bridgerton” production calendar, Dodd was juggling filming for Season 4 with rehearsals for her role as Sally Bowles in a West End staging of “Cabaret.” She described that period as “very intense.”

“It was two very big productions and I was working six or seven days a week filming and rehearsing,” she recounts. “I shot the funeral scene and went into tech rehearsals the next day. They’re such polar opposite characters, too.”

In Episode 7, Francesca grapples with the devastating reality of John’s passing. The episode unites her family for the funeral, joined by John’s cousin, Michaela Stirling (portrayed by Masali Baduza), who had been residing with them in London. Brownell strategically placed the funeral later in the season to allow ample time for Francesca’s relationships with both John and Michaela to develop. Additionally, she aimed to avoid diverting attention from Benedict and Sophie, who were the primary romantic focus of the season.

“Episode 7 is also the place in the story where Benedict and Sophie would naturally be apart,” Brownell notes. “The funeral became really helpful story-wise to add external pressure that allows Benedict and Sophie some perspective on their situation.”

Dodd found portraying the funeral scene particularly challenging. While she describes herself as an emotional individual, Francesca is inherently more reserved. The character tends to suppress her emotions, and her initial response to John’s death is marked by stoicism and composure. Dodd worried that viewers might misinterpret Francesca’s controlled demeanor as a lack of love for John.

“I had to stop myself from crying a lot,” Dodd explains. “It felt really bizarre being the only one in the room not crying. But she holds everything in. Francesca feels so vulnerable day to day, and John is someone who makes her feel safe. When there is that kind of wall up, there’s eventually going to be a big breakdown.”

Modern audiences might perceive Francesca’s behavior as cold, but Brownell highlights that, in the Regency era, public displays of intense grief at funerals were not customary.

“In fact, for someone like Michaela to be weeping openly at a funeral was incredibly taboo,” she states. “And sometimes when I see people really locked into their emotions in a big way immediately after a death on TV, it doesn’t feel real to me. So, actually, Regency rules are representative of the way some people respond to grief.”

Francesca eventually breaks down during a conversation with her mother, Violet (Ruth Gemmell). This emotional release occurs after Francesca learns she is not pregnant—a hopeful expectation that preceded a traumatic and intrusive examination. While she and Violet now share the common experience of losing their husbands, their situations differ significantly; Violet was left with eight children, whereas Francesca has none.

“They’ve experienced the same thing,” Dodd says. “I love that scene because Francesca turns around and says, ‘We’re not the same.’ But they are the same, just in very different positions. It was a tough day because we did it a lot and that can be quite exhausting. It felt like a big scene that I really wanted to get right.”

Throughout Part 2, Francesca develops a bond with Michaela, John’s notably more extroverted cousin, who is destined to become her romantic partner. In Julia Quinn’s novel, this character is named Michael. Brownell, who assumed the role of showrunner for Season 3, had long harbored the desire to introduce a queer love story to the series.

“That was the first conversation I ever had with Shonda Rhimes,” Brownell recounts. “It’s already mattered so much to so many people to see themselves on-screen with the show in other ways and it’s only right for queer people to also get to see themselves in a show touted as being an inclusive fantasy.”

The show’s creative direction became evident at the conclusion of Season 3 with Michaela’s introduction. This casting decision sparked considerable excitement among many fans, but also generated some negative reactions online.

“It’s definitely been a lesson in getting some distance from the internet,” Dodd admits. “What I always want to add to the conversation is how happy people are and that there are a lot of people who are so excited and feel so represented and included. And how special it is that it is a lead storyline. Francesca’s story is a book of grief. It’s a book of self-discovery and guilt and confusion and love.”

Before Season 3 began filming, Dodd participated in chemistry reads with actors cast as both John and Michaela. “It was really weird being on that side of the audition process,” she shares. “I didn’t get a final say, but Masali was incredible. She had just gotten off a plane from South Africa and it was a real lesson in auditioning for me.”

Initially, Francesca harbors a dislike for Michaela. However, they soon discover common ground. Michaela’s zest for life helps to invigorate Francesca, particularly after John’s death. Michaela’s emotional openness and disregard for societal conventions make Francesca uneasy.

“It’s quite relatable to have somebody who lives life very differently to you,” Dodd observes. “You’re like, ‘Why do you get to be late? Why don’t the rules apply to you?’ Michaela gets to show up whenever she wants. People don’t always follow those rules of society and that bothers Francesca, because she’s always lived her life that way. It’s a really interesting dynamic and there’s a lot to explore there.”

Brownell’s intention was for the characters to conclude the season as friends, though a hint of something deeper lingers.

“We wanted to see how these two become friends,” she reiterates. “They genuinely find a beautiful platonic friendship between them before John’s death. But then Michaela makes the decision to leave in Episode 8.”

Brownell indicates that Michaela’s reasons for leaving will be further clarified in subsequent seasons.

“Her leaving is yet another blow to Francesca, who has been through so much,” Dodd adds, describing it as “devastating.”

While the specific book for Season 5’s adaptation remains unconfirmed, Brownell is already engaged in the writing process and has a clear vision for the narrative’s direction. “Grief is not a one and done nor is it a linear process,” she asserts. “We feel tremendous love and respect for the relationship that Francesca and John had, so we’re not done processing that grief.”

Participating in “Bridgerton” has profoundly impacted Dodd’s life; she began her career as a professional dancer and debuted on TV in 2018 with “Find Me in Paris,” followed by roles in “Harlots” and “Anatomy of a Scandal.” She confesses to still experiencing imposter syndrome as an actress, but rather than yielding to the pressure, she channels it as motivation.

“Finding the next job is always so stressful,” she remarks. “I remember the time when I was like, ‘I want acting to be my job. I don’t really care what that looks like.’ That’s ultimately come true and ‘Bridgerton’ has done that for me. Now it really does feel like going home every season.”