Arthur Parker is the life of any party in Sanditon — and much of that has to do with the charm of actor Turlough Convery. While much of his castmates would love to play his role, Convery brings a special approach to the happy youngest Parker sibling.
Jace Lacob: I’m Jace Lacob, and you’re listening to MASTERPIECE Studio.
Being the youngest of three brothers is already hard. The expectations and comparisons are constant.
Tom Were Sidney here, I am sure that you and he would find much in common.
Arthur Some things. Perhaps.
Tom And he would want to encourage you, as I do, to consider extending your stay indefinitely.
Jace For Arthur Parker, however, the comparisons have even more weight, now that his brother Sidney has unexpectedly passed away, leaving the burden of their brother Tom’s ambitions and responsibilities almost entirely on Arthur’s shoulders.
Arthur We have written to your father’s employees. But I am afraid that it’ll take weeks to get a reply.
Georgiana I shall make my own enquiries. What can this mean, Arthur?
Arthur I am certain it’s of no cause for concern. Sidney will have had your best interests at heart. Just as I do!
Jace But despite his newfound professional burdens and familial woes, Arthur remains the jolly life of the Sanditon party, finding reason for cheer no matter the occasion.
Charles You have a rare masculine beauty, Mr. Parker.
Charles Undoubtedly, sir. In Paris, you would be fêted in the salons for your charm and in the Tuileries for your style.
Arthur Oh, I should love to be fêted in the Tuileries!
Charles I am certain one day you shall.
Jace Turlough Convery is well known to MASTERPIECE viewers for his more villainous roles in Poldark and Les Misérables, but the actor joins the podcast for the first time to discuss the lighter side of Arthur Parker.
Jace And this week we are joined by Sanditon star Turlough Convery. Welcome.
Turlough Convery Hi, hello. Welcome…to me!
Jace I want to talk about Arthur Parker. The Arthur Parker of season two of Sanditon is very different to the Arthur Parker we met at the beginning of season one. What did you make of Arthur initially, and how would you describe the new attitude of the now ex-hypochondriac Arthur Parker?
Turlough Yeah. So in the first season, Arthur was a very confused, swinging from hyper energetic to hyper lethargic, massively hypochondriatic, if that’s a word. And he was he was so much fun to play with those elements. And as the series progressed, he began to understand himself a little bit more. And through his relationship which develops with Georgiana throughout season one, he begins to understand his place in the world a little bit more, a little bit clearer, the cotton wool that’s been put around him by his sister is taken off and he sees the world around him much clearer. And so coming on season two, that’s what we wanted to play with more. We sort of saw that Georgiana and Arthur saw an otherness in each other, and that’s why they became friends. They saw that here is someone else who does not quite fit into society in the exact rigid way in which Regency society expected them to be. A man back then was not a man if he was not robust and strong and alpha and in pursuit of experience and in pursuit of love. And Arthur is not that, Arthur is a gentle and extremely emotionally in touch character, and that’s what we wanted to hone in on in season two. We realized that that with big trauma, people change and the loss of the loss of a brother and then in turn, the loss of his sister to her bed, you know, Arthur realizes that if he doesn’t step up into whatever role that he can step up to in his way, if he doesn’t try, then then then the whole wonderfulness of Sanditon that he finds himself in, you know that he began to discover who he might be, might fall apart and might go away. And he clings on to Sanditon and he goes, ‘If I can make this work, then I can work.’ And I don’t think he ever wanted to stay a hypochondriac. That’s why, you know, in the first season, you see him, on the second Doctor Fuchs says, ‘Hey, all you have to do is ride the horse a little bit and go for a walk every so often and you probably feel a bit better.’ And where his sister got a little bit, ‘Oh, I’m not sure about this. I don’t think we should. We should take it easy.’ So what, ‘No, I’m going to try. I’m going to get on that horse and I’m going to go because I don’t want to stay the way I am right now.’ And so in season two, he embraces that side and it’s like, you know, I sort of like to think of it a bit like a caterpillar. You know, in the first season, he was going along, munching on all the leaves and the food and everything and the wine and the hot buttered toast. And he went into his cocoon and he’s emerging ever so slowly as a beautiful butterfly.
Jace I mean, you mentioned the buttered toast. Jane Austen described Arthur Parker as having, quote, ‘a lusty appetite for hot chocolate and buttered toast,’ which to me, sounds like someone who enjoys the finer things in life. Do you see Arthur as someone who enjoys the pursuit of pleasure, and is that a key to perhaps unlocking an understanding of his character?
Turlough Yeah. I think that’s very accurate look at it. I think whenever it comes to the overindulgence and the voracity with which he would consume food and drink and everything was in a want to consume a life that he could control. His sister was able to control him in many ways, to say, ‘Don’t go out. Your, you know, whatever your ailment, your biliousness is playing up. So stay inside.’ And so he was able to go, ‘Well, if I if I’m going to stay inside, then I’m still going to have fun and I’m still going to attempt to enjoy myself.’ And he finds that through food,and he finds that through through drink and in season two, he still has that. He still absolutely loves his eating and his drinking. However, he finds that that same pursuit of a life that he wanted can actually be found in the people around him. And be found in the relationships and as the season goes on, another side of that Arthur, you know, wheel of personality really, really begins to flourish for him. And I was so excited to see that being pursued because I think I think one of my big worries with Arthur Parker when I was taking on this character is I was like, ‘It could so easily be a comedy fool. And that’s all Arthur does. You know, he could so easily be just both stressed and jumping around and then suddenly falling tired and being so he’s very ill.’ you know, but there was something more interesting and finding, ‘Well, what is the truth of this person? Why does he do that? What makes him? What makes him have to embrace those overeating and overdrinking and over partying and then falling and are not able to continue on, why would a person in our real world be like that?’ And I think I think I think it’s very clear as well, in his first interaction with Charlotte Heywood in the first season or one of his first interactions, the fact that he is longing for life because while the others sit in the seat at the table, he grabbed her and goes, ‘I’ve been so looking forward to speaking to you because you’re someone new. You’re someone who I’ve heard these amazing things about so far, even, you know, even though it’s been only a couple of days. And let me tell you about the things I like and the things I like at this moment are hot buttered toast and strong wine.’ But as he as he grows and as he is, he continues to grow, his interests become more varied and his loyalty to those interests, specifically his loyalty to Georgiana never waivers without his without his realization, and when they do whatever, he takes that very hard. He’s a very loyal and loving person.
Jace I do love the friendship between Arthur and Georgiana Lambe.
Arthur Miss Lambe, you should be dancing! I insist upon it.
Georgiana I have been waiting for you!
Jace To me, that’s one of the best elements of season two. How would you describe their dynamic and what each of them brings to that friendship? How do they support each other?
Turlough Yeah, so I think it sort of I touched on a little bit earlier on, but in a world where you’re not accepted for who you are, I think people seek out someone who might understand that, and I think Georgiana sees that with Charlotte, sees someone else who’s come into this society from Willingden and is going, ‘I don’t exactly know how high society works.’ Georgiana has got that with her, but with me, she goes, ‘Oh, I can see someone else who is not willing to conform to what Lady Denham says.’ You know, she says, ‘It’s my pineapple,’ he says, ‘It’s a bit of fun. And do know what you’ve been making that you’ve been making the one person who this pineapple has meant to celebrate feel horrible at this event so far. So actually, does your pineapple mean anything or is it a bit of fun to open up and see what’s inside?’ You know, and I think I think that’s their relationship. I think he brings a lot of joy to Georgiana, I think Georgiana sees in him a loyalty and a love and a kinship that that can only be expressed through not feeling 100 percent within a society that you’re in you know, 100 percent embraced for exactly who you are. You know, he is someone who was never taken serious by his brothers as he says he never quite understands women in the last episode of season one. And that’s not a common thing for a man to say in Regency Period times.
Jace to me, Arthur and Georgiana, this relationship feels very modern in that sense that you’re talking about it, but then sort of feeling a sense of belonging with each other that they don’t feel elsewhere, given that she’s the black heiress. He’s a bon vivant in Regency Britain, and it feels particularly original and novel, especially given that it’s unfolding in a story based on a Jane Austen novel. And it seems groundbreaking in that way. What do you make of its power when you’re shooting those scenes? Does it feel groundbreaking or innovative in some way?
Turlough I suppose. I suppose in certain ways, we were always aware throughout season two and three, we were always really aware of the truth of these people. And in this time and making sure that it wasn’t, we weren’t just going, ‘Oh, let’s just make it like this because a modern audience will be shocked,’ or we’ll go, ‘Oh my gosh!’ we were going, ‘Well, if these two people existed in this time in the way that Jane Austen wrote them, it would only make sense that they would have been friends.’ And it was written, you know, it would have been written that they were friends. And we were following on the line from season one where he tripped the light fantastic with Georgiana. And once you’ve tripped the light, fantastic with someone, there ain’t no going back. You can’t do that. But I understand, I understand that, you know which we really understood the pressures and the poignancy of their relationship of Arthur as being Arthur, being who he is inside a Jane Austen novel. But also, you know, Jane wrote him the way he is, you know, and I think she was very clear that he was not like the other men. He wasn’t boisterous, just in the way of, you know, say, a Babington. You know, he wasn’t with the lads down at the pub slapping thighs — their own thighs, I mean, you know, and singing a rowdy, rowdy sea shanty. He was not that. And of course, there are a thousand different ways of being, but I think we always at least I always had in my mind that by season two, we’d want to start exploring a side of Arthur that I think Jane if she had been able to, I think she would have really pursued that in her own time as well.
Jace I mean, do you see Arthur as being coded as gay then? I mean, there are hints that point towards his attraction to Lockhart, his insistence to Georgianna that marriage is not for him. How do you read those cases?
Turlough I think if we’re using modern language, which is kind of the only way to really look at it, I think I think in season one, I would have said he was he was asexual of sorts. You know, I would have said I would have seen that he never quite understood what the love poems were about. You know, these men going absolutely wild over women. ‘I just don’t understand it.’ And then come season two, I think he begins to have feelings of attraction towards Lockhart, and I think he doesn’t quite realize what that is until it happens. I think he just goes,’ Oh, we are, you know, we’re just such very good friends and I’ve never found another man I can be as open with as I have been with my sister or or Georgiana or my friends,’ you know? And I think come season three, I think we’ll begin to see another element of that journey. It’s a progression always towards an understanding of who Arthur truly is.
Jace When I interviewed the new male cast members for season two of Sanditon, I asked each of them if they were to play a character other than their own who they would choose, and most instantly said Arthur Parker. Is that down to Arthur as a character, do you feel, or to you?
Turlough It’s all down to me. No…
Jace I mean, from what I’ve heard, it might be.
Turlough No, I think it’s down to Arthur. There’s something wonderful about Arthur. He has a freedom within Sanditon that few other characters have. And I think as an actor, you want to always be free. And that’s why that’s why I was overjoyed at getting this role. You know, when it first landed in my inbox and my agent sort of set up the first meeting, I was pursuing it doggedly. I was like, ‘I just, this is a character I know I can play, and I would love the opportunity to get inside the bones of this character,’ because you don’t in Regency Period or in any period drama, it’s so often so stiff and it’s so rigid and has to be presented in a stilted, strong kind of way. You know, it’s so lovely to have a character that’s like that feels foolish but grounded and thoughtful and kind and a real person. And that’s not saying that any of the other, you know, all of the other characters are beautifully real and beautifully realized by the other actors. So I think that might be why a lot of people, people say, ‘I would love to play Arthur Parker because he gets to just turn up and try his best to steal a scene.’
Jace Before this next question, a brief word from our sponsors….
Jace Sidney’s death has left a void in Tom’s life, one that Arthur quickly moves to fill, not unkindly. There isn’t a sense that Arthur is trying to replace Sidney, but rather sort of fill a void in Tom’s life rather altruistically, I think. But Arthur isn’t just a yes man for Tom. He has his own ideas for the seaside town. He wants a pagoda. He wants a theater. How does Arthur’s vision for Sanditon differ from Tom’s? How are they sort of at odds and what is behind that tension?
Turlough Yeah, I think that’s very well put. And I think that void that was created was definitely, we definitely spoke about Arthur trying to step into some sort of shoes. He knows that he’ll never fill Sidney’s shoes and he and he understands that, that he’s not crippled by grief in the same way as as Tom is. His choices did not lead to to Sidney being sad. He didn’t really know Sidney all that well. You know, it says in episode six or whatever episode five, he says, ‘All I knew of my brother is that he went away to sea to make his fortune.’ You know, so he so Arthur sees, and goes, ‘Oh yeah. I can see how this will fall apart,’ as I said earlier on, ‘If I don’t step up.’ And so I think I think he sees this as we were touching on the finer things in life are what we should be aiming towards. And he sees art and theater and architecture and the great beautiful and what the great beautiful cities of of Europe have, this high culture. And he sees that and goes, ‘That’s what we should be aiming towards this, you know, post-renaissance. That’s what we should be aiming for the enlightenment of all the people around us. And that’s what will bring the great and good to Sanditon’. However, attracting the great and good decisions can cost a whole lot of money, and Arthur doesn’t really see that side of it. And so I think the tension between Tom and Arthur comes A, in that, and I’ll speak to B in a minute, but Tom has got debts. And he has been here before. He is a man who has got a great mind and has got great vision, but he’s always on the edge of near financial crash. And so I think that’s where a lot of the tension lies in certain ways of what we need. If we get, if we get the army in. And they say yes, and that is a whole lot of money. That’s a big bank, you know, and all of a sudden, I think he says it in episode one or two, where he says, ‘An army is nothing more than a ready-made group of people ready to spend, spend, spend.’ And that’s what they are. They come to the time they’d be drinking, they’d be going for dinners, they’d be renting, I don’t know horses or something. I’m never really that into the army, so they wouldn’t be able to tell exactly what they’d be doing. And so that’s where a little bit of the tension lies. I think the other tension lies in Tom’s disregarding of Arthur’s ideas, because that’s that was their dynamic throughout their entire life. You know, Arthur would, we sort sort of a joke a little bit in our heads of Arthur constantly coming to Tom whenever they were kids with, ‘Oh, let’s build a let’s build a sand castle!’ and he’d be like, ‘No! I’m building a sand FORTRESS.’ And that’s the kind of thing it’s I think that perpetuates into where they are where it’s kind of like. ‘Yes, yes. Yes, yes, those are fine ideas. But no, not right now. Like, you don’t know how to do this. I’ve been doing this for many years. When you, as you have just been, you know, living off your inheritance, drinking far too much. And I appreciate you being here. I appreciate what you’re attempting to do. But just know that your place is not the head of this. I’m the head.’ And usually there would have been Sidney to go, you know, in his gruff voice. ‘No, Tom, Tom, you cannot do this. You know, when you have to think about your debst, stop.’ But there is Arthur going, ‘I don’t exactly know how to say it to you, but if we invest in a theater, it’s not just. It’s not just because it’s nice and there’ll be nice music. It’s because the people of London, high upper class people are on the spot, they don’t want the army. They’re never going to come for the army. And if we’re wanting to be the number one town outside of London outside of, you know, Bath and you know, Brighton, then we’re going to have to do the cultural thing as well. I think that’s where the two sort of tensions lie.
Jace I mean he’s always the outsider, but as the outsider, he’s actually able to see things that the others can’t. Tom is sort of blind to what Charlotte is going through with Sidney, but Arthur notices this and is very keenly aware of it from the get go. At the same time, I mean, he is very flattered by Lockhart’s attention, he’s sketched while he’s asleep on the rocks. But if you say if he is sort of aware of bad energies, is he aware of any potential danger here? Or is he so sort of blind to Lockhart that it silenced his ‘spidey-sense’?
Turlough Yeah, no. He’s absolutely blindsided, you know by Charles Lockhart, you know that he is. He sees this person who defies convention defies the rules of genteel society by wandering around half-naked on the promenade and someone who someone who, and I think we are all aware of those people in our lives who come in and have something that we aspire to and something we see and we go, ‘Wow. ‘And you know, think of it like, you know, the Instagram influencer of of his time, you know, that Arthur s sort of swiping through all of his all of his positive A-Reel, but won’t don’t see any of the B-Reel, you know? = I think also because he’s not used to someone paying attention to him, that he’s able to see he’s able to see others for who they truly are because they ignore him and because they speak to the other people around him. And, you know, he’s able to see that, because you see all the interactions between Tom and Colonel Lennox, and Colonel Lennox doesn’t really address Arthur all that much. And that’s a similar dynamic to Sidney and Tom. Sidney didn’t really interact, we sort skimmed through the pages whenever we were doing season one and we were like, ‘I think this is the first time that you actually speak to me,’ and it’s just say something dismissive of me. And it’s like, ‘Yeah, that sounds about right, Sidney. And so I think that’s whenever Charles Lockhart turns his, you know what feels like laser beam attention on Arthur, II think he’s not able to see any other side apart from the side that makes Arthur feel for the first time but wanted and good enough for attention. And I think that’s a very powerful thing.
Jace I cannot think of a more different character to Arthur Parker than Tom Henry, whom you played on Poldark for several seasons. Were you consciously looking for roles like Arthur that would take you away from the sort of violent, heavy, like Tom Henry?
Turlough I think that’s been in general my entire want in in my career so far is that I don’t, I never want to just do the one thing, it doesn’t interest me to just stay and be like, ‘I can do brutish. I can do that and I’ll do that in this and I’ll do that in this and I’ll do that…’ I have always endeavored to be like, ‘That’s great. This is an out-there project. This is a different thing. This is this is a character that would not normally go to someone like me as a bigger guy, as a as a as a as a, as a Northern Irish person. And I’d love to do it, you know,’ and obviously it was a lot of fun playing Tom Hardy and he he’s a he’s a ridiculous character in his own sense. And it was amazing. I really loved playing Tom, but I think I think there was a monosyllabicaillness, if that’s a word that’s probably not, don’t at me. You know, to Tom, that was that was a that was a slightly, slightly detrimental to my own, my own thing. A lot of people come up to me and go, go, ‘Oh, I saw you, I saw you in Poldark. You’re much nicer in person.’ Yeah, yeah, yeah. No, I’m not a heavy from the 1800s who punches old people.’ Yeah, no, I’m not quite like that. But you know, I think I think that was always my want is to just try and play, you know, whether it was with like one of the very, very, very first jobs I got, which was my Mad Fat Diary. You know, it was a rule that that, yeah, they were looking for someone slightly bigger, but it was in essence it was. It was a run, a romantic role of kind and for someone who is bigger. It was something that I was like, that’s great. I want to try and play romance. I want to see what that looks like because, hey, guess what? Bigger people, we fall in love just like everyone else. You know, it doesn’t have to just be bonded over food or over other things, you know?
Jace I mean, I was going to ask about Liam, because My Mad Fat Diary is one of my favorite all time TV shows. And you were in season two as Liam. And you worked alongside Jodie Comer on that as well and then played Bitter Pill Investigator Bear in season three of Killing Eve. What is it like working on a show like Killing Eve, like a super stylish international spy thriller?
Turlough It was amazing. It was amazing, it was one of the best experiences, and so I came off, Sanditon season one, and went straight into Killing Eve. And weirdly, I actually got the meeting for the job through Sam who was the costume designer on Sanditon? And they were looking for this character of Bear and Sam was in a meeting with the producers and was like, ‘I know a guy who’d be perfect for this,, if you want to see him?’ And I didn’t find out about this until the wrap party of Killing Eve, because the executive producer came up to me and was like, ‘Turlough! Did you know he got the job because of Sam?’ and I was like, ‘Oh great, I thought I just got the job because I’m great.’ No, that was amazing. And do you know, one of the nicest experience was sort of getting to hang out with Sandra. Oh, because she’s an absolute boss and and she was so wonderfully lovely. There was, and this is testament to her character of how lovely a person she is, even though she’s like sort of a megastar, multi-award winning, amazing actor. We had a green room and I and I I’d rather like a like I sort of, like a bear, I’d taken myself off to the side of like the green room and just fell asleep on the floor for a while because we had long days and I just sort of covered myself in a coat and I was sort of having a nap on the hard ground floor, and I sort of heard a ‘SHERK…SHERK…SHERK…’ and I was like, ‘What the hell is going on? Like, I thought everyone else was all, you know, doing stuff I had and I had like an hour or two off, and I heard ‘SHERK SHERK’ and. I sort of opened up ready to shout at someone, and I opened my eyes, and then it was Sandra sort of standing over me and was like, ‘I dragged my bed over from my room if you’d like it?’ And I was like, ‘That’s very lovely, but I’m not taking your bed, Sandra Oh, award winning, amazing access, Sandra. I’m not stealing your bed. That’s madness.’ But it’s that kind of lovely, you know, just testament to what a wonderful person that she’s like, ‘I’m not sleeping right now. He can have my bed!’
Jace Use my bed, just use my bed .
Turlough Exactly! And to drag it over to me. It was very nice.
Jace That’s amazing.
Turlough She was amazing at one thing. One thing that I really learned from, from Sandra was her ability to take time with a scene and if it wasn’t working, actually going, ‘No, let’s pause for a second, let’s make this rework. You know, let’s just stop for a second. Let’s actually figure out what the beats are in here. Let’s figure out what, what the intentions that we’re trying to play right now.’ And it made things actually quicker to shoot because you spent you spent half an hour at the start really talking through it, really getting a deep understanding of what’s happening in the scene and what are the what are the moves so that whenever it came to rehearsal, the whole camera crew came in, they’d see it and they go, ‘We know how to shoot this.’ And then you would shoot it bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, like that in comparison with other sets where it would kind of be like, you might have you might have a couple of minutes to quickly read through the sides first and then they’re like, ‘Right, let’s get over it and you stand there, you stand there. Let’s try. Let’s do that like this.’ And then you’re having to adapt and make choices when it comes to sort of close ups or move in. And obviously, you know, Killing Eve, they had a big enough budget to not cram days, you know, full of scenes. But there was just something wonderful about that way of working that it was like, ‘No, you need to take your time to get this right because, hey, we’re working with a really big brand. You know, A, we’re working with something that is internationally recognized as an amazing, amazing television series. And so to keep it to that standard, we need to make sure that that we really know what we’re doing when the camera is on, because odds on, a lovely editor somewhere will take your worst take because they think it’s your best one, you know, so you gotta make sure that every time what you’re doing. And it was just it was it was a lovely, lovely way to work. And I really, you know, it’s something which I’ve tried to take on with me to future jobs is to really, really take the time with the director and take the time with the with the crew, with the crew and the cast to really understand what we’re doing in any scene. You know, I think it really I think it really helps, really helps out
Jace one of those future productions of careers being the now-Oscar nominated and by the time this airs, which is actually coming out on Oscar night, possibly Oscar-winning film, Belfast. What was it like being directed by Sir Kenneth Branagh and how proud are you of this film?
Turlough Oh, I’m incredibly proud. As someone who’s from Belfast, I’m incredibly proud to have been part of that movie. Sir Kenneth Branagh. It feels weird to not use his full name, Sir Ken was an amazing director, and I think that comes from being an actor himself. He knows how to prompt you and direct you so that it doesn’t get in your head, so that direction doesn’t make you feel like you’ve just done it completely wrong the last time. And he’s got a way of trusting you as an actor that immediately brings out a performance which you didn’t really think you were not necessarily capable of, but you sort of you surprise yourself with what you can bring forward because you sort of go, ‘Oh yeah, you, you’ve hired me and you trust me to do this right now. You know that you’ve made the right choice in me. You know, I can do a great job for you as a director.’ And I think that’s a real skill. I mean, it’s also it was the first job I did, but it was the first job many of the actors who were on set did post the UK lockdown because of coronavirus, and it was so wonderful getting back on the set that everyone had that feeling. I was sat beside Dame Bloody Judi Dench and we were chatting away and she’s like, ‘Isn’t it just wonderful? Isn’t it wonderful!’ And I was like, ‘What, being back on set?’ And she was like, ‘Isn’t it? Just being back on set with actors, doing it. It’s lovely!’ And I was like, ‘Jeeze after however, many years doing this job, with the amount of early mornings, the amount of faff, they might have terrible scripts. I’m sure she’s read the most amazing scripts she’s read, but not got the gig for. She’s still so excited to be there. I was like, that’s amazing,’ and I think that comes down to also working with a great director. Yeah, it was amazing and amazing job.
Jace I’m going to keep my fingers crossed, and we started by talking about vibes and we’re going to go out about vibes, and I’m going to keep that Dame Judi Dench excitement vibe going in my life. Turlough Convery, thank you so very much.
Turlough Thank you, mate! Have a lovely day.
Jace One character in Sanditon who clearly needs no introduction — and wouldn’t accept your welcome when you offered it — is Lady Babington, formerly known as Esther Denham.
Clara Dear Esther. Are you concerned for my condition?
Esther Not in the least. I am concerned for my aunt’s silver.
Jace As Esther juggles a tricky social season, Charlotte Spencer returns to the podcast April 3 with insight into what Esther might really be looking for now that’s she’s finally found wedded bliss.
MASTERPIECE Studio is hosted by me, Jace Lacob, and produced by Nick Andersen. Our editor is Elisheba Ittoop. The executive producer of MASTERPIECE is Susanne Simpson.
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