Backstage: Jodie Comer Proves Drama School Is Not a Requirement

Answering a work call on vacation can ruin a getaway. In Jodie Comer’s case, it meant cutting a family trip to Barcelona short when she picked up the phone to learn she was needed in Los Angeles for a callback—immediately.

That interruption led to another call, one that meant her vacation availability for the foreseeable future would be greatly diminished: She had landed the role of Villanelle, a mercurial assassin on the upcoming “Killing Eve,” a BBC America series from “Fleabag” creator Phoebe Waller-Bridge.

Starring opposite Sandra Oh, the titular Eve, as an obsessive counterintelligence assistant at MI5, Comer’s character hides in plain sight as a villainous hit woman. In the first episode alone, we follow Villanelle from Vienna to her home base in Paris, then to Tuscany, Italy, and back. She moves effortlessly between languages while making jokes and taking nothing but her job seriously.

“What I love about Villanelle is that she’s so many characters in one. She puts on these different personas, so sometimes it was like playing different people intertwined,” Comer says over lunch at the Crosby Hotel in New York City. And while climbing the drainpipe of a Tuscan estate house and speaking Italian and French—plus English with a Russian accent—was not easy, the role provided access points for the British talent: “She reminded me of an actress; that’s how I approached her,” she says. “She sees dressing up, the languages and everything, as a challenge. She will take so much time in making sure a persona she’s putting on is perfect for what she needs to do.”

Comer brings a duality to Villanelle that allows her to stand out in one scene and intentionally blend in in another. “I wanted her to be someone you could walk past in the street and not notice, because that is the truth of it—you shouldn’t be able to pick someone like her out,” she says.

The show sees Villanelle flying under everyone’s radar, even as a string of her high-profile marks turn up dead. But, of course, Eve has an instinct about Villanelle, one that messes with the assassin’s desire to go unnoticed. And when Eve’s insistence gets her fired from MI5, only to be given free rein as a new hire on a privately operated team, the cat-and-mouse game truly begins, with Comer’s character expertly blending in to evade capture.

The BAFTA TV–nominated Comer, who was first introduced to American audiences on Starz’s short-lived 2017 miniseries “The White Princess,” relied on feedback from creator Waller-Bridge when developing Villanelle. The two worked together extensively to craft a fully realized—even sometimes sympathetic—character. “The genius thing about Phoebe is she finds the light in the darkest moments,” Comer remembers. “In a scene that was actually quite serious, she’d find humor. A lot of it went against my instinct. It was great having her on set to learn that, because by the end, I fully understood it.”

It’s a skill she says she’ll bring to future jobs. “I don’t think anyone can do what Phoebe does, but it has reprogrammed my brain to recognize that what’s on the page is not always as it seems. Now, I’ll try a scene different ways, and if it’s silly, I don’t do it, but it’s fine to try.”

And while Comer was no stranger to TV, “Killing Eve” also became a master class in working with different directing styles. “We had three directors, and they had completely different ways of approaching their work. I’d get into a motion and then someone would bring a different energy in,” she says of her time on set. “I’m constantly learning with each new job, especially about people, which is important for playing characters.”

That learning process never stops for Comer; she views every new role as a lesson, a mini acting class, not unlike the weekend drama classes she took early on in her career. At 15, she won a local drama competition in her native Liverpool and got cast from an open call for a lead in a BBC Radio play. Her co-stars connected her with an agent and headshot photographer, and by the time she had graduated high school, she already had several professional jobs on her résumé.

“I was working with people twice or three times my age. I matured and learned so much by being in that environment,” Comer says. She also recognized that she was “lucky enough at that age to be working,” and chose to continue rather than pause for drama school. Though she admits there are aspects of her craft that could benefit from formal training, she knows some skills you just can’t learn in a classroom. “I don’t think talent or an instinct for acting is something you can teach.”

A big part of being a professional actor that can’t be taught? Accepting rejection and waiting. After her early success, Comer faced a life that’s well-known to the working actor: “You have to be confident enough to pick yourself up and go to 30 meetings and be told no every time and not take that to heart. That was something I really wasn’t aware of, being told no.” But the waiting game is part of what she appreciates about the job. “I’ve had months at a time without a project, which is a bit daunting, but that’s what I love about it. You just don’t know where you’re going to be next week. You might still be at home on your couch in pajamas or you can be going to London and filming a series like ‘Killing Eve.’ ”

Being unemployed for stretches of time has proven just as informative as getting cast in a project. “I learned you can’t [pin] your happiness on the validation of getting a job,” she says. Her go-to career advice has come not from her co-stars, but her nonactor parents: “My mum used to always say to me, ‘What’s meant for you won’t pass you by,’ and it’s true. If I didn’t get something, it wasn’t meant for me. I’m so much better at understanding that now rather than feeling as if I were robbed.”

“Killing Eve” is the only exception to that rule. “Usually, I can watch if I don’t get a part,” she explains, “but I said, ‘If I don’t get this, I don’t think I can watch it,’ which is such a shame because I love this script so much.”

Ahead of the show’s April 8 premiere, Comer is already hoping she gets to revisit the young killer. “Villanelle is not self-conscious at all; she doesn’t care. At first, because I’m quite a self-conscious person, I’d have to totally be rid of that. The more it went on, the more I went with it, the more fun it was, and the better it worked. It was so liberating,” she says. “It’s so bad because I just excuse everything she does, which isn’t always right. I love her. I feel so lucky.”

While she waits for the world to be introduced to Villanelle and “Killing Eve,” Comer’s enjoying her free time and even the uncertainty of her next steps—she never knows how long it will last. “Maybe I should book a holiday,” she jokes. “Just get a one-way ticket and see what happens.” Though she’ll keep her phone close by, just in case.

Source: Backstage

‘Killing Eve’: BBC America Sets Premiere Date

Dramatic thriller Killing Eve, starring Grey’s Anatomy alum Sandra Oh and Jodie Comer (The White Princess) will premiere at 8 PM Sunday, April 8, BBC America announced today during its portion of the TCA winter press tour.

Based on the novellas by Luke Jennings and written by Fleabag‘s Phoebe Waller-Bridge, Killing Eve centers on two women; Eve (Oh) is a bored, whip-smart, pay-grade MI5 security officer whose desk-bound job doesn’t fulfill her fantasies of being a spy. Villanelle (Comer) is a mercurial, talented killer who clings to the luxuries her violent job affords her. These two fiercely intelligent women, equally obsessed with each other, go head to head in an epic game of cat and mouse.

Co-starring alongside Oh and Comer are Fiona Shaw (Harry Potter, True Blood), who plays Carolyn, a lead MI6 agent, and Kirby Howell-Baptiste (Downward Dog) as Elena, Eve’s assistant. The cast also includes Kim Bodnia (The Bridge), David Haig (Penny Dreadful), Sean Delaney, and Owen McDonnell (My Mother and Other Strangers).

“In Killing Eve, a genius bunch of women behind and in front of the camera transcend the predictable with this funny and heart-stopping twisted cat and mouse thriller,” said Sarah Barnett, BBCA President. “From creator Phoebe Waller-Bridge – with remarkable performances from Sandra Oh and Jodie Comer – Killing Eve stands out in a sea of scripted stories as refreshingly entertaining and great fun.”

Killing Eve is produced by Sid Gentle Films Ltd. for BBC America with Waller-Bridge serving as lead writer, showrunner and executive producer. Sally Woodward Gentle and Lee Morris are executive producers, with Colin Wratten serving as producer and Sandra Oh serving as associate producer.

Source: Deadline Hollywood

The White Princess Star Jodie Comer Thinks Los Angeles Is “Like A Video Game”

This year, 24-year-old Liverpool native Jodie Comer struck her breakout role with The White Princess, Starz’s sequel to the hit BBC mini-series The White Queen. In the show, Comer plays a young Elizabeth of York, corsets and all. Luckily, the actress was prepared for the costume drama, thanks to a childhood obsession with another leading Brit. ” I grew up watching Keira Knightley films nonstop,” said Comer. “I always admired period dramas and just everything that goes into it.” As for the period dressing itself, Comer has come to find one downside to putting on the look: sneaking in a quick snooze. “The hardest part about a corset is that you can’t really nap at lunch,” she said. Here, the actress discusses her hit Starz show, her crush on Paul Rudd, and why shopping is her secret skill.

Do you remember your first audition?
My first professional audition was for a radio play in Manchester. That was the first audition that I got. It was my first paid job, which I think was like £150, and I thought it was megabucks.

How did The White Princess come about?

Starz found me by sending me an e-mail for an audition for The White Princess. I had one first, initial audition, which went pretty well, which then led to a recall. A week later, I had found out that I got the role, which is very unique. That doesn’t happen very often. Sometimes you’re waiting a very long time, and sometimes you don’t hear anything at all. So that was a nice experience. I grew up watching Keira Knightley films nonstop, and I always admired period dramas and just everything that goes into it. I feel like when you perform in a period drama, it’s so easy to transform yourself into someone else because the costumes are so different. The hardest part about a corset is that you can’t really nap at lunch. I hear a lot of people saying that they can’t eat. I still eat, and probably that’s my problem; it all just holds in your stomach. I don’t have the resistance to not eat very much when I’ve got a corset on.

When you are playing a real person, do you feel obligation to read up on them?
if you’re playing a real person, you definitely need to do some research. The great thing about playing Lizzie [Elizabeth of York] was you could find this information, but at the end of the day, no one lives to tell the tale of what she was like. So you still have so much freedom to make her your own.

You also have some very intense sex scenes.
I think the tricky thing about that particular scene in episode one is that in the book, it is actually a rape scene. When we came to shoot it, Emma [Frost, the show’s writer] was very clear that she did not want to show that on the show. What I think is quite interesting about that scene is Lizzie kind of regains as much control as she possibly can. She senses his weakness, and she essentially humiliates him. It’s an interesting scene. I find it quite harrowing because I acted it, and then we had a screening and a lot of the audience were cheering her. It was quite something.

Because of the show, your face is on a lot of buses. Have you stopped to take a picture with one?
No, I haven’t. I was in the airport flying home from New York a couple of weeks ago and I was in the shop, and there was all the books with my face on it. I tried to get a sly picture without anyone seeing, because I thought, “Oh my God, if someone sees me taking this picture, you’re gonna be such a narcissist. Get a grip. Go away.” But, I had to.

Who was your cinematic crush growing up?
Paul Rudd in I Love You, Man. Laughter is the way to my heart, and I find him hilarious and he’s cute. I just love that scene where they’re in the concert and slapping the bass. I want to be in a concert with Paul Rudd slapping the bass. And Jason Segal. But, I mean, I didn’t want to sound greedy. You said one.

What movies make you cry?
A movie that makes me cry every time is Billy Elliot. That scene where he’s dancing in the hall, and his dad walks in. And the first time his dad can see how amazing he is dancing, but he’s so conflicted with kind of his own feelings towards it. Oh, it’s so emotional. Forrest Gump, as well. The scene with the kid, and that scene at the end when he goes to the tree where he buried Jenny.

What was your favorite birthday growing up?
Is it really bad that I can’t remember my birthdays? What did I do on my last birthday? Okay, so I went for food with my friends, my girlfriend, and then we went into town and had loads of cocktails. Maybe that’s why I can’t remember my birthdays.

Do you have any secret skills?
I know how to sew. I’m a really good sewer. Is shopping a skill? Let’s go with that. I love clothes. I love food.I probably spend most of my money in Marks & Spencer. I did a little bit of walking around yesterday in New York and went to Opening Ceremony. I could never pull any of that stuff off, so I just appreciated it and then left.

Have you been out to Los Angeles yet?
I went to L.A. for the first time at the beginning of the year. I loved it. When I first got there, I was so overwhelmed. It was my first time in America, so I kind of felt like I was on a different planet. It felt like a video game. It was really weird. I’d done five weeks of general meetings, which is a lot of kind of going into a room, introducing yourself, and basically just speaking about yourself for 15 minutes. So after five weeks of that, at the end you kind of want to punch yourself in the face. But it was lovely. I stayed with my friends. It was nice to have some sunshine, because we don’t get a lot of that in Liverpool.

Do you still live with your family in Liverpool?
I can’t bring myself to leave just yet, but it’s gonna get to a point. My brother’s still at home, too. He’s 21. And I said to my mom, “You do realize we’re gonna be the film Step Brothers. We’re both gonna be 30, 40-odd years old, and we’re still gonna be in the kids’ rooms.” Which would be a lot of fun, but I’m hoping I can bring myself to fly the nest at some point.

Source: W Magazine

Starz shares first stirring teaser for The White Princess

Starz released on Thursday the first teaser for its upcoming drama series, starring Jodie Comer as the titular royal. Glimpses of Comer as Elizabeth of York, the Queen of England in the late 15th century are shown — including a dramatic removal-of-the-crown shot.

It’s a sequel to BBC’s 2013 series The White Queen, which, like The White Princess, was adapted from a Philippa Gregory historical novel. Gregory’s first three novels of the Cousins’ War series were the basis of The White Queen.

Writer Emma Frost and director Jamie Payne return from The White Queen. Frost will serve as showrunner, and Payne will reportedly direct five of the eight episodes. Gregory will executive produce.

See the teaser above. The White Princess also stars Jacob Collins-Levy, Essie Davis, and Game of Thrones‘ Michelle Fairley.

Source: Entertainment Weekly

Jodie Comer: ‘I felt I had to tread very carefully making Rillington Place’

​”It’s such a sensitive subject,” explains the Thirteen actress.

BBC One is tackling a real-life miscarriage of justice in new three-part drama Rillington Place.

It tells the story of Timothy Evans (Nico Mirallegro) – an innocent man falsely accused of the murders committed by his neighbour, John Christie (Tim Roth).

Jodie Comer (Thirteen, Doctor Foster) plays Evans’ wife Beryl and told Digital Spy that she “absolutely” felt a sense of responsibility in taking on the part.

“It’s such a sensitive subject,” she said. “I felt I had to tread very carefully – and I definitely felt a responsibility. There are families now still having to deal with what happened.

“For them to open up to us – to producers, to directors – and sit there and talk through and relive these moments again… I think it’s such a credit to them.”

It was the injustice of Evans’ story that appealed to Comer – and a desire that he and his wife not be forgotten.

“Every day in the newspapers, we’re just bombarded with awful events. It’s so easy to just forget these people and forget what happened to them. So I felt it was really important to tell this story.”

Roth is joined on-screen by Samantha Morton as Christie’s wife Ethel, while Comer was reunited with her My Mad Fat Diary co-star Mirallegro.

“It’s strange, because Nico and I had a lot of emotional scenes, which are always hard. But we both really understand how each other works, so it was actually very… I don’t think ‘fun’ is the word, but creatively it was really rewarding. We both pushed each other.

“We get on really well, so you’re not pussy-footing round. You can just tell each other how you’re feeling or if you want to try something different – we’re very open with each other, in that sense. I think it helped, just diving straight into it.”

Rillington Place begins on Tuesday at 9pm on BBC One.

Source: Digital Spy

Jodie Comer on Rillington Place

Jodie Comer on Rillington Place: ‘Oh, my God, these are real people and it actually happened’

The sunny Liverpudlian actress, who plays one of the victims of real-life serial killer John Christie in BBC1’s Rillington Place, is the go-to girl for traumatised young women

Comer plays serial killer victim Beryl Evans in BBC1’s Rillington Place about John Christie who murdered at least eight women, including his wife, in Notting Hill

“I’m quite a happy person,” says the 23-year-old actress Jodie Comer, with a warm and genuine laugh. We’d actually been speaking about her casting in Steven, an upcoming movie about the pre-stardom life of the “Pope of Mope”, Mancunian singer Morrissey, and how Comer enjoys listening to The Smiths, but her words might also be a rebuke to the way casting directors see her as either victim material – or, frankly, a bit of a bitch.

She was the latter in BBC1’s Bafta-winning hit of 2015, Doctor Foster, the younger “other woman” in the marriage of Suranne Jones’s cuckolded GP. And she was the victim in BBC3’s excellent Thirteen, a psychologically compelling drama, playing a 26-year-old woman who escapes the cellar in which she has been imprisoned for the past 13 years.

Now she’s playing the victim again, the real-life Beryl Evans in BBC1’s impressive new recreation of the life and crimes of John Christie, the serial killer who murdered at least eight women, including his wife, in the 1940s and early 1950s in Notting Hill. Beryl and her husband Timothy Evans were unfortunate enough to rent the upstairs flat from Christie at 10 Rillington Place – and Timothy was wrongly convicted and hanged for murdering Beryl and their two-year-old daughter, Geraldine.

Christie appeared as a witness for the prosecution at Evans’ trial, but later admitted to the killings and was himself hanged in 1953. This terrible miscarriage of justice had a large influence on the subsequent abolition of the death penalty, while Evans was granted a posthumous pardon and his conviction overturned.

“It’s the first role I’ve had where I felt a huge responsibility because I know these families still have to deal with what happened to loved ones,” says Comer. “It wasn’t that long ago, and then having to open up to producers and directors and relive it all again. Beryl’s niece came to set one day … I wasn’t there unfortunately so I couldn’t meet her … but I wouldn’t have known what questions to ask anyway. It’s such a delicate situation.”

Beryl Evans, pregnant with an unwanted second child, had been persuaded by Christie’s mendacious boasts of having trained as a doctor to allow him to perform an abortion on her, at a time when such an operation was illegal. He subsequently raped and strangled (or possibly the other way round) Beryl, disposing of her body in the garden shed – the garden itself being otherwise occupied by earlier victims.

“You never actually see the murder which I think is a good thing,” says Comer. “I always find with dramas that the more that’s left to the imagination of the audience the better.”

Indeed Rillington Place is interestingly structured, with its three episodes showing the crimes from the differing perspectives of (first) Christie’s wife Ethel (played by Samantha Morton), then of Timothy Evans, and finally of Christie himself – played with a soft Yorkshire accent and bald pate by Tim Roth, who manages to be chilling while suggesting the shambling gait of Woody Allen.

“I love Yorkshire accents and this has ruined them for me,” says Comer. “The thing I find the most unsettling about the character is that people weren’t terrified of him – they always say it’s the quiet ones or the nice ones.”

Roth, who is superb, was apparently unsure about taking the role, as was Richard Attenborough when approached to play Christie for Richard Fleischer’s 1971 film 10 Rillington Place – John Hurt’s breakthrough film, playing Timothy Evans (Judy Geeson portrayed Beryl). The reputation of that film, so much closer to the events – as well as the abolition of the death penalty in 1965, and the legalisation of abortion in 1967 – has grown over the years. “I watched it before I started filming,” says Comer. “You get lost in watching it and then you suddenly think, ‘Oh, my God, these are real people and it actually happened.’”

Filmed in Glasgow on authentically dingy sets, Rillington Place is a sharp corrective for anyone hankering after the mythical good old days. “The set was an exact replica, except the rooms were little bigger than they would have been,” says Comer. “Even these were so tiny, and when Nico and me were filming the space really played a part because it felt so claustrophobic… you couldn’t get away from each other.”

Nico Mirallegro and Comer share some intimate scenes, a potentially embarrassing process made easier by the fact that the two actors knew each other from My Mad Fat Diary, the E4 comedy in which Comer played the good-looking and popular best friend of Sharon Rooney’s main protagonist, Rae Earl, and Miraleggro played Rae’s boyfriend Finn.

“It’s so nice when you go on to a job and you’ve worked with someone before,” says Comer. “Especially if you’re playing a love interest and you have to have an ease with each other on screen.”

My Mad Fat Diary was Comer’s breakthrough role after the familiar rite of passage for budding television actors – Holby City, Doctors, Casualty – and which substituted for giving drama school a miss. And what many people may not realise, because she never gets to speak with her normal accent on screen, is that Comer was born in Liverpool, her father a masseur and her mother working for a transport company in the city. “There was one small Jimmy McGovern drama early on, but I now wonder whether I’ll ever get to use my real accent,” she says. “I don’t think many people want it, which is a shame.”

Comer first discovered her talent at the age of 13 when she won a competition at the now defunct Liverpool Drama Festival in which contestants had to recite a monologue – hers was about the Hillsborough disaster. This led to a part in a Radio 4 play being recorded at the city’s Everyman Theatre, and an agent.

If My Mad Fat Diary showcased a talent for comedy, then her role as the ambiguous kidnap victim Ivy Moxham in Thirteen was a revelation. “I so wanted and needed a role like that,” says Comer, who researched Ivy by reading about the real-life case of Natascha Kampusch, the Austrian woman kidnapped at the age of ten and who managed to escape eight years later.

“I kind of realised that I could never fully fathom what this girl has gone through,” says Comer. “But the book gave me more of an idea of the living conditions she’d been in, the abuse that she went through, how she counted time and all these little details you never think about.”

“Also Ness [Vanessa] Caswill, who directed the first block, she did a lot of physical rehearsals with me. She would tell me to close my eyes and imagine I’m in a dark room and he [the abductor] has turned the lights out and you have to work your way round the room and look for something you’re trying to find. You start feeling materials more, like the carpet, it was such a good exercise.”

By contrast, her role in the upcoming Morrissey biopic, Steven, sounds more cheerful, playing a fictional character called Christine, a composite of a group of girls who worked in the same Inland Revenue office in Manchester, and apparently annoyed the future pop star. “She doesn’t think before she speaks and she was quite narrow-minded,” says Comer of Christine. “And especially after doing Rillington Place and Thirteen, she was just so much fun.”

Before that, however, Comer had the title role in The White Princess, a sort of (but apparently not) sequel to the flop BBC history drama The White Queen, but this time produced by Starz network in the United States. Comer plays Elizabeth of York, contracted in a dynastic marriage to the first Tudor king, Henry VII. “It takes place just after the Battle of Bosworth Field and it follows Elizabeth and Henry’s marriage over a seven year period,” she says.

“I’d always wanted to do costume drama, but period dramas often become very wooden. Just because they’re born in the 1400s all of a sudden people start losing their sense of humour or their personalities.”

Currently filming the second series of Doctor Foster, in which she hopes her marriage-breaking character Kate will come across more sympathetically, Comer is then going to take a well-earned holiday in the sun – a girl’s holiday with her mum (she still lives with her parents in Liverpool) – and a chance to regain some colour after being so wan in The White Princess.

“I’ve still got my Tudor tan,” she laughs. “I wasn’t allowed to go in the sun for pretty much most of this year and I had to wear factor 50. I’m looking a bit lilac…”

Rillington Place starts on BBC1 on 29 November at 9pm

Source: Independent UK

Jodie Comer Boards Morrissey Biopic ‘Steven’

Jodie Comer has joined the cast of Steven, the Mark Gill-directed biopic of iconic British singer Morrissey. This film marks Comer’s big screen debut, following on from her eye-catching turn as the 22-year-old mistress/homewrecker in BBC’s ratings phenomenon Doctor Foster. She joins the previously announced Jack Lowden and Jessica Brown Findlay in the film.

The news comes on the heels of Comer landing the plum lead role The White Princess, the sequel to Starz’ War of the Roses historical TV drama The White Queen.

Gill has written the script with William Thacker, his collaborator on the 2014 Oscar-nominated short The Voorman Problem. HanWay is handling sales on the project which starts principal photography in April. Entertainment One has taken UK rights.

Comer most recently starred in Thirteen, the BBC Three/BBC America five-part drama about a young woman working her way back into society after being abducted. Comer played Ivy Moxham, who escaped from a cellar after thirteen years. The series explored how to pick up the threads of a life half-lived and how to survive as a family under great pressure.

Comer also established herself as one to watch with her performances in My Mad Fat Diary and most memorably in BBC One’s hugely successful series, Doctor Foster, where she was revealed to have been having a three-year-affair with the husband of her parents’ friend Doctor Foster, played by Suranne Jones. The series 1 finale drew in almost 10 million viewers in the UK.

Comer is repped by Independent Talent Group in the UK and ICM Partners in the U.S.

Source: Deadline

Jodie Comer Lands Lead Role In Starz Sequel ‘The White Princess’

Jodie Comer, best known for her turn as the 22-year-old mistress/homewrecker in BBC’s ratings phenomenon Doctor Foster, has landed the plum title role in The White Princess, the sequel to the acclaimed historical TV drama The White Queen. The series will be a Starz production, which will air it in the U.S. (The White Queen was a BBC/Starz collaboration).

The White Princess is the latest installment of Philippa Gregory’s Cousins’ War novels, chronicling the long-running War of the Roses. That’s the internecine 15th century conflict for control of the throne of England, fought between supporters of rival branches of the royal House of Plantagenet and the Houses of Lancaster and York. Not the 1989 divorce dramedy starring Michael Douglas and Kathleen Turner.

The White Princess continues the story beyond The White Queen, following the beautiful eldest daughter of Edward IV and Elizabeth Woodville – the White Queen – the young princess Elizabeth. She faces a conflict of loyalties between the red rose and the white. Forced into marriage with Henry VII, she must reconcile her slowly growing love for him with her loyalty to the House of York, and choose between her mother’s rebellion and her husband’s tyranny. Then she has to meet the Pretender, whose claim denies the House of Tudor itself.

Comer most recently starred in Thirteen, the BBC Three/BBC America five-part drama about a young woman working her way back into society after being abducted. Comer played Ivy Moxham, who escaped from a cellar after thirteen years. The series explored how to pick up the threads of a life half-lived and how to survive as a family under great pressure.

Comer also established herself as one to watch with her performances in My Mad Fat Diary and most memorably in BBC One’s hugely successful series, Doctor Foster, where she was revealed to have been having a three-year-affair with the husband of her parents’ friend Doctor Foster, played by Suranne Jones. The series 1 finale drew in almost 10 million viewers in the UK.

Comer is in good company with The White Princess. Her mother, the White Queen, was played to much acclaim by Rebecca Ferguson, who has since established herself as a bona fine leading lady with scene-stealing turns opposite Tom Cruise in Mission Impossible- Rogue Nation and scoring parts in The Snowman opposite Michael Fassbender and Life opposite Ryan Reynolds.

Comer is repped by Independent Talent Group and ICM Partners.

Source: Deadline