We are often told that history is written by the victors, but in the case of Queen Victoria, it was written by the woman herself. At The Watermill Theatre, the world premiere of Daisy Goodwin’s Victoria: A Queen Unbound is currently deconstructing that very narrative.
Set in the fading light of Osborne House in 1901, the play presents a fascinating psychological duel: the elderly monarch, clinging to the "perfect" life recorded in her journals, is forced to confront her younger self—the woman who actually lived through the pregnancies, the loss of authority, and a marriage that was far more crumbling than "angelic."
Stepping into the eye of this emotional storm is Jessica Rhodes. As Young Victoria, she is tasked with portraying the version of the Queen that the history books (and the diaries) tried to hide: a woman surrendering her power to a controlling husband while navigating a decade of near-constant pregnancy.
Today, we’re talking to Jessica about taking on the role.
What can you tell me about Victoria: A Queen Unbound and your role as Young Victoria?
It is radical to look at the relationship between Victoria and Albert, and I think it opens a new perspective into the love story, her relationship with her children and her relationship to her recorded memories. I connected with Daisy’s play instantly, because even though it is a story being told through the lens of a Queen, it still felt so modern and relatable, and I wanted to be part of this retelling. I just love the
way Daisy has written, this wonderful woman of contradictions, who’s as soft as she is formidable.
We often see Victoria and Albert as the ultimate romantic duo. However, this play explores her surrendering authority to a "controlling husband." How do you approach the scenes where that romantic gloss starts to peel away?
The idea of a ‘controlling husband’ isn’t something we’ve been focusing on, I think it’s more the exploration of two people who at their core very different beings and are trying their best to communicate their needs and wants to each other.
The play mentions she was pregnant for most of her 20s and 30s. How does that physical and emotional toll influence your performance of a Queen who is supposed to be the most powerful woman in the world?
It’s not a stretch to imagine that the effect and isolation from so many pregnancies in such quick succession would’ve had an effect on her well being. I have watched interviews with modern women, but it’s interesting to know that none of what we know now would’ve been considered then, and thus, how Albert maybe sees her is lacking in understanding.
It’s not a stretch to imagine that the effect and isolation from so many pregnancies in such quick succession would’ve had an effect on her well being. I have watched interviews with modern women, but it’s interesting to know that none of what we know now would’ve been considered then, and thus, how Albert maybe sees her is lacking in understanding.
Despite being surrounded by family, the play highlights her growing loneliness. How do you communicate that isolation when the world sees a woman who has it all?
I found researching and learning about the ‘Kensington System’ very useful, meaning that for the majority of her early life she was kept under a form of isolation, lead by John Conroy and her mother, Duchess of Kent and Strathearn. Daisy Goodwin suggests that diaries are just a skeleton and we provide the "flesh."
When you were researching the role, did you find a gap between the official Victoria in her writings and the woman you’re portraying on stage?
Firstly, you can find all of Queen Victoria’s diaries online in the Royal Archives, and what was so interesting is over half of them have been edited by her daughter Beatrice, who we meet in the play played by the beautiful Lydia Bakelmun. So dichotomy between the ‘official’ writings and what may of happened feels pretty plausible. There are however, earlier ones that are unedited which hold the begin
stages of Albert and Victoria’s romance and it was the sweetest thing to read how her ‘heart was going’ on seeing him and how sharing a bed with him, with the love she felt was something that really made her feel safe. It was also interesting to see how detailed she is with time, she is very specific with the timings on which events happened. It reminded me of COVID and how present the passing of time felt.
stages of Albert and Victoria’s romance and it was the sweetest thing to read how her ‘heart was going’ on seeing him and how sharing a bed with him, with the love she felt was something that really made her feel safe. It was also interesting to see how detailed she is with time, she is very specific with the timings on which events happened. It reminded me of COVID and how present the passing of time felt.
The play asks, Does writing something make it true?, Do you play Young Victoria as she actually was, or as the Older Victoria remembers her being?
We are ultimately the same woman looking back at her life, but we have different memories on how events and moments played out versus how they have been recorded. It has been such a pleasure working with Amanda Boxer through this Journey.
Having created the ITV series, Daisy Goodwin clearly has a deep connection to this monarch. What has it been like working on a world premiere that challenges the very fairytale she helped popularise?
I feel like it’s a part of the story Daisy always wanted to tell. She is an incredible oracle on Victoria and I have loved learning from her, and her knowledge of this relationship. You can feel her heart in it and I feel incredibly grateful to be part of this deeper look at V&A.
The Watermill is known for its intimate, atmospheric setting. How does the closeness of the audience help tell a story that is so focused on internal secrets and private domestic life?
I think it does exactly that, it plays into the memory element of the story. Being in Victoria’s mind as she journey’s back through these different moments in her life.
You recently were part of the massive, tech-heavy production of Stranger Things: The First Shadow in the West End. How does the intimate, unplugged environment of The Watermill change how you approach the physical and emotional stakes of a scene?
Getting to work on what was definitely the biggest theatre production I’ve been a part of to date with Stranger Things, was incredible and it was amazing to bear witness to what can be achieved on stage and theatre magic. It was also the first proscenium arch stage I’d worked on, I made my debut in the round at The Orange Tree Theatre in Richmond so honestly it’s wonderful to return to a theatre of a similar ilk with The Watermill. I love intimacy and to feel the connection with the audience, which I think works very well with the stakes of our scenes.
Getting to work on what was definitely the biggest theatre production I’ve been a part of to date with Stranger Things, was incredible and it was amazing to bear witness to what can be achieved on stage and theatre magic. It was also the first proscenium arch stage I’d worked on, I made my debut in the round at The Orange Tree Theatre in Richmond so honestly it’s wonderful to return to a theatre of a similar ilk with The Watermill. I love intimacy and to feel the connection with the audience, which I think works very well with the stakes of our scenes.
In The Tempest, you played Miranda, a young woman living under the heavy influence and "magic" of her father, Prospero. In this play, Victoria is under the influence of her husband, Albert. Did your experience playing Miranda help you tap into the feeling of a woman trying to find her own voice while under someone else's control?
Interesting I wouldn’t stay Miranda feels the influence as much, at least the way I got to explore the relationship with Alex Kingston, having a mother/daughter relationship felt less controlling and more rebellious growing pains of a teenager. The tussle between a mother trying to protect her child and, keep her young/innocent, and that child’s discovery of life beyond that relationship. With Victoria
and Albert there is much more of a conscious power struggle and the roles they Inhabit.
If you could sit down with Victoria to ask her anything about her life, what would you ask her?
What activity made her feel most a peace with herself? It’s been amazing learning about her skill in watercolour and drawings, also her love for dancing and the freedom and joy that gave her. I’d love to know about her relationship with Baroness Louise Lehzen, her surrogate mother.
How do you mentally and physically prepare for a performance?
I’ll do a physical and vocal warm up in the space, also it’s a nice opportunity to check in with each other and get ready for the run.
How do you unwind after a performance?
Depending on the nature of the show, it’s good to do something that shakes it off. Could be something physical or literally having a shower and of course having a little laugh always helps.
What was the first piece of theatre you remember having a big impact on you?
Honestly the first play play I ever saw was one I was taken to with my school when I was 16. We went to see Lucy Prebble and Rupert Goold’s Enron, it was unbelievable. The danger, the historical, the political situation with the crash, loved it. I was obsessed with a scene between Amanda Drew and Samuel West in his office and their realism. It was then a bit of a surreal full circle when I got to meet
Lucy doing a revival of her play The Sugar Syndrome.
What keeps you inspired?
The people that surround me. My mum, my friends, my fellow actors and their work, new films, new plays, new music. Chloe Zoa’s Hamnet, Guillermo Del Toro’s Frankenstein: The Anatomy Lesson, Rosalia’s new album Lux and Charlie XCX’s soundtrack to Wuthering Heights.
What would you hope an audience member takes away from seeing Victoria: A Queen Unbound?
I hope they will take away a more nuanced sense of a what a relationship of this magnitude could’ve contain. Also, the aspect at looking back at one's life and seeing where we’ve edited, coloured in the lines or tidied round the edges.
Victoria: A Queen Unbound runs at The Watermill Theatre from 27th March until 9th May 2026. For tickets and more information visit https://www.watermill.org.uk/events/victoria
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