Denée Benton Wanted to Show You This Side of Peggy for So Long

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Despite its adherence to the traditional upstairs-downstairs dynamic, HBO’s The Gilded Age has been revolutionary when it comes to racial representation from the get-go. A standout moment from season one was the revelation that Peggy Scott, portrayed by Broadway veteran Denée Benton, does not originate from a poverty-stricken background as assumed by her peers (and possibly viewers). Instead, she is from a prosperous African American family in Brooklyn, where her father manages a successful drugstore. Since then, the series has been illuminating New York’s pre-Harlem Renaissance Black community in ways seldom portrayed on television. The innovative nature of this portrayal is unexpected for a production by Julian Fellowes, who is usually reticent about racial issues, as evident in his work on Downton Abbey.

This season, I find myself delving deeper into the Scott family’s tale. Following Peggy’s brief bout of illness in the premiere, her parents whisk her away to Newport, where she strikes up a flirtatious relationship with Dr. William Kirkland, portrayed by Jordan Donica. As they stroll along the coastal cliffs, getting to know each other, Peggy’s parents find themselves at odds with potential in-laws – the distinguished Kirklands, played by Phylicia Rashad and Brian Stokes Mitchell. This affluent family traces their roots back to generations of free Black Americans and they wear their lineage like a badge of honor, sometimes slipping into a sense of superiority. Mrs. Kirkland’s arrogance echoes that of past white characters, but it unfolds in unique ways – primarily through colorism.

The interaction between Black parents and their children in this show is intriguing to observe, as it presents something new while still adhering to its central theme of class conflict. For Benton, who gained popularity portraying Natasha Rostova in the musical “Natasha, Pierre & the Great Comet of 1812,” this unique portrayal of 19th-century Black life is the product of years of meticulous research and dialogues with the series’ creators and historians. In her own words, she describes it as a “miracle,” but it was born out of dedicated teamwork.

One of the most captivating aspects of The Gilded Age since its inception has been its portrayal of New York’s affluent African American society. However, with this new season and this episode, the show is delving into an even more established social circle in Newport. It’s hard to describe the excitement I felt about expanding the scope of the series. When I landed my role in 2019, there were only three Black individuals involved in the production: Dr. Erica Dunbar, a historian who is now an executive producer; director and executive producer Salli Richardson-Whitfield; and myself. Audra and John were present in smaller roles. We began envisioning what this show could become, discussing its potential to be extraordinary. Julian Fellowes and director Michael Engler received my emails quite early on, and I’m sure they no longer regret it, but at one point, they might have, as I was like, “You guys! Nothing like this has ever been done before! We need to shatter any preconception, any stereotype.

The seeds we sowed took us to various parts of the diaspora during that period, showcasing diverse portrayals of Black prosperity and revealing instances where white supremacy persisted within our own neighborhoods. Notions like the cliff walks were not conceived as recently as 2019.

Could you explain how collaboration has influenced the character’s development?
Previously, Peggy was intended to be Marian’s companion. However, we had a chance to rethink this. What if instead of just accompanying Marian, Peggy utilizes her writing abilities within the household as well? What if she doesn’t work for a traditional white publication, but instead joins The Globe? Dr. Dunbar has access to numerous resources, and T. Thomas Fortune is a real person, so why not expand our perspective here? Instead of having Peggy wear just two costumes, what if we show her in luxurious silks and rich jewel tones? Why wouldn’t she also be dressed like that?

Expanding Peggy’s visibility beyond just white settings was one of our goals. We envisioned a Black character as a crucial element, which will be introduced at the end of this season. Initially, it might have been easy to stick with a conventional approach, casting a token character in a predominantly white show. However, we wanted to avoid that stereotype and offer both viewers and ourselves something unique and diverse.

Were you intrigued by the Gilded Age before starting work on the show?
To be honest, my passion has always been Black history. I was familiar with certain figures from the Gilded Age, but I didn’t know much about a thriving Black community in Brooklyn. Black Gotham, a book I was given, introduced me to the Black female writers of the 19th century. Their works tackle issues that are still relevant today, such as intersectionality, wealth disparity, and the struggle for representation. These writers seem to be present in the characters portrayed by Phylicia, Audra, and myself.

This season, the show has begun touching upon the topic of colorism, but for now, Peggy isn’t directly involved in those discussions. Instead, she finds herself immersed in a captivating love affair. For once, we get to see Peggy shine and embrace her independence as she navigates her political ambitions, pens her novel, and even finds herself surrounded by a charming man who rescued her. We also notice a new side of Peggy as she dons vibrant colors that we haven’t seen her wear throughout the series so far. In her heartfelt exchanges with Mrs. Kirkland, Peggy’s innocence is apparent, but it’s not a lack of awareness – rather, she simply hasn’t yet learned to filter herself in certain situations.

As a film enthusiast, I harbor aspirations of my own, yearning to step into the world of cinema at all levels and collaborate with visionary directors like Yorgos Lanthimos, particularly in the realm of magical realism. Yet, when I express this dream to an agent, their response is often akin to, “Good luck, kid.” Such is the reality that Peggy encounters in every room she enters. However, whenever she meets Mrs. Kirkland, she’s already faced countless variations of such skepticism. Her unwavering confidence serves as a source of inspiration for me.

I appreciate the fact that it’s now Peggy’s parents’ time to appear, given their past oversights during previous seasons. As the story unfolds, they have a chance to support her journey and make amends.

In the current situation, it appears that Peggy has only shared her connection with Dr. Kirkland with her mom and aunt so far. However, one can’t help but wonder what emotions are truly stirring within her heart, given her strong reaction to his request to review her work.

In a more modern context, one could say: “That’s very appealing.” Back in the 1800s, this man said something like, “Let me read your handwriting.” Nowadays, people aren’t interested in reading each other’s writing! The story he told her about her father, who was an inspiration for him, made Peggy feel quite taken aback. It’s as if he had noticed her in the midst of struggles, with her simple gown and braids reminiscent of Miss Celie, while she was fighting for her life. However, I don’t think she has any reason to assume that he sees her in such a light. The cliff walk is when she truly lets herself surrender to what feels pleasant.

When acting out the cliff walk scene, does her past sorrow influence your performance? Her grief stems from more than just Mr. Fortune’s heartbreak; she also experienced the loss of a child and her first husband against her will. Although it may not always be conscious, I believe it lingers within her. She likely struggles with when to reveal and hide her pain. She carries quite a history, not your typical light-hearted stories. This complex past could manifest in the form of tension during our portrayal.

It seems that Peggy has a more independent role this season in Newport, distinct from the other main characters. How was it for you filming under such circumstances? We often liken our show to a theater repertory company, where different actors play various roles within the larger ensemble. There are many individuals who seldom interact with each other. Morgan Spector, your co-star, and I once mentioned in an interview for CBS This Morning that we never share scenes together on the show. The press events serve as our main opportunity to reunite.

In my cast, being theater kids, there’s a sense of comfort that feels entirely organic. I had an established working relationship with Audra and John, and acting alongside them always enhances my performance. Jordan and I shared the stage in “Into the Woods.” Audra has collaborated with Brian and Phylicia, while John has worked with Phylicia. We swiftly form our own environment. It was thrilling to discover that Mrs. Kirkland embodies the Agnes of Newport. We’re exploring archetypes within our roles that resonate throughout the show. The Russells, Van Rhijns, and now the Scotts are the families we’re portraying.

Prior to this incident, I hadn’t considered your family as coming from newly accumulated wealth. Instead, they are new wealth, while the Kirklands have been old money – not just rich for a long time, but also free of obligations or constraints that often come with wealth. This gives a different flavor to their interactions with us, much like Agnes viewed the Russells in season one.

Many of the characters you’ve portrayed, whether on screen or stage, have connections to money. For instance, Peggy, Natasha in Natasha, Pierre, and even Cinderella in Into the Woods. Do these characters influence each other?

One of my friends joked that I always seem to play someone striving for freedom. That’s how they all resonate with me. They are young women who are fighting to establish their own independence within restrictive situations. They are like supernovas trapped inside. I can personally relate to this, having grown up as part of the first generation of a rising Black family in the South. My parents were brought up as migrant workers during segregation in Florida. In school, I aspired to play the ingénue role, but I didn’t think roles like Natasha would be accessible for someone like me. Instead, I looked up to Audra McDonald and made that my personal goal.

Instead of Peggy being a character written as a Black woman compared to Natasha, the difference lies in how deeply connected I feel to Peggy’s portrayal. If reincarnated during her time and given her circumstances, Peggy would be my reflection. Her essence resonates with me, mirroring my life experiences. Although we have different backgrounds – being a Southern girl myself while she hails from Brooklyn – Peggy embodies the American Girl I’ve always dreamed of playing. The specificity of her character transcends racial and gender boundaries, making her more relatable and universal. People seem to identify with Peggy strongly because she is such a genuine and well-written character.

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2025-07-07 05:54