Only Kelli O’Hara Could Make the Word ‘Geegaws’ Break Your Heart

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Is there any aspect of “The Gilded Age” more representative of the show’s distinctive appeal than Kelli O’Hara’s portrayal of Aurora Fane? Kelli O’Hara, a Tony-winning actress who has graced productions such as “A Light in the Piazza,” “South Pacific” (2008), and “The Bridges of Madison Country,” is one of the most renowned theater actresses of the 21st century. On HBO’s engaging yet absurd drama, she has primarily been given supporting roles: subtly expressing disapproval and occasionally defying rules by hiding secrets. In season three, creator Julian Fellowes acknowledges O’Hara’s endurance with a juicy plotline: The season begins with Aurora’s husband Charles (Ward Horton) seeking a divorce, which would make her socially unacceptable among her peers. Aurora refuses, then delivers the standout line of the season: “It’s peculiar, when I adorned myself in these trinkets, I was eagerly awaiting your return.” The fact that eight-time Tony nominee Kelli O’Hara was required to say “adorned myself in these trinkets” didn’t go unnoticed on social media.

In tonight’s episode, Aurora finds herself with greater concerns than just trivial matters. Charles inadvertently reveals their confidential news by inviting his mistress to a social event, an action that quickly catches the eye of Mrs. Astor (played by Donna Murphy).

In our initial conversation about this storyline, Julian Fellowes emphasized its historical significance and his desire for an authentic portrayal. As an actor, I was excited about the opportunity for character development, having recently finished projects like “Days of Wine and Roses” and “The Hours,” where I played troubled women. It’s crucial to depict historical moments truthfully so we can learn from them. Women in that era had limited choices and were often confined, and it seems some of these issues are recurring today. My role was to illustrate, honestly, This is what happened, and there was no choice but to endure.

It’s fascinating to observe Aurora utilizing the sole power she possesses, which is her ability to divorce him due to his choices. This decision carries a heavy societal stigma and deeply impacts her, yet it’s significant because she chooses not to comply.

Have we had much insight into the Fanes’ marriage until this current season? Given the context, what do you suppose their relationship was like? Despite Ward Horton, who portrays my husband, being an incredibly kind individual, he finds himself in a negative light now. In the initial season, there was a crucial scene where I asserted, “It’s my father’s money, be careful with what you say about my father.” The wealth primarily originated from my family.

This season caught me off guard because it turned out that Aurora never had children, which I wasn’t aware of before. Since I created her myself, I crafted her character to include elements such as falling for the handsome man, valuing societal conventions, and considering what her family would look like. The revelation that she never had children was difficult for me to accept because it would have seemed odd. What I appreciate about episodic television is that you must construct your own story while also dealing with facts as they arise. This discovery forced me to abandon my idealized notion of a picture-perfect marriage.

Now that Aurora Fane has gained her liberty, what will be the paths she decides to tread and what fresh options lie before her? Can we discern any decisions she makes that were previously off-limits for her?

Could it be that you’re questioning whether Aurora truly cared for him? It seems that there are moments when she can hide reality from herself, only acknowledging it when she’s compelled to face it. In contrast, I tend to gravitate towards the truth, even if it makes things difficult for me. The times when our paths cross are often when Aurora steps out of her comfort zone, goes to a party, and tells lies or delves into experiences that might not be ideal because she finds them intriguing, giving an air of mystery around herself.

In the previous episode, Aurora mentioned that she adorned herself with these trinkets. It’s clear everyone is quite fond of these accessories now.

Have you caught wind of the debate surrounding that line? I received it and, upon reading the script, found myself puzzled, asking, ‘What on earth is this?’ It turned out to be adornments and pomp. The moment called for such a raw, primal utterance, and I relished the chance to use the phrase: ‘When I donned these trinkets.’ Expressing sincerity in modern speech about such things can feel like quite a challenge.

How did you manage to convey both the emotional intensity required to tug at the audience’s heartstrings and the humorous touch needed when saying “adorned myself in these trinkets”?

My approach was similar to Aurora’s. I found it necessary to embrace the absurdity of the situation, as if it didn’t make sense to me, it wouldn’t resonate with the audience. Here’s a possible rephrase:

In order to create an emotional impact and add a touch of humor, I had to don this extravagant costume of emotions. As I was stepping into this exaggerated role for your homecoming, I was pretending to be genuinely excited.

The word “geegaw” was intentionally used to highlight the absurdity of the situation and add a comedic element to my performance.

On a single day during my current season, two crucial scenes – one from the premiere and another – were filmed. Due to a severe stomach illness I’d not experienced in years, I almost didn’t make it onto set. However, we had already booked Lindhurst Castle for that day. To help me through, they administered anti-nausea medication, and I spent eight to 10 hours lying down while wearing a corset. This theatrical dedication makes me proud. Despite not recalling the shooting process, I’m pleased with how the episode turned out in the end.

How did it feel to portray the instant when Mrs. Astor discovers the truth and Aurora begins to unravel?

In this critical scene, I chose to emphasize the term “unravel” as it vividly captures the essence of the moment. As an actor, I find it more engaging to overact and crumble dramatically, but Aurora Fane possesses a hidden fortitude that she has cultivated throughout her life. This facade is a part of her upbringing. Even in this unraveling instant, she clings desperately to her composure. Yet, she is aware of being discovered.

In the realm of storytelling, I often find myself captivated by women whose lives take a turn for the complex. Akin to those portrayed in ‘Days of Wine and Roses’, ‘The Bridges of Madison County’, and ‘The Hours’, do any such characters resonate within Aurora? Well, I’d say it’s not so much about finding these women in Aurora, as it is about recognizing that some of my own life’s characters are mirrored in all those stories.

Are the same female characters recurring across all your roles?
When I’m asked not to portray a certain woman anymore, it opens up new opportunities for me to bring more of my own personality into the role, and that feels delightful. However, if I’m asked as an actress to play a character similar to her, I know exactly who she is. These characters may have different backgrounds and histories, but the essence of that particular woman is deeply familiar to me.

Does your work on TV as Aurora and on stage impact each other?
Indeed, they do. While the techniques used in these two mediums differ significantly, I firmly believe that the essence of portraying human stories truthfully remains consistent across them. I’d even extend this thought to opera, although it’s not my preferred genre. The key is always finding the purpose behind the story and unveiling its underlying truth. That’s where I start when working on TV, and I would apply the same approach in theater as well.

To put it simply, I believe I need to venture into television and film production to broaden my audience and increase my chances of landing major theater roles. While I am passionate about theater, today’s industry demands versatility, and producers are more likely to consider an artist who can appeal to a wider audience through various mediums. By expanding my career in television and film, I hope to secure opportunities for significant plays or musicals in the future.

I’m fortunate to be acquainted with numerous exceptionally skilled theater performers, who surpass anyone in my circle. However, if a producer doubts their marketability and ticket sales, they won’t secure the role. This aspect is inherent to the profession. It’s not just about the pleasure and honor, but it’s also a responsibility: Broaden your range, become more adaptable. That’s what I strive for. When I step onto a television set, I’m there to deliver. I’ve memorized my lines. I’m prepared. I won’t squander time. That’s what I appreciate about The Gilded Age.

Are you a fan of episodic television? Does it compare to the thrill you get from performing in theater for you? Frankly, no. I’m a theater enthusiast, practically an addict. Theater is not just my passion, but a vital part of me. I live for the eight shows a week until I’m drained. It energizes me. In fact, I was involved with a project titled “The Accidental Wolf” alongside Arian Moayed for eight years on and off. It was an indie production that offered me a unique opportunity to delve deeper into the intricacies of lenses, television structure, and understand why I’m so passionate about it. There have been jobs where I felt my time was being squandered due to lack of adrenaline rush. However, this job and that one, I was part of a story, working with a group of talented repertory theater actors like Christine Baranski, Cynthia Nixon, and Nathan Lane who know their stuff. We would do one take, and it’s that mindset of “We’re here to work, and we won’t waste anyone’s time“. Sharing space with them has been incredibly enriching for me, more as a student than an active performer. At this stage in my life, I want to continue learning, and roles like the one in “The Gilded Age ” could keep me engaged for a long time.

Are there revivals you’ve been keeping an eye on, wondering if your vocal range is suitable for them? Despite my best efforts, I find myself more attuned to classical tones. I’ve spent countless hours in the shower trying to emulate Whitney Houston, but it’s not something that seems possible. There are indeed revivals that I adore, but I often question whether they would be a good vocal match for me. With my extensive experience in revivals, I feel that my future endeavors might lean towards new works, as they need to be tailored specifically like ‘Bridges’, ‘Days of Wine and Roses’, or ‘Light in the Piazza’ were. These roles have been some of the most memorable experiences in my career, although not all have been commercially successful. There are a few I would love to tackle, but sometimes they get snapped up quickly. I wished I could have done ‘Sweeney’, but that opportunity passed me by.

Absolutely! As a huge fan, I’ve often imagined swapping roles with the brilliant Laura Benanti between Sally and Phyllis each evening. It would be an absolute delight for many of us to witness my interpretation of Sally in Follies.

Like in Little Foxes?
Yes. That could be a conversation to pull back out.

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2025-06-30 05:56