The Gilded Age’s Cynthia Nixon Explains Ada’s ‘Misguided’ Temperance Crusade

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This summer, Cynthia Nixon reigns supreme on HBO Max. The New York City actress is featured in two of their most highly anticipated summer series: “And Just Like That…” and “The Gilded Age.” Although separated by about 150 years, these shows share similarities as they offer glimpses into the lives of the fashionable upper class of New York City. However, Nixon’s characters in each series are starkly contrasting. Dissimilar to the relatable, sharp, and adventurous Miranda Hobbes, Ada Forte (née Brook) is usually reserved, sweet, and spends most of her time confined within her luxurious sitting room. In the second season, Ada finds a partner to free herself from her sister Agnes’s (Christine Baranski) control, only for him to succumb to cancer. In the third season premiere, Ada is back with Agnes, now a wealthy widow managing their household after her nephew Oscar squandered the van Rhijn fortune. With this newfound power and status, Ada has taken an interest in the Temperance movement, as one might expect.

Initially, Nixon viewed Aunt Ada as misguided in her political endeavors, but looking back to season one, it’s clear that she possessed the qualities to become a “petty tyrant” as Nixon put it. In the grandiose yet absurd world of The Gilded Age, this transformation is what we refer to as development.

You’ve recently wrapped up the And Just Like That… press tour, and now you’re juggling between The Gilded Age, protesting at No Kings, and campaigning for Zohran. How are you managing all of this?

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You’ve just finished the press tour for And Just Like That… and have moved on to work on The Gilded Age, joined protests at No Kings, and are also campaigning for Zohran. It’s quite a whirlwind! How are you keeping up?

How did you manage to collaborate on the “Don’t Rank Cuomo” PSA featuring Ashlie Atkinson, who plays Mrs. Fish in The Gilded Age? Given our history together – from sharing a long fashion show bench during the first Sex and the City movie, to our roles in Law & Order: SVU and Steve, and my advocacy for her on The Gilded Age due to our similar political views – it seemed like a natural fit. It was actually Assemblywoman Yuh-Line Niou who suggested Ashlie for the role, and I immediately agreed.

It’s intriguing that you’re engaged with such social causes while being part of a series like ‘The Gilded Age,’ which delves into the era of old money and robber barons. The cast members themselves show great political awareness and involvement – for instance, Denée took part in a hunger strike to highlight the Gaza conflict, Morgan Spector and you are both Democratic Socialists, often seen at the same events. Carrie Coon is vocal about her views, while Christine Baranski joined you in a video plea to stop bombing Gaza for Mother’s Day, addressing Jill Biden on the matter. So, this show that portrays the struggle between the rich and poor, the fight for African-Americans, immigrants, and gender equality, has quite a left-wing cast, even though some of them play conservative characters in it.

This season, your character seems to be taking a unique approach to political activism.

What makes you suppose Ada is attracted to the Temperance movement? To some extent, Ada resembles Nora from “A Doll’s House,” being both innocent and wise for her age. However, she lacks worldly experience and has always been carefully guarded. Now, as a woman of means, Ada finds herself managing an entire household, including staff. From this sheltered vantage point, Ada perceives the world through the lens of virtue, particularly in regards to the perils of alcohol. The Temperance movement was quite progressive during that time, primarily driven by women. It was centered on the idea that men would squander their earnings on liquor, leaving nothing for their families’ needs. Moreover, they believed that drunkenness would lead to violence against wives and children. Given these circumstances, it seems almost unfathomable why anyone wouldn’t support temperance, as it appears to be a fight for moral righteousness and the defeat of vice.

Agnes realizes that the world isn’t solely defined by good versus evil or virtue versus sin; it’s about who holds power and who doesn’t. To address the issue of alcohol problems among women, she argues they are not primarily suffering due to their husbands’ drinking habits, but rather because they lack fundamental rights like voting and financial independence. This season for Ada is focused on learning the harsh realities of the world. She initially believes her kindness towards servants will ensure they comply with her requests, but eventually learns that she must find a cause that resonates with those in her social circle if she wishes to pursue political activism. In other words, Ada discovers that being sweet and friendly won’t always get her what she wants; she has to adapt to the realities of power dynamics in the world.

In a gradual progression towards self-reliance, Ada has taken steps such as getting married and gaining the courage to challenge her sister. How did you find it to portray the shifting dynamic between Ada and Christine this season?

Their relationship has always been contentious, with both sisters vying for a dominant position. Ada realized she had no power initially and learned to maneuver tactfully around Agnes: waiting, working behind the scenes, and subtly influencing rather than confronting directly. However, the roles have now reversed, and Ada is in control while Agnes serves as a formidable critic. She acts like an opposition party that resents being out of power and will constantly find flaws in Ada’s plans to undermine her success. While there are comedic elements, their increasing conflicts also reveal a dramatic and painful side.

When Agnes asks, “If you are the boss now, then who am I? What’s my place? Am I just an invisible woman, then?” she expresses her deep-seated fear. This fear is at the heart of their conflict – it’s not about Ada’s ideas being bad, but about Agnes questioning her own identity and role in their relationship.

In this current season, you’ve been working on both ‘And Just Like That…’ and ‘The Gilded Age’. Since you had to switch between these projects, how did you maintain your connection with the character of Ada?

Well, I must admit that I’ve always felt a strong bond with Ada. It’s quite ironic, really. People may recognize me as Miranda, but by the time I began playing Miranda, I had already spent 20 years in acting and had developed a knack for portraying characters similar to Ada: they are shy, hopeful, optimistic individuals who seem to carry a sign saying “please don’t hurt me.

It’s fascinating how diverse the characters are, making it a challenge for me to embrace their unique worlds. In theater, with extended rehearsals, you have ample time to develop a character and understand the scenes. However, film or television productions require daily visits to set where you interact with these characters and uncover the scenes, fully immersing yourself in their world. Yet, it’s challenging to continually shift gears, leaving one immersive world behind to dive into another that’s drastically different. As a child, I worked on two contrasting shows simultaneously, each featuring characters as opposite as a waif and a ballerina. While I knew the scenes for those roles, here I’m grappling with a new script, needing to grasp these characters and their interactions, all while juggling multiple worlds with minimal rehearsal. In film and television, there’s barely any time for rehearsals; you simply show up and fit into place, creating an automatic response that’s both compact and highly engaging.

As a devoted film enthusiast, I can’t help but be moved by the raw emotional depth exhibited by Ada in the opening moments of the new season. This character, who typically exudes sweetness and etiquette, reveals a hidden sadness that has been part of her existence since she drew her first breath.

Her life was devoid of the fullness she yearned for, missing the joy of having children and a place in the world. She found solace with the man who would become her husband, but even he couldn’t fill the void left by his absence. Living under the kindness of her sister, Ada is acutely aware of her obligation to be a pleasant companion.

However, beneath this facade of politeness lies a deep well of sadness, loneliness, and longing. As an audience member, it’s crucial for me to ensure that these feelings are subtly conveyed by the actor, allowing us to empathize with Ada’s struggle and appreciate her inner strength.

In my case, I struggled immensely when Miranda was the complete antithesis of that. Not only did we differ in our personalities – her being self-assured, cynical, contemporary, and independent – but also in her attitude towards life, as she seemed to embrace it with open arms while I found myself stuck. The idea of finding these women, let alone dating them, was a daunting task for me, yet the world seemed to be her playground. Contrastingly, Ada had tasted a happiness she hadn’t even dared to imagine, only to have it cruelly snatched away and shattered in a manner that she knew would never be replicated or perhaps even sought again. Miranda embodies optimism, excitement for the future, and a thirst for adventure, while Ada struggles to emulate this spirit and attempts to fill the void of her sorrow and solitude with things like the Temperance movement. However, she often finds herself merely putting on a brave face, yearning for the days when she could just stay asleep.

In the realm of theater, I’ve had the pleasure of sharing stages with quite a few familiar faces that make “The Gilded Age” feel like a long-awaited reunion. Back in 1984, I teamed up with Christine Baranski in a production called “The Real Thing.” Simon Jones joined us as a replacement early on, making our journey together all the more memorable. Deborah Monk and I also performed together when I was still green, so to speak. Nathan Lane and Donna Murphy are old acquaintances, and Kelli O’Hara and I have grown closer over time. Bill Irwin, who played Ada’s less-than-kindly suitor in the first season, is an old friend of mine as well, and the same goes for Celia Keenan-Bolger and Kristine Nielsen. It’s like stepping into a room full of old friends – it’s Old Home Week indeed!

What truly delighted me was interacting with such a remarkable group of youths. While I knew Denée and appreciated her accomplishments, I wasn’t anticipating discovering even more young people who are equally impressive. This unexpected encounter leaves me awestruck each time.

Julian Fellowes shared with Vulture his wish that viewers delve deeper into the show’s historical context by exploring related topics on Wikipedia and reading relevant books. Has the series sparked a newfound fascination or rabbit hole for you? Personally, I found it fascinating to learn about the significant role a woman played in the construction of the Brooklyn Bridge. Prior to the show, my knowledge of this era was primarily shaped by Edith Wharton and Henry James’ works. However, what truly piqued my interest is the elaborate code of etiquette that dictated who one could speak to, who they couldn’t, and how interactions between people, particularly women, were governed. This intricate system of rules, which included strict guidelines about introductions, was as complex as a Japanese tea ceremony. Breaking or bending these rules could lead to social disapproval.

The Gilded Age is fascinating because certain aspects appear remarkably contemporary, while others seem significantly older and more alien than just over a century and a half ago. Many of the challenges encountered by characters across various social standings and environments are strikingly similar to those we face today in 2025. However, despite its drawbacks, our world lacks the same degree of rules and constraints as during that era. A notable difference is the treatment of women; actions taken against them could make them a persona non grata, not necessarily because of something they did themselves but due to things done to them, which will become more apparent later in the narrative.

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2025-06-23 06:55