Kermit the Frog used to sing “It’s not easy being green” and hopefully I can be forgiven for thinking that Prince Albert would sing something similar about being German. Once Queen Victoria has declared her intention of marrying her German cousin her meddling uncle King Leopold demands for Albert an annual allowance of £50,000 a year (the same amount he received when he married Princess Charlotte), while goading Albert to petition for a British title and a seat in the House of Lords, telling him that he should use his status as the Queen’s husband to “establish your position”. Parliament digs its heels in, only agrees to £20,000 with the title and a seat in the Lords? Out of the question!
When Victoria finds out the reason why Parliament is only prepared to offer Albert £20,000 and it has something to do with Leopold, she begins to learn things about her family (even her father) that she didn’t know about. And yet again this is another excuse to beat the viewers over the head with constant references to mistresses and marital infidelity which to me is deeply anachronistic. Marital infidelity in those days was not so much a big deal among royalty and the aristocracy, provided that the rules and a certain decorum was observed, (and of course we are looking at an era that was at the tail end of the Regency, a period known for its moral laxness. Victoria’s immediate predecessor had ten illegitimate children with an actress and her own father lived happily for a couple of decades with a mistress, only dumping her unceremoniously when he had to marry). The objection to Albert receiving the same amount as Leopold was because Leopold was still drawing an allowance from Britain twenty-three years after Charlotte’s death and accepting the Belgian throne: not that he was spending it on mistresses. The bigger objections (which at least this series gets right) were Albert’s German roots and Leopold converting to Roman Catholicism in order to become King of the Belgians and marry Princess Louise of France. I found it rather disappointing that rather than explore further the prevalent attitudes of xenophobia and anti-Catholicism of the early 1840s, the constant references instead to the possibility of Albert taking a mistress both rather tedious and tiresome. But of course, sex – that’s what the ITV watchers want, innit? Not that history business.
After a few more tiffs, Albert explains to Victoria why the allowance and having a title are very important to him – that it will give him the freedom to be his own person and allow him to achieve things on his own merit, not because he will be the Queen’s husband. Victoria doesn’t understand this: which is a bit odd considering how she finally broke free of her mother’s control and the hothouse that was the Kensington System. He is also unhappy that he will not be allowed to bring someone from his native Coburg as his private secretary. Victoria raises all these with Lord Melbourne who counsels her that “Parliament needs to be coaxed rather than commanded,” a reference that the royal couple will have to be prepared to be good team players and to compromise.
By the end of episode 5, the couple are finally married and Victoria uses her wedding to signal yet again a break with the past. Instead of wearing the robe of state and a diadem to signify her status as Queen, she decides to wear a white gown of silk and Honiton lace and a wreath of orange blossom atop her head. And much to the surprise of her ministers and courtiers, she decides to retain the word “obey” in the wedding vows.
In the following episode we see the newly married couple return to London after only a honeymoon of two days, and which despite its shortness is notable for the accounts left by the woman herself that survive at the Royal Archives at Windsor. Deeply in love they may be but Albert is frustrated and unhappy at the lack of proper role for him and his inferior rank in court protocol where he is outranked by the Duke of Sussex (David Bamber). He wants to share in Victoria’s work and help affect positive change in British society but is stymied by his wife’s reluctance to involve him in doing the boxes (the documents sent to her in red dispatch boxes) and the continued references to his nationality in the press and sections of society. The opportunity for Albert to carve out a role for himself is presented by a delegation of abolitionists who hope that the Queen’s presence at an international conference they are organising will give the event a wider coverage and draw the public attention to the continued existence of slavery in other countries, particularly the United States. Victoria (and Albert) wholeheartedly support the cause of abolition but she has to decline the invitation owing to the fact that as Sovereign she cannot be seen to be partial (which again made me laugh considering that Victoria throughout her reign could be considered one of the least impartial British monarchs in modern times). Albert suggests that he can attend and even give a speech, as having no formal role he is not bound by the same restraints imposed on the Queen. With the help of Anson (Robert MacPherson), his private secretary, he drafts a speech and practises it all the while being briefed about the abolitionist movement in Britain being supported by several members of the political establishment among them Sir Robert Peel and Lord Palmerston. Albert realises that going to the conference will also allow him to get to know better the people who matter and who could possibly become government ministers, even Prime Minister.
Episode 6 also underlines Victoria and Albert’s differences about their expectations of marriage with Albert wanting to be a father and confident that they will be better parents than their own parents ever were. Victoria on the other hand wants to wait: apart from enjoying the pleasures of married life she dreads the possibility of being with child especially with the spectre of her cousin Charlotte’s tragic end looming over her.
One of the things I noticed with Victoria is that it’s the supporting actors who tend to steal the show with standout performances. In the earlier episodes, it was Rufus Sewell as Lord Melbourne but with episodes 5 and 6 it was David Bamber as the Duke of Sussex who stood out. The scene where “Uncle Sussex” is invited to tea with his niece the Queen was touching, especially after he recognises that he has a kindred spirit in her with his own wife not received at Court since he married her in defiance of the Royal Marriages Act. Uncle and niece both muse that their respective spouses’ happiness is paramount to them and this realisation paves the way to finding a solution to Albert’s status and the Duke’s wife Lady Cecilia finally being received at Court.
Another standout performance is that of David Oakes as Prince Ernst. As mentioned in part 2, Ernst is the antithesis of Albert and the following two episodes clearly demonstrate this. He takes Albert to a high class brothel to help him with his marital duties, and is smitten with the married Duchess of Sutherland (Harriet Clunie). Despite the two brothers being like chalk and cheese, the bond between them is poignant and serves as a vehicle to tell the audience their background and unhappy childhood. Although a romance between Ernst and the Duchess would not have happened, it’s a convenient tool for Albert to assert himself and impose a more moral tone at Court.
Another thing that frustrates me about this drama is how certain storylines are introduced then fizzle out. This is especially true with the servants, last time it was Miss Jenkins and her nephew -this time it’s Mr Penge and the maid from Coburg. It’s obvious they had a history together but why that’s included is baffling especially as it adds nothing to the narrative over all. The only consistent downstairs story line is that of Skerrett and Francatelli where a slow burning romance seems to be on the cards. I’ve said this previously and I’ll say it again – the downstairs storylines are unnecessary and only distract from the actual narrative, which is a shame.