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Having previewed the first episode, I can confirm that it is eerily realistic – with a cast as international as London itself featuring two of Russia’s most revered actors – and totally terrifying (a scene involving a panic button left me trembling).
He was always the one who seemed like the BFG: he is super-tall and has this wonderful loping walk.
We could feel that Mark was Mum’s boyfriend, and it felt right.
Chris was there too, and we were fine with it because he was.
We are meeting on a bright winter’s day in the bar of London’s Tate Modern, a stone’s throw from the house she is renovating (with the help of her father, who handily happens to be an architect) in Borough, the South London enclave famous for its food market and, sadly, for being the site of last summer’s terrorist attack.
Juliet had planned to dine in the market on the night of the atrocity in which eight people were killed, but cancelled at the last minute owing to an ‘overwhelming urge’ to see a friend in the country.
Having three parents – three role models – has, in hindsight, been the greatest blessing.’Juliet opted to use Mark’s stage name – his real surname is Waters – because she wanted ‘to have both a public and a private identity’.
She likens it to when a son joins his father’s company, ‘and the company name becomes so-and-so & Son.
I am excited to be widening into more screen acting now, but I do get rehearsal jitters.’On first impression, Juliet, 38, seems totally self-assured.
She has a hearty laugh and exudes warmth and openness as she jumps up to greet me.
She is ensconced at a corner table when I arrive, her blonde hair plaited wreath-like around her crown.
There is something faintly old-fashioned about her, with her considered intelligence and enunciation befitting a proper thespian (she trained at Rada and uses the Shakespeare canon as bedtime reading)., an eight-parter based on the book of the same name by journalist Misha Glenny, marks Juliet’s return to working in this country for the first time since she appeared on stage in 2010 at the Old Vic, playing Rosalind in , directed by Sam Mendes. ‘My introduction to storytelling was through him: the words, the meter, the rhythm absorbed me.’Juliet virtually grew up in the Globe, the Thames-side modern replica of the theatre built for Shakespeare in 1599, where her stepfather Mark was artistic director for a decade.
‘We love each other profoundly and embrace our unconventional life split between two such different places.’Juliet’s childhood was also far from conventional.