“The Gilded Age” Season 3 Casting Secrets

Step into the opulent 1880s New York evoked by The Gilded Age, Julian Fellowes’ Emmy-winning HBO Original drama. Now in its third season, which premiered in late June 2025 on HBO and Max, the series continues to mesmerize audiences with its masterful cinematic storytelling. Yet, beyond the dazzling costumes and grand sets, the show’s remarkable on-screen chemistry and period-perfect performances are rooted in a distinctive casting process that deeply leverages extraordinary theatre talent. The Theatre Times delves behind the scenes with Emmy-nominated executive producer and director Michael Engler, and casting directors Bernard Telsey and Adam Caldwell of The Telsey Office, to reveal how The Gilded Age consistently draws upon stage-trained talent to truly render its universe to life—and offers a compelling tease from an upcoming episode.

Michael Engler, a pivotal figure in shaping the show’s distinctive feel, offers insightful perspectives on the “X Factor” he seeks in actors, particularly those with a theatre background.

“Well, I think theatre actors are particularly adept at achieving Julian’s language and sense of style,” Engler began, referring to creator Julian Fellowes. “And he has characters who are in some ways a little larger than life, but even the downstairs characters, even the servant characters, express themselves really uniquely and see themselves, as you know, having a significant place in the world.” He continued, highlighting their specific training: “So I do think theatre actors are particularly trained to deal with language, style, period in a way that a lot of people who just come up through television and film don’t, and understanding, I think, how to live and sort of create a different world, whether it’s the time period or the scale of wealth or just the assumptions that the characters make in that period. I think theatre actors are more accustomed to being challenged in those ways.”

When old and new money spheres collide at the opera. Ashlie Atkinson as Mrs. Stuyvesant Fish and Harry Richardson as Larry Russell share a moment in The Gilded Age. Photo by Karolina Wojtasik / HBO

Addressing the “X Factor” more broadly, Engler elaborated,

“In terms of an X factor I look for a character, I think there’s always something about the character’s spirit that is most important to me, and usually, then within that, who can I find who are really good actors, who convey that? Because I think there’s a certain element that you can’t fake about who you are, or act or make disappear, or make appear—a kind of spirit. And so it’s different than just an emotional quality. Obviously, they all have to be pretty intelligent to be able to handle language like this and make it seem effortless. But I think you get down to a few people who could definitely do the role well. And then I think in the end, it comes down to whatever I think the unique spirit of that character is, and how that mixes in with the rest of the cast.”

Bertha Russell (Carrie Coon) and daughter Gladys (Taissa Farmiga), navigate the roads of high society in The Gilded Age. Photo by Karolina Wojtasik / HBO

Beyond individual performances, Engler shed light on the intricate process of casting the pivotal Kirkland family for Season 3—a new addition to Newport’s elite, featuring stage luminaries Phylicia Rashad, Brian Stokes Mitchell, and Jordan Donica. When asked about the key qualities that made these actors unequivocally “the Kirklands” and if their auditions or previous work sealed the deal, Engler revealed,

“None of them auditioned. We asked them all to do it based on the work we knew that they were capable of and that we had seen before.” Engler then delved into the nuanced storyline considerations: “It’s interesting because the storyline of the Newport Black elite this year very much parallels our other storylines in that within that system, it’s got its own class prejudices and colorism. And so one part of it that was important was that they were, this is part of just the story, that they were lighter skinned that they don’t have a history of enslavement and all of that. So they have a different attitude and a different history.”

He concluded by linking their established theatrical experience to the show’s needs, much like his previous comments on theatre actors in general:

“So all three of them similarly the kind of work they’ve done on stage. And I think musicals in some way help a lot too, just that sense of style and period and all of that. So it was really the same things, except, you know, there’s the so much of the story is the old Black elite versus the new Black elite in the same way that it is in the white world.”

A Newport moment with Dr. William Kirkland (Jordan Donica) and Peggy Scott (Denée Benton) in The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

Continuing the discussion on the show’s visual storytelling, particularly as it portrays high society in Newport and Peggy Scott’s role as a journalist, Engler also addressed how he approaches differentiating the layers within the Black community.

“Well, it’s the same thing we do in everything else you know, the real details of, you know, locations, sets, and all the background of things like that,” he explained. “So for instance, they [the Kirklands] live in a more grand and established way than the Scotts do. The Scotts don’t have a house in Newport. They, I think, in terms of other ways, they’re not that distinguishable. I think it’s more about their attitudes and their social assumptions and prejudices.”

Season 3 of The Gilded Age, comprising eight new episodes, introduces historical giants like J.P. Morgan, brought to life by Bill Camp. This naturally raises questions about directing such iconic figures, especially when they’re set to clash with established, beloved characters like George Russell. Reflecting on the unique directorial challenges in bringing that specific dynamic to life, Michael Engler stated,

“Well, it wasn’t particularly challenging, because Bill Camp is such a brilliant actor. But we talked a lot. I mean, we did a lot of research, and people describe J.P. Morgan in various memoirs or historical documents, people describe what he was like to be with, and how he spoke, and, you know, his personality and where he was from and his background. So Bill, really, I think, just focused on trying to inhabit some of those things without doing what he assumed might be some sort of a literal interpretation that he has a kind of power and, you know, a bluster he doesn’t really care what anybody else is thinking or saying, you know. So he just kind of naturally owns whatever room he’s in. And that was a nice challenge, because, for Morgan, who’s almost always the top dog in the room, to have to adjust to that and play within it and find his own ways to wield his power in the presence of that.”

The iconic financier J.P. Morgan, portrayed by Bill Camp of The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

Beyond character and storyline, The Gilded Age is renowned for its distinctive visual and emotional language. Engler delved into his directorial craft, explaining his approach to truly pivotal or grand scenes—whether a lavish ball, a social confrontation, or an intimate moment with massive emotional stakes—and what first element he prioritizes to ensure it embodies that signature Gilded Age feel.

“Well, the first thing we do is a lot of research, no matter what it is,” Engler explained. “And so if it’s an emotional thing, it has to do with really just the emotional expectations, the social expectations of the period, the limitations, the opportunities to get as specific as possible. And in a grand scale thing, it’s similar, like, how would that have been done? How many people were there? What would it have been like, you know? and then to try to get inside it.”

He continued, describing the dynamic visual approach:

Agnes van Rhijn (Christine Baranski) and Ada Brook (Cynthia Nixon) hold court in a grand ballroom in The Gilded Age. Photo by Karolina Wojtasik / HBO

“And one of the things we try to do is go back and forth between looking at these grand events and occasions, balls, gatherings and things, both from an overview, where you look at it and you sort of see it with some perspective, but then also what it felt like to be inside it, and to move through it and to inhabit the pressure of it and the excess and intensity of it. So we like to sort of really pop back and forth between wide shots in kind of glamorous moving things like that, and then also being inside it with the camera moving through the crowd with the people up close. In different areas, we do it differently. We have our more elegant and big cinematic equipment when we’re doing things with the Russells and the new big money, and then we try to keep the cinematographic style of it more old fashioned and locked down when we’re at the Brook house, so that there’s more of a feeling the lenses are more old fashioned. We don’t use Steadicams there. So there’s a different feeling in technology that creates a different feeling between the two worlds.”

The series weaves its characters’ lives into a meticulously recreated historical backdrop, including the fictional Peggy Scott’s rising career and the introduction of the historical figure Frances Ellen Watkins Harper. This spotlights the show’s balancing act between historical accuracy and emotional resonance. Michael Engler, discussing this balance, outlined his careful methodology.

Denée Benton (Peggy Scott) and Jordan Donica (Dr. William Kirkland) shine in The Gilded Age. Photo by Karolina Wojtasik / HBO

“Well, we definitely make sure that if we know certain things, and we do a lot of research. If we know certain things about a character are true, we would never contradict that,” Engler affirmed. “We would never have them say the opposite of something they said, or believe in something they definitely didn’t believe in, or whatever. But within that, we make sure that’s a line we don’t cross. And then we try to figure out, based on documents and what people said, if that person could have been there. If the answer is yes, then okay, we can include them. And then what would it have been like? How would they have been treated? What assumptions would be made about them, or what assumptions would they make about the people they’re meeting?” He clarified the show’s approach to historical representation: “So, it’s a fiction; we’re not trying to be a historical recreation. But like I said, we only use things that we either know are true and we don’t use things that we know aren’t true.”

Acknowledging the remarkable synergy between his direction, Julian Fellowes’ writing, and the ensemble’s talent, particularly with so many renowned theatre actors, Engler discussed the contributions of casting directors Bernard Telsey and Adam Caldwell.

“Well, Adam and Bernie know the acting community nationally and internationally very well, but they know the New York theatre community intimately,” Engler shared. “And they know from auditions and from every play they’ve ever been in the range that these people have, and so very often, they have really surprised me by saying, ‘we think, you know, this person would be good for this role.’ And I would think, ‘Oh, that’s not at all what the role is.’ And we would talk about it, and I would realize that there were aspects of, you know, somebody’s past or somebody’s work that might actually suit them to it in a really unique way, that I think have led to some wonderful surprises, you know.”

He also noted a fortunate timing:

Audra McDonald delivers a brilliant portrayal of Dorothy Scott in The Gilded Age. Photo by Karolina Wojtasik / HBO.

“So I think, and also, you know, we got lucky at the beginning, because during COVID there were a lot more theatre actors available because the theaters were shut down, and so more people would come and kind of just play with the roles a little bit. And it was, it was kind of an audition process, but it was more like, almost like a workshop process, where we would play around with a role and an actor. Sometimes an actor would come in and play around with three roles, and we would just kind of learn about how they fit into or what they would bring alive in that in a particular role versus another role. And so, yeah, we got really lucky with all kinds of people who who I think under normal schedules might not take such kind of cameo repeating, but cameo roles or smaller roles. But then that they became part of the company. And now you know Julian writes for them because he so enjoyed what they brought to it.”

This naturally led to a follow-up about the evolution of roles. When asked if roles were likely to expand based on casting choices, even for something as simple as a walk-on part, Engler confirmed:

Kristine Nielsen as Mrs. Bauer, alongside Taylor Richardson as Bridget of The Gilded Age. Photo by Karolina Wojtasik / HBO

“I think that’s true. I mean, or some of them, they were just, you know, secondary or tertiary characters. But Julian, I think, became so intrigued we all did by the way they were performed and how the complexity they brought out in those characters that he was inspired to develop more storylines for them or include them in more storylines. So it turned out to kind of want to be one of those things that went in both directions. As he learned people’s voices and kind of understood the colors they could bring to a character, he realized more places he could use them and how it could just, you know, add to the depth and variety and complexity of the show.”

To illustrate his directorial approach and the synergy he described, Engler offered an intriguing tease: a scene from an upcoming Season 3 episode.

“Well, early on, not early on, actually, it’s a later scene, but it has to do with the McAllister character, you know, who’s played by Nathan Lane, and he’s done the thing that has kind of insulted a bunch of the women in society. And so there’s a gathering of all of them at Agnes and Ada’s house. And so you have Agnes and Ada and Bertha Russell and Mrs. Astor and Mrs. Fish, played by Ashlie Atkinson. And these were all, and you know people who, you know often didn’t inhabit the same world, but I think he sort of understood over time, more and more the fun of, rather than just having Mrs. Astor and Mrs. Fisher’s voice in those scenes, and you know, Mrs. Russell in this scene, and you know in the separate worlds, the idea of putting them all together in one room, that the conversation would be that much funnier and more surprising and have more points of view.”

As a primary director and a key creative force, Michael Engler plays a pivotal role in defining the show’s distinctive aesthetic and crafting its visual narrative. He’s joined by fellow executive producer and director Salli Richardson-Whitfield, alongside directors Deborah Kampmeier and Crystle Roberson Dorsey.

Louisa Jacobson as the elegant Marian Brook in The Gilded Age. Photo by Karolina Wojtasik / HBO.

The authenticity of this visual narrative is further deepened by the show’s meticulously chosen cast. To delve into their unique approach to populating The Gilded Age’s world with its acclaimed ensemble, I spoke with Bernard Telsey and Adam Caldwell of The Telsey Office. When asked about the consistently authentic feel of the casting—particularly given the strong theater background of many actors on the show—and what intangible “X factor” they look for, Adam Caldwell explained:

“It’s, I think it’s partly a marriage of the actor with the role, right? Because we have such a huge ensemble, and part of our job is helping the audience track who is who, by who is, by who we cast, we think so. So making sure that everyone feels in comparison, different to each other and special in their own way. It also helps when they have the experience of of period language, or when they have experienced just in being part of a big ensemble and knowing how to carve their way out and and make their story feel special by what they bring to it. So that’s a big I think that’s a big part of it, right, Bern?”

Bernie Telsey elaborated on this synergy:

Carrie Coon (Bertha Russell) and Rachel Pickup (Miss André) in The Gilded Age. Photo by Karolina Wojtasik / HBO

“Yeah, and so much of it is because, like you said, they all come from the theatre. These are all people that are used to playing, being part of a huge ensemble, and making, I don’t want to say making something out of nothing, you know what I mean, but so many times in a musical or in a big ensemble, Shakespeare or, you know, Chekhov, they’re really having to be unique in the smallest role. And these are all people who know how to do that, and are they’re so good at knowing when to fade back and then when to be forward, you know what I mean? And yes, that’s an actor’s job. But there’s something familiar, like Adam said, about this particular group, because they’ve all come from the theatre and they’ve worked together. So many of these people are overlapping in various shows over the last 5 to 10 years in New York, whether it be Broadway or Off Broadway.”

Telsey continued, referencing a core philosophy from Michael Engler:

“Michael always told us, ‘I want to make it feel like a repertory company.” He explained, “Because I know from Julian, there’s going to be characters that might have nothing to do in Season 1, but then they’re going to have something to do in Season 2, I promise.’ Theatre actors are willing to take that gamble. Take Kelli O’Hara for instance: she was, you know, paid to be in all the episodes in Season 1, but didn’t have that much to do. And she was so much better than that, but she was willing to do that. Same with, you know, Celia Keenan-Bolger was like, ‘I’m willing to be downstairs and not have that much to do, because I trust that eventually I will.’ And that’s, you know, actors who are used to working Off-Broadway for no money, who are used to, you know what I mean, like, they just had no attitude. They weren’t looking at it like, ‘well, this is a TV job, and I should be paid so and so if I’m going to be holding all that time, you know.”

George Russell (Morgan Spector), the embodiment of new money power in The Gilded Age. Photo by Karolina Wojtasik / HBO

Building on their philosophy of casting, the discussion turned to identifying actors with the necessary gravitas for real-life figures, especially when clashing with established characters. When asked about their top priority in casting a real-life icon like J.P. Morgan, played by Bill Camp in Season 3, Adam Caldwell explained:

“The basic parameters have to be at least a nod to the way the real person looked and visually presented, right? That’s certainly a component of it. And it’s not that we need to be an exact replica or get every like make it feel like it’s an impersonation, but at least it’s in the world of and it’s not distracting, because they’re so completely different from what the real person looked like. But then there’s the marriage of the personality and and, like you said, the gravitas. I mean, when you need someone who feels powerful enough to be a threat to the character that we have with Morgan Spector and George Russell. It was hard not to suggest and talk about Bill Camp right from the beginning.” He added, “And we said, Bill Camp, and they all went, ‘Bill Camp. He would be incredible. Would he do this?’ And we asked, and he said, ‘Absolutely yes. I would love to.’ So sometimes we get very lucky that we just, like, we talk about one.”

Telsey chimed in, highlighting the show’s appeal:

“I feel like every time we’ve gotten lucky. That’s a credit to the show. They all want to be a part of that repertoire that we’re calling, you know what I mean? Or like, Oh, my friends are all doing it who I was in show. You know what I mean, it’s, again, not looking at it like it’s a TV job and so I should be paid what I was paid on my last TV job. You know, it really is a chance to be part of this repertoire and be on set with all of your theatrical friends. So we’ve gotten so lucky with everybody saying yes.”

Adding to Telsey’s point Caldwell explained,

“And that’s not to say that he’s the only person that we talked about. It’s, I mean, in some ways it’s easy because there’s someone that we say and they’re like, but we, we provide them with the discussion of different ways it can go and list and stuff. But very often it’s been like, ‘Well, we think our favorite idea is this, but let’s talk about all these people,’ and they often get excited about the favorite idea that we propose.”

Audra McDonald (Dorothy Scott) and Jessica Frances Dukes (Athena Trumbo) in The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

The conversation then shifted to casting the new Newport elite. When asked about the specific qualities in the established work of powerhouses like Phylicia Rashad, Brian Stokes Mitchell, and Jordan Donica that convinced them they were absolutely right for these pivotal roles, Bernie Telsey responded with a playful nod to their Broadway roots:

Phylicia Rashad (a two-time Tony Award winner) brings gravitas to Maybelle Scott in The Gilded Age. Photo by Karolina Wojtasik / HBO

“Tony nominees and Tony winners. Should we say that? That’s like our inside like, ‘well you have to be a Tony nominee, at least, to be on The Gilded Age.’ You know, it’s the same thing that Adam, I think, said about Bill Camp. We knew those roles were going to be coming way in advance, which is also great, and you don’t always find that out in television, but you know, we knew, since these were storylines that were outlined way in advance, we had an idea, and then it’s like, ‘well, let’s reach for the top, like we already have Audra McDonald [as Dorothy Scott] and John Douglas Thompson, how do we find two people to be the other side?’”

Adam Caldwell expanded on Jordan Donica’s casting:

“And we were lucky enough that the team had recently been able to see Camelot. So they saw Jordan in that, which we had cast, and really thought he was fantastic. Clearly a very different kind of part, that version of Lancelot versus this, but they saw different dynamics that he could bring to someone, how what stage presence he had, and so they knew he had the charisma that they were looking for. And then it just it worked, that he could also have done, sorry, just to point out that he had done My Fair Lady as well, which is a very different kind of period character than Lancelot, and that probably that helped inform them a little bit more about the society element that they was looking for in this one.” Bernie Telsey added a note on other casting considerations:”And Sullivan Jones was not available because he already played the other love interest, you know, the year before. So it was like, ‘Okay, who are those two guys?’

The enduring grace of old New York society: Hannah Shealy (Charlotte Astor), Donna Murphy (Mrs. Astor), and Amy Forsyth (Carrie Astor) in The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

Moving on to the emerging artists of the show, our discussion revealed how Adam and Bernie’s deep theatre roots are central to The Gilded Age’s casting magic. By consistently bringing in incredible stage-trained talent, they cast characters so compelling that their performances practically compel Julian Fellowes to expand their roles. This led me to ask if any new Season 3 cast member, perhaps starting small, had already blossomed into an ideal fit for the show, prompting an expanded storyline.

Bertha Russell (Carrie Coon), ready to make her mark in The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

“Yes,” Adam affirmed, “Well, the first one I would want to mention, and it’s kind of cheating, because he was established at the end of season 2, but Matt Walker, who started as Billy Carlton. So he’s a young actor that had graduated from Juilliard that we’ve known for a number of years now, auditioning for things, and we had a sense of about what was going to happen with his character. But if you see in the first couple episodes with he and Gladys as Billy Carlton. He had some really good material that we think is going to show him off really well. So he’s someone that we are excited about giving an opportunity that he hasn’t quite had yet, as far as we knew. And then also there’s…  Hannah Shealy, is a recent Columbia, I think it’s an MFA graduate who clearly has training and chops and and experience, but was newer to us, and we cast her as Charlotte Astor, so Mrs. Astor’s oldest daughter, and that role kind of blossomed in the season. It started out on the smaller side, but got bigger scenes as the season went on, based on Julian kind of writing for her, which was nice.”

Bernard Telsey then elaborated on the broader phenomenon:

Kelli O’Hara brings depth to Aurora Fane as her world is shaken in The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

“I think part of what’s been a joy, like, even though he mentioned the two characters that got expanded within the eight episodes, most of that happens when there’s the next season. If I was to go back and look at Season 1, it was in seeing the final episodes, then made Julian write for them. I think, like, even though Kelli [O’Hara] to go back to Kelli like she was always that character. But in seeing her, it was like, ‘You know what? In Season 3, I’m going to give her a storyline that is about her.’ And yet, two years later, now we see it in this season. So I think there’s so many, there’s so many new people in Season 3 that I look forward hearing like, ‘Oh, we’re bringing Dylan Baker back, or we’re gonna bring back,’ you know, ‘any one of these great sort of New York, iconic, Off Broadway or Broadway actors, and then they’ll be in Season 4, if we, you know, get picked up.’ I think that’s how he’s usually been doing it. Don’t you think, Adam?”

Adam agreed, pointing to Julian Fellowes’ adaptable writing style:

“Yeah, he even mentioned it at the premiere about how he loves the writing for TV because, because it gives the forward thinking vision of I imagine him knowing he was writing Jack Trotter. We cast Ben Ahlers. I don’t know if, necessarily, I can’t put words in his mouth if he knew what he was going to write the clock storyline, but clearly he does say, in general, he starts to listen to the actors, feel what they’re good at, feel what the way they excel and like, have a vision for them moving forward, and start writing for them in the role, rather than just an initial like idea of the role, which is exciting that we’re able to be a part of that to suggest people have them be cast, and then that inspires him to to write in certain ways.”

Harry Richardson and Ben Ahlers bring the ambitious Larry Russell and Jack Trotter to life in The Gilded Age. Photo by Karolina Wojtasik / HBO

Bernie Telsey added,

“And you know, we’re able to attract people, you know, like, look at Vicki Clark playing, you know, that part, that size part in another show. I don’t think she would do, but it’s like, ‘Oh, these are great scenes. And it’s with my friends, Carrie Coon or Donna Murphy or Kelli O’Hara,’ you know, ‘it’s like, why wouldn’t I do it for a week or two? It’s so much fun.’”

The conversation then moved to the collaborative impact, asking how closely Telsey and Caldwell work with Michael Engler and Julian Fellowes to truly shape these characters beyond the initial casting. Addressing this, Telsey explained:

Harry Richardson (Larry Russell) and Louisa Jacobson (Marian Brook) share a moment in The Gilded Age. Photo by Karolina Wojtasik / HBO

“The first step is Michael, and he’s in all those meetings with Julian, and he knows things that we don’t even know outside of even the outline, right? Because they’re all involved in the script writing. He’ll share with us where these characters are going to go, or what’s the key kernel that is needed, in this small part or potentially big part. And that allows us, early on, to start dreaming, thinking, you know, and suggesting, and then, because Michael also comes from the theatre and knows practically everyone we’re suggesting. Or, if he doesn’t, quickly gets educated, but he’s so good at knowing and collaborating with us, that then, if we’re sort of honing in on a choice or two, then we share with Julian, you know, then we could share with Julian that person’s role, or maybe, if it’s someone newer, they’re going to audition. And we could, you know, explain to Julian, like we did on day one, who this person is in the New York theatre community, and why that information is important, even if there’s not a real or, you know, scenes. He’s very much, will take Michael’s lead and Adam’s lead and my lead.”

Caldwell then elaborated on their involvement once actors are cast, clarifying the extent of ongoing collaboration:

“Yeah, but I think the question about like, once they’re cast, what kind of collaboration we continue to have. We don’t really. I mean, we do about scheduling stuff and logistically and making that kind of happen, but they don’t, you know, once, assuming we’ve done a good job in discussing what the characters are and and presenting options that work, and giving them as much context for who this person is with, with reels or discussions. Then, once they’re cast, we’re not really collaborating on the storylines. I mean, it would be fun to, but we’re not in the writer’s room.”

Returning to the distinctive philosophy of treating The Gilded Age like a New York repertory theatre company, where even actors in small roles are treated as seasoned regulars, the casting directors were asked how this approach influences their decisions. Adam Caldwell stated:

Carrie Coon (Bertha Russell) and Morgan Spector (George Russell), a united force in The Gilded Age. Photo by Karolina Wojtasik / HBO

“I think we kind of have the energy of the ensemble, and we certainly [think] it’s helpful to know people from their theatre work, because we know they work in that kind of environment where they can show up every day.”

Telsey then continued the thought:

“And be okay about standing around waiting for their scene, and being part of an ensemble without it being about me, or them, you know.”

Caldwell finished the shared sentiment: “It’s about being part of the bigger picture.” He then elaborated on the practical aspects of this theatre-like approach in how scenes are staged.

“Sometimes, the sequences—even moving around spaces—and the blocking is like it is [in theatre]. Michael does it, and [so do] Salli and the other directors. They sometimes block it like it’s a theatre performance, [ensuring] it’s all laid out properly and repeatable as they [capture] it from all the different cover shots.”

Adam Caldwell further explained how this meticulously choreographed approach, treating filming like a stage production, truly culminates in the show’s impressive ensemble sequences. He pointed to grand events like ballroom scenes and finales as quintessential examples.

“But yes, in this season, ultimately, there are balls that happen, where a lot of society, whether it’s the Black Newport elite society or our Manhattan, New York society, everyone’s involved in the ball sequences. So that’s when the true nature of like the staging and the repertory company and like everyone is there with hundreds of extras and musicians and dancers and all that, all kind of comes together for the finale, which is always pretty exciting to see for us.”

Morgan Spector (George Russell) and Carrie Coon (Bertha Russell), the power couple of The Gilded Age. Season 3. Photo by Karolina Wojtasik / HBO

In his concluding thoughts, Bernard Telsey shared his excitement about the talent viewers can expect to see as this grand production of Season 3 continues its run toward its climactic final act:

“Just get excited about who’s going to appear. When I look at this chart, it’s unbelievable who’s in episodes like 307 and 308. Without dropping names, it’s one amazing person after another, from small parts to guest star roles. It’s not just two people; it’s eight, it’s six—And who knows who can be back the next year? They’re all people who could do so much more if they were to be written for.”

This unique casting philosophy ensures these artists truly inhabit their roles and command the scene, making every episode a dazzling display of storytelling. Don’t miss the unfolding drama of The Gilded Age Season 3. New episodes of the Emmy-winning HBO Original series debut Sundays at 9 p.m. ET/PT on HBO and are available to stream on Max. To truly appreciate the intricate dance of power and prestige, ensure your viewing plans are as meticulously arranged as a ball gown or a perfectly polished top hat—prepare for a captivating immersion into the dazzling world of New York’s elite.

Story by © 2025 Alexander Fatouros. Editor, The Theatre Times