How we brought the ‘Madfabulous’ life of Wales’s ‘dancing marquess’ to the screen

Henry Paget, 5th Marquess of Anglesey, died in 1905 at the age of 29, having squandered his inheritance and leaving his family in enormous debt. Money well frittered, perhaps, as he engaged in an extraordinarily lavish lifestyle which, retrospectively, screams of campery and queerness. The ideal subject for a biopic, then, as Welsh actor, director and writer Celyn Jones discovered upon visiting the Paget family seat, Plas Newydd, in Anglesey. 

The film stars Callum Scott Howells as Henry – following on from his breakout role in Russell T. Davies’s Aids drama It’s a Sin (2021) – alongside Rupert Everett as his ever-loyal butler and sometime mentor Gelert. Henry brings an opulent splash of colour to the ways of the aristocracy, dressing in ostentatious Paris fashions and performing his ‘butterfly dance’, borrowed from Loie Fuller in which a voluminous robe of silk is moved in imitation of wings. Jones sits down to reflect on how he and his cast and crew brought this unique story to the screen.

Lillian Crawford: How did you come on to this project? 

Celyn Jones: I’m from Anglesey, so I know that house very well. I came across this extraordinary picture of Henry, and I thought: Is this the 1970s? Is this Ziggy Stardust? Who is this character? I found out more about ‘the dancing Marquess’ and the selfies that he created. I really felt strongly that people will love Henry, because I could see the neglected child, the frustrated person who wanted to express themselves. I could also see how much he meant to people and how he was forgiven. So he must have been loved. Lisa Baker delivered this script that was so colourful and well-researched and creative. I could only think of Callum to play the lead, and then we built this super group behind and in front of the camera. I’m like the cheerleader/bouncer/guardian/big brother.

What research was involved? So much material about Henry was destroyed by the family.

The thing that couldn’t be destroyed is his image, because he distributed his image everywhere. How modern is that? That was the genius of him. All the stuff that you think was made up is true. Putting a lavender box next to the exhaust of the car to mask the smell is true. Adopting a child is true. Buying a whole window of jewels is true. We had the support of the family – we have an actual Paget in the film: Clara Paget who plays Mabel. When she says that this is my money, it really is her money! She loved that.

The film does not label Henry in the way some historians have, in terms of gender and sexuality. 

I think that was being honest to Henry. He was young and just being his authentic self. He knew he loved Lily, but he needed to express himself. It was really important for Callum as well, because that is exactly how Henry would have expressed themselves. That’s how I feel. I think that’s why people are really connecting to him and young people really responded to it. It’s the modern audiences who really identify with Henry. We fully explored the theatrical side of him, alongside the personal story of the relationship with his mother and lack of one with his father. That breaks your heart. He has this funny little cigarette case with his mother’s image stuck on it, which means everything to him. All he ever wanted was to be recognised, and he kept going bigger and bigger and bigger, knowing that he was dying. It’s balancing all those things about this young guy who is just finding himself, but his health and money are eventually going to run out. 

Henry became known for his butterfly dancing. What was the process of bringing that to life?

When he bought a theatre company he insisted on being allowed to perform his dance. We researched the movement and had the cloaks made. I knew that this point in the film is the best moment of his life. It’s the moment just before we go from fabulous to mad. We made that transition in the music, which I think our composer Dan Baboulene did fantastically. The music at the start is very traditional, then Henry arrives and changes not only the world we see but also the world we hear. 

The butler, Gelert, is named after the heroic dog of Welsh folklore. He tells the story and acts as a loyal mentor, almost queer elder to Henry. What did that mean to you?

It’s a story I’ve always known, and we’ve always known, the idea of the heroic dog. That loyalty exists within the butler. I loved the idea of Rupert Everett delivering that story. He tells a story to us all. I wanted a big ending to the film, and the relationship between Gelert and Henry was the way to express that love. I remember saying, we don’t want to hear the word ‘madfabulous’ until Rupert says it at the end. Right at the end. Because really the structure of the film is fabulous-mad, isn’t it? It goes from fabulous to mad. I think when Rupert/Gelert puts that together it’s really satisfying. To have Callum and Rupert next to each other, almost escorting him into the world of cinema. It’s the relationship between two characters, two sort of queer characters that care and love but also as professional actors as well. You have this leading man in Rupert Everett presenting Callum Scott Howells to the world. It’s meta in that aspect. 

You must be very proud of that.

Oh, you’re going to make me cry now! Everybody really brought their A-game, everybody brought something to this film. I’m so proud, I’m so pleased to be going “Look at the talent,” because it really is exceptional and an embarrassment of riches. I’m not selling tickets here. I’m just being as honest as I can. Because this is what it is. It is madfabulous! 

Madfabulous has its world premiere at BFI Flare. It will be released in UK cinemas on 5 June.