All Creatures Great and Small Season 6, Episode 4, “Jenny Wren” Spoilers Ahead
Tissues are mandatory for watching “Jenny Wren,” the latest emotional episode of All Creatures Great and Small. The “Jenny coming-of-age” storyline has become a staple of the series, and for stoic Yorkshire farmers, those blessed Aldersons really do have big feelings. With a budding romance and some vulnerability vibes, the episode provides much-needed relief from the angry agitation of “Captain Farnon?“
The episode is touching. In “Jenny Wren,” recurring characters and themes provide comforting familiarity. Yet quirky details and tender twists create surprises that make the hour feel original. Viewers will appreciate well-sequenced, comical, and lighter elements that allow time to dry your eyes between the rounds of tears.
Don’t Say Goodbye, Girl in All Creatures Season 6, Episode 4
Ah, Heston! A shot of the gorgeous family farmhouse plops us right into the heart of the Dales from the first frame of “Jenny Wren.” In the opening scene, the Aldersons are mending one of the magnificent stone walls that snake through the Yorkshire hills. The Herriot children play in a field while their father attempts to insert himself in the timeless tradition. Richard Alderson puts James in his outsider place, saying wall-building is for farmers. The extended opening sequence continues when Jenny goes to check on a new pony and hollers for James to come. The rest of the family follows them to the barn. With everyone gathered, Jenny Alderson learns that she’s been admitted to nursing school.
All Creatures Season 6, Episode 4 shifts to Skeldale House, where Siegfried Farnon is just finishing breakfast. Mrs. Hall, who has joined Richard Alderson and Candy (the horse) in the grandparent ranks, requests leave to go to Mary’s first birthday. Siegfried, of course, gives his permission but rudely rejects Audrey’s offer to leave pies to tide him over. His face has the same tight mix of concern and sadness as Richard’s did on learning Jenny’s news. Both men are coping with the possibility of saying “goodbye.”
Siegfried initially chooses petulant self-sufficiency as his coping mechanism in “Jenny Wren.” He displaces his anger onto poor Mrs. Stokes, who’s brought in Hilda — a favorite “lady” from “Carpe Diem” – for a consultation. Siegfried bluntly shares his lamentations about fledglings leaving the nest, insensitive to the effect on Helen Herriot or Richard. He assures Richard he’ll “carry on as … always.” We get glimpses of what that looks like with his burnt omelette and dainty sardine eating. Siegfried eventually adopts a kid-gloves approach, as if realizing he may be asking too much of his housekeeper. He chastises Tristan for burdening Mrs. H with croquet lessons and eagerly fetches a dustpan to clean after a wayward shot. Siegfried even insists on threading Audrey’s needle to show how helpful he can be.
In contrast, Richard’s coping mechanisms are less obvious in “Jenny Wren.” His stony face returns, and it is Helen who increasingly shifts from pride to concern. Her eagerness about Jenny’s opportunity fades as she begins to doubt whether her little sister can stand on her own. After witnessing Jenny’s nonchalance, Helen retreats to the barn to fret over the mother and daughter horse. Forced into a discussion of the young woman’s unmentionables, James attempts to reassure his wife that Jenny will be fine. Helen and Richard finally give Jenny Wren her wings to fly only after they hear her describe the role of a parent to Joan (the horse).
Tristan Farnon’s run as paramour to Charlotte Beauvoir butts up against a snobby father playing what he thinks is his role. The young couple appear smitten as Tristan begins to adjust his being to her world. After Mrs. Hall’s quick stitch of his riding breeches, Tris and Charlotte enjoy a horseback outing at the estate. He practices croquet for a luncheon, only to learn the sport will be billiards, and making fun of him. With decidedly Downton Abbey airs, General Beauvoir and a snooty young lord make Tristan feel like an oaf. Pushed to his limit, Tris claps back and storms out, apparently nipping a bottle of champagne on his way. Charlotte joins him as he waits for the chauffeur to take him back to Darrowby. When he spies the pair laughing, the General sees how happy his daughter looks. Having almost lost her once, he revises his view of what a father should want for his child.
With “Jenny Wren,” All Creatures Great and Small Rises to the Challenge
One of the difficulties with a long-running series is how to keep the storylines fresh while maintaining coherence in the overall narrative and character development. With “Jenny Wren,” the All Creatures team passes the test. My first reaction to the synopsis was, “haven’t we done that with ‘The Home Front‘ and ‘Holding the Baby‘?” But All Creatures Season 4, Episode 4 shows there is still so much to tell of the Alderson family story, past and future. Plus, the three actors tasked with telling it form a powerful trio.
No one can prove to me that Rachel Shenton, Tony Pitts, and Imogen Clawson were not a real family in some prior life. Their dynamic is so natural and caring, even when the characters are at odds. Shenton’s talent for showing raw emotion without seeming sappy is perfect for the mother-farmer-daughter-wife with a fiercely loving heart. As the wren longing to fly the nest, Imogen Clawson balances innocent hopefulness with stubborn toughness. She beautifully captures Jenny’s fears and courage and gratitude. And, I know I’ve said it before, but Tony Pitts’ performance as Richard reminisces blows me away. Every time we see his barely contained emotion, my eyes water with his. Just when I thought I was marked safe from more tears, he chokes out, “You’re the sun.”
The comic acting in All Creatures Season 6, Episode 4, “Jenny Wren,” is also spectacular. We’ve already seen Samuel West transformed into an action hero in “Gathering the Flock.” In “Jenny Wren,” his skills as a physical comedian are on display. Whether stumbling around the square trying to corral Hilda or lying prone under a cart to spy on the goat, West is a capable clown. Nicolas Ralph’s sneaky face returns as James sips tea against Siegfried’s orders. Gaia Wise (Charlotte) and Noé Sébert (Lord Gladwin) get in on the fun with comic expressions that lighten or darken the mood at the manor. When Mrs. Stokes creeps up to startle Siegfried and lead him gingerly by the hand, Susan Hilton delivers hilarity without a word.
Two of director Brian Percival’s techniques capture all of these elements. In scenes where multiple characters interact, the camera often focuses on those who are not speaking, shifting between them. We are able to see unspoken concerns during the celebratory lunch. In the horse barn, Richard and Helen’s closed faces are open books to viewers as the camera shows them separately doubting and deciding. A close-up on Hilda’s adorable face confirms she doesn’t hold a grudge. Mrs. Hall has felt somewhat in the background this season, but in “Jenny Wren,” lingering shots put her back in view even in her silences.
Percival also combines foreground and background to tell a richer story. The frame when Siegfried steps out of Skeldale to find the supposedly lame goat cavorting is perfection. A view of the “Alderson” wall with the Yorkshire hills in the background confirms that a transplanted Scotsman knows how to build a wall. A close-up of the Jenny wren patch on the family quilt provides a backdrop for the father’s and daughter’s tenderly clasped hands. And the final panoramic shot shows the Alderson trio admiring their multi-generational horse family with a flock of sheep in the background.
Writing for All Creatures for the first time Nessah Muthy partners with Ben Vanstone to craft a delightful script. The emotion-filled dialogue is arresting and authentic. My chest tightens with every word of admiration or gratitude the Aldersons or Herriots share. Light, fun elements are carefully sprinkled in to balance the impact of heavier feelings. I love Jimmy’s interjection about the cake. Similarly, the clever narrative sequencing evens out the emotional ride and binds the parallel stories together. A great example is just after Hilda holds up her diseased hoof, we hear the general ordering Tristan to “shake a leg.”
Two aspects clashed with the otherwise excellent writing. In this episode, as in much of Season 6, the animal-human parallels are made explicit. Much of the charm of this technique is in its subtlety. I also found funny-not funny Siegfried’s shift back to his “new normal” when he learns that Audrey intends to return.
Two standouts in “Jenny Wren” are prop abd hair, and make-up. The fun obstacle course in the town square is zany, while the improvised croquet set-up shows Audrey’s ingenuity. The glamorous looks for the celebration lunch show that Audrey is not a traditional grandmother, but Jenny truly has grown up.
“Jenny Wren” closes with the Aldersons looking to a future where both daughters fly off on a London adventure. The family’s beautiful relationship in this episode shifts the energy for the better this season. Hopefully, the warmth and joy will continue when the sun and wren have flown away.
Now streaming on PBS: What are your thoughts on All Creatures Great and Small Season 6, Episode 4, “Jenny Wren?” Let us know in the comments below.
First Featured Image Credit: ©Playground Entertainment and MASTERPIECE / Photographer: Helen Williams