Tanya Reynolds on her latest roles and the evolving landscape of female characters
Tanya Reynolds is currently captivating audiences with her roles in theatre and television, striking a balance between humour and depth in each performance, reports BritPanorama.
Known for her portrayal of a witty, alien porn-obsessed teenager in Netflix’s Sex Education, Reynolds is now shining as a cheeky Tudor midwife in the West End production of 1536. During a conversation in her book-lined flat, she reflects on her transition to portraying characters in irreverent historical dramas. In Netflix’s upcoming The Decameron, she plays a Machiavellian servant girl, showcasing her knack for comedic yet complex roles.
This spring, she stepped into the shoes of the sharp-tongued Caroline Bingley in the Austen spin-off The Other Bennet Sister. “She’s like an iconic mean girl,” Reynolds describes her character, who amusingly critiques the character Mary Bennet’s piano recital. This leads to a question on whether Reynolds herself enjoys witty banter off-stage.
“Oh my god no, no, no,” she responds, visibly taken aback. “I love playing characters that are as far as possible away from myself – it’s like putting on a costume. It’s so much easier because you become a different person.” With Reynolds identifying as introverted and shy, her on-screen personas exude a different kind of confidence that resonates with contemporary audiences. She frequently shares humorous anecdotes from the filming process on social media, shedding light on the behind-the-scenes hilarity often hidden in period dramas.
Serious themes underpin her comedic roles. For instance, 1536 explores the fallout of Anne Boleyn’s beheading, revealing how it impacts ordinary women grappling with rising misogyny. Reynolds plays Mariella, a midwife who must navigate a changing world where women’s agency is threatened. “The men are changing,” her character expresses, a line that resonates with current societal issues regarding gender dynamics. Reynolds emphasizes the play’s relevance, highlighting the dangers of permitting power to those who lack respect for women.
Transitioning 1536 from the Almeida to the West End has allowed director Lindsey Turner to refresh the production’s narrative, including a more suspenseful ending. Reynolds praises Turner’s dedication, describing the collaborative atmosphere during rehearsal as invigorating. “We were all just living and breathing it,” she notes.
What appeals to Reynolds about 1536 is its focus on ordinary villagers, contrasting with the glamorous depictions typical of Tudor dramas. “We don’t see a lot of Tudor dramas that focus on just normal people,” she points out, emphasizing the authenticity of how everyday individuals might have lived during that era.
In addition to her theatre work, Reynolds has also made her mark in The Other Bennet Sister. She and her co-star Siena Kelly shared casting experiences, finding humour in the competitive nature of the audition process. Reynolds adds a defence of Caroline Bingley, advocating for a more nuanced understanding of the character’s motives.
Growing up in a non-theatrical background, with a builder father and factory-working mother, Reynolds reveals her journey into acting began with a passion that she couldn’t quite pin down. After studying at Oxford School of Speech and Drama on a scholarship, her breakthrough role came as Lily in Sex Education, a part she thought she was too old for at 26. “I think that’s why my audition went so well – I didn’t have any nerves,” she reflects on the unexpected nature of her success.
Reynolds’ portrayal of Lily has since evolved into a beloved character arc, much to her surprise. Meanwhile, her upcoming role in the acclaimed Apple TV series Ted Lasso, as an assistant coach, marks a significant leap in visibility, bringing her into the realm of mainstream entertainment. “I’m not an athletic person,” she remarks humorously, noting her newfound need to engage with football as part of the role.
This opportunity is poised to introduce her to a vast audience, following a season of Ted Lasso that set viewership records in 2023. As Reynolds navigates this transition, she reflects on the balance between her public persona and her personal life, noting the challenges of contemporary fame. “I feel quite protective of my personal life,” she admits, alluding to the pressures of a public existence.
In a final nod to her character’s thematic essence, she quips, “I’m more of a Mary Bennet than a Caroline Bingley.”
‘1536’ is at the Ambassadors Theatre, London, until 1 August. ‘Ted Lasso’ series four premieres on Apple TV on 5 August.
