Tanya Reynolds is widely known for her role in the critically acclaimed Netflix series Sex Education, in which she portrayed the charming and complex Lily Iglehart, earning a devoted following. Additionally, her recent theater work, including a recent West End run of A Mirror, showcases her impressive range and depth as an actress. In 2024, Tanya is back on Netflix with the satirical television adaptation of The Decameron. This series, set against the backdrop of the Black Death, reimagines Giovanni Boccaccio's classic work with a contemporary twist. Tanya plays Licisca, a servant who navigates the turmoil of a plague-ridden society, revealing the shifting social dynamics within a confined villa. The series infuses its portrayal of historical events with a sharp satirical edge, blending humor and wit to explore themes of class struggle and personal transformation. The Decameron not only resonates with Shakespearean themes of deception and ambition—where characters often assume multiple roles and manipulate their surroundings—but also draws a striking parallel to contemporary experiences. The Black Death, much like COVID-19, was a pandemic that upended societal norms and exposed vulnerabilities in both individuals and institutions. Just as the Black Death forced a reevaluation of class structures and human behavior, the COVID-19 pandemic similarly challenged our understanding of social dynamics, public health, and personal resilience. The show’s satire and humor provide a fresh lens through which to view these historical and modern crises. As society grapples with a novel virus and the fear of an invisible threat, The Decameron uses comedy to highlight the absurdities and ironies inherent in human behavior during times of crisis. Tanya's portrayal of Licisca, who disguises herself to navigate the chaotic world of the villa, is both entertaining and insightful, offering a witty commentary on the nature of social status and survival.

The Decameron is now streaming on Netflix.

David Gargiulo __ Tell me about your beginnings, your family, and what inspired you to pursue a career in acting.

Tanya Reynolds __ Sure. I grew up in a small town called Hemel Hempstead. My dad was a builder and my mom was a signwriter. She’s an incredible artist who hand-painted signs. From a very young age, I knew I wanted to be an actor. There was never a question in my mind about becoming an actor. It wasn’t even a consideration for me to do anything else. I had a lot of self-belief as a child, although I must admit, I sometimes struggle with that confidence now. I was lucky that my parents always encouraged me throughout my journey. After graduating from university, I auditioned for drama school but didn’t get accepted. During that time, I worked in a pub and doubted whether I’d ever become an actor. I felt like I had failed because I didn’t get into drama school, and it made me question my abilities. However, I didn’t give up. I auditioned for drama school again and received a full scholarship to the Oxford School of Drama. This scholarship was crucial, as I wouldn’t have been able to afford it otherwise. I trained there for a year, graduating in 2015. My first professional acting job came in 2016 and here we are!

DG __ And here we are indeed. Persistence pays off. Who have been your biggest influences or mentors in the industry?

TR __ When I started out in the business, I found inspiration in others working in the industry for a long time. I would seek their advice and guidance, and I still do today. Whenever I'm on a job, I look to my colleagues for their insights. One of the most significant influences was Maxine Peake, with whom I worked on my first film, Fanny Lye Deliver'd. She’s a true national treasure in the UK. I learned so much from observing her. I probably asked her too many questions, but she was always patient and generous with me. I'm also grateful for the guidance of Clare Kilner, who directed me in my first TV show, Delicious. Clare is currently directing House of the Dragon. We’re still good friends, and she’s another person I turn to for advice. I feel incredibly lucky to be surrounded by such supportive mentors. Every job I’ve done has brought me new mentors who have been generous with their time and knowledge.

DG __ You’re very lucky to have had so many great mentors. I always recommend that anyone starting any career find a mentor, as it is invaluable for accelerating growth. How did your experience in Sex Education prepare you for the role of Licisca in The Decameron? 

TR __ Working on Sex Education was a three-year experience, and with each project, you grow and improve as an actor. The time spent on that show helped me become more comfortable and confident on set. When we filmed the first season of Sex Education, I was 26, and it feels like a lifetime ago now. The experience of playing the same character for an extended period gave me a lot of confidence and a deeper understanding of being on set. It also helped me develop a greater sense of ease with different aspects of acting and filming, which helped me with other projects in my career, including The Decameron.

DG __ For The Decameron, if I'm not mistaken, you shot in Rome and Viterbo, is that right?

“The Decameron was exactly the kind of project I was looking for: smartly written, clever, and original.”

TR __ Yes, that’s right. I absolutely loved it. My dad is Italian, so I’ve always wanted to spend more time in Italy and regretted not having done so earlier. The opportunity to work there for six months was irresistible. I had only been to Rome once before, in my twenties, during a very dramatic time in my life. I had just gone through a breakup and decided to spend a week in Rome by myself, trying to heal. It was a special, albeit bittersweet, experience. Returning to Rome for The Decameron, as an older, wiser, and happier person was a completely different experience. It felt amazing to revisit the city with a new perspective and to be more secure in myself. Spending six months in a city I adore and working on a show I love was a dream come true. The Decameron was exactly the kind of project I was looking for: smartly written, clever, and original. The characters were richly developed, and the satire was both funny and unique. Being part of a wonderful cast made the experience even more special. It truly was the best work experience of my life. 

DG __ As you mentioned, the show is clever with many layers beyond just the storytelling. Let’s discuss some of the parallels between The Decameron and recent history. How does the show draw parallels between the Black Death and the recent COVID-19 pandemic?

TR __ There are many parallels. Both events involve pandemics where we faced viruses we didn’t fully understand. Despite advancements in medicine and science since the 1300s, COVID-19 was new to us, and there were bizarre theories about how to protect ourselves, which have since been disproven. The fear of an unknown disease in the air taking lives and the desire to protect ourselves is a main parallel. In The Decameron, the characters don’t have knowledge of germs theory. They’re uncertain about how the disease spreads, which mirrors our uncertainty at the beginning of the COVID-19 pandemic. The show depicts characters hiding away in an Italian villa, hoping to wait out the plague, much like many of us spent months in our homes, hoping for the pandemic to end and medical advancements to provide a solution. The heightened sense of fear and the madness that can set in from being confined and living in constant uncertainty are themes that resonate strongly. Just as people living together during the pandemic faced friction and tension, the show illustrates how confinement and crisis exacerbate these issues. Obviously, in the show, the situation precipitates into complete chaos.

DG __ How does The Decameron use satire to highlight disparities between social classes and the concept of privilege, especially during a crisis?

TR __ The characters are deeply entrenched in the social structures of their time, particularly the rigid class distinctions between nobles and their servants. As they find themselves confined to the villa and start making their own rules, these class structures begin to break down. As the show progresses, the chaos and loss of life lead to a dramatic shift. The characters become increasingly desperate to survive, and survival often means navigating the shifting power dynamics of their confined environment. In such extreme circumstances, social class becomes irrelevant. The show highlights how traditional class distinctions lose their significance in the face of potential disaster and confined spaces where everyone is trying to survive. For instance, my character starts in one social class but chooses to reinvent herself. She dons a new dress and headpiece, stepping into a different role. This change is not questioned because class boundaries are fluid and arbitrary when survival is at stake.

“When you’re struggling or facing something frustrating or upsetting, finding a way to laugh at it can make it feel more manageable and human.”

DG __ How does The Decameron portray the theme of greed and the pursuit of higher social status among its characters?

TR __ Yeah, greed is a big theme. The show explores what happens when people are pushed to their limits and whether that drives them to become more giving and selfless or more ferociously hungry and selfish. Many characters flip between moments of real kindness and sheer survival instinct. Some characters start off as incredibly generous, but their need for survival can twist into greed as the situation becomes more dire.

DG __ How are contemporary issues like the wealth gap and social inequality addressed through the lens of the show?

TR __ Well, the show highlights that death doesn’t discriminate based on class. When faced with a disease that affects everyone, no amount of wealth can shield you from its reach.  The show illustrates what happens to the human condition when people are on the edge of life and death. Wealth and class become meaningless when everyone is facing the same existential threat. For instance, Pampinea’s desperate need for a husband becomes irrelevant when the focus shifts to survival and everyone is potentially facing death. The social constructs we create become our own prisons, and when disaster strikes, those constructs lose their significance.

DG __ Staying on the same theme of social inequality, you mentioned earlier how class and social status are portrayed in the show. I was making a parallel in my mind with social media and how it has exacerbated these issues compared to back then. Whereas in the past, class differences were confined to your immediate circles, now social media broadcasts these disparities to the entire world. How do you think social media is amplifying these problems? 

TR __ Social media is indeed a double-edged sword. On one hand, it's a platform where people often showcase their most polished, curated versions. It can create a facade of perfection that masks the reality of social and economic inequalities. Social media makes it possible to constantly compare ourselves to others, which can deepen feelings of inadequacy and highlight disparities. We end up knowing too much about our neighbors' lives—like what they had for breakfast or what they're doing every second of the day—which can feel overwhelming and trivial when compared to more significant societal issues.

DG __ So, do you think this constant exposure can lead to a kind of existential crisis?

TR __ Absolutely. When you think about it existentially, it’s a bit crazy. We’re bombarded with information that can make us feel disconnected from more meaningful aspects of life, and the constant comparison can amplify feelings of inadequacy and social division.

DG __ Similar to what the show was trying to do with the different classes, right? People pretend to be from a different class because they want to look rich on social media. It's exactly what the show was trying to address. 

TR __ Exactly. In the show, my character Licisca starts off as a servant. In the first episode, she decides she's had enough of her old life. With everyone she’s ever known gone or dead, she’s unshackled from her past. When she decides to pretend to be Filomena, she literally just puts on Filomena’s clothes and shows up at the villa, claiming to be a lady. And suddenly, she’s treated like royalty.

DG __ Fake it until you make it, right?

TR __ She’s not even making much of an effort to fake it; she’s just wearing rich clothes and brushing her hair. Everyone treats her like royalty, and she’s astounded by the difference. It’s a stark realization for her that all it takes is a change of appearance for her to be treated with respect for the first time in her life. It highlights how unfair it is that a change in appearance can lead to such different treatment. It's a reflection of how social media can create a facade, allowing people to present themselves in a way that might not reflect their true status, which is pretty wild.

DG __ What do you hope viewers will take away from watching The Decameron?

TR __ I hope people enjoy it and it brings some joy to their lives. It’s a comedy at its core, so I’d love it if it made people laugh. But beyond that, one of the lessons I’ve personally taken from it is about finding humor in dark or difficult situations. I’ve been trying to approach life with a bit more of an attitude of laughing things off. When you’re struggling or facing something frustrating or upsetting, finding a way to laugh at it can make it feel more manageable and human. It might sound cliché, but I truly believe laughter is one of the best remedies, alongside actual medicine. So, I hope it helps people feel a bit better.

DG __ Thank you for bringing us laughter, especially during these chaotic times. It means a lot to everyone. So, last question. What's next for you after The Decameron? Are there any upcoming projects you’re excited about?

TR __ Yes, I have a film coming out called Time Stalker. I really loved making it. It’s set to be released in September in England. It’s a fantastic independent rom-com by Alice Lowe, a brilliant writer, director, and actress. She wrote and directed this film, which she stars in. It’s about a woman who keeps dying and being reincarnated in different time periods, but the same characters appear in each. The woman is constantly trying to find this man she’s obsessed with. I had a blast playing the same character across various time periods and wearing a bunch of different wigs. It was such a fun experience!

Photography Mark Cant (Werth Represents), Styling Chloe Beeney (Dawn Mason Inc), Makeup Dani Guinsberg, Hair Jon Chapman using Hair Rituel by Sisley (Carol Hayes Management), Interview and Production David Gargiulo, Photo Assistant Sam Jupp, Talent Tanya Reynolds (Public Eye Communications)