SPOILER ALERT: This story contains spoilers from Season 1 of “The Other Bennet Sister,” now streaming on BritBox.
Ella Bruccoleri, who portrays a Bennet sister on screen, was not always enamored with the works of Jane Austen.
Bruccoleri first delved into “Pride and Prejudice” while preparing for her leading role in the BBC drama “The Other Bennet Sister.” The series, written by Sarah Quintrell and adapted from Janice Hadlow’s novel, sees Bruccoleri take on the part of Mary Bennet, the quieter sibling of Elizabeth. She aimed to bring to life the coming-of-age story of a Regency-era woman.
“We wanted to create a series that Jane Austen herself might appreciate today, or one that stays true to her original intentions,” Bruccoleri told Variety.
The show’s blend of romance and personal growth aligns with the type of narrative one might expect from Austen’s imagination. Mary, often overshadowed by her more lively sisters and critical mother (played by Ruth Jones), starts to find her place after moving to London to care for her cousins following her father’s passing. There, she resides with her aunt and uncle, the Gardiners, where she meets Tom Hayward (Dónal Finn), a kind lawyer with whom she forms an immediate bond. Although Tom is initially involved in another romantic engagement, Mary also encounters Mr. Ryder (Laurie Davidson), a charismatic playboy who pursues her unbeknownst to her. Characters from “Pride and Prejudice” appear, such as Caroline Bingley, who delights in taunting Mary, and the Bennet family, with glimpses of Mr. Darcy avoiding his in-laws.
The narrative intensifies when Ryder follows Mary to Pemberley, leading to an awkward moment when he proposes she become his mistress. Mary returns to the Gardiners and rekindles her connection with a now-single Tom Hayward during a lake trip, which Ryder and Caroline Bingley disrupt.
A series of misunderstandings unfold, and Tom departs the lakes, seemingly for good. Meanwhile, Mary, having grown significantly throughout the season, continues to establish her life in London. She reconnects with Mr. Sparrow, an old friend she once turned away, addresses her issues with Caroline, and finally confronts her mother about her treatment.
In the finale’s closing moments, Tom returns to London, persuaded by Caroline, to confess his feelings for Mary, revealing he believed her to be in love with Ryder. The season concludes with their engagement and plans for a shared future.
Following its initial airing on the BBC in the U.K. earlier this year, “The Other Bennet Sister” transitioned to BritBox for weekly streaming in the U.S. and Canada. The series spurred significant interest, drawing five times more new subscribers to the platform in its first five weeks than any other show, marking BritBox’s most successful quarter in subscriber growth.
The success has led to BBC and BritBox announcing a three-part Christmas special, set to film this summer. Prior to this announcement, Bruccoleri admitted some apprehension about a potential second season. “When something feels perfect and is well-received, I’m a bit hesitant to alter it,” she expressed.
In her interview, Bruccoleri discusses portraying Mary’s nervous traits, her journey of self-discovery, and the future for Tom and Mary.
Centuries later, Jane Austen remains immensely popular, and Mary’s narrative of being an overlooked wallflower resonates with many today. What do you hope viewers who identify with Mary take away from the series?
Society often dictates that acceptance comes from conforming to certain standards of appearance and behavior. Mary embarks on a journey where these societal messages are deeply ingrained in her, leading her to believe she must change to be liked. Ultimately, this fails because Mary remains true to herself and cannot fit into the mold others expect. Her imperfections become endearing traits among those who accept her for who she is, which is the message I hope audiences take away.
I noticed that Mary picks at her thumb’s skin when nervous around her family. What other mannerisms did you incorporate to develop her character?
This detail was actually in the script, and I loved it. My makeup artist would apply minimal prosthetics daily to make my hands appear red around the nails. We tracked her progress, and I aimed for her to do it less as the story progressed. Also, I don’t wear glasses in real life, so I had to decide when she would need them, based on the script’s context.
The Bennet matriarch is portrayed almost like a cartoon villain in her parenting style. Why does Mary persist in seeking her approval? How did you and Ruth Jones handle those often humorous scenes?
Those scenes were tough because I often couldn’t stop laughing. Mary’s continued efforts for her mother’s approval are heartbreaking, and Janice Hadlow explores this extensively in the book. It’s about the eternal desire for parental approval, regardless of how they treat you. Ultimately, Mary learns she doesn’t need external validation, as it can come from within. The show wisely avoids oversimplifying this complex parent-child dynamic, acknowledging the challenges of breaking away from toxic relationships.
Do you regret that Mary’s grieving for her father, with whom she seemed to have a better relationship, wasn’t more prominent in the show?
That’s one aspect I missed from the book. There are poignant moments where Mary tries to please him, like compiling a book of quotes from his favorite authors, only to discover they mock those authors, leading her to tear it up. There’s always more to explore, but the show didn’t have space for it as written.
You mentioned Mary’s glasses earlier. In the scene where she meets Tom, he puts on his own pair, and when they get engaged, the glasses are present again. Was that an intentional choice throughout the season?
Tom was always meant to be Mary’s male counterpart. The glasses were a clear way to convey this, reflecting their intellect and shared love for reading and poetry. It was intentional to feature them in the final romantic scene. We resisted romanticizing them visually, keeping their nerdy appearance consistent throughout the series.
One of their most pivotal scenes occurs during a boat ride interrupted by Ryder, leading to both men ending up in the lake. What was filming that like?
That day was quite intense on set. There were issues with securing the boats to the lake’s bottom, causing delays. Indira Varma, who plays Mrs. Gardiner, arrived in a swimsuit with a duck-topped hat, intending to swim. She thought the duck would excuse any camera captures. Everyone was too stressed to address it and tried to prevent her from jumping in. When filming with Dónal and Laurie, it was freezing, and while a medic was present, he was overly cautious, fearing pneumonia. It was humorous, especially when Dónal lost a sideburn in the lake!
Did you feel like it was important for Mary to have another love interest before eventually ending up with Tom?
Including another love interest adds depth to the story, creating a slight uncertainty about her future, despite viewers knowing she’ll end up with Tom. For Mary, it’s crucial to experience other relationships, particularly with Mr. Ryder, which are formative and teach her about herself. Recognizing what isn’t love helps her realize her feelings for Tom.
In the last episode, she makes several wise choices, like rejecting Ryder, reconnecting with Sparrow, confronting her mom, and having tea with Caroline. Were any scenes particularly rewarding to film?
The scene with her mom was especially satisfying. Ruth and I worked on it like a mini play in the living room, discovering new elements. It encapsulates Mary’s journey, showing she no longer relies on her mother, is self-assured, and trusts her decisions. Meeting John Sparrow on the bench was also significant. In the book, Mary carries guilt over Sparrow, unable to move past the possibility of hurting him. Seeing his happiness is a full-circle moment for her.
The finale sees Tom and Mary engaged and married off-screen. What do you envision for them afterward?
I’ve pondered whether they’d have children, as Mary isn’t naturally maternal. She bonds with kids once her guard is down, but it would be a significant decision for her. I imagine them having a progressive relationship for the era, making decisions together and valuing each other’s happiness. Mary might continue as a governess. There was debate over whether she should write a book, becoming a Jane Austen-like figure. It felt vital that Mary wanted to pass on what she’d learned as a young woman, so I see them living happily and perhaps leading a bohemian life in London.
This interview has been edited and condensed.
