Ella Bruccoleri on Mary, Tom and Season 2

Ella Bruccoleri may be playing a Bennet sister on TV, but the actress wasn’t always a fan of Jane Austen. Bruccoleri read “Pride and Prejudice” for the first time when preparing to take on the lead role in the BBC drama “The Other Bennet Sister,” penned by Sarah Quintrell and adapted from Janice Hadlow’s novel of the same name. Playing Mary Bennet — Elizabeth’s younger and more timid sister — Bruccoleri set out to portray the coming of age story of a Regency woman.

“We wanted to make a show that Jane would enjoy if she were around today, or that was faithful enough to what she was trying to do,” Bruccoleri tells Variety.

The show’s dramatic romance and journey of self-growth seems to fit in line with something Austen would’ve imagined for her characters. Mary, overshadowed by her vivacious sisters and disparaging mother (Ruth Jones), begins to find her footing when she moves to London to nanny her cousins after her father’s death. In the new city, Mary lives with her aunt and uncle, the Gardiners, where she encounters a gentle lawyer named Tom Hayward (Dónal Finn), with whom she shares an immediate connection. While Tom is in a pre-existing romantic agreement, Mary crosses paths with Mr. Ryder (Laurie Davidson), a charming playboy who begins pursuing her (unbeknownst to her). Familiar characters from “Pride and Prejudice” make appearances, such as the Ryder-besotted Caroline Bingley, who takes great pleasure in being cruel to Mary, as well as the rest of the Bennet family, accompanied by flashes of Mr. Darcy refusing to spend time with his in-laws.

Worlds collide when Ryder follows Mary to Pemberley, but their friendship (as far as Mary is concerned) hits a snafu when he asks her to be his mistress. Mary returns to the Gardiners and re-connects with a newly single Tom Hayward during a trip to the lakes — which is crashed by Ryder and Caroline Bingley.

A series of misunderstandings ensue, and Tom eventually leaves the lakes, seemingly for good. In his absence, Mary, who has grown into herself tremendously over the course of the season, continues to build a life for herself in London. She comes across Mr. Sparrow, an old friend whom she’d rejected; hashes out her issues with Caroline — and even finally addresses the way her mother has treated her.

In the last scenes of the finale, Tom returns to London (after Caroline persuades him to!) to confess his love for Mary and admit he thought she loved Ryder instead. The two end the season engaged, and preparing for a life together.

First premiering on BBC in the U.K. earlier this year, “The Other Bennet Sister” moved to BritBox for a weekly streaming schedule in the U.S. and Canada. The interest carried over across continents: “The Other Bennet Sister” show drove five times more new subscribers to the streamer in its first five weeks than any other series, helping achieve BritBox its strongest quarter yet in terms of subscriber growth.

It’s been so successful, in fact, that this week, BBC and BritBox announced “The Other Bennet Sister” will have a three-part Christmas special, to film this summer. Before that news broke, though, Bruccoleri expressed nervousness about the possibility of a second season. “When something has felt really perfect and is being received in a lovely way, I’m a bit scared of touching it again,” she said.

In the interview, Bruccoleri discusses portraying Mary’s anxious tendencies, carving her own path — and what’s next for Tom and Mary.

Centuries later, Jane Austen is still so popular, and Mary’s story of being an overlooked wallflower is something that still exists today. What do you hope that audiences who see themselves as Mary take away from the show?

Society’s message tells you that in order to fit in and be accepted, you have to make yourself look a certain way and appear polished. Mary goes on this journey where that message is so instilled within her that she finds it really difficult not to listen and thinks, “OK, I’m doing something wrong. I need to change the way I am in order to make people like me.” It doesn’t work, because Mary is who she is; she’s never going to be able to inhabit this box that other people want her to. Her flaws become her charms once she’s around people that accept her for who she is, which is the takeaway that I’d like people to have.

I noticed Mary picks at the skin around her thumb when she’s around her family and presumably nervous. What were some of the mannerisms that you incorporated to flesh her out?

It was scripted, actually! I loved that detail in the script, so I took that and ran with it. My makeup artist would — every day — do minimal prosthetics on my hands, around my nails to show this redness. We had to track where she was in her journey because I wanted her to start doing that less as she went on. Mary’s journey in “The Pursuit of Love” is a complex and emotional one, filled with moments of humor, heartbreak, and growth. One of the key aspects of her character is her relationship with her mother, the Bennet matriarch, who is portrayed almost as a cartoon villain in her parenting style. Despite her mother’s harsh treatment, Mary continues to try to earn her approval, a universal desire for many individuals who seek validation from their parents. This dynamic is explored in depth in the series, highlighting the complexity of parent-child relationships, even when they are toxic.

The scenes between Mary and her mother were challenging to film, as Lily James, who plays Mary, often found herself cracking up due to the humor in the situation. The need for approval from a parent, no matter how they treat you, is a deeply ingrained desire that can be difficult to overcome. As Mary struggles to please her mother, she ultimately learns that self-acceptance and approval are more important than seeking validation from an external source.

One element that was not as explored in the show as in the book was Mary’s relationship with her father, with whom she had a better connection. The loss of her father and the moments of trying to please him were poignant and added depth to Mary’s character. While there were limitations to how much of this could be included in the series, it remains a significant aspect of Mary’s emotional journey.

A recurring motif throughout the series is Mary’s glasses, symbolizing her intellect and love for reading and poetry. The decision to have Tom, her eventual love interest, wear glasses as well was intentional, highlighting their compatibility and shared interests. The glasses serve as a visual representation of their connection and are present in key moments of their relationship.

The boat ride scene, where Tom and Ryder end up in the lake, was a memorable and amusing day on set. Despite the challenges of filming on the water, the cast found moments of humor and camaraderie, with unexpected mishaps like Dónal losing a sideburn in the lake adding to the comedic atmosphere.

Mary’s brief romance with Ryder adds complexity to her character and allows for a “will they/won’t they” dynamic before she ultimately chooses Tom. This subplot helps Mary explore her feelings and understand what love truly means to her, leading to her decision to be with Tom in the end.

In the final episode, Mary makes significant choices that showcase her growth and self-assurance. From rejecting Ryder to standing up to her mother and reconnecting with Sparrow, these moments highlight Mary’s independence and maturity. The scene with her mother, in particular, was deeply satisfying for Lily James to film, as it encapsulated Mary’s journey towards self-reliance and self-acceptance.

Overall, Mary’s character arc in “The Pursuit of Love” is a nuanced exploration of love, family, and personal growth. Lily James’s portrayal brings depth and authenticity to Mary’s emotional journey, making her a relatable and compelling protagonist in this captivating series. In the final moments of the show, Mary is portrayed as completely empowered as she confronts her mother and takes ownership of her words. This scene showcases her growth and self-confidence, a stark contrast to her earlier timid demeanor. Additionally, the encounter with John Sparrow on the bench adds a layer of complexity to Mary’s character, as she grapples with the guilt of potentially hurting someone else. This guilt weighs heavily on her mind, demonstrating her capacity for introspection and self-reflection.

One of the major events in the finale is Tom and Mary finally getting engaged and married off-screen. The question of whether they will have children lingers, as Mary is not naturally maternal. However, I envision them having a progressive and equitable relationship, where decisions are made jointly and each other’s happiness is prioritized. Mary’s passion for governessing and desire to pass on her knowledge to young women suggest that she may continue in this field or even pursue writing as a means of sharing her experiences and insights.

As the show concludes, the possibility of Mary becoming a Jane Austen-like figure, writing for others, is hinted at. This aspiration to impart wisdom and guidance to future generations underscores Mary’s growth and maturation throughout the series. Ultimately, I see Tom and Mary leading a content and fulfilled life together in a bohemian London setting, where they continue to support and inspire each other.

This interview has been edited and condensed for clarity.