“Never work with children or animals,” is a phrase famously attributed to Hollywood actor and comedian W.C. Fields. For actor Tanya Reynolds, that maxim might also apply to robotic animals. In the first episode of The Decameron, Netflix‘s new dark comedy set in Italy during the bubonic plague, she plucks a wriggling fish from a fountain. At least, it was supposed to be wriggling…
“It just malfunctioned,” she tells StyleCaster, laughing. “I just said, ‘Oh, it’s a robot fish malfunction,’” to her friend, Alana, who was working on the show as a Steadicam operator, “and we were like, ‘Oh my god, that’s our band.’ We actually made up a song on the spot called ‘Robot Fish Malfunction,’ which she’s got recorded somewhere.”
The fish—who dies rather unceremoniously as it’s whacked against the concrete—wasn’t the scene’s only casualty. “I smacked my hand when I smacked the fish, and I think you can see in the final product that I’m bleeding, but I didn’t realize because the water and my hands were so cold,” says Reynolds. Minutes later, Licisca is discovered covered in “fish carnage” and moments like this are when Reynolds’ comedic chops really shine. “Oh,” she remarks, eyes widening. “How absolutely queer of me.”
Reynolds—who you’d recognize from Sex Education—plays Licisca, the servant of a noble family whose master dies, leaving her to care for her master’s similarly-aged, entitled daughter, Filomena. They’re invited to escape “the pestilence” in the Roman countryside, which claimed almost half of Europe’s 14th-century population. TLDR; Licisca grows tired of Filomena’s shit, pushes her off a bridge, and assumes her master’s identity at the villa where other nobles are quarantining.
What drew you to this character?
The first scene that I read was where Licisca, in the very first episode, is putting flowers up her nose to try and ward off the pestilence. Just the fact that she thought that could work—she was so earnest and naive, but as the story goes on, she reveals herself to be quite rock solid. She’s a great multi-dimensional character and the world is so unique. That’s what was so exciting to me.
I’ve read that this show is being described as Love Island, but back in the day. I’m curious, do you watch reality TV?
I love it. I’ve just finished watching Married at First Sight Australia. When I’m watching TV, I just want to switch off sometimes and reality TV helps me do that. I don’t know if it has something to do with being an actor as well—where sometimes watching TV can feel like work because you’re watching and analyzing it.
But I think in the beginning, you think this is a costume drama about people in this villa hooking up. Then actually, as the show goes on, it gets so much deeper. It’s very much an exploration of class and what happens to the class structure when everyone thinks they’re going to die.
There are some amazing comedic actors in this show, yourself included, but you’ve also got Tony Hale (Buster in Arrested Development), Zosia Mamet from Girls, and Saoirse-Monica Jackson from Derry Girls. Was there a lot of room for improvisation?
Kathleen [Jordan] and the directors were super open to improvisation. People like Tony Hale, Zosia, and Saoirse are really skilled improvisers, watching them was amazing. But I personally get a little scared.
When I’m watching TV, I just want to switch off sometimes and reality TV helps me do that. I don’t know if it has something to do with being an actor as well—where sometimes watching TV can feel like work because you’re watching and analyzing it.
Tanya Reynolds
I want to talk about your dialogue with Douggie McMeekin who plays Tindaro. There must’ve been so many scenes that were difficult to get through because of how funny your lines are.
Any scene with him was difficult to get through without laughing. There is one scene where he, Arma [Chadha-Patel], and I are in a tent and Douggie’s feeding me grapes. At one point, he’s hyperventilating and he turns to me and says, “Are you in love with me?” As soon as he said it, we both locked eyes and exploded into laughter. It was impossible to get through that scene.
How many takes do you think you did?
Oh, I don’t know. Maybe upwards of seven. It was actually on Valentine’s Day, shooting that scene. Being in this tent with these very funny people… It was great.
One of the biggest bombshells of the show is that Filomena and Licisca are actually sisters. How does that change their relationship?
She’s been thrown that massive bomb of information just before she thinks she’s going to die, so she can’t process much in that moment. Once they’re free and back in the villa, she’s furious. She’s spent her entire life being this woman’s servant, having been brought up believing that she’s less of a person.
Filomena has treated her terribly and she really can’t forgive that. To think that Eduardo as well, this man she loved, but as her master—he knew all this time she was his daughter and yet he kept her as a servant. When Eduardo dies, Licisca feels like she’s got nothing to live for. When she finds out that everything she thought she was living for never really existed, she goes into full chaos mode.
The scene right at the ending where the class structure of this group has dissolved. Can you speak to the significance of that moment?
Even the setting of it is so peaceful. These people have been through so much and have found peace within themselves and with each other in a place where there is no class structure. Licisca has learned forgiveness and Filomena has redeemed herself. She also realizes that, “Oh, actually, I do have friends here.”
Where would you like to see Licisca’s story go from here?
I’ve always seen the show as a limited series because it ends and it’s not open in its ending. But I would love to do a second season because we all had so much fun. I would love to see Licisca in some position of power.
The Decameron is available to stream on Netflix.
