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How would you describe Ivy to the viewers?

Ivy is a cheeky, loud-mouthed, larger-than-life troublemaker. She's a kitchen maid, so she spends most of her time downstairs trying to avoid working – and flirting with Johnny the footman. She's also fond of singing in the bath!

The revival of the series is a piece of TV history. How does it feel to be part of this?

As a mere youth I didn't really know much about the series before I was offered the role, so I wasn't as affected by its formidable history as some people might have been. But it was a different story with my family: they were over the moon! Especially when they heard it had the 100% original Jean Marsh in it. It's great to be involved in something that people are so enthusiastic about but, it has to be said, it is a bit nerve-wracking. The series meant a lot to people.

Did you know or have you worked with any of the other actors?

I hadn't worked with any of the actors before, so I was a bit daunted. But it was great getting to know everyone: we spent so much time together on the downstairs set that we were always going to end up like a bit of a family. Thankfully, we were a peaceful one.

How did it feel when you stepped in to 165 Eaton Place for the first time?

As soon as I got on to the set, I felt like I was in an actual house; it was so full of character. The art department did a truly accomplished job, right down to the detail on tea-cosies and the pots stacked up in the cupboards. Another brilliant thing about the set was the way that adjoining rooms had actually been built off the main kitchen, as opposed to being constructed separately, so it had this lovely warreny feel which deepened the shots and gave the whole thing more bustle.

What do you think is it about Upstairs Downstairs that the public love so much?

Everyone loves a slice of period-drama-pie, but I think the success of Upstairs Downstairs is really down to the wonderful format that Jean Marsh and Eileen Atkins created. It allows for all sorts of intrigue and intermingling between those very different worlds of upstairs and downstairs; as a viewer you're permitted to poke around behind the closed doors and see what really goes on, and to watch these relationships develop, and I think that premise appeals to the nosy streak in everyone. The characters are very strong, and the plot really whistles along.

There's a scene when a monkey jumps on you. What was that like to film?

Oh, the monkey... I'm not going to lie: I was terrified. But thankfully, the monkey had a couple of very competent trainers. We practised her running up my arm several times before doing the take to make sure we were both okay with it (I think she was more professional about it all than I was) and she was actually very well-behaved in that shot. I had to mime screaming, though, so she didn't get scared. We had to record my voice and add that bit in after filming.

Do you think Ivy copes well with being at the bottom of the rung?

Ivy always has a tendency to kick back against authority, so she makes life pretty difficult for Jean Marsh's character, the housekeeper Rose. She does grow to feel at home in 165 Eaton Place, though, and eventually falls into line – but I don't think she can ever be truly tamed!

Did you enjoy stepping back to the 1930s?

I loved revisiting the 1930s; period stuff is always fun because you have to speak and move and dress completely differently to how you would normally. I seem to end up doing a lot of it: I've done far more period jobs than I have modern ones. I really enjoy it, but I'd also like to try some more drama set in the modern day.

Did you do any research beforehand about conditions for staff working downstairs during that era?

There was a very knowledgeable historian who came in to help us during rehearsals, so I had a few chats with her, and of course the font of wisdom that is Jean Marsh knew everything I could possibly want to ask, so it was great having her on set to help us out if we weren't sure about exactly how to do something.