Exclusive Interview: Bethany Joy Lenz on ‘Hope Valley: 1874,’ Writing the Theme Song, and Stepping Into Rebecca’s Journey

There’s a quiet transformation that happens when Bethany Joy Lenz steps into a role—one where the lines between performer and character begin to blur, and what emerges feels both intimate and expansive. A multifaceted artist whose work spans acting, music, and storytelling, Lenz brings a rare depth to her performances, grounding them in emotional truth while allowing them to fully inhabit the world around them. In Hope Valley: 1874, that sense of immersion is unmistakable.

Set against the vast and unforgiving landscape of the Western Canadian frontier, the series traces the origins of a town built not just on survival, but on connection. At its center is Rebecca Clarke, a woman in motion—grappling with loss, driven by love, and searching for stability as she journeys west with her daughter, Sarah. When the life she envisioned begins to unravel, Rebecca is forced to lean into the unknown, where unexpected relationships and new possibilities begin to take shape.

But Bethany’s presence extends beyond the screen. In a full-circle moment of artistry, she lends her voice to the series’ theme song—an extension of the character and the world she helps bring to life. We caught up with Bethany to talk about stepping into Rebecca’s world, the power of lived-in details, and the creative convergence that made this experience all the more meaningful.

PC: There’s so much complexity to a character like Rebecca, who’s navigating the vulnerability of starting over, the grief of losing her husband, but also the excitement of new beginnings and the strength of showing up for her daughter. What was it about her that initially resonated with you, and how did you approach balancing those layers so they feel like such a natural extension of both her and the human experience? Because there’s such a lived-in quality to your performance.
Bethany: Thank you, first of all—that’s so lovely, and thank you for watching the show and connecting with those elements. It really means a lot. I can say with certainty that there’s complexity to every character, every woman, every human. We all carry so many layers with us through life. My job is really to figure out which specific pieces of those layers come together to make her who she is.

What felt very natural for me is that Rebecca is someone I deeply resonate with—what she’s been through, her instinct to protect her child, being a single mother, having to improvise and pull things out of thin air just to keep going. It’s not just about survival—you want to thrive, and you want your child to thrive.

When I think about my own life, while I’ve never experienced anything as extreme as living off the land on the frontier—and I’m aware of the modern comforts I have—the emotional struggles are the same. That part of being human hasn’t changed over time.

For me, Rebecca was very clear on the page—who she is and what she’s been through. I’ve experienced things that allowed me to connect to her, so it didn’t feel like a huge stretch stepping into the role. And then, of course, once you put on the costumes, you’re standing there with the horses, driving the wagons, and you’re looking into the face of this incredible young actor who’s giving you so much emotionally—that’s where the magic of it all really comes to life.

PC: There’s such a transportive quality to the show where audiences immediately feel immersed in this world. I know so much of the character work happens before filming—can you talk about the intersection between the prep you did beforehand and then being on set with all of these elements, from the horses to the costumes? How did that deepen your connection to Rebecca, and did it lead to any new discoveries as you stepped into her shoes?
Bethany: Great questions. In terms of prep, this project came together so quickly. Ben Ayres, my co-star, has a great way of describing it—he says it felt like we were on a locomotive where the track was being laid right in front of us as we were moving. Our writer and showrunner, Alfonso Moreno, and his team did an incredible job of keeping us on that track.

I think we’re all grateful that Season 1 has wrapped because now we can finally take a breath and process what we created—what we built out of thin air—and think about where we go from here. It feels like we’ve established this really fertile ground, laid the foundation, and now we can take our time continuing to build on it.

To your question, there honestly wasn’t a lot of time for character prep, which is why I’m so grateful that I was able to draw from my own personal experiences and bring that directly into Rebecca. I knew I could step into her shoes and access her emotions and circumstances in a very immediate way.

Once I got on set and put the costume on, everything shifted. Suddenly it was, okay, now I really feel like her. How does she move in these clothes? What does it feel like to walk around in wet boots all day, or to be in a corset for hours? Why is it so hard to get in and out of a wagon? Oh right—there’s this massive skirt to manage. It’s all these little details you can’t fully understand until you’re physically in it.

And then there’s the environment. We’re out in the elements—cold, mud, rain—with very little cover. The town is still being built, so there aren’t always places to retreat to. You’re working with horses that can be unpredictable. There’s so much you’re navigating to tell the story.

What I took away from that experience wasn’t just patience, but a real, daily practice of gratitude. It grounded me in a much deeper way and gave me a renewed appreciation for so many things I might otherwise take for granted.

PC: It’s those little nuances that audiences really feel. One of the beauties of television as a medium is that you have the opportunity to grow with this character over multiple seasons. I also have to ask—is that your voice on the show’s opening theme song? How did that come about, and what’s it like having your worlds collide and bringing that side of your artistry into a project you’ve already called a dream role?
Bethany: Aw, thank you. That was such a beautiful moment. When I first got the job, I asked if I could write the theme song, and they said they already had a composition they liked. I was like, “Okay, totally fair.” But then one day on set, I had this little idea, so I went home, wrote it, put together a track, and sent it in. I told them, “If you ever want to use this somewhere—in the show, the end credits, wherever—just keep it in your back pocket.”

A few months later, I think within the last three or four weeks of production, they reached out and said they actually did want to use it and asked if I could record a full version. So I ended up doing my vocals in Jill Hennessy’s trailer while she was off that day, working with one of our producers. My friend and producer John Dempsy in Nashville helped pull everything together—he brought in some incredible musicians, and we made it happen.

It honestly felt so special and like a real honor. I’ve always wanted to write a theme song for a TV show, so it feels like I’m checking off these bucket list moments—getting to be a romantic lead in a period piece, writing a theme song. I don’t know what’s next, but I’m really excited for it.

To keep up with Bethany, follow her on Instagram. Hope Valley: 1874 premieres March 21st and streams exclusively on Hallmark+.

Photo Credit: Jeff Weddell/Hallmark Media