Director John Giles and production designer Don Homfray both felt this episode should look noticeably different from the two Henry IV plays. Whilst they had been focused on rooms and domestic interiors, Henry V was focused on large open spaces. As such, because they could not shoot on location, and because creating realistic reproductions of such spaces in a studio was impossible, they decided to take a more stylised approach to production design than had hitherto been seen in the series.
Ironically however, the finished product ended up looking more realistic that either of them had anticipated, or desired. The episode was repeated on Saint George's Day 23 April in The Shakespeare in Perspective episode was presented by painter and poet David Jones. The episode used a degree set, which allowed actors to move from the beach to the cliff to the orchard without cutting. The orchard was composed of real apple trees. They had been developed for Top of the Pops and Doctor Who.
The Shakespeare in Perspective episode was presented by philosopher Laurens van der Post. Originally, director Rodney Bennett had wanted to shoot the production on location, but after the first season, it was decreed that all productions were to be studio based. Bennett made a virtue of this restriction and his Hamlet, Prince of Denmark "was the first fully stylized production of the series. The way to do it is to start with nothing and gradually feed in only what's actually required. Susan Willis argues of this episode that it "was the first to affirm a theatre-based style rather than aspiring half-heartedly to the nature of film.
The episode was repeated in the US on 31 May The first screening was the highest rated production of the entire series in North America, with viewing figures of 5. The Shakespeare in Perspective episode was presented by journalist Clive James. The production was at least partially based on Miller's own Chichester Festival stage production starring Joan Plowright and Anthony Hopkins , [] and as with all of the episodes Jonathan Miller directed, he allowed the work of celebrated artisans to influence his design concepts.
In the case of Shrew , the street set was based on the work of architect Sebastiano Serlio , as well as the Teatro Olimpico , designed by Andrea Palladio. Baptista's living room was modelled closely on Vermeer's The Music Lesson. The casting of John Cleese as Petruchio was not without controversy at the time. Cleese had never performed Shakespeare before, and was not a fan of the first two seasons of the BBC Television Shakespeare. As such, he took some persuading from Miller that the BBC Shrew would not be, as Cleese feared "about a lot of furniture being knocked over, a lot of wine being spilled, a lot of thighs being slapped and a lot of unmotivated laughter.
According to Cleese, who consulted a psychiatrist who specialised in treating "shrews," "Petruchio doesn't believe in his own antics, but in the craftiest and most sophisticated way he needs to show Kate certain things about her behaviour. He takes one look at her and realises that here is the woman for him, but he has to go through the process of 'reconditioning' her before anything else. So he behaves just as outrageously as she does in order to make her aware of the effect that her behaviour has on other people [ The child then has a mirror held up to it and is capable of seeing what it looks like to others.
She constructed an "imaginary biography" for Katherina, arguing, "She's a woman of such passion [ Therefore she's mad for lack of love [ Petruchio is the only man who shows her what she's like. Miller was determined that the adaptation not become a farce, and in that vein, two keys texts for him during production were Lawrence Stone 's The Family, Sex and Marriage in England: Henderson was unimpressed with this approach, writing, "it was the perfect production to usher in the neo-conservative s" and "this BBC-TV museum piece unabashedly celebrates the order achieved through female submission.
This episode premiered the new opening title sequence, and the new theme music by Stephen Oliver. The Shakespeare in Perspective episode was presented by author and journalist Penelope Mortimer. Although this episode screened to relatively no controversy in the UK, in the US, it created a huge furore. The HEC stated that Shylock can arouse "the deepest hate in the pathological and prejudiced mind," urging WNET "that reason and a reputable insight into the psychopathology of man will impel you to cancel [the play's] screening.
Grossman; "the healthy way to deal with such sensitivities is to air the concerns and criticism, not to bury or ban them. For their part, Miller and director Jack Gold had anticipated the controversy, and prepared for it. Director Jack Gold chose an unusual presentational method in this episode; completely realistic and authentic costumes, but a highly stylised non-representational set against which the characters contrast; "if you imagine different planes, the thing closest to the camera was the reality of the actor in a real costume — the costumes were totally real and very beautiful — then beyond the actor is a semi-artificial column or piece of wall, and in the distance is the backcloth, which is impressionistic.
The Shakespeare in Perspective episode was presented by playwright and screenwriter Wolf Mankowitz. In line with producer Jonathan Miller's aesthetic policy, director Elijah Moshinsky used the work of artists as visual influence. Of particular importance was Georges de La Tour.
Summers loved this idea and worked it into his lighting. For example, he lit the scene where the widow agrees to Helena's wager as if it was illuminated by a single candle. To achieve this, he used a projector bulb hidden by objects on the table to simulate the sense of a single bright light source. Moshinsky was also very careful about camera placement. The opening shot is a long shot of Helena, before eventually moving in to a close up. Of this opening, Moshinsky commented "I wanted to start with a long shot of Helena and not move immediately to close-up — I didn't want too much identification with her, I wanted a picture of a woman caught in an obsession, with the camera static when she speaks, clear, judging her words.
I wanted to start with long shots because I felt they were needed to place people in their context and for the sake of atmosphere. I wanted the atmosphere to help carry the story. The only exterior shot is that of Parolles as he passes the women looking out the window in Florence.
However, the shot is framed in such a way that none of the surroundings are seen. Moshinsky has made contradictory statements about the end of the play. In the printed script, he indicated he felt that Bertram kissing Helena is a happy ending, but in press material for the US broadcast, he said he found the end to be sombre because none of the young characters had learnt anything.
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The Shakespeare in Perspective episode was presented by comedian and television writer Barry Took. As with all of Jane Howell's productions, this episode was performed on a single set. The change of the seasons, so critical to the movement of the play, is indicated by a lone tree whose leaves change colour as the year moves on, with the background a monochromatic cycloramic curtain, which changed colour in tune with the changing colour of the leaves.
The Shakespeare in Perspective episode was presented by poet and novelist Stephen Spender. Michael Bogdanov was originally hired to direct this episode, but he resigned after his Oriental modern-dress interpretation was considered too radical, and Jonathan Miller reluctantly took over directorial duties. This design concept stemmed from an idea Miller had originally had for Troilus and Cressida , which he was prepping when he took over Timon. The concept was that the Greek camp had been built on the ruins of old Troy , but now the remnants of the once buried city were beginning to surface from under the earth.
This necessitated cameraman Jim Atkinson having to keep Pryce in shot without knowing beforehand where Pryce was going to go or what he was going to do. Only once, when Pryce seems as if he is about to bend over but then suddenly stops, did Atkinson lose Pryce from centre frame. The Shakespeare in Perspective episode was presented by journalist and satirist Malcolm Muggeridge. Although this episode was the last of season three to air, it was actually the first episode shot under Jonathan Miller's producership, and he purposely interpreted it in a manner divergent from most theatrical productions.
Whereas the love between Antony and Cleopatra is usually seen in a very heightened manner, as a grand passion, Miller saw it as a love between two people well past their prime who are both on a "downhill slide, each scrambling to maintain a foothold. This is one of only two episodes in which original Shakespearean text was substituted with additional material the other was Love's Labour's Lost.
Controversially, Miller and his script editor David Snodin cut Act 3, Scene 10 and replaced it with the description of the Battle of Actium from Plutarch 's Parallel Lives , which is delivered as an onscreen legend overlaying a painting of the battle. During rehearsal of the scene with the snake, Jane Lapotaire, who suffers from ophidiophobia , was extremely nervous, but was assured the snake was well trained. At that point, the snake crawled down the front of her dress towards her breast, before then moving around her back.
During the actual shooting of the scene, Lapotaire kept her hands on the snake at all times. The Shakespeare in Perspective episode was presented by "agony aunt" Anna Raeburn. Cedric Messina had initially planned to screen Othello during season two, and had attempted to cast James Earl Jones in the part. However, the British Actors' Equity Association had written into their contract with the BBC that only British actors could appear in the series, and if Messina cast Jones, Equity threatened to strike, thus crippling the show.
Messina backed down and Othello was pushed back to a later season. By the time it was produced, Jonathan Miller had taken over as producer, and he decided that the play was not about race at all, casting a white actor in the role. During production, Miller based the visual design on the work of El Greco. Most of the scene is shot from behind him, so the audience sees what he sees.
However, not all the dialogue between Iago and Cassio is audible. Although this led to criticism when the episode was screened in the US, where it was assumed that the sound people simply had not done their job very well, it was actually done so as to increase subjectivity; if Othello is having difficulty hearing what they are saying, so too is the audience. The Shakespeare in Perspective episode was presented by author Susan Hill. Director Jonathan Miller used the work of gothic painter Lucas Cranach as primary visual influence during this production, and several of Cranach's sketches can be seen in Ajax's tent; most notably, Eve from his Adam and Eve woodcut , hung on the tent like a nude centrefold.
Miller wanted Troy to be sharply differentiated from Greece; Troy was decadent, with clear abstract lines based on some of Hans Vredeman de Vries ' architectural experiments with perspective. Miller envisioned it as built on the remains of an earlier Troy, with bits of roofs jutting out of the ground and bits and pieces of ancient statues lying around although this idea originated for Troilus , Miller had first used it in his earlier Timon of Athens.
Also, on one side of the camp, a huge wooden horse leg can be seen under construction — the Trojan Horse. In the command tent, a schematic for the horse is visible in several scenes, as is a scale model on the desk nearby.
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Of the play, Miller stated "it's ironic, it's farcical, it's satirical: I think it's an entertaining, rather frothily ironic play. It's got a bitter-sweet quality, rather like black chocolate. It has a wonderfully light ironic touch and I think it should be played ironically, not with heavy-handed agonising on the dreadful futility of it all. And one merely pretends that one is producing pure Renaissance drama; I think one has to see it in one's own terms. Because it is constantly making references, one might as well be a little more specific about it.
Now that doesn't mean that I want to hijack them for the purposes of making the plays address themselves specifically to modern problems. I think what one wants to do is to have these little anachronistic overtones so that we're constantly aware of the fact that the play is, as it were, suspended in the twentieth-century imagination, halfway between the period in which it was written and the period in which we are witnessing it.
And then there is of course a third period being referred to, which is the period of the Greek antiquity. Jonathan Miller originally planned on directing this episode himself, with fairies inspired by the work of Inigo Jones and Hieronymus Bosch , but he ultimately directed Timon of Athens instead, after original director Michael Bogdanov quit that production.
Fashioning a darker production than is usual for this play, Moshinsky referred to the style of the adaptation as "romantic realism. The Shakespeare in Perspective episode was presented by art historian Roy Strong. Originally, Cedric Messina had cast Robert Shaw to play Lear, with an aim to do the show during the second season, but Shaw died suddenly in before production could begin, and the play was pushed back.
In , he remounted that same production for the BBC Play of the Month , a heavily truncated version, which happened to be the BBC's last Shakespeare production prior to the beginning of the Television Shakespeare. During his producership, Miller tried to persuade the BBC to use the Play of the Month production as their Lear , but they refused, saying a new production had to be done. At the end of the fourth season, Miller's last as producer, his contract stipulated that he still had one production to direct.
He had never directed Macbeth or Coriolanus before, but he felt so comfortable with Lear that he went with it.
The only significant difference is that more of the text is used in the latter production. As such, although exteriors and interiors were clearly distinguished from one another, both were nonrepresentational. Similarly, the Fool has red feathers in his hat, Edgar has a red tunic, and Cordelia's red welts on her neck stand out starkly against the white of her skin after her death. The Shakespeare in Perspective episode was presented by literary critic Frank Kermode. Director David Jones originally wanted to shoot the episode in Stratford-upon-Avon but was restricted to a studio setting.
Determined that the production be as realistic as possible, Jones had designer Dom Homfray base the set on real Tudor houses associated with Shakespeare; Falstaff's room is based on the home of Mary Arden Shakespeare's mother in Wilmcote , and the wives' houses are based on the house of Shakespeare's daughter Susanna , and her husband, John Hall. For the background of exterior shots, he used a miniature Tudor village built of plasticine. Jones was determined that the two wives not be clones of one another, so he had them appear as if Page was a well-established member of the bourgeoisie and Ford a member of the nouveau riche.
The Shakespeare in Perspective episode was presented by novelist Jilly Cooper. Inspired by the notion that the political intrigues behind the Wars of the Roses often seemed like playground squabbles, Howell and production designer Oliver Bayldon staged the four plays in a single set resembling a children's adventure playground. However, little attempt was made at realism. For example, Bayldon did not disguise the parquet flooring "it stops the set from literally representing [ Many critics felt these set design choices lent the production an air of Brechtian verfremdungseffekt.
Another element of verfremdungseffekt in this production is seen when Gloucester and Winchester encounter one another at the Tower ; both are on horseback, but the horses they ride are hobbyhorses , which actors David Burke and Frank Middlemass cause to pivot and prance as they speak. The ridiculousness of this situation works to "effectively undercut their characters' dignity and status.
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Graham Holderness saw Howell's non-naturalistic production as something of a reaction to the BBC's adaptation of the Henriad in seasons one and two, which had been directed by David Giles in a traditional and straightforward manner; "where Messina saw the history plays conventionally as orthodox Tudor historiography, and [David Giles] employed dramatic techniques which allow that ideology a free and unhampered passage to the spectator, Jane Howell takes a more complex view of the first tetralogy as, simultaneously, a serious attempt at historical interpretation, and as a drama with a peculiarly modern relevance and contemporary application.
The plays, to this director, are not a dramatization of the Elizabethan World Picture but a sustained interrogation of residual and emergent ideologies in a changing society [ Howell's presentation of the complete first historical tetralogy was one of the most lauded achievements of the entire BBC series, and prompted Stanley Wells to argue that the productions were "probably purer than any version given in the theatre since Shakespeare's time.
The Shakespeare in Perspective episode was presented by historian Michael Wood. However, designer Oliver Bayldon altered the set so it would appear that the paint work was flaking and peeling, and the set falling into a state of disrepair, as England descended into an ever-increasing state of chaos.
A strong element of verfremdungseffekt in this production is the use of doubling, particularly in relation to actors David Burke and Trevor Peacock. Burke plays Henry's most loyal servant, Gloucester, but after Gloucester's death, he plays Jack Cade's right-hand man, Dick the Butcher. Both actors play complete inversions of their previous characters, re-creating both an authentically Elizabethan theatrical practice and providing a Brechtian political commentary. However, designer Oliver Bayldon altered the set so it would appear to be completely falling apart, as England descended into an even worse state of chaos.
The scene where Richard kills Henry has three biblical references carefully worked out by Howell; as Richard drags Henry away, his arms spread out into a crucified position; on the table at which he sat are seen bread and wine, and in the background, an iron crossbar is faintly illuminated against the black stone wall. This episode was filmed on the same set as the three Henry VI plays.
However, designer Oliver Bayldon altered the set so it would appear to be a ruin, as England reached its lowest point of chaos. Because this version of Richard III functioned as the fourth part of a series, it meant that much of the text usually cut in standalone productions could remain. The most obvious beneficiary of this was the character of Margaret, whose role, if not removed completely, is usually severely truncated. You take to intrigue and plotting. The production is unusual amongst filmed Richard s insofar as no one is killed on camera except Richard himself.
This was very much a conscious choice on the part of Howell; "you see nobody killed; just people going away, being taken away — so much like today; they're just removed.
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There's a knock on the door and people are almost willing to go. There's no way out of it. Richmond says the scene gives the production a "cynical conclusion," as "it leaves our impressions of the new King Henry VII's reign strongly coloured by Margaret's malevolent glee at the destruction of her enemies that Henry has accomplished for her.
At minutes, this production was the longest episode in the entire series, and when the series was released on DVD in , it was the only adaptation split over two disks. Of the 3, lines comprising the First Folio text of the play, Howell cut only 72; roughly 1. From this episode on, the show featured no unique theme music; the opening titles were scored with music composed specifically for the episode; although the new title sequence introduced by Miller at the start of season three continued to be used.
During the episode, the battle between the Romans and the Britons is never shown on screen; all that is seen is a single burning building, intended to indicate the general strife; we never see the defeat of Iachimo, Posthumous sparing him or Iachimo's reaction. Moshinsky did not want to expunge the political context of the play, but he was not especially interested in the military theme, and so removed most of it, with an aim to focus instead on the personal. Later, when she awakes to find the headless Cloten, the scene begins with the camera in the same position, with Imogen once again upside-down; "the inverted images visually bind the perverse experiences, both nightmarish, both sleep related, both lit by one candle.
The Shakespeare in Perspective episode was presented by dramatist and journalist Dennis Potter. This episode was shot with a degree cycloramic backcloth in the background which could be used as representative of a general environment, with much use made of open space. The Shakespeare in Perspective episode was presented by crime writer and poet Julian Symons. Director James Cellan Jones felt very strongly that the play was not just a farce, but included a serious side, specifically represented by the character of Aegeon, who has lost his family and is about to lose his life.
In several productions Jones had seen, Aegeon was completely forgotten between the first and last scenes, and determined to avoid this, and hence give the production a more serious air, Jones had Aegeon wandering around Ephesus throughout the episode. This production used editing and special effects to have each set of twins played by the same actors.
However, this was not especially well received by critics, who argued that not only was it confusing for the audience as to which character was which, but much of the comedy was lost when the characters look identical. The entire production takes place on a stylised set, the floor of which is a giant map of the region, shown in its entirety in the opening and closing aerial shots; all of the main locations the Porpentine, the Abbey, the Phoenix, the market etc.
The Shakespeare in Perspective episode was presented by comedian Roy Hudd. The music in this episode was created by Anthony Rooley , who wrote new arrangements of works from Shakespeare's own time, such as John Dowland 's piece ' Lachrimae '. As no original music was used, Stephen Oliver's theme from seasons three to five was used for the opening titles. Director Don Taylor initially planned a representational setting for the film; Verona, Milan and the forest were all to be realistic. However, he changed his mind early in preproduction and had production designer Barbara Gosnold go in the opposite direction — a stylised setting.
To this end, the forest is composed of metal poles with bits of green tinsel and brown sticks stuck to them the cast and crew referred to the set as "Christmas at Selfridges ". Whilst the set for Verona remained relatively realistic, that for Milan featured young actors dressed like cherubs as extras. This was to convey the idea that the characters lived in a 'Garden of Courtly Love', which was slightly divorced from everyday reality. The implication being that Proteus has brought a darkness within him into the garden of courtly delights previously experienced by Silvia.
Although the production is edited in a fairly conventional manner, much of it was shot in extremely long takes, and then edited into sections, rather than actually shooting in sections. Taylor would shoot most of the scenes in single takes, as he felt this enhanced performances and allowed actors to discover aspects which they never would were everything broken up into pieces.
The Shakespeare in Perspective episode was presented by journalist Russell Davies.
The production design of Rome in this episode was very specific; everywhere except the Senate was to be small and cramped. The idea behind this design choice was to reflect Coriolanus' mindset.
Penelope Wilton - Wikipedia
He dislikes the notion of the people gathering together for anything, and on such a cramped set, because the alleys and streets are so small, it only takes a few people to make them look dangerously crowded. Moshinsky did this to give the scene an undercurrent of homoeroticism.
However, in shooting the scene, Moshinsky changed it so that it takes place in front of a few silent senators, and there is no real fight as such. For this production, director David Giles chose to go with a semi-stylised setting, which he referred to as both "emblematic" and "heraldic. Leonard Rossiter died before the show aired. Director David Jones used a lot of long shots in this episode to try to create the sense of a small person taking in a vast world.
Penelope Wilton
The Shakespeare in Perspective episode was presented by poet and journalist P. During the reshoot for season seven, director Stuart Burge initially thought about shooting the entire episode against a blank tapestry background, with no set whatsoever, but it was felt that audiences may not respond well to this, and the idea was scrapped. The Shakespeare in Perspective episode was presented by actress Eleanor Bron.
Of the play, Moshinsky said, "it has the atmosphere of Marivaux — which is rather delicious, and yet full of formalised rules between men and women, sense against sensibility; there's a distinction between enlightenment and feeling. I think the atmosphere of Watteau's paintings suits this enormously well and gives it a lightness of touch. And also it abstracts it; we don't want anything too realistic because the whole thing is a kind of mathematical equation — four men for four women — and the play is testing certain propositions about love.
For Moshinsky, the central episode of the production is the play-within-the-play in the final scene which is interrupted by the arrival of Marcade, an episode to which Moshinsky refers as "an astonishing sleight of hand about reality and the reflection of experiencing reality. In this sense, Moshinsky sees the play more as about artifice and reality than romantic relationships. Here, in an invented scene set between Act 2 Scene 1 and Act 3, Scene 1, Berowne is shown drafting the poem to Rosaline, which will later be read by Nathaniel to Jacquenetta.
The lines in this invented scene delivered in voice-over are taken from the fifth poem of the William Jaggard publication The Passionate Pilgrim ; a variant of Berowne's final version of his own poem. This was the only production which John Wilders, the series literary advisor, openly criticised; specifically, he objected to the character of Moth being portrayed by an adult actor. The Shakespeare in Perspective episode was presented by novelist Emma Tennant. As Titus was broadcast several months after the rest of the seventh season, it was rumoured that the BBC were worried about the violence in the play and that disagreements had arisen about censorship.
This was inaccurate however, with the delay caused by a BBC strike in The episode had been booked into the studio in February and March , but the strike meant it could not shoot. When the strike ended, the studio could not be used as it was being used by another production, and then when the studio became available, the RSC was using Trevor Peacock.
Thus filming did not take place until February , a year later than planned. Initially, director Jane Howell toyed with the idea of setting the play in a contemporary Northern Ireland , but she ultimately settled on a more conventional approach. All the body parts seen throughout were based upon real autopsy photographs, and were authenticated by the Royal College of Surgeons. For the scene when Chiron and Demetrius are killed, a large carcass is seen hanging nearby; this was a genuine lamb carcass purchased from a kosher butcher and smeared with Vaseline to make it gleam under the studio lighting.
This inspired the founding of a number of Shakespeare's Globe Centres around the world, an activity in which Wanamaker also participated. Multiple maintained that a faithful Globe reconstruction was impossible to achieve due to the complications in the 16th century design and modern fire safety requirements; however, Wanamaker persevered in his vision for over twenty years, and a new Globe theatre was eventually built according to a design based on the research of historical adviser John Orrell.
It was Wanamaker's wish that the new building recreate the Globe as it existed during most of Shakespeare's time there; that is, the building rather than its replacement. To this were added: The theatre opened in [8] under the name "Shakespeare's Globe Theatre", and has staged plays every summer. Mark Rylance became the first artistic director in and was succeeded by Dominic Dromgoole in In addition, listed Georgian townhouses now occupy part of the original site and could not be considered for removal.
Like the original Globe, the modern theatre has a thrust stage that projects into a large circular yard surrounded by three tiers of raked seating. The only covered parts of the amphitheatre are the stage and the seating areas. Plays are staged during the summer, usually between May and the first week of October; in the winter, the theatre is used for educational purposes.
Tours are available all year round. Some productions are filmed and released to cinemas as Globe on Screen productions usually in the year following the live production , and on DVD. The reconstruction was carefully researched so that the new building would be as faithful a replica of the original as possible. This was aided by the discovery of the remains of the original Rose Theatre , a nearby neighbour to the Globe, as final plans were being made for the site and structure.
The building itself is constructed entirely of English oak , with mortise and tenon joints [7] and is, in this sense, an "authentic" 16th century timber-framed building, as no structural steel was used. The seats are simple benches though cushions can be hired for performances and the Globe has the first and only thatched roof permitted in London since the Great Fire of The pit has a concrete surface, [7] as opposed to earthen-ground covered with strewn rush from the original theatre. The theatre has extensive backstage support areas for actors and musicians, and is attached to a modern lobby, restaurant, gift shop and visitor centre.
Seating capacity is [15] with an additional " Groundlings " standing in the yard, [16] making up an audience about half the size of a typical audience in Shakespeare's time. For its first eighteen seasons, performances were engineered to duplicate the original environment of Shakespeare's Globe; there were no spotlights, and plays were staged during daylight hours and in the evenings with the help of interior floodlights , there were no microphones, speakers or amplification.
All music was performed live, most often on period instruments; and the actors and the audience could see and interact easily with each other, adding to the feeling of a shared experience and of a community event. Wilton began her career on stage in at the Nottingham Playhouse. She did not become a household name until she appeared with Richard Briers in the BBC situation comedy, Ever Decreasing Circles , which ran for five years. She played Ann, long suffering wife of Martin Briers , an obsessive and pedantic "do-gooder". This guest role was written especially for her by the programme's chief writer and executive producer Russell T.
In the first part of the series finale, " The Stolen Earth ", she made a final appearance, now as the former Prime Minister who sacrifices herself for extermination by the Daleks so that the Doctor 's companions can contact him. Beginning in , she appeared as Isobel Crawley in all six seasons of the hit period drama Downton Abbey. Between and , Wilton was married to the actor Daniel Massey. They had a daughter, Alice, born in In , Wilton married Ian Holm. A year later, they appeared together in a follow-up The Return of the Borrowers.
They divorced in In , she received an honorary doctorate from the University of Hull Scarborough Campus. From Wikipedia, the free encyclopedia. Scarborough , North Riding of Yorkshire , England. The London Gazette Supplement. Retrieved 30 November Retrieved 12 June Oxford Dictionary of National Biography online ed. Subscription or UK public library membership required. The sweet success of a family" PDF. Designing Shakespeare Collection - Performance Details.