Elizabeth O’Brien’s profile
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Seen, or going to see
- God of Carnage, Gielgud Theatre, London, 25th March – 14th June 2008
- Never So Good, National Theatre – Lyttelton, National Theatre, National Theatre, 26th March – 24th May 2008
- The Last Days of Judas Iscariot, Almeida Theatre, Islington, London, Almeida Theatre Company and Headlong, 28th March – 10th May 2008
- The Secret of Sherlock Holmes, Theatre Royal, Bath, Wyndham’s Theatre, London, and other locations, started 22nd September 1988
- A Midsummer Night’s Dream, Royal Shakespeare Theatre, Stratford-upon-Avon, 1988 – 1989
- Richard II, Phoenix Theatre, London and Kennedy Center Washington DC, USA, 28th November 1988 – 1989
- A Walk in the Woods, Comedy Theatre, London (now Harold Pinter Theatre, London), November 1988 – 1989
- Richard III, Tour, Royal Shakespeare Company, 8th May (press night) – 5th July 1986
- Personal website.
- Joined 14th December 2021.
- Last logged in on 19th January 2024.
Last five observations
- To Portman Theatrical Productions production of The Winslow Boy, by Terence Rattigan, Ashcroft Theatre, Croydon, Forum Theatre, Wythenshawe, Manchester, and other locations, 21st February - 7th July 1984: ““The only travesty of justice in this production of The Winslow Boy is that some of the quick-fire, timeless lines are lost due to the Empire Theatre’s poor acoustics. This is a polished, highly enjoyable version of Terence Rattigan’s classic story set in pre-first-world-war Britain. Ironically this work, first performed in 1946, still has relevance today, as the characters shudder at an impending coal strike. Directed by Jeremy Sinden (son of Donald), the four-act play takes place in a Kensington house—thanks to a straightforward set by Chris Kinman. The tale revolves round the ageing Arthur Winslow and his all-out efforts to clear his son’s and his family’s name after the 13-year old naval cadet is expelled from college for allegedly pinching a postal order for a mere five bob. Whether it’s that stage master Marius Goring – now with a 57-year-old career behind him – or Allan Cuthbertson as the seemingly emotionless defence counsel, Sir Robert Morton, the dialogue never falters. Stephanie Turner, as the suffragette Catherine Winslow, contrasts with her brother, Dickie – thanks to Ian Targett’s portrayal of a rather spiffing chap who wouldn’t look out of place in Brideshead Revisited. Andrew Groves plays the unfortunate Ronnie Winslow, all at sea as his father’s health and wealth deteriorate in attempts to make the Admiralty realise they have wrongly besmirched his family’s name. Marius Goring is a sheer delight to watch and listen to as the resilient father with his every phrase perfectly pronounced. It’s not exactly the crime of the century but, happily, one trial that continues until Saturday”. (Peter Grant Liverpool Echo 29/5/84) “Aberdeen audiences who relish high quality and immensely entertaining theatre have cause to celebrate this week (writes Vivienne Nicoll). For His Majesty’s Theatre is the only Scottish venue to land the latest plum production of Terence Rattigan’s ”The Winslow Boy.” The play tells the tale of a family’s fight clear the name of the 14-year old baby of the clan who is dismissed from naval college after being accused of stealing a postal order. The events which turn the youngster into a household name throughout Britain and cause repercussions which rock even the House of Commons have differing effects on the Winslow’s and their friends. At the head of the family and the man with a blind conviction of his son’s honesty is Arthur Winslow played by Marius Goring. His masterly performance is totally believable as the strain of the two year fight to clear his son’s name takes its toll on his strength and brings about a subtly achieved decline in his health. Allan Cuthbertson in the role of Sir Robert Morton is the beautifully cast lawyer who by taking the case, is prepared to risk his own career. The talented Stephanie Turner plays the serious minded daughter Catherine who is equally determined the family should win, but for her own reasons". (Aberdeen Evening Express 12/6/84)”
- To Churchill Theatre Bromley and Lee Menzies and Nick Salmon for Grangewood Productions Ltd production of Towards Zero, by Agatha Christie and Gerald Verner, Churchill Theatre, Bromley, Theatre Royal, Brighton, and other locations, 22nd February - 7th October 1989: “Reviews: “The play provided an evening of twists and turns in this story of murder and terror. Michael Cashman, Marius Goring and Glynn Edwards turned in performances that shrouded the theatre in mystery. The play, tautly directed by Christopher Renshaw and finely acted, is perfect in its timing and execution. Every performer seemed very assured in roles that fitted them perfectly. To many actors, a thriller is a green light to a performance of bombastic speeches, manic expressions and cackling laughs. But in ”Towards Zero“, nobody attempted to steal the show. Everyone was determined to provide an evening of engrossing entertainment. Michael Cashman, famous for his role as Colin in ”Eastenders’, played the strong willed and spoilt Nevile Strange, a man who hates second best. After a hesitant opening, Cashman settled down to turn in a good performance. Glynn Edwards, as the tough and experienced Supt. Battle, gave the play much of its necessary lightness with a charming performance. But it was the effortless Marius Goring – an absolute joy to watch – who outshone his co-stars. His role as solicitor Matthew Treves held the audience spellbound as he led them on a merry dance through the final scene". (Simon Carey in the Isle of Thanet Gazette 9 June 1989)”
- To production of The White Guard, by Mikhail Bulgakov, Phoenix Theatre, London, 6th - 30th October 1938: “Reviews: “The piece was brilliantly acted. Mr. Michael Redgrave as leader of a forlorn hope had real passion. The others, notably Mr. Stephen Haggard and Mr. Glen Byam Shaw, took their cue from him admirably, and Mr. Marius Goring deserved very great praise for travelling so far from his usual self. But you may travel a long way from St. Pancras without getting to St. Petersburg! Mr. Goring’s study of the third-rate opera singer who is also Shakespeare’s Mercutio turned volunteer in the White Army, struck me as probably near to a character wholly foreign to him as a French actor’s Hibernian character-sketch would get to Mr. O’Casey’s Paycock!” (James Agate in The Sunday Times 09/10/1938)”
- To production of The Last Straw, by Reginald Denham and Edward Percy, Comedy Theatre, London (now Harold Pinter Theatre, London), 29th September - 13th November 1937: “Reviews: ‘The play and its central performance keep us sitting almost throughout on the edge of our chairs. The horror is of the kind which some must find delectably alarming and others unpleasantly so. The point is that the alarm is certainly conjured, and Mr. Goring’s taut and jagged manic touches our heat as well as our nerves. Every noise appals him, and the actor makes it appal us equally in the last two acts. Miss Lucie Mannheim gives us another admirable performance as the most responsible of the bright young nuisances who turn up in time to prevent everybody from being frightened out of his wits“. (The Guardian 30/09/1937) ”Mr. Marius Goring, as the decadent and desperate Wolfe, trots up and down his cage, shows his fangs, and takes his revenge with a fine parade of the symptoms of maniac depression and bestial rage. I take it that effectively to empty this bag of tricks is not difficult for a player of his quality. He does it, we know, extremely well, and now I hope he will be moved up a form and allowed to be a nice young man for a change". (Ivor Brown in The Observer 03/10/1937)”
- To Anmer Hall production of The Wild Duck, by Henrik Ibsen, Westminster Theatre, London, 3rd - 28th November 1936: “Comment: Stephen Murray was supposed to play the part of Hjalmar Ekdal but was replaced by Alan Napier. Reviews: The Spectator praised the production except for Alan Napier’s “disastrous Hjalmar” (13/11/1936) “Every word of this piece is engrossing. ”It’s as well put together as a detective play“ commented the man behind me. Praise for Ibsen! The part of Hjalmar, like that of Torvald in ‘The Doll’s House,” is so overdrawn that it is hard to act satisfactorily. Alan Napier makes the easy but fatal mistake of letting us see that he thinks he is acting an egregious ass. Marius Goring as Gregers is better. Best of all is Ruth Wynn Owen, who, as Hedvig, tears your heart by the simplicity and directness of her father-worship. Susan Richards excellent as her mother.“ (Sunday Mirror 08/11/1936) ”Certainly the revival of this famous play at the Westminster had nothing startling or complex about it, though of all the Ibsen plays this probably wears the best. The revival is acted and produced extremely well. Mr. Marius Goring as the fanatical Gregers, and Mr. Cecil Trouncer as the rum old dog, Ekdal, were particularly good.“ (Illustrated Sporting and Dramatic News 13/11/1936) ”Bad acting can sometimes be more illuminating than good. Alan Napier’s Hjalmar, in the revival of “The Wild Duck”, the second presentation of Amner Hall’s Westminster season, surprised on by its very wrongness into a better understanding of what Ibsen was about when he wrote the play.“ (The Era 11/11/1936) ”Mr Napier’s industrious humour lends itself not to satire but to comedy. The Gregers Werle of Mr. Marius Goring, on the other hand, is a just and penetrating study of a mind which can take in a battle cry but is unfitted by lack of proportion and self-knowledge to conduct a campaign." (Times 04/11/1936)”
Last ten changes
- Doreen Andrews
- Beyond Reasonable Doubt, by Jeffrey Archer
- production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990
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London
production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990 - production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990
- production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990
-
London
production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990 - production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990
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London
London
production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990 - production of Beyond Reasonable Doubt, by Jeffrey Archer, Theatre Royal, Bath, Queen's Theatre, (Shaftesbury Ave) London (now Sondheim Theatre, London), and other locations, 19th August 1987 - 10th March 1990
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