Barbara Adair


Born Belfast 1930

Died Belfast 23rd March 2023

Durable and skilful character actor with a long history in Belfast theatre, beginning with her involvement with the venerable Group Players at the start of the fifties. Her debut in Ruddick Millar’s Belfast set family drama ‘What’s Bred in the Bone’ in 1951, proved successful enough for the company to cast her in further productions later that year.

She played Effie, in Janet McNeill’s ‘Signs and Wonders’ and in the JR Mageean/Ruddick Millar comedy ‘Arty’, appeared as Susan Craig, in a sumptious cast, which featured amongst others, Elizabeth Begley, JG Devlin and Harold Goldblatt. Other work with the Group during the early fifties included, St John Greer Ervine’s well structured comedy ‘My Brother Tom’ 1952, Jack Loudan’s politically slanted satire, ‘A Lock of the General’s Hair’ and another Greer Ervine piece, ‘Ballyfarland’s Festival’, both 1953. Her screen debut was peripheral, cast as a waitress in an episode of the ITV drama series ‘Suspense’, an IRA themed plot, entitled ‘Eight Feet to Midnight’, screened in May 1960.

A period off the radar ended with the role of Susan Bradford in Sam Thompson’s minor classic ‘The Evangelist’, at the Grand Opera House, Belfast in 1963. In the eighties she appeared intermittently at the Lyric Belfast, most notably in Martin Lynch’s ‘Minstrel Boys’ 1985 and played Lady Jedburgh in a decent production of Wilde’s machiavellian comedy, ‘Lady Windermere’s Fan’ 1986. A very minor role as Mrs Fleck in writer/director Peter Ormrod’s estimable Irish produced comedy ‘Eat the Peach’ 1986, marked her first film appearance, but she would wait a further twelve years for a second big screen opportunity.

In 1987, at the Guildhall Derry, in a Field Day production of Stewart Parker’s last play ‘Pentecost’, she produced a memorable performance as the ghost of fiercely proud protestant, Lily Matthews, whose spirit still presides over events at her house amidst the backdrop of the loyalist workers strike of 1974. In Galway at the end of the decade, she joined an excellent cast for the Druid Theatre Company’s revival of Brian Friel’s ‘Lovers’ 1989 and on television played Kitty, in William Trevor’s drama ‘Beyond the Pale’, followed by a reprise of her role as Lily in a 1990 television adaptation of ‘Pentecost’. A return to the Lyric in 1991 saw her cast in functional roles in two well received productions, Ron Hutchinson’s compelling ‘Pygmies in the Ruins’ and Frank McGuinness’ faithful adaptation of Lorca’s ‘The House of Bernarda Alba’.

Her television output the same year was a little more industrious and included small parts in three localised BBC plays, Barry Devlin’s ‘All Things Bright and Beautiful’, the rural Irish murder mystery ‘Events at Drimaghleen’ and the troubles spoof, ‘Arise and Go Now’. In the Lyric’s 1998 premiere of Gary Mitchell’s period drama, ‘Tearing the Loom’, she sparkled as Mid-Ulster matriarch Anne Moore and again at the Lyric in 2000, she took the role of Missus Doyle in Brian Foster’s debut play ‘The Butterfly of Killybeggs’. The following year at the Edinburgh Festival she was nominated and deservedly won the Irish Times ESB Best Actress Award for her performance as senile grandmother Dophie, in Morna Regan’s intense family drama ‘Midden’, presented at the city’s Traverse Theatre. She followed this success with two finely tuned characterizations on the Dublin stage in 2002, with the role of Peggy in the emotive ‘Stolen Child’ at the Andrews Lane Theatre and at the Gaeity provided great support in Tom Murphy’s ‘Conversations on a Homecoming’, starring fellow Northerners Adrian Dunbar and Conleth Hill.

A recurring role as Mrs Stapleton in the Dublin set medi-series ‘The Clinic’ from 2003/05, raised her profile a notch and in between in only her third film in sixteen years, she appeared fleetingly in director Terry Loane’s engaging comedy drama ‘Mickybo And Me’ 2004. Now approaching her mid-sixties and seemingly in the best form of her career, she once again attracted critical acclaim with her portrayal of the Old Woman in Tinderbox’s 2004 touring production of Michael Duke’s effusive drama ‘Revenge’, for which she received a TMA nomination. In 2007 she was involved in several projects across the media, with a guest role in the RTE series ‘Kilnaskully’, a small part in director Tom Shankland’s forgettable horror film ‘W Delta Z’ and on stage undertook an Irish tour with the compilation piece, ‘Bog People’.

From 2011 she enjoyed a relative profusion of screen work, which included on the button big screen credits as the hypochondriacal Peggy in Thaddeus O’Sullivan’s mid 1950’s, Tipperary set ‘Stella Days’, starring Martin Sheen and as Mamie in the horror/comedy ‘Grabbers’, both 2012. Television appearances in 2016 were functional, but she did manage two episodes of RTE’s ‘Fair City’ as May Barrett and a brief cameo as Queen Victoria in Richard Warlow’s dark crime drama ‘Ripper Street’. Barbara Adair’s career in theatre, which has spanned six decades, placed her first with the Group Players, then at the height of their considerable powers, through a slog of anonymous English rep, to contemporary Irish theatre and eventually the entitlement  her ability merited.

Barbara Adair was the last remaining link to the legendary Group Theatre and with her passing, the Players voice, once booming, has been silenced.

Other Theatre Film and Television credits:

– The Seasons Greetings (1953) Group Theatre, Belfast
– Culture Vultures (1988) Lyric Theatre, Belfast
– The Private Picture Show (1994) Lyric Theatre, Belfast
– Christmas Eve Can Kill You (2002) Lyric Theatre, Belfast

– Divorcing Jack (1998)

– Jack Taylor: Nemesis(2016)

– Detainment(2018)

– Pixie(2020)

– Amongst Women (1998)

– Primeval(2011)

– The Life and Times of Nick Nickleby(2012)

– Quirke(2014)

– The Fall(2016)

– Derry Girls(2018)

Max Adrian (Bor)

Born Enniskillen 1st November 1903
Died Wilford, England 19th January 1973

Effusive, Rathbonesque, old school thespian, who in his later years presented as a lord of RADA with a voice of matching authority, firmly entrenching himself in theatre from his early twenties. He first appeared on the London stage as an extra in the musical play ‘ Katja The Dancer ‘ in 1925 and made his full West End debut in Jean Bart’s drama ‘ The Squall ‘ in 1927. Shortly afterwards he worked with regional repertory companies in Cambridgeshire and Northamptonshire where he cut his teeth in a variety of productions, before returning to London in 1930 with a supporting role in ‘ The Best Of Both Worlds ‘ at the Palace Theatre on Shaftesbury Avenue.

1934  proved a critical period in his career with his appearance as Albert Arnold in Terence Rattigan’s comedy ‘ First Episode ‘ staged first at the Comedy Theatre, London and later that year at the Ritz Theatre on Broadway. It also marked his introduction to the screen with a central role as Julian Leigh in director Reginald Denham’s  romantic drama,’ The Primrose Path’. For the remainder of the thirties he worked solidly in both theatre and films, where in particular he was cast primarily in comedic roles, most notably in ‘ A Touch Of The Moon ‘ 1936 and ‘ When The Devil Was Well ‘ 1937. His stage profile was raised a notch with two sterling performances at the Westminster Theatre, London in 1938, in George Bernard Shaw’s ‘ The Doctor’s Dilemma’ and Eugene O’Neill’s comedy ‘ Marco Millions ‘. Adrian’s penchant for comedy gave him opportunities in further light-hearted films in the early forties, most notably Carol Reed’s ‘Kipps’ 1941 and ‘ Talk about Jacqueline’ 1942.

He did however begin to display his superior side in historical dramas such as director Lance Comfort’s ‘Penn of Pennsylvania’ and with Reed again in ‘ The Young  Mr. Pitt ‘ both 1942. Despite his relative cinematic success he secured just one other worthwhile part in the forties, taking the role of the Dauphin in Laurence Olivier’s masterwork  ‘ Henry V ‘ in 1944. He had no such problems on the West End stage, with prominent roles in the revue ‘ Light And Shade ‘ at the Ambassadors Theatre in 1942, the John Gielgud directed ‘ Love For Love ‘ at the Phoenix Theatre in 1943 and with Joyce Grenfel starred in another revue, ‘ Tuppence Coloured ‘ staged at the Globe Theatre in 1947.

Following two minor roles in Basil Dearden’s atmospheric crime thriller, ‘Pool of London’ 1951 and Noel Langley’s ‘ The Pickwick Papers’ 1952, he found himself  back on  familiar ground in Laurier Lister’s hugely successful satirical revue ‘Airs on a Shoestring’ at the Royal Court in 1953, which also starred Betty Marsden and Dennis Quilley. 1956 saw him at the Martin Beck Theatre on Broadway in the Tyrone Guthrie directed comic operetta ‘Candide’ and on the strength of it’s success, was offered undemanding token Brit roles on US television, where gravitas seemed to be the only requirement. Unfortunately his three year US sojourn proved unsuccessful, as he was unable to land a major studio deal, which would have given him international exposure and in late 1959 he decided to return to England. Joining Peter Hall’s RSC, he appeared in ‘Twelfth Night’ at the Memorial Theatre, Stratford and at  the same venue the following year, ‘ Troilus And Cressida ‘ and ‘ The Duchess Of Malfi ‘ and in 1961  ‘As You Like It,’ in a cast which included a young and bright eyed Colin Blakely.

By now his theatre credentials were impeccable, although he found time in this heady period to play a delightful Fagin in director Eric Tayler’s 1962 television mini- series ‘Oliver Twist’. A career high point was arguably his casting as Polonius in the  newly formed National Theatre’s inaugural production of  ‘Hamlet’ presented at the Old Vic in 1963, working with stage heavyweights Olivier, Redgrave and Peter O’Toole, amongst others. Now turned 60, his Indian summer was still in splendid profusion and in two highbrow screen productions, director Stuart Burge’s  ‘Uncle Vanya’ and the BBC commissioned  ‘As You Like It’ both 1963, he gave meticulously crafted performances, which gave him great personal satisfaction. However with age now a determining factor in any future projects, he was to find that dross was about to invade his lofty world. Films such as ‘Dr Terrors House of Horrors’1965, ‘The Terrornauts’ 1967, some inferior small screen productions, including ‘The Devil a Monk Would Be’1967 and the mini- series ‘Point Counterpoint’1968 were not his ideal choices but as he himself might have said, “needs must, darling”.

He also took in his stride, the role of the aptly named Ludicrus Sextus, in the first series of Frankie Howerd’s Roman farce ‘Up Pompeii’ 1969. Director Ken Russell cast him in three gratefully accepted roles, beginning with ‘The Music Lovers’, 1970, ‘The Devils’, 1971 and his big screen last hurrah, ‘ The Boyfriend’, 1972. That year he also bade a fond farewell to theatre in the musical ‘ Trelawney’ at the Prince of Wales, London. These performances probably writ large the personality of Max Adrian the actor, who tongue in cheek trod a chimerical road many times in his 45 year career.

Other Theatre and Film credits:


– Many Waters(1929) Prince’s Theatre, Bristol

– Grand Guignol(1932) Prince’s Theatre, Bristol

– Tavern In The Town(1937) Embassy Theatre, London

– Cornelius(1940) Westminster Theatre, London

– Oranges and Lemons (1949) Globe Theatre, London

– Penny Plain (1951) St Martin’s Theatre, London

– The Recruiting Officer (1964) NT  Old Vic, London

– The Master Builder(1965) NT Old Vic, London


– Macushla(1937)

– Merely Mr. Hawkins(1938)

– Jeannie(1941)

– Her Favourite Husband(1950)


– Perry Mason(1959)

– Doctor Who(1963)

– Espionage(1964)

– BBC Play For Today(1971)

– The World Of Wooster(1966)

Mark Aiken

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Born Belfast 1964

Prolific television actor and one time leading man aspirant, who despite his body of screen work since 1990, remains surprisingly anonymous to the public at large. A LAMDA student in the mid-eighties, he made a noteworthy appearance as Don Alonso in Moliere’s tragicomedy ‘Don Juan’ at the Royal Exchange Manchester in 1987, in a cast which also included two other young Ulster born hopefuls, Michelle Fairley and Marcus Hutton. Three years later he made his television debut, a miniscule credit as a fresh faced Constable Myers in the situation comedy series ‘The Return of Shelley’ 1990, starring former wunderkind  Hywell Bennett.
In his second television role, writer Lucy Gannon’s social drama ‘A Small Dance’, he co-starred as Rob opposite chief protagonist Kate Hardie in a cleverly constructed, East Anglian set, Thames Television production released in 1991. Following guest appearances that same year in another Lucy Gannon creation, ‘Soldier Soldier’ and the comedy series ‘Birds of a Feather’, he was cast, unluckily for him in director John Power’s woeful ‘Charles and Diana: Unhappily Ever After’ 1992, a flimsy tabloid take on the latter stages of a doomed marriage.
Further unremarkable television work during 1993/96, with the exception of a co-starring role in Paul Harrison’s comedy ‘Under the Moon’ in 1995, was rescued by a brace of sterling stage appearances in 1994. At the Watford Palace he proved an ideal John Beaver, the impecunious social climber in Mike Alfred’s adaptation of Evelyn Waugh’s comic satire ‘A Handful Of Dust’. Later at the Traverse Theatre, Edinburgh in that years festival, he was a brilliantly rustic Christy Mahon in Synge’s timeless, ‘The Playboy Of The Western World’.
In 1997 he took his feature film bow as sexually compromised television cook Clancy Self, in writer/director Duncan Roy’s acerbic comedy ‘Clancy’s Kitchen’ and in 1998 had recurring roles in two series, ‘Dressing For Breakfast’ and ‘The Hello Girls’. At the end of the decade he returned to the big screen, making an unexpected appearance in Zeljko Senecic’s controversial Croatian produced ‘Dubrovnik Twilight’ 1999, which also featured veteran Italian character actor Boris Cavazza.
A rare screen break saw him at the Hampstead Theatre, London as the introverted social worker Bryan, in the world premiere of David Eldridge’s family drama, ‘Falling’, awash with uninspiring narrative, it was perhaps the young playwright’s weakest piece to date.
Television was to dominate his work schedule from 2000 and included innumerable guest slots and a handful of regular roles in a legion of series across the genres.
In between his growing television commitments he did manage to register a lead interest alongside Zara Turner in Nigel Douglas’ shoestring budget, British crime thriller ‘The Blind Date’ 2000 and the Sebastian Gutierrez fantasy horror tale, ‘Mermaid Chronicles Part One: She Creature’ in 2001.
Notable among his screen output between 2000/04 were the crime drama series ‘Merseybeat’ 2002, in which he played husband/rapist Guy Morgan and as Paul Merchant in the Leeds set medi-soap ‘No Angels’ 2004.
He then crossed the Atlantic in pursuit of the impossible dream, where for the next five years his career continued unabated. One-off appearances in global successes such as ‘ CSI NY’ 2005, ‘The Unit’ and ‘CSI Miami’, both 2006 were supplemented by a median role as rich businessman Doug Bennett in Paul Tarantino’s little seen, small scale horror film ‘Headhunter’ 2005.
His US sojourn paid dividends in 2008, first with his portrayal of insurrection funding middleman Nichols in the spin-off television movie of the political action thriller ‘24’ entitled ‘24: Redemption’ and subsequent multiple appearances playing the same character in the seventh season of the universally watched series, starring Kiefer Sutherland as the indestructible special agent Jack Bauer.
His return to the UK in 2009 offered little change from his status prior to his departure to LA in 2004. He secured a short contract, amounting to three episodes in the university based ‘Trinity’ in 2009 and in 2011 played to good effect, ex- IRA man and now Oxford tutor Donald Voss in an episode of the crime drama ‘Lewis’. He was seen less frequently on screen during 2013/15, with only a clutch of  guest roles on television to add to his CV, and included two episodes of the crime series ‘Crossing Lines’ in 2015. An infrequent excursion on the stage saw him as the melancholic Ned, in a revival of Lillian Hellman’s 1951 play ‘The Autumn Garden’, performed at Jermyn Street Theatre, London in 2016. In 2018 his understated performance as the amiable Dr Hallam in the global premiere of James Purdey’s societal drama ‘The Paradise Circus’, at the Playground Theatre, London, was followed by a co-starring credit in writer/director Chris Mul’s sci-fi feature film, ‘Astral’, released in January 2019.  Mark Aiken, since his early years as an actor, has by and large avoided any hint of stereotypicality, but it is regretful that he did not pay more attention to theatre where his ability would be tested in greater detail.
Other Theatre Film and TV credits:
– Porcelain: A Voice Play(1994) Royal Court, London
– 100 Streets(2016)
– The Nicholas Craig Masterclass(1992)
– Full Stretch(1993)
– Casualty(1993)
– Nelson’s Column(1995)
– Game On (1995)
– Thief Takers(1996)
– Jonathan Creek(1999)
– Beast(2000)
– Black Books(2000)
– Charmed(2003)
– Wonderfalls(2004)
– Alias(2005)
– Las Vegas(2006),
– Spooks(2009)
– Inspector George Gently(2015)
– Father Brown(2019)
– Agatha Raisin(2019)
– Marcella(2020)