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Julia Foster
Julia Foster
Julia Foster
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Julia Foster (born 2 August 1943)[1] is an English stage, screen, and television actress.

Key Information

Early life

[edit]

Foster was born in Lewes, Sussex.[2] She was educated at a convent.[3]

Career

[edit]

Foster's credits include the films The Loneliness of the Long Distance Runner (1962), The System (1964) with Oliver Reed,[4] The Bargee (1964) with Harry H. Corbett,[5] Alfie (1966) with Michael Caine,[6] Half a Sixpence (1967) with Tommy Steele,[7] and Percy (1971) with Hywel Bennett.[8]

On television, in 1969, she appeared in the second episode of series 1 of the Doctor in the House for London Weekend Television.[9] Foster also starred as the eponymous heroine in the BBC production of Moll Flanders (1975)[10] and appeared alongside John Stride in the Yorkshire Television series Wilde Alliance in 1978.[11] Foster latterly appeared with Michael Winner in a British TV advert for Esure car insurance.[12]

She played Queen Margaret of Anjou in the BBC Television Shakespeare adaptations of Henry VI, Part 1, Henry VI, Part 2, and The Tragedy of Richard III, which received its UK broadcast in January 1983.[13][14]

After her stage debut with the Brighton Repertory Theatre, Foster made her London debut in Travelling Light in 1965 at the Prince of Wales Theatre; she has since appeared in several London stage productions, including at The Globe Theatre, Lyric Theatre (Hammersmith), Queens Theatre, Criterion Theatre, King's Head Theatre, Royal Court Theatre, Apollo Theatre, New End Theatre, also in the UK at the Nottingham Playhouse, New Theatre, Oxford, Birmingham Repertory Company, and the Citizens Theatre, Glasgow.[15]

In 1967, Foster appeared on Juke Box Jury,[16] in 1971 on Call My Bluff,[17] and in 1976, she was the castaway on Desert Island Discs.[18]

Foster returned to acting in Alan Bennett's Allelujah! at the Bridge Theatre in 2018, playing retired librarian Mary. "For a long while I'd taken a break from acting," Foster commented. "I wasn't being asked to do the things I wanted to do, so the family became more important than one's career. I can't honestly remember how long it is since I last appeared on stage."[3]

In 2020, she played Vilma in Orphan 55, the third episode of series 12 of Doctor Who.

Away from acting, Foster built up her own antique furniture business.[19]

Personal life

[edit]

Foster's first husband was Lionel Morton, once the lead singer with the 1960s pop band The Four Pennies. They had a daughter, Emily, who is a graphic designer.[3]

Foster is the mother of television celebrity Ben Fogle with her second husband, veterinarian Bruce Fogle. They also have a daughter, Tamara, who is a clothes designer.[3][19] The couple, who met in 1970, live near Arundel in West Sussex.[20]

Selected filmography

[edit]

Selected television

[edit]

Selected stage appearances

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Julia Foster

View on Grokipedia
from Grokipedia
Julia Foster (born 2 August 1943 in , , ) is an English actress renowned for her contributions to stage, screen, and television during the and 1970s, as well as her role as the mother of . Foster began her acting career in the early with a breakout role as Gladys in the film The Loneliness of the Long Distance Runner (1962), directed by , where she portrayed one of two girls encountered by the protagonist during a rebellious outing. She followed this with supporting parts in comedies like The Bargee (1964), opposite , and The Small World of Sammy Lee (1963), playing Patsy, a melancholic love interest in a gambling tale. Her most prominent film roles came in the mid-1960s, including Gilda in Lewis Gilbert's Alfie (1966), where she shared the screen with in the iconic swinging drama, and Ann in the musical adaptation Half a Sixpence (1967), starring alongside as the love interest in a rags-to-riches story based on ' novel . Later credits include the sex comedy Percy (1971) and a variety of television appearances, such as in Hammer House of Horror (1980), Doctor Who (2020), Holby City (2008), and Dad's Army (2016 film). In her , Foster was first married to singer from 1965 to 1970, with whom she had a , , a . She married Canadian veterinarian and author in 1973, and they have two children: television personality Ben Fogle, born in 1973, and Tamara. The family resided in , where Foster balanced her career with raising her children, and she has also pursued interests in dealing. Despite a career that spanned over five decades, Foster has not had acting credits since 2020 as of November 2025, though she remains recognized for her vibrant portrayals of youthful, spirited characters in British cinema's golden era.

Early life and background

Childhood and family origins

Julia Foster was born on 2 August 1943 in , , . She grew up in a conventional middle-class household in , where her father worked as an and her mother was a housewife. There was no theatrical tradition in her family, and her upbringing was marked by the of 1940s and 1950s Britain, though she later described it as stable and unremarkable. As a , Foster displayed an early and willful interest in , securing her first role at playing a in a local production. This sparked her passion for , leading her to take on work as an assistant stage manager at the theater on Brighton's Palace Pier, where she was eventually spotted by an agent. Her mother recalled her as "quite spiky, wilful," traits that aligned with her determination to pursue despite the modest family environment. No siblings are documented in accounts of her early years.

Education and early influences

Julia Foster was convent-educated during her early years. Raised in nearby in a conventional middle-class household, her family provided a supportive environment during her formative years. As a teenager, she developed an interest in the . She left school at 16 and began writing to local theatres, landing her first job at a repertory company in .

Professional career

Breakthrough roles in the

Foster began her film career with a supporting role as in Term of Trial (1962), a drama directed by Peter Glenville and starring as a beleaguered schoolteacher. This early appearance marked her entry into cinema following stage work with the Brighton Repertory Theatre. Her next role as Gladys, the girlfriend of petty criminal Mike, in Tony Richardson's The Loneliness of the Long Distance Runner (1962) brought her first significant notice in the British film industry. Adapted from Alan Sillitoe's , the film exemplified the British New Wave's gritty realism, focusing on working-class rebellion through the story of a young inmate () who finds solace in running. Foster's portrayal contributed to the ensemble's depiction of Nottingham's , helping establish her presence in the era's socially conscious cinema. Foster achieved her breakthrough with the role of Gilda, a devoted but unappreciated girlfriend who becomes pregnant by the titular womanizer, in Lewis Gilbert's Alfie (1966), opposite in his star-making performance. At age 23, she delivered an acclaimed performance that highlighted her emotional depth and vulnerability, earning praise for capturing the character's quiet resilience amid exploitation. Her chemistry with Caine—marked by tender yet tense interactions that underscored Alfie's callousness—enhanced the film's exploration of sexual mores and propelled its commercial success, grossing over $10 million worldwide. This role solidified her rising stardom in British cinema, transitioning her from supporting parts to leading status. In 1967, Foster took on her first lead in a musical as Ann, the childhood sweetheart of a draper's assistant who inherits a fortune, in George Sidney's , adapted from ' novel and co-starring . The Hollywood-backed production, which took nine months to film, showcased her versatility in song-and-dance sequences, though the movie received lukewarm reviews overall. Critics acclaimed Foster's spirited performance as a "bright young thing" with star potential, emphasizing her feisty charm and ability to hold her own in the lavish spectacle. Through these roles, Foster became a key figure in British cinema's evolution from New Wave realism to vibrant, youth-oriented narratives, cementing her as an emblem of the decade's cultural shift.

Mid-career developments (1970s–1990s)

In the early , Julia Foster continued to build on her established reputation by taking on comedic leading roles in British cinema, notably portraying Marilyn in the sex comedy Percy (1971), where she played the love interest to Hywel Bennett's hapless protagonist undergoing a medical procedure. This film, directed by , highlighted her knack for light-hearted, flirtatious characters amid the era's wave of permissive comedies. She also appeared in supporting roles in quirky period pieces, such as Mrs. McGonagall in the Spike Milligan-starring The Great McGonagall (1975), which lampooned the infamous Victorian poet. Foster's dramatic versatility became evident in her television work during the decade, where she starred as the titular lead in the BBC's two-part adaptation of Daniel Defoe's (1975), embodying the resilient, adventurous heroine through a series of misfortunes and reinventions in 18th-century . Directed by Donald McWhinnie, the production showcased her ability to convey emotional depth and physicality, marking a shift from comedy to more substantial dramatic roles. She extended this range into American television with her portrayal of gossip columnist in the biographical drama (1975), opposite Jason Miller as the struggling author, exploring themes of fame and personal turmoil in Tinseltown. On British TV, Foster guest-starred in popular series like Doctor in the House (1969), playing Alice in comedic medical scenarios. As the progressed into the and , Foster's career gravitated toward television and stage work amid a contracting British , which saw fewer opportunities for mid-tier actors due to economic pressures and a shift toward blockbuster productions. She appeared in anthology series such as (1980), taking on the role of Ruth Cairns in the episode "The Thirteenth Reunion," blending suspense with domestic drama. On stage, she participated in revivals like Frank Marcus's Notes on a Love Affair at the in 1972 and After You with the Milk with the Birmingham Repertory Company in 1980, demonstrating her continued commitment to live theater. By the , she took on the role of Mari Hoff in Jim Cartwright's The Rise and Fall of Little Voice at the Bristol Old Vic in 1993, a production that underscored her enduring stage presence. No notable voice work from this period is documented in her credits.

Later career, hiatus, and return (2000s–present)

After an extended hiatus from acting that began in the late , Julia Foster prioritized her family amid a perceived shift in the types of roles available to her. In a 2018 interview, she explained, "I wasn't being asked to do the things I wanted to do, so the family became more important than one's career." This break followed a period of selective television and stage work in the preceding decades, allowing her to focus on raising her children, including son . She returned to television with a guest role as Bev Kelly in (2001). Foster made a notable return to film in 2008 with the British horror movie Flick, directed by David Howard, where she portrayed the character —her first cinematic role in over three decades since Percy in 1971. The project marked a deliberate re-entry into screen at age 65, emphasizing her enduring presence in the industry despite the long absence. This was followed by a supporting role as Dolly Godfrey, sister to the character played by , in the 2016 comedy remake , directed by , which revisited the classic sitcom set during . She also appeared as Freda Hopley in (2019) and as Vilma in the episode "" (2020). Her stage comeback came in 2018 with Alan Bennett's Allelujah!, a play examining the challenges of an underfunded NHS geriatric ward, where Foster played Mary, a retired and one of the elderly patients. Performed at the Bridge Theatre in under Nicholas Hytner's direction, the production highlighted themes of aging and healthcare, resonating with Foster's own experiences; she had suffered a severe the previous year, including a massive internal bleed that required life-saving surgery. In reflecting on returning to work at 75, Foster noted the joys of selective projects that aligned with her interests, stating it was "so lovely to be back" after focusing on family. As of 2025, she has maintained a low-profile approach, with no major acting credits reported since 2020.

Personal life

Marriages and relationships

Julia Foster's first marriage was to , the lead singer of the 1960s pop band , whom she met during the early stages of her acting career in the mid-1960s. The couple wed on August 16, 1965, in a ceremony that reflected the era's blend of glamour. Their relationship, which began amid Foster's breakthrough roles in films like Alfie (1966), lasted until their divorce in 1971 after six years together. Details on the reasons for their separation remain private, though Morton later reflected on his early marriages as youthful missteps in interviews. Following her divorce, Foster entered a long-term relationship with Canadian-born and author , whom she married on April 13, 1973. This union has endured for over five decades, marking a stable personal chapter amid her professional transitions. Fogle, known for his work as a and writer on animal care, brought a grounded dynamic to their partnership, with the couple maintaining a low public profile regarding their romantic life. No separations have been reported, and their marriage continues as of 2025. Foster has not been publicly linked to other significant romantic partners beyond these two marriages, prioritizing in her personal affairs throughout her career.

Family and legacy

Julia Foster has three children from two marriages. From her first marriage to singer , she has a daughter, , born in 1967, who works as a . With her second husband, veterinarian and author , whom she married in 1973, Foster has two children: son , born on 3 November 1973, a prominent English , , and adventurer; and daughter Tamara Fogle, born in 1975, a fashion designer known for founding her own handbag brand in in 2007. The family resided in a large house near in , where operated his veterinary clinic, fostering a vibrant household that supported the children's creative pursuits. has credited his mother with inspiring his performance interests, recalling attending her theatre performances as a child and inheriting her "performance gene." Foster's legacy is intertwined with her son Ben's public profile, as she has become widely recognized as his mother, with the pair sharing a close bond highlighted in media appearances, including joint interviews and reunions documented as recently as 2025. As of November 2025, at age 82, Foster remains a devoted family matriarch, proudly supporting her children's endeavors and serving as grandmother to Ben's two children, and .

Selected works

Filmography

Julia Foster's film career spans over five decades, beginning in the early with roles in cinema and extending to later independent productions. The following is a selected chronological , highlighting major and notable credits.
YearTitleRoleDirector
1962Term of TrialVirginiaPeter Glenville
1962The Loneliness of the Long Distance RunnerGladysTony Richardson
1963The Small World of Sammy LeePatsyKen Hughes
1963Two Left FeetBethRoy Ward Baker
1964The SystemLornaMichael Winner
1964The BargeeChristine TurnbullDuncan Wood
1965One Way PendulumSylviaPeter Yates
1966AlfieGildaLewis Gilbert
1967Half a SixpenceAnnGeorge Sidney
1970PercyMarilynRalph Thomas
1972All Coppers Are...SueSidney Hayers
1975The Great McGonagallMrs. McGonagallJoseph McGrath
2008FlickSally MartinDavid Howard
2016Dad's ArmyDollyOliver Parker
2017UnwantedSarah RussellPaul Foster

Television appearances

Julia Foster began her television career in the early 1960s with guest roles in British medical and anthology series. Her early appearances included a recurring part as Student Nurse in the long-running hospital drama in 1961. She followed this with a guest spot as Jenny in the comedy series Taxi! in 1963, appearing in the episode "The Runaway." By the late 1960s, Foster took on more prominent supporting roles, such as Alice in the sitcom Doctor in the House in 1969, where she featured in the episode "Settling In." In the , Foster secured lead roles in period adaptations, marking a shift toward more substantial television work. She starred as the titular character in the BBC's two-part miniseries in 1975, portraying the resilient 18th-century protagonist based on Daniel Defoe's novel. That same year, she played opposite Jason Miller's and Tuesday Weld's in the American TV movie F. Scott Fitzgerald in Hollywood, a drama exploring the author's Hollywood struggles. She also made a in in 1972. Toward the decade's end, she co-led the mystery series Wilde Alliance in 1978 as Amy Wilde, an artist entangled in espionage plots alongside her husband, played by . Foster's television output in the 1980s included genre-spanning guest appearances. She portrayed Miss Chalker in the adventure series Jukes of Piccadilly in 1980. Later that year, she appeared as Ruth in the horror anthology , starring in the episode "The Thirteenth Reunion," which delved into themes at a reunion. During the , amid a career focused more on and , Foster made selective television cameos in crime and medical dramas. She guest-starred as Carol Bolitho in the first episode of the sci-fi mystery series Virtual Murder, titled "Meltdown to Murder," in 1992. Also in 1992, she played Joyce Pratkash in the episode "Rates of Exchange" of the emergency services series Casualty. These roles highlighted her versatility in procedural formats. Following a period of reduced screen work in the late 1990s and early , Foster returned to television in the with recurring appearances in hospital dramas. She first appeared in as Bev Kelly in 2001, before returning in 2019 as Freda Hopley in the episode "Work-Life Balance." In 2020, she made a notable as Vilma in the episode "," part of the series' 12th season, portraying a character in a dystopian future setting. These later roles underscored her enduring presence in British broadcasting up to the present day.

Stage roles

Julia Foster began her stage career in the mid-1960s with supporting roles in London and regional productions. In 1968, she portrayed Margery Pinchwife in William Wycherley's at the New Theatre in . The following year, she gained prominence in the West End as Geraldine Barclay in Joe Orton's farce What the Butler Saw at the Queen's Theatre, alongside and . During the 1970s, Foster continued with notable appearances in classic and contemporary works. She played the title role of Lulu in Peter Barnes's adaptation of Frank Wedekind's Lulu at the Royal Court Theatre in in 1970, following an initial run at the Nottingham Playhouse. That same year, she took on the role of in Flint at the . In the 1980s, Foster's theater work included family dramas and comedies at prestigious venues. She appeared as Kay in J.B. Priestley's at the in 1983, directed by Peter Dews and featuring as Mrs. Conway. Later that decade, she performed as Edith (Mrs. Phelps Potter) in Clare Boothe Luce's The Women from 1986 to 1987, in a production by Ed and David Mirvish in association with the Theatre of Comedy and Theatre. Foster's mid-career stage engagements extended into the with a standout performance as the brash Mari Hoff in Jim Cartwright's The Rise and Fall of Little Voice at the Bristol Old Vic from 1993 to 1994. After a period focused on screen work and family, Foster returned to in 2018 as the mischievous retired librarian Mary in Alan Bennett's Allelujah! at the Bridge Theatre in , directed by Edward Hall. Her portrayal contributed to the play's acclaim for its poignant exploration of the NHS, alongside a cast including and Jacqueline Clarke. No major stage roles for Foster have been recorded in the 2020s as of 2025.

References

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