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Maria Aitken
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Maria Penelope Katharine Aitken (born 12 September 1945) is an Irish-born, British theatre director,[1] teacher, actress, and writer.
Key Information
As an actress, Aitken has been twice nominated at the Olivier Awards, in 1980 for Private Lives and in 1985 for Waste.[2][3] Her performance in the film A Fish Called Wanda (1988) earned her a nomination for the BAFTA Award for Best Actress in a Supporting Role.[4]
Early life and career
[edit]Aitken was born in Dublin, Ireland, the daughter of Sir William Aitken, a Conservative MP, and the Hon. Penelope Aitken, whose father was John Maffey, 1st Baron Rugby. Maffey was the UK Representative to Ireland (1939–49). She is a great-niece of newspaper magnate and war-time minister Lord Beaverbrook, and sister to former Conservative cabinet minister Jonathan Aitken. She attended Riddlesworth Hall Preparatory School in Norfolk, Sherborne School for Girls in Dorset and St Anne's College, Oxford,[5] where she graduated with a degree in English Language and Literature.
Aitken has directed several plays in the West End and on Broadway. Her production of The 39 Steps, which ran in London for nine years, also played three years on Broadway and won Olivier and Tony Awards. In 2011, she directed Frank Langella in Man and Boy on Broadway. She is a Visiting Lecturer at Yale, NYU and Juilliard drama schools. Her extensive acting career includes leading roles at the Royal National Theatre, the Royal Shakespeare Company and in the West End. She has played more Noël Coward leads than any other actress. Her film career includes appearances in Doctor Faustus (1967), Mary, Queen of Scots (1971), Half Moon Street (1986), A Fish Called Wanda (1988) (for which she was nominated for a BAFTA award), The Fool (1990), The Grotesque (1995), Fierce Creatures (1997), Jinnah (1998) and Asylum (2005).
In 1984, Aitken co-wrote and starred in the sitcom Poor Little Rich Girls alongside Jill Bennett. She is the author of A Girdle Round the Earth, a story of some of the remarkable women travellers of the last 200 years, and Style: Acting in High Comedy, published in 1996, which contends that "High comedies are not bloodless, refined, wordy plays — their themes are sex, money and social advancement. They contain a splendid contradiction: wit and elegance at the service of man's basest drives."
Personal life
[edit]Aitken is the mother of actor Jack Davenport, born during her marriage to Nigel Davenport from 1972 to 1981. She was married to Richard Durden from 1968 to 1971. Since 1991, she has been married to the novelist Patrick McGrath and they live together in New York and London. She has been a patron of the British Thyroid Foundation since 1992, and was appointed a Trustee of the Noël Coward Foundation in 2012.
References
[edit]- ^ Barlow, Patrick (30 November 2009). The 39 Steps. Samuel French, Inc. pp. 4–. ISBN 9780573697142. Retrieved 14 June 2012.
- ^ "Olivier Winners 1980". Olivier Awards. Retrieved 13 February 2025.
- ^ "Olivier Winners 1985". Olivier Awards. Retrieved 13 February 2025.
- ^ "Supporting Actress". Bafta. Retrieved 13 February 2025.
- ^ "Aitken, Maria Penelope Katharine". WHO'S WHO & WHO WAS WHO. 1 December 2018. doi:10.1093/ww/9780199540884.013.u5130. ISBN 978-0-19-954088-4. Retrieved 13 June 2019.
External links
[edit]- Maria Aitken at IMDb
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Maria Aitken
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Early life and education
Family and childhood
Maria Aitken was born on 12 September 1945 in Dublin, Ireland, to Sir William Aitken, a Canadian-born Conservative Member of Parliament and businessman, and Penelope Aitken (née Maffey), daughter of British diplomat John Maffey, 1st Baron Rugby.[10][3] Her birth in Dublin was due to her maternal grandfather's diplomatic posting as the UK Representative to Éire from 1940 to 1948. Her father, who had settled in England in 1930 and served as MP for Bury St Edmunds from 1950 to 1964, was the nephew of Canadian-British press magnate Max Aitken, 1st Baron Beaverbrook, making Aitken a great-niece of the influential newspaper proprietor and wartime minister.[10][8] She has an older brother, Jonathan Aitken, who later became a prominent Conservative politician and Cabinet minister.[10][3] Raised in a politically and socially prominent Anglo-Irish family, Aitken spent her early years in Dublin before the family relocated to England during her childhood as her father pursued his political career.[3] The move positioned the family within Britain's establishment circles, where her parents' home became a hub for entertaining politicians, royals, and cultural figures, reflecting her mother's background as a glamorous socialite and debutante with ties to Anglo-Irish aristocracy.[8][3] This environment provided Aitken with early exposure to public life and the arts; her mother's wit and social prowess, combined with her father's political engagements, fostered an appreciation for performance, literature, and storytelling from a young age.[8] By age seven, she had written her first play, Havoc Among the Lovers, signaling an innate interest in dramatic expression influenced by the vibrant, intellectually stimulating household.[11]Formal education
Maria Aitken began her formal education at Riddlesworth Hall Preparatory School in Norfolk, England, a boarding school known for its emphasis on foundational academic and social development.[12] She continued her secondary education at Sherborne School for Girls in Dorset, England, an independent boarding school where she completed her pre-university studies.[12] Aitken then pursued higher education at St Anne's College, Oxford, where she earned a Bachelor of Arts degree in English Language and Literature, later upgraded to a Master of Arts as per Oxford tradition.[12] During her time at Oxford, she actively participated in student theatre, including a role as the Good Angel in the Oxford University Dramatic Society's (OUDS) production of Christopher Marlowe's Doctor Faustus at the Oxford Playhouse in 1966.[13] Her involvement with OUDS, alongside contemporaries like Michael Palin, provided early exposure to professional-level theatre and nurtured her passion for acting.[14] This university experience, combining rigorous literary studies with hands-on dramatic pursuits, directly influenced Aitken's transition to a professional career in the arts, bridging her academic background with her emerging aspirations as an actress and director.[14]Career
Acting in theatre
Maria Aitken began her professional theatre career in the 1970s with appearances at major British institutions, including the Royal Shakespeare Company (RSC) and the Royal National Theatre (RNT). Her early work included the role of Gwendolen Carr in Tom Stoppard's Travesties for the RSC at the Aldwych Theatre in 1974, marking a notable debut in a premiere production that showcased her comedic timing in a complex, satirical narrative.[15] She followed this with leading roles at the RNT, portraying Elvira in Noël Coward's Blithe Spirit at the Lyttelton Theatre starting in June 1976, where her ethereal performance contributed to the revival's success in capturing the play's supernatural farce.[13] The next year, Aitken took on the part of Susannah in Alan Ayckbourn's Bedroom Farce at the RNT's Lyttelton Theatre from March 1977 to August 1978, earning praise for her portrayal of the chaotic, self-absorbed character in this ensemble comedy of marital mishaps.[15] In the 1980s, Aitken's career flourished with prominent West End roles that highlighted her versatility in both contemporary and classic works. She starred as Amanda Prynne opposite Michael Jayston in Noël Coward's Private Lives at the Duchess Theatre in 1980, a revival that revitalized the sophisticated banter of the original and led to her nomination for Actress of the Year in a Revival at the Laurence Olivier Awards.[16] Later that decade, she appeared as Miss Gossage in John Dighton's The Happiest Days of Your Life for the RSC at the Barbican Theatre in 1984, a supporting role in a farce that demonstrated her skill in ensemble dynamics.[1] Aitken then delivered a critically acclaimed performance as Frances Trebell in Harley Granville Barker's Waste for the RSC at The Pit in 1985, her nuanced depiction of the intelligent, principled woman navigating political scandal earning an Olivier Award nomination for Outstanding Performance of the Year in a Supporting Role.[17] She closed the decade with the lead role of Florence Lancaster in Coward's The Vortex at the Garrick Theatre in 1989, opposite Rupert Everett, where her intense portrayal of the possessive mother underscored themes of emotional turmoil and addiction in high society.[18] Aitken's theatre work in the 1990s and beyond reflected a transition toward character-driven and ensemble roles in revivals, often emphasizing depth over star turns. In 1990, she played Kate Sullivan in Jerry Sterner's Other People's Money at the Lyric Theatre after an initial run at the Theatre Royal Bath, bringing sharp wit to the corporate drama's family tensions.[15] She continued this evolution in 1996 as Kate in A.R. Gurney's Sylvia at the Apollo Theatre, a comedic role as the exasperated wife dealing with her husband's infatuation with a dog, which highlighted her talent for wry domestic humor in a modern ensemble piece.[13] By 2002, Aitken returned to the West End in the revival of Glyn Maxwell's Humble Boy at the Gielgud Theatre, portraying the formidable mother in a play blending quantum physics with family dysfunction, a character part that showcased her in a supporting yet pivotal ensemble role.[19] These later performances solidified her contributions to British theatre through thoughtful interpretations in collaborative revivals, maintaining her presence on stage amid a growing focus on directing.Film and television roles
Aitken began her film career with a small role in the historical drama Doctor Faustus in 1967, adapted from Christopher Marlowe's play.[2] She followed this with an appearance as an extra in the biographical film Mary, Queen of Scots in 1971, marking one of her early forays into British cinema.[2] These initial roles were minor, reflecting her emerging presence in screen acting during the late 1960s and early 1970s.[1] Aitken achieved a significant breakthrough with her performance as Wendy, the sophisticated and exasperated wife of a barrister, in the comedy A Fish Called Wanda (1988), directed by Charles Crichton and co-starring John Cleese, Jamie Lee Curtis, and Kevin Kline. Her portrayal of the character's dry wit and social poise earned her a nomination for the BAFTA Award for Best Actress in a Supporting Role at the 42nd British Academy Film Awards.[20] This role highlighted her talent for comedic timing, drawing on her theatre background to deliver memorable lines amid the film's chaotic heist plot. In subsequent films, Aitken continued to take on supporting parts that showcased her versatility in both comedy and drama. She reunited with the A Fish Called Wanda cast in the sequel Fierce Creatures (1997), playing Di Harding, the zoo's administrator, opposite John Cleese and Jamie Lee Curtis, contributing to the ensemble's satirical take on zoo management. Other notable appearances include the historical biopic Jinnah (1998), where she portrayed Edwina Mountbatten, the wife of Lord Mountbatten, in a depiction of India's partition era.[21] Later, she appeared as Claudia in the psychological thriller Asylum (2005), directed by David Mackenzie, exploring themes of obsession and infidelity.[21] On television, Aitken starred as one of the leads in the ITV sitcom miniseries Poor Little Rich Girls (1984), co-created and co-written by herself and Jill Bennett, which satirized the lives of affluent women navigating divorce and society.[22] She also featured in BBC productions, including a guest role in the sketch comedy series A Bit of Fry and Laurie (1989) alongside Stephen Fry and Hugh Laurie, and as Lady Dorothy in the period drama Love on a Branch Line (1994), adapted from John Hadfield's novels.[23] Additional television credits encompass dramatic roles such as in the thriller Quiet as a Nun (1982), a three-part adaptation of Antonia Fraser's novel broadcast on BBC, where she played a key supporting character in a convent-set mystery.[24] Aitken is recognized for her portrayals of sharp, witty characters in both comedic and dramatic contexts, often embodying upper-class British eccentricity with precise timing and understated humor.[25] Her screen output diminished after 2000 as she shifted focus toward directing, resulting in fewer but selectively memorable appearances that underscored her enduring skill in character-driven roles.[2]Directing achievements
Maria Aitken transitioned into directing in the 1990s and 2000s, focusing initially on adaptations and radio plays for the BBC. She helmed numerous classic serials and original pieces, leveraging her theatrical expertise to bring literary works to audio formats. A standout early achievement was her 2005 adaptation and direction of Vladimir Nabokov's Laughter in the Dark for BBC Radio, which earned the prestigious Sony Gold Award for best drama production.[7][26] Aitken's breakthrough in stage directing arrived with her innovative staging of Patrick Barlow's adaptation of The 39 Steps, inspired by Alfred Hitchcock's film. Premiering in a revised version at London's Tricycle Theatre in 2006 before transferring to the West End's Criterion Theatre, the production captivated audiences with its fast-paced comedy and minimalistic use of four actors to portray over 150 characters. It won the 2007 Laurence Olivier Award for Best New Comedy and ran for nearly a decade in London. The Broadway transfer in 2008 at the American Airlines Theatre further solidified her reputation, receiving a Tony Award nomination for Best Direction of a Play.[27][28] Among her other notable stage works, Aitken directed the 2011 Broadway revival of Terence Rattigan's Man and Boy at the American Airlines Theatre, starring Frank Langella as the ruthless financier Gregor Antonescu; the production explored themes of ambition and family estrangement during the Great Depression. In the 2010s, she helmed revivals of Noël Coward's Private Lives, first at Boston's Huntington Theatre Company in 2012 and then at Washington, D.C.'s Shakespeare Theatre Company in 2014, emphasizing the play's witty banter and romantic tensions. Throughout her career, Aitken also directed various radio serials for the BBC and lesser-known stage productions, including Oscar Wilde's The Importance of Being Earnest at San Diego's Old Globe Theatre in 2018. Her background as an actress informed her directorial approach, providing keen insight into performers' needs and ensemble dynamics.[29][30][31] Aitken's hands-on directing experience enriched her teaching roles at institutions such as Yale, NYU, Juilliard, and the British American Drama Academy, where she imparts practical knowledge on comedy, Coward repertoire, and production techniques. Post-2012, her stage directing grew more selective amid a focus on education and occasional radio projects, though she remained active in advisory capacities within the theatre community through the early 2020s.[32][7]Writing and teaching
Maria Aitken has made significant contributions to theatre literature through her authored works, which draw on her extensive professional experience. Her first major publication, A Girdle Round the Earth: Women Travellers and Adventurers, released in 1987 by Constable and Company, chronicles the exploits of notable female explorers and adventurers across history, highlighting their resilience and impact on global narratives.[33] In 1996, she published Style: Acting in High Comedy with Applause Books, a practical guide for performers that explores techniques for delivering sophisticated comedic roles, informed by her own stage work in Restoration and high comedy genres; the book includes essays on comedic structure and character interpretation. Aitken has also contributed to radio drama through adaptations and scripting for the BBC. In the 2000s, she dramatized works such as Ivy Compton-Burnett's Elders and Betters into a two-part series for BBC Radio 4 in 2002, emphasizing themes of family dynamics and subtle humor.[34] Additionally, she adapted Noël Coward's Easy Virtue for a 1999 BBC Radio 3 production, directing the piece to capture its witty social commentary.[35] Her radio efforts earned recognition, including a Sony Gold Award in 2005 for outstanding dramatization.[7] Throughout the 1990s and 2010s, Aitken established a notable teaching career at prestigious institutions, serving as a visiting lecturer at Yale School of Drama, New York University's Tisch School of the Arts, and The Juilliard School, where she conducted masterclasses on acting techniques, particularly in high comedy and Noël Coward repertoire.[32] Her instructional approach focused on practical exercises to refine timing, delivery, and emotional nuance in comedic performance.[36] Aitken continues to influence emerging talent as a visiting tutor at the British American Drama Academy and other programs, mentoring directors and actors on integrating textual analysis with physical expression in contemporary theatre up to the early 2020s.[7]Personal life
Marriages and children
Maria Aitken's first marriage was to actor Richard Durden on 19 January 1968; the couple divorced in 1971 with no children from the union.[37][38] She married actor Nigel Davenport in May 1972 at Kensington Register Office, and their union produced one son, Jack Davenport, born in 1973, who later became known for his role as Commodore Norrington in the Pirates of the Caribbean film series.[39][40] The marriage ended in divorce in 1980.[41][10] Aitken wed novelist Patrick McGrath on 28 December 1991, a partnership that began shortly after they met, with Aitken having read McGrath's works beforehand, fostering a shared creative bond in literature and theater; the couple remains married and divides time between New York and London.[42][43][12] The divorces from her first two husbands occurred during the early phases of Aitken's acting career, yet she maintained a close relationship with her ex-husband and continued to build a successful professional life in theater and beyond.[8] Aitken supported her son Jack's entry into acting, drawing from the family's artistic heritage without pushing him toward the profession, as he pursued drama studies independently while benefiting from their encouragement.[44][8]Residences and philanthropy
Maria Aitken divides her time between residences in New York City and London, an arrangement that has supported her transatlantic career in theatre since the 1990s. Following her marriage to writer Patrick McGrath in 1991, she established New York as a key home base, crediting the move with enhancing her professional opportunities across continents. This dual setup has enabled her to maintain a balanced work-life amid frequent international engagements. In philanthropy, Aitken serves as a patron of the Noël Coward Foundation, a charitable trust established in 2000 to provide grants for educational and professional theatre projects honoring the works of playwright Noël Coward.[45] Her involvement underscores a lifelong commitment to preserving British theatrical heritage, drawing from her extensive experience directing and performing Coward's plays. Appointed around 2012, she contributes to initiatives that foster emerging talent and artistic innovation in the performing arts. She has also been a patron of the British Thyroid Foundation since 1992.[46]Awards and honors
Acting nominations and wins
Maria Aitken received several notable nominations for her acting performances throughout her career, particularly in the 1980s, highlighting her versatility in both comedic and dramatic roles on stage and screen, though she did not secure any major wins.[16][17][47] Her theatre work earned her two Laurence Olivier Award nominations, recognizing her contributions to West End and Royal Shakespeare Company productions. In 1980, she was nominated for Actress of the Year in a Revival for her portrayal of Amanda Prynne in Noël Coward's Private Lives at the Duchess Theatre, a role that showcased her command of witty, sophisticated comedy opposite Michael Jayston.[16][48] Five years later, in 1985, Aitken received another Olivier nomination, this time in the category of Outstanding Performance of the Year in a Supporting Role, for her depiction of Frances Trebell in Harley Granville Barker's Waste with the Royal Shakespeare Company at The Pit. This nomination underscored her dramatic depth in a politically charged play, where she navigated complex emotional terrain amid ensemble dynamics.[17][49] Transitioning to film, Aitken's breakthrough role as Wendy in the 1988 comedy A Fish Called Wanda brought her international attention and a nomination for the BAFTA Award for Best Actress in a Supporting Role in 1989. Her performance as the beleaguered wife of a jewel thief, blending hapless vulnerability with sharp timing alongside stars like John Cleese and Jamie Lee Curtis, marked a pivotal expansion of her reputation beyond theatre.[50][51]| Year | Award | Category | Work | Result |
|---|---|---|---|---|
| 1980 | Laurence Olivier Awards | Actress of the Year in a Revival | Private Lives | Nominated[16] |
| 1985 | Laurence Olivier Awards | Outstanding Performance of the Year in a Supporting Role | Waste | Nominated[17] |
| 1989 | BAFTA Film Awards | Best Actress in a Supporting Role | A Fish Called Wanda | Nominated[47] |