Hubbry Logo
Marie NeyMarie NeyMain
Open search
Marie Ney
Community hub
Marie Ney
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Marie Ney
Marie Ney
Marie Ney
View on Wikipedia
from Wikipedia

Marie Ney[1] (18 July 1895 — 11 April 1981) was a British character actress who had an acting career spanning five decades, from 1919 to 1969, encompassing both stage and screen.[2]

Key Information

Early life

[edit]

Ney was born in London, and as a young child, went with her family to live in New Zealand. She began her acting career in that country, and continued it in Australia.[3]

Early roles

[edit]

After several years of performing in those two countries, she moved back to her native Britain, where she acted at the Old Vic with many famous actors of the day such as Michael Redgrave and Robert Donat.[4]

In 1930, Ney played Lady de Winter in the musical The Three Musketeers at the Theatre Royal, Drury Lane in London.[5][6]

Career: Film and stage

[edit]

Ney's first film appearance was in Desert Gold (1919), a silent film made in Australia.[7] She appeared in 11 films during the 1930s, including The Wandering Jew, Scrooge (1935), Brief Ecstasy (1937), Jamaica Inn (1939), and A People Eternal (1939).[8] In 1941, Ney returned to Australia for a six-month season, appearing in the plays No Time for Comedy, Noël Coward's Private Lives, and Ladies in Retirement in Sydney and Melbourne.[4] She appeared in the 1948 play Rain on the Just in London, and in 1959 The Last Word at the Royal Lyceum Theatre in Edinburgh.

In the 1950s, she appeared in the films Shadow of the Past (1950), Seven Days to Noon (1950), The Lavender Hill Mob (1951), Simba (1955), Yield to the Night (1956), and The Surgeon's Knife (1957).[2]

In the 1950s, Ney had also moved into television roles, appearing in episodes of ITV's ITV Television Playhouse, ITV Play of the Week, and Armchair Theatre.

In 1960, she appeared in the Greek film Eroica, and in an episode of Maigret. Her last credited screen appearance was in the ITV Playhouse episode Remember the Germans (1969).[8]

Personal life

[edit]

Ney was married to Thomas Menzies, and was active in the union Equity. She was a collector of art and books.[4] Ney died in London in April 1981 aged 85.[2]

Partial filmography

[edit]

References

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

Marie Ney

View on Grokipedia
from Grokipedia
''Marie Ney'' is a British actress known for her extensive career spanning five decades in stage, radio, film, and television, from 1919 to 1969. Renowned primarily as a stage and radio performer with a patrician presence, she made occasional supporting appearances in British films and later became active in television drama. Born Marie Agnes Fix on 18 July 1895 in Chelsea, London, Ney moved to New Zealand as a child and began her acting career there, later performing in Australia with the Williamson Company before returning to Britain. She honed her craft at prestigious venues including the Old Vic and Drury Lane, establishing herself as a prominent West End stage actress and appearing in numerous productions. Her screen work included roles in films such as Escape! (1930), Simba (1955), and Witchcraft (1964), alongside frequent contributions to British television anthologies in the 1950s and 1960s. Ney was married to Thomas Menzies from 1930 until his death in 1962 and was deeply involved with British Actors' Equity, where she advocated passionately for the preservation of live theatre. She also studied the Alexander Technique under F. M. Alexander in the 1930s to resolve voice challenges from extended theatrical runs. Ney died on 11 April 1981 in London.

Early life

Birth and family background

Marie Ney was born Marie Fix on 18 July 1895 in Chelsea, London, England. She was the daughter of William Fix, and her family resided in London during her earliest years. Her family later emigrated to New Zealand when she was a young child.

Childhood relocation to New Zealand and early acting

Marie Ney relocated to New Zealand with her family as a young child. She began her acting career in that country after receiving singing, elocution, and dancing lessons during her adolescent years. One of her documented early performances occurred on 27 April 1918, when she appeared in the cast of "Seven Days Leave" by Walter Howard—a realistic submarine play presented by Ben and John Fuller starring Allan Wilkie—at the Grand Opera House in Wellington. She continued her acting in Australia, including seasons with the Wilkie company in Melbourne, where she was accepted for voice training at Melba’s conservatorium and attended morning lectures delivered by Nellie Melba twice a week. After several years performing in New Zealand and Australia, Ney returned to Britain around 1923.

Stage career

Return to Britain and early theatre work

Marie Ney returned to Britain in about 1923 after beginning her acting career in New Zealand and performing in Australia. She soon immersed herself in the London theatre scene, where she honed her skills at prestigious venues including the Old Vic and Drury Lane. Her early engagements there included a season in 1924 at the Old Vic. These appearances marked her establishment in British classical theatre and helped develop her versatility on stage. Ney continued her early London theatre involvement with roles in various productions, including an appearance in Dangerous Corner at the Lyric Theatre in 1932. During this formative period, her work began to showcase the character actress qualities that would define much of her later career.

Notable stage productions and roles

Marie Ney's stage career included several notable productions across London and international venues, showcasing her versatility in dramatic and comedic roles. In 1930, she portrayed Lady de Winter in the musical adaptation of The Three Musketeers at the Theatre Royal, Drury Lane in London. The production, which opened on March 28, ran for 240 performances and featured Ney in a key antagonistic role opposite Dennis King as D'Artagnan. During 1940 and 1941, Ney starred in a major Australian season presented by J.C. Williamson Ltd., performing in three plays across Melbourne and Sydney. She appeared as Linda in S. N. Behrman's No Time for Comedy, which premiered in Australia at the King's Theatre in Melbourne in late 1940 before transferring to Sydney's Theatre Royal in January 1941. Ney then appeared as Amanda Prynne in Noël Coward's Private Lives, opening at the King's Theatre in Melbourne on December 7, 1940, and later playing at Sydney's Theatre Royal from February 1941. The repertoire also included Ladies in Retirement, which Ney performed in Melbourne starting in September 1940 and continuing into the season. This extended engagement spanned theatres in both cities and highlighted her international appeal during wartime. In 1948, Ney played Lady Corbel in Peter Watling's Rain on the Just, which opened at the Theatre Royal in Newcastle upon Tyne before transferring to the Aldwych Theatre in London. Later in her stage career, Ney appeared in The Last Word at the Royal Lyceum Theatre in Edinburgh in 1959. As her work increasingly shifted toward film and television, these later theatre appearances represented key continuations of her dramatic presence on stage.

Film career

Early roles

Marie Ney transitioned to film with her debut in the British sound film Escape (1930), directed by Basil Dean. This early talkie, based on a John Galsworthy play, marked her entry into the screen medium while she continued her primary focus on theatre.

1930s and wartime films

Marie Ney's film work in the 1930s balanced her established stage career with occasional appearances in British films, usually in supporting or character roles that reflected her typecasting as a reliable character actress. She often played wives, maids, or ethereal figures in supporting capacities, with some roles going uncredited. Her notable credits from the decade include Judith in the fantasy drama The Wandering Jew (1933), opposite Conrad Veidt. That same year, she portrayed Constance Pelham in Home, Sweet Home (1933). In Scrooge (1935), she appeared uncredited as the Spirit of Christmas Past in the British adaptation of Charles Dickens' tale. She played Martha Russell, a busybody maid, in the romantic drama Brief Ecstasy (1937, also known as Dangerous Secrets). Her most prominent role of the era came in Alfred Hitchcock's Jamaica Inn (1939), where she portrayed Patience Merlyn, the long-suffering wife of the villainous innkeeper Joss Merlyn (Charles Laughton), with her character's tragic death scene providing a key dramatic moment. During the wartime years of World War II, Ney's screen work was minimal, as she had no credited feature film appearances between 1940 and 1945 according to available records.

Post-war and later film appearances

After World War II, Marie Ney returned to occasional supporting roles in British cinema, typically cast in authoritative or upper-class characters befitting her patrician presence. Her first post-war film appearance came in Uneasy Terms (1948), where she played Honoria Wymering. She followed this with the role of Lady Pennistone in the Cold War thriller Conspirator (1949). In the early 1950s, Ney appeared as Mrs. Willingdon in the suspense drama Seven Days to Noon (1950) and in an uncredited bit part as the School Headmistress in the Ealing comedy The Lavender Hill Mob (1951). Ney's film work became sparser during the 1950s and 1960s as she increasingly concentrated on television anthology series and stage advocacy (see Television career). She returned in a supporting capacity as Mrs. Crawford in the Mau Mau-themed drama Simba (1955). The following year she portrayed the prison Governor in the crime drama Yield to the Night (1956). Her later screen appearances included Mildred Dyce in West 11 (1963) and Malvina Lanier in the horror film Witchcraft (1964), which marked her final credited film role. These parts generally featured her in matronly or dignified supporting capacities, reflecting the character types she essayed in her later career.

Television career

1950s–1960s anthology series roles

In the 1950s and 1960s, Marie Ney appeared in several British anthology television series, which typically featured self-contained dramatic plays broadcast as individual episodes with rotating casts and stories, allowing seasoned stage performers to take on diverse roles in a format akin to televised theatre. These productions often aired on both the BBC and ITV and drew from classic literature or original scripts, providing Ney opportunities to continue her acting career beyond the stage and film. She had a significant presence on the BBC, appearing in eight episodes of BBC Sunday-Night Theatre from 1950 to 1957 in roles including Mrs. Robinson, Christine, Lady Catesby, Lena Surrege, Mrs. Conway, and Lady Ann Monchensey. She also performed in two episodes of BBC Sunday-Night Play in 1961 and 1962 as Mrs. Carrington and Mrs. Lee. She performed in ITV Television Playhouse during 1955 and 1956, taking roles such as Lillian Harvey and Mary Bonaventure in standalone teleplays. In ITV Play of the Week, she appeared in episodes between 1956 and 1959, portraying characters including Dr. Anne Carrington and Lady Corbel. Ney had a particularly active involvement in Armchair Theatre, a prominent ITV anthology series known for ambitious dramatic presentations, where she guest-starred in four episodes from 1957 to 1960; these included Mrs. Alving in an adaptation of Henrik Ibsen's Ghosts (1957), Aline Solness in The Master Builder (1958), Mrs. Egmont in Love and Money (1959), and Aunt Deirdre in Siege at Killyfaddy (1960). In 1960, she also appeared as Madame Besson in the episode "The Old Lady" of the BBC crime drama series Maigret. Her work in these anthology and episodic formats during this period overlapped with occasional film roles.

Final credited appearance

Marie Ney's final credited screen appearance was in the ITV Playhouse episode "Remember the Germans," where she played the role of Frau Surnosky. The episode aired on July 28, 1969, directed by Joan Kemp-Welch and written by Leo Lehmann. This performance concluded her on-screen career, which spanned from her debut in the Australian silent film Desert Gold (1919) to 1969. No further film or television credits are recorded for Ney after this role.

Personal life

Marriage and family

Marie Ney married Thomas Menzies on 18 June 1930. At the time, Menzies worked as a rubber planter in Malaya. Their marriage lasted until his death on 12 May 1962. During World War II, Ney lost contact with Menzies after leaving Singapore in February 1942, when he was reported missing in Malaya amid the Japanese advance. No records indicate any children from the marriage.

Union involvement and personal interests

Marie Ney was actively involved with the British actors' union Equity for many years and served as a fervent advocate of live theatre. She participated in union activities, including attending meetings, as evidenced by a 6 May 1939 gathering where she was photographed listening intently alongside actress Diana Wynyard during discussions. In her private life, Ney was a collector of fine arts and books.

Death

Add your contribution
Related Hubs
User Avatar
No comments yet.