On 4 September 2012, she appeared in Jimmy McGovern's Accused. Beginning in September 2012, she starred in the drama mini-series The Bletchley Circle (2012–2014). On 12 July 2011, she played Kay Langrish in a BBC Two dramatisation of The Night Watch. In February 2011, she played Sarah Burton in a three-part BBC adaptation of Winifred Holtby's novel, South Riding. In February 2010, she played freedom of information campaigner Heather Brooke in On Expenses, a BBC Four satirical drama, and later played Isabella in Shakespeare's Measure For Measure at the Almeida Theatre. In July 2009 she appeared in the BBC Two drama Freefall, and played Neil Armstrong's wife, Janet, in Moonshot: The Flight of Apollo 11, an ITV1 drama documentary to celebrate the 40th anniversary of the Apollo 11 moon landing. She also appeared in a BBC Radio 4 adaptation of Agatha Christie's novel Crooked House. įrom July to October of that year, she appeared with Dame Eileen Atkins in The Female of the Species at the Vaudeville Theatre in London. In 2008, she starred in the BBC Two drama White Girl and with Naomie Harris in Channel 4's adaptation of Poppy Shakespeare, for which she won her second Best Actress BAFTA Television Award in 2009.
#FREEFALL THEATRE TV#
At the end of the year she played the gaoler's daughter in Lee Hall's adaptation of The Wind in the Willows, a multimillion-pound production by Box TV for BBC One, and was the joint narrator (with Anton Lesser) of the CD version of Tamar, a children's book about the Second World War by Mal Peet, which was published in December 2007. She played Cassandra Austen in Becoming Jane, a 2007 film about the early life of the novelist Jane Austen, starring American actress Anne Hathaway in the title role. In the same year she worked on I Really Hate My Job, directed by Oliver Parker and, from October 2006 to April 2007, played Sally Bowles in Bill Kenwright and Rufus Norris's West End production of Cabaret at the Lyric Theatre. She is the narrator of the CD version of The Foreshadowing, a children's book about the First World War by Marcus Sedgwick, which was published in May 2006. In January 2006, Maxwell Martin took part in a reading of The Entertainer at the Royal Court Theatre, and in February and March she appeared in Laura Wade's Other Hands, directed by Bijan Sheibani at the Soho Theatre. She played Esther Summerson, the central character in the 2005 BBC adaptation of Charles Dickens's Bleak House, for which she won the Best Actress BAFTA Television Award in 2006.
#FREEFALL THEATRE SERIES#
She was then cast in the part of Bessie Higgins in the BBC television adaptation of the Elizabeth Gaskell novel North and South in 2004, and made a guest appearance in the 2005 series of Doctor Who. Maxwell Martin first came to prominence on the London stage playing the leading role of Lyra in the National Theatre's production of Philip Pullman's His Dark Materials. She added the name Maxwell (her grandfather's name) to her surname to distinguish her from another member with the same name when she joined Equity. Maxwell Martin joined the London Academy of Music and Dramatic Art (LAMDA) after completing her studies at Liverpool. After she left school, Maxwell Martin studied history at Liverpool University. She attended Beverley High School where she appeared in school plays.
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Her mother gave up her job to bring up Anna and her elder brother Adam. Her father was managing director of a pharmaceutical company and her mother was a research scientist. But the costumes don’t feel stuck in that era, particularly the bright pink shredded denim attire of Bogle, who Jeffers said was inspired by a 1990s riot girl.Anna Charlotte Martin was born in Beverley on to Rosalind (née Lugassy) and Ivan Martin. The mother of punk, designer Vivienne Westwood, was Jeffers’ main influence. It seems to work really well for a theatrical production.” “And then you take that and you kind of dial it down or manipulate the structure or the texture or the color schemes. There is such an elevated air to it,” he said.
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“I always like to look at like high fashion couture, especially Haute Couture. Jeffers took inspiration from people who made the punk influence their own. As themes of time in the play shift, Jeffers manipulates the color palette, making the garments from the past brighter because they are vivid memories and ones from the unclear future muddier.
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Jeffers hand-painted the backs of jackets to echo the brushwork of the graffiti. Franck designed a black background, with phrases from the play scrawled on the walls and floors and symbols in bright graffiti.
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Maharaj told Jeffers and scenic designer Phillip Franck that the set and costumes should be part of the storytelling, akin to a fifth character. The dialogue of Jacob Marley’s Christmas Carol is rooted in the Dickensian era, but the set and costumes make it visually modern.