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Lalla Ward Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (2) | Trivia (17) | Personal Quotes (28)

Overview (3)

Date of Birth 28 June 1951London, England, UK
Birth Name(The Honourable) Sarah Ward
Height 5' 5" (1.65 m)

Mini Bio (1)

Lalla Ward born Sarah Ward, daughter of Lord Bangor - Edward Ward - and his writer wife, Marjorie Banks. She always wanted to act, paint and draw, and so joined the Central School of Speech and Drama in 1967. When she left in 1970, it was straight into a part in the Hammer film Vampire Circus (1972). Following this she worked extensively on stage, in films - including England Made Me (1973), Rosebud (1975) and Crossed Swords (1977) (aka The Prince and the Pauper) - and on television - including appearances in Quiller: Thundersky (1975), Hazell: Hazell Meets the First Eleven (1978), Quiller: Thundersky (1975) and several episodes of The Duchess of Duke Street (1976). She also appeared in a film called Got It Made (1974), which was later reissued as "Sweet Virgin" with sex scenes added featuring other actors. This led to her winning a libel action against Club International magazine, which ran a selection of nude photographs from the film purporting to be of her. Her guest appearance in the Doctor Who story Doctor Who: The Armageddon Factor: Part One (1979) in 1979 led to her being chosen to play Romana when the original actress, Mary Tamm, left after one season. Ward quit Doctor Who in 1980, and in December of that year married Tom Baker. The marriage lasted 16 months. Ward continued to act, with roles in Schoolgirl Chums (1982) and Hamlet, Prince of Denmark (1980) for the BBC and "The Jeweller's Shop" and "The Rehearsal" on stage. She also developed her love of painting and wrote and illustrated several books. In 1992 she married eminent biologist Dr. Richard Dawkins, author of such books as "The Selfish Gene" and "The Blind Watchmaker", and gave up acting to concentrate on writing and on her family.

- IMDb Mini Biography By: Anonymous

Spouse (2)

Richard Dawkins (1992 - present)
Tom Baker (13 December 1980 - 1982) (divorced)

Trivia (17)

The half-sister of the present Viscount of Bangor, William Ward.
At a convention held in Australia in 1996, Lalla Ward was asked about her inherited title. Lalla pointed out that she is an "Honourable" not a "Lady".
Is an artist; has illustrated for the evolutionary biology books written by her husband, Richard Dawkins.
Was introduced to her husband Richard Dawkins by Douglas Adams at his 40th birthday party. Richard and Lalla were the only ones to turn up on time.
Was Douglas Adams's date to a screening of Star Wars: Episode V - The Empire Strikes Back (1980) in the early 1980s
Wrote the knitting pattern book "Beastly Knits" which was published in December 1985
She provided illustrations for Climbing Mount Improbable. and Astrology for dogs (and owners) by William Fairchild (1980).
Her favourite Doctor Who (1963) serial was "State of Decay".
The asteroid 8347 Lallaward was named after her.
In 2009, at the suggestion of the Gerald Durrell Foundation, she prepared an exhibition of textiles and ceramics on the theme of Galapagos wildlife. The auction raised £24,000 for the Durrell Wildlife Conservation Trust's campaign for the Floreana mockingbird and other wildlife of Galapagos.
Ward is a textile artist and ceramicist. Her subjects are rare and endangered animals. She refers to her technique of creating fabric pictures as thread drawing, considering this a more accurate term for her work than the commonly used thread painting.
In the 1980s, she wrote two books on knitting and one on embroidery.
Ward is a keen chef, and she contributed a recipe to The Doctor Who Cookbook which was edited by Gary Downie.
For almost 20 years, Ward has served on the committee of the Actors' Charitable Trust, TACT, and as a trustee for 10 years. Alongside Richard and Sheila Attenborough, she led a successful £7.5 million redevelopment of the actors' care home, Denville Hall.
She has shown three exhibitions at the National Theatre, London. Her 2010 textiles exhibition, Stranded, was inspired by the evolution of animals on islands. In 2011, Migration featured works which combined textiles and ceramics, the subjects seeming to move across both media. The theme of Vanishing Act, 2013, was camouflage. As with previous shows, Ward made available detailed instructions explaining her techniques. She also used one glass case to recreate her workspace, including such sources of inspiration as music, quotes, and a photo of her dog.
Ward has recorded audio books, including Steven Pinker's The Language Instinct and Shada by Gareth Roberts and Douglas Adams. She co-narrates The Selfish Gene, The Ancestor's Tale, The God Delusion, The Blind Watchmaker and The Greatest Show on Earth: The Evidence for Evolution with her husband Richard Dawkins.
In March 1981, the British "top-shelf" magazine "Club International" published some risque photographs, said to be of Lalla, in a compromising position with another actress. However, they were forced to print an apology when the pictures turned out not to be of Lalla at all.

Personal Quotes (28)

I had an awful lot to say in what I wore as Romana.
I enjoyed the promotion with K9 on my introduction day.
I can't bear it that Douglas isn't still here.
Don't ask me who my favourite monster was because I'm sick of saying Tom Baker.
(On filming City of Death in Paris) Although the French were very friendly and helpful. On one location we were to film at the top of the Eiffel Tower but we couldn't, as it was so misty with four inches of snow on the ground. We couldn't see a thing but we finally got it done.
(On Douglas Adams) I think Douglas was a real one-off. He was so clever and so intelligent and so well read in real science that he could make science fiction work as well as it did. And just such fun to have around, he was just such a lovely man.
I like that totally mixed up kind of eclectic group of personal props and bits of costume and I think the fun of doing that is where I was very lucky with Doctor Who (1963).
(On her favourite role on Doctor Who (1963)) Oh, I have to say Romana; she was much more fun to do but I did enjoy the Princess when she was turning bad.
I was quite happy with the way I went, I think.
I mean, I was first offered Princess Astra.
(On filming City of Death in Paris) We were only there for five days and during that time Tom was a bit annoyed that the French were more interested in me and my schoolgirl outfit than him and his long scarf.
One of the advantages of appearing in such a play is that you begin to understand it properly, I feel Ophelia's tragedy was that she had been so used by everybody and felt that she bore a great burden of guilt.
I think the kind of unexpected I really love is when you open books and the actual way of writing is different and interesting. Like reading Virginia Woolf for the first time or Lawrence Durrell for the first time.
I'm ashamed of the way I bossed my poor designers around! They were always letting me have my own way, so I had a tremendous time. I used to loathe having to wear school uniform, and I thought, if a heroine of mine on television had worn it, I'd have thought 'good, then I'll wear it.'
(On leaving Doctor Who (1963)) I'd made up my mind before the start of recording for the new series that I'd like to go halfway through. John Nathan-Turner had exactly the same feeling, so we had no conflict over the decision - it was entirely amicable and a relief, because I'd been dreading telling him, and vice-versa, I think. I loathed [Warriors' Gate] because it was my last. I was conscious the whole time of this being the last one. I was leaving part of me behind with it, and I was miserable. I was pleased that I got a nice open-ended departure. I was also delighted that I got K9 as company - it somehow eased the break. An excellent story - good for Romana, but terribly sad for me.
I love the theatre and I do like to work 'live' every so often, but my first loyalty is to television. I discovered quite early on that a camera never lets you down. The atmosphere of television is right for me.
(On her time at The Central School of Speech and Drama) I was so much younger than everybody else, and they let me in without any practical experience, so you can imagine I was pretty overawed - at first I was totally horrified. But once I got some confidence, I don't think I've ever enjoyed a period of my life more.
My audition was, unwittingly, a six-week series! I was fortunate, because when I joined, I knew everybody, so the 'first-night jitters' were not so concentrated.
I discovered quite early on that a camera never lets you down. Your acting is unrestricted by its presence, whereas an audience will react in different ways. I love the theatre and I do like to work 'live' every so often, but my first loyalty is to television. I'd done so much there - I feel a sense of attachment. The atmosphere of television is right for me.
(On the end of her marriage to Tom Baker) It's something I still feel sad about. I loved - and, in many ways, still love - Tom very much. The trouble is, our careers came to be just as important as each other, and we grew apart. I was angry at suggestions that it didn't work because I was too young, or that Tom was unreasonable to me. We just irritated each other occasionally - we weren't close enough, I suppose. It was a decision we discussed and felt was for the best.
"City of Death was very challenging. For a start, we had to film loads of scenes in the rain and cold and as quickly as possible because we only had a few days - there was no glamour at all! Then we had to virtually rewrite the whole thing, because it just wasn't working out. Luckily the excellent cast helped and it was stimulating, but very difficult. In retrospect, it was different from the ordinary stories too, and I liked the finished result.
"We used to have the most awful problems with our writers. Tom and I used to have the rewrite most of our dialogue with the director, usually because it wasn't right for the parts we were playing. And it happened from the very start. Our actual rehearsal time, which was incredibly tight, was reduced still further as a result. So the programme was always a heavy workload - we had this responsibility for the show and we were doing so many a year against the problems of a small budget and scripts that we wouldn't have done without at least an element of rewriting. But our writers were under pressure too. They had to work with severe limitations, and in making it adventurous the characters were often neglected. And in some ways, I felt the show was more about people than adventure situations.
The schoolgirl outfit was my idea - so was the riding look in 'The Horns of Nimon'. I took the whole thing to its limits because I knew I'd probably never have such a chance again. In 'Destiny of the Daleks', we came up with that smashing idea - a joke on the Doctor, really - of having a version of his costume for Romana. She was an individual charaacter and her clothes had to show this - a fantastic mixture of all the different worlds at her disposal. I'm ashamed of the way I bossed my poor designers around. They'd suggest something, which might be alright, but then I'd see myself in something else, so I'd insist on that. They were always letting me have my own way, so I had a tremendous time. I always bore n mind what would appeal to the viewers and make them laugh. It was all fantasy and I enjoyed every minute of it.
"Tom works incredibly hard, too hard. He's a perfectionist at heart, and with 'Doctor Who' we often didn't have time for perfection. He love the fans he got through playing the Doctor - especially the children - and he always kept up an incredibly conscientious role while he was in the series - he never smoked or drank in public. That was something he saw as his responsibility. He is a superb actor and his popularity reflects this. The trouble is our careers came to be just as important as each other, and we grew apart. I was angry at suggestions that it didn't work because I was too young - or that Tom was unreasonable to me. It was a decision we discussed and felt was for the best.
"My favourite was 'State of Decay'. It had the most amazingly real designs - the sets made me feel so eerie, it wasn't difficult to act. I think perhaps the horror element was over-played, but it was a powerful script, one of our beset, and beautifully directed.
On 'Shada', we had stupendous problems for a while. We shot the series out of order anyway, and because of delays and over-running we got steadily more and more behind schedule. The team were all working at breakneck speed to complete it all in time. Tom was a hopeless punter, so that scene on the gondola took hours! We lost everything we'd done - which was a lot, unfortunately. As I remember, the filming in Cambridge was superb, but overall I wasn't happy with it. Douglas had written a superb script, but it just coincided with a time when I felt fed up with everything. To have worked so hard and got so far advanced was heartbreaking when all that happened was its cancellation. Morale sank very low.
The director of 'The Armageddon Factor', 'Michael Hayes', had worked with me on The Duchess of Duke Street (1976) and also noted my work in Shelley (1979). He contacted my agent because he saw me as right for the past of Princess Astra. I think one of the reasons they asked me to take over from Mary was that my original character had received a favourable response from the viewers. I'd got on so well with Tom - and with Mary - that I was suggested and I certainly had no qualms about taking it on.
(On replacing Mary Tamm as Romana) I just couldn't be the same as Mary. It wouldn't have worked. I had to approach it differently. I kept thinking that I was in somebody else's shoes and they didn't quite fit. So it was weird - but a challenge. Besides, when Time Lords regenerate, they don't stay the same, do they? None of the Doctors have, and I'm sure Romana wouldn't have either. It was never easy to do Doctor Who (1963) - it was very hard work, very taxing at times for all sorts of reasons.

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