This Masterpiece Theatre production, set at the cusp of the Industrial Revolution, chronicles the life, loves, foibles and politics of the fictional English town of Middlemarch. Adapted ... See full summary »
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Series cast summary:
Colum Convey ...
 Mr. Hawley 7 episodes, 1994
 Rev. Farebrother / ... 7 episodes, 1994
Stephen Moore ...
Rosemary Martin ...
 Mrs. Bulstrode / ... 7 episodes, 1994
Ronald Hines ...
 Mr. Standish 6 episodes, 1994
Rachel Power ...
Mary Hanefey ...
 Lady Chettam 6 episodes, 1994
 Mrs. Cadwallader 6 episodes, 1994
 Mrs. Vincy 6 episodes, 1994
James Garbutt ...
 Dr. Wrench 5 episodes, 1994
Patti Love ...
 Mrs. Plymdale 5 episodes, 1994
Cheryl Fergison ...
 Pritchard 5 episodes, 1994
Roger Milner ...
 Mr. Bambridge 4 episodes, 1994
David Belcher ...
 Mr. Chicheley / ... 4 episodes, 1994
Fanny Carby ...
 Mrs. Kell 4 episodes, 1994
 Peter Featherstone 3 episodes, 1994
 Hiram Ford 3 episodes, 1994
David Sibley ...
 Mr. Spooner 3 episodes, 1994
Richard Butler ...
 Mr. Powderell 3 episodes, 1994
 Lydgate's Maid / ... 3 episodes, 1994
 Mrs. Waule / ... 3 episodes, 1994
Ian Driver ...
 Mr. Plymdale / ... 3 episodes, 1994
Ben Jeffery ...
 Ben Garth 3 episodes, 1994
Susan Porrett ...
 Tantripp 3 episodes, 1994
 Solomon Featherstone 3 episodes, 1994
Jeremy Sinden ...
 Captain Lydgate 3 episodes, 1994
Nathan Valente ...
 Alfred Garth 3 episodes, 1994
Sally Mates ...
 Mrs. Abel 2 episodes, 1994
 George Eliot 2 episodes, 1994
Robert Blythe ...
Ken Campbell ...
 Mr. Mawmsey 2 episodes, 1994
Jonathan Hackett ...
 Joshua Rigg 2 episodes, 1994
Jane Hollowood ...
 Mrs. Dagley 2 episodes, 1994
Sophie Jeffrey ...
 Letty Garth 2 episodes, 1994
Terry John ...
 Mr. Sparks 2 episodes, 1994
 Sir Godwin Lydgate 2 episodes, 1994
Geoffrey Wilkinson ...


This Masterpiece Theatre production, set at the cusp of the Industrial Revolution, chronicles the life, loves, foibles and politics of the fictional English town of Middlemarch. Adapted from the George Eliot classic of the same name, the plot centers on the socially conscious, but naive Dorothea Brooke, whose disastrous match to the pedantic Rev. Edward Casaubon sets in motion a chain of events that will change the face of Middlemarch forever. The efforts of the dashing young physician, Tertius Lydgate, to modernize the medical practices at the new hospital causes quite a stir, both in the political power structure, headed by the evil Mr. Nicholas Bulstrode, and the heart of sweet Rosamund Vincey, the town beauty. Smaller plots interweave the action and lead to reconciliation, resignation, remuneration and resolution. Written by Teresa B. O'Donnell <>

Plot Summary | Add Synopsis


Drama | History | Romance


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Parents Guide:






Release Date:

12 January 1994 (UK)  »

Also Known As:

Apagorevmeno pathos  »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Two days before filming the Rome museum scene, the production team learned that permission to film in a historic palazzo was rescinded for political reasons. The team scrambled to find an alternate location in time to keep the shoot on schedule, and found such a place in the Palazzo Doria-Pamphili. They later learned that this was the very place where George Eliot met the man on whom she based the character of Will Ladislaw--the man she eventually married. See more »


Dr. Tertius Lydgate: The reason doctors prescribe so much medicine, Mr. Mawmsey, is because it's the only way they can make their money. If they could charge for their consultation then they wouldn't have to overdose the King's legion. And that's the worst kind of treason, eh?
See more »


Featured in The Story of the Costume Drama: The Stars (2008) See more »

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User Reviews

Internals not Seen
22 March 2006 | by See all my reviews

TeeVee miniseries exist because of strange economic wrinkles. The nature of the medium is so episodic, so finely grained that it is forced to satisfy the needs created by the sameness and thinness. Its why MacDonalds' sells chicken.

So just as the main fare is perverted in a cartoonish simple sense, so is the antidote extreme in the other.

To feed this beast, you need to have stories that only have scope in the larger context and you must (a rule) be able to get that context only by watching more than one chunk, what in TeeVee land is called an episode. Its a strange term that belies its odd requirements.

Into this niche have long come soap operas, shaped by emotional bumpings and worries of extreme characters. And for a few decades the rich uncle of soap operas have flourished as well. These have to be lush, set in a romantic era. And if they come from a respected novel, so very much the better.

Its better because viewers think they are doing something intelligent, and also because writers don't have to thrash out the essential mechanics. But in reality it doesn't matter what the source material, these all go through more or less the same refining process and come out the other end much the same. Its a matter of market need.

If you actually read the books behind these you'll find a bewildering variety that isn't apparent in their small screen translations. Where Austen (for example) was all about the appearance, Eliot was about the internal holding of bonds. Where Austen was all about attaining a position, Eliot, writing in the next generation, was about the challenges of holding those positions.

In a way, Eliot's innovation was get inside, under the appearance. It doesn't matter what the doctor's house or service look like, only that some nitwit thinks the appearance is important. Its a bit scandalous that as we consume this product, what attracts us, at root, is the appearance of the thing. We are the enemy she writes about.

If you just glanced at this, you'd find it indistinguishable from any of the other such pretty things it is classified with. Its a true insult to the book. An absolute scandal. The creative team should be driven out of the village. Cinematic heathens!

Ted's Evaluation -- 2 of 3: Has some interesting elements.

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