Angharad Rees
Angharad Mary Rees (16 July 1944 – 21 July 2012) was a British actress of Welsh descent and later a jewellery designer, best known for her leading role as the headstrong Demelza Carne in the BBC period drama series Poldark (1975–1977).[1][2][3] Born in Edgware, Middlesex, England, to the Welsh psychiatrist Linford Rees and his wife Catherine Thomas, Rees moved to Cardiff as an infant and grew up in the suburb of Rhiwbina, where she attended local schools.[3][1] She began her career in the mid-1960s as an assistant stage manager and performer at the West Cliff Theatre in Clacton-on-Sea, before transitioning to screen acting with early film roles in Hands of the Ripper (1971) and Under Milk Wood (1972).[3] Her breakthrough came with Poldark, the adaptation of Winston Graham's novels, which showcased her talent for portraying resilient, fiery characters and earned her widespread recognition in the UK during the 1970s.[1][3] Rees's television career spanned decades, including later roles in series such as Trainer (1991–1992).[1] She received acclaim for her radio work, winning the Prix Italia award in 1982 for a performance in Florent and the Tuxedo Millions, and was nominated for best actress at the BAFTA Cymru Awards in 1985.[1] In 2004, she was appointed Commander of the Order of the British Empire (CBE) for her services to drama and was made an honorary fellow of the Royal Welsh College of Music and Drama.[3] Following the tragic death of her elder son, Linford Cazenove, in a car accident in 1999, Rees largely retired from acting and founded the luxury jewellery brand Angharad Rees Jewellery, whose designs appeared in films like Elizabeth: The Golden Age (2007).[1][3] She was married to actor Christopher Cazenove from 1973 until their divorce in 1994, with whom she had two sons—Linford (1973–1999) and Rhys (born 1976)—and later to businessman David McAlpine from 2005 until her death.[3][1] Rees died of pancreatic cancer in Knightsbridge, London, just five days after her 68th birthday, leaving a legacy as one of Wales's most celebrated performers of her generation.[3][2]Early life and education
Birth and family background
Angharad Rees was born on 16 July 1944 in Edgware, Middlesex, England, to Welsh parents Linford Rees, a prominent psychiatrist, and his wife Catherine Thomas.[4][3][5] She was one of four siblings in a family deeply rooted in Welsh heritage, with her father's career as an eminent psychiatrist underscoring their professional and cultural standing.[5][3] When Rees was an infant, her family relocated to Cardiff, Wales, where they settled in the suburb of Rhiwbina.[1][6] This move immersed her in the Welsh environment during her formative years, shaping her strong sense of national identity despite her English birthplace.[3] The family's Welsh origins provided a foundation of cultural continuity, with Rees later recalling her pride in these roots.[3] Her early childhood in Cardiff was marked by this familial emphasis on Welsh traditions, fostering connections that influenced her personal and professional life.[3] In 1953, the family moved again to Purley, Surrey, but the initial years in Wales left a lasting imprint on her upbringing.[7]Education and early influences
Rees's academic pursuits were marked by a focus on languages and the performing arts, reflecting her growing interest in theatre, though she struggled with dyslexia.[5] She attended local schools in Rhiwbina, Cardiff, and later Commonweal Lodge School, an independent girls' day school in Purley, Surrey, leaving at the age of 16.[1][8] After leaving school, she studied for two terms at the Sorbonne in Paris, immersing herself in French culture and literature.[9] This period abroad was followed by studies at the University of Madrid.[5] Her Welsh family background, with strong ties to relatives in Cardiff, encouraged an appreciation for bilingualism and cultural heritage during her early years. Determined to channel her passions into acting, Rees secured a scholarship to the Rose Bruford College of Speech and Drama in Sidcup, Kent, where she underwent comprehensive training in speech, drama, and teaching techniques.[10] There, she earned a diploma, honing skills that would underpin her professional development.Acting career
Debut and early roles
Angharad Rees made her professional acting debut on screen in 1968, portraying a parlourmaid in the BBC television adaptation of George Bernard Shaw's Man and Superman, opposite Maggie Smith and Eric Porter.[3] This initial role marked the beginning of her television work during the late 1960s, where she appeared in anthology series such as The Wednesday Play, contributing to episodes that showcased emerging dramatic talent in British broadcasting.[3] Her training at Rose Bruford College of Speech and Drama, which she attended on a scholarship after studying in Paris and Madrid, equipped her with the skills necessary for these early performances in a competitive field.[5] Throughout the early 1970s, Rees built her experience with supporting roles in prominent television productions, including appearances in the courtroom drama Crown Court in 1973, where she played Pauline Ellis in the storyline "An Act of Vengeance."[11] She also featured in episodes of Play for Today, notably as April Cotton in the 1971 installment Hell's Angel, directed by Michael Apted, which explored themes of social unrest and personal conflict. These roles allowed her to demonstrate versatility in dramatic narratives, often portraying complex female characters in single-play formats that were central to BBC's output during the era.[3] Rees's transition to film came with a minor yet notable supporting role in the 1971 Hammer Horror production Hands of the Ripper, where she played Anna, the troubled daughter of the infamous killer, under the direction of Peter Sasdy.[5] This marked her cinematic debut and highlighted her ability to handle intense, psychological roles alongside established actors like Eric Porter.[3] As a young Welsh actress raised in Cardiff but pursuing opportunities in the predominantly London-centric British industry, Rees faced the typical hurdles of regional talent seeking prominence, including concerns over typecasting in accent-driven or ethnically specific parts that limited broader opportunities.[5]Major television roles
Rees achieved her breakthrough in television with the role of Demelza Carne in the BBC period drama Poldark (1975–1977), an adaptation of Winston Graham's novels set in 18th-century Cornwall.[3] As the fiery servant girl who rises to marry the protagonist Ross Poldark (played by Robin Ellis), her portrayal captured the character's headstrong spirit and transformation, drawing up to 15 million viewers per episode in the UK and establishing the series as a cultural phenomenon akin to a period equivalent of later hits like Downton Abbey.[12][1] The show's emphasis on romantic tension, social class struggles, and the rugged Cornish landscape amplified its appeal, with Rees's auburn-haired, West Country-accented performance becoming iconic among audiences, particularly women.[3] During the production of Poldark, Rees was married to actor Christopher Cazenove (from 1973 to 1994), though he did not appear in the series; the couple's real-life partnership added to the on-set chemistry and public interest, contributing to her rising stardom.[12] The series' success extended internationally, with popularity in countries like Spain leading to promotional tours for Rees and her co-stars, solidifying her fame beyond Britain.[13] By the late 1970s, Poldark had transitioned from a domestic hit to the BBC's best-selling costume drama on video in the 1990s, underscoring its lasting impact.[12] Prior to Poldark, Rees had begun transitioning from supporting roles to more prominent parts in the early 1970s, including her appearance as Louise in the television adaptation of Jane Eyre (1970), directed by Delbert Mann and starring Susannah York.[14] Another key miniseries role came in The Gathering Storm (1974), where she portrayed Sarah Churchill, daughter of Winston Churchill (Richard Burton), in a biographical drama that highlighted her ability to handle complex historical characters.[3] These performances marked her shift toward leading television roles, building on her early training to showcase versatility in period pieces. In the 1990s, Rees continued with significant television work, notably as Caroline Farrell in the BBC series Trainer (1992), a drama set in the horse-racing world where she navigated personal and professional challenges as a stable owner's wife.[12] This role demonstrated her enduring presence in British television, blending dramatic depth with contemporary themes after her 1970s heyday.Film and stage contributions
Rees's prominence in the television series Poldark opened opportunities for her in film during the 1970s, allowing her to explore dramatic and comedic roles on the big screen.[3] One of her early significant film appearances was in the 1972 adaptation of Dylan Thomas's Under Milk Wood, where she portrayed the character Gossamer Beynon alongside prominent actors Richard Burton and Elizabeth Taylor. The following year, she starred as the lead Jackie in the British comedy The Love Ban, showcasing her ability to handle lighthearted, character-driven narratives.[15] Rees began her stage career in the mid-1960s as an assistant stage manager and actor at the West Cliff Theatre in Clacton-on-Sea.[3] She went on to perform in several West End productions, including It's a Two Feet Six Inches Above the Ground World at Wyndham's Theatre in 1970.[3] A notable role came in 1978–79 when she appeared in George Bernard Shaw's The Millionairess at the Theatre Royal Haymarket, demonstrating her command of witty, sophisticated dialogue.[3] In the 1980s, Rees continued her theatre work with classical roles, such as Ophelia in a 1969 production of Hamlet early in her career and later appearances in adaptations like Captain Brassbound's Conversion in 1982. Her later film roles included Lady Evelyn Herbert in the 1980 adventure-horror The Curse of King Tut's Tomb, reuniting her with Poldark co-star Robin Ellis. She also featured as Marianne Hoffman in the 1984 miniseries Master of the Game, a lavish production blending epic storytelling with filmic elements. Critics praised Rees's stage performances for their emotional depth and adaptability, particularly in classical theatre where she balanced her inherent Welsh inflection with the demands of period characters.[3]Filmography
Television appearances
Rees began her television career in the late 1960s with guest roles in anthology series and dramas. Her credits span a variety of genres, including period pieces, mysteries, and comedies, with a notable concentration in the 1970s.| Year | Title | Role | Notes |
|---|---|---|---|
| 1968 | The Wednesday Play | Parlour Maid | Episode: "Man and Superman"; her television debut.[16] |
| 1968 | The Avengers | Redhead | Episode: "They Keep Killing Steed"; guest appearance.[17] |
| 1969 | Doctor in the House | Frances | Episode: "Getting the Bird"; recurring series role.[18] |
| 1970 | Jane Eyre | Louise | TV movie adaptation.[19] |
| 1971 | Play for Today | April Cotton | Episode: "Hell's Angel"; anthology drama. |
| 1971 | Under Milk Wood | Gossamer Beynon | TV movie adaptation of Dylan Thomas's play.[20] |
| 1972 | Crown Court | Pauline Ellis | Episodes: "An Act of Vengeance" (three parts, 1972–1973); courtroom drama series.[21] |
| 1972 | Doctor in Charge | Annabel | Episode: "The Rumour"; spin-off series.[22] |
| 1972 | Baffled! | Peggy Tracewell | TV movie starring Leonard Nimoy.[23] |
| 1974 | Thriller | Stella Mason | Episode: "Once the Killing Starts"; suspense anthology.[24] |
| 1974 | Within These Walls | Anne French | Episode: "Guessing Game"; prison drama series.[25] |
| 1974 | The Gathering Storm | Sarah Churchill | TV movie; daughter of Winston Churchill (Richard Burton).[26] |
| 1974 | Play for Today | Lucy | Episode: "Joe's Ark"; written by Dennis Potter.[27] |
| 1975–1977 | Poldark | Demelza | Miniseries; lead role, 29 episodes.[28] |
| 1977 | The Morecambe & Wise Christmas Show | Herself/Guest | Variety special.[22] |
| 1978 | As You Like It | Celia | BBC Shakespeare adaptation; opposite Helen Mirren. |
| 1980 | The Curse of King Tut's Tomb | Lady Evelyn Herbert | TV movie.[29] |
| 1981 | Play for Today | Lady Caroline | Episode: "Dear Brutus"; J.M. Barrie adaptation.[30] |
| 1984 | Master of the Game | Marianne | Miniseries adaptation of Sidney Sheldon novel.[31] |
| 1984 | Robin of Sherwood | Jennet of Elsdon | Episode: "The Witch of Elsdon"; guest appearance in fantasy series.[32] |
| 1985 | Remington Steele | Katherine Galt | Episodes: "Steele Searching: Part 1" and "Part 2"; guest role; American series.[33] |
| 1988 | Screen Two | Mona McAuley | Episode: "The Temptation of Eileen Hughes"; based on Ruth Rendell novel.[31] |
| 1989–1990 | Close to Home | Helen De Angelo | ITV sitcom; lead role.[34] |
| 1991 | Boon | Helen Davison | Episode: "Lost on the Range"; crime drama series.[35] |
| 1991–1992 | Trainer | Caroline Farrell | Sporting drama series; 12 episodes. |
Film roles
Angharad Rees appeared in a series of feature films and television movies throughout her career, often portraying strong-willed female characters that built on her television success.[3] Her film roles, listed chronologically, include:- Hands of the Ripper (1971): Anna, the daughter of Jack the Ripper who becomes possessed and commits murders.
- To Catch a Spy (1971): Victoria, a supporting character in this Cold War comedy-thriller.[36]
- Under Milk Wood (1972): Gossamer Beynon, a prim schoolteacher in the Welsh village ensemble.
- The Love Ban (1973): Jackie, an au pair involved in the film's comedic exploration of family and contraception.[37]
- Moments (1974): Chrissy Hunter, a young woman entangled in a dramatic affair.
- La petite fille en velours bleu (1978): Macha, part of the ensemble in this French-Italian psychological drama.
- As You Like It (1978): Celia, Rosalind's loyal companion in this Shakespeare adaptation.[38]
- The Curse of King Tut's Tomb (1980): Lady Evelyn Herbert, the daughter of Lord Carnarvon in this adventure film.[39]
- Master of the Game (1984): Marianne Hoffman, a key figure in the multi-generational family saga.
- The Wolves of Kromer (1998): Mary, a villager in this allegorical fantasy about prejudice and outsiders.