Catherine Bailey



Daniel Albert

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Mr Casanova Dir: Benoit Jacquot
Nicola and OJ Dir: Joshua Newton
Newton House
A Quiet Passion Dir: Terence Davies 
Hurricane Films
The Grind  Dir: Rishi Opel 
Dangerous Films
Shades of Mourning Dir: Ben Caird
Beginners Luck Dir: Nick Cohen and James Callis
Angel Film 
It's Not You It's Me Dir: Clara Glynn
Hopscotch Films


The Process Dir: Sarah Bedi
Bunker Theatre
Othello Dir: Claire van Kampen
Shakespeare's Globe
King Lear  Dir: Max Webster 
ATG Tour
Dr Scroggy's War Dir: John Dove
Shakespeare's Globe
Julius Caesar  Dir: Dominic Dromgoole
Shakespeare's Globe
The Merchant of Venice Dir: Bill Buckhurst 
Shakespeare's Globe
39 Steps Dir: Lucy Skilbeck
Criterion Theatre
Twelfth Night Dir: Charlie Walker-Wise
Ludlow Festival
The Seagull Dir: Tim Carroll
The Factory at The Rose
A Midsummer Night's Dream Dir: Tim Carroll 
Middle Temple Hall
Bonduca Dir: Pia Furtado
King's Place
House of Agnes Dir: George Perrin
Paines Plough/Oval House
Hamlet Dir: Tim Carroll & Tamara Harvey
The Factory
The Country Wife Dir: Jonathan Kent
Theatre Royal Haymarket
Sit & Shiver Dir: Steven Berkoff
New End Theatre/Hackney Empire
Walk Hard - Talk Loud Dir: Nick Kent
Tricycle Theatre
Headstate Dir: Dan Ely
Landor Theatre 
The Life and Times of Young Bob Scallion Dir: Ben Crocker 
Northcott Theatre
Newsrevue Dir: Elanor Pierson
Canal Cafe
The Nine Lives of the Catwoman Collette Dir: John Caird
Caird Company
Blackrock Dir: Tim Roseman
Young Vic
Tis Pity She's A Whore Dir: David Lan
Young Vic
Spring Awakening Dir: Tim Supple


Malory Towers King Bert Productions
The Crown 2 Leftbank Pictures
Strike: The Silkworm Part 2 BBC & HBO
Hetty Feather  BBC
Mr Selfridge 4 ITV
And Then There Were None BBC
Midsomer Murders: Wild Harvest Bentley Productions
Doctors BBC
House of Anubis Nickelodeon/Lime
The Sarah Jane Adventures DW Productions
Holby City BBC
The Bill Talkback Thames
Doctors  BBC
Eastenders  BBC
The Bill Talkback Thames
The English Harem Feelgood Fiction
Egypt BBC
The Marchioness Granada Television
Rosemary & Thyme Carnival Productions
55 Degrees North BBC
My Family  BBC
High Stakes London Weekend Television
Urban Gothic Channel 5 Television
Residents BBC
Peak Practice Central Television
Holby City BBC
The Infinite Worlds Of H.G. Wells Hallmark Productions
Hawkins BBC
The Wild House BBC
Uncle Jack and Cleopatra's Mummy BBC


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“Catherine Bailey is scene-stealingly good”
The Film Review, BBC - Mark Kermode

“In early stretches, she and her friend Miss Vryling Buffam (a fabulously arch Catherine Bailey) merrily fire off volleys of crisp badinage as if they were about to go off and found the Algonquin Round Table.”
-The Guardian

“And then there is Emily’s unconventional friend Ms. Vryling Buffom (archly played by Catherine Bailey), who flaunts her contrarianism with Wilde-like aphorisms about men, only to get conveniently married later on.”
-The Hollywood Reporter

“So although she interacts with her family - her patriarchal father (a whiskery and improbably Keith Carradine), her depressed mother, her loving younger sister Lavinia (vivid Jennifer Ehle) and her patronizing brother Austin (Duncan Duff) and has one lively friend, Vryling Buffam (scene-stealing Catherine Bailey) - there are no excursions from this house (Belgium standing in for Massachusetts) further than the garden.”
-The Evening Standard

“Vitalized by her companionship to Vinnie’s friend Vryling Buffam (“sounds like an anagram, doesn’t it?”), she is encouraged in her burgeoning dissatisfaction with the more intransigent undercurrents informing American life. Buffam, an outgoing socialite who likes to keep men on their toes (“he dances like a polar bear”), is played with infectious verve by Catherine Bailey — who, in light of the restrictions of the chamber-piece setting, must embody and stand in for the more progressive social tendencies to which Dickinson was able to respond throughout her later years. As such, Bailey gets to deliver the film’s funniest lines. (Two examples: “Going to church is like going to Boston — you only enjoy it after you’ve gone home”; “America’s the only country in the world that looks upon death as some kind of personal failure.”) Such dialogue ricochets through
artfully stylized scenes, enlivening the unfolding drama even when a certain, inevitable dread creeps in (no excuses, critically, for expecting any of this to have a happy ending).”

“together with a scandalously unconventional younger friend, Miss Buffan (a sparkling Catherine Bailey)”

“Back home, she strikes up a firm friendship with Miss Buffum (Catherine Bailey), a wonderfully cynical and witty neighbour with an acerbic tongue.”
The Independent


“Much of the colour comes from the supporting roles. For once, the marginalised women make a strong impression. Catherine Bailey is full of simmering anger as the self-mutilating Portia”
Michael Billington - The Guardian

“And in this oppressively masculine play Catherine Bailey is deeply touching as Brutus’s neglected wife who poignantly asks her husband: “Dwell I but in the suburbs of your good pleasure?”
Charles Spencer - The Telegraph

“There are lovely performances from Christopher Logan as a camp, snippy Casca and Catherine Bailey as Portia.”
Sarah Hemming - The Financial Times

“…the audience is unusually aware of both the play’s wives: Portia, baleful spouse of the anxious Brutus; … while Catherine Bailey’s suicidal Portia stakes out her own rending place on the periphery of the play’s ceaseless political storm.”
Matt Wolf - The New York Times

“In Catherine Bailey’s moving and inspirational Portia, I saw for the first time Shakespeare’s subtle connection between Brutus and Portia, and Macbeth and his Lady; in her “I am a woman; but…” I caught the echo of Elizabeth I’s battle cry to her troops at Tilbury.”
Charlotte Valori - London Theatre

“Similarly, Portia (feisty Catherine Bailey) understands the power she wields when she kneels before her husband to underline the urgency of her plea,”
Marianka Swain - The Arts Desk


“…So the true protagonist is in fact the fictional Jack Twigg (Will Featherstone), an East End barrow boy’s son dun good who transcends his humble upbringing to entrance arch noblewoman Penelope Wedgewood (a dazzlingly charismatic Catherine Bailey)”
Andrzej Lukowski - Time Out

“Catherine Bailey as Penelope moves with equal conviction from volunteer nurse to militant pacifist”
Michael Billington - The Guardian

“In John Dove’s visceral production, Catherine Bailey is a mercurial yet strident Penelope”
Patrick Marmion - The Daily Mail

“Ballsy aristocrat Penelope Wedgewood (Catherine Bailey) plays Twigg’s sweetheart with straight-talking charm”
Emily Jupp - Independent

“But newcomers including … Catherine Bailey, whose Penelope Wedgewood moves from funloving posh totty to battle-scarred pacifist, could equally have been performing in the idiosyncratic auditorium for years.”
Matthew Amer - Official London Theatre

“…the large cast is great. Will Featherstone and Joe Jameson provide a good contrast as Jack and Ralph, while James Garnon is an excellent Gillies and Catherine Bailey is an attractive Penny. An evening of fun that also makes you think.”
Aleks Sierz - The Arts Desk

“…the Hon Penelope, eyes opened by her experiences with the VAD and her passion for Jack, joins those demonstrating against the war and Catherine Bailey makes this seem a real conversion, not just a tidy piece of plotting.”
Howard Loxton - British Theatre Guide

“The cast are uniformly strong (particularly Catherine Bailey as cynical socialite-cum-volunteer nurse Penelope Wedgewood)”
Tom Wicker - Exeunt Magazine


“Catherine Bailey moves easily from a re-gendered, briskly business-like Doge of Venice to a sprightly Bianca”
Michael Billington - Guardian

“Catherine Bailey makes a mark as Bianca”
What’s on Stage

“There’s solid support from ...Catherine Bailey in the effectively re-gendered roles of Lodovica and the Doge of Venice. (Bailey also doubles as a sparky Bianca.)”
Reviews Hub


“The horror of Lear’s later curse of Goneril (strongly played by Catherine Bailey), whom, when crossed, he wishes barren, having earlier patted her tummy encouragingly.”
Heather Neill - The Stage

“With an ensemble cast led by Pennington, there are some stand-out performances. …And Bailey and Scott both degenerate horribly but perfectly towards the destructive jealousy that ultimately destroys them both.”
Claire Going - The Reviews Hub

“On stage, the quality of the production is no less evident. In parts that can sometimes feel underdone or caricatured, Catherine Bailey and Sally Scott are steely and scheming as Lear’s two older daughters Goneril and Regan.”
Michael Davies - What’s On Stage

“Lear’s dishonest daughters Goneril (the flame-haired Catherine Bailey, looking very Kate Hepburn, I thought,) and Sally Scott, as Regan, are exceptionally watchable whether they are plotting to discredit their father or fighting over possession of Edmund.”
Stage - Anne Cox

“A word of acknowledgment, too, for Catherine Bailey and Sally Scott as Goneril and Regan in Northampton, competing for the affections of Edgar’s bastard half-brother Edmund by playing the cold-hearted seduction card with brio.”
Ian Shuttleworth - Financial Times

“Catherine Bailey and Sally Scott are among the finest pairings of Goneril and Regan I have seen, their regal hauteur making them recognisably Lear’s daughters.”
Michael Arditti - The Express

“His grotesque cursing of Catherine Bailey’s Goneril reduces her to shuddering sobs, and as he gazes at her, appalled, she reaches out to him and it looks for an instant as if they might reconcile. However, he neglects to seize the opportunity”
The Times


“But this is not a production that is totally dominated by the title character, with fine performances throughout. Catherine Bailey and Sally Scott as Lear’s oldest daughters are a duo of evil and plotting, Bailey’s domineering Goneril and Scott’s Regan, coldly clutching her baby in the most unmaternal manner”
The Reviews Hub


“…strong supporting performances all round, especially from Catherine Bailey as the Dorothy Parker-esque Dorothy.”
Dominic Cavendish - The Telegraph

“Catherine Bailey is excellent as Dorothy, the wise-cracking dame with touches of Dorothy parker about her”
The London Theatre Review


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