From Bond Girl to London Stage: Maryam d'Abo's New Chapter
Maryam d'Abo, best known for her role as Kara Milovy in the 1987 James Bond film The Living Daylights, is now captivating audiences in a very different capacity on the London stage. In a candid discussion, the actress reflects on her journey from 007 fame to her current role in Alba Arikha's play Spanish Oranges, while offering insights into the evolving portrayal of women in cinema and the complexities of artistic creation.
A Shift from Screen to Stage
D'Abo stars in Spanish Oranges, a twisty drama by novelist-turned-playwright Alba Arikha, which explores themes of artistic creation, fame, and marital dynamics. The play, running at London's Playground theatre, centres on a celebrated writer accused of stealing a story as her actor husband faces cancellation. For d'Abo, this role marks a return to her theatrical roots, contrasting sharply with the global spectacle of Bond.
"I've never done so much press as I did for Bond," d'Abo recalls, referencing the intense media scrutiny of her early career. "In those days, Fleet Street journalists could be harsher. You'd open your heart as an inexperienced actor, only to find your words edited in ways that misrepresented your intent." Despite this, she expresses no regrets about her time in the 007 franchise, describing it as a "big family" experience with producers Cubby and Barbara Broccoli.
Reflecting on Bond's Evolving Legacy
In 2002, d'Abo produced and presented the documentary Bond Girls Are Forever, interviewing women about their experiences in the series. She notes how female roles have transformed over decades, mirroring societal changes. "From the 1960s with characters like Pussy Galore to later portrayals, women in Bond films have become more empowered," she observes. However, she points out that some scenes from earlier films, such as Roger Moore striking a female character in The Man With the Golden Gun, would be "unthinkable now."
D'Abo emphasises that she doesn't blame Bond for any career challenges, instead attributing them to her own shyness and lack of confidence at the time. "I take responsibility for not having had enough confidence. I was quite shy and hadn't been a child actor," she explains. "But I'm not blaming Bond for screwing up my career. I'll never regret it."
Artistic Collaboration and Creative Freedom
The production of Spanish Oranges brings together d'Abo and Arikha, friends of many decades who share a Parisian upbringing and artistic backgrounds. Arikha, daughter of artist Avigdor Arikha and poet Anne Atik, with Samuel Beckett as her godfather, delves into dysfunctional families and the ethics of artistic appropriation in her play.
Both women strongly advocate for artistic freedom, opposing limitations based solely on personal experience. D'Abo recounts an instance where financiers insisted a gay character be played by a gay actor, which she saw as stifling creativity. "It was killing the whole artistic process for an actor and for a writer," she says. Arikha echoes this sentiment, arguing that imagination is essential. "Without our imagination, what are we supposed to write about? Think of Tolstoy – how would he have written War and Peace? You have to use your imagination and empathise with others."
Personal and Professional Intersections
The play also touches on the sacrifices involved in artistic life, particularly for mothers. Arikha draws from her own experiences, having interwoven reality and fiction in her works. Her daughter, Arianna Branca, even appears in Spanish Oranges, adding a layer of authenticity. D'Abo, formerly married to film-maker Hugh Hudson, and Arikha, married to composer Tom Smail, discuss the balance between personal life and creative output without the rivalry depicted in the play.
As Spanish Oranges continues its London run, d'Abo's journey from Bond girl to stage actress highlights a broader narrative about resilience and reinvention in the arts. Her reflections offer a unique perspective on how iconic franchises like 007 have adapted over time, while her current work underscores the enduring power of live theatre to explore complex human emotions.
