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Official website for the British actress

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Ann started her career with training at the pioneering E15 acting school under the guidance of Joan Littlewood. Since then she has worked solidly in theatre, television, film and radio, starting with "Diary of a Young Man", a series written for her by John McGrath and Troy Kennedy Martin, directed by Ken Loach.

Her work spans drama and comedy and also includes direction, writing and teaching.

Ann has taught many of today’s leading younger actors through her involvement with respected drama schools and colleges including RADA, The Guildhall School of Music and Drama, E15 Acting School, Rose Bruford, Weekend Arts College (WAC), the London Dramatic Academy (the London campus of Fordham University) and the Jesuit University of New York.

Ann is a Trustee of The Unity Theatre Trust, Patron of The Sussex Beacon, Patron of Trauma Foundation South West, and Patron of Clean Break.

Ann has two sons and lives in London.

This website lists many of the productions she has starred in and been associated with, and provides general information. For more specific information and availability please contact her agent.

Currently in Production and Post -production - Click here for details

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Television - Eastenders

As Cora Cross

BBC Television
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Film - Titus

Ann stars as Martha with American actor Ron Cephas Jones in Titus, by Dakus Films

Click here for the Titus movie page

Awards & Nominations - Click here for details

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Laurence Olivier Awards 2004

Nominee for Best Actress for her performance in Through The Leaves
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Evening Standard Drama Awards 2003

Nominee for Best Actress for her performance in Through The Leaves
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Independent on Sunday 1992

Performance of the Year for Hecuba, by the Independent on Sunday newspaper

Video clip
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PYE Television Award 1985

For the female who made the greatest impact on television for her role as Dolly Rawlins in Widows
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Susan Smith Blackburn prize 1981-82

Nominated for the Susan Smith Blackburn prize for her co-written play "Kiss and Kill"

Reviews, Interviews & Articles

A Thousand Stars Explode In The Sky

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2010 - What's on Stage - Michael Coveney - May 2010
"A magnificent Ann Mitchell".

2010 - The Observer - Susannah Clapp - May 2010
"A Thousand Stars is lit up by an unstarry, important actress: Ann Mitchell's matriach makes most stoics look like wimps".

2010 - The Guardian - Michael Billington - May 2010
"Impeccably acted. Unforgettable: Ann Mitchell as the tough matriach."

2010 - The Times - Benedict Nightingale - May 2010
"It's about Ann Mitchell's Margaret, the family matriach, and her accusing, loving, guilty, possessive and hopeless relationships with sons"

2010 - The Independent - Paul Taylor - May 2010
"Beautifully acted. In a lovely, largely wordless sequence Ann Mitchell's fiercely repining Matriach tenderly bathes the naked, dying William."

Innocence

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2010 - The Guardian - What to see: Lyn Gardner's theatre tips - January 2010
"Innocence at the Arcola is by German writer Dea Loher, translated by David Tushingham and with Ann Mitchell leading the cast – always a good sign."

2010 - The Independent - Rhoda Koenig - Theatre & Dance - 13 January 2010
"Loher's liveliest character is also her most decrepit and appalling. Ann Mitchell gobbles up the part of a diabetic who gleefully torments her daughter and son-in-law – "Hello, Franz. Still unemployed?" – chattering about her amputated limbs and dreaming of blowing up petrol stations."

2010 - The Times Online - Benedict Nightingale - theatre - 12 January 2010
"Loher creates some striking characters...there’s Ann Mitchell’s self-obsessed, self-pitying Frau Zucker, who weirdly dreams of burning down petrol stations while using her diabetes to manipulate her hapless daughter-in-law: “I don’t want a grandchild — you can do that when there’s nothing of me left to amputate.”

2010 - The Stage - Natasha Tripney - What's on Reviews - 12 January 2010
"Though death and suicide dominate thematically, there is room for humour and much of this comes care of Ann Mitchell’s barb-tongued, arm-chair bound Frau Zucker."

2010 - Culture Wars - Giulia Merlo - theatre - 14 January 2010
"In the Arcola production...Ann Mitchell is almost frightening in her cynicism, hilarious as Frau Zucker dying of diabetes and surrendering increasing portions of her left leg to it."

2010 - MusicOMH - Simon Thomas - theatre: reviews - January 2010
"Ann Mitchell's portrayal of her monstrous mother, ready at any opportunity to send the world up in a ball of flames, is very funny."

2010 - Curtain Up - Lizzie Loveridge - January 2010
"There are outstanding performances from Ann Mitchell who is brilliant as the sour, inconsiderate, crusty old woman...the ghastly Frau Zucker, whose foot is being eroded by diabetic foot disease."

The House Of Bernarda Alba

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2009 - The Guardian - Lyn Gardner - What to see - May 09
"The House of Bernarda Alba at the Nuffield in Southampton is a great play with a terrific central performance from Ann Mitchell."

2009 - The Guardian - Lyn Gardner
"...Best of all, though, is Ann Mitchell's superb Bernarda Alba, who presides over her daughters like a malevolent mother superior. As polished and shiny as her own furniture, Mitchell is a genuine black widow, a husk of a woman who puts pride and honour before love and generosity, and who is so out of touch with her own heart that she ignores all signs of the coming disaster, content to rule her house with her eyes wide shut."

2009 - The Sunday Times - David Jays
"...Bernarda’s vicious respectability makes her a domestic Franco. Motherhood becomes a process of withering repression: her first and last words here are “Silence!”. Ann Mitchell makes a lethal tyrant, eyes in the back of her head and a smile as thin as razor wire."

2009 - Remotegoat.co.uk - Susan Hawkins
"...Ann Mitchell's Bernarda is completely convincing with her imperious mien and voice, even in this larger-than-life role. Just at the end we catch a glimpse of something recognisably maternal when she bites her fist in an effort to control her own surging emotions. She enforces her daughters' obedience to her inhuman demands - eight years incarceration in the house in mourning for their father - with both the rod and vicious vituperation...It could easily be too much, this single-idea play, all extreme emotion and less than subtle symbolism. But this confident production presses us under the claustrophobic tyranny of Bernarda so assuredly that we, like the daughters, lose the capacity to resist. "

2009 - Reviews Gate - Timothy Ramsden
"...Ann Mitchell’s Bernarda can be surprisingly soft-voiced. She’s someone for whom it’s an effort to rule like this, fuelled by determination to maintain respectability. It’s a strong interpretation, showing she too has been mentally deformed by the Catholicism surrounding the play... this is a deeply impressive production."

2009 - The Portsmouth News - Mike Allen
"Ann Mitchell quite properly dominates as the matriarchal Bernarda, in quiet venom as much as in eruptions of wrath and violence."

Romeo & Juliet

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2008 - The Times - Sam Marlowe
"...The confrontation between Ann Mitchell’s curvily formidable Nurse and Romeo and his saucy cohorts is priceless; they teasing her with a combination of charm and cheek, she quelling their antics with a gimlet eye and walloping her hapless servant with her elegant clutchbag."

2008 - What's On Stage - Kathleen Hall
"...the play is delightful, with some stand out performances from Juliet Rylance as Juliet and Ann Mitchell as the Nurse exuding a comically domineering maternal presence over Juliet and the young Capulets and Montagues who cheek her."

2008 - The London Paper - Alex Johnson
"...But Ann Mitchell’s ´Čüshwife Nurse steals every scene."

Angels In America

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2007 - What's On Stage - Michael Coveney
"...A surrounding panoply of ghosts and angels – played by the riveting Ann Mitchell... creates a heady mix of other-worldliness."

2007 - British Theatre Guide - V Mitchell
"...Spitting and sliming his way through all of this is lawyer Roy, who has also been diagnosed with AIDS but denies this with disgust as it "afflicts mostly homosexuals and drug addicts". He goes on to profess he is neither of these things in an extraordinary and rather grotesque scene with his doctor, Henry, the wonderful Ann Mitchell.

2007 - The Stage - Tom Dibdin
"...As her antithesis, Ann Mitchell brings all the grounding necessary to the role of Hannah."

2007 - Scotland on Sunday - Mark Fisher
"...With a compact cast of eight - including Citizens' and RSC favourites Greg Hicks and Ann Mitchell - and the ambition to take the spiritual temperature of a nation, the show is one very big deal."
"If youwant a masterclass in acting and stagecraft, not to mention the joy of a thrillingly ambitious piece of writing, clear your diary for Angels In America...with a flawless cast of eight compels you to savour every minute... "You don't make assumptions about me, mister; I won't make them about you," says Ann Mitchell's Mormon matriarch to the homosexual Prior Walter in a liberating challenge to prejudice."

2007 - The Herald - Neil Cooper
"...All eight actors excel, from Ann Mitchell's series of matriarchs...be they black, gay, Jewish or, even, right-wing Republican Mormon.
Common ground comes through each character's hyper-articulate ability to chase their own tails en route to finding out who they are and where they belong. The world's search for faith was ever thus."

2007 - The Journal - Emer McCourt
"... Ann Mitchell is brilliant both as Jewish icon and Mormon matriarch...even after seven hours, it is difficult to leave behind."

2007 - The Times - Shona Craven
"...To do justice to such an extraordinary play requires outstanding performances, with each actor playing up to seven different roles...this eight-strong cast is rock-solid...Ann Mitchell...particularly divine."

2007 - Variety - Mark Fisher
"He couldn't do this without his actors, of course, and he has assembled a flawless company... whether it's the shape-shifting Ann Mitchell, switching from Jewish icon to Mormon matriarch..."

2007 - Jewish Theatre - Judi Herman
"...Religion adds a fascinating layer. For Joseph and Harper are Mormons and Joseph’s mother Hannah (wonderful Ann Mitchell) plays a pivotal role in helping Prior fight for life...Rabbi Chemelwitz is again played by Ann Mitchell. But this is no Progressive female woman but a traditional bearded male figure, whom she plays with complete conviction. Indeed her performance was applauded by just such a rabbi in the audience!...Mitchell also gets to play a Jewish woman, a historical character this time – Ethel Rosenberg, who was executed for treason in 1953, having been convicted for passing the secret of the atomic bomb to the Russians. She may be a real person, but she appears only in the hallucination of another real character, also Jewish, and this time from a rogue’s gallery of unscrupulous attorneys."

2007 - What's on in Cambridge - Rachel Fentem
"...Daniel Kramer's direction modulates beautifully between the tedium of everyday life and sickness, and moments of dazzling, choking drama. He is aided by a superlative cast, not only the central characters; especially Mark Emerson's Prior, portraying physical and mental breakdown with impeccable pathos, but also Ann Mitchell's succession of doughty matriarchs and Obi Abili's delicious, angelic Belize. Finally, the play is deeply, blackly funny, yet never at the expense of cheapening or lightening the suffering and struggles of the characters."

Big Love

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2006 - The Stage - Aleks Sierz
"Ann Mitchell is superb as an Italian mama and Alex Waldmann is a lovely camp Giuliano."

Whose Life Is It Anyway?

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2005 - Financial Times and FT.com - Alastair Macaulay
"The most moving moments here belong to the stoic Sister Anderson, beautifully played by Ann Mitchell."

2005 - The Observer - Susannah Clapp
"... two fine performances - Ann Mitchell as the starchy (ergo, warm-hearted) sister - supply detail and gravity, suggesting reflection as well as opinion."

2005 - Daily Mail - Quentin Letts
"...in the slow rapport she builds with the strict, but not unemotional, hospital sister (admirable Ann Mitchell). A scene in which the matron's English reserve crumbles, and tears spring to her eyes, is beautifully done."

2005 - The Guardian - Michael Billington
"Cattrall is superb as Claire: behind the surface resilience and smiling irony, she suggests a woman who demands the dignity of choice and aches with the loss of her sensual life. It is a major performance by someone who is infinitely more than a TV star; and there is strong support from William Chubb as the dogged consultant, Ann Mitchell as a poker-backed Sister and Janet Suzman as a humane judge."

2005 - The Stage Online - Peter Hepple
"Ann Mitchell’s stern but kindly senior nurse and Jotham Annan’s funny orderly are worth noting, and Peter Hall proves that he is still our best, as well as most prolific, all-round director."

Through The Leaves

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2003 - Financial Times - B Alastair Macaulay
"As Martha, a tough middle-aged self-employed butcher in Through the Leaves, Ann Mitchell delivers a remarkable performance. She shows you the vulnerabilities that Martha herself scarcely knows she has...The play is set in her shop and in her back room, and during its 100 minutes she scarcely leaves the stage. But Otto comes and goes. In Otto's presence, she is almost casual, scarcely affectionate. Once out of the room, however, she leans her head on the wall, her whole body showing her desire for him, one hand miming his shape and gently feeling his genitals. At other times she recites her diary entries: tenderly blunt, revealingly terse. "

2003 - Guardian Unlimited - Lyn Gardner
"Ann Mitchell is quiet and raw. Everything is internalised. It is an X-ray performance that lets you peer into Martha's lonely, yearning soul. It is a fantastic play, and it is terrific to see the West End embracing something worthwhile."

2003 - The Stage - Barbara Lewis
" Simon Callow has been lured from the big screen back to the fringe by a fresh chance to act with friend and eminent character actress Ann Mitchell in Franz Xaver Kroetz's masterpiece of inarticulate eloquence. It is an inspired decision. It depicts a coarse-textured affair between Otto (Callow) and Martha (Mitchell). It is a commentary on every relationship. Gutting a rabbit, scrubbing down her shop, Mitchell is every inch the professional butcher. Martha has well-founded pride as a business-woman who craves affection but can survive without it. Most effective is the device of Martha reading aloud her diary, complete with punctuation. "Is a big romance still possible when you're past 50. Question mark," she asks, rhetorically. "

2003 - The Guardian- Michael Billington
"Ann Mitchell is just about perfect as Martha. The set of her features and her slightly turned-down mouth suggest a woman conditioned to solitude - yet she always implies Martha's vivid inner life, and flares wonderfully into skittishness when she goes to a fancy-dress ball as a black-bonneted Eliza Doolittle...The performances, like the play itself, remind you that theatre is never better than when it conveys the texture of reality."

2003 - Time Out - Dominic Maxwell
"Ann Mitchell totally convinces as Martha, by turns doughty and vulnerable, dryly witty and teutonically sensible, yet always utterly credible. Acting doesn't get much better than this."

2003 - The Independent - Paul Taylor
"Ann Mitchell is pretty much perfection in this deeply eloquent revival...She plays – and brings out all the inner beauty of – Martha, a plain, self-employed tripe butcher (and there aren't many of those roles in the female repertoire) who, in her lonely fifties, starts an affair with Otto, a boorish, chauvinist, and slightly younger factory worker, ripely embodied by Simon Callow."

Britannicus

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2002 - The Scotsman - Joyce McMillan
"The great Ann Mitchell plays the emperor's mother Agrippina...Prepare for a white-hot evening as some of the finest actors ever to appear at the Citizen's are unleashed on one of the most intense of all dramatic texts."

2002 - The Metro - Alan Chadwick
"Daughter of a Caesar, wife of a Caesar, mother of a Caesar, Mitchell's Agrippina struts across the stage with all the dented swagger of a power-broker puppeteer whose charge, her son the Emperor Nero, has cut not only his puppet strings but his apron ones as well ..."

2002 - The Scotsman - Joyce McMillan
"It's around Ann Mitchell's fascinating, commanding, deeply sensual portrait of this magnificent older woman unable to relinquish power that the whole production revolves...those who saw Mitchell's great Maria Stuart at the Citizen's in the 1980's will be fascinated to see her tremendous post-Thatcherite portrait of a very different kind of woman bereft of power..."

2002 - The Mail on Sunday - Kenneth Speirs
"Ann Mitchell's Agrippina was a real mix of maternalism and downright badness. We never got the details of her past crimes, but in Miss Mitchell's performance she balanced blackness of character with a sort of gentleness that stirred up all sorts of emotions. It was impossible to keep one's eyes off her."

Gimme Gimme Gimme

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2001 - Amazon.co.uk DVD review
"...visits from her old Borstal wing governor (the excellent Ann Mitchell, sending up her Widows character)...

Tantalus

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2001 - The Nottingham Evening Post - Jeremy Lewis
"Ann Mitchell's Hecuba unforgettable..."

2001 - The Spectator - Patrick Carnegie
"Ann Mitchell is outstanding as Hecuba..."

2000 - Daily Telegraph - John Whitley
"...Tantalus remains a substantially British production, four of his leading actors are distinguished stalwarts of British drama...Ann Mitchell, the star of ITV's Widows, is Hecuba."

2000 - Theatre.com - Michael Kuchwara
"Ann Mitchell scores as the grief-stricken yet unrepentant Hecuba..."

2000 - Centerstage.net - J T Bowen
"...and Ann Mitchell is haunting as Hecuba, especially as she sinks into madness."

2000 - Citybeat.com - Rick Pender
"Ann Mitchell was memorable as the Trojan matriarch Hecuba, driven mad by the deaths of her many children...Individually their performances were memorable; taken as a whole, Tantalus offers a tour de force of acting."

2000 - Out Front Colorado
"Ann Mitchell scorches the stage with her portrayal of Hecuba. Her inconsolable cries and shrieks claw at one's heart..."

2000 - Talkinbroadway.com - Rodney Anderson
"My particular favourites were...Ann Mitchell as Hecuba, the Nurse, Aethra. Ann Mitchell's Hecuba who refuses to accept her fate was formidable and terrifying before and after the war. You wouldn't want to mess with her."

2000 - Westword.com - Jim Lillie
"Royal Shakespearean Ann Mitchell, whose riveting turn as the widowed Hecuba approaches - then eclipses - Aristotelian terror with focus and intensity. Mitchell succumbs to her own fate even as she exhorts her country women to rise above theirs. "The gods are testing us to see if we can turn what has been done to us into something great and noble," she says moments before sinking into a vortex of grief...Mitchell's Hecuba lends substance and subtlety to the saga without cloying it with sentiment "

2000 - National Post - Robert Cushman
"Ann Mitchell a doggedly crazy Hecuba..."

2000 - The North County Times - Bill Fark
"Ann Mitchell is impressive...a standout as Hecuba and Nurse..."

2000 - The Denver Post - Sandra C Dillard
"Marathon 'Tantalus' cycle a triumph for all involved...Ann Mitchell brings towering strength and power to the role of Queen Hecuba..."

2000 - The Denver Business Journal - Brad Smith
"Ann Mitchell's Hecuba is mesmerizing in her emotional pain as her queenly stature goes through a melt-down after the death of her son."

2000 - Daily Camera - Patrick Dorn
"Devastated matriarch Hecuba (Ann Mitchell)...The performances are...intensely realistic...highly stylized...all are superbly rendered and of a magnitude suitable to the inflated subject matter..."

2000 - Denver Rocky Mountain News - Mike Pearson
"...while Ann Mitchell offers the show's most emotionally explosive moments as Hecuba. Her descent into madness sends chills down your spine that still linger the following day."

2000 - Chicago Sun-Times - Hedy Weiss
"Hecuba (the formidable Ann Mitchell)..."

2000 - Chicago Tribune - Richard Christiansen
"Ann Mitchell ignites the stage as the ferocious matriarch Queen Hecuba..."

2000 - Los Angeles Times - Michael Phillips
"Part three "The Homecomings", is dominated by Ann Mitchell's enslaved Queen Hecuba ..."

2000 - San Francisco Examiner - Robert Hurwitt
"...Ann Mitchell's imperious Queen Hecuba."

2000 - The Times - Benedict Nightingale
"Ann Mitchell's Hecuba, a ferocious baglady who is bloodstreaked, tongueless and madly barking like a dog..."

2000 - The Guardian - Michael Billington
"Ann Mitchell's towering Hecuba..."

2000 - Daily Telegraph - Charles Spencer
"The acting is outstanding...Ann Mitchell reaches the very heart of suffering as Hecuba..."

2000 - Channel 4 News Colorado

The Road To Mecca

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1997 - The Express - Gerry Dempsey
"...Ann Mitchell is magnificent as Helen, ascending from quaking fear ("the darkness is inside and I can't light candles in there") to blazing assertion of the individual's ultimate freedom, the right to be herself...

1997 - The Independent - Today's Play
"The magnificent Ann Mitchell heads a welcome revival of Athol Fugard's immensely moving play.

1997 - The Express Sunday - Alex Lindsay
"Ann Mitchell is superb as Helen Martin...If ever a play was performance-driven, this is one. Ann Mitchell, as Helen, this gentle, twitchy old lady with her bird-like fragility, summoning a hidden all-conquering strength from out of nowhere."

1997 - The Guardian Guide - Lynn Gardner
"...stars the excellent Ann Mitchell as the woman whose home, which she turned into a work of art, has now become one of South Africa's national monuments."

Hamlet

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1996 - Plays International - Cordelia Oliver
"Heavy dark structures, set at angles, descend and ascend in different formations on a stage which is built out slantingly across the auditorium ('walls have ears'). Tthe thing runs along at some pace, like the thriller which, basically, it is. You feel that Cal MacAninch, seeing Hamlet almost as an alter ego, has full belief in his feelings and actions. The scene with Ann Mitchell's Gertrude was as believable as I can remember. Likewise the scene with the Players and the whole of the play within the play."

Hecuba

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1992 - The Observer - Michael Coveney
"Maternal grief gives way to avenging madness and Mitchell's supercharged journey through naked grief, ribald sarcasm, glinting malevolence, vicious craziness and implacable resignations is one of the acting highlights of the year."

1992 - The Independent on Sunday - Irving Wardell
"Ann Mitchell's Hecuba reaches from Troy to Auschwitz."

1992 - The Sunday Times - John Peter
"Ann Mitchell is never the "tragedy queen" shrieking at Fate: counterproductive in a small theatre. She says: "I am dead, I feel nothing," and her voice sustains this note of grim determination not to feel. . . .Only at the end does Mitchell's Hecuba permit her feelings to show, relishing her victory over Don Warrington's treacherous Polymestor."

1992 - Financial Times - David Murray
"...Euripides wrote the agonised central role for a male actor (possibly himself) to deliver through a mask to an amphitheatre crowd of 14,000 strong. Here Ann Mitchell opts for tight-lipped, beady-eyed British control, broken by rare convulsive outbursts. It works..."

1992 - Evening Standard - Rick Jones
"...The current programme notes intimate that Euripides played Hecuba in drag. One doubts he would have made as good a job of it as Ann Mitchell here, not least because he would have had to yell his head off throughout if Athenians at the back were to hear anything at all. Mitchell can afford to whisper, and she does. this has telling effect in contrast to the passages she screams. It's a fearsome portrayal of a woman clinging to her pride as a last dignity in the face of captors who are determined to stifle her spirit..."

1992 - City Limits - Matt Wolf
"...Playing a 'queen of tears' who is way beyond weeping, Mitchell portrays a Trojan ruler stripped of her city, her husband, her children; the actress inhabits the rending knife edge between fury and madness...lines like 'Control yourself. You're a wild animal' are understated to the extreme - but it conveys Hecuba's own seemingly rational surrender to extremes of irrationality..."

1992 - The Guardian - Claire Armistead
"This, then, is a play about the distorting power of war - on reason, on passion, and on personality: Hecuba, magnificently played by Ann Mitchell, is warped by her grief. But it is also about the power of language...Mitchell, hollow-eyed and ugly in grief, allows torment to well up from somewhere deep in her chest, as if her voicebox has imploded: her performance is a painful reminder of the corrosiveness of suffering..."

The Rivals

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1992 - The Guardian - Pat Ashworth
"She doesn't make Mrs. Malaprop a clown or a figure of fun: rather she's droll, endearing, slightly batty in a very English way but with the makings of a great lady."

Mrs Warren's Profession

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1990 - The Times - Alasdair Cameron
"...Mitchell's Mrs Warren reverts to her native Cockney accent with the subtlety and precise calculation which underlie everything she does. Her performance throws new light on the character and universalises the relationship between mother and daughter. She is a mother, bad and demanding one...we can see clearly what Shaw actually wrote: a drama about the power politics between parents and children as much as any critique of the hypocrisy of society."

1990 - The Independent - Randall Stevenson
"... Ann Mitchell establishes a commanding stage presence for the corrupt but unashamed figure of Mrs Warren...frequent changes of manner and accent keep a menacing tension stretched beneath her surface sociability. Apparent sweetness alternates with glacial hardness, convincingly characterising a figure torn between the tenderness she seeks with her daughter Vivie and the rapacious energy required for unrepentant success in the international business of prostitution."

1990 - The Glasgow Herald - Mary Brennan
"...Quite thrilling natural, relaxed, modulated performances from...and Ann Mitchell (Mrs Warren) provide a cogent perspective on those elements within our society which we have still to reconcile..."

Widows

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1986 - The Daily Mail - Corina Honan
"Ann Mitchell...one of the most powerful women TV characters of the decade. With her hooded eyes, she brought glamour, toughness and vulnerability to the extraordinary Dolly Rawlins"

Edward Bond's The War Plays

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1985 - The Observer - Michael Ratcliffe
"Mitchell is unequalled today in her mastery of the clean, grand, tragic style."

Mary Stuart

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1985 - The Times - Holly Hill
"Ann Mitchell's figure of the tragic queen at the Citizen's Theatre makes this femme palpably fatale...Daring to play Stuart with a French accent...she gives Mary the virtually irresistible charm of Katherine in Henry V."

The White Devil

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1984 - The Guardian - Michael Billington
"Ann Mitchell as Cornelia has a lament for her dead son that is lyrically moving and when she summons Flamineo with fluttering fingers, it stops the heart."

1984 - The Observer - Michael Coveney
"Two great walls, containing hinged doors and evocative of city streets, secret gardens and domestic interiors, dominate the stage. The actors are dressed in beautifully cut costumes. . . Ann Mitchell is outstanding as the bloodily dribbling mother of doomed sons."

1984 - The Observer - Michael Ratcliffe
". . Ann Mitchell gives the best performance of the night as the uniquely virtuous Cornelia."

SUS

1979 - Michael Coveney
"Ann Mitchell's throat-grabbing production has a marvellous, whispered intensity."

Semi Monde

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1977 - The Guardian - Michael Billington
"Mr Prowse has created a retina-ravishing spectacle and from a large cast one must single out Ann Mitchell as a jealous Lesbian. They have played Coward and won."

1977 - Michael Coveney
"Inez, raspingly played by Ann Mitchell, berates Cyril for taking singing lessons with Corelli, quoting the unfortunate case of another of Corelli's pupils - "Poor Griselda Mencken, the most constipated Carmen I've ever seen..."

A Cool Million

1970 - The Scotsman - William Watson
"...Thus Ann Mitchell's crazily inaudible torch song, perfect echo of a Gloria Grahame B-movie...I've not before seen theatre that grew in the end so effectively moving and telling.."

The Cenci

1970 - The Arts Guide - Cordelia Oliver
"...Ann Mitchell's Beatrice is a formidable performance both visually and vocally."

Mother Courage

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1970 - The Arts Guide - Cordelia Oliver
"...Ann Mitchell stamps a recognisably Cockney image, both fierce and funny, on the woman, utterly materialistic and yet utterly human who hauls her canteen cart in the wake of the army through the Thirty Years War, losing her children to it but not her indomitable will to survive, and, wearing the ugly dress of the early 1940's she suggests the timelessness of the character. It is an outsize performance."

Today With Des & Mel

2004 - Interviewed by Des O'Connor and Jo Brand

9 News Denver

2000

11AM Australia

1995 Channel 7 Australia

This Morning With Richard & Judy

1995

After 5

1995 - Interviewed by Karen Keating

Scotland Today

1995

Ann is represented by The Artists Partnership,
101 Finsbury Pavement, London, EC2A 1RS, England, Tel: +44 (0)20 7439 1456

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