Dawn McDaniel
From Wikipedia, the free encyclopedia
Dawn McDaniel is a British actress who has played Kirstie Collins in Holby City, and she has appeared in Soldier Soldier, Murphy's Law and Doctors
Other work includes
- LIFE BEGINS (Lizzie) Granada
- MURPHY'S LAW (Daisy) BBC.
- CLITHEROE.C4.Salt Pictures.
- HOLBY CITY (regular) (Dr Kirsty Collins) BBC.
- MOLL FLANDERS (Emily Richards)Granada Films.
- WING AND A PRAYER (Clare). ITV.
- THIN BLUE LINE (Photo girl). Tiger Aspect.
- OUT OF THE BLUE (Hooker)Ben Elton. BBC.
- THE CHANGE (Sonia). World Productions.
- SOLDIER, SOLDIER (Julie).ITV.
- LONDON BRIDGE(regular) (Allie Walker)
See Dawn McDaniel's web-site
See also Dawn at the IMDB
Dawn appeared in the brilliant Little Grain of Sand
"A Little Grain of Sand"...The review from Time Out February 18th-25th 2004
"And this was showing on Valentines Day? Christophe Allwright's play is as witty and bitter a picture of a self-destructing relationship as you could hope for. Dawn McDaniel and Stephen Lobo play a pair of urban sophisticates obsessed by their terminally sick marriage, hooked on analysis and unable to communicate except in jibes, silences and self-justifying rants.
After seven years they no longer love each other, but can't bring themselves to leave. The play certainly cuts to the chase. Just 75 minutes long; no other characters to clutter up the stage; no other topics up for discussion.
Causes gradually become clear: they haven't had sex for six months, he never takes out the rubbish, she insists on hanging a "crap" painting in the sitting room. And, behind all these, their failed attempts to have a child. Allwrights play, inspired by RD Laing's "prose-poems" "Knots" and translated from the French by Ros Schwartz, excels in the harsh poetry of those endlessly looped arguments common to every relationship.
The performances are little short of brilliant. Lobo gives chilling flashes of a tiny boy throwing tantrums inside a grown body; McDaniel shows a woman much more aware of her own vulnerability, who has built her aggressiveness as a defence. Joseph Blatchley's production is clean and sharp, but something stops the play really wreaking the emotional havoc on its audiences that it might. Too much style, too much poetry, perhaps and not enough mess. A riveting entertainment nonetheless.
