Tracy Ann Oberman

After leaving the Central School of Speech and Drama, Oberman joined the Royal Shakespeare Company. In 1993 she took part in the RSC's award-winning production of Christopher Marlowe's Tamburlaine as "Olympia".[12][13] This was followed by roles in The Changeling, as "Diaphanta", A Jovial Crew in the part of "Joan Cope", and The Beggar's Opera where she played Molly Brazen. In 1994 she completed her run at the RSC playing in Macbeth and A Christmas Carol.

After performing in several West End productions, Oberman played at the National Theatre in Clifford Odets' Waiting for Lefty during 1999. This was followed by a starring turn in School Play at the Soho Theatre. The play was lauded by Guardian critic Michael Billington as a "remarkable" production, with Billington also praising Oberman for her successful portrayal of Miss Fay as "the teacher torn between her career and her pupil's potential".[14]

In 2003, Oberman returned to the National Theatre in Edmond, playing opposite Kenneth Branagh in her debut at the National and Branagh's return to acting after six years of directing.[15] Her role as wife to Branagh's title character was well received by critics, Norman Miller in a BBC News review commending Oberman for making a particular "impression" despite being only one part out of thirty "whirling through scenes" in a play that runs barely over an hour.[16]

That year also saw her star in Hello and Goodbye at the Southwark Playhouse in what would be her final stage performance for four years. The play was highly acclaimed. According to Fiona Mountford in The Evening Standard, the production was "given the outing of its life by" Oberman and her co-star, Zubin Varla.[17] The review in The British Theatre Guide was similarly positive, praising Oberman who "rages away" in the role of "Hester", and delivers "one of the best performances in town".[18]

2006 also saw Oberman plan a return to the National Theatre in Mike Leigh's play, Two Thousand Years. Leigh had already asked Oberman to appear as part of the original cast, but she declined given her hectic schedule on EastEnders at the time. However, after she signed up for the 2006 production and began attending rehearsals she fell ill, a blood test revealing that she was pregnant, forcing her to pull out of the play.[7]

She took a couple of years away from acting following the birth of her daughter in August 2006.[2] Although she undertook a one-off performance of The Oak Tree at the Soho Theatre in 2007, it wasn't until the end of the year that she returned full-time to work in the West End revival of Boeing-Boeing, playing "Gretchen" opposite Jean Marsh and Jennifer Ellison.

In July 2008 Oberman continued her theatre run by starring in the world premiere of On the Rocks as Frieda Lawrence, wife of novelist D. H. Lawrence. The play, by Amy Rosenthal, follows the marriage of the Lawrences during one idyllic summer in 1916,[19] and received generally favourable reviews,[20][21] with Arts critic Michael Billington describing Oberman's performance as "capturing Frieda's intense love-hate relationship with her impossible partner".[22] The censure was echoed by Nicholas de Jongh in the Evening Standard in his less than enthusiastic review of the play, criticising Oberman for her "often unintelligible German accent".[23] However, most reviews followed the line taken by Benedict Nightingale of The Times in declaring Oberman to have given a "fine performance... as a gloriously sensual, blowsily defiant Frieda".[24]

In 2011, she played Sarah in the touring production of Earthquakes in London by Mike Bartlett which was an updated, newly staged version of the National Theatre and Headlongs production earlier that year.

In December 2012 Oberman returned to the stage at the Hampstead Theatre in the premiere of Old Money by Sarah Wooley playing opposite Maureen Lipman to be directed by Terry Johnson. In 2015, Oberman played the role of Isabella Blow in the play ,McQueen, at the St James Theatre, London.[25]

Oberman has appeared in over 600 radio plays. She has acted in radio drama and radio comedy, appearing regularly on BBC Radio 4 as a member of the station's unofficial "repertory" company, including; The Way It Is (1998–2001), the leading role in The Attractive Young Rabbi (1999–2002), The Sunday Format (1999–2004), and Getting Nowhere Fast.

At the end of 2009, Oberman returned to radio to star in "Gregory Evans’ mind-boggling play" Shirleymander for Radio 4, with reviewer Moira Petty describing Oberman's turn as Dame Shirley Porter as "freakishly real".[26] In 2010, Oberman remained with the radio medium, performing opposite Catherine Tate.

Her first major television role was in 1997 when she was cast as Zoe Gerrard, a security officer in the medical drama Casualty.

In 1998, she joined the cast of Comedy Nation, a satirical sketch show that featured some of Britain's leading up-and-coming comedians, such as Sacha Baron Cohen, Julian Barratt, and Robert Webb.[27] This was followed by an assortment of parts in various television productions, including a performance in a two-part story for the police serial The Bill in 2000.

That year Oberman was cast as series regular "Beverly Jordan" opposite Michael Barrymore in Bob Martin,[28] and became a lead performer in the award-nominated Lenny Henry in Pieces, starring actor/comedian Lenny Henry, which ran until 2003.[29] In 2002 Oberman joined the second and final series of the sketch show Big Train, performing beside comedians Simon Pegg and Catherine Tate.[30]

The following year saw the Harringham Harker move from radio to television as part of BBC 2's Autumn line-up alongside The Office and Coupling, with Oberman continuing in her role as lead and writer.[31]

She has appeared in many other TV programmes, including; The Way It Is (2000), Bob Martin (2000–2001) opposite Michael Barrymore, Lenny Henry in Pieces (2000–2001), Big Train (2002), SuperTex (2003) and in episodes of Doctors, The Last Detective, Where the Heart Is, The Bill, Casualty. She played the previously unseen character of Marion in a special half-hour episode of the monologue series Marion and Geoff in 2001.

In 2004, Oberman moved away from comedy to join the popular BBC soap opera EastEnders, after she was cast as Chrissie Watts, the second wife of "one of the best-loved villains in soap history", "Dirty" Den Watts.[32] It was a role she played for almost two years, and which brought her "stratospheric fame".[15] Before long, Oberman would become one of the leading stars of the show and at the forefront of several storylines. At the time, though, television critics pointed to Oberman's extensive theatrical background and questioned: "why would an actress with such pedigree agree to be in EastEnders?"[7] Oberman has continuously responded by placing the move in the context of her professional exposure, noting her position as a "jobbing actress" at the time and her desire to return to drama after her recent comedic roles.[33] Making her debut on 29 April, Oberman was viewed as an "overnight success" in the role of Chrissie, with Amy Raphael of The Telegraph feeling that the actress "easily upstaged the rest of the cast with her three-dimensional portrayal of a classic soap bitch".[7] In 2005, "18 million people" watched her character kill Den in a fit of rage to mark the 20th anniversary of EastEnders, with Oberman "anchoring" the show's success that year and dominating drama as Chrissie,[34] who "packed into a year what most soap characters do in three."[35] Commenting on her role two years after she left the show, Oberman concluded:

I think the character, from the feedback I get, made a huge impact because people couldn’t decide whether she was a villain or a victim. In hindsight I loved it; I loved the character, I loved the acting challenge, I loved the discipline. You’re learning all the time because you literally do 25 scenes a day, go home, learn another 20 scenes, come in, film 20 scenes, go home... every day for a year and a half, and you do all your own stunts... being punched in the face by Peggy Mitchell and having to fall into a seven-foot grave; it was fantastic. I was only in it for 18 months and it feels like I clocked up about three years worth of TV experience.[15]

Oberman described her time on EastEnders as "hectic", leading her to depart the show during December 2005.[36] However, the role of Chrissie has remained a defining point of her career. In a recent interview, Oberman remarked: "Chrissie was such a wonderful character and the show was watched by so many people, especially the murder of Den, that it opened up doors that I never thought it would. I had some fantastic offers when I left, there were film and theatre... it was wonderful for me; EastEnders is a very good calling card."[2] Oberman has also recently declared her willingness to return to the part of Chrissie and EastEnders, even if only to provide a resolution for the character.[37]

Before leaving EastEnders, Oberman provided the voice of "Miss Dickson" in the adult-themed cartoon Bromwell High for Channel Four.

It was also announced that Oberman would guest star in the second series of the revived Doctor Who, playing the character of Yvonne Hartman, whom she described as "a sophisticated sort of baddie", with a BBC source declaring Oberman "perfect to play evil Yvonne and will be brilliant at terrorising the next generation of viewers".[38] The two-part series finale entitled "Army of Ghosts" and "Doomsday", aired in July 2006, attracting audiences of 8.19 million[39] and 8.22 million[40] respectively. Oberman extols her appearance in Doctor Who as a career highlight, being a "confessed Whovian" or fan of the show: "Some people, their life’s ambition is to walk in and see Queen Vic, mine was to see a Tardis and a sonic screwdriver... and a Dalek!"[15]

In 2006, Oberman signed on to the BBC One six-part comedy-drama series Sorted as series regular Amy, alongside Will Mellor. In 2008, she made a brief return to TV in the CBBC production Summerhill.[2]

In 2009, Oberman made several guest-starring roles in BBC television programmes, beginning with Mistresses in which she played the owner of a sex-toy company. This was followed by a part in the BBC One drama Robin Hood, as the wife of the Sheriff of York. In September, Oberman returned to the medical series Doctors five years after first appearing in the programme, undertaking the role of 'black widow' Cathy Harley.[3] Oberman had a part in the "web thriller" Girl Number 9,[41] which she playfully described as "the first Twitter-related drama that there's ever been!"[42] Penned by James Moran, the adult-themed online horror series was headlined as a "big step forward" for British web drama,[43] with Oberman playing the lead detective "Lyndon" beside Gareth David-Lloyd.[44]

Oberman in December 2014

Since 2011, Oberman has played Auntie Val in the Channel 4 sitcom Friday Night Dinner and between 2012 to 2015, Oberman played Mrs. Purchase in Matt Berry and Arthur Mathew's award-winning comedy, Toast of London.

In May–July 2013, Oberman filmed the 6 part series Give Out Girls for Sky Living/Big Talk productions as Debbie, the head of Hot Staff promotions girls.

In January 2014, Oberman played the character ,Audrey MacMurray, in the final episode of the second series of Father Brown which was shown on BBC One in their afternoon schedule and later in the evening on BBC Two in the evening. Also that year, she appeared in Crims for BBC Three playing 'hard as nails' Governor Riley.

New Tricks, the high ratings BBC drama, saw her appear regularly in as forensic anthropologist-Fiona Kennedy (series 11 and 12).

Oberman kept up her string of TV guest appearances with a role in the drama Tracy Beaker Returns, playing "Terrie Fender", a travel agent and con artist. She also joined the junior spy series M.I. High, as the "Grand Mistress". Appearing on the chat show, The Wright Stuff, Oberman revealed that she undertook the part because M. I. High was her nephew's favourite programme, but also added that she was a fan herself, describing it as a "junior version of Spooks.[45]

Oberman has appeared in two of Tracey Ullman series; Tracey Breaks the News and Tracey Ullman's Show, a BBC One production between 2016 and 2018. She since appeared as Rebecca in Netflix series Afterlife alongside Ricky Gervais and as Helen Chalmers in Sky One comedy-drama Code 404.

In 2007, Oberman co-wrote Three Sisters on Hope Street with playwright and neighbour Diane Samuels. The play is a reinterpretation of Chekhov's The Three Sisters, transferring events to Liverpool after World War II and re-casting the Pozorov sisters as three Jewish Englishwomen. In an interview on Radio 4, Oberman spoke of the original inspiration and long gestation of the play:

I had done The Three Sisters at drama school, where I played Mascha, and I was aware while I was doing the play of how funny I found it... [which] did not seem to be the general consensus. In my last year of drama school I went to the Moscow Arts Theatre School for a term, and whilst I was there I studied Chekhov... [and saw] a production of The Seagull that I found hilarious, and I was sort of sitting there in the home of Chekhov's birth and I realised that I had hit on something that I really felt in my bones... I loved The Three Sisters and I went back to read it while I was in Moscow and I was just struck by how similar it was to the family I grew up in.[48]

Oberman described the work as "A kind of Three Sisters via Woody Allen", reflecting the humour she saw in Chekhov's story.[15] She expanded upon this personal connection in an article for The Guardian: "Chekhov wrote about a world I recognised from my childhood – where intense pain is covered by bravura and humour, and where intense longing is masked by self-deprecation and wit. There was the same obsession with death, the same fierce familial loyalty, the same tendency toward melodrama – as well as a great passion for food."[9] After returning from Moscow, Oberman continued to work on her reinterpretation for the next 15 years, but lacked the confidence to take her project further. However, after her success in EastEnders, she was offered "a lot of work" and was "in a position where I could green-light stuff for myself", determining that "this was the moment when I was going to make this dream happen".[48]

A chance discussion with Diane Samuels in the back of a taxi one night led to the collaboration between the two. Oberman had had difficulty deciding where to transpose Chekhov's narrative, with Samuels offering up the idea of Liverpool, her home town, and the two agreeing on the post-war time frame: "Liverpudlians have their black sense of humour and comic timing, born out of having their city blown to smithereens during the war".[9] This informed the new Jewish sensibility of the play which was anchored to the tone of Chekhov's original, where the melodrama of the Pozorov family masked the pain and social upheaval all about them. Oberman felt this echoed the way the Jewish community in Britain acted in the wake of the Holocaust: "people that close to the Second World War just didn’t talk about it – a bit like the elephant in the room".[48] The intent of the play was "to take a family who has the Holocaust hanging over them, and still have them laugh and moan and bicker while wondering what's for breakfast".[9]

In 2008, Samuels criticised Oberman for not acknowledging her role in interviews. Samuels said "There is a co-credit". Tracy made a verbal contribution to the play. I don’t feel it was co-written and I never will. I regard her as an actress, who creatively collaborated with me... I’m the primary author of the piece. And Tracy claims to have written the piece. She didn’t write a word of the first draft.”[49][50]

Three Sisters on Hope Street opened at the Everyman in Liverpool on 25 January 2008 before beginning a second run at the Hampstead Theatre in London. The play received "rave reviews",[50] being described as "an inventive reimagining"[51] and "a bold, fresh and fruitful reinterpretation", showcasing "lively and intelligent" writing.[52] Philip Key in the Liverpool Daily Post praised the adaptation as successfully capturing the sensibility of Liverpool, enabling the story to "be familiar to both theatre-goers and many Liverpudlians."[53] Peter Fisher of The British Theatre Guide was even more ecstatic, describing the production as a "superb project" and a "superb evening's entertainment".[54] However, other reviewers were more ambiguous, with Michael Coveney branding the play a "clever re-write" but poorly served by the actors involved.[55] Similarly, The Guardian Arts editor felt the piece to be "a surprisingly faithful transposition", which "ingeniously" solves some of the problems inherent in relocating the original, but objected to what he saw was a "dependence on authorial cleverness in finding post-war parallels to their source".[56]