Welcome to Admiring Natalie Dormer, your original high quality resource for British actress Natalie Dormer. Natalie is most known for her role as Anne Boleyn in "The Tudors" and more recently as Margaery Tyrell in HBO's "Game of Thrones".

This site aims to keep you up to date with Natalie and her career. Please take a good look around and leave any feedback you might have in the comments. Thank you for visiting and supporting Natalie.
Archive for the ‘Media’ Category
Julita / November 19, 2017 / 0 Comments

Julita / November 18, 2017 / 0 Comments

On 12th November Natalie attended MTV Europe Music Awards where she, and Paul Pogba, presented Best Song Award. She wore costume by Philosophy Official with Manolo Blahnik’s heels and Diane Kordas’s earrings jewellery. Photos have been added into the gallery.

Julita / November 18, 2017 / 0 Comments

Natalie is the face of Plan International new campaign. She travelled to Tanzania to find out about the devastating impact that child marriage has on young girls. If you want to say no to child marriage, go to here

Julita / October 26, 2017 / 0 Comments

On 19th October Natalie was a guest at BBC Radio 4 where she was interviewed by Jenni Murray for ‘Woman’s Hour’. She spoke about ‘Venus in Fur’, sexism in Hollywood, ‘Game of Thrones’ and ‘In Darkness’.

Julita / October 25, 2017 / 0 Comments

Tables turned in the sexual power-play of an audition? Recent revelations about Harvey Weinstein have given the British premiere of David Ives’s 2010 play a certain timeliness. But despite a pair of strong performances in Patrick Marber’s slick production, this ninety-minute two-hander never felt to me as dangerous or challenging in its determined tricksiness as it seems to think it is.

Game of Thrones star Natalie Dormer shows off her formidable theatrical talent as the enigmatic Vanda, a Noo Yawk actor who turns up late to audition for the female lead in a play adapted by writer-director Thomas Novacek (David Oakes) from the novella Venus in Furs by Leopold von Saser-Masoch, the Austrian author who gave his name to masochism. Thomas is weary from a day of seeing performers who are unsuitable for the part: “Young women can’t even play feminine these days. Half are dressed like hookers, half like dykes”. And, according to him, they all sound “like six year olds on helium”.

So, at first, he is reluctant to try out Vanda who arrives in the attic rehearsal space in a clap of thunder, bearing a big bag of costumes and bombarding him with her Brooklyn brashness. But he’s increasingly intrigued as, slipping a dress over her skimpy black PVC outfit, she demonstrates an uncanny ability to flip between streetwise, sceptical New Yorker and the sophisticated lady in the Saser-Masoch adaptation who has the role of dominatrix arguably foisted on her by the hero. This latter part – a man whose taste for submission was fixed by the early experience of being birched by a fur-wearing aunt – is read by the playwright/adaptor through a rehearsal that has the feel of a kinky cat-and-mouse game.

“Where in the world did you come from?” he asks Vanda as it becomes clear that she knows the piece by heart and is alarmingly clued-up in her near-miss “guesses” about his girlfriend. Dormer portrays this teasing elusiveness with a pungent, flighty wit and commanding charisma. Her character assumes the whip hand as the reading proceeds and the boundaries between life and art blur. Who calls the shots? is the question that exercises Vanda. Is Venus in Fur just highbrow S & M porn, a male fantasy masquerading as a blue-print for female liberation through erotic dominance? Or is it that assumption, as the playwright argues, that demonstrates sexist prejudice?

Oakes’s fine, understated Thomas is mountingly rattled and defensive in his protestations that there’s no autobiographical element in his preoccupation with the novella. And there are powerful stage pictures – Vanda’s thigh-length boots pulled on her by the abased hero in his footman’s jacket. But there is a hermetic, over-studied quality to the proceedings. I’m not complaining about the play-within-a-play format, just that here the piece seems to be offering clunky footnotes to a whole tradition of drama about gender and power from The Bacchae to The Maids. Its own implication in the issues it raises (given what we are offered to gawp at) is an irony that’s never made truly provocative. And the jokey-serious tone is curiously bland rather than jolting. The play wields the whip and tips the wink without drawing blood.

Julita / October 23, 2017 / 0 Comments

Despite shooting to fame as Margaery Tyrell in hit TV fantasy series ‘Game Of Thrones‘, Natalie Dormer is no stranger to the theatre world. In fact, the 35-year-old actress has regularly won critical acclaim for her stage performances, and her new West End show, ‘Venus In Fur’, is staggering proof as to why. Starring as Vanda Jordan in the two-hander play, Dormer gives an electric performance opposite David Oakes’ Thomas Novachek, with the pair together creating a brilliantly understated piece of theatre that is sure to enthral its audience night after night.

‘Venus In Fur’ follows Novachek’s attempt to cast the leading lady in his adaptation of 1870 novel ‘Venus In Furs’, with Dormer’s Vanda bursting into his office after hours and begging for the chance to audition. Vanda is uneducated, brash, and speaks before thinking, however, when a reluctant Novachek finally allows her to perform she switches- embodying the character of Wanda von Dunayev, much to everybody’s surprise. What follows is a captivating play-within-a-play as Vanda and Thomas read through the ‘sado-masochist’ script with regular intervals where they come back to reality and Vanda lets slip her astonishing insights into the novel and the unjust treatment of her character – leading to a truly unpredictable and memorising climax.

Throughout the play’s 90-minute run-time, Dormer is able to switch between her two hugely different characters with ease; seamlessly transitioning from brash, Brooklyn Vanda to well-spoken, European Wanda seemingly without a second thought and without ever losing her charming comedic timing. Despite spending the majority of the play in sexy lingerie, Dormer is able to maintain dominance on stage as her character fights to shift the power balance between herself/ Wanda and Thomas/ Severin von Kushemski.

Oakes also gives a convincing performance as Thomas gradually, and obviously, falls in lust with the wildly passionate Vanda, portraying a certain vulnerability as the play progresses, which was noticeably absent when we were first introduced to his exasperated character.The actors have an impressive connection as the only two people on stage and it doesn’t take long for the audience to become engrossed in the two stories, which unfold at a the perfect pace – giving the audience enough time to comprehend what is going on but not taking so long that patrons start to get bored.

The themes of misogyny and sexual injustice in Patrick Marber’s production of ‘Venus In Fur’ felt particularly timely given the current climate of the acting world, with the play opening its doors amid a wave of shocking sexual assault allegations against disgraced Hollywood producer Harvey Weinstein – making Vanda’s audition all the more chilling… And the shock finale that little bit more satisfying.