Maryam d’Abo on Bond, Artistic Licence & Alba Arikha’s ‘Spanish Oranges’ Play

Maryam d’Abo, best known for her role as Kara Milovy in the 1987 James Bond film The Living Daylights, is returning to the stage in Alba Arikha’s debut play, Spanish Oranges. The production, which opens at The Playground Theatre in London on February 11th and runs until March 7th, explores the complexities of a marriage strained by artistic ambition and the blurring lines between truth and fiction.

D’Abo portrays Fiona, a novelist on the cusp of renewed fame after a seven-year absence from the literary scene. Her husband, Ivo, a once-celebrated actor, has recently faced cancellation following accusations of violence. The play delves into the power dynamics within their relationship, suggesting Ivo suspects Fiona’s success may have come at his expense. The premise, Arikha explains, draws inspiration from Edward Albee’s Who’s Afraid of Virginia Woolf? and Ingmar Bergman’s Scenes from a Marriage, focusing on the “imbalance” that can affect both individuals and a couple defined by their art.

The role marks D’Abo’s first stage appearance in over 25 years. Speaking about her initial apprehension towards journalists, a sentiment stemming from early experiences as a “Bond girl,” she recalled the intensity of press coverage following her casting. “I’ve never done so much press,” she said, noting the often harsh and judgmental nature of Fleet Street reporters at the time. “You open your heart because you’re inexperienced – and then it’s edited so you think, ‘That’s not how I meant it.’” Despite these early challenges, D’Abo maintains she doesn’t blame the Bond franchise for any perceived impact on her career. “I’ll never regret it,” she affirmed.

D’Abo’s experience with the Bond films extends beyond her own role. She later co-created the 2002 documentary Bond Girls Are Forever, aiming to explore the evolution of female characters within the franchise and their reflection of societal changes. She specifically highlighted the significance of Judi Dench’s portrayal of M, noting how the character’s position as James Bond’s boss marked a turning point. D’Abo also pointed to past depictions of Bond women, referencing Honor Blackman’s Pussy Galore in Goldfinger as an example of early humor, and contrasting it with scenes in The Man with the Golden Gun that she now finds “unthinkable.”

Arikha, the playwright, comes from a deeply artistic background, being the daughter of Romanian artist Avigdor Arikha and American poet Anne Atik. Samuel Beckett was her godfather. Her play grapples with ethical questions surrounding the use of personal experiences in art, particularly the line between inspiration and appropriation. The character of Fiona faces accusations of stealing someone else’s story, prompting a debate about the boundaries of artistic license. Arikha herself addressed this tension, referencing Jean-Luc Godard’s quote: “It’s not where you take things from, but where you take them to.”

The production also touches upon the complexities of artistic rivalry within a marriage. While neither Arikha nor D’Abo directly mirrored the dynamic in their own relationships – Arikha is married to composer Tom Smail, and D’Abo was married to the late film-maker Hugh Hudson – the play explores the potential for imbalance and conflict when both partners are artists. Arikha’s own novel, Two Hours, was described as a “pared down version” of a difficult personal experience, highlighting the inherent connection between life and art.

D’Abo and Arikha both emphasized the importance of imagination in artistic creation, rejecting the notion that artists should only write or act from personal experience. D’Abo recounted an instance where a potential financier attempted to dictate casting based on identity, arguing for a gay actor to play a gay character. “It was killing the whole artistic process,” she said. Arikha echoed this sentiment, stating, “Without our imagination, what are we supposed to write about?” She stressed the need for accuracy and empathy, but also for creative freedom.

Spanish Oranges also features Arianna Branca, Arikha’s 23-year-old daughter, playing the role of the couple’s daughter, adding another layer of personal connection to the production. The play promises a searing exploration of modern intimacy, truth, and the sacrifices made in the pursuit of art, set against the backdrop of a single, turbulent morning.