Profile: Pamela Mann
- Lucinda Brown, A Boston Story (1970)
- Lika, The Promise (1970)
- Olivia Grayne, Night Must Fall (1969)
- Varya, The Cherry Orchard (1968)
- Mrs Clandon, You Never Can Tell (1968)
- Director, Noah (1967)
- Abigail Williams, The Crucible (1966)
- Mabel, Caught Napping (1966)
- Nancy, Gaslight (1965)
- Director, When We Are Married (1965)
- Jennet Jourdemayne, The Lady’s Not for Burning (1965)
- Sorel Bliss, Hay Fever (1964)
- Annie Sullivan, The Miracle Worker (1964)
- Lady Margaret More, A Man for All Seasons (1963)
- Suzie Tidmarsh, The Amorous Prawn (1963)
- Sandra Layton, On Monday Next (1963)
- Lily Thompson, Breath of Spring (1962)
- Margaret Sheldon, Anne Boleyn (1962)
- Precious Stream, Lady Precious Stream (1962)
- Lady Fidget, The Country Wife (1961)
- Villager, Lady Audley’s Secret (1961)
- Peggy Ann, The Flowerin’ of the Grass (1960)
- Diasta, The Rape of the Belt (1960)
- Malkyn, New Clothes for the Emperor (1960)
- Mabel Chiltern, An Ideal Husband (1959)
Also credited as
Pamela Mann (née Barry) passed away on 2 November 1984. The following tribute was written by David Biddle:
During the 1960s Pam Barry was a leading young actress with the Loft Theatre, and those of us who worked with her, or in any way came into contact with her, will never forget her irrepressible smile and warm personality. Above all she was an actress of considerable skill, many of whose performances are still indelibly stamped on the minds of those who saw them. To those of you who never saw Pam on stage, I can assure you this is no exaggeration.
Many of us were deeply shocked to learn of Pam’s sudden death on 2nd November. No less involved with the Loft during these years was Roy Mann, whose contribution as actor/director alone was no less committed than Pam’s, and they were married during their Loft days. To Roy and his daughters Alison and Katy we send our sympathy in the hope that with so many Loft people having them in their thoughts, it may be some consolation.
After the first Loft fire, when the company were performing at St Peter’s Hall, we first find mention of Pam Barry helping backstage with the September 1958 production of The Reluctant Debutante, and when the Loft reopened in 1959 Pam was Props lady for The Diary of Anne Frank. Soon she was appearing in walk-on roles in our productions, and when I joined the Loft in October 1962, Pam was a young, established actress.
I can well remember acting in productions with her was a rewarding experience in that Pam’s practical approach was a calming influence: you could rely on her in crises to keep things in proportion. Being with her in plays like A Man for All Seasons (Margaret More), The Lady’s Not for Burning (Jennet), The Crucible (Abigail Williams) and You Never Can Tell; watching her in productions like The Miracle Worker (a wonderful Annie Sullivan), Gaslight, Hay Fever and Caught Napping; and directing her in The Cherry Orchard (in which she was a marvellous Varya) simply went to emphasise that you were watching an exciting natural talent.
Ironically, having last appeared in 1970, and after years of being nagged to return to our stage by those of us who loved Pam and her work, she came to an audition for our February production of The Importance of Being Earnest shortly before her death.
She was indeed one of those rare creatures whose personality and work make a real and lasting impression on friends and acquaintances alike, and we can ill afford to lose the likes of Pam Mann at such an early age.