In a 1960 version of Macbeth made for American television but subsequently released to cinemas, he played Macduff, and the following year he went back to Stratford to play several pivotal roles with the Royal Shakespeare Company including a flinty Iago in Othello, Orlando in As You Like It (with Vanessa Redgrave), Mercutio in Romeo and Juliet and the title role in Hamlet.It was after a performance of Hamlet that he met Marilyn Salisbury, a Ministry of Agriculture assistant, who had inadvertently parked in his reserved space. Tynan wrote, “Ian Bannen gets easily to the heart of the elder brother, especially in the last-act debauch when he confesses to Edmund how much he hates and envies him.” (Twenty-five years later Bannen was to play the same character at a later stage of his life in O’Neill’s Moon for the Misbegotten.)Bannen made his screen debut in 1956 in the Boulting Brothers’ hit comedy Private’s Progress and served as a reliable supporting player in many subsequent films, including Yangtse Incident (1957), A Tale of Two Cities (1958), and Carlton-Browne of the F.O (1959). Later the same year Bannen was in O’Neill’s autobiographical masterpiece Long Day’s Journey Into Night, playing Jamie, based on the older brother of Eugene (called Edmund in the play) at the Edinburgh Festival and subsequently at the Globe in London. Kenneth Tynan called Bannen “perfect” as “the manic salesman, driving his friends to destruction with the enthusiasm of a revivalist” in this fondly recalled production directed by Peter Wood.

His London stage debut came in 1955 when he played in Prisoners of War at the small Irving Theatre, but he first attracted important notice the following year with his portrayal of the virile Marco, the older of two immigrant brothers in Arthur Miller’s A View From the Bridge, presented at the Comedy Theatre which had been turned into a club in order to mount three plays banned at that time by the Lord Chamberlain (the other two were Tea and Sympathy and Cat on a Hot Tin Roof).In 1958 he made the first of several appearances in the works of Eugene O’Neill with a highly praised portrayal of Hickey in The Iceman Cometh. His career was currently enjoying a resurgence after his acclaimed performance last year of an Irish con-man in the hit comedy Waking Ned. Born in Airdrie, Lanarkshire, in 1928, the only son of a lawyer, he was educated at Ratcliffe College, Leicestershire. A lover of films as a boy – he later confessed he would sneak out of school to watch Jean Gabin movies – he served as a corporal in the Army before making his stage debut at the Gate Theatre in Dublin in 1947 as the Emperor’s son in the play Armlet of Jade.
In 1951 he joined the Shakespeare Memorial Theatre Company at Stratford-upon-Avon and remained with them for four seasons which included in 1953 a year’s tour of Australia and New Zealand. THE SCOTTISH actor Ian Bannen, who just three years ago received a lifetime achievement award from the British Academy of Film and Television Arts, was a versatile performer who did notable work in plays by Shakespeare and O’Neill, made over 50 films, winning an Oscar nomination for one of them, and also worked often on television where he successfully played Dr Cameron, the seasoned Highland medical practitioner, in a revival of the popular series Dr Finlay’s Casebook.

The name Oedipus means “swell-foot” – and refers to the marks on his feet from the manacles put on when, as a baby, he was left on the hillside to die. But for the ancient Greeks the name Oedipus rang with another meaning: oida, which means “I know”. His fate was in his genes – but his tragedy was that he knew it.Duncan Steen has translated Sophocles’ ‘Oedipus the King’ for a new recording released by Naxos AudioBooks (two CDs, pounds 10.99; two cassettes, pounds 8.99). The more we learn about genes, the more we discover that we, even with the best intentions (like Oedipus), are driven to our fate.It was signposted even more clearly for the original audience. This was not, as so often in Homer, a case of the gods having a bit of fun. For Oedipus has been set up in another way: his fate is deeply etched in his genes.The guilt of Oedipus is not that of individual, moral or psychological failure; it constitutes a more tribal, even genetic transgression.This makes it a far more modern play than we, in a trans-Freudian age, often realise.

The power of the play, 2,500 years after it was written, is that Oedipus is guilty, but that he has had no chance to escape his destiny. Originally acted from behind masks (and therefore ideal for transfer to the modern audiobook or radio play) it plots the course of a homicide investigation with a series of flash-backs Thebes is in the grip of plague. The oracle at Delphi warns of a murderer within who must be expelled. Oedipus himself drives the search forward with ferocious energy, amidst an atmosphere of hysteria and paranoia.Of course, we know who did it.

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