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Boltons drama Going West, performed at Alexandra Park Avenue Hall, Carrickfergus in 1925. Stanley McGeaghs acting career was unremarkable at best, but for all that he gamely persevered for what was an uphill and generally prosaic forty plus years. In England, he eked out a living in repertory theatre, before a minor breakthrough, when cast in Ugo Bettis The Queen and the Rebels at the Theatre Royal Hammersmith in 1955. During 1969/70 he toured with the Century Theatre Company, appearing in The Tempest and Breaking Point and at the Belgrade Theatre in Coventry in 1970, showed his comic side in Kevin Laffans satirical sex comedy, Its a Two Foot Six Inches Above the Ground World. Her first big screen role was barely credited, when cast as a film student in director Kieron. He worked sporadically in the mid to late sixties in suburban north Belfast theatres, with decent roles in Tennessee Williams Cat on a Hot Tin Roof 1966 and Brendan Behans The Hostage 1968, both at the Circle Theatre.

Further stage work included a tour with a revival of Frank McGuinness  The Factory Girls in 2013 and as Peasebottom in a quirky re-working of A Midsummer Nights Dream, staged at the Abbey Theatre, Dublin in 2015 and directed by Gavin Quinn. On television in 2002 he reprised his role of Jack, in director Harry Bradbeers faithful screen version of As the Beast Sleeps, with all the main cast intact from the original Abbey run four years earlier. One of her first professional appearances was as Della, in Dublins Co-Motion Theatre Companys production of Patrick McCabes Loco County Lonesome, at the Garage Theatre, Monaghan in 1994. . Comatos big budget western Tombstone 1993. In 1969 Goldblatt took the company to the Abbey Theatre, Dublin for George Shiels classic melodrama Macooks Corner, a revision of his 1938 play Neale Maquade, directed by Tyrone Guthrie with McBride as John Lilly and.G. The company thrived for twelve years, producing a respectable twenty two plays, written in the main by Marie Jones during its 1980s apogee. In 2016 he appeared as fisherman Ned Hanlon in all five episodes of the  WW2, rural Ulster drama My Mother and Other Strangers and in another series a year later took a small guest role in Peter Morgans lavish, Netflix produced The Crown. In 1967 he landed a recurring credit as Reilly in several episodes of the implacable police drama series Z Cars and the following year played farmer William Henry Doak in an Ulster Theatre Company production. Significant stage work in the late eighties included the 1988 Abbey Theatre production of Frank McGuinness, Carthaginians and Billy Roches Poor Beast in the Rain, at the Bush Theatre London in 1989. His television roles in the late eighties were nothing short of functional and amounted to low key parts in the mini-series Lost Empires 1986 and a cameo as Bootlace, in Graham Reids comedy series Foreign Bodies, which ran from 1987/89.

In 2016 she toured with the Original Theatre Companys production of Emlyn Williams psychological thriller Night Must Fall, taking the role of the forlorn Olivia, opposite Gwen Taylor as her self-pitying Aunt, Mrs Bramson. His first television appearance, a minor fringe role, came in a 1963 adaptation of As You Like It, jointly directed by Michael Elliott and Ronald Eyre. Two films in 2004 brought him mixed success, Spike Lee cast him sparingly in his comedy drama She Hate Me but he had a more central role in writer/director Matthew Coppolas imperfect directorial debut Fresh Cut Grass, where he was let loose as a pot. The popular action series Viper 1994, provided him with his highest credit rating to date but he had to wait until 1996 for his debut mainstream feature film part, a brief days work in director Michael Lehmanns romantic comedy, The Truth About Cats and Dogs. Noteworthy work in the remainder of the seventies included an Irish Theatre Company tour with Dion Boucicaults Out of Town and Molieres The Miser in 1975, a first collaboration with Jim Sheridan in Dev at the Project Arts, Dublin in 1977 and his television debut. Film, nothing Else Matters (1920 should a Doctor Tell (1923 the Uninvited (1944). A second film role, again minor, came in director Alan Parkers acclaimed Angelas Ashes, a faithful translation of Frank McCourts reminiscences of his painful and impoverished Limerick childhood in the 1930s/40s.

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A year later RKO offered her a minor role in the WW2 London set drama Forever and a Day 1943, which brought her to the hub of the film industry and more importantly a chance to resurrect her screen career after a gap of eighteen. In January 2016 at the Royal Lyceum Theatre, Edinburgh, he made a good fist of businessman and pub regular, Finbar, in a fine revival of Conor McPhersons atmospheric The Weir, directed Amanda Gaughan. Screen work was minimal in the seventies and amounted to a handful of offers, involving archetypal Ulster types which barely raised a sweat. His last screen contribution was a cameo as Granda, in Ron Hutchinsons black comedy The Last Window Cleaner, a BBC television play in February 1979, starring Patrick Magee, Kate Thompson and featured an emerging Liam Neeson as the namelessly titled Himself. In a  welcome return to the RSC that year, she was comfortably cast as Olivia in director Michael Boyds contempory dress version of Twelfth Night, performed at the Theatre Royal Newcastle, duly confirming her mastery of tailor made classical roles. A short sojourn with the National Theatre in 1977, saw him on the Olivier stage as Captain Brennan, with.G. Earlier in 2007 he had a pivotal role as Guardsman Bowe in the television adaptation of David Haigs WW1 set stage success, My Boy Jack and in theatre, appeared first as Alan, in Fergal McElherrons To Have And To Hold at the omac and.

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