Michael Praed Bio, Age, Wife, Movies,Tv Shows

Michael Praed Biography

Michael Praed is a British actor, born as Michael David Prince on 1st April 1960 in Berkeley, Gloucestershire, England.He is best known for his role as Robin of Loxley in the British television series Robin of Sherwood in the 1980s.

Michael Praed Age | How Old Is Michael Praed

He was born on 1st April 1960. He is 58 years old as at 2018.

Michael Praed Height

He stands at a height of 1.85 m.

Michael Praed Image

Michael Praed Family

He was born to Kay Prince (mother) and Derrick Prince (father).

Michael Praed Wife | Karen Landau | Josefina Gabrielle

He married Karen Landau (1994-2009). Curently he is married to Josefina Gabrielle, a British stage and television actress and former ballet dancer, best known for her West End musicals performances.

Michael Praed Children

He has two childen with his previous wife, Gabriel Praed and Frankie Praed.

Michael Praed Movies And Tv Shows



Not Going Out
Frank Clayton
Nelson Morris
Hindenburg: The Untold Story
Michael Webb
Mile High
The Secret Adventures of Jules Verne
Phileas Fogg
Phileas Fogg
Crown Prosecutor
Marty James

Jake Lovell
Prince Michael of Moldavia


Robin of Sherwood
Robin of Loxley


  • Royd Erris in an adaptation of George R. R. Martin’s Nightflyers (1987)
  • Max Schrek in the vampire flick Son of Darkness: To Die For 2 (1991)
  • Andrew in Writer’s Block with Morgan Fairchild (1991)
  • Gary in Staggered with Martin Clunes (1994)
  • Gary in Staggered with Martin Clunes (1994)
  • The Hitman in Darkness Falls with Ray Winstone(1999)
  • The Queen in Nine Dead Gay Guys (2002)
  • Himself in the documentary The King’s Head: A Maverick in London (2006)

Michael Praed Emmerdale

He played the role of Frank Clayton in 2016.

Michael Praed Dynasty

He played the role of Prince Michael of Moldavia in 1985-1986.

Michael Praed Robin Hood | Robin Of Sherwood

He played the role of Robin Hood in Robin of Sherwood a British television series, produced by HTV in association with Goldcrest, and ran from 1984 to 1986 on the ITV network.

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Michael Praed Interview

Emmerdale spoilers: 22 fascinating moments from our entertaining – and sweary – interview with Michael Praed


On who Frank Clayton is…

‘One of the nice things with Iain the producer is that we had this huge meeting about who Frank Clayton is. Where does he come from? What’s his background? What’s his favourite music? These little things can inform the character. For example, Frank went to Cambridge to get a degree but he doesn’t like Mozart or Shakespeare and he’ll tell you why. It’s not that he’s contrary, it’s just that he’s a rogue. ‘You know Howard Marks? I never met the guy but I imagine he probably said something like this: “F*** working for a living! F*** that – life’s too short. How can I make a killing? I’ll become a marijuana dealer.”  Morally, he would justify it by saying “come on guys, I know this is against the law but it’s marijuana. It’s not heroin.” I’m not saying Frank is a drug dealer or that his moral code is off-kilter. He’s a rogue in the sense that he means well.’

On real life rogues…

‘If all those wonderful hell raisers like Peter O’Toole, Oliver Reed or Richard Burton sat here with us and told us their incredible stories and you learned they’d done something rogue-like you wouldn’t be surprised – because it’s Peter O’Toole. Frank is kind of like that.’

On whether Frank is a good father…

‘It depends on your definition of a good father – but he’s not one of those, that’s for damned sure! It’s fair to say that in some respects, he’s an eternal optimist. He knows that he’s f***ed up in his life with his kids – he’s not irresponsible but he does think he can just turn up and have a relationship with his daughters. But he means well, he’s not trying to get anything out of them. He’s a little naïve.’

On why relations are bad with Tracy…

‘He wasn’t around for very long with Tracy, for various reasons. A fabric in his DNA makes him seem like he has an almost cavalier approach to his daughter’s feelings – how can he not figure out that “hang on, of course they’re going to be like this you f***ing moron!?” He’s no fool either – he’s no idiot – but listen, we’re all victims of history. If it ever comes out, there are reasons for why he is built the way that he is.’

On Frank leading Tracy away from her wedding…

‘It’s not really kidnap. It’s a whimsical choice – she tosses a question at him and he just takes off with her. It’s completely unplanned. He just decides he’s going to do it – but for the right reasons. He doesn’t have cunning – it’s quite endearing. He might get into trouble but he’s always trying to do the right thing.’

On what brought him to Emmerdale…

‘I was talking to my agent and I said “I’ve done so much theatre recently, which I adore, but I’d love to do some television!” This came around and I read the breakdown for the character which isn’t the quintessential leading man – he’s not always going to get the girl. I just literally fell in love with the character. I thought “oh God, this could go in any number of different ways”. He’s one of the most well rounded characters – he’s an educated rogue. He could even be nasty – who knows? There’s a lot of flesh there if they chose to use it. It didn’t take me long to decide to go for it. I had a screen test and they gave me the gig, terrific!’

On why northern audiences seem friendlier…

‘I did a bit of research to find out about the atmosphere. I knew some people who had been in it and they said it is remarkable. That was the recurring word – and they kept saying that everyone is just so nice. That was encouraging to hear. From my touring experience, I’ve always found Northern audiences to be two things. One is, really up for a good night out – they’re a great house typically. And there’s a real friendliness to them- and it’s a stupid generalisation perhaps – but, nevertheless, it has been my experience that the people are so friendly. ‘The example is that I was somewhere up north and my first day and I wanted to get some coffee and I said I needed some supplies. I saw a young man and asked him where the nearest supermarket is and he said: “I’ll tell you what, I’ll just take you there because you’d have to ask”. This just simply wouldn’t happen in London. I found it really unusual. Maybe it’s something about people in Yorkshire.

On working with people in Emmerdale…

‘I can tell you for a fact that the atmosphere is something else. I’m new but it doesn’t take a rocket scientist to figure out atmosphere – you know if someone’s in a tempest you think: “Shit, I’m going to have to keep away from him, he looks like he’s had a terrible day”. ‘I think part of the reason that they are nice is that there are many people on the show – actors and crew – who have been on it for literally years and years. It becomes another family because we spend so many hours together working, trying to do the very best. You can’t love everybody but you form some amazing bonds.’

On how working on Emmerdale differs from Dynasty…

‘It was about 500 years ago! The producer was a genius – it was a really happy set. If it was a member of the crew’s birthday, he’d get them a present, he paid us really well – in 1985, for my Christmas present, he gave me a video camera which was unprecedented – Christ! It was a different kind of friendliness but I just find it remarkable here how friendly people are.’ On his 1980s fame… ‘I sort of missed it, dammit! I missed the fame bit in England because I went to America but I got a bit of it – it’s all good. It’s “turn left on the plane, sir”, “where would you like to sit in the restaurant?”, “have this free gift”, beautiful women dying to meet you – that had never happened before so I thought “f***, this is great!” I was younger then, but I missed it really.’

On why he left Robin Of Sherwood at the height of its success…

‘I had a fairly interesting experience in that I left Robin Of Sherwood – they thought I was unhappy but I wasn’t, I had it in my contract that I could leave after two years. I got offered to play Dartanian in the musical The Three Musketeers and it was the biggest disaster in the history of Broadway at that time – it really was!’

On the madness of getting into acting…

‘If you think about actors, what f***ing idiot willingly, wilfully goes into a profession at any time you have an 85-95% chance of not being in a job? That’s almost a clinical definition of delusion. It’s like: “Are you f***ing crazy?” – you have virtually no chance of being employed so people wonder why anyone would think it’s a smart move. I think it’s because actors are aspirational people and despite the odds prevailing against them, they take the chances based on “I can do this!” ‘Every actor has a story – it can get very tough when you can’t pay the mortgage or when you haven’t paid it for the last three months. It can get really serious, really quickly. By nature, I always chance the consequences. I’d hate to go through like thinking: “F***, I wish I’d tried that!”‘

On The Three Musketeers tanking…

‘The Three Musketeers tanked and that was bad news to me but to me, and I’m not just defending the decision, I swear to you – but to me, it wasn’t a bad choice. The proof of that would be that if I’d won the Tony Award, it would have been the best choice in the world. With the benefit of hindsight, would I have done it again? I don’t know if I would. I would have thought to capatialise on this success but I was younger back then. I don’t believe in regrets and The Three Musketeers was one of the best experiences of my life.’ On making his theatre entrance on a f***ing horse… ‘It was extraordinary. I made my entrance from the back of an auditorium on a f***ing horse! I’m not kidding, it was crazy – fighting all over the place and everything!’

On the futility of basing life on success…

‘If your life is governed by success, then you’re going to have a nervous breakdown – life isn’t about that. The beauty of the business is that anything can happen. Steven Spielberg could be calling my agent right now – I’m pretty sure he isn’t but it’s possible! Stranger things have happened. A famous director was once watching late night television one day, saw this English actor in some awful f***ing thing, thought “he’d be perfect for my movie” and then cast him in this thing and that’s a true story.’

On working with Joan Collins…

‘Joan Collins was great. The job of the actor is really simple – tell the story as truthfully as you can. With a soap opera, which is almost like an uber-reality, it takes a certain set of skills and it’s really difficult to get right. Bloody hell, you know how many episodes they shoot – it’s not insane but it’s close and you have to be really on it. You can’t come to the set unprepared and there’s no time. Joan has had a hell of a career – a really good actress.’

On his surprise at being amazed by Emmerdale village…

‘Michelle Hardwick told me I’d be really impressed when I went to the village and I wondered what the hell she was on about as I’ve been around sets all my life. And it’s houses – and it’s not like the ark. But it was impressive and the reason why is because it looks so real. I was in the church and I completely bought standing there that this isn’t fake. That’s one hell of a trick and it’s so clever.’ On Duncan Preston beating the shit out of him… ‘I worked with Duncan Preston, he beat the shit out of me in Robin Hood. I think I prevailed though, we had this huge fight and I lived to tell the tale.’

On whether he will stay at Emmerdale…

‘Fundamentally it would seem that you stay for two reasons – one is that you don’t want to be out of work or you want to make some money and there’s nothing wrong with that. But once you start racking up years you stay for one reason and that’s because you enjoy it. It’s exciting and invigorating as your brain is constantly working – we just had a really big scene, I had a lot of words in there and when we had done the scene, I thought that I really enjoyed doing that. It’s a really enjoyable process – but it’s only my fifth episode so I might change my mind!’

On whether Frank is getting a love interest…

‘I’m pretty sure it’s going to happen at some point – multiple would be good! The palette of storylines that soap operas can draw from is enormous. Murders, mayhem, crashes, death, jumping into bed with people, fathers coming out of the woodwork – who just coincidentally happens to have two daughters in the same village who don’t know they’re related! Frank isn’t a bad guy or a leading man – he’s a lot of things. He tells bad jokes but I know who I am starting with as a love interest.

On working with Michelle Hardwick and Amy Walsh…

‘My on screen daughters are terrific. We’re human beings so it’s not a given that we would get on so it’s great. If you look at Butch Cassidy and the Sun Dance kid – apart from that being a masterpiece of a film by William Goldman, the thing that is most endearing is that the camaraderie between these two guys is palpable. They clearly adored each other. I think that’s where the buddy picture started, I may have that wrong but I think so. It’s that thing they talk about – that talisman of chemistry. Some people have it, some people don’t.’

On working with Tim Curry…

‘I did a play once – Pirates of Penzance – I was in the ninth month. And me and Bonnie Langford were the only two who hadn’t been off. I had the biggest part and I was really proud of that but I was stupid then. I got sick with a horrendous cold and I came in to sing and I was asked “What the f*** are you doing here?” I said I could still sing and I couldn’t get near that B flat so the director said “f*** off, go home!” But I didn’t, I snuck in, bought a ticket and I wanted to see this thing. ‘Tim Curry was playing the Pirate King and I worked with him and acted next to him every night and there he was. He comes on stage and I went “Oh my f***ing God!” It was as if the lights went up as soon as he came on – you couldn’t take your eyes off the guy. And I thought “but I act next to him every night – I’ve no chance opposite him.” He had this amazing, effortless skill. ‘You look at Fred Astaire doing a waltz and you could be forgiven for thinking, “that looks easy, I can do that!” But no, only Fred can do that. Gene Kelly does it but differently – he can’t be Fred. There’s only one Baryshnikov – in terms of charisma I had never seen that before except for on stage.’