Liane most recently appeared as Meredith, the lead in Half me, half you, her “spectacular” (Outerstage, New York) writing debut, at the Tristan Bates Theatre (Off West End) in London. The play debuted last year in New York at the Fresh Fruit Festival, before returning for its London debut at the Tristan Bates Theatre and the Tabard Theatre, receiving much critical acclaim.

Other recent work includes a McDonald’s commercial, and appearing in Clatterhouse Theatre’s Shakespeare rep season at the Drayton Arms Theatre in London, in which she played Fabian in Twelfth Night and both Duchesses in Richard II. Previously, she appeared as Andrea in Taken in Marriage, a role originated by Meryl Streep on Broadway in 1979, at the Waterloo East Theatre (Off West End) in London. This engagement marked the debut for her production company, RoL’n Productions. She also starred in the short film, The Parasite, and performed in and co-directed a happy side (as well) at the Edinburgh Fringe Festival.

Whilst at Cambridge, Liane appeared in numerous productions at the ADC Theatre and the Corpus Playroom, of which Stephen Fry is a patron. She toured Japan with the Pembroke Players’ Shakespeare Tour, for which her performance in ‘Much Ado About Nothing’ was deemed ‘engaging and intelligent.’ Other highlights include Sister Aloysius in Doubt, Kate Keller in All My Sons, Ouiser in Steel Magnolias and Dolly in Annie Get Your Gun. Notable performances at the American Academy of Dramatic Arts in New York include the title role in an all-female Julius Caesar, Aunt Sally in Fifth of July and Katherine in Proof.

Earlier in her career, Liane starred in the Medb Films/BBC film Gypo, starring Pauline McLynn, Paul McGann and Rula Lenska, and directed by Jan Dunn. It received a British Independent Film Award and is available to purchase on Amazon.

Radio work includes Alchemist Theatre’s and CamFM’s radio play series, The Leenane Trilogy.

‘Liane Grant as Sister Aloysius and Max Upton as Father Flynn effortlessly shoulder the two most challenging roles, creating an electric dynamic as the power shifts seamlessly between them’ (Praise for Doubt)

‘a performance that filled the stage with emotion’ (Praise for All My Sons)

‘Grant’s delivery was faultless; she had everyone in stitches from the second she opened her mouth’ (Praise for Steel Magnolias)