Reception
"Nana Moon's final scenes were brilliantly produced and the acting was first class. I'm sure the scenes touched the hearts of many up and down the country as many of us have, or have had, a family member similar to the Grand Old Lady of Walford. Nana's character is a great loss for the show and, I'm sure you'll agree, will be sadly missed by all."
—Dek Hogan from Digital Spy on Nana's final scenes.The Armistice Day episode—which was written by Sarah Phelps, directed by Paul Wroblewski and produced by Tom Mullens—won the Best Single Episode award at the British Soap Awards in 2006. Writing of her storyline with Wilfred, Gaughan said that "Despite the comedic talents of Braid, Sutton and Richie, any hints towards Cockney family comedy were eschewed in favour of Albert Square's preponderance of gloom. Hogan praised Braid's last scenes as Nana saying, "It was sad to see Nana finally bow out this week and the exit was tastefully handled, thanks to a wonderfully dignified performance from Hilda Braid." Nana's death was criticised by EastEnders fans, "who pointed out that she did not have to be written out of the series merely because Alfie was going." Gaughan called her death scenes "touching".
When Braid died in late 2007 a EastEnders spokesperson issued a statement:
"She was a lovely actress who brought her great humour and wit to the role of Nana which earned her many fans, young and old alike. She was a much-loved member of our cast who appeared in over 200 episodes of EastEnders, most notably the award-winning episode that saw her character visit her beloved late husband's grave in Normandy with grandson Alfie Moon (Richie).Read more about this topic: Nana Moon
Famous quotes containing the word reception:
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)