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Cambridge University Press 978-0-521-60854-1 - The Cambridge Companion to the Actress Edited by Maggie B. Gale and John Stokes Index More information

INDEX

accents, middle class, 129 Adler, Stella, and Red Channels, 138 changes in, 130 African-American actresses Achurch, Janet, and new drama, 261, Harlem Renaissance, 217–18 262 typecasting, 215 actor-managers Agate, May lack of female parts, 157–8, 168 Bernhardt’s death scenes, 258 role of, 159 Bernhardt’s use of technique, 260, Actors’ Association, 96 261 reconstituted as union, 96 Agboluaje, Dipo, and Brecht’s Mother actors’ union, need for, 96 Courage, 221 actress, use of term, 11, 17 Aide,´ Hamilton, 61 actress managers, 7, 170 Alboni, 64 commercial success of, 161 Alexander, George, appeal for male students critical reaction to, 167–9 at RADA, 101 domination of Spanish stage, 276 Alexander, Helen, on casting established stars, 184 Shakespeare, 317 family relationships, 162–4 Almodovar,´ Pedro, 275 social and professional stigma, 158 American actresses, employed as leads, 203 staging of plays with strong women American Civil Rights movement, 143 characters, 168 Anderson, Mary actresses memoirs, 181 earnings compared with men, 24 motives for writing, 183 as fallen women, 3 photographs of, 88 commodities of exchange, 254 Andreini, Isabella, 1 redemption through celebrity status, Angelou, Maya 253–4 American Civil Rights movement, 143–4 similarity with own life, 253 biography, 149 improved social status of, 42–4 Angier, L’Aventuriere` , 254 involved in production, 29 anti-semitism, and HUAC witch-hunts, 139 photographic requirements, 83 Appel, Libby, new perspectives on professional artists, 38 ‘masculine’ Shakespeare, 324 stars of 1940s and 1950s, 116 Arafat, Yasser, and Vanessa Redgrave, 148 suitable career for middle and upper-class Archer, William women, 102 on Bernhardt, 260 as virtuous wife and dedicated artist, 22–3 on Mrs Patrick Campbell, 264 Actresses Franchise League (A.F.L.), 5, 96, on Duse, 68 168 comparison with Bernhardt, 70 Adams, Annie, cross-dressing, 241 production of Hedda Gabler, 160

330

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Arnold, Matthew Backus, Georgia, and HUAC, 140 comparison of Bernhardt and Rachel Baird, Dorothea, postcards of, 90 Felix,´ 66 Baker, Josephine, 218 and English national theatre, 66 erotic appeal of, 224 Arts Council of England Cultural Diversity Balcon, Michael, Woman to Woman, 203 initiatives, 221 Balfour, Betty, 8 Arzner, Dorothy, Sarah and Son, 209 stardom and social class, 204–5 Ashcroft, Peggy, 4, 11, 130 and talkies, 207 approach to social contradiction as Hester Ball, Lucille, and HUAC, 140–1 Collyer, 128 Bancroft Gold Medal, 104 Central School training, 108 Bancroft, Marie, 159, 161 English containment versus passion, 121–2 theatre management, 164, 167, 168–9 on Hedda Gabler, 128 Barber, Frances politics, 136 in Camille, as Marguerite, 261 Ashwell, Lena, 7, 161, 169, 170, 181 and tragedy heroines, 320 letters and diaries in memoirs, 180 Barbor, H.R., 97 management ambitions, 166 Barker, Harley Granville, marriage to Lillah women’s suffrage, 168 McCarthy, 185 Aston, Anthony, 25 Barker, Kathleen, 163 Aston, Elaine, 10, 11, 127 Barnes, Kenneth Atkins, Eileen, teaching course, 108 marriage to Daphne Graham, 103 Augustine, and Charcot’s Salpetriˆ ere` RADA principal, 101, 108 clinic, 257–8 and received pronunciation, 106, autobiography, 8 129–30 celebrity, 185 Barrault, Jean-Louis, 85 claims to authenticity, 177 Barrett, Wilson, 62, 182 exploration of multiple selves, 184 Barrie, J.M., and Ruth Draper, 303 ghostwritten, 187 Barry, Elizabeth, 3, 158 increasing conﬁdence in writing by women adoption into Davenant family, 25 in 19th century, 178 connection with Lord Rochester, 25–6 journals, diaries and letters as basis of, 178 independence, 26 exposure involved in use, 180–1 licence in new theatre, 28 motives for writing, 183 partnership with Bracegirdle, 27 personal, 183–4 satire against, 28–9 performance of authorship, 174 Bartlett, Neil, Camille, 261 public appetite for knowledge of private Bartolozzi, Lucia Elizabeth, see Madame lives, 175 Vestris opportunity for self-representation, 175, Basano, Alexander, 85 182 Bassnett, Susan, 23, 95 ratio of actresses to other female life on Eleonora Duse, 166 writing, 173 Bateman, Mrs, theatre management, 162 reﬂection on theatrical career, 181 Bates, Alan, 319 scandalous memoirists, 176–7 Beardsley, Aubrey, 182 testimonies to friendship, 186 on Mrs Patrick Campbell, 263 see also Lena Ashwell, Mrs Patrick Beau, Adolphe, photographic poses, 76–7, Campbell, Fanny Kemble, Helena 80–1 Modjeska, Elizabeth Robins, Ellen Beavers, Louise, Terry racial typecasting, 215, 224 and stereotypes, 223 Baartman, Saartje, the Hottentot Venus, Beck, Julian, The Living Theatre, 137 224 Behn, Aphra, 26 Bacall, Lauren, and the CFA, 138 Bejart,´ Madeleine, and Moliere,` 1 Backsheider, Paula, 20 Bell, Florence, letters from Henry James, 179

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Bellamy, George Ann, autobiography, 177, lack of international recognition, 216 184 segregation, 218 Benavente, relationship with Guerrero, 280 and skin shade, 225 Benet i Jornet, Josep ER, 275 specialist theatre companies, 221–3 Benson, Frank, and drama schools, 100 in theatre 220, see also integrated casting Berlioz, Hector, 53 inequality with white counterparts, 229 Bernhardt, Sarah black immigrants to Britain, employment actress manager, 7, 159, 161, 164, 165–6, difficulties, 220 167 Black Mime Theatre, 221 L’Art du theátreˆ , 260 Black Panther Party, 144 break with Comedie´ Française, 52, 66 black performers, racial attacks on, 139 celebrity, 66 Black Power, 219 death scenes, 258–9 Black Theatre Co-operative (Nitro), 221 emotionalist school of acting, 259 Bloom, Claire, on Vivien Leigh, 126 eroticism, 10, 11 Bogart, Humphrey, and the CFA, 138 and female hysteric, 257 Bogle, Donald identification with character, 259 on Louise Beavers, 223 illegitimacy, 255 on black ‘divas’, 216 innovator, 167 Bonner, Marita, 218 international stardom, 55, 253, 267 Booth, Edwin, cartes de visites, 81 as Lady MacBeth, 64, 68 Booth, Michael, 159 as Marguerite Gautier, 253 role of actor-manager, 160, 164 memoirs, 184 boudoir prints, 86 notoriety in, 185 Bourne, Stephen, 220 pivotal career, 11 Bow, Clara role preferences, 260 sex appeal, 205 saintly sinner, 258 and talkies, 206 sexuality, 67 Bowen, Elizabeth, The Heat of the Day, tragic roles, 64 117 undermines playwright, 260 Bowlby, John, psychologist, 119 universal feminine, 261 Bracegirdle, Anne, 3 Berry, Cicely, and drama school teaching, 101 and licence in new theatre, 28 on voice work, 321 partnership with Barry, 27 Berry, Halle, 8 respectability, 26–7 difficulty in white-centred Hollywood satirical gossip about, 28–9 system, 216 Brahms, Caryl, on Yvonne Mitchell, 124 Oscar dedication, 228 Brand, Jo, 9 significance for black actresses, 215 Brande, Thomas, 18 role of Leticia Musgrove, 228 Bratton, Jacky Best, Eve on autobiographies, 175 drama school, 95, 110 cross-dressing, 9 need for agent, 109–10 on Fanny Kelly, 295 Betterton, Mary, 3, 21, 22 breeches roles, 35 teacher, 23–4, 25 Breuer, Studies on Hysteria, 262 see also Sanderson Brewer, John, 43 Betterton, Thomas, and players’ Brewster, Yvonne, 323 co-operative, 27 Brief Encounter, 116–17 Biberman, Herbert, and HUAC, 140 post-war reconstruction of past, 118 Billington, Michael, on Peggy Ashcroft, 121 return to social marginality, 120 black actresses ‘British Blondes’, 242 biographies of, 217 British film actresses British black actresses criticism of, 203 and accent, 225 restraint, 203–4

332

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and social class, 204–5 connection to hysteria, 264 and Mabel Poulton, 206–7 professional breakthrough, 265 voices, 206 Campbell, Stella, The Second Mrs Bronte,¨ Charlotte, Villette, 55 Tanqueray, 68 Brook, Peter Carlisle, Carol J., on John Faucit Saville, 162 staging of Ta main dans la mienne, 274 Carlyle, Jane Welsh, on autobiography, 176 Theatre of Cruelty, 147 Carme, Pamela (Boscowan), 103 Brown, Ivor, on The Deep Blue Sea, 119 Carroll, Madeleine, 8 Buchanan, Robert, The Black Domino, 264 arrival of sound, 209 Bundorf, Nathalie Canizares,˜ on bid for international stardom, 210 Guerrero, 281 film persona, 210–11 Burke, Edmund, Reflections on the Hitchcock films, 210, 211 Revolution in France, 38 intelligence, 209 Burmann, Siegfried, set design, 286 mixture of British upper-class femininity Burrows, Jon, 201, 203 and American stardom, 208–9 on American and British stardom, 203 use of magazine journalism, 209–10 on Hepworth, 201 Casares, Marıa,´ 285 Bush-Bailey, Gilli, 3 Casson, Lewis, 135 Bushell-Mingo, Josette, 221, 225, Council of British Equity, 136 227 celebrity Butler, Judith, 2, 11 in autobiography, 185, 186 on actress dressing as man, 235 and Bernhardt, 66 on vocational training, 110 and Mary Robinson, 39 Butts, Alfred, on Vesta Tilley, 246 Centlivre, Susannah, 28, 36 Byron, Joseph, flash photography, 89 Central School of Speech and Drama (CSSD) and Judi Dench, 108 cabinet photographs, 85–6 majority of female students, 95 Cadell, Selina, in Midsummer Night’s needs of Tree and Benson, 100 Dream, 318 publication by Cicely Berry, 101 Cairns, Adrian, 95 Cervantes, Numancia, and Xirgu, 286 Calista Chapman, Ellen, 79 The Fair Penitent, 33, 34 Charcot, Jean-Martin, leçons du Mardi, and Mary Robinson, 37 257 Calvo, Rafael, 276 and authenticity of hysterical acting, 259 cameras, cost of photography, 79 swoon spiral, 258 cartes de visites, 80 Charke, Charlotte, 34 Campbell, Mrs Patrick Hamlet, 35 and George Alexander, 266 memoirs, 176 autobiographical writing, 266–7 motives for writing, 183 egotistical foreword, 186 transition to writing, 36 notoriety, 185 Charles II, introduction of actresses to use of letters, 179 London stage, 19, 35 and Aubrey Beardsley, 263 issue of licences, 20 difficult behaviour, 265–6 Chautauqua circuits, 294 and fallen women, 10 Chekhov, Anton, working partnership with international stardom, 253, 267 Olga Knipper, 274 lack of formal training, 265 Chesser, Eustace, 119 pianist, 266 Love without Fear, 118 postcards of, 90 Chester, Elsie, and RADA, 99, 103 sexual past, 266 Childress, Alis, 219 as Paula Tanqueray, 254 Christians, Mady, and witch hunts, 139 acting style, 264 Cibber family, 24 appearance, 263 Colley, 27, 35

333

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cinema prohibition of, 19 arrival of talkies, 205 in Romantic ballet, 243–4 development as mass medium, 202 see also Vesta Tilley, Madame Vestris relation to sex, 207 Crouch, Kimberly, 42 Civil Rights movement, and black Cruickshank, George, illustration of Vestris, actresses, 219 238 Cixous, Hel´ ene,` on hysterics, 259 Culler, A. Dwight, and monodramas, 293 Clairon, Hippolyte, 3 Curzon, Frank, joint management of Clement,´ Catherine, on hysterics, 259 Playhouse Theatre, 169 Clive, Catherine, 36 Cushman, Charlotte, 3, 9 Clough, Inez, 217, 218 British response to, 56–7, 59 Clunes, Alec, Arts Theatre Club, 104 comparisons with male actor, 56, 57 Cobena,˜ Carmen, 280 as Lady MacBeth, 64 Collier, Constance, postcards of, 90 and monologues, 293, 294, 295 Is She a Woman?, 240 as Romeo, 57 Collier, Jeremy, 16 Cutts, Graham, Woman to Woman, 203 Collins, Richard, and HUAC, 139 colour blind casting, see integrated casting daguerreotypes, 76, 79 Comedie´ Franc¸aise, visit to London, 52 Daileader, Celia R., on colour blind casting, comedy, sentimental, 35 227 comic personae, womens’ use of, 11 Dalı,´ Salvador, set design, 283, 286 Commingore, Dorothy, and HUAC, 139 Damala, Jacques, marriage to Bernhardt, 255 Committee for the First Amendment to Dandridge, Dorothy Defend Freedom of Conscience, and Carmen Jones, 215 the Hollywood Ten, 138 racist pigeonholing, 217, 224 Common Stock, 107 refuses parts, 223 communism, see HUAC singing roles, 223 Companies Acts, and production Dare, Zena and Phyllis, professional syndicates, 96 beauties, 91 Congreve, William, 27 Dark and Light Theatre Company (The and Anne Bracegirdle, 26 Black Theatre of Brixton), 221 Connor, Pearl, 220 Daughters of Erin movement, 135 Cooper, Gladys, 161 Davenant, William, 20–2 joint management of Playhouse Theatre, adoption of Elizabeth Barry, 25 169 formation of Duke’s company, 21 courtesan roles, 1, 254 Davenport, Mrs, principal actress, 21 audience’s sexual curiosity, 255 David, Maria Carolina, The Night of the see also Dumas Tribades, 275 Coward, Noel Davies, Mrs, principal actress, 21 class accents, 130 Davis, Jim, 101, 168 and Constance Collier’s Harlequinade, 186 Davis, Tracy C., 4, 52 Still Life, 116 on actresses and prostitutes, 253 Craig, Edith, and Ellen Terry’s Memoirs, 187 and sexual harassment, 267 Crichton, Charles, The Divided Heart, 123 use of term ‘manager’, 159–60 Cromwell, Oliver, opposition to performing women’s involvement in theatre women, 16 management, 157, 161, 162, 164, 167 cross-dressing, 241 Day, Doris, 5 dissimilarities between male and female, de Ayala, Ramon´ Perez,´ on Xirgu, 286 235 de la Tour, Frances, 10 in farces, 240 as Cleopatra, 319 in music hall, 245 and Equity, 136 pantomine boy, 242 as Hamlet, 317 playing boy, 241–5 Deas, Blanche, 218

334

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DeCamp, Mrs, theatre management, 162 Draper, Ruth, 9 deCordova, Richard control of programming, 305 on film acting, 194–5 development of solo performance, 301, Vitagraph Girl Night, 197 302–4 de Cordova, Rudolph, and memoirs of early career, 304, 305 Madge Kendal, 174–5, 187 musical structure of performance, 304 Deep Blue Sea, The, role of Hester national types, 306 Collyer, 127 praise from critics, 304 casting of Vivien Leigh, 127 refinement of monologue as form, 306–7 and women’s social marginality, 120 social critiques, 306 see also Rattigan use of props, 306 Delacroix, Eugene,` 53 Drorbaugh, Elizabeth, on Delgado, Maria, 10 cross-dressing, 235, 248 Dench, Judi, 10 DuBois, W.E.B., 227 and CSSD, 108 double-consciousness, 219 contribution to Shakespearean acting, 314 Duke’s Company, 21, 24 All’s Well that Ends Well unites with King’s Company, 26 Derwent, Clarence, and Actors’ Dumas, Alexandre pere` , 53 Association, 96 Dumas, Alexandre fils Diamond, Elin, and new woman, 262 authority undermined by Bernhardt, 260 diaries and letters, as basis for La dame aux camelias´ , 254 autobiography, 178 comparison with The Second Mrs exposure involved, 180–1 Tanqueray, 257, 262–3 Diderot, Denis, Le Paradoxe sur le compassionate representation of comedien´ , 259 courtesan, 254–5 Disderi,´ Andre-Eug´ ene,` 79 Dumesnil, Marie-Françoise, 3 Disher, Wilson, on Vesta Tilley, 246 Dunbar-Nelson, Alice, 218 Disraeli, Benjamin, Tancred, 55 Dundy, Elaine Doche, Marie, La dame aux camelias´ , 257 audition for ‘Blanche Dubois’, 126–7 Don, Lady, management of Theatre Royal and ECT, 127 Nottingham, 163 Duplessis, Marie, inspiration for La dame Donat, Robert, 210 aux camelias´ , 254 Donkin, Ellen, 2, 38 Duse, Eleonora, 3, 11 on Guerrero, 278 actress-manager, 161, 164, 166, 167, 168 Donnellan, Declan, Othello, 320 and Bernhardt, 68 Dors, Diana, 5 comparison with, 68 Dorset, Earl of, 26 and Ruth Draper, 303 Double Edge, 221 first London season, 68 Downes, John, 21 La dame aux camelias´ , 261 Downey, W. and D., 85, 89 natural blush, 70 Downie, Penny, Chorus in Henry V, 319 Dyer, Richard, on Brief Encounter, 117, 118 Drake, Fabia, 102 Dymkowski, Christine, on gender of drama schools Ariel, 243 attendance at, 95 contracting-out, 101 Eaton, Shirley, 5 emergence of, 95 Echegaray, Miguel predominance of female students, 101–2 influence of Guerrero, 277, 278, 279 provision of access, 109–10 Nobel Prize (1904), 278 recognition of training, 108, 110–11 Sin familia, 277 shift in training from mid-1950s, 106–7 Eclipse Theatre Company, 221 teacher training, 107–8 Edginton, May wider curriculum, 322 on IT-less British girl, 205 see also RADA voices of, 206

335

index

Edison, Thomas Studios female hysteria/depression, and first screen kiss, 92 electroconvulsive therapy, 127–8 and Kinetoscope, 91 femininity and mutoscope, 91 British conception of, 203 and Vitascope, 92 in Lady MacBeth, 64 Edwards, Gale, 323 and national identity, 60–1 in The Taming of the Shrew, 324 and social class, 204–5 Egan, Pierce, Life in London, 238 and talkies, 207 Einstein, Albert, and HUAC, 138 feminism, and perspective on electroconvulsive therapy (ECT), 127–8 Shakespeare, 314 Eliot, George, Daniel Deronda, 55 feminist historians, cultural importance of Elliott and Fry, 85 New Woman, 5 Ellis, Alfred, 85 Fenton, Lavinia, 34 Ellis, Evelyn, 217 Ferald, John, RADA Principal, 106 Elliston, management of Madame Ferrer, Jose,´ and HUAC, 139 Vestris, 237 Filippi, Rosina, tuition by, 99 Elsom, John, and RADA, 102 film Eltis, Sos, suppression of notoriety in early forms of, 92 actresses autobiographies, 185 economic growth of, 194 Emeljanow, Victor, 101, 168 facial drama, 195 English national theatre, prejudice impact on actresses, 193 against, 66 naming of players, 194 English Restoration, professionalism of film acting, 193, 194 actresses, 2–3 British traditions, 202 English transvestite theatre, 1 versus stage acting, 197, 199 Enquist, Per Olov, The Night of the film industry, role of actresses, 8 Tribades, 274–5 Fisk, May Isabel, monologues by, 297, 298, Equity (Actors’ Equity), 96 301–2 closed shop entry system, 109 ‘Mrs Meekey Explains the Higher disagreements over politics, 136 Thought’, 300–1 integrated casting, 226 social commentary, 300–1 and Shaw, 97–8 on society women, 298–300 and Thorndike, 97 Flanagan, Hallie, politics and acting, 136 women’s sub-committee, 97, 111 Fleetwood, Susan, new insight into Era, The, on actor-managers, 159 Shakespeare’s women, 315 Ervine, St. John, and English reserve, Fleming, Peter, marriage to Celia 204 Johnson, 121 Espert, Nuria, in Actrius, 275 Fletcher, Kathy, on Madame Vestris, 237 Etherege, Sir George, 26 Fo, Dario, La Comuna, 137 Fogerty, Elsie Farjeon, Herbert, and Little Review, 307 foundation of Central School, 100–1 Farr, Florence university recognised qualifications, 107 and new drama, 261 Fonda, Jane, 6, 134 The Dancing Faun, 182, 184 anti-war theatre group, 145 Faucit, Helen, and Macready’s Company, 53 biography, 150 debut as Juliet, 64 politics and film-making, 146, 150 rivalry with Rachel Felix,´ 55, 60 symbolic power of acting, 144–5 Federal Theatre Project, 216 Vietnam war protests, 145–6 establishment of Negro units, 219 Fornes, Maria Irene, The Summer in Felix,´ Rachel, 3, 5 Gossensass, 273 comparison with Smithson, 53–4 Forrest, Edwin, 57 influence on English artists, 55–6 Foster, Iris, and Madeleine Carroll, 210 and touring, 54–5 Foucault, Michel, 16

336

index

Francis, Basil, on Fanny Kelly, 295 Gielgud, Kate Terry, on Mrs P. Campbell, Francis, Matthew, A Midsummer Night’s 264 Dream, 318 Gilder, Rosamond, 22 Franco, Francisco, end of dictatorship Gill, Glenda E. on black actors, 216, 219 effect on cultural production, 274 Gill, Maud, enjoyment of stage, 181 prohibition of dialects, 275 Gillis, John, 24 freedom of expression, and acting on Gledhill, Christine, 8, 11 stage, 11 Glenn, Susan B., 197 French Revolution, influence on full on imitation, 296, 297 citizenship of women, 38 global touring, 3 French, Dawn Glyn, Elinor, on Clara Bow, 205 anarchic sketch comedy, 318 Glyn, Isabella, 4 in Midsummer Night’s Dream, 318 photographs of, 76 Freud, Studies on Hysteria, 262 advantage of being photographed, 78 Fundacion´ de la Comunidad Valenciana individual poses and gestures, 77 Ciudad de las Artes Escenicas,´ Ta Goldberg, Whoopi, Ghost, 228 main dans la mienne, 274 Goldsmith, Oliver, 35 Golijor,Osvaldo, Ainadamar, and Xirgu, 286 Gachet, Alice, and RADA, 102–3 Gonne, Maud, 6 Gainsborough, 41 Cathleen ni Houlihan, 134–5 portraits of Mary Robinson and Sarah Gonzalez,´ Enrique Lenza, La amarga Siddons, 42 soledad, 276 Galdos,´ Benito Perez´ Goodman, Walter, The Keeleys on Stage and friendship with Echegaray, 277 At Home, 244–5 relationship with Guerrero, 279 Goward, Mary Anne (Mrs Keeley) return to stage, 278–9 admiration of Walter Goodman, 245 Gale, Maggie B., 9, 11, 276 as Jack Sheppard, 244 on Lena Ashwell’s autobiography, 181 Grant, Lee, and witch hunts, 139 Garafola, Lynn on danseuse en Great Strike, support from Sybil travesti, 243–4 Thorndike, 135 Garbo, Greta, voice of, 206 Greet, Ben, tuition by, 99 Garcıa´ Lorca, Federico, and Xirgu, 282, Gregory, Augusta, 134–5 283–4 Grenfell, Joyce Bodas de Sangre, 284 association with parts, 309 La Casa de Bernarda Alba, 285 criticism of, 307 Dona Rosita la Saltera, 284 development of monologue performance, Mariana Pineda, 283, 284 291, 307 Yerma, 284 in various media, 307 Gardner, Viv, 8, 169, 276 Griffith, D.W. , effect on Mary Pickford, Garland, Judy, and the CFA, 138 199 Garofolo, Janeane, human rights, 151 Griffith, E.H., director Cafe Society, 211 and Iraq war, 150 Griffiths, Elizabeth, 3, 34, 36 Garrick, David, 35, 42 courtship letters, 44 and Mary Robinson, 40, 41 The Morality of Shakespeare’s Drama Garson, Greer, Mrs Miniver, 118 Illustrated, 46 Gautier, Theophile,´ on Helen Faucit, 53 The Platonic Wife, 44–6 Gay, Penny, 10 tragic roles, 44 Gems, Pam, Camille, 261 Griffiths, Trevor, on Madame Vestris, 237 George III, support for Sarah Siddons, 43 Grimke, Angelina Weld, 218 Gick, Judith, teacher at RADA, 101 Guerrero, Marıa,´ 10, 276, 287 Gielgud, John artistic style, 277–8 on Ruth Draper, 302–3 and Benavente, 280 impressions of RADA, 103 breadth of repertoire, 277, 281

337

index

Guerrero, Maria (cont.) Henrietta Maria, Queen, principal and Jose´ Echegaray, 277 actress, 17, 19 feminism and collaboration with Henriques, Pauline, 220 Echegaray, 278 Hepburn, Katharine, and the CFA, 138 formation of company, 279 Hepworth, Cecil partnership with Galdos,´ 279 promotion of Alma Taylor, 201 influence on Galdos,´ 278–9 raising the status of film, 201 analysis of writing, 279 Herford, Beatrice, 9 and Emilio Mario, 277, 279, 280 monologues by, 297, 298, 301–2 and Eduardo Marquina and Luis social commentary, 300–1 Fernandez´ Ardavin, 280 ‘Telephoning the Doctor’, 294 marriage, 280 ‘The Country Store’, 300 effect of, 281–2 Hiley, Jim, on Josette Simon, 227 resentment of, 281 Hill, Errol, integrated casting in revolutionises Spanish stage, 280–1 America, 225 and Margarita Xirgu, 282 Hill, Jenny, 245 guild system, female apprentices, 21 Hitchcock, Alfred, and Madeleine Guildhall School of Music and Drama, Carroll, 210 funded courses, 108 Hobson, Harold Guimera,` Angell,` Mar i cel, 282 on acting style, 125 Gwynn, Nell, 15, 24 on Blanche Dubois in A Streetcar named Desire, 126 Hagen, Uta, and witch hunts, 139 Holliday, Judy, responsibility of Hall-Davies, Lilian, and talkies, 206 citizenship, 134, 137, 141 Halliwell, J. O., Tallis Shakespeare, 76 Hollywood 10,The, 140 Hamilton, Cicely, 41 Hollywood, and American-style autobiography, 181, 185 stardom, 202 Hamilton, Clayton, on Pinero, 263 Singin’ in the Rain, 205 Hamlisch, Marvin, 273 Honner, Mrs, and Jack Sheppard, 244 Hammond, Mona, 220 Hooley, Joan, 220 Hancock, Sheila, and RADA, 106 Horne, Lena, 223 Hansberry, Lorraine, 219 and Civil Rights Congress, 139 Hardwicke, Sir Cedric, and Maud Gill’s See Horton, Priscilla the Players, 186 as Ariel, 242 Hare, John, 263 as Fool in King Lear, 242 Harlem Renaissance, 227 House Un-American Activities Committee turning point for black stage performers, (HUAC), 137, 138 217–18 pressure to indict others, 138 Harrison, Louis Reeves, on Florence Howard, Tony, 5–6, 8, 11 Turner, 199 Howard, Trevor, 116 Hart Milman, Henry, Fazio, 56 Howe, Elizabeth, 20, 21, 24, 26 Haye, Helen, and RADA, 103 on actress-managers, 158 Hayman, Ronald, 273 Howell, Jane, 323 Haynes, Manning, class and film Hughes, Langston, 218 performance, 204 Hunt, Leigh, on Madame Vestris, 238 Haywood, Eliza, 36 Hunt, Marsha, and the CFA, 138, 140 A Wife to be Lett, 36–7 Hunter, Alberta, 217 Heath, Caroline, 79 Hunter, Kathryn, 10 Hehl, Mary Ann (Fanny Clifton, cross-gender doubling, 315 Mrs Stirling) early career, 315 Batchelor’s Buttons, 241 in King Lear, 315–16 Venus in Arms, 240 in Richard III, 316 Heise, Ursula, 19 in The Taming of the Shrew, 316

338

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Huston, John, and the CFA, 138 James, Henry Hynter, Nicholas on Bernhardt, 66 Henry V, 319 on Ruth Draper, 303, 304 and Measure for Measure, 227 on Ellen Terry as Juliet, 64 Jarrett, William, and Bernhardt, 166 Ibsen, 68 Jean-Baptiste, Marianne, 217, 225 A Doll’s House, 262 and Cannes film festival, 228 with Jane Fonda, 146 Jeans, Isabel, voice of, 206 Hedda Gabler and Peggy Ashcroft, 128 Jeffries, Maud, photo-lithograph, 89 Robins/Lea production, 157–8, postcards of, 90 167 Jellicoe, Ann, on improvisation, 107 pioneer of new drama, 261 Jim Crow segregation laws, effects on Illustrated London News, on Charlotte African-American actresses, 215–16 Cushman, 56, 57 Jimenez,´ Jesu´ Rubio, on Guerrero and Xirgu, imitation 282 as learning technique, 99 John, Errol, Moon on a Rainbow Shawl, as performance, identity within social 220, 221 groups, 298 Johnson, Celia, 4, 116, 121, 130 shift in process, 295–8 see also Brief Encounter see also Fisk and Herford Johnson, Georgia Douglas, 218 improvisation, 107 Joint Anti-Fascist Refugee Committee, 140 Inchbald, Elizabeth, 36 Jones, Henry Arthur, 193 Independent Theatre Council, integrated Jordan, Dora, 35 casting, 226 Jordan, Dorothy influence, power and autonomy of ‘Little Pickle’, 242 women, 17 and William IV, 242 integrated casting, 225–8 director’s reasons for, 226 Kaplan, David, comparisons of Bernhardt, and racial stereotyping, 227 Draper and Duse, 304 international tours, importance for Karlin, Miriam, 109 actresses, 54, 71 and Equity, 136 photographs and celebrity, 88 Kaut-Howson, Helena, 323 international workers’ theatre King Lear, 315 movement, 136 Kean, Charles, Company, photographs of, 79 Irving, Henry, 159 Kean, Edmund, 55–6 Actors’ Association, 96 Kean, Ellen, 79 Lyceum Theatre, 52 Kelly, Fanny, 9 North American tours, 52 Dramatic Recollections and Studies of Irwin, May, first screen kiss, 92 Character, 294–5 monologues, 291, 293 Jackson, Anthony, 106 Kelly, Gene, and HUAC, 141 Jackson, Carlton, on Hattie McDaniel, Kelly, Jude, 323 223 on female directors, 324 Jackson, Glenda, 6 and West Yorkshire Playhouse, 324 on acting and politics, 134, 147 Kemble, Charles, 53, 54 biography, 150 Kemble, Fanny, 60, 63 and Blairite policies, 147–8 as Juliet, 64 career of, 147 letters to Harriet St Leger, 178 Labour candidacy for Mayor of London, and monologues, 293, 294, 295 147 Record of a Girlhood, 178 parliamentary action, 147 on Ellen Tree, 243 Jackson-Stuart, Marie, 218 Kemble, Mrs Stephen, and theatre Jago, Raphael, and Judith Gick, 101 management, 162

339

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Kendal, Dame Madge, autobiography, Lederer, Helen, 9 173–5, 181, 183 Lee, Mary (Lady Slingsby), 23, 24 dedication to, 186 Legge, William, half-tone process, 86 Kennedy, Adrienne, 219, 273 Legoure’s´ adaptation of Medea, 64 Keroualle,´ Louise de la, 15 Lehmann, Beatrix, banned by BBC, 136 Killigrew, Thomas, 20–2 Leigh, Vivien, 4, 126, 130 and King’s Company, 20 electroconvulsive therapy, 127 King, H.N., celebrity photos, 84 A Streetcar named Desire, 126–7 King, Martin Luther, Southern Christian Waterloo Bridge, 118 Leadership Conference, 143 Lemaıtre,ˆ Jules, on Bernhardt, 261 King’s Company, 20, 24 LeRoy, Mervyn, Waterloo Bridge, 118 unites with Duke’s Company, 26 Lewes, G.H Kitt, Eartha, 223 On Actors and the Art of Acting, 55 Kleban, Edward, 273 on Ristori, 65 Knipper, Olga, 274 Licensing Act (1713)(1737), 35 Knowles, Richard, 321 licensing, of actresses, 16, 35 Komisjarevky, Theodore, and Peggy Lincoln’s Inn Fields theatre, and status of Ashcroft, 129 actresses, 28 Koster and Bial’s Music Hall, and Vitascope, literary drama, shift in actress’s work, 70 92 Littler, Emile, and Ruth Draper, 305–6 Kovic, Ron, Coming Home, 146 Littlewood, Joan, 323 Koziski, Stephanie, on Fisk and Herford and RADA, 102–3 monologues, 301 liveries, and protection of actresses, 24 Krasner, David, and segregation, 218 Lizaran, Anna Kruschev, Nikita, invasion of Hungary, 142 in Actrius, 275 Kwei-Armah, Kwame, Elmina’s Kitchen, 222 role of Maria Carolina David, 275 Kynaston, Edward, 20 Lloyd, Phyllida, 323 Taming of the Shrew, 316 La dame aux camelias´ , 261 Loftus, Cissie, solo performances, 302 see also Bernhardt, Dumas Logan, Olive, 242 Labanyi, Jo, Spanish recuperation industry, London Academy of Music and Dramatic 276 Arts (LAMDA), split within, 107 Lamadrid, Teodora, and Guerrero, 277 London Stereoscopic Company, 89 Lamb, Charles, writing for Fanny Kelly, 295 Long, Linda Sue, 301, 302 Langtry, Lily, 161 Long, Mrs Jane, principal actress, 21 notoriety in autobiography, 185 Losey, Joseph, A Doll’s House, 146 refit of Imperial Theatre, 169 Loy, Myrna, and the CFA, 138 Laroche, Martin, photographic miniature Lugne-Poe,´ and Ruth Draper, 305 painter, 79 Lyceum Theatre, see Irving Lawrence, Florence, The Biograph Girl, 195 early career, 195 Macarthy, Marcia, creation of Margaret facial expressions, 196 Catchpole, 240 Bernhardt of the Screen, 198–9 Macauley, Elizabeth, political agenda in Daisy Doodah’s Dial, 199 autobiography, 182–3 India Rubber Gertie, 200 Macleod, Joseph, 97 first film star, 197–8, 202 Macready, William, 53, 54 Lawrence, Josie, in Taming of the Shrew, 324 comparison with Cushman, 56 Le Gallienne, Eva, as Hamlet, 241 on Ellen Tree, 243 Lea, Marion, joint management with Magazine of Art, The, 86 Elizabeth Robins, 157–8, 159, 160, Malcolm X, and Maya Angelou, 144 167–8 male clothing, use by actresses, 235–6 staging of Hedda Gabler, 273 male dramatists, and actresses, 1 League of Nations Union, 135 Malina, Judith, The Living Theatre, 137

340

index

manager Mills, Florence, 217 artistic role, 160–1 Milns, William, and first black woman central role of, 159 character, 216 financial risk, 159–60 Miralles, Alberto, Okupes al Museu del Mann, Thomas, and HUAC, 138 Prado, and Xirgu, 286 Mansfield, Jayne, 5 Mirren, Helen, new insight into Maran˜ on,´ Gregorio, and Xirgu, 287 Shakespeare’s women, 315 Mario, Emilio, and Guerrero, 277 Mitchell, Juliet, psychological development Marion, Kitty, 184 of women, 124–5 Markham, Kika, and Equity, 136 Mitchell, Katie, 323 Marshall, Gail, 3 and integrated casting, 227 morality of stage and actress, 259 Mitchell, Yvonne, 4, 130 on Ellen Terry’s memoirs, 179 acting style, 122–3 Martin, Theodore, on Rachel Felix,´ 55 spontaneity, 128–9 masques, female participation in, 2 as author Maura, Carmen, new woman roles, 275 Martha on Sunday, 125 Maus, Katharine Eisaman, 19 The Same Sky, 123 Mayer, David, 4 autobiographical dimension to acting, British pantomime, 239 123–5 McAuliffe, Nicola, in Merchant of on board of National Theatre, 125 Venice, 324 The Divided Heart, 123 McCarthy, Lillah interpretation of Cordelia in King Lear, censoring in autobiography, 185 124 recreation of autobiography, 187 Modjeska, Helena, 3 and Shaw, 186 autobiography, 61–3 McDaniel, Hattie celebrity, 185 and black subservience, 223, 224, 228 criticism of, 63 racial typecasting, 215 as Juliet, 62, 63–4 McEwan, Geraldine, new insight into double life, 184 Shakespeare’s women, 315 national identity and femininity, 61, 63 McKern, Mrs, and RADA, 103 Polish patriotism, 5 McManus, Clare, 2 Shakespearean acting, 62 McNally, John J., The Widow Jones, 92 use of letters and diaries in memoirs, 179 McNally, Terence, 273 Moncrieff, Giovanni in London, 237 McTeer, Janet, 10 monologue, 293–4, 309 as Petruchio, 316 see also solo performance Melnotte, Violet, 161 Monroe, Marilyn, 5 Trafalgar Square Theatre, 169 Montand, Yves, and Cold War, 142 Membrives, Lola, 285 Moore, Annabelle, 4 memoirs, 176, 177 and mutoscope/kinetoscope, 91–2 see also autobiography Moore, Eva, autobiography, 187 Mendez, Rodrıguez,´ Spanish style motives for writing memoirs, 183 naturism, 281 More, Kenneth, on Vivien Leigh as Hester Menken, Ada Isaacs, active photographic Collyer, 127 poses, 81 Morley, Karen, and the HUAC, 138, Merlin, Bella, on Tilly Wedekind, 184 139–40, 141 Merrill, Lisa, 56 Morley, Sheridan, on Gladys Cooper, 169 Miller, Arthur Morris, Clara, autobiography, 183 The Crucible, 142 dedication to Mary Anderson, 186 and the HUAC, 138 Mortimer, Penelope, and ECT, 127 Playing for Time, 149 motherhood, main function and duty of Miller, John, 108 women, 119 Miller, May, 218 Motion Picture Patents Trust Company, 198

341

index

Mountfort, William, 24, 26 Peace and Progress Party, 150 Mowett, Anna Cora, 294 Pearson, George, and Betty Balfour, 204 Munroe, Carmen, 220, 223, 225 Pepys, Samuel, visits to playhouse, 16, 21 muse Percival, Thomas, 24 Knipper’s input to Chekhov’s work, 274 Perry, Gill, 41 prioritization of playwright, 272 Petrie, Wallachia, 59 as sexual object, 273 Phedre,` iconic part, 55 mutoscope, 91 Phelps and Isabella Glyn, 76 photographer, benefit from theatrical Nardini, Daniela, in Camille, 261 photographs, 83 National Association for the Advancement of photographic and print technology, 74–5 Colored People (NAACP), 215, 223 photographic postcards, popularity of, 90–1 National Theatre, and black actresses, 221, photographic retailers, plagiarism of 226 photos, 84 nationality, and femininity, and Juliet, 64 photographs Neville, Henry, tuition by, 99 and actress recognition, 88 New York Clipper, 88 of actresses as distinct from other artists, Nisbett, Louisa, cross-dressing, 240 75–6 Nixon, President, and Jane Fonda, 145 clandestine market for, 84 Noble, Adrian, and women directors, 323 explanations of, 75 Norcia, Patricia, comparisons of Bernhardt, exploitation of celebrity, 90 Draper and Duse, 304 of female performers other than stage Novello-Davis, Clara, and English actresses, 81 accents, 205 mounts as provenance, 84–5 novels of the stage, and autobiography, 182 portrait mode, 77 NT Ensemble, and black male roles, 226 in printed journals, 86, 88 studio settings, 80 O’Neill, Eugene, and black stage photography, 4 performers, 218 and British royal family, 79 Okonedo, Sophie, 217 enduring relic of actresses, 74 Old Vic Company, and Yvonne Mitchell, and motion pictures, 91–2 123 on-stage flash photography, 89 Ontanon,˜ Santiago, set design, 286 and publicity, 88 Oregon Shakespeare Festival, 324 relationship of actress and photographer, Orgel, Stephen, 18, 21 74 Origo, Iris, on Ruth Draper’s technique, 304 relationship of management and Ortega y Gasset, Jose,´ and Xirgu, 283 theatre-goer, 83 Otero, Caroline, autobiography, 186 Photoplay, and Madeleine Carroll, 210 Othello, and first actress, 20 Piccoli, Michel, Ta main dans la mienne, 274 Otway, Thomas, and Elizabeth Barry, 26 Pickford, Mary, 8, 195 tragedies, 35 acting style, 200, 211 Ozanne, Christine, and repertory British films, 198 ‘nursing’, 106–7 and coquette, 207 How to Cure a Cold, 195 Paige, Deborah, 323 labour of acting, 200 A Midsummer Night’s Dream, 317 popularity contest, 198 Paris Panels, 86 production company, 198 Parker, Frances, and anti-war theatre range of genres, 197 group, 145 reasons for success, 202 Parks, Larry, and HUAC, 140 and stardom, 199 Parry, Natasha, Ta main dans la mienne, 274 Little Mary, 199–200 patent system, and old guild system, 21 Pictures and the Picturegoer, poem on Alma Patterson, Jenny, 182 Taylor, 201

342

index

Pinero, Arthur Wing, 68 Rame, Franca, La Comuna, 137 The Second Mrs Tanqueray, 254, 262–3 Randall, Anne Frances, see Mary Robinson combination of Dumas and Ibsen, 263 Rattigan, Terence search for Paula, 263–4 class accents, 130 on Alma Taylor, 201 The Deep Blue Sea, 117 Pines, Jim, 220 post-war reconstruction of past, 118 Pino, Rosario, muse to Benavente, 277, 280 Ray, Gabrielle, professional beauty, 91 Pioneer Players, 5 received pronunciation, 106, 129, 130 Planche,J.R.,writerforMadameVestris,´ 238 Reckord, Barry, Skyvers, use of white actors stage burlesque, 237–8 in black roles, 220 Plath, Sylvia, The Bell Jar, 127 Red Channels, 138 Play Pictorial, The, on-stage photography, 90 Red Detachment of Women, and Cultural Playgoer and Society, The, on-stage Revolution, 137 photography, 90 Redgrave, Corin, and Equity, 136 Play-Goer, The, on-stage photography, 89 Redgrave, Michael, 123 Poitier, Sidney, 229 and Vanessa, 148 Pollock, Sharon, 273 Redgrave, Vanessa, 6, 10, 11, 134 Pons, Ventura, film of Actrius, 275 autobiography, 150 Pope, W. Macqueen, and Julia Neilson’s debut, 314 autobiography, 187 contrast with Thorndike, 150 Postlewait, Thomas, on Elizabeth Robins’ and Equity, 136 novels, 182 misrepresentation of, 149 Potter, Helen, impersonations, 294, 295 and Palestine, 148 Poulton, Mabel, 203 political figure, 148–9, 150 and British sex appeal, 205 Shakespearean roles, 149 and talkies, 206–7 as Prospero, 317 printing blocks, carried by actresses, 88 Reinhardt, and Ruth Draper, 305 Pritchard, Hannah, 34, 35 repertory theatre, and acting experience, prostitution, parallels with, 15–16 106 and revisionist history, 18 Restoration, the, effect on development of Prowse, Philip, The White Devil, 226 society, 16 Prynne, William, 18 Revere, Anne, and HUAC, 140 Puigserver, Fabia,` staging of The Night of the Reynolds, Joshua, 41 Tribades, 274 portrait of Sarah Siddons, 42 Pullen, Kirsten, 18 Reynolds, Oliver, improvisation, 107 and burlesque, 239 Rice, John C., first screen kiss, 92 prostitutes and male attire, 236 Richards, Sandra, 35 Purdom, C.B., 185 Richardson, Willis, 218 Richepan, Jean, MacBeth, 67 Quayle, Anthony, on Theodore Ristori, Adelaide, 3, 64 Komisjarevky, 129 autobiography, 183 Quinn, Michael L., 29 as Lady MacBeth, 65–6 Rivas Cherif, Cipriano de, and Xirgu, Raby, Peter, 53 283 Racine, Jean, and Champmesle,´ 11 Roach, Joseph, 17, 35 racism, effects on black actresses, 217, 219 Robins, Elizabeth, 7, 11, 68, 95, 125 accentuated by sexism, 219 Both Sides of the Curtain, 181 during Harlem Renaissance, 218 and George Bernard Shaw, 186 mainstream recognition, 221 letters from Henry James, 179 Raine, Gillian, drama school, 95, 109 and management, 157–8, 159, 160, 161, early employment, 104–6 167–8, 170 Rainer, Luise, and Joint Anti-Fascist Refugee and new drama, 261 Committee, 140 novels, 182

343

index

Robins, Elizabeth (cont.) women performers and Shakespeare staging of Hedda Gabler, 273 industry, 314, 315 views on diaries, 180 Rozant, Ina, dedication to Ellen Terry, 186 Robinson, Jo, 7 novels, 182 Robinson, Mary, 3 Russell, Jane, 5 Angelina Rutherford, Susan, on Wilhemine autobiography, 177 Schroder-Devrient,¨ 273 concerns of the oppressed, 38 contribution to contemporary culture, 34 Saint-Denis, Michel, 123 as Juliet, 40 improvisation, 129 A Letter to the Women of England, on the Saker, Marie, theatre management, 162 Injustice of Mental Subordination, salt-print images, 79 37–8, 39 Sarda, Rosa` Maria, in Actrius, 275 Memoirs, 39–41 Sardou, Victorien, roles for Bernhardt, 260 relationship with Joshua Reynolds, 42 Sartre, Jean Paul, adaptation of The and Sarah Siddons, 43 Crucible, 142 Society and Manners in the Metropolis of Sassone, Felipe, on Guerrero, 281 England, 38 Saunderson, see Betterton transition to writing, 36 Saville, Kate, 4 Robinson, Perdita, memoirs, 181 photographs of, 81 Rocamera, Carol, Ta main dans la mienne, Saville, Marianne, actress manager, 8, 162–3 274 Schafer, Elizabeth Rochester, Lord, association with Elizabeth on Madame Vestris, 237 Barry, 25 on women directors, 323 Rodolfo and Company, 85 Schechner, Richard, view of performance, 98 Roman Catholicism, and immorality, 18 Schroder-Devrient,¨ Wilhemine, 273 Romney, 41 Screen Actors Guild Roth, Dr Joshua, 85 and Karen Morley, 139 Rowe, Nicholas, 35 and Ronald Reagan, 140 The Fair Penitent, 33 and Gale Sondegaard, 140 she-tragedy, 34 Seberg, Jean, and FBI, 144 Rowell, George, 106 Senelick, Laurence, 84 Rowson, Susanna, 36 Seven Sovereigns for Sarah, and Vanessa Slaves in Algiers, 37 Redgrave, 149 Royal Academy of Dramatic Art (RADA), 95 sexual ideologies appeal for male students, 101 post-war, 118, 122, 126 promotion of equal numbers of male in wartime, 117–18 students, 104 sexuality children’s classes, 102 history of, 10 early instruction, 100 and male attire, 236 ﬁnishing school identity, 102–4 on-stage exploration of meaning of being a majority of female students, 95 boy, 236 needs of female graduates, 98 Seyler, Athena publication of book for graduates, 97 member of Equity Council, 98 RADA silver medal, 104 teacher at RADA, 101 received pronunciation, 106 Shakespeare reduction in numbers under Ferald, class/profession of character, 319 107 correspondence between gender and Royal National Theatre, productions of power, 322 Shakespeare, 315 all-female productions, 316 Royal Shakespeare Company (RSC) female clowning, 318–19 and black actresses, 221, 226 and French audience, 53 female directors, 321, 323–4, 325 Elizabeth Grifﬁths’ dramatic criticism, 46

344

index

important female roles, 321 L’Aven, 143 increase in number of productions, 35 biography, 150 male roles The Crucible, 142 clowns, 317–18 and Jane Fonda, 144 performed by women, 316–17 and French Left, 142 The Merchant of Venice and Mary and Nazi occupation of France, 141 Robinson, 37 Silvy, Camille, full-length photos, 80–1 powerful professions, 319 Simon, Josette, 9, 221, 225 role of gender in casting, 10 lead roles usually played by white women, women on the edge of political processes, 226–7 320–1 rethinking of Shakespeare’s women, 315 women directors, 323–4 Sims, R., The Black Domino, 264 and Oregon Shakespeare Festival, 324 Sinisterra, Jose´ Sanchis, 276 West Yorkshire Playhouse, 324 Sirett, Paul, The Big Life, 222 Shakespeare’s Globe Theatre, all-women Six Men of Dorset, 135 productions, 316 Skinner Carter, Corinne, 223, 225 Shakespearean actresses, ways of making an Skinner, Cornelia Otis impact, 323 on Draper, 307 Shakespearean texts, new perspectives on monologues, 298 on, 317 Smallwood, Robert, on Frances de la Shaw, Fiona, 10 Tour, 320 drama training, 110 Smith, Dodie, 100 rethinking of Shakespeare’s women, 315 Smith, Sidonie, 173 as Richard II, 317 Smithson, Harriet, 3 Shaw, George Bernard visit to Paris, 53 appeal for actresses to join equity, 97–8 smudgers, 80 enthusiasm for Duse, 70 solo performance, 9 and Florence Farr, 182 in America, 294 Sher, Antony, 320 in England, 294–5 Sheridan, Mary (Daphne Graham), 103 link with political emancipation, 294 Sheridan, Thomas, 35, 44 relationship between text and performer, Shulman, Milton, on Josette Simon, 227 291 Shute, Nerina, columnist in The Film Weekly see also monologue on Madeleine Carroll, 206, 209 Sondegaard, Gale, and HUAC, 140 Shuttleworth, Rev. H. C., editor of Diary of Sondheim, Stephen, 273 an Actress, 187 Spain, rehabilitation after Franco Siddons, Sarah, 3, 11, 37 Abortion Law (1985), 275 as Constance, 321 Instituto de la Mujer, 275 contribution to contemporary culture, 34 La nit de les trıbades´ , 274–5 dramatic expression, 36 reassessment of past, 276 famous roles, 34 role of actresses, 274, 275–6 Lady MacBeth, 35, 64, 65 Spanish Civil War, and Karen Morley, and Hazlitt, 47 139 as professional artist, 38 Spanish stage, and transvestism, 19 Reminiscences, 177–8 speech therapy, 100 transition to writing, 36 Spence, Eulalie, 218 virtuous reputation, 43–4 Spielman, Henry, correspondence with women’s place in society, 34 Charles Abud, 86 Siege of Rhodes, The, use of female Spooner, William, 85 ‘singer’, 21 St John, Christopher, and Ellen Terry’s Signoret, Simone autobiography, 187 acting and politics, 134 Stackpole, Henrietta, 59 Adieu Volodya, 143 Stage Operatives Union, 96

345

index

Standard Art Books, series on ﬁlm acting, Tanner, Jo A., and black actresses, 216, 218, 200 229 Stanislavski, and Olga Knipper, 274 Taranow, Gerda, anatomy of Bernhardt’s stardom, and acting, 193, 194–5 craft, 257, 258 contrast between British and American, Taylor, Alma, English Mary Pickford, 201 202–5 and Hepworth’s direction, 201–2 arrival of talkies, 205 popularity of, 201 egalitarian route to success, 202 Taylor, Robert, and HUAC, 140 gap between image and actress, 197–8 television nature of identity, 200 and daily drama, 5 sex appeal, 205 and received pronunciation, 106 voice added to appearance, 206–7 Teltroth, Frank, 28 young girls, 203 Temba Theatre Company, 221, 226 stereopticon-viewer, 79 Tempest, Marie, 160 stereotyping, of black performers, 215, 217, Tennent, H. M. Ltd, and West End 219, 223, 228 theatre, 104 and Civil Rights/Black Power, 219 Tennyson, Alfred Lord, 65 and colour blind casting, 227 Terry, Ellen and sexuality, 223–4 autobiography, 178–9 singers, 223 editing of, 187 Stevenson, Juliet, rethinking of Shakespeare’s notoriety, 185 women, 315 comparisons with Bernhardt, 67 Stirling, Edward, and Margaret displaced by Duse and Bernhardt, 70 Catchpole, 240 early photo, 79 Stokes, John, 4, 11, 106, 167 Henry James review, 60–1 on Duse, 69 icon of victorian femininity, 253 Straub, Kristina, 22 as Juliet, 64 Streetcar Named Desire, A, turning-point in as Lady MacBeth, 64 post-war performance, 126–7 Theatre of Black Women, The, 221 Strindberg, 68 The´atreˆ de Complicite,´ 315 The Night of the Tribades, 275 Theatre Owners’ Booking Association Stuart, Andrea, racial fantasies, 224 (TOBA), and racism, 218 Sudermann, Heimat, 70 Theatre Royal Nottingham, management suffrage movement, 5 by Marianne Saville, 162–3 Susman, Warren, on crowd mentality, 297 ownership of, 163 Sutherland, Donald, anti-war theatre group, Theatre, The 145 half-tone process, 88 Sutherland, Lucie, 4, 10 sepia prints, 86 Suzman, Janet theatre unions, and black performers, 219 new insight into Shakespeare’s women, Theatres Regulation Act (1843), 98 315 Theatrical Ladies Guild, 96 political actress, 136 Thomas, Edna, as Lady MacBeth, 219 Sylvester,William Henry, see Martin Laroche and shade of skin colour, 224–5 Sylvestre, Cleo, 220 Thompson, Lydia, and British Blondes, and Symons, Arthur, 69 US tour, 239 Szabo,´ Istvan,´ 134 Thorndike, Dame Sybil contrast with Redgrave, 150 Talawa, 221, 226 drama training, 110 talkies, arrival of, 205 and Equity, 97, 98, 136 voice training, 205 and politics, 135–6 Tallis Shakespeare, 76 Thorne, Sarah, training programme, 99 advantage of being photographed, 78 Thurburn, Gwynneth, and Central School, portraits in, 77 100

346

index

Tilly, Vesta (Matilda Powles, Lady De Frece) vocational training, see drama schools star male impersonator, 9, 246 voice coaching, feminine field of, 321–2 collection of press notices, 247 von Essen, Siri, The Night of the devotion of fans, 246–7 Tribades, 275 issue of gender, 248 direct challenge to masculinity, 248 Wakefield, Priscilla, 42–3 Tillyard, Stella, 39 Walker, Aida Overton, 218 tintypes, 86 Walkley, A.B., criticism of Bernhardt’s entry Toller,¨ Ernst, 135 into management, 165 Tomlin, Lily, 9, 298 Wallace, Nellie, on Joyce Grenfell, 309 Tomlinson, Sophie, 17–18, 19 Walpole, Robert, Licensing Act, 35 Torrence, Ridgeley, Three Plays for a Negro Walter, Harriet, 10 Theatre, 218 drama schools, 95, 107, 110 Tree, Dorothy, and HUAC, 140 as Lady MacBeth, 320 Tree, Ellen, as boy, 243 rethinking of Shakespeare’s women, 315 Tree, Herbert Beerbohm, foundation of Wanger, Walter, 210 RADA, 95 Ward, Genevieve,` tuition by, 99 training for middle-classes, 100 Washington, Denzel, 2 Trevis, Di, 323 Washington, Fredi, 224 Trimble, Larry, and Florence Turner, 198 Waters, Ethel Trojan Women, The, 135 and Harlem Renaissance, 217 Tubau, Marıa,´ 277 racial typecasting, 215 Turleigh, Veronica, 103 slated as singer, 223 Turner, Florence, The Vitagraph Girl, 8, Watson, Julia, 173 195 Webber Douglas Academy of Dramatic Tynan, Kenneth, 303 Art, 101 marriage to Elaine Dundy, 126 Wedekind, Tilly, life-story, 184 prudery of playwrights, 130 Welch, Elisabeth, 220 received pronunciation, 130 Wellington, Duke of, and Rachel Felix,´ 55 Tyson, Cathy, 217, 221, 223 Werner, Sarah, 321 West, Shearer, theatrical portraiture, 36, Unamuno, Miguel de, and Xirgu 77–8 White, Alice, and talkies, 206 Vanbrugh, Irene White, Chrissie, and Tilly Girls, 201 administrative council RADA, 101 Whitelaw, Billie, and drama school, 111 dislike of imitative technique, 99 Whitford, Annabelle, see Annabelle Moore double life of actress, 184 Whitty, Dame May, and Equity, 97 Varley, Julia, Dona˜ Musica’s Butterflies, Williams, Roy, Little Sweet Thing, 222 291 Willis, Ted, Woman in a Dressing Gown, Vestris, Eliza, 161 120 advance payment to actors, 167 Wilson, Elizabeth management of Olympic Theatre, 164, on courtesans, 254 165, 167, 168–9, 237–8 on post-war functions of women, 119 Midsummer Night’s Dream, A, 237 Wilson, John Harold, 25 origins of principal boy, 239 Wilson, Mrs Baron, Venus in Arms, 240 racy reputation, 237 Wilton, Marie (Lady Bancroft), 166 Victorian biography, 237 theatre management, 165 Vezin, Mr and Mrs Hermann, tuition, 99 Withers, Googie, 130 Vico, Antonio, 276 Woffington, Margaret, 9 Vidor, Charles, marriage to Karen Wildair, Harry, 236 Morley, 139 Wolf, Virginia, and Ruth Draper, 303 Vietnam War protests, and Jane Wollstonecraft, Vindication of the Rights of Fonda, 145–6 Woman, 38

347

index

Woman in a Dressing Gown, 122, 128 and Miguel Ortın,´ 282 Wood, Victoria, 298 political afﬁliations, 283 Woodbury types, 86 recent re-appropriation of, 286–7 Workers’ Revolutionary Party, 148 and Rivas Cherif, 287 Wright, Jules, 323 set design, 286 Wyler, William, Mrs Miniver, 118 Spanish-language drama, 282–3 symbol of the Republic in exile, 285 Xiang Jing (Mme Mao), inﬂuence on Chinese politics, 137 Yeats, W. B., 134–5 Xirgu, Margarita, 10, 276, 287 Young, Frances, suicide, 139 Benavente’s El mal que nos hacen, 286 Young, Mrs Charles, tuition by, 99 early life, 282 Guerrero role model, 282 Zabel, Morton D., on Ruth Draper, 303 move to Latin America, 285 Zamacois, Eduardo, on Guerrero, 278 and Lorca, 282, 283–4, 285 Zimmern, Helen, on Duse, 69

348