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𝑀𝑜𝑠𝑡 𝑜𝑓 𝑢𝑠ℎ𝑎𝑣𝑒 𝑤𝑎𝑡𝑐ℎ𝑒𝑑 𝑎 𝑐ℎ𝑢𝑛𝑘 𝑜𝑓 𝑜𝑢𝑟 𝑟𝑒𝑡𝑖𝑟𝑒𝑚𝑒𝑛𝑡 𝑠𝑎𝑣𝑖𝑛𝑔𝑠𝑔𝑜 𝑑𝑜𝑤𝑛 𝑡ℎ𝑒 𝑑𝑟𝑎𝑖𝑛 𝑜𝑣𝑒𝑟 𝑡ℎ𝑒 𝑝𝑎𝑠𝑡 𝑛𝑖𝑛𝑒 𝑚𝑜𝑛𝑡ℎ𝑠𝑜𝑟 𝑠𝑜. [Mobile logo MES]( [MES logo](     [Slogan MES](       Let's face it... Most of us have watched a chunk of our retirement savings go down the drain over the past nine months or so. But while we're waiting anxiously for the bleeding to stem... And some kind of a return to normalcy... There's a completely new round of pain coming. It's already here, in fact... though 99% of Americans are completely blind to it. So what is this new "boogeyman" waiting at the door? [CarlsonOnRoof]( It's a [new law]( buried deep in the massive spending bill passed by Congress late last year. And it could slice a full 30% or more off your retirement savings. Thousands of dollars... tens of thousands... even millions are at stake. That's why [the results of my year-long investigation]( are so important for EVERY AMERICAN to get a handle on. Take matters into your own hands. [Read my urgent findings right now.]( To your best retirement, [Bob Carlson] Bob Carlson Founder & Editor, Retirement Watch [👉 Click Here Now to Learn More >]( Sir Arthur John Gielgud, OM, CH (/ˈɡiːlɡʊd/; 14 April 1904 – 21 May 2000) was an English actor and theatre director whose career spanned eight decades. With Ralph Richardson and Laurence Olivier, he was one of the trinity of actors who dominated the British stage for much of the 20th century. A member of the Terry family theatrical dynasty, he gained his first paid acting work as a junior member of his cousin Phyllis Neilson-Terry's company in 1922. After studying at the Royal Academy of Dramatic Art he worked in repertory theatre and in the West End before establishing himself at the Old Vic as an exponent of Shakespeare in 1929–31. During the 1930s Gielgud was a stage star in the West End and on Broadway, appearing in new works and classics. He began a parallel career as a director, and set up his own company at the Queen's Theatre, London. He was regarded by many as the finest Hamlet of his era, and was also known for high comedy roles such as John Worthing in The Importance of Being Earnest. In the 1950s Gielgud feared that his career was threatened when he was convicted and fined for a homosexual offence, but his colleagues and the public supported him loyally. When avant-garde plays began to supersede traditional West End productions in the later 1950s he found no new suitable stage roles, and for several years he was best known in the theatre for his one-man Shakespeare show Ages of Man. From the late 1960s he found new plays that suited him, by authors including Alan Bennett, David Storey and Harold Pinter. During the first half of his career, Gielgud did not take the cinema seriously. Though he made his first film in 1924, and had successes with The Good Companions (1933) and Julius Caesar (1953), he did not begin a regular film career until his sixties. Gielgud appeared in more than sixty films between Becket (1964), for which he received his first Academy Award nomination for playing Louis VII of France, and Elizabeth (1998). As the acid-tongued Hobson in Arthur (1981) he won the Academy Award for Best Supporting Actor. His film work further earned him a Golden Globe Award and two BAFTAs. Although largely indifferent to awards, Gielgud had the rare distinction of winning an Oscar, an Emmy, a Grammy, and a Tony. He was famous from the start of his career for his voice and his mastery of Shakespearean verse. He broadcast more than a hundred radio and television dramas between 1929 and 1994, and made commercial recordings of many plays, including ten of Shakespeare's. Among his honours, he was knighted in 1953 and the Gielgud Theatre was named after him. From 1977 to 1989, he was president of the Royal Academy of Dramatic Art. Life and career Background and early years Gielgud was born on 14 April 1904 in South Kensington, London, the third of the four children of Frank Henry Gielgud (1860–1949) and his second wife, Kate Terry-Gielgud, née Terry-Lewis (1868–1958). Gielgud's older brothers were Lewis, who became a senior official of the Red Cross and UNESCO, and Val, later head of BBC radio drama; his younger sister Eleanor became John's secretary for many years.[1] On his father's side, Gielgud was of Lithuanian and Polish descent. The surname derives from GelgaudiÅ¡kis, a village in Lithuania.[1] The Counts Gielgud had owned the GelgaudiÅ¡kis Manor on the Nemunas river, but their estates were confiscated after they took part in a failed uprising against Russian rule in 1830–31.[n 1] Jan Gielgud took refuge in England with his family;[3] one of his grandchildren was Frank Gielgud, whose maternal grandmother was a famous Polish actress, Aniela Aszpergerowa.[2] Centre: Marion, Kate and Ellen Terry and, far right, Fred Terry at Ellen's Silver Jubilee matinée, Drury Lane, 12 June 1906. Everyone shown was a member of the Terry family. Frank married into a family with wide theatrical connections. His wife, who was on the stage until she married, was the daughter of the actress Kate Terry, and a member of the stage dynasty that included Ellen, Fred and Marion Terry, Mabel Terry-Lewis and Edith and Edward Gordon Craig.[5] Frank had no theatrical ambitions and worked all his life as a stockbroker in the City of London.[6] In 1912, aged eight, Gielgud went to Hillside preparatory school in Surrey as his elder brothers had done. For a child with no interest in sport he acquitted himself reasonably well in cricket and rugby for the school.[7] In class, he hated mathematics, was fair at classics, and excelled at English and divinity.[8] Hillside encouraged his interest in drama, and he played several leading roles in school productions, including Mark Antony in Julius Caesar and Shylock in The Merchant of Venice.[9] After Hillside, Lewis and Val had won scholarships to Eton and Rugby, respectively; lacking their academic achievement, John failed to secure such a scholarship.[10] He was sent as a day boy to Westminster School[n 2] where, as he later said, he had access to the West End "in time to touch the fringe of the great century of the theatre".[12] He saw Sarah Bernhardt act, Adeline Genée dance and Albert Chevalier, Vesta Tilley and Marie Lloyd perform in the music halls.[12] The school choir sang in services at Westminster Abbey, which appealed to his fondness for ritual.[13] He showed talent at sketching, and for a while thought of scenic design as a possible career.[14] The young Gielgud's father took him to concerts, which he liked, and galleries and museums, "which bored me rigid".[15] Both parents were keen theatregoers, but did not encourage their children to follow an acting career. Val Gielgud recalled, "Our parents looked distinctly sideways at the Stage as a means of livelihood, and when John showed some talent for drawing his father spoke crisply of the advantages of an architect's office."[16] On leaving Westminster in 1921, Gielgud persuaded his reluctant parents to let him take drama lessons on the understanding that if he was not self-supporting by the age of twenty-five he would seek an office post.[17] First acting experience Details of Gielgud's work, 1921–25: Stage Gielgud, aged seventeen, joined a private drama school run by Constance Benson, wife of the actor-manager Sir Frank Benson.[18] On the new boy's first day Lady Benson remarked on his physical awkwardness: "she said I walked like a cat with rickets. It dealt a severe blow to my conceit, which was a good thing."[19] Before and after joining the school he played in several amateur productions,[20] and in November 1921 made his debut with a professional company, though he himself was not paid. He played the Herald in Henry V at the Old Vic; he had one line to speak and, he recalled, spoke it badly.[21] He was kept on for the rest of the season in walk-on parts in King Lear, Wat Tyler and Peer Gynt, with no lines.[22] If your great-aunt happens to be Ellen Terry, your great-uncle Fred Terry, your cousins Gordon Craig and Phyllis Neilson-Terry, and your grandmother the greatest Shakespearean actress in all Lithuania, you are hardly likely to drift into the fish trade. Gielgud on his theatrical background.[23] Gielgud's first substantial engagement came through his family. In 1922 his cousin Phyllis Neilson-Terry[n 3] invited him to tour in J. B. Fagan's The Wheel, as understudy, bit-part player and assistant stage manager, an invitation he accepted.[1] A colleague, recognising that the young man had talent but lacked technique, recommended him to the Royal Academy of Dramatic Art (RADA). Gielgud was awarded a scholarship to the academy and trained there throughout 1923 under Kenneth Barnes, Helen Haye and Claude Rains.[24] The actor-manager Nigel Playfair, a friend of Gielgud's family, saw him in a student presentation of J. M. Barrie's The Admirable Crichton. Playfair was impressed and cast him as Felix, the poet-butterfly, in the British premiere of the Čapek brothers' The Insect Play. Gielgud later said that he made a poor impression in the part: "I am surprised that the audience did not throw things at me."[25] The critics were cautious but not hostile to the play;[26] it did not attract the public and closed after a month.[27] While still continuing his studies at RADA, Gielgud appeared again for Playfair in Robert E Lee by John Drinkwater.[27] After leaving the academy at the end of 1923 Gielgud played a Christmas season as Charley in Charley's Aunt in the West End, and then joined Fagan's repertory company at the Oxford Playhouse.[28] Gielgud was in the Oxford company in January and February 1924, from October 1924 to the end of January 1925, and in August 1925.[29] He played a wide range of parts in classics and modern plays, greatly increasing his technical abilities in the process.[30] The role he most enjoyed was Trofimov in The Cherry Orchard, his first experience of Chekhov: "It was the first time I ever went out on stage feeling that perhaps, after all, I could really be an actor."[31] Early West End roles Details of Gielgud's work, 1924–29: Stage, Radio, Film Between Gielgud's first two Oxford seasons, the producer Barry Jackson cast him as Romeo to the Juliet of Gwen Ffrangcon-Davies at the Regent's Theatre, London, in May 1924. The production was not a great success, but the two performers became close friends and frequently worked together throughout their careers.[32] Gielgud made his screen debut during 1924 as Daniel Arnault in Walter Summers's silent film Who Is the Man? (1924).[33] Noël Coward with Lilian Braithwaite, his, and later Gielgud's, co-star in The Vortex In May 1925 the Oxford production of The Cherry Orchard was brought to the Lyric Theatre, Hammersmith. Gielgud again played Trofimov.[34] His distinctive speaking voice attracted attention and led to work for BBC Radio, which his biographer Sheridan Morley calls "a medium he made his own for seventy years".[1] In the same year Noël Coward chose Gielgud as his understudy in his play The Vortex. For the last month of the West End run Gielgud took over Coward's role of Nicky Lancaster, the drug-addicted son of a nymphomaniac mother. It was in Gielgud's words "a highly-strung, nervous, hysterical part which depended a lot upon emotion".[35] He found it tiring to play because he had not yet learned how to pace himself, but he thought it "a thrilling engagement because it led to so many great things afterwards".[35] The success of The Cherry Orchard led to what one critic called a "Chekhov boom" in British theatres, and Gielgud was among its leading players.[36] As Konstantin in The Seagull in October 1925 he impressed the Russian director Theodore Komisarjevsky, who cast him as Tusenbach in the British premiere of Three Sisters. The production received enthusiastic reviews, and Gielgud's highly praised performance enhanced his reputation as a potential star.[37] There followed three years of mixed fortunes for him, with successes in fringe productions, but West End stardom was elusive.[38] In 1926 the producer Basil Dean offered Gielgud the lead role, Lewis Dodd, in a dramatisation of Margaret Kennedy's best-selling novel, The Constant Nymph. Before rehearsals began Dean found that a bigger star than Gielgud was available, namely Coward, to whom he gave the part. Gielgud had an enforceable contractual claim to the role, but Dean, a notorious bully, was a powerful force in British theatre.[39][40] Intimidated, Gielgud accepted the position of understudy, with a guarantee that he would take over the lead from Coward when the latter, who disliked playing in long runs, left.[41] In the event Coward, who had been overworking, suffered a nervous collapse three weeks after the opening night, and Gielgud played the lead for the rest of the run. The play ran for nearly a year in London and then went on tour.[42] Sometimes, colleagues of My Effective Strategies share special offers with us that we think our readers should be made aware of. Above is one such special opportunity that we believe deserves your attention.   [MES logotype footer]( To ensure you keep receiving our emails, be sure to [whitelist us](. Copyright © 2023 My Effective Strategies. 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