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Sir Arthur John Gielgud (born April 14, 1904 – died May 21, 2000) was a famous English actor and theatre director. His amazing career lasted for eighty years! Along with Ralph Richardson and Laurence Olivier, he was one of the three most important actors on the British stage for much of the 20th century.

Gielgud came from the famous Terry family of actors. He got his first paid acting job in 1922. After studying at the Royal Academy of Dramatic Art, he worked in different theatres. He became well-known for playing characters from Shakespeare's plays at the Old Vic theatre from 1929 to 1931.

In the 1930s, Gielgud was a big star in London's West End and on Broadway in New York. He acted in both new plays and classic ones. He also started directing plays and even had his own theatre company. Many people thought he was the best Hamlet of his time. He was also great at funny roles, like John Worthing in The Importance of Being Earnest.

Later in his career, Gielgud found new plays that suited him. These were by writers like Alan Bennett and Harold Pinter. He also started taking film acting more seriously.

A Life in Acting: John Gielgud's Journey

Early Life and Family Connections

John Gielgud was born in South Kensington, London, on April 14, 1904. He was the third of four children. His father, Frank Henry Gielgud, was a stockbroker. His mother, Kate Terry-Gielgud, came from a famous family of actors.

John's older brothers were Lewis Gielgud, who worked for the Red Cross, and Val Gielgud, who became head of BBC radio drama. His younger sister, Eleanor, was his secretary for many years. On his father's side, John's family was from Lithuania and Poland. His family, the Counts Gielgud, had owned land in Lithuania.

John's mother's family, the Terry family, had many famous actors. These included Ellen Terry, Fred Terry, and Marion Terry. Even though his parents loved theatre, they didn't want their children to become actors. John's father even suggested he become an architect. But John loved drama. When he left school in 1921, he convinced his parents to let him take acting lessons. He promised to find an office job if he wasn't earning enough by age twenty-five.

First Steps on Stage

At seventeen, Gielgud joined a drama school. His teacher, Constance Benson, told him he walked awkwardly. He later said this helped him become less self-centered. Before and during drama school, he acted in amateur plays. In November 1921, he made his professional debut at the Old Vic theatre. He played a small part in Henry V with only one line. He stayed for the rest of the season, playing silent roles in other plays.

His first important acting job came from his family. In 1922, his cousin Phyllis Neilson-Terry asked him to join her theatre tour. He was an understudy (someone who learns a role in case the main actor can't perform), played small parts, and helped backstage. A colleague saw his talent and suggested he go to the Royal Academy of Dramatic Art (RADA). Gielgud won a scholarship and trained there in 1923.

After RADA, Gielgud got a part in The Insect Play. He later felt he wasn't very good in it. He then joined a theatre company in Oxford. He played many different roles there, which helped him improve his acting skills a lot. He especially enjoyed playing Trofimov in The Cherry Orchard. He said it was the first time he felt he could truly be an actor.

Becoming a West End Star

In 1924, Gielgud played Romeo in London. He became good friends with his co-star, Gwen Ffrangcon-Davies. In the same year, he made his first silent film, Who Is the Man?.

In 1925, The Cherry Orchard moved to a London theatre. Gielgud's unique speaking voice got attention. This led to work for BBC Radio, where he worked for seventy years. That same year, Noël Coward chose Gielgud as his understudy in The Vortex. Gielgud took over Coward's role for the last month of the show. He found the part very emotional and tiring, but it led to many great opportunities.

The success of The Cherry Orchard made Chekhov's plays popular in Britain. Gielgud became a leading actor in these plays. He impressed a Russian director, Theodore Komisarjevsky, who cast him in Three Sisters. His performance was highly praised and boosted his reputation.

In 1926, Gielgud was offered a main role in The Constant Nymph. But the director gave the part to Noël Coward instead. Gielgud had a contract, but he was intimidated and accepted being an understudy. Luckily, Coward became ill, and Gielgud took over the lead role for the rest of the show's long run.

By this time, Gielgud was earning enough to live on his own. He had his first serious relationship with John Perry, who remained a lifelong friend.

Old Vic Theatre and Shakespearean Fame

In 1929, Harcourt Williams invited Gielgud to join the Old Vic theatre company. The Old Vic was known for performing classic plays, especially Shakespeare, for audiences at low prices. Actors earned less there, but it was a great place to learn Shakespearean acting.

During his first season, Gielgud played many roles, including Romeo and Richard II. His performance as Richard II showed critics he was a powerful Shakespearean actor. He was praised for understanding the character and controlling the language.

In April 1930, Gielgud played Hamlet. The director used the full text of the play, which was unusual then. The show lasted almost five hours, but audiences and critics loved it. Famous actress Sybil Thorndike said she had never seen Hamlet played so perfectly. The show was so popular it moved to a larger theatre in London's West End. Gielgud's Hamlet was highly praised, with one critic calling it "the high water-mark of English Shakespearean acting of our time."

Hamlet became a role Gielgud was known for. After that, he played John Worthing in The Importance of Being Earnest. These two roles showed his different acting talents: the serious Hamlet and the witty Worthing. His aunt, Mabel Terry-Lewis, played Lady Bracknell in the play.

Returning to the Old Vic in 1930, Gielgud worked with Ralph Richardson for the first time. They became lifelong friends and professional partners. Gielgud played many other roles, including Prospero in The Tempest and King Lear.

Directing and Film Appearances

After the Old Vic, Gielgud starred in The Good Companions in the West End. It was a big commercial success. He also made a film version of the play in 1933. Gielgud didn't enjoy film acting much at first. He preferred the stage and made few films until much later in his career.

In 1932, Gielgud started directing plays. He directed Romeo and Juliet for the Oxford University Dramatic Society. He was praised for his inspiring direction. He also directed other plays in London. In 1932, he starred in Richard of Bordeaux, a very successful historical play.

In 1934, Gielgud returned to Hamlet, both directing and starring in it. It was a huge success. Many actors, like Alec Guinness, watched him every night. They felt he was playing the Hamlet of their time.

The next year, Gielgud directed his most famous Shakespeare production: Romeo and Juliet. He starred with Peggy Ashcroft and Laurence Olivier. Gielgud gave Olivier a big boost in his career. The play broke box-office records. Olivier was upset that critics praised Gielgud's speaking of Shakespeare's lines more than his own.

In 1936, Gielgud made his last film before the war, Secret Agent, directed by Alfred Hitchcock. Gielgud found Hitchcock's way of working difficult. From September 1936 to February 1937, Gielgud played Hamlet in North America. His production was very popular and broke Broadway records.

Leading His Own Theatre Company

After returning from America, Gielgud decided to form his own theatre company. He wanted to perform Shakespeare and other classic plays in the West End. He invested a lot of his own money.

From September 1937 to April 1938, Gielgud's company performed at the Queen's Theatre. They put on Richard II, The School for Scandal, Three Sisters, and The Merchant of Venice. His company included talented actors like Peggy Ashcroft and Michael Redgrave. Gielgud's performances were highly praised. Another famous actor, Olivier, called Gielgud's Joseph Surface "the best light comedy performance I've ever seen."

The company didn't make much money, so Gielgud returned to more typical West End plays. In 1939, he directed and appeared in The Importance of Being Earnest. Edith Evans played Lady Bracknell for the first time.

War Years and Post-War Success

When World War II began, Gielgud wanted to join the army. But the government decided actors could help more by entertaining soldiers and the public.

Gielgud directed The Beggar's Opera in 1940. He also helped reopen the Old Vic theatre with Shakespeare plays. His performance as Prospero in The Tempest was a big success. He also toured military camps, performing for the troops.

In 1940, he made a film called The Prime Minister, playing Benjamin Disraeli. This film helped boost morale during the war. Gielgud felt more comfortable acting for the camera this time.

Throughout the 1940s, Gielgud continued to work constantly. He acted in and directed many plays, including a highly praised revival of Love for Love. In 1944, Ralph Richardson asked Gielgud to join him and Olivier in forming a new company at the Old Vic. Gielgud declined, saying they would spend all their time arguing.

A 1944–45 season at the Haymarket Theatre included a Hamlet performance that many considered his best. He also toured the Middle and Far East with Hamlet. He played Hamlet on stage for the last time during this tour. He then starred in Crime and Punishment in London and on Broadway.

Gielgud was also in demand as a director. In 1949, he helped save a play called The Heiress, which ran for many performances. His last big hit of the 1940s was The Lady's Not for Burning, which he also directed.

Film Success and New Challenges in the 1950s

In the 1950s, Gielgud worked to regain his place as a leading Shakespearean actor. His performance as Angelo in Measure for Measure (1950) showed a new, more natural style of acting.

In 1953, Gielgud made his first Hollywood film, Julius Caesar, playing Cassius. He was the only classical actor among Hollywood stars like Marlon Brando. Gielgud felt he learned a lot about film acting from his co-star James Mason. He enjoyed his time in California.

Later in 1953, Gielgud took over the Lyric Theatre in Hammersmith for a season of classic plays. He directed Richard II and acted in others. He was made a knight in 1953, becoming Sir John Gielgud.

In 1955, Gielgud appeared in his second Shakespeare film, playing Clarence in Olivier's Richard III.

In the late 1950s, British theatre started changing. New, more experimental plays became popular. Gielgud found it hard to find new stage roles that suited him. However, he remained popular as a Shakespearean actor. He directed and starred in Noël Coward's Nude with Violin in 1956. He also made two more film appearances, including a funny scene with Coward in Around the World in 80 Days (1956).

A very important part of his career in the late 1950s and 1960s was his one-man show, The Ages of Man. He performed this show every year from 1956 to 1967. It was a collection of Shakespearean speeches and poems, which Gielgud recited while wearing modern clothes. He performed it all over the world, including at the White House in 1965. He won a Special Tony Award for his Broadway performance in 1959. An audio recording of the show later won a Grammy Award.

Gielgud also directed Peter Shaffer's first play, Five Finger Exercise (1958), which was very successful. In 1959, he made his first television appearances. He appeared in more than fifty TV plays over the next forty years.

The 1960s: More Films and New Plays

In the early 1960s, Gielgud had more success as a director than as an actor. He directed the first London performance of Britten's opera A Midsummer Night's Dream in 1961. He also won a Tony Award for directing Big Fish, Little Fish on Broadway. In 1962, he directed Ralph Richardson in The School for Scandal.

In 1962, Gielgud met Martin Hensler, who became his long-term partner. Gielgud moved his main home from London to Buckinghamshire.

Gielgud received an Oscar nomination for his role as King Louis VII of France in Becket (1964). This role helped him become more recognized in films. In 1964, Gielgud directed Richard Burton in Hamlet on Broadway. The play was a box-office hit, and a film was made of it. Gielgud started to take film acting more seriously. He appeared in films like The Loved One (1965) and Orson Welles's Shakespeare film, Chimes at Midnight (1966).

In the late 1960s, Gielgud directed many plays and operas. He finally found a modern acting role that suited him: the Headmaster in Alan Bennett's play, Forty Years On (1968). Critics loved his performance.

He appeared in six films between 1967 and 1969. His biggest role was Lord Raglan in The Charge of the Light Brigade. He also had small roles in films like The Shoes of the Fisherman (1968) and Oh! What a Lovely War (1969).

The 1970s: A Golden Age of Acting

In 1970, Gielgud had another big success in a modern play. He joined Ralph Richardson at the Royal Court Theatre in David Storey's Home. The play was about two elderly men in a nursing home. It moved to the West End and then to Broadway. Critics praised Gielgud and Richardson, saying they gave "two of the greatest performances of two careers." The play was also made into a television show in 1972.

In the first half of the 1970s, Gielgud made seven films and six television dramas. His notable film roles included the Old Cardinal in Galileo (1974) and the manservant Beddoes in Murder on the Orient Express (1974). For television, he played the Caliph in Hassan (1971), a performance praised for its power.

Gielgud continued his long stage partnership with Ralph Richardson in Harold Pinter's No Man's Land (1975). The play was very funny and also sad. It was a big success and played in London and on Broadway. In 1977, Gielgud received great reviews for his role in Half-Life.

In the later 1970s, Gielgud worked more in cinema and television. His most important film role was Clive Langham in Providence (1977). He won an award for his performance as a dying author. He also played John of Gaunt in a TV version of Richard II (1978).

Later Years and Legacy

In the 1980s, Gielgud appeared in more than twenty films. He had roles in famous movies like The Elephant Man (1980), Chariots of Fire (1981), and Gandhi (1982). These last two films won Academy Awards for Best Picture. He also appeared with Richardson and Olivier in the film Wagner (1983). Gielgud often took small roles in films, which added class to them. He said he enjoyed traveling the world for these roles.

Gielgud's most successful film performance of the decade was in the comedy Arthur (1981). He played Hobson, the butler, and won an Oscar for Best Supporting Actor. He didn't care much for awards and tried to avoid ceremonies.

For television, Gielgud played nineteen roles in the 1980s. He was praised for his role as Edward Ryder in Brideshead Revisited (1982). He also won an Emmy Award for his role in Summer's Lease (1991).

Gielgud's last West End play was The Best of Friends (1988). He played Sydney Cockerell, a museum director.

In 1990, Gielgud made his last leading film appearance as Prospero in Prospero's Books, a film based on The Tempest. His performance was highly praised. He continued to work on radio throughout his career. To celebrate his ninetieth birthday, he played Lear for the last time in a BBC radio production.

He continued to appear on television until 1994. His last TV role was in Summer Day's Dream. He then made small appearances in films like Hamlet (1996), Dragonheart (1996), and Shine (1996). His very last film role was as Pope Pius V in Elizabeth (1998). In 2000, he had a non-speaking role in a short film.

John Gielgud's partner, Martin Hensler, passed away in 1999. Gielgud himself died at home on May 21, 2000, at the age of 96.

Awards and Recognition

John Gielgud received many honors during his life. He was made a Knight in 1953. He also received the Legion of Honour from France in 1960. In the UK, he was given the Companion of Honour in 1977 and the Order of Merit in 1996.

From 1977 to 1989, Gielgud was the president of the Royal Academy of Dramatic Art. In 1996, the Globe Theatre in London was renamed the Gielgud Theatre in his honor. He joked that he finally recognized a name in lights on the street, even if it was his own!

Gielgud was not very interested in religion or politics. He was very focused on his acting work. He was known for his fun personality and often laughed at his own stories of mishaps.

Along with Ralph Richardson and Laurence Olivier, John Gielgud was known internationally as one of the "great trinity of theatrical knights." These three actors were the most important figures on the British stage for over fifty years.

Gielgud saw theatre as more than just a job; for him, it was his whole life.

Books by John Gielgud

  • Early Stages (1939)
  • Stage Directions (1963)
  • Distinguished Company (1972)
  • An Actor and His Time (1979)
  • Backward Glances (1989)
  • Acting Shakespeare (1991)
  • John Gielgud's Notes from the Gods – Playgoing in the Twenties (1994)
  • Gielgud's Letters (2004)

Anthologies and Acting Versions

  • Sir John Gielgud's Ages of Man (1979)
  • The Cherry Orchard (1963) – acting version
  • Ivanov (1966) – acting version

Images for kids

See also

Kids robot.svg In Spanish: John Gielgud para niños

  • List of British actors
  • List of British Academy Award nominees and winners
  • List of actors with Academy Award nominations
  • List of actors with two or more Academy Award nominations in acting categories
  • List of LGBT Academy Award winners and nominees
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