Percy Waram

Percy Thomas Carne Waram (/wæɹəm/ WAIR-um;^[1] 28 October 1880 – 5 October 1961) was a British-born stage and film actor who spent much of his career in the United States. His career lasted 55 years on the American stage, and he had memorable roles in The Shanghai Gesture, Elizabeth the Queen, Mary of Scotland, Pride and Prejudice, and Anne of the Thousand Days. He starred in the Chicago production of Life With Father for three years, setting box office and attendance records, after which he took the production on the road for another 38 weeks. He starred in the Broadway production of The Late George Apley for a year, and then spent another 80 weeks with the show's national tour.

Waram originated the role of Horace Vandergelder in The Merchant of Yonkers, and appeared in an influential if not successful modern dress version of Hamlet.

Waram made only a few films, and had no starring roles, but is best remembered now for his role as General Haynesworth in the film A Face in the Crowd.

Early life

Percy Thomas Carne Waram was born 28 October 1880 in Cornwall^[2] in the United Kingdom to Joseph Carne Waram and his wife, Margaret Frances ( Powrie).^[3] His father served in the British Army,^[2] and his mother's family was Irish.^[4] He was a descendant of Mary Saunderson Betterton (1637–1712), the famed Elizabethan era actress.^[1] His great-grandmother was Julia Betterton Glover (1779–1850), the great comic actress of the early 1800s^[4] and the first woman to perform in Hamlet.^[5] His grandmother and mother were also actresses.^[1]

As a child, Waram wanted to join the army like his father had. While on holiday when he was 15 years old,^[1] he visited his older sister, who was appearing in the play East Lynne.^[2] A member of the cast fell ill,^[2] and Waram was cast as a butler in the play. He was immediately recast in the double role of an English nurse (in blonde wig) and French nurse (in black wig).^[1] It was his stage debut.^[1]

His family's difficult financial condition led him to go to work as an actor.^[2] He took a position with the same traveling company in which his sister was an actress, but quit shortly thereafter to join Sir Ben Greet's repertory company.^[1] He made his London theatrical debut in 1899.^[6] Waram came with the Greet troupe when it traveled to the United States in 1902.^[7][8] He made his American stage debut in the play Everyman at the Maryland Theatre in Baltimore, Maryland.^[5]

After two years in the United States, Waram returned to the U.K. in 1905 to form his own touring troupe.^[2] The company largely performed in rural areas, often appearing in "tough mining towns".^[4] While performing in Glasgow, Scotland, an audience member threw a mug of beer at his head, knocking him senseless.^[2][4][a] Waram decided to rejoin the Ben Greet company after the incident, and traveled with them to the U.S. again.^[2] He traveled back and forth between the United Kingdom and United States, appearing in plays on both side of the Atlantic Ocean. He permanently relocated to the U.S. in 1908.^[1]

Stage work

Early years

The Greet troupe specialized in presenting plays by William Shakespeare, and Waram appeared in As You Like It,^[9] The Merchant of Venice, Macbeth, Julius Caesar,^[10] Much Ado About Nothing,^[11] A Midsummer Night's Dream,^[12] Hamlet,^[13] and The Taming of the Shrew.^[14] The Greet players occasionally did other plays, and Waram appeared in She Stoops to Conquer in 1908.^[15]

Waram sometimes worked for other companies as well. He appeared in the Violet Allen Company's production of Twelfth Night an American tour in 1903,^[16] the Frances Delaval Company's production of Her Lost Self at the St. James' Theatre in London in 1906,^[17] and performed for the William Faversham Company in 1909.^[18]

In 1910, Waram formed a very small troupe under the name "Percy Waram & Co.", and toured the Keith-Albee-Orpheum and Proctor theater circuits in vaudeville in the sketch The Boatswain's Mate ( The Bos'n's Mate).^[19] W. W. Jacobs and Herbert N. Sargent wrote the sketch specifically for Waram, adapting a short story of the same name by Jacobs.^[20] The sketch made its debut at the Montauk Theatre in Passaic, New Jersey,^[19] and Waram & Co. performed it until October 1915. Vaudeville proved highly lucrative for him.^[21]

Broadway debut and other early stage work

Waram most likely made his Broadway debut in the 1909 production of The Barber of New Orleans at Daly's Theatre.^[22] The following year he appeared in Arthur Conan Doyle's play The Fires of Fate at the Liberty Theatre on Broadway.^[23]

After his three years in vaudeville ended, Waram returned to the stage as Captain Smollett^[24] in Treasure Island. The play premiered in June 1916 at the Colonial Theatre in Chicago.^[25] In October, the production moved to the Punch and Judy Theatre on Broadway,^[26] The play was Waram's first hit, running for 331 performances.^[27]

Waram returned to Broadway in the Mark Swan play Somebody's Luggage at the 48th Street Theatre in August 1916.^[28] This was followed by the role of the Gardener in the Charles Frohman Company's production of J. M. Barrie's play Barbara's Wedding.^[29] The play had its world premiere in Buffalo, New York.^[30]

His second hit play was Jane Cowl and Jane Murfin's Lilac Time, and his first important role.^[2] He played Captain Paget in the national touring company, which had a long run in Chicago in early 1918.^[31] He joined William Faversham's production of Lord and Lady Algy, which premiered at the Shubert Theatre on Broadway in December 1918, and stayed with the production during its 1919 national tour.^[32] He played the role of Lord Andrew Gordon^[33] in Guy Bolton and George Middleton's play Adam and Eva during its national tour, which began in the summer of 1920^[34] and did not end until March 1921. He followed by playing the role of George Herbert in Norman Trevor's Little Theater Group production of The Married Woman at Broadway's Princess Theatre in December 1921.^[35]

Waram appeared in a number of Broadway plays over the next five years: As Phillip Blanchard in Eden Phillpotts' The Shadow at the Klaw Theatre in April 1922,^[36] as the Elder Brother^[37] in The Lucky One at the Garrick Theatre in November 1922,^[38] as Jacques^[39] in The Tidings Brought to Mary at the Garrick Theatre in December 1922,^[40] as Domin in R.U.R. at the Shubert Theatre in April 1923,^[41] as Winthrop Field^[42] in A Love Scandal at the Ambassador Theatre in November 1923,^[43] as Beaucaire in Monsieur Beaucaire at the Murat Theatre in Indianapolis in May 1924,^[44] as Maitland White in Philip Barry's You and I at the Murat Theatre in May 1924,^[45] as Hugh Chadwell in Walter Archer Frost's Cape Smoke^[46] at the Martin Beck Theatre in February 1925,^[47] as Horatio in a modern dress version of Hamlet^[48] at the Booth Theatre in November 1925,^[49] and as Citizen Hogan in Hangman's House^[50] at the Forrest Theatre in December 1926.^[51] Waram later considered his role in the modern dress Hamlet to be one of the most important in his career.^[2][21]

The Shanghai Gesture and stardom

After a run of nearly a year on Broadway, John Colton's hit play The Shanghai Gesture began a national tour, which began in Chicago in March 1927.^[52] Waram played Sir William Charteris, taking over from McKay Morris (who originated the role on Broadway).^[53] The play altered his career, turning him into a major star on the stage.^[2] After a four month run in Chicago,^[53][54] the play moved to Salt Lake City in May 1927,^[53] and San Francisco in June.^[55] After a four month run in California, the play moved to Kansas City, where it broke box office records for attendance.^[56] The play then toured Cincinnati,^[57] Detroit,^[58] Montréal,^[59] Pittsburgh,^[60] Baltimore,^[61] and Washington, D.C.,^[62] before returning to Broadway's Majestic Theatre on January 30, 1928 for a final, limited run.^[63]

Waram worked steadily through the early years of the Great Depression after the success of The Shanghai Gesture. Taking almost no time off, he appeared as Bill Walker^[64] in the October 1928 production of Major Barbara at the Guild Theatre,^[65] and the role of the Servant in Camel Through the Needle's Eye at the Guild Theatre in April 1929.^[66] He left Camel after just a week in the role to join the national touring company of Major Barbara.^[67] The role helped cement his reputation as a reliable actor, and brought him to the attention of producers nationwide.^[2] After spending the summer on tour, he took the role of Col. Pickering^[68] in the regional touring company of Pygmalion. The play premiered in September 1929 at the Wilson Theatre in Detroit for tryouts^[69] before moving to Indianapolis,^[68] St. Louis,^[70] Chicago,^[71] and Pittsburgh.^[72]

In October 1930, Waram originated the role of Sir Walter Raleigh in Maxwell Anderson's new play, Elizabeth the Queen. The play debuted at Ford's Theatre in Baltimore^[73] and then played regionally before making its Broadway premiere at the Guild Theatre in November 1930.^[74] Waram toured nationally in the role until June 1931.

After taking a year off, Waram took the role of Comte Dubarry^[75] in the new operetta The Dubarry, which had its world premiere at George M. Cohan's Theatre^[76] in November 1932.^[77][b] The operetta was not successful, and in April 1933 Waram originated the role of Howard Bartlett in Somerset Maugham's new play, For Services Rendered.^[78] After a tryout in Oakland, California, the first week of April,^[79] the play moved to the Booth Theatre on Broadway.^[78] The play closed quickly, and was critically panned. Waram's performance was considered the only outstanding aspect of the production.^[80] With work on the stage scarce due to the Great Depression, Waram joined the summer stock repertory company at the Casino Theatre in Newport, Rhode Island.^[81] He appeared in at least one play, the drawing room comedy Aren't We All?^[82] In October 1933, he appeared as Don Salluste de Bazan in an English-language adaptation of Victor Hugo's Ruy Blas.^[83] After a brief run at the Majestic Theatre,^[84] the play moved to Baltimore,^[83] where it closed after a week. Waram was not out of work long: When Stanley Ridges left the role of Lord Morton (which he had originated) in Mary of Scotland at the Alvin Theatre, Waram took over the role.^[85][86][c]

After Mary of Scotland closed in May 1934, Waram accepted the role of Uncle Robert in Picnic, a new comedy by Gretchen Damrosch staged at the National Theatre.^[87] The play quickly closed, and Waram returned to the Casino Theatre's summer stock company,^[88] where he appeared in A Bill of Divorcement^[89] and Benn Levy's Art and Mrs. Bottle.^[90] Although Waram had no contract at the start of the 1934-1935 theater season, he appeared as Henry Pryor in the drama Living Dangerously at the Morosco Theatre in January 1935.^[91]

Film and stage work after 1935

First film roles and Pride and Prejudice

Waram was cast in his first film in March 1935.^[92] The role, a small one which barely made the final cut, was for Mutiny on the Bounty.^[93]

After completing work in Hollywood, Waram returned to Broadway in the role of Mr. Bennett in Helen Jerome's stage adaptation of Jane Austen's Pride and Prejudice. The play debuted at the National Theatre in October 1935,^[94] and was a major hit.^[95] It ran for 219 performances (with only short interruptions for cast vacations) until May 1936.^[96]

A series of much less successful plays followed over the next two years. These included the role Sir Hudson Lowe in the American premiere of St Helena in October 1936 at the Lyceum Theatre,^[97] Mr. Pinchwife in The Country Wife in December 1936 at Henry Miller's Theatre,^[98] and Malvolio in Twelfth Night at the Mohawk Drama Festival in Schenectady, New York, in July 1937.^[99] He joined the repertory company at the County Theatre in Suffern, New York, in the summer of 1937,^[100] appearing in A Bill of Divorcement^[101] and Pride and Prejudice.^[102] After nearly a year's break, Waram returned to the stage in Ruy Blas at a drama festival in Central City, Colorado, in May 1938.^[103]

Three and a half years after Mutiny on the Bounty, Waram signed to do a second film. He played the role of slumlord business manager Arthur Mather in the social drama ...One Third of a Nation...^[104]

The Merchant of Yonkers and Life With Father

In December 1938, Waram originated the role of Horace Vandergelder in Thornton Wilder's new play, The Merchant of Yonkers. After a brief tryout in Boston,^[105] the play moved to the Guild Theatre on Broadway.^[106] Actress Jane Cowl (who played the role of Dolly Levi) intensely disliked director Max Reinhardt, and Reinhardt retaliated by isolating Cowl physically on stage.^[107] The play was considered a disappointment, and ran for only 28 performances.^[108][d]

After another year away from the theater, Waram took the role of "Father" Clarence Day Sr. in a Chicago production of the hit Broadway play Life With Father. After a tryout at the Maryland Theatre in Baltimore,^[109] it opened at the Blackstone Theatre in Chicago on February 19, 1940.^[110] Waram was the first individual to take over the role of Father from the play's co-author Howard Lindsay, who originated the role on Broadway.^[5] Waram was widely praised for his interpretation.^[110]

The play ran for a record 66 weeks in Chicago, with attendance of more than 590,000 patrons and a box office gross of $850,000 ($ in dollars).^[111] The play called for Father to stamp a foot on the floor, calling for the cook to come upstairs. Waram stomped so ferociously that he broke his foot, and had to switch feet for the scene.^[5] He tried banging on a plate with silverware, but the prop plates broke too easily. He then tried whistling, but was not very good at it.^[2] He returned to stomping. When he came down with gout, he began using a cane to bang on the floor.^[5] Lillian Gish played opposite Waram as "Mother" Lavinia Day.^[5] Waram spent three years in the role.^[7]

After a two-month break, a touring company of Life With Father began, with Margalo Gillmore in the role of "Mother".^[112] The tour ran until July 1942, and resumed again in October 1942 with June Walker as "Mother".^[113] After another 38 and a half weeks on the road and net profits of $559,000 ($ in dollars), the tour finally came to an end.^[114]

Just as the tour of Life With Father came to an end, Waram was cast as Inspector Prentice in Paramount Pictures' noir crime film, Ministry of Fear. ^[115]

The Late George Apley and Anne of the Thousand Days

After a year away from the stage, Waram returned to acting in the role of Roger Newcombe^[116] in an adaptation of the novel The Late George Apley. Waram originated the role, with Leo G. Carroll in the leading role of George Apley. After a tryout at the Wilmington Playhouse in Wilmington, Delaware, in October 1944^[117] and the Plymouth Theatre in Boston in November,^[116] it made its Broadway debut at the Lyceum Theatre.^[118] With only brief interruptions to rest the cast, the play ran until November 1945 on Broadway^[119] before embarking on an 80-week national tour.^[120]

Just five months after finishing the Apley tour, Waram originated the role of Marcus Hubbard in Lillian Hellman's play Another Part of the Forest.^[121] The play premiered in Wilmington before additional tryouts in Baltimore and Detroit.^[122] It premiered on Broadway at the Fulton Theatre in November 1946,^[121] where it ran for 182 performances.^[123] Waram left the show in September 1947.^[124]

In June 1946, during the national tour of The Late George Apley, Waram was cast as Roger Newcombe in the film version.^[125] Filming commenced in September 1947, and did not end until December.^[120] Waram only member of the stage production cast in film.^[126]

In November 1948, a year after filming The Late George Apley, Waram originated the role of Cardinal Wolsey in the new Maxwell Anderson play Anne of the Thousand Days. The play premiered at the Forrest Theatre in Philadelphia^[127] and moved to Broadway's Shubert Theatre in early December.^[128] Waram stayed with the production until early June 1949.^[129]

Final years

Last roles

Waram was cast in 1949 as senior law partner John Benley, father of Elizabeth Taylor's Mary Benley, in Metro-Goldwyn-Mayer's 1950 comedy The Big Hangover.^[130]

Now 70 years old, Waram did not work in 1950 or 1951. He returned to Broadway in October 1952 in the dual role of the Station Master and God in Ugo Betti's play The Gambler (adapted by Alfred Drake). The play premiered at the Lyceum Theatre,^[131] and closed after a short run. Waram returned to acting in October 1954, originating the role of Lucas Edgerton, a wealthy industrialist who goes on an art buying spree, in Reclining Figure.^[132]

Waram's final hit stage role was that of the no-nonsense Judge in Enid Bagnold's new play The Chalk Garden.^[133] The play had its world premiere at the Shubert Theater in Hartford, Connecticut,^[134] before moving to the Wilbur Theatre in Boston.^[133] It made its Broadway debut at the Ethel Barrymore Theatre in late October 1955,^[135] running for 182 performances.^[136]

In September 1956, Waram was cast in his final film role, that of General Haynesworth, chief executive officer of a vitamin company, in the film A Face in the Crowd.^[137]

Waram appeared in his final stage role^[7] in October 1957. He played veteran police inspector Desiré Merlin in Michael Blankfort and Dorothy Stiles Blankfort's new play Monique. The work premiered at The Playhouse in Wilmington^[138] before moving to Broadway's John Golden Theatre two weeks later.^[139] The play closed after 63 performances.^[140]

Death

Waram's wife, Lucia, died in March 1961.^[8][141]

In September 1961, Waram traveled to Huntington, New York, to be close to his daughter, who was ill. He entered the hospital himself on September 24,^[7][8] and died on October 5, 1961, at Huntington Hospital of an undisclosed illness.^[141] His funeral was held at Calvary Episcopal Church in Stonington, Connecticut, and he was buried at Stonington Cemetery.^[141]

Personal life

Percy Waram married Lucia Cole, an American stage actress, on February 11, 1909.^[142] They met when she appeared alongside Waram in Everyman in 1902, and she later joined the Ben Greet company.^[143] The couple made their home in Stonington,^[1] and maintained a second home on the Cornish coast.^[21] The couple had two children: Frances Cole Waram (1911-1994), who married John H. Trowbridge in 1937,^[144] and Julian Thomas Cole Waram (1913-1982),^[141] for years a member of the United States Coast Guard.^[1] Waram's children were educated at a private school in Switzerland.^[21]

Waram once voiced a fondness for quiet roles,^[4] and later said he preferred bloody mystery-thrillers.^[21]

Boating and golfing were Waram's favorite pastimes, and he often smoked cigars.^[2] He was a member and strong supporter of the Actors' Equity Association (the American stage performer's union).^[4]

Waram went mostly bald early in life. He had mid frontal baldness, and wore a toupée on stage in most of his roles. While starring in the play Lilac Time, his toupée caught on a piece of stage scenery. The near-disaster led him to grow out a mustache out of a fear that a fake mustache would fall off during a performance.^[2]

Filmography

Stage roles

References

Notes

1. ^ It was common at the time for audience members to boos, hiss, and throw things at villains in plays. The audience member was not dissatisfied with Waram's performance; he just loathed the villain Waram was playing.^[2]
2. ^ The operetta was based on the German operetta Gräfin Dubarry, with music by Carl Millöcker and libretto by Paul Knepler and J.J. Willeminsky. It was translated and adapted into English by Rowland Leigh and Desmond Carter, with a book by Rowland Leigh.^[145]
3. ^ Ridges left to take a role in Eugene O'Neill's new play, Days Without End.^[85] It swiftly closed.
4. ^ After what Wilder called "slight reworking", it returned to Broadway in 1954 as The Matchmaker. This run was far more successful.^[146] The play was reworked into a musical by Jerry Herman and Michael Stewart, and debuted as Hello, Dolly! in 1964 to great acclaim. It ran for 2,844 performances.^[147]

Citations

1. ^ Wallace, Kevin (May 17, 1942). "Percy Waram Tells About 'Father's' Battlecry". San Francisco Examiner. p. Pictorial Review 4.
2. ^ Irwin, Virginia (January 8, 1942). "He's the Father in 'Life With Father'". St. Louis Post-Dispatch. p. D3.
3. ^ Carnell 2016, p. 160.
4. ^ Mauree, Mabel (May 7, 1922). "Though He Is an English Actor Percy Waram Isn't a Lord's Son". Brooklyn Daily Eagle. p. C10.
5. ^ "Father (On Stage) Has Gout But It Doesn't Cramp His Style". The Baltimore Sun. October 6, 1941. pp. 22, 16.
6. ^ "Veteran Returns". New York Daily News. October 26, 1956. p. 77.
7. ^ "Percy Waram, Actor, 80, Dies". The Baltimore Sun. October 7, 1961. p. 11.
8. ^ "'Life With Father' Star Dies at 80". San Francisco Examiner. October 7, 1961. p. 36.
9. ^ "Open Air Dramatics". New Haven Morning Journal-Courier. May 25, 1903. p. 3.; "Shakespeare On Campus". The Charlotte News. May 10, 1907. p. 5.
10. ^ "Ben Greet's Season". The New York Times. February 18, 1907. p. 9.
11. ^ "News of the Theaters". Chicago Tribune. July 9, 1907. p. 8.
12. ^ "Shakespeare With Symphony Music". The New York Times. January 3, 1909. p. 11.
13. ^ "Amusements". The Charlotte News. March 22, 1909. p. 7.
14. ^ "Ben Greet Players Coming". Passaic Daily News. May 27, 1909. p. 1.
15. ^ "Two Plays by the Greet Company". Hartford Courant. January 16, 1908. p. 6.
16. ^ "Viola Allen—Great in 'Twelfth Night'". Lexington Morning Herald. November 27, 1903. p. 8.; "Drama and Music". The Boston Globe. January 30, 1904. p. 4.
17. ^ "St. James's Theatre". The Guardian. April 4, 1906. p. 12.
18. ^ "Amusement Notes". The Brooklyn Standard Union. December 18, 1908. p. 3.
19. ^ "News of the Theaters". Passaic Daily Herald. March 17, 1910. p. 2.
20. ^ "At the Theaters". Louisville Courier-Journal. June 15, 1913. Section 4, Page 5.
21. ^ "Waram Prefers Bloody Drama". The Los Angeles Times. July 3, 1927. Part 3, Page 13.
22. ^ "Theatrical Attractions in the Metropolis". Buffalo Sunday Morning News. January 17, 1909. p. 10.
23. ^ "Plays and Players in Theaters of New York". The Indianapolis News. January 1, 1910. p. 12.; "Scene Laid in Egypt". Brooklyn Times Union. December 30, 1909. p. 6.
24. ^ "Attractions at the Theatres". The Boston Globe. May 6, 1917. p. 44.
25. ^ Hammond, Percy (June 6, 1916). "Giving R.L. Stevenson A Square Deal". Chicago Tribune. Section 2, Page 1.
26. ^ "'Treasure Island' Again". Brooklyn Daily Eagle. October 22, 1916. p. 24.
27. ^ "'Treasure Island' at the Academy". The Baltimore Sun. April 22, 1917. p. 18.
28. ^ "August Nights at the Play". The New York Sun. August 20, 1916. p. 24.
29. ^ Martin, Boyd (November 23, 1917). "Stage and Screen". Louisville Courier-Journal. p. 4.
30. ^ "Star Theatre". The Buffalo Commercial. October 13, 1917. p. 4.
31. ^ "Jane Cowl in Lilac Time at the Murat". The Hancock Democrat. April 25, 1918. p. 2.
32. ^ "At the Theatres". The Brooklyn Standard Union. December 31, 1918. p. 3.
33. ^ "'Adam and Eva', A Treat". The Kansas City Star. December 7, 1920. p. 3.
34. ^ "Two Houses Open Regular Season Next Week". Detroit Free Press. August 26, 1920. p. 6.
35. ^ "'Married Woman' Short on Action and Long on Talk". New York Tribune. December 26, 1921. p. 8.
36. ^ "The New Play by Percy Hammond". New York Tribune. April 25, 1922. p. 8.
37. ^ Woollcott, Alexander (November 21, 1922). "The Reviewing Stand". New York Herald. p. 12.
38. ^ "The New Plays". The New York Times. November 19, 1922. Section 7, Page 1.
39. ^ Davis, Irving (January 15, 1923). "Theatrical Comment". York Daily Record. p. 8.
40. ^ "The Deluge". New York Herald. December 24, 1922. Section 7, Page 2.
41. ^ "'R.U.R.' Has Strong Cast at Teller's Shubert". Brooklyn Standard Union. April 3, 1923. p. 13.
42. ^ "'A Love Scandal' Has Strong Cast". Burlington Daily News. October 31, 1923. p. 8.
43. ^ "'The Love Scandal' at the Ambassador Theatre". The Brooklyn Citizen. November 6, 1923. p. 17.
44. ^ "The Indianapolis Stock Company Starts Its Summer Progress". The Indianapolis News. May 10, 1924. p. 10.
45. ^ "The Theater". The Indianapolis Star. May 12, 1924. p. 7.
46. ^ "Amusements". The Evening Star. February 3, 1925. p. 22.
47. ^ "The New Play". Brooklyn Times Union. February 17, 1925. p. 6.
48. ^ Mantle, Burns (November 15, 1925). "Putting Hamlet in Modern Dress". Chicago Tribune. Section 9, Page 1.
49. ^ Pollock, Arthur (November 15, 1925). "Plays and Things". Brooklyn Daily Eagle. p. E2.
50. ^ Mantle, Burns (December 17, 1926). "'Hangman's House' Is Full of Cracks". New York Daily News. p. 41.
51. ^ "'Hangman's House'". Brooklyn Times Union. December 5, 1926. p. 33.
52. ^ "Playshop Plans Four New Plays for the Rialto". New York Daily News. August 1, 1926. p. 45.; Woollcott, Alexander (December 19, 1926). "Florence Reed Takes Gotham Hit to Chicago". The Miami News. p. 42.
53. ^ "Chinese Play Is Full of Climaxes". The Salt Lake Tribune. May 11, 1927. p. 14.
54. ^ "'The Shanghai Gesture' Enters Third Successful Month at the Adelphi". The Chicago Heights Star. May 18, 1927. p. 9.
55. ^ "'The Shanghai Gesture' to Open". The San Francisco Examiner. May 16, 1927. p. 12.
56. ^ "Shubert Breaks a Record". The Kansas City Star. October 3, 1927. p. 13.
57. ^ "Shubert". The Cincinnati Enquirer. October 23, 1927. Section 2, Page 3.
58. ^ "Where the Curtain Rises". Detroit Free Press. November 27, 1927. Part 4, Page 6.
59. ^ "'Shanghai Gesture' is Gripping Play". The Montreal Gazette. December 6, 1927. p. 11.
60. ^ "Theatrical Programs". The Pittsburgh Press. December 25, 1927. p. 36.
61. ^ "'Shanghai Gesture' Being Offered on Maryland Stage". The Baltimore Sun. January 10, 1928. p. 9.
62. ^ "Amusements". The Evening Star. January 17, 1928. p. 20.
63. ^ "'The Shanghai Gesture' At Majestic, Jan. 30". Brooklyn Times Union. January 22, 1928. p. B3.
64. ^ "The Premiere". The Brooklyn Citizen. November 20, 1928. p. 4.
65. ^ "Another New Play—Notes and Comment of the Amusement World". Brooklyn Daily Eagle. October 25, 1928. p. A14.
66. ^ "Guild Scores Again". Brooklyn Daily Eagle. April 16, 1929. p. 26.
67. ^ "Guilders to Tour". New York Daily News. April 22, 1929. p. 25.
68. ^ "The Legitimate Stage". Indianapolis Star. October 6, 1929. Section 7, Page 2.
69. ^ Shaw, Len G. (September 24, 1929). "The Theater". Detroit Free Press. p. 6.
70. ^ "Shavian Wit at Its Best Shown in 'Pygmalion'". The St. Louis Star and Times. October 22, 1929. p. 9.
71. ^ "Theater". Chicago Tribune. November 5, 1929. p. 37.
72. ^ Krug, Karl B. (December 3, 1929). "The Nixon". Pittsburgh Press. p. 49.
73. ^ "Play on Elizabeth at Ford's; Maryland Has Milne Comedy". The Baltimore Sun. October 12, 1930. p. 55.
74. ^ "The New Plays in Manhattan". Brooklyn Daily Eagle. November 2, 1930. p. 32.
75. ^ "The Stage". Boston Globe. November 9, 1932. p. 11.
76. ^ Mantle, Burns (November 23, 1932). "'Dubarry' Enchanting Score; White's 'Varieties' A Stageful". New York Daily News. p. 27.
77. ^ "Theatre Notes". New York Daily News. November 3, 1932. p. 39.
78. ^ Field, Rowland (April 13, 1933). "The New Play". Brooklyn Times Union. p. 18.
79. ^ "Catherine Cornell to do Charlotte Bronte in Dane's Stage Biography". Oakland Tribune. April 2, 1933. p. 21.
80. ^ Gabriel, Gilbert W. (December 17, 1933). "'Finest' of Actors in '33 Listed". San Francisco Examiner. p. E6.
81. ^ Miles, Carlton (July 15, 1933). "Summer Stock Gets Backing of Rich Resorters". The Minneapolis Star. p. 4.
82. ^ Miles, Carlton (August 1, 1933). "Drawing Room Comedy Best Summer Fare". The Minneapolis Star. p. 6.
83. ^ "Hugo Play Will Open Thursday". The Baltimore Sun. October 22, 1933. Section 4, Page 7.
84. ^ Pollock, Walter (October 17, 1933). "Walter Hampden Enacts 'Ruy Blas' at the Majestic—Other Theater Events". Brooklyn Daily Eagle. p. 11.
85. ^ "Theatre Notes". New York Daily News. December 19, 1933. p. 48.
86. ^ "Chevalier Cast as Paris Guide". Camden Courier-Post. December 23, 1933. p. 6.
87. ^ "'Picnic', A Comedy, Makes Debut at National Theatre". Brooklyn Times Union. May 3, 1934. p. 16.
88. ^ "Summer Theaters Lean Heavily on Established Plays as Well as Stars". New York Daily News. June 16, 1934. p. 27.
89. ^ "List of Plays Booked for Casino Theatre". Newport Mercury. June 22, 1934. p. 7.
90. ^ "In Social Circles". Newport Mercury. August 17, 1934. p. 3.
91. ^ Mantle, Burns (January 14, 1935). "'Living Dangerously' Well Done". New York Daily News. p. 75.
92. ^ Cohen, Harold W. (March 28, 1935). "Stage and Screen". Pittsburgh Post-Gazette. p. 16.
93. ^ Parsons, Louella O. (April 8, 1935). "Return of Peter Grimm Will Be Made Again in Sound Film". Sacramento Bee. p. 10.
94. ^ Melcher, E. de S. (October 23, 1935). "'Pride and Prejudice' Has Brilliant Premiere". The Evening Star. p. 11.
95. ^ Mantle 1935b, p. 8.
96. ^ "The Golden Dozen". New York Daily News. May 10, 1936. p. 25.
97. ^ Mantle, Burns (October 7, 1936). "'St. Helena' Humanizes Napoleon". New York Daily News. p. 59.
98. ^ Mantle, Burns (December 2, 1936). "'Country Wife' a Bawd in Satin". New York Daily News. p. 63.
99. ^ Lewis, William J. (July 3, 1937). "Four Plays Free to Public". Pittsburgh Sun-Telegraph. p. 31.
100. ^ "Theatre Notes". New York Daily News. June 14, 1937. p. 37.
101. ^ "Theatre Notes". New York Daily News. July 20, 1937. p. 37.
102. ^ "Stage News". Brooklyn Daily Eagle. July 30, 1937. p. 8.
103. ^ Shaw, Len G. (May 27, 1938). "The Theatre". Detroit Free Press. p. 6.
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105. ^ "The Stage". Boston Globe. December 13, 1938. p. 23.
106. ^ Mantle, Burns (December 29, 1938). "'Merchant of Yonkers' German Farce With Yankee Trimmings". New York Daily News. p. 35.
107. ^ Mordden 2002, p. 140.
108. ^ Greenfield 2010, p. 687.
109. ^ Kirkley, Donald (February 13, 1940). "The Stage". The Baltimore Sun. p. 8.
110. ^ Smith, Cecil (February 20, 1940). "Acclaims 'Life With Father' As Year's Best". Chicago Tribune. p. 15.
111. ^ "Sets a Record". Chicago Tribune. May 20, 1941. p. 3.
112. ^ "Sue 'Tobacco Road' Over $13,000 Loan; Craven Play Sept. 1". New York Daily News. July 18, 1941. p. M37.
113. ^ Cohen, Harold V. (September 18, 1940). "The Drama Desk". Pittsburgh Post-Gazette. p. 8.
114. ^ "Music Box Canteen Will Celebrate Anniversary". The Los Angeles Times. June 18, 1943. p. 11.
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123. ^ Fischer 2011, p. 60.
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132. ^ Chapman, John (October 8, 1954). "'Reclining Figure' Smart Comedy; Philharmonic Off to Good Start". New York Daily News. p. 61.
133. ^ Durgin, Cyrus (September 27, 1955). "Talented Siobhan McKenna Star of 'The Chalk Garden'". Boston Globe. p. 11.
134. ^ "'Chalk Garden' Opens Tonight at Shubert". Meriden Journal. September 21, 1955. p. 14.
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138. ^ Crosland, Philip F. (October 11, 1957). "Theatre: 'Monique'". The Wilmington News-Journal. p. 19.
139. ^ Chapman, John (October 23, 1957). "'Monique' Not Diabolical Enough to Make Good Murder Thriller". New York Daily News. p. 56.
140. ^ Kabatchnik 2017, pp. 138, fn. 9.
141. ^ "P.C. Waram, Actor for 50 Years, Dies". Hartford Courant. October 7, 1961. p. 4.
142. ^ Vassar College 1910, p. 191.
143. ^ "Directs a Shaw Play". Kansas City Times. February 3, 1921. p. 6.
144. ^ "Society and Personal News". Hartford Courant. January 19, 1937. p. 11.
145. ^ Field, Rowland (November 23, 1932). "The New Play". Brooklyn Times Union. p. 3.
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Bibliography

• Carnell, Jennifer (2016). Mary Elizabeth Braddon and the Victorian Theatre: Theatre Biographies of the Victorian Managers, Actors, Dancers, Pantomime Performers, Music Hall Artistes and Circus Performers Who Worked With Braddon Between 1852 and 1860. Hastings, East Sussex, U.K.: Sensation Press. ISBN 9780957025936.
• Fischer, Fischer (2011). Historical Dictionary of Contemporary American Theater: 1930-2010. Vol. 1: A-L. Lanham, Md.: Scarecrow Press. ISBN 9780810855328.
• Grebanier, Bernhard (1964). Thornton Wilder. Minneapolis: Minnesota University Press. ISBN 9781452911878. OCLC 186076048
• Greenfield, Thomas Allen (2010). Broadway: An Encyclopedia of Theater and American Culture. Santa Barbara, Calif.: Greenwood Press. ISBN 9780313342646.
• Kabatchnik, Amnon (2017). Blood on the Stage, 1600 to 1800: Milestone Plays of Murder, Mystery, and Mayhem. Lanham, Md.: Rowman & Littlefield. ISBN 9781538106150.
• Long, Robert Emmet (2001). Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors: 1940 to the Present. New York: Continuum Books. ISBN 9780826414625.
• Mantle, Burns (1935). Best Plays of 1935-36. New York: Dodd, Mead. OCLC 12631128
• Mordden, Ethan (2002). Open a New Window: The Broadway Musical in the 1960s. New York: St. Martin's Griffin. ISBN 9781403960139.
• Vassar College (1910). The Fourth General Catalogue of the Officers and Graduates of Vassar College, Poughkeepsie, New York. 1861-1910. Poughkeepsie, N.Y.: The A.V. Haight Company. OCLC 42424371

External links

• Percy Waram at IMDb.com
• Percy Waram at IBDb.com