Theatre
Opening date | Title | Role | Location | Playwright | Director | Other main cast members |
---|---|---|---|---|---|---|
25 February 1935 | The Green Sash | Giusta | "Q" Theatre, London | Debonnaire Sylvester and T. P. Wood | Matthew Forsyth | Kathleen Boutall and David Horne |
15 May 1935 | The Mask of Virtue | Henriette Duquesnoy | Ambassadors Theatre, London | Carl Sternheim and Ashley Dukes | Maxwell Wray | Jeanne de Casalis, Maud Tree and Frank Cellier |
17 February 1936 | Richard II | Queen Anne | Oxford (OUDS) | William Shakespeare | John Gielgud and Glen Byam Shaw | David King-Wood and Florence Kahn |
8 April 1936 | The Happy Hypocrite | Jenny Mere | His Majesty's Theatre, London | Clemence Dane, Richard Addinsell and Max Beerbohm | Maurice Colbourne | Ivor Novello and Viola Tree |
22 June 1936 | Henry VIII | Anne Boleyn | Open Air Theatre, Regent's Park | William Shakespeare | Robert Atkins | Gyles Isham and C. N. Anson |
5 February 1937 | Because We Must | Pamela Golding-Ffrench | Wyndham's Theatre | Ingaret Giffard | Norman Marshell | Margaret Emden and Enid Lindsey |
11 March 1937 | Bats in the Belfry | Jessica Morton | Ambassador's Theatre, London | Diana Morgan and Robert MacDermot | A. R. Whatmore | Evelyn Ankers Ivor Barnard and Charles Hawtrey |
June 1937 | Hamlet | Ophelia | Kronborg Castle, Elsinore | William Shakespeare | Tyrone Guthrie | Laurence Olivier, John Abbott, and Anthony Quayle |
27 December 1937 | A Midsummer Night's Dream | Titania | Open Air Theatre, Regent's Park | William Shakespeare Jeanne de Casalis | Tyrone Guthrie | Robert Helpmann and Ralph Richardson |
13 September 1938 | Serena Blandish | Serena Blandish | Gate Theatre | S. N. Behrman and Enid Bagnold | Esme Percy | David Tree and John Teed |
9 May 1940 | Romeo and Juliet | Juliet | 51st Street Theatre, New York City, also San Francisco, Chicago and Washington, D.C. | William Shakespeare | Laurence Olivier | Laurence Olivier, Dame May Whitty, Edmond O'Brien and Cornel Wilde |
4 March 1942 | The Doctor's Dilemma | Jennifer Dubedat | Haymarket Theatre | George Bernard Shaw | Irene Hentschell | Cyril Cusack (later John Gielgud) and Austin Trevor |
24 April 1942 | The School for Scandal (two scenes — one charity performance) |
Lady Teazle | Haymarket Theatre | Richard Brinsley Sheridan | Cyril Maude | |
Spring, 1943 for 3 months | Spring Party — A Revue | Herself and Scarlett O'Hara | Tour of North Africa entertaining troops | works by Lewis Carroll and Clemence Dane | John Gielgud | Beatrice Lillie, Dorothy Dickson and Leslie Henson |
15 May 1945 | The Skin of Our Teeth | Sabina | Phoenix Theatre | Thornton Wilder | Laurence Olivier | Cecil Parker and Joan Young |
11 September 1946 | The Skin of Our Teeth (revival) | Sabina | Picadilly Theatre | Thornton Wilder | Laurence Olivier | George Devine and Esther Somers |
14 February 1948 to 1 November 1948 | (1) Richard III (2) The School for Scandal (3) The Skin of Our Teeth |
(1) Lady Anne (2) Lady Teazle (3) Sabina |
Tour of Australia and New Zealand : Perth, Adelaide, Hobart, Melbourne, Canberra, Sydney, Brisbane, Auckland, Wellington, Dunedin, Christchurch | (1) William Shakespeare (2) Richard Brinsley Sheridan (3) Thornton Wilder |
Laurence Olivier | Old Vic Theatre Company including Laurence Olivier and Peter Cushing |
26 January 1949 | (1) Richard III (2) Antigone |
(1) Lady Anne (2) Antigone |
opened at the New Theatre | (1) William Shakespeare (2) Jean Anouilh |
Laurence Olivier | Old Vic Theatre Company including Laurence Olivier and Peter Cushing |
11 October 1949 | A Streetcar Named Desire | Blanche DuBois | Aldwych Theatre | Tennessee Williams | Laurence Olivier | Bonar Colleano, Renée Asherson, Bernard Braden and Theodore Bikel |
10 May 1951
|
Caesar and Cleopatra | Cleopatra | St James' Theatre | George Bernard Shaw | Michael Benthall | Laurence Olivier |
11 May 1951
|
Antony and Cleopatra | Cleopatra | St James' Theatre | William Shakespeare | Michael Benthall | Laurence Olivier |
19 December 1951
|
Caesar and Cleopatra | Cleopatra | Ziegfeld Theatre, New York City | George Bernard Shaw | Michael Benthall | Laurence Olivier, Robert Helpmann, Wilfrid Hyde-White and Harry Andrews |
20 December 1951
|
Antony and Cleopatra | Cleopatra | Ziegfeld Theatre, New York City | William Shakespeare | Michael Benthall | Laurence Olivier, Donald Pleasence, Harry Andrews, Robert Helpmann and Wilfrid Hyde-White |
5 November 1953 | The Sleeping Prince | Mary Morgan | Phoenix Theatre | Terence Rattigan | Laurence Olivier | Laurence Olivier and Martita Hunt |
12 April 1955 | Twelfth Night | Viola | Stratford-upon-Avon | William Shakespeare | John Gielgud | Laurence Olivier, Keith Michell, Mervyn Blake and Angela Baddeley |
7 June 1955 | Macbeth | Lady Macbeth | Stratford-upon-Avon | William Shakespeare | Glen Byam Shaw | Laurence Olivier, Maxine Audley, Keith Michell and Geoffrey Bayldon |
16 August 1955 | Titus Andronicus | Lavinia | Stratford-upon-Avon | attributed to William Shakespeare | Peter Brook | Laurence Olivier, Maxine Audley, Frank Thring and Anthony Quayle |
25 April 1956 | South Sea Bubble | Lady Alexandra Shotter | Lyric Theatre | Noël Coward | William Chappell | Ian Hunter, Arthur Macrae, John Moore and Joyce Carey |
6 May 1957 | Titus Andronicus | Lavinia | Tour of Paris, Vienna, Belgrade, Zagreb, Warsaw, followed by Stoll Theatre, London | attributed to William Shakespeare | Peter Brook | Laurence Olivier, Anthony Quayle and Maxine Audley |
24 April 1958 | Duel of Angels | Paola | Apollo Theatre | Jean Giraudoux and Christopher Fry | Jean-Louis Barrault | Claire Bloom (later replaced by Ann Todd and Mary Ure), Derek Nimmo and Peter Wyngarde |
9 July 1959 | Look After Lulu | Lulu d'Arville | Royal Court Theatre, then New Theatre | Georges Feydeau translated by Noël Coward | Noël Coward | Anthony Quayle, Richard Goolden and Michael Bates |
19 April 1960 | Duel of Angels | Paola | Helen Hayes Theatre, New York City | Jean Giraudoux and Christopher Fry | Robert Helpmann | Peter Wyngarde, Jack Merivale and Mary Ure |
Old Vic Overseas Tour - Australia and New Zealand 12 July 1961 to 17 March 1962 |
(1) Twelfth Night (2) Duel of Angels (3) The Lady of the Camellias |
(1) Viola (2) Paola (3) Marguerite Gautier |
Her Majesty's Theatre, Melbourne Her Majesty's Theatre, Brisbane Theatre Royal, Sydney Theatre Royal, Adelaide Her Majesty's Theatre, Perth Opera House, Wellington Theatre Royal, Christchurch Her Majesty's Theatre, Auckland |
(1) William Shakespeare (2) Jean Giraudoux (3) Alexandre Dumas, fils |
all directed by Robert Helpmann | repertory company including Jack Merivale |
Old Vic Overseas Tour - Latin America 29 March 1962 to 16 May 1962 |
(1) Twelfth Night (2) The Lady of the Camellias |
(1) Viola (2) Marguerite Gautier |
Mexico City, Mexico Caracas, Venezuela Lima, Peru Santiago, Chile Buenos Aires, Argentina Montevideo, Uruguay São Paulo, Brazil Rio de Janeiro, Brazil |
(1) William Shakespeare (2) Alexandre Dumas, fils |
both directed by Robert Helpmann | repertory company including Jack Merivale |
18 March 1963 | Tovarich | Tatiana | Broadway Theatre, New York City | Jacques Deval, Robert E. Sherwood, David Shaw, Anne Crosswell and Lee Pockriss | Peter Glenville | Jean-Pierre Aumont |
6 April 1965 | The Contessa | Contessa Sanziani | closed after previews in Newcastle, Liverpool and Manchester | Paul Osborn and Maurice Druon | Robert Helpmann | David Knight and Joseph Furst |
3 May 1966 | Ivanov | Anna Petrova | Tour of United States and Canada, followed by season at Shubert Theatre, New York City | Anton Chekhov, adapted John Gielgud | John Gielgud | John Gielgud, Ronald Radd and Jack Merivale |
Read more about this topic: Vivien Leigh Chronology Of Stage And Film Performances
Famous quotes containing the word theatre:
“A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.”
—Kenneth Tynan (19271980)
“Make them laugh, make them cry, and back to laughter. What do people go to the theatre for? An emotional exercise.... I am a servant of the people. I have never forgotten that.”
—Mary Pickford (18931979)
“Mankinds common instinct for reality ... has always held the world to be essentially a theatre for heroism. In heroism, we feel, lifes supreme mystery is hidden. We tolerate no one who has no capacity whatever for it in any direction. On the other hand, no matter what a mans frailties otherwise may be, if he be willing to risk death, and still more if he suffer it heroically, in the service he has chosen, the fact consecrates him forever.”
—William James (18421910)