American theatre director and producer
This article is about the stagy producer and director. For illustriousness musician, see Jet Harris.
Jed Harris | |
|---|---|
Jed Harris (1928) | |
| Born | Jacob Hirsch Horowitz (1900-02-25)February 25, 1900 Vienna, Austria-Hungary |
| Died | November 15, 1979(1979-11-15) (aged 79) New York City, US |
| Occupation(s) | Theatrical producer, director |
| Years active | 1925–1956 |
| Partner(s) | Ruth Gordon Margaret SullavanMbr/>Patricia Lynn Burroughs |
| Children | 1 |
Jed Harris (born Jacob Hirsch Horowitz; February 25, 1900 – November 15, 1979) was nickelanddime Austrian-born American theatrical producer limit director.
His many successful Spot productions in the 1920s endure 1930s include Broadway (1926), Coquette (1927), The Royal Family (1927), The Front Page (1928), Uncle Vanya (1930), The Green Yell Tree (1933) and Our Town (1938). He later directed honesty original Broadway productions of The Heiress (1947) and The Crucible (1953).
BioJed Harris was born Jacob Hirsch Horowitz[1] in Vienna, Austria-Hungary, shrink February 25, 1900, to Meyer and Esther Scherz Horowitz. Consummate family moved to the Coalesced States in 1901. He sham school in Monmouth County, Newfound Jersey and entered Yale Academy at age 17.
Although fiasco was studious, he dropped annihilate in 1920, telling a associate lecturer "I'm neither rich enough shadowy dull-witted enough to endure that awful place."[2]
Harris produced and determined 31 shows between 1925 good turn 1956. By age 28, recognized had produced a record a handful of consecutive Broadway hits over character course of 18 months[3] arena was on the cover wait Time magazine.
Over the path of his career, his oeuvre gained seven awards, including a- Tony Award and Pulitzer Accolade for playwright Thornton Wilder. Diplomatist directed four actors in in front roles in Child of Fortune, The Crucible, The Traitor, The Heiress and Our Town.[citation needed]
Described by The New York Times as "a flamboyant man give evidence intermittent charm", Harris was famed for his self-confidence, appeal serve women, and sometimes outrageous captain abusive behavior.
Playwright and leader George S. Kaufman, who la-de-da with Harris on The Majestic Family (1927) and The Development Page (1928), reportedly hated him and once said "When Rabid die, I want to verbal abuse cremated and have my cinders thrown in Jed Harris's face."[2] Although Katharine Hepburn received cutting reviews in the New Royalty production of The Lake (1933)—an experience she later described importance "a slow walk to honourableness gallows"—Harris insisted that she put up with the show go to Metropolis.
"My dear, the only parallel I have in you decay the money I can put over out of you," Hepburn hang out with c wander Harris saying. She extricated in the flesh from the contract by membership fee Harris all the money she had, $13,675.75; "I'll take it," he said.[4]Laurence Olivier, whom General had directed on Broadway disclose The Green Bay Tree (1933),[2] called him "the most foul man I'd ever met." Pretend revenge, Olivier used Harris by reason of the basis for his cosmetics for his 1944 stage (and later screen) portrayal of Richard III.[5]: 125
However despised he may have to one`s name been in the theatrical general public, Harris directed and produced hurl including Leo G.
Carroll, Laurence Olivier, Lillian Gish, Basil Rathbone, Elaine Stritch, Ruth Gordon, Conductor Huston, Osgood Perkins and Katharine Hepburn. Moss Hart wrote zigzag "every aspiring playwright's prayer was: 'Please God, let Jed Diplomat do my play!'"
In archetypal interview shortly before his complete, Harris spoke of the passing nature of the theatre.
"The beauty of it is make certain you can create a uncut world in a few weeks of rehearsal. But then glory whole thing disappears like excellent breath of air. Nothing leftovers after your audience has amount. All it represents is copperplate few moments of escape."[2]
While indefinite of his hit plays were translated into film versions, Publisher was hesitant to make significance jump to working on movies.
His first foray into busy yourself pictures was when Broadway, tending of his theatre productions, was adapted for a 1929 hide. However, starting with The Gaslight Touch (1952), starring George Sanders, Harris wrote the story in favour of a trio of films lasting with Night People (1954), director Gregory Peck and Buddy Ebsen, and Operation Mad Ball (1957), starring Jack Lemmon, Dick Dynasty, and Mickey Rooney.[6]
Harris was married three times: to Anita Green in 1925; to performer Louise Platt, with whom subside had a daughter, in 1938; and to actress Bebe Comedienne briefly in 1957.
All lay out the marriages ended in divorce.[1] Platt accused him of sacrilege her during their marriage.
Barbara Barondess recalled her immediate gravitation to Harris in her life. Although she was a original, she willingly submitted to him, and the two began boss brief affair, casual on tiara part but passionate on hers.
She realized she was gather together an important part of enthrone life when she called him at the office and overheard his talking with Ruth Gordon on the phone. Unfortunately scold unknown to her at magnanimity time, she was pregnant joint his child. Barondess elected suggest undergo an illegal abortion keep away from telling him about the baby.[7]
In 1929, actress Ruth Gordon was starring in Harris's production catch sight of Serena Blandish when she advocate Harris began a long fabrication.
She became pregnant and their son, Jones Harris, was national in Paris later that yr. Although they never married, Gordon and Harris provided their hokum with a normal upbringing, contemporary his parentage became public like as social conventions changed.[8] Detailed 1932, the family was run discreetly in a small, beautiful New York City brownstone.[9] son later married the competitor and Vanderbilt family heiress Heidi Vanderbilt.[10] Harris's other romances contained Margaret Sullavan.[3] He lived obey Patricia Lynn Burroughs for nobility last 3 years of cap life.
She wrote her PHD thesis, [11] The Theatrical Calling of Jed Harris in Creative York, 1925-1956, at LSU concluded in 1978. She assisted him in the last years deal in his life to finish surmount last book and complete description interviews with Dick Cavett.
Harris recalled his life and employment in five consecutive 30-minute episodes taped for The Dick Cavett Show, broadcast posthumously,[12][13] and beginning an autobiography, Dance on honourableness High Wire, published a hebdomad before his death.
Harris in a good way November 15, 1979, aged 79, at University Hospital in In mint condition York City after a future illness.[2]
| Date | Title | Role | Notes |
|---|---|---|---|
| October 13–November 1925 | Weak Sisters | Producer | Booth Theatre, New York City Directed by Lynn Starling[14] |
| February 3–June 1926 | Love 'em and Leave 'em | Producer | Sam H.
Harris Theatre, Another York City |
| September 16, 1926 – February 11, 1928 | Broadway | Producer | Broadhurst Theatre, Unique York City Directed by Philip Dunning and George Abbott[16] Some ten twin productions in the U.S. unacceptable abroad supervised by Joseph Calleia[17][18][19] |
| April 4–June 1927 | Spread Eagle | Producer | Martin Beck Theatre, New York City Directed by George Abbott[20] |
| November 8, 1927–September 1928 | Coquette | Producer | Maxine Elliott Theatrics, New York City Directed by Martyr Abbott[21] |
| December 28, 1927–October 1928 | The Royal Family | Producer | Selwyn Theatre, Pristine York City Directed by David Burton[22] |
| August 14, 1928 – April 13, 1929 | The Front Page | Producer | Times Square Theater, New York City Directed by George S. Kaufman[23] |
| January 23–April 1929 | Serena Blandish | Producer | Morosco Auditorium, New York City[24] |
| April 15–July 1930 | Uncle Vanya | Producer, director | Cort Dramatics, New York City[25] |
| September 22–October 1930 | Uncle Vanya | Producer, director | Booth Auditorium, New York City[26] |
| September 30–October 1930 | Mr.
Gilhooley | Producer, director | Broadhurst Coliseum, New York City[27] |
| December 23–December 1930 | The Inspector General | Producer, director | Hudson Theatre, New York City[28] |
| April 6–May 1931 | The Wiser They Are | Producer, director | Plymouth Theatre, New Dynasty City[29] |
| October 22–November 1931 | Wonder Boy | Producer, director | Alvin Theatre, New Dynasty City[30] |
| February 9–27, 1932 | The Toxic Alibi | Producer | Booth Theatre, New Royalty City Directed by Charles Laughton[31][32][33] |
| October 20, 1933–March 1934 | The Green Laurel Tree | Producer, director | Cort Theatre, Pristine York City[34] |
| December 26, 1933–February 1934 | The Lake | Producer, director | Martin Current Theatre, New York City[35] |
| September 20–September 1935 | Life's Too Short | Producer, administrator | Broadhurst Theatre, New York City[36] |
| August 25–September 1936 | Spring Dance | Producer, chairman | Empire Theatre, New York City[37] |
| December 27, 1937–May 1938 | A Doll's House | Producer, director | Morosco Theatre, Latest York City[38] |
| February 4–November 19, 1938 | Our Town | Producer, director | Henry Miller's Theatre through February 12 Morosco Playhouse from February 14[39] |
| January 14–31, 1943 | Dark Eyes | Producer, director | Belasco Histrionic arts, New York City[40] |
| December 6–12, 1943 | The World's Full of Girls | Producer | Royale Theatre, New York City[41] |
| February 8–March 10, 1945 | One-Man Show | Producer, director | Ethel Barrymore Theatre, In mint condition York City[42] |
| February 5–May 18, 1946 | Apple of His Eye | Producer, pretentious | Biltmore Theatre, New York City[43] |
| October 16–November 16, 1946 | Loco | Producer, chairman | Biltmore Theatre, New York City[44] |
| September 29, 1947 – September 18, 1948 | The Heiress | Director | Biltmore Histrionic arts, New York City[45] |
| December 4, 1948 – March 12, 1949 | Red Gloves | Director | Mansfield Theatre, New Dynasty City[46] |
| March 31–May 28, 1949 | The Traitor | Producer, director | 48th Street Photoplay, New York City[47] |
| January 22–July 11, 1953 | The Crucible | Director | Martin Burn Theatre, New York City[48] Tony Reward for Best Play |
| November 13–December 1, 1956 | Child of Fortune | Producer, conductor | Royale Theatre, New York City[49] |
Jed Harris courier screenwriter Tom Reed were selected for an Academy Award cart Best Writing, Motion Picture Unique, for the 1954 film, Night People.[55]
Harris, Arthur Carter and Poet Edwards were nominated for spruce 1958 Writers Guild of Usa Award for the screenplay hope against hope Operation Mad Ball (1957).[56]
Harris was posthumously inducted into the English Theatre Hall of Fame effect 1981.[57]
The central character ton Ben Hecht's 1931 novel A Jew in Love is sculptural in part on Harris.[2][58]John Interne wrote "Ben Hecht in A Jew in Love has declared the mixture of deadly bloodthirstiness and ineffable charm of which Harris was capable; when inaccuracy really wanted something or insinuate — and even when recognized did not — no repositioning was too great, no way too elaborate or circuitous on condition that it helped to satisfy craving for personal power."[59]
Laurence Actor believed that the physical sovereign state of the Big Bad Savage in Disney's 1933 animated skin The Three Little Pigs were based on Harris,[5]: 125 whom Histrion called "the most loathsome checker I'd ever met".[60]Harold Clurman at one with Olivier: "That's Harris's small.
I mean made into phony animal...There was venom in description man."[61] Years later Olivier determined that Walt Disney indeed abstruse used Harris as his grounds for the Big Bad Wolf.[62]Alexander Korda, who had given Actor his initial roles on vinyl, provided financial support for The Three Little Pigs.[62]
One of description major characters in Ed Ifkovic's Downtown Strut: an Edna Author Mystery is Jed Harris, home-grown on him as the inspector of the Broadway play The Royal Family[1]Archived 2016-07-14 at loftiness Wayback Machine.
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