- Born: Dec 19, 1902 in Cheltenham, Gloucestershire, England
- Died: Oct 10, 1983 in Marylebone, London, England
- Occupation: Actor, Director
- Active: '30s-'80s
- Major Genres: Drama, Comedy
- Career Highlights: The Four Feathers, Long Day's Journey into Night, The Heiress
- First Major Screen Credit: The King of Paris (1934)
Ralph Richardson
| Actor: Ralph Richardson |
| Filmography: Ralph Richardson |
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| Biography: Ralph Richardson |
Sir Ralph Richardson (1902 - 1983) belonged to a small, select cadre of British actors who dominated the profession in their day, and were honored as living legends before their passing. Along with Sir John Gielgud and Lord Olivier, Richardson appeared in dozens of London stage plays, and like his compatriots made the transition to film during the 1940s and '50s. His "Times" of London obituary termed him "the most human of all our great actors. With his ripe face and his excitable voice, his amiable combination of eccentricity and down-to-earth common sense, he was ideally equipped to make an ordinary character seem extraordinary or an extraordinary one seem ordinary."
Lived in Railroad Car
Richardson was born December 19, 1902, in Cheltenham, Gloucestershire, England, and endured hardship and privation as a child as a result of his parents' marital discord. His father, a Quaker, was an art teacher, but Lydia Richardson, a Roman Catholic, left her husband and took her four-year-old son to live in a series of small towns in the south of England. At one point their address was a modest home built from two converted railroad carriages. Richardson was often left alone. "I did a lot of play-acting for my own amusement," New York Times obituary writer Albin Krebs quoted him as saying, "dressing up as something or other. Put in a lot of falling dead and rolling over. It was useful practice."
Raised a Roman Catholic, Richardson considered becoming a priest, and was even sent to Jesuit seminary for a time in preparation for his vocation. He chafed at its rules, however, and ran away. He found a job as a low-level assistant at an insurance office in Brighton, and then took art courses at nearby Xaverian College. Brighton was also home to a stage company that used a former bacon factory as its headquarters, and the idea of being on stage seemed appealing to Richardson. He auditioned, but it went so terribly that the company agreed to accept the 18-year-old only if he paid a fee. Put in charge of the sound props for his first job, he had a disastrous debut with the company when he mistook a cue and banged two garbage-can lids together off-stage at the wrong part of the performance.
Made Film Debut with Karloff
Within a year, however, Richardson had graduated from walk-ons to small speaking parts to the lead roles, and soon went on to tour England and Ireland with a Shakespearean repertory company. By 1925, he was married to a fellow thespian, Muriel Hewitt, and joined the respected Birmingham Repertory Theater. He made his London stage debut the following year in Yellow Sands at the Haymarket Theatre, a production that also featured his wife. Over the next decade, he gained increasing renown for his acting talents in such plays as Sheppey from W. Somerset Maugham's pen, and the comic melodrama The Amazing Dr. Clitterhouse, which had a successful 1936 run at the Haymarket. Richardson also appeared in stagings of Shakespeare plays with London's esteemed Old Vic Company in the 1930s, through which he came to know both Gielgud and Olivier. The trio would become lifelong friends and mentors to one another.
As with his Brighton propmaster job, Richardson made an inauspicious debut in film as well. It came in 1933's The Ghoul alongside Boris Karloff. "I played a parson," Richardson recalled with his characteristic dry wit in an interview with New York Times writer Benedict Nightingale, "a very young man with a round innocent face, and the lady of the house liked him, trusted him. But he was getting together firewood all the time to burn the place down! I've never had a more amusing part." By 1936, however, Richardson had landed a multi-film deal with producer Alexander Korda, and went on to make several notable films under him, including the cult-classic Things to Come, an adaptation of the H. G. Wells science-fiction classic in which Richardson played "The Boss," a dictator in a futuristic world.
The Famous, Vanished "Falstaff"
Richardson spent World War II in the Fleet Air Arm with Olivier, and reached the rank of lieutenant commander. Both were released early in 1944 to aid in the restoration efforts for the Old Vic Theater, which was badly damaged by German bombing raids on London during the early years of the war. Widowed in 1942, he remarried Meriel "Mu" Forbes in 1944, another actress, with whom he had a son born on the first day of 1945. By now Richardson was quite established in his career, and the family lived in a Queen-Anne style home in the posh Hampstead Heath area of London. What has been termed Richardson's greatest stage role came during this era at the Old Vic: as Falstaff in a 1945 production of Henry IV. Overwhelmingly assessed by critics as the most compelling performance of his career, it was never filmed and remains lost to posterity. As the rotund, thieving nobleman, Richardson's character "had wit and innate youthfulness, passion and authority, the eyes rolling majestically under a wild, white halo of hair," wrote Nightingale in the New York Times.
Richardson was knighted in 1947 for his contributions to British theater, and with the Old Vic decamped to New York for a time in the late 1940s. This led to Hollywood offers, and his first genuine Tinseltown production - not a joint U.S.-British affair, as some earlier ones had been - was William Wyler's The Heiress in 1949. In it, Richardson played the father of Olivia de Havilland in the adaptation of the Henry James novel Washington Square. His Dr. Austin Sloper railroads his timid daughter into spurning the suitor she loves. A New York Times critic, Bosley Crowther, termed Richardson's a "rich and sleek performance" and called the movie "one of the handsome, intense, and adult dramas of the year." The actor also won strong praise that same year for his role as the butler in a Graham Greene adaptation, The Fallen Idol.
Cowed Audiences into Silence
Known for his self-effacing quips, Richardson was alternately serious and cavalier about his profession. He admitted he was far from the handsome hero, once saying of his face, "I've seen better-looking hot cross buns," according to his New York Times obituary. On stage, however, he was intensely dedicated to his craft, and was known to begin a line over and over until he obtained absolute silence from the audience. A Time assessment of his career from Richard Corliss noted that in the first half of Richardson's career, "he was the middle-class Everyman, shuffling toward archetype with good will and capacious common sense. But as he aged, his characters turned imperious and, in spite of their power, ineffectual." Corliss believed that Richardson's Dr. Sloper and other parts exemplified "his ideal role: as the haughty burgher whose tragic flaw lies in realizing too late that he is not quite a tragic figure."
Richardson suffered some lean career years during the 1950s, as his peers Gielgud and Olivier were gaining increasing stature as Shakespeare interpreters and stage and screen directors, but made an impressive return to the stage in 1957 with The Flowering Cherry, a critical hit of the London season that year. Gielgud cast him in several works for the stage that he directed, and filmmaker Otto Preminger gave him the part of a British military officer in the epic Exodus, about the founding of the state of modern Israel. American director Sidney Lumet chose him to play the miserable, alcoholic father in his 1962 adaptation of the Eugene O'Neill classic, Long Day's Journey into Night, and Richardson also appeared in the Oscar-winning Russian-revolution drama from director David Lean, Dr. Zhivago, in 1965. In 1969, another esteemed British filmmaker, Richard Attenborough, cast Richardson and Gielgud in the Oh! What a Lovely War, a re-make of the hit stage musical.
Active Well Into His 80s
It was the hit of the 1970 theater season, however, that established Richardson as the eminence gris of British drama. Home, a work from playwright David Storey, co-starred him with Gielgud and went on to a successful run on Broadway as well; it was even made into a teleplay. The New York Times writer Nightingale termed it another hallmark of a long career for Richardson, particularly the scene "when the mentally damaged old man he was playing stopped his aimless, empty jabber and, his face dark and bunched, began silently to weep." Another outstanding stage work from this era was 1975's No Man's Land, a Harold Pinter play that he and Gielgud again reprised for Broadway.
Along the way, Richardson also accepted roles in some less-than-esteemed films that may have provided him with the same sort of scenery-chewing amusement as his 1933 horror-flick debut. These include Tales from the Crypt in 1972 and the original Rollerball in 1975. Monty Python comedian-turned-director Terry Gilliam cast him as a diffident deity in the 1981 classic Time Bandits, which was one of his last roles. Interviewed on the occasion of his 80th birthday by Nightingale in the New York Times in 1982, Richardson claimed he could not "afford to retire. I don't know enough. The older you get, the more you realize how little you know. No, I can't afford it, not for my inner self." His last film role was in Greystoke: The Legend of Tarzan, the much anticipated modernization of the Edgar Rice Burroughs tale. It was released in theaters in March of 1984, some five months after Richardson's death in London on October 10, 1983. He had been appearing in the tour of a National Theater play, Inner Voices, but was forced to withdraw due to a digestive ailment. His wife Meriel died in 2000, two years after their son Charles passed away.
Richardson was a famously recalcitrant interview subject, known for encouraging journalists to drink prodigious amounts of alcohol with him, which seemed not to affect him or ever loosen his tongue. Eccentric well into his senior years, he could sometimes be seen riding around London on his motorcycle, often with Jose, his pet parrot, tucked inside his leather jacket. He also kept a ferret named Eddie for a number of years, an animal he bathed weekly in Lux soap flakes. There remained three trenchant comments that he made about his profession: he told London Times writer Ronald Hayman in 1972 that his Roman Catholic upbringing seemed to have influenced his method. "I think basically I must be attracted by ritual, because I believe that there's a kind of religious sense in what I do," he reflected. "I think actors, rather like priests, have a sense of what can be done by ritual." In the New York Times interview with Nightingale, when asked how he prepared for a part, he replied "Dig, dig, dig, dig. Find out more and more about the character. What does he eat? What trousers does he wear? What does he do? What does he drink? What is he afraid of?" A much briefer comment about his profession, made to the New York Herald Tribune in 1946, revealed Richardson's mordant wit: "Acting," he asserted, "is merely the art of keeping a large group of people from coughing."
Books
International Dictionary of Films and Filmmakers, Volume 3: Actors and Actresses, St. James Press, 1996.
Periodicals
Daily Telegraph (London, England), April 28, 2001.
Guardian (London, England), April 17, 2000; March 3, 2001; June 23, 2003.
Independent Sunday (London, England), October 20, 1996.
Mail on Sunday (London, England), July 4, 1999; April 22, 2001.
National Review, February 4, 1983.
New Republic, April 23, 1984.
New York Herald Tribune, May 19, 1946.
New York Times, November 4, 1938; October 7, 1949; December 19, 1982; October 1883.
Observer (London, England), May 28, 2000.
People, April 9, 1984.
Sunday Telegraph (London, England), November 18, 2001.
Time, October 24, 1983; April 2, 1984.
Times (London, England), January 24, 1938; July 20, 1939; March 4, 1952; June 9, 1952; June 11, 1956; July 1, 1972; October 11, 1983.
| Britannica Concise Encyclopedia: Sir Ralph David Richardson |
For more information on Sir Ralph David Richardson, visit Britannica.com.
| Columbia Encyclopedia: Sir Ralph Richardson |
Richardson, Sir Ralph, 1902–83, English stage and film actor. Since his first professional stage appearance in The Merchant of Venice (1921), Richardson has played a variety of classic and modern roles. His work with the Birmingham Repertory Theatre and with the Old Vic gave him wide Shakespearean experience. His New York stage appearances have included King Henry IV (parts I and II), Uncle Vanya, Oedipus Rex, The School for Scandal, and Home. Possessed of great humor and known for his numerous eccentricities, he was often cast in films as a frosty, sometimes cruel martinet. Among his many films are The Fallen Idol (1948), Richard III (1956), Long Day's Journey into Night (1962), The Wrong Box (1966), David Copperfield (1969), and Graystoke (1984).
| Wikipedia: Ralph Richardson |
| Ralph Richardson | |
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| Born | Ralph David Richardson 19 December 1902 Tivoli Road, Cheltenham, Gloucestershire, England |
|---|---|
| Died | 10 October 1983 (aged 80) Marylebone, London, England |
| Years active | 1921 - 1983 |
| Spouse(s) | Muriel Hewitt (1924-1942) Meriel Forbes (1944-1983) |
Sir Ralph David Richardson (19 December 1902 – 10 October 1983) was an English actor, one of a group of theatrical knights of the mid-20th century who, though more closely associated with the stage, also appeared in several classic films.
Richardson first became known for his work on stage in the 1930s. In the 1940s, together with Laurence Olivier, he ran the Old Vic company. He continued on stage and in films into the early 1980s and was especially praised for his comedic roles. In his later years he was celebrated for his theatre work with his old friend John Gielgud. Among his most famous roles were Peer Gynt, Falstaff, John Gabriel Borkman and Hirst in Pinter's No Man's Land.
Contents |
Early life
Richardson was born in Cheltenham, Gloucestershire, England, the third son and youngest child of Arthur Richardson, a master at the Ladies' College and his wife Lydia née Russell. When he was a baby, his mother left his father and took him with her to Gloucester, where he was raised in the Roman Catholic faith of his mother (his father and brothers were Quakers).[1] His father supported them with a small allowance. Lydia Richardson wished Ralph to become a priest. He was an altar boy in Brighton, and was sent to the Xavierian College, but he ran away from it.[2]
Stage career
Early days
After working as an office boy for an insurance company, and later studying art, Richardson opted for a theatrical career. Aided by a small legacy from his grandmother, he paid a local theatrical manager ten shillings a week to be taught about acting.[3] He toured with Charles Doran's company for five seasons, gradually being promoted to larger parts including Macduff in Macbeth and Mark Antony in Julius Caesar. In 1925 he joined Sir Barry Jackson's Birmingham Repertory Company, where many eminent British actors, from Edith Evans to Derek Jacobi, have learned their craft, and Richardson under the veteran taskmaster H. K. Ayliff "absorbed the influence of older contemporaries like Gerald du Maurier, Charles Hawtrey and Mrs. Patrick Campbell."[4]
Richardson made his London début in July 1926 as the stranger in Oedipus at Colonus at a small theatre, followed by his West End début as Arthur Varwell in Yellow Sands which ran for 610 performances[5][3] and from then to 1929 played in supporting roles in London productions.[2]
After touring in South Africa in 1929, he played two seasons at the Old Vic and two seasons at the Malvern summer theatre.[5] His Old Vic roles included Caliban to the Prospero of John Gielgud, and Prince Hal to Gielgud's Hotspur, beginning a professional association and friendship that lasted for five decades.[6] Richardson's other parts in the Old Vic seasons included Enobarbus in Antony and Cleopatra, Toby Belch in Twelfth Night, Bottom in A Midsummer Night's Dream, Petruchio in The Taming of the Shrew, Henry V, Brutus in Julius Caesar, and Iago in Othello.[3]
At Malvern in 1932, he played Face in Ben Jonson's The Alchemist. In 1933 he played the title role in W. Somerset Maugham's final play Sheppey at Wyndham's Theatre. He became an undisputed West End star as Clitterhouse in Barré Lyndon's comedy melodrama, The Amazing Dr. Clitterhouse which ran for 492 performances from August 1936, and most of all as Johnson in J. B. Priestley's Johnson Over Jordan directed by Basil Dean, with music by Benjamin Britten.[3][4]
The Old Vic
During World War II he served in the Royal Naval Volunteer Reserve, where he rose to the rank of Lieutenant-Commander despite being nicknamed "Pranger" Richardson "on account of the large number of planes which seemed to fall to pieces under his control".[2] Richardson and Laurence Olivier were released from the armed forces in 1944 to run the Old Vic company as a triumvirate with the stage director John Burrell. The Old Vic theatre was out of use because of bomb damage, and the company moved to the New Theatre in St. Martin's Lane. During this period, Richardson gave some of his most noted performances, including not only "the definitive Falstaff and Peer Gynt of the century"[2] but also Bluntschli in Arms and the Man, the title roles in Cyrano de Bergerac and Uncle Vanya and Inspector Goole in An Inspector Calls. He also directed Alec Guinness as Richard II, taking on the role of John of Gaunt in the production when the Old Vic governors insisted that either Richardson or Olivier must act in every production. In 1945 Richardson and Olivier led the company in a tour of Germany, where they were seen by many thousands of servicemen; they also appeared at the Comédie Française in Paris.[7]
The triumphs of Richardson and Olivier (the latter famously as Richard III and Oedipus), described by The Times as the greatest in the Old Vic's history[3] and by Kenneth Tynan as "matchless",[8] led the governors of the Old Vic to fear that the two stars overshadowed the company. As The Guardian put it, the governors "summarily sacked the pair in the interests of a more... mediocre company spirit."[4]
Later years
After leaving the Old Vic, Richardson appeared in the West End as Dr Sloper in a Henry James adaptation, The Heiress, in 1949; David Preston in Home at Seven, in 1950; and Vershinin in Three Sisters in 1951. In 1952 he appeared at the Stratford-on-Avon festival at the Shakespeare Memorial Theatre (forerunner of the Royal Shakespeare Company) but had mixed reviews: his Prospero in 'The Tempest was judged too prosaic,[9][10] and his Macbeth, directed by Gielgud, was thought unconvincingly villainous ("Richardson's playing of Macbeth suggests a fatal disparity between his temperament and the part").[11] Tynan professed himself "unmoved to the point of paralysis," though blaming Gielgud more than Richardson.[12] Richardson's third Stratford role in the season, Volpone in Ben Jonson's play, received much better, but not ecstatic, notices.[13][14]
Back in the West End, Richardson starred in The White Carnation by R. C. Sherriff in 1953, and in November of the same year he and Gielgud starred together in N. C. Hunter's A Day by the Sea. In 1954 he toured Australia in a company which included his wife, Meriel Forbes, together with Sybil Thorndyke and her husband, Lewis Casson, playing Terence Rattigan's plays The Sleeping Prince and Separate Tables.[15]
Richardson turned down the role of Estragon in Peter Hall's premiere of the English-language version of Waiting for Godot and later reproached himself for missing the chance to be in "the greatest play of my generation".[16] Richardson's Timon of Athens in his 1956 return to the Old Vic was well received,[17][18] as was his Broadway appearance in The Waltz of the Toreadors for which he was nominated for a Tony Award in 1957.
In the 1960s, Richardson appeared successfully as Sir Peter Teazle in Gielgud's production of School for Scandal, as the Father in Six Characters in Search of an Author (1963), a return to Bottom in A Midsummer Night's Dream (1964) and the original production of Joe Orton's controversial farce What the Butler Saw in the West End at the Queen's Theatre in 1969 with Stanley Baxter, Coral Browne and Hayward Morse.
In the 1970s, he appeared in the West End (for example in William Douglas-Home's play Lloyd George Knew My Father, with Peggy Ashcroft), and with the National Theatre under Peter Hall's direction, where among the classics he played Firs in The Cherry Orchard and the title role in Ibsen's John Gabriel Borkman, with Wendy Hiller and Peggy Ashcroft. He continued his long stage association with John Gielgud, appearing together in two new works, David Storey's Home and Harold Pinter's No Man's Land. His last appearance was at the National in the lead role in Eduardo De Filippo's Inner Voices in June 1983, in which both Punch and The New York Times found his performance "mesmerising".[19] After his brief illness and death his part was taken over by Robert Stephens.[20]
Radio, television and film
In 1954 and 1955 Richardson played Dr. Watson in an American/BBC radio co-production of Sherlock Holmes stories, with Gielgud as Holmes and Orson Welles as the villainous Professor Moriarty. In the 1960s Richardson played Lord Emsworth on BBC television in dramatisations of P. G. Wodehouse's Blandings Castle stories, with his real-life wife Meriel Forbes playing his domineering sister Connie, and Stanley Holloway as his butler Beach.
Richardson's film appearances include Things to Come (1936), The Citadel (1938), The Heiress (1949; his first nomination for an Academy Award), Richard III (1955; playing Buckingham to Olivier's Richard), Our Man in Havana (1959; with Alec Guinness and Noel Coward), and Oh! What a Lovely War (1969). He played the sixth Earl of Greystoke in the 1984 movie Greystoke: The Legend of Tarzan, Lord of the Apes, for which he was again nominated for an Academy Award. His last film appearance was in Give My Regards to Broad Street (1984), starring Paul McCartney.
Recordings
Richardson made several spoken word recordings for the Caedmon Audio label in the 1960s. He re-created his role as Cyrano de Bergerac opposite Anna Massey as Roxane, and played the title role in a complete recording of Shakespeare's Julius Caesar, with a cast that included Anthony Quayle as Brutus, John Mills as Cassius, and Alan Bates as Antony. Richardson also recorded some English Romantic poetry, such as The Rime of the Ancient Mariner, for the label.
Richardson recorded the narration for Prokofiev's Peter and the Wolf, and the superscriptions for Vaughan Williams' Sinfonia Antartica - both with the London Symphony Orchestra, the Prokofiev conducted by Sir Malcolm Sargent and the Vaughan Williams by André Previn.
Personal life
In September 1924 Richardson married the seventeen-year-old student actress Muriel ("Kit") Hewitt (1907-1942); the marriage was childless but devoted. Kit contracted sleeping sickness (encephalitis lethargica) and died in 1942 after a long illness. In 1944 Richardson married the actress Meriel ("Mu") Forbes (1913-2000), a member of the theatrical Forbes-Robertson family. They had one son.[2]
Richardson habitually rode a motorbike even in his seventies. He rode a Norton Dominator and in his later years changed to a BMW.
Richardson died of a stroke, aged 80, and was interred at Highgate Cemetery.
Criticism and awards
Critical opinion
In his early days at the Old Vic, Richardson was the target of the sometimes waspish reviews of the leading critic, James Agate, who voiced the opinion that Richardson could not play villains; Agate said of Richardson's Iago, "he could not hurt a fly, which was very good Richardson, but indifferent Shakespeare."[4] This view persisted in a later critical generation. In 1952, Kenneth Tynan, blaming the director for a badly-received Macbeth said he "seems to have imagined that Ralph Richardson, with his comic, Robeyesque cheese face, was equipped to play Macbeth."[12] By contrast, the same critics held Richardson up as peerless in classic comic roles. Tynan judged any Falstaff against Richardson's, which he considered "matchless",[21] and Gielgud judged "definitive".[22] But though later critics did not wholly dissent from this view, they also discerned the mystical vein in Richardson: "he was ideally equipped to make an ordinary character seem extraordinary or an extraordinary one seem ordinary".[3] Peter Hall said of him, "I do not think any other actor could fill Hirst [in No Man's Land] with such a sense of loneliness and creativity as Ralph does."[23] The Guardian judged him "indisputably our most poetic actor".[4] Richardson himself perhaps confirmed this dichotomy in his variously reported comments that acting was "merely the art of keeping a large group of people from coughing" or, alternatively, "dreaming to order".[4]
Honours
Richardson was knighted in 1947, the first of his generation of actors to receive the accolade. He was soon followed by Olivier and Gielgud.
In 1963, Richardson won the Best Actor Award at the Cannes Film Festival for Long Day's Journey Into Night. He won the BAFTA Award for Best British Actor for The Sound Barrier (1952), and was nominated on another three occasions (his last being for Greystoke: The Legend of Tarzan, Lord of the Apes). He also received Best Supporting Actor Oscar nominations for The Heiress and Greystoke, as well as New York Film Critics Circle and National Board of Review Awards for "Best Actor" for The Sound Barrier and another NYFCC Award for "Best Supporting Actor" for Greystoke. His Oscar nomination, BAFTA nomination and NYFCC Award for Greystoke were all posthumous.
Richardson was also nominated for three Tony Awards for his work on the New York stage, for his performances in The Waltz of the Toreadors, Home and No Man's Land.
Sir John Gielgud's autobiography, An Actor and His Time is dedicated "To Ralph and Mu Richardson, with gratitude and affection".[24]
Filmography
Notes
- ^ Richardson, Ralph UXL Encyclopedia of World Biography, FindArticles.com
- ^ a b c d e Morley, Sheridan. "Richardson, Sir Ralph David (1902–1983)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, January 2008, accessed 16 December 2008
- ^ a b c d e f The Times, 11 October 1983, p. 14
- ^ a b c d e f The Guardian, 11 October 1983, p. 11
- ^ a b "Richardson, Sir Ralph David", Who Was Who, A & C Black, 1920–2008; online edn, Oxford University Press, December 2007, accessed 16 December 2008
- ^ Sir John Gielgud in The Observer, 16 October 1983, p. 9
- ^ Who's Who in the Theatre, p. 1118
- ^ Tynan, p. 98
- ^ The Manchester Guardian, 26 March 1952, p. 5
- ^ The Times, 26 March 1952, p. 8
- ^ The Times, 11 June 1952, p. 8
- ^ a b Tynan, p. 107
- ^ The Times 16 July 1952, p. 9
- ^ The Observer, 20 June 1952, p. 6
- ^ The Times, 10 November 1954, p. 4
- ^ Callow, Simon. "Godot almighty", The Guardian, 25 July 2005
- ^ The Manchester Guardian, 6 September 1956, p. 5
- ^ The Times, 6 September 1956, p. 5
- ^ The Times, 8 July 1983, p. 7; and 9 September 1983, p. 7
- ^ The Times, 29 October 1983, p. 5
- ^ Tynan, pp. 98 and 102
- ^ Gielgud, p. 92
- ^ Hall, 24 April 1975
- ^ Gielgud, unnumbered introductory page
References
- Gielgud, John: An Actor and His Time, Sidgwick and Jackson, London, 1979. ISBN 0-283-98573-9
- Hall, Peter: Diaries, Hamish Hamilton, London, 1984. ISBN 0-241-11285-0
- Tynan, Kenneth: Tynan on Theatre, Penguin Books, London, 1964
- Who's Who in the Theatre, fourteenth edition, Pitman, London 1967, ISBN 0-273-43345-8
External links
- Ralph Richardson at
Find a Grave - Ralph Richardson at the Internet Broadway Database
- Ralph Richardson at the Internet Movie Database
- bfi Screenonline: Ralph Richardson
- performances listed in the Theatre Archive, University of Bristol
- Richardson Archive in the British Library Manuscripts Collections
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- Twelfth Night (1969 Theater Film)
- Home at Seven (1952 Crime Film)
- The Return of Bulldog Drummond (1934 Crime Film)
- Ralph [David] Richardson (American Theater)
- The 300 Spartans (1962 Historical Film)
- Home (1972 Comedy Drama Film)
- Anna Karenina (1948 Drama Film)
- Clouds over Europe (1939 Thriller Film)
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- A Novel Affair (1957 Comedy Film)
- Smiley (1956 Adventure Film)
- Woman of Straw (1964 Crime Film)
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