Rex Harrison (born March 5, 1908, Huyton, Lancashire, England—died June 2, 1990, New York, New York, U.S.) was an English stage and film actor best known for his portrayals of urbane, eccentric English gentlemen in sophisticated comedies and social satires.
After graduating from secondary school at age 16, Harrison began a stage apprenticeship with the Liverpool Repertory Theatre. He first appeared on the London stage in 1930, the same year his first film, The Great Game, was released. Throughout the 1930s, Harrison divided his time nearly equally between the stage and the screen, scoring a noted stage success with his role in Noël Coward’sDesign for Living (1939–41). During World War II, Harrison served as a flight lieutenant in the Royal Air Force. He achieved stardom after the war with highly praised roles in the films Blithe Spirit and The Rake’s Progress (both 1945). His first American film was the popular Anna and the King of Siam (1946).
My Fair LadyAudrey Hepburn with Rex Harrison (left) in My Fair Lady (1964).
From the late 1940s through most of the ’50s, Harrison spent much of his time on the New York stage. Harrison won a Tony Award for his performance as Henry VIII in Anne of the Thousand Days (1948–49). His greatest stage triumph came during the 1956–59 seasons with his portrayal of Henry Higgins in My Fair Lady, Lerner and Loewe’s musical adaptation of George Bernard Shaw’s Pygmalion. Because he was hopeless as a singer—Loewe once remarked that Harrison had a vocal range of one and a half notes—Harrison developed a technique of talking his way through songs that proved highly effective. For his performance, he won a second Tony Award. He repeated the role for Warner Brothers’s lavish 1964 screen adaptation and was awarded the Oscar for best actor.
During the 1970s Harrison continued to appear in motion pictures and on New York and London stages, and in 1980 he recreated the role of Higgins in a successful touring production of My Fair Lady. Harrison, who once stated that Shaw was his “contemporary in thought and feeling,” gave the greatest performance of his later years as the philosophical and mystical Captain Shotover in the 1983 Broadway and London productions of Shaw’s Heartbreak House, which was adapted into a television film in 1986. Harrison’s final performance was in a 1990 revival of Somerset Maugham’s The Circle, in which he appeared until one month before his death. He was knighted in 1989.
George Bernard Shaw is famous for his role in revolutionizing comedic drama. He was also a literary critic and a prominent British socialist. Shaw’s most financially successful work, Pygmalion, was adapted into the popular Broadway musical My Fair Lady. He won the Nobel Prize for Literature in 1925.
What was George Bernard Shaw’s early life like?
George Bernard Shaw was born in Dublin, Ireland, as the youngest of three children. He was raised in genteel poverty, and his mother’s career as a professional singer influenced his interest in music, art, and literature. He remained relatively impoverished throughout his 20s, trying his hand at novel-writing several times to no avail.
How did George Bernard Shaw start writing plays?
George Bernard Shaw wrote rather unmemorable fiction throughout his 20s and early 30s. In 1885 the drama critic William Archer recruited Shaw to write book, art, and musical reviews in various publications. In 1895 Shaw began writing for the Saturday Review as a theatre critic, and from there he began to write his first plays.
What themes did George Bernard Shaw explore in his work?
George Bernard Shaw’s plays are thematically diverse. He wove threads of humour and romance between analyses of contemporary hypocrisies and social tensions. About the beginning of the 20th century, Shaw began affixing lengthy prefaces to his plays that engaged more deeply with their philosophical foundations.
How was George Bernard Shaw involved in the politics of his time?
In the mid-1880s George Bernard Shaw joined the Fabian Society, a newly formed socialist club for middle-class intellectuals hoping to transform English society through culture. He remained a socialist for the rest of his life. He also became a pacifist and an antiwar activist, attracting much criticism during World War I.
George Bernard Shaw (born July 26, 1856, Dublin, Ireland—died November 2, 1950, Ayot St. Lawrence, Hertfordshire, England) was an Irishcomic dramatist, literary critic, and socialistpropagandist, winner of the Nobel Prize for Literature in 1925.
Take a look at George Bernard Shaw speaking on the marvels of MovietoneGeorge Bernard Shaw speaking about the novelty of technology; excerpt from a Hearst Metrotone newsreel (c. 1930). (29 sec; 2.6 MB)
George Bernard Shaw was the third and youngest child (and only son) of George Carr Shaw and Lucinda Elizabeth Gurly Shaw. Technically, he belonged to the Protestant “ascendancy”—the landed Irish gentry—but his impractical father was first a sinecured civil servant and then an unsuccessful grain merchant, and George Bernard grew up in an atmosphere of genteel poverty, which to him was more humiliating than being merely poor. At first Shaw was tutored by a clerical uncle, and he basically rejected the schools he then attended; by age 16 he was working in a land agent’s office.
Shaw developed a wide knowledge of music, art, and literature as a result of his mother’s influence and his visits to the National Gallery of Ireland. In 1872 his mother left her husband and took her two daughters to London, following her music teacher, George John Vandeleur Lee, who from 1866 had shared households in Dublin with the Shaws. In 1876 Shaw resolved to become a writer, and he joined his mother and elder sister (the younger one having died) in London. Shaw in his 20s suffered continuous frustration and poverty. He depended upon his mother’s pound a week from her husband and her earnings as a music teacher. He spent his afternoons in the British Museum reading room, writing novels and reading what he had missed at school, and his evenings in search of additional self-education in the lectures and debates that characterized contemporary middle-class London intellectual activities.
His fiction failed utterly. The semiautobiographical and aptly titled Immaturity (1879; published 1930) repelled every publisher in London. His next four novels were similarly refused, as were most of the articles he submitted to the press for a decade. Shaw’s initial literary work earned him less than 10 shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 1887–88) was his final false start in fiction.
Despite his failure as a novelist in the 1880s, Shaw found himself during this decade. He became a vegetarian, a socialist, a spellbinding orator, a polemicist, and tentatively a playwright. He became the force behind the newly founded (1884) Fabian Society, a middle-class socialist group that aimed at the transformation of English society not through revolution but through “permeation” (in Sidney Webb’s term) of the country’s intellectual and political life. Shaw involved himself in every aspect of its activities, most visibly as editor of one of the classics of British socialism, Fabian Essays in Socialism (1889), to which he also contributed two sections.
Eventually, in 1885, the drama critic William Archer found Shaw steady journalistic work. His early journalism ranged from book reviews in the Pall Mall Gazette (1885–88) and art criticism in the World (1886–89) to brilliant musical columns in the Star (as “Corno di Bassetto”—basset horn) from 1888 to 1890 and in the World (as “G.B.S.”) from 1890 to 1894. Shaw had a good understanding of music, particularly opera, and he supplemented his knowledge with a brilliance of digression that gives many of his notices a permanent appeal. But Shaw truly began to make his mark when he was recruited by Frank Harris to the Saturday Review as theatre critic (1895–98); in that position he used all his wit and polemical powers in a campaign to displace the artificialities and hypocrisies of the Victorian stage with a theatre of vital ideas. He also began writing his own plays.
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When Shaw began writing for the English stage, its most prominent dramatists were Sir A.W. Pinero and H.A. Jones. Both men were trying to develop a modern realistic drama, but neither had the power to break away from the type of artificial plots and conventional character types expected by theatregoers. The poverty of this sort of drama had become apparent with the introduction of several of Henrik Ibsen’s plays onto the London stage around 1890, when A Doll’s House was played in London; his Ghosts followed in 1891, and the possibility of a new freedom and seriousness on the English stage was introduced. Shaw, who was about to publish The Quintessence of Ibsenism (1891), rapidly refurbished an abortive comedy, Widowers’ Houses, as a play recognizably “Ibsenite” in tone, making it turn on the notorious scandal of slum landlordism in London. The result (performed 1892) flouted the threadbare romantic conventions that were still being exploited even by the most daring new playwrights. In the play a well-intentioned young Englishman falls in love and then discovers that both his prospective father-in-law’s fortune and his own private income derive from exploitation of the poor. Potentially this is a tragic situation, but Shaw seems to have been always determined to avoid tragedy. The unamiable lovers do not attract sympathy; it is the social evil and not the romantic predicament on which attention is concentrated, and the action is kept well within the key of ironic comedy.
The same dramatic predispositions control Mrs. Warren’s Profession, written in 1893 but not performed until 1902 because the lord chamberlain, the censor of plays, refused it a license. Its subject is organized prostitution, and its action turns on the discovery by a well-educated young woman that her mother has graduated through the “profession” to become a part proprietor of brothels throughout Europe. Again, the economic determinants of the situation are emphasized, and the subject is treated remorselessly and without the titillation of fashionable comedies about “fallen women.” As with many of Shaw’s works, the play is, within limits, a drama of ideas, but the vehicle by which these are presented is essentially one of high comedy.
Shaw called these first plays “unpleasant,” because “their dramatic power is used to force the spectator to face unpleasant facts.” He followed them with four “pleasant” plays in an effort to find the producers and audiences that his mordant comedies had offended. Both groups of plays were revised and published in Plays Pleasant and Unpleasant (1898). The first of the second group, Arms and the Man (performed 1894), has a Balkan setting and makes lighthearted, though sometimes mordant, fun of romantic falsifications of both love and warfare. The second, Candida (performed 1897), was important for English theatrical history, for its successful production at the Royal Court Theatre in 1904 encouraged Harley Granville-Barker and J.E. Vedrenne to form a partnership that resulted in a series of brilliant productions there. The play represents its heroine as forced to choose between her clerical husband—a worthy but obtuse Christian socialist—and a young poet who has fallen wildly in love with her. She chooses her seemingly confident husband because she discerns that he is actually the weaker man. The poet is immature and hysterical but, as an artist, has a capacity to renounce personal happiness in the interest of some large creative purpose. This is a significant theme for Shaw; it leads on to that of the conflict between man as spiritual creator and woman as guardian of the biological continuity of the human race that is basic to a later play, Man and Superman. In Candida such speculative issues are only lightly touched on, and this is true also of You Never Can Tell (performed 1899), in which the hero and heroine, who believe themselves to be respectively an accomplished amorist and an utterly rational and emancipated woman, find themselves in the grip of a vital force that takes little account of these notions.
The strain of writing these plays, while his critical and political work went on unabated, so sapped Shaw’s strength that a minor illness became a major one. In 1898, during the process of recuperation, he married his unofficial nurse, Charlotte Payne-Townshend, an Irish heiress and friend of Beatrice and Sidney Webb. The apparently celibate marriage lasted all their lives, Shaw satisfying his emotional needs in paper-passion correspondences with Ellen Terry, Mrs. Patrick Campbell, and others.
Hear Donald Moffatt as George Bernard Shaw discuss William Shakespeare's eponymous protagonist Julius CaesarGeorge Bernard Shaw, portrayed by Donald Moffatt, analyzing William Shakespeare's characterization of Julius Caesar and comparing it with his own treatment, using reenactments of scenes from Shakespeare's Julius Caesar and Shaw's Caesar and Cleopatra. This 1970 video is a production of Encyclopædia Britannica Educational Corporation.
Discover what George Bernard Shaw might have to say about William Shakespeare's tragedy Julius CaesarGeorge Bernard Shaw, portrayed by Donald Moffatt, talking about William Shakespeare's masterpiece Julius Caesar, focusing on Caesar's death and its aftermath. This 1970 video is a production of Encyclopædia Britannica Educational Corporation.
Discover how George Bernard Shaw might compare his Caesar and Cleopatra to William Shakespeare's Julius CaesarGeorge Bernard Shaw, portrayed by Donald Moffatt, discussing Shaw's Caesar and Cleopatra, comparing his portrayal of the characters and that of William Shakespeare. The progress of the human species is examined in Shaw's play, which centres around four political murders and Caesar's reactions to them. This 1970 video is a production of Encyclopædia Britannica Educational Corporation.
Shaw’s next collection of plays, Three Plays for Puritans (1901), continued what became the traditional Shavian preface—an introductory essay in an electric prose style dealing as much with the themes suggested by the plays as the plays themselves. The Devil’s Disciple (performed 1897) is a play set in New Hampshire during the American Revolution and is an inversion of traditional melodrama. Caesar and Cleopatra (performed 1901) is Shaw’s first great play. In the play Cleopatra is a spoiled and vicious 16-year-old child rather than the 38-year-old temptress of Shakespeare’s Antony and Cleopatra. The play depicts Caesar as a lonely and austere man who is as much a philosopher as he is a soldier. The play’s outstanding success rests upon its treatment of Caesar as a credible study in magnanimity and “original morality” rather than as a superhuman hero on a stage pedestal. The third play, Captain Brassbound’s Conversion (performed 1900), is a sermon against various kinds of folly masquerading as duty and justice.
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