Harry Irvine (actor)

Harry Irvine
Harry Irvine 1917
Born
John Henry Irvine

(1877-01-30)January 30, 1877
Vellore, British India
DiedAugust 7, 1951(1951-08-07) (aged 74)
Nyack, New York, U.S.
Other namesJ. Harry Irvine, John Harry Irvine, J. H. Irvine
EducationCorpus Christi College, Oxford (BA)
Alma materInner Temple
Occupations
Years active1904 - 1950 (actor)
Known forMurder in the Cathedral
Spouse
  • Cecily Barcham
    ​
    ​
    (m. 1914; died 1950)​
Signature

Harry Irvine (January 30, 1877 – August 7, 1951) was a British barrister turned actor, known in America during his later career for his many roles as clergymen. He first came to America with Johnston Forbes-Robertson's tour of 1915-1916, decided to stay, and taught acting at the Brooklyn Institute. He portrayed Archbishop Thomas Beckett in the 1936 Broadway premiere of Murder in the Cathedral by T. S. Eliot, Regnault de Chartres the Archbishop of Rheims in Joan of Lorraine, and Bishop Fisher in the original Anne of the Thousand Days, both by Maxwell Anderson. He also wrote one-act plays and The Actor's Art and Job, a well-received book for potential apprentices on acting as a profession.

Early years

He was born John Henry Irvine in Vellore, British India, to George Duncan Irvine, a civil servant, and Emily Gertrude Kelly, on January 30, 1877, and was baptized a month later.[1] In 1881, Irvine and his older siblings Emily and Francis were in England, living with their aunt Margaret Irvine in Middlesex.[2] By age 14, Irvine and Francis were boarders in Bristol,[3] while attending Clifton College. Irvine later graduated from Corpus Christi College, Oxford,[4] with a B.A.,[5] and spent a period of time tutoring the children of Sir Hubert Herkomer at Bushey. After failing the exam for the Indian Civil Service, Irvine read law,[6] and was called to the Bar at the Inner Temple.[7]

UK stage career

While tutoring at Bushey, Irvine had joined the local amateur drama society. His interest in acting continued during his legal career, and in 1904 he decided to try it as a profession. He secured a walk-on part from Herbert Beerbohm Tree in Richard II at His Majesty's Theatre, and was soon promoted to a featured role. He then joined the company of Lewis Waller as a leading player. In 1907 he was chosen to produce the Chelsea Pageant, upon the recommendation of A. B. Walkley who had seen several "compressed" amateur productions Irvine devised for students at St. Mark's College in Chelsea.[6]

The Chelsea Pageant was a community historical project that after a year-long preparation opened to public viewing for a week in June 1908. Irvine devised a structure for it of twelve episodes in the history of the area. These episodes were dramatic recreations of local historical events, from Roman Britain through 1749, several of which were written by Irvine.[8] The pageant was held at an outdoor amphitheater on the grounds of the Royal Hospital Chelsea. It had high visibility in London newspapers, being opened by Princess Louise and the Duke of Argyll.[9] Its success led to Irvine being identified as its producer when mentioned in the English press.[10]

Max Reinhardt directed the premiere of The Miracle, a religious pantomime by Karl Vollmöller at the London Olympia in December 1911.[11] Irvine started as assistant stage manager (ASM) to Reinhardt for this production, eventually working his way up to a principal role as the Minstrel.[7][12]

Irvine was generally but not always credited on British stages as "J. Harry Irvine".[13] There was an actor credited as Harry Irvine who was active in provincial towns from the 1890s through at least 1905, whose history cannot easily be reconciled with Irvine's own statements about his career.[14][15]

Early US stage career

Irvine joined Johnston Forbes-Robertson's final American tour, arriving in New York on October 7, 1915.[16] The tour performed a repertory of three plays in smaller cities, finishing up in Cambridge, Massachusetts during late April 1916.[17]

Brooklyn Institute

After Forbes-Robertson's tour ended, Irvine decided to stay in the United States. Upon the strength of his membership in the companies of Forbes-Robertson and Beerbohm Tree, and of once having worked for Max Reinhardt, Irvine was appointed director for the Institute Players. This was the performing group associated with the Department of Dramatic Arts at the Brooklyn Institute.[18] During January 1917 he led them in presenting three one-act plays at the Academy of Music, for one of which he also performed.[19] The following month he delivered a lecture at the same venue on The Value of Amateur Acting.[20] For March 1917, Irvine directed the Institute Players in Kindling, a three-act drama by Charles Kenyon.[21] Irvine then directed them in four more one-act plays, one of which, a farce titled Blood, he wrote himself, while performing in another.[22] The final work Irvine directed them in was The Taming of the Shrew in April 1917, for which he played Petruchio.[23]

Bonstelle and Selwyn

Irvine joined Jessie Bonstelle's company in May 1917; at the time this included Cora Witherspoon and Franklin Pangborn.[24] In his 1942 book on the acting profession, Irvine said that Jessie Bonstelle was a "brilliant exception" among stock company directors, "who had a real genius for getting the best out of her actors".[25] From May through September 1917, Irvine performed with her company in Detroit and Buffalo in stock productions. He then joined Selwyn & Co., under the management of Edgar Selwyn during October 1917, for a featured role in a new farce, Losing Eloise. After tryouts in Wilmington, Delaware,[26] and Atlantic City,[27] the production premiered on Broadway during November 1917. Through a program printing error, Irvine was billed as "S. Harry Irvine" in New York newspaper reviews, instead of his usual "J. Harry Irvine".[28][29] Retitled The Naughty Wife, by the time the play reached Boston on tour in January 1918, Irvine's billing was back to the usual.[30]

The Naughty Wife tour ended in early June 1918,[31] and Irvine went into another Selwyn & Company production titled Double Exposure, for a tryout in Washington, D.C.[32] This fantasy farce by Avery Hopwood had another tryout in Buffalo,[33] but its Broadway premiere was underwhelming,[34] and it closed after twelve days.[35]

Hampden

Irvine next appeared on Broadway as Horatio with Walter Hampden in Hamlet, presented in a series of weekly matinees in the Elizabethan style, with a fuller text than usual. Irvine's performance "was exceptionally successful" with "admirable diction".[36] Hamlet proved popular as a weekly matinee, and the Shakespeare Playhouse[fn 1] did a "companion piece" for MacBeth, again with Walter Hampden, Irvine playing Banquo.[37] This was followed by As You Like It in February 1919, which starred Elsie Mackay, and in which Irvine played Le Beau.[38] The Hamlet of Walter Hampden having proved so successful,[39] Irvine accompanied it on tour through April 1919.[40] Irvine said of Hampden to an interviewer: "Mr. Hampden is an artist who never finishes with a role. He is always studying and adding to it, eager to listen to criticism and learn from it". Irvine also mentioned Hampden's generosity as leading player towards other stage actors, willingly conceding the center to minor characters.[39]

During May 1919 Irvine rejoined Jessie Bonstelle's company for summer stock. His wife, English actress Cicely Barcham, was also a cast member that season.[fn 2] Another new member of the company was a former apprentice of the Washington Square Players named Katharine Cornell.[41] Irvine played the title role of an elderly attorney in Grumpy,[43] though his main function with Bonstelle this season was as stage director.[44] For Fall 1919, Irvine again joined Hampden for touring in Hamlet, this time as Claudius,[45] and as Mercutio in a new production of Romeo and Juliet.[46] March 1920 marked Irvine's return to Broadway, supporting Walter Hampden in George Washington, a three-act play by Percy MacKaye.[47] He then resumed touring with Walter Hampden, taking the role of Bassanio in The Merchant of Venice.[48] During a February 1921 performance in Baltimore, Irvine had to assume the role of Shylock when Hampden fell sick.[49] By April 1921, Irvine had gone from Banquo to Macduff in Hampden's touring production of MacBeth.[50]

Summer work, teaching, lectures

In the Summer of 1921, Irvine and his wife joined the faculty of the Outdoor Players in Peterborough, New Hampshire.[4] This was a summer school managed by Marie Ware Laughton to satisfy the dramatic aspirations of Boston society girls. It used costumes and props, but otherwise performed out of doors. Irvine directed the players and occasionally performed with them.[51] During January 1922, Irvine started directing drama students for a school at the Lexington Theatre on Broadway. The school had its own theatre on the second floor, with a capacity for two hundred viewers. It was run by Clare Tree Major, under the direction of Walter Hampden, George Arliss, Arthur Hopkins, Rachel Crothers, and others.[52]

It was a part-time gig; Irvine also did benefit performances for an adaptation of The Idiot,[53][54] and that summer spent time with the Percival Vivian Players on the Chautauqua circuit.[55] In August 1922, the first class of ten apprentices graduated from the Lexington Theatre drama school. Under Irvine's direction they had performed a three-act play by Rachel Crothers, The House of Lorimer,[56] and his own translation from Spanish of the one-act Funcion di Moda.[57] He also delivered lectures in New York City public schools on the dramatic works of James Barrie; as with other events in mid-1922, he began dropping his first initial for billing purposes.[58]

Irvine firmly believed in Shakespeare the actor as playwright. In a lecture at the Brooklyn Institute during April 1923, he asserted that it was the acting profession that had kept Shakespeare alive through long periods of neglect by audiences and academics.[59] The following year he publicly debated Willard Parker, then president of the Bacon Society of America, over the authorship of the plays. An audience of 800 attended their debate at The Brooklyn Institute lecture hall; no decision was given by the presiding moderator.[60] By April 1925, Irvine had become president of the National Shakespeare Federation of America.[61] Both Irvine and his wife performed with the Woodland Players at Winthrop and Lewiston, Maine during August 1925.[62][63]

Irvine next joined the English Repertory Company headed by Florence Glossop-Harris, for a tour of Canada. Irvine was the leading man, playing Sheridan and Shakespeare, and more modern works, starting in Halifax, Nova Scotia during October 1925.[64][65]

Later US stage career

After an absence of ten years, Irvine returned to Broadway during December 1935 with a featured role in This Our House, a two-act historical tragedy based on Beatrice Cenci. Critic Arthur Pollack pointed out the abundance of earlier adaptations of the tale, and said of this version by Joel W. Schenker and Allan Fleming: "Their story turns out very badly on the stage. In fact, it is just so much mush", while also reporting "The acting is not enchanting".[66] The production closed after just two performances.[67]

Murder in the Cathedral

Despite this inauspicious return, Irvine scored a success three months later, playing Thomas Beckett in Murder in the Cathedral by T. S. Eliot. This was a limited engagement Works Progress Administration (WPA) production. Reviewer John Chapman noted "Many of last night's cast found it difficult to breathe life into the Eliot verse, but Harry Irvine gave a firm, sincere and simple performance as the Archbishop".[68] Originally scheduled for just two weeks, the production was extended by nine days due to demand. Burns Mantle wrote "Mr. Irvine's performance as the archbishop is commanding in its dignity and impressive in its modesty. It is good so capable an actor should have found this chance, even at the end of a long career".[69] The New York Daily News reported the WPA was confronting an unexpected problem: what to do with a hit production? Meant to provide employment for actors and stage crews during the Great Depression, the WPA generally rotated plays and casts every three weeks, but the Manhattan Theatre was sold out every night and turning away hundreds of hopeful attendees, while "Harry Irvine is considered indispensable in his present role".[70] The play's run was extended again, and Irvine made a recording of Beckett's sermon which was broadcast over WMCA (AM) on Easter Sunday, April 12, 1936.[71]

Broadway 1936-1945

When Irvine was again cast as a bishop during May 1936, for another WPA production called Class of '29, a newspaper suggested typecasting.[72] A topical play about jobless college graduates in the depression, Irvine again drew good notices as a father who misguidedly tries to buy his son a job.[73] His next role was in a short-lived work based on Greek tragedy called Daughters of Atreus, where he again played a priest, albeit a pagan one.[74] Reportedly cast in the new Maxwell Anderson play High Tor in late December 1936, Irvine was replaced by Lee Baker before opening night.[75]

Returning to the WPA in June 1938, Irvine gave an "excellent supporting" performance in a George Bernard Shaw political comedy, On the Rocks.[76] For the rest of that summer he performed with the company at the Westport Country Playhouse, and joined the Theatre Guild cast in September 1938 for a part in Dame Nature.[77] This comedy starred Montgomery Clift as a French teenage father-to-be, with Irvine in a small part as a helpful doctor.[78] It ran on Broadway through early November, but closed in Chicago after only two weeks.[79] Still with the Theater Guild, Irvine performed in Jeremiah on Broadway during February and March 1939.[80]

Irvine played a physician in Delicate Story, a comedy by Ferenc Molnár that premiered on Broadway during December 1940. The play had been written after Molnar had arrived in America as a refugee in 1940. Translated, staged and co-produced by Gilbert Miller, it starred Edna Best and John Craven, but the light romantic comedy didn't last.[81][82]

For the next four years Irvine performed in Shakespeare revivals, both on Broadway and on tour, starting with MacBeth in November 1941, where he played King Duncan to Maurice Evans and Judith Anderson as Lord and Lady MacBeth.[83] During November 1945 he was cast for a featured part in the Broadway premiere of The Mermaids Singing by John Van Druten.[84] Irvine played an unsympathetic academic who verbally challenges the playwright protagonist. A rare Van Druten failure, the play lasted only seven weeks.[85]

Joan of Lorraine

Reviewer John Chapman said "Joan of Lorraine is not precisely a play-within-a-play but rather a play about a play".[86] Written by Maxwell Anderson and produced by the Playwrights' Company, the actors portrayed both crew and cast rehearsing a play about Joan of Arc. The central problem of the drama is a dispute between actress Mary Grey (Ingrid Bergman) playing the title role, with the director Jimmy Masters (Sam Wanamaker) and the unseen playwright, over the nature of Joan's faith. Irvine played an actor named Kipner, who portrays Regnault de Chartres the Archbishop of Rheims. Brooks Atkinson thought the entire cast performed well, and said "Harry Irvine's Archbishop conveys a cunning and worldly austerity".[87] Joan of Lorraine ran from November 18, 1946 through May 10, 1947.[88]

Following the end of Joan, Irvine was cast as one of four principals in Dear Judas, a drama adapted by Michael Meyerberg from a 1929 long narrative poem by Robinson Jeffers. Critic Arthur Pollack said the play "has no life in it",[89] and audiences agreed, the play closing after two weeks in October 1947.[90] He had more success with Skipper Next to God in January 1948. This was the American premiere of a play by Jan de Hartog, directed by Lee Strasberg, and starring John Garfield in an all-male cast.[91] The story concerned a Dutch ship's captain (Garfield) trying to find a New World port that would accept his "cargo" of 137 Jewish refugees. Produced by the Experimental Theater, it was originally intended for a week's performance.[92] Robert Sylvester of the New York Daily News praised the entire cast, particularly Garfield, and named that of Harry Irvine among seven "exceptional performances".[91] Irwin Shaw, writing in The New Republic, concurred: "In the second act especially are memorable performances by Richard Coogan, Eugene Stuckman, and Harry Irvine".[93] Skipper Next to God finally closed at the end of March 1948, having been extended many times past its original one week engagement.[94]

Final performances

During October 1948, Irvine was hired to perform in Maxwell Anderson's new play Anne of the Thousand Days.[95] Produced by the Playwrights' Company, it starred Rex Harrison as Henry VIII and Joyce Redman as Anne Boleyn. The play premiered on December 8, 1948, with Irvine in the role of the elderly Bishop John Fisher, who along with Sir Thomas More (Russell Gaige), would be sent to the Tower and later executed by Henry VIII.[96] The role was little more than a walk-on, but the production ran through to October 1948, one of the longer engagements of Irvine's career.

The next month, he was cast in a revival of Caesar and Cleopatra by George Bernard Shaw. The production starred Cedric Hardwicke and Lili Palmer in the title roles, while Irvine doubled up in two small parts.[97] This was Irvine's last known performance, the production closing on April 29, 1950.[98]

Acting book

E. P. Dutton published Irvine's The Actor's Art and Job in March 1942. This 251 page volume was meant as an introduction to acting as a profession for novices, and a caution for those thinking of it. The latter tone is set by the title of the first chapter: Must You Act? Dorothy Stickney and her husband Howard Lindsay each contributed a forward. In her preface, Alice White pointed out that Irvine was one of the few actors she could think of who wrote about acting as a profession.[99] Reviewer Charles S. Mitchell said "The author has little to say about himself but much about acting", and "your reviewer unhesitatingly recommends this book" to all who love the theater.[100] Louise Mace in the Springfield Daily Republican noted: "The author is consoling in his admission that great beauty is not a vital requisite, but the knowledge of how to make the best of natural equipment is."[101] Drama critic Linton Martin in The Philadelphia Inquirer highlighted the chapter on "Etiquette in the Theater", with an anecdote from Irvine's then recent performance in the jinx play, MacBeth.[102]

Death

Irvine died on August 7, 1951, at the home of friends in Nyack, New York. He had been living with them since the death of his wife a year earlier. His obituary mentioned he had been suffering from heart trouble for many years. It is the only source for his "informal" soubriquet, the Bishop of Broadway.[103]

Personal life

At age sixty, Irvine stood 6 feet 1 inch (1.85 m) and weighed 180 pounds (82 kg); he had gray hair and green eyes.[16] Already overage by the time of the Great War, he had at some time in his younger life suffered from rheumatic fever, the aftereffects of which precluded military service.[fn 3] A brief 1908 profile of him mentioned he had no recreations other than golf.[6]

On June 3, 1914, Irvine married actress Cecily Barcham at St Mary The Boltons in London.[105] She had been born in London, England on October 15, 1885; the couple had no children.[16]

Works

Plays

  • Blood! (1917) - One-act play performed by the Brooklyn Institute Players at the Academy of Music.[22]
  • The Love Lotion (1919) - One-act fantasy first performed by the East-West Players[fn 4] at the Jewish Art Theatre.[106]
  • The King's Dancer (1921) - One-act allegorical play performed by the Outdoor Players at Peterborough, New Hampshire during August 1921.[51]
  • A Modern Fantasy (1924) - One-act monologue co-written with Leslie Moore, first presented in Lancaster, Pennsylvania.[107]
  • The Third Time (1925) - One-act play co-written with Frances Gostling, presented at Winthrop, Maine.[62]

Essays

  • Sir James Barrie as a Constructive Force in Modern Drama (1922) - Delivered as a public lecture.[58]
  • William Shakespeare (1923) - Delivered as a lecture at the Brooklyn Institute.[5]
  • William Shakespeare - A Human Being (1925) - Delivered as a lecture at Dalhousie University.[108]
  • Choice of a Career (1925) - Delivered as a lecture at Halifax Ladies College, on the stage as a profession.[109]

Stage credits

Plays in which Harry Irvine performed by year of his first appearance. Most performances before 1915 cannot be identified.
Year Play Role Venue Notes/Sources
1904 Richard II His Majesty's Theatre Irvine's first known professional stage credit.[6]
1911 The Miracle (ASM)/The Minstrel Olympia London Max Reinhardt's production of Karl Vollmöller's pantomime.[11][7][12]
1912 The Dreamer King's Hall Covent Garden Religious play by Mabel Dearmer; the reviewer would not identify actors with their roles out of piety.[110]
1913 School for Scandal Charles Surface Arts Centre, Mortimer Street Produced by the Black Cat Club, composed of authors and amateurs.[111]
A Gauntlet Alfred Coronet Theatre Adapted by R. Farquharson Sharp from the 1883 play En hanske by Bjørnstjerne Bjørnson.[13]
1915 Hamlet First Gravedigger Touring company Irvine later switched to the First Player for this Forbes-Robertson production.[112]
The Passing of the Third Floor Back Harry Larkum Touring company 1908 fantasy drama by Jerome K. Jerome from his novel.[113]
1916 The Light That Failed Phil Raynor Touring company Three-act play adapted by George S. Fleming from the 1891 novel by Rudyard Kipling.[114]
1917 The Maker of Dreams Pierrot/(Director) Academy of Music One-act play by Oliphant Down, in which Irvine both performed and directed.[19]
The Lips of La Sauterelle Tawno Chickno/(Director) Academy of Music One-act play by Frances M. Gostting.[19]
The Taming of the Shrew Petruchio/(Director) Academy of Music The Brooklyn reviewer blamed Irvine's direction for rushed scenes and faulty diction.[23]
Shirley Kaye Garrick Detroit Irvine's first role with the Bonstelle Company was this social comedy by Hulbert Footner.[115]
The Professor's Love Story Henders Garrick Detroit Revival of a three-act 1891 comedy by J. M. Barrie.[116]
A Thousand Years Ago Garrick Detroit Anachronistic 1914 romance by Percy MacKaye has Commedia dell'arte players in Five Dynasties China.[117]
Half Hour Dr. Brodie Garrick Detroit One-act three scene play by J. M. Brodie given for Stage Woman's War Relief Fund.[118]
The New Henrietta Dr. George Wainwright Garrick Detroit 1913 update by Winchell Smith and Victor Mapes of The Henrietta by Bronson Howard.[119]
It Pays to Advertise Star Theater Buffalo [120]
His Majesty, Bunker Bean Balthazar Star Theater Buffalo [121]
Good Morning, Rosamond! Village Suitor Star Theater Buffalo Debut of a comedy by Constance Lindsay Skinner from her own novel, about a Nova Scotia village widow.[122]
Hit-the-Trail Holliday Rev. T. B. Holden Star Theater Buffalo George M. Cohan four-act comedy about an abstaining bartender.[123]
The Cinderella Man D. Romney Evans Star Theater Buffalo Irvine plays an attorney in this Edward Childs Carpenter comedy.[124]
Losing Eloise Carter The Playhouse
Nixon's Apollo Theatre
Sam H. Harris Theatre 		The tryout cities had it right, but Broadway miscredited him as "S. Harry Irvine".[26][27][28]
1918 Double Exposure Baba Mahrati Touring company
Bijou Theatre 		Fantasy farce, in which Irvine is an Indian mystic who causes two husbands to swap physical bodies.[32][34]
Hamlet Horatio Plymouth Theatre Presented by the Shakespeare Playhouse as Friday and Saturday matinees.[36]
MacBeth Banquo Plymouth Theatre This Shakespeare Playhouse production was limited to Saturday matinees.[37]
1919 As You Like It Le Beau Plymouth Theatre Another Shakespeare Playhouse presentation as Friday and Saturday matinees.[38]
Grumpy Andrew Bullivant Shubert Garrick Irvine played the title role in this 1913 comedy by Horace Hodges and Thomas Wigney Percyval.[43]
Romeo and Juliet Mercutio Touring company Critic Arthur Pollock said Irvine "clowns his part" at first then "grows more genuine".[46]
The Wayfarer Despair Madison Square Garden This Christian interdenominational spectacle was called "a pictorial sermon" by a reviewer.[125]
1920 George Washington The Presence Lyric Theatre Irvine had a part in the prologue to this pageant "destitute of dramatic quality".[47]
The Merchant of Venice Bassanio Touring company [48]
The Taming of the Shrew A Pedant Touring company [126]
1922 The Idiot Republic Theatre
Little Theatre 		Adaptation of Dostoevsky's novel by John Cowper Powys and Reginald Pole.[53][54]
Clouds of the Sun Gaston LeFevre The Cloisters[fn 5] A poetic play by Isabel Fiske Conant with medieval music, a benefit for French war orphans.[127]
Her Own Money Lewis Alden Chautauqua Tent, Ottawa Irvine plays a likeable but overly proud husband in three-act work by Mark Swan.[55]
The Admirable Crichton Crichton Brooklyn Academy of Music A limited engagement revival with the Brooklyn Institute players.[128]
1925 Mr. Pim Passes By Mr. Pim/(Director) Casino Theatre[fn 6] [63]
The Third Time Theatre of the Woods[fn 7] One-act play by Irvine presented on a bill with other playlets.[62]
The Swan Song The Actor/(Director) Casino Theatre One-act play by Anton Checkov.[129]
The Opening of Pierrot's Eyes Prologue/(Director) Casino Theatre One-act play which Irvine adapted from the Spanish and directed.[129]
A Royal Divorce Marquis de Beaumont Majestic Theatre[fn 8] Irvine drew high praise from the local critic in this tragic romance by W. G. Wills.[130]
Henry VIII Henry VIII Majestic Theatre [131]
The Story of the Rosary Karl La Rose Majestic Theatre War drama by Walter Howard had Irvine as a cashiered officer who enlists in the ranks.[132]
Milestones John Rhead Majestic Theatre [133]
1926 The Romantic Young Lady The Apparition/(Director) By-Way Theatre[fn 9] Irvine and his wife spent another summer directing the Woodland Players.[134]
Deburau Jean-Gaspard Deburau/(Director) By-Way Theatre [135]
1935 This Our House 1st Judge 58th Street Theatre Two-act act tragedy starred Edith Atwater and Ian Maclaren.[66]
1936 Murder in the Cathedral Thomas Beckett Manhattan Theatre Though a limited engagement revival, Irvine scored a high-profile success.[69]
Class of '29 Bishop Holden Manhattan Theatre Another WPA production, by Orrie Lashin and Milo Hastings.
Daughters of Atreus Kalchas the Priest 44th Street Theatre Literate first play by Robert Turney was let down by poor casting and direction.[74]
1938 On the Rocks Old Hipney Daly's 63rd Street Theatre Irvine is a plain-speaking proletariat among the blueblood politicians.[76]
Dame Nature Doctor Faridet Booth Theatre Theatre Guild production adapted by Patricia Collinge from the 1935 comedy by André Birabeau.[78]
1939 Jeremiah Hananiah Guild Theatre A drama of the prophet Jeremiah written in 1917 by Stefan Zweig.[80]
1940 Delicate Story Physician Henry Miller's Theater [82]
1941 MacBeth King Duncan National Theatre Irvine doubled up in the small role of the Doctor for this production.[83]
1942 Bird in Hand Thomas Greenleaf Morosco Theatre Revival of 1929 comedy by John Drinkwater lasted only one week.[136]
1943 Richard III Henry VI[fn 10] Forrest Theatre Irvine again doubled up parts, also playing the Lord Mayor of London.[137]
1945 The Mermaids Singing Professor James Empire Theatre [84]
1946 Joan of Lorraine Kipner Alvin Theatre Irvine plays an actor portraying Regnault de Chartres, the Archbishop of Rheims.[86]
1947 Dear Judas Lazarus Mansfield Theatre Adapted from a work by Robinson Jeffers.[89]
1948 Skipper Next to God The Clergyman Maxine Elliott's Theatre [91]
Anne of the Thousand Days Bishop John Fisher Shubert Theatre [96]
1949 Caesar and Cleopatra Harpmaster / Priest National Theatre [97]

Notes

  1. ^ This was a production company under the direction of Frank McEntee.
  2. ^ Cecily, her first name in English sources, was invariably spelled Cicely in America.[41] She had previously appeared in the Broadway flop The Net by Maravene Thompson, for which IBDb mistakenly bills her as "Cicelly Barcham".[42]
  3. ^ His 1918 US Draft Registration card noted other debilitating physical conditions as well as "rheumatic tendencies".[104]
  4. ^ This troupe should not be confused with the much later organization of Asian-American performers.
  5. ^ This was the studio of George Grey Barnard, located at 191st Street and Fort Washington Avenue in Manhattan.[127]
  6. ^ This was part of a summer resort near Lewiston, Maine.
  7. ^ This venue was located near summer resorts at Mount Pisgah in Winthrop, Maine.
  8. ^ This was in Halifax, Nova Scotia.
  9. ^ This venue was in Boothbay Harbor, Maine.
  10. ^ IBDb has confused Irvine's role with that of actor John Ireland, who played Henry Tudor, Earl of Richmond, later Henry VII, and also doubled as the First Murderer.[137]

References

  1. ^ John Henry Irvine in the India, Select Births and Baptisms, 1786-1947, retrieved from Ancestry.com
  2. ^ John H. Irvine in the 1881 England Census, retrieved from Ancestry.com
  3. ^ John H. Irvine in the 1891 England Census, retrieved from Ancestry.com
  4. ^ a b "Table Gossip". The Boston Globe. Boston, Massachusetts. May 29, 1921. p. 62 – via Newspapers.com.
  5. ^ a b "Programme of Lectures At Brooklyn Institute". The Brooklyn Standard Union. Brooklyn, New York. April 22, 1923. p. 3 – via Newspapers.com.
  6. ^ a b c d "Jottings On The Pageant". Chelsea News. London, England. June 26, 1908. p. 8 – via Newspapers.com.
  7. ^ a b c Harry Irvine (1942). The Actor's Art and Job. E. P. Dutton. p. 12.
  8. ^ "A London Pageant". The Birmingham Post. Birmingham, England. June 25, 1908. p. 12 – via Newspapers.com.
  9. ^ "Chelsea Pageant". The Daily Telegraph. London, England. June 26, 1908. p. 13 – via Newspapers.com.
  10. ^ E. M. E. (November 20, 1909). "Parnassus in London: The Story of the Poets Club". The Graphic. London, England. p. 20 – via Newspapers.com.
  11. ^ a b "Last Nights Productions: 'The Miracle'". The People. London, England. December 24, 1911. p. 13 – via Newspapers.com.
  12. ^ a b "The Theatres". The Evening Standard. London, England. November 16, 1912. p. 4 – via Newspapers.com.
  13. ^ a b "Welcome Revival During The Woman's Theatre Week". The Evening Standard. London, England. December 12, 1913. p. 5 – via Newspapers.com.
  14. ^ "Provincial Theatricals: Paisley". The Era. London, England. December 4, 1897. p. 27 – via Newspapers.com.
  15. ^ "In Stageland". The Sutton Coldfield News. Sutton Coldfield, England. September 2, 1905. p. 5 – via Newspapers.com.
  16. ^ a b c John Henry Irvine in the New York, U.S., State and Federal Naturalization Records, 1794-1943, retrieved from Ancestry.com
  17. ^ "Actors Bid Adieu to Robertson". New-York Tribune. New York, New York. April 26, 1916. p. 11 – via Newspapers.com.
  18. ^ "Institute Players In Three Offerings". The Brooklyn Daily Eagle. Brooklyn, New York. January 14, 1917. p. 42 – via Newspapers.com.
  19. ^ a b c "Institute Players Please In Playlets". The Brooklyn Daily Eagle. Brooklyn, New York. January 21, 1917. p. 60 – via Newspapers.com.
  20. ^ "One of Season's Best Institute Programs". The Brooklyn Daily Eagle. Brooklyn, New York. February 4, 1917. p. 57 – via Newspapers.com.
  21. ^ "Institute Players Present 'Kindling' at Academy". The Brooklyn Daily Times. Brooklyn, New York. March 3, 1917. p. 3 – via Newspapers.com.
  22. ^ a b "Institute Players Show Versatility". The Brooklyn Daily Eagle. Brooklyn, New York. March 31, 1917. p. 5 – via Newspapers.com.
  23. ^ a b "Institute Players Hurry Shakespeare". The Brooklyn Daily Eagle. Brooklyn, New York. April 24, 1917. p. 8 – via Newspapers.com.
  24. ^ "Garrick (ad)". Detroit Free Press. Detroit, Michigan. May 6, 1917. p. 28 – via Newspapers.com.
  25. ^ Irvine, p.101.
  26. ^ a b "'Losing Eloise' A Farce Of Sort". The News-Journal. Wilmington, Delaware. October 30, 1917. p. 17 – via Newspapers.com.
  27. ^ a b "'Losing Eloise' Tinkles with Satrical [sic] Fun". Atlantic City Daily Press. Wilmington, Delaware. November 2, 1917. p. 2 – via Newspapers.com.
  28. ^ a b "'Losing Eloise' Has An Amusing Idea". The New York Times. New York, New York. November 19, 1917. p. 9 – via NYTimes.com.
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  30. ^ "'The Naughty Wife', A Merry Farce". The Boston Globe. Boston, Massachusetts. January 29, 1918 – via Newspapers.com.
  31. ^ "'The Naughty Wife' Proves Witty Farce". The Buffalo News. Buffalo, New York. May 31, 1918. p. 2 – via Newspapers.com.
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  33. ^ "'Double Exposure' Is Farce On New Theme". The Buffalo News. Buffalo, New York. August 20, 1918. p. 10 – via Newspapers.com.
  34. ^ a b "Amusements". The Daily Standard Union. Brooklyn, New York. August 28, 1918. p. 4 – via Newspapers.com.
  35. ^ "What News On The Rialto?". The New York Times. New York, New York. September 8, 1918. p. 42 – via NYTimes.com.
  36. ^ a b "'Hamlet' Is Revived". The New York Times. New York, New York. November 23, 1918. p. 9 – via NYTimes.com.
  37. ^ a b "Shakespeare's Playhouse to Give Matinee of 'MacBeth'". New-York Tribune. New York, New York. December 1, 1918. p. 38 – via Newspapers.com.
  38. ^ a b "'As You Like It'". The New York Times. New York, New York. February 15, 1919. p. 11 – via NYTimes.com.
  39. ^ a b "Walter Hampden Is Coming Hamlet, Thinks J. H. Irvine". Detroit Free Press. Detroit, Michigan. June 15, 1919. p. 70 – via Newspapers.com.
  40. ^ "Hampden's Hamlet Satisfying Production". The Philadelphia Inquirer. Philadelphia, Pennsylvania. April 10, 1919. p. 7 – via Newspapers.com.
  41. ^ a b "Shubert Garrick". Detroit Free Press. Detroit, Michigan. May 4, 1919. p. 72 – via Newspapers.com.
  42. ^ ""The Net" Has Suspense". The New York Times. New York, New York. February 11, 1919. p. 9 – via NYTimes.com.
  43. ^ a b "Shubert Garrick". Detroit Free Press. Detroit, Michigan. May 25, 1919. p. 74 – via Newspapers.com.
  44. ^ "The Theater". Detroit Free Press. Detroit, Michigan. May 30, 1919. p. 4 – via Newspapers.com.
  45. ^ "Walter Hampden Here". Brooklyn Citizen. Brooklyn, New York. October 31, 1919. p. 7 – via Newspapers.com.
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  47. ^ a b "'George Washington' Fine As Character Study". The New York Herald. New York, New York. March 2, 1920. p. 9 – via Newspapers.com.
  48. ^ a b "Hampden Gives Stage New Shylock". The Boston Globe. Boston, Massachusetts. May 4, 1920. p. 6 – via Newspapers.com.
  49. ^ "Lyceum 'Merchant of Venice'". The Baltimore Sun. Baltimore, Maryland. February 25, 1921. p. 7 – via Newspapers.com.
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  51. ^ a b "Hub Society Girls With Spear and Knife Revive Ancient Greek Gambols in Woods". The Boston Globe. Boston, Massachusetts. August 21, 1921. p. 39 – via Newspapers.com.
  52. ^ "Theater School to Open Its Playhouse". The New York Herald. New York, New York. January 15, 1922. p. 42 – via Newspapers.com.
  53. ^ a b "'The Idiot' Acted at Benefit". The New York Times. New York, New York. April 8, 1922. p. 18 – via NYTimes.com.
  54. ^ a b "'The Idiot'". Brooklyn Citizen. Brooklyn, New York. May 14, 1922. p. 14 – via Newspapers.com.
  55. ^ a b "'Her Own Money' at The Chautauqua". The Citizen. Ottawa, Ontario. June 30, 1922. p. 6 – via Newspapers.com.
  56. ^ "The Stage Door". New-York Tribune. New York, New York. May 31, 1922. p. 8 – via Newspapers.com.
  57. ^ "School of Theater This Week Has Its First Graduation". The New York Herald. New York, New York. August 20, 1922. p. 39 – via Newspapers.com.
  58. ^ a b "Going-on Today". New-York Tribune. New York, New York. October 24, 1922. p. 11 – via Newspapers.com.
  59. ^ "Says Actors Kept Shakespeare Alive". The Brooklyn Daily Times. Brooklyn, New York. April 27, 1923. p. 7 – via Newspapers.com.
  60. ^ "Shakespeare-Bacon Debate Draws Crowd". The Brooklyn Daily Eagle. Brooklyn, New York. May 7, 1924. p. 5 – via Newspapers.com.
  61. ^ "'Othello' Causerie Given At Academy". The Brooklyn Daily Eagle. Brooklyn, New York. April 23, 1925. p. 4 – via Newspapers.com.
  62. ^ a b c "Boothbay Harbor". Portland Evening Herald. Portland, Maine. August 15, 1925. p. 2 – via Newspapers.com.
  63. ^ a b "'Mr. Pim Passes By'". Lewiston Evening Journal. Lewiston, Maine. August 8, 1925. p. 6 – via Newspapers.com.
  64. ^ Logan, J. D. (October 6, 1925). "Glossop-Harris Co. Open Drama Season". The Evening Mail. Halifax, Nova Scotia. p. 11 – via Newspapers.com.
  65. ^ Logan, J. D. (October 9, 1925). "Elizabethan Farce Is Ably Produced". The Evening Mail. Halifax, Nova Scotia. p. 13 – via Newspapers.com.
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  67. ^ "News of the Stage". The Brooklyn Daily Eagle. Brooklyn, New York. December 14, 1935. p. 15 – via Newspapers.com.
  68. ^ Chapman, John (March 21, 1936). "WPA Stages T. S. Eliot's Poetic Drama". Daily News. New York, New York. p. 97 – via Newspapers.com.
  69. ^ a b Mantle, Burns (March 30, 1936). "WPA's Production of 'Murder in Cathedral' Extended Nine Days". Daily News. New York, New York. p. 33 – via Newspapers.com.
  70. ^ "WPA Theatre Problem How to Handle Hits". Daily News. New York, New York. March 30, 1936. p. 33 – via Newspapers.com.
  71. ^ Walker, Dan (April 12, 1936). "Listening In". Daily News. New York, New York. p. 46 – via Newspapers.com.
  72. ^ "News of the Stage". The Brooklyn Daily Eagle. Brooklyn, New York. May 8, 1936. p. 23 – via Newspapers.com.
  73. ^ Mantle, Burns (May 16, 1936). ""Class of '29" Is an Honest Drama". Daily News. New York, New York. p. 95 – via Newspapers.com.
  74. ^ a b Field, Rowland (October 15, 1936). "The New Play". Brooklyn Times Union. Brooklyn, New York. p. 18 – via Newspapers.com.
  75. ^ "Drama Notes". Brooklyn Times Union. Brooklyn, New York. January 6, 1937. p. 28 – via Newspapers.com.
  76. ^ a b Mantle, Burns (June 16, 1938). "Shaw's 'On the Rocks' Given Creditable Performance by WPA". Daily News. New York, New York. p. 175 – via Newspapers.com.
  77. ^ "Actors Organize to Tell High Schools About the Theater". Daily News. New York, New York. September 19, 1938. p. 31 – via Newspapers.com.
  78. ^ a b Mantle, Burns (September 27, 1938). "'Dame Nature' Starts Guild A Bit on the Biological Side". Daily News. New York, New York. p. 145 – via Newspapers.com.
  79. ^ Smith, Cecil (November 20, 1938). ""I'd Rather Be Right" Opens Tomorrow Night at Auditorium". Chicago Tribune. Chicago, Illinois. p. 72 – via Newspapers.com.
  80. ^ a b Mantle, Burns (February 4, 1939). "'Jeremiah' Is Given Colorful Production by Theatre Guild". Daily News. New York, New York. p. 77 – via Newspapers.com.
  81. ^ "Molnar Writes Play in U.S.A.". Brooklyn Eagle. Brooklyn, New York. December 1, 1940. p. 44 – via Newspapers.com.
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  83. ^ a b Mantle, Burns (November 12, 1941). "Maurice Evans Revives 'MacBeth', Judith Anderson as Her Ladyship". Daily News. New York, New York. p. 211 – via Newspapers.com.
  84. ^ a b Nichols, Lewis (November 29, 1945). "The Play". The New York Times. New York, New York. p. 26 – via NYTimes.com.
  85. ^ "Last 2 Times Today (ad)". Brooklyn Eagle. Brooklyn, New York. January 12, 1945. p. 12 – via Newspapers.com.
  86. ^ a b Chapman, John (November 19, 1946). "Miss Bergman and Mr. Anderson Score Hits in 'Joan of Lorraine'". Daily News. New York, New York. p. 215 – via Newspapers.com.
  87. ^ Atkinson, Brooks (November 19, 1946). "The Play in Review". The New York Times. New York, New York. p. 48 – via NYTimes.com.
  88. ^ "'Icetime of 1948' To Open May 28; Joyce's New Role". Daily News. New York, New York. May 9, 1947. p. 51 – via Newspapers.com.
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  90. ^ "Addenda". The Pittsburgh Post-Gazette. Pittsburgh, Pennsylvania. October 20, 1947. p. 20 – via Newspapers.com.
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  92. ^ "'Skipper Next to God' Tonight's Experimental Theater Opening". Brooklyn Eagle. Brooklyn, New York. January 4, 1948. p. 29 – via Newspapers.com.
  93. ^ Shaw, Irwin (January 19, 1948). "Theater: The Wandering Conscience". The New Republic. New York City, New York: Editorial Publications, Inc. p. 33.
  94. ^ "Last 2 Times Today - John Garfield in 'Skipper Next to God' (ad)". Brooklyn Eagle. Brooklyn, New York. March 27, 1948. p. 16 – via Newspapers.com.
  95. ^ Currie, George (October 4, 1948). "Theater". Brooklyn Eagle. Brooklyn, New York. p. 4 – via Newspapers.com.
  96. ^ a b Chapman, John (December 9, 1948). "Harrison and Redman Splendid in a Stirring Historical Drama". Daily News. New York, New York. p. 357 – via Newspapers.com.
  97. ^ a b Atkinson, Brooks (December 22, 1949). "First Night at the Theatre". The New York Times. New York, New York. p. 28 – via NYTimes.com.
  98. ^ "Theater Notes". Brooklyn Eagle. Brooklyn, New York. April 29, 1950. p. 14 – via Newspapers.com.
  99. ^ Harry Irvine (1942). The Actor's Art and Job. E. P. Dutton. pp. 11, 12.
  100. ^ Mitchell, Charles S. (March 18, 1942). "For Theater Lovers". The Nashville Banner. Nashville, Tennessee. p. 18 – via Newspapers.com.
  101. ^ Mace, Louise (March 22, 1942). "Here and There in the Theater". Springfield Daily Republican. Springfield, Massachusetts. p. 31 – via Newspapers.com.
  102. ^ Martin, Linton (May 24, 1942). "Recalling Theatre Jinx; As an Actor Sees Stage". The Philadelphia Inquirer. Philadelphia, Pennsylvania – via Newspapers.com.
  103. ^ "Harry Irvine, Well Known Character Actor, Is Dead". The Journal News. White Plains, New York. August 8, 1951. p. 1 – via Newspapers.com.
  104. ^ U.S., World War I Draft Registration Cards, 1917-1918 for John Harry Irvine, New York > Manhattan City > District 125 > Draft Card I, retrieved from Ancestry.com
  105. ^ John Henry Irvine in the London, England, Church of England Marriages and Banns, 1754-1940, retrieved from Ancestry.com
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  107. ^ "Harry Irvine Pleases Big Audience at Iris Club". Sunday News. Lancaster, Pennsylvania. November 30, 1924. p. 21 – via Newspapers.com.
  108. ^ "Gives History of Shakespeare's Life". The Evening Mail. Halifax, Nova Scotia. October 23, 1925. p. 16 – via Newspapers.com.
  109. ^ "Society - Womans Realm - Clubs". The Evening Mail. Halifax, Nova Scotia. December 5, 1925. p. 11 – via Newspapers.com.
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  111. ^ "A Display of Histronic Talent". The West London Gazette. London, England. September 20, 1913. p. 4 – via Newspapers.com.
  112. ^ "English Actor Is Superb In 'Hamlet'". The Ledger-Dispatch. Norfolk, Virginia. October 16, 1915. p. 10 – via Newspapers.com.
  113. ^ "Forbes-Robertson Pleases". Waco Morning News. Waco, Texas. November 23, 1915. p. 9 – via Newspapers.com.
  114. ^ "Forbes-Robertson's Great Art Shown In 'The Light That Failed". Register and Leader. Des Moines, Iowa. February 5, 1916. p. 5 – via Newspapers.com.
  115. ^ "Garrick". Detroit Free Press. Detroit, Michigan. May 13, 1917. p. 79 – via Newspapers.com.
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  117. ^ "Garrick". Detroit Evening Times. Detroit, Michigan. June 19, 1917. p. 3 – via Newspapers.com.
  118. ^ "Stage Women Aid War Relief". Detroit Free Press. Detroit, Michigan. July 15, 1917. p. 39 – via Newspapers.com.
  119. ^ G. P. G. (July 17, 1917). "The Theater". Detroit Free Press. Detroit, Michigan. p. 4 – via Newspapers.com.
  120. ^ "Bonstelle Company Opens At Star Theater Tonight". The Buffalo News. Buffalo, New York. July 30, 1917. p. 11 – via Newspapers.com.
  121. ^ "'His Majesty, Bunker Bean' At Star Theater". The Buffalo Times. Buffalo, New York. August 5, 1917. p. 26 – via Newspapers.com.
  122. ^ "Miss Bonstelle Will Present New Play at the Star". The Buffalo Times. Buffalo, New York. August 12, 1917. p. 34 – via Newspapers.com.
  123. ^ "This Week at The Theaters: Star 'Hit the Trail Holliday'". The Buffalo Courier. Buffalo, New York. August 21, 1917. p. 6 – via Newspapers.com.
  124. ^ "Theatrical News: Star Theatre". The Buffalo Commercial. Buffalo, New York. August 28, 1917. p. 10 – via Newspapers.com.
  125. ^ "'The Wayfarer' Is Pictorial Sermon". The New York Herald. New York, New York. December 16, 1919. p. 7 – via Newspapers.com.
  126. ^ "Walter Hampden Seen As Petruchio". Times Herald. Washington, D. C. October 22, 1920. p. 12 – via Newspapers.com.
  127. ^ a b "'Clouds of the Sun' Acted at Cloisters". The New York Times. New York, New York. May 6, 1922. p. 11 – via NYTimes.com.
  128. ^ "Institute Players Present Barrie Comedy". The Brooklyn Standard Union. Brooklyn, New York. December 29, 1922. p. 5 – via Newspapers.com.
  129. ^ a b "Three Plays Given". Lewiston Evening Journal. Lewiston, Maine. August 22, 1925. p. 9 – via Newspapers.com.
  130. ^ Logan, J. D. (October 13, 1925). "Score Triumph In 'A Royal Divorce'". The Evening Mail. Halifax, Nova Scotia. p. 9 – via Newspapers.com.
  131. ^ Logan, J. D. (October 30, 1925). "Noble Drama Is Superbly Played". The Evening Mail. Halifax, Nova Scotia. p. 16 – via Newspapers.com.
  132. ^ Logan, J. D. (November 10, 1925). "Majestic Players In War-Time Play". The Evening Mail. Halifax, Nova Scotia. p. 13 – via Newspapers.com.
  133. ^ "'Milestones', A Charming Comedy, Ably Presented". The Evening Mail. Halifax, Nova Scotia. November 24, 1925. p. 11 – via Newspapers.com.
  134. ^ "Boothbay Harbor". Portland Press-Herald. Portland, Maine. August 10, 1926. p. 2 – via Newspapers.com.
  135. ^ "Boothbay Harbor". Portland Press-Herald. Portland, Maine. August 17, 1926. p. 2 – via Newspapers.com.
  136. ^ Burns, Mantle (October 20, 1942). "'Bird in Hand' Is Revived at Pop Prices at the Morosco". Daily News. New York, New York. p. 391 – via Newspapers.com.
  137. ^ a b Burns, Mantle (March 27, 1943). "'Richard III' Revival at the Forrest Is Played With Force". Daily News. New York, New York. p. 101 – via Newspapers.com.

Bibliography

  • Harry Irvine. The Actor's Art and Job. E. P. Dutton & Company, New York, 1942.
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