Adrianne Allen was born in 1907 in Manchester. Her films include “Loose Ends” in 1930, “The October Man” and “Bond Street”. She was married to Raymond Massey and her children are actors Daniel Massey and Anna Massey. Adrianne Allen died in 1993 at the age of 86 in Switzerland.
IMDB entry:
Adrianne Allen was married to Raymond Massey from 1929 to 1939. The Masseys were great friends with William and Dorothy Whitney, who were divorced in the late 1930s. William was an international lawyer, and Adrianne went to him for the divorce. Shortly after the divorce of Adrianne and Raymond, William and Adrianne married, as did Raymond and Dorothy Whitney, and all lived happily ever after. Adrianne and Bill lived in London before and during WWII and Adrianne’s children, Daniel Massey and Anna Massey, spent much of their time with the Whitneys. In the 1950s, Adrianne and Bill moved to Glion-sur-Montreux, Switzerland, where they lived out their days.
– IMDb Mini Biography By: annie whitney
The above entry can also be accessed on IMDB here.
TCM Ove4rview:
Delicately lovely British actress, primarily on stage in light, brittle comedy from the mid-1920s until the late 50s. After training at RADA, Allen made her London stage debut in Noel Coward’s “Easy Virtue” in 1926. She often brought her intelligence and grace to the Broadway stage, in productions ranging from the mournful romance “Cynara” (1931) to the high period comedy “Pride and Prejudice” (1935) to the intense family saga “Edward, My Son” (1948). From the mid-40s on, Allen primarily played mother roles, like her matchmaker in “The Reluctant Debutante” (1956).Allen also made a dozen film appearances on both sides of the Atlantic between 1930 and 1954. Her busiest period in film came shortly after her debut in “Loose Ends” (1930), but the middling “The Stronger Sex” and “The Woman Between” (both 1931) failed to establish her in film. Decidedly better were the offbeat small-town drama, “The Night of June 13” (1932) and the superior British noir, “The October Man” (1947).
Wilfrid Hyde-White came to prominence in late middle age, after having spent a long time in minor roles. He was born in 1903 in Burton-on-the-Water, England, the son of a rector. He made his film debut in 1934 in “Josser on the Farm” and then went on to make “Turned Out Nice Again” with George Formby.
His breakthrough role came in the Carol Reed classic of 1949 “The Third Man”. “North West Frontier” with Kenneth More and Lauren Bacall weas a major success. He went to Hollywood in 1959 and made such films as “Ada” with Susan Hayward, “let’s Make Love” with Marilyn Monroe and as Pickering in “My Fair Lady” in 1964. Most of his subsequent career was spent in Hollywood where he died in 1991 at the age of 87. His son is the actor Alex Hyde-White.
IMDB Entry:
Bang! Bang! You’re Dead!, poster, (aka OUR MAN IN MARRAKESH), US poster, left: Wilfred Hyde-White, Herbert Lom, Senta Berger, Terry-Thomas; Tony Randall (on ground), 1966. (Photo by LMPC via Getty Images)
– IMDb Mini Biography By: Jim Beaver <jumblejim@prodigy.net>
British character actor of wry charm, equally at home in amused or strait-laced characters. A native of Bourton-on-the-Water in Gloucestershire, he attended Marlborough College and the Royal Academy of Dramatic Arts. His stage debut came in 1922, and by 1925 he was a busy London actor. He married actress Blanche Glynne (real name: Blanche Hope Aitken) and in 1932 toured South Africa in plays. Alleged to have been spotted by George Cukor during a performance in Aldritch, Hyde-White (with or without Cukor’s help) made his film debut in 1934.
He often appeared under the name Hyde White in these early films. He continued to act upon the stage, playing oppositeLaurence Olivier and Vivien Leigh in “Caesar and Cleopatra” and “Antony and Cleopatra” in 1951. With scores of films to his credit, he will always be remembered for one, My Fair Lady (1964), in which he played Colonel Pickering. Active into his ninth decade, Hyde-White died six days before his 88th birthday. He was survived by his second wife, Ethel, and three children.
Distinguished-looking, urbane character actor noted for his droll humor on stage as the father of the title character in the drawing room comedy “The Reluctant Debutante” (London 1956, Broadway 1957) and the Laurence Olivier-Vivien Leigh “Caesar and Cleopatra” (1952).
Often cast as genteel Englishmen whose surface manners mask a roguish or larcenous soul, Hyde-White is best known for his performances as Crippin, a British Council functionary in “The Third Man” (1949), the hypocritical headmaster in “The Browning Version” (1951) and Henry Higgins’s bemused friend, Colonel Pickering, in “My Fair Lady” (1964). On TV he appeared briefly on the nighttime soap opera “Peyton Place” (1967), starred as Emerson Marshall in the legal comedy series, “The Associates” (1979) and played Dr. Goodfellow in “Buck Rogers in the 25th Century” (1981).
A supremely unctuous character player, adept at smoothly honed sycophancy – as, for example, the literary chairman of The Third Man (d. Carol Reed, 1949), the headmaster in The Browning Version (d. Anthony Asquith, 1951), and one of the wealthy brothers in The Million Pound Note (d. Ronald Neame, 1953).
With his plummy tones and sleekly coiffed appearance, he usually played upper-class, but there is a smattering of fake smoothies, like crim Soapie Stevens in Two-Way Stretch (d. Robert Day, 1960), or the merely deferential like the jeweller in Bond Street (d. Gordon Parry, 1948). However, it is hopeless trying to limit the highlights in such a career, which spanned fifty years, every type of British film and not a few international ones, most famously as that arch-gent, Colonel Pickering, in My Fair Lady (US, d. George Cukor, 1964).
Marlborough-educated and RADA-trained, he was first on stage in 1922, scoring a major hit as the father of The Reluctant Debutante (1955) and screen since 1936. His son Alex Hyde-White (b.London, 1959) has acted in several films including Biggles (d. John Hough, 1986) and Pretty Woman(US, d. Garry Marshall, 1990).
Brian McFarlane, Encyclopedia of British Film
New York Times obituary in 1991:
Wilfrid Hyde-White, the English actor who appeared in films including “My Fair Lady,” “Ten Little Indians,” “The Third Man” and “The Browning Version,” died yesterday in Woodland Hills, Calif. He was 87 years old.
He died of congestive heart failure at the Motion Picture and Television Hospital, where he had been a patient since 1985, said Louella Benson, a spokeswoman for the Motion Picture and Television Fund.
Mr. Hyde-White was especially well known for his urbane drollery, in such roles as the father of the title character in the play “The Reluctant Debutante,” which he performed in London and then, in 1956 and 1957, on Broadway.
Reviewing that drawing-room comedy, Brooks Atkinson of The New York Times said Mr. Hyde White gave a “brilliant performance” as the head of a frantic household — “relaxed, quizzical, neat, funny.” Of ‘Certain Tricks’
The actor told an interviewer at the time: “The premise of the drollery has to be firm. It is allowed to look leisurely, but actually my technique is hidebound by method. I really don’t take chances onstage. My style of acting is made up of certain tricks acquired over many years.”
Those, he said, included lowering his voice if audiences were noisy or sleepy. The worst thing to do is outshout them, he said, and if they are sleeping, do not awaken them, thereby eliminating a few critics.
“The suaveness,” he said, “isn’t born of confidence: it’s born of fright.” Comedies on the Stage
Mr. Hyde-White, who was born in Gloucester, began his career in a series of comedies produced during the late 1920’s at the Aldwych Theater in London, then began his film career as a stuffy burgomaster in “Rembrandt.”
He played a professor in “The Third Man” (1950) and the headmaster in “The Browning Version,” the 1951 film based on Terence Rattigan’s play. In “My Fair Lady” (1964), he played Henry Higgins’s associate.
In 1952, he appeared in New York with Laurence Olivier and Vivien Leigh in “Caesar and Cleopoatra” and “Antony and Cleopatra.” In 1973, he played an urbane marquis on Broadway in “The Jockey Club Stakes,” a British comedy.
His American television credits included a brief run in the 1960’s nighttime soap opera “Peyton Place.” He also starred as Emerson Marshall in ABC’s lawyer comedy series “The Associates” and appeared as Dr. Goodfellow in “Buck Rogers in the 25th Century.”
He is survived by his wife, Ethel; two sons, Alex and Michael; a daughter, Juliet, and four grandsons
Hywel Bennett was born in Wales in 1944. He made his film debut in 1n 1966 with the lead role opposite Hayley Mills in Roy Boulting’s classic “The Family Way”. He made two further films with Hayley Mills, “Twisted Nerve” and “Endless Night”. His other films include “The Buttercup Chain” and “The Virgin Soldiers”. He had a hit on television with the series “Shelley”. He died in 2017.
Obituary from “The Guardian”:
The actor Hywel Bennett, who has died aged 73, achieved his greatest fame as the thinking man’s layabout in the title role of the hugely popular ITV sitcom Shelley. The character was a geography graduate with an analytical brain but no desire to work – a philosopher on a sofa. A handful of jobs failed to last and Shelley was in constant conflict with the tax office, his building society and his father-in-law, aided only by his sardonic wit and anti-establishment attitude.
Loot, poster, poster Richard Attenborough (left), Hywel Bennett (top center left)), Lee Remick (top center right), Milo O’Shea (right), 1970. (Photo by LMPC via Getty Images)
As a programme, Shelley was a slow-burner, but it caught on and initially ran for six series, from 1979 until 1984. Bennett’s private life made headlines, and heavy drinking led him to book into a clinic in 1986. Repeats of the sitcom then led ITV to revive the series as The Return of Shelley (1988), before reverting to its original title for a final three runs between 1989 and 1992.
Shelley was the brainchild of Peter Tilbury, who wrote most of the original episodes, with Andy Hamilton and Guy Jenkin scripting many of the later ones. “The writers had done something pretty amazing,” said Bennett. “They had created what was almost a monologue and turned it into a popular sitcom.”
Bennett’s TV popularity followed a false start for him as a star of the big screen – he was unfortunate to emerge at a time when the British film industry was in decline. His good looks and appearance in pictures that pushed the boundaries in the swinging 60s had made him a part of that vibrant era; it seemed appropriate that in 1970 he should marry Cathy McGowan, the fashion icon who had shot to fame presenting the TV pop show Ready Steady Go!.
In Bennett’s first film, The Family Way (1966), a comedy made by the Boulting brothers, John and Roy, with music by Paul McCartney, he played an impotent teenage husband opposite Hayley Mills. Two years later, he played Mills’s stalker in Roy Boulting’s psychological saga Twisted Nerve (1968), in which the drama turns to terror, and he was with her again in the Agatha Christie thriller Endless Night (1972), taking the role of a chauffeur marrying a wealthy heiress, then moving into a dream home that proves to be a nightmare.
His most enduring film was The Virgin Soldiers (1969), based on Leslie Thomas’s best-selling novel about national service recruits in Singapore dealing with a guerrilla uprising against the colonial administration in Malaya. Bennett starred as a private who has his first sexual experience with a prostitute known as Juicy Lucy. “Hywel Bennett’s young Brigg appeals by grace of his close-set eyes, puddle brow and general air of queasiness,” remarked the New York Times critic.
Bennett was born in Garnant, Carmarthenshire, son of Gorden, a police officer, and Sarah Gwen (nee Lewis). When he was five, the family moved to London, where his brother, Alun (who became an actor under the name Alun Lewis), was born. At the age of 15, while attending Henry Thornton grammar school, Clapham, Bennett joined the National Youth Theatre. He played the female role of Ophelia in Hamlet (Queen’s theatre, 1959) when it became the first amateur company to perform in Shaftesbury Avenue and was still casting only male actors, as in Shakespeare’s time – a practice that changed shortly afterwards. He continued with the company for five years, his roles including Richmond in Richard III (Scala theatre, 1963
After a brief spell as a teacher, Bennett won a scholarship to train at Rada, then gained experience with rep theatre companies in Salisbury and Leatherhead in 1965. He continued to excel on stage in the classics, as Prince Hal in Henry IV, Parts I & II (Mermaid theatre, 1970), Mark Antony in the National Theatre company’s Young Vic production of Julius Caesar (1972), the lead in Hamlet on a 1974 South African tour, Marlow in She Stoops to Conquer (National Theatre at the Lyttelton theatre, 1984) and Andrey Prozorov in Three Sisters (Albery theatre, 1987). He also directed productions in provincial theatres.
Bennett’s movie career petered out with parts in sex comedies such as Percy (1971) and It’s a Two-Foot-Six-Inch-Above-the-Ground World (1973, also known as Anyone for Sex?), although Loot (1970) gave him a starring role in the film version of Joe Orton’s play and earned a screening at the Cannes film festival. “I had come in at the tail end of everything, the studio system and so on,” he told Bryan Appleyard in a 1986 interview. “I found myself in the early 70s with nowhere to go.”FacebookTwitterHe took one-off character roles on television, then starred as the doctor planning to murder his wife in the four-part drama Malice Aforethought (1979) and played the field agent Ricki Tarr in Arthur Hopcraft’s six-part adaptation of John le Carré’s novel Tinker Tailor Soldier Spy (1979), before Shelley made him a household name.
There were also parts as the investigative journalist Allan Blakeston in Paula Milne’s single drama Frankie and Johnnie (1986), Detective Sergeant Eddie Spader in the Stephen Poliakoff crime series Frontiers (1996) and the pompous assassin Mr Croup in the fantasy drama Neverwhere (1996), as well as a short run playing the gangland boss Jack Dalton (2003) in EastEnders.
Bennett appeared in three Dennis Potter serials – as the pimp Tom in Pennies from Heaven (1978) and the sleazy club owner Arthur “Pig” Mallion in both of the writer’s final, linked works, Karaoke and Cold Lazarus (both in 1996).
In 2007, he retired after being diagnosed with a congenital heart defect.
Bennett is survived by his second wife, Sandra Layne Fulford, whom he married in 1998, and a daughter, Emma, from his marriage to McGowan, which ended in divorce.
Virginia Maskell was born in 1936 in Shepard’s Bush, London. During World War Two she and her family moved to South Africa. After she returned to London, she commenced her acting career. Her film debut came in 1957 with “Happy Is the Bride”. The following year she was given the lead female role opposite John Cassavettes and Sidney Poitier in “Virgin Island”. Her subsequent film roles include “Doctor in Love” and “Only Two Can Play”. She died tragically after the completion of “Interlude” in 1968 at the age of 32.
Gary Brumburgh’s entry:
This ill-fated British actress was born in the Shepherd’s Bush area of London, England, on February 27, 1936. After the outbreak of World War II, young Virginia and her family were evacuated to South Africa. She eventually returned to London and entered a convent school where the pretty, grey-eyed brunette developed an interest in acting. She attended drama school and finally broke into the business with TV parts, usually playing demure young lasses in assorted dashing action series such as “The Buccaneers” and The Adventures of Robin Hood.” Making a minor film debut for director Roy Boulting withHappy Is the Bride (1958), she achieved better notices with her second film. In Our Virgin Island (1959), she played the bride of John Cassavetes who learns to adapt to a Robinson Crusoe-styled existence. Co-starring an up-and-coming Sidney Poitier, the story lightly tinges on racial issues. On the strength of this she won a contract with British Lion Pictures and showcased well in The Man Upstairs (1958) with Richard Attenborough, but less so playing a airline stewardess in the mediocre Jet Storm (1959) which also wasted a top-notch cast including Attenborough, Mai Zetterling, Diane Cilento, Stanley Baker and Sybil Thorndike. Her reticent but sincere approach to films worked remarkably well in an understated way, and she proved just as quietly compelling on stage with a prime role in “The Catalyst” in 1958 with Phil Brown and Renée Asherson. She showed escalating promise and earned BAFTA nominations for her memorable work in Young and Willing (1962) and as Peter Sellers‘ forlorn wife in Only Two Can Play (1962), but then all filming stopped. This was primarily due to her marriage in 1962 and a focus on family life. Other than occasional TV appearances in such popular series as “Danger Man” and “The Prisoner,” Virginia was seldom seen. It was learned that following the birth of her second son in February, 1966, she began showing acute signs of post-natal depression. In the summer of 1967 Virginia returned auspiciously to filming with a remake of the soap drama Interlude (1968) playing the cast-off wife of orchestra conductor Oskar Werner. She suffered a severe nervous breakdown following the film’s shoot and never recovered. On a bitterly cold day on January 24, 1968, she took a major overdose of antidepressants, drove from her home at Princes Risborough, and never returned. She was found collapsed in a nearby wooded area the next day suffering from acute hypothermia. Although she was revived briefly, she died shortly after at a nearby hospital. Virginia won a posthumous National Board of Review award and a BAFTA nomination for her work in “Interlude.” During her relatively short career, she seemed doomed to play the unhappy, sympathetic third party in romantic triangles. While a notable sadness touched many of Virginia Maskell’s roles, it makes her performances all the more haunting to watch considering her tragic circumstances.
– IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net
Yolande Dolan was born in 1920 in Jersey City, New Jersey. She began her career in U.S. films but came to Britain early in her career to star in the play “Born Yesterday” in London’s West End. Among her films are “Penny Princess” in 1952 directed by her husband Val Guest and starring Dirk Bogarde. She has also starred in “Expresso Bongo” and “Tarzan and the Lost Safari”. “Desert Island Discs” link here.
Yolande Donlan (June 2, 1920 – December 30, 2014) was an American-British actress who worked extensively in the United Kingdom.
The daughter of James Donlan, a character actor in Hollywood films of the 1930s, it is speculated by some that she had uncredited roles in films such as Pennies From Heaven (1936) and Love Finds Andy Hardy (1938), but this has not been confirmed.
Her early credited roles include Frenchy, the maid in the horror film The Devil Bat (1940), with Bela Lugosi, and other small roles often as similar French-accented maid characters. She played Carole Landis‘ maid in Turnabout (also 1940) and one of Red Skelton‘s concubines in DuBarry Was a Lady (1942).
Donlan was a success as Billie Dawn in a touring production of Born Yesterdayby Garson Kanin. It was the start of bigger things for Donlan. Laurence Olivierflew to Boston to confirm the opinion of American reviewers and chose Donlan to star in his production of the play to be staged in London’s West End. The production opened at the Garrick Theatre in January 1947 and was very well received. Donlan was initially denied a work permit to star in the lead in Peter Pan due to complaints from Equity, the actor’s union, who felt that a British star should have the lead.
Her autobiographical travelogue, Sand in My Mink (1955) is a humorous tale of holiday adventures taken across Europe with her husband.
Donlan’s autobiography, Shake the Stars Down was published in 1976 (known as Third Time Lucky in the USA), which concentrates on her childhood years growing up in the household of her actor father James Donlan in the Hollywood of the 1930s. It also charts her early career as a dancer and actress.
Guest retired from directing in 1985 and the couple moved to the USA in the early 1990s, where they resided in Palm Springs until his death in 2006. In later years, Donlan lived in Belgravia, London.
In 2004, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to her and Guest. She died in London on December 30, 2014
Ferdy Mayne was born in 1916 in Mainz, Germany. He came to Britain before World War Two. He worked for MI5 during the War. His first film was “Meet Sexton Blake” in 1945. Among his other films are “Our Man in Havana” and “Operation Crossbow”. In the 1980’s he moved to Los Angeles where he was a semi-regular on “Cagney & Lacey”. He died in London in 1998 at the age of 81.
“Independent” obituary:
Ferdinand Philip Mayer-Horckel (Ferdy Mayne), actor: born Mayence, Germany 11 March 1916; married 1950 Deirdre de Peyer (two daughters; marriage dissolved 1976); died Lordington, West Sussex 30 January 1998.
A master of charmingly sly villainy, the tall dark and urbane actor Ferdy Mayne will be remembered for the effective menace he provided in countless films and television shows in his 60-year career, though his versality extended well beyond portraying suave duplicity, to include comedies, musicals and classic plays (his favourite role was Trigorin in The Seagull). He was born Ferdinand Mayer-Horckel in Mayence, Germany in 1916. His father was the Judge of Mayence and his mother, who was half- English, a singing teacher. Since the family was Jewish, the teenage Ferdinand was sent to England in 1932 to stay with his aunt Lee Hutchinson, a noted photographer and sculptress. He attended Frensham Heights School prior to training for the stage at the Royal Academy of Dramatic Art and the Old Vic School. His first stage appearane was as the White Kpropaganda bnight in Alice Through the Looking Glass with the West Croydon Repertory Company, but most of his early work came in radio – his fluent German put him in demand for roadcasts during the Second World War.
His parents had been briefly interned in Buchenwald but were fortunate enough, due to his mother’s lineage, to get to England before the outbreak of war. Mayne’s first West End appearance was in a German role, as Kurt Muller in Lillian Hellman’s powerful anti-Fascist play Watch on the Rhine at the Aldwych (1943), the same year that he made his screen debut (billed as Ferdi) in Old Mother Riley Overseas. In the highly prolific career that followed, Mayne appeared in over 80 films. In one of his earliest, Prelude to Fame (1950), as the hearty peasant father of a child progidy, he was enormously touching in the scene in which he realises he must temporarily give his son up to the wealthy socialiate who can develop the boy’s talent.
Though Mayne’s singing in the film was dubbed, he possessed a fine baritone voice which he displayed to effect in several West End musicals. It was while appearing in the musical Belinda Fair (1949) that he met the actress Deidre de Peyer who became his wife – they named their first daughter Belinda in memory of the show – and though they divorced in 1976 they remained close. He later played a feature role in Richard Rodgers’ musical No Strings (1963) in which as the bored millionnaire dillentante Louis de Pourtal he had a solo number “The Man Who Has Everything (has nothing)”, and in 1965 he took over the role of Max in the long-running Rodgers and Hammerstein hit The Sound of Music. Other stage work included the role of the German officer Hauptman Schultz in Albert RN (1952), the true-life story (later filmed) of prisoners-of- war who substituted a dummy during roll-call for an escaping officer, and Judge Advocate Kunz in John Osborne’s A Patriot For Me (1965) at the Royal Court.
On screeen he was a sheikh in the delightful comedy The Captain’s Paradise (1953) in which Alec Guinness maintained two contrasting wives, one in North Africa and the other in Gibraltar, and in the epic Ben-Hur (1959) played the captain of the vessel which rescues the hero from the wreck of the galley ship. Mayne effectively bared fangs in Roman Polansky’s parody of Dracula movies, Dance of the Vampires (1967), an unsubtle farce which, despite a mixed reception on its initial release, has become a cult favourite, and Polanski used him again in The Pirates (1986), an equally broad pastiche of swashbucklers.
In the war adventure Where Eagles Dare (1968) Mayne had an important role as a traditionalist Nazi general trying to curb the more vicious excesses of the Gestapo, and he worked with Kubrick in Barry Lyndon (1975). His television credits included a leading role in Epitaph for a Spy (1953), a six-part adaptation of Eric Ambler’s espionage story, and a regular role as a chef in the series The Royalty (1957-58), which starred Margaret Lockwood as the owner of a luxury hotel.
In recent years Mayne filmed frequently in Europe (he was a particular favourite of German audiences) and in the mid-1970s he settled in America, working consistently until two years ago on television and in such films as The Black Stallion Returns (1983) and Conan the Destroyer (1984), but with the onset of Parkinson’s Disease he returned to England to be near his family.
– Tom Vallance
The above “Independent” obituary can also be accessed online here.
Tribute
2014
More than just a suave villain, German born Ferdy Mayne appeared in a few cult features over the years. In Britain from the early Forties, he took on musicals, comedies and the classics. Although adept at a variety of characters, in his later career it seems he was either playing a villain, vampire or both.
Born into a Jewish family on March 11th, 1916, Mayne was moved from his German birthplace, and sent to the UK to escape the Nazi’s. He made his screen debut in 1943, and spent the next few years in both comedies and dramas, playing such characters as a Sheik in the enjoyable Alec Guinness comedy ‘The Captain’s Paradise’ (’53), and a German officer in the POW drama ‘The Password is Courage’ (’62). Other notable movies at this time included ‘Those Magnificent Men in their Flying Machines’, and ‘Operation Crossbow’ (both ’65). It would be the following couple of years however that would prove to be the high point of Mayne’s screen career.
In 1967 Mayne achieved international recognition when he played Count von Krolock, who abducts the beautiful Sharon Tate, in Roman Polanski’s cult favorite; ‘The Fearless Vampire Killers’. He was wonderful and gives a suitably sinister turn in this beautifully photographed spoof. Mayne is also remembered as the monocled Nazi; Julius Rosemeyer, in ‘Where Eagles Dare’ (’68), playing his part seriously amongst all the ‘boys-own’ derring-do.
After playing a doctor in Hammer’s ‘The Vampire Lovers’ (’70), it was nice to see Ferdy in a rare family role, playing Samantha Eggar’s sympathetic father in the romantic drama ‘The Walking Stick’. Next, he was back on familiar ground playing another count, this time in Freddie Francis’s camp German parody; ‘The Vampire Happening’ (’71). Like many character actors before him Mayne succumbed to the 70’s saucy era, playing a womanizing sheik in the sexploitation piece ‘Au Pair Girls’ (’72). Around this time Mayne was also seen in more respectable films, including spy movies ‘When Eight Bells Toll’ (’71) and the under-rated ‘Innocent Bystanders’ (’72), with Stanley Baker.
Moving to the US in the 1970’s, Mayne occasionally flirted with Hollywood and the mainstream. This included supporting roles in Stanley Kubrick’s ‘Barry Lyndon’ (’75) and Billy Wilder’s ‘Fedora’ (’78). In his long career he also had uncredited bits in such classics ‘The Life and Death of Colonel Blimp’ (’43), ‘Ben-Hur’ (’59) and John Huston’s ‘Freud’ (’62).
After playing a professor in the Marlon Brando Nazi thriller ‘The Formula’ (’80), Mayne was the father of Jack Palance, in the late-night favourite ‘Hawk the Slayer’. A minor part in Graham Chapman’s ‘Yellowbeard’ (’83) was followed by another turn as a sheik, this time in ‘The Black Stallion Returns’ (also ’83). Other genre fare around this time included the action sequel ‘Conan the Destroyer’ (’84), 1985’s ‘Night Train to Terror’, a cobbled together anthology in which he played God(!), and Roman Polanski’s big budget flop ‘Pirates’ (’86). The following year also saw Ferdy play Dracula in the German TV co-production; ‘Frankenstein’s Aunt’ (’87).
After a small role in the Christopher Lambert chess thriller ‘Knight Moves’ (’92), Mayne’s final movie was another Nazi themed thriller ‘The Killers Within’ (’95), starring alongside cult stars; John Saxon, Meg Foster and Robert Carradine.
After battling Parkinson’s disease, Ferdy Mayne died in London, on 30th January 1998, aged 81. With over 200 screen appearances in British, American and German productions, there doesn’t seem to be much ground Ferdy didn’t cover in his 50 year career. It’s just a shame he never played a Bond villain though, he would have been great.
Doris Speed will forever be remebered for her role as the snobby Annie Walker the first landlady of “The Rovers Return” in “Coronation Street”. She was 61 before she won the role. She spent years acting in regional theatre in the North of England . While not working she worked in various establishemnts such as in the offices of the Gunness brewery in Manchester. There seems to be only one film role in her credit’s, 1960’s “Hell Is a City” with Stanley Baker. She starred in “Coronation Street” from it’s inception in 1960 until 1983. Doris Speed died in 1994 at the age of 95.
Her IMDB entry:
Doris Speed was one of Britain’s best-loved soap actresses, fondly remembered for her portrayal of Annie Walker, the snooty landlady of the Rovers Return pub in ITV’sCoronation Street (1960). She played the role for 23 years and was dubbed by the press as ‘The Queen Mother of Soap.’
Born in Manchester, her father George was a singer and her mother Ada a repertory actress. She toured with both her parents as a child. She later left the stage to work as a clerk in the giant Guinness brewery in Manchester and remained with the company for several years.
‘Coronation Street’ creator Tony Warren became a close friend of Speed and wrote the part of Annie Walker specifically for her. She joined the series when it was first aired in 1960 and appeared in 1,746 episodes. Hugely popular with viewers she received more fan mail than any other member of the cast.
Offstage she was a shy and retiring person but a keen theatre-goer. She once said “I would love to have done more theatre work because that is how I started. There are so many roles I would love to have played. But I owe my life to ‘Coronation Street’ and I don’t regret a minute of it.”
She was awarded the MBE (Member of the Order of the British Empire) for her services to television in 1977 and received The Pye Television Award two years later. She was also an honorary member of the Licensed Victuallers’ Association. Doris made her final television appearance in 1993, when she gave an interview on Classic Coronation Street(1993), alongside her former screen son, Kenneth Farrington.
Beryl Reid was born in 1919 in Hereford, the daughter of Scottish parents. Her first major successful was as the schoolgirl Monica in the BBC radio series “Educating Archie”. One of her first films was “The Belles of St. Trinian’s” in 1954. She went on to make “The Extra Day” and “Two Way Stretch”. She scored a personal triumph on stage with Eileen Atkins in London in 1966 with “The Killing of Sister George”. They both went onto Broadway with the play and then Beryl Reid made the film version with Susannah York replacing Eileen Atkins. Beryl Reid was hilarious on television in “The Irish R.M” in the 1980’s. She died in 1996 at the age of 77.
“Independent@ obituary:
As the tough lesbian radio actress June Buckridge in The Killing of Sister George, on stage and film, Beryl Reid became a household name and proved that she could play straight roles with the same dramatic power with which she captivated audiences in comedy. The original stage tour of Britain emptied theatres in droves, as a shocked nation walked out on the controversial drama, but the reaction from audiences in London’s West End was different and the play became a legend, with Reid repeating the role on Broadway and on screen.
It seemed a long way from the cheerful actress whose background was in variety and who was best known for her characterisation of the schoolgirl Monica in the legendary radio series Educating Archie. Comedy always seemed Reid’s natural forte, but she would occasionally switch to drama to remind everyone that her repertoire was wide. As Connie in the television thrillers Tinker, Tailor, Soldier, Spy and Smiley’s People, she again gave a performance of great intensity. As a result, she was an actress who largely avoided typecasting, although even in comedy she would often be seen as the embittered, waspish or poker-faced woman as she grew older.
Born in Hereford of Scottish parents, Reid worked as a junior at the Kendal Milnes department store in Manchester on leaving school, encouraged to do so by her estate agent father, who saw it
Reid made her London theatre debut in the revue After the Show, at the St Martin’s Theatre, in 1951, and three years later made her name at the New Watergate Theatre in First Edition, Second Edition and Autumn Revue. Such revues were the bread and butter of London theatre in the days of variety and Reid rose to the top of the bill as a singer, dancer and comedienne. In 1956, she performed her own act and appeared in sketches in Rockin’ the Town, a revue at the Palladium.
By this time, the actress had also made her name on radio, initially in her own show, A Quarter of an Hour with Beryl Reid, which ran for 24 weeks. It was during a spot on Henry Hall’s Guest Night that she brought to a wider audience the ghastly schoolgirl character that she had created on stage. This led to her own Starlight Hour radio series, in 1952, during which the character was christened Monica.
She followed this in the same year with the legendary radio show Educating Archie (1952-56), which featured Peter Brough and his ventriloquist’s dummy, Archie Andrews, as a naughty schoolboy. The show made Reid a national celebrity, famous for her Monica monologues and adding to it another of her characters from summer shows, a char known as Marlene of the Midlands. She claimed that both were based on acquaintances, a girl at school who once said, “I can’t make up my mind whether to wear a coat or carry a mac,” and a stepdaughter who exclaimed, “She’s my best friend and I hate her.” Reid took the characters of Marlene and Monica, along with society do-gooder Mrs Shin-Bone, to another BBC radio series, Good Evening, Each (1958).
As one of radio’s top comediennes, Reid soon found herself in demand for television work. After a straight role in the BBC production of Mr Bowling Buys a Newspaper (1956) she landed her own series, playing Arethusa Wilderspin in The Most Likely Girl (1957), but was as busy as ever on stage. She appeared in the revues One to Another (1959) at the Lyric Theatre, Hammersmith, before transferring to the Apollo, On the Avenue (1961) at the Globe, and All Square (1963) at the Vaudeville.
She also had a successful broadcasting partnership with comedian Jimmy Edwards, although the pair showed their serious sides by starring on radio in Twelfth Night (1962), in which she played Maria, and The Merry Wives of Windsor (1962). Reid teamed up with Edwards as Bessie and Ernie Briggs for the television play Man O’Brass (1963) and subsequent series Bold as Brass (1964), and starred with Barbara Windsor in another series, The Hen House (1964).
In 1965, she was offered the straight role that was to change the direction of her career and give Reid the acclaim she sought as a dramatic actress. Frank Marcus’s play The Killing of Sister George saw her cast as June Buckridge – Sister George of the title – whose imminent sacking from the cast of a radio serial is accompanied by the disintegration of the star’s relationship with her girlfriend, played by Eileen Atkins. It was a controversial drama, whose theme of lesbianism saw many audiences leave their seats during the pre-London tour, which began at the Bristol Old Vic in April 1965. Despite this reaction in the provinces, The Killing of Sister George opened two months later in the West End, at the Duke of York’s, to full houses and critical plaudits. It also won Reid the Antoinette Perry Award as Best Actress. After almost 18 months in the West End, the production arrived on Broadway, in October 1966, with Reid repeating her role and winning a Tony Best Actress award. Of her character, she said: “If I’d played her for sympathy, I’d never have got any. So I made her as tough as old boots.”
Her talents as a straight actress were brought to an even wider audience when she starred in the film version, made by director Robert Aldrich in 1968, although many local authorities in Britain banned cinemas from screening it.
Since her 1940 screen debut in the George Formby comedy Spare a Copper, Reid’s film appearances had been sporadic. She followed it with the role of Miss Dawn in The Belles of St Trinian’s (1954) and parts in pictures such as Two-Way Stretch (1960) and The Dock Brief (1962). After her stage success in The Killing of Sister George, she was in demand for films such as Inspector Clouseau (1968), The Assassination Bureau (1968) and Star! (1968) and followed the film version of the play with big-screen appearances in Entertaining Mr Sloane (1970), Father Dear Father (1972), No Sex Please – We’re British (1973), Joseph Andrews (1976) and Yellowbeard (1983), often in “guest-star” roles.
Her television career followed the same pattern. She had her own variety shows on the BBC, such as Beryl Reid Says Good Evening (1968), The Beryl Reid Special (1977) and Beryl Reid (1980), starred as Mrs Marigold Alcock with Richard O’Sullivan in the situation comedy Alcock and Gander (1972) and made guest appearances in dozens of series, including The Goodies, Doctor Who, Minder, The Beiderbecke Tapes, Bergerac, Boon and Perfect Scoundrels. This ability to mix comedy with drama also resulted in her playing Mrs Malaprop in The Rivals (1970), Mrs Squeers in Smike (1974), the Postmistress General in The Apple Cart (1975), Mrs Knox in The Irish RM (1983), Grandma in The Secret Diary of Adrian Mole Aged 13 3/4 (1985) and The Growing Pains of Adrian Mole (1987), Mum in The Comic Strip Presents . . . Didn’t You Kill My Brother? (1987) and Robbie Coltrane’s mother in Cracker (1993).
But Reid was most successful on television as the decrepit Connie Sachs in John Le Carre’s Tinker, Tailor, Soldier, Spy (1979) and its sequel, Smiley’s People (1982), the second series winning her a BAFTA Best Actress award, after being nominated in the same category for her performance in the first series.
Although she spent much of her time on television, Reid continued to work in the theatre, playing Madame Arcati in Blithe Spirit (1970) at the Globe, Frau Bergmann in the National Theatre production of Spring Awakening (1974), Kath in Entertaining Mr Sloane (1975) at both the Royal Court and Duke of York’s, Lady Wishfort in The Way of the World (1978) for the RSC at the Aldwych, and Maud in Born In the Gardens (1980) at the Globe, which won her the Society of West End Theatres Award for Best Comedy Performance. In 1986 she was appointed OBE in the New Year Honours List and was presented with a Variety Club of Great Britain award for her contribution to showbusiness. In 1991, she also won a Lifetime Achievement award for Comedy presented at the British Comedy Awards.
All her life, Beryl Reid suffered from dyslexia – word-blindness – and, in later years, the bone-crumbling disease osteoporosis, which resulted in her doing less work. Her autobiography, So Much Love, was published in 1984, and she was also the author of Cat’s Whiskers (1986), Beryl, Food and Friends (1987) and The Kingfisher Jump (1991).
Beryl Elizabeth Reid, actress: born Hereford 17 June 1919; OBE 1986; married 1950 Bill Worsley (marriage dissolved), 1954 Derek Franklin (marriage dissolved); died 13 October 1996
John Woodvine is a terrific character actor who was born in South Shields in 1929. He worked with the Old Vic company in the 195o’s and has had a long association with the Royal Shakespeare Company. He has starred on British television in “Z Cars” and “Softly, Softly”. Amonh his films are “Young Winston” and “An American Werewolf in London”. Currently to be seen as loopy Charlotte’s Dad in “Coronation Street”.
Article from “Huffington Post” in 2012:
Veteran stage and screen actor John Woodvine was in a stable condition in hospital today after collapsing while performing in a musical last night.
During his long career Woodvine, 82, has performed alongside Sir Ian McKellen and Dame Judi Dench as Banquo in Macbeth, and is well known for his role as Detective Inspector Witty in the 1960s TV police drama Z Cars.
More recently he played Frank Gallagher’s father Neville in the Channel 4 comedy drama Shameless, and his film credits include An American Werewolf In London.
But during his latest performance as the Star Keeper in the musical Carousel, Durham-born Woodvine collapsed in the wings at the Grand Theatre in Leeds.
The actor, who had a long career with the Royal Shakespeare Company, is in a stable condition in hospital, according to show producers Opera North.
John Wilford, 71, was among the audience and told how they were informed the show would not go on after Woodvine was taken ill.
The retired journalist from Leeds said: “Suddenly the action on stage appeared to slow down and stumble. Then suddenly the safety curtain came down.
“A man reached into the orchestra pit and told the conductor to stop playing.
“He jumped on stage and said: ‘Is there a doctor in the house?’
“There was a surprised silence. When we were told the show was stopped, the audience took a moment to digest it and then stood up and applauded.”
A member of staff said Woodvine collapsed about ten minutes after his first entrance, soon after the performance of the classic show tune “You’ll Never Walk Alone”.
She said: “He sounded fine. Then there was a silence and stage management asked if there was a doctor in the house. They had brought the safety curtain in and another announcement was made for the audience saying there had been a medical emergency and the performance would be temporarily stopped.
“People were running around backstage looking pretty panicked, nobody knew what was going on. People said the paramedics had turned up and he was getting his heart pumped at the side of the stage.”
A spokeswoman for Opera North said: “A member of the cast was taken ill during yesterday’s performance and the performance was stopped.
“They are stable and there is nothing more to update at this moment. Members of the audience are being contacted this weekend and offered tickets to an alternative performance of Carousel ahead of the final show in Leeds on May 19.”
The producers said the remaining performances of the show would go ahead.
A spokeswoman for Yorkshire Ambulance Service said they received a call at 9.58pm last night to reports of a man collapsing at the Grand Theatre.
A rapid response vehicle and an ambulance were sent and the patient was taken to Leeds General Infirmary, she said.
Woodvine’s role as Star Keeper will be performed by understudy Peter Bodenham tonight and for “foreseeable” performances, Opera North said.
This article can also be accessed on the Huffington Post website here.
The guardian obituary in 2025.
John Woodvine, who has died aged 96, was a proud Tynesider and stalwart of the Royal Shakespeare Company, a resilient and formidable actor on stage and television for more than 70 years.
Built like a barn door, but somehow lean and sculptured with it – like a presidential carving on Mount Rushmore – he exuded a quiet authority in every role he played, not least because of his rich and powerful baritone voice, immense reserves of pent-up emotion and a rare quality of absolute stillness.
There was no faffing around, though he surprised the critic Irving Wardle in a 1992 production of Macbeth when he doubled one cameo of the dignified king Duncan with a drunken Porter at hell’s gate who staged a ventriloquial routine with a kitchen mop. This was, said Wardle, the funniest Porter he had ever seen.
Woodvine played a string of senior police officers on television from 1963 onwards – in Z Cars, Softly Softly, New Scotland Yard and Juliet Bravo – having started, prophetically, in Murder Bag (1958), the first of three popular TV series (culminating in No Hiding Place) starring Raymond Francis as detective superintendent Tom Lockhart.
He appeared in John Schlesinger’s film Darling (1965), followed by Ken Russell’s The Devils (1971), Richard Attenborough’s Young Winston (1972), starring Simon Ward and, most notoriously, John Landis’s cult horror classic An American Werewolf in London (1981), in which he played the investigating doctor
At the RSC he was in three famous productions: in 1976 as Banquo in the whispered, chamber Macbeth directed by Trevor Nunn with Ian McKellen and Judi Dench; as an unusually funny, verbosely tangled, turbaned and deferentially undercooked Sikh Dogberry in John Barton’s unsurpassed Indian colonial Much Ado About Nothing, with Dench and Donald Sinden, also in 1976; and, in 1980, as the rich but miserly ne’er-do-good Ralph Nickleby in Nunn’s and John Caird’s all-conquering Dickens adaptation (by David Edgar) of The Life and Adventures of Nicholas Nickleby.
The longevity and variety of his career was staggering, even more so when you consider its unlikely origins. He was born in the Tyne Dock area of South Shields, third son to John Woodvine, a ship’s stoker on cruise liners, and his wife Ruth (nee Kelly).
When John Sr found a new job at the coal-fired Barking power station in east London, the family travelled by one of the coal-bearing cargo boats to Barking riverside, settling in nearby Becontree. John Jr was five at the time. When war broke out a few years later, he was evacuated to Thame, in Oxfordshire, where he was educated at Lord Williams’s grammar school.
In 1946, back in Becontree, he took a laboratory job as a cement tester at King’s Cross railway station before doing his national service in the RAF, training as a wireless operator. All the while, he was nursing an ambition to act, joining the Renegades amateur company in Ilford, where he appeared as Claudius in a 1948 production of Hamlet praised by Alan Dent in the News Chronicle for its zest and audibility.
He was by now working for a wool merchant but received a grant from the Essex county council to train at Rada. He graduated in 1953 and immediately joined the Old Vic where, between 1954 and 1959, he progressed from walk-on parts to such key roles as Tybalt in Romeo and Juliet, Roderigo in Othello and Mowbray in Richard II.
This was followed by several seasons in the early 1960s at Bernard Miles’s Mermaid theatre, where he gathered a head of steam as Long John Silver (often played by Miles himself), Pentheus in The Bacchae, the title role in Macbeth and Theseus in Oedipus at Colonus.
Throughout his early life Woodvine often returned to see friends and family in South Shields and he re-connected with them onstage – and indulged his superb singing voice – in Alan Plater’s Close the Coalhouse Door (1968), a celebration of, and lament for, the mining community in the north-east, with songs by Alex Glasgow, at the Newcastle Playhouse and the Fortune in London.
Glasgow then wrote a solo musical show, Joe Lives! (1971), for Woodvine about the Tyneside bard Joe Wilson.
Woodvine had matured like a venerable oak with all this experience, and took off, professionally speaking, by playing Sir Francis Drake in the Glenda Jackson TV series Elizabeth R (1971) and, more significantly, joining McKellen and Edward Petherbridge’s touring Actors’ Company, where he played important roles in Congreve, Chekhov and King Lear.
This led to the RSC affiliation and, later, the English Shakespeare Company, founded in 1986 by director Michael Bogdanov and actor Michael Pennington. The ESC toured both here and abroad, setting out their stall with a refreshingly boisterous account of the great Henry IV (both parts) and Henry V trilogy in 1987.
In this, Woodvine played one of the finest ever Falstaffs as an imperious squire, beautifully articulated with a refined nasal drawl and the nippy lightness often exhibited by extremely fat fellows. Pennington’s Hal made it clear from the outset that this Falstaff had no part in his future kingship, which made Woodvine’s misreading of his relationship all the more poignant at his rejection.
He scored a success when doubling, in 1991, Shylock in The Merchant of Venice with the title role in Ben Jonson’s Volpone for the ESC, both great plays with money-hoarding misers attracting the intervention of justice in their mercantile dealings.
Less regularly seen at the National Theatre than with the RSC, Woodvine nonetheless appeared in some notable productions on the South Bank: as the chief of the Jewish police during the last days of the Vilna ghetto in Joshua Sobol’s brilliant Ghetto, directed by Nicholas Hytner in 1989; as Fiona Shaw’s uncomprehending husband in Sophie Treadwell’s electrifying Machinal, directed by Stephen Daldry in 1993; and as Aslaksen, the insidiously moderate printer in Ibsen’s An Enemy of the People, directed by Nunn and starring McKellen, in 1997
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