Hermione Gingold

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Hermione Ferdinanda Gingold (Template:IPAc-en;<ref>Template:Cite web</ref> 9 December 1897Template:Spaced ndash24 May 1987) was an English actress known for her sharp-tongued, eccentric character. Her signature drawling, deep voice was a result of nodules on her vocal cords she developed in the 1920s and early 1930s.

After success as a child actress, she established a stage career spanning comedy, drama, experimental theatre, and radio broadcasting. Finding her milieu in revue, she played from the 1930s to the 1950s, co-starring several times with the English actress Hermione Baddeley. Later she played formidable elders in the film and stage musicals Gigi (1958), Bell, Book and Candle (1958), The Music Man (1962), and A Little Night Music (1977).

From the early 1950s, Gingold lived and made her career mostly in the U.S. Her American stage work ranged from John Murray Anderson's Almanac (1953) to Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad (1963), the latter of which she played in London. She became a well-known guest on television talk shows. She made appearances in revues and toured in plays and musicals until an accident ended her performing career in 1977.

Biography

Early years

Hermione Ferdinanda Gingold was born in Carlton Hill, Maida Vale, London,<ref>Births, The Times, 13 December 1897, p. 1</ref> the elder daughter of a prosperous Austrian-born Jewish stockbroker, James Gingold, and his wife, Kate Frances (née Walter). Her paternal grandparents were the Ottoman-born British subject, Moritz "Maurice" Gingold, a London stockbroker, and his Austrian-born wife, Hermine, after whom Hermione was named (Gingold mentions in her autobiography that her mother might have got 'Hermione' from Shakespeare's play The Winter's Tale, which she was reading shortly before her birth). On her father's side, she was descended from Solomon Sulzer, a synagogue cantor and Jewish liturgical composer in Vienna. James felt that religion was something children needed to decide on for themselves, and Gingold grew up with no particular religious beliefs.<ref name=g7>Gingold, p. 7</ref>

Gingold's professional début was in 1908 when she had just turned 11. She played the herald in Herbert Beerbohm Tree's production of Pinkie and the Fairies by W. Graham Robertson, in a cast including Ellen Terry, Frederick Volpe, Marie Löhr and Viola Tree.<ref name=pinkie>"At the Play: His Majesty's Pinkie and the Fairies", The Observer 20 December 1908, p. 7</ref> She was promoted to the leading role of Pinkie for a provincial tour.<ref name=dnb>Sherrin, Ned, "Gingold, Hermione Ferdinanda (1897–1987)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 3 October 2013 Template:ODNBsub</ref> Tree cast her as Falstaff's page, Robin, in The Merry Wives of Windsor.<ref name=dnb/> She attended Rosina Filippi's stage school in London. In 1911, she was cast in the original production of Where the Rainbow Ends<ref>New York Times obituaries Hermione Gingold</ref> which opened to very good reviews on 21 December 1911.

On 10 December 1912, the day after her 15th birthday, Gingold played Cassandra in William Poel's production of Troilus and Cressida at the King's Hall, Covent Garden, with Esmé Percy as Troilus and Edith Evans as Cressida.<ref>"Troilus and Cressida", The Times, 11 December 1912, p. 12.</ref> The following year she appeared in a musical production, The Marriage Market, in a small role in a cast that included Tom Walls, W H Berry, and Gertie Millar.<ref>"New Musical Play at Daly's", The Observer, 18 May 1913, p. 11</ref> In 1914, she played Jessica in The Merchant of Venice at The Old Vic.<ref name=m143/> In 1918, Gingold married the publisher Michael Joseph, with whom she had two sons, the younger of whom, Stephen, became a pioneer of theatre in the round in Britain.<ref name=dnb/>

1920 to 1948

Gingold's adult stage career was slow to take off. She played Liza in If at the Ambassador's in May 1921, and the Old Woman in Ben Travers's farcical comedy The Dippers produced by Sir Charles Hawtrey at the Criterion in August 1922.<ref name=m143>Morley, pp. 143–144</ref>

In 1926 Gingold was divorced from Joseph. Later in the same year she married the writer and lyricist Eric Maschwitz, whom she divorced in 1945.<ref name=dnb/> She underwent a vocal crisis in the late 1920s and early 1930s: she had hitherto described herself as "Shakespearian and soprano" but nodules on her vocal cords brought a drastic drop in pitch, about which she commented, "One morning it was Mozart and the next 'Old Man River'".<ref name=dnb/> The critic J. C. Trewin described her voice as "powdered glass in deep syrup".<ref name=dnb/> During this period she broadcast frequently for the BBC and established herself at the experimental theatre-club the Gate Theatre Studio in London, first as a serious actress and later in the genre for which she became famous, revue.<ref>Programme listings including, The Times, 15 January 1927; 1 April 1930. p. 28; 17 May 1930, p. 17; 31 March 1931, p. 13; 15 February 1932, p. 7; 11 January 1933, p. 10; 10 May 1934, p. 4; 1 June 1925, p. 31; 18 February 1936, p. 12; 26 April 1937, p. 8; and 8 June 1938, p. 10.</ref> According to The Times it was in Spread It Abroad (1936) a revue at another theatre, the Saville, with material by Herbert Farjeon that she found her milieu.<ref name=times>"Obituary – Hermione Gingold – Kindly malice in wonderland", The Times, 25 May 1987, p. 14</ref>

In the 10 years from 1938, Gingold concentrated on revues, appearing in nine productions in the West End. The first four were The Gate Revue (transferred from the Gate to the Ambassadors, 1939), Swinging the Gate (1940), Rise Above It (1941) and Sky High (1942). During this period, she and Hermione Baddeley established a stage partnership that The Times called "briskly sustained mock-rivalry".<ref name=times/> Their names were often linked for this reason, although they only ever appeared in three shows together. In June 1943, she opened in a Sweet and Low, which was revised and refreshed over a run of almost six years, first as Sweeter and Lower and then Sweetest and Lowest.<ref name=m143/> In her sketches, she tended, as Alan Melville recalled, to portray "grotesque and usually unfortunate ladies of dubious age and occasionally, morals; the unhappy female painted by Picasso who found herself lumbered with an extra limb or two … the even less fortunate female who, after years of playing the cello in Palm Court orchestras, ended up bow-legged beyond belief".<ref>Melville, Alan. "Lady of Laughter", The Guardian, 25 May 1987, p. 9</ref> In a biographical sketch, Ned Sherrin wrote "Gingold became a special attraction for American soldiers and 'Thanks, Yanks' was one of her most appropriate numbers. During the astringent, name-dropping 'Sweet' series, she played 1,676 performances, before 800,000 people, negotiating 17,010 costume changes".<ref name=dnb/>

Postwar

File:Publicity photo of actress Hermione Gingold and host Garry Moore from the television game show I've Got a Secret.jpg
Gingold as a guest on I've Got a Secret with host Garry Moore

Gingold's first new revue after the war was Slings and Arrows at the Comedy in 1948. She was praised, but the material was judged inferior to that of her earlier shows.<ref>"Comedy Theatre", The Times, 18 November 1948, p. 7; and Brown, Ivor, "At the Theatre", The Observer, 21 November 1948, p. 2</ref>

Gingold and Baddeley co-starred in a Noël Coward double bill in November 1949, presenting Fumed Oak and Fallen Angels. Reviews were poor, and Coward thought the performances crude and overdone, but the production was a box-office success, running until August the following year.<ref name=dnb/><ref>"Ambassadors Theatre", The Times 30 November 1949, p. 8; "Fallen Angels", The Manchester Guardian, 1 December 1949, p. 4; and "Theatres", The Times, 8 August 1950, p. 2</ref> She cited working in interior decoration and collecting china as her hobbies in 1951.<ref>Who's Who in the Theatre (11th ed.), ed John Parker (London)</ref>

File:Hermione Gingold in the 1950s.jpg
Gingold in the 1950s

She appeared in cameo roles in British films, of which Sherrin singles out The Pickwick Papers (1952), in which she played the formidable schoolmistress, Miss Tompkins.<ref name=dnb/> Gingold became well known to BBC radio audiences in "Mrs Doom's Diary" in the weekly show Home at Eight; this was a parody of the radio soap opera Mrs Dale's Diary in the manner of the Addams Family with Gingold as Drusilla Doom and Alfred Marks as her sepulchral husband.<ref name=dnb/>

Between 1951 and 1969 Gingold worked mostly in the US. Her first engagement there was at the Brattle Theatre in Cambridge, Massachusetts in It's About Time, a revue that incorporated some of her London material.<ref name=nyt/> In December 1953, she opened in John Murray Anderson's Almanac which made her an instant Broadway success and for which she won the Donaldson Award in 1954.<ref name=nyt/> She also became a regular guest on talk shows.<ref name=dnb/> Her jazz cabaret album la gingold, with musical direction by Buster Davis, was released in 1956.

She continued making films, playing a London "sporting lady" in Around the World in 80 Days (1956),<ref>"Around the World in Eighty Days", British Film Institute, accessed 4 October 2013</ref> and won a Golden Globe Award for Best Supporting Actress for her performance in the 1958 film Gigi. In the film, she sang "I Remember It Well" with Maurice Chevalier. She said "It was my first American film, and I was very nervous." Chevalier put her at ease. "I had to sing, and I hadn't got a great voice, but with him, I felt the greatest prima donna in the world."<ref>Freedland, p. 219</ref> Gingold followed this with another hit film Bell, Book and Candle, also 1958.<ref>"Bell, Book and Candle", British Film Institute, accessed 4 October 2013</ref> She played the haughty Eulalie Mackecknie Shinn in The Music Man (1962), starring Robert Preston and Shirley Jones.<ref>"The Music Man", British Film Institute, accessed 4 October 2013</ref>

In October 1963, Gingold opened in Arthur Kopit's Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad, playing a monstrously possessive mother driving her son crazy. She played the role in the London production in 1965. Reviewing the latter, and noting that the first night had been greeted with cheering at the end, the critic Philip Hope-Wallace wrote:<templatestyles src="Template:Blockquote/styles.css" />

It marks, of course, the return of Hermione Gingold, which would be cause enough for cheering. Blatant as ever, deafeningly loud, strutting like a parody of every tragedy queen, male or female, since time began, she was in splendid relishing form, her lips drawn back over fangs and her voice swooping campingly through a whole two octaves of sneer.<ref>Hope-Wallace, Philip. "Oh Dad at the Piccadilly", The Guardian, 7 October 1965, p. 9</ref>{{#if:|

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Last years

File:Hermione Gingold 2 Allan Warren.jpg
Gingold in 1973

In 1969, she co-starred in Winter of the Witch, a film made for the Learning Corporation of America. It was based on Wende and Harry Devlin's Old Black Witch! picturebook. The film is narrated by Burgess Meredith. Gingold played a gloomy, bad witch who becomes a good witch when a young boy and his mother move into her house. She cooks magic pancakes that make people happy and the three of them turn their living room into a successful pancake parlor. The witch tells the boy that she became good because people are already scared nowadays, and that she will go on being good until everyone is happy and they need her to scare them again.

In 1972, she was among the guests in David Winters' musical television special The Special London Bridge Special, starring Tom Jones, and Jennifer O'Neill.<ref>Template:Cite news</ref>

Gingold was a member of the original 1973 Broadway cast of Stephen Sondheim's A Little Night Music in the role of the elderly Mme. Armfeldt. Clive Barnes wrote "Hermione Gingold is immeasurably grande dame as the almost Proustian hostess (I haven't loved her so much since she sang about the Borgia orgies 30 years ago)."<ref>Barnes, Clive, "A triumph for Stephen Sondheim", The Times, 28 February 1973, p. 13</ref> When the production transferred to London in 1975, Gingold reprised the role,<ref>Wardle, Irving, "An artistic reunion", The Times, 16 April 1975, p. 13</ref> and later played it in the film version of the musical (1977).<ref>"A Little Night Music", British Film Institute archive; accessed 4 October 2013</ref>

At the age of 77, Gingold made her operatic début, joining the San Francisco Opera to play the spoken role of the Duchess of Crackenthorp in Donizetti's La fille du régiment in 1975.<ref>Morley, Sheridan, "Solid gold Gingold", The Times, 12 April 1975, p. 9</ref> In 1977, she took over the narrator's role in Side by Side by Sondheim on Broadway. After the New York run, the show toured the U.S. In Kansas City, Gingold suffered an accident that broke her knee and dislocated her arm; these injuries brought her performing career to an end. Still, she appeared in a 1980s Goya commercial for its drink Coca Goya Colada, shaking the two cans like maracas.<ref name=dnb/>

Death

Gingold died from heart problems and pneumonia at Lenox Hill Hospital in Manhattan on 24 May 1987, aged 89.<ref name=nyt>Saxon, Wolfgang, "Hermione Gingold, English Actress, Dies At 89", The New York Times, 25 May 1987.</ref> She is interred at the Forest Lawn Memorial Park in Glendale, California.

Legacy

Gingold's autobiography How to Grow Old Disgracefully was posthumously compiled in 1988. During her lifetime Gingold published three books of memoir and anecdotes:

  • The World Is Square (1946)
  • My Own Unaided Work (1952)
  • Sirens Should Be Seen and Not Heard (1963)

She wrote the play Abracadabra and contributed original material to the many revues in which she performed.<ref name="nyt" />

Gingold Theatrical Group in New York is named in her honor. Founded by David Staller in 2006, the company promotes the humanitarian ideals of activist playwright George Bernard Shaw.<ref>Gingold Theatrical Group: Mission</ref>

Screen performances

Film

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Television

Works

References

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Sources

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