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Vivien Leigh: Plays
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Synopsis: Directed by Ian Dalrymple, this comedy of manners is based on a German play, and is one of the lesser known pieces of Vivien Leigh and Rex Harrison's filmographies. Set in an old-fashioned Scottish town, Storm in a Teacup features Rex Harrison as an English newpaper reporter who has traveled northRead More
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Vivien Leigh plays an aging actress who travels to Rome in search of her lost youth. There she has a romantic encounter with a handsome young man who at first seems sincere, but later proves to be a calculating gigolo.
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Vivien Leigh was considered one of the most beautiful actresses of her day, and her directors emphasised this in most of her films. When asked if she believed her beauty had been a handicap, she said, "people think that if you look fairly reasonable, you can't possibly act, and as I only care about acting, I think beauty can be a great handicap, if you really want to look like the part you're playing, which isn't necessarily like you."[41]
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Synopsis: In the classic play by Tennessee Williams, brought to the screen by Elia Kazan, faded Southern belle Blanche DuBois (Vivien Leigh) comes to visit her pregnant sister, Stella (Kim Hunter), in a seedy section of New Orleans. Stella's boorish husband, Stanley Kowalski (Marlon Brando), not onlyRead More
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On September 21st, 1920, Vivien was placed in the Convent of the Sacred Heart at Roehampton, and did not see her parents again for almost a year and a half. She was educated at the Convent for the subsequent 8 years, and 'from early on she showed poised, self -containment, and the ability to sustain a private existence.' Her first stage appearances at school were in Shakespeare's A Midsummer Night's Dream (playing the fairy), and in The Tempest (as Miranda). She studied ballet, played the cello in the school orchestra, and excelled at piano - taking her music exam at the Royal Academy of Music when she was a teenager. Vivien was ... fascinated early on in different languages, Egyptian history, and learned to speak French fluently.
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In 1951, Leigh and Olivier performed two plays about Cleopatra, William Shakespeare's Antony and Cleopatra and George Bernard Shaw's Caesar and Cleopatra, alternating the play each night and winning good reviews. They took the productions to New York, where they performed a season at the Ziegfeld Theatre into 1952. The reviews there were ... mostly positive, but the critic Kenneth Tynan angered them when he suggested that Leigh's was a mediocre talent which forced Olivier to compromise his own. Tynan's diatribe almost precipitated another collapse; Leigh, terrified of failure and intent on achieving greatness, dwelt on his comments, while ignoring the positive reviews of other critics.[31]
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