PROFILE Sir Laurence Olivier, National Theatre Head

Press, Volume CII, Issue 30233, 11 September 1963, Page 20

PROFILE Sir Laurence Olivier, National Theatre Head

[Specially written for "The Press" by SIMON KAVANAUGH)

LONDON. The first time Sir Laurence Olivier appeared as a professional actor in a major theatre he fell over the footlights. He was appearing in “The Ghost Train” at the Brighton Pavilion. Earlier that year, 1925, he had made his professional debut in “Macbeth" at Letchworth. It was not a success. This was the introduction to the British public of the man who was to be knighted for his acting, to have honours showered on him by many other countries and who has now become the first director of Britain’s National Theatre. As a 10-year-old he played the part of Brutus in a school play. Ellen Terry, watching the performance, wrote in her diary: “The small boy who played Brutus is already a great actor.” Intended for Church

Nonetheless it was thought that he would go into the church and so follow his father who was vicar of St. Martins, in the Surrey country parish of Dorking. Then he had ideas of joining his brother, Dick, who had gone to plant tea in India.

Father exploded at the idea: “Nonsense. Your're going on the stage.” The attitude showed foresight and understanding. So Olivier joined the Central School at the Albert Hall under the direction of Elsie Fogerty. His first job was assistant stage manager at £2 10s a week. After his experiences at Letchworth and Brighton Olivier had two years with the Birmingham Repertory. In 1928 he played in “Journey’s End,” an unsuccessful play, set during the First World War, which failed dismally’ in the provinces.

Olivier was only too glad to give up the part and accept the lead in “Beau Geste,” which gave him his first break into the bright world of London’s West End at £3O a week.

“Journey’s End" had found a backer to bring it to London, but Olivier was not sorry that Colin Clive, and no<t he, was to face the vitriolic pens of the London critics. Instead of being a flop, the play was a tremendous success and Olivier watched Clive romp away with honours in the part he had created. First Marriage Olivier’s own success was assured nevertheless, and he had important parts in several Shakespearean plays and contemporary light comedies. In “Bird In Hand” he met Jill Esmond, who became his wife in 1930.

They went to New York together and appeared on Broadway; then on to Hollywood for several films. He returned to London at two days’ notice to appear opposite Gloria Swanson in her first British picture. Always in the back of his mind was the drearq, of a National Theatre, one which would combine the best of the great plays of the past with the works of contemporary playwrights, but it was always a mere dream. He acted, he directed, he produced. He appeared in films and on the stage. He travelled across Europe

bringing joy to hundreds of thousands with his plays and millions with his firns. In 1939 he played opposite Vivien Leigh in ’The Private Lives of Henry VIII.” Both of them were married but both had divorces pending. Second Wife

They went to New York together to appear in "Romeo and Juliet” and in 1940 both heard that their marriages had been dissolved. They were married on Ronald Colman's ranch in California.

Soon after, Olivier joined the Fleet Air Arm in whose service he crashed two aircraft and spent four years before being released to take up the management of the Old Vic. Under his direction the theatre, until then on the decline, prospered. His old friend, Ralph Richardson, joined him and between them they restored the theatre to its former glory and prestige.

Both men were on tour in Australia when they received cables from the governors of the Old Vic saying that their contracts would not be renewed.

The Old Vic has never found another Olivier to give it the drive and verve that he had brought to it Olivier, a man of incredible energy. bounced back into the limelight with important film productions of Shakespeare's “Henry V," “Hamlet" and “Richard III.” His dream to film “Macbeth" has not been fulfilled and probably will not be now.

No Sponsor for “Macbeth” The films were a tremendous success. It had always been said that Shakespeare was not a commercial proposition for the cinema, Olivier proved the sceptics wrong. All made money, a great deal of it. Lack of a backer prevented the filming of “Macbeth.”

In places as far away as Tokyo and San Francisco audiences packed in to see them. In Bucharest they played continuously for 13 hours a day over 18 weeks and there was never an empty seat. Olivier’s marriage to Vivien Leigh broke up in 19(11 and the same year he married the actress, Joan Plowright, who had starred opposite him in several West End plays.

He became director of the Chichester Festival, now coming into prominence as one of "the” art festivals. His dream of a National Theatre was realised when he was appointed its director. Olivier, in spite of the desire to act, will probably find his time more limited in the future, for he will be master-minding the theatre which 'he has struggled so long to create. However, he will not be kept from the stage completely. “As I grow older I feel more and more the need, the necessity to act,” he says. “You see, the only time I ever really feel alive is when I'm acting.” To Play Othello

At 52 he will play three roles in the first year of the theatre's existence. One of them will be Othello, a part he has never attempted. He says: “I’ll never produce, direct and act in a film again. It was an exhausting business but I shall miss it. It was one of the most excit-

ing things that have happened in my life." Now the National Theatre will be his life. The first season opens in October and he has already attracted such talents as Peter O'Toole. Sir Michael Redgrave. Joan Plowright, Maggie Smith, and Tom Courtenay,

"What excites me now is the thought of feeling that hot breath of unity. It comes from working with people who have a marvellous, exhilarating unity of purpose—and are not afraid of making asses of themselves in front of each other," he says.

“We must try. We must experiment. We must not be afraid."

Such enthusiasm from tha man who is to be responsible for the National Theatre means everything. When that same man has the wealth of talent and experience behind him that Olivier has it gives the bold experiment a high chance of success.

Olivier sums up his own career with the following comment: “I've been very lucky, you know. I've had every opportunity available. There's nothing 1 regret doing and nothing I wish I'd done.”