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John Houseman
John Houseman
(born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a British-American actor and producer who became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project
Federal Theatre Project
through to the production of Citizen Kane
Citizen Kane
and his storied collaboration with writer Raymond Chandler's intoxicated screenplay rendering as producer of The Blue Dahlia. He is perhaps best known for his role as Professor Charles W. Kingsfield in the film The Paper Chase (1973), for which he won the Academy Award
Academy Award
for Best Supporting Actor. He reprised his role as Kingsfield in the 1978 television series adaptation. Houseman was also known for his commercials for the brokerage firm Smith Barney. He had a distinctive Mid-Atlantic English accent, in common with many actors of his generation.

Contents

1 Early life 2 Theatre producer

2.1 Collaboration with Orson Welles 2.2 Federal Theatre Project 2.3 Macbeth
Macbeth
(1936) 2.4 The Cradle Will Rock
The Cradle Will Rock
(1937) 2.5 Mercury Theatre 2.6 Radio

2.6.1 "The War of the Worlds" (1938)

3 Film producer

3.1 Too Much Johnson
Too Much Johnson
(1938) 3.2 Citizen Kane
Citizen Kane
(1941) 3.3 Return to the theatre 3.4 David O. Selznick 3.5 World War II 3.6 Paramount 3.7 RKO 3.8 MGM 3.9 Television and theatre 3.10 MGM 3.11 Return to television

4 Teaching

4.1 The Juilliard School
Juilliard School
and The Acting Company 4.2 Theatre

5 Acting

5.1 Television star 5.2 Final years and death

6 In popular culture 7 Filmography 8 References 9 External links

Early life[edit] Houseman was born on September 22, 1902 in Bucharest, Romania, the son of May (née Davies) and Georges Haussmann, who ran a grain business.[1] His mother was British, from a Christian family of Welsh and Irish descent.[2] His father was an Alsatian-born Jew.[3][4][5][6] He was educated in England at Clifton College, became a British subject, and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman. He became a United States citizen in 1943.[7] Theatre producer[edit] Houseman himself worked as a speculator in the international grain markets, only turning to the theater following the 1929 stock market crash. On Broadway he co-wrote Three and One (1933) and And Be My Love (1934). Composer Virgil Thomson
Virgil Thomson
recruited him to direct Four Saints in Three Acts (1934), Thomson's collaboration with Gertrude Stein.[8] He later directed The Lady from the Sea (1934), Valley Forge (1934).[9] Collaboration with Orson Welles[edit] In 1934, Houseman was looking to cast Panic, a play he was producing based on a drama by Archibald MacLeish
Archibald MacLeish
concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929. Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of Romeo and Juliet was the only person qualified to play the leading role. Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production. Panic opened at the Imperial Theatre on March 15, 1935. Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff
Boris Karloff
three years earlier in Universal's The Mummy. Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice." He supervised the direction of Walk Together Chillun in 1936. Federal Theatre Project[edit] In 1936, the Federal Theatre Project
Federal Theatre Project
of the Works Progress Administration put unemployed theatre performers and employees to work. The Negro Theatre Unit of the Federal Theatre Project
Federal Theatre Project
was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer. Houseman describes the experience in one of his memoirs:

Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week. During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over.[10]

Macbeth
Macbeth
(1936)[edit]

W.P.A. Federal Theater Project in New York: Negro Theatre Unit: "Macbeth", ca. 1935.

Houseman immediately hired Welles and assigned him to direct Macbeth for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role. The incidental music was composed by Virgil Thomson. The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances. The play was regarded by critics and patrons as an enormous, if controversial, success. After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

...on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend.[10]

Houseman later produced for the Negro Theatre Unit, Turpentine (1936), without Welles. In 1936, Houseman and Wells were running a WPA unit in midtown Manhattan for classic productions called Project No. 891. Their first production would be Christopher Marlowe's Tragical History of Dr. Faustus which Welles directed, also playing the title role. Houseman and Welles put on Horse Eats Hat
Horse Eats Hat
(1936). Houseman, without Welles, helped directed Leslie Howard's production of Hamlet
Hamlet
(1936). The Cradle Will Rock
The Cradle Will Rock
(1937)[edit]

Original poster for Project #891's production of The Cradle Will Rock

In June 1937, Project No. 891 produced their most controversial work with The Cradle Will Rock. Written by Marc Blitzstein
Marc Blitzstein
the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard Da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer). The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show. Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year. In his memoir, Run-Through, Houseman wrote about the circumstances surrounding the opening night at the Maxine Elliott Theatre. All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937. The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following. No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music. One of the non-professional performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part. All the other performers, in turn, stood up for their parts. Thus the "oratorio" version of the show was born. Apparently, Welles had designed some intricate scenery, which ended up never being used. The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night. The incident, however, led to Houseman being fired and Welles's resignation from Project No. 891.[citation needed] Mercury Theatre[edit] That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did The Cradle Will Rock
The Cradle Will Rock
as an independent production on Broadway. They also founded the acclaimed New York drama company, the Mercury Theatre. Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied.[10]

Armed with a manifesto written by Houseman[11] declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "...seem to have emotion or factual bearing on contemporary life." The company mounted several notable productions, the most remarkable being its first commercial production of Julius Caesar. Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels." Houseman and Welles later presented The Shoemakers' Holiday (1938), Heartbreak House
Heartbreak House
(1938) and Danton's Death
Danton's Death
(1938). Radio[edit] Beginning in the summer of 1938, the Mercury Theatre
Mercury Theatre
was featured in a weekly dramatic radio program on the CBS network, initially promoted as First Person Singular before gaining the official title The Mercury Theatre on the Air. An adaptation of Treasure Island
Treasure Island
was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script. However, a week before the show was to air, Welles decided that a program far more dramatic was required. To Houseman's horror, Treasure Island
Treasure Island
was abandoned in favor of Bram Stoker's Dracula, with Welles playing the infamous vampire. During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script.[citation needed] The Mercury Theatre
Mercury Theatre
on the Air featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris. "The War of the Worlds" (1938)[edit] The Mercury Theatre
Mercury Theatre
on the Air subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' The War of the Worlds, which had put much of the country in a panic.[12] By all accounts, Welles was shocked by the panic that ensued. According to Houseman, "he hadn't the faintest idea what the effect would be". CBS was inundated with calls; newspaper switchboards were jammed. Without Welles, Houseman staged The Devil and Daniel Webster
The Devil and Daniel Webster
(1939). Film producer[edit] Too Much Johnson
Too Much Johnson
(1938)[edit] While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, Too Much Johnson
Too Much Johnson
(1938). The film was never publicly screened and no print of the film was thought to have survived. Footage was rediscovered in 2013.[13] Citizen Kane
Citizen Kane
(1941)[edit] The Welles-Houseman collaboration continued in Hollywood. In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects. For his motion picture debut, Welles first considered adapting Joseph Conrad's Heart of Darkness
Heart of Darkness
for the screen. A 200-page script was written. Some models were constructed, while the shooting of initial test footage had begun. However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming. When RKO
RKO
threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket. Houseman proclaimed that there wasn't enough money in their business account to pay anyone. During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook". As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship. Houseman would later, however, play a pivotal role in ushering Citizen Kane (1941), which starred Welles. Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J. Mankiewicz while he completed the script, and keep him away from alcohol. Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed. Although Welles took credit for the screenplay of Kane, Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles. Houseman took some credit himself for the general shaping of the story line and for editing the script. In an interview with Penelope Huston for Sight & Sound magazine (Autumn, 1962) Houseman said that the writing of Citizen Kane
Citizen Kane
was a delicate subject:

I think Welles has always sincerely felt that he, single-handed, wrote Citizen Kane
Citizen Kane
and everything else that he has directed — except, possibly, the plays of Shakespeare. But the script of Kane was essentially Mankiewicz's. The conception and the structure were his, all the dramatic Hearstian mythology and the journalistic and political wisdom he had been carrying around with him for years and which he now poured into the only serious job he ever did in a lifetime of film writing. But Orson turned Kane into a film: the dynamics and the tensions are his and the brilliant cinematic effects — all those visual and aural inventions that add up to make Citizen Kane
Citizen Kane
one of the world’s great movies — those were pure Orson Welles.

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael
Pauline Kael
in her essay "Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault. He wanted to be given all the credit because he's a hog. Actually, it is his film. So it's a ridiculous argument."[14][15] Return to the theatre[edit] After he and Welles went their separate ways, Houseman went on to direct The Devil and Daniel Webster
The Devil and Daniel Webster
(1939) and Liberty Jones (1941) and produced the Mercury Theatre's stage production of Native Son (1941) on Broadway, directed by Welles. David O. Selznick[edit] In Hollywood he became a vice-president of David O. Selznick Productions. His most notable achievement during that time was helping adapt and produce the adaptation of Jane Eyre (1943) which starred Joan Fontaine
Joan Fontaine
and Welles.

At the National Film Society convention in Los Angeles, 1979

World War II[edit] In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America
Voice of America
whilst also managing its operations in New York City.[16] Paramount[edit] In 1945 Houseman signed a contract with Paramount Pictures to produce movies. His first credit for that studio was The Unseen (1945). He followed it with Miss Susie Slagle's
Miss Susie Slagle's
(1945) and The Blue Dahlia (1946), both with Veronica Lake. The latter, starring Alan Ladd
Alan Ladd
and written by Raymond Chandler, has become a classic. He left Paramount and returned to Broadway to direct Lute Song (1946) with Mary Martin. Back in Hollywood he produced Letter from an Unknown Woman (1948) for Max Ophuls at Universal. RKO[edit] Houseman went to RKO
RKO
where he produced They Live by Night
They Live by Night
(1948) the directorial debut of Nicholas Ray. He also did The Company She Keeps (1949) and On Dangerous Ground
On Dangerous Ground
(1951). He returned to Broadway to produce Joy to the World (1949) and King Lear (1950-51), the latter with Louis Calhern. MGM[edit] RKO's head of production had been Dore Schary. When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted. Houseman's stint at MGM began with Holiday for Sinners
Holiday for Sinners
(1952) then he had a huge success with The Bad and the Beautiful
The Bad and the Beautiful
(1952), directed by Vincente Minelli. He followed it with the film adaptation of Julius Caesar (1953) (for which he received an Academy Award
Academy Award
nomination for "Best Picture) Also popular was Executive Suite (1954), although Her Twelve Men (1954), Minelli's The Cobweb (1955) and Fritz Lang's Moonfleet (1955) all lost money. So too did Lust for Life (1956) a biopic directed by Minelli of Vincent van Gogh, although that was extremely well received critically. Television and theatre[edit] Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90. He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi
The Duchess of Malfi
(1957). MGM[edit] Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman
John Houseman
Productions. His films were All Fall Down (1962), Two Weeks in Another Town
Two Weeks in Another Town
(1962) and In the Cool of the Day (1963). Return to television[edit] Houseman returned to television where he made The Great Adventure and Journey to America (1964). He returned to Hollywood briefly to produce This Property Is Condemned
This Property Is Condemned
(1966), then went back to TV for Evening Primrose (1966). He went back to Broadway directing Pantagleize (1967). Teaching[edit] The Juilliard School
Juilliard School
and The Acting Company[edit]

Houseman in 1973

Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976.[17][18] The first graduating class in 1972 included Kevin Kline
Kevin Kline
and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, and Robin Williams.[19] Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company." [20] The organization was subsequently renamed The Acting Company, and has been active for more than 40 years. Houseman served as the producing artistic director through 1986, and Harley has been the Company's producer since its founding.[21] Writing in The New York Times in 1996, Mel Gussow called it "the major touring classical theater in the United States."[22] Theatre[edit] Houseman continued to be involved in theatre, producing The School for Wives (1971), The Three Sisters (1973), The Beggar's Opera
The Beggar's Opera
(1973), Scapin (1973), Next Time I'll Sing to You (1974), The Robber Bridegroom (1975), Edward II (1975), and The Time of Your Life
The Time of Your Life
(1975) He directed The Country Girl (1972), Don Juan in Hell
Don Juan in Hell
(1973), Measure for Measure (1973), and Clarence Darrow (1974) (with Henry Fonda). Acting[edit] Houseman had acted occasionally during the early part of his career and he had briefly appeared in Seven Days in May
Seven Days in May
(1964). Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973). The film was a success and launched Houseman into an unexpected late career as a character actor. Houseman played Energy Corporation Executive Bartholomew in the film Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976). Houseman appeared on TV in Fear on Trial (1975), The Adams Chronicles (1976), Truman at Potsdam (1976), Hazard's People (1976) and Six Characters in Search of an Author (1976). Houseman was reunited with The Paper Chase co-star Lindsay Wagner
Lindsay Wagner
in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series The Bionic Woman and The Six Million Dollar Man; he played the scientific genius Dr. Franklin. He continued appearing on TV in Captains and the Kings (1976), The Displaced Person (1977), a version of Our Town (1977), Washington: Behind Closed Doors (1977), The Best of Families (1977), Aspen, The Last Convertible (1978), The French Atlantic Affair (1978) and The Associates (1980). In films he parodied Sydney Greenstreet
Sydney Greenstreet
in the Neil Simon
Neil Simon
film The Cheap Detective (1978) and was in Old Boyfriends
Old Boyfriends
(1980), John Carpenter's The Fog
The Fog
(1980), Wholly Moses!
Wholly Moses!
(1981) and My Bodyguard (1981). Houseman briefly returned to producing with the TV movie Gideon's Trumpet (1980), which he also appeared in and Choices of the Heart (1983). He produced one more show on Broadway The Curse of an Aching Heart (1982). He acted in The Babysitter (1980), A Christmas Without Snow (1980), Ghost Story (1981), Mork & Mindy, Murder by Phone (1982) (second billed), Marco Polo (1982), and American Playhouse (1982). Television star[edit] In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in Silver Spoons, which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way... they earn it ." Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test'. He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries The Winds of War
The Winds of War
(receiving a fourth Golden Globe
Golden Globe
nomination). He declined to reprise the role when the sequel War and Remembrance was made into a miniseries (the role then went to Sir John Gielgud). However he was in the miniseries A.D. (1984), Noble House
Noble House
(1986), and Lincoln (1986). Having played a Harvard Law School
Harvard Law School
professor in the film The Paper Chase (1973), he reprised the role in a television series of the same name, which ran from 1978 to 1986. During that time, he received two Golden Globe
Golden Globe
nominations for "Best Actor in a TV Series — Drama". Final years and death[edit] Later film appearances included Bright Lights, Big City (1988) and Another Woman (1988). In 1988, he appeared in his last two roles—cameos in the films The Naked Gun: From the Files of Police Squad! and Scrooged. He played himself in the latter. Both films were released after his death. On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California.[23] In popular culture[edit] Houseman was portrayed by Cary Elwes
Cary Elwes
in the Tim Robbins-directed film Cradle Will Rock
Cradle Will Rock
(1999). Actor Eddie Marsan
Eddie Marsan
plays the role of Houseman in Richard Linklater's film Me & Orson Welles
Orson Welles
(2009). Houseman was played by actor Jonathan Rigby in the Doctor Who
Doctor Who
audio drama Invaders from Mars set around the War of the Worlds broadcast. Filmography[edit]

Year Film Role Notes

1938 Too Much Johnson Duelist

1964 Seven Days in May Vice-Adm. Farley C. Barnswell Uncredited

1973 The Paper Chase Charles W. Kingsfield Jr. Academy Award
Academy Award
for Best Supporting Actor Golden Globe
Golden Globe
Award for Best Supporting Actor - Motion Picture National Board of Review Award for Best Supporting Actor New York Film Critics Circle Award for Best Supporting Actor (2nd place)

1975 Rollerball Bartholomew

Three Days of the Condor Wabash

1976 St. Ives Abner Procane

Captains and the Kings Judge Chisholm

The Adams Chronicles Justice Gridley

1977 Aspen Joseph Merrill Drummond

1978 The Cheap Detective Jasper Blubber

1979 Old Boyfriends Doctor Hoffman

1980 The Fog Mr. Machen

Gideon's Trumpet Earl Warren

Wholly Moses! The Archangel

My Bodyguard Mr. Dobbs

The Babysitter Dr. Lindquist

A Christmas Without Snow Ephraim Adams

1981 Ghost Story Sears James

1982 Rose for Emily Narrator

Murder by Phone Stanley Markowitz

1983 Winds of War Aaron Jastrow

1985 A.D. Gamaliel

1988 Bright Lights, Big City Mr. Vogel

Another Woman Marion's Father

Scrooged Himself

The Naked Gun: From the Files of Police Squad! Driving Instructor Uncredited, (final film role)

References[edit]

^ Current biography yearbook – H.W. Wilson Company – Google Books. Books.google.ca. Retrieved May 7, 2012.  ^ Darrach, Brad (January 17, 1983). "John Houseman". People.com. Retrieved May 7, 2012.  ^ Magill, Frank Northen (1977). Survey of Contemporary Literature. Salem Pr. Inc. p. 6535. ISBN 0-89356-050-2.  ^ Houseman, John (1972). Run-Through: A Memoir. Simon and Schuster. p. 15.  ^ "John Houseman". Encyclopædia Britannica. ^ "John Houseman", New York Times Movies. ^ "John Houseman". Filmreference.com. Retrieved March 29, 2010.  ^ Tommasini, Anthony. (1997) Virgil Thomson
Virgil Thomson
– Composer on the Aisle, pp.241–243. ^ The Broadway League. "John Houseman". Internet Broadway Database. Ibdb.com. Retrieved March 29, 2010.  ^ a b c Houseman, John. Run-Through: A Memoir, New York, 1972. ^ "Orson Welles — Director — Films as Director:, Other Films:, Publications". Filmreference.com. Retrieved March 29, 2010.  ^ "The Federal Theatre Project". Novaonline.nvcc.edu. Retrieved March 29, 2010.  ^ Kehr, Dave (August 7, 2013), "Early Film by Orson Welles
Orson Welles
Is Rediscovered", New York Times  ^ Kael, Pauline (February 20, 1971). "Raising Kane—I". The New Yorker.  and Kael, Pauline (February 27, 1971). "Raising Kane—II". The New Yorker.  ^ " John Houseman
John Houseman
on "What happened to Orson Welles?"". Wellesnet: Orson Welles
Orson Welles
Web Resource. 21 August 2008. Retrieved 17 February 2018.  ^ "The Beginning: An American Voice Greets the World". Voice of America.  ^ Olmstead, Andrea (2002). Juilliard: A History. University of Illinois Press. p. 232. ISBN 9780252071065.  ^ "A Brief History – About Juilliard". The Juilliard School. Retrieved June 3, 2012.  ^ Klein, Alvin (July 12, 1992). "THEATER; From Juilliard to Shakespeare
Shakespeare
at a Pond". The New York Times.  ^ Olmstead, Andrea (2002). Juilliard: A History. University of Illinois Press. p. 230. ISBN 9780252071065. The success of The Acting Company's first season had greatly benefited the School and lifted the Drama Division's stock with Lincoln Center's Board.  Reprinting of the 1999 book, which described the relationship between the Juilliard School
Juilliard School
and The Acting Company
The Acting Company
at the time of the latter's founding. ^ "About Us". The Acting Company. Retrieved 2014-03-02.  ^ Gussow, Mel (January 30, 1996). "A Touring Troupe That Plays Classics On Main Street". The New York Times. Seven years after Mr. Houseman's death, and after a steeplechase course of obstacles, the Acting Company endures as the major touring classical theater in the United States. Now under the sole leadership of Ms. Harley, the company takes plays to 45 cities from Orono, Me., to Sheridan, Wyo.  Descriptive article on the occasion of the Company's 25th anniversary. ^ "John Houseman, Actor and Producer, 86, Dies". The New York Times. 

External links[edit]

John Houseman
John Houseman
on IMDb John Houseman
John Houseman
at the Internet Broadway Database
Internet Broadway Database
John Houseman
John Houseman
at the TCM Movie Database John Houseman
John Houseman
at AllMovie John Houseman
John Houseman
at Find a Grave "The Theatre: Marvelous Boy" – Time Magazine May 9, 1938 Interviews with Howard Koch on the infamous Mercury Theatre's War of the Worlds radio broadcast

Awards for John Houseman

v t e

Academy Award
Academy Award
for Best Supporting Actor

1936–1950

Walter Brennan
Walter Brennan
(1936) Joseph Schildkraut
Joseph Schildkraut
(1937) Walter Brennan
Walter Brennan
(1938) Thomas Mitchell (1939) Walter Brennan
Walter Brennan
(1940) Donald Crisp
Donald Crisp
(1941) Van Heflin
Van Heflin
(1942) Charles Coburn
Charles Coburn
(1943) Barry Fitzgerald
Barry Fitzgerald
(1944) James Dunn (1945) Harold Russell
Harold Russell
(1946) Edmund Gwenn
Edmund Gwenn
(1947) Walter Huston
Walter Huston
(1948) Dean Jagger
Dean Jagger
(1949) George Sanders
George Sanders
(1950)

1951–1975

Karl Malden
Karl Malden
(1951) Anthony Quinn
Anthony Quinn
(1952) Frank Sinatra
Frank Sinatra
(1953) Edmond O'Brien
Edmond O'Brien
(1954) Jack Lemmon
Jack Lemmon
(1955) Anthony Quinn
Anthony Quinn
(1956) Red Buttons
Red Buttons
(1957) Burl Ives
Burl Ives
(1958) Hugh Griffith
Hugh Griffith
(1959) Peter Ustinov
Peter Ustinov
(1960) George Chakiris
George Chakiris
(1961) Ed Begley
Ed Begley
(1962) Melvyn Douglas
Melvyn Douglas
(1963) Peter Ustinov
Peter Ustinov
(1964) Martin Balsam
Martin Balsam
(1965) Walter Matthau
Walter Matthau
(1966) George Kennedy
George Kennedy
(1967) Jack Albertson
Jack Albertson
(1968) Gig Young
Gig Young
(1969) John Mills
John Mills
(1970) Ben Johnson (1971) Joel Grey
Joel Grey
(1972) John Houseman
John Houseman
(1973) Robert De Niro
Robert De Niro
(1974) George Burns
George Burns
(1975)

1976–2000

Jason Robards
Jason Robards
(1976) Jason Robards
Jason Robards
(1977) Christopher Walken
Christopher Walken
(1978) Melvyn Douglas
Melvyn Douglas
(1979) Timothy Hutton
Timothy Hutton
(1980) John Gielgud
John Gielgud
(1981) Louis Gossett Jr.
Louis Gossett Jr.
(1982) Jack Nicholson
Jack Nicholson
(1983) Haing S. Ngor
Haing S. Ngor
(1984) Don Ameche
Don Ameche
(1985) Michael Caine
Michael Caine
(1986) Sean Connery
Sean Connery
(1987) Kevin Kline
Kevin Kline
(1988) Denzel Washington
Washington
(1989) Joe Pesci
Joe Pesci
(1990) Jack Palance
Jack Palance
(1991) Gene Hackman
Gene Hackman
(1992) Tommy Lee Jones
Tommy Lee Jones
(1993) Martin Landau
Martin Landau
(1994) Kevin Spacey
Kevin Spacey
(1995) Cuba Gooding Jr.
Cuba Gooding Jr.
(1996) Robin Williams
Robin Williams
(1997) James Coburn
James Coburn
(1998) Michael Caine
Michael Caine
(1999) Benicio del Toro
Benicio del Toro
(2000)

2001–present

Jim Broadbent
Jim Broadbent
(2001) Chris Cooper
Chris Cooper
(2002) Tim Robbins
Tim Robbins
(2003) Morgan Freeman
Morgan Freeman
(2004) George Clooney
George Clooney
(2005) Alan Arkin
Alan Arkin
(2006) Javier Bardem
Javier Bardem
(2007) Heath Ledger
Heath Ledger
(2008) Christoph Waltz
Christoph Waltz
(2009) Christian Bale
Christian Bale
(2010) Christopher Plummer
Christopher Plummer
(2011) Christoph Waltz
Christoph Waltz
(2012) Jared Leto
Jared Leto
(2013) J. K. Simmons
J. K. Simmons
(2014) Mark Rylance
Mark Rylance
(2015) Mahershala Ali
Mahershala Ali
(2016) Sam Rockwell
Sam Rockwell
(2017)

v t e

Golden Globe
Golden Globe
Award for Best Supporting Actor – Motion Picture

Akim Tamiroff
Akim Tamiroff
(1943) Barry Fitzgerald
Barry Fitzgerald
(1944) J. Carrol Naish
J. Carrol Naish
(1945) Clifton Webb
Clifton Webb
(1946) Edmund Gwenn
Edmund Gwenn
(1947) Walter Huston
Walter Huston
(1948) James Whitmore
James Whitmore
(1949) Edmund Gwenn
Edmund Gwenn
(1950) Peter Ustinov
Peter Ustinov
(1951) Millard Mitchell
Millard Mitchell
(1952) Frank Sinatra
Frank Sinatra
(1953) Edmond O'Brien
Edmond O'Brien
(1954) Arthur Kennedy
Arthur Kennedy
(1955) Earl Holliman
Earl Holliman
(1956) Red Buttons
Red Buttons
(1957) Burl Ives
Burl Ives
(1958) Stephen Boyd
Stephen Boyd
(1959) Sal Mineo
Sal Mineo
(1960) George Chakiris
George Chakiris
(1961) Omar Sharif
Omar Sharif
(1962) John Huston
John Huston
(1963) Edmond O'Brien
Edmond O'Brien
(1964) Oskar Werner
Oskar Werner
(1965) Richard Attenborough
Richard Attenborough
(1966) Richard Attenborough
Richard Attenborough
(1967) Daniel Massey (1968) Gig Young
Gig Young
(1969) John Mills
John Mills
(1970) Ben Johnson (1971) Joel Grey
Joel Grey
(1972) John Houseman
John Houseman
(1973) Fred Astaire
Fred Astaire
(1974) Richard Benjamin
Richard Benjamin
(1975) Laurence Olivier
Laurence Olivier
(1976) Peter Firth
Peter Firth
(1977) John Hurt
John Hurt
(1978) Melvyn Douglas/ Robert Duvall
Robert Duvall
(1979) Timothy Hutton
Timothy Hutton
(1980) John Gielgud
John Gielgud
(1981) Louis Gossett Jr.
Louis Gossett Jr.
(1982) Jack Nicholson
Jack Nicholson
(1983) Haing S. Ngor
Haing S. Ngor
(1984) Klaus Maria Brandauer
Klaus Maria Brandauer
(1985) Tom Berenger
Tom Berenger
(1986) Sean Connery
Sean Connery
(1987) Martin Landau
Martin Landau
(1988) Denzel Washington
Washington
(1989) Bruce Davison
Bruce Davison
(1990) Jack Palance
Jack Palance
(1991) Gene Hackman
Gene Hackman
(1992) Tommy Lee Jones
Tommy Lee Jones
(1993) Martin Landau
Martin Landau
(1994) Brad Pitt
Brad Pitt
(1995) Edward Norton
Edward Norton
(1996) Burt Reynolds
Burt Reynolds
(1997) Ed Harris
Ed Harris
(1998) Tom Cruise
Tom Cruise
(1999) Benicio del Toro
Benicio del Toro
(2000) Jim Broadbent
Jim Broadbent
(2001) Chris Cooper
Chris Cooper
(2002) Tim Robbins
Tim Robbins
(2003) Clive Owen
Clive Owen
(2004) George Clooney
George Clooney
(2005) Eddie Murphy
Eddie Murphy
(2006) Javier Bardem
Javier Bardem
(2007) Heath Ledger
Heath Ledger
(2008) Christoph Waltz
Christoph Waltz
(2009) Christian Bale
Christian Bale
(2010) Christopher Plummer
Christopher Plummer
(2011) Christoph Waltz
Christoph Waltz
(2012) Jared Leto
Jared Leto
(2013) J. K. Simmons
J. K. Simmons
(2014) Sylvester Stallone
Sylvester Stallone
(2015) Aaron Taylor-Johnson
Aaron Taylor-Johnson
(2016) Sam Rockwell
Sam Rockwell
(2017)

v t e

National Board of Review Award for Best Supporting Actor

John Williams (1954) Charles Bickford
Charles Bickford
(1955) Richard Basehart
Richard Basehart
(1956) Sessue Hayakawa
Sessue Hayakawa
(1957) Albert Salmi
Albert Salmi
(1958) Hugh Griffith
Hugh Griffith
(1959) George Peppard
George Peppard
(1960) Jackie Gleason
Jackie Gleason
(1961) Burgess Meredith
Burgess Meredith
(1962) Melvyn Douglas
Melvyn Douglas
(1963) Martin Balsam
Martin Balsam
(1964) Harry Andrews
Harry Andrews
(1965) Robert Shaw (1966) Paul Ford
Paul Ford
(1967) Leo McKern
Leo McKern
(1968) Philippe Noiret
Philippe Noiret
(1969) Frank Langella
Frank Langella
(1970) Ben Johnson (1971) Joel Grey
Joel Grey
/ Al Pacino
Al Pacino
(1972) John Houseman
John Houseman
(1973) Holger Löwenadler
Holger Löwenadler
(1974) Charles Durning
Charles Durning
(1975) Jason Robards
Jason Robards
(1976) Tom Skerritt
Tom Skerritt
(1977) Richard Farnsworth
Richard Farnsworth
(1978) Paul Dooley
Paul Dooley
(1979) Joe Pesci
Joe Pesci
(1980) Jack Nicholson
Jack Nicholson
(1981) Robert Preston (1982) Jack Nicholson
Jack Nicholson
(1983) John Malkovich
John Malkovich
(1984) Klaus Maria Brandauer
Klaus Maria Brandauer
(1985) Daniel Day-Lewis
Daniel Day-Lewis
(1986) Sean Connery
Sean Connery
(1987) River Phoenix
River Phoenix
(1988) Alan Alda
Alan Alda
(1989) Joe Pesci
Joe Pesci
(1990) Anthony Hopkins
Anthony Hopkins
(1991) Jack Nicholson
Jack Nicholson
(1992) Leonardo DiCaprio
Leonardo DiCaprio
(1993) Gary Sinise
Gary Sinise
(1994) Kevin Spacey
Kevin Spacey
(1995) Edward Norton
Edward Norton
(1996) Greg Kinnear
Greg Kinnear
(1997) Ed Harris
Ed Harris
(1998) Philip Seymour Hoffman
Philip Seymour Hoffman
(1999) Joaquin Phoenix
Joaquin Phoenix
(2000) Jim Broadbent
Jim Broadbent
(2001) Chris Cooper
Chris Cooper
(2002) Alec Baldwin
Alec Baldwin
(2003) Thomas Haden Church
Thomas Haden Church
(2004) Jake Gyllenhaal
Jake Gyllenhaal
(2005) Djimon Hounsou
Djimon Hounsou
(2006) Casey Affleck
Casey Affleck
(2007) Josh Brolin
Josh Brolin
(2008) Woody Harrelson
Woody Harrelson
(2009) Christian Bale
Christian Bale
(2010) Christopher Plummer
Christopher Plummer
(2011) Leonardo DiCaprio
Leonardo DiCaprio
(2012) Will Forte
Will Forte
(2013) Edward Norton
Edward Norton
(2014) Sylvester Stallone
Sylvester Stallone
(2015) Jeff Bridges
Jeff Bridges
(2016) Willem Dafoe
Willem Dafoe
(2017)

Authority control

WorldCat Identities VIAF: 74041595 LCCN: n79072852 ISNI: 0000 0000 8154 3111 GND: 128858664 SUDOC: 077160967 BNF: cb139397256 (data) BIBSYS: 97034985 MusicBrainz: 5f9dee3d-afae-4080-83d5-7dd4f6d6340a BNE: XX973241 SN

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