text: producer

text: Berlin

text: Buffalo, New York

text: Alexander Woollcott

text: Drama League Award

text: Broadway

text: Guthrie McClintic

text: Broadway

text: Shakespearean

text: Elizabeth Barrett Browning

text: The Barretts of Wimpole Street

text: W. Somerset Maugham

text: The Letter

text: Sidney Howard

text: Romeo and Juliet

text: Maxwell Anderson

text: The Wingless Victory

text: S. N. Behrman

text: No Time for Comedy

text: Tony Award

text: Antony and Cleopatra

text: The Constant Wife

text: Stage Door Canteen

text: Robert E. Sherwood

text: Helen Keller in Her Story

text: Oscar

text: tragedienne

text: Brooks Atkinson

text: Tisbury, Massachusetts

text: Martha's Vineyard

text: Thomas Cornell

text: Berlin

text: University of Berlin

text: alcoholism

text: State University of New York at Buffalo

text: Tad Mosel

text: Statler Hotel

text: Washington Square Players

text: Jessie Bonstelle

text: repertory

text: Detroit

text: Marian de Forest

text: Louisa May Alcott

text: Little Women

text: Guthrie McClintic

text: Broadway

text: Nice People

text: Rachel Crothers

text: Tallulah Bankhead

text: The New York Times

text: Cobourg, Ontario

text: 23 Beekman Place

text: lavender marriage

text: sewing circles

text: Nancy Hamilton

text: Tallulah Bankhead

text: Mercedes de Acosta

text: Candida

text: George Bernard Shaw

text: Theatre Guild

text: The Green Hat

text: Michael Arlen

text: syphilis

text: Leslie Howard

text: Chicago

text: Ashton Stevens

text: George Jean Nathan

text: Boston

text: Tallulah Bankhead

text: Greta Garbo

text: A Woman of Affairs

text: The Letter

text: W. Somerset Maugham

text: New York Sun

text: Ellen Olenska

text: Edith Wharton

text: The Age of Innocence

text: Ethel Barrymore

text: Glasgow

text: Walter Winchell

text: Vogue

text: playwright

text: Tad Mosel

text: Elizabeth Barrett Browning

text: Rudolf Besier

text: The Barretts of Wimpole Street

text: Wimpole Street

text: Robert Browning

text: cocker spaniel

text: Text of the play

text: Lionel Barrymore

text: Brian Aherne

text: Katharine Hepburn

text: Cleveland

text: Brooks Atkinson

text: Dorothy Parker

text: Irving Thalberg

text: MGM

text: Norma Shearer

text: George Cukor

text: Academy Awards

text: The Good Earth

text: For Whom the Bell Tolls

text: Lucrece

text: pantomime

text: Time

text: Romeo and Juliet

text: Basil Rathbone

text: Shakespearean

text: Hamlet

text: John Barrymore

text: Martha Graham

text: Great Depression

text: Milwaukee

text: Seattle

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text: San Francisco

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text: Cheyenne

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text: New England

text: First World War

text: New Orleans

text: Variety

text: Alexander Woollcott

text: Romeo and Juliet

text: Orson Welles

text: Tybalt

text: Mercutio

text: Basil Rathbone

text: Brian Aherne

text: Edith Evans

text: Burns Mantle

text: Richard Lockridge

text: New York Sun

text: Stark Young

text: The New Republic

text: John Mason Brown

text: New York Post

text: Burgess Meredith

text: Flowers of the Forest

text: John van Druten

text: St. Joan

text: Maurice Evans

text: Tyrone Power

text: Domrémy

text: S.N. Behrman

text: Maxwell Anderson

text: Associated Press

text: Maxwell Anderson

text: The Wingless Victory

text: Mildred Natwick

text: musical revue

text: Gene Kelly

text: Alfred Drake

text: Keenan Wynn

text: No Time for Comedy

text: S. N. Behrman

text: Laurence Olivier

text: The Doctor's Dilemma

text: Raymond Massey

text: Pearl Harbor

text: Gregory Peck

text: Raymond Massey

text: Mildred Natwick

text: Dudley Digges

text: Ruth Gordon

text: Anton Chekhov

text: Three Sisters

text: Judith Anderson

text: Edmund Gwenn

text: Dennis King

text: Kirk Douglas

text: Eleanor Roosevelt

text: Soviet

text: Stage Door Canteen

text: American Theatre Wing

text: Rachel Crothers

text: George C. Marshall

text: USO

text: G.I.

text: costume drama

text: Victorian

text: farce

text: Blithe Spirit

text: Italy

text: Margalo Gillmore

text: Naples

text: Rome

text: Florence

text: Siena

text: Dwight D. Eisenhower

text: Dijon

text: Marseilles

text: Versailles

text: Gertrude Stein

text: Alice B. Toklas

text: Maastricht

text: Heerlen

text: South Pacific

text: Marlon Brando

text: Method Acting

text: Antony and Cleopatra

text: Hanna Theater

text: Jean Anouilh

text: Antigone

text: Cedric Hardwicke

text: Creon

text: Marlon Brando

text: Helen Keller

text: Tony Randall

text: Maureen Stapleton

text: Eli Wallach

text: Joseph Wiseman

text: Douglas Watson

text: Charles Nolte

text: Charlton Heston

text: Kate O'Brien

text: Philip II

text: Somerset Maugham

text: The Constant Wife

text: United Nations

text: Christopher Fry

text: The Dark is Light Enough

text: Lorne Greene

text: Marian Winters

text: Christopher Plummer

text: understudy

text: memoir

text: There Shall Be No Night

text: Pulitzer Prize

text: Robert E. Sherwood

text: Hungarian Revolution of 1956

text: NBC

text: Hallmark Hall of Fame

text: Charles Boyer

text: Bradford Dillman

text: Ray Walston

text: Anthony Quayle

text: Leonard Bernstein

text: New York Philharmonic

text: Tel Aviv

text: The Unconquered

text: Helen Keller

text: radio

text: Theatre Guild on the Air

text: George Bernard Shaw

text: Manhattan

text: Brian Aherne

text: Margalo Gillmore

text: Wimpole Street

text: Martha's Vineyard

text: Laurence Olivier

text: John Gielgud

text: Ralph Richardson

text: pneumonia

text: The Rehearsal Club

text: Tisbury

text: State University of New York at Buffalo

text: New York Public Library for the Performing Arts

text: Lincoln Center

text: Smith College

text: link

text: Billy Rose

text: Valentina

text: Museum of the City of New York

text: Paley Center for Media

text: NBC

text: Anthony Quayle

text: Hallmark Hall of Fame

text: Robert E. Sherwood

text: There Shall Be No Night

text: Dave Garroway

text: Wide Wide World

text: NBC Symphony Orchestra

text: Drama League Award

text: Juliet

text: Chi Omega

text: Eleanor Roosevelt

text: White House

text: American Academy of Arts and Sciences

text: Hebrew University

text: honorary degrees

text: University of Wisconsin

text: Elmira College

text: Smith College

text: University of Pennsylvania

text: Hobart

text: Clark University

text: Ithaca College

text: Princeton

text: Baylor University

text: Middlebury College

text: Kenyon College

text: American National Theater and Academy

text: "her incomparable acting ability" and for "having elevated the theater throughout the world."

text: "Artvoice"

text: American Theatre Hall of Fame

text: Virginia Woolf

text: Smithsonian Institution

text: Malvina Hoffman

text: Albright-Knox Art Gallery

text: Eugene Speicher

text: Baylor University

text: State University of New York at Buffalo

text: Salvador Dalí

text: Alex Gard

text: Sardi's

text: Tisbury, Massachusetts

text: cenotaph

text: Forest Lawn Cemetery

text: Museum of Modern Art

text: A. Conger Goodyear

text: Cornell University

text: A. R. Gurney

text: Lincoln Center

text: Kate Burton

text: Irving Berlin

text: Dietrich

text: Jolson

text: Cole Porter

text: Lady Mendl

text: Mae West

text: The Gay Sisters

text: Barbara Stanwyck

text: The Man Who Came to Dinner

text: Moss Hart

text: George S. Kaufman

text: Katharine Cornell

text: Life Magazine

text: Katharine Cornell Papers, 1801-1983

text: Katharine Cornell Papers, 1938-1960. Sophia Smith Collection, Smith College

text: Nancy Hamilton Papers, 1862-1992. Sophia Smith Collection, Smith College

categories: 1974 deaths,Lesbian actresses,American Shakespearean actresses,American theatre managers and producers,20th-century American actresses,Infectious disease deaths in Massachusetts,LGBT people from Germany,American Theater Hall of Fame inductees,Tony Award winners,Deaths from pneumonia,LGBT entertainers from the United States,American stage actresses,Cornell family,LGBT people from New York (state),Actresses from New York (state),1893 births

paragraph: Katharine Cornell

paragraph: Katharine Cornell (February 16, 1893June 9, 1974) was an American stage actress, writer, theater owner and producer. She was born in Berlin to American parents and raised in Buffalo, New York.

paragraph: Dubbed "The First Lady of the Theatre" by critic Alexander Woollcott, Cornell was the first performer to receive the Drama League Award, for "Romeo and Juliet" in 1935. Cornell is noted for her major Broadway roles in serious dramas, often directed by her husband, Guthrie McClintic. The couple formed C. & M.C. Productions, Inc., a company that gave them complete artistic freedom in choosing and producing plays. Their production company gave first or prominent Broadway roles to some of the more notable actors of the 20th century, including many British Shakespearean actors.

paragraph: Cornell is regarded as one of the great actresses of the American theatre. Her most famous role was that of English poet Elizabeth Barrett Browning in the 1931 Broadway production of "The Barretts of Wimpole Street". Other appearances on Broadway included in W. Somerset Maugham's "The Letter" (1927), Sidney Howard's "The Alien Corn" (1933), Juliet in "Romeo and Juliet" (1934), Maxwell Anderson's "The Wingless Victory" (1936), S. N. Behrman's "No Time for Comedy" (1939), a Tony Award-winning Cleopatra in "Antony and Cleopatra" (1947), and a revival of Maugham's "The Constant Wife" (1951).

paragraph: Cornell was noted for spurning screen roles, unlike other actresses of her day. She appeared in only one Hollywood film, the World War II morale booster "Stage Door Canteen", in which she played herself. She did appear in television adaptations of "The Barretts of Wimpole Street" and Robert E. Sherwood's "There Shall Be No Night". She also narrated the documentary "Helen Keller in Her Story", which won an Oscar.

paragraph: Primarily regarded as a tragedienne, Cornell was admired for her refined, romantic presence. One reviewer observed, "Hers is not a robust romanticism, however. It tends toward dark but delicate tints, and the emotion she conveys most aptly is that of an aspiring girlishness which has always been subject to theatrical influences of a special sort." Her appearances in comedy were infrequent, and praised more widely for their warmth than their wit. When she played in "The Constant Wife", critic Brooks Atkinson concluded that she had changed a "hard and metallic" comedy into a romantic drama.

paragraph: Cornell died on June 9, 1974, in Tisbury, Massachusetts (on Martha's Vineyard), aged 81, and is buried at Tisbury Village Cemetery, Tisbury, Martha’s Vineyard, Massachusetts.

paragraph: Section::::Family and childhood.

paragraph: Cornell was born into a prominent, wealthy Buffalo, New York society family. Her great-grandfather, Samuel Garretson Cornell, a descendant of pioneer ancestor Thomas Cornell, came to Buffalo in the 1850s, and founded Cornell Lead Works. One of his grandsons, Peter, married Alice Gardner Plimpton. The young couple lived in Berlin when Peter was studying medicine at the University of Berlin. Their first child, Katharine, was born there. Six months later, the family returned to Buffalo, where they lived at 174 Mariner Street. As a child, Katharine had a troubled relationship with her parents, due in part to her mother's alcoholism. She play-acted in her backyard with imaginary friends. Soon, she was performing in school pageants and plays, and she would watch family productions in her grandfather's attic theater, still standing at 484 Delaware Avenue. Cornell played at the Buffalo Studio Club parlor theater, located at 508 Franklin Street. She loved athletics and was a runner-up for city championship at tennis, and an amateur swimming champion. She attended the University of Buffalo (later the State University of New York at Buffalo). . In 1913, she joined The Garret Club, a woman's only private club in Buffalo, and participated in club theatricals.

paragraph: After Cornell had become famous, she would often bring her productions to her native Buffalo. Although she never returned to Buffalo to live, her enthusiasm for the city and its inhabitants was well known. Biographer Tad Mosel wrote: "To show her affection for her hometown, she always walked slowly when she left her hotel, turning her head to smile on everyone on the street, missing no one, so they could feel close to her and be able to say when they got home that night, 'Katharine Cornell smiled directly at me.'" For the rest of her career, on opening Broadway nights, she would be greeted backstage by family and friends from Buffalo. Many of her productions were performed at the Erlanger Theater on Delaware Avenue,

paragraph: across from the Statler Hotel. The Erlanger was demolished in 2007.

paragraph: Section::::Early career.

paragraph: In 1915, Cornell's mother died, leaving her enough money to be independent. The young woman moved to New York City to pursue her acting career. There she joined the Washington Square Players and was hailed as one of the most promising actresses of the season. After just two seasons, she joined Jessie Bonstelle's company, a leading New York repertory ("stock") company that divided its summers between Detroit and Buffalo. Now aged 25, Cornell was consistently receiving glowing reviews.

paragraph: Cornell joined various theater companies, including the Bonstelle, that toured around the East Coast. In 1919, she went with the Bonstelle company to London to play Jo March in Marian de Forest's stage adaptation of Louisa May Alcott's novel "Little Women". Although the critics disparaged the play itself, they specifically noted Cornell as the one bright spot of the evening. The paper "The Englishwomen" wrote of Cornell: "London is unanimous in its praise, and London will flock to see her." Upon her return to New York, she met Guthrie McClintic, a young theater director. She made her Broadway debut in the play "Nice People" by Rachel Crothers, in a small part alongside Tallulah Bankhead.

paragraph: Cornell's first major Broadway role was that of Sydney Fairfield in "A Bill of Divorcement" (1921). "The New York Times" wrote of her performance, "[she] has the central and significant role of the play and ... gives therein a performance of memorable understanding and beauty." It played for 173 performances, well enough to be considered a hit. Afterward, Cornell played in a succession of now-forgotten plays.

paragraph: She married McClintic on September 8, 1921, in her aunt's summer home in Cobourg, Ontario, Canada. Cornell's family had often summered there among other wealthy Americans. The couple eventually bought a townhouse at 23 Beekman Place in Manhattan. It is generally acknowledged that Cornell was a lesbian, and that McClintic was gay, and their union was a lavender marriage. She was a member of the "sewing circles" in New York, and had relationships with Nancy Hamilton, Tallulah Bankhead, and Mercedes de Acosta, among others.

paragraph: Section::::Stardom.

paragraph: In 1924, Cornell and McClintic were part of The Actor's Theatre, a successor to the Washington Square Players. This was a group of actors that sought to be a democracy without any stars. As their first production, they selected "Candida" by George Bernard Shaw. At the time, the play was considered perfect for the group, as none of the characters was considered to outshine the others, because Shaw intended the play to be about ideas. Although the leading protagonist is Candida, she does not really come into her own until the third act. But, Cornell essentially re-envisioned the play. She made Candida the core of the play, a view adopted by directors and critics ever since. Reviews were ecstatic and audiences responded in kind. The Actor's Theatre changed its plans and decided that Cornell's name must appear above the play's title in all future productions of the troupe. Another acting troupe, the Theatre Guild, controlled the rights to all Shaw's plays, and thereafter allowed only Cornell to play the role of Candida so long as she was alive, a role which she reprised several more times in her career. Shaw later wrote her a note stating that she had created "an ideal British Candida in my imagination."

paragraph: Cornell's next role was to play Iris March in "The Green Hat" (1925), a romance by Michael Arlen. The play had themes of syphilis and loose morals, and Iris March was a strong sexual creature. Leslie Howard played the role of Napier. While the play was still in Chicago, it became an international hit, known all over the US and Europe. Ashton Stevens, senior drama critic in Chicago, wrote that "The Green Hat" "should die at every performance of its melodramatics, its rouge and rhinestones, its preposterous third act... Already, I am beginning to forget its imperfections and remember only its charms." Its chief charm, he conceded, was Cornell, who sent "tiny bells up and down my unpurchasable vertebrae." Most other critics panned the play itself, but nonetheless found it irresistible because of Cornell's ability to mesmerise, despite the garish dialogue. Critic George Jean Nathan wrote that the play was "superbly acted in its leading role by that one young woman who stands head and shoulders above all the other young women of the American theater, Miss Katharine Cornell."

paragraph: The play had 231 performances in New York before going to Boston and then a cross-country tour. The play's success spawned a fashion in green hats of the type worn by Cornell in the play. Later, Tallulah Bankhead played the role of Iris March in a less successful London production, and Greta Garbo played the role in a 1928 film adaptation, "A Woman of Affairs".

paragraph: She starred in 1927 in "The Letter", by W. Somerset Maugham, as Leslie Crosbie, a woman who kills her lover. Maugham himself suggested Cornell for the part. Although the critics were not too excited about the play, Cornell by then had developed a loyal following. The opening night was such a sensation that the "New York Sun" wrote that the sidewalks were packed with people after the performance straining to catch a glimpse of her.

paragraph: In 1928, Cornell played the lead role of the countess Ellen Olenska in a dramatized version of Edith Wharton's novel "The Age of Innocence". Her performance received only positive reviews. After this success, Cornell was offered the lead in "The Dishonored Lady". It was originally intended for Ethel Barrymore, who failed to accept the role. The play is a lurid melodrama about true-life murder in Glasgow, Scotland. Walter Winchell wrote, "Never in the history of the theatre has an actress of such distinction permitted such an exciting scene. She [Cornell] actually permits a man to crack her a powerful wallop in the face!" One critic complained about the "fifth rate claptrap" of a play, and chastised Cornell for selecting such lowbrow theater as a waste of her talents.

paragraph: "Vogue" wrote that Cornell does these types of plays because "she prefers... to be blunt, trash of a violent kind." Biographer and playwright Tad Mosel counters that although this is meant as a reproof, when stripped of its condescension,

paragraph: "it is a simple statement of the truth. There was a part of her that indeed preferred trash of a violent kind. Her integrity as an artist was the only defense such a preference needed. Every performance had to be as much a revelation of herself as it was an interpretation of a role, and therefore her choice of roles and the way she played them offer great insights into her nature, greater perhaps than can be inferred from her gracious, smiling, always agreeable, and increasingly guarded behavior offstage. One must look at her performances as one looks at the output of a writer or a painter."

paragraph: Section::::"The Barretts of Wimpole Street".

paragraph: Katharine Cornell is perhaps best known in her role as poet Elizabeth Barrett Browning in Rudolf Besier's play "The Barretts of Wimpole Street". The play is based on the life of the poet's family; the Barretts lived on Wimpole Street in London. The play opens with Elizabeth, the oldest child of a large and loving family. Their widowed father has become embittered and determined that none of his children should marry, lest they become slaves to the "brutal tyranny of passion" and "the lowest urge of the body." As the play progresses, his smothering concern for his family and particularly for Elizabeth, who is an invalid, takes on a sinister character. Poet Robert Browning has read some of Elizabeth's poetry and comes to meet her, and they immediately are attracted to each other. When he leaves, Elizabeth struggles to her feet to watch him disappear down the lane. Elizabeth and Robert later elope, against her father's strict orders, and when he finds that she has married without his permission or knowledge, he orders that her beloved dog, Flush, be killed. But her sister had ensured that this cocker spaniel join the couple in their escape.Text of the play

paragraph: The play has several difficulties. The lead role of Elizabeth has to be played initially as submissive to her father, yet as the center of attention throughout. Although the ending is happy for Elizabeth and Robert, the rest of the family remains under the domination of the father, who is deranged in his obsession. Elizabeth must be played for the first half lying still on a sofa wearing heavy Victorian costume, and covered with a blanket, as befitting an invalid. Many, including Lionel Barrymore, who was asked to play the part of the father, thought it was too melodramatic and past its time. The play was turned down by 27 New York producers before McClintic read it and found it so moving, he cried whenever he read it.

paragraph: When McClintic was in London, he was able to secure Brian Aherne to play the part of Robert Browning. Afterwards, McClintic immediately went to a London jewelry store and bought a necklace, two bracelets and a garnet ring, all at least 100 years old. For every single performance that Cornell gave as Elizabeth Barrett, she wore this jewelry in the last act, when she leaves the family home for the last time. Katharine Hepburn was selected for the part of Henrietta, but since she was going to play in a summer stock company a few months later, she could not be signed to a contract. Casting the dog was troublesome, since it would have to lie still in its basket on stage for a great length of time, and then exit when called for. McClintic selected an eight-month-old cocker spaniel, which played the role for the full run and many others afterward, to unanimous applause.

paragraph: McClintic directed the three-hour play with a meticulous attention to period detail. Cornell was listed as the producer, although it was produced by C. & M.C. Productions, Inc., a company wholly owned by both McClintic and Cornell. The play opened first in Cleveland, then played in Buffalo before reaching New York in January 1931.

paragraph: Brooks Atkinson wrote of opening night:

paragraph: "After a long succession of meretricious plays it introduces us to Katharine Cornell as an actress of the first order. Here the disciplined fury that she has been squandering on catch-penny plays becomes the vibrant beauty of finely wrought character... By the crescendo of her playing, by the wild sensitivity that lurks behind her ardent gestures and her piercing stares across the footlights, she charges the drama with a meaning beyond the facts it records. Her acting is quite as remarkable for the carefulness of its design as for the fire of her presence... The Barretts of Wimpole Street is a triumph for Miss Cornell and the splendid company with which she has surrounded herself."

paragraph: All other critics were uniform in praise of her acting: using adjectives such as superb, eloquent, exalted, dark, rhythmic, luminous, haunting, lyric, ravishing. Dorothy Parker, known for her caustic wit and unsentimental reviews, wrote that although she did not think it a good play, she "paid it the tribute of tears." Further, "Miss Katharine Cornell is a completely lovely Elizabeth Barrett... It is little wonder that Miss Cornell is so worshipped; she has romance, or, if you like better the word of the daily-paper critics, she has glamour." The play ran for 370 performances. When it was announced that it was closing, the remaining performances sold out and hundreds were turned away.

paragraph: The play's success engendered a revival of Robert Browning's poetry, and cocker spaniels became the popular dog that year. Irving Thalberg wanted Cornell to play her part in an MGM adaptation, offering that if she was not completely satisfied with the result, the film would be destroyed. She refused. The movie that was released had most of the original cast, and Thalberg's wife, actress Norma Shearer, played the part of Elizabeth.

paragraph: Cornell refused to act in movies because she had seen audiences laugh at the acting of old movies and did not want that to happen to her. According to biographer Tad Mosel,

paragraph: "she did not feel that she was acting for historians or nostalgia fans of the future but for audiences of the here and now, people who came into the theatre tonight, sat in their seats and waited for the curtain to go up. Not only were they the ones she wanted to reach, but she wanted to be there when they responded, she did not want to be off in another part of the world while they gazed at a second-hand image on a screen. In fact, she was not sure she could give them anything to respond to without the inducement of their presence." Moreover, the largeness of her facial structure—her bone structure—were so explicit that they could be seen to the last row, but "might have been less than an asset on the screen where the camera enlarges and exaggerates. Her voice and gestures were eloquent theatre props that might have been too much for the screen, necessitating adjustments so basic that she could not make them. And beyond physical equipment ... it is possible that the quality she had as an individual, the unique something about her that transcended technique and craft and fifth-rate writing might not have transcended cameras; it would not have come through to an audience without her physical presence."

paragraph: But other sources say that Hollywood would secure Broadway plays for its own actors under contract, and that Cornell was never considered for the roles she originated on stage. Additionally, Cornell had apparently written to film director George Cukor, suggesting that she would consider a film if he would direct her. Nothing came of this effort.

paragraph: She turned down many movie roles that earned Academy Awards wins and nominations for the actresses who did play those parts, from Olan in "The Good Earth", to Pilar in "For Whom the Bell Tolls". Additionally, many of her roles in hit plays were successfully played by other great actresses, or were adapted as movies. As audiences were deserting live theater for the movies, Cornell became even more determined to stay in the theater in order to help keep it vibrant.

paragraph: Section::::The 1933 tour.

paragraph: After "Barretts" closed, Cornell played leading parts in two plays, "Lucrece" and "Alien Corn". A considerable portion of her role in "Lucrece" was played in pantomime. Her success in "Lucrece" landed her on the cover of "Time" on December 26, 1932. In the article, she is quoted as saying, "To act, you have to burst out spontaneously and feel constantly and deeply. So if you're too accustomed to using your head instead of your feelings you won't be able to call on your feelings when you want them. I tell young women not to come on the stage, unless there is nothing else they can be happy in."

paragraph: Her next production was "Romeo and Juliet", with McClintic directing. Basil Rathbone was Romeo, and Cornell played Juliet. It was the first time she had performed in any Shakespearean play though Rathbone was more experienced having played leading roles in England at the Shakespeare Memorial Theatre and the Royal Court. Shakespeare was not fashionable in the US at that time, and his plays were rarely presented in live theater. The last had been "Hamlet" with John Barrymore twelve years earlier. The play opened in Buffalo and had a difficult time. Her friend, modern dance pioneer Martha Graham, choreographed the dance sequences. In Buffalo, Graham thought Juliet's costume was all wrong. She bought some soft white nun's veiling, from which she fashioned a flowing robe.

paragraph: The play was incorporated into a seven-month country-wide tour that would rotate three plays, "Romeo and Juliet", "The Barretts of Wimpole Street", and "Candida". Planned during the height of the Great Depression, many theater experts and actors advised against such an ambitious tour. This was the first time anyone had tried to take a legitimate Broadway show on an all-country tour, let alone three. They toured to such cities as Milwaukee, Seattle, Portland, Oregon, San Francisco, Los Angeles, Oakland, Sacramento, Salt Lake City, Cheyenne, San Antonio, New Orleans, Houston, Savannah, and up the east coast to New England.

paragraph: As movies had taken over from live theater to a large degree, there were major areas of the U.S. closed off to the tour. Many stops at smaller cities had not seen live theater since the First World War, or ever. But box office records were set in most cities and towns. In New Orleans, women rioted when they found out that tickets has been sold out. "Variety" reported that the tour gave 225 performances and played to 500,000 people. People in less urban areas traveled from two days away to see a performance, and the presenting towns would gain a small but welcome swell in revenues from restaurants and hotels as a result. The most famous story to arise out of the tour came when the troupe was to play "Barretts" on Christmas night in Seattle, McClintic's hometown. They planned to arrive in the morning, and as it normally takes six hours to set up the stage, do lighting and blocking checks and distribute costumes, they figured there would be plenty of time.

paragraph: However, it had been raining for 23 days, and roads and railroads were being washed out. The train moved very slowly, often stopping. The theater management telegraphed that the venue was completely sold out for the evening performance and wanted regular updates to assure the public that the production was on its way. The troupe kept up the telegrams, but eventually these lines gave out. By that evening, the troupe was still far from the city and gave up hope of doing any performance that night. The train finally arrived in Seattle at 11:30 pm. There was a lively crowd waiting for them at the train station, and the manager of the Metropolitan Theatre came up to Cornell and informed her that the audience was still waiting. McClintic asked, "how many?" "The entire house," was the reply, "Twelve hundred people." Cornell was shocked and asked, "Do you mean they want a performance at this hour?" "They're expecting it," the manager replied.

paragraph: All 55 members of the cast and crew drove to the theater. Sets and props had to be protected in the downpour. As soon as the troupe arrived, the audience streamed back into their seats. Cornell decided that the audience could watch the sets for "Barretts" be unpacked and set up, and so raised the curtain. The stage hands, sound checks, and electricians worked to accomplish in one hour what normally took six. By 1 am, they were ready to begin the play. Biographer Tad Mosel writes: "The audience had paid the actors the supreme compliment of having the faith to wait for them, and the actors responded with the kind of performance actors wish they could give every day of their lives. When the final curtain fell at 4 am, they received more curtain calls than they ever had."

paragraph: Ray Henderson, the troupe's publicist and manager, managed to get this story published the next day in every newspaper in America. Alexander Woollcott established a radio tradition on his program, "The Town Crier". For years afterward, every Christmas, Woollcott would tell the story of the Seattle audience that waited until 1 am for to see Katharine Cornell "emerge from the flood" and give the performance of her life.

paragraph: Section::::Broadway successes and maturation of style.

paragraph: Section::::Broadway successes and maturation of style.:"Romeo and Juliet".

paragraph: Although they had toured with this play, Cornell and McClintic decided to open "Romeo and Juliet" in New York with a completely new production. McClintic started over, with just a handful of the actors from the tour. Orson Welles was kept, but played Tybalt instead of Mercutio, making his Broadway debut. Basil Rathbone played Romeo, while Brian Aherne took the part of Mercutio, and Edith Evans played the Nurse. McClintic's idea was to keep the play "light, gay, hot sun, spacious" with no hint of the doom that would conclude the play. Also, he coached Cornell to read for meaning, sense and emotion, in place of the poetics of iambic pentameter.

paragraph: This was a great break with past productions, which up until then had relied upon Victorian prudery and notions of how a classic play should be performed. McClintic reinstated the Prologue and believed that all twenty-three scenes were necessary, cutting only the comedy of the musicians and servants. For the first time, the carnal desires, the youthful romanticism, and the earthiness of language were given equal importance.

paragraph: The production opened in December 1934, and, as usual, the reviews were glowing. Burns Mantle called Cornell "the greatest Juliet of her time." Taking note of the freshness of approach, Richard Lockridge of the "New York Sun" wrote that Cornell played Juliet as "an eager child, rushing toward love with arms stretched out." Cornell herself said that her biggest secret of acting is to do away with all excesses and embellishments, to bring an interpretation to its utmost simplicity. Margot Stevenson from the original cast later said that Cornell was "just this big Italian girl in love!" Stark Young said in "The New Republic": She makes you believe in love, that Juliet loves, and that the diapason and poetry of love are the reward for its torment. Of various [other] Juliets this must have been one of the last things to be said."

paragraph: John Mason Brown wrote in the "New York Post": "It is not often in our lifetime that we are privileged to enjoy the pleasant sensation of feeling that the present and the future have met for a few triumphant hours... Yet it was this very sensation—this uncommon sensation of having the present and future meet; eye-witnessing the kind of event to which we will be looking back with pride in the years to come—that forced its warming way, I suspect, into the consciousness of many of us last night as we sat spellbound. Miss Cornell's Juliet is luscious and charming. It finds her at her mellowest and most glamorous. It burns with the intensity Miss Cornell brings to all her acting. It moves gracefully and lightly; it is endlessly haunting in its pictorial qualities; and reveals a Miss Cornell who equals the beauty of the lyric lines she speaks with a new-found lyric beauty of her own voice... To add that it is by all odds the most lovely and enchanting Juliet our present-day theatre has seen is only to toss it the kind of superlative it honestly deserves." Later, the same critic determined that this role was a turning point in her career, as it meant that she could finally leave the "trifling scripts" of her earlier career and could meet the challenging demands of the greatest classic roles.

paragraph: Section::::Broadway successes and maturation of style.:"The Barretts" revived.

paragraph: "Romeo and Juliet" closed on February 23, 1935, and two nights later, the production company revived "The Barretts of Wimpole Street", with Burgess Meredith in his first prominent Broadway role. Critics found that this new production had grown richer and more satisfying, but it closed three weeks later because other plays were contracted.

paragraph: The next play, also starring Meredith, was Flowers of the Forest, an anti-war play by John van Druten that lasted only 40 performances and counts among Cornell's greatest failures.

paragraph: Section::::Broadway successes and maturation of style.:"St. Joan".

paragraph: For the next season, Cornell and her husband decided to do "St. Joan" by George Bernard Shaw. McClintic cast Maurice Evans as the Dauphin, Brian Aherne as Warwick, Tyrone Power as Bertrand de Poulengey, and Arthur Byron as the Inquisitor. The play opened on March 9, 1936, and Burns Mantle wrote that the triumph belonged to two maids, "the Maid of Domrémy, France, and the Maid of Buffalo, N.Y." John Anderson of the "New York Journal" wrote, "Before there is any haggling, let it be said that it is Shaw's greatest play and that Miss Cornell is superb in it. She is beautiful to look at and her performance is enkindled by the spiritual exaltation of a transcendent heroine."

paragraph: It was in this play that Cornell's real artistry became apparent. Audience members talked of having been "changed" by her performance, and "mesmerized." Writer S.N. Behrman said "it was something essential in herself, as a person, that the audiences sensed and reached out to." Another said that she was like "radium, flashing its healing rays," while others used an older phrase, "magnetic influence."

paragraph: The play closed in the spring of 1936 only because the production company had already contracted to produce Maxwell Anderson's "The Wingless Victory". "Saint Joan" finished with a seven-week tour of five major cities.

paragraph: Flush, the spaniel that played the part of Flush in "Barretts", died in July 1937. He had played his role 709 times, and traveled over 25,000 miles on tours, never getting drunk or arriving late. At his death, the Associated Press sent the story out over its entire network worldwide.

paragraph: Section::::Broadway successes and maturation of style.:"The Wingless Victory".

paragraph: In Maxwell Anderson's "The Wingless Victory", McClintic decided to avoid the so-called "star entrance," where the audience expects the star of the play to enter grandly to general applause. Instead, he had another character take the star entrance, and only then was it revealed that Cornell was onstage. The effect was startling. Opened in 1936, the play received mixed reviews, and many bad ones, but Cornell was nonetheless respected for taking any role and twisting it to make it her own. Gently disparaging the play itself, Brooks Atkinson wrote that Cornell is "Our Queen of tragedy, a thoughtful actress and a great one."

paragraph: Alternating with "Victory", Cornell revived "Candida" with Mildred Natwick as Prossy. After their conclusion, she took a year off and wrote her memoir (with the help of Ruth Woodbury Sedgewick) entitled "I Wanted to Be an Actress". It was published by Random House in 1939.

paragraph: Section::::Broadway successes and maturation of style.:"No Time for Comedy".

paragraph: Cornell's assistant Gertrude Macy produced a musical revue "One for the Money" which starred unknown actors who later achieved fame, including Gene Kelly, Alfred Drake, Keenan Wynn and Nancy Hamilton. Immediately after that closed, Cornell starred in her second comedy, "No Time for Comedy" by S. N. Behrman. McClintic cast the young Laurence Olivier in the leading role of Gaylord. During rehearsals, Cornell had a difficult time with the comedic timing, and someone shook their head and said, "Poor old Kit!" Olivier shot back, "Poor old Kit is the most successful woman in the American theater! The richest, the most beautiful, the most sought after, the most distinguished, the most loved — Poor old Kit indeed!"

paragraph: In his memoir, Behrman wrote, "Miss Cornell had less [exhibitionism] than any actress or actor I have ever known. Her position in the theatre transcended technique... It was something essential in herself, as a person, that the audiences sensed and reached out to... The whole stage and the other actors took light from the radiance of her personality."

paragraph: The play opened on April 17, 1939, and became the third-biggest money-maker for Cornell, and the second production to gross over a million dollars. With a few cast changes, including that of Olivier, the play went on a nationwide tour.

paragraph: Section::::Broadway successes and maturation of style.:"The Doctor's Dilemma".

paragraph: Cornell next played in Shaw's play, "The Doctor's Dilemma", and Raymond Massey starred opposite her. Her production company was running so smoothly that Massey said, "Whatever anyone tells you, Kit ran her own show. They will say everything was managed by those people around her, but it is absolutely not true. She knew everything that was going on and she made all the decisions. At the end of the day you could find her poring over the box office receipts. She was a shrewd and intelligent businesswoman."

paragraph: The play opened in 1941 in San Francisco, just one week before Pearl Harbor, and was the only show not cancelled, despite numerous blackouts. Given the distraction of the war, the play was not well received. Gregory Peck was part of the tour as "the secretary."

paragraph: Section::::The war years.

paragraph: Shortly after the U.S. entered World War II, Cornell decided upon a revival of "Candida" to benefit the Army Emergency Fund and the Navy Relief Society. Of her five productions of this play, this fourth one is remembered for the star-studded cast of Raymond Massey, Burgess Meredith, Mildred Natwick and Dudley Digges. Cornell was able to convince all actors, Shaw, the theater hands and the Schubert organization to donate their labor, services and venue so that almost all proceeds went directly to the fund.

paragraph: Section::::The war years.:"The Three Sisters".

paragraph: A year later, Ruth Gordon urged McClintic to produce Anton Chekhov's "Three Sisters". Judith Anderson played Olga, Gertrude Musgrove was selected for Irina, while Cornell had the role of Masha. Others included theater legend Edmund Gwenn, Dennis King and Kirk Douglas in his Broadway debut. The play opened in Washington in December 1942, and was not expected to be much of a financial success. The opening was attended by Eleanor Roosevelt and the Soviet ambassador. It played for 122 performances in New York before going on the road, exceeding the low expectations. It had the longest run of any Chekhov play in the U.S. and the longest run of this particular play anywhere up to that point.

paragraph: Cornell is said to have played Masha with a nobility of spirit without ostentation, and that she found the wit in her role. "Time" Magazine wrote, in anticipation of its opening, "Not for nothing is Katharine Cornell the top-ranking actress in the U.S. theater as well as a successful producer as well as the wife of able Director Guthrie McClintic. Over the years Cornell has performed many near-miracles. She has made the yearning soul as good box office as the fiery body. She has made an invalid lady on a couch the essence of glamor. She has turned Shakespeare and Shaw into rousing hits. And when, next week, she brings her revival of Chekhov's 'The Three Sisters' to Broadway, it will boast a dream production by anybody's reckoning — the most glittering cast the theater has seen, commercially, in this generation."

paragraph: Section::::The war years.:Wartime service.

paragraph: Cornell's only film role was speaking a few lines from "Romeo and Juliet" in the movie, "Stage Door Canteen" (1943), which starred many of Broadway's best actors, under the auspices of the American Theatre Wing for War Relief. This organization was created by playwright Rachel Crothers, and created the Stage Door Canteen to entertain troops during the war. Cornell donated time to work at the Canteen cleaning tables.

paragraph: General George C. Marshall asked Cornell to do a play to entertain the troops in Europe. Cornell decided to take "The Barretts of Wimpole Street" to the troops in Europe as a touring production with the USO and the Special Services Division. However, the USO and the Division stated that no G.I. would sit for a three-hour costume drama about two middle-aged Victorian poets. They suggested an alternate, some sort of "ribald farce" in case "Barretts" proved a failure. Cornell would prepare "Blithe Spirit," but nonetheless insisted upon "Barretts", saying that if she was going to entertain the soldiers, she must take them her very best, and her very best was "Barretts". The Army then asked that they cut the love scenes, as the play was far too long at three hours, wanted someone to "explain" the play to the men beforehand, and prepared her for what they saw as rude, tasteless and ignorant troops. The entire company, backed by Cornell and McClintic, resisted all entreaties and played their roles with every degree of authenticity as the Broadway original.

paragraph: At the first production, the army's fears seemed to be validated. At the start of the play, which takes place in damp, chilly London, the doctor advises that Elizabeth go to Italy for rest. The audience, G.I.s fighting in war-torn Italy, exploded in laughter, hooting, yelling and stamping. According to actress Margalo Gillmore, "It was true, then, we thought, they would go on laughing and it would never stop and the Barretts would go under a tidal wave of derision. But we were wrong. Kit and Guthrie were holding the laugh, just as if they had heard it a hundred times, not showing any alarm, not even seeming to wait for it, but handling it, controlling it, ready to take over at the first sign of its getting out of hand. It rose and fell and before it could rise again, Kit spoke."

paragraph: The play continued, and outbreaks of an occasional catcall, guffaw or heckling were quickly shushed by others. Gillmore continues: "Kit had a shining light in her. With that strange sixth sense of the actor that functions unexplainably in complete independence of lines spoken and emotions projected, she had been aware of the gradual change out front from a dubious indifference to the complete absorption of interest. At first they hung back, keeping themselves separate from us, a little self-consciously, a little defiantly, and then line by line, scene by scene, she had felt them relax and respond and give themselves up to the play and the story, til at last they were that magic indivisible thing, an audience. 'We must never forget this, never,' said Kit. 'We've seen an audience born.'"

paragraph: The tour opened in Santa Maria, a small town 15 miles north of Naples, in 1944. G.I.s lined up three hours ahead of time and profusely thanked the cast afterwards. Brian Aherne wrote that after one show in Italy, the manager overheard a tough burly paratrooper say to his buddy, "Well, what I tell ya? Told ya it would be better than going to a cat house." Convinced of its success, the Army brass sanctioned two more weeks. The company eventually played for six months, from August 1944 to January 1945, throughout Italy, including stops in Rome, Florence and Siena. From there, the company was transferred under the aegis of General Dwight D. Eisenhower and played in France, including Dijon, Marseilles and Versailles. In Paris, Gertrude Stein and Alice B. Toklas wanted to see the play, but found that performances were strictly limited to enlisted personnel. They were nonetheless given disguises and were able to see the play. Additionally, the cast made a point of visiting hospitals every day throughout the entire tour.

paragraph: Now aged 51, Cornell was then told by the Army that she had done enough for the effort and to remain in Paris. Her response was to be taken as close to the front as possible. The company performed in Maastricht and Heerlen in the Netherlands, just eight miles from the front. The tour concluded in London amid exploding German V-2 bombs.

paragraph: Upon her return to New York, Cornell found mail piled up from the G.I.s who had seen the show. They thanked her for "the most nerve-soothing remedy for a weary G.I.," for having brought "yearned-for femininity," reminding them that, unlike other USO shows, "a woman is not all leg," and for "the awakening of something that I thought died with the passing of routine military life in the foreign service."

paragraph: Long after the tour was finished, Cornell continued to receive letters, not just from servicemen who had seen the show, but from wives, mothers and even school teachers from the home front. Their letters say that the first letter they received from their boy came after he had seen her show, or it was the first time they had heard from them in two years. Fellow actors reported that G.I.s in the South Pacific were heard to talk about the show.

paragraph: After the war, Cornell co-chaired the Community Players, a successor to the American Theatre Wing, to assist war veterans and their families on their return home.

paragraph: Cornell was featured for the second time on the cover of "Time" magazine on December 21, 1942, with Judith Anderson and Ruth Gordon.

paragraph: Section::::Post-war changes.

paragraph: Section::::Post-war changes.:"Candida", revived.

paragraph: After the war, American theater was experiencing a change in style with the new generation. Cornell revived "Candida" for the fifth and last time in April 1946, with Marlon Brando playing the role of the young Marchbanks. Whereas Cornell represented an older, exuberant romantic style, Brando heralded the newer style of Method Acting, with its reliance upon psychological insights and personal experience. Although reviews were as good as ever, audiences and some critics had difficulty with the play itself, as the Edwardian drama had little relevance to post-war American life.

paragraph: Now in her mid-50s, appropriate roles became harder to find. The plays that had earned her such an exceptional reputation—young Elizabeth Barrett, Juliet, St. Joan, various sexually charged women—were no longer playable by her. The newer roles were simply not her style.

paragraph: Section::::Post-war changes.:Shakespeare and Anouilh.

paragraph: In 1946, Cornell chose Shakespeare's "Antony and Cleopatra", which opened at the Hanna Theater in Cleveland, a difficult role for which she was ideally suited. Critic Ward Morrison praised Cornell's "beauty and power and grandeur and I do not hesitate to proclaim it one of the finest achievements of her career." Again, Cornell's presence insured that this play would have its longest run ever, at 251 performances.

paragraph: She followed that with Jean Anouilh's adaptation of the Greek tragedy "Antigone". Sir Cedric Hardwicke played King Creon, and Marlon Brando was cast as The Messenger. After the opening, Cornell's friend Helen Keller told her, "This play is a parable of humanity. It has no time or space." One critic said, "if the world and the theatre had more courageous spirits like [Cornell], our cumulative dreams would be greater, our thoughts, nobler."

paragraph: Alternating with "Antony", Cornell produced another revival of "Barretts of Wimpole Street", for an eight-week tour to the West Coast, with Tony Randall in both plays, and Maureen Stapleton as Iras in "Antony". Other cast members included Eli Wallach, Joseph Wiseman, Douglas Watson, Charles Nolte, and Charlton Heston.

paragraph: Section::::Post-war changes.:Postwar theatre.

paragraph: Finding good roles became increasingly a concern. Kate O'Brien dramatized her historical novel "For One Sweet Grape" into "That Lady", set in the Spain of Philip II. A swashbuckling romance, the play was not well received. In 1951, Cornell played the lead in Somerset Maugham's comedy, "The Constant Wife" for a summer festival in Colorado. The play, starring her longtime favorite Brian Aherne, was produced again in New York and grossed more money for the production company than any other play.

paragraph: In 1953, Cornell found a suitable role in "The Prescott Proposals", about a United States Delegate to the United Nations. Christopher Fry wrote a verse drama "The Dark is Light Enough", set 1848 Austria. The cast included Tyrone Power, who played the love interest, Lorne Greene, and Marian Winters. (Christopher Plummer was Power's understudy. In his memoir, Plummer states that Cornell was "the last of the great actress-managers," and that she was his "sponsor.") In 1957, Cornell staged "There Shall Be No Night", the Pulitzer Prize winning play by Robert E. Sherwood, adapted to the events of the Hungarian Revolution of 1956. This play was adapted for TV and broadcast on NBC's Hallmark Hall of Fame with Charles Boyer, Bradford Dillman and Ray Walston. Another play by Fry, "The Firstborn", was set in Biblical Egypt, with Anthony Quayle playing Moses. Leonard Bernstein, recently appointed musical director of the New York Philharmonic, wrote two songs for the production. The play toured in Tel Aviv in 1958. She continued with several other forgettable plays, and her last production was "Dear Liar" by Jerome Kilty.

paragraph: Although Cornell was constantly performing, she took a three-year absence from 1955 to 1958 while she recovered from a lung operation. Additionally, with the exception of "The Constant Wife", box office receipts were lagging even when she received excellent reviews. Tours continued to sell out, but even those began to fail as the decade bore on. By the end of the 1950s, the C. & M.C production company was finished. She did find time in 1954 to be narrator for the film "The Unconquered", the life story of her friend Helen Keller.

paragraph: Starting in the 1940s, however, she began to collect tributes from various theatrical organization and colleges and universities, which bestowed her with honorary degrees and awards.

paragraph: Section::::Post-war changes.:Radio.

paragraph: Cornell made her radio debut May 6, 1951, on "Theatre Guild on the Air". The program featured the first broadcast of George Bernard Shaw's "Candida". On April 13, 1952, she appeared in "Florence Nightingale," also on "The Theatre Guild on the Air."

paragraph: Section::::Post-war changes.:Retirement.

paragraph: McClintic died on October 29, 1961 of a lung haemorrhage, shortly after the couple had celebrated their 40th wedding anniversary. As he had always directed Cornell in every production since their marriage, she decided to retire from the stage altogether. She sold her residences and bought a house on East 51st Street in Manhattan, next door to Brian Aherne and down the street from Margalo Gillmore. Since all three were cast members of "Barretts", East 51st Street became known as Wimpole Street. Cornell also bought an old building on Martha's Vineyard known as The Barn and made additions to it, and restored the 300-year-old Association Hall on the island.

paragraph: For her 80th birthday party in 1973, an assistant put together a tape of birthday greetings from Laurence Olivier, John Gielgud, and Ralph Richardson, among many other actors whom she had known. The tape runs for seven and half hours. She died of pneumonia on June 9, 1974 at The Barn in Tisbury, Massachusetts.

paragraph: Section::::On acting and the theatre.

paragraph: Cornell served on the Board of Directors of The Rehearsal Club. The club was a place for young actresses to stay while they looked for work, and offered support for their careers. Occasionally, she could be seen serving food to the women, and McClintic often found minor roles in his productions for them.

paragraph: In her memoir, Cornell states: "I do think that the rapid success achieved by some people in pictures has seriously hurt the chances of a lot of young men and women who are studying for the stage. The success stories that we read in the Hollywood magazines make it all sound too easy. A youngster was a chauffeur yesterday and today he owns four swimming pools! It doesn't work that way on the stage... Some young actresses haven't been inclined to listen to me when I told that there was no royal road to success on the stage.

paragraph: "Getting started in the theatre still has a great element of luck in it, of course. Some producer must see the right person at just the right time. To get that kind of break, a girl has got to keep pounding away and tramp the streets from one manager's office to another, no matter how discouraging it may be. At the same time, she must remember that when the break does come, she must have the equipment necessary to capitalise on it. I get the impression that most of the young girls who come to me for parts simply haven't worked hard enough. In New York they have every chance in the world to round out their education in their spare time. At the galleries along 57th Street they can see the best pictures in all the world. They can hear the finest music. They can get the best books in inexpensive editions. Best of all, they can listen to the finest actors and actresses of the day. When they tell me that they can't afford to go to the theatre very often, I usually find they think it beneath their dignity to sit in the top balcony!

paragraph: "I think the most important thing for young actresses to do is to learn to use their voices properly. I always found that reading French aloud helped me tremendously. I think that French makes you use your mouth more than any other language I know. I still occasionally read some French book aloud to myself before a performance."

paragraph: Section::::Legacy.

paragraph: Katharine Cornell is one of the most respected, versatile stage actresses of the early-mid 20th century, moving easily from comedy to melodrama, and from classics to contemporary plays. She was a particularly accomplished interpreter of romantic and character roles.

paragraph: Section::::Legacy.:Theatres and research centers.

paragraph: The Tisbury Town Hall on Martha's Vineyard houses a theatre on its second floor. Originally known as Association Hall, it was renamed "The Katharine Cornell Theater"  in her honor and later, her memory. A donation from her estate provided the funds for renovation (lighting, heating, elevator) as well as decoration of four large murals depicting Vineyard life and legend by local artist Stan Murphy. The Katharine Cornell Theater is a popular venue for plays, music, movies and more. Her gravesite and memorial are located next door to the Theater.

paragraph: There is another theater space at the State University of New York at Buffalo named in her honor. Many student productions are presented there year-round.

paragraph: The Katharine Cornell-Guthrie McClintic Special Collections Reading Room was dedicated in April 1974 at the New York Public Library for the Performing Arts at Lincoln Center. The Billy Rose Theatre Division at the library holds extensive archival and special collections materials related to Cornell and McClintic.

paragraph: Smith College has a collection of Cornell's papers dating from 1938 to 1960. ; plus additional materials in the papers of Nancy Hamilton link

paragraph: The New York Public Library contains correspondence between Russian dance critic Igor Stupnikov and Cornell's assistants Nancy Hamilton and Gertrude Macy in the Billy Rose Theater Archive.

paragraph: Cornell donated some of her costumes designed by famed Russian fashion designer Valentina to the Museum of the City of New York. They include costumes for her roles in "Cleopatra" and "Antigone".

paragraph: Cornell and Quayle also recorded for LP a scene from "Barretts", and Cornell recited a selection of poetry by Elizabeth Barrett from "Sonnets from the Portuguese". Cornell's short scene in "Stage Door Canteen" can be viewed on YouTube. In it, she recites some lines from Romeo and Juliet.

paragraph: Section::::Legacy.:Theatres and research centers.:The Paley Center for Media.

paragraph: The Paley Center for Media has a collection of Cornell's television appearances:

paragraph: On April 2, 1956, NBC TV broadcast of a production of "Barretts" with Anthony Quayle as Robert Browning. She was featured in Hallmark Hall of Fame's production of Robert E. Sherwood's play, "There Shall Be No Night", which was broadcast on NBC on March 17, 1957.

paragraph: On January 6, 1957, Dave Garroway interviewed Cornell for "Wide Wide World: A Woman's Story".

paragraph: She appeared on TV as herself for an NBC Symphony Orchestra broadcast on March 22, 1952 She was also interviewed three times for the radio program "Stage Struck", hosted by Mike Wallace.

paragraph: Section::::Legacy.:Awards and honors.

paragraph: Katharine Cornell was one of three actresses awarded in the first Tony awards (1937, award year 1948), her award was received for her performance in "Antony and Cleopatra". She was also honored with the first New York Drama League Award in 1935 for her performance as Juliet. In March 1937, The Chi Omega sorority's National Achievement Award was given to her by Eleanor Roosevelt at a White House reception.

paragraph: Cornell was awarded a medal "for good speech on the stage" by the American Academy of Arts and Sciences, and received a citation as Woman of the Year by the American Friends of the Hebrew University in 1959. After her role in "St. Joan", she was awarded honorary degrees from the University of Wisconsin, Elmira College Smith College, the University of Pennsylvania, and Hobart. Clark University, Ithaca College and Princeton awarded degrees in the 1940s, and Baylor University, Middlebury College and Kenyon College awarded theirs in the 1950s.

paragraph: On January 10, 1974, she received the American National Theater and Academy's National Artist Award for "her incomparable acting ability" and for "having elevated the theater throughout the world." In 1935, when the University of Buffalo was still a private institution, she was awarded the Chancellor's Medal of the University. The "Artvoice", a weekly arts newspaper in Cornell's native Buffalo, each year awards the Katharine Cornell Award to a visiting artist for outstanding contribution to the Buffalo theatrical community.

paragraph: The townhouse at 23 Beekman Place that Cornell and her husband lived in for many years has a historical marker in honor of their importance to New York City.

paragraph: Katharine Cornell was one of the original members elected into the American Theatre Hall of Fame upon its establishment in 1972.

paragraph: Section::::Legacy.:Biographies.

paragraph: BULLET::::- Katharine Cornell "I Wanted to Be an Actress", 1939 by Random House.

paragraph: BULLET::::- Guthrie McClintic "Me & Kit", 1955 by the Atlantic Monthly Press/Little Brown Company.

paragraph: BULLET::::- Lucille M. Pederson "Katharine Cornell: A Bio-bibliography", 1994 by the Greenwood Press

paragraph: BULLET::::- Gladys Malvern "Curtain Up! The Story of Katharine Cornell", 1943 by Julian Messner, Inc., and includes a foreword by Cornell.

paragraph: BULLET::::- Igor Stupnikov "Ketrin Kornell", 1973 by Leningrad, Iskusstvo, Lening

paragraph: BULLET::::- Inspired by "The Barretts of Wimpole Street", Virginia Woolf wrote "", 1933, by Harcourt, Brace

paragraph: BULLET::::- a part-fiction, part-biography of the original dog owned by Elizabeth Barrett

paragraph: Section::::Legacy.:Subject of artworks.

paragraph: The Smithsonian Institution holds a bronze bust of Cornell from 1961 by artist Malvina Hoffman. It has a pastel portrait by William Cotton from 1933.

paragraph: The Albright-Knox Art Gallery in Buffalo, New York, has a 1926 full-length portrait of Cornell by artist Eugene Speicher in her role as Candida. The gallery also possesses a 1930 life mask by Karl Illava, an undated drawing of her as Elizabeth Barrett by Louis Lupas, and two sculptures by Anna Glenny Dunbar from 1930.

paragraph: The Armstrong Browning Library at Baylor University has a portrait of Cornell in her role as Elizabeth Barrett painted by Alexander Clayton on display. The actress donated the portrait and several items related to "Barretts" to the library.

paragraph: The State University of New York at Buffalo holds a portrait of Cornell painted by surrealist Salvador Dalí dated 1951.

paragraph: Cartoonist Alex Gard created a caricature of Cornell for Sardi's, the famed New York restaurant. It is currently housed in the Billy Rose Theatre Collection of the New York Public Library.

paragraph: Although Cornell is buried in Tisbury, Massachusetts, there is a cenotaph in her memory in the George W. Tifft plot at Forest Lawn Cemetery in her native Buffalo.

paragraph: Section::::Legacy.:The Katharine Cornell Foundation.

paragraph: The Katharine Cornell Foundation was funded with profits from "Barretts". The foundation was dissolved in 1963, distributing its assets to the Museum of Modern Art (to honor her close friend from Buffalo, A. Conger Goodyear, who was a founder of MoMA and its first president), Cornell University's theater department, and the Actor's Fund of America.

paragraph: Section::::Legacy.:Cultural references.

paragraph: Cornell is featured in a play by Buffalo-born playwright A. R. Gurney entitled "The Grand Manner". The play is about his encounter with Cornell as a young man when she was in the production of "Antony and Cleopatra". The play ran during summer 2010 at Lincoln Center and starred Kate Burton as Cornell. In Buffalo, the play was produced by the Kavinoky Theatre in May 2011.

paragraph: Cornell is mentioned in the third chorus in the song "Gee How I Wish I Was Back in the Army" by Irving Berlin:

paragraph: poemGee, I wish I was back in the Army

paragraph: The shows we got civilians couldn't see

paragraph: How we would yell for Dietrich and Cornell

paragraph: Jolson, Hope and Benny all for free.

paragraph: /poem

paragraph: Cornell is also referenced in the lyrics of "Let's Face It", by Cole Porter:

paragraph: poemFarming, that's the fashion,

paragraph: Farming, that's the passion

paragraph: Of our great celebrities of today.

paragraph: Kit Cornell is shellin' peas,

paragraph: Lady Mendl's climbin' trees,

paragraph: Dear Mae West is at her best in the hay.

paragraph: /poem

paragraph: In the 1942 film, "The Gay Sisters", Fiona (Barbara Stanwyck) describes her great acting skills as she fakes a swoon, saying, "...Katherine Cornell couldn't have done it better."

paragraph: Cornell is referenced as a plot point in the comedy "The Man Who Came to Dinner" by Moss Hart and George S. Kaufman. The character Bert Jefferson writes a play, and his girlfriend Maggie Cutler, convinced the play would be a hit on Broadway, gives the play to another character in the hopes that Katharine Cornell will produce it.

paragraph: Section::::External links.

paragraph: BULLET::::- Photographs from the George Eastman House:

paragraph: BULLET::::-

paragraph: BULLET::::-

paragraph: BULLET::::-

paragraph: BULLET::::-

paragraph: BULLET::::- For more photos of Cornell, her first home in Buffalo, and other information: http://www.buffaloah.com/h/cornellk/tc.html

paragraph: BULLET::::- Yale has a website: Katharine Cornell

paragraph: BULLET::::- Life Magazine has a collection of photos.

paragraph: BULLET::::- Katharine Cornell Papers, 1801-1983. Held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts.

paragraph: BULLET::::- Katharine Cornell Papers, 1938-1960. Sophia Smith Collection, Smith College

paragraph: BULLET::::- Nancy Hamilton Papers, 1862-1992. Sophia Smith Collection, Smith College

description: actress

wikidata_label: Katharine Cornell

wikipedia_title: Katharine Cornell


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text: British Columbia

text: quarterback

text: Vancouver College

text: MVP

text: Caledonia

text: North Delta Huskies

text: Simon Fraser Clan

text: punter

text: trick play

text: Lewis–Clark State College

text: Seattle University

text: 1997 CFL Draft

text: Lui Passaglia

text: Trevor Shaw

text: Al Shipman

text: Montreal Alouettes

text: Don Blair

text: Calgary Stampeders

text: 88th Grey Cup

text: Jamie Boreham

text: Matt Kellett

text: Edmonton Eskimos

text: single

text: hip pointer

text: trick play

text: Jason Clermont

text: Wally Buono

text: Duncan O'Mahony

text: Geroy Simon

text: Saskatchewan Roughriders

text: Mark McLoughlin

text: American football

text: Western Washington University

text: Port Coquitlam

categories: Simon Fraser Clan men's basketball players,Canadian men's basketball players,Simon Fraser Clan football players,Grey Cup champions,Canadian football placekickers,Sportspeople from New Westminster,Guards (basketball),Canadian football slotbacks,Players of Canadian football from British Columbia,BC Lions players,Living people,1974 births

paragraph: Bret Anderson

paragraph: Bret Anderson (born April 23, 1974) is a former Canadian football placekicker and slotback who played his entire career for the BC Lions of the Canadian Football League.

paragraph: Anderson is 6'3" and 215 lbs. He played 13 years in the CFL, mostly as a slotback and all with the Lions. He went to Simon Fraser University in Burnaby. During that time, he also worked with former Coquitlam Cheetahs track and field coach Percy Perry on developing his running.

paragraph: Bret was drafted in the 4th round, 25th overall by the Lions in the 1997 CFL Draft. Anderson was key to the BC Lions's 2000 Grey Cup win. From 2001 to 2003, he caught 66 passes and had 4 touchdowns as a backup. He played only 5 games in 2004 before retiring to become a firefighter. In 2005, he came back and recorded his longest kick ever on October 16, 2005 against the Montreal Alouettes. The kick was 91 yards long. Anderson got his second Grey Cup ring in 2006.

paragraph: Bret Anderson works for the Port Coquitlam fire department both during and after the football season. The Coquitlam, British Columbia native has gone through the formality of resigning from the Lions each year since he got on full-time with the PCFD in 2004 (he left the team after five games that season and did not rejoin until 2005).

paragraph: Anderson did not initially return for the 2009 BC Lions season but was re-signed on October 5, 2009.

paragraph: Section::::High school career.

paragraph: Anderson attended Terry Fox Secondary School in Port Coquitlam, British Columbia where he played both football and basketball. He played quarterback on the football team. As a senior in 1992, Anderson led the Terry Fox Ravens to the semi-finals of the provincial playoffs, where the Ravens lost to the Vancouver College Fighting Irish. He was designated the high school football offensive player-of-the-year in British Columbia. As a basketball player, Anderson was selected as the MVP of the British Columbia AAA high school basketball tournament after leading the Ravens to their first championship in school history. During the tournament, he scored 44 points against Caledonia and a game-high 28 points in the final against the North Delta Huskies. He played in a provincial basketball all-star game and was selected to represent British Columbia in the first football national championship tournament. Anderson was a finalist for 1993 British Columbia High School Athlete of the Year.

paragraph: Section::::College career.

paragraph: Anderson was recruited to play both football and basketball for colleges in the United States and Canada. By March 1993, over sixty colleges indicated interest. Anderson chose to remain in British Columbia and play both sports for the Simon Fraser Clan.

paragraph: Section::::College career.:Football.

paragraph: In 1993, Anderson was third on the depth chart at quarterback and contributed mostly as a punter. He finished with 1,406 yards on punts, and his only scoring play was a 53-yard rushing touchdown on a trick play. As a sophomore, Anderson was initially used as a receiver after multiple players dropped out of the football team during training camp. After placekicker Tyson O'Shea suffered a knee injury, Anderson also began kicking field goals and regularly punting for the Clan. In his first game as a placekicker, he kicked four field goals and four one-point conversions to be named Mount Rainer Columbia Football Association player of the week. In 1995, Anderson was selected to the All-Conference first team as a kicker. As a senior, Anderson's kicking was considered the most reliable portion of the Clan's offense. He was named to the All-Conference second team.

paragraph: Section::::College career.:Basketball.

paragraph: As a freshman, Anderson didn't participate heavily on the basketball team. Due to overlaps in the football and basketball seasons, he didn't join the team until November, and he played only 13 minutes over the first four games he played with the Clan. Anderson was eventually substituted into 13 games as a freshman and scored 21 points. He was more active on the team as a sophomore. Anderson scored 10 points in overtime to help the Clan defeat Lewis–Clark State College 85–69. The following week, he scored a team-high 18 points in a 90–87 playoff loss to Seattle University. Anderson continued playing basketball through his junior year before deciding to focus solely on football as a senior.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:1997 season.

paragraph: The BC Lions selected Anderson in the fourth round of the 1997 CFL Draft with the 25th overall pick. He was expected to be "groomed as [kicker] Lui Passaglia's eventual replacement". In the Lions' first preseason game, Anderson had a shaky start as a placekicker, missing two of five field goal attempts. He competed for Trevor Shaw's slotback position, but the Lions eventually decided to convert Al Shipman to slotback and retain both Shaw and Anderson as backups. Anderson contributed most as a kickoff specialist during the 1997 season, but he also was used as a punter occasionally. He played in 13 regular season games as a rookie.

paragraph: Section::::Professional career.:1998 season.

paragraph: Anderson again competed for a roster spot as a slotback in 1998. Despite catching five receptions for 45 yards in a preseason game, Anderson failed to make the roster as a slotback and was released as part of the Lions' final roster cuts before the start of the regular season. In mid-July, slotback Shaw dislocated his shoulder and was unable to start. Anderson rejoined the team and received his first start in place of Shaw. He reclaimed his kickoff role later that month before suffering a groin injury. Anderson's injury prevented him from playing for the entirety of August, and he was unable to perform kickoffs even after his return to special teams. He finished his limited season with 13 regular season appearances.

paragraph: Section::::Professional career.:1999 season.

paragraph: Anderson played in all 18 regular season games in 1999, mostly as a kickoff specialist. Anderson acted as a backup kicker for Passaglia on field goals, but he didn't kick any field goals despite Passaglia suffering an adbdominal muscle injury in the early season. Anderson recorded a career-high 21 special team tackles, including five against the Montreal Alouettes in early September.

paragraph: Section::::Professional career.:2000 season.

paragraph: After receiver Don Blair underwent surgery, Anderson again competed for a starting slotback role. He injured his knee while playing in a preseason game against the Calgary Stampeders, preventing him from continuing in the role during the regular season. Although activated briefly for a game in late July, Anderson was later moved to the nine-week injured list and did not return until October. He finished with four regular season games played in 2000.

paragraph: In the West final against the Stampeders, one of Anderson's kickoffs landed short, bounced off a Lions player's leg, and went out of bounds to allow the Lions to regain possession. This helped contribute to a 37–23 win, which was considered a major upset. The Lions went on to win the 88th Grey Cup against the 27–21 against the Alouettes, making Anderson a Grey Cup champion.

paragraph: Section::::Professional career.:2001 season.

paragraph: After winning the Grey Cup, Passaglia elected to retire. Anderson competed with Jamie Boreham and Matt Kellett for kicking and punting duties. The Lions elected to use Anderson more as a receiver than kicker with the Lions coaching staff believing he could have a "breakout season". In the season opener against the Edmonton Eskimos, Anderson scored his first career receiving touchdown, following it with a single on the resulting kickoff. Due to a hip pointer and back injury suffered during the opener, Anderson spent multiple stints on the injured list in July and early August. After returning to the team in mid-August, Anderson was effective on special teams, blocking a punt in two consecutive games.

paragraph: Due to various injuries, Anderson spent September as back-ups at receiver, kicker, and quarterback. He spent some time playing both receiver and kicker in late September due to injuries and a kicking slump by Kellett, respectively. Anderson finished the season with 189 receiving yards on 18 catches over 15 regular season games, his largest receiving load with the Lions up to that time.

paragraph: Section::::Professional career.:2002 season.

paragraph: Anderson was re-signed by the Lions in January 2002. Anderson solidified his role as a starting receiver during the preseason. He briefly missed time in late July with a knee issue. In October, Anderson scored a single on a trick play as the first half ended when he caught a 30-yard reception and immediately kicked it into the endzone, where it was recovered by the Calgary Stampeders. The 2002 season was Anderson's most successful as a receiver with 409 receiving yards on 28 catches, both lasting career highs.

paragraph: Section::::Professional career.:2003 season.

paragraph: Anderson played slotback regularly during June and July while Jason Clermont was injured. By mid-July, Anderson had 11 receptions for 158 yards. He slowed down through the rest of the season after Clermont returned, finishing with 20 catches for 237 yards and two touchdowns. In November, Anderson signed a contract extension for one year with an option.

paragraph: Section::::Professional career.:2004 season.

paragraph: In July, Lions head coach Wally Buono had Anderson kick field goals in practice, announcing that Anderson may take over that responsibility if kicker Duncan O'Mahony continued to perform poorly. Having already lost his kickoff role to O'Mahony, Anderson had no consistent role on the team in 2004 other than as a special teams player. In late July, Anderson announced he was leaving the Lions to become a firefighter full-time. Anderson's departure was reported as a retirement. He played in five regular season games during 2004 before leaving the Lions.

paragraph: Section::::Professional career.:2005 season.

paragraph: In April 2005, Buono negotiated with the Port Coquitlam Fire Department to allow Anderson to work both jobs simultaneously. Anderson re-signed with the Lions in June, missing training camp but joining the team before the regular season started. Anderson served as a backup slotback and kicker. In late July, he played most of a game at slotback due to a hamstring injury to Geroy Simon. In August, he regained kickoff duties from O'Mahony. After O'Mahony missed three field goals in an October game against the Saskatchewan Roughriders, Anderson attempted a 48-yard field goal to tie the game with less than a minute left to play. The field goal was blocked, resulting in a loss. O'Mahony was later replaced by Mark McLoughlin with Anderson remaining the backup field goal kicker.

paragraph: The Lions' kicker issues persisted into the postseason. In the final game of the regular season, Anderson injured his ribs on the opening kickoff and was replaced by McLoughlin, who later damaged his hamstring. Anderson healed in time to perform kickoffs in the West Final against the Eskimos, which the Lions lost 23–28.

paragraph: Section::::Professional career.:2006 season.

paragraph: Anderson "retired" prior to the beginning of training camp in 2006 as part of a deal between the Lions and the Port Coquitlam Fire Department. Anderson worked regular shifts as a firefighter throughout training camp before rejoining the team in early June, immediately before the start of the regular season.

paragraph: Section::::Personal life and career.

paragraph: Anderson has three daughters with his wife, Jennifer. Anderson's father, Al Anderson, played American football at Western Washington University before declining a contract from the BC Lions in favor of becoming a high school teacher.

paragraph: In 2003, while Anderson was playing for the Lions, he was trained as a firefighter with the expectation that he may lose his position on the team after that season. He accepted a job at the Port Coquitlam Fire Department in July 2004.

description: Canadian football player

wikidata_label: Bret Anderson

wikipedia_title: Bret Anderson


text: Eleanor of England

text: King John

text: Henry de Montfort

text: Battle of Evesham

text: Edward I

text: France

text: University of Padua

text: Guy de Montfort, Count of Nola

text: Simon de Montfort the Younger

text: Italy

text: Henry of Almain

text: Henry III

text: Eleanor of England

text: Richard, Earl of Cornwall

text: Viterbo

text: Montargis Abbey

text: Eleanor de Montfort

text: Wales

text: Llywelyn ap Gruffudd

text: Llywelyn Fawr

text: Henry Thomas Riley

text: Corfe Castle

text: Sherborne Castle

text: John Peckham

categories: House of Montfort,13th-century Roman Catholic priests,1301 deaths,English Roman Catholic priests,1240s births

paragraph: Amaury de Montfort (priest)

paragraph: Amaury de Montfort (1242 or 1243 – 1301) was the third son of parliamentary pioneer Simon de Montfort, 6th Earl of Leicester, and Eleanor of England, daughter of King John.

paragraph: Amaury entered the priesthood as a young man, and held the positions of Treasurer of York Cathedral, canon of Rouen, Évreux, London and Lincoln. He served as a papal chaplain as well.

paragraph: After the deaths of his father and older brother Henry de Montfort at the Battle of Evesham in 1265 (by men under the command of then Prince Edward, later Edward I, aka Edward Longshanks), Amaury fled to France with his mother, younger sister, and surviving brothers.

paragraph: Amaury de Montfort soon began studying medicine and theology at the University of Padua. His older brothers, Guy de Montfort, Count of Nola and Simon de Montfort the Younger were seeking their fortunes in Italy. A tragic turn of events lead to the bloody 1271 confrontation between Guy and Simon and their cousin Henry of Almain (also Edward's cousin, by virtue of his father, Henry III being the elder brother of both Eleanor of England and Henry of Almain's father, Richard, Earl of Cornwall).

paragraph: Henry, whom the de Montfort sons considered a traitor to their father's ideals, was attacked during mass at Viterbo, and murdered on the altar steps, resulting in the excommunication of both de Montfort sons. While Amaury was not in Viterbo, and was not involved in the murder, Edward swore vengeance upon all of Simon de Montfort's sons, Amaury included. Simon the younger died that year, reportedly of a tertian fever, while Guy managed to appeal to the pope (with the aid of his father-in-law), resulting in his return to the church.

paragraph: In 1275, after the death of his mother at Montargis Abbey, Amaury, by then a Papal Chaplain, accompanied his younger sister Eleanor de Montfort on a winter sea voyage to Wales and her new husband, Llywelyn ap Gruffudd (the grandson of Llywelyn Fawr). Intercepted at sea by mercenaries in the employ of now King Edward I, both Amaury and Eleanor were taken captive.

paragraph: Following two paragraphs taken mainly from "Chronica, ascribed to William Rishanger, a monk of St. Albans", ed. Henry Thomas Riley [1865], 87, 99.

paragraph: While Eleanor's captivity was gentle and relatively short-lived (she was married to Prince Llywelyn at King Edward's expense in 1278), Amaury was held 'without rigour' in Corfe Castle and later in Sherborne Castle. After requests from the Pope, Prince Llywelyn and Archbishop John Peckham of Canterbury, Amaury was released after swearing at London not to return to England unless invited by the king.

paragraph: Upon his release in mid April 1282, Amaury returned to France, never again to see his sister, who died in childbirth that very year, mere months before the death of her husband Llewylyn and the annexation of North Wales to the English crown. Amaury after some years renounced his clerical career and became a knight, apparently dying soon afterwards in Italy, possibly after 1301

description: English priest

wikidata_label: Amaury de Montfort, Canon of York

wikipedia_title: Amaury de Montfort (priest)


text:
Egypt
Ptolemy IX Lathyros
queen consort
Syria
Antiochus IX Cyzicenus
Ptolemy VIII Physcon
Cleopatra III of Egypt
Ptolemy IX
Ptolemy X
Cleopatra Selene I
Tryphaena
Ptolemy XII Auletes
Ptolemy of Cyprus
Cyprus
Antiochus IX Cyzicenus
Seleucid
Antiochus VIII Grypus
Antiochus X Eusebes
List of Syrian monarchs
Timeline of Syrian history
Cleopatra IV

categories: Ancient queens consort,2nd-century BC rulers in Africa,2nd-century BC women rulers,Pharaohs of the Ptolemaic dynasty,Egyptian queens regnant,Seleucid royal consorts,2nd-century BC Egyptian people,2nd-century BC births,112 BC deaths,Ptolemaic princesses,2nd-century BC Pharaohs

paragraph: Cleopatra IV of Egypt

paragraph: Cleopatra IV () was Queen of Egypt briefly from 116 to 115 BC, jointly with her husband Ptolemy IX Lathyros. She later became queen consort of Syria as the wife of Antiochus IX Cyzicenus.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Queen of Egypt.

paragraph: Cleopatra IV was the daughter of Ptolemy VIII Physcon and Cleopatra III of Egypt. She was born between 138 and 135 BC. She was the sister of Ptolemy IX, Ptolemy X, Cleopatra Selene I and Tryphaena.

paragraph: Cleopatra IV married her brother Ptolemy IX when he was still a prince in c. 119/118 BC. Cleopatra IV may be the mother of Ptolemy XII Auletes and Ptolemy of Cyprus, although an unnamed concubine could be the mother of these two men as well.

paragraph: In c. 115 BC Cleopatra III forced Cleopatra IV and Ptolemy IX to divorce. She replaced Cleopatra IV with her sister Cleopatra Selene.

paragraph: Section::::Biography.:Queen of Syria and death.

paragraph: After her forced divorce, Cleopatra IV fled Egypt and went to Cyprus, where she married Antiochus IX Cyzicenus and brought him the army of his half brother Seleucid King Antiochus VIII Grypus of Syria, which she had convinced to follow her. Grypus fought Cyzicenus and eventually chased him to Antioch. Grypus was married to Cleopatra IV's sister Tryphaena. Tryphaena decided that Cleopatra IV should die and over the protests of her husband summoned some soldiers and had Cleopatra IV murdered in the sanctuary of Daphne in Antioch.

paragraph: In his comprehensive website about Ptolemaic genealogy, Christopher Bennett also notes the possibility that Cleopatra IV, from her brief marriage to Antiochus IX Cyzicenus, may have been the mother of the later Seleucid monarch, Antiochus X Eusebes ("the Pious"). Antiochus X would go on to marry Cleopatra IV's younger sister, Cleopatra Selene, thus making him the spouse of a woman who was his stepmother (Selene married both of her sisters' widowers, Grypus and Cyzicenus, before marrying Eusebes) and perhaps his maternal aunt.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Syrian monarchs

paragraph: BULLET::::- Timeline of Syrian history

paragraph: Section::::External links.

paragraph: BULLET::::- "www.livius.org," Cleopatra IV

description: Queen of Egypt from 116-115 BC

wikidata_label: Cleopatra IV of Egypt

wikipedia_title: Cleopatra IV of Egypt


text:
Greek
queen regnant
Egypt
queen consort
Ptolemy X Alexander I
Ptolemy IX Lathyros
Cleopatra Selene
Cleopatra III
Ptolemy XI Alexander II
Ptolemy XII Auletes
Berenice
Handel

categories: 1st-century BC Egyptian people,2nd-century BC rulers in Africa,2nd-century BC women rulers,80 BC deaths,Pharaohs of the Ptolemaic dynasty,1st-century BC women rulers,Egyptian queens regnant,Queens consort of the Ptolemaic dynasty,120 BC births,1st-century BC Pharaohs,1st-century BC rulers in Africa,Ptolemaic princesses,2nd-century BC Pharaohs,Female pharaohs

paragraph: Berenice III of Egypt

paragraph: Berenice III (Greek: Βερενίκη; 120–80 BC), sometimes called Cleopatra Berenice, ruled as queen regnant of Egypt from 81 to 80 BC. She had previously been queen consort of Egypt, or possibly queen regnant with her uncle/husband Ptolemy X Alexander I, from 101 to 88 BC.

paragraph: Section::::Early life and marriage.

paragraph: She was born in 120 BC, the daughter of Ptolemy IX Lathyros and supposedly Cleopatra Selene. She married her uncle Ptolemy X Alexander I in 101 BC, after he took the throne from Lathyros and had his mother (and her grandmother) Cleopatra III killed. When Lathyros reclaimed the throne in 88 BC, Berenice lost her role as consort to the Egyptian ruler.

paragraph: Section::::Reign.

paragraph: When her father Ptolemy IX Lathyros died at the end of 81 BC, Berenice took over the throne and ruled for six months, during which time it was said that she gained the love of the people. She was forced to marry her step-son and cousin, Ptolemy XI Alexander II, in 80 BC. He had her killed 19 days later, which moved the people to revolt and kill him a few days thereafter. The throne then passed to Ptolemy XII Auletes, who was an illegitimate son of Ptolemy IX and the half-brother of Berenice.

paragraph: Section::::Legacy.

paragraph: Berenice is the subject of "Berenice", an opera by Handel.

description: queen of Egypt

wikidata_label: Berenice III of Egypt

wikipedia_title: Berenice III of Egypt