Published to coincide with the centenary of Gielgud's birth, this is the remarkable autobiography of one of the greatest actors of the 20th century, seen through his frank, mesmerizing, and intimate letters. of photos. Line drawings.

John Gielgud wrote letters almost every day of his adult life. Whether at home in London and later in Buckinghamshire, or acting abroad or on location, he delighted in sitting down each morning and recounting what had been going on and what he felt about events around him. He was still writing just a few days before his death aged 96 in May 2000. His letters are treasured by the recipients and the problem for the editor has been in selection. He wrote in an increasingly idiosyncratic hand and remarked that even he needed a magnifying glass at times to see what he had actually written. Through the letters, which begin with those to his mother, we meet a man who delights in gossip, in describing what he sees and experiences. Gielgud's love letters. They show that he was not shy is expressing the intimacies of personal relationships. Gielgud had a reputation for speaking his mind, and this is evident as he writes about his contemporaries, including the great actors of period: Olivier, Richardson, Redgrave, Peggy Ashcroft, Edith Evans and the like. Here is great letter-writing before the age of e-mail. GIELGUD'S LETTERS are a revelation - full of inside information and gossip.

'In this comprehensive volume, we see the actor in a range of roles: loving son, wicked gossip, star actor, indecisive director, anguished lover, brilliant anecdotist. This splendid book reveals an infinitely complicated and attractive character. We may not look upon his like again' Jonathan Croall, Spectator The above quotes sums it up - this astonishing collection of letters brings us up close to one of the foremost, and best loved, actors of this century. John Gielgud wrote letters almost every day of his adult life. Whether at home in London or abroad, he delighted in recounting what he felt about events around him. Here for the first time - and not previously available to biographers - are Gielgud's love letters. They show that he was not shy is expressing the intimacies of personal relationships. He also loved gossip and writes about his contemporaries, including the great actors of period: Olivier, Richardson, Redgrave, Peggy Ashcroft, Edith Evans and the like. A revealing account but also a hugely warm and compelling insight into a man of many sides.

The third volume of the annotated selected letters of composer Benjamin Britten covers the years 1946-51, during which he wrote many of his best-known works, founded and developed the English Opera Group and the Aldeburgh Festival, and toured widely in Europe and the United States as a pianist and conductor.Correspondents include librettists Ronald Duncan (The Rape of Lucretia), Eric Crozier (Albert Herring, Saint Nicolas, The Little Sweep) and E. M. Forster (Billy Budd); conductor Ernest Ansermet and composer Lennox Berkeley; publishers Ralph Hawkes and Erwin Stein of Boosey & Hawkes; and the celebrated tenor Peter Pears, Britten's partner. Among friends in the United States are Christopher Isherwood, Elizabeth Mayer and Aaron Copland, and there is a significant meeting with Igor Stravinsky.This often startling and innovative period is vividly evoked by the comprehensive and scholarly annotations, which offer a wide range of detailed information fascinating for both the Britten specialist and the general reader.Donald Mitchell contributes a challenging introduction exploring the interaction of life and work in Britten's creativity, and an essay examining for the first time, through their correspondence, the complex relationship between the composer and the writer Edward Sackville-West.

The legendary 1964 Broadway run of Hamlet directed by John Gielgud is one of the most famous productions of Shakespeare’s most important play. Audacious for its time in concept and execution, it placed the actors in everyday clothes within an unassuming “rehearsal” set, with the Ghost of Hamlet’s father projected as a shadow against the rear wall and voiced by the director himself. It was also a runaway critical and financial success, breaking the then-record for most performances of a Broadway show. This was in no small part due to the starring role played by Richard Burton, whose romance with Elizabeth Taylor was the object of widespread fascination. Present throughout, and ever attentive to the backstage drama and towering egos on display, was the actor William Redfield, who played Guildenstern. During the three months of the play’s preparation, from rehearsals through out-of-town tryouts to the gala opening night on Broadway, Redfield wrote a series of letters describing the daily happenings and his impressions of them. In 1967, they were in 1967 collected into Letters from an Actor, a brilliant and unusual book that has since become a classic behind-the-scenes account that remains an indispensable contribution to theatrical history and lore. This new edition at last brings Redfield’s classic back into print, as The Motive and the Cue—the Sam Mendes-directed play about the Gielgud production that is based in part on the book—continues its successful run in London’s West End.

Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of John Gielgud, Laurence Olivier, Peggy Ashcroft and Judi Dench to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.

Great Shakespeareans presents a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. This major project offers an unprecedented scholarly analysis of the contribution made by the most important Shakespearean critics, editors, actors and directors as well as novelists, poets, composers, and thinkers from the seventeenth to the twentieth century. An essential resource for students and scholars in Shakespeare studies.