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Alfred Lunt Poster

Biography

Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trivia (8) | Personal Quotes (4)

Overview (2)

Born in Milwaukee, Wisconsin, USA
Died in Chicago, Illinois, USA  (after bladder cancer surgery)

Mini Bio (1)

Alfred Lunt was born on August 12, 1892 in Milwaukee, Wisconsin, USA. He was an actor, known for The Guardsman (1931), Sally of the Sawdust (1925) and Stage Door Canteen (1943). He was married to Lynn Fontanne. He died on August 3, 1977 in Chicago, Illinois, USA.

Spouse (1)

Lynn Fontanne (26 May 1922 - 3 August 1977) (his death)

Trivia (8)

He appears on a U.S. 33 cent stamp, with Lynn Fontanne, debuting 3/1/99 in New York City.
Awarded a Tony in 1954 for his direction of the play, "Ondine."
Is an honorary brother of the Phi Alpha Tau fraternity based out of Emerson College in Boston, Massachusetts.
Has won three Tony Awards: in 1954, as Best Director for "Ondine;" in 1955, as Best Actor (Dramatic) for "Quadrille;" and in 1970, a Special Award shared with his wife, Lynn Fontanne. He was also nominated in 1959 as Best Actor (Dramatic) for "The Visit."
Despite their intentionally hammy acting in the excerpt from Maxwell Anderson's "Elizabeth the Queen" in their film, "The Guardsman", the Lunts are said to have acted Shakespeare onstage in a non-declamatory, more conversational manner, as opposed to the standard way of performing Shakespeare onstage in those days.
Is buried alongside his wife, Lynne Fontanne, in Forest Home Cemetary in Milwaukee, Wisconsin.
Appeared by himself in several films: Backbone, The Ragged Edge (1923), Sally of the Sawdust, Lovers in Quarantine (1925) and with wife Lynn Fontanne in Second Youth (1924), The Guardsman (1931) Stage Door Canteen (1943).
He and his wife had a joint career as the pre-eminent actor couple on the American stage.

Personal Quotes (4)

The secret of my success? I speak in a loud clear voice and try not to bump into the furniture.
[on the eventual demise of vaudeville] There were a great many in vaudeville - people who never quite came through. But they had their place and they filled it. They kept theatres open. Those pan-timers, those interstate-timers, those four-a-dayers, those six-a-dayers - they were an integral part of that endearing merry-go-round called vaudeville. Their sincerity was greater than their artistry. Their eagerness to please was beyond their capacity to please. But they gave their hearts and their lives and it was not their fault that it was not enough. God bless them, everyone.
One sketch was was called 'Ashes'. I played the role of the man with whom Mrs. Langtry was in love. Insasmuch as she, at that time, was sixty-three and I was twenty-one, audiences were inclined to be somewhat bewildered. Usually they began by thinking that I was her son, so it must have seemed a little odd to them when I suddenly began to make violent love to her.
I remember one week in Winnipeg when Lady DeBathe - that would be Mrs. Langtry, the Jersey Lily, for it was she who gave me the opportunity to see and know the work with these amazing people of vaudeville by engaging me as a 'leading man' for her vaudeville sketch - shared honors with Fink's Mules. Mrs. Langtry thought the combination entirely irreconcilable. She told the booking office so in notes that probably should have been written on asbestos than hotel stationery. I never could understand why. The mules, it seemed to me were unusually talented. They behaved admirably about the whole business. They made no objection at all to her sharing their billing.

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