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Norma Varden Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Trivia (2) | Personal Quotes (1)

Overview (3)

Date of Birth 20 January 1898London, England, UK
Date of Death 19 January 1989Santa Barbara, California, USA  (heart failure)
Height 5' 10" (1.78 m)

Mini Bio (1)

The daughter of a retired sea captain and his much-younger wife, actress Norma Varden was born and raised in turn-of-the-century London. A piano prodigy, she studied in Paris and appeared in concert in England during her teenage years. Acting, however, became her career of choice, studying at the Guildhall School of Music. She took her very first stage bow in a production of Peter Pan. In the adult role of Mrs. Darling, she was actually younger than the actors playing her children. In years to come, Norma would play a number of mature, lady-like roles that were much older than she was.

She performed Shakespeare in repertory and was at first cast in dramatic plays such as The Wandering Jew (1920-her West End debut) and Hamlet (1925) as the Player Queen. In various acting companies, she eventually found a flair for comedy and became the resident character comedienne for the famous Aldwych Theatre farce-ers from 1929 to 1933 à la Marx Bros. foil Margaret Dumont. Finding success there in the comedies A Night Like This and Turkey Time, she later recreated both roles on British film a couple of years later. She went on to prove herself a minor but avid scene-stealer in such movies as Evergreen (1934), The Iron Duke (1934), Stormy Weather (1935) and East Meets West (1936), quickly finding an amusing niche as a haughty society maven. She played both benevolent and supercilious with equal ease -- her height (5'7-1/2"), elongated oval face, vacant manner, plummy voice and slightly drowsy eyes adding immensely to the look and amusement of her characters.

In the early 1940s, the veteran actress visited California, accompanied by her ailing, widowed mother, for a take on the warmer climate and decided to permanently settle. Again, she found herself in demand as a now silvery-haired duchess, queen or Lady something, albeit in less meaty, sometimes even unbilled parts. Although she could dress down when called upon as a bar maid, nurse and landlady, she usually was asked to provide the requisite atmosphere for glossy, opulent settings. Her more noticeable roles came as lecherous Robert Benchley's wealthy, put-upon wife in The Major and the Minor (1942); the vile Lady Abbott in Forever Amber (1947); the giddy socialite nearly strangled by Robert Walker in Hitchcock's classic Strangers on a Train (1951); the impressively bejeweled wife of Charles Coburn who Marilyn Monroe fawns over in Gentlemen Prefer Blondes (1953); and the Von Trapp housekeeper Frau Schmidt in The Sound of Music (1965).

Norma became a steadfast radio and TV comedy foil during the 40s, 50s and 60s, often at the mercy of a Lucille Ball or Jack Benny. Her longest radio part was as Basil Rathbone's housekeeper on his Sherlock Holmes radio series. On TV, she appeared in such shows as Mister Ed (1958), The Beverly Hillbillies (1962), Bewitched (1964) and Batman (1966) She had recurring roles as Betty Hutton's aunt on The Betty Hutton Show (1959) and as Shirley Booth's neighbor on Hazel (1961). Never married, Norma's mother passed away in 1969, and the actress retired shortly after. She died of heart failure in 1989, a day before her 91st birthday.

- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

Trivia (2)

Spent later years active with the Screen Actors Guild, pushing for better medical benefits for older actors.
Norma was initially up for the role of the Mother Superior in The Sound of Music (1965), but lost out to Peggy Wood when the producers changed their minds. Somewhat of a consolation, Norma was relegated to the minor role of Frau Schmidt, the Von Trapps' housekeeper.

Personal Quotes (1)

I never got used to the way one is cast here [in America]. It's based on one's salary. If your agent can get you so much per week, then you are considered only for parts that are budgeted at that amount...I don't mean to sound ungrateful for the success I've had in American films, but this system is so limiting for serious actors.

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