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Sir John Gielgud enjoyed a theatrical career that spanned 64 years, from a role in a 1924 London production of "The Constant Nymph" to the 1988 production of " Sir Sydney Cockerell: The Best of Friends", and a film career which began in 1924 and ended not long before his death. He played his first Hamlet in London in 1929, and was hailed by many as the Hamlet of his generation (and in hindsight, of the century). In 1965, his Shakespearean colloquy "The Ages of Man" won him a Tony on Broadway. The great actor, at his best in classical roles, even won a Best Supporting Actor Oscar uncharacteristically playing a butler in the comedy hit Arthur (1981).

He was born Arthur John Gielgud on April 14, 1904, in South Kensington, London, to Franciszek Henryk (later Frank Henry) Gielgud, a stockbroker, and his wife, Kate Terry. His father was of Polish ancestry, with distant Lithuanian roots, while his mother was English and from an acting family. His paternal great-grandmother, Aniela (nee Wasinskiej) Aszperger, had been a Shakespearean actress in Poland, and his maternal grandmother, Kate Terry, had played Cordelia at the age of 14. Also on his mother's side, his great-uncle Fred Terry became a stage star acting the role of the Scarlet Pimpernel, and Fred's sister, Ellen Terry, the great stage actress who made her fame as Henry Irving's leading lady, was his great-aunt. (Gielgud's brother, Val Gielgud, became the head of BBC Radio in the 1950s).

Arthur John Gielgud attended Hillside prep school, where he had his first stage experience as Shakespeare's Shylock and as Humpty Dumpty, before moving on to the Westminster school in London. He often played hooky from school to attend performances of the Diaghilev Ballet. He was 17 years old when he made his debut as a professional actor at the Old Vic in 1921, playing a French herald in "Henry V." The next year, his cousin Phyllis Neilson-Terry hired him as an assistant stage manager and understudy for "The Wheel". While pursuing his stage career, he studied acting at Lady Benson's Dramatic Academy before attending the Royal Academy of Dramatic Arts (RADA) for a year. He appeared in his first motion picture in 1923 in the silent picture Who Is the Man? (1924).

Gielgud's first major role on the London stage was as Trofimov in Chekhov's "The Cherry Orchard." In 1924, he understudied Noel Coward in "The Vortex" and "The Constant Nymph," parts he subsequently took over. During the run of "The Constant Nymph", Gielgud met the actor John Perry, who had a walk-on role in Avery Hopwood's "The Golddiggers", starring Tallulah Bankhead. Gielgud and Perry fell in love, and Perry abandoned his unpromising stage career to live with Gielgud in his flat in Covent Garden. Subsequently, Gielgud joined J. B. Fagan's company that played in Oxford and in the West End, as London's commercial theater district was called.

In 1929, Lilian Baylis invited him to join the Old Vic, and he played all the major parts in repertory over the next two seasons, establishing his reputation as a great actor. It was in 1929-30 season that Gielgud first played the title role in William Shakespeare's "Hamlet", which made theatrical history as it was the first time an English actor under 40 had played the part in the West End. Blessed with what Laurence Olivier called "The Voice that Wooed the World", Gielgud revolutionized the role with the speed of his delivery. Developing his interpretation of Hamlet in subsequent performance over the years, he would generally be accorded the greatest Hamlet of his generation and of the 20th century, his facility with the part rivaled only on stage by John Barrymore . But it was his 1929-30 Hamlet and his performance in the title role of Shakespeare's "Richard II", another role he made his own, that earned him the reputation as the premier Shakespearean actor in England.

Inspired by Gielgud's performances, a woman wrote, under the pseudonym Gordon Daviot, the play "Richard of Bordeaux" specifically for him, and he starred in and directed the play. "Richard of Bordeaux" was a box-office smash and made him a celebrity. This huge financial success of the play meant that Gielgud could stage classics in the West End. An innovator, Gielgud pioneered the theater company system. He also encouraged a new generation of actors, including Laurence Olivier, Peggy Ashcroft, Edith Evans, Glen Byam Shaw, Anthony Quayle, George Devine, and Alec Guinness, who reportedly saw him in "Richard of Bordeaux" fifteen times. After World War II, Gielgud proved a mentor to a young de-mobilized R.A.F. enlisted man, Richard Jenkins, who became a star overnight in Gielgud's production of "The Lady's Not for Burning" as Richard Burton. The two remained friends for all of Burton's life, Gielgud directing Burton in his memorable 1964 New York production of "Hamlet".

Gielgud was a notorious workaholic and single-mindedly focused on his craft. Beverley Nichols related how Gielgud returned from a village in late 1939, loaded down with newspapers and a worried look. Asked whether war had finally been declared with Germany, Gielgud replied: "'Oh, I don't know anything about that, but 'Gladys Cooper' has got the most terrible reviews."

Represented by the theatrical agency H. M. Tennent, whose managing director was the famous Hugh 'Binkie' Beaumont, Gielgud lost the romantic affections of John Perry to Beaumont (they were a committed couple until Beaumont's death). During World War II, acting without Gielgud's knowledge, Beaumont obtained an exemption from military service for Gielgud, who expected to be called up, but had to content himself with being a London fire watch warden. In the post-war theater, Gielgud abandoned the romantic roles that made him a box-office star in favor of character work. He was influenced in that direction by the 25-year-old Peter Brook, who directed him in Shakespeare's "Measure for Measure." (The other great Peter, Peter Hall, who founded the Royal Shakespeare Company, and later succeeded Laurence Olivier as director of the National Theatre, directed Gielgud as Prospero in "The Tempest" in 1973, the first production he directed for the NT on the South Bank.)

He became Sir John Gielgud when he was awarded a knighthood in the Coronation Honours list of June 1953. By this time, he had begun a long-term relationship with Paul Anstee. On October 21, 1953, Gielgud was arrested in Chelsea for soliciting a homosexual act in a public lavatory. Arraigned the next morning, he pleaded guilty, apologized to the court, and was fined ten pounds sterling. He had identified himself to the police as "Arthur Gielgud, 49, a clerk, of Cowley Street Westminster." Homosexuality was proscribed by the law in the UK, and Gielgud gave his less common birth name and a phony job description in the hopes that the press would not get wind of his pinch. The police made an attempt to prevent the press from learning of the incident, but in "Evening Standard" journalist was in the court that morning, and for the early afternoon edition, the paper came out with a headline "Sir John Gielgud fined: See your doctor the moment you leave here."

Publicly humiliated, Gielgud worried about how the West End audience would react the next time he appeared on stage. Gielgud was advised not to seek work in the United States for at least four years as he likely would be being refused entry by American immigration authorities. In a letter to Lillian Gish at the time (not revealed until after his death), Gielgud told her that he perhaps should have committed suicide. While Binkie Beaumont initially favored keeping Gielgud off the boards, Gielgud's brother Val, then head of BBC Radio, threatened the homosexual Beaumont with exposure if he kept his brother away from acting. A conference of his friends was called by Beaumont to determine how to best handle the crisis as Gielgud was scheduled to open in N. C. Hunter's play "A Day at the Sea" in the West End, which he was also directing. The "war council" included Laurence Olivier, his wife Vivien Leigh, Ralph Richardson, and Glen Byam Shaw, who was running the Shakespeare Memorial Theatre at Stratford-Upon-Avon. Only Olivier counseled him to postpone the play; the rest urged him to carry on. Gielgud heeded the advice of the majority, and went ahead with the production. Upon entering the stage the first night, the house was brought down by a standing ovation.

Outside the theater, the press whipped up a public backlash over the "homosexual menace." There were fears among the theater's gay community that there would be a police crackdown, leading choreographer Frederick Ashton to say of Gielgud, "He's ruined it for us all." So afraid was his lover Paul Anstee, that he burned all his letters. Gielgud's official biographer, Sheridan Morley, who withheld publication of his authorized biography until after Gielgud's death so as not to broach the subject of the arrest and Gielgud's sexuality during his lifetime, believes that the Gielgud arrest and brouhaha in the press likely were part of an organized campaign against homosexuality that had been festering in Britain since just before World War II.

By the mid-1950s, the traditional English stage was stagnating, as susceptible to an insurrection as the theater had been in the 1930s, when Gielgud's acting and direction had overthrown the old order. Gielgud's 1955 go at Shakespeare's "King Lear" was a failure, and his style of acting went out of fashion after the kitchen-sink theatrical revolution heralded by the Royal Court's May 1956 staging of John Osborne's "Look Back in Anger". Unlike Olivier, who reinvented himself with his characterization of Archie Rice in Osborne's The Entertainer (directed by kitchen-sink stalwart Tony Richardson), an era of rebellion against the cultural Establishment was at hand, which rendered the current lions of the stage passé. It was a new world in which Gielgud felt he had no place.

Gielgud stuck to what he knew. He created a solo recital of Shakespearean excerpts called "The Ages of Man" for the 1957 Edinburgh Festival. The recital proved extremely popular, and he toured with the show for a decade, winning a special Tony Award in 1958 for his staging of the show on Broadway. In the 1960s, he had a notable failure with his "Othello," and he was not a success in Peter Brook's 1968 staging of "Oedipus", two roles that Olivier had excelled in. Laurence Olivier, once his acolyte, was by this time considered the greatest actor in the English language, if not the world. He would become the first actor ennobled when he became Lord Olivier of Brighton in 1970. Gielgud, in contrast, had seemed, like their contemporary Ralph Richardson, to be old-fashioned and behind the times.

He was nominated for a Tony as Julian in Edward Albee's willfully obscure "Tiny Alice" in 1965, but Gielgud did not truly begin to transform himself into a contemporary actor until his appearances in Tony Richardson's 1967 film The Charge of the Light Brigade (1968) and in Alan Bennett's 1968 play "40 Years On...." He continued to revitalize his reputation in 1970, when he appeared in David Storey's "Home," and in 1976, when he appeared in Harold Pinter's "No Man's Land." Along with his reclaimed reputation came an appointment as a Companion of Honour in 1977. His career renaissance was ratified by the winning of an Academy Award for Best Supporting Actor for the film Arthur (1981) in 1981.

Although he had appeared in approximately 80 films, his supercilious character did not make him a popular movie actor, or a particularly distinguished one, aside from his brilliant turn as Cassius in the film adaptation of Julius Caesar (1953) and his gem of a cameo as Clarence in Olivier's Richard III (1955). His genius remained reserved for the stage. (He had even turned down a film offer in the mid-1930s from Alexander Korda to film his great Hamlet.) As The Times eulogized after his death, "To a unique degree his greatest performances coincided with the greatest plays."

John Gielgud met his last love, Martin Hensler, at an exhibition at the Tate Gallery in the 1960s. They kept in touch, and Hensler moved in with Gielgud six years later. They remained a couple for over 30 years until Gielgud's death. Despite the publicity surrounding his 1953 arrest and the legalization of homosexuality in the UK in 1967, Gielgud did not talk publicly about his sexuality, so most of the public did not know that Gielgud was gay. Hensler, with Gielgud's approval, successful lobbied to have the 1988 program notes for Hugh Whitemore's play "Best of Friends" state that he and Gielgud had been a happy couple for many years, but it was not publicized by the press. That play proved to be Gielgud's final appearance in the theater.

Gielgud outlived his great contemporaries, Olivier and Richardson, the Three Knights of the Stage, by a decade. Benedict Nightingale wrote of the three, in 'The Times' (May 23, 2000) that, "Laurence Olivier was the most fiery and physically volatile, Ralph Richardson the earthiest and the quirkiest, but Gielgud was the most vocally exquisite, intellectually elegant and spiritually fine."

Sheridan Morley, his biographer, said: 'Since 1917, when he started in walk-on parts, he never had more than four weeks without work." In his career on stage, he had played every major Shakespearean role, including his favorite, Prospero in "The Tempest", which he later essayed for director Peter Greenaway in "Prospero's Books".

Gielgud could be seen as having made the career of his greatest acolyte, Laurence Olivier, his only rival for the title of Greatest Shakespearean Actor of the 20th Century, a contest most felt that Gielgud won due to the beauty of his phrasing and more cerebral interpretation of Shakespeare. (Olivier was generally considered the better actor in contemporary roles.) A great Richard II (as well as Hamlet), the generous Gielgud made his Bolingbroke possible through both his mentorship of the younger actor at the New Theatre during the 1935 season (where they alternated the roles of Romeo and Mercutio, with Gielgud getting the better reviews), and by reinventing Shakespeare as commercial theater in the 20th century. The modern, revitalized Shakespearean stage willingly embraced the more physical Olivier.

Director Sir Peter Hall, in eulogizing the great man, said. "His work at the Vic in the 1930s, then with his own company, was trailblazing. He was not an old-style actor wanting inferior actors around him so he would look the star, which was what happened in a lot of companies. He wanted to be around people who were better than he was. He believed in that kind of humility. His companies were very happy places, with one humorous qualification - that mercurial mind meant as a director he was always changing it."

Thus, Gielgud's greatest legacy was his work as an actor-manager in the 1930s and 1940s, a time when the commercial West End theater was generally frivolous and its Shakespeare as caught in amber as a D'Oyly Carte production of a Gilbert & Sullivan operetta. Gielgud created classical companies that laid the foundations for the great renaissance of British theater that blossomed after the War, doing the groundwork at the New Theatre in 1935, at the Queen's Theatre in the 1937/38 seasons, and at the Haymarket in 1944. His companies featured in repertory Shakespeare, Sheridan, Congreve, and Chekhov, and his patronage of the design team Motley reinvented the look of British theatrical staging. Aside from Olivier, who went on to found the National Theatre, George Devine founded the English Stage Company in 1956, and Anthony Quayle and Glen Byam Shaw revitalized Stratford during the 1950s.

Without Gielgud, those paragons of the modern English theater, the Royal Shakespeare Company and the National Theatre, likely would not have come into existence. 'Percy' Harris, one of the Motley theatrical design team, said, "I think he single-handedly put English theater back on the map. Larry [Olivier] gets all the credit and John doesn't, which I think is a sign of John's innate modesty."

Gielgud wrote many books in his career, starting with a 1939 autobiography entitled "Early Stages." This was followed by "John Gielgud: An Actor's Biography in Pictures" in 1952, "Stage Directions" in 1963, "Distinguished Company" in 1972, the new autobiography "An Actor in His Time" in 1979 (revised 1989), "Backward Glances: Part One, Time for Reflection: Part Two, Distinguished Company" in 1989, "Teach Yourself" in 1990, and a primer for Shakespearean actors, "Shakespeare - Hit or Miss?" in 1991 (re-published as "Acting Shakespeare" in 1992). In 1994, "Notes from the Gods: Playgoing in the Twenties," based on Gielgud's annotated theater programs from the London theatrical productions from 1919-25, was published. The lifetime awards began to pile up: a BAFTA fellowship award for his lifetime contribution to show business in 1992, the renaming of the Globe Theatre on Shaftesbury Avenue in London's West End as the Gielgud Theatre in 1994, and his appointment to the Order of Merit in 1996.

Gielgud and Hensler lived together in his later years at their country house, South Pavilion, at Wotton Underwood, near Aylesbury, Buckinghamshire, where he died "simply of old age" on 21 May 2000, at 96. That night, the lights at the Gielgud Theatre and 12 others in Andrew Lloyd Webber's Really Useful Group were dimmed for three minutes in tribute to the passing of the man acclaimed as the greatest Shakespearean actor of the century.

At a small memorial service in Buckinghamshire, Sir Alec Guinness, Sir John Mills, Dame Maggie Smith and Lord Richard Attenborough were among those whom paid their respects to the legendary actor. His body was later cremated at a ceremony witnessed by a small group of those closest to him. A year after Gielgud's death, an archive of letters chronicling his personal and professional life was bequeathed to the nation and housed at the British Library. "Style", Gielgud once said, "is knowing what sort of play you're in."

This ill-fated British actress was born in the Shepherd's Bush area of London, England, on February 27, 1936. After the outbreak of World War II, young Virginia and her family were evacuated to South Africa. She eventually returned to London and entered a convent school where the pretty, gray-eyed brunette developed an interest in acting.

Virginia attended drama school and finally broke into the business with TV parts, usually playing demure young lasses in assorted dashing action series such as "The Buccaneers" and The Adventures of Robin Hood." Making a minor film debut for director Roy Boulting with Happy Is the Bride (1958), she achieved better notices with her second film. In Our Virgin Island (1958), she played the bride of John Cassavetes who learns to adapt to a Robinson Crusoe-styled existence. Co-starring an up-and-coming Sidney Poitier, the story lightly tinges on racial issues.

On the strength of this, Virginia won a contract with British Lion Pictures and showcased well in The Man Upstairs (1958) with Richard Attenborough, but less so playing a airline stewardess in the mediocre Jet Storm (1959) which also wasted a top-notch cast including Attenborough, Mai Zetterling, Diane Cilento, Stanley Baker and Sybil Thorndike.

Virginia's reticent but sincere approach to films worked remarkably well in an understated way, and she proved just as quietly compelling on stage with a prime role in "The Catalyst" in 1958 with Phil Brown and Renée Asherson. She showed escalating promise and earned BAFTA nominations for her memorable work in Young and Willing (1962) and as Peter Sellers' forlorn wife in Only Two Can Play (1962), but then all filming stopped.

This abrupt end was primarily due to her marriage in 1962 and a change of focus on family life. Other than occasional TV appearances in such popular series as "Danger Man" and "The Prisoner," Virginia was seldom seen. It was learned that following the birth of her second son in February, 1966, she began showing acute signs of post-natal depression.

In the summer of 1967 Virginia returned auspiciously to filming with a remake of the soap drama Interlude (1968) playing the cast-off wife of orchestra conductor Oskar Werner. She suffered a severe nervous breakdown following the film's shoot and never recovered.

On a bitterly cold day on January 24, 1968, Virginia took a major overdose of antidepressants, drove away from her home at Princes Risborough. She was found collapsed in a nearby wooded area the next day suffering from acute hypothermia. Although she was revived briefly, she died shortly after at a nearby hospital.

Virginia won a posthumous National Board of Review award and a BAFTA nomination for her work in "Interlude." During her relatively short career, the actress seemed doomed to play unhappy, sympathetic third parties in romantic triangles. While a notable sadness touched many of Virginia Maskell's roles, her performances are all the more haunting to watch knowing her personal tragedy.

An influential figure in the world of British television comedy during the 1960s and 70s, actor and comedian John Junkin wrote scripts for such shows as The Army Game, The World of Beachcomber, Queenie's Castle, plus scripts for many comedians, including Ted Ray, Jim Davidson, Bob Monkhouse and Mike Yarwood.

As an actor he became familiar to TV soap viewers when he starred in East Enders (2001), playing Ernie, a mysterious stranger who suddenly appears at the Queen Vic.

Junkin was born in Ealing, West London. Educated locally, he worked as a teacher in the East End of London but said he hated the job. "I loved the kids," he recalled. "But hated the adults and bores of the Education Authority."

In 1960 he joined Joan Littlewood's Theatre Workshop in Stratford East and was in the original cast of Littlewood's production of Sparrers Can't Sing with Barbara Windsor.

Throughout the sixties and seventies he was one of the busiest men on television, both as a performer and scriptwriter. The comedian Marty Feldman won the Golden Rose Award with a Junkin script in 1972 and with Barry Cryer and others, Junkin contributed to many of the Morecambe and Wise specials for the BBC. He also wrote, with Bill Tidy, The Fosdyke Saga, and The Grumbleweeds for radio.

He had a prolific career in the cinema playing a variety of straight and comic roles and described himself as easy to cast: "I look like the bloke next door," he said. "I always seem to be wearing one of those sheepskin coats."

In the latter part of his career, Junkin became disillusioned with show business, particularly television. He fell out with a producer - he never revealed which one - over the writing of a game show for which he had devised the format. Litigation cost him £70,000 and he was also in debt to the tax man to the tune of £120,000. He did, however, return to scriptwriting and contributed to The Crazy World of Joe Pasquale (1998) and The Impressionable Jon Culshaw (2004) and he was much in demand as an after dinner speaker.

Close friend, former Radio 1 disc jockey Dave Lee Travis, said: If you were in conversation with John, you were always in a state of hilarity. He had no airs and graces."

Nicholas Parsons was without doubt one of the UK's most popular and beloved television and radio personalities, and very few can claim to have had such a long entertainment career. The son of a doctor, he was raised in Lincolnshire until the age of eight, when the family moved to London. He was educated at St. Paul's School, London. He trained as an engineer but really wanted to become an actor and decided to pursue his dream. He performed in weekly repertory in Bromley for two years, playing a wide range of parts. His particular talent for comedy and impersonations made him a natural in cabaret and he became the resident comedian at the Windmill Theatre. Much work in radio followed.

Parsons acted in several British films during the 1950s and 1960s, including dramas such as The Third Key (1956) and Eyewitness (1956) and comedies such as Doctor in Love (1960) and Carry on Regardless (1961). On television he worked with Eric Barker and most notably on The Arthur Haynes Show (1956) as Haynes' straight man. In 1967 he became presenter of "Just a Minute", a comedy panel show on BBC Radio 4 which also featured regular appearances by Kenneth Williams over the next 20 years. Through the 1970s and into the 1980s, Parsons hosted the hugely popular ITV game show Sale of the Century (1971).

In 1989, having become so closely associated with comedy and light entertainment, Parsons surprised many when he returned to a dramatic role. He brought great depth and sensitivity to his portrayal of Reverend Wainwright, a tormented clergyman whose faith is tested to the limit by the horrors of the Second World War and the resurrection of a Viking curse in The Curse of Fenric: Part One (1989). It was one of the most unusual and complex characterizations ever created for the Doctor Who (1963) series, and Parsons later described this guest appearance as "one of the most treasured memories".

Parsons celebrated his 90th birthday in 2013 and he was joined at the party by stars including Esther Rantzen, Paul Merton and Gyles Brandreth. A performer of remarkable longevity, he was still taking his one-man show to the Edinburgh Fringe.

Roger Milner was born on 2 April 1925 in Hexham, Northumberland, England, UK. He was an actor and writer, known for Brideshead Revisited (1981), The Queen's Guards (1961) and ITV Playhouse (1967). He was married to Carol Snape. He died on 22 February 2014 in Aylesbury, Buckinghamshire, England, UK.

Eileen Beldon was born on 12 September 1901 in Bradford, West Yorkshire, England, UK. She was an actress, known for BBC Sunday-Night Theatre (1950), Laburnum Grove (1947) and Just William (1951). She died on 3 August 1985 in Aylesbury, Buckinghamshire, England, UK.

Mike Smith was born on 6 December 1943 in London, England, UK. He was an actor and composer, known for Having a Wild Weekend (1965), Garfield: A Tail of Two Kitties (2006) and Get Yourself a College Girl (1964). He was married to Arlene Charles and Jill Smith. He died on 28 February 2008 in Aylesbury, Buckinghamshire, England, UK.

David Lusby was born in November 1930 in Romford, Essex, England, UK. He is known for The Fifth Element (1997), Star Wars: Episode VI - Return of the Jedi (1983) and Entrapment (1999). He died in 2002 in Aylesbury, Buckinghamshire, England, UK.

Ludwig Guttmann was born on 3 July 1899 in Toszek, Prussia. He was married to Else Samuel. He died on 18 March 1980 in Aylesbury, Buckinghamshire, England, UK.

Heather Couper was born on 2 June 1949 in Wallasey, Cheshire, England, UK. She was a writer and producer, known for Universe (1999), The Planets (1985) and The Stars (1988). She died on 19 February 2020 in Aylesbury, Buckinghamshire, England, UK.

Sheila Bromberg was born on 2 September 1928 in London, England, UK. She was an actress, known for Around the World of Mike Todd (1967), Anne Lorne Gillies (1974) and A Song for Everyone (1958). She was married to Sydney Laurence. She died on 17 August 2021 in Aylesbury, Buckinghamshire, England, UK.

Elizabeth Kent was born on 6 October 1915 in Swansea, Wales, UK. She was an actress, known for Why Pick on Me? (1937), Dial 999 (1938) and Racing Romance (1937). She died in 1954 in Aylesbury, Buckinghamshire, England, UK.

Cedric Williams was born in 1913 in Birkenhead, England, UK. He was a cinematographer, known for Third Time Lucky (1949), The House in the Woods (1957) and The Adventures of P.C. 49: Investigating the Case of the Guardian Angel (1949). He died in 1999 in Aylesbury, Buckinghamshire, England, UK.

June Faithfull was born in 1926 in Chertsey, Surrey, England, UK. She is known for The Boy Who Stole a Million (1960), The Franchise Affair (1951) and The Secret Partner (1961). She was married to John Hills. She died in October 2001 in Aylesbury, Buckinghamshire, England, UK.

Ian Rodger was born on 14 June 1926 in Brentford, Middlesex, England, UK. He was a writer, known for Elizabeth R (1971). He died on 30 August 1984 in Aylesbury, Buckinghamshire, England, UK.

Cecil Mannering was born on 28 December 1886 in Chester, Cheshire, England, UK. He was an actor and director, known for The Valley of Fear (1916), David Copperfield (1913) and Giddy Golightly (1917). He died in 1974 in Aylesbury, Buckinghamshire, England, UK.

Micky Moynihan was born in 1937 in Paddington, London, England, UK. Micky was a production manager, known for Prospects (1986), Widows (1983) and Le Petomane (1979). Micky died in 1994 in Aylesbury, Buckinghamshire, England, UK.

Cecil McGivern was born on 22 May 1907 in Fellling, Gateshead, Tyne and Wear, England, UK. Cecil was a writer, known for Great Expectations (1946) and Blanche Fury (1948). Cecil died on 30 January 1963 in Aylesbury, Buckinghamshire, England, UK.

Howard Cochran was born in 1873 in St George Hanover Square, London, England, UK. He was an actor, known for His Last Defence (1919), Beyond the Dreams of Avarice (1920) and The Skin Game (1921). He died on 5 May 1937 in Aylesbury, Buckinghamshire, England, UK.

Anne Pashley was born on 5 June 1935 in Skegness, Lincolnshire, England, UK. She was an actress, known for Hansel and Gretel (1961), Peter Grimes (1981) and Peter Grimes (1969). She was married to Jack Irons. She died on 7 October 2016 in Chilton House, Aylesbury, Buckinghamshire, England, UK.

Arthur Chisholm was born on 1 May 1884 in London, England, UK. He was an actor, known for Bladys of the Stewpony (1919) and The Angel of the Ward (1915). He died in 1960 in Aylesbury, Buckinghamshire, England, UK.

Mary Timewell was born in 1922 in Hampstead, London, England, UK. Mary was married to Edward Carrick. Mary died in 2005 in Aylesbury, Buckinghamshire, England, UK.