Gwen Ffrangçon-Davies - Revision history

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Biography

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Biography

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Sources

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Biography

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Biography

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Contribution to SA theatre, film, media and/or performance

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Contribution to SA theatre, film, media and/or performance

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Contribution to SA theatre, film, media and/or performance

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 In between productions for the [[Pretoria Repertory Theatre]] they gave poetry readings and Shakespearean recitals, made radio broadcast, raised money for war funds and spoke in public repeatedly about South Africa's great need for a National Theatre.
-In June 1941 they announced the formation of a permanent, professional repertory company that would tour the whole of South Africa, playing in s town halls and school halls if no theatres were available. Their casting pool consisted mainly of amateurs who worked during the daytime, and rejects from the Forces. Most theatres had long since been converted into cinemas and had little lighting or back-stage equipment, no experienced stage hands, electricians, dressers, carpenters or wardrobe mistresses beyond those in the big towns who had been summoned into spasmodic activity by an occasional pantomime. There were no "theatrical digs" where touring companies could find inexpensive accommodation. One of the biggest hurdles was to entice back into the theatre audiences - several generations of them - who had been captured by new films and who had lost the taste for living theatre. Many South Africans had never seen a play. The Ffrangcon-Davies-Vanne Theatre Company began in Pretoria on July 31, 1941, with '' [[Twelfth Night]]'' in the presence of the Governor-General and most of the Cabinet. Their courageous experiment won support and recognition in high places. Authentic period costumes, imaginative scenery, skilful lighting and direction proclaimed not only the expertise but the intellectual credentials of the promoters.
+In June 1941 they announced the formation of a permanent, professional repertory company that would tour the whole of South Africa, playing in s town halls and school halls if no theatres were available. Their casting pool consisted mainly of amateurs who worked during the daytime, and rejects from the Forces. Most theatres had long since been converted into cinemas and had little lighting or back-stage equipment, no experienced stage hands, electricians, dressers, carpenters or wardrobe mistresses beyond those in the big towns who had been summoned into spasmodic activity by an occasional pantomime. There were no "theatrical digs" where touring companies could find inexpensive accommodation. One of the biggest hurdles was to entice back into the theatre audiences - several generations of them - who had been captured by new films and who had lost the taste for living theatre. Many South Africans had never seen a play.
 They visited 21 towns with ''[[Twelfth Night]]'' and ''[[Quality Street]]'' in a tour arranged by [[Alex Cherniavsky]], often travelling long distances by day, setting the stage on arrival, performing and then packing the scenery afterwards for an early departure the next morning. In some places people drove hundreds of miles for the thrill of participating in the two-way traffic of the stage.

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 She moved to South Africa in 1940 with [[Marda Vanne]] and became a director of the resuscitated [[Pretoria Repertory Theatre]] and in 1942 they formed the [[Gwen ffrangçon-Davies / Marda Vanne Company]] and toured the country to present fine classical and modern productions. (See [[Gwen ffrangçon-Davies / Marda Vanne Company]], also referred to as the [[Marda Vanne-Gwen Ffrangçon-Davies Company]] in some sources).
-In between productions for the [[Pretoria Repertory Theatre]] they gave poetry readings and Shakespearean recitals, made radio broadcast, raised money for war funds and spoke in public repeatedly about South Africa's great need for a National Theatre. In June 1941 they announced the formation of a permanent, professional repertory company that would tour the whole of South Africa, playing in s town halls and school halls if no theatres were available. Their casting pool consisted mainly of amateurs who worked during the daytime, and rejects from the Forces. Most theatres had long since been converted into cinemas and had little lighting or back-stage equipment, no experienced stage hands, electricians, dressers, carpenters or wardrobe mistresses beyond those in the big towns who had been summoned into spasmodic activity by an occasional pantomime. There were no "theatrical digs" where touring companies could find inexpensive accommodation. One of the biggest hurdles was to entice back into the theatre audiences - several generations of them - who had been captured by new films and who had lost the taste for living theatre. Many South Africans had never seen a play. The Ffrangcon-Davies-Vanne Theatre Company began in Pretoria on July 31, 1941, with '' [[Twelfth Night]]'' in the presence of the Governor-General and most of the Cabinet. Their courageous experiment won support and recognition in high places. Authentic period costumes, imaginative scenery, skilful lighting and direction proclaimed not only the expertise but the intellectual credentials of the promoters.
+In between productions for the [[Pretoria Repertory Theatre]] they gave poetry readings and Shakespearean recitals, made radio broadcast, raised money for war funds and spoke in public repeatedly about South Africa's great need for a National Theatre.
 They visited 21 towns with ''[[Twelfth Night]]'' and ''[[Quality Street]]'' in a tour arranged by [[Alex Cherniavsky]], often travelling long distances by day, setting the stage on arrival, performing and then packing the scenery afterwards for an early departure the next morning. In some places people drove hundreds of miles for the thrill of participating in the two-way traffic of the stage.

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 Born in London on 25 January 1891, the only daughter of David Ffrangcon-Davies, a Welsh operatic baritone. She was trained by Mrs L.M. Hicks and Agnes Platt and began as an operatic singer, then joined the Old Vic, for which her first stage appearance was in ''[[A Midsummer Night's Dream]]''. She went on to Birmingham Rep as a dramatic actress, also working in the West End and at the Shakespeare Theatre in Stratford-on-Avon. In 1924, she played Juliet in ''[[Romeo and Juliet]]'' and Queen Anne in ''[[Richard of Bordeaux]]'' in 1934, both with John Gielgud, ''[[Henry V]] '' (with [[Ivor Novello]], 1934), ''[[Gas Light]]'' (1934) and ''[[Macbeth]]'' (1942).
 She moved to South Africa in 1940 with [[Marda Vanne]] and became a director of the resuscitated [[Pretoria Repertory Theatre]] and in 1942 they formed the [[Gwen ffrangçon-Davies / Marda Vanne Company]] and toured the country to present fine classical and modern productions. (See [[Gwen ffrangçon-Davies / Marda Vanne Company]], also referred to as the [[Marda Vanne-Gwen Ffrangçon-Davies Company]] in some sources).
 In between productions for the [[Pretoria Repertory Theatre]] they gave poetry readings and Shakespearean recitals, made radio broadcast, raised money for war funds and spoke in public repeatedly about South Africa's great need for a National Theatre. In June 1941 they announced the formation of a permanent, professional repertory company that would tour the whole of South Africa, playing in s town halls and school halls if no theatres were available. Their casting pool consisted mainly of amateurs who worked during the daytime, and rejects from the Forces. Most theatres had long since been converted into cinemas and had little lighting or back-stage equipment, no experienced stage hands, electricians, dressers, carpenters or wardrobe mistresses beyond those in the big towns who had been summoned into spasmodic activity by an occasional pantomime. There were no "theatrical digs" where touring companies could find inexpensive accommodation. One of the biggest hurdles was to entice back into the theatre audiences - several generations of them - who had been captured by new films and who had lost the taste for living theatre. Many South Africans had never seen a play. The Ffrangcon-Davies-Vanne Theatre Company began in Pretoria on July 31, 1941, with '' [[Twelfth Night]]'' in the presence of the Governor-General and most of the Cabinet. Their courageous experiment won support and recognition in high places. Authentic period costumes, imaginative scenery, skilful lighting and direction proclaimed not only the expertise but the intellectual credentials of the promoters.
 They visited 21 towns with ''[[Twelfth Night]]'' and ''[[Quality Street]]'' in a tour arranged by [[Alex Cherniavsky]], often travelling long distances by day, setting the stage on arrival, performing and then packing the scenery afterwards for an early departure the next morning. In some places people drove hundreds of miles for the thrill of participating in the two-way traffic of the stage.
 After the first tour ended [[John Gielgud]] invited [[Gwen Ffrangcon-Davies]] to return to London to play Lady Macbeth opposite him.
 She returned to Britain in 1946 to continue with a long and distinguished career on the British stage.

← Older revision		Revision as of 13:18, 15 September 2025
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	== Sources ==		== Sources ==
		+
		+	''As We Were. South Africa 1939-1941'' by [[Margot Bryant]], (Johannesburg: Keartland, 1974).

	Phyllis Hartnoll. ''The Oxford Companion to the Theatre''		Phyllis Hartnoll. ''The Oxford Companion to the Theatre''

← Older revision		Revision as of 13:15, 15 September 2025
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	She moved to South Africa in 1940 with [[Marda Vanne]] and became a director of the resuscitated [[Pretoria Repertory Theatre]] and in 1942 they formed the [[Gwen ffrangçon-Davies / Marda Vanne Company]] and toured the country to present fine classical and modern productions. (See [[Gwen ffrangçon-Davies / Marda Vanne Company]], also referred to as the [[Marda Vanne-Gwen Ffrangçon-Davies Company]] in some sources).		She moved to South Africa in 1940 with [[Marda Vanne]] and became a director of the resuscitated [[Pretoria Repertory Theatre]] and in 1942 they formed the [[Gwen ffrangçon-Davies / Marda Vanne Company]] and toured the country to present fine classical and modern productions. (See [[Gwen ffrangçon-Davies / Marda Vanne Company]], also referred to as the [[Marda Vanne-Gwen Ffrangçon-Davies Company]] in some sources).
		+	[[Marda Vanne]] was an accomplished and highly successful character actress, but [[Gwen Ffrangçon-Davies]] was one of London's great leading ladies; the star of such memorable productions as ''[[The Immortal Hour]]'', ''[[Richard of Bordeaux]]'', ''[[The Barretts of Wimpole Street]]'' and countless Shakespearean productions.
		+	In between productions for the [[Pretoria Repertory Theatre]] they gave poetry readings and Shakespearean recitals, made radio broadcast, raised money for war funds and spoke in public repeatedly about South Africa's great need for a National Theatre. In June 1941 they announced the formation of a permanent, professional repertory company that would tour the whole of South Africa, playing in s town halls and school halls if no theatres were available. Their casting pool consisted mainly of amateurs who worked during the daytime, and rejects from the Forces. Most theatres had long since been converted into cinemas and had little lighting or back-stage equipment, no experienced stage hands, electricians, dressers, carpenters or wardrobe mistresses beyond those in the big towns who had been summoned into spasmodic activity by an occasional pantomime. There were no "theatrical digs" where touring companies could find inexpensive accommodation. One of the biggest hurdles was to entice back into the theatre audiences - several generations of them - who had been captured by new films and who had lost the taste for living theatre. Many South Africans had never seen a play. The Ffrangcon-Davies-Vanne Theatre Company began in Pretoria on July 31, 1941, with '' [[Twelfth Night]]'' in the presence of the Governor-General and most of the Cabinet. Their courageous experiment won support and recognition in high places. Authentic period costumes, imaginative scenery, skilful lighting and direction proclaimed not only the expertise but the intellectual credentials of the promoters.
		+	They visited 21 towns with ''[[Twelfth Night]]'' and ''[[Quality Street]]'' in a tour arranged by [[Alex Cherniavsky]], often travelling long distances by day, setting the stage on arrival, performing and then packing the scenery afterwards for an early departure the next morning. In some places people drove hundreds of miles for the thrill of participating in the two-way traffic of the stage.
		+
		+	After the first tour ended [[John Gielgud]] invited [[Gwen Ffrangcon-Davies]] to return to London to play Lady Macbeth opposite him.
		+
		+
		+
		+

	She returned to Britain in 1946 to continue with a long and distinguished career on the British stage.		She returned to Britain in 1946 to continue with a long and distinguished career on the British stage.

@@ Line 1: / Line 1: @@
 [[Gwen Ffrangçon-Davies]] (1891-1992) was a distinguished actress, singer, and theatrical entrepreneur.
-(Her name sometimes written  without the French ''cédille'' as '''[[Gwen Ffrangcon-Davies]]''', and  also occurs as '''[[Gwen ffrangçon-Davies]]''', particularly so in South Africa.)
+(Her name sometimes written  without the French ''cédille'' as '''[[Gwen Ffrangcon-Davies]]''' or '''[[Gwen FfrangCon-Davies]]''' - and  also occurs as '''[[Gwen ffrangçon-Davies]]''', particularly so in South Africa.)
 == Biography ==

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 ==Contribution to SA theatre, film, media and/or performance==
-She played leads in and/or directed works such as ''[[Twelfth Night]]'' 1940/41, ''[[Watch on the Rhine]]'' (1943 at the [[Standard Theatre]]), ''[[Flare Path]]'' (194*), ''[[What Every Woman Knows]]'' (194*), ''[[Blithe Spirit]]'' (1944), ''[[Milestones]]'' (194*), ''[[The Merry Wives of Windsor]]'' (1945), ''[[The Wind of Heaven]]'' (1946), ''[[A Month in the Country]]'' (1946) and ''[[Taming of the Shrew]]'' (1948), her last production before she went back to England.
+She played leads in and/or directed works such as ''[[Twelfth Night]]'' 1940/41, ''[[Watch on the Rhine]]'' (1943 at the [[Standard Theatre]]), ''[[Flare Path]]'' (194*), ''[[What Every Woman Knows]]'' (194*), ''[[Blithe Spirit]]'' (1944), ''[[Milestones]]'' (194*), ''[[The Merry Wives of Windsor]]'' (1945), ''[[The Wind of Heaven]]'' (1946), ''[[A Month in the Country]]'' (1946) and ''[[The Taming of the Shrew]]'' (1948), her last production before she went back to England.
 In 1943, she pleaded unsuccessfully for the establishment of a national “Committee for the Encouragement of Music and the Arts”.