John Houseman

John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a Romanian-born British-American theatre and film producer, actor, director, and teacher. He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of ''Citizen Kane''. He enjoyed a distinguished career as an influential producer of both the stage and screen, and was the founding director of the Juilliard School and co-founder of The Acting Company.

Houseman was nominated for an Academy Award for Best Picture for producing ''William Shakespeare's Julius Caesar'' (1953). As an actor, Houseman won the Best Supporting Actor Oscar for his portrayal of Professor Charles W. Kingsfield in the 1973 film '' The Paper Chase'', which he reprised in the 1978 television series adaptation.

He was also nominated for four acting Golden Globe Awards (winning once), and a Primetime Emmy Award for producing. In 1979, Houseman was inducted into the American Theater Hall of Fame.

Early life

Houseman was born on September 22, 1902, in Bucharest, Romania, the son of May (née Davies) a governess and Georges Haussmann, who ran a grain business. His mother was British, from a Christian family of Welsh and Irish descent. His father was Jewish and from Alsace–Lorraine (in present-day France).

Haussmann was educated in England at Clifton College, became a British subject, and worked in the grain trade in London. He moved to Argentina as a speculator in the international grain markets before immigrating to the United States in 1925. He had a successful business career and was on the Chicago Board of Trade.

Having just married actress Zita Johann weeks before the 1929 stock market crash and with international markets in chaos, she encouraged him to reinvent himself with a new career path in the theater. He changed his birth name, Jacques Haussmann, taking the stage name John Houseman. He began by translating works in German and French into English for the New York stage.

He became a United States citizen in 1943.

Theatre producer

On Broadway he co-wrote ''Three and One'' (1933) and ''And Be My Love'' (1934). Composer Virgil Thomson recruited him to direct '' Four Saints in Three Acts'' (1934), Thomson's collaboration with Gertrude Stein. He later directed ''The Lady from the Sea'' (1934) and ''Valley Forge'' (1934).

Collaboration with Orson Welles

In 1934, Houseman was looking to cast ''Panic'', a play he was producing based on a drama by Archibald MacLeish concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929. Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of ''Romeo and Juliet'' was the only person qualified to play the leading role. Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production. ''Panic'' opened at the Imperial Theatre on March 15, 1935. Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff three years earlier in Universal's '' The Mummy''.

Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice."

He supervised the direction of ''Walk Together Chillun'' in 1936.

Federal Theatre Project

In 1936, the Federal Theatre Project of the Works Progress Administration put unemployed theatre performers and employees to work. The Negro Theatre Unit of the Federal Theatre Project was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer. Houseman describes the experience in one of his memoirs:

Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week. During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over.Houseman, John. ''Run-Through: A Memoir'', New York, 1972.

''Macbeth'' (1936)

Houseman immediately hired Welles and assigned him to direct ''Macbeth'' for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role. The incidental music was composed by Virgil Thomson. The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances. The play was regarded by critics and patrons as an enormous, if controversial, success. After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

... on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend.

Houseman later produced for the Negro Theatre Unit ''Turpentine'' (1936) without Welles.

In 1936, Houseman and Welles were running a WPA unit in midtown Manhattan for classic productions called Project No. 891. Their first production was Christopher Marlowe's '' Tragical History of Dr. Faustus'' which Welles directed while also playing the title role.

Houseman and Welles put on '' Horse Eats Hat'' (1936). Houseman, without Welles, helped in the direction of Leslie Howard's production of ''Hamlet'' (1936).

''The Cradle Will Rock'' (1937)

In June 1937, Project No. 891 produced their most controversial work with ''The Cradle Will Rock''. Written by Marc Blitzstein, the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer). The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show. Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year.

In his memoir, ''Run-Through'', Houseman wrote about the circumstances surrounding the opening night at the Maxine Elliott Theatre. All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937. The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following. No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music. One of the amateur performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part. All the other performers, in turn, stood up for their parts. Thus the "oratorio" version of the show was born. Apparently, Welles had designed some intricate scenery, which ended up never being used. The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night. The incident, however, led to Houseman being fired and Welles's resignation from Project No. 891.

Mercury Theatre

That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did ''The Cradle Will Rock'' as an independent production on Broadway. They also founded the acclaimed New York drama company, the Mercury Theatre. Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied.

Armed with a manifesto written by Houseman declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "...seem to have emotion or factual bearing on contemporary life." The company mounted several notable productions, the most remarkable being its first commercial production of ''Julius Caesar''. Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels."

Houseman and Welles later presented '' The Shoemaker's Holiday'' (1938), ''Heartbreak House'' (1938) and ''Danton's Death'' (1938).

Radio

Beginning in the summer of 1938, the Mercury Theatre was featured in a weekly dramatic radio program on the CBS network, initially promoted as ''First Person Singular'' before gaining the official title ''The Mercury Theatre on the Air''. An adaptation of ''Treasure Island'' was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script. However, a week before the show was to air, Welles decided that a program far more dramatic was required. To Houseman's horror, ''Treasure Island'' was abandoned in favor of Bram Stoker's ''Dracula'', with Welles playing the infamous vampire. During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script.

''The Mercury Theatre on the Air'' featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris.

"The War of the Worlds" (1938)

''The Mercury Theatre on the Air'' subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' ''The War of the Worlds'', which had put much of the country in a panic. By all accounts, Welles was shocked by the panic that ensued. According to Houseman, "he hadn't the faintest idea what the effect would be". CBS was inundated with calls; newspaper switchboards were jammed.

Without Welles, Houseman staged Douglas Moore's ''The Devil and Daniel Webster'' (1939).

Film producer

''Too Much Johnson'' (1938)

While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, '' Too Much Johnson'' (1938). The film was never publicly screened and no print of the film was thought to have survived. Footage was rediscovered in 2013.

'' Citizen Kane'' (1941)

The Welles-Houseman collaboration continued in Hollywood. In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects.

For his motion picture debut, Welles first considered adapting Joseph Conrad's ''Heart of Darkness'' for the screen. A 200-page script was written. Some models were constructed, while the shooting of initial test footage had begun. However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming. When RKO threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket. Houseman proclaimed that there wasn't enough money in their business account to pay anyone. During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook". As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship.

Houseman later, however, played a pivotal role in ushering ''Citizen Kane'' (1941), which starred Welles. Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J. Mankiewicz while he completed the script, and keep him away from alcohol. Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed. Although Welles took credit for the screenplay of ''Kane'', Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles. Houseman took some credit himself for the general shaping of the story line and for editing the script. In an interview with Penelope Huston for ''Sight & Sound'' magazine (Autumn, 1962) Houseman said that the writing of ''Citizen Kane'' was a delicate subject:

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her essay " Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault. He wanted to be given all the credit because he's a hog. Actually, it ''is'' his film. So it's a ridiculous argument."

Return to the theatre

After he and Welles went their separate ways, Houseman went on to direct ''The Devil and Daniel Webster'' (1939) and ''Liberty Jones'' (1941) and produced the Mercury Theatre's stage production of '' Native Son'' (1941) on Broadway, directed by Welles.

David O. Selznick

In Hollywood he became a vice-president of David O. Selznick Productions. His most notable achievement during that time was helping adapt and produce the adaptation of ''Jane Eyre'' (1943) which starred Joan Fontaine and Welles.

World War II

In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City.

Paramount

In 1945 Houseman signed a contract with Paramount Pictures to produce movies. His first credit for that studio was '' The Unseen'' (1945). He followed it with ''Miss Susie Slagle's'' (1945) and '' The Blue Dahlia'' (1946), both with Veronica Lake. The latter, starring Alan Ladd and written by Raymond Chandler, has become a classic.

He left Paramount and returned to Broadway to direct '' Lute Song'' (1946) with Mary Martin.

Back in Hollywood he produced '' Letter from an Unknown Woman'' (1948) for Max Ophuls at Universal.

RKO

Houseman went to RKO where he produced '' They Live by Night'' (1948) the directorial debut of Nicholas Ray. He also did '' The Company She Keeps'' (1949) and '' On Dangerous Ground'' (1951).

He returned to Broadway to produce ''Joy to the World'' (1949) and ''King Lear'' (195051), the latter with Louis Calhern.

MGM

RKO's head of production had been Dore Schary. When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted.

Houseman's stint at MGM began with '' Holiday for Sinners'' (1952); then he had a huge success with ''The Bad and the Beautiful'' (1952), directed by Vincente Minnelli. He followed it with the film adaptation of ''Julius Caesar'' (1953) (for which he received an Academy Award nomination for Best Picture)

Also popular was ''Executive Suite'' (1954), a highly creative adaptation by Ernest Lehman of Cameron Hawley's bestselling novel. However, although '' Her Twelve Men'' (1954), Minnelli's '' The Cobweb'' (1955) and Fritz Lang's '' Moonfleet'' (1955) all lost money. So did '' Lust for Life'' (1956), a biopic directed by Minnelli of Vincent van Gogh, although it was extremely well-received critically.

Television and theatre

Houseman moved into television producing, notably doing '' The Seven Lively Arts'' (1957) and episodes of ''Playhouse 90''.

He also returned to theatre, producing revivals of ''Measure for Measure'' (1957) and ''The Duchess of Malfi'' (1957).

Return to MGM

Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman Productions. His films were '' All Fall Down'' (1962), ''Two Weeks in Another Town'' (1962) and '' In the Cool of the Day'' (1963).

Return to television

Houseman returned to television where he made '' The Great Adventure'' and ''Journey to America'' (1964). He returned to Hollywood briefly to produce ''This Property Is Condemned'' (1966), then returned to TV for '' Evening Primrose'' (1966).

He returned to Broadway, directing ''Pantagleize'' (1967).

Teaching

The Juilliard School and The Acting Company

Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976. The first graduating class in 1972 included Kevin Kline and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, Kevin Conroy and Robin Williams.

Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company." Reprinting of the 1999 book, which described the relationship between the Juilliard School and The Acting Company at the time of the latter's founding. The organization was subsequently renamed The Acting Company, and has been active for more than 40 years. Houseman served as the producing artistic director through 1986, and Harley has been the company's producer since its founding. Writing in ''The New York Times'' in 1996, Mel Gussow called it "the major touring classical theater in the United States." Descriptive article on the occasion of the Company's 25th anniversary.

Theatre

Houseman continued to be involved in theatre, producing ''The School for Wives'' (1971), '' The Three Sisters'' (1973), ''The Beggar's Opera'' (1973), ''Scapin'' (1973), ''Next Time I'll Sing to You'' (1974), '' The Robber Bridegroom'' (1975), ''Edward II'' (1975), and '' The Time of Your Life'' (1975)

He directed '' The Country Girl'' (1972), '' Don Juan in Hell'' (1973), '' Measure for Measure '' (1973), and ''Clarence Darrow'' (1974) (with Henry Fonda).

In 1979, Houseman earned induction into the American Theater Hall of Fame

Acting

Houseman had acted occasionally during the early part of his career and he had a brief but important part in '' Seven Days in May'' (1964).

Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film '' The Paper Chase'' (1973). The film was a success and launched Houseman into an unexpected late career as a character actor.

Houseman played Energy Corporation Executive Bartholomew in the film '' Rollerball'' (1975), and was in the thrillers ''Three Days of the Condor'' (1975) and '' St Ives'' (1976).

Houseman appeared on TV in '' Fear on Trial'' (1975), ''The Adams Chronicles'' (1976), ''Truman at Potsdam'' (1976), '' Hazard's People'' (1976) and ''Six Characters in Search of an Author'' (1976). Houseman was reunited with '' The Paper Chase'' co-star Lindsay Wagner in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series ''The Bionic Woman'' and ''The Six Million Dollar Man''; he played the scientific genius Dr. Franklin.

He continued appearing on TV in '' Captains and the Kings'' (1976), '' The Displaced Person'' (1977), a version of ''Our Town'' (1977), '' Washington: Behind Closed Doors'' (1977), ''The Best of Families'' (1977), ''Aspen'', ''The Last Convertible'' (1978), '' The French Atlantic Affair'' (1978) and '' The Associates'' (1980).

In films he parodied Sydney Greenstreet in the Neil Simon film ''The Cheap Detective'' (1978) and was in '' Old Boyfriends'' (1980), John Carpenter's ''The Fog'' (1980), '' Wholly Moses!'' (1981) and '' My Bodyguard'' (1981).

Houseman briefly returned to producing with the TV movie '' Gideon's Trumpet'' (1980), which he also appeared in and '' Choices of the Heart'' (1983). He produced one more show on Broadway, ''The Curse of an Aching Heart'' (1982).

He acted in '' The Babysitter'' (1980), '' A Christmas Without Snow'' (1980), ''Ghost Story'' (1981), ''Mork & Mindy'', '' Murder by Phone'' (1982) (second billed), ''Marco Polo'' (1982), and ''American Playhouse'' (1982).

Television star

Having played a Harvard Law School professor in the film '' The Paper Chase'' (1973), he reprised the role in a television series of the same name, which ran from 1978 to 1979 and 1983 to 1986. During that time, he received two Golden Globe nominations for "Best Actor in a TV Series—Drama".

In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in ''Silver Spoons'', which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way... they ''earn it''." Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test'.

He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries '' The Winds of War'' (receiving a fourth Golden Globe nomination). He declined to reprise the role in the sequel '' War and Remembrance'' miniseries (the role then went to Sir John Gielgud).

However he was in the miniseries '' A.D.'' (1984), '' Noble House'' (1986), and '' Lincoln'' (1988).

Writing

Between and sometimes during engagements, he contributed articles and book reviews to national publications, and wrote three volumes of memoirs, which are a chronicle of an era as well as a testimony to his phenomenal powers of recall: ''Run Through'' (1972), ''Front and Center'' (1979) and ''Final Dress'' (1983). In 1986 he published ''Entertainers and the Entertained.'' A fourth volume, ''Unfinished Business: Memoirs, 1902 to 1988,'' a distillation of his earlier books with some new material, was published in 1988.

Personal life

Houseman was married to Zita Johann from 1929 to 1933. She was a stage actress when they married and he was a successful grain dealer until the 1929 Stock Market crash, at which point he became destitute and she encouraged him to pursue a new career in the theater.

Houseman was in a relationship with actress Joan Fontaine after her marriage to actor Brian Aherne ended in 1945.

In 1952, Houseman married Joan Courtney, a British actress born in 1916. They had two sons together. Under the name "Joan Houseman," she acted in TV and film in the 1950s and 1960s. The couple was married until his death in 1988.

Final years and death

Later film appearances included '' Bright Lights, Big City'' (1988) and '' Another Woman'' (1988).

In 1988, he appeared in his last two roles—cameos in the films '' The Naked Gun: From the Files of Police Squad!'' and ''Scrooged''. He played a driving instructor (whose mannerisms parodied many of his prior roles) in the former, and himself in the latter. Both films were released after his death.

On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California.

In popular culture

Houseman was portrayed by Cary Elwes in the Tim Robbins–directed film ''Cradle Will Rock'' (1999). Actor Eddie Marsan plays the role of Houseman in Richard Linklater's film '' Me & Orson Welles'' (2009). Houseman was played by actor Jonathan Rigby in the ''Doctor Who'' audio drama '' Invaders from Mars'' set around the ''War of the Worlds'' broadcast. Actor Sam Troughton portrayed Houseman in the 2020 film ''Mank''.

Filmography

Film

As actor (film)

As producer (film)

Television

As actor (television)

As producer (television)

References

External links

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"The Theatre: Marvelous Boy"
– ''Time'', May 9, 1938

Interviews with Howard Koch on the infamous Mercury Theatre's War of the Worlds radio broadcast

{{DEFAULTSORT:Houseman, John
1902 births
1988 deaths
Male actors from Bucharest
Deaths from bone cancer in California
American male film actors
American theatre managers and producers
American radio producers
American radio writers
Film producers from California
American male screenwriters
American people of French-Jewish descent
American people of Irish descent
American people of Welsh descent
British male film actors
20th-century American male actors
20th-century British male actors
People educated at Clifton College
Juilliard School faculty
Jewish American male actors
Jewish theatre directors
Federal Theatre Project administrators
Best Supporting Actor Academy Award winners
Best Supporting Actor Golden Globe (film) winners
Voice of America people
Romanian emigrants to the United Kingdom
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British people of Jewish descent
20th-century American male writers
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