Edith Evans

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English actress (1888–1976)

title: "Edith Evans" type: doc version: 1 created: 2026-02-28 author: "Wikipedia contributors" status: active scope: public tags: ["actresses-awarded-damehoods", "best-british-actress-bafta-award-winners", "best-drama-actress-golden-globe-(film)-winners", "dames-commander-of-the-order-of-the-british-empire", "english-christian-scientists", "english-film-actresses", "english-stage-actresses", "actresses-from-london", "english-shakespearean-actresses", "1888-births", "1976-deaths", "silver-bear-for-best-actress-winners", "actors-from-the-city-of-westminster", "20th-century-english-actresses", "converts-to-christian-science-from-anglicanism", "people-from-pimlico"] description: "English actress (1888–1976)" topic_path: "arts" source: "https://en.wikipedia.org/wiki/Edith_Evans" license: "CC BY-SA 4.0" wikipedia_page_id: 0 wikipedia_revision_id: 0

::summary English actress (1888–1976) ::

::data[format=table title="Infobox person"]

Field	Value
image	Dame Edith Evans 4 Allan Warren.jpg
caption	Dame Edith Evans in a 1972 portrait
honorific_prefix	Dame
name	Edith Evans
honorific_suffix
birth_name	Edith Mary Evans
birth_date
birth_place	Pimlico, London, England
death_date
death_place	Cranbrook, Kent, England
occupation	Actress
years_active	1910–1976
spouse
::

Dame Edith Mary Evans (8 February 1888 – 14 October 1976) was an English actress. She was best known for her work on the West End stage, but also appeared in films at the beginning and towards the end of her career. Between 1964 and 1968, she was nominated for three Academy Awards.

Evans's stage career spanned sixty years, during which she played more than 100 roles, in classics by Shakespeare, Congreve, Goldsmith, Sheridan and Wilde, and plays by contemporary writers including Bernard Shaw, Enid Bagnold, Christopher Fry and Noël Coward. She created roles in two of Shaw's plays: Orinthia in The Apple Cart (1929), and Epifania in The Millionairess (1940) and was in the British premières of two others: Heartbreak House (1921) and Back to Methuselah (1923).

Evans became widely known for portraying haughty aristocratic women, as in two of her most famous roles as Lady Bracknell in The Importance of Being Earnest, and Miss Western in the 1963 film of Tom Jones. During her performance as Lady Bracknell, her elongated delivery of the line 'A handbag' has become synonymous with the Oscar Wilde play. By contrast, she played a downtrodden maid in The Late Christopher Bean (1933), an eccentric, impoverished old woman in The Whisperers (1967) and – one of her most celebrated roles – Nurse in Romeo and Juliet, which she played in four productions between 1926 and 1961.

Life and career

::callout[type=note] For lists of Evans's roles see Edith Evans – stage and film roles ::

Early years

Evans was born in Pimlico, London, the daughter of Edward Evans, a junior civil servant in the General Post Office, and his wife, Caroline Ellen née Foster. She had one sibling, a brother who died at the age of four. She was educated at St Michael's Church of England School, Pimlico, before being apprenticed at the age of 15 in 1903 as a milliner. She commented in later years that she loved the rich and beautiful materials of the craft, but could not manage to make two hats alike. Poel then cast her as Cressida in Troilus and Cressida in London and subsequently at Stratford-upon-Avon. The critic of The Manchester Guardian found her diction inadequate, but otherwise approved: "Miss Edith Evans, who, without quite the invincible charm for Cressida, gave an interesting performance".

::figure[src="https://upload.wikimedia.org/wikipedia/commons/c/cf/Edith-Evans-Globe-1922.jpg" caption="In ''The Laughing Lady'', 1922"] ::

Evans's West End debut was in George Moore's Elizabeth Cooper in 1913. The play received poor notices, but Evans was praised: "In the very small part of a maid Miss Edith Evans made the success of the afternoon. She put more into her few minutes than most of our approved 'stars' can suggest in leading parts." In January 1914 she made her professional Shakespearian debut as Gertrude in Hamlet.

In 1914, at Moore's instigation, Evans was given a year's contract by the Royalty Theatre in Soho. She played character roles in comedies, as a junior member of casts that included Gladys Cooper and Lynn Fontanne. Over the next ten years she polished her craft in a wide range of parts. She then appeared in East is East in 1917, but thereafter made no more films for over thirty years. She toured in Shakespeare with Ellen Terry's company in 1918, appeared in light comedy alongside the young Noël Coward (Polly With a Past, 1921) and played five new Shavian roles, Lady Utterword in Heartbreak House (1921) and the Serpent, the Oracle, the She-Ancient and the ghost of the Serpent in Back to Methuselah (1923). In 1922 she made what J. T. Grein in The Illustrated London News called "a personal triumph" in Alfred Sutro's comedy The Laughing Lady.

Stardom

::callout[type=note] For Evans's roles in this period see [[Edith Evans – stage and film roles#ee24 ::

By this time Evans was well known to the critics, and frequently received excellent notices; with her performance as Millamant in The Way of the World in 1924 she achieved wide public fame for the first time. Nigel Playfair cast her as the strong-willed and witty heroine in his revival of Congreve's Restoration comedy at the Lyric Hammersmith, in 1924. The critics resorted to superlatives: James Agate wrote, "Let me not mince matters. Miss Edith Evans is the most accomplished of living and practising English actresses." Arnold Bennett noted in his journals that this Millamant was the finest comedy performance he had ever seen. Her colleagues too were struck by the performance. John Gielgud recalled:

In the 1925–26 season, Evans joined the company of the Old Vic, playing Portia in The Merchant of Venice, Cleopatra in Antony and Cleopatra, Katherina in The Taming of the Shrew, Rosalind in As You Like It, Mistress Page in The Merry Wives of Windsor, Beatrice in Much Ado and Nurse in Romeo and Juliet – one of her most celebrated roles.|group= n}} The schedule of rehearsals and performances was hectic. She recalled, "It was altogether a momentous season for me. I lost 17lb in weight and on the only free day from rehearsal ran off and got married."

Looking back in 1976 at Evans's career The Times observed that the two decades after her success as Millamant showed the range of her talent. The paper counted among her "performances of absolute assurance" in this period those in Tiger Cats (1924), The Beaux' Stratagem (1927), The Lady with a Lamp (1929), and The Apple Cart (1929) in which she played Orinthia, the king's mistress, a role written for her by Shaw. Evans later admitted, "I don't like Orinthia very much."|group= n}} During the 1930s she played in several Broadway seasons, some productions transferred from London and others new. While she was in New York playing the Nurse opposite Katharine Cornell as Juliet, Evans's husband died suddenly in London. She returned, devastated, and encouraged by colleagues found solace by throwing herself into her work.

Evans's notable roles of the 1930s included Irela in Evensong (1932), Gwenny in The Late Christopher Bean (1933), four Shakespeare parts, and in 1939 Lady Bracknell in The Importance of Being Earnest. She played the last of these on and off for seven years, on tour and in London, and by 1947, when a Broadway run was offered, she declined to act in the piece again. She played Lady Bracknell on film (1952) and television (1960) but never again on the stage.

During the Second World War Evans joined an ENSA company travelling to Gibraltar to entertain Allied troops. The following year she played in a West End revival of Heartbreak House, this time playing Hesione Hushabye.

Postwar

::callout[type=note] For Evans's stage and film roles in this period see [[Edith Evans – stage and film roles#eepostwar ::

Evans played Shakespeare's Cleopatra for the last time in 1946–47, in her late fifties. Her performance divided the critics: opinions varied from "an agonising disaster" to "a joy to watch". Kenneth Tynan said, "Lady Bracknell has been involved in a low Alexandrian scandal". which he took to mean that she could not contemplate the character's "explicit admission of evil". Evans once remarked, "I don't think there is anything extraordinary about me except this passion for the truth", a passion revered by Gielgud and others, but one that prevented her from attempting a character whose essence she could not understand. She said to Shaw that she had been asked to play Volumnia in Coriolanus, but "isn't she a bloodthirsty old harridan? I could never play her." This did not mean that she had to like the characters she played, but she had to understand them. When she first read through the role of Lady Bracknell with Gielgud she commented, "I know those sort of women. They ring the bell and tell you to put a lump of coal on the fire."

::figure[src="https://upload.wikimedia.org/wikipedia/commons/7/75/Blue_plaque_Edith_Evans.jpg" caption="[[Blue plaque]] at Evans's home"] ::

In 1948 Evans returned to the film studios after an absence of more than thirty years. At the instigation of Emlyn Williams she appeared in The Last Days of Dolwyn. and Allan Aynesworth, who had created the role of Algernon in The Importance of Being Earnest in 1895. This was Aynesworth's last film; Evans went on to make eighteen more over the next three decades. She played an elderly Welsh woman,

In the theatre, Evans returned to The Way of the World in 1948, exchanging the role of Millamant for that of the formidable old Lady Wishfort. The production received mixed notices, and Evans's Wishfort – "like a preposterous caricature of Queen Elizabeth" – though much admired, overshadowed the rest of the cast. In November of the same year she made one of her rare appearances in Chekhov, as Ranevskaya in The Cherry Orchard. Her performance divided opinion: in The Observer Ivor Brown wrote of "the glorious impact of an authentic genius at the highest level of world-theatre", but the anonymous reviewer in The Times thought that she "remains, a little mysteriously, outside of the character".

Over the next ten years Evans played in only six stage productions because she appeared in long-running West End plays. From March 1949 to November 1950 she appeared as Lady Pitts in Daphne Laureola in London and then New York. At the Haymarket she played Helen Lancaster in Waters of the Moon, which ran for more than two years. In April 1954 she played Countess Rosmarin Ostenburg in The Dark Is Light Enough, and at the Haymarket she was Mrs St Maugham in The Chalk Garden from April 1956 to November 1957. In May 1958 she returned to the Old Vic company, playing Queen Katharine in Henry VIII in London and then at the Shakespeare Memorial Theatre, Stratford-upon-Avon. At the same theatre in the 1959 season she played the Countess of Rousillon in All's Well That Ends Well, and, despite her earlier words to Shaw, Volumnia in Coriolanus. In the 1950s she made three films, The Importance of Being Earnest (1952) - in which she famously gave an exaggerated delivery of the line "A handbag?" - Look Back in Anger (1959) and The Nun's Story (1959).

1960s and 1970s

In 1960 Evans played Judith Bliss in a television production of Noël Coward's Hay Fever. In the 1961 Stratford season Evans played Queen Margaret in Richard III and appeared for the last time as the Nurse in Romeo and Juliet. At the Queen's Theatre in November 1963, she played Violet in Gentle Jack by Robert Bolt. In 1964 in a production for the National Theatre, she returned to the role of Judith Bliss in Hay Fever, heading a cast that in Coward's words "could play the Albanian telephone directory". Her films from the first half of the 1960s were Tom Jones (1963), The Chalk Garden and Young Cassidy (both made in 1964). Her biggest film part of the 1960s was the central character, Mrs Ross, in The Whisperers (1967) for which she received an Oscar nomination and five major awards. After that her screen appearances were in supporting roles in ten more films. When she was 87 she played the Dowager Queen in The Slipper and the Rose (1976), in which she sang and danced.

Evans's last stage roles were Mrs Forrest in The Chinese Prime Minister at the Globe (1965), the Narrator in The Black Girl in Search of God at the Mermaid (1968), and Carlotta in Dear Antoine, Chichester Festival (1971). After she found learning new roles too much, she presented an anthology of prose, poetry and music under the title Edith Evans and Friends, both in the West End and elsewhere.

Bryan Forbes, who had directed Edith Evans in The Whisperers and The Slipper and the Rose, wrote her biography Ned's Girl, first published in 1977.

Evans died at her home in Cranbrook, Kent, on 14 October 1976, aged 88.

Honours

Evans was appointed Dame Commander of the Order of the British Empire (DBE) by King George VI in 1946.

Evans received honorary degrees from the universities of London (1950), Cambridge (1951), Oxford (1954) and Hull (1968).

Evans was painted by Walter Sickert as Katharina in Shakespeare's The Taming of the Shrew. For many years a sculpted head of Evans was on display at the Royal Court Theatre. In 1977 a portrait by Henry Glintenkamp was sold as part of her estate.

Last resting place and memorial

Evans's ashes are interred at St Paul's, Covent Garden, London. A blue plaque was unveiled outside her house at 109 Ebury Street, London, in 1997.

Awards and nominations

::data[format=table]

Award	Year	Category	Nominated work
Academy Awards	1964	Best Supporting Actress	Tom Jones
1965	The Chalk Garden
1968	Best Actress	The Whisperers
BAFTA Awards	1964	Best British Actress	Tom Jones
1965	The Chalk Garden
1968	The Whisperers
Golden Globe Awards	1960	Best Supporting Actress – Motion Picture	The Nun's Story
1968	Best Actress in a Motion Picture – Drama	The Whisperers
Primetime Emmy Awards	1970	Outstanding Single Performance by an Actress in a Leading Role	David Copperfield
Berlin International Film Festival Awards	1967	Silver Bear for Best Actress	The Whisperers
::

Other film acting awards

Edith Evans was cited as Best Supporting Actress by the National Board of Review (NBR) for The Nun's Story in 1959. The NBR also cited her as Best Supporting Actress for The Chalk Garden in 1964 and as Best Actress for The Whisperers in 1967. Her role in The Whisperers also won her awards from the British Film Academy, the Hollywood Foreign Press Association, and the New York Film Critics Circle.

Sources

References

(2 August 1912). "''Sakuntala'' at Cambridge". [[The Manchester Guardian]].
(11 December 1912). "Mr. Joel's Production of ''Troilus And Cressida''". The Manchester Guardian.
(15 October 1976). "Dame Edith Evans – An actress of genius and dedication". [[The Times]].
(25 June 1913). "Mr George Moore's New Play". The Manchester Guardian.
Gaye, pp. 579–581
Forbes, Bryan. [http://www.oxforddnb.com/view/article/31087 "Evans, Dame Edith Mary (1888–1976)"], Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, January 2011, accessed 1 August 2013 {{ODNBsub
(22 April 1914). "Mr. Knoblauch's New Play: ''My Lady's Dress'' at The Royalty". The Manchester Guardian.
(26 April 1914). "My Lady's Dress". [[The Observer]].
McFarlane, Brian, and Slide, Anthony, ''The Encyclopedia of British Film: Fourth edition'', [https://books.google.com/books?id=U3C5DwAAQBAJ&dq=honeymoon+for+three+1915+edith+evans&pg=PA2007-IA123 link]
Quinlan, David, ''Quinlan's Film Stars'', [https://books.google.com/books?id=KH4kmZJiUtwC&dq=honeymoon+for+three+1915+edith+evans&pg=PA171 link]
[https://web.archive.org/web/20120804022556/http://explore.bfi.org.uk/4ce2b9f4c22a9 "Edith Evans filmography"], British Film Institute, accessed 5 August 2013
(16 October 1921). "Mr. Shaw on ''Heartbreak House''". [[The Observer]].
[http://www.birmingham-rep.co.uk/rep100/266 "Back to Methuselah!"] {{webarchive. link. (6 November 2013 , Birmingham Repertory Theatre programme, October 1923)
Grein, J. T.. (2 December 1922). "The World of the Theatre". The Illustrated London News.
Billington, Michael. (15 October 1976). "Dame Edith Evans: 'The greatest actress of her times' died yesterday, aged 88". [[The Guardian]].
(8 February 1924). "Congreve at Hammersmith". The Manchester Guardian.
Agate (1925), p. 83
Bennett, p. 764
Gielgud, p. 72
{{#tag:ref. In ''[[The Daily Telegraph]]'' [[William Aubrey Darlington. W A Darlington]] called Evans's Nurse "as earthy as a potato, as slow as a cart-horse, and as cunning as a badger".''Quoted'' in Agate (1976), p. 36
Gielgud, p. 137
(26 September 1945). "Criterion Theatre". [[The Times]].
Brown, Ivor. (30 September 1945). "Theatre and life". [[The Observer]].
Hart-Davis, p. 12
(21 December 1946). "Piccadilly Theatre". [[The Times]].
The cast included Williams, [[Richard Burton]], in his first film,[https://web.archive.org/web/20120715154735/http://explore.bfi.org.uk/4ce2b9f4ab491 "Richard Burton"], British Film Institute, accessed 6 August 2013
(18 March 1949). "Warner Cinema". [[The Times]].
(22 October 1948). "New Theatre". [[The Times]].
Brown, Ivor. (24 October 1948). "Plots And Finery". [[The Observer]].
Brown, Ivor. (28 November 1948). "Assorted Fruits". [[The Observer]].
(26 November 1948). "New Theatre". The Times.
Crozier, Mary. (25 May 1960). "Television". [[The Guardian]].
Osborne, p. 305 and Gibbons, p. 80
Coward, p. xiv
Forbes, Bryan. (1977). "Dame Edith Evans: Ned's girl". [[Little, Brown and Company]].
Leary, Daniel J.. (November 1979). "Review of Dame Edith Evans: Ned's Girl, by B. Forbes". The Independent Shavian.
[http://www.ukwhoswho.com/view/article/oupww/whowaswho/U154291 "Evans, Dame Edith (Dame Edith Mary Booth)"], ''Who Was Who'', online edition, Oxford University Press, December 2012, accessed 5 August 2013 {{subscription required
[http://www.npg.org.uk/collections/search/portrait/mw235719/Dame-Edith-Evans-Dame-Edith-Mary-Booth National Portrait Gallery collection]
(10 December 1976). "Memorial Service: Dame Edith Evans". [[The Times]].
[http://www.english-heritage.org.uk/discover/blue-plaques/search/evans-dame-edith-1888-1976 "Evans, Dame Edith (1888–1976)"], English Heritage, accessed 5 August 2013.

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