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Hester Sondergaard
Hester Sondergaard
Hester Sondergaard
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Hester Sondergaard (July 5, 1903 – February 26, 1994)[1] was an American actress.

Key Information

Early years

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Born in Litchfield, Minnesota,[2] Sondergaard was the daughter of Hans T. Søndergaard, a dairy instructor at a university, and the sister of actress Gale Sondergaard.[3] When she was a child, she played violin with Midwestern Chautauqua companies.[2] She attended the University of Minnesota,[4] where she was active in productions of the Masquers Club.[3]

Career

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Sondergaard's first professional speaking part came in 1924.[3] After college, she acted with the Wisconsin Players and in venues that included the Civic Repertory Theater in New York.[4] Her Broadway credits include Galileo (1947), My Heart's in the Highlands (1939), Marching Song (1937), Bitter Stream (1936), Mother (1935), and Black Pit (1935).[5]

On radio, Sondergaard was an organizer of The American School of the Air.[4] She also acted on Portia Faces Life, Road of Life, Wendy Warren and the News,[2] and We Love and Learn.[6] An article in the December 1949 issue of Radio and Television Mirror magazine described Sondergaard as having "one of the largest repertories [sic] of dialects of any actress", being able to sound authentic in roles using any of 11 accents.[2]

Sondergaard taught dramatics at the Dramatic School of New York.[4]

Personal life

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In 1949, Sondergaard married politician Hugh De Lacy.[7]

References

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Hester Sondergaard

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Hester Sondergaard is an American actress known for her extensive work in Broadway theater and radio drama during the 1930s and 1940s, as well as supporting roles in a handful of films, and for being the younger sister of Academy Award-winning actress Gale Sondergaard. Her career encompassed notable stage productions and frequent appearances on prominent radio programs before being severely curtailed by the Hollywood blacklist in the early 1950s. Born on July 5, 1903, in Litchfield, Minnesota, to Danish immigrant parents Hans Tjellesen Smidt Sondergaard and Anna Kirsten Holm, she moved with her family to Minneapolis in 1912. She attended Central High School and the University of Minnesota, graduating in 1925 after participating actively in dramatic clubs, orchestra, and athletics. Moving to New York City to pursue acting alongside her sister Gale, Sondergaard appeared in Broadway shows including The Black Pit (1935), No For An Answer (1941), and Galileo (1947), often collaborating with left-leaning playwrights and performers. She became a regular presence in radio, performing on series such as Studio One, Ford Theatre, CBS Columbia Presents Corwin, and others throughout the 1940s. Her limited film credits include Seeds of Freedom (1943), The Naked City (1948), Jigsaw (1949), and The Big Break (1953). Sondergaard's acting career was effectively ended by the Red Scare and her inclusion in Red Channels in 1950, influenced by her professional associations, political ties through her husband former Congressman Hugh De Lacy (married 1952, divorced 1960), and her family connection to her blacklisted sister Gale. She later retrained as a licensed speech pathologist, maintaining a private practice in Los Angeles into the 1970s. She died on February 26, 1994, in Torrance, California.

Early life and family

Birth and family background

Hester Sondergaard was born on July 5, 1903, in Litchfield, Minnesota, to Danish immigrant parents Hans Tjellesen Smidt Sondergaard and Anna Kirsten Holm. Her father had immigrated from Rodding, Denmark, in 1890 and established himself as a master butter maker at the Litchfield Creamery, where he played a key role in the local dairy industry. The family formed part of Minnesota's Danish-American community, reflecting the broader pattern of Scandinavian immigration and settlement in the region during that era. Hester was the younger sister of Gale Sondergaard, who later became an Academy Award-winning actress, and had another sister named Ragni Holm. The Sondergaard household in Litchfield emphasized the parents' Danish heritage, with Hans Sondergaard's expertise in butter making contributing to the family's stability and community standing. In 1912, when Hester was nine years old, the family relocated to Minneapolis after Hans Sondergaard accepted a position as a federal butter inspector. This move marked a transition in their early family life while preserving their Danish-American roots in Minnesota.

Education and early interests

Hester Sondergaard attended the University of Minnesota after graduating from Central High School in 1920. She earned a Bachelor of Science degree from the university in 1925. During her time at the University of Minnesota, Sondergaard participated actively in extracurricular activities, including membership in the Women's Athletic Association and the Trailer Club. She played on the women's hockey team and served as field hockey team manager during her junior year. Sondergaard maintained an early interest in music by continuing to play the violin in the University Symphony Orchestra and serving as secretary-treasurer of the Music Club, building on the influence of her family background. Her involvement in the Masquers Dramatic Club and Paint and Patches, where she performed in supporting and leading roles, reflected an emerging passion for performance and theater. After completing her degree in 1925, Sondergaard moved to New York City to pursue acting professionally.

Acting career

Theater roles

Hester Sondergaard built her acting career primarily in the theater, appearing in supporting roles across several notable Broadway and New York stage productions during the 1930s and 1940s. She was associated with respected theater companies, including the Civic Repertory Theatre and The Group Theatre, reflecting her engagement with serious dramatic works of the era. Her Broadway credits began in 1935 with two productions at the Civic Repertory Theatre: Black Pit, in which she played Mary Lakavitch, and Mother, where she took on multiple roles including Masha, A Woman in Black, Another Tenant, and Woman. The following year, she appeared as Lisabetta in Bitter Stream (1936) at the Civic Repertory Theatre. In 1937, she portrayed Mrs. Malucci in Marching Song at the Nora Bayes Theatre. One of her most recognized stage performances came in 1939, when she played Johnny's Grandmother in the original Broadway production of William Saroyan's My Heart's in the Highlands, presented by The Group Theatre at the Guild Theatre. Later, in 1947, she appeared as Sarti in Galileo at Maxine Elliott's Theatre. These roles underscored her consistent presence in ensemble-driven American theater during a formative period for modern drama.

Radio work

Hester Sondergaard established herself as a versatile radio actress during the golden age of American broadcasting, particularly from the 1930s through the 1940s, when she appeared in a broad spectrum of programs ranging from anthology dramas to daytime serials and educational broadcasts. She frequently took supporting roles in prestigious anthology series, including Fletcher Markle's Studio One and Ford Theatre, where her performances contributed to adaptations of literary and dramatic works. Among her notable anthology appearances, Sondergaard was a regular performer on the CBS series Columbia Presents Corwin in 1944 and acted on NBC's Mystery Theatre and Arch Oboler's Radio Hall of Fame. She received acclaim for her role in Arch Oboler's play Another World (also known as Alter Ego), which was highlighted in contemporary reviews. In June 1948, she appeared in the Studio One episode "Let Me Do the Talking," a behind-the-scenes drama about literary ambition. Sondergaard also lent her voice to daytime radio serials, including Portia Faces Life, Road of Life, Wendy Warren and the News, and We Love and Learn in 1944, demonstrating her range across dramatic and ongoing narrative formats. Her radio engagements encompassed diverse genres such as docudramas, public service announcements, ethnic programs, educational shows, historical reenactments, and nonfiction features, often alongside prominent performers of the era. This phase of her career ran concurrently with her theater work in New York, underscoring radio's role as a vital outlet for her talents as a voice actress.

Film appearances

Hester Sondergaard's film career was notably limited, consisting of only four feature film appearances between 1943 and 1953, a stark contrast to her extensive work in theater and radio. She made her screen debut in the production Seeds of Freedom (1943), where she played a speaker in a small role. In 1948, she appeared in the acclaimed film noir The Naked City, directed by Jules Dassin, portraying the uncredited role of Miss Owens, a nurse. The following year, she played Mrs. Borg in Jigsaw (1949), a crime drama co-starring Henry Fonda and Burgess Meredith. Her final film role came in The Big Break (1953), where she portrayed an agency girl. These supporting or uncredited parts marked the extent of her cinematic output, which ended amid the era's industry challenges during the Red Scare.

Personal life

Marriage to Hugh DeLacy

Hester Sondergaard married Emerson Hugh DeLacy in 1949 in Cleveland, Ohio. DeLacy was a former U.S. Congressman who represented Washington's 1st congressional district from 1945 to 1947 as a New Deal Democrat known for his outspoken left-wing positions on labor, housing, foreign policy, and opposition to the House Committee on Un-American Activities. At the time of the marriage, he served as Ohio state director for Henry Wallace's Independent Progressive party. The couple was on their honeymoon by July 1949, as reported in contemporary news coverage. Their marriage ended in divorce in 1960.

Later career

Transition to speech pathology

After her acting career was curtailed by the Hollywood blacklist in the early 1950s, Hester Sondergaard returned to school and retrained as a licensed speech pathologist. She obtained a Certificate of Clinical Competence in Speech Pathology (CCC-SP) from the American Speech and Hearing Association and maintained a private practice in Los Angeles at 1924 Lake Shore Avenue. She was listed as a full-time private practitioner in the 1968 Guide to Clinical Services in Speech Pathology and Audiology published by the American Speech and Hearing Association. Her practice continued into the 1970s. She moved to California in 1959 following her marriage to former Congressman Hugh De Lacy (they divorced in 1960).

Death and legacy

Final years and death

In her later years, Hester Sondergaard resided in California, where she had established a life after retiring from her earlier professions. She died on February 26, 1994, in Torrance, California, at the age of 90. Her ashes were cremated and scattered in the Pacific Ocean near Santa Monica, California, in the same location as those of her sister Gale Sondergaard, in accordance with her last wishes.

Legacy and family connections

Hester Sondergaard's legacy is primarily that of a committed theater and radio actress whose work in progressive productions during the 1930s and 1940s has been overshadowed by the greater fame of her older sister, Gale Sondergaard. She is frequently described as "the other Sondergaard daughter" in accounts of their family, reflecting how Gale's Academy Award and prominent film career eclipsed Hester's contributions despite her own notable stage roles and extensive radio performances. The sisters maintained a close lifelong bond, with Hester assisting Gale with correspondence and other needs during Gale's declining health in later years. Their shared family history included Danish immigrant roots and involvement in left-leaning cultural circles, which contributed to both being affected by the Hollywood blacklist in the early 1950s. Hester's ashes were scattered in the Pacific Ocean near Santa Monica in the same location as Gale's, underscoring the enduring connection between them. Her inclusion in scholarly projects documenting blacklisted progressive women performers preserves recognition of her role in socially engaged theater and radio during that era. Documentation of her subsequent career as a licensed speech pathologist remains limited, contributing to the relatively modest historical coverage of her life beyond acting.
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