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Mary Ellis
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Mary Ellis
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Mary Ellis (born May Belle Elsas; June 15, 1897 – January 30, 2003) was an American actress and singer who spent most of her career in Britain. Trained as a lyric soprano, she began performing at the Metropolitan Opera where she created the role of Genovieffa in the world premiere of Giacomo Puccini's Suor Angelica in 1918. In 1924, she originated the title role in Rudolf Friml's operetta Rose-Marie at Broadway's Imperial Theatre. Other Broadway parts included Shakespeare roles such as Kate in The Taming of the Shrew.

Key Information

After immigrating to England in 1930, Ellis performed in musicals in London's West End. She achieved enduring fame in the leading roles of the original productions of two Ivor Novello pieces: Glamorous Night (1935) and The Dancing Years (1938). After performing welfare work in hospitals during World War II, she returned to acting in London in plays by Noël Coward, Terence Rattigan and Shakespeare. She also worked in radio, television and film; including in The 3 Worlds of Gulliver in 1960. Her career spanned more than half a century of her 105-year-long life.[1]

Biography

[edit]

Ellis was born in Manhattan in New York City, to German parents, Herman Elsas and Caroline Elsas (née Reinhardt), who was a pianist.[1] She first became interested in performing around 1910, and in a vocational course began to train her lyric soprano voice under the tutelage of Belgian contralto Freida de Goebele and Italian operatic coach Fernando Tanara.[2]

She made her debut with the Metropolitan Opera on December 14, 1918, in the world premiere of Puccini's Il trittico, creating the role of Genovieffa in Suor Angelica, the second of the evening's three one-act operas.[2] Later in the run, she also played Lauretta in the third opera of the triptych, Gianni Schicchi.[2] She also appeared in the premiere of L'oiseau bleu by Albert Wolff, singing Mytyl, in 1919. While in the Metropolitan company she sang Giannetta in L'elisir d'amore to Enrico Caruso's Nemorino and Fyodor in Boris Godunov to Feodor Chaliapin's Boris.[2]

Mary Ellis, from a 1929 publication
Mary Ellis, from a 1929 publication

On Broadway, Ellis played the roles of street urchin and errand girl in Louis in 1921, Nerissa in the 1922 production of Merchant of Venice and The Dancer from Milan in Casanova (1923). She gained wider notice by creating the title role in Rudolf Friml's long-running operetta Rose-Marie in 1924.[2] She played Leah in The Neighborhood Playhouse's 1925 adaptation of The Dybbuk, and her later Broadway roles included Anna in The Crown Prince (1927), Kate in a long-running revival of The Taming of the Shrew (1927–1928), The Baroness of Spangenburg 12,000 (1928) and Jennifer in Meet the Prince. In 1929 she acted the title role in Becky Sharp in the Players' Club adaptation of Vanity Fair, and played Laetitia in 1930 in Children of Darkness.[citation needed]

In 1930, Ellis emigrated to England with Basil Sydney, her third husband, whom she had married in 1929. In London's West End, she starred in Jerome Kern's Music in the Air (1933) and went on to her best remembered roles as the heroines of three Ivor Novello operettas: Glamorous Night (1935), The Dancing Years (1939) and Arc de Triomphe (1943).[2] She also starred in several films in the 1930s, including a film version of Glamorous Night in 1937.

For most of World War II, Ellis was absent from the theatre, performing welfare work in hospitals, and from time to time giving concerts to entertain members of the armed forces.[3] Returning to the stage after the war, Ellis was successful in the 1944 and 1947 British productions of Noël Coward's melodrama Point Valaine, playing a hotel keeper in a sordid, clandestine relationship with her head waiter.[4] In 1948 she gave one of her most praised performances as the embittered Millie Crocker-Harris in Terence Rattigan's The Browning Version.[4] In 1952 she played Volumnia in Coriolanus for the nine-month Stratford season.[3]

In 1954, Ellis was cast as Mrs. Erlynne in Coward's musical After the Ball, but her singing voice had deteriorated drastically, and much of her music had to be cut.[5] Coward blamed her performance for the relative failure of the show.[6] She appeared in the 1960 movie The 3 Worlds of Gulliver and made her last stage appearance in 1970, playing Mrs Warren in Shaw's Mrs Warren's Profession at the Yvonne Arnaud Theatre in Guildford.[3] She appeared in 1993 and 1994 in two episodes of the television series Sherlock Holmes and again in 1994.[citation needed]

She became a centenarian in 1997 and died at her home in Eaton Square in London on January 30, 2003, at the age of 105.[1]

Memoir and autobiography

[edit]

Ellis published her memoirs in 1982 under the title Those Dancing Years. A further autobiography, Moments of Truth, followed in 1986.[7] She was the last surviving performer to have created a role in a Puccini opera and the last to have sung opposite Caruso.[2]

Filmography

[edit]

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
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Mary Ellis

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Mary Ellis (born May Belle Elsas; June 15, 1897 – January 30, 2003) was an American-born actress and singer whose eight-decade career spanned , musical theater, film, radio, and television, making her a prominent figure on both Broadway and the London stage. Best known for originating leading roles in operettas by composers like and , she transitioned from classical to , becoming a star of the British musical theater scene in the 1930s and 1940s. Ellis, who changed her surname from Elsas to avoid its German associations during her early days, performed until the age of 97 and documented her vibrant life in the autobiography Those Dancing Years (1982). Born in to parents of Alsatian descent, Ellis grew up in modest circumstances and trained as a classical under Madame Ashforth. She made her professional debut with the in 1918, appearing in roles such as Sister Genovieffa in Puccini's and supporting parts alongside luminaries like and , remaining with the company until 1922. Seeking broader opportunities, she shifted to musical comedy, earning acclaim for the title role in Friml's (1924), which ran for 557 performances on Broadway and established her as a leading lady. In 1930, Ellis relocated to after a professional dispute with producer , where she became a fixture of the West End, particularly through her collaborations with . She starred in Novello's romantic operettas, including Glamorous Night (1935) and The Dancing Years (1939), which showcased her lyrical and dramatic presence to sold-out audiences. Beyond musicals, she excelled in straight plays, such as Eugene O'Neill's (1931) and Terence Rattigan's The Browning Version (1948), and appeared in films like Bella Donna (1934) and The Gay Desperado (1936). Ellis's personal life was marked by four marriages—including to (1929–1934) and Jock Roberts (1938–his death)—and she remained childless. Throughout her career, she socialized with cultural icons including , , , and , reflecting the glamorous circles she inhabited. In later years, she occasionally retreated to her villa in Nice, France, to paint and study, but continued performing on stage, radio, and television into the . She passed away at her London home on , outliving many contemporaries and leaving a legacy as one of the longest-working performers in theater history.

Early life and education

Family background

Mary Ellis was born May Belle Elsas on June 15, 1897, in , . Her father, Herman Elsas, was an immigrant from of Jewish descent who built a successful career as a businessman in the paper industry, eventually becoming president of the Continental Paper Bag Company. Her mother, Caroline (née Reinhardt), was born to German immigrant parents and was a talented whose musical inclinations influenced the household. As the younger daughter in this middle-class family, she enjoyed an upbringing rich in cultural stimuli, with regular family outings to and theatre performances that sparked her lifelong passion for the . She adopted the stage name Mary Ellis in 1918 upon joining the , a change prompted by the German associations of her birth name during her early opera career. This early environment also highlighted her vocal talent, paving the way for formal training in her teens.

Education and early influences

Mary Ellis, born May Belle Elsas in in 1897 to middle-class parents supportive of the arts, developed an early fascination with performance. At around age 10, she attended an that profoundly enchanted her, igniting her lifelong ambition to pursue singing as a career. This pivotal encounter around 1907 directed her vocational path, prompting her to cultivate her voice in the ensuing years. Initially drawn to visual arts, Ellis studied for three years before fully dedicating herself to . In her teens, she commenced private vocal training under notable instructors, including the elderly Belgian contralto (also known as Mrs. Ashcroft) and the Italian operatic coach Fernando Tanara, honing her technique for operatic roles. These lessons built her confidence and prepared her instrument ahead of her professional aspirations. As a teenager, Ellis frequently attended performances, where exposure to renowned singers like inspired her stylistic influences and reinforced her commitment to . She also drew motivation from contemporary Broadway productions, absorbing the blend of music and drama that would shape her versatile career. Through these experiences and her rigorous training, Ellis transitioned from youthful enthusiasm to poised readiness for the professional world.

Professional career

Opera and Broadway beginnings

Mary Ellis made her professional debut on December 14, 1918, at the age of 21, portraying the Princess (Genovieffa) in the world premiere of Giacomo Puccini's Suor Angelica at the Metropolitan Opera in New York. This performance, part of the Il trittico triptych conducted by Roberto Moranzoni and starring Geraldine Farrar, marked her entry into the operatic stage after brief appearances in supporting roles during her initial seasons with the company. Over the next four years, she appeared in several notable productions, including the U.S. premiere of Gustave Charpentier's Louise and Donizetti's L'elisir d'amore alongside Enrico Caruso in one of his final Metropolitan performances. Transitioning from opera to musical theatre, Ellis originated the title role of Rose-Marie La Famme in and Herbert Stothart's , which premiered on September 2, 1924, at the and ran for 557 performances, becoming one of the decade's longest-running Broadway hits. Her portrayal of the fur trapper's daughter, highlighted by the iconic "" where she delivered a pianissimo high B-flat, showcased her and earned praise for blending operatic technique with theatrical vitality. Ellis continued to build her Broadway profile with dramatic roles, including Leah in S. Ansky's The Dybbuk at the Neighborhood Playhouse, which opened on December 15, 1925, and ran through March under the direction of . She also took on parts in other productions in , such as Rosario in The Romantic Young Lady and Sonia Martinova in The Humble. Critics lauded her lyric soprano voice and poised stage presence, which combined emotional depth with musical precision, solidifying her reputation as a versatile rising star in American theatre during the .

British theatre stardom

In 1930, Mary Ellis relocated to with her husband, actor , marking the beginning of her prominent British stage career. Her debut came that year in the play Knave and Quean at the Ambassadors Theatre, opposite , though it was a commercial failure. She quickly achieved success the following year as Nina Leeds in Eugene O'Neill's at the Phoenix Theatre, a nine-act drama that ran for 235 performances and established her as a versatile dramatic actress in the West End. This transition was facilitated by the acclaim she had garnered from her earlier Broadway and roles in the United States. Ellis's stardom in British theatre reached its zenith through her association with composer Ivor Novello, for whom she became a muse in his romantic operettas. She originated the role of Mary in Glamorous Night (1935) at the Theatre Royal, Drury Lane, a lavish production blending gypsy romance, royalty, and spectacle that ran for 1,031 performances until 1937, making it one of the era's longest-running musicals. Novello tailored the lead for her soprano voice and dramatic presence, and she reprised the role in a 1937 film adaptation. In 1939, she starred as Maria Ziegler in The Dancing Years at the same venue, portraying a ballerina entangled in love and exile across pre- and post-World War I Vienna; the show achieved 187 performances before wartime closures but reopened in 1942 for an additional 782, totaling nearly 1,000 shows and solidifying her as a icon of interwar musical theatre. Following , Ellis shifted toward straight plays, showcasing her range in works by leading British playwrights. In 1947, she played the tormented hotelier Valaine in Noël Coward's melodrama Point Valaine at the Embassy Theatre, earning praise for her intense portrayal of obsession and regret. Her standout dramatic performance came in 1948 as the bitter, long-suffering wife Millie Crocker-Harris in Terence Rattigan's The Browning Version, paired with in a double bill with at the Phoenix Theatre; critics lauded her nuanced depiction of quiet despair in the one-act tragedy. She continued with roles like Mrs. Erlynne in Coward's musical After the Ball (1954) at the , a flawed but ambitious adaptation of Oscar Wilde's . Ellis's stage career spanned over 50 years, concluding with her final stage appearance as Mrs. Warren in George Bernard Shaw's Mrs. Warren's Profession at the Yvonne Arnaud Theatre in in 1970.

Film and television appearances

Mary Ellis's screen career was limited in scope, reflecting her strong preference for live over filmed work, with most of her film roles concentrated in and only occasional appearances thereafter. Despite her vocal training and stage charisma, she struggled to transition fully to cinema, appearing in a handful of Hollywood and British productions before largely withdrawing from films after . Her television work, primarily in British anthologies and series, was similarly sparse but included notable late-career cameos that showcased her enduring presence into her 90s. Ellis made her film debut in the 1934 drama Bella Donna, portraying the enigmatic lead character Mary Chepstow Amine in a story of intrigue and romance set in . She quickly followed with two light musicals for : All the King's Horses (1935), where she played the Queen of Langenstein in a comedic about a Balkan ruler's marital woes, and Paris in Spring (1935), a romantic tale involving mistaken identities and Parisian nightlife. These early roles highlighted her singing abilities but did not lead to sustained Hollywood stardom. In 1936, she starred as the dual-role protagonist Marion Stuart/Maria Delasano in the thriller Fatal Lady, a tale of murder and disguise inspired by a Broadway play. Her most prominent screen adaptation came the following year with Glamorous Night (1937), directed by , where she reprised her celebrated stage role from Novello's musical as the gypsy princess Melitza, singing key numbers amid a royal romance plot. This British production marked a return to her theatrical roots but was one of her last major film leads. After a decade-long break from cinema, Ellis appeared uncredited as a patient in the psychological drama The Astonished Heart (1950), an adaptation of Noël Coward's play featuring a star-studded British cast. She had a supporting role in the 1951 ensemble film The Magic Box, a biographical tribute to early British filmmaker William Friese-Greene, where she played Mrs. Nell Collings in the all-star portrayal of the industry's pioneers. Her final film credit was as the imposing Queen of Brobdingnag in the 1960 fantasy The 3 Worlds of Gulliver, a Ray Harryhausen-produced adaptation of Jonathan Swift's novel that utilized innovative stop-motion effects; at age 63, her regal performance added gravitas to the giantess sequence.
Film TitleYearRoleNotes
Bella Donna1934Mary Chepstow AmineLead role in Egyptian-set drama.
1935Queen of LangensteinMusical comedy for Paramount.
Paris in Spring1935SimoneRomantic musical.
Fatal Lady1936Marion Stuart / Maria DelasanoThriller with .
Glamorous Night1937MelitzaAdaptation of Novello musical; directed by .
The Astonished Heart1950PatientUncredited supporting role.
1951Mrs. Nell CollingsEnsemble biographical drama.
1960Queen of Fantasy adventure with special effects.
On television, Ellis's contributions were confined to British broadcasting, beginning with anthology series in the post-war era. She performed in multiple episodes of the BBC's Sunday-Night Theatre (1950), taking on varied roles such as Madame Pauline Viardot in a biographical drama and Olivia Marsden in a period piece, demonstrating her versatility in live broadcasts. Between 1955 and 1960, she appeared in several other TV plays, though specific titles remain less documented, aligning with her shift toward smaller-screen work as stage demands lessened. Her television legacy culminated in two guest spots on Granada's acclaimed Sherlock Holmes adaptations starring . In 1993, at age 96, she portrayed the aristocratic Lady Florence in "The Eligible Bachelor" episode of , bringing elegance to a tale of scandal and disappearance. The following year, she played the vulnerable widow Mary Maberley in "The Three Gables" from (1994), her final acting role at age 97, where her poised delivery enhanced the episode's emotional depth. These late appearances underscored her remarkable longevity, with no further screen credits after 1994.

Personal life

Marriages and relationships

Mary Ellis's first marriage was to Louis Bernheimer, a , in 1920; the union was short-lived and ended in divorce by early 1923, with no children born to the couple. Her second marriage, to Edwin H. Knopf, a and , took place on April 30, 1923, shortly after her divorce from Bernheimer; the relationship, marked by professional differences in the entertainment industry, lasted only until their divorce on June 25, 1925, and produced no children. Ellis married English actor on July 8, 1929, in ; this third union prompted her relocation to in 1930, significantly influencing her transition to stardom in British theatre. The marriage ended in in 1935 amid Sydney's , with a younger actress cited as the cause of the separation, and no children resulted from it. Her fourth and final marriage was to Jock Muir Stewart Roberts, a Scottish wool manufacturer, skier, and mountaineer, on July 1, 1938, at Westminster Register Office in ; described as a happy partnership, it lasted until Roberts's death on March 6, 1950, in a climbing accident at Thornbush Quarry near Selkirk, , with no children born during the union.

Wartime contributions

During , Mary Ellis relocated from to in 1940 following the bombing of theatres during , joining the evacuated Old Vic Company at the Liverpool Playhouse for safety while maintaining limited stage appearances. This move allowed her to continue some professional work amid the disruptions, but she prioritized civilian support efforts over her career, opting out of major theatrical productions with to focus on wartime duties. Ellis dedicated three and a half years to volunteer work in emergency hospitals, contributing to welfare and programs for wounded soldiers. Her efforts emphasized morale-boosting through non-professional activities, where she temporarily set aside her theatrical identity to provide direct care and emotional support to those affected by the conflict. In addition to hospital duties, Ellis participated in the Entertainments National Service Association (ENSA), organizing and performing in events to uplift troops, including singing sessions in her spare time that extended beyond formal stages. These contributions from 1940 to 1945 reflected her commitment to Britain's resilience, blending her vocal talents with grassroots volunteerism to foster community spirit during the war's hardships.

Later years and death

Retirement activities

Following her retirement from the stage in 1970 after a production of in , Mary Ellis settled into a permanent residence in a book-lined flat on in London's district, where she lived for the final three decades of her life and maintained a low-profile lifestyle. In semi-retirement, Ellis continued occasional work in television and radio, appearing in minor roles well into her 90s; notable examples include her appearances in the Granada Television series , including Lady Florence in "The " (1993) and Mary Maberley in "The Three Gables" (1994). A primary pursuit during this period was her writing, as she authored two memoirs in the —Those Dancing Years (1982) and Moments of Truth (1986)—reflecting on her extensive career in , , and .

Death

Mary Ellis died on January 30, 2003, at the age of 105 in her home on in , from natural causes associated with advanced age. She was buried in . Obituaries published in and highlighted her enduring contributions to , describing her as a glamorous star of Ivor Novello's productions and a pioneering figure who bridged and Broadway-style musicals in during the interwar years. Following her death, her personal effects—including scripts, correspondence, photographs, and press materials—were donated to theatre archives; her nephew contributed the Mary Ellis Papers to the Billy Rose Theatre Division of the New York Public Library in June 2003, while other items were bequeathed to the V&A Theatre and Performance Collections.

Written works

Those Dancing Years

Mary Ellis's autobiography Those Dancing Years was published in 1982 by John Murray in London. The non-ghostwritten work draws on her extensive recollections, offering a personal chronicle of her theatrical career with vivid detail and insight. Spanning her early successes to later triumphs, the memoir emphasizes the vibrancy of the interwar and wartime stage, capturing the era's exuberance through her own words: "We were all mad and in love with life and work, and each other." Central to the book are Ellis's experiences in British musical theatre during and 1940s, particularly her collaborations with composer and performer . She provides detailed anecdotes from productions like Glamorous Night (1935), which ran for months at Drury Lane Theatre and was attended by King George V and Queen Mary, and The Dancing Years (1939), a Vienna-set story that addressed themes of Nazi persecution amid its romantic plot. Ellis recounts the rehearsal processes, onstage chemistry, and the challenges of mounting lavish shows during economic and political uncertainty, highlighting her roles as Novello's leading lady in these hits. A third collaboration, (1943), features in her reflections, where she portrayed in an operatic sequence, underscoring the enduring partnership that defined much of her British stardom. The delves into personal insights on her professional relationship with Novello, portraying him as a charismatic yet demanding collaborator whose vision shaped her most memorable performances. shares reflections on the creative synergies and occasional frictions inherent in their close working dynamic, as well as the broader theatrical milieu of the time. She notes the gratification of excelling in such productions: "There is nothing so gratifying as being good in a good show." Critics praised Those Dancing Years for its nostalgic charm and Ellis's engaging voice, revealing a performer of lively intelligence and rich experience. Described as an "excellent, unghosted autobiography," it appealed to theatre enthusiasts with its candid anecdotes and affectionate evocation of a bygone era. The book, along with her later memoir, was noted for its entertaining quality in contemporary obituaries.

Moments of Truth

"Moments of Truth," published in 1986 by John Murray Publishers, serves as a more introspective follow-up to Mary Ellis's earlier , delving deeply into her personal reflections and emotional experiences. Unlike her 1982 , which focused more on her theatrical career, this volume emphasizes the inner turmoil and triumphs that shaped her life, offering candid insights into her private world. Central themes in the book include the emotional toll of her marriages, marked by abandonment, divorce, and profound distress, as well as the devastating personal losses she endured during , which compounded her sense of isolation and grief. Ellis also reflects on her resilience amid the challenges of navigating a male-dominated entertainment industry, where she transitioned from singing to while maintaining a sense of romantic innocence and philosophical acceptance of life's hardships. These narratives highlight her ability to persevere through adversity, drawing on her early experiences in America, such as performing alongside , and lesser-known anecdotes from her post-war stage roles that underscored her enduring passion for the arts. The book incorporates intimate stories from her formative years in the United States, including her initial forays into professional and the personal sacrifices involved, alongside reflections on select post-war productions that tested her adaptability in a changing theatrical landscape. In one poignant reference to her wartime experiences, Ellis briefly touches on the profound grief from personal losses during the conflict, linking it to her broader theme of emotional recovery. Critically, "Moments of Truth" was praised for its candid and entertaining portrayal of Ellis's life, though some noted occasional of celebrities from her era; overall, it contributed to a renewed appreciation of her multifaceted legacy as both performer and storyteller.

References

  1. https://www.nytimes.com/2003/02/01/arts/mary-ellis-london-star-of-stage-and-screen-is-dead-at-105.html
  2. https://www.theguardian.com/news/2003/jan/31/guardianobituaries.artsobituaries
  3. https://archives.metopera.org/
  4. https://archives.nypl.org/the/21783
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  6. https://www.geni.com/people/Herman-Elsas/6000000025376430645
  7. http://daytoninmanhattan.blogspot.com/2021/10/the-marion-and-mary-verdery-house-131.html
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  10. https://www.geni.com/people/Caroline-Elsas/6000000025376346779
  11. https://www.legacy.com/us/obituaries/sandiegouniontribune/name/mary-ellis-obituary?id=38166683
  12. https://www.the-independent.com/news/obituaries/mary-ellis-36215.html
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  19. https://archiveshub.jisc.ac.uk/data/gb71-thm/307
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  33. https://www.nytimes.com/1929/07/09/archives/mary-ellis-is-wed-to-basil-sydney-wellknown-broadway-players.html
  34. https://gsr.park.edu/service_members/louis-goetter-bernheimer/
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  36. https://www.encyclopedia.com/women/dictionaries-thesauruses-pictures-and-press-releases/ellis-mary-1897-2003
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