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Max Adrian
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Max Adrian (born Guy Thornton Bor; 1 November 1903 – 19 January 1973) was an Irish stage, film and television actor and singer. He was a founding member of both the Royal Shakespeare Company and the National Theatre.
Key Information
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In addition to his success as a character actor in classical drama, Adrian was known for his work as a singer and comic actor in revue and musicals, and in one-man shows about George Bernard Shaw and Gilbert and Sullivan, and in cinema and television films, notably Ken Russell's Song of Summer, in which he played the ailing composer Frederick Delius.
Early years
[edit]Adrian was born in Kilkenny, County Kilkenny, Ireland, the son of Edward Norman Cavendish Bor and Mabel Lloyd Thornton.[1] He was born in the provincial Bank of Ireland branch in Kilkenny, where his father was the bank manager, into a Church of Ireland family, the seventh of eight children. His paternal ancestry was Dutch, from settlers who arrived in Ireland with William of Orange in 1689.[2] He was educated at the Portora Royal School, Enniskillen, whose past pupils also included Oscar Wilde and Samuel Beckett.[3]
Adrian began his career as a chorus boy at a silent moving-picture house, coming on as part of the chorus line while the reels were being changed. He made his stage debut in the chorus of Katja the Dancer in 1925.[4] He then toured with Lady Be Good and The Blue Train. He made his West End debut in The Squall at the Globe Theatre in December 1927. After working with Tod Slaughter's company at Peterborough, he joined the weekly rep in Northampton, where he took some forty roles a year.[3] He made further West End appearances in The Best of Both Worlds at the Players' Theatre in 1930, The Glass Wall at the Embassy Theatre in 1933, First Episode by Terence Rattigan and Philip Heimann at the Comedy Theatre in 1934 (later toured in the UK and then transferred to Broadway,[5] This Desirable Residence at the Embassy in 1935, and England Expects, also at the Embassy in 1934.[6]
Career
[edit]Classical roles and revue
[edit]Adrian first achieved wide public notice in a nine-month season at the Westminster Theatre from September 1938, as Pandarus in a modern dress Troilus and Cressida and Sir Ralph Bloomfield Bonnington in The Doctor's Dilemma, winning enthusiastic notices from the critics: "Mr Max Adrian triumphantly turns Pandarus into a chattering and repulsive fribble of the glossily squalid night-club type";[7] "The egregious 'B.B.'... is a great piece of fun, and Mr. Max Adrian rightly draws him with all possible exuberance of line."[8]
Adrian joined the Old Vic company in 1939, playing the Dauphin in Shaw's Saint Joan, "a beautifully malicious study in slyness, effeminacy, meanness, and a curious lost, inverted dignity."[9] He continued classical work with John Gielgud's company at the Haymarket Theatre (1944–45), where he appeared as Puck in A Midsummer Night's Dream, Osric in Hamlet, and Tattle in William Congreve's Love for Love.[10]
Away from the classics, Adrian played the Scarecrow in The Wizard of Oz at the Phoenix Theatre in 1943. In 1947, at the Lyric Theatre, Hammersmith, Adrian began performing in a series of revues (Tuppence Coloured, Oranges and Lemons, Penny Plain, Airs on a Shoestring, From Here to There, and Fresh Airs) in which he played more than 2,000 performances,[11] and established himself, in Sheridan Morley's words, "as a superlative – if eccentric – light comedian."[3] Fellow performers in the revues included Joyce Grenfell, Rose Hill and Elisabeth Welch. Contributors included Michael Flanders, Donald Swann and Alan Melville, and the producer was Laurier Lister, who became Adrian's lifelong partner.[12] Adrian's musical numbers included "Prehistoric Complaint" (as a misfit caveman), "Excelsior" (as a put-upon Sherpa), "Guide to Britten" (as a manic conductor), "In the D'Oyly Cart [sic]" (as a jaded Gilbert and Sullivan performer), and "Surly Girls" (as headmistress of St. Trinian's).
When revue became less popular in the mid-1950s, Adrian went to America in 1956 to appear as Dr. Pangloss and Martin in Leonard Bernstein's operetta Candide on Broadway. The original production was a failure, but the original cast recording has rarely been out of the catalogues in the subsequent half century. He remained in the U.S., working in summer stock in roles as varied as Doolittle in Pygmalion, Jourdain in Le Bourgeois Gentilhomme, Shylock in The Merchant of Venice, and Sir Peter Teazle in The School for Scandal.[13] He returned to London in 1959 to appear in Noël Coward's play Look After Lulu! in which he also later played on Broadway.[3]
In 1960, Adrian joined Peter Hall's newly formed Royal Shakespeare Company (RSC) in Stratford-upon-Avon, together with such actors as Peggy Ashcroft, Peter O'Toole and Diana Rigg. He played Jaques in As You Like It, Feste in Twelfth Night, Pandarus in Troilus and Cressida, the Cardinal in John Webster's The Duchess of Malfi, and Father Barré in The Devils, as well as a range of smaller parts. He also starred with Dorothy Tutin, Richard Johnson and John Barton in The Hollow Crown, an anthology of prose and verse about the monarchs of England, devised by Barton and frequently revived in later years.[14]
Adrian was one of the original members of Laurence Olivier's National Theatre Company at the Old Vic from 1963, and appeared as Polonius in the opening production of Hamlet, in which Peter O'Toole played the Prince. The Guardian called his performance, "sly, dry, and not quite stuffy enough, but every sally from this character was touched with a look of great complicity towards the audience which made something special of this sometimes over-charged part."[15] He then played the Inquisitor in Saint Joan, Serebryakov in Uncle Vanya, Balance in The Recruiting Officer and Brovik in The Master Builder.[3]
Solo shows and screen work
[edit]In the late 1960s, Adrian toured as George Bernard Shaw in the one-man show An Evening with GBS, which played in London, on Broadway, and in Asia, Africa and Australia.[16] The Times said that the show "presented a deeply understanding portrait... impish, malicious, playful, outrageous, affectionate, angry and almost always eloquent."[10] His later one-man show about Gilbert and Sullivan was a lesser, but real, success.[3]
Adrian's first film was in 1934. He appeared in several British films in the 1940s, before playing the Dauphin in the Laurence Olivier production of Henry V (1944). He also appeared in Dr. Terror's House of Horrors (1965) as the vampire Dr Blake, The Deadly Affair (1966), and in several Ken Russell films: The Music Lovers (1970; as Anton Rubinstein), The Boy Friend (1971) and The Devils (1971).
Adrian was also featured in Russell's acclaimed award-winning 1968 Omnibus television film Song of Summer, as the blind and paralysed composer Frederick Delius. Adrian once said that, of all the roles he had ever played, he had never had such difficulty in ridding himself of involvement in a character as that of Delius in Song of Summer.[17]
Also on television, Adrian appeared in a 1957 adaptation of A. J. Cronin's novel Beyond This Place, which was directed by Sidney Lumet. His other television work included the role of Senator Ludicrus Sextus in the first season of Up Pompeii! with Frankie Howerd (1969), Fagin in the 1962 dramatisation of Oliver Twist, and parts in The Baron, Adam Adamant Lives! and in 1959, in the Case of the Deadly Toy Perry Mason. He also appeared in the Doctor Who story The Myth Makers as King Priam.[18][19] He played the part of the Baron de Charlus in the BBC radio plays Six Proust Reconstructions by Pamela Hansford Johnson.
Adrian's voice and acting style were distinctive. The Times referred to his "Osric-like elaborations of manner", and his voice "like no other heard on the English stage of his day, vestigially Irish and harshly attractive." The Times also described his 1934 performance in England Expects (Embassy Theatre) as "a gilded habitué of the backstairs" as outstanding.
Death
[edit]Adrian died at the age of 69, from a heart attack, at his and Lister's home, Smarkham Orchard, Shamley Green, near Guildford, Surrey, after returning from the television studio where he had been taking part in a recording of Bertolt Brecht's The Caucasian Chalk Circle for the BBC.[15] At his memorial service, at which, according to the Oxford Dictionary of National Biography, the great names of British theatre paid tribute to Max Adrian's style and professionalism, the lessons were read by Alec Guinness and Laurence Olivier, and the eulogy was given by Joyce Grenfell.[20]
Personal life
[edit]Adrian's elder brother was the botanist Dr. Norman Loftus Bor, who predeceased him by four weeks. Another brother, Lieutenant Thomas Humphrey Bor, RNR, was killed when his E-class submarine struck a mine in the North Sea in 1916.[21] His younger brother, Fetherston Briscoe Bor, remained a farmer in Ireland until his death in 1965.
Adrian had a long personal relationship with the actor Laurier Lister, with whom he lived in a cottage in Shamley Green in Surrey, England. Adrian died in 1973; Lister outlived him by thirteen years, dying on 30 September 1986 at the age of 79.
Filmography
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1934 | The Primrose Path | Julian Leigh | |
| 1936 | A Touch of the Moon | Francis Leverton | |
| The Cardinal | Barber | Uncredited | |
| To Catch a Thief | Salesman | ||
| The Happy Family | Noel Hutt | ||
| Nothing Like Publicity | Bob Wharncliffe | ||
| 1937 | Why Pick on Me? | Jack Mills | |
| When the Devil Was Well | David | ||
| 1938 | Macushla | Kerry Muldoon | |
| Merely Mr. Hawkins | Mr. Fletcher | ||
| 1941 | Kipps | Chester Coote | |
| Jeannie | |||
| Penn of Pennsylvania | Elton | ||
| 1942 | The Young Mr. Pitt | Sheridan | |
| Talk About Jacqueline | Lionel | ||
| 1944 | Henry V | The Dauphin | |
| 1950 | Her Favourite Husband | Catoni | |
| 1951 | Pool of London | Charlie Vernon, acrobat / George | |
| 1952 | The King and the Mockingbird | The King | English version, voice |
| The Pickwick Papers | Aide | ||
| 1959 | Alfred Hitchcock Presents | Robert Stone | Season 4 Episode 29: "Banquo's Chair" |
| 1963 | Uncle Vanya | Professor Alexander Serebryakov | |
| 1965 | Dr. Terror's House of Horrors | Dr. Blake | (segment "Vampire") |
| 1967 | The Deadly Affair | Morton, Adviser | |
| The Terrornauts | Dr. Henry Shore | ||
| 1968 | Song of Summer | Frederick Delius | |
| 1971 | The Music Lovers | Nicholas Rubinstein | |
| The Devils | Ibert | ||
| The Boy Friend | Max Mandeville aka Mr. Max / Lord Hubert Brockhurst |
References
[edit]- ^ "Bor, Guy Thornton", irishgenealogy.ie
- ^ "The Family Of Bor Of Holland And Ireland ", Bor, Edward J, London, England 1911, seekingmyroots.com
- ^ a b c d e f Morley, page 3.
- ^ according to his Who's Who entry; Morley dates his debut to August 1926
- ^ Where the play was retitled College Sinners (ref. Gaye, p. 288)
- ^ The Times, 25 January 1930, p. 10; 21 February 1933, p. 10; 27 January 1934, p. 8; 28 May 1935, p. 14; and 14 April 1936, p. 8
- ^ The Observer, 25 September 1938, p. 13
- ^ The Times, 18 February 1939, p. 10
- ^ The Times, 12 October 1939, p. 6
- ^ a b The Times, 20 January 1973, p. 16
- ^ The Times 12 July 1955, p. 5
- ^ "Obituary of Mr Laurier Lister", The Times, 2 October 1986
- ^ Gaye, p. 289
- ^ "Adrian, Max", Who Was Who, A & C Black, 1920–2008; online edn, Oxford University Press, December 2007, Retrieved 27 January 2009
- ^ a b The Guardian, 20 January 1973, p. 7
- ^ The show was sometimes given under the title "By George!" See The New York Times
- ^ "Song of Summer" Archived 6 January 2009 at the Wayback Machine at DVD Beaver
- ^ The Myth Makers at the BBC's Doctor Who episode guide.
- ^ Max Adrian at the IMDB database.
- ^ Elsom, John: Adrian, Max (1903–1973), Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, Oct 2007 Retrieved 28 Jan 2009
- ^ Roll of Honour rnsubs.co.uk
Bibliography
[edit]- Gaye, Freda: Who's Who in the Theatre, fourteenth edition, 1967, Sir Isaac Pitman and Sons, London
- Morley, Sheridan: The Great Stage Stars, Angus & Robertson, London, 1986. ISBN 0-8160-1401-9
External links
[edit]
- "The Bishop Orders His Tomb, by Robert Browning" on YouTube, read by Max Adrian
Max Adrian
View on GrokipediaEarly life
Family background
Max Adrian was born Guy Thornton Bor on 1 November 1903 in Enniskillen, County Fermanagh, Ireland. He was the son of Edward Norman Cavendish Bor, a Bank of Ireland manager, and Mabel Lloyd Thornton, and grew up in a Church of Ireland family.[2][3][1] As one of eight children, Bor's childhood unfolded in a middle-class household shaped by his father's career, which necessitated frequent moves across provincial Ireland. The family resided in several towns, including Maryborough (now Portlaoise), Callan, Waterford, and later Enniskillen in County Fermanagh, immersing him in the cultural and social rhythms of early 20th-century rural Ireland. This environment of modest provincial life, influenced by the Church of Ireland's traditions, provided the backdrop for his formative years, though no specific family involvement in the arts is recorded.[2] Bor later changed his name to Max Adrian upon pursuing acting, a choice that highlighted his professional persona while underscoring his enduring Irish heritage amid a primarily British career.[2]Education and training
Max Adrian attended Portora Royal School in Enniskillen, Northern Ireland, from 1918 to 1921.[2] The school, a prestigious institution with a strong emphasis on classical education, counted among its notable alumni the playwrights Oscar Wilde and Samuel Beckett, both of whom had studied there earlier in the century.[2] This environment likely fostered Adrian's developing appreciation for literature and the arts, aligning with his family's Irish roots in County Fermanagh.[3] In the 1920s, he studied at Trinity College Dublin.[2] During his school years, Adrian displayed an early interest in the performing arts, participating in activities that sparked his passion for theatre.[3] Though specific school productions involving him are not well-documented, his exposure to dramatic works and literary traditions at Portora contributed to his inclination toward classical performance, setting the foundation for his future career.[2] Following his graduation in 1921, Adrian transitioned to London to pursue acting professionally, seeking opportunities in the vibrant theatrical scene of the British capital.[5] There, he gained initial practical experience as an intermission singer and dancer at a silent film theatre, honing his skills in live entertainment and building the confidence needed for stage work.[3] This period of hands-on training marked his shift from amateur enthusiasm to structured preparation for a career in performance.[5]Stage career
Early performances
Max Adrian began his professional theatre career in the mid-1920s, initially working as an intermission singer and dancer at a silent film theatre, where he performed during reel changes as part of the live entertainment ensemble.[3] His formal stage debut came in 1925 as a chorus boy in the George Gershwin musical Lady Be Good, marking his entry into the vibrant world of London musical theatre.[1] These early ensemble roles provided foundational experience in performance, honing his skills in song, dance, and stage presence amid the competitive pre-war British theatre scene. By the late 1920s, Adrian had progressed to more visible parts, making his West End debut in December 1927 with a walk-on role in Jean Bart's The Squall at the Globe Theatre.[2] He continued building his reputation through a series of small roles and touring productions, including work with repertory companies that traversed provincial theatres across Britain.[3] These formative appearances in the 1920s and early 1930s, often in light comedies and musicals, allowed him to develop versatility while navigating the challenges of inconsistent employment and the need to establish a foothold in London's bustling stage community.[2]Classical theatre roles
Adrian joined the Old Vic company in 1939, where he performed a range of character roles in classical productions during the early years of World War II, as the company continued its work amid wartime challenges.[1] Notable among these were his portrayal of the Dauphin in George Bernard Shaw's Saint Joan, Pandarus in Shakespeare's Troilus and Cressida, Puck in A Midsummer Night's Dream, and Osric in Hamlet, all staged at the Old Vic and contributing to the theatre's resilience during the Blitz and subsequent evacuations.[1] These performances showcased Adrian's versatility in Shakespearean and Shawian repertoire, often in repertory seasons that toured to keep classical theatre alive for British audiences. In 1960, Adrian became a founding member of Peter Hall's Royal Shakespeare Company (RSC) at Stratford-upon-Avon, participating in its inaugural season with roles that highlighted his command of complex supporting characters in classical drama.[6] He played Pandarus in John Barton's production of Troilus and Cressida, bringing a wry, elaborate intensity to the role, and appeared as the Cardinal in The Duchess of Malfi by John Webster, a key work in the company's exploration of Jacobean tragedy.[6][7] His contributions helped establish the RSC's commitment to innovative yet faithful interpretations of the canon. Adrian's association with classical theatre extended to Laurence Olivier's newly formed National Theatre, where he was an original company member starting in 1963 at the Old Vic.[8] In the inaugural production of Hamlet directed by Olivier, Adrian portrayed Polonius opposite Peter O'Toole's Hamlet.[8] He also took on the Inquisitor in a revival of Saint Joan and Serebryakov in Anton Chekhov's Uncle Vanya that season, roles that earned praise for their intellectual depth and command of ensemble dynamics.[9][10] Throughout his classical work, Adrian was renowned for his grandiose style and highly distinctive voice—described as unlike any other on the English stage—which lent an Osric-like elaboration to his interpretations, infusing characters with theatrical flair and emotional resonance.[3][5] This approach, rooted in old-school technique, made him a memorable presence in major Shakespearean and dramatic revivals across Britain's leading ensembles.Revue and musicals
Adrian's involvement in revue theatre began in earnest in 1947, when he joined Laurier Lister's intimate musical revues at the Lyric Theatre, Hammersmith, marking a shift toward lighter entertainment that balanced his classical commitments. He starred in a series of these productions, including Tuppence Coloured (1947), which transferred to the Globe Theatre and ran for over 400 performances, Oranges and Lemons (1948), Penny Plain (1951–1952), and Airs on a Shoestring (1953–1955), the latter achieving nearly 700 performances at the Comedy Theatre. Across these revues from 1947 through the 1950s, Adrian delivered over 2,000 performances, showcasing his skills as a singer and comedian through satirical sketches, musical numbers, and character-driven humor that often parodied contemporary society and show business. These ensemble works highlighted his versatility, allowing him to intersperse revue appearances with roles at the Royal Shakespeare Company, providing financial stability and broadening his appeal beyond dramatic theatre.[2][1][11] In 1956, Adrian made his Broadway debut in Leonard Bernstein's Candide, originating the dual roles of Dr. Pangloss and Martin (along with the narrator Voltaire) in the operetta adaptation of Voltaire's novella. Directed by Tyrone Guthrie, the production ran for 73 performances at the Martin Beck Theatre, but Adrian's portrayal earned critical acclaim for its witty delivery and vocal precision, particularly in numbers like "The Best of All Possible Worlds," where his optimistic philosopher character infused the score with ironic charm. His performance was noted for its distinctive baritone and theatrical flair, contributing to the enduring legacy of the original cast recording despite the show's initial commercial failure.[12] Beyond Candide, Adrian's musical theatre credits reflected influences from Gilbert and Sullivan's comic operettas, evident in his revue characterizations that echoed the duo's blend of wordplay, patter songs, and exaggerated personas. This stylistic affinity, drawn from his early exposure to light opera, informed his comic timing and vocal agility in ensemble musicals, positioning him as a bridge between classical precision and revue satire during a period when such lighter fare revitalized post-war British theatre.[2]Solo productions
In the late 1960s, Max Adrian transitioned to solo stage works that showcased his interpretive talents, beginning with An Evening with G.B.S., a one-man show devised by Michael Voysey in which Adrian portrayed George Bernard Shaw through monologues and vignettes spanning the playwright's life and career.[13] The production premiered at London's Criterion Theatre in September 1966 and later toured internationally, including a successful run on Broadway in 1967–68 under the title By George.[14][2] Recorded live during its U.S. performances, the show highlighted Adrian's command of Shaw's wit and rhetoric, blending dramatic recitation with biographical narrative.[15] Adrian followed this with another solo endeavor in 1969, a one-man entertainment titled Gilbert and Sullivan, which explored the tempestuous partnership between librettist W.S. Gilbert and composer Arthur Sullivan through storytelling, impersonations, and musical excerpts.[2] Performed in venues such as Nottingham's Playhouse Theatre in early 1972, the show allowed Adrian to demonstrate his versatility in singing and character work, drawing on his earlier experience in light opera to evoke the duo's Victorian-era comic operas.[16] This production toured extensively, reaching audiences in the UK, New Zealand, and beyond, further emphasizing Adrian's skill in sustaining solo performances.[2][17] These intimate, character-driven shows earned critical acclaim for their blend of erudition and theatrical flair, bridging Adrian's classical training with his personal artistry as a diseur and interpreter of literary figures.[2] Reviewers praised the eloquence and energy of his Shaw portrayal, noting its "brilliant" execution in live and recorded formats, while the Gilbert and Sullivan piece, though less commercially enduring, was lauded for its lively depiction of creative collaboration.[15][3] Together, they underscored Adrian's ability to command the stage alone, transforming biographical material into engaging, solo-driven theatre that resonated with audiences seeking intellectual yet accessible entertainment.Screen career
Film appearances
Max Adrian's film career, spanning from 1934 to 1971, consisted of over 20 appearances, predominantly in supporting character roles within British cinema, where his distinctive voice and theatrical poise often provided memorable accents to ensemble casts.[3] Primarily a stage performer, Adrian faced the common challenges of transitioning to screen work, including adapting his larger-than-life stage presence to the intimacy of film, yet he succeeded in carving out a niche for nuanced character parts that echoed his classical training.[3] His contributions to cinema were selective, focusing on historical dramas, comedies, and later genre pieces, rather than leading roles, allowing him to maintain his stage commitments while enhancing films with his elegant, often aristocratic demeanor.[18] Adrian debuted on screen in 1934 with minor roles in The Primrose Path, a romantic drama, and Eight Cylinder Love, a comedy, both early British quota quickies that marked his initial foray into film without overshadowing his burgeoning theater career.[3] These appearances were uncredited or small, reflecting the era's limited opportunities for stage actors in cinema, but they established his versatility in light entertainment. By the early 1940s, he appeared in films like The Remarkable Mr. Kipps (1941), adapting H.G. Wells' novel, and Courageous Mr. Penn (1942), a biographical piece on William Penn, where his refined delivery suited period settings.[18] His wartime role as the Dauphin in Laurence Olivier's Henry V (1944) stood out as a significant success, bringing a haughty sophistication to the French prince that complemented Olivier's heroic lead and drew on Adrian's prior stage experience with Shakespearean works.[19] This Technicolor epic, produced as a morale booster during World War II, highlighted his ability to thrive in grand-scale productions despite the medium's technical demands.[20] Postwar, Adrian continued with character roles in diverse genres, such as the acrobat Charlie Vernon in the crime thriller Pool of London (1951) and supporting parts in literary adaptations like The Pickwick Papers (1952), where his comic timing added levity to Dickensian ensembles.[3] These films underscored his adaptability, though screen opportunities remained sporadic amid his stage successes. In the 1960s, he embraced bolder fare, including the eerie anthology Dr. Terror's House of Horrors (1965), where he portrayed the ill-fated Dr. Blake in the "Vampire" segment, infusing the Amicus horror with a refined vulnerability that contrasted the film's sensationalism. His later collaborations with director Ken Russell marked a peak in visibility: as the pianist Nicholas Rubinstein in the biographical drama The Music Lovers (1971), Adrian delivered a poignant performance amid the film's extravagant depiction of Tchaikovsky's life; he followed with dual roles as Max Mandeville/Lord Hubert Brockhurst in the musical The Boy Friend (1971), channeling his revue background into campy flair; and as Father Ibert in the controversial historical horror The Devils (1971), where his authoritative presence amplified the narrative's intensity.[21][22] These Russell films exemplified Adrian's enduring appeal in period and genre cinema, leveraging his stage-honed charisma to elevate supporting turns into standout moments, even as health issues curtailed further work by 1971.[18]Television roles
Max Adrian's television career, spanning the 1950s to the 1970s, showcased his versatility in dramatic adaptations, historical miniseries, and comedic series, often drawing on his stage-honed classical style for British broadcasting. Early appearances included guest roles in anthology series, such as Frick in the 1960 ITV Play of the Week episode "The Pets," where he portrayed a German officer alongside emerging talents like Sean Connery.[23] He also featured in the 1959 American series Perry Mason as Ralph Jennings in "The Case of the Deadly Toy," highlighting his international reach, and as Robert Stone in Alfred Hitchcock Presents' "Banquo's Chair," a psychological thriller involving ghostly apparitions.[24][25] In the early 1960s, Adrian excelled in literary adaptations, notably as the cunning Fagin in the BBC's 1962 miniseries Oliver Twist, a role that emphasized his ability to infuse villainy with theatrical flair. He followed this with Benjamin Disraeli in the 1964 BBC miniseries Victoria Regina, opposite Patricia Routledge as Queen Victoria, bringing historical gravitas to depictions of Victorian politics across four episodes.[26] These performances in prestigious BBC productions underscored his strength in period drama, bridging his stage work with small-screen storytelling. Adrian's mid-1960s television work ventured into science fiction and biography, with a memorable turn as King Priam in the 1965 Doctor Who serial "The Myth Makers," where he portrayed the Trojan ruler with regal pathos amid the show's historical-fantasy blend. This was complemented by his role as the ailing composer Frederick Delius in Ken Russell's 1968 BBC biographical drama Song of Summer, a critically acclaimed portrayal of Delius's final years dictated to amanuensis Eric Fenby, earning praise for Adrian's nuanced depiction of physical decline and artistic persistence.[27] He also appeared in adventure series like Adam Adamant Lives! as Dr. Klein in the 1966 episode "Ticket to Terror" and as a cult leader in The Baron's 1967 episode "The High Terrace."[28][29] By the late 1960s, Adrian embraced comedy, most prominently as the pompous Senator Ludicrus Sextus in the first series of BBC's Up Pompeii! (1969), appearing in eight episodes opposite Frankie Howerd's slave Lurcio and delivering exaggerated Roman satire that aligned with his revue background. His television output culminated in the 1971 BBC miniseries George Bernard Shaw, where he embodied the playwright across three episodes, drawing on his earlier one-man stage shows to explore Shaw's life and wit. These roles, particularly in enduring series like Doctor Who and Up Pompeii!, enhanced Adrian's visibility during the final decade of his career, introducing his distinctive, larger-than-life persona to broader audiences through British television's golden age of drama and light entertainment.[30]Personal life and death
Relationships and sexuality
Max Adrian maintained a long-term partnership with theatre director and producer Laurier Lister, beginning in the late 1940s during their professional collaborations on London revues.[11] The couple lived together in a cottage in Shamley Green, Surrey, where they shared a private life amid the constraints of mid-20th-century Britain, when homosexuality was criminalized under laws such as the Labouchere Amendment. Their relationship, described as lifelong by contemporaries, reflected the discretion required of gay individuals in the entertainment industry, with Adrian rarely discussing it publicly to avoid scandal.[31] As a gay actor in an era of widespread persecution, Adrian faced significant personal risks, exemplified by his 1940 arrest for importuning another man at London's Victoria Station, resulting in a three-month prison sentence.[11] During his incarceration at Wormwood Scrubs, few of his gay friends visited due to fears of exposure and further legal repercussions, though bisexual actor Michael Redgrave visited frequently and helped him secure work after release, such as roles in Kipps and Jeannie, highlighting the isolation and stigma surrounding homosexuality at the time.[11] This incident underscored the challenges Adrian navigated in his private life, influencing his preference for roles that allowed expressive, flamboyant characterizations without overt personal revelation.[31] Little is documented about Adrian's family relations after his childhood in Ireland, though his partnership with Lister remained his primary personal anchor until Adrian's death in 1973.[11]Illness and death
In his final years, Max Adrian continued to work actively in theatre and television, with no reported major health issues prior to his death.[1] He had recently appeared on BBC television alongside Laurence Olivier in a program about the Common Market and had returned home after rehearsing a play for BBC TV when he suffered a fatal heart attack on January 19, 1973, at the age of 69.[32][1] The incident occurred at his home, Smarkham Orchard in Shamley Green, Surrey, England, which he shared with his longtime partner, Laurier Lister.[32] Adrian's funeral arrangements included cremation at Woking Crematorium in Woking, Surrey.[4] Immediate tributes from the theatre community highlighted his distinctive contributions as a performer. Laurence Olivier and Alec Guinness were among the luminaries who paid homage to his professionalism and versatility following his passing.[32]Legacy
Recognition and influence
Max Adrian garnered significant critical acclaim for his versatile performances and distinctive, resonant voice in classical theatre, particularly during his tenure with the Royal Shakespeare Company (RSC) and the National Theatre. In the RSC's 1960 production of John Webster's The Duchess of Malfi, where he played the Cardinal, reviewers highlighted his ability to imbue the role with a chilling intensity and moral ambiguity, contributing to the production's success as a modern interpretation of Jacobean drama.[7] Similarly, his Feste in a 1955 Twelfth Night was lauded by Ian McKellen for its cynical yet ingratiating weariness, showcasing Adrian's skill in blending humor with emotional depth in Shakespearean comedy.[33] At the National Theatre, his work under Laurence Olivier further solidified his reputation, with contemporaries noting his seamless transitions between tragic gravitas and comic flair in ensemble productions, including Polonius in the 1963 Hamlet.[34] Adrian's honors were modest but indicative of his impact, most notably a posthumous nomination for the BAFTA Award for Best Actor in a Supporting Role in 1973 for his portrayal of Mr. Max and Lord Hubert Brockhurst in Ken Russell's The Boy Friend, where his campy elegance and vocal precision were seen as pivotal to the film's musical charm.[35] Earlier, New York Times critic Brooks Atkinson praised his 1958 Off-Broadway performance in Eugène Ionesco's double bill The Chairs and The Lesson (as the Professor) for its "humor and intensity," emphasizing Adrian's rare ability to humanize absurd characters through precise timing and vocal modulation.[1] These accolades underscored his influence across stage and screen, though he received no major lifetime theatre awards like the Oliviers, which began in 1976 after his death. As an openly gay actor in mid-20th-century British theatre, Adrian served as a pioneer, navigating personal risks—including a 1940 arrest for importuning that led to three months' imprisonment—while maintaining a prominent career supported by allies like Michael Redgrave and Laurence Olivier.[11] His flamboyant revue style and unapologetic persona in productions like the 1956 Broadway Candide (as Pangloss/Martin), where critics called him "sublime," inspired later performers in classical and cabaret traditions, including those exploring queer interpretations of Shakespeare, such as tinged melancholy in Jaques from As You Like It.[36][37] Adrian's longevity and visibility helped normalize gay presence in the arts, influencing actors like Ian McKellen in blending personal authenticity with classical roles. Despite his acclaim, gaps persist in Adrian's recognition, particularly his underappreciated television work, which featured innovative characterizations but lacks comprehensive archival analysis compared to his stage legacy. Recent reevaluations, such as 2025 discussions of LGBTQ+ actors in Doctor Who histories, highlight ongoing interest in his pioneering role.[1][31]Filmography overview
Max Adrian's screen career, though secondary to his stage work, encompassed a range of supporting roles in British films from the 1930s to the early 1970s, often showcasing his distinctive voice and theatrical flair in historical dramas, comedies, and genre pieces. He debuted in film during the early sound era and continued with sporadic appearances, culminating in several high-profile collaborations with director Ken Russell toward the end of his life. Integrating television credits, his overall screen output exceeds 20 entries, blending cinematic features with notable TV adaptations and series roles that highlighted his versatility in classical and character parts.[3] The following table summarizes his filmography chronologically, focusing on feature films with confirmed roles:| Year | Title | Role |
|---|---|---|
| 1934 | The Primrose Path | Julian Leigh |
| 1934 | Eight Cylinder Love | Friend (Klifton Court) |
| 1941 | The Remarkable Mr. Kipps | Chester Coote |
| 1942 | Courageous Mr. Penn | Elton |
| 1944 | Henry V | The Dauphin[19] |
| 1950 | Her Favourite Husband | Catoni[38] |
| 1951 | Pool of London | Charlie Vernon / George (acrobat) |
| 1952 | The Pickwick Papers | Aide |
| 1952 | The King and the Mockingbird (English version, voice) | The King[39] |
| 1965 | Dr. Terror's House of Horrors | Dr. Blake (segment "Vampire")[40] |
| 1967 | The Deadly Affair | Adviser (Morton)[41] |
| 1967 | The Terrornauts | Dr. Henry Shore[42] |
| 1971 | The Music Lovers | Nicholas Rubinstein[43] |
| 1971 | The Boy Friend | Max Mandeville (aka Mr. Max)[44] |
| 1971 | The Devils | Ibert[22] |
- 1959: Perry Mason ("The Case of the Deadly Toy") as Ralph Jennings
- 1959: Alfred Hitchcock Presents ("Banquo's Chair") as Robert Stone[25]
- 1962: Oliver Twist (miniseries) as Fagin
- 1965: Doctor Who ("The Myth Makers") as King Priam
- 1966: Adam Adamant Lives! ("Ticket to Terror") as Dr. Klein[28]
- 1967: The Baron ("The High Terrace") as The Chosen One[29]
- 1968: Song of Summer (TV film) as Frederick Delius[27]
- 1970: Up Pompeii! as Senator Ludicrus Sextus (8 episodes)