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Ross Alexander
Ross Alexander (born Alexander Ross Smith, Jr.; July 27, 1907 – January 2, 1937) was an American stage and film actor.
Alexander was born Alexander Ross Smith. Jr. in Brooklyn, New York, the son of Maud Adelle (nee Cohen) and Alexander Ross Smith.
Alexander attended Erasmus Hall High School in Brooklyn until he and his family moved to upstate Rochester, New York. He attended high school there, but dropped out before graduating. Alexander claimed in interviews that the high-school principal recommended to his parents that the student should follow the acting profession.[citation needed]
When he was 17, he went to New York City and studied acting at the Packard Theatrical Agency.
Alexander began his acting career with the Henry Jewett Players in Boston, debuting in Enter Madame. By 1926, he was regarded as a promising leading man with good looks and an easy, charming style, and began appearing in more substantial roles.[citation needed]
His Broadway credits include Enter Madame (1920), The Ladder (1926), Let Us Be Gay (1928), That's Gratitude (1930), After Tomorrow (1931), The Stork Is Dead (1932), Honeymoon (1932), and The Party's Over (1932). Alexander looked back at The Ladder with bemusement because its oilman backer, who had declared that the play would have a record-breaking run, kept his word by keeping the show open -- despite audiences of perhaps a dozen people at each performance. Ross Alexander stayed with the ailing show for almost two years.
Alexander was signed to a film contract by Paramount Pictures, and made his film debut in The Wiser Sex (1932). Paramount dropped his option and he returned to Broadway. In 1934, casting director Max Arnow signed him with Warner Bros. His bigger successes from this period were Flirtation Walk (1934), A Midsummer Night's Dream and Captain Blood (both 1935).
In 1936, he starred in Hot Money. It was a defining role in his persona as a glamorous, well-dressed and dapper leading man, not in the usual Warner gangster mold of rough-hewn stars such as Edward G. Robinson or Paul Muni.[citation needed]
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Ross Alexander
Ross Alexander (born Alexander Ross Smith, Jr.; July 27, 1907 – January 2, 1937) was an American stage and film actor.
Alexander was born Alexander Ross Smith. Jr. in Brooklyn, New York, the son of Maud Adelle (nee Cohen) and Alexander Ross Smith.
Alexander attended Erasmus Hall High School in Brooklyn until he and his family moved to upstate Rochester, New York. He attended high school there, but dropped out before graduating. Alexander claimed in interviews that the high-school principal recommended to his parents that the student should follow the acting profession.[citation needed]
When he was 17, he went to New York City and studied acting at the Packard Theatrical Agency.
Alexander began his acting career with the Henry Jewett Players in Boston, debuting in Enter Madame. By 1926, he was regarded as a promising leading man with good looks and an easy, charming style, and began appearing in more substantial roles.[citation needed]
His Broadway credits include Enter Madame (1920), The Ladder (1926), Let Us Be Gay (1928), That's Gratitude (1930), After Tomorrow (1931), The Stork Is Dead (1932), Honeymoon (1932), and The Party's Over (1932). Alexander looked back at The Ladder with bemusement because its oilman backer, who had declared that the play would have a record-breaking run, kept his word by keeping the show open -- despite audiences of perhaps a dozen people at each performance. Ross Alexander stayed with the ailing show for almost two years.
Alexander was signed to a film contract by Paramount Pictures, and made his film debut in The Wiser Sex (1932). Paramount dropped his option and he returned to Broadway. In 1934, casting director Max Arnow signed him with Warner Bros. His bigger successes from this period were Flirtation Walk (1934), A Midsummer Night's Dream and Captain Blood (both 1935).
In 1936, he starred in Hot Money. It was a defining role in his persona as a glamorous, well-dressed and dapper leading man, not in the usual Warner gangster mold of rough-hewn stars such as Edward G. Robinson or Paul Muni.[citation needed]