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Vida Hope
Vida Hope
Vida Hope
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Vida Hope in Lease of Life (1954)

Vida Hope (16 December 1910 – 23 December 1963) was a British stage and film actress,[1] who also directed stage productions.

Life and career

[edit]

Born in Liverpool, Lancashire, to theatrical parents, Hope travelled widely as a child.[2] She was "forbidden to go on the stage", so at age 16, she became a typist in an advertising office, going on to write copy.[2] She took every opportunity to take part in amateur dramatics, managing to get lead roles in plays by Shaw, Ibsen, and Chekhov.[2]

Following the role of the Fairy Wish-Fulfilment in the pantomime The Babes in the Wood at the Unity Theatre, London, she was, in 1939, offered a role by Herbert Farjeon in The Little Revue and worked in his revues for more than three years.[2] In 1940, she supported and formed a strong friendship with Dirk Bogarde, in his first West End play, Diversions.[3] During the Second World War, she became a regular singer at the Players' Theatre, where her repertoire included "Casey Jones", "Daddy Wouldn't Buy Me a Bow-wow", "Dashing Away with the Smoothing Iron", "The Lady Wasn't Going that Way" and "You May Pet Me as Much as You Please".[4] In 1942 she appeared alongside Geoffrey Dunn in a melodrama, The Streets of London.[5]

Hope played a prominent role alongside Alec Guinness in the Academy Award-nominated film The Man in the White Suit as Bertha, in 1951. She appeared in a range of roles in a production of Peer Gynt at the New Theatre in London (1944–45),[6] she directed the 1953 London production of The Boy Friend (and is also credited as director on the 'original cast' recording of 1954 starring Julie Andrews)[7] and directed Valmouth at the Lyric, Hammersmith (1958) and a revival of The Boy Friend at the Bristol Hippodrome (1958–59).[8]

Hope was married to the film editor and director Derek Twist, and appeared in several of his films. She died in a road accident, on 23 December 1963, in Chelmsford, Essex, aged 53.

Partial filmography

[edit]

References

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Vida Hope

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Vida Hope (16 December 1910 – 23 December 1963) was a British actress and renowned for her versatile character roles in film and stage productions during the mid-20th century, as well as for directing the successful musical The Boy Friend in London's West End and on Broadway. Born in to parents involved in the theatrical world, she grew up traveling extensively with their performances, which sparked her early interest in the arts. Hope began her professional career in the 1930s after working as a typist and engaging in amateur dramatics, quickly establishing herself in revues and supporting roles on stage. Her film debut came in 1935 as the usherette in Alfred Hitchcock's The 39 Steps, and she went on to appear in over 30 films, often portraying sharp-tongued or resilient working-class women. Standout performances include Rosie in the musical Champagne Charlie (1944), Fanny Squeers in (1947), and Bertha, the outspoken factory worker, in Ealing Studios' satirical comedy (1951). During , she contributed to wartime entertainment by performing in revues with Herbert Farjeon and singing at the Players' Theatre. In addition to acting, Hope directed several notable stage productions, including the original 1953 London premiere of Sandy Wilson's The Boy Friend, which became a long-running hit and transferred to Broadway, and Valmouth (1958). She was married to British and Derek Twist from 1955 until her death, and occasionally appeared in his projects, such as (1947). Her career also extended to designing clothes and producing, reflecting her multifaceted involvement in the entertainment industry. Hope's life ended tragically in a head-on car collision with a lorry while driving her estate near , , on 23 December 1963.

Early life

Birth and family background

Vida Hope was born Vida Beatrice Frances Hope on 16 December 1910 in , , . She was the daughter of theatrical professionals Henry Cyprian Hope, an actor, and May Beatrice Annie Storrs, an actress. Due to her parents' touring performances, Hope grew up in a nomadic environment, traveling extensively across various locations in the UK during her childhood, as evidenced by the family's move from to a in , by the time of the when she was just four months old. Despite this theatrical family background, her parents prohibited her from pursuing early on, citing the profession's instability, which influenced her initial career choices away from .

Early career pursuits

Despite growing up in a theatrical family that traveled extensively during her childhood, which sparked her interest in the , Vida Hope was barred by her parents from pursuing a career in her early years. At the age of 16, she began working as a typist in an in . She later shifted to writing copy, which allowed her to develop early skills while supporting herself. Around the age of 28, Hope resolved to enter acting profession despite lacking formal training in the , instead relying on persistent informal efforts such as auditioning and participating in amateur dramatics. This self-determination culminated in her professional debut in 1939 in the revue The Little Revue by Herbert Farjeon at the Little Theatre in .

Stage career

Acting roles

Vida Hope made her professional stage debut in , appearing as a performer in Herbert Farjeon's The Little Revue at the Little Theatre in , marking the start of her contributions to British theater through lively ensemble work. She continued working in Farjeon's for over three years, including during the early years of . As a member of ENSA, she entertained troops, and she also performed songs at the Players' Theatre. During the early years of , Hope took on notable supporting roles in productions, including a performance opposite in his West End debut play Diversions in 1940, where she provided strong onstage support and formed a lasting friendship with the young actor. In 1942, she portrayed the character Alida, a banker's daughter, in the Victorian The Streets of at the Prince's Theatre, sharing the stage with Geoffrey Dunn as the corrupt Bloodgood in a production that highlighted dramatic family conflicts. A highlight came in the 1944–1945 season, when Hope appeared in multiple supporting roles—such as the 2nd Old Woman, Anitra, and Mads Moen's Mother—in the Theatre Company's revival of Henrik Ibsen's at the New Theatre, contributing to the ensemble's interpretation of the classic Norwegian drama. Throughout her stage career from 1939 to 1963, Hope specialized in vivacious, working-class female characters in revues and dramas, accumulating numerous credits in London-based ensemble and character parts that underscored her versatility in British theatrical traditions.

Directing work

Vida Hope transitioned from to directing in the early 1950s, leveraging her extensive experience to helm musical productions that revitalized British theater's lighter fare. Her first major directing credit came with the premiere of Sandy Wilson's The Boy Friend at the Players' Theatre in on April 14, 1953, a nostalgic of musical comedies that she guided to success through its initial intimate run and subsequent West End transfer to in . This production, under Hope's direction, emphasized ensemble dynamics and light comedy, evoking the era's charm rather than mere parody, which contributed to its status as a labor of love and a box-office hit that ran for over 2,000 performances in . Hope's involvement extended to the Broadway production of The Boy Friend, which opened in 1954 at the Royale Theatre, where she was credited as director and helped secure its transfer success, though American producers later adjusted elements for the New York audience. Building on this momentum, she directed a revival of The Boy Friend at the from 1958 to 1959, further cementing its enduring appeal in British theater. In 1958, Hope directed the premiere of Wilson's Valmouth at the Lyric Theatre in , adapting Ronald Firbank's novel into a musical featuring a notable including Bertice Reading as Mrs. Yajnavalkya (later replaced by ), alongside and Barbara Couper; the production ran from October 1958 to April 1959 and highlighted her skill in blending whimsical narrative with musical numbers. Her approach drew from her acting background to foster collaborative ensemble performances, prioritizing rhythmic timing and comedic interplay that influenced subsequent British musicals. Between 1953 and 1963, Hope directed at least five stage productions, including Innocent as Hell (1960, Lyric Theatre, Hammersmith), Stop It, Whoever You Are (1961, Arts Theatre, London), and House of Cards (1963, Phoenix Theatre, London), showcasing her versatility across musicals and plays while advancing the playful, character-driven style in postwar British theater. These works underscored her impact on the genre, promoting accessible, nostalgic revues that bridged intimate cabaret origins with larger West End spectacles.

Screen career

Film roles

Vida Hope began her screen career with an uncredited role as an usherette in Alfred Hitchcock's thriller The 39 Steps (1935), marking her entry into British cinema during the . During , she appeared in several wartime productions, often portraying resilient working-class women. In Champagne Charlie (1944), she played Rosie the Barmaid, a lively supporting character in the musical comedy starring and . That same year, Hope had a supporting part as an Auxiliary Territorial Service member in the English Without Tears (also known as Her Man Gilbey), directed by Harold French. Her wartime roles continued with the part of Elsie, a Women's Auxiliary Air Force (WAAF) , in Anthony Asquith's ensemble drama (1945), which depicted life at a base. In the era, Hope frequently took on character roles in productions and other British films, blending comedic and dramatic elements. She portrayed the no-nonsense Mrs. Kirby in Charles Crichton's (1947), a seminal children's involving a gang of young detectives. Hope collaborated with her husband, director Derek Twist, in his noir thriller (1947), where she appeared as Mrs. Fenshaw in a story of post-war and . One of her standout performances came as Bertha, the pragmatic factory worker, in Alexander Mackendrick's Ealing comedy The Man in the White Suit (1951), opposite as the eccentric inventor Sidney Stratton. Hope's later film work included a range of supporting characters through the early . She played Alice Gedge, a key figure in a tale of revenge and imprisonment, in Robert Hamer's noir (1953). In the same period, she appeared as Brenda in the crime drama Emergency—Call 999! (1952), Jackie Leroy in the mystery The Broken Horseshoe (1953), Rosie in the road movie Marilyn (1953), and Mrs. Kirby once more in the sentimental drama (1954). She also featured as a WAAF officer in George More O'Ferrall's aviation drama Angels One Five (1952). Hope continued appearing in films into the early 1960s, including roles in Women of Twilight (1952) as Mrs. Alice Rogers, Fast and Loose (1954) as Lady Fitzsimmons, It's Great to Be Young (1956), Rx Murder (1958) as Louise, Dentist in the Chair (1960), (1960), In the Doghouse (1961) as Mrs. Crabtree, and her final film The Running Man (1963). Over her career, Hope featured in more than 25 films, specializing in memorable supporting roles that captured the spirit of mid-20th-century British society, often drawing on her background for nuanced performances.

Television appearances

Vida Hope's television work, though under-documented, primarily occurred in the through appearances in British anthology series, marking the early expansion of broadcast drama. She featured in the BBC's Sunday-Night Theatre, a prominent live-play strand that adapted literary and theatrical pieces for the small screen. In 1953, Hope portrayed Audrey, the country girl wooed by the fool Touchstone, in the series' production of Shakespeare's , directed by Roger Jenkins and starring as Orlando. This role highlighted her versatility in comedic supporting parts within classical adaptations. Earlier that decade, in 1952, she appeared in the episode "Three Plays by Benn W. Levy," contributing to the segment The Great Healer alongside , showcasing her involvement in ensemble dramatic vignettes. These performances exemplified Hope's contribution to the era's burgeoning television landscape, where stage-derived content was adapted for episodic formats on the , bridging theatre traditions with emerging broadcast mediums.

Personal life

Marriage and family

Vida Hope married Derek Norman Twist, a British film editor and director, on 5 October 1955 in , , . The couple's professional lives intersected, as Hope appeared in two of Twist's directed films prior to and following their marriage: I Became a Criminal (1947), where she played a supporting role, and Prescription for Murder (1958), in which she portrayed Miss Bettyhill. Their marriage, which lasted until Hope's death in 1963, produced no children, and no other personal relationships for Hope are documented in available records. Twist, previously married to Nessie Charlesworth, provided a stable partnership amid Hope's demanding career in and directing.

Death

Vida Hope died on 23 December 1963, at the age of 53, in a in , , . She was killed instantly when the red estate car she was driving collided head-on with a lorry on a local near the town. The impact was so severe that a wrecking crane was required to separate the vehicles. Earlier that year, she had directed the London stage production of House of Cards at the Phoenix Theatre from September to October, marking one of her final contributions to the theatre. This untimely death abruptly halted her active career in directing and acting, preventing further projects in the wake of her notable successes, such as staging the hit musical The Boy Friend. Hope was survived by her husband, film director Derek Twist, whom she had married in 1955. Contemporary obituaries, including those in major newspapers, emphasized her achievements in British theatre, particularly her direction of The Boy Friend, which had enjoyed successful runs in and on Broadway.

References

  1. https://www.imdb.com/name/nm0394051/
  2. https://www.nytimes.com/1963/12/25/archives/vida-hope-dead-british-actress-also-a-director-she-staged-hit-the.html
  3. http://www.thefootballvoice.com/2023/07/a-history-of-liverpool-thespians-vida.html
  4. https://www.rottentomatoes.com/celebrity/vida_hope
  5. https://ancestors.familysearch.org/en/GJKM-NMK/vida-beatrice-frances-hope-1910-1963
  6. https://theatricalia.com/play/3f3/the-little-revue/production/7n2
  7. http://www.arthurlloyd.co.uk/LittleTheatreLondon.htm
  8. https://dirkbogarde.co.uk/actor/theatre/
  9. https://www.gettyimages.com/detail/news-photo/british-actors-geoffrey-dunn-and-vida-hope-as-bloodgood-and-news-photo/131403952
  10. https://theatricalia.com/play/ew/peer-gynt/production/7xm
  11. https://ovrtur.com/production/2882558
  12. https://www.nytimes.com/1954/09/26/archives/sandys-london-smash-sandys-london-smash.html
  13. https://www.ibdb.com/broadway-production/the-boy-friend-2460
  14. https://theatricalia.com/person/r58/vida-hope
  15. https://ovrtur.com/production/2882162
  16. https://castalbums.org/recordings/Valmouth-1958-Original-London-Cast/1172
  17. https://www.broadwayworld.com/shows/creative.php?showid=7698
  18. https://www.theguardian.com/stage/2014/aug/27/sandy-wilson
  19. https://www.imdb.com/title/tt0026029/fullcredits/
  20. https://www.themoviedb.org/person/97429-vida-hope
  21. https://www.imdb.com/title/tt0045519/
  22. https://www.imdb.com/title/tt1272571/
  23. https://www.bbc.co.uk/programmes/b01sjsx3
  24. https://www.imdb.com/name/nm0394051/bio/
  25. https://www.imdb.com/name/nm0878604/
  26. https://www.newspapers.com/newspage/51236034/
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