Actress - Gladys Cooper RP postcard 1918

Postcard

 

• Picture / Image:  Gladys Cooper - hand-painted real photo
• Publisher:  Rotary Photo, London EC
• Postally used:  yes
• Stamp:  George VI 1d. red definitive
• Postmark(s):  Ripley, Harrogate 23 Sep 1918 cds
• Sent to:  Miss M. Henderson (?), 20 Birchen Road, Darlington
• Notes & Key words: 

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UK (incl. IOM, CI & BFPO): 99p

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NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Dame Gladys Constance Cooper, DBE (18 December 1888 – 17 November 1971) was an English actress.

Cooper was born at 23 Ennersdale Road, Hither Green, Lewisham, London, England, one of the three daughters of Charles William Frederick Cooper by his marriage to Mabel Barnett. She spent most of her childhood in Chiswick, where her family moved when she was an infant.

She made her stage début in 1905 touring with Seymour Hicks in his musical Bluebell in Fairyland. The young beauty was also a popular photography model. In 1906, she appeared in London in The Belle of Mayfair, and the following year she became a chorus girl at the Gaiety Theatre, London, appearing in the successful 1908 musical Havana. In 1911, she appeared in a production of The Importance of Being Earnest, and in 1913 she appeared in her first film, The Eleventh Commandment. In addition, in 1917, Cooper became co-manager, with Frank Curzon, of the Playhouse Theatre, taking over sole control from 1927 until she left in 1933.

Cooper appeared in W. Somerset Maugham's Home and Beauty in London in 1919. However, it was not until 1922 that she found major critical success, in Arthur Wing Pinero's The Second Mrs. Tanqueray. Early in her stage career, she was criticized for being stiff. Aldous Huxley dismissed her performance in Home and Beauty: "she is too impassive, too statuesque, playing all the time as if she were Galatea, newly unpetrified and still unused to the ways of the living world." ^[1] Yet Maugham praised her for "turning herself from an indifferent actress to an extremely competent one" through her common sense and industriousness.^[2] She also appeared in Maugham's The Letter in 1927.