^Visiting soprano Claudia Muzio asked Beatrice Welles if three-year-old Orson could play the part of her illegitimate son, and Beatrice agreed. "The greatest soprano I ever heard was Claudia Muzio," said Welles. "I love the opera; it's my favorite form of theatre and always has been." Welles played child roles in the Chicago Opera Company until he became so heavy that singers complained about lifting him.[2]: 5
^Frank Brady: "His opera career ended when tenor Giovanni Martinelli indignantly refused to hoist him in a performance of Samson and Delilah."[2]: 5
^Lowell Frautschi, Welles's camp counselor, described this as "a one-man show in which Orson acted out Dr. Jekyll and Mr. Hyde, making the transformation from one character to the other, altering his facial expressions, voice, and movements in a truly amazing way. I told Mr. [Frederick G.] Mueller about it and suggested we save it for the last night of camp when a large number of parents would be present for a sort of commencement exercise to mark the close of the camp season. Young Orson played to a packed hall and was a stunning success."[4]
^In spring 1927 Welles became a member of the Todd Troupers, a touring company that performed at regional schools, in suburban Chicago movie houses and at the Goodman Theatre. This touring performance of Todd's 1927 musical comedy was one of two in which Welles appeared. Welles was director of productions at the school for three years, producing eight to ten plays annually. These included Molière's The Physician in Spite of Himself, Dr. Faustus, "and an innovative Everyman staged with ladders and platforms" (Frank Brady).[2]: 12
^In this touring performance of Todd's 1928 musical comedy, Welles appeared as a detective modeled after William J. Burns. Welles joined the ensemble in the finale, and he was featured in the number, "Everyone Loves a Fellow Who Is Smiling". Joseph McBride wrote that "when Welles felt in a particularly festive mood, or wanted to cheer up his sluggish actors, he would burst into a favorite song. It came from Finesse the Queen … Hearing him warble the tune in a tone of innocent sincerity took the listener back to Welles's semi-mythological youth: Everyone loves the follow who is smiling, He brightens the day and lightens the way for you — He's always making other people happy Looking rosy when you're feeling awful blue."[6]: 174
^The New Yorker: "This was the Todd School's entry in the annual Drama League contest for high schools and little-theatre groups around Chicago. It didn't get the prize; the judges explained that, meritorious as the production was, the two lads who played Cassius and Mark Antony were both too mature to be bona-fide students. This was a severe disappointment to Welles, who had cast himself in these two leading roles to make sure that they were played exactly right."[10]
^Cast: Edgerton Paul (Androcles), Robert Crane (The Emperor), Hascy Tarbox (Metellus), others[1]: 242
^Roger Hill: "He produced student plays in our own theatre nearly every weekend. And his senior project, Five Kings, played to the public as well as a Todd commencement audience."[11]: 117
^Richard France: "In 1930, a year before his graduation, Welles created an appropriately titled version of two of the chronicle plays for an unofficial weekly publication. This was done expeditiously with crayon markings in a handy edition of The Complete Works of William Shakespeare. … Winter of Our Discontent is not merely an important artifact; it is the paradigm for all of his future adaptations of Shakespeare, whether for radio, film, or the stage. His editing showed an almost preternatural familiarity and sureness in reshaping Shakespeare into productions which for all intents and purposes were entirely his own."[12]: 5
^The New Yorker: "His last big job before he graduated from Todd was a mélange of Shakespeare's historical plays—edited and directed by Orson Welles, starring Orson Welles. This was the germ of the Five Kings chronicle play to be presented by the Mercury this autumn to the Theatre Guild subscribers."[10]
^Exaggerating his age and stage experience to the Gate Theatre's managers, Hilton Edwards and Micheál Mac Liammóir, Welles secured membership in the company at age 16, and soon replaced the actor playing this leading role.[1]: 37
^The New York Times: "The Gate Theatre, for the first time since it took up quarters in its present home, is turning people away from its performances of Jew Süss … magnificently produced by Hilton Edwards, who also plays the title role. His is a most difficult part because for more than half the play it is second to that of the Duke Karl Alexander, and when Jew Süss's great moment comes it is too late as the play belongs to the Duke. This is particularly true in the case of the Gate production, in which the Duke is played by a young American actor, 18 years old, whose performance is amazingly fine. … Dublin is eager to see him in other roles."[13]
^Cast: Coralie Carmichael (Marie Auguste, the Duchess), Edward Levy (General Remchingen), William Sherwood (Councillor Weissensee), Meriel Moore (Magdalen), Hilton Edwards (Josef Süss Oppenheimer), Betty Chancellor (Naomi), Joseph Levison (Leader of Jewish Delegation), others[14]
^The New York Times reviewed the premiere of "a weird drama which grips from the very start and at times develops situations which are well nigh terrifying in their tensions and power … I have never seen on any stage a more true-to-life portrait than that of the wealthy self-made American millionaire who, away from his field of activity, gives himself up with complete abandon to the enjoyment of the hour. Played by Orson Wells [sic], the young American actor, Ralph Bentley came to life in most convincing fashion."[15]
^Reviewing this premiere of a new play about ill-fated Emperor Maximilian I of Mexico, The New York Times wrote that "Orson Welles, the young American actor, scored heavily as General Bazaine in the earlier scenes and, again, as the Republican Mexican Colonel in charge of the final arrangements."[16]
^Welles's only performance at the Abbey Theatre, in an independent production on its stage presented during the Abbey company's U.S. tour[18]: 59
^The New York Times called this premiere "pure Arabian Nights entertainment and it is extremely appropriate to the holiday season. The story is that of a beggar who, with his daughter and a tame mouse, strays in from the desert and joins the Persian camp. The daughter marries the king while Mogu is raised to exalted rank. Years pass, power wearies and the wanderer, his daughter and second wife both dead, returns alone to the desert. … A series of beautifully colorful stage pictures."[19]
^Twenty-two settings designed by Orson Welles[17]: 102
^"I am quite rushed these days [just before Christmas, 1931] as I am designing and superintending the construction and painting of scenery—all of the scenery—in the Peacock, an art-theaterish stock company quite distinct from the Gate. As the bill is changed weekly, and my regular acting and publicity work for the Gate goes on all the same and all the time, I am kept in a perpetual state of sweaty bliss!" (Orson Welles, undated letter to Roger Hill)[20]: 36
^"While in Dublin, OW does a few productions of his own … and acts in several productions" (Jonathan Rosenbaum)[3]: 329
^"He played forty roles that season at the Gate Theater, directed and designed sets at the famed Peacock Theater, made an occasional guest appearance at the Abbey." (Radio Guide)[21]
^Welles travels to London, where he is unable to obtain a work permit.[3]: 330
^On March 9, Welles boards the RMSOlympic at Southampton, and arrives in New York March 15. On March 18, a Chicago Tribune headline reads, "Chicago Schoolboy Who Won Place on Dublin Stage Returns".[23]
^Welles was invited by Roger Hill to join the Todd faculty.[11]: 117
^Welles co-directed this production using the edited version of the play that would appear in the book he wrote with Hill, Everybody's Shakespeare (1934). Welles designed the costumes and conceived and created the set—a 12-foot-high book with hand-painted pages that turned as scenes changed. Welles filmed most of a dress rehearsal—his very first film[2]: 44
^Todd School for Boys received first prize from the Chicago Drama League after competition at the Century of Progress Exposition (July–August), 1933 Chicago World's Fair.[27]
^Richard France: "A short film excerpt from it is still in the Hills' possession. Unfortunately, Welles's original staging was not used, only his set. A small backdrop is completely covered with a bright stylized rendering of a London street."[20]: 38
^Cast: Hascy Tarbox (Sir Andrew Aguecheek), Joanne Hill (Viola)
^Orson Welles: "I was out on the road with Katharine Cornell for a whole year in the thirties … playing all over in theatres where no play had been for twenty, thirty, forty years. There we were, bringing really good actors and a repertoire of three plays …"[3]: 6, 77
^Frank Brady: "And what a tour it was! Eight months, 17,000 miles, and 225 performances from New York to San Francisco, crisscrossing the United States and ending at the Brooklyn Academy of Music on June 20, 1934."[2]: 52
^Cast: Katharine Cornell (Candida), others; in repertory with The Barretts of Wimpole Street and Romeo and Juliet
^This production launched The Todd Theatre Festival, a six-week summer festival organized by Welles.[3]: 331
^Welles's American debut as a professional theatre director[30]
^Cast: Louise Prussing (Trilby), Hilton Edwards (Taffy), Micheál MacLiammóir (Little Billee), Virginia Nicolson (Angele), William Vance (Zouzou)[31]
^Chicago Tribune: "Orson Welles doubles as the ghost and the king. He reads the magnificent speeches of the ghost with fine effect, and adds new touches of character to the king. I have never before seen the murderous and incestuous Claudius acted except as an obvious and perfunctory villain. Welles, the twenty-year-old master of character, puts into the role suggestions of an exceeding corrupt Roman emperor."[33]
^Cast: Micheál MacLiammóir (Alexander), Constance Heron (Elizabeth), Hilton Edwards (Paul I), Robert Newman (Grand Duke), Richard Ogden (Lieutenant Marin), William Vance (General Talyzin), Charles O'Neal (Colonel Yashvil), William Mowrie (Colonel Argamakoff), Ralph O'Connor (General Bennigsen), William Yule (Baron Rosen), Louise Prussing (Princess Anna Gagarin)[35]
^ Peter Noble: "Roger Hill and his wife Hortense … prevailed upon Welles to produce that old-time temperance melodrama, The Drunkard … It was a riotous success … Hilton and Michael adored it and later produced it triumphantly at the Gate."[18]: 70
^The first production of the new repertory season is a revised version of the play that toured 1933–34, choreographed by Martha Graham, with scenic design and costumes by Jo Mielziner and music by Paul Nordoff.[37]: 7, 9
^Virginia Welles Pringle: "Orson thought Brian Aherne was a terrible actor and very much resented losing Mercutio to him. He made Tybalt outstanding, however, and the changes of roles didn't hurt him at all. Aherne was absolutely necessary to Kit Cornell as Robert Browning in The Barretts of Wimpole Street and being something of a star, he wouldn't join the company unless he played Mercutio."[20]: 53
^John Houseman: "That glossy and successful evening was marked for me by one astonishing vision … the excitement of the two brief moments when the furious Tybalt appeared suddenly in that sunlit Verona square: death, in scarlet and black, in the form of a monstrous boy—flat-footed and graceless, yet swift and agile; soft as jelly one moment and uncoiled, the next, in a spring of such furious energy that, once released, it could be checked by no human intervention."[43]: 144
^Cast: Katharine Cornell (Juliet), Basil Rathbone (Romeo), Brian Aherne (Mercutio), Edith Evans (Nurse), John Emery (Benvolio), George Macready (Paris), Brenda Forbes (Lady Montague), Moroni Olsen (Capulet), William Hopper (Ensemble), others[44]
^About three weeks after seeing the December 21 performance, producer John Houseman secretly went backstage to introduce himself to Welles and recruit him to star in his production of a new play, Panic.
^Co-produced by John Houseman, his first work with Welles: "And to his own part of the sexagenarian McGafferty, he brought us, as a free gift, the strength, the keen intelligence, the arrogance and the prodigious energy of his nineteen and a half years."[43]: 156
^On March 22, Welles made his debut on the CBS Radio series The March of Time, performing a scene from Panic for a news report on the stage production.[2]: 70–71
^A free preview draws 3,000 more people than can be seated
^The "Voodoo" Macbeth with an all-black cast, set on a mythical Caribbean island modeled upon 19th-century Haiti
^Cast: Jack Carter (Macbeth), Edna Thomas (Lady Macbeth), Canada Lee (Banquo), Maurice Ellis (Macduff), Marie Young (Lady Macduff), Eric Burroughs (Hecate), Service Bell (Duncan), Wardell Saunders (Malcolm), Frank David (Ross), Thomas Anderson (Lennox), Archie Savage (Siward), George Nixon (First Murderer), Kenneth Renwick (Second Murderer), Laurence Chenault (The Doctor), Al Watts (The Priest), Philandre Thomas (First Messenger), Herbert Glynn (Second Messenger), J. Lewis Johnson (The Porter), Larrie Lauria (Seyton), Charles Collins (A Lord), Lisle Grenidge (First Captain), Ollie Simmons (Second Captain), William Cumberbatch (First Chamberlain), Benny Tattnall (Second Chamberlain), Chauncey Worrell (First Court Attendant), George Thomas (Second Court Attendant), Sarah Turner (First Page Boy), Beryle Banfield (Second Page Boy), Alma Dickson (The Duchess), Virginia Girvin (The Nurse), Bertram Holmes (Young Macduff), Wanda Macy (Daughter to Macduff), Carl Crawford (Fleance), Wilhelmina Williams (First Witch), Josephine Williams (Second Witch), Zola King (Third Witch), Abdul (Witch Doctor)[48]: 4–5
^Touring version of previous production, presented in the band shell of the new open-air amphitheater that seated 5,000[53]
^Integrated seating was a unique experience for theatergoers in Dallas.[54]: 64
^Hallie Flanagan: "Dallas did see some excellent Federal Theatre productions. The Texas Centennial wanted Follow the Parade from Los Angeles, and the Negro Macbeth from New York."[55]: 95
^Welles is sent to soothe inter-company quarrels that threaten the production; incognito, he performs the role of Macbeth at one performance when Ellis is ill.[57]
^Cast: Joseph Cotten (Freddy), George Duthie (Entwhistle), Donald MacMillan (Uncle Adolphe), Dana Stephens (Queeper), Hiram Sherman (Bobbin), Sidney Smith (Grimshot, Lieutenant of Cavalry), Harry McKee (Joseph), France Bendtsen (Gustave, Viscount), Edgerton Paul (Augustus), Virginia Welles (Myrtle Mugglethorp), Paula Laurence (Agatha Entwhistle), Arlene Francis (Tillie), Sarah Burton (The Countess), Henriette Kaye (Daisy), Lucy Rodriguez (Clotilda), Bernard Savage (Corporal), Walter Burton (Butler), Steven Carter (First Footman), J. Headley (Second Footman), Enrico Cellini (Raguso), George Barter (Berkowitz), Bil Baird, Edwin Denby[61]
^Cast: Charles Peyton (the Pope), J. Headly (Cardinal of Lorraine), Bernard Savage (Valdes), Myron Paulson (Cornelius), Arthur Spencer (Wagner), William Hitch (First Scholar), Joseph Cotten (Second Scholar), Huntly Weston (Third Scholar), Harry McKee (Clown), Hiram Sherman (Robin), Wallace Acton (Ralph), George Smithfield (Vintner), George Duthie (Old Man), Edward Hemmer (First Friar), and Jack Carter (Mephisto)
^Premiere of new opera; there were just three performances of the Welles production
^Cast: Vivienne Block (Queenie), Estelle Levy (Gwen), Arthur Anderson (Gyp), Buddy Mangan (Lowrie), John Doepper (Butch), Harry Olive (Fat), Carl Crawford (Jeff), Clifford Mack (The Teacher), Joseph Cotten (Mr. MacLanahan), Charles Pettinger (Radio Operator)
^Musical. Additional, one-off performances were given during this time on a Sunday in an amusement park in Bethlehem, Pennsylvania, and at Uncasville, New York.
^Cast: Olive Stanton (Moll), George Fairchild (Gent, Gus Polock), Guido Alexander (Dick), Robert Farnsworth (Cop), Clifford Mack (Clerk), Bert Weston (Editor Daily), Hansford Wilson (President Prexy), Edward Fuller (Yasha), Warren Goddard (Dauber), Frank Marvel (Dr. Specialist), Edward Hemmer (Rev. Salvation), John Adair (Druggist), Will Geer (Mr. Mister), Peggy Coudray (Mrs. Mister), Hiram Sherman (Junior Mister, Prof. Skoot), Dulce Fox (Sister Mister), Josephine Heathman (Maid), Howard Bird (Steve), Geoffrey Powers (Bugs), Marian Grant Rudley (Sadie Polock), Howard da Silva (Larry Foreman), Leopold Badia (Prof. Mamie), George Smithfield (Prof. Trixie), Blanche Collins (Ella Hammer), Robert Hopkins (Reporter), Huntley Weston (Reporter), Jack Mealy (Reporter)
^First of the Mercury Theatre's experimental Worklight Theatre presentations offered on Sunday nights
^Revised oratorio version using the Caesar set, with a 12-person chorus on the second platform. Chairs were placed in two rows on the first raised platform, from which the cast descended to the apron to join Marc Blitzstein at the piano for their individual scenes.
^Surprise preview performance immediately following Caesar[43]: 332
^Welles invited the audience to stay and watch the set changes. Actor Norman Lloyd called the performance "the wildest triumph imaginable. The show was a smash during its run—but never again did we have a performance like that one."
^John Houseman: "So now during February and March, the Mercury had 124 actors performing in four shows in three theatres … within two blocks of each other on West 41st Street. We renamed it Mercury Street, and without permission from the city, put up temporary signs to that effect on the corners of 6th and 7th Avenues and Broadway."[43]: 342
^Cast: Geraldine Fitzgerald (Ellie Dunn), Brenda Forbes (Nurse Guinness), Phyllis Joyce (Lady Utterword), Mady Christians (Hesione Hushabye), Erskine Sanford (Mazzini Dunn), Vincent Price (Hector Hushabye), John Hoysradt (Randall Utterword), Eustace Wyatt (The Burglar)[69]
^Sets by James Marcom, costumes by Leo van Witsen, lighting by Jean Rosenthal
^Motion picture sequences that were to provide exposition had to be abandoned due to the theater's lack of projection facilities, resulting in plot confusion that contributed to the play's failure.
^Bret Wood: "The multi-media concept was a throwback to the early age of cinema when vaudeville shows were punctuated by quick cinematic vignettes."
^Cast: Eustace Wyatt (Faddish), Edgar Barrier (Dathis), Anna Stafford [Virginia Welles] (Lenore Faddish), Guy Kingsley (MacIntosh), Joseph Cotten (Augustus Billings), Ruth Ford (Mrs. Billings), Mary Wickes (Mrs. Battison), George Duthie (Purser), Richard Wilson (Cabin Boy), Howard Smith (Johnson), Erskine Sanford (Frederic)[70]
^Cast: Anna Stafford [Virginia Welles] (Julie), Martin Gabel (Danton), Edgar Barrier (Camille Desmoulins), Evelyn Wahle (Lucile), Morgan Farley (Herault de Sechelles), William Mowry (Philippeau), Guy Kingsley (Lacroix), Ellen Andrews (A Lady), Vladimir Sokoloff (Robespierre), Arlene Francis (Marion), Ruth Ford (Rosalie), Rosemary Carver (Adelaide), Richard Wilson (Mercier), Eustace Wyatt (Fouquier), Joseph Cotten (Barrerre); William Alland, Edgerton Paul, Stanley Poss (Servants to Danton); Richard Baer, Ross Elliott (Convention Attendants)
^Songs by Marc Blitzstein: "Christine" sung by Joseph Cotten and Mary Wickes, and "Ode to Reason" sung by Adelyn Colla Negri[71]
^Original, five-hour version with two intermissions[3]: 350
^John Houseman: "The first half of Five Kings, which included a fragment of Richard II, the two parts of Henry IV, and Henry V, was to be presented on its subscription series by the Guild … If successful it was to be followed by a second evening—all three parts of Henry VI and Richard III—to be rehearsed during the run of the first."[43]: 416
^Music by Aaron Copland; sets by Jean Rosenthal—notably a revolving platform 30 feet in diameter "which kept circling like a lazy Susan without blackouts or visible sceneshifts in a great variety of forms throughout the play's thirty-two scenes" (John Houseman)[43]: 417
^Welles had cut 40 minutes of the production's running time[43]: 425
^Richard France: "No one was more insistent than Welles on presenting Five Kings in all its fulsomeness, and he did so in spite of the Theatre Guild's continuing demands that, if only in the interests of a conventional running time, the production be cut. His stage manager, Walter Ash, still blames the Guild for the demise of Five Kings."[12]: 172
^Five Kings (Part One) did not make it to New York, and its failure meant that the planned Five Kings (Part Two) was never produced.
^Richard France: "Throughout the tour of Five Kings, Welles grappled with this seemingly impenetrable mountain of material. In his dispatch to the New York Herald-Tribune, columnist Herbert Drake suggests that, had Welles been given the extra week of uninterrupted rehearsal time that he had requested of the Guild, Five Kings might today be recognized as Welles's theatrical masterpiece."[12]: 172
^Short 20-minute play, including a five-minute film segment, performed on tour
^Brooks Atkinson: "Out of Richard Wright's novel, Native Son, Mr. Wright and Paul Green have written a powerful drama. Orson Welles has staged it with imagination and force. Those are the first things to be said about the overwhelming play that opened at the St. James last evening. But they hardly convey the excitement of the first performance of a play that represents experience of life and conviction in thought and a production that represents a dynamic use of the stage. … In staging it Mr. Welles picks up the bravura style of the Mercury Theatre where he left it two or three seasons ago. In ten savory scenes, acted on different levels with a resourceful use of the stage, he runs through the narrative, giving motion to static scenes by flares of light and putting Native Son into its urban environment by a varied use of sound accompaniment. Mr. Welles is a dramatic showman; he likes big scenes, broad sweeps of color and vigorous contrasts in tempo. He likes theatre that tingles with life."[73]
^Cast: Canada Lee (Bigger Thomas), Evelyn Ellis (Hannah Thomas), Helen Martin (Vera Thomas), Lloyd Warren (Buddy Thomas), Jacqueline Ghant Andre (A Neighbour), Eileen Burns (Miss Emmett), J. Flashe Riley (Jack), Rena Mitchell (Clara), Rodester Timmons (G.H. Rankin), Wardell Saunders (Gus Mitchell), C.M. Bootsie Davis (Ernie Jones), Erskine Sanford (Mr. Dalton), Nell Harrison (Mrs. Dalton), Everett Sloane (Britten), Frances Bavier (Peggy), Anne Burr (Mary Dalton), Joseph Pevney (Jan Erlone), Philip Bourneuf as Buckley), Ray Collins (Paul Max), Paul Stewart (A Reporter), William Malone (Judge); John Berry, Stephen Roberts, George Zorn, Don Roberts (Newspaper Men)[73]
^Actual Stage Timing, Court Room Scene, from the Mercury Theatre Production of Native Son (1941). Orson Welles reads the role of defense attorney Paul Max.[74]
^Cast: Joseph Cotten ("Jo-Jo the Great"), Agnes Moorehead ("Calliope Aggie"), others
^Rita Hayworth appeared as herself—and after Hayworth was forced out of the production by her studio contract, her part was filled by Marlene Dietrich.
^World premiere of a symphony that presents the history of human flight, narrated by Welles
^Commissioned in 1943 by the United States Army, officially dedicated to the Eighth Air Force
^Soloists Charles Holland, tenor, and Walter Scheff, baritone, with the male section of the Collegiate Chorale[77]
^Recorded in 1966 with Welles as narrator and Bernstein conducting the New York Philharmonic[78]: 13–24
^Musical; preview of the below Broadway production
^Cast: Arthur Margetson (Phileas Fogg), Mary Healy (Mrs. Aouda), Julie Warren (Molly Muggins), Larry Laurence (Pat Passepartout), Victoria Cordova (Lola), Stefan Schnabel (Avery Jevity), Brainerd Duffield (Mr. Benjamin Cruett-Spew), Dorothy Bird (Meerahlah), Guy Spaull (Ralph Runcbile), Bernard Savage (Sir Charles Mandiboy)
^Musical; preview of the below Broadway production
^Musical. Despite relatively healthy ticket sales, the extravagance of the staging meant that the production lost a fortune.
^Six performances presented by the Utah Centennial Commission and University Theatre in cooperation with American National Theatre and Academy[81]
^Staged in preparation for the film version shot in June 1947, with the same principal cast
^Set design by Robert Shapiro, costumes by Ricki Grisman, executive director Richard Wilson, stage manager William Alland, production coordinator Emerson Crocker, executive secretary Michael Zimring
^Compilation of two one-act plays, each written by Welles: The Unthinking Lobster and Time Runs... Cast of The Unthinking Lobster included Marcel Archard, Georges Baume, Frédéric O'Brady and Maurice Bessy. Cast of Time Runs… included Eartha Kitt as Helen of Troy.
^Compilation of the one-act Orson Welles play The Unthinking Lobster, and a heavily abridged one-act condensation of the Oscar Wilde play The Importance of Being Earnest. The cast of The Unthinking Lobster were as above.
^Compilation of the one-act Orson Welles play The Unthinking Lobster, and a heavily abridged one-act condensation of the Oscar Wilde play The Importance of Being Earnest. The cast of The Unthinking Lobster were as above.
^Compilation of the one-act Orson Welles play The Unthinking Lobster, and a heavily abridged one-act condensation of the Oscar Wilde play The Importance of Being Earnest. The cast of The Unthinking Lobster were as above. On 30 August, Welles did film both segments (along with the final scene of Henry IV, Part 2) at the Geisengeige Studios outside Munich, but disposed of the footage after he was dissatisfied with the result.
^Minimalist production of a play about a group of 19th-century actors rehearsing a play of Moby Dick
^Cast: Gordon Jackson (A Young Actor/Ishmael), Christopher Lee )(A Stage Manager/Flask; replaced by Peter Sallis later in the run), Patrick McGoohan (A Serious Actor/Starbuck), Wensley Pithey (A Middle-Aged Actor/Stubb), Joan Plowright (A Young Actress/Pip), Kenneth Williams (A Very Serious Actor/Elijah and others), Joseph Chelton (A Manager/Tashtego), John Gray (An Assistant Stage Manager/Bo'sun), Jefferson Clifford (An Experienced Actor/Peleg)
^Cast: Hilton Edwards (Narrator),[86] Reginald Jarman (Henry IV), Keith Baxter (Hal, Prince of Wales, later King Henry V), Peter Bartlett (Prince John of Lancaster; Peto), Stuart Nichol (Earl of Westmoreland), Terence Greenidge (Lord Chief Justice; Henry Percy, Earl of Northumberland), Alan Mason (Gower), John Southarn (Page to Gower), Orson Welles (Sir John Falstaff), Shirley Cameron (Doll Tearsheet), Thelma Ruby (Mistress Quickly), Keith Marsh (Justice Robert Shallow), Aubrey Morris (Master Silence; Thomas Percy, Earl of Worcester), Patrick Bedford (Ned Poins), Rory Macdermott (Pistol; Sheriff Fang; Chorus), Leonard Fenton (Bardolf), Henry Woolf (Nym), Lee Harris (Francis, a Drawer), Alexis Kanner (Harry Percy, known as Hotspur)[87]
^By the time the play had transferred to its new venue, Welles had ceased to be associated with the production, with its star Laurence Olivier having taken over as de facto director. However, the production's innovative set design remained Welles's. The cast remained as above, except with Maggie Smith taking over from Joan Plowright as Daisy, and Michael Gough taking over from Alan Webb as Duddard.[88]
^"Page the Prince (1930)". Port Hope, Ontario … A Living Past. Retrieved 2014-09-14. By September 1929, Finesse the Queen was retitled Page the Prince and performed by high school and civic groups throughout the U.S. and in Canada. Performances were directed by the John B. Rogers Producing Company of Fostoria, Ohio, which supplied client towns with scripts, costumes, sets and lights for amateur theatre productions. The Rogers Company Collection is archived at the National Museum of American History, Smithsonian Institution.
^ abcMaloney, Russell (October 8, 1938). "Profile: This Ageless Soul". The New Yorker. pp. 23–24.
^ abcdWelles, Orson, Richard France, William Shakespeare. Orson Welles on Shakespeare: The W.P.A. and Mercury Theatre Playscripts. New York: Routledge, 2001. ISBN9780415937269
^"Amateur Dramatic Groups to Compete for Trophy at Fair". United Press, July 7; Ruston Daily Leader, July 8, 1933, page 1. "Amateur dramatic groups from all sections of Metropolitan Chicago will compete this summer at Enchanted Island, World's Fair fairyland for children at A Century of Progress, for a silver cup to be awarded by the Chicago Drama League, Miss Anna Agress, director of the Children's Theatre on the Island, has announced. Twenty-four groups, ranging from Thespians of years' experience to child actors, are on the schedule. Although most of the program will be played during July and August, the contest opened several days ago with the Todd School for Boys, of Woodstock, Ill., presenting Shakespeare's Twelfth Night. The Todd boys were the 1932 cup winners."
^"No title". Syracuse Herald. August 27, 1936. p. 12. "Syracuse will be the last stop for the touring 'Macbeth' production … closing a 4,000 mile jaunt with a three-day run at the Civic University, opening Sept. 23."
^"News of the Stage". The New York Times. May 24, 1937. Retrieved 2023-03-08. Somewhat off Broadway Saturday night will be ... Dr. Faustus suspending for a while at Maxine Elliott's.
^"News of the Stage; 'Julius Caesar' Closes Tonight". The New York Times. May 28, 1938. Retrieved 2015-09-07. The Mercury Theatre's production of 'Julius Caesar' will depart from the National tonight, the only Broadway closing of the evening. At the National, and earlier at its home grounds, it will have amassed a total of 157 performances.
^"News of the Stage". The New York Times. December 14, 1937. Retrieved 2015-08-26.
^Lloyd, Norman (1993) [1990]. Stages of Life in Theatre, Film and Television. New York: Limelight Editions. ISBN9780879101664.
