FATHER & SON: James Earl Jones with his Father Robert Earl Jones on Stage in the 1962 Production "Moon on a Rainbow Shawl."
Robert Earl Jones (February 3, 1910 – September 7, 2006), sometimes credited as Earl Jones, was an American actor and professional boxer. One of the first prominent Black film stars, Jones was a living link with the Harlem Renaissance of the 1920s and 1930s, having worked with Langston Hughes early in his career.
Jones was best known for his leading roles in films such as Lying Lips (1939) and later in his career for supporting roles in films such as The Sting (1973), Trading Places (1983), The Cotton Club (1984), and Witness (1985).
Jones was born in northwestern Mississippi; the specific location is unclear as some sources indicate Senatobia, while others suggest nearby Coldwater. He left school at an early age to work as a sharecropper to help his family. He later became a prizefighter. Under the name "Battling Bill Stovall", he was a sparring partner of Joe Louis.
Jones became interested in theater after he moved to Chicago, as one of the thousands leaving the South in the Great Migration. He moved on to New York by the 1930s. He worked with young people in the Works Progress Administration, the largest New Deal agency, through which he met Langston Hughes, a young poet and playwright. Hughes cast him in his 1938 play, Don't You Want to Be Free?.
Jones also entered the film business, appearing in more than twenty films. His film career started with the leading role of a detective in the 1939 race film Lying Lips, written and directed by Oscar Micheaux, and Jones made his next screen appearance in Micheaux's The Notorious Elinor Lee (1940). Jones acted mostly in crime movies and dramas after that, with such highlights as Wild River (1960) and One Potato, Two Potato (1964). In the Oscar-winning 1973 film The Sting, he played Luther Coleman, an aging grifter whose con is requited with murder leading to the eponymous "sting". In the later 20th century, Jones appeared in several other noted films: Trading Places (1983) and Witness (1985).
Toward the end of his life, Jones was noted for his stage portrayal of Creon in The Gospel at Colonus (1988), a black musical version of the Oedipus legend. He also appeared in episodes of the long-running TV shows Lou Grant and Kojak. One of his last stage roles was in a 1991 Broadway production of Mule Bone by Hughes and Zora Neale Hurston, another important writer of the Harlem Renaissance. His last film was Rain Without Thunder (1993).
Although blacklisted by the House Un-American Activities Committee in the 1950s due to involvement with leftist groups, Jones was ultimately honored with a lifetime achievement award by the U.S. National Black Theatre Festival.
Jones was married three times. As a young man, he married Ruth Connolly (died 1986) in 1929; they had a son, James Earl Jones. Jones and Connolly separated before James was born in 1931, and the couple divorced in 1933. Jones did not come to know his son until the mid-1950s. He adopted a second son, Matthew Earl Jones. Jones died on September 7, 2006, in Englewood, New Jersey, from natural causes at age 96.
THEATRE
1945 The Hasty Heart (Blossom) Hudson Theatre, Broadway
1945 Strange Fruit (Henry) McIntosh NY theater production
1948 Volpone (Commendatori) City Center
1948 Set My People Free (Ned Bennett) Hudson Theatre, Broadway
1949 Caesar and Cleopatra (Nubian Slave) National Theatre, Broadway
1952 Fancy Meeting You Again (Second Nubian) Royale Theatre, Broadway
1956 Mister Johnson (Moma) Martin Beck Theater, Broadway
1962 Infidel Caesar (Soldier) Music Box Theater, Broadway
1962 The Moon Besieged (Shields Green) Lyceum Theatre, Broadway
1962 Moon on a Rainbow Shawl (Charlie Adams) East 11th Street Theatre, New York
1968 More Stately Mansions (Cato) Broadhurst Theatre, Broadway
1975 All God's Chillun Got Wings (Street Person) Circle in the Square Theatre, Broadway
1975 Death of a Salesman (Charley)
1977 Unexpected Guests (Man) Little Theatre, Broadway
1988 The Gospel at Colonus (Creon) Lunt-Fontanne Theatre, Broadway
1991 Mule Bone (Willie Lewis) Ethel Barrymore Theatre, Broadway
FILMS
1939 Lying Lips (Detective Wenzer )
1940 The Notorious Elinor Lee (Benny Blue)
1959 Odds Against Tomorrow (Club Employee uncredited)
1960 Wild River (Sam Johnson uncredited)
1960 The Secret of the Purple Reef (Tobias)
1964 Terror in the City (Farmer)
1964 One Potato, Two Potato (William Richards)
1968 Hang 'Em High
1971 Mississippi Summer (Performer)
1973 The Sting (Luther Coleman)
1974 Cockfighter (Buford)
1977 Proof of the Man (Wilshire Hayward )
1982 Cold River (The Trapper)
1983 Trading Places (Attendant)
1983 Sleepaway Camp (Ben)
1984 The Cotton Club (Stage Door Joe)
1984 Billions for Boris (Grandaddy)
1985 Witness (Custodian)
1988 Starlight: A Musical Movie (Joe)
1990 Maniac Cop 2 (Harry)
1993 Rain Without Thunder (Old Lawyer)
TELEVISION
1964 The Defenders (Joe Dean) Episode: The Brother Killers
1976 Kojak (Judge) Episode: Where to Go if you Have Nowhere to Go?
1977 The Displaced Person (Astor) Television movie
1978 Lou Grant (Earl Humphrey) Episode: Renewal
1979 Jennifer's Journey (Reuven )Television movie
1980 Oye Ollie (Performer) Television series
1981 The Sophisticated Gents (Big Ralph Joplin) 3 episodes
1982 One Life to Live
1985 Great Performances (Creon) Episode: The Gospel at Colonus
1990 True Blue (Performer) Episode: Blue Monday
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We take our final bow, soak up the applause, and stand under the stage lights one last time, and with that, that show is over. We bump out and clear the space and say goodbye to the cast and crew who we won't see as often anymore, not yet fully realising the weight of what we've done until we get home. People who we saw at least once a week, and then every day for a whole week, now barely in our lives until whatever show we both do next.
You can try to bargain with time, gaslight yourself into believing it's not over, but there's no changing that it'll never happen again. Not like that.
So you sit with it, you realise you finally have a chance to breathe after all the chaos. Yet it feels wrong, everything hurts and you feel empty. A shark that has stopped swimming. It's like you've died and there's nothing left for you.
You don't know what will happen to you if you don't find a new way to keep moving before the cast party, but you know you have to for everyone you worked alongside to bring art to life.
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The Museum of Fine Arts, Boston: The current exhibition, which I attended today, is Fashioned by Sargent – a collection of gorgeous Sargent portraits and displays of attire worn by the subjects of those portraits, while also illuminating the ways in which fashion played a key role in his artistic process. Follow the link for the complete introductory exhibition text and a nice little video presentation.
It was, at times, difficult to take photos because the exhibition was quite crowded. The work below, in particular, was swamped with viewers. The first two images below are from the internet, the third is mine.
-P.S.
John Singer Sargent (1856-1925) • Ellen Terry as Lady MacBeth •
The museum label:
Ellen Terry was one of Britain's greatest actors, renowned for her roles in both comedy and tragedy. In 1878 she became the leading lady in Henry Irving's company at London's Lyceum Theater where she played numerous Shakespearian roles. When Macbeth opened on December 27, 1888, Sargent was in the audience. He wrote to Isabella Stewart Gardner that Terry "looks magnificent in it, but she hasOn December 27, 1888, Sargent was in the audience. He wrote to Isabella Stewart Gardner that Terry "looks magnificent in it, but she has not yet made up her mind to let me paint her in one of the dresses until she is quite convinced that she is a success. From a pictorial point of view there can be no doubt about it - magenta hair!" After sketching various compositions, he painted Terry in a dynamic pose that did not occur in the play. Pre-Raphaelite painter Edward Burne-Jones saw it in progress and made suggestions about the color, which may account for the difference between the blues of the painting and the greens of the actual dress. "Sargent's picture is almost finished and it is splendid," declared Terry, "the picture is the sensation of the year!"
Alice Laura Vansittart Comyns Carr (1850 - 1927) • Beetle Wing Dress for Lady Macbeth • Cotton, silk, lace, beetle-wing cases, glass, metal
At the MFA this dress was in a case, reflections on the glass, bad lighting, and tons of people, which made for disastrous photos. Hence the internet sourced image you see here.
Though technically not a good picture, I thought the visitor looking at the painting was a good match with it. The portrait is impressively large – 221.0 cm × 114.5 cm (87.0 in × 45.1 in), so the person looking at it also serves the purpose of providing perspective. – P.S.
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