Jean Anderson(1907-2001)
- Actress
Gaunt Sussex-born actress of Scottish descent whose dignified manner
and plain, but expressive features qualified her for a wide range of
character parts, from austere nurses and long-suffering mothers to
overbearing dowagers and nosy gossips; from meddlesome chaperones to
authoritarian aunts and intransigent spinsters. She rarely gave an
indifferent performance and was often quite brilliant, particularly on
the small screen.
Jean Anderson was the daughter of a well-to-do cloth merchant
specialising in muslin. As she grew up, she aspired to become a
violinist, later a tennis player. Though she did make a junior
Wimbledon appearance in the 1920's, her road eventually led to training
at RADA, where her acting skills were first discovered. In 1931, she
joined the Richmond Repertory Company and soon found herself in a
leading role opposite
Robert Morley. By decade's end,
she had a three year spell at Dublin's Gate Theatre as the lead in
Eugene O'Neill's "Ah,
Wilderness!". During the succeeding decade she regularly appeared at
the West End and acted with a touring repertory company alongside
Jack Hawkins in "Hamlet" and
"Othello".
Following her screen debut in 1947, Anderson was able to balance both
media successfully through the next half a century. Her formidable
gallery of celluloid characters came to include the dependable nurses
of White Corridors (1951) and
Life in Her Hands (1951); the
loyal maid Wilson of
The Barretts of Wimpole Street (1957);
the matriarch in two productions of
The Railway Children (1951);
the cold, manipulative Mary Hammond of
The Brothers (1972); forthright
Lady Jocelyn Holbrook, ever troublesome to her Japanese captors in
Tenko (1981), plus diverse TV guest
spots and cameos, from ABC's
Armchair Mystery Theatre (1960)
(a notably sinister role) to
Keeping Up Appearances (1990)
(as the posh aristocrat Mrs. Fortescue).
In her private life Anderson enjoyed collecting porcelain, going to the
races and gardening at her home in Knightsbridge .
and plain, but expressive features qualified her for a wide range of
character parts, from austere nurses and long-suffering mothers to
overbearing dowagers and nosy gossips; from meddlesome chaperones to
authoritarian aunts and intransigent spinsters. She rarely gave an
indifferent performance and was often quite brilliant, particularly on
the small screen.
Jean Anderson was the daughter of a well-to-do cloth merchant
specialising in muslin. As she grew up, she aspired to become a
violinist, later a tennis player. Though she did make a junior
Wimbledon appearance in the 1920's, her road eventually led to training
at RADA, where her acting skills were first discovered. In 1931, she
joined the Richmond Repertory Company and soon found herself in a
leading role opposite
Robert Morley. By decade's end,
she had a three year spell at Dublin's Gate Theatre as the lead in
Eugene O'Neill's "Ah,
Wilderness!". During the succeeding decade she regularly appeared at
the West End and acted with a touring repertory company alongside
Jack Hawkins in "Hamlet" and
"Othello".
Following her screen debut in 1947, Anderson was able to balance both
media successfully through the next half a century. Her formidable
gallery of celluloid characters came to include the dependable nurses
of White Corridors (1951) and
Life in Her Hands (1951); the
loyal maid Wilson of
The Barretts of Wimpole Street (1957);
the matriarch in two productions of
The Railway Children (1951);
the cold, manipulative Mary Hammond of
The Brothers (1972); forthright
Lady Jocelyn Holbrook, ever troublesome to her Japanese captors in
Tenko (1981), plus diverse TV guest
spots and cameos, from ABC's
Armchair Mystery Theatre (1960)
(a notably sinister role) to
Keeping Up Appearances (1990)
(as the posh aristocrat Mrs. Fortescue).
In her private life Anderson enjoyed collecting porcelain, going to the
races and gardening at her home in Knightsbridge .