The Press Thursday, July 13, 1989. Olivier’s... (Press, 13 July 1989)

The news article published on 13 July 1989 reflects on the life and legacy of Sir Laurence Olivier, a towering figure in the world of theatre. Known for his exceptional talent, Olivier's contributions to stage and film are acknowledged through his remarkable ability to play and direct key Shakespearean roles, including Hamlet, Macbeth, and Othello, among others. Over the course of his career, he performed in 121 stage roles, featured in 58 films, and appeared in 15 television productions, leaving an indelible mark as both an actor and director. Olivier's work alongside contemporaries such as John Gielgud and Vivien Leigh helped to establish a dominant era for English-speaking theatre. His attempt to succeed in Hollywood, however, proved challenging; he later noted that his English theatrical style did not translate well on American screens. Nevertheless, his affinity for the stage led him back to London, where he played significant roles, including during his Old Vic tours to New Zealand and Australia in 1948, which stimulated local theatre and motivated the pursuit of a national theatre in New Zealand. These tours were pivotal in reviving professional theatre and establishing regional theatres in the country. In London, Olivier attempted to cultivate the actor-manager tradition at the St James Theatre, but this venture was unsuccessful. He later became the inaugural director of the National Theatre in 1963, a role that underscored his dedication to promoting theatre. His cinematic portrayal of Henry V is particularly noted for its powerful use of stage techniques, further solidifying his status as a great screen actor. The article highlights Olivier’s meticulous attention to detail and his commitment to realism in his roles. He revolutionised the way Shakespearean verse was performed by opting for a more natural delivery rather than the traditional contrived modulation. Critics initially noted this deviation, but it ultimately aligned with the emerging German school of acting that Olivier had been employing all along. Notably, his bold interpretations of characters added depth, breaking away from conventional portrayals. He provided complexities in roles typically depicted as strong or macho, such as Iago's latent desires for Othello. This willingness to explore the human side of characters created a renewed excitement for theatre audiences. In later years, health issues limited Olivier's capabilities, but he remained a dynamic force in the industry. His performances, whether as Henry V or as a washed-up entertainer, alongside his contributions as a director and theatre promoter, cement his legacy as a genius who earned both popular acclaim and the respect of critics. The article concludes that Olivier's remarkable versatility and dedication to theatre ensure his place in its history as an extraordinary artist.

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