Venus Observed
Cast & Crew
Cast
Bates | Thomas Heathcote |
---|---|
Captain Fox Reddleman | Fred Johnson |
Dominic Reedbeck | Robert Beaumont |
Edgar, the Duke’s son | Denholm Elliott |
Herbert Reedbeck | George Relph |
Hilda Taylor-Snell | Rachel Kempson |
Hilda Taylor-Snell (Replacement) | Micheline Patton |
Jessie Dill | Brenda de Banzie |
Perpetua Reedbeck | Heather Stannard |
Rosabel Fleming | Valerie Taylor |
The Duke of Altair | Laurence Olivier |
U/S Rosabel Fleming | Elizabeth Kentish |
Crew | |
Cigarettes | Fribourg & Treyer |
Decor | Roger Furse |
Director | Laurence Olivier |
Electrical equipment supplied by | Strand Electrical & Engineering Co
(credited as Strand Electric and Engineering Co., Ltd) |
Fluorescent lighting by | Thorn Electric |
Furniture | Old Times Ltd |
Furs | Sidney Praeger |
General Manager | Lovat Fraser |
General Stage Director | David Kentish |
Incidental Music composed and arranged by | Herbert Menges |
Incidental Music played by | St James’s Ensemble |
Jewellery | Felice Goulding |
Jewellery | Cynthia Phillips |
Ladies’ dresses supervisor | Margaret Furse |
Lighters | Ronson |
Men’s clothes by | Bermans |
Miss Stannard’s 1st Act costume and Miss de Banzie’s dresses designed by | Margaret Furse |
Miss Stannard’s 1st Act costume and Miss de Banzie’s dresses made by | Elizabeth Curzon |
Miss Stannard’s evening dress and Miss Kempson’s suit by | Victor Stiebel |
Nylon stockings by | Kayser Bondor
(credited as Kayser-Bondor) |
Production Manager | Roger Ramsdell |
Properties | Robinson Bros. |
Properties | Tom Gardiner |
Scenery built by | Victor Mara Ltd
(credited as Victor Mara) |
Scenery painted by | Alick Johnstone |
Sir Laurence Olivier’s and Mr George Relph’s costumes made by | Huntsman |
Sir Laurence Olivier’s wig by | Wig Creations |
Stage Director | Diana Boddington |
Stage Manager | Reeve Tyler |
Telephones lent by | Telephone Rentals Ltd |
Telescope supplied by | Broadhurst Clarkson Ltd |
Temple Steps surfaced by | Holoplast Ltd |
Wardrobe Mistress | Ethel Lucas |
- Added by Michael Hope.
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