John Houseman (September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and producer of theatre, film, and television who was the acting mentor of Robin Williams at Julliard and who 'appeared' as the voice of M.I.L.T. in Mork, Mindy, and Mearth Meet M.I.L.T.
Biography[]
Born Jacques Haussmann, September 22, 1902 in Bucharest, Romania, the son of May (née Davies) a governess and Georges Haussmann, who ran a grain business. His mother was British, from a Christian family of Welsh and Irish descent. His father was an Alsatian-born Jew. He was educated in England at Clifton College, became a British subject, and worked in the grain trade in London before emigrating to the United States in 1925. [1]
He did not however become professionally embroiled in the entertainment profession on arrival, continuing instead to work in the international grain markets as a speculator, living in Galveston, Texas and only turning to the theater following the 1929 stock market crash, initially as a writer and director, taking the stage name of John Houseman, though his nickname was Jack.
That same year at age 27 he married actress Zita Johann, who later co-starred with Boris Karloff in Universal's horror classic The Mummy, their marriage lasting from 5th October 1929 - 13 September 1933, ultimately ending in divorce. Despite this the two worked together again in his 1935 Broadway staging of Panic, with Johann alongside Orson Welles.
Though he is well known for his teaching at and founding of the Actors Company at Julliard in the 1970s, he began his drama teaching career at Vasser College in 1938, while continuing to work professionally on Broadway.
When World War II broke out Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City. He became a United States citizen in 1943, but retained his classical British accent throughout his career.
In 1952 he remarried, to Joan Houseman (11 November 1952 - 31 October 1988) the marriage lasting until his death, John and Joan having 2 sons together.
In 1979, Houseman earned induction into the American Theater Hall of Fame
October 31, 1988 (age 86) in Malibu, California, USA
Career[]
Theatre and Movie Production / Direction[]
On turning to Broadway he co-wrote Three and One (1933) and And Be My Love (1934). Composer Virgil Thomson recruited him to direct Four Saints in Three Acts (1934), Thomson's collaboration with Gertrude Stein. He later directed The Lady from the Sea (1934), Valley Forge (1934).
In 1934, Houseman was looking to cast Panic. Despite the fact the lead male role was a man in his 50s, Houseman was fixed on the idea that the only man for the role was a 20 year old Orson Welles who he had seen in Katharine Cornell's production of Romeo and Juliet. After Houseman approached him Welles consented, leaving the production he was in to take the part, starting a renouned friendship and professional collaboration that was fruitful, but never less than stormy. This collaboration with the young Welles contined through their days in the Federal Theatre Project, which Houseman hired Welles to, and where Welles cut his professional directing teeth on a smash hit Haitian set, all black version of Macbeth in 1936 with The Negro Theatre Unit of the Federal Theatre Project. They then worked together in the Works on a Works Progress Association theatre unit in midtown Manhattan for classic productions called Project No. 891. Producing the Welles starred and directed version of Christopher Marlowe's Tragical History of Dr. Faustus, along with Horse Eats Hat (1936), while Houseman, without Welles, helped in the direction of Leslie Howard's production of Hamlet (1936). In June 1937 they produced the then Controversial The Cradle Will Rock, thought to have had left-wing/working man and unionist sympathies, at the Maxine Elliott Theatre. All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937, but Houseman and Welles circumnavigated the attempted censorship of the show, by moving production to another theatre for an 'oratorio' version of the show where the performers played their parts from amongst the audience never actually 'going on' stage. Houseman was fired from Project No.891 as a result and Welles resigned.[1]
As a result the two men went on to produce an independent version of the show and founded the legendary New York drama company, the Mercury Theatre. Together they produced the first 'modern dress' staging of Julius Caesar (1937) The Shoemakers' Holiday (1938), Heartbreak House (1938) and Danton's Death (1938). They also took to the Radio airwaves using the title The Mercury Theatre on the Air. Incorporating talents like Agnes Moorehead and Hitchocks future go to composer Bernard Herrmann, together and seperately they produced on air adaptations of classic stories, including Dracula The Devil and Daniel Webster (1939).and most famously the 1938 radioplay The War of The Worlds. Houseman dipped his toe into film making producing Welles' never-completed second short film, Too Much Johnson (1938), before RKO and Hollywood came calling on Houseman and Welles. Which ultimately led to the breakdown of their friendship and professional collaboration. A dispute over finance in pre-production stage of Heart of Darkness led to a huge argument and the effective end of both though Houseman did, on request from Welles help in the overseeing of the script for Citizen Kane.
Carrying out work on both coasts, back on stage in NY, Houseman went on to direct The Devil and Daniel Webster (1939) and Liberty Jones (1941) and produced the Mercury Theatre's stage production of Native Son (1941) on Broadway, directed by Welles. In Hollywood he became a vice-president of David O. Selznick Productions. Helping adapt and produce the adaptation of Jane Eyre (1943). In 1945 Houseman he became a producer at Paramount Pictures to produce movies, such as The Unseen (1945); Miss Susie Slagle's (1945) and The Blue Dahlia (1946), both with Veronica Lake, collaborating with writer Raymond Chandler on the screenplay on the latter. Over at Universal he produced Letter from an Unknown Woman (1948), before going to RKO where he produced They Live by Night (1948) The Company She Keeps (1949) and On Dangerous Ground (1951). At MGM he produced Holiday for Sinners (1952); The Bad and the Beautiful (1952), directed by Vincente Minnelli. And Julius Caesar (1953) with Marlon Brando, James Mason, Louis Calhern and Greer Garson, for which he received an Academy Award nomination for Best Picture. He followed this with Executive Suite (1954), although Her Twelve Men (1954), The Cobweb (1955) Fritz Lang's Moonfleet (1955) and Lust for Life (1956), the Kirk Douglas starring, Minelli directed biopic of Vincent van Gogh, which though a box office disappointment was extremely well-received critically. MGM offered him a new contract and his own production company John Houseman Productions where he made All Fall Down (1962), Two Weeks in Another Town (1962) In the Cool of the Day (1963) and This Property Is Condemned (1966).[1]
At the same time he returned to NY several times to Broadway to direct Lute Song (1946) with Mary Martin and produce Joy to the World (1949) King Lear (1950-51), the latter with Louis Calhern; Measure for Measure (1957) and The Duchess of Malfi (1957). While at work in the studio system he furthered his interest in the West Coat theatre scene by co-founding the Theatre Group at the University of California at Los Angeles, with Robert Ryan and Sidney Harmon (1959).He also directed Pantagleize (1967). He also produced The School for Wives (1971), The Three Sisters (1973), The Beggar's Opera (1973), Scapin (1973), Next Time I'll Sing to You (1974), The Robber Bridegroom (1975), Edward II (1975), and The Time of Your Life (1975). As well as directing The Country Girl (1972), Don Juan in Hell (1973), Measure for Measure (1973), and Clarence Darrow (1974) (with Henry Fonda).[1]
Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976. The first graduating class in 1972 included Kevin Kline and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, and Robin Williams. Houseman and his Juilliard colleague Margot Harley formed an independent, touring repertory company named the "Group 1 Acting Company." and subsequently renamed The Acting Company, in part to keep their acting class together post graduation. Ih as remained active for more than 40 years and is regarded as one of the major touring classical troupes in the U.S.A.
Acting and TV[]
As the 50s progressed Houseman had also turned ito the 'new' medium of Television Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90. The Great Adventure and Journey to America (1964) and Evening Primrose (1966). While behind the scenes on these productions too, it is perhaps through Television that Houseman as an actor is best known and remembered to the wider public.
He had acted occasionally during the early part of his career and he had briefly appeared in Seven Days in May (1964). But it was his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973), that launched Houseman into an unexpected late career as a character actor. Houseman going on to reprise the role for 8 years in the TV series based on the film (1978 - 1986).
On he big screen he appeared in Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976). With his TV bow coming in an episode of anthology series Great Performances (1975) He went on to appear in TV Movies Fear on Trial (1975), The Adams Chronicles (1976), Truman at Potsdam (1976), Hazard's People (1976) and Six Characters in Search of an Author (1976). And memorably, to the young of the time in shows like The Bionic Woman and The Six Million Dollar Man; where he played the scientific genius Dr. Franklin, reuniting with The Paper Chase co-star Lindsay Wagner. Alongisde his Paper Chase TV Series, he continued appearing on TV lending gravitas to a host of TV Mini Series and TV Movies Captains and the Kings (1976), The Displaced Person (1977), a version of Our Town (1977), Washington: Behind Closed Doors (1977), The Best of Families (1977), Aspen, The Last Convertible (1978), The French Atlantic Affair (1978) and The Associates (1980), as well as a recurring role in the sitcom Silver Spoons (1982 - 1987).[2]
He passed away soon after filming his cameo appearance in The Naked Gun: From the Files of Police Squad! (1988) but before its theatrical release.
Filmography[]
| Year | Movie | Role | |
|---|---|---|---|
| 1938 | Too Much Johnson | Duelist / Keystone Kop | |
| 1964 | Seven Days in May | Vice-Adm. Farley C. Barnswell | |
| 1973 | The Paper Chase | Charles W. Kingsfield Jr. | |
| 1975 | Rollerball | Bartholomew | |
| 1975 | Three Days of the Condor | Mr. Wabash | |
| 1976 | St. Ives | Abner Procane | |
| 1978 | The Cheap Detective | Jasper Blubber | |
| 1979 | Old Boyfriends | Dr. Hoffman | |
| 1980 | The Fog | Mr. Machen | |
| 1981 | Ghost Story | Sears James | |
| 1982 | Murder by Phone | Stanley Markowitz | |
| 1988 | Bright Lights, Big City | Mr. Vogel | |
| 1988 | Another Woman | Marion's Father | |
| 1988 | Scrooged | John Houseman | |
| 1988 | The Naked Gun: From the Files of Police Squad! | Driving Instructor | |
| Year | TV Series | Episode(s) | Role |
| 1975 | Great Performances | Beyond the Horizon | Dr. Fawcett |
| 1976 | The Adams Chronicles | Chapter I: John Adams, Lawyer | Justice Gridley |
| 1976 | The Bionic Woman | Kill Oscar
Kill Oscar: Part 3 |
Dr. Franklin |
| 1976 | The Six Million Dollar Man | Kill Oscar: Part 2 | Dr. Franklin |
| 1976 | Captains and the Kings | Chapter VI
Chapter VII |
Judge Newell Chisholm |
| 1977 | Washington: Behind Closed Doors | 6 Episodes | Myron Dunn |
| 1977 | The Best of Families | 8 Episodes | Host |
| 1977 | Aspen | 2 Episodes | Joseph Merrill Drummond |
| 1978-1986 | The Paper Chase | 58 episodes | Professor Charles W. Kingsfield Jr. |
| 1979 | The Last Convertible | 3 Episodes | Dr. Wetherell |
| 1979 | The French Atlantic Affair | 3 Episodes | Dr. Archady Clemens |
| 1980 | The Associates | Eliot's Revenge | Professor Charles W. Kingsfield Jr. |
| 1982 | Mork & Mindy | Mork, Mindy, and Mearth Meet M.I.L.T. | M.I.L.T. |
| 1982 | Marco Polo | Episode #1.1 | Patriarch of Aquileia |
| 1982-1987 | Silver Spoons | 14 Episodes | Grandpa Stratton |
| 1983 | American Playhouse | The Skin of Our Teeth | Network Newscaster |
| 1983 | The Winds of War | 7 Episodes | Aaron Jastrow |
| 1983 | Freedom to Speak | 2 Episodes | Benjamin Franklin |
| 1985 | A.D. | 5 Episodes | Gamaliel |
| 1988 | Noble House | 4 Episodes | Sir Geoffrey Allison |
| 1988 | Lincoln | 2 Episodes | Gen. Winfield Scott |
| Year | TV Movie | Role | |
| 1975 | Fear on Trial | Mike Collins | |
| 1976 | Truman at Potsdam | Winston Churchill | |
| 1976 | Hazard's People | John Hazard | |
| 1976 | Six Characters in Search of an Author | The Director | |
| 1977 | The Displaced Person | Father Flynn | |
| 1977 | Our Town | Professor Willard (scenes deleted) | |
| 1980 | Gideon's Trumpet | Chief Justice / Offscreen Narrator | |
| 1980 | Wholly Moses! | Archangel | |
| 1980 | My Bodyguard | Dobbs | |
| 1980 | The Babysitter | Dr. Lindquist | |
| 1980 | A Christmas Without Snow | Ephraim Adams |
He also narrated / lent his voice to 2 short films 1981's Writing: Plain & Fancy and 1983's A Rose for Emily, alongside his commercials for MacDonalds, Mercedes and most memorably the brokerage firm Smith Barney, the catchphrase for which, 'They make money the old fashioned way. The EARN it." became a classic and much aped, thanks to his delivery.
Mork & Mindy[]
Houseman's vocal appearance as increasingly austere and controling computer M.I.L.T. in Season 4's Mork, Mindy, and Mearth Meet M.I.L.T. Houseman voiced the computer which Mork and Mearth built as part of the latters science project for his class on Ork. While the family finds him very useful at first, Mindy especially grateful for how Mearth jumps to when under instruction by him, the computer does a 'Hal' and starts to take its instructions to guide the family too far. Invading their privates spaces, critiquing their dress, behaviour and work rates, and finally trapping them in the home on the night of Mindy's Awards banquet, as he feels he knows better than they what they should be focusing on. Only his lack of a sense of humour proves his undoing, as Mork and Mearth 'joke' him to death.
Behind the Scenes:[]
Houseman's 'appearance' on the show was almost certainly down to his mentoring of Robin Williams in Julliard 8 years previously. Williams alongside Christopher Reeve both gained a scholarship and entrance into Houseman's advanced class where he tutored them both. Williams recalled always being especially pleased when he managed to raise a smile from his seriously demeanoured tutor, 'Buddha smiles'. [3] However he never finished his time under Houseman at Julliard, Houseman, greatly admiring William's natural talent, going to him early to advise him that there was nothing mroe he could learn there and remaining there was simply a waste of his talent and stalling the start of his career. Taking his advise, Williams left Julliard early and headed for the comedy clubs of San Francisco and the West Coast. [3] Both Robin Williams and Christopher Reeve hit it big in 1978 with Mork and Superman respectively, and gave a shout out to their Mentor, still 'Mister' Houseman, at the People's Choice Awards in 1979. While both Houseman and Williams went on to win Oscars.
Houseman's appearance on the show also gave a subtle in joke to his Smith Barney commercials, with MILT telling Mearth that "They earn Academic Success the old fashioned way, they EARN it."