Brand is a play by the Norwegian playwright Henrik Ibsen. It is a verse tragedy, written in 1865 and first performed in Stockholm, Sweden on 24 March 1867.
Brand is a priest who accepts the consequence of his choices, and is deeply bound to doing the "right thing". He believes primarily in the will of man, and lives by the belief "all or nothing". To make compromises is therefore difficult, or questionable. Brand's beliefs render him lonely, because those around him, when put to the test, generally cannot or will not follow his example. He is a young idealist whose main purpose is to save the world, or at least people's souls, but his judgment of others is harsh and unfair.
The word brand means "fire" in Danish, Norwegian, Swedish, German and Dutch.
Plot[edit]
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First act[edit]
Brand in the mountains confronts different kinds of people: a farmer traveling with his son, who does not dare to brave a glacier on behalf of his dying daughter; Einar, a young painter with an easy-going attitude, and his fiancée, Agnes; and finally, a fifteen-year-old girl, Gerd, who claims to know of a bigger church in the mountains and hunts for a great hawk.
Einar and Brand were in school together. Brand taunts Einar for portraying God as an old man, who "sees through his fingers"; Brand wants to envision God as a young, heroic saviour. He believes that people have become too sloppy about their sins and shortcomings, because of the dogma that Christ, through his sacrifice, cleansed humanity once and for all.
Brand vows to confront the mindsets he has just met: the lazy mind, the undisciplined mind, and the wild mind. He ponders humanity's purpose and what should be.
Second act[edit]
In the valley where he was born, Brand finds great famine and need. The bailiff distributes bread for the hungry, and Brand questions the need for it. Meanwhile, a mother tells of her husband who needs absolution because he killed one of his children rather than seeing him starve. Then he harmed himself. Nobody dares to venture the rough fjord, but Brand goes in a boat and, to his surprise, Agnes follows him. Together, Brand and Agnes sail across the fjord, and the man receives absolution. A couple of farmers demand that he stay with them as their priest. Brand is reluctant to do this, but they use his own words against him, and he gives in.
Agnes tells of an "inner world being born" in one of Ibsen's best known soliloquies. She renounces Einar and chooses Brand. In the end of the second act, we meet Brand's mother, and learn that he grew up under the glacier, in a dreary place with no sun.
Third act[edit]
Some years later, Brand and Agnes live together with their son, Alf, who is grievously ill because of the climate. The local doctor urges him to leave for the sake of his son, but he hesitates. Meanwhile, Brand's mother is dying, and Brand impresses on her that she will not receive absolution unless she gives all her money to charity. She refuses, and Brand refuses to go to her.
On the question of his son's health, the doctor says that it is right to be "humane", whereas Brand answers: "Was God humane towards his son?" He states that by modern standards, the sacrifice of Christ would have boiled down to a "diplomatic heavenly charter". He clearly means that there is a difference between being a "human", and being a "humanist". In the end he almost gives in, but the farmers come to him and plead with him to stay. Then Gerd shows up, and states that evil forces will prevail if he leaves. The final straw is when she points out that his son is his "false god". Then he gives in and stays, knowing this will take his son's life. It is clear that he wants Agnes to choose for him, and she answers: "Go the road your God appointed for you".
Fourth act[edit]
After the death of his son, Brand wishes to build a bigger church in the parish. He refuses to mourn. Agnes comforts herself with the clothes of her dead son.
The bailiff is opposed to Brand, and tells him that he has growing support in the parish, explaining his own plans for building public institutions like a poorhouse, a jail and a political hall. The bailiff reveals that Brand's mother was forced to break with her true love, and married an old miser instead. The boy she loved then became involved with a Roma woman, resulting in the birth of Gerd. Brand is the result of the other, clearly loveless affair, and the bailiff suggests some kind of spiritual relationship between Brand and Gerd. After the bailiff leaves, a Roma woman arrives, demanding clothes for her freezing child (it is Christmas Eve). Brand then puts Agnes to the test, and she gives all of Alf's clothes to the Roma woman. As a result of this, Agnes renounces her life, and exclaims "I'm free". Brand accepts this, and Agnes dies.
Fifth act[edit]
Brand gets his new church built but comes to believe that his new church is still too small, and rebels against the authorities, the local dean and the bailiff. The provost talks about getting people to heaven "by the parish", and denounces individual thinking. Brand's answers to this are mostly sarcastic. The provost ends his speech mentioning the "erasing of God in the soul of man", something of which he seems to approve. Brand wants the opposite: individual freedom and a clear picture of God in man's soul.
Einar returns as a missionary soon after the provost's friendly speech. He has worked out a view of life that makes Brand shiver. Whereas Brand mourns the loss of his wife, Einar in the end thinks her death was righteous, because he regards her as a female seducer.
Brand protests against the heavy plight lain upon him by his elders, throws the key to the church into the fjord and makes for the mountain with the entire parish following him. He urges the people to "lift their faith" and make a "Church without limits" that is meant to embrace all sides of life. Brand states that they all shall be priests in the task of relieving all people from thralldom. The other clergymen protest against this because they no longer have any sway over their flocks. Brand is greatly respected by the common people, but the test is in the end too hard. They are lured down to the valley again by the bailiff, who fakes news of great economic opportunity (a large amount of fish in the sea). The same people who followed Brand, then chase him with stones in their hands.
Brand is then left alone, struggling with doubt, remorse, and temptation, "the spirit of compromise". He does not yield to it, even when the spirit claims to be Agnes. The spirit says that the fall of man forever closed the gates to Paradise, but Brand states that the road of longing is still open. Then the spirit flees and says: "Die! The world does not need you!". Brand meets Gerd again, who thinks she sees the saviour in him, but Brand denies this. At the end of the play, Gerd takes him to the glacier, her personal church, and Brand recoils when understanding where he is, the "Ice-cathedral". He breaks down in tears. Gerd, who has been hunting the hawk from the start of the play, fires a shot at it, and lets loose a great avalanche, which in the end buries the entire valley.
In his dying words, Brand screams out to God, asking, "Does not salvation consider the will of man?" The final words are from an unknown voice: "He is the god of caritas."
Analysis[edit]
Topics[edit]
The play debates freedom of will and the consequential choice. The problem is further debated in Peer Gynt. A crucial point is the discussion about the absence of love, and the sacrifice of Christ. As a consequence, the imitation of Christ can be regarded as a theme of the play (cf. Thomas à Kempis). A key to this interpretation is found in the name of Agnes, clearly derived from Agnus Dei, the lamb of God or the sacrificial lamb. One should be aware that Brand never asks anyone to sacrifice themselves for his cause. He rather warns them off, if they wish to pledge themselves to him – as is the case of Agnes. But when she chooses, Brand reminds her of the moral consequence of that choice – it is final, and there is no turning back. Agnes chooses anyway, both the sweet and the bitter.
One can also see a discussion in the play about what the Christian message really means, and what God's purpose with humankind really is. At one point Brand says: "The goal is to become blackboards for God to write upon". A reminiscence of this is found in Peer Gynt: "I was a paper, and was never written upon". The topics of the two plays are clearly related.
Brand was Ibsen's breakthrough as playwright and author. Ibsen was himself fond of the play's main character, and claimed that Brand was "himself in his best moments".
Brand's vision[edit]
Brand's vision is arguably a romantic one, and his address in the fifth act resembles in a way Henrik Wergeland`s vision in his great poem Man. His rebellion against the clergy, whom he feels are leading people astray rather than in the right direction, is also foreshadowed by Wergeland. He states here that "the spirit of compromise", a mentality he struggles to get free from all the way, is none other than Satan. When he is tempted later, we should be aware of this.
From the beginning, Brand wishes to make man whole, because he is aware that there has been a split, a sundering somewhere in the past, and he wishes to fight a fragmented view of man and God. This fragmentation makes man weak, he states, and an easy prey to temptation – a result of the fall of man. The definition of wholeness as a greater good and fragmentarism as a bad thing, is a philosophical statement, originally derived from Plato and Pythagoras. The sentence about a Christianity that embraces all sides of life, resembles the view of the Danish priest Grundtvig.
Throughout the play, we see that Brand looks for the right way to solve this problem, and makes new discoveries as he moves forward. One can also interpret the entire play as a tale of a developing soul, struggling with his connection to God. In this view, the collapse at the very end is a collapse of Brand's conflicting self, and the disaster opens a closed road for him. Thus, the final words of Gerd makes sense, as she finally manages to shoot the great hawk, with the words: "Salvation comes". This interpretation makes Gerd a restless voice in Brand's soul.
The play can also be seen as a discussion of romanticism and reality, in a quite disillusional way. Ibsen at this stage leaves romanticism well behind, and moves on to greater realism.
Some also consider Brand's character to have been based on the philosopher Søren Kierkegaard.[1] Kierkegaard gave an essential place in his philosophy to the opposition between faith and reason, the importance of making decisive choices and suffering in the name of God, and whose life ended during an official attack he led against the church of his country (which he thought perverted the original Christian message, making it an empty religion).
Otto Weininger saw the play as expressing a deep understanding of Kantian ethics:-
Musical setting(s)[edit]
The symphonic poem by the Austrian composer Johanna Müller-Hermann (opus 25) composed in 1919 is a narrative meditation on themes from Ibsen's Brand, with the title Epilog zur einer Tragödie "Brand".[3]
Patrick Joseph McGoohan (/məˈɡuː.ən/; March 19, 1928 – January 13, 2009) was an American-born Irish actor, director, screenwriter, and producer of film, television, and theatre. Born in New York City to Irish parents, he was raised in Ireland and England, began his career in England during the 1950s and became well known for the titular role, secret agent John Drake in the ITC espionage programme Danger Man (1960–1968). He then produced and created The Prisoner (1967–1968), a surrealistic television series in which he featured as Number Six, an unnamed British intelligence agent who is abducted and imprisoned in a mysterious coastal village.
Beginning in the 1970s, McGoohan maintained a long-running association with the television series Columbo, writing, directing, producing and appearing in several episodes. His notable film roles included David Jones in Ice Station Zebra (1968), James Stewart, 1st Earl of Moray in Mary, Queen of Scots (1971), the Warden in Escape from Alcatraz (1979), Dr. Paul Ruth in Scanners (1981), King Edward I in Braveheart (1995), Judge Omar Noose in A Time to Kill (1996), and the voice of Billy Bones in Treasure Planet (2002).
During the height of Danger Man's fame in the 1960s, McGoohan was the highest-paid actor on British television.[1] McGoohan won the 1960 BAFTA Television Award for Best Actor for his work on Danger Man, and twice won the Primetime Emmy Award for Outstanding Guest Actor in a Drama Series (including its inaugural 1975 entry) for Columbo.
Early life[edit]
Patrick Joseph McGoohan was born in the Astoria neighbourhood of New York City's Queens borough on March 19, 1928, the son of Irish Catholic, immigrant parents Thomas McGoohan and Rose McGoohan (née Fitzpatrick).[2] Soon after he was born, the family relocated back to Ireland, where they lived in the Mullaghmore area of Carrigallen in the south-east of County Leitrim.[3][4]
Seven years later, they relocated to England and settled in Sheffield. McGoohan attended St Marie's School, then St Vincent's School,[5] and De La Salle College, all in Sheffield.[citation needed] During World War II, he was evacuated to Loughborough, where he attended Ratcliffe College at the same time as future actor Ian Bannen. McGoohan excelled in mathematics and boxing, and left school at the age of 16 to return to Sheffield, where he worked as a chicken farmer, bank clerk, and lorry driver before getting a job as a stage manager for Sheffield Repertory Theatre. When one of the actors became ill, McGoohan substituted for him, which began his acting career.[6]
Career[edit]
Early career[edit]
In 1955, McGoohan featured in a West End stage production of Serious Charge, as a Church of England vicar accused of being homosexual.[7]
Orson Welles was so impressed by McGoohan's stage presence ("intimidated", Welles would later say) that he cast him as Starbuck in his York theatre production of Moby Dick—Rehearsed.[8] Welles said in 1969 that he believed McGoohan "would now be, I think, one of the big actors of our generation if TV hadn't grabbed him. He can still make it. He was tremendous as Starbuck",[9] and "with all the required attributes, looks, intensity, unquestionable acting ability and a twinkle in his eye."[2]
McGoohan's first television appearance was as Charles Stewart Parnell in "The Fall of Parnell" for the series You Are There (1954).[10][11] He had an uncredited role in the movie The Dam Busters (1955), standing guard outside a briefing room. He delivered the line, "Sorry, old boy, it's secret—you can't go in. Now, c'mon, hop it!", which was cut from some prints of the movie.[citation needed]
He also had small roles in Passage Home (1955), The Dark Avenger (1955) and I Am A Camera (1955). He could also be seen in Zarak (1956) for Warwick Films. For television he was in "Margin for Error" in Terminus (1955), guest featured on The Adventures of Sir Lancelot and Assignment Foreign Legion, and The Adventures of Aggie. He played the lead in "The Makepeace Story" for BBC Sunday Night Theatre (1955). He also appeared in Welles' movie version of Moby Dick Rehearsed.
He did Ring for Catty on stage in 1956.[12]
Rank Organisation[edit]
While working as a stand-in during screen tests, McGoohan was signed to a contract with the Rank Organisation. They gave him mostly villainous parts in various movies: High Tide at Noon (1957), directed by Philip Leacock; Hell Drivers (1957), directed by Cy Endfield, as a violent bully; and the steamy potboiler The Gypsy and the Gentleman (1958), directed by Joseph Losey.[13]
He had good roles in television anthology series such as Television Playwright, Folio, Armchair Theatre, ITV Play of the Week and ITV Television Playhouse. He was given a leading role in Nor the Moon by Night (1958), filmed in South Africa.[14] After some disputes with the management, the contract was dissolved. He then did some TV work, winning a BAFTA in 1960.[15]
His favourite part for stage acting was the lead for Ibsen's play Brand, for which he received an award. He also played the role in a (still extant) BBC television production in August 1959.[16] Michael Meyer, who translated the stage version, thought McGoohan's performance was the best and most powerful he'd ever seen.[17] It was McGoohan's last stage appearance for 28 years.
Danger Man[edit]
Production executive Lew Grade soon approached McGoohan about a television series where he would play a spy named John Drake. Having learned from his experience at Rank, McGoohan insisted on several conditions: All the fistfights should be different; the character would always use his brain before using a gun; and—much to the executives' horror—no kissing. The show debuted in 1960 as Danger Man,[18] a half-hour programme intended for American audiences. It did fairly well, but not as well as hoped.[19][20]
Production lasted a year and 39 episodes. After the first series was over, an interviewer asked McGoohan if he would have liked it to continue. He replied, "Perhaps, but let me tell you this: I would rather do twenty TV series than go through what I went through under that Rank contract I signed a few years ago and for which I blame no one but myself."[21]
Post-Danger Man[edit]
McGoohan appeared in the movie Two Living, One Dead (1961), filmed in Sweden. He featured in two movies directed by Basil Dearden: All Night Long, an updating of Othello, and Life for Ruth (both 1962). He also featured in an adaptation of The Quare Fellow(1962) by Brendan Behan.
McGoohan was one of several actors considered for the role of James Bond in Dr. No. While McGoohan, a Catholic, refused the role on moral grounds,[22] the success of the Bond movies is generally cited as the reason for Danger Man being revived. (He was later considered for the same role in Live and Let Die, but refused again.)[23]
McGoohan spent some time working for The Walt Disney Company on The Three Lives of Thomasina (1963) and The Scarecrow of Romney Marsh (1963). A staid English vicar, Dr. Christopher Syn (a reformed pirate captain - played by McGoohan) disguised as a scarecrow and mounted on a magnificent black stallion thwarts King George III's Revenue officers in daring night-time smuggling adventures on the remote Kent coast.
Return of Danger Man[edit]
After he had also refused the role of Simon Templar in The Saint,[23] Lew Grade asked McGoohan if he wanted to give John Drake another try. This time, McGoohan had even more say about the series. Danger Man (US: Secret Agent) was resurrected in 1964 as a one-hour programme. The scripts now allowed McGoohan more range in his acting. Because of the popularity of the series, he became the highest-paid actor in the UK,[24] and the show lasted almost three more years.[25]
After shooting the only two episodes of Danger Man to be filmed in colour, McGoohan told Lew Grade he was going to quit for another show.[26]
The Prisoner[edit]
Knowing McGoohan's intention to quit Danger Man, Grade asked if he would at least work on "something" for him. McGoohan gave him a run-down of what would later be termed a miniseries, about a secret agent who angrily quits and is abducted hours later. He awakens to find himself imprisoned in a surreal, cheerful holiday resort village. Grade asked for a budget, McGoohan had one ready, and they made a deal over a handshake early on a Saturday morning to produce The Prisoner.[18]
In addition to being the series's protagonist, McGoohan was its executive producer, forming Everyman Films with producer David Tomblin, and also wrote and directed several episodes, in some cases using pseudonyms.[27][28] The originally commissioned seven episodes became seventeen.
The title character, the otherwise-unnamed "Number Six", spends the entire series trying to escape from a mysterious prison community called "The Village", and to learn the identity of his nemesis, Number One. The Village's administrators try just as much to force or trick him into revealing why he resigned as a spy, which he refuses to divulge. The filming location was the Italianate village of Portmeirion in North Wales, which was featured in some episodes of Danger Man.
MGM[edit]
During production of The Prisoner, MGM cast McGoohan in an action movie, Ice Station Zebra (1968), for which his performance as a British spy drew critical praise.
After the end of The Prisoner, he presented a TV show, Journey into Darkness (1968–69). He was meant to follow it with the lead role of Dirk Struan in an expensive adaptation of the James Clavell best-seller Tai-Pan but the project was cancelled before filming.[29]Instead he made the movie The Moonshine War (1970) for MGM.
1970s[edit]
McGoohan played James Stewart, 1st Earl of Moray in Mary, Queen of Scots (1971). He directed Richie Havens in a rock-opera version of Othello, titled Catch My Soul (1974), but disliked the experience.[30]
McGoohan received two Emmy Awards for his work for the television series Columbo, with his long-time friend Peter Falk. McGoohan said that his first appearance on Columbo (episode: "By Dawn's Early Light", 1974) was probably his favourite American role. He directed five Columbo episodes (including three of the four in which he appeared), one of which he also wrote and two of which he also produced. McGoohan was involved with the Columbo series in some capacity from 1974 to 2000; his daughter Catherine McGoohanappeared with him in the episode "Ashes To Ashes" (1998). The other two Columbo episodes in which he appeared are "Identity Crisis" (1975) and "Agenda For Murder" (1990).
As he had done early in his career with the Rank Organisation, McGoohan began to specialise in villains, appearing in A Genius, Two Partners and a Dupe (1975), Silver Streak (1976) and The Man in the Iron Mask (1977).
In 1977, he had the main role of the television series Rafferty as a retired army doctor who moves into private practice.[31]
He had the lead in a Canadian movie, Kings and Desperate Men;[32] then had supporting parts in Brass Target (1978) and the Clint Eastwood movie Escape from Alcatraz (1979), portraying the prison's warden.
1980s[edit]
In 1980 he appeared in the UK TV movie The Hard Way.
In 1981 he appeared in the science fiction/horror movie Scanners, and in Jamaica Inn (1983) and Trespasses (1984).
In 1985 he appeared in his only Broadway production, featuring opposite Rosemary Harris in Hugh Whitemore's Pack of Lies, in which he played another British spy.[33] He was nominated for a Drama Desk Award as Best Actor for his performance.
He could also be seen in the movies Baby: Secret of the Lost Legend (1985), Of Pure Blood (1986) and an episode of Murder, She Wrote.
1990s[edit]
McGoohan featured in The Best of Friends (1991) for Channel 4, which told the story of the unlikely friendship between a museum curator, a nun and a playwright. McGoohan played George Bernard Shaw alongside Sir John Gielgud as Sydney Cockerell and Dame Wendy Hiller as Sister Laurentia McLachlan. In the United States, the drama was shown by PBS as part of Masterpiece Theatre.
Also during this period he featured as King Edward I in Braveheart (1995), which won five Academy Awards. It seemed to revitalise McGoohan's career: he was then seen as Judge Omar Noose in A Time to Kill (1996) and in The Phantom (also 1996),[23] a cinema adaptation of the comic strip.
2000s[edit]
In 2000, he reprised his role as Number Six in an episode of The Simpsons, "The Computer Wore Menace Shoes". In it, Homer Simpson concocts a news story to make his website more popular, and he wakes up in a prison disguised as a holiday resort. Dubbed Number Five, he meets Number Six, and later betrays him and escapes with his boat; referencing his numerous attempts to escape on a raft in The Prisoner, Number Six splutters "That's the third time that's happened!"
McGoohan's last movie role was as the voice of Billy Bones in the animated movie Treasure Planet, released in 2002. That same year, he received the Prometheus Hall of Fame Award for The Prisoner.
McGoohan's name was associated with several aborted attempts at producing a new movie version of The Prisoner. In 2002, Simon West was signed to direct a version of the story. McGoohan was listed as executive producer for the movie, which never came to fruition. Later, Christopher Nolan was proposed as director for a movie version. However, the source material remained difficult and elusive to adapt into a feature movie. McGoohan was not involved with the project that was ultimately completed. A miniseries was filmed for the AMC network in late 2008, with its broadcast occurring during November 2009.
Personal life[edit]
McGoohan married actress Joan Drummond on May 19, 1951. They had three children including Catherine McGoohan.[34]
For most of the 1960s they lived in a secluded detached house on the Ridgeway, Mill Hill, London. They settled in the Pacific Palisadesdistrict of Los Angeles during the mid-1970s.[35]
Death[edit]
McGoohan died at Saint John's Health Center in Santa Monica, California, on January 13, 2009; he was 80 years old. His family did not make the cause of death public, referring only to a "short illness."[36]
A biography of McGoohan was published in 2007 by Tomahawk Press,[37] and another followed in 2011 by Supernova Books.[38]
Filmography[edit]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1955 | Passage Home | McIsaacs | |
| The Dark Avenger a.k.a. The Warriors | English soldier | Uncredited | |
| The Dam Busters | RAF guard | ||
| I Am a Camera | Swedish water therapist | ||
| 1956 | Zarak | Moor Larkin | |
| 1957 | High Tide at Noon | Simon Breck | |
| Hell Drivers | G. 'Red' Redman | ||
| 1958 | The Gypsy and the Gentleman | Jess | |
| Nor the Moon by Night a.k.a. Elephant Gun | Andrew Miller | ||
| 1961 | Two Living, One Dead | Erik Berger | |
| 1962 | All Night Long | Johnny Cousin | |
| Life for Ruth a.k.a. Walk in the Shadow | Doctor James 'Jim' Brown | ||
| The Quare Fellow | Thomas Crimmin | ||
| 1963 | The Three Lives of Thomasina | Andrew McDhui | |
| Dr. Syn, Alias the Scarecrow | Dr. Christopher Syn | ||
| 1968 | Ice Station Zebra | David Jones | |
| 1970 | The Moonshine War | Frank Long | |
| 1971 | Mary, Queen of Scots | James Stuart | |
| 1974 | Catch My Soul | — | Director |
| 1975 | A Genius, Two Partners and a Dupe | Major Cabot | |
| 1976 | Silver Streak | Roger Devereau | |
| 1977 | The Man in the Iron Mask | Fouquet | |
| 1978 | Brass Target | Colonel Mike McCauley | |
| 1979 | Escape from Alcatraz | Warden Arthur Dollison | |
| 1981 | Scanners | Doctor Paul Ruth | |
| Kings and Desperate Men | John Kingsley | Filmed in 1977 | |
| 1984 | Trespasses | Fred Wells | |
| 1985 | Baby: Secret of the Lost Legend | Doctor Eric Kiviat | |
| 1995 | Braveheart | King Edward Longshanks | |
| 1996 | The Phantom | Phantom's Dad | |
| A Time to Kill | Judge Omar Noose | ||
| 1997 | Hysteria | Dr. Harvey Langston | |
| 2002 | Treasure Planet | Billy Bones | Voice (final film role) |
Television roles[edit]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1954 | You Are There | 2 episodes: "The Charge of the Light Brigade" and "The Fall of Parnell" | |
| 1955 | The Vise | Tony Mason | 1 episode ("Gift from Heaven") |
| Terminus | James Hartley | 1 episode ("Margin for Error") | |
| BBC Sunday Night Theatre Presents: The Makepeace Story | Seth Makepeace | 1 episode ("The Ruthless Destiny") | |
| 1956 | The Adventures of Sir Lancelot | Sir Glavin | 1 episode ("The Outcast", S1,E4) |
| 1957 | Assignment Foreign Legion | Captain Valadon | 1 episode ("The Coward", S1,E23) |
| 1956–57 | The Adventures of Aggie | Migual | 1 episode ("Spanish Sauce", S1,E3) |
| 1958 | The Vise | Vance | 1 episode ("Blood in the Sky") |
| Armchair Theatre | Jack 'Pal' Smurch | 1 episode ("The Greatest Man in the World") | |
| Television Playwright Presents | James Coogan | 1 episode ("This Day in Fear") | |
| ITV Television Playhouse | Mat Galvin | 1 episode ("Rest in Violence") | |
| 1959 | Brand | Brand | Henrik Ibsen play |
| 1961 | Armchair Theatre | Nicholai Soloviov | 1 episode ("The Man Out There") |
| 1960–62 1964–68 | Danger Man | John Drake | 86 episodes. Also directed 3 episodes. |
| 1963 | Walt Disney's Wonderful World of Color | Doctor Christopher Syn/ Scarecrow of Romney Marsh | 3 episodes |
| 1963 | Sunday Night Play | The Interrogator | 1 episode ("The Prisoner") |
| 1967–68 | The Prisoner | Number Six | 17 episodes. Also directed 5 episodes. |
| 1969 | Journey into Darkness | Host | TV film |
| 1974 | Columbo | Colonel Lyle C. Rumford | 1 episode ("By Dawn's Early Light") |
| 1975 | Nelson Brenner | 1 episode ("Identity Crisis"). Also directed. | |
| 1976 | — | 1 episode ("Last Salute to the Commodore") – director | |
| 1977 | Rafferty | Doctor Sid Rafferty | 13 episodes. Also directed 1 episode. |
| 1980 | The Hard Way | John Connor | TV film |
| 1983 | Jamaica Inn | Joss Merlyn | |
| 1985 | American Playhouse | Chief magistrate | 3 episodes ("Three Sovereigns for Sarah" parts I, II & III) |
| 1987 | Murder, She Wrote | Oliver Quayle | 1 episode ("Witness for the Defense") |
| 1990 | Columbo | Oscar Finch | 1 episode ("Agenda for Murder"). Also directed. |
| 1998 | Eric Prince | "Ashes to Ashes". Also directed. | |
| 2000 | — | 1 episode ("Murder with Too Many Notes") – director | |
| The Simpsons | Number Six | 1 episode ("The Computer Wore Menace Shoes") |
Theatre roles[edit]
This is an incomplete list. Sources include[39] and.[40]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1945 | Pride and Prejudice | Mr D'Arcy | Vincent's Youth Club, Sheffield (amateur production) |
| 1950–51 | The Rivals | Theatre Royal, Bath | |
| 1951 | The Little Foxes | Oscar Hubbard | Sheffield Playhouse |
| Man and Superman | John Tanner | ||
| 1951–52 | Hobson's Choice | Albert Prosser | Grand Theatre, Blackpool, then The Arts Theatre Club, London |
| 1952–53 | Henry V | Bristol Old Vic and The Old Vic, London | |
| 1952 | The Taming of the Shrew | Petruchio | Sheffield Playhouse |
| Cupid and Psyche | Royal Court Theatre, Liverpool | ||
| 1953 | Spring Model | Roy Mawson | Theatre Royal, Windsor |
| The Castiglioni Brothers | Camillo Castiglioni | Bristol Old Vic | |
| The Cherry Orchard | Peter Trofimov | ||
| Antony and Cleopatra | Pompey / a schoolmaster | ||
| Old Bailey | Robert Bailey II | ||
| The River Line | Philip Sturgess | Theatre Royal, Windsor | |
| Time on Their Hands | Leonard White | Q Theatre, London | |
| 1954 | Burning Bright | ||
| Spring Model | |||
| Grace and Favour | Producer and director | ||
| 1955 | Serious Charge | Howard Phillips | Garrick Theatre, London and Winter Gardens, Morecambe |
| Moby Dick – Rehearsed | A Serious Actor / Starbuck | Duke of York's Theatre, London | |
| Ring For Catty | Leonard White | Coliseum Theatre, Harrow, Lyric Theatre, London | |
| Brand | Brand | Lyric Theatre, London | |
| 1959 | Danton's Death | St. Just | |
| 1985 | Pack of Lies | Stewart | Royale Theater, New York |
| Born | March 19, 1928 New York City, New York, U.S. |
|---|---|
| Died | January 13, 2009 (aged 80) Santa Monica, California, U.S. |
| Citizenship |
|
| Occupations |
|
| Years active | 1948–2002 |
| Spouse | Joan Drummond (m. 1951) |
| Children | 3, including CatherineNotes[edit]
|
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