Montgomery Clift
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Meanwhile, Sunny's restless foot, made her take the children, alongwith their now-tutor Walter Hayward and go rent a house in Sarasota, [[Florida]] for the winter of 1932. Hayward, knew a man who needed a 12-year-old boy for a part in a local production. This is how in March 1933, in Sarasota, Monty made his stage debut in a local theater production of ''As Husbands Go''. On their return to New York, his mother, realizing his potential, took him around to agents, auditions and modeling gigs. He a bit later began appearing regularly on Broadway. His first appearance, at age 13 in ''Fly Away Home''. He would appear on Broadway for about ten years before his first Hollywood films. | Meanwhile, Sunny's restless foot, made her take the children, alongwith their now-tutor Walter Hayward and go rent a house in Sarasota, [[Florida]] for the winter of 1932. Hayward, knew a man who needed a 12-year-old boy for a part in a local production. This is how in March 1933, in Sarasota, Monty made his stage debut in a local theater production of ''As Husbands Go''. On their return to New York, his mother, realizing his potential, took him around to agents, auditions and modeling gigs. He a bit later began appearing regularly on Broadway. His first appearance, at age 13 in ''Fly Away Home''. He would appear on Broadway for about ten years before his first Hollywood films. | ||
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| + | His Encyclopedia Britannica Online article states of this period: "From 1934 to 1945 he performed regularly on and off Broadway, appearing in such notable plays as Robert Sherwood’s There Shall Be No Night (1940), Thornton Wilder’s The Skin of Our Teeth (1942), and Lillian Hellman’s The Searching Wind (1944)." | ||
After several favorable reviews, Hollywood wanted him, but he rejected many offers looking for just the right vehicle. This would be a constant theme in Clift's career — that he refused to perform in "trashy" productions, which to his mind, were most of them, only seeking the very best which he thought could show his talent and range without typecasting him. | After several favorable reviews, Hollywood wanted him, but he rejected many offers looking for just the right vehicle. This would be a constant theme in Clift's career — that he refused to perform in "trashy" productions, which to his mind, were most of them, only seeking the very best which he thought could show his talent and range without typecasting him. | ||
