Jed Harris (born Jacob Hirsch Horowitz; February 25, 1900 – November 15, 1979) was an Austrian-born American theatrical producer and director. His many successful Broadway productions in the 1920s and 1930s include Broadway (1926), Coquette (1927), The Royal Family (1927), The Front Page (1928), Uncle Vanya (1930), The Green Bay Tree (1933) and Our Town (1938). He later directed the original Broadway productions of The Heiress (1947) and The Crucible (1953).
Early life
Jed Harris was born Jacob Hirsch Horowitz[1] in Vienna, Austria-Hungary, on February 25, 1900, to Meyer and Esther Scherz Horowitz. His family moved to the United States in 1901. He attended school in Monmouth County, New Jersey and entered Yale College at age 17. Although he was studious, he dropped out in 1920, telling a professor "I'm neither rich enough nor dull-witted enough to endure this awful place."[2]
Career
Producer Jed Harris on the cover of Time (September 3, 1928) during the run of his Broadway hit, The Front Page
Harris produced and directed 31 shows between 1925 and 1956. By age 28, he had produced a record four consecutive Broadway hits over the course of 18 months[3] and was on the cover of Time magazine. Over the course of his career, his productions gained seven awards, including a Tony Award and Pulitzer Prize for playwright Thornton Wilder. Harris directed four actors in award-winning roles in Child of Fortune, The Crucible, The Traitor, The Heiress and Our Town.[citation needed]
Described by The New York Times as "a flamboyant man of intermittent charm", Harris was famous for his self-confidence, appeal to women, and sometimes outrageous and abusive behavior. Playwright and director George S. Kaufman, who worked with Harris on The Royal Family (1927) and The Front Page (1928), reportedly hated him and once said "When I die, I want to be cremated and have my ashes thrown in Jed Harris's face."[2] Although Katharine Hepburn received scathing reviews in the New York production of The Lake (1933)—an experience she later described as "a slow walk to the gallows"—Harris insisted that she and the show go to Chicago. "My dear, the only interest I have in you is the money I can make out of you," Hepburn recalled Harris saying. She extricated herself from the contract by offering Harris all the money she had, $13,675.75; "I'll take it," he said.[4]Laurence Olivier, whom Harris had directed on Broadway in The Green Bay Tree (1933),[2] called him "the most loathsome man I'd ever met." In revenge, Olivier used Harris as the basis for his makeup for his 1944 stage (and later screen) portrayal of Richard III.[5]: 125
In an interview shortly before his death, Harris spoke of the ephemeral nature of the theatre. "The beauty of it is that you can create a whole world in a few weeks of rehearsal. But then the whole thing disappears like a breath of air. Nothing remains after your audience has gone. All it represents is a few moments of escape."[2]
Harris was married three times: to Anita Green in 1925; to actress Louise Platt, with whom he had a daughter, in 1938; and to actress Bebe Allen briefly in 1957. All of the marriages ended in divorce.[1] Platt accused him of abusing her during their marriage.
Barbara Barondess recalled her immediate attraction to Harris in her memoirs. Although she was a virgin, she willingly submitted to him, and the two began a brief affair, casual on his part but passionate on hers. She realized she was not an important part of his life when she called him at the office and overheard his talking with Ruth Gordon on the phone. Unfortunately and unknown to her at the time, she was pregnant with his child. Barondess elected to undergo an illegal abortion without telling him about the baby.[7]
In 1929, actress Ruth Gordon was starring in Harris's production of Serena Blandish when she and Harris began a long romance. She became pregnant and their son, Jones Harris, was born in Paris later that year. Although they never married, Gordon and Harris provided their son with a normal upbringing, and his parentage became public knowledge as social conventions changed.[8] In 1932, the family was living discreetly in a small, elegant New York City brownstone.[9] Harris's other romances included Margaret Sullavan.[3] He lived with Patricia Lynn Burroughs for the last 3 years of his life. She wrote her PHD thesis, [10] The Theatrical Career of Jed Harris in New York, 1925-1956, at LSU completed in 1978. She assisted him in the last years of his life to finish his last book and complete the interviews with Dick Cavett.
Harris recalled his life and career in five consecutive 30-minute episodes taped for The Dick Cavett Show, broadcast posthumously,[11][12] and in an autobiography, Dance on the High Wire, published a week before his death. Harris died November 15, 1979, aged 79, at University Hospital in New York City after a long illness.[2]
The central character in Ben Hecht's 1931 novel A Jew in Love is modeled in part on Harris.[2][57]John Houseman wrote "Ben Hecht in A Jew in Love has described the mixture of deadly cruelty and ineffable charm of which Harris was capable; when he really wanted something or somebody — and even when he did not — no effort was too great, no means too elaborate or circuitous if it helped to satisfy his craving for personal power."[58]
Laurence Olivier believed that the physical features of the Big Bad Wolf in Disney's 1933 animated film The Three Little Pigs were based on Harris,[5]: 125 whom Olivier called "the most loathsome man I'd ever met".[59]Harold Clurman agreed with Olivier: "That's Harris's face. I mean made into an animal...There was venom in the man."[60] Years later Olivier discovered that Walt Disney indeed had used Harris as his basis for the Big Bad Wolf.[61]Alexander Korda, who had given Olivier his initial roles on film, provided financial support for The Three Little Pigs.[61]
One of the major characters in Ed Ifkovic's Downtown Strut: an Edna Ferber Mystery is Jed Harris, based on him as the director of the Broadway play The Royal Family[1]Archived 2016-07-14 at the Wayback Machine.
