Henry Kendall (actor)

Kendall was born in London in 1897, the son of William Kendall and his wife Rebecca, née Nathan. He was educated at the City of London School. He began his stage career "walking on" (as a non-speaking extra) in Tommy Atkins at the Lyceum Theatre in 1914. From then until he joined the armed forces during the First World War he was first a chorus member in Business as Usual at the Hippodrome Theatre (1914), then a supporting player in Watch Your Step (Empire Theatre, 1915); and for nine months a member of the Old Vic company, playing juvenile parts in Shakespeare repertory, including Claudio in Much Ado About Nothing, Florizel in The Winter's Tale, and Sebastian in Twelfth Night (1915–1916).Parker, Gaye and Herbert, pp. 1351–1353

From 1916–1919 Kendall served as a captain in the Royal Flying Corps (latterly the Royal Air Force), winning the Air Force Cross.

In the post-war decade Kendall played more than 30 roles in the West End and on Broadway:

File:Faith-Celli-Henry-Kendall-1921.png and Kendall in Threads, 1921|alt= coloured sketch of young man and young woman in smart 1920s day wear]]

In the 1930s and during the Second World War Kendall continued to appear mainly in the West End, but toured in three productions:

Kendall dismissed his own films, several of which were quota quickies, with the remark that he "commenced film career 1931, and has appeared in innumerable pictures". He played the leading role of Reggie Ogden in the film The Shadow in 1933, and also starred in Alfred Hitchcock's "bravest failure", Rich and Strange, originally released in the United States as East of Shanghai, (1931).Halliwell's Film Guide Kendall's films included:Halliwell's Who's Who in the Movies, Fourth Edition, ed John Walker, HarperCollins (2006) {{ISBN|0-00-716957-4}}

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• Mr. Pim Passes By (1921)
• Tilly of Bloomsbury (1921)
• French Leave (1930)
• The Flying Fool (1931)
• Rich and Strange (1931)
• Mr. Bill the Conqueror (1932)
• The Innocents of Chicago (1932)
• The Iron Stair (1933)
• The Man Outside (1933)
• The Ghost Camera (1933)
• The Stickpin (1933)
• Great Stuff (1933)
• The Shadow (1933)
• Counsel's Opinion (1933)
• King of the Ritz (1933)
• Timbuctoo (1933)
• This Week of Grace (1933)
• The Flaw (1933)
• The Girl in Possession (1934)
• Leave It to Blanche (1934)
• The Man I Want (1934)
• Crazy People (1934)

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• Death at Broadcasting House (1934)
• Without You (1934)
• Death on the Set (1935)
• Lend Me Your Wife (1935)
• Three Witnesses (1935)
• The Amazing Quest of Ernest Bliss (1936)
• A Wife or Two (1936)
• Twelve Good Men (1936)
• School for Husbands (1937)
• Take a Chance (1937)
• Side Street Angel (1937)
• The Compulsory Wife (1937)
• Ship's Concert (1937)
• It's Not Cricket (1937)
• The Mysterious Mr. Davis (1939)
• The Butler's Dilemma (1943)
• 29 Acacia Avenue (1945)
• Dumb Dora Discovers Tobacco (1946)
• Helter Skelter (1949)
• The Voice of Merrill (1952)
• An Alligator Named Daisy (1955)
• Shadow of the Cat (1961)
• Nothing Barred (1961)

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As a West End revue artiste Kendall appeared in Charlot's Revue at the Prince of Wales Theatre in 1924 and Charlot's Masquerade at the Cambridge Theatre in 1930. He co-starred with Hermione Gingold in the three long-running Sweet and Low revues, with scripts by Alan Melville, first taking over from Walter Crisham in 1944; this was followed in June 1948 by the À la Carte revue at the Savoy Theatre.

He appeared with Hermione Baddeley and Hermione Gingold ("The Two Hermiones"), Walter Crisham and Wilfred Hyde-White, in Leslie Julian Jones's revue Rise Above It, first at the Q Theatre in January 1941, when Hedley Briggs was nominally directing; then in two West End editions of the show which ran for a total of 380 performances at the Comedy Theatre opening in June 1941 and again in December 1941, when he was both starring in and directing the show.

He observed in his autobiography:

{{blockindent|Of all forms of theatrical entertainment, revue is the most bitchy. The material is bitchy, the artists are bitchy and, strangely enough, the average revue audience is bitchy. And here I was starring with two acknowledged 'Queens of Revue' [Baddeley and Gingold], faced also with the task of director... call[ing] for every possible ounce of tact and diplomacy. Then came the vexed question of "billing" – who should take precedence, Baddeley or Gingold (or should I say Gingold or Baddeley)? It was the responsibility of the management to make the decision. ... [the] solution was quite simple: we had two sets of bills and placards, used on alternate weeks throughout the run, which satisfied both the ladies.Quoted in On Q: Jack and Beatie de Leon and the Q Theatre, by Kenneth Barrow (1992)|}}

In addition to a busy career as an actor and entertainer Kendal was frequently engaged as a director, staging, among other plays, the first productions of See How They Run (Peterborough Rep, tour and Q Theatre 1944; Comedy Theatre 1945), and The Shop at Sly Corner (St Martin's Theatre 1945). He also directed numerous plays at the Embassy Theatre and Q Theatre.On Q: Jack and Beatie de Leon and the Q Theatre by Kenneth Barrow, Heritage Publications (1992) {{ISBN|978-0-9519089-0-7}}

In Chapter 23 of his autobiography, 'I Remember Romano's', 'An Alligator and Mr. Chaplin', (Macdonald, London, 1960), Kendal wrote that Peter Daubeny asked him in 1955 to " ...keep an eye on, (produce), his revival at the Palace", (Palace Theatre, London), of The Merry Widow, starring Jan Kiepura and Marta Eggerth, while he was on business in Paris.

Among his productions were:

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• A Lass and a Lackey, Q Theatre, December 1940
• Rise Above It (revue), Comedy Theatre, June 1941
• Other People's Houses, Ambassadors Theatre, October 1941
• Scoop (revue), Vaudeville Theatre, April 1942
• Man from Heaven, Q Theatre, September 1943
• This Was a Woman, Comedy Theatre, March 1944 – previously staged at the Q Theatre as The Dark Potential, January 1944
• Fly Away Peter, Q Theatre, September 1944
• See How They Run, Q Theatre, December 1944; Comedy Theatre, January 1945
• Great Day, Playhouse Theatre, March 1945
• The Shop at Sly Corner, St Martin's Theatre, April 1945
• Green Laughter, Q Theatre, August 1945; Comedy Theatre, June 1946

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• Fit for Heroes, Embassy Theatre, September 1945; Whitehall, December 1945
• Macadam and Eve, Aldwych Theatre, March 1951
• The Nest Egg, Wimbledon Theatre, November 1952
• Where the Rainbow Ends, Stoll Theatre, December 1953
• Meet a Body, Duke of York's Theatre, July 1954
• Tropical Fever, Theatre Royal, Brighton, March 1955
• Ring for Catty, Lyric Theatre, February 1956
• You, Too, Can Have a Body, Victoria Palace, June 1958
• Watch It, Sailor! (in association with André Van Gyseghem, Aldwych Theatre, February 1960
• Bachelor Flat, Piccadilly Theatre, May 1960

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Kendall's autobiography was published by MacDonald & Co in 1960; it was called I Remember Romanos.

In his later years Kendal suffered from heart trouble. He had to give up work for a while in 1957 after a heart attack. In February 1960 he was hospitalised after suffering another attack at his house in Hampstead. He had a final, fatal attack while staying at Le Rayol in the South of France, on 9 June 1962, at the age of 65."Mr Henry Kendall", The Times, 11 June 1962, p. 12; and "Henry Kendall", Birmingham Daily Post, 11 June 1962, p. 3 He was unmarried.

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• {{cite book|last=Parker| first= John|author2=Freda Gaye|author3=Ian Herbert |year= 1978|title=Who Was Who in the Theatre |location= Detroit| publisher=Gale Research |oclc=310466458}}

• {{IMDb name|id=0447597|name=Henry Kendall}}
• {{IBDB name}}

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Category:1897 births

Category:1962 deaths

Category:English male stage actors

Category:English theatre directors

Category:English male film actors

Category:People educated at the City of London School

Category:20th-century English male actors

Category:British Army personnel of World War I

Category:Royal Flying Corps officers

Category:Male actors from London