John Houseman

John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a British-American-Romanian actor and producer who became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay. He is perhaps best known for his role as Professor Charles W. Kingsfield in the film The Paper Chase (1973), for which he won the Academy Award for Best Supporting Actor. He reprised his role as Kingsfield in the 1978 television series adaptation.

John Houseman
Houseman in 1980
Jacques Haussmann

(1902-09-22)September 22, 1902
Bucharest, Romania
DiedOctober 31, 1988(1988-10-31) (aged 86)
EducationClifton College
OccupationActor, producer
Years active1930–1988
Zita Johann
(m. 1929; div. 1933)

Joan Courtney (m. 19521988)

Houseman was also known for his commercials for the brokerage firm Smith Barney. He had a distinctive English accent, a product of his schooling.

Early life

Houseman was born on September 22, 1902, in Bucharest, Romania, the son of May (née Davies) and Georges Haussmann, who ran a grain business.[1] His mother was British, from a Christian family of Welsh and Irish descent.[2] His father was an Alsatian-born Jew.[3][4][5][6] 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, where he took the stage name of John Houseman. He became a United States citizen in 1943.[7]

Theatre producer

Houseman worked as a speculator in the international grain markets, only turning to the theater following the 1929 stock market crash.

On 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.[8] He later directed The Lady from the Sea (1934), Valley Forge (1934).[9]

Collaboration with Orson Welles

In 1934, Houseman was looking to cast Panic, a play he was producing based on a drama by Archibald MacLeish concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929. Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of Romeo and Juliet was the only person qualified to play the leading role. Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production. Panic opened at the Imperial Theatre on March 15, 1935. Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff three years earlier in Universal's The Mummy.

Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice."

He supervised the direction of Walk Together Chillun in 1936.

Federal Theatre Project

In 1936, the Federal Theatre Project of the Works Progress Administration put unemployed theatre performers and employees to work. The Negro Theatre Unit of the Federal Theatre Project was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer. Houseman describes the experience in one of his memoirs:

Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week. During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over.[10]

Macbeth (1936)

Houseman immediately hired Welles and assigned him to direct Macbeth for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role. The incidental music was composed by Virgil Thomson. The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances. The play was regarded by critics and patrons as an enormous, if controversial, success. After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

... on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend.[10]

Houseman later produced for the Negro Theatre Unit, Turpentine (1936), without Welles.

In 1936, Houseman and Wells were running a WPA unit in midtown Manhattan for classic productions called Project No. 891. Their first production was Christopher Marlowe's Tragical History of Dr. Faustus which Welles directed while also playing the title role.

Houseman and Welles put on Horse Eats Hat (1936). Houseman, without Welles, helped in the direction of Leslie Howard's production of Hamlet (1936).

The Cradle Will Rock (1937)

In June 1937, Project No. 891 produced their most controversial work with The Cradle Will Rock. Written by Marc Blitzstein the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard Da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer). The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show. Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year.

In his memoir, Run-Through, Houseman wrote about the circumstances surrounding the opening night 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. The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following. No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music. One of the non-professional performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part. All the other performers, in turn, stood up for their parts. Thus the "oratorio" version of the show was born. Apparently, Welles had designed some intricate scenery, which ended up never being used. The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night. The incident, however, led to Houseman being fired and Welles's resignation from Project No. 891.

Mercury Theatre

That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did The Cradle Will Rock as an independent production on Broadway. They also founded the acclaimed New York drama company, the Mercury Theatre. Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied.[10]

Armed with a manifesto written by Houseman[11] declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "...seem to have emotion or factual bearing on contemporary life." The company mounted several notable productions, the most remarkable being its first commercial production of Julius Caesar. Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels."

Houseman and Welles later presented The Shoemakers' Holiday (1938), Heartbreak House (1938) and Danton's Death (1938).


Beginning in the summer of 1938, the Mercury Theatre was featured in a weekly dramatic radio program on the CBS network, initially promoted as First Person Singular before gaining the official title The Mercury Theatre on the Air. An adaptation of Treasure Island was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script. However, a week before the show was to air, Welles decided that a program far more dramatic was required. To Houseman's horror, Treasure Island was abandoned in favor of Bram Stoker's Dracula, with Welles playing the infamous vampire. During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script.

The Mercury Theatre on the Air featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris.

"The War of the Worlds" (1938)

The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' The War of the Worlds, which had put much of the country in a panic.[12] By all accounts, Welles was shocked by the panic that ensued. According to Houseman, "he hadn't the faintest idea what the effect would be". CBS was inundated with calls; newspaper switchboards were jammed.

Without Welles, Houseman staged The Devil and Daniel Webster (1939).

Film producer

Too Much Johnson (1938)

While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, Too Much Johnson (1938). The film was never publicly screened and no print of the film was thought to have survived. Footage was rediscovered in 2013.[13]

Citizen Kane (1941)

The Welles-Houseman collaboration continued in Hollywood. In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects.

For his motion picture debut, Welles first considered adapting Joseph Conrad's Heart of Darkness for the screen. A 200-page script was written. Some models were constructed, while the shooting of initial test footage had begun. However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming. When RKO threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket. Houseman proclaimed that there wasn't enough money in their business account to pay anyone. During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook". As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship.

Houseman later, however, played a pivotal role in ushering Citizen Kane (1941), which starred Welles. Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J. Mankiewicz while he completed the script, and keep him away from alcohol. Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed. Although Welles took credit for the screenplay of Kane, Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles. Houseman took some credit himself for the general shaping of the story line and for editing the script. In an interview with Penelope Huston for Sight & Sound magazine (Autumn, 1962) Houseman said that the writing of Citizen Kane was a delicate subject:

I think Welles has always sincerely felt that he, single-handed, wrote Citizen Kane and everything else that he has directed — except, possibly, the plays of Shakespeare. But the script of Kane was essentially Mankiewicz's. The conception and the structure were his, all the dramatic Hearstian mythology and the journalistic and political wisdom he had been carrying around with him for years and which he now poured into the only serious job he ever did in a lifetime of film writing. But Orson turned Kane into a film: the dynamics and the tensions are his and the brilliant cinematic effects — all those visual and aural inventions that add up to make Citizen Kane one of the world's great movies — those were pure Orson Welles.

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her essay "Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault. He wanted to be given all the credit because he's a hog. Actually, it is his film. So it's a ridiculous argument."[14][15]

Return to the theatre

After he and Welles went their separate ways, 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.

David O. Selznick

In Hollywood he became a vice-president of David O. Selznick Productions. His most notable achievement during that time was helping adapt and produce the adaptation of Jane Eyre (1943) which starred Joan Fontaine and Welles.

World War II

In the aftermath of the attack on Pearl Harbor, 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.[16]


In 1945 Houseman signed a contract with Paramount Pictures to produce movies. His first credit for that studio was The Unseen (1945). He followed it with Miss Susie Slagle's (1945) and The Blue Dahlia (1946), both with Veronica Lake. The latter, starring Alan Ladd and written by Raymond Chandler, has become a classic.

He left Paramount and returned to Broadway to direct Lute Song (1946) with Mary Martin.

Back in Hollywood he produced Letter from an Unknown Woman (1948) for Max Ophuls at Universal.


Houseman went to RKO where he produced They Live by Night (1948) the directorial debut of Nicholas Ray. He also did The Company She Keeps (1949) and On Dangerous Ground (1951).

He returned to Broadway to produce Joy to the World (1949) and King Lear (1950-51), the latter with Louis Calhern.


RKO's head of production had been Dore Schary. When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted.

Houseman's stint at MGM began with Holiday for Sinners (1952) then he had a huge success with The Bad and the Beautiful (1952), directed by Vincente Minelli. He followed it with the film adaptation of Julius Caesar (1953) (for which he received an Academy Award nomination for Best Picture)

Also popular was Executive Suite (1954), although Her Twelve Men (1954), Minelli's The Cobweb (1955) and Fritz Lang's Moonfleet (1955) all lost money. So did Lust for Life (1956), a biopic directed by Minelli of Vincent van Gogh, although it was extremely well-received critically.

Television and theatre

Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90.

He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi (1957).

Return to MGM

Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman Productions. His films were All Fall Down (1962), Two Weeks in Another Town (1962) and In the Cool of the Day (1963).

Return to television

Houseman returned to television where he made The Great Adventure and Journey to America (1964). He returned to Hollywood briefly to produce This Property Is Condemned (1966), then went back to TV for Evening Primrose (1966).

He went back to Broadway directing Pantagleize (1967).


The Juilliard School and The Acting Company

Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976.[17][18] 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.[19]

Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company." [20] The organization was subsequently renamed The Acting Company, and has been active for more than 40 years. Houseman served as the producing artistic director through 1986, and Harley has been the Company's producer since its founding.[21] Writing in The New York Times in 1996, Mel Gussow called it "the major touring classical theater in the United States."[22]


Houseman continued to be involved in theatre, producing 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)

He directed The Country Girl (1972), Don Juan in Hell (1973), Measure for Measure (1973), and Clarence Darrow (1974) (with Henry Fonda).

In 1979, Houseman earned induction into the American Theater Hall of Fame[23]


Houseman had acted occasionally during the early part of his career and he had briefly appeared in Seven Days in May (1964).

Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973). The film was a success and launched Houseman into an unexpected late career as a character actor.

Houseman played Energy Corporation Executive Bartholomew in the film Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976).

Houseman appeared on TV in 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). Houseman was reunited with The Paper Chase co-star Lindsay Wagner in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series The Bionic Woman and The Six Million Dollar Man; he played the scientific genius Dr. Franklin.

He continued appearing on TV in 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).

In films he parodied Sydney Greenstreet in the Neil Simon film The Cheap Detective (1978) and was in Old Boyfriends (1980), John Carpenter's The Fog (1980), Wholly Moses! (1981) and My Bodyguard (1981).

Houseman briefly returned to producing with the TV movie Gideon's Trumpet (1980), which he also appeared in and Choices of the Heart (1983). He produced one more show on Broadway The Curse of an Aching Heart (1982).

He acted in The Babysitter (1980), A Christmas Without Snow (1980), Ghost Story (1981), Mork & Mindy, Murder by Phone (1982) (second billed), Marco Polo (1982), and American Playhouse (1982).

Television star

In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in Silver Spoons, which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way... they earn it ." Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test'.

He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries The Winds of War (receiving a fourth Golden Globe nomination). He declined to reprise the role when the sequel War and Remembrance was made into a miniseries (the role then went to Sir John Gielgud).

However he was in the miniseries A.D. (1984), Noble House (1986), and Lincoln (1986).

Having played a Harvard Law School professor in the film The Paper Chase (1973). He reprised the role in a television series of the same name, which ran from 1978 to 1986. During that time, he received two Golden Globe nominations for "Best Actor in a TV Series — Drama".

Final years and death

Later film appearances included Bright Lights, Big City (1988) and Another Woman (1988).

In 1988, he appeared in his last two roles—cameos in the films The Naked Gun: From the Files of Police Squad! and Scrooged. He played a driving instructor (whose mannerisms parodied many of his prior roles) in the former, and himself in the latter. Both films were released after his death.

On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California.[24]He was cremated and his ashes were scattered at sea.

Houseman was portrayed by Cary Elwes in the Tim Robbins-directed film Cradle Will Rock (1999). Actor Eddie Marsan plays the role of Houseman in Richard Linklater's film Me & Orson Welles (2009). Houseman was played by actor Jonathan Rigby in the Doctor Who audio drama Invaders from Mars set around the War of the Worlds broadcast.


Year Title Role Notes
1938 Too Much Johnson Duelist
1964 Seven Days in May Vice-Adm. Farley C. Barnswell Uncredited
1973 The Paper Chase Charles W. Kingsfield Jr. Academy Award for Best Supporting Actor
Golden Globe Award for Best Supporting Actor - Motion Picture
National Board of Review Award for Best Supporting Actor
New York Film Critics Circle Award for Best Supporting Actor (2nd place)
1975 Rollerball Bartholomew
Three Days of the Condor Wabash
1976 St. Ives Abner Procane
Captains and the Kings Judge Chisholm
The Adams Chronicles Justice Gridley
1977 Aspen Joseph Merrill Drummond
1978 The Cheap Detective Jasper Blubber
1979 Old Boyfriends Doctor Hoffman
1980 The Fog Mr. Machen
Gideon's Trumpet Earl Warren
Wholly Moses! The Archangel
My Bodyguard Mr. Dobbs
The Babysitter Dr. Lindquist
A Christmas Without Snow Ephraim Adams
1981 Ghost Story Sears James
1982 Rose for Emily Narrator
Murder by Phone Stanley Markowitz
1983 Winds of War Aaron Jastrow
1985 A.D. Gamaliel
1988 Bright Lights, Big City Mr. Vogel
Another Woman Marion's Father
Scrooged Himself
The Naked Gun: From the Files of Police Squad! Driving Instructor Uncredited, (final film role)


  1. Current biography yearbook – H.W. Wilson Company – Google Books. Retrieved May 7, 2012.
  2. Darrach, Brad (January 17, 1983). "John Houseman". Retrieved May 7, 2012.
  3. Magill, Frank Northen (1977). Survey of Contemporary Literature. Salem Pr. Inc. p. 6535. ISBN 0-89356-050-2.
  4. Houseman, John (1972). Run-Through: A Memoir. Simon and Schuster. p. 15.
  5. "John Houseman". Encyclopædia Britannica.
  6. "John Houseman", New York Times Movies.
  7. "John Houseman". Retrieved March 29, 2010.
  8. Tommasini, Anthony. (1997) Virgil Thomson – Composer on the Aisle, pp.241–243.
  9. The Broadway League. "John Houseman". Internet Broadway Database. Retrieved March 29, 2010.
  10. Houseman, John. Run-Through: A Memoir, New York, 1972.
  11. "Orson Welles — Director — Films as Director:, Other Films:, Publications". Retrieved March 29, 2010.
  12. "The Federal Theatre Project". Retrieved March 29, 2010.
  13. Kehr, Dave (August 7, 2013), "Early Film by Orson Welles Is Rediscovered", New York Times
  14. Kael, Pauline (February 20, 1971). "Raising Kane—I". The New Yorker. and Kael, Pauline (February 27, 1971). "Raising Kane—II". The New Yorker.
  15. "John Houseman on "What happened to Orson Welles?"". Wellesnet: Orson Welles Web Resource. August 21, 2008. Retrieved February 17, 2018.
  16. "The Beginning: An American Voice Greets the World". Voice of America.
  17. Olmstead, Andrea (2002). Juilliard: A History. University of Illinois Press. p. 232. ISBN 9780252071065.
  18. "A Brief History – About Juilliard". The Juilliard School. Retrieved June 3, 2012.
  19. Klein, Alvin (July 12, 1992). "THEATER; From Juilliard to Shakespeare at a Pond". The New York Times.
  20. Olmstead, Andrea (2002). Juilliard: A History. University of Illinois Press. p. 230. ISBN 9780252071065. The success of The Acting Company's first season had greatly benefited the School and lifted the Drama Division's stock with Lincoln Center's Board. Reprinting of the 1999 book, which described the relationship between the Juilliard School and The Acting Company at the time of the latter's founding.
  21. "About Us". The Acting Company. Retrieved March 2, 2014.
  22. Gussow, Mel (January 30, 1996). "A Touring Troupe That Plays Classics On Main Street". The New York Times. Seven years after Mr. Houseman's death, and after a steeplechase course of obstacles, the Acting Company endures as the major touring classical theater in the United States. Now under the sole leadership of Ms. Harley, the company takes plays to 45 cities from Orono, Me., to Sheridan, Wyo. Descriptive article on the occasion of the Company's 25th anniversary.
  23. "Theater Hall of Fame Enshrines 51 Artists". New York Times. November 19, 1979. Retrieved February 7, 2019.
  24. "John Houseman, Actor and Producer, 86, Dies". The New York Times.
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