Jeremy Irons began his acting career doing live theatre through the 70's and 80's. His first major role was as John the Baptist in the London production of Godspell. He was also a member of the Royal Shakespeare Company. His Broadway debut was in Tom Stoppard's The Real Thing, where he starred opposite Glenn Close, and won a Tony Award. Below is a (almost..I think) complete listing of Jeremy's stage performances.

Click on highlighted titles for reviews!


1971

What the Butler Saw

1971

The Winter's Tale

1971

Hay Fever

1972/73

Godspell

1973

Diary of a Madman

1974

The Caretaker

1974

Much Ado About Nothing

1975

The Taming of the Shrew

1975

An Inspector Calls

1976/77

Wild Oats

1978

The Rear Column

1978

An Audience Called Edouard

1984

The Real Thing

TONY AWARD!

1987

The Rover

1986

The Winter's Tale

1986

Richard II

2005 Camelot

  • Theatre Books Featuring Jeremy

    Snowdon on Stage. by Anthony Snowdon.
    A collection of Snowdon's photographic portraits of the stars of the British stage, this books contains a lovely portrait of Jeremy.

    Masterpiece Theatre:A Celebration of 25 Years of Outstanding Television by Terence O'Flaherty.
    Contains info on Jeremy's early work on the series, and interview, and several pictures.

    The Making of the Professional Actor: A History, an Analysis, and a Prediction. c.1996. by Adrian Cairns
    This book features a forward by Jeremy. The complete text of the Forward is below:

    "Adrian Cairns, apart from being an actor, was one of my teachers at the Bristol Old Vic Theatre School. His experience both as an actor and as a teacher, and his practice of considered thought, make this an invaluable book at a time when Government and Local Authorities seem confused as to what actors' training should be, let alone what their role should be in contemporary society. The uncertainty has caused, in many cases, withdrawl of an educational subsidy towards actors' training. Mr Cairns' book examines the history of actors' training, leading to an analysis of the present situation as well as a prediction of the actors' role in the future and the method of training we should work towards to accomodate this. The Making of the Professional Actor should be required reading, not only for those decision makers who hold the responsibility of subsidizing the next generation of actors, but for any prospective, student, or professional actor. It is a vital addition to the current debate."


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