Heather Sears, stage and screen actress, died on January 3 aged 58. She wasborn in Whitechapel on September 28, 1935. SOME actors, however excellent, seem fated never to be quite where the
spotlight decisively hits. Heather Sears was one of them. Lee Patterson, used to tell of escorting his co-stars, Heather Sears and Joan Crawford, to the premiere of The Story of Esther Costello, the film which was expected to make Heather Sears a star. Once past the battery of cameras at the door, they relaxed as they went up the stairs, Crawford in the centre. Then suddenly a camera flashed out of nowhere. When Patterson saw the pictures he was amazed, because in that split second Crawford had arranged herself to be looking up romantically at him, while her other hand, in a dramatic gesture, had managed to place her handbag right in front of Heather Sears's face. Of course, that takes an old-time star's technique but Heather Sears unfortunately all-too-often ended up with the handbag in front of her face.
She was, in fact, very good in Esther Costello, where she played a blind deaf mute, who is nearly raped. Yet everyone remembers it as a Joan Crawford movie. She was also fine in Room at the Top, where she plays the naive girl whom Laurence Harvey gets into trouble and has to marry. But it was the mature continental charms of Simone Signoret which carried the day on that occasion. And how many remember that she was even in Sons and Lovers, though on television her quiet, understated performance as D.H.Lawrence's Miriam still rings true.
Heather Sears was of a similar type and eneration to the young Mary Ure and Claire Bloom. She was trained at the Central School of Speech and Drama. Her elder sister Ann was also an actress (her moment of glory in films was playing the only noticeable female role in The Bridge on the River Kwai), and Heather began promisingly in a traditional manner with rep at Windsor in 1955 and an ingenue role in the knockabout comedy film Dry Rot in 1956. Before she turned 22 she had played the key title role in The Story of Esther Costello and taken over Mary Ure's part in the first non-repertory run of Look Back in Anger at
the Royal Court; shortly afterwards she played Claire Bloom's role in the television production of Ring Round the Moon.
Playing the kind of dewy-innocent Anouilh s pecialised in is obviously the prerogative of very young actresses, but her Alison in the Osborne play seemed to promise more fibre than was immediately apparent. This quality also underlay her playing of the victim in Room at the Top (1958) the character is vulnerable
but in her own way determined and of Miriam in Sons and Lovers (1960). But subsequently she was not very lucky with film casting: the heroine of The Phantom of the Opera (the Hammer version of 1962 with Herbert Lom in the title role) does not have much to do but suffer and scream prettily, and the same goes for young women involved in films like The Black Torment (1964), after
which her film career rather petered out.
However, she had the stage to fall back on during the later 1960s and 1970s.
She had a considerable success as Grusha in The Caucasian Chalk Circle at the Chichester Festival in 1969, a role she later reprised in the course of a season starring at the Haymarket, Leicester, in 1973-74, which also included a revival of her other big stage success, Alan Ayckbourn's How the Other Half Loves, in which she had originally played at the Lyric in 1970.
Subsequently she acted less frequently and retired more into private life, in which she was married to the author Tony Masters. It was less than a decade centre stage, but strongly suggested the existence of qualities in her which
never fully came into play.
From The Times
THU 27 JAN 1994
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