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Robert Coote

Robert Coote (4 February 1909 – 26 November 1982) was an English actor best known for his portrayals of upper-class British characters, particularly aristocrats and military officers, across stage, film, and television over a career spanning more than five decades. He achieved lasting fame for originating the role of Colonel Hugh Pickering in the original production of the musical in 1956, a performance he reprised in national tours, the London production, a engagement, and the 1976 revival. Born in to a family with theatrical connections—his father was the actor and playwright Bert Coote—Robert Coote was educated at . He began his stage career in 1925 and appeared with company in , and appeared in British films such as (1938). Relocating to the in the late 1930s, he quickly established himself in , often cast in supporting roles that leveraged his refined accent and debonair presence. Notable film appearances include the comic valet Bertie in (1947), Sgt. Bertie Higginbotham in (1939), and in (1948). Coote's Broadway credits extended beyond My Fair Lady to include roles in The Love of Four Colonels (1953) as the Archangel, Camelot (1960) as the bumbling King Pellinore, and Bedroom Farce (1979). He also ventured into television, guest-starring in series such as Nero Wolfe (1981) and Sweepstakes (1979), while continuing occasional film work, including as a victim in the horror-comedy Theatre of Blood (1973). In his later years, health issues, including high blood pressure, limited his commitments; he withdrew from a role in the play Whodunnit shortly before his death from a heart attack in his sleep at the New York Athletic Club on 26 November 1982, at age 73. Coote never married and was survived by one sister, Peggy Coote Caswell.

Early Life

Family Background

Robert Coote was born on 4 February 1909 in , , to Bert Coote, a prominent vaudevillian, music hall , and , and Ada Russell, a dancer. His father's career in the entertainment industry provided an immersive theatrical environment from an early age; Bert Coote was known for performances in British music halls and circuits, as well as authoring plays such as the children's production The Windmill Man. Coote's mother, Ada Russell, contributed to this atmosphere through her work as a dancer, further embedding the performing arts within the family's daily life. Coote had at least one sibling, his older sister Peggy Coote (later Peggy Coote Caswell, 1907–1985), who also pursued a career in the theatre as an actress, appearing in stage roles during the early 20th century. This familial immersion in music halls, vaudeville, and stage performance shaped young Robert Coote's early interests, leading him to make his West End debut in his father's play The Windmill Man at the in 1931.

Education

Robert Coote received his formal education at , a public school in , . He left the college at the age of 16 in 1925, forgoing further studies to pursue acting. Influenced by his family's theatrical background, with his father Bert Coote as a comedian and his mother Ada Russell as a dancer, Coote immediately joined a touring repertory company, initiating his professional involvement in the .

Career

Stage Career

Robert Coote began his professional stage career in during the early , following an initial appearance in repertory theater after leaving school at age 16. He made his West End debut in 1931 at the , portraying the King in The Windmill Man, a play written by his father, Bert Coote. Throughout the decade, Coote performed in various productions, often in supporting roles that highlighted his aptitude for aristocratic and military figures, while also taking on minor parts in British films. His early theater work established him as a versatile , blending elegance with comedic timing in roles suited to his upper-class demeanor. In the , Coote transitioned to theater, marking a pivotal shift that solidified his reputation on . He made his U.S. stage debut in 1953 as Colonel Desmond De S. Rinder-Sparrow in Peter Ustinov's The Love of Four Colonels, opposite and . This was followed by a role as Sir Michael Anstruther in George Axelrod's Dear Charles (1954–1955), co-starring . His move across aligned with a growing demand for British actors in productions, allowing him to leverage his specialized portrayals of pompous gentlemen and officers. Coote's Broadway career peaked with landmark musical roles that defined his legacy as a character actor. He originated the part of Colonel Hugh Pickering in Lerner and Loewe's My Fair Lady (1956–1962), earning a Tony Award nomination for Best Featured Actor in a Musical and performing in over 600 shows before departing in 1957; he later reprised the role in the 1976–1977 revival. Concurrently, he played the bumbling King Pellinore in Camelot (1960–1963), contributing to another Lerner and Loewe success with his humorous take on the eccentric knight. These performances, spanning aristocratic linguists and medieval nobility, exemplified Coote's enduring focus on military and upper-crust personas. His stage career extended into the late 1970s, with a final Broadway appearance as Colonel Sir Robert Richardson in The Jockey Club Stakes (1973) and a replacement role in Alan Ayckbourn's Bedroom Farce (1979), encompassing five decades of theater from 1931 to 1979.

Film Career

Coote began his film career in British cinema during the early , making his screen debut in an uncredited role as a waiter at a party in the drama Sally in Our Alley (1931), directed by Maurice Elvey. He followed with small supporting parts in films such as Loyalties (1933), where he played Robert in Basil Dean's adaptation of John Galsworthy's play about social prejudice, and Radio Parade of 1935 (1934), a musical directed by Arthur B. Woods in which he appeared as an executive. These early roles established his on-screen presence in the British , often in ensemble casts reflecting the era's theatrical influences. In 1936, Coote ventured internationally with a lead role in the Australian Western Rangle River, directed by Clarence G. Badger, portraying Flight-Lieutenant Reggie Mannister, a entangled in a dispute—a rare opportunity for top billing that highlighted his charm in adventure settings. By the late , he transitioned to , debuting there in George Stevens's adventure classic (1939), where he played Sergeant Bertie Higginbotham, the comic relief among a trio of soldiers alongside , , and . This film marked the start of his frequent as affable officers or aristocrats, a persona that drew from his stage background and suited the era's colonial narratives. Post-World War II, Coote solidified his Hollywood supporting status in fantasy and romance genres. In Michael Powell and Emeric Pressburger's A Matter of Life and Death (1946), he portrayed Flying Officer Bob Trubshawe, the loyal squadron mate to David Niven's protagonist in this philosophical wartime tale blending heaven and earth. The following year, he appeared as the obsequious estate agent Mr. Coombe in Joseph L. Mankiewicz's supernatural romance The Ghost and Mrs. Muir (1947), opposite Gene Tierney and Rex Harrison, contributing to the film's whimsical tone. His collaborations often paired him with major stars in lavish productions, such as the swashbuckling The Prisoner of Zenda (1952), directed by Richard Thorpe, where he played the dashing Fritz von Tarlenheim supporting Stewart Granger's dual role. Coote's film work continued steadily through the and , maintaining his in period pieces and comedies, including roles in (1952) and The V.I.P.s (1963). In the Disney musical (1967), directed by , he portrayed a family friend in the Philadelphia-set story of eccentricity and romance starring . His career concluded with a memorable cameo as the wine-loving critic Oliver Larding in Douglas Hickox's horror satire (1973), opposite , one of several victims in a Shakespearean revenge plot—capping a filmography that spanned over four decades from 1931 to 1973.

Television Career

Coote entered television in the early , appearing in American anthology series such as Robert Montgomery Presents (1952) and (1951), where he took on supporting roles that showcased his knack for portraying affable English gentlemen. These early broadcasts marked his adaptation to the medium, building on his established screen persona amid the rise of live TV drama in the United States. In the , Coote shifted toward more prominent television work, including productions like The Whitehall Worrier (1967, ), in which he starred as the bumbling Rt. Hon. Mervyn Pugh across seven episodes, and Best of Enemies (1968–1969, ), playing Conservative Willie Gordon in two episodes depicting political rivalries. His breakthrough in American TV came with the ensemble series The Rogues (1964–1965, ), where he portrayed Timmy St. Clair, a master of disguises in a of international con artists; the role earned him a Primetime Emmy nomination for Outstanding Individual Achievements in Entertainment - Actors and Performers. Coote continued with guest spots in the 1970s, including the role of Barker, a recurring executive, in the From a Bird's Eye View (1970–1971, ATV/) and an appearance as a in the historical miniseries The Lives of (1974, ), specifically the episode "The Ambassador." His television career culminated in the 1980s with the recurring part of Theodore Horstmann, 's orchid specialist and assistant, in the mystery series Nero Wolfe (1981, ), appearing in all 14 episodes. Throughout the to , Coote's roles often mirrored the aristocratic and from his film work, emphasizing serialized and episodic formats over live theater. This period solidified his presence in both and broadcasts, spanning from experiments to character-driven series until his final appearance in 1981.

Personal Life

Military Service

Robert Coote enlisted in the Royal Canadian Air Force in August 1940, alongside fellow actors and Colin Tapley, all of whom had prior flying experience and aimed to contribute to the war effort as pilots, observers, or air gunners. However, Coote failed his flying tests and instead served in ground roles, including as a instructor. He served from 1940 until 1946, during which his pre-war stage career was paused to focus on duties. Coote was commissioned in May 1941, promoted to in December 1941, and to in December 1944, earning consistent praise for his leadership from superiors such as H.N. Crighton. Based at Rockcliffe Station in , he directed the RCAF Blackouts entertainment troupe, organizing a cast of approximately 35 performers—including singers, dancers, comedians, and a 12-piece —to boost troop through variety shows. Under Coote's leadership, the Blackouts troupe began performing in in May 1943, starting in , , before touring the from December 1943 and extending to (Belgium, , , and ) until September 1945. He also produced a second RCAF show titled All Clear, allowing him to leverage his acting background exclusively for wartime entertainment efforts that supported air force personnel. This service created a significant hiatus in his professional career, with any appearances between 1939 and 1945 limited to pre-enlistment or post-service productions.

Friendships and Residences

Robert Coote maintained a close personal friendship with fellow British actor , with whom he shared a beach house known as "Cirrhosis-by-the-Sea" in Malibu during the late , a period marked by their mutual enjoyment of Hollywood's social scene away from professional commitments. After , during which their friendship endured despite physical separation due to military duties, Niven later recalled Coote fondly in his as a steadfast companion and excellent actor whose company provided levity amid the challenges of transatlantic life. Coote's documented social connections extended to the broader expatriate community in , where he socialized with actors and figures in informal settings, though specific non-professional ties beyond Niven remain sparsely recorded in contemporary accounts. In circles, his presence fostered casual associations among performers navigating Broadway's demands, contributing to a sense of camaraderie among artists abroad. Early in his life, Coote resided in , where he was born and began his career, maintaining a home there throughout his adulthood as a base for British engagements. He relocated to the in the mid-1930s, establishing a primary presence in before shifting focus to in the , which solidified his base. By the later stages of his career, Coote had homes in for film work and continued to use his residence for visits, embodying the nomadic lifestyle of a performer. As an actor, Coote led an unmarried, peripatetic existence, frequently crossing and describing himself as an "ocean-hopper" who divided time between continents without permanent roots in one place. He often stayed at the during sojourns, a practical choice that suited his independent, club-oriented routine amid the rigors of American theatre and film. This lifestyle allowed flexibility for his career mobility while underscoring his adaptation to life as a artist in .

Death and Legacy

Death

In his final months, Coote dealt with health issues including high , leading him to withdraw from a role in the play Whodunnit. Robert Coote died on November 26, 1982, at the in , where he had maintained a long-term residence. He was 73 years old at the time of his passing. The cause of death was a heart attack suffered in his sleep. Coote was survived only by his sister, Peggy Coote Caswell, who resided in .

Awards and Recognition

Coote received a Tony Award nomination for Best Featured Actor in a Musical in 1957 for his portrayal of Colonel Pickering in the original production of . He was also nominated for a Primetime Emmy Award for Outstanding Individual Achievements in Entertainment – Actors and Performers in 1965 for his work on the television series The Rogues. Throughout his career, Coote earned critical acclaim for originating the role of Colonel Pickering, a character noted for its depiction of a quintessential gentleman, which became one of his most enduring contributions to . Obituaries and contemporary reviews highlighted his performance as a highlight of the production, praising its blend of humor and authenticity that captured the essence of Edwardian aristocracy. Coote's legacy endures as a versatile who specialized in aristocratic and roles across , film, and television, influencing mid-20th-century portrayals of English types in entertainment. His work helped define the archetype of the affable, upper-class Englishman in productions, contributing to a broader cultural understanding of mannerisms in international media. While no additional major awards were bestowed during his lifetime, his contributions remain recognized in histories for bridging traditions with audiences.

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