Kensal Green London, England
The men and women interred at Kensal Green Cemetery in Kensal Green, London, England.
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- Henry Ainley was born on 21 August 1879 in Morley, Leeds, Yorkshire, England, UK. He was an actor, known for As You Like It (1936), Sweet Lavender (1915) and Iris (1916). He was married to Suzanne Sheldon, Elaine Titus Fearon and Bettina von Hutton. He died on 31 October 1945 in London, England, UK.
- British novelist William Harrison Ainsworth's career lasted so long (60 years) and his output was so prolific that some critics have termed him "the king of historical potboilers". His most lasting of the many books he wrote is probably the series about the infamous highwayman Dick Turpin, which was so popular that there was a successful series of films featuring him in the 1920s.
Harrison was born in Manchester, England, in 1805. He picked up his taste for history and writing as a youngster. His father was a criminal-defense attorney, and as a child William would sit fascinated as his father told tales of the daring highwaymen and bandits he defended. His father also moved in Manchester's social circles, and young William met such literary figures as Charles Dickens and Edward George Bulwer-Lytton at the family estate. The youngster began writing melodramas and plays while still in grammar school, and even set up his own theater in the basement of his parents' home where he would stage these productions, making all the costumes, props and scenery himself. He also began submitting poems and short stories to local literary magazines, and began getting published in such publications as "The New Monthly Magazine", "London Magazine" and "Edinburgh Magazine".
In the early 1820s he struck up a friendship with noted historian Charles Lamb. In 1824 his father died and Ainsworth, now an attorney, took over his father's law firm in London, and stayed there for two years. He and a friend, John Partington, co-wrote a romance novel, "Sir John Chiverton", which became quite popular and attracted the attention of writer Sir Walter Scott, who wrote Ainsworth to request a meeting. Ainsworth married Fanny Ebers, the daughter of a prominent book publisher, in 1826. He began helping his father-in-law to run his business, but soon tired of that life and set up his own law practice. However, he still kept his hand in the writing game, and in 1834 his novel "Rookwood" became a national best-seller. cementing his reputation as an author and giving him the financial security to devote himself full-time to writing.
His novel "Jack Sheppard" (1839) was also a success, both critically and financially. In addition to writing, Ainsworth was also editor of "Bentley's Miscellany" magazine from 1840-41. In 1846 he attended a dinner given at the home of Charles Dickens--with whom he had now become close friends--and Dickens gave him a personally signed copy of his new novel, "The Haunted Man". In 1842 Ainsworth began his own literary magazine, "Ainsworth's Magazine", while still working as editor of both "Bentley's Magazine" and "The New Monthly Magazine". Unfortunately, he was forced to terminate his own magazine in 1854 for financial reasons but bought "Bentley's Mischellany" (and was forced to sell that in 1868). He was still writing novels and they were selling, but not in the numbers that his earlier ones had, and he soon moved from the glitz and glamour of London to the more staid (and less expensive) seaside community of Brighton. His financial situation didn't improve much, though, and he eventually moved from Brighton to lower-rent Tunbridge Wells in 1867. He soon had to sell his magazines, and even some of his family property, to stave off financial ruin. He was eventually forced to work for what was called a "penny dreadful" magazine, "Bow Bells" (penny-dreadfuls were adaptations and severely edited versions of major British works, which were then sold--without even covers--for a penny apiece), to make a living.
He died at Reigate, Surrey, England, on Jan. 3, 1882.Plot: 3443 - Writer
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Michael William Balfe was born on 15 May 1808 in Dublin, Ireland, UK [now Republic of Ireland]. He was a writer, known for Chaplin (1992), The Bohemian Girl (1936) and The Bohemian Girl (1922). He was married to Magdalena Roser. He died on 20 October 1870 in Romney Abbey, Hampshire, England, UK.Plot: Square 74, Row 2, Grave 22407- Writer
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J.G. Ballard was born on 15 November 1930 in Shanghai, China. He was a writer and actor, known for Empire of the Sun (1987), High-Rise (2015) and Crash (1996). He was married to Helen Mary Matthews. He died on 19 April 2009 in London, England, UK.- Costume Designer
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Maria Björnson was born on 16 February 1949 in Paris, France. She was a costume designer and production designer, known for Love Is the Devil: Study for a Portrait of Francis Bacon (1998), Great Performances (1971) and Les contes d'Hoffmann (The Tales of Hoffmann) (1981). She died on 13 December 2002 in London, England, UK.- Additional Crew
Philip Calderon is known for The Da Vinci Treasure (2006).- Costume and Wardrobe Department
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Ossie Clark was born on 2 June 1942 in Warrington, Cheshire, England, UK. He was a costume designer, known for The Lady Vanishes (1979), The Final Programme (1973) and There's a Girl in My Soup (1970). He was married to Celia Birtwell. He died on 6 August 1996 in Holland Park, London, England, UK.- Wilkie Collins was born on 8 January 1824 in London, England, UK. Wilkie was a writer, known for The Woman in White (1948), The Moonstone (1934) and She Loves and Lies (1920). Wilkie died on 23 September 1889 in London, England, UK.
- John Diamond was born on 10 May 1953 in Hackney, London, England, UK. He was married to Nigella Lawson. He died on 2 March 2001 in London, England, UK.Plot: West London Crematorium
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George Grossmith was born on 11 May 1874 in London, England, UK. He was an actor and writer, known for Women Everywhere (1930), Wedding Rehearsal (1932) and The Girl from Maxim's (1933). He was married to Gertrude Elizabeth Rudge (actress Adelaide Astor). He died on 6 June 1935 in London, England, UK.- Thomas Hood is known for The Waltons (1972), The Bridge of Sighs (1908) and The Song of the Shirt (1908).
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George Melly was born on 17 August 1926 in Liverpool, Lancashire, England, UK. He was an actor and writer, known for Take a Girl Like You (1970), Smashing Time (1967) and Ain't Misbehavin' (1997). He was married to Diana Ashe and Victoria Vaughan. He died on 5 July 2007 in Shepherd's Bush, London, England, UK.Plot: Cremated at West London Crematorium within Kensal Green Cemetery.- Writer
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Harold Pinter, the 2005 Nobel Laureate for Literature, was born October 10, 1930, in London's working-class Hackney district to Hyman and Frances Pinter, Eastern European Jews who had immigrated to the United Kingdom from Portugal. Hyman (known as "Jack") was a tailor specializing in women's clothing and Frances was a homemaker. The Pinters, whose families hailed from Odessa and Poland in the Russian Empire, were part of a wave of Jewish emigration to the UK at the turn of the last century. It was a community that revered learning and culture. The Pinter family was close, and young Harold was traumatized when, at the outbreak of World War II, he was evacuated from London to Cornwall with other London children for a year to avoid becoming casualties of German aerial bombing.
Pinter has said that his encounter with anti-Semitism while growing up was the fuse that ignited the organic process leading him to becoming a playwright. As the Nobel Prize citation attests, Pinter developed into the greatest English dramatist of the post-World War II era. The young Pinter studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama. In 1950 he published several poems and began working as a professional actor. Under the stage name David Baron, he toured the Republic of Ireland with Anew McMaster's Shakespearean repertory company in 1951-52. Significantly for Pinter's future, 1951 not only marked the debut of his career as a professional actor but also marked the first performance of future Nobel Literature Laureate Samuel Beckett's absurdist masterpiece "Waiting for Godot." He next appeared with Sir Donald Wolfit's theatrical company at the King's Theatre, Hammersmith, for the 1953- 54 season before becoming a player with various provincial repertory companies, including the Birmingham Rep, until he gave himself over full-time to playwriting in 1959.
Two significant events that would change Great Britain forever occurred during his apprenticeship in provincial rep: (1) the Suez Crisis of 1955 that shattered the UK's pretensions to empire in a post-colonial world and doomed the imperial generations represented by Prime Minister Anthony Eden and his mentor Winston Churchill, and (2) the 1956 premiere of John Osborne's play "Look Back in Anger." The shattering of the United Kingdom's complacency over imperialism meant that many successful people of Pinter's generation, who normally would have become Tories upon achieving some modicum of success, were disillusioned and drifted towards Labour and the left. No longer would a working- class person, if he so chose, have to be ashamed or stymied if \eschewing becoming middle-class or bourgeois. Osborne's play was the seminal work of the "kitchen-sink" school of drama that would dominate English theater for a decade, in which working-class life and struggles were dramatized. The hegemony of this school of theater was such that for the first time, a working-class or provincial accent became something treasured, something to be proud of, as the former world was set firmly upon its head. Even the great Laurence Olivier turned his back on the commercial theater to assay Osbourne's Archie Rice, a down-at-the-heels music hall performer, in "The Entertainer" (1957).
The kitchen-sink drama was a movement that Pinter would not be a part of, though it did open the doors for working-class writers who, unlike the working class-born Noël Coward, had no interest in becoming bourgeois. The other major element in the cultural milieu that forged Pinter was the Cold War, the absurdity of facing doomsday everyday under the threat of The Bomb (the USSR had acquired the means to produce a bomb through its atomic spy ring and exploded its first A-bomb in 1949, thus ending the US monopoly on nuclear weapons and making the Korean war, the suppression of an East Berlin uprising and the squashing of the Hungarian Revolution practical, if not possible). The Cold War gave legitimacy to the rise of the police state, not in totalitarian countries but in the use of police-state tactics in the western industrial democracies. To quote American poet' Charles Bukowski', this was an era marked by "War All The Time," not between two superpower behemoths but in everyday human relations, poisoned as they were by the Cold War climate of absurdity, paranoia and imminent holocaust.
In 1953 the accused "atomic spies" Julius Rosenberg and Ethel Rosenberg were executed in the United States when President Dwight D. Eisenhower, the man who had overseen the liberation of Europe as Supreme Allied Commander fighting the Nazi totalitarian menace, had refused clemency for even Ethel, the mother of two small boys. It was a domestic drama -- a woman's loyalty to her husband, her loss of not only her life but the Issac-like evocative sacrifice of any normal life for her two children when Eisenhower-Jehovah refused to stay the executioner's hand -- that had combined with the felicities of affairs of state and world power politics. The question of whether they were guilty or innocent--not proven beyond a doubt in 1951, when they had been convicted in a trial that was compared by many to the Stalinist show-trials that had occurred in the Soviet Union and still occurred in the satellite countries of the Warsaw Pact after World War II - gave rise to an overwhelming fundamental question: What is real? Reality, as Hannah Arendt had put it in "The Human Condition," is socially defined; that is a given. But how about when that reality no longer makes sense, when the individual cannot partake of the consensus demanded of him in the 1950s, whether conservative, middle-class, haute bourgeoisie or radical left as dictated by some flaming Red party boss - a person struggling with his own life? How does he answer the question: What is real? It is a question that Pinter took upon himself to answer, and answered by showing us there is no answer. In this quest, a genius arrived on the world stage in the form of a player who decided to craft his own words, for himself and his post-Holocaust, pre-Holocaust audience. When life stops making sense, as it did in the 1940s when the global war against fascism left 50 million dead and the modern industrial state was tasked with the exigencies of mass- murder, and as it did in the 1950s when, under the aegis of combating another totalitarian system a domestic fascism in kind if not degree arose in the Anglo-Saxon countries with their great gravital pull towards conformity within a shell of consumerism, it still behooves a human being to try to understand the human condition.
In 1957 Bristol University staged Pinter's first play "The Room." He had told a friend who worked in Bristol University's drama department an idea he had for a play. The friend was so enamored of the idea that he commissioned the work, with the proviso that a script be ready within a week. Though he didn't believe he could meet his friend's demands, Pinter wrote the one-act play in four days. "The Room" had all the hallmarks of what would become known as "Pinteresque," in that it had a mundane situation that gradually filled with menace and mystery through the author's deliberate omission of an explanation or motivation for the action on stage. It is ironic perhaps that an actor would rid his script of motivation as "motivation" is the Holy Grail of inwardly-directed actors such as those tutored in "The Method" in America, but it was emblematic of the times that stated motivations frequently masked other, starker, more id-like drives in people or in nation-states that were beyond human comprehension in terms of being rational. Modern society had become irrational, and motivations post-Freud could be understood as a manifestation of Thanatos, the Death Instinct. Imminent violence and power plays would become other leitmotifs of Pinter's oeuvre.
Pinter wrote a second one-act play in 1957, "The Dumb Waiter," an absurdist drama concerning two hit men employed by a secret organization to kill an unknown victim. It was with this play that Pinter added an element of black comedy, mostly through his brilliant use of dialog, which not only elucidated the killers' growing anxiety but underscored the very absurdity of their situation. The play would not be performed until 1960, after the staging of his first two full-length plays, one a flop, and one a hit. His first full-length play, "The Birthday Party," debuted at the Arts Theatre in Cambridge in 1958. In the play the apathetic Stanley, the denizen of a dilapidated boarding house, is visited by two men. The audience never learns their motivation, but knows that Stanley is terrified of them. They organize a birthday party for Stanley, who insists that it is not his birthday. Pinter is following in the footsteps of the great absurdist Samuel Beckett in that he steadfastly refuses to give clear motivations to his characters, or rational explanations for the sake of his audience (Pinter and Beckett became friends). The play, now considered a masterpiece, flopped on its initial London run after being savaged by critics. It was revived after Pinter's second full-length play, 1960's "The Caretaker," established him as a major force in the English-language theater.
His early plays were rooted in the absurdism that became the major theatrical paradigm on the European stage in the third quarter of the 20th century, after the horrors of the war and the Holocaust. The early plays that made his reputation such as "The Homecoming" (1964) and his middle-period work such as "No Man's Land" (1976) have been called "comedies of menace." Typically, they use what at first seems like an innocent situation and develop it into an absurd and threatening environment through actions that usually are inexplicable to the audience and sometimes even to the other characters in the play. A Pinter drama is dark and claustrophobic. His language is full of menacing pauses. The lives of Pinter's characters usually are revealed to be stunted by guilt and horror. The duality and absurdity of Pinter's theatrical world-view gave rise to the adjective "Pinteresque," which took its place next to "Kafkaesque," a product of the horrors of the first quarter of the century (Pinter would write the screenplay for an adaption of Franz Kafka's "The Trial".)
Beginning in the 1960s, Pinter further enhanced his reputation as a writer with his screenplays, particular his work with Joseph Losey in The Servant (1963) and Accident (1967) (Losey planned an adaptation of Marcel Proust's "Le Temps Retrouve" and commissioned Pinter to write the screenplay. The film was never made by Losey, but Pinter's screenplay was subsequently published to great acclaim). His later screenplays, including his last produced work with Losey, The Go-Between (1971), are, ironically, noted for their clarity. He was twice nominated for the Academy Award as a screenwriter, for his adaptation of John Fowles' labyrinthine novel into the film The French Lieutenant's Woman (1981) and for Betrayal (1983), his adaptation of his own play. Such was the respect that Pinter was held that Elia Kazan, one of the great film directors, complained in his autobiography "A Life" (1988) that The Last Tycoon (1976) producer Sam Spiegel had such reverence for Pinter that he would not let Kazan change his script.
After the great plays of his early and mid-period, Pinter became more overtly political. His later plays, which generally are shorter than the plays from the period in which he made his reputation, typically address political subjects and often are allegories on oppression. In the late 1970s Pinter became more outspoken on political issues and is decidedly of the left. He is passionately committed to human rights and is not shy about bringing examples of oppression from client states sponsored by the Anglo-Saxon democracies to the public's attention. In 2002 Pinter experienced what he described as a "personal nightmare" when he had to undergo chemotherapy to treat a case of cancer of the esophagus. The ordeal, which has been ongoing for three years, triggered a personal metamorphosis in the man. "I've been through the valley of the shadow of death," Pinter explained about his quickening. "While in many respects I have certain characteristics that I had, I'm also a very changed man."
In early 2005 Pinter declared in a radio interview that he was retiring as a dramatist in favor of writing poetry: "I think I've stopped writing plays now, but I haven't stopped writing poems. I've written 29 plays. Isn't that enough?" Pinter has become an outspoken critic of war. He was a bitter critic of the US-led intervention against Slobodan Milosevic's Serbia during President Bill Clinton's administration and an even harsher critic of the US-led war in Iraq. The fiercely anti- war Pinter has accused President George W. Bush of being a "mass-murderer" and has called British Prime Minister Tony Blair a "deluded idiot" for supporting US foreign policy. Pinter claimed immediately after the 9/11 attacks on New York City and the Pentagon that they were a requited revenge for the destruction wrought on Afghanistan and Iraq by US imperialism and its anti-Taliban policies and sanctions on Iraq. He has publicly denounced the retaliatory U.S. invasion of Afghanistan and the unprovoked 2003 invasion of Iraq. Pinter likens the Bush administration and Bush's America to Adolf Hitler and Nazi Germany, claiming the US is bent on world hegemony. Controversially, he has declared that the only difference between Nazi Germany and the Stalinist Soviet Union is that the US is more hypocritical and has better public relations.
One cannot fault Pinter, in the political ring, for being inconsistent or for jumping on a bandwagon. The man, as well as the artist, is a person that sticks to his convictions. The award of the Nobel Prize for Literature to Pinter just after he celebrated his 75th birthday was completely unexpected by pundits handicapping the award. Turkish writer Orhan Pamuk and Syrian poet Adonis were considered the front-runners, as European writers recently had dominated the award (Pinter's Nobel Prize makes it nine out of ten times in the past ten years that a European writer has won, and the second time in the past five years an English writer has banged the gong), and it was felt the Academy would recognize a writer from another continent, particularly one from Asia Minor. Thus, the award can be seen as a not-so-veiled criticism of the United States in general and President George W. Bush in particular by the Swedish Academy. Because of Pinter's renouncing of the form of which he was a master and his anointment of himself as a poet, in light of his volume of poetry, "War" (2003) that denounces the Iraq War frequently in vulgar, raw and unrythmic poetry that poses no threat to William Butler Yeats or W.H. Auden or Robert Frost or Stevens, one must consider that the Swedish Academy was giving the world's highest prize for literature at least in part to a poet whose latest work was fiercely anti-American and anti-imperialist.
Despite being highly controversial, Pinter -- who was appointed a Commander of the British Empire in 1966 (one step down from a knighthood, an honor he subsequently turned down) -- was named a Companion of Honour in 2002, an honor that does not carry a title. In addition to writing poetry, acting and directing in the theater, Pinter serves as the chairman of the Gaieties Cricket Club, an affiliate of he Club Cricket Conference. He also is active in the Cuba Solidarity Campaign, an organization that supports Fidel Castro, who remains the #1 bugaboo of the United States after Islamic terrorists, just slightly ahead of fellow hemispheric boogeyman Hugo Chávez, a recent arriviste on the world stage. He also is a member of the International Committee to Defend Slobodan Milosevic, an organization that appeals for the freedom of Slobodan Milosevic on the grounds that NATO's war against Milosevic's Yugoslavia was unjustified under international law.- Writer
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Terence Mervyn Rattigan was born in London on June 10, 1911, the son of a career diplomat and serial philanderer whose indiscretions resulted in his being cashiered by the Foreign Office. As a member of the lower upper-middle class in the inter-war period, the young Rattigan received a first-rate education at Harrow and Trinity College, Oxford. His was a privileged, intellectual background that is reflected in his plays. For a decade after the Second World War, he was one of England's leading playwrights, but the eruption of the "kitchen-sink" school of English drama in the mid-1950s scuttled his critical reputation.
Rattigan achieved his first success as a playwright at age 25 with the light comedy "French Without Tears" (1936), which was a smash in the West End. Determined to do more serious work, he wrote the satirical social drama "After the Dance" in 1939, which skewered the failure of the class of "Bright Young Things" to prevent another war. The advent of World War II truncated the play's run, but Rattigan would continue to taste sweet success for a full generation, alternating between comedies and dramas.
In the post-war period, he established himself as a major English dramatist with "The Winslow Boy", "The Browning Version", "The Deep Blue Sea", and "Separate Tables", all of which were made into successful motion pictures. A Rattigan play displayed keen craftsmanship and finely-structured plots; emotion was hidden in the best English middle-class tradition, but was lurking in the depths. The typical Rattigan play was a sympathetic, witty study of middle-class people in emotional distress. There was often a love triangle or a general conflict in which decent people found themselves embroiled. These characters sublimated their emotions and passions; the psychic cost of repression was a focus and theme of Rattigan's work.
Rattigan's themes were personal: the illogicality of love; the conflict between idealized love and love as realized in the here and now; the pain of lost promise; and the defeat of potential greatness by human weakness. The themes and leitmotifs in Rattigan's plays were found beneath the surface; nothing was worn on the sleeve. They were elucidated by the playwright's craft, through a well-constructed story and skillfully-observed characters.
According to Rattigan's biographer Geoffrey Wansell, he had learned how to mask his feelings from his father, whose multiple love affairs, carried on in secret behind his wife's back, appalled his son. Also, Terence was a homosexual in an era rife with anti-gay sentiment; the persecution of those suffering from what was once termed "inversion" was all too real.
Rattigan lived behind a mask (he was very discreet about his own same-sex affairs), as did the characters in his plays. Emotions were buried lest their display cause even more pain, or scandal. Wansell believes that his reticence stemmed from a deeply-rooted aversion to emotional engagement. "Behind the apparently carefree mask lived a man crying out to be loved and appreciated," Wansell wrote, "but a man who was also incapable of demonstrating that need."
For a run of almost five straight years in the 1940s, Rattigan had plays appearing simultaneously on the boards of three adjacent West End theaters. In 1956 the English stage was revolutionized by John Osborne's "Look Back in Anger," in which emotions were (in the parlance of a later generation) allowed to "all hang out." Overnight, Rattigan's dreams of emotional repression were deemed old-fashioned. Dramatists, directors, and actors who stuck with the old "well-crafted", more subtle paradigm of drama were also deemed "old-fashioned" and suffered a professional eclipse. (Laurence Olivier, who had starred in Rattigan plays and movies made from his work, kept himself relevant by offering himself to Osborne, who crafted "The Entertainer" for him. It would be many years before his contemporaries John Gielgud and Ralph Richardson would make it out of the woods, outside of Shakespeare, in terms of contemporary drama. They appeared together in Harold Pinter's "No Man's Land" 20 years after the changing of the guard).
"Look Back in Anger" was a cultural broadside against everything the Establishment represented, and Rattigan was very much part of that Establishment. In the introduction to his collected plays, published in 1959, Rattigan wrote of an archetypal playgoer, "Aunt Edna," whom he characterized as a "nice, respectable, middle-class, middle-aged maiden lady" to whom playwrights had to be responsive as she was the person who spent her money to go to the theater. What Rattigan was trying to say is that the theater must be responsive to its audience; to the new Turks, many of whom would later thrive in non-commercial, state-subsidized theater. Rattigan was a shameless old fart, pandering to the very class of people, the Aunt Ednas and the Miss Grundys, whom they despised and whose tastes, and the drama and comedies written to suit those tastes, debased the theater as an art form.
Rattigan's reputation declined and, overnight, his plays were derided by the critics. A very sensitive man who had a terrible fear of failure, Rattigan's confidence declined along with his critical reputation. He retaliated the new kitchen-sink school in interviews and via dialogue in his new plays, with the result that he underscored the new generation's contempt of him. Rattigan transformed himself into a caricature of the kind of playwright the new English theater was rebelling against: conservative, staid, old-fashioned, valuing craft above feeling, with no empathy for the modern world or for the majority of Britons. To them, he represented the complacency of a moribund Tory- and toff-dominated Britain that was no longer relevant after the Suez debacle of 1956.
Truthfully, among the post-1956 Rattigan plays are some of his finest work, including "Ross," "Man and Boy," and "Cause Celebre," but it didn't matter to the critics: he was considered hopelessly passé. Like the post- "The Night of the Iguana" Tennessee Williams, he was cruelly discarded as a contemporary artist of any relevance. He was a phantom of a past that vanished with Britain's world-power status after Suez.
Rattigan was first diagnosed with leukemia in 1962; it went into remission in 1964, but he suffered a relapse in 1968. Despising the "Mod" Britain of the 1960s, he moved to Bermuda. In that decade he supported himself by writing screenplays, and for a while he enjoyed the status as the world's highest-paid screenwriter. He was knighted in 1972 and moved back to England. His critical reputation saw a minor revival shortly before his death from cancer in 1977, and a major revival in the early 21st century after Karel Reisz staged a revival of "The Deep Blue Sea." Although he was never as successful in the United States as he was in Britain, Rattigan is increasingly being viewed in his homeland as one of the 20th century's finest playwrights.Playwright who died in Bermuda. While his ashes are here, his name was never recorded on the family memorial.- Art Department
John Tenniel was born on 28 February 1820 in London, England, UK. He is known for Jackanory (1965). He died on 25 February 1914 in England, UK.- Writer
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William Makepeace Thackeray (18 July 1811 - 24 December 1863) was a British novelist, author and illustrator. He is known for his satirical works, particularly his 1848 novel Vanity Fair, a panoramic portrait of British society, and the 1844 novel The Luck of Barry Lyndon, which was adapted for a 1975 film by Stanley Kubrick.Plot: Square 36, Row 1, Grave 18177- Anthony Trollope was born on 24 April 1815 in London, England, UK. He was a writer, known for Malachi's Cove (1973), Kraft Theatre (1947) and Fireside Theatre (1949). He was married to Rose Heseltine. He died on 6 December 1882 in London, England, UK.Plot: Square 138, Row 1, Grave 28529
- William Vincent Wallace was born on 11 March 1812 in Waterford, Ireland. He was a writer, known for Maritana (1927) and Maritana (1922). He died on 12 October 1865 in Vieuzos, Hautes-Pyrénées, France.
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Leslie Ward is known for From Wharf Rats to Lords of the Docks (2007), Who Needs Sleep? (2006) and 61* (2001).- Actor
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Steve Coy was born on 9 March 1962 in Harrow, Greater London, England, United Kingdom. He was an actor and composer, known for The A-Team (2010), Guns Akimbo (2019) and Run All Night (2015). He died on 4 May 2018 in Bogliasco, Italy.