Glynis Margaret Payne Johns: The Hidden Truth Exposed!

Formative Years and Scholarly Pursuits

Showcased in the pages of the Los Angeles Times on the 17th of April, 1991, unfolds the narrative of Glynis Johns, originating from a lineage deeply enmeshed in the realm of performing arts. The progeny of Alyce Steele-Wareham, an Australian maestro of the concert piano, seasoned in the conservatories of London and Vienna, and Mervyn Johns, a Welsh luminary of the cinematic stage during the Second World War, Glynis inherited a tapestry of thespian heritage.

Alyce’s lineage, originally of Anglo-Saxon lineage, attained eminence as itinerant performers, gracing stages across Australia, New Zealand, and South Africa with their symphonic renditions. Glynis’s grandmother, Elizabeth Steele-Payne, emerged as a trailblazing virtuoso on the violin, marking her as one of the foremost accomplished female instrumentalists of her epoch. The matrimonial union of Alyce and Mervyn, forged amidst their academic pursuits at the Royal Academy of Music and the Royal Academy of Dramatic Art in London, bestowed upon the world Glynis Margaret Payne Johns, entering the stage of life on the 5th of October, 1923, in Pretoria, South Africa.

Post a brief sojourn in South Africa, the family, tethered by the bonds of the arts, returned to their native England. Glynis’s initiation into the artistic milieu commenced at the tender age of five when she enrolled in the London Ballet School. By six, she had ascended to acclaim in Britain as a precocious luminary of the dance. At the age of ten, she assumed the mantle of a ballet pedagogue, acquiring a teaching credential by eleven. Despite nurturing dreams of studying under the tutelage of the Sadler’s Wells Ballet at twelve, serendipity led her to enrollment at Clifton High School in Bristol. Here, she deftly balanced scholarly pursuits with daily sojourns to the Cone School of Dancing, a precursor to the amalgamated Tring Park School for the Performing Arts.

Glynis’s odyssey as a disciple of dance was adorned with noteworthy laurels, accruing approximately 25 coveted gold medals. Concurrently navigating her educational journey at Clifton, she also graced the hallowed halls of South Hampstead High School in London, sharing those formative years with the illustrious Dame Angela Lansbury.

In summation, Glynis Johns, birthed into a lineage deeply immersed in the artistic tapestry, embarked on an extraordinary pilgrimage from her nascent balletic training to an echelon of distinction in the realm of the performing arts.

1923–1939: Inaugural Strides in a Prolific Career

Glynis Johns embarked on her maiden voyage into the realm of entertainment at an exceptionally tender age. Born in the year 1923, she inaugurated her theatrical journey a mere three weeks after her arrival in October. Nestled into the London stage under the aegis of her grandmother, Elizabeth Steele-Payne — an impresario wielding the familial production mantle — Glynis set foot on the trajectory of the performing arts.

At the youthful juncture of eight, in 1931, Johns secured the role of Sonia Kuman in Elmer Rice’s “Judgement Day” at the Phoenix Theatre in London. Alongside the venerable thespians Sir Lewis Casson, Ronald Adam, and George Woodbridge, she unveiled her prodigious talent amidst the luminaries of the theatrical realm.

Her early acumen in dance paved the way for assorted roles in juvenile productions during the 1930s, particularly gracing the stage during festive Christmas seasons. Discovered by a discerning manager, she clinched her inaugural significant stage appearance as Napoleon’s daughter in the concise 1936 play “St Helena” at The Old Vic. Concurrently, she participated in renditions of “The Children’s Hour” and “The Melody That Got Lost.”

Following this, she revisited the character of Sonia Kuman in Elmer Rice’s 1937 rendition of “Judgement Day,” this time gracing the boards of London’s Strand Theatre. Her trajectory burgeoned with contributions to J. M. Barrie’s 1937 production “A Kiss for Cinderella” and Esther McCracken’s 1938 play “Quiet Wedding,” embodying the role of the bridesmaid Miranda Bute at Wyndham’s Theatre in London.

Glynis Johns inaugurated her celluloid odyssey in 1938 with Victor Saville’s cinematic adaptation of Winifred Holtby’s novel “South Riding.” Here, she portrayed Midge Carne, the progeny of aspiring statesman Robert Carne, impeccably portrayed by Ralph Richardson. Subsequently, her cinematic sojourn unfolded with roles in David Evans’ 1938 crime film “Murder in the Family” and two Brian Desmond Hurst productions: the 1938 monochromatic crime thriller “Prison Without Bars” and the 1939 suspenseful drama “On the Night of the Fire,” where she once again shared the screen with Ralph Richardson. These early experiences laid the bedrock for Glynis Johns’ illustrious trajectory in both the theatrical and cinematic domains.

1940–1949: Thriving Artistry in British Cinematics and Theatrics

Amidst the tapestry of the 1940s, Glynis Johns cultivated a flourishing career, boasting an average of one and a half cinematic ventures annually. By September 1946, esteemed directors Powell and Pressburger hailed her as “one of the most coveted among all emerging British luminaries.” In the musical comedy espionage film of 1940, “Under Your Hat,” she assumed a supporting role alongside Jack Hulbert and Cicely Courtneidge.

While her scene in the 1941 British historical drama “The Prime Minister” failed to make the final edit, Johns garnered recognition for her stellar performance in the 1941 British and Canadian war drama “49th Parallel,” where she stepped into Elisabeth Bergner’s shoes as Anna. This portrayal earned her the prestigious National Board of Review Award for Best Acting.

Her repertoire of diverse characters expanded, depicting the Romanian resistance fighter Paula Palacek in the 1943 British espionage film “The Adventures of Tartu,” the otherworldly innkeeper Gwyneth in the 1944 British drama “The Halfway House,” and the vivacious cousin of Deborah Kerr’s character in the 1945 British drama “Perfect Strangers.”

In leading roles, Johns inhabited the characters of Millie in the 1946 British comedy “This Man Is Mine” and war widow Judy in the 1947 British drama “Frieda.” Her versatility encapsulated the quintessence of contemporary British womanhood, a sentiment underscored by the discerning eye of David Parkinson.

Her involvement extended to esteemed adaptations, including Alexander Korda’s 1947 film “An Ideal Husband,” derived from Oscar Wilde’s play. Here, Johns embodied the character of Mabel Chiltern, contributing to the endeavors to shield her politician brother’s reputation from annihilation.

A pinnacle moment unfolded in 1948 when she brought to life the playful Cornish mermaid Miranda Trewella in Ken Annakin’s comedy “Miranda.” Her rendition earned accolades for its captivating portrayal, with critics singling out her distinctive facial features and melodic voice. Notably, her performance involved donning a specially crafted tail courtesy of The Dunlop Rubber Company.

In 1949, Johns graced Thornton Freeland’s comedy “Dear Mr. Prohack,” embodying the character Mimi Warburton, the private secretary and romantic interest of Charles Prohack, portrayed by Sir Dirk Bogarde. Additionally, she assumed the role of Joan Burns, a proficient femme fatale, in “Third Time Lucky.”

Simultaneously, Johns left an indelible imprint on the theatrical stage, reprising her role as Miranda Bute in Richard Bird’s play “Quiet Weekend” and participating in various productions, including “Peter Pan,” “I’ll See You Again,” and “Fools Rush In.”

Glynis Johns’s contributions to British film and theatre during this era underscored her artistic prowess, adaptability, and enduring popularity.

1950–1959: Renowned Artisan

The 1950s ushered in a zenith in Glynis Johns’ cinematic journey, surpassing the accolades and roles of earlier decades. Building upon the triumphs of films such as “Miranda” (1948) and “Third Time Lucky” (1949), she ascended to the status of a recognized luminary on both British and American soil. Director Ken Annakin, an early aficionado of her craft, played a pivotal role in propelling her career to new heights.

Persisting in the noir domain, Johns graced Sidney Gilliat’s 1950 drama thriller “State Secret,” sharing the screen with luminaries Douglas Fairbanks Jr. and Jack Hawkins. Her portrayal of Lisa Robinson, a love interest ensnared in turmoil within a fictitious East-European nation, underscored her multifaceted talent. Johns continued to enthrall audiences with roles in films like “Flesh and Blood” (1951) alongside Richard Todd and the Hollywood-backed “No Highway in the Sky” (1951), featuring alongside James Stewart and Marlene Dietrich.

Her foray into Hollywood included memorable roles in “Appointment with Venus” (1951) with David Niven and the anthology film “Encore” (1951), where she embodied the character of gambler Stella Cotman. Voted as the 10th most popular box-office star by British exhibitors in 1951 and 1952, Johns firmly established herself as a coveted talent.

Reuniting with Richard Todd, she graced two swashbucklers crafted for Walt Disney: “The Sword and the Rose” (1953) and “Rob Roy, the Highland Rogue” (1953). Her imprint in British cinema extended to films like “Personal Affair” (1953), “The Weak and the Wicked” (1954), and “Mad About Men” (1954), a sequel to the acclaimed “Miranda.”

In 1954, Johns assumed a judging role in the National Bathing Beauty Contest in Morecambe, England, showcasing her diverse interests. Her comedic finesse shone in films like “The Court Jester” (1955) alongside Danny Kaye, despite initial box-office challenges.

The collaboration with director Ken Annakin continued in “Loser Takes All” (1956), affirming Johns’ stature as a preeminent box-office draw. A cameo appearance graced “Around the World in 80 Days” (1956), followed by a starring role in “All Mine to Give” (1957) alongside Cameron Mitchell. Johns returned to British cinema with contributions to films like “Another Time, Another Place” (1958) with Lana Turner and “Shake Hands with the Devil” (1959).

Simultaneously, Johns left an indelible mark on television, making notable appearances, including her debut in Fletcher Markle’s Emmy Award-winning series “Little Women” (1952). Her theatrical presence resonated through productions like “Fools Rush In” and “The Way Things Go” in the West End, complemented by Broadway performances in “Gertie” (1952) and George Bernard Shaw’s “Major Barbara” (1956).

In this epoch, Glynis Johns firmly established herself as a versatile and esteemed artisan, captivating audiences on both sides of the Atlantic.

1960–1969: Mary Poppins and Multifaceted Roles

In the dawn of the 1960s, Glynis Johns continued to unveil her versatile prowess through distinguished film and television ventures. In 1960, she took on the role of Clarissa Hailsham-Brown in the enigmatic film “The Spider’s Web,” an adaptation of Agatha Christie’s play. Johns garnered acclaim for her supporting character in “The Sundowners” (1960), described by Variety as a “vivacious delight.” Her performance in this role merited an Oscar nomination for Best Supporting Actress.

The year 1962 witnessed Johns embracing a spectrum of roles, from the easily-offended Jane Lindstrom in the remake of “The Cabinet of Caligari” to a presence in the Technicolor drama “The Chapman Report.” Despite on-set tensions, her professionalism radiated. The subsequent year, she assumed a supporting role alongside Jackie Gleason in “Papa’s Delicate Condition.”

However, it was her immortal portrayal of Winifred Banks in “Mary Poppins” (1964) that etched a luminous mark on her career. Originally considered for the title role, Johns wholeheartedly embraced the character of Mrs. Banks, an unwavering suffragette. Her rendition of the pro-suffrage anthem “Sister Suffragette” not only earned her acclaim but also secured the Laurel Award for Best Female Supporting Performance.

In 1965, Johns graced the screen in “Dear Brigitte” alongside James Stewart, rekindling her collaboration with her co-star from “No Highway in the Sky.” Her prolific trajectory persisted with roles in “Don’t Just Stand There!” (1968) and the British comedic gem “Lock Up Your Daughters” (1969).

On the small screen, Johns left an indelible imprint with appearances in various television productions. In 1963, she headlined the pilot of the CBS series “Glynis,” embodying the role of mystery writer and amateur sleuth Glynis Granvile. Despite the challenges faced by the show, Johns showcased her acting finesse.

Her television journey encompassed guest appearances on “The Lloyd Bridges Show” and a recurring stint as Lady Penelope Peasoup in four episodes of the Batman television series in 1967. On Broadway, Johns graced the stage as the invalided gentlewoman in “Too True to Be Good” in 1963, highlighting her theatrical acumen.

Returning to London’s West End in 1966, she illuminated the stage in “The King’s Mare” alongside Keith Michell. Her theatrical odyssey persisted with contributions to “A Talent to Amuse” (1969). As the curtain descended on the decade, Glynis Johns sustained a formidable presence across diverse entertainment realms, imprinting an enduring legacy on both the stage and the silver screen.

1970–1979: A Little Night Music and Artistic Triumph

In the 1970s, Glynis Johns redirected her professional focus primarily toward the stage. Building upon her preceding ventures in the realm of Noël Coward’s works, she graced two additional plays by the maestro during the early 1970s. From January 27, 1970, to September 1970, she illuminated the stage in “Come As You Are” at London’s New Theatre and Strand Theatre. Subsequently, from March 6, 1972, to March 12, 1972, she adorned the production of “Marquise” at the Bristol Hippodrome in England.

Between 1972 and 1973, Johns lent her distinctive voice to several fairy tales and children’s classics for Caedmon Records, including timeless tales like “Peter Pan” and “Snow White.” These recordings, released in later years, augmented her multifaceted contributions.

In 1973, Johns etched a significant mark by becoming a pivotal part of the original cast of Stephen Sondheim’s “A Little Night Music.” Unveiling its splendor at the Shubert Theatre in New York, the musical, including the iconic composition “Send In the Clowns” tailored for her, became a resonating success. Her portrayal of Desiree Armfeldt earned her a Tony Award for Best Actress in a Musical and a Drama Desk Award for Outstanding Actress in a Musical. Sondheim lauded her unique vocal qualities, and her rendition of “Send In the Clowns” ascended to legendary status.

Following this triumph, Johns embraced roles in Joseph Hardy’s staging of “Ring Round the Moon” at the Center Theatre Group in Los Angeles (April 1, 1975, to May 10, 1975) and Peter Dews’ production of “13 Rue de l’Amour” at the Phoenix Theatre in London (March 17, 1976, to May 8, 1976), sharing the stage with Louis Jourdan.

From 1977 to March 1978, Johns captivated audiences embodying Alma Rattenbury in “Cause Célèbre,” touring various venues, including Her Majesty’s Theatre in London and Leicester Haymarket Theatre. This remarkable performance secured her a Laurence Olivier Award nomination for Actress of the Year in a New Play and a Variety Club Award for Best Actress.

Concurrently, alongside her theatrical triumphs, Johns embraced notable cinematic endeavors in the 1970s. Her roles in films like “Under Milk Wood” (1972), “The Vault of Horror” (1973), a short film adaptation of Oscar Wilde’s “The Happy Prince” (1974), and the horror anthology film “Three Dangerous Ladies” (1977) underscored her continued artistic prowess.

Throughout this decade, Glynis Johns continued to unfurl her artistic brilliance across diverse mediums, imprinting an indelible legacy on both the stage and the silver screen.

1980–1999: Culminating Acts

Throughout the 1980s and 1990s, Glynis Johns continued to radiate brilliance in her acting odyssey, adeptly balancing her presence across both the stage and the silver screen.

On the theatrical stage, she graced Noël Coward’s play “Hay Fever” as Judith Bliss from August 4, 1981, to October 10, 1981, at the Yvonne Arnaud Theatre in Guildford and the Theatre Royal in Nottingham. This marked her fourth endeavor in a Noël Coward production. Subsequently, from November 20, 1989, to May 20, 1990, she took on the role of Lady Catherine Champion-Cheney in W. Somerset Maugham’s Broadway romance “The Circle” at the Ambassador Theatre in New York.

Johns’s cinematic contributions during the 1980s found themselves somewhat eclipsed by her unwavering commitment to the stage. Noteworthy among them is her portrayal of Laura Fitzpatrick Morgan in the American-British biographical television film “Little Gloria… Happy at Last” (1982) and her leading role in the South African science-fiction film “Nukie” (1987). In 1988, her vocal prowess graced the character of Miss Grimwood in “Scooby-Doo and the Ghoul School,” and she starred in the poignant drama film “Zelly and Me.”

During the inaugural season of NBC’s sitcom “Cheers,” Johns left an indelible mark with her memorable guest appearance as Helen Chambers, the eccentric mother of Diane Chambers. She further enriched her television portfolio by portraying Bridget O’Hara in the “Murder, She Wrote” episode “Sing a Song of Murder” (1985) and bringing Trudie Pepper to life in the television sitcom “Coming of Age” (1988–1989).

In 1991, Johns gracefully returned to “A Little Night Music,” assuming the role of Madame Armfeldt, the mother of her original character Desiree, at the Ricardo Montalbán Theatre in Los Angeles. In 1998, she took center stage as Myrtle Bledsoe in the premiere of Horton Foote’s “A Coffin in Egypt” at the Bay Street Theatre in New York.

On the grand cinematic canvas, Johns embraced the role of a grandmother in three films during the 1990s. She portrayed the camera-toting grandmother in the 1995 hit “While You Were Sleeping,” the waspish Grandma Rose in Ted Demme’s 1994 black comedy film “The Ref,” and the grandmother of Molly Shannon’s Mary Gallagher in the 1999 film “Superstar.” In acknowledgment of her indelible contributions, Johns was bestowed with the title of Disney Legend in the film category in 1998.

These concluding roles eloquently showcased Glynis Johns’s enduring talent and versatility, underscoring her prowess across different genres and mediums.

The United Kingdom and the United States

Glynis Johns, an avowed enthusiast of British cinema, openly declared her predilection for British films in 1946, articulating, “I would sooner play in a good British picture than in the majority of American pictures I have seen.” Despite her affinity for British cinema, she did not shy away from participating in American film ventures. Johns ascended to stardom in 1940s Britain, where her “glistening blue eyes and impeccable comic timing positioned her as British cinema’s most sought-after female lead.” By the time she graced the screen in “No Highway in the Sky” in 1951, a collaborative British and American production, she had already become a luminary, marking her initial foray into American cinema.

Glynis Johns masterfully etched a enduring legacy in the cinematic annals of both Britain and America, concurrently sustaining her presence in both nations. Although she embraced an increasing number of roles in America and various global locales post “No Highway in the Sky” (1951), with a predominant share of her television credits being American, her film and theatre accolades (with a few notable exceptions) predominantly adorned the British landscape. This dual immersion in both British and American entertainment realms underscored her versatility and adaptability as a thespian.

Personal Journey in Relationships

Glynis Johns navigated through four marriages during the course of her life:

Anthony Forwood: Her initial encounter with Anthony Forwood transpired during rehearsals for “Quiet Wedding” (1941). Swiftly evolving from a professional relationship, they wed on 29 August 1942 in Westminster, London, just a month after commencing their courtship. Their union brought forth a son named Gareth Forwood, born on 14 October 1945. Despite the initial joy, the marriage encountered trials, leading to Glynis Johns securing a divorce on 25 June 1948, citing adultery by her spouse.

Antony Darnborough: Post their collaboration in “Encore” (1951), a romantic entanglement blossomed between Johns and producer Antony Darnborough. Although engaged, their planned grand showbiz wedding faced postponements due to Glynis Johns’ Broadway commitments and was ultimately called off in December 1951. Remarkably, they maintained a strong friendship despite the canceled nuptials.

David Foster: Glynis Johns entered matrimony with David Foster, a Royal Navy officer turned Colgate-Palmolive president, on 1 February 1952 in Manhattan, New York. The marriage encountered strains, leading to their divorce on 17 May 1956, with grounds citing his adultery with an unnamed woman.

Cecil Henderson: Her union with businessman Cecil Henderson took place on 10 October 1960 in Westminster, London. Alas, this marriage also faced its demise, culminating in divorce on 21 June 1962, with Henderson pointing to adultery as the cause, a claim Johns did not contest.

Elliott Arnold: Glynis Johns’s fourth and final marriage involved writer and United States Air Force captain Elliott Arnold. Their engagement was declared on 25 June 1964, followed by a wedding on 1 October in Los Angeles, California. Unfortunately, this chapter too concluded in divorce on 4 January 1973.

In a 1973 interview, Johns delved into the interplay of theatre and matrimony, portraying acting as the pinnacle of intelligence for her. Reflecting on her multiple marriages, she attributed them to her conservative upbringing, subscribing to the notion that if one desired an affair, marriage was the appropriate avenue. Following her fourth divorce, she approached the idea of a fifth marriage with caution, emphasizing the importance of shared interests and meticulous contemplation before such a commitment.

Post the demise of her mother in 1971, Glynis Johns’s father, Mervyn Johns, entered into a marital alliance with actress Diana Churchill in 1976.

Well-Being and Artistry

Post her union with David Foster in 1952, Glynis Johns confronted a phase where she found herself fourteen pounds heavier. She attributed this to a state of relaxation and contentment, coupled with a sedentary lifestyle. Johns perceived weight as a mental challenge, underscoring the necessity for a robust will and unwavering determination to shed those pounds. While initially counting calories, her weight loss journey only gained traction when the issue genuinely perturbed her.

Having battled severe migraines previously, Johns found solace in learning to unwind, attributing this practice to the alleviation of her migraines in 1955. Stressing the significance of inner stillness and seeking solace in a higher power, she found relief that contributed to the disappearance of her migraines.

Days before her scheduled portrayal of Desiree Armfeldt in the premiere of “A Little Night Music” in 1973, Johns faced a medical emergency due to an intestinal infection, leading to hospitalization. Although Tammy Grimes was considered as a potential replacement, Johns defied the odds, rejoining the show just two days later, resolute in her determination to sing her songs.

Throughout her illustrious career, Glynis Johns grappled with stage fright, a challenge she managed, yet never entirely conquered. In a 2023 interview, her grandson Thomas disclosed that she privately wrestled with debilitating stage fright, a stark contrast to her composed public persona.

Johns’s voice, often likened to the babbling of a brook over pebbles, was described as “smoky,” “silvery,” and “wistful” by various accounts.

Longevity and Farewell

Glynis Johns outlived all four of her husbands: Cecil Henderson (d. 1978), Elliott Arnold (d. 1980), Anthony Forwood (d. 1988), and David Foster (d. 2010). Tragically, her son, Gareth Forwood, succumbed to cancer and a heart attack in 2007.

With Olivia de Havilland’s passing in 2020, Johns assumed the title of the oldest living Academy Award nominee in any acting category. Following Betty White’s demise in 2021, she also became the oldest living Disney Legend.

Glynis Johns concluded her journey in the United States, peacefully passing away at an assisted living home in Los Angeles on 4 January 2024, reaching the remarkable age of 100. Her grandson, Thomas Forwood, continues a legacy in the realms of French literature and filmmaking.

Advocacy and Legacy

Sir Chris Bryant, Labour MP for Rhondda, lauded Glynis Johns as “a lifelong ambassador for the creative arts in the UK and particularly Wales.” In 1971, Johns vocally supported the establishment of a national theatre in Wales, emphasizing the Welsh people’s profound love for their art, marked by a non-mercenary approach.