NEW YORK, NY.- James Earl Jones, a stuttering farm child who became a voice of rolling thunder as one of America’s most versatile actors in a stage, film and television career that plumbed race relations, Shakespeare’s rhapsodic tragedies and the faceless menace of Darth Vader, died Monday at his home in Dutchess County, New York. He was 93.
The office of his agent, Barry McPherson, confirmed the death in a statement.
From destitute days working in a diner and living in a $19-a-month cold-water flat, Jones climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords. He was abandoned as a child by his parents, raised by a racist grandmother and mute for years in his stutterer’s shame, but he learned to speak again with a herculean will. All had much to do with his success.
So did plays by Howard Sackler and August Wilson that let a young actor explore racial hatred in the national experience; television soap operas that boldly cast a Black man as a doctor in the 1960s; and a decision by George Lucas, the creator of “Star Wars,” to put an anonymous, rumbling African American voice behind the grotesque mask of the galactic villain Vader.
The rest was accomplished by Jones himself: a prodigious body of work that encompassed scores of plays, nearly 90 television network dramas and episodic series, and some 120 movies. They included his voice work, much of it uncredited, in the original “Star Wars” trilogy, in the credited voice-over of Mufasa in “The Lion King,” Disney’s 1994 animated musical film, and in his reprise of the role in Jon Favreau’s computer-animated remake in 2019.
Jones was no matinee idol, like Cary Grant or Denzel Washington. But his bulky Everyman suited many characters, and his range of forcefulness and subtlety was often compared to Morgan Freeman’s. Nor was he a singer; yet his voice, though not nearly as powerful, was sometimes likened to that of the great Paul Robeson. Jones collected Tonys, Golden Globes, Emmys, Kennedy Center honors and an honorary Academy Award.
Under the artistic and competitive demands of daily stage work and heavy commitments to television and Hollywood — pressures that burn out many actors — Jones was a rock. He once appeared in 18 plays in 30 months. He often made a half-dozen films a year, in addition to his television work. And he did it for a half-century, giving thousands of performances that captivated audiences, moviegoers and critics.
They were dazzled by his presence. A bear of a man — 6 feet, 2 inches tall and 200 pounds — he dominated a stage with his barrel chest, large head and emotional fires, tromping across the boards and spitting his lines into the front rows. And audiences were mesmerized by the voice. It was Lear’s roaring crash into madness, Othello’s sweet balm for Desdemona, Oberon’s last rapture for Titania, the queen of the fairies on a midsummer night.
He liked to portray kings and generals, garbage men and bricklayers; perform Shakespeare in Central Park and the works of August Wilson and Athol Fugard on Broadway. He could strut and court lecherously, erupt with rage or melt tenderly; play the blustering Big Daddy in Tennessee Williams’ “Cat on a Hot Tin Roof” (2008) or an aging Norman Thayer Jr. in Ernest Thompson’s confrontation with mortality in “On Golden Pond” (2005).
Some theatergoers, aware of Jones’ childhood affliction, discerned occasional subtle hesitations in his delivery of lines. The pauses were deliberate, he said, a technique of self-restraint learned by stutterers to control involuntary repetitions. Far from detracting from his lucidity, the pauses usually added force to an emotional moment.
Jones profited from a deep analysis of meaning in his lines. “Because of my muteness,” he said in “Voices and Silences,” a 1993 memoir written with Penelope Niven, “I approached language in a different way from most actors. I came at language standing on my head, turning words inside out in search of meaning, making a mess of it sometimes, but seeing truth from a very different viewpoint.”
Another of his theatrical techniques was to stand alone for a few minutes in a darkened wing before the curtain went up, settling himself and silently evoking the emotion he needed for the first scene. It became a nightly ritual during performances of Wilson’s Pulitzer Prize-winning drama “Fences” (1987), in which Jones portrayed a sanitation worker brooding over broken dreams, his once promising baseball career cut short by big league racial barriers. It ran for 15 months on Broadway, and Jones won a Tony for best actor.
Voice of Vader
Jones’ technique in the first “Star Wars” trilogy — “A New Hope” (1977), “The Empire Strikes Back” (1980) and “Return of the Jedi” (1983) — was another trademark. To sustain Vader’s menace — a voice to go with his black cape and a helmet that filtered his hissing breath and evil tidings — Jones spoke in a narrowly inflected range, almost a monotone, to make nearly every phrase sound threatening. (He was credited for voice work in the third film, but, at his request, it was not credited in the first two until a special edition rerelease in 1997.)
Jones was one of the first Black actors to appear regularly on the daytime soaps, playing a doctor in “The Guiding Light” and in “As the World Turns” in the 1960s. Television became a staple of his career. He appeared in the dramatic series “The Defenders,” “Dr. Kildare,” “Touched by an Angel” and “Homicide: Life on the Street,” and in miniseries, including “Roots: The Next Generation” (1979), playing the author Alex Haley.
Jones’ first Hollywood role was small but memorable, as the B-52 bombardier in Stanley Kubrick’s 1964 satire on nuclear war, “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.”
While drama critics recorded his steady progress as an actor, Jones did not win film stardom until 1970, when he played Jack Jefferson, a character based on Jack Johnson, the first Black boxing champion, in “The Great White Hope,” reprising a role he performed on Broadway in 1968. He won a Tony for the stage work and was nominated for an Oscar for the movie.
Although he was never active in the Civil Rights Movement, Jones said early in his career that he admired Malcolm X and that he, too, might have been a revolutionary had he not become an actor.
He said his contributions to civil rights lay in roles that dealt with racial issues — and there were many. Notable among these was his almost overlooked casting in the 1961 play “The Blacks,” Jean Genet’s violent drama on race relations. It featured a Black cast that included Maya Angelou, Cicely Tyson, Louis Gossett Jr. and Billy Dee Williams, some wearing gruesome white masks, who night after night enacted in a kangaroo court the rape and murder of a white woman. Jones, the brutal and beguiling protagonist, found the role so emotionally draining that he left and then rejoined the cast several times in its 3-1/2-year run off-Broadway.
But the experience helped clarify his feelings about race. “Through that role,” he told The Washington Post in 1967, “I came to realize that the Black man in America is the tragic hero, the Oedipus, the Hamlet, the Macbeth, even the working-class Willy Loman, the Uncle Tom and Uncle Vanya of contemporary American life.”
James Earl Jones was born in Arkabutla, Mississippi, on Jan. 17, 1931, to Robert Earl and Ruth (Connolly) Jones. About the time of his birth, his father left the family to chase prizefighting and acting dreams. His mother eventually obtained a divorce. But when James was 5 or 6, his frequently absent mother remarried, moved away and left him to be raised by her parents, John and Maggie Connolly, on a farm near Dublin, Michigan.
Abandonment by his parents left the boy with raw wounds and psychic scars. He referred to his mother as Ruth — he said he thought of her as an aunt — and he called his grandparents Papa and Mama, although even the refuge of his surrogate home with them was a troubled place to grow up.
“I was raised by a very racist grandmother, who was part Cherokee, part Choctaw and Black,” Jones told the BBC in a 2011 interview. “She was the most racist person, bigoted person I have ever known.” She blamed all white people for slavery, and Native American and Black people “for allowing it to happen,” he said, and her ranting compounded his emotional turmoil.
Years of Silence
Traumatized, James began to stammer. By age 8 he was stuttering so badly, and was so mortified by his affliction, that he stopped talking altogether, terrified that only gibberish would come out. In the one-room rural school he attended in Manistee County, Mississippi, he communicated by writing notes. Friendless, lonely, self-conscious and depressed, he endured years of silence and isolation.
“No matter how old the character I play,” Jones told Newsweek in 1968, “even if I’m playing Lear, those deep childhood memories, those furies, will come out. I understand this.”
In high school in nearby Brethren, an English teacher, Donald Crouch, began to help him. He found that James had a talent for poetry and encouraged him to write, and tentatively to stand before the class and read his lines. Gaining confidence, James recited a poem a day in class. The speech impediment subsided. He joined a debating team and entered oratorical contests. By graduation, in 1949, he had largely overcome his disability, although the effects lingered and never quite went away.
Years later, Jones came to believe that learning to control his stutter had led to his career as an actor.
“Just discovering the joy of communicating set it up for me, I think,” he told The New York Times in 1974. “In a very personal way, once I found out I could communicate verbally again, it became a very important thing for me, like making up for lost time, making up for the years that I didn’t speak.”
Jones enrolled at the University of Michigan on a scholarship, taking premed courses, and joined a drama group. With a growing interest in acting, he switched majors and focused on drama in the university’s School of Music, Theater and Dance. In a memoir, he said he left college in 1953 without a degree but resumed studies later to finish his required course work. He received a degree in drama in 1955.
In college, he had also joined the Army under an ROTC commitment, then washed out of infantry Ranger School. But he did so well in cold-weather training in the Rockies that he considered a military career. He was commissioned a second lieutenant in mid-1953, after the end of the Korean War, and was subsequently promoted to first lieutenant.
In 1955, however, he resigned his commission and moved to New York, determined to be an actor. He lived briefly with his father, whom he had met a few years earlier. Robert Jones had a modest acting career and offered encouragement. James found cheap rooms on the Lower East Side of Manhattan, took odd jobs and studied at the American Theater Wing and Lee Strasberg’s Actors Studio.
A Run of Shakespeare
After minor roles in small productions, including three plays in which he performed with his father, he joined Joseph Papp’s New York Shakespeare Festival in 1960; over several years he appeared in “Henry V,” “Romeo and Juliet,” “Richard III” and “A Midsummer Night’s Dream.” During a long run as Othello in 1964, he fell in love with Julienne Marie, his Desdemona.
They were married in 1968, but they divorced in 1972. In 1982, he married actress Cecilia Hart, who had also played Desdemona to one of his Othellos. She died in 2016. They had a son, Flynn Earl Jones, who survives him, along with a brother, Matthew.
In the 1970s and most of the ’80s, Jones was in constant demand for stage work in New York, films in Hollywood and television roles on both coasts. He took occasional breaks at a desert retreat near Los Angeles and at his home in Pawling, New York, in Dutchess County.
But his long run with “Fences” in 1987 and 1988, including a national tour, proved too taxing. He did not return to Broadway for many years, and made movies almost exclusively. His notable film roles included an oppressed coal miner in John Sayles’ “Matewan” (1987); the king of a fictional African nation in the John Landis comedy “Coming to America” (1988), a role he reprised at 90 in 2021 in “Coming 2 America”; an embittered but resilient writer in the baseball movie “Field of Dreams” (1989); and a South African priest in “Cry, the Beloved Country” (1995).
Jones received the National Medal of the Arts from President George Bush at the White House in 1992, Kennedy Center honors in 2002, an honorary Oscar in 2011 for lifetime achievement, and in 2017 a special Tony Award for lifetime achievement, as well as an honorary doctor of arts degree from Harvard University.
In 2015, Jones and Cicely Tyson appeared in a Broadway revival of D.L. Coburn’s 1976 play, “The Gin Game,” portraying residents of a retirement home making nice, and sometimes not so nice, over a card table. For the 84-year-old Jones, it was, as the Times noted, his sixth Broadway role in the past decade.
In 2022, Broadway’s 110-year-old Cort Theater was renamed the James Earl Jones Theater.
This article originally appeared in
The New York Times.
