FOSTER, Philip "Phil"

FOSTER

Posted By: Sharon R Becker (email)
Date: 11/11/2014 at 15:09:37

The Globe Gazette
Mason City, Cerro Gordo County, Iowa
Saturday, January 04, 1941, Page 16

THEY STARTED HERE
No. 41 in a Mason City Series of Success Stories

Phil Foster, Stage and Radio Actor

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Familiar to regular theater goers on New York's broadway is the face of one of Mason City's own sons, a young man who has earned recognition as an able and talented actor from the most exacting critics and capable performers in his profession.

That this has come to pass in not particularly surprising to the many Mason Cityans who knew Philip Foster, for in the days when he was attending Mason City high school he showed outstanding talent in several directions. But his flair for dramatics was especially pronounced.

Philip Foster came to Mason City from Cedar Rapids as a sophomore in high school. Immediately proving himself a fine student, he also took an active interest in various high school actitivities throughout his three years here.

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Young Phil Foster proved himself a good athlete among other things, and at that time was probably more interested in football and wrestling than he was in dramatics. A husky youth, he played tackle on the high school football team and captained the squad in his senior year.

Wrestling took up some of his time during the winter and he competed in the 175 pound class beating all comers in that weight division.

Hi-Y activites benefited from Phil Foster's interest and he was a three year members of the Hi-Y club here, taking part in the Hi-Y play and acting as a member of the club's gospel team.

The youth showed his capacity for leadership and only on then gridiron in in Hi-Y work, but also as an officer of the class of 1923 and as president of NaDoa, a science club.

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His liking for dramatics, probably derived from his mother who also was deeply interested in the theater, was considerable. Phil never missed a chance to work in some capacity on a play and he often had a leading role in high school and community plays. He supplemented this work with declamatory competition in high school.

In the dramatics work he did here, much of it uncoached and distinctly amateur, young Foster showed exceptional talent. Mason Cityans still remember the performances he and Miss Myrtle Oulman, now a member of the high school faculty, gave in "The Valiant" - fine performances worthy of recognized professional actors.

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The likable, easy going and good natured Phil Foster was aided a good deal in his theatrical work by a fine, facile mind which made memorizing of lines easy for him and which still stands him in good stead in preparing roles for critical Broadway audiences.

After being graduated from high school here. Phil Foster went to Iowa City, wher he met Prof. E. C. Mable, head of dramatics work at the university and a recognized producer and theatrical authority.

This influence was to have considerable effect on the Mason City youth and throughout his college career he was active in college dramatics, learning a good deal value to him.

Graduating from Iowa in 1927, Phil immediately set out for New York City. He had enough faith in his ability to believe that he could make the grade and he was willing to try his hand at a profession that allows the survival of only the fittest.

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Phil's first role on Broadway was that of Scipio in Grace George's production, "The Road to Rome." Following his experience on Broadway, the Mason Cityan accepted a job with the Stuart Walker stock company in Cincinnati and Indianapolis in the summer of 1928.

Then he got a break and went to work for the famed New York Theater Guild, under whose auspices he is acting today. The Theater Guild connection gave the former Mason Cityan roles for the next four consecutive seasons and he played in such successes as "Volpane," "R. U. R," "Marco's Millions" and "Hotel Universe."

More particularly he played in "Elizabeth, The Queen" with Alfred Lunt and Lynn Fontaine and in the widely hailed "Mourning Becomes Electra, " with Nazimova and the late Alice Brady.

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Following this stretch of continuous work, the young actor hit a stretch of bad luck and for the next 18 months he walked over practically every square inch of Broadway looking for a part. In spite of the way things were running against him, he did not lose faith in his ability or in his future as an actor.

Occasional radio parts came his way and finally he began working again for the Theater Guild. He played in another smash hit, "Mary of Scotlan," in which Helen Hayes, Philip Merivic and Helen Menken had leading roles.

Radio work followed and the former Mason Cityan was heard in many nationally broadcast programs, including "The O'Neils," "Just Plain Bill," "John's Other Wife," "Alias Jimmy Valentine," "David Harum," "Peepper Young's Family," "Mr. Kean, Tracer of Lost Persons," "True Story" and others.

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Back in the theater again, Phil appeared with Walter Huston in Max Gordon's producation of Shakespeare's "Othello." Another star of the piece was Brian Ahreae playing Iago.

From there Phil Foster moved into a part in "The Philadelphia Story," a vehicle starring Katharine Hepburn that has proved on of the finest comedies of recent years. Having opened in January of 1939, the play will celebrate its second anniversary Jan. 17. It is now on tour through the southwest and south after having a long run in New York.

The former Mason Cityan is married, meeting Mrs. Foster during hisfirst year in New York. They have two children and now make their home at 3 Bainton street, Yonkers, N. Y.

And that just about winds up the story of today of Phil Foster. It's a story of ability, hard work and determination. And it's the story of a young man who has proved himself, for people like the Lunts, Katharine Hepburn, Helen Hayes and Walter Huston don't allow poor performances. They want no hams.

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Nor do they get one in Phil Foster, for his mastery of a difficult trade makes him a good actor. No one can appear in the plays he has without having something. They might in the movies, but behind the footlights you have to do it right the first time and do it well. There is no chance to "shoot" the scene over if something goes amiss.

And there is no "close up" to get the performer across to his audience. He has to do it by projecting his character across the footlights and into every seat in the house.

So keep your eye on Phil Foster. He's got soemthing and he intends to show it. Not content to coast, he means to work ever harder.

"This Mason City boy has a bit more 'making' to do before he can be called good," Phil says.

And he means it.

Photograph courtesy of Globe-Gazette

Transcription by Sharon R. Becker, November of 2014

Cerro Gordo Biographies maintained by Lynn Diemer-Mathews.
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