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=== Stage === The huge popularity of ''Love on the Dole'' took the production to [[New York City|New York]] in 1936, where Hiller's performance attracted the attention of [[George Bernard Shaw]]. Shaw recognised a spirited radiance in the young actress, which was ideally suited for playing his heroines. Shaw cast her in several of his plays, including ''[[Saint Joan (play)|Saint Joan]]'', ''[[Pygmalion (play)|Pygmalion]]'' and ''[[Major Barbara (play)|Major Barbara]]'', and his influence on her early career is clearly apparent. She was reputed to be Shaw's favourite actress of the time. Unlike other stage actresses of her generation, she performed in relatively few [[William Shakespeare|Shakespeare]] productions, preferring the more modern dramatists such as [[Henrik Ibsen]] and new plays adapted from the novels of [[Henry James]] and [[Thomas Hardy]], among others. In the course of her stage career, Hiller won popular and critical acclaim in both London and New York. She excelled at rather plain but strong-willed characters. After touring Britain as Viola in ''[[Twelfth Night]]'' (1943), she returned to the West End to be directed by [[John Gielgud]] as Sister Joanna in ''The Cradle Song'' (Apollo, 1944). The string of notable successes continued as [[Princess Charlotte Augusta of Wales|Princess Charlotte]] in ''[[The First Gentleman (play)|The First Gentleman]]'' (Savoy, 1945) opposite [[Robert Morley]] as the Prince Regent, Pegeen in ''[[Playboy of the Western World]]'' (Bristol Old Vic, 1946) and ''[[Tess of the d'Urbervilles]]'' (Bristol Old Vic, 1946, transferring to the [[Piccadilly Theatre]] in the West End in 1947), which was adapted for the stage by her husband. In 1947, Hiller originated the role of Catherine Sloper, the painfully shy, vulnerable spinster in ''[[The Heiress (1947 play)|The Heiress]]'' on [[Broadway theatre|Broadway]]. The play, based on the Henry James novel ''[[Washington Square (novel)|Washington Square]]'', also featured [[Basil Rathbone]] as her emotionally abusive father. The production enjoyed a year-long run at the [[Samuel J. Friedman Theatre|Biltmore Theatre]] in New York and would prove to be her greatest triumph on Broadway. On returning to London, Hiller again played the role in the West End production in 1950. Her stage work remained a priority and continued with ''Ann Veronica'' (Piccadilly, 1949), which was adapted by Gow from [[Ann Veronica|the novel]] by [[H. G. Wells]]<ref>[http://www.doollee.com/PlaywrightsG/gow-ronald.html "Ronald Gow (1897β1993)"], doollee.com Gow is also co-credited with the book for the 1969 musical.</ref> with his wife in the leading role. She performed in a two-year run of N. C. Hunter's ''[[Waters of the Moon]]'' (Haymarket, 1951β53) alongside [[Sybil Thorndike]] and [[Edith Evans]]. At the [[Old Vic]] for the 1955β56 season, Hiller contributed a notable performance as Portia in ''[[Julius Caesar (play)|Julius Caesar]],'' among others, including as Helen of Troy in ''[[Troilus and Cressida]]''. Other stage work at this time included ''The Night of the Ball'' (New Theatre, 1955), the new [[Robert Bolt]] play ''Flowering Cherry'' (Haymarket, 1958, Broadway, 1959), ''[[Toys in the Attic (play)|Toys in the Attic]]'' (Piccadilly, 1960), ''[[The Wings of the Dove]]'' (Lyric, 1963), ''A Measure of Cruelty'' (Birmingham Repertory, 1965), ''A Present for the Past'' ([[Edinburgh]], 1966), ''[[The Sacred Flame (play)|The Sacred Flame]]'' ([[Duke of York's Theatre|Duke of York's]], 1967) with [[Gladys Cooper]], ''The Battle of Shrivings'' (Lyric, 1970) with [[John Gielgud]] and ''Lies'' (Albery, 1975). In 1957, Hiller returned to New York to star as Josie Hogan in [[Eugene O'Neill]]'s ''[[A Moon for the Misbegotten]]'', a performance that gained her a [[Tony Award]] nomination as Best Dramatic Actress. The production also featured [[Cyril Cusack]] and [[Franchot Tone]]. Her final appearance on Broadway was as Miss Tina in the 1962 production of [[Michael Redgrave]]'s adaptation of ''[[The Aspern Papers]]'' from the Henry James novella. As Hiller matured, she demonstrated a strong affinity for the plays of [[Henrik Ibsen]], as Irene in ''[[When We Dead Awaken]]'' (Cambridge, 1968), as Mrs. Alving in ''[[Ghosts (play)|Ghosts]]'' (Edinburgh, 1972), Ase in ''[[Peer Gynt]]'' (BBC, 1972) and as Gunhild in ''[[John Gabriel Borkman]]'' (National Theatre Company, Old Vic, 1975), in which she appeared with [[Ralph Richardson]] and [[Peggy Ashcroft]]. Later West End successes such as [[Mary of Teck|Queen Mary]] in ''[[Crown Matrimonial (play)|Crown Matrimonial]]'' (Haymarket, 1972) proved that she was not limited to playing dejected, emotionally deprived women. She later revisited some earlier plays playing older characters, as in West End revivals of ''Waters of the Moon'' (Chichester, 1977, Haymarket, 1978) with [[Ingrid Bergman]] and ''[[The Aspern Papers]]'' (Haymarket, 1984) with [[Vanessa Redgrave]]. She was scheduled to return to the American stage in a 1982 revival of ''Anastasia'' with [[Natalie Wood]], but Wood died just weeks before rehearsals. Hiller made her final West End performance in the title role in ''[[Driving Miss Daisy (play)|Driving Miss Daisy]]'' (Apollo, 1988).
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