Editing Laurence Olivier (section)

===1930–1935: Rising star===
In 1930, with his impending marriage in mind, Olivier earned some extra money with small roles in two films.{{sfn|Olivier|1994|pp=81–82}} In April he travelled to Berlin to film the English-language version of ''[[The Temporary Widow]]'', a crime comedy with [[Lilian Harvey]],{{efn|A German-language version was also filmed, in which Olivier did not appear.{{sfn|Tanitch|1985|p=36}}}} and in May he spent four nights working on another comedy, ''[[Too Many Crooks (1930 film)|Too Many Crooks]]''.{{sfn|Coleman|2006|pp=38–39}} During work on the latter film, for which he was paid £60 ({{Inflation|UK|60|1930|r=-2|fmt=eq|cursign=£}}), he met Laurence Evans, who became his personal manager.{{sfn|Olivier|1994|pp=81–82}} Olivier did not enjoy working in film, which he dismissed as "this anaemic little medium which could not stand great acting",{{sfn|Bragg|1989|p=65}} but financially it was much more rewarding than his theatre work.{{sfn|Munn|2007|p=38}}

Olivier and Esmond married on 25 July 1930 at All Saints, Margaret Street,{{sfn|Coleman|2006|p=42}} although within weeks both realised they had erred. Olivier later recorded that the marriage was "a pretty crass mistake. I insisted on getting married from a pathetic mixture of religious and animal promptings.&nbsp;... She had admitted to me that she was in love elsewhere and could never love me as completely as I would wish."{{sfn|Olivier|1994|p=88}}{{efn|Esmond was predominantly lesbian; this was socially unacceptable in her lifetime, and was rarely mentioned.{{sfnm|1a1=Garber|1y=2013|1p=136|2a1=Beckett|2y=2005|2p=30}}}}{{efn|Their son, (Simon) Tarquin, was born in August 1936.{{sfn|Olivier|1994|p=77}}}} Olivier later recounted that following the wedding he did not keep a diary for ten years and never followed religious practices again, although he considered those facts to be "mere coincidence", unconnected to the nuptials.{{sfn|Olivier|1994|p=89}}

In 1930 [[Noël Coward]] cast Olivier as Victor Prynne in his new play ''[[Private Lives]]'', which opened at the new [[Phoenix Theatre (London)|Phoenix Theatre]] in London in September. Coward and [[Gertrude Lawrence]] played the lead roles, Elyot Chase and Amanda Prynne. Victor is a secondary character, along with Sybil Chase; the author called them "extra puppets, lightly wooden ninepins, only to be repeatedly knocked down and stood up again".{{sfn|Lesley|1976|p=136}} To make them credible spouses for Amanda and Elyot, Coward was determined that two outstandingly attractive performers should play the parts.{{sfn|Lesley|1976|p=137}} Olivier played Victor in the West End and then on [[Broadway theatre|Broadway]]; [[Adrianne Allen]] was Sybil in London, but could not go to New York, where the part was taken by Esmond.{{sfn|Castle|1972|p=115}} In addition to giving the 23-year-old Olivier his first successful West End role, Coward became something of a mentor. In the late 1960s Olivier told [[Sheridan Morley]]:

{{Blockquote|He gave me a sense of balance, of right and wrong. He would make me read; I never used to read anything at all. I remember he said, "Right, my boy, ''[[Wuthering Heights]]'', ''[[Of Human Bondage]]'' and ''[[The Old Wives' Tale]]'' by [[Arnold Bennett]]. That'll do, those are three of the best. Read them". I did.&nbsp;... Noël also did a priceless thing, he taught me not to giggle on the stage. Once already I'd been fired for doing it, and I was very nearly sacked from the Birmingham Rep. for the same reason. Noël cured me; by trying to make me laugh outrageously, he taught me how not to give in to it.{{efn|The biographer Cole Lesley wrote that Coward "invented a dog called Roger, unseen but who was always on stage with them when he and Larry had a scene together. Roger belonged to Noel but was madly attracted by Larry, especially to his private parts both before and behind, to which he invisibly did unmentionable things in full sight of the audience. 'Down, Roger,' Noel would whisper, or, 'Not in front of the vicar!' until in the end, as though this time the dog really had gone much too far, a shocked ''{{'}}Roger!{{'}}'' was quite enough".{{sfn|Lesley|1976|p=138}}}} My great triumph came in New York when one night I managed to break Noël up on the stage without giggling myself."{{sfn|Morley|1974|p=176}}}}

[[File:Jill Esmond and Laurence Olivier 1932.jpg|left|alt=young woman and man seated at a table with maid standing centre|thumb|Olivier, with his first wife [[Jill Esmond]] (left), in 1932]]

In 1931 [[RKO Pictures]] offered Olivier a two-film contract at $1,000 a week ({{Inflation|US|1000|1931|r=-3|fmt=eq}}); he discussed the possibility with Coward, who, irked, told Olivier "You've no artistic integrity, that's your trouble; this is how you cheapen yourself."{{sfn|Olivier|1994|p=92}} He accepted and moved to Hollywood, despite some misgivings. His first film was the drama ''[[Friends and Lovers (1931 film)|Friends and Lovers]]'', in a supporting role, before RKO loaned him to [[Fox Film|Fox Studios]] for his first film lead, a British journalist in a Russia under [[martial law]] in ''[[The Yellow Ticket (1931 film)|The Yellow Ticket]]'', alongside [[Elissa Landi]] and [[Lionel Barrymore]].{{sfnm|1a1=Olivier|1y=1994|1pp=93–94|2a1=Munn|2y=2007|2pp=43–44}} The cultural historian [[Jeffrey Richards]] describes Olivier's look as an attempt by Fox Studios to produce a likeness of [[Ronald Colman]], and Colman's moustache, voice and manner are "perfectly reproduced".{{sfn|Richards|2014|p=64}} Olivier returned to RKO to complete his contract with the 1932 drama ''[[Westward Passage]]'', which was a commercial failure.{{sfn|Holden|1988|p=71}} Olivier's initial foray into American films had not provided the breakthrough he hoped for; disillusioned with Hollywood, he returned to London, where he appeared in two British films, ''[[Perfect Understanding]]'' with [[Gloria Swanson]] and ''[[No Funny Business]]''—in which Esmond also appeared. He was tempted back to Hollywood in 1933 to appear opposite [[Greta Garbo]] in ''[[Queen Christina (film)|Queen Christina]]'', but was replaced after two weeks of filming because of a lack of chemistry between the two.{{sfnm|1a1=Billington|1y=2004|2a1=Munn|2y=2007|2pp=44–45|3a1=Richards|3y=2010|3p=165}}

Olivier's stage roles in 1934 included Bothwell in [[Gordon Daviot]]'s ''Queen of Scots'', which was only a moderate success for him and for the play, but led to an important engagement for the same management ([[Bronson Albery]]) shortly afterwards. In the interim he had a great success playing a thinly disguised version of the American actor [[John Barrymore]] in [[George S. Kaufman]] and [[Edna Ferber]]'s ''[[The Royal Family (play)|Theatre Royal]]''<!-- Staged under this name in UK -->. His success was vitiated by his breaking an ankle two months into the run, in one of the athletic, acrobatic stunts with which he liked to enliven his performances.{{sfn|Darlington|1968|pp=32–33}}

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| quote = Mr Olivier was about twenty times as much in love with Peggy Ashcroft as Mr Gielgud is. But Mr Gielgud spoke most of the poetry far better than Mr Olivier&nbsp;... Yet—I must out with it—the fire of Mr Olivier's passion carried the play along as Mr Gielgud's doesn't quite.
| source = [[Herbert Farjeon]] on the rival Romeos{{sfn|Findlater|1971|p=57}}
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In 1935, under Albery's management, [[John Gielgud]] staged ''Romeo and Juliet'' at the [[Noël Coward Theatre|New Theatre]], co-starring with Peggy Ashcroft, [[Edith Evans]] and Olivier. Gielgud had seen Olivier in ''Queen of Scots'', spotted his potential, and gave him a major step up in his career. For the first weeks of the run Gielgud played [[Mercutio]] and Olivier played [[Romeo]], after which they exchanged roles.{{efn|The original casting applied from 18 October to 28 November 1935; the two leading men then switched roles for alternating periods of several weeks at a time during the run. For the last week, ending on 28 March 1936, Olivier was Mercutio and Gielgud Romeo.<ref name="jg-plans"/>}} The production broke all box-office records for the play, running for 189 performances.{{efn|The previous record was 161 performances, by [[Henry Irving]] and Ellen Terry in 1882.<ref name="jg-plans"/>}} Olivier was enraged at the notices after the first night, which praised the virility of his performance but fiercely criticised his speaking of Shakespeare's verse, contrasting it with his co-star's mastery of the poetry.{{efn|Although most contemporary critics thought that Gielgud spoke the verse well and Olivier did not, Gielgud himself came to think they may have been wrong. He said in the 1980s, "He [Olivier] was much more natural than I in his speech, too natural I thought at the time, but now I think he was right and I was wrong and that it was time to say the lines the modern way. He was always so bold: and even if you disagreed, as I sometimes did, about his conception, you had to admire its execution, the energy and force with which he carried it through."{{sfn|Bragg|1989|p=60}}}} The friendship between the two men was prickly, on Olivier's side, for the rest of his life.{{sfn|Morley|2001|pp=122–123}}