Editing John Gielgud (section)

===Queen's Theatre company===
{{Hatnote|Details of Gielgud's work, 1937–38: [[List of roles and awards of John Gielgud#jgS37|Stage]], [[List of roles and awards of John Gielgud#jgD37|Director]], [[List of roles and awards of John Gielgud#jgR37|Radio]]}}
[[File:London Queen's Theatre auditorium.jpg|thumb|upright|Interior of the [[Sondheim Theatre|Queen's Theatre]]]]
After his return from America in February 1937 Gielgud starred in ''He Was Born Gay'' by [[Emlyn Williams]].<ref>Croall (2000), pp. 237–238</ref> This romantic tragedy about French royalty after the [[French Revolution|Revolution]] was quite well received during its pre-London tour,<ref>"'He Was Born Gay' at the Opera House", ''The Manchester Guardian'', 20 April 1937, p. 13</ref> but was savaged by the critics in the West End.<ref>Morley, p. 149</ref> ''The Times'' said, "This is one of those occasions on which criticism does not stand about talking, but rubs its eyes and withdraws hastily with an embarrassed, incredulous, and uncomprehending blush. What made Mr Emlyn Williams write this play or Mr Gielgud and Miss Ffrangcon-Davies appear in it is not to be understood."<ref>"Queen's Theatre", ''The Times'', 22 May 1937, p. 14</ref> The play closed after twelve performances. Its failure, so soon after his Shakespearean triumphs, prompted Gielgud to examine his career and his life. His domestic relationship with Perry was comfortable but unexciting, he saw no future in a film career, and the Old Vic could not afford to stage the classics on the large scale to which he aspired. He decided that he must form his own company to play Shakespeare and other classic plays in the West End.<ref>Morley, pp. 150–152</ref>

Gielgud invested £5,000, most of his earnings from the American ''Hamlet''; Perry, who had family money, put in the same sum.<ref name=m152/> From September 1937 to April 1938 Gielgud was the tenant of the Queen's Theatre, where he presented a season consisting of ''Richard II'', ''[[The School for Scandal]]'', ''Three Sisters'', and ''The Merchant of Venice''.<ref name=m152>Morley, pp. 152–158</ref> His company included [[Harry Andrews]], Peggy Ashcroft, [[Glen Byam Shaw]], George Devine, [[Michael Redgrave]] and Harcourt Williams, with [[Angela Baddeley]] and Gwen Ffrangcon-Davies as guests. His own roles were King Richard, Joseph Surface, Vershinin and Shylock.<ref name=roles/> Gielgud's performances drew superlatives from reviewers and colleagues. Agate considered his Richard II, "probably the best piece of Shakespearean acting on the English stage today".<ref>Agate, p. 30</ref> Olivier said that Gielgud's Joseph Surface was "the best light comedy performance I've ever seen, or ever shall see".<ref>Croall (2011), p. 234</ref>

The venture did not make much money,<ref>Gielgud (2004), p. 48; and Morley, p. 159</ref> and in July 1938 Gielgud turned to more conventional West End enterprises, in unconventional circumstances. He directed ''[[Spring Meeting (play)|Spring Meeting]]'', a farce by Perry and [[Molly Keane]], presented by [[Binkie Beaumont]], for whom Perry had just left Gielgud. Somehow the three men remained on excellent terms.<ref>Croall (2000), pp. 258–259</ref> In September of the same year Gielgud appeared in [[Dodie Smith]]'s sentimental comedy ''[[Dear Octopus]]''.<ref name=roles/> The following year he directed and appeared in ''The Importance of Being Earnest'' at the [[Gielgud Theatre|Globe]], with Evans playing Lady Bracknell for the first time. They were gratified when [[Allan Aynesworth]], who had played Algernon in the 1895 premiere, said that the new production "caught the gaiety and exactly the right atmosphere. It's all delightful!"<ref>Croall (2011), p. 255</ref>