Doran toured with Benson and other managements, and played in the West End before setting up his own company in 1920. He led it for eleven years, before leaving Britain to work in India. On his return he worked on stage and made occasional television appearances.
Life and career
Doran was born on 1 January 1877 in Cork, the son of Charles Jenkins Doran. He was educated in Cork and privately.[1] In 1899 he made his stage debut as a member of Frank Benson's touring company, in Julius Caesar at the Theatre Royal, Belfast.[1] He remained with Benson for two and a half years, during which he made his London debut, as Captain MacMorris in Henry V at the Lyceum.[1]
In October 1910, returning to England, Doran played La Tribe in Count Hannibal at the New Theatre, after which he was Pistol in The Merry Wives of Windsor at the Garrick to the Falstaff of Asche. For the next ten years he played in new, ephemeral works, interspersed with classics. Among his roles in the latter were Constantine Levin in Anna Karenina (1913); Douglas in Henry IV, part 1 and the Constable of France in Henry V. (1914) in London, and a variety of Shakespeare parts at the Memorial Theatre, Stratford-on-Avon (1919).[1]
In 1931 he went to India as director of Shakespeare's plays at the State Theatre in Jhalawar and then on to Bombay where he performed primarily in Shakespeare on the radio.[5] He returned to England in 1937. His last London appearance was in Song of Norway (1949).[6] His last Shakespearean role in the theatre was Time in The Winter's Tale (1951). He continued to act on stage in other parts until 1954.[5] He appeared on BBC television as a senator in Othello in 1950 and Adabashev, the tragedian in Curtain Down in 1952.[7]
Doran died in Folkestone on the south coast of England on 5 April 1964, at the age of 87.[6] An article on him published by Emory University in 2003 sums up his career thus:
On stage in one role or another, Doran's fifty-seven years in the theatre made him a major force in the profession, particularly in his productions of Shakespeare. Such was his energy and enthusiasm that he kept alive for a few more years the actor-manager system when the major talents, men like Tree, Benson, and Irving, had dissolved their companies. Doran was indeed the last of his theatrical breed.[5]