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Front of an envelope mailed in the U.S. in 1906, with a postage stamp and address

Back of the above envelope, showing an additional receiving office postmark

An envelope is a common packaging item, usually made of thin flat material. It is designed to contain a flat object, such as a letter or card.

Traditional envelopes are made from sheets of paper cut to one of three shapes: a rhombus, a short-arm cross, or a kite. These shapes allow for the creation of the envelope structure by folding the sheet sides around a central rectangular area. In this manner, a rectangle-faced enclosure is formed with an arrangement of four flaps on the reverse side.

Overview[link]

Envelope with advertising from 1905 used in the U.S.

Patent drawing of Americus Callahan's windowed envelope.

When the folding sequence is such that the last flap to be closed is on a short side it is referred to in commercial envelope manufacture as a '"pocket"' - a format frequently employed in the packaging of small quantities of seeds. Although in principle the flaps can be held in place by securing the topmost flap at a single point (for example with a wax seal), generally they are pasted or gummed together at the overlaps. They are most commonly used for enclosing and sending mail (letters) through a prepaid-postage postal system.

Window envelopes have a hole cut in the front side that allows the paper within to be seen. They are generally arranged so that the sending address printed on the letter is visible, saving the sender from having to duplicate the address on the envelope itself. The window is normally covered with a transparent or translucent film to protect the letter inside, as was first designed by Americus F. Callahan in 1901 and patented the following year. In some cases, shortages of materials or the need to economize resulted in envelopes that had no film covering the window. One innovative process, invented in Europe about 1905, involved using hot oil to saturate the area of the envelope where the address would appear. The treated area became sufficiently translucent for the address to be readable. As of 2009^[update] there is no international standard for window envelopes, but some countries, including Germany and the UK, have national standards.^[1]

Security envelopes have a patterned tint printed on the inside, which makes it difficult to see the contents. Various patterns exist.^[2]

An aerogram is related to a lettersheet, both being designed to have writing on the inside to minimize the weight. Any handmade envelope is effectively a lettersheet because prior to the folding stage it offers the opportunity for writing a message on that area of the sheet that after folding becomes the inside of the face of the envelope.

A Japanese funeral envelope used for offering condolence money. The white and black cords represent death. Similar-looking envelopes with red and silver cords are used for weddings.

The "envelope" used to launch the Penny Post component of the British postal reforms of 1840 by Sir Rowland Hill and the invention of the postage stamp, was a lozenge-shaped lettersheet known as a Mulready.^[3] If desired, a separate letter could be enclosed with postage remaining at one penny provided the combined weight did not exceed half an ounce (about 13 grams). This was a legacy of the previous system of calculating postage, which partly depended on the number of sheets of paper used.

During the U.S. Civil War those in the Confederate States Army occasionally used envelopes made from wallpaper, due to financial hardship.

A "return envelope" is a pre-addressed, smaller envelope included as the contents of a larger envelope and can be used for courtesy reply mail, metered reply mail, or freepost (business reply mail). Some envelopes are designed to be reused as the return envelope, saving the expense of including a return envelope in the contents of the original envelope. The direct mail industry makes extensive use of return envelopes as a response mechanism.

Up until 1840 all envelopes were handmade, each being individually cut to the appropriate shape out of an individual rectangular sheet. In that year George Wilson in the United Kingdom patented the method of tessellating (tiling) a number of envelope patterns across and down a large sheet, thereby reducing the overall amount of waste produced per envelope when they were cut out. In 1845 Edwin Hill and Warren de la Rue obtained a patent for a steam-driven machine that not only cut out the envelope shapes but creased and folded them as well. (Mechanised gumming had yet to be devised.) The convenience of the sheets ready cut to shape popularized the use of machine-made envelopes, and the economic significance of the factories that had produced handmade envelopes gradually diminished.

As envelopes are made of paper, they are intrinsically amenable to embellishment with additional graphics and text over and above the necessary postal markings. This is a feature that the direct mail industry has long taken advantage of—and more recently the Mail Art movement. Custom printed envelopes has also become an increasingly popular marketing method for small business.

Most of the over 400 billion envelopes of all sizes made worldwide are machine-made.

International standard sizes[link]

C5 postal stationery envelope with topic of Trans-siberian railway.

International standard ISO 269 defines several standard envelope sizes, which are designed for use with ISO 216 standard paper sizes:

The German standard DIN 678 defines a similar list of envelope formats.

North American sizes[link]

There are dozens of sizes of envelopes available. Not all are used for posting mail, but for such things as former pay packets or putting a gift card or a key in. U.S. and Canadian postal regulations^{[citation needed]} differ from those of the rest of the world; although envelopes are still deliverable worldwide by the regulations of the Universal Postal Union, the sorting machines will not accept the international sizes. This is not as much a difference as usually thought^[who?], for the location of sending address and return address differ between Germany and France, for example.^{[clarification needed]}

The designations such as "A2"^{[citation needed]} do not correspond to ISO paper sizes.

Envelopes accepted by the U.S. Postal Service to be eligible for mailing at the price for letters must be:

• Rectangular
• At least 3-1/2 inches high x 5 inches long x 0.007 inch thick.
• No more than 6-1/8 inches high x 11-1/2 inches long x 1/4 inch thick.^[4]

Manufacture[link]

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Nearly half of the estimated 450 billion envelopes made each year worldwide are machine-made.^{[citation needed]}

History of envelopes[link]

Tablet and its sealed envelope: employment contract. Girsu, Sumer, circa 2037 BCE. Terra cotta. Museum of Fine Arts of Lyon.

Prior to 1845, hand-made envelopes were all that were available for use, both commercial and domestic. In 1845, Edwin Hill and Warren De La Rue were granted a British patent for the first envelope-making machine.^[5]

The first known envelope was nothing like the paper envelope we know of today. It can be dated back to around 3500 to 3200 B.C. in the ancient Middle East. Hollow, clay spheres were molded around financial tokens and used in private transactions. The two people who discovered these first envelopes were Jacques de Morgan, in 1901, and Roland de Mecquenem, in 1907.

The "envelopes" produced by the Hill/De La Rue machine were not as we know them today. They were flat diamond, lozenge (or rhombus)-shaped sheets or "blanks" which had been precut to shape before being fed to the machine for creasing and made ready for folding to form a rectangular enclosure. The edges of the overlapping flaps treated with a paste or adhesive and the method of securing the envelope or wrapper was a user choice. The symmetrical flap arrangement meant that it could be held together with a single wax seal at the apex of the topmost flap. (That the flaps of an envelope can be held together by applying a seal at a single point is a classic design feature of an envelope).^{[citation needed]}

Nearly 50 years passed before a commercially successful machine for producing pre-gummed envelopes effectively as we know them today appeared.

The origin of the use of the diamond shape for envelopes is debated. However as an alternative to simply wrapping a sheet of paper around a folded letter or an invitation and sealing the edges, it is a tidy and ostensibly paper-efficient way of producing a rectangular-faced envelope. Where the claim to be paper-efficient fails is a consequence of paper manufacturers normally making paper available in rectangular sheets, because the largest size of envelope that can be realised by cutting out a diamond or any other shape which yields an envelope with symmetrical flaps is smaller than the largest that can be made from that sheet simply by folding.

The folded diamond-shaped sheet (or "blank") was in use at the beginning of the 19th century as a novelty wrapper for invitations and letters among the segment of the population that had the time to sit and cut them out and were affluent enough not to bother about the waste offcuts. Their use first became widespread in the UK when the British government took monopoly control of postal services and tasked Rowland Hill with its introduction. The new service was launched in May 1840 with a postage-paid machine-printed illustrated (or pictorial) version of the wrapper and the much-celebrated first adhesive postage stamp: the Penny Black- for the production of which the Jacob Perkins printing process was used to deter counterfeiting and forgery. The wrappers were printed and sold as a sheet of 12, with cutting the purchaser's task. Known as Mulready stationery, because the illustration was created by the respected artist William Mulready, the envelopes were withdrawn when the illustration was ridiculed and lampooned. Nevertheless the public apparently saw the convenience of the wrappers being available ready-shaped, and it must have been obvious that with the stamp available totally plain versions of the wrapper could be produced and postage prepaid by purchasing a stamp and affixing it to the wrapper once folded and secured. In this way although the postage-prepaid printed pictorial version died ignominiously,the diamond-shaped wrapper acquired de facto official status and became readily available to the public notwithstanding the time taken to cut them out and the waste generated. With the issuing of the stamps and the operation and control of the service (which is a communications medium) in government hands the British model spread around the world and the diamond-shaped wrapper went with it.

Hill also installed his brother Edwin as The Controller of Stamps, and it was he with his partner Warren De La Rue who patented the machine for mass-producing the diamond-shaped sheets for conversion to envelopes in 1845. Today, envelope-making machine manufacture is a long- and well-established international industry, and blanks are produced with a short-arm-cross shape and a kite shape as well as diamond shape. (The short-arm-cross style is mostly encountered in "pocket" envelopes i.e. envelopes with the closing flap on a short side. The more common style, with the closing flap on a long side, are sometimes referred to as "standard" or "wallet" style for purposes of differentiation.)

The most famous paper-making machine was the Fourdrinier machine. The process involves taking processed pulp stock and converting it to a continuous web which is gathered as a reel. Subsequently the reel is guillotined edge to edge to create a large number of properly rectangular sheets because ever since the invention of Gutenberg's press paper has been closely associated with printing.

To this day all other mechanical printing and duplicating equipments devised in the meantime, including the typewriter (which was used up to the 1990s for addressing envelopes), have been primarily designed to process rectangular sheets. Hence the large sheets are in turn are guillotined down to the sizes of rectangular sheet commonly used in the commercial printing industry, and nowadays to the sizes commonly used as feed-stock in office-grade computer printers, copiers and duplicators (mainly ISO, A4 and US Letter).

Using any mechanical printing equipment to print on envelopes, which although rectangular, are in fact folded sheets with differing thicknesses across their surfaces, calls for skill and attention on the part of the operator. In commercial printing the task of printing on machine-made envelopes is referred to as "overprinting" and is usually confined to the front of the envelope. If printing is required on all four flaps as well as the front, the process is referred to as "printing on the flat". Eye-catching illustrated envelopes or pictorial envelopes, the origins of which as an artistic genre can be attributed to the Mulready stationery - and which was printed in this way - are used extensively for direct mail. In this respect, direct mail envelopes have a shared history with propaganda envelopes (or "covers") as they are called by philatelists.

At the end of the 20th century a top of the range envelope-making machine cost in the region of $1 million and could produce 1200 pre-gummed envelopes per minute in boxes of 1000 ready for distribution. With manufacturing costs as high as this very few envelope-making machinery manufacturers appeared in the 19th and 20th centuries, and at the beginning of the 21st century the number satisfying the world demand remained low, with a single enterprise, Winkler+Dünnebier, producing two-thirds of the machines producing the 450 billion envelopes referred to above (which includes "pockets").

Consequently too the high cost of buying these high capital investment machines has to be factored into the operating costs of any enterprise which engages in producing printed envelopes, and so their line of business is the production of very large runs of the order of 50,000 and upwards. Depending on the size of the run this can entail the use of an entire web or reel. The result of this is that over the last 150 years or so the most common way of producing printed envelopes commercially has been to overprint on machine-made envelopes. Needless to say, only the largest of companies have a need for 50,000 or more envelopes at any one time. The drawback is that although printing on the face of an envelope is reasonably straight- forward, an envelope is not a flat sheet of paper and so if printing is required on one or more flaps this incurs higher cost as specialist printing skill is required. For small businesses with a need for relatively low volumes of printed envelopes, even if a case is made for a batch customised with no more than the company logo on the face, there is seldom justification for the added expense of printing on the flap side too. However the volume-related barrier to the use of customised envelopes by small businesses was subsequently lowered in the late-20th century with the advent of the digital printing revolution which saw the introduction of PC printers. Although designed primarily to process flat rectangular sheets these could be adjusted to also overprint on the face of rectangular machine-made envelopes in spite of the extra thickness - given suitable office applications software such as Microsoft's Word.^{[citation needed]}

Records[link]

1992 was a memorable year in the world of envelopes, since an Italian company, the Sacchettificio Monzese, produces the biggest envelopes in the world (after entered in the Guinness World Records book of the same year).^[6] The three biggest envelopes in the world are: "REGINA" (516x736 cm), "PRINCIPESSA" (414x865 cm with a window whose size is 137x342 cm) and "RE" (755x757 cm).

Present and future state of envelopes[link]

Then right at the end of the 20th century, in 1998, the digital printing revolution delivered another benefit for small businesses when the U.S. Postal Service became the first postal authority to approve the introduction of a system of applying to an envelope in the printer bin of a PC sheet printer a digital frank or stamp delivered via the Internet. With this innovative alternative to an adhesive-backed postage stamp as the basis for an Electronic Stamp Distribution (ESD) service, a business envelope could be produced in-house, addressed and customised with advertising information on the face, and ready to be mailed.

The fortunes of the commercial envelope manufacturing industry and the postal service go hand in hand, and both link to the printing industry and the mechanized envelope processing industry producing equipments such as franking and addressing machines. They are all four symbiotic: technological developments affecting one obviously ricochet through the others: addressing machines print addresses, postage stamps are a print product, franking machines imprint a frank on an envelope. If fewer envelopes are required; fewer stamps are required; fewer franking machines are required and fewer addressing machines are required.^{[citation needed]} For example, the advent and adoption of information-based indicia (IBI) (commonly referred to as digitally-encoded electronic stamps or digital indicia) by the US Postal Service in 1998 caused widespread consternation in the franking machine industry, as their equipments were effectively rendered obsolescent and resulted in a flurry of lawsuits involving Pitney Bowes among others. The advent of e-mail in the late 1990s appeared to offer a substantial threat to the postal service. By 2008 letter-post service operators were reporting significantly smaller volumes of letter-post, specifically stamped envelopes, which they attributed mainly to replacement by e-mail. Although a corresponding reduction in the volume of envelopes required would have been expected, no such decrease was reported as widely as the reduction in letter-post volumes.

Although as regards e-mail developments there is a substantial threat of "technology replacing tradition", this is offset by the equal reasoning that the Universal Postal Union is an international specialised agency of the United Nations, and a source of revenue for government. Consequently any deterioration of domestic and international postal services attended by loss of revenue is a matter of governmental concern.

Envelopes for laser printers[link]

The latest born in the family of envelopes are the envelopes for laser printers. Thanks to these kind of envelopes, it is possible to print the graphics of the envelopes directly with a common office laser printer. This process makes possible a personalized and bespoke marketing and mailing.

The first envelope suitable for laser printing machines has been patented by an Italian company, the Sacchettificio Monzese.^[7]

Mailers[link]

Some envelopes are available for full size documents. The Postal Service and Express mail carriers have large mailing envelopes for their express services. Other similar envelopes are available at stationery supply locations.

These mailers usually have an opening on an end with a flap that can be attached by gummed adhesive, integral pressure sensitive adhesive or adhesive tape. Construction is usually:

• Paperboard
• Corrugated fiberboard
• Polyethylene, often a coextrusion
• Nonwoven fabric

Padded mailers[link]

Shipping envelopes can have padding to provide stiffness and some degree of cushioning. The padding can be ground newsprint, plastic foam sheets, or air filled bubbles.

See also[link]

References[link]

External links[link]

Look up envelope in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Envelopes

• Maynard H. Benjamin (2002). "History of Envelopes". Envelope Manufacturers Association. http://www.postalmuseum.si.edu/industrywhitepapers/EMA_History.pdf.  Available via the Smithsonian National Postal Museum

• Dominic Donaldson (Sep 23, 2008). "Learn About The History Of Envelopes". ArticlesBase. http://www.articlesbase.com/writing-articles/learn-about-the-history-of-envelopes-575036.html. 

• "ISO 216:2007 - Writing paper and certain classes of printed matter". International Organization for Standardization. http://www.iso.org/iso/iso_catalogue/catalogue_tc/catalogue_detail.htm?csnumber=36631. 

• http://www.cl.cam.ac.uk/~mgk25/. "International standard paper sizes". University of Cambridge. http://www.cl.cam.ac.uk/~mgk25/iso-paper.html.  the ISO 216 paper size system and the ideas behind its design.

• Bodleian Library (2001). "De la Rue’s Stationery Stand and Envelope Machine (1851)". John Johnson Collection Exhibition. University of Oxford. http://www.bodley.ox.ac.uk/johnson/exhibition/192.htm. 

• Gerard Hughes. "Envelope and Letterfolding". http://www.ghh.com/elf.  Methods from the Envelope and Letter Folding Association

• Alex Macmillan. "Letterfu envelopes templates". http://www.letterfu.com.  (Creative Commons)

Kevin Spacey
Spacey in April 2009
Born	Kevin Spacey Fowler (1959-07-26) July 26, 1959 (age 52) South Orange, New Jersey, United States
Occupation	Actor, director, producer, screenwriter
Years active	1981–present

Kevin Spacey, CBE (born Kevin Spacey Fowler; July 26, 1959) is an American actor, director, screenwriter, producer, and crooner. He grew up in California, and began his career as a stage actor during the 1980s, before being cast in supporting roles in film and television. He gained critical acclaim in the early 1990s, culminating in his first Academy Award for The Usual Suspects (Best Supporting Actor), followed by a Best Actor Academy Award win for American Beauty (1999). His other starring roles in Hollywood include Seven, L.A. Confidential, Pay It Forward, K-PAX, and Superman Returns in a career which has earned him several Emmy and Golden Globe nominations. Since 2003, he has been artistic director of the Old Vic theatre in London.

Early life[link]

Spacey was born in South Orange, New Jersey, the son of Kathleen Ann (née Knutson; December 5, 1931 – March 19, 2003), a secretary, and Thomas Geoffrey Fowler (June 4, 1924 – December 24, 1992), a technical writer and data consultant.^[1][2][3] He has two older siblings: a sister, Julie, and a brother, Randy. He attended Northridge Military Academy, Canoga Park High School (in tenth and eleventh grades), and then Chatsworth High School in Chatsworth, Los Angeles, where he graduated valedictorian of his class.^[4][5] At Chatsworth High, he starred in the school's senior production of The Sound of Music, playing the part of Captain Georg von Trapp, opposite Mare Winningham's character, Maria.

While in high school, he took on his paternal grandmother's maiden name, "Spacey", originally a Yorkshire name, as his acting surname.^[3][6] Several reports have incorrectly suggested that he took his name in tribute to actor Spencer Tracy, combining Tracy's first and last names.^[6] He had tried to succeed as a comedian for several years, before attending the Juilliard School in New York City, where he studied drama,^[7] between 1979 and 1981. During this time period, Spacey performed stand-up comedy in bowling alley talent contests.^[8]

Career[link]

Spacey's first professional stage appearance was as a spear-carrier in a New York Shakespeare Festival performance of Henry VI, part 1 in 1981. The following year, he made his first Broadway appearance, as Oswald in a production of Henrik Ibsen's Ghosts, starring Liv Ullmann. Then he portrayed Philinte in Molière's The Misanthrope. In 1984, it was David Rabe's Hurlyburly, where he rotated through each of the male parts (he would later play Mickey in the film version). Next came Anton Chekhov's The Seagull and a period, in 1986, performing Sleuth in a New Jersey dinner theatre.

His prominence as a stage actor began in 1986, when he was cast opposite Jack Lemmon, Peter Gallagher and Bethel Leslie as Jamie, the eldest Tyrone son in Jonathan Miller's lauded production of Eugene O'Neill's Long Day's Journey into Night. Lemmon in particular would become a mentor to Spacey.^[9] He made his first major television appearance in the second season premiere of Crime Story, playing a Kennedy-esque American senator. Although his interest soon turned to film, Spacey remained actively involved in the live theater community. In 1991, he won a Tony Award for his portrayal of "Uncle Louie" in Neil Simon's Broadway hit Lost in Yonkers. Spacey's father was unconvinced that Spacey could make a career for himself as an actor, and did not change his mind until Spacey became well-known.^[8]

Some of Spacey's early roles include a widowed eccentric millionaire on L.A. Law, the made-for-television film The Murder of Mary Phagan (1988), opposite Lemmon, and the Richard Pryor/Gene Wilder–starring comedy See No Evil, Hear No Evil (1989). Spacey earned a fan base following after playing the criminally insane arms dealer Mel Profitt on the television series Wiseguy. He quickly developed a reputation as a character actor, and was cast in bigger roles, including one-half of the bickering Connecticut couple in the dark comedy The Ref (1994), a malicious Hollywood studio boss in the satire Swimming with Sharks, and the malevolent office manager in the all-star ensemble film Glengarry Glen Ross (1992), gaining him positive notices by critics. His performance as the enigmatic criminal Verbal Kint in The Usual Suspects won him the Academy Award for Best Supporting Actor.^[7]

Spacey appeared in the 1995 thriller film Seven, with Brad Pitt and Morgan Freeman, making a sudden entrance late in the film as the serial killer John Doe, after going unmentioned in the film's advertisements and opening credits. His work in Seven, The Usual Suspects, and Outbreak earned him Best Supporting Actor honors at the 1995 Society of Texas Film Critics Awards.^[10][11]

Spacey played an egomaniacal district attorney in A Time to Kill (1996), and founded Trigger Street Productions in 1997, with the purpose of producing and developing entertainment across various media. He made his directorial debut with the film Albino Alligator (1996). The film was a failure at the box office, grossing $339,379 with a budget of $6 million, but critics praised Spacey's direction. He also did voice work in Pixar's A Bug's Life (1998) voicing the main antagonist Hopper, the leader of a vicious gang of grasshoppers.

Spacey won universal praise and a Best Actor Oscar for his role as a depressed suburban father who re-evaluates his life in 1999's American Beauty;^[7] the same year, he was honored with a star on the Hollywood Walk of Fame. Spacey also earned another Tony nomination the same year, for his work in a Broadway production of The Iceman Cometh. During the several years following American Beauty's release, Spacey appeared in films that he believes^{[citation needed]} hadn't done as well critically or in terms of box office. In 2001, Spacey co-hosted, with Judi Dench, the Unite for the Future Gala, a UK fundraiser for the British Victims of 9/11 and Médecins Sans Frontières at London's Old Vic Theatre, produced by Harvey Goldsmith and Dominic Madden.

He played a physically and emotionally scarred grade school teacher in Pay It Forward (2000), a patient in a mental institution who may or may not be an alien in K-Pax (2001), and singer Bobby Darin in Beyond the Sea (2004). Beyond The Sea was a lifelong dream project for Spacey, who took on co-writing, directing, co-producing and starring duties in the biography/musical about Darin's life, career, and relationship with actress Sandra Dee. Facing little interest for backing in the States, Spacey went to the UK and Germany for funding. Almost all of the movie was filmed in Berlin.^[9] Spacey provided his own vocals on the Beyond the Sea soundtrack and appeared in several tribute concerts around the time of the film's release. He received mostly positive reviews for his singing, as well as a Golden Globe nomination for his performance. However, reviewers criticized the age disparity between Spacey and Darin, noting that Spacey was too old to convincingly portray Darin, particularly during the early stages of the singer's life depicted in the film.

Spacey hosted Saturday Night Live twice: first in 1997 with musical guest Beck and special guests Michael Palin and John Cleese from Monty Python's Flying Circus; and again in the last episode of season 31 with musical guest Nelly Furtado.

Spacey at HBO Post Emmys Party, 2008

In 2006, Spacey played Lex Luthor in the Bryan Singer–directed superhero film, Superman Returns. He was to return for its 2009 sequel, but it was recently revealed that there won't be a chronological sequel; it is currently unknown if he has been asked to resume the role in any future films. Spacey also appeared in Edison, co-starring Morgan Freeman and Justin Timberlake; Edison received a direct-to-video release on July 18, 2006. In 2008, he played an MIT lecturer in the film 21, along with Kate Bosworth, Laurence Fishburne, and Jim Sturgess. The film is based on Ben Mezrich's best seller, Bringing Down the House: The Inside Story of Six MIT Students Who Took Vegas for Millions, a story of student MIT card-counters who used mathematical probability to aid them in card games such as blackjack.

Spacey is well known in Hollywood for his impressions as when he appeared on Inside the Actors Studio he imitated, at host James Lipton's request: James Stewart, Johnny Carson, Katharine Hepburn, Clint Eastwood, John Gielgud, Marlon Brando, Christopher Walken, Al Pacino and Jack Lemmon.^[12]

Capitol/EMI's album Forever Cool (2007) features two duets with Spacey and the voice of the late Dean Martin: "Ain't That a Kick in the Head" and "King of the Road."

Spacey sits on the Board of Directors of the Motion Picture and Television Fund.^[13]

The Old Vic[link]

In February 2003, Spacey announced that he was returning to London to become the artistic director of the Old Vic, one of the city's oldest theatres.^[14] Appearing at a press conference with Judi Dench and Elton John, he promised both to appear on stage and to bring in big-name talent.^[15] Spacey undertook to remain in the post for a full ten years. The Old Vic Theatre Company, in its current form, stages shows eight months out of the year. Spacey's first season started in September 2004, and opened with the British premiere of the play Cloaca by Maria Goos, directed by Spacey, which opened to mixed reviews.^[16] In the 2005 season, Spacey made his UK Shakespearean debut, to good notices, in the title role of Richard II directed by Trevor Nunn.^[16]

In mid-2006, Spacey felt he was having the time of his life working at the Old Vic. At this point in his career, he was "trying to do things now that are much bigger and outside himself".^[17] He performed in productions of National Anthems by Dennis McIntyre, and The Philadelphia Story by Philip Barry in which he played C. K. Dexter Haven, the Cary Grant role in the film version. Critics applauded Spacey's daring for taking on the management of a theatre, but noted that while his acting was impressive, his skills and judgment as a producer/manager had yet to develop.^{[citation needed]}

In the 2006 season, Spacey suffered a major setback with a production of Arthur Miller's Resurrection Blues, directed by Robert Altman.^[18] Despite an all-star cast (including Neve Campbell and Matthew Modine) and the pedigree of Miller's script, Spacey's decision to lure Altman to the stage proved disastrous: after a fraught rehearsal period, the play opened to a critical panning, and closed after only a few weeks.^[17] Later in the year, Spacey starred in Eugene O'Neill's A Moon for the Misbegotten, along with Colm Meaney and Eve Best. The play received excellent reviews for Spacey and Best, and was transferred to Broadway in 2007. For the spring part of the 2007–08 season, Jeff Goldblum and Laura Michelle Kelly joined Spacey as the three characters in David Mamet's 1988 play Speed-the-Plow.^[19]

In January 2009, he directed the premiere of Joe Sutton's Complicit, with Richard Dreyfuss, David Suchet and Elizabeth McGovern.

In September, 2009, Trevor Nunn directed Spacey in a revival of Inherit The Wind. Based on a true story of a teacher arrested for teaching his students evolution also known as the "Scopes Monkey Trial," Spacey played defense lawyer Henry Drummond, a role that was made famous by actor Spencer Tracy in the 1960 film of the same name.

In June 2011, Sam Mendes directed Spacey in a Shakespeare's Richard III. The production will mount a worldwide tour for the rest of 2011 culminating in New York in early 2012.^[20]

Other honors[link]

Spacey was awarded a Doctor of Letters, honoris causa from the London South Bank University in November 2005.^[21]

In June 2008, he was appointed as Cameron Mackintosh Visiting Professor of Contemporary Theatre at St Catherine's College, Oxford, succeeding Patrick Stewart in the post. He was officially welcomed on October 13, 2008.^[22]

On November 3, 2010 he was invested as an honorary CBE by Prince Charles at Clarence House, on behalf of the Queen, for services to drama.^[23]

Personal life[link]

This section may require copy editing for grammar, style, cohesion, tone, or spelling. You can assist by editing it. (March 2012)

In September 2006, Spacey announced his intention to stay on at the Old Vic for at least another nine years, and that due to his continuing UK residency he intends to take up British citizenship when it becomes available to him.^[24]

Spacey is a staunch Democrat and a friend of former US President Bill Clinton, having met Clinton before his presidency began. Spacey has described Clinton as "one of the shining lights" of the political process.^[8] According to Federal Election Commission data, Spacey has contributed US$42,000 to Democratic candidates and committees.^[25] He additionally made a cameo appearance in President Clinton: Final Days, a light-hearted political satire produced by the Clinton administration for the White House Correspondents Dinner.^[26]

In September 2007, Spacey met Venezuelan president Hugo Chávez. Neither spoke to the press about their encounter but hours later the actor visited the government-funded movie studio, Villa del Cine (Cinema City).^[27] In December of that year he co-hosted the Nobel Peace Prize Concert with Uma Thurman.^[28]

Spacey has never married and staunchly protects his private life.^[29] This has generated rumors regarding his sexual orientation. He has stated that he is not gay in the October 1999 issue of Playboy,^[30] in The Sunday Times Magazine (December 19, 1999)^[31] and in the May 2007 issue of Gotham Magazine.^[32]

Voice actress April Winchell revealed in broadcasts of her KFI show, on her web diary and several other websites that she and Spacey dated for a while after high school during a run of the musical Gypsy and later went to New York together.^[33][34] Between 1992 and 2000, Spacey reportedly discreetly dated Dianne Dreyer,^[32][35][36] script supervisor to Anthony Minghella, M. Night Shyamalan and Sydney Pollack.^[37]

In March 2011, following Belarusian president Alexander Lukashenko's crackdown on the Belarusian democracy movement, Spacey, along with Jude Law and others, joined street protests against Lukashenko. Spacey stated: "...they will never be able to ban the Belarus people's right to fight for their freedom and their voices to be heard, and that's what this protest is about."^[38]

Filmography[link]

Discography[link]

Albums[link]

Singles[link]

Live performances[link]

• "Mind Games" — Come Together: A Night for John Lennon's Words and Music — October 2, 2001 — Radio City Music Hall

Curiosities[link]

In year 2011 the italian rapper Caparezza dedicates a song to the actor, named "Kevin Spacey," included in his album Il sogno eretico. The song has been playing on Italian and Swiss radios since January 27, 2012.

References[link]

External links[link]

Wikimedia Commons has media related to: Kevin Spacey

Wikiquote has a collection of quotations related to: Kevin Spacey

• Kevin Spacey at the Internet Broadway Database
• Kevin Spacey at the Internet Off-Broadway Database
• Kevin Spacey at the Internet Movie Database
• Interview with Kevin Spacey from April 2007
• Kevin Spacey interview in the UK Independent on Sunday