David Ogden Stiers Biography Quotes 28 Report mistakes

Early Life and Training
David Ogden Stiers was born on October 31, 1942, in Peoria, Illinois, and grew up in Eugene, Oregon, where his early interest in performance took hold. After high school he pursued formal training that would define his craft, studying acting with rigor and, crucially, enrolling in the newly formed Drama Division at the Juilliard School. There he came under the influence of producer and teacher John Houseman, whose mentorship helped focus Stiers' blend of classical technique, wit, and vocal command. He later joined The Acting Company, the touring repertory troupe founded by Houseman, gaining the stage discipline and repertory range that would support his screen and concert careers.

Stage Foundations
Before television made him widely recognizable, Stiers developed a strong theatrical profile. In New York he appeared in plays off-Broadway and on Broadway, notably in The Magic Show alongside Doug Henning, where his poise and comic timing played against the production's spectacle. The stage taught him how to shape language and silhouette character, skills that later made his television work memorable and his voice acting instantly identifiable.

Breakthrough on M*A*S*H
Stiers became a familiar face in 1977 when he joined M*A*S*H as Major Charles Emerson Winchester III, a Boston-bred surgeon whose cultivated demeanor and musical tastes contrasted sharply with the 4077th's rough-edged improvisations. The character's friction and unexpected camaraderie with Hawkeye Pierce and B.J. Hunnicutt, played by Alan Alda and Mike Farrell, built a new comic and dramatic engine for the series after the departure of Frank Burns. Scenes with Loretta Swit's Margaret Houlihan and Harry Morgan's Colonel Sherman T. Potter further expanded Winchester's humanity beyond hauteur, and Stiers' nuanced work earned multiple Emmy nominations. His portrayal balanced precision with vulnerability, turning a character introduced as an antagonist into one of the show's moral and emotional linchpins.

Film and Television Beyond M*A*S*H
Beyond the 4077th, Stiers appeared in a wide range of films and television projects. He brought dry elegance and sly humor to roles in feature films such as Better Off Dead and Doc Hollywood, and he became a reliable presence in television movies. In the long-running cycle of Perry Mason telefilms, he appeared as District Attorney Michael Reston opposite Raymond Burr and Barbara Hale, lending authority and an exacting courtroom cadence to the part. He worked steadily as a guest actor across network and cable series, moving easily between comedy and drama and showcasing an ability to turn supporting roles into memorable character studies.

Voice Acting and Collaboration with Disney
Stiers' resonant baritone made him one of the defining voice actors of Disney's renaissance period. He narrated the prologue and voiced the fastidious clock Cogsworth in Beauty and the Beast, collaborating with producers like Don Hahn and directors Gary Trousdale and Kirk Wise. He gave Governor Ratcliffe and the attendant Wiggins their florid, satirical bite in Pocahontas, and lent the Archdeacon gravity and compassion in The Hunchback of Notre Dame. He later voiced the brilliant, bombastic alien scientist Jumba Jookiba in Lilo & Stitch under directors Chris Sanders and Dean DeBlois, continuing the role across sequels and television. Working alongside composers Alan Menken and lyricist Stephen Schwartz, and acting opposite ensembles that included Angela Lansbury and other legendary performers, Stiers helped define a generation of animated storytelling where vocal characterization carried as much weight as animated design.

Music and Conducting
Parallel to his screen work, Stiers cultivated a serious career as an orchestral conductor. He settled in Oregon and became a central figure in the coastal arts community, serving for years as resident conductor of the Newport Symphony Orchestra. He also guest conducted across the Pacific Northwest and beyond, bringing to the podium the same discipline and clarity that marked his acting. His familiarity with the orchestral repertoire and his advocacy for American music made him a valued collaborator with musicians, administrators, and audiences. He regularly narrated concert works and holiday programs, using his voice to bridge the worlds of theater and symphonic music.

Personal Life and Character
Though he maintained a private demeanor, Stiers publicly acknowledged in 2009 that he was gay, explaining that earlier in his career he had been cautious about how openness might affect casting. Friends and colleagues often described him as erudite, generous with younger performers, and meticulous about language, timing, and musicality. In Oregon he supported local arts organizations and educational efforts, reinforcing his belief that civic life is strengthened by culture. The combination of urbane humor and genuine kindness that audiences saw on screen reflected a temperament colleagues encountered offstage as well.

Later Years and Legacy
In later years Stiers balanced concert work with continued voice acting and selective screen appearances, returning frequently to collaborative environments that valued ensemble craft. He died on March 3, 2018, in Newport, Oregon, at the age of 75. News of his passing was shared by his longtime agent Mitchell K. Stubbs and met with tributes from collaborators and fans who cited the intelligence and warmth he brought to even the briefest roles. Alan Alda and other M*A*S*H colleagues recalled his artistry and generosity, while animation fans celebrated the indelible personalities he gave to beloved characters.

David Ogden Stiers' legacy rests on a rare dual fluency: he was both actor and musician, a craftsman who moved easily from the intimacy of the rehearsal room to the expanse of the concert hall. He left behind a gallery of characters defined by clarity of intention, musicality of speech, and a humane curiosity about people. From the operating tents of a fictional Korean War to enchanted castles and interstellar laboratories, he lent gravitas, mischief, and grace, embodying the idea that the performing arts are at their best when intellect, technique, and heart work in concert.

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