Answer the question at the end by quoting:

Harold Frederick Shipman (14 January 1946 - 13 January 2004) was a British general practitioner and one of the most prolific serial killers in recorded history. On 31 January 2000, a jury found Shipman guilty of fifteen murders for killing patients under his care. He was sentenced to life imprisonment with the recommendation that he never be released. The Shipman Inquiry, a two-year-long investigation of all deaths certified by Shipman, which was chaired by Dame Janet Smith, examined Shipman's crimes.
Shipman hanged himself in his cell at Wakefield Prison at 06:20 on 13 January 2004, on the eve of his 58th birthday, and was pronounced dead at 08:10. A Prison Service statement indicated that Shipman had hanged himself from the window bars of his cell using bed sheets. Some of the victims' families said they felt cheated, as his suicide meant they would never have the satisfaction of Shipman's confession nor answers as to why he committed his crimes. The Home Secretary David Blunkett noted that celebration was tempting, saying: "You wake up and you receive a call telling you Shipman has topped himself and you think, is it too early to open a bottle? And then you discover that everybody's very upset that he's done it." His death divided national newspapers, with the Daily Mirror branding him a "cold coward" and condemning the Prison Service for allowing his suicide to happen. The Sun, however, ran a celebratory front-page headline; "Ship Ship hooray!" The Independent called for the inquiry into Shipman's suicide to look more widely at the state of Britain's prisons as well as the welfare of inmates. In The Guardian, an article by Sir David Ramsbotham (former Chief Inspector of Prisons) suggested that whole life sentencing be replaced by indefinite sentencing as these would at least give prisoners the hope of eventual release and reduce the risk of their ending their own lives by suicide as well as making their management easier for prison officials. Shipman's motive for suicide was never established, although he had reportedly told his probation officer that he was considering suicide to assure his wife's financial security after he was stripped of his National Health Service (NHS) pension. Primrose Shipman received a full NHS pension, to which she would not have been entitled had Shipman lived past age 60. Additionally, there was evidence that his wife, who had consistently protested Shipman's innocence despite the overwhelming evidence, had begun to suspect his guilt. Shipman had refused to take part in courses leading toward a full confession of his crimes, leading to temporary removal of privileges, including the opportunity to telephone his wife. During this period, according to Shipman's cellmate, he received a letter from Primrose exhorting him to "tell me everything, no matter what". A 2005 inquiry found that Shipman's suicide "could not have been predicted or prevented", but that procedures should nonetheless be re-examined.

Why did he hang himself?

Shipman's motive for suicide was never established, although he had reportedly told his probation officer that he was considering suicide to assure his wife's financial security

Answer the question at the end by quoting:

Hermione Ferdinanda Gingold (9 December 1897 - 24 May 1987) was an English actress known for her sharp-tongued, eccentric persona. Her signature drawling, deep voice was a result of nodes on her vocal cords she developed in the 1920s and early 1930s. After a successful career as a child actress, she later established herself on the stage as an adult, playing in comedy, drama and experimental theatre, and broadcasting on the radio. She found her milieu in revue, which she played from the 1930s to the 1950s, co-starring several times with Hermione Baddeley.
Gingold's adult stage career was slow to take off. She played Liza in If at the Ambassador's in May 1921, and the Old Woman in Ben Travers's farcical comedy The Dippers produced by Sir Charles Hawtrey at the Criterion in August 1922. In 1926 Gingold divorced from Joseph. Later in the same year she married the writer and lyricist Eric Maschwitz, whom she divorced in 1945. She underwent a vocal crisis in the late 1920s and early 1930s: she had hitherto described herself as "Shakespearian and soprano", but nodules on her vocal cords brought a drastic drop in pitch, about which she commented, "One morning it was Mozart and the next 'Old Man River'". The critic J. C. Trewin described her voice as "powdered glass in deep syrup". During this period she broadcast frequently for the BBC and established herself at the experimental theatre-club the Gate Theatre Studio in London, first as a serious actress and later in the genre for which she became famous, revue. According to The Times it was in Spread It Abroad (1936) a revue at another theatre, the Saville, with material by Herbert Farjeon that she truly found her milieu. In the ten years from 1938 Gingold concentrated on revue, appearing in nine different productions in the West End. The first four were The Gate Revue (transferred from the Gate to the Ambassador's, 1939), Swinging the Gate (1940), Rise Above It (1941) and Sky High (1942). During this period she and Hermione Baddeley established a stage partnership of what The Times called "briskly sustained mock-rivalry". In June 1943 she opened in a revue at the Ambassadors, Sweet and Low, which was continually revised and refreshed over a run of almost six years, first as Sweeter and Lower and then Sweetest and Lowest. In her sketches she tended, as the writer of the shows, Alan Melville, recalled, to portray "grotesque and usually unfortunate ladies of dubious age and occasionally, morals; the unhappy female painted by Picasso who found herself lumberered with an extra limb or two ... the even less fortunate female who, after years of playing the cello in Palm Court orchestras, ended up bow-legged beyond belief." In a biographical sketch, Ned Sherrin writes, "Gingold became a special attraction for American soldiers and 'Thanks, Yanks' was one of her most appropriate numbers. During the astringent, name-dropping 'Sweet' series, she played 1,676 performances, before 800,000 people, negotiating 17,010 costume changes."

What was life like for Hermione in the 1920's?
Gingold's adult stage career was slow to take off.