Remembering Dame Maggie Smith: WWD Revisits an Interview From 1970, as She Gained Acclaim on Stage
This interview was originally published by WWD on Feb. 10, 1970.
LOS ANGELES
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THE PRIME OF MISS MAGGIE SMITH MAY STILL BE IN THE WINGS.
And perfectionist Maggie would rather let critics pinpoint its entrance. Plucked from a group of performers in the National Theater of Great Britain, her superior ability on the stage — especially her current role as Mrs. Sullen in “Beaux Stratagem” at the Ahmanson theater in Los Angeles — she has been heralded by critics and viewers alike as “an unmitigated triumph.”
But, none of this acclaim seems to have bloated Maggie’s ego. Curling up in a chair in the small theater dressing room, she begins to unwind between shows. “Doing matinees on top of the evening show is frightfully exhausting, I usually spend the time sleeping.”
MAGGIE TALKS ABOUT HER MOST RECENT ACCOLADE . . . the London Film Critics’ Best Actress award for her performance in “The Prime of Miss Jean Brodie.”
“I’m delighted,” she calmly reports. “That’s the one I’m sharing with Vanessa (Redgrave).” There’s no trace of the Hepburn-Streisand sour grapes saga. “She’s a wonderous woman with tremendous ability . . . my Margaret,” husband and co-star Robert Stephens volunteers. He sits nearby . . . tranquilly pep-talking his highly strung leading lady.
“Playing here for the first time has been quite an adjustment,” Maggie admits. “I’m not used to such a vast theater and the audience is so immense. It takes a lot more out of me. You have to use more of yourself and move your entire body.” But American audiences have impressed England’s repertoire queen. “It’s startling. They’re such a with-it group. Certain jokes go over better in London, of course, but they listen so intently here.”
MAGGIE’S SCHEDULE IS A GRUELING ONE.
“That’s why Robert and I don’t entertain. I defy anybody to play both roles simultaneously and do either of them well.” Does she prefer the stage to film? “Not really, but we haven’t done that much film work yet.” (Robert becomes the silent partner of “We.”)
“It’s nice to work on the stage, because you’re constantly improving your performance. In film, you can’t afford to be wrong . . . and the hours are physically deflating.” Maggie professes to be more at ease in a comedy role. “But, I like dramatic parts too . . . it all depends on the script. ‘Brodie’ was a unique role for a woman . . . I’ve got Bobby Fryer to thank for that . . . If I were nominated for an Academy Award, I’d be happiest for Bobby.” And if she won? “I hate ‘if-y’ questions,” she sparks, “but, ‘if,’ it would be nice to get a prize. . “
“CLASSICS,” SAYS MAGGIE, “ARE MY FIRST LOVE.”
They stretch you more than the modern theater and Maggie thrives on challenge. Beneath that fragile silhouette, there lies the seeds of super-star strength. “Big budget films are lunacy,” she contends. “I don’t understand the ludicrous game of monopoly they play for bigger and bigger salaries. It all goes into taxes anyway. But then our fortune is being asked to be in films, when we’re really theater people.
“In the early days, the film and stage were worlds apart,” she continues. “I suppose if our livelihood was films, then it would be like a football player. . . with an uncertain time span of usefulness, the money would be all-important.”
MAGGIE CLAIMS THERE IS “NO ONE PART” SHE’S SEARCHING FOR.
“I love the versatility of it all. When Sir Laurence (Olivier) suggested I play Desdemona, my friends winced. They thought I’d fall flat on my face.” Maggie seems to enjoy the game of proving herself. . .
Spare time gives Maggie an equally satisfying role. “I’ve been pregnant when I’m not busy,” she jests. Two-and-a-half-year-old Christopher accompanied his parents to California. . . and Toby, just 8 months old, stayed in London. “It’s hard to be away from him right now, but my mother’s there.”
Hollywood draws no particular reaction. “We really haven’t seen much of it. We’ve rented an apartment in Malibu, and when we’re through here, we go to the beach and collapse. We’ve met some absolutely charming people, though.”
AFTER A THREE-WEEK STINT OF CHEKHOV’S “THREE SISTERS,’ FOLLOWING “BEAUX” AT THE AHMANSON, the company returns to London to play “Beaux” for the rest of the year. “I’ve never played Chekhov, but I adore him,” admits Maggie. “The first dry run was. . . terrifying, but I enjoyed it. . . it’s heaven to work with Sir Laurence.”
For Maggie, the immediate future means “another dreadful polar flight home.” Then the youthful couple will holiday in Rome for three weeks. “We always seem to end up there. . . we have good friends with a pension and it’s a delightful change.”
“I’ll be in a short run of ‘Hedda Gabbler’ too,” adds busy Maggie. Then, perhaps another film. She’s had several offers already, but it’s too far ahead to make anything definite.” If she’s nominated for “Brodie,” chances are that Maggie won’t attend the award
Festivities. . . “I didn’t come when I was nominated for a supporting role in ‘The VIP’. . . I don’t see how I can possibly fit in. And besides, that polar flight isn’t all that inviting.”
– Karin Winner
Research by Tonya Blazio-Licorish
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