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Glenda Jackson on quitting Parliament, playing Lear and returning to Broadway
[...]it’s unlikely to remain so as she begins her run in Three Tall Women, the 1994 Pulitzer Prize-winning drama only now making its Broadway debut, at the Golden Theatre, with Laurie Metcalf (a current Oscar nominee) and Alison Pill her co-stars. Not long after, the iconoclastic film director Ken Russell invited her to portray the conflicted, temperamental young artist Gudrun Brangwen in his film of DH Lawrence’s Women in Love, in which she stared down and danced with a herd of highland cattle. [...]there was the uncompromising, defiant strength she exuded in every role, whether it was the Virgin Queen of Elizabeth R, a hugely popular BBC series (for which she won two Emmys), or the nymphomaniacal Nina, wife to Richard Chamberlain’s Tchaikovsky in Russell’s notorious fever dream of a biopic The Music Lovers. Glenda Jackson stars in Edward Albee’s ‘Three Tall Women’ on Broadway at the John Golden Theatre, New York, from 27 February © New York Times Reuse content Independent Culture Newsletter IndyArtsAndEntertainmentNews Article Signpost Culture,Theatre & Dance Culture Email address Please enter an email address Email address is invalid Email cannot be used.
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Why Arthur Miller Is Important
AudioFile Magazine said of The Crucible production, \"The star-studded cast ratchets the tension to a disturbing level as the town disintegrates\" Famed BBC radio director Martin Jenkins schooled the acclaimed cast in the art of radio drama and helped them gain a deep relationship with the words. Because they worked closely with each other and got up close and personal with microphones during their performance (this was recorded in studio), the vocal levels allowed in the production have a much greater range than you can typically have in a stage production, and this created a connection for the actors. [...]in two recent critical reassessments (perhaps better described as shellackings), Bert Cardullo decries what he calls Arthur Miller's \"swollen\" reputation and declares that \"[a]ttention must finally be unpaid\" to Death of a Salesman, which he regards as a grievously overrated, technically clumsy, and thematically confused play (Cardullo, \"Death of a Salesman\"; Cardullo, \"Attention, Attention\"). [...]the intrusion of the female and of the family operates something like the snake in the garden for Miller's males, though they tend to be heterosexual and even love women (though it is not obvious that they always like them). [...]one finds in Miller's drama a fascinating tension between a desire to escape the home and to return to it, between a desire to remake the male public space in the image of the home and a desire to escape the clutches of the inhibiting or insidious female who inhabits the home.
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