[Glenda Jackson is indubitably
one of the best actors on the English-speaking stage and screen, with many
iconic roles to her name. Currently, she’s appearing (through 24 June) in the Broadway première of Edward Albee’s 1994 Pulitzer Prize-winning play, Three Tall Women at
the John Golden Theatre (for which she’s now won both a Tony and a Drama Desk Award for her performance). On 4 June 2018, PBS NewsHour correspondent Jeffrey Brown sat down with
Jackson for an interview, the transcript of which is republished below (and
available at https://www.pbs.org/newshour/show/glenda-jacksons-third-act-is-a-return-to-broadway-after-decades-in-politics#transcript).]
Glenda
Jackson is back on Broadway for the first time since 1988, starring in Edward
Albee's “Three Tall Women.” Jackson, 82, sits down with Jeffrey Brown to
discuss the challenge of finding interesting female roles and why she spent 23
years away from acting as a Labor Party member of the British Parliament
championing women's rights.
Amna
Nawaz: Now the return of one
of the greats of theater and film, after many years she spent in politics.
Two
years ago, Glenda Jackson made a powerful acting comeback, and now she’s back
on Broadway with a third act to her remarkable career.
As
Jeffrey Brown reports, she is also a strong favorite for a Tony Award later
this week.
Jeffrey
Brown: It was quite a
return. After 23 years away from the theater, Glenda Jackson took to the stage
of London’s Old Vic in 2016 in Shakespeare’s “King Lear” playing Lear.
Glenda
Jackson: That’s one of the
endearing things about the theater. I can put it into a kind of immediate
context. You work with people, you may not see them for decades, you bump into
them in the street, and it’s as though you have just walked out to the same
coffee bar. You know, there’s no time gap.
Jeffrey
Brown: Now 82, Jackson is
back on Broadway for the first time since 1988, starring with Laurie Metcalf
and Alison Pill in Edward Albee’s “Three Tall Women.”
It’s a
play about memory and aging that appealed to Jackson partly because of its
strong female roles, something she says is a rarity. We talked recently at the
famed Sardi’s Restaurant in Times Square.
Glenda
Jackson: It has been my
experience, ever since I first walked onto a stage and got paid for it, that
contemporary dramatists find women really, really boring. We are never, or
hardly ever, the kind of dramatic engine of what they are writing.
Jeffrey
Brown: Why do you think that
that’s been the case?
Glenda
Jackson: You’re a man. You
tell me. Why do men, who are in the main still the majority of contemporary
dramatists, find us so boring? They just don’t seem to think that being a woman
is either interesting or dramatic or challenging or dangerous, or any of the
things that any woman in the world knows our lives can and not infrequently
are.
Jeffrey
Brown: And has this been a
problem for you in your career in finding roles that you like?
Glenda
Jackson: Well, of course it’s
a problem.
Jeffrey
Brown: Yes.
Glenda
Jackson: And it’s a problem
that doesn’t seem to have changed.
That is
bemusing to me, because it hasn’t shifted in all the years that I was in the
theater, and now I am back in it.
Jeffrey
Brown: It’s hard to imagine
anyone finding Glenda Jackson boring. Beginning in the 1960s, Jackson was a
prominent presence on stage and screen on both sides of the Atlantic.
Glenda
Jackson: I could never love
you.
Jeffrey
Brown: She reached wide fame
in the 1969 film “Women in Love,” for which she won her first Academy Award for
best actress.
Her
performances, often playing strong, dynamic women, continued to win acclaim and
awards, including two Emmys for the 1971 BBC series “Elizabeth R,” which aired
on public television’s “Masterpiece Theatre.”
She won
a second Oscar for the 1973 film “A Touch of Class.”
But in
1988, Jackson, a longtime critic of the government of conservative British
Prime Minister Margaret Thatcher, left acting for what would become a
decades-long political career as a Labor Party member of the British
Parliament.
Glenda
Jackson: By far, the most
dramatic and heinous demonstration of Thatcherism was where every single shop
doorway, every single night, became the bedroom, the living room, the bathroom
for the homeless.
Jeffrey
Brown: When you left acting,
was it because you had done enough or had enough?
Glenda
Jackson: Good heavens, no.
Jeffrey
Brown: No.
Glenda
Jackson: My country was being
destroyed. Anything I could do that was legal to get Margaret Thatcher out, and
her government out, I was prepared to have a go at, and because everything I
had been taught to regard as vices, she told me were virtues.
Greed
wasn’t greed. It was doughty independence. Selfishness wasn’t selfishness. It
was taking care of your immediate responsibilities.
Jeffrey
Brown: Did you come to feel
that you accomplished something meaningful as a politician? Was it…
Glenda
Jackson: Not as an individual,
because the idea that you have individual power in that sense is actually not
true. You have clear responsibilities towards your own constituents and your
own constituency.
And
that was for me the most interesting part of it. But, yes, we did make changes.
But then, of course, along came the Iraq War, and it went boom, like that, as
far as I was concerned.
Jeffrey
Brown: One issue she championed,
women’s rights in the home and workplace. I asked if she was surprised by the
force of the MeToo movement now.
Glenda
Jackson: What surprises me is
that people are surprised. I mean, in my country, for example, two women die
every week at the hands of their partner, not infrequently male, usually,
invariably male, every week.
Now,
that’s not on the front pages of our newspapers every week. So this sudden
almost cataclysm of surprise, shock, horror, how could this have happened, I
don’t buy it. I mean, people are deluding themselves. I mean, we fail to
acknowledge it, we fail to really work to eradicate it, and it — it takes more
than just being shocked to eradicate it.
Jeffrey
Brown: So, for you
personally, do you have any regrets about having taken the time away from
acting to be a politician?
Glenda
Jackson: No.
Jeffrey
Brown: No.
Glenda
Jackson: I mean, it is an
inordinate privilege to be a member of Parliament. I mean, people give you
their trust, and they also give you what I regard as their most valuable right
in a sense, their vote.
And
that is a very humbling and privileged experience to have.
Jeffrey
Brown: So, now that you’re
back, do you plan to continue acting?
Glenda
Jackson: Well, I would hope
to. Yes. I mean, you know, yes. It’s one of the things that have been and is at
the moment very central and essential in my life, if the work is that exciting
and daunting as I have been privileged to experience over the past couple of
years.
Jeffrey
Brown: “Three Tall Women”
runs through June 24.
For the
“PBS NewsHour,” I’m Jeffrey Brown on Broadway in New York.
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