Angela Lansbury in Conversation With Charlotte Moore, a LPTW Event at Bruno Walter Auditorium Lincoln Center
Angela Lansbury is a phenomenon at 94-years-young. She’s still acting, still beaming, still working on her craft. What a pleasure for the The League of Professional Theatre Women and the New York Public Library of the Performing Arts to host an interview with Angela Lansbury conducted by friend, actress and Artistic Director of Irish Repertory Theatre in New York, Charlotte Moore. Both women have secured their place in the New York Theatre community and are a joy to know and work with.
The interview was held Thursday, 14 November at the Bruno Walter Auditorium, Lincoln Center for the Performing Arts as a free event produced by Ludovica Villar-Hauser with LPTW members in attendance along with friends of Ms. Lansbury and Ms. Moore. All present were delighted to discover Ms. Lansbury’s wisdom and hear stories about her career which spans seventy-five years and includes performances on stage, in films and on television.
A Tony Award winner for Mame (1966). Ms. Lansbury made her stage debut with Bert Lahr in Hotel Paradiso (1957) and was in her first musical Anyone Can Whistle in 1964. Since Mame, she has won four more Tonys for Dear World (1968) Gypsy (1974) Sweeney Todd (1979) and Noel Coward’s Blithe Spirit for her portrayal of Madam Arcati (2009) which she played five years later at London’s Gielgud Theatre winning an Olivier Award. Other London performances range from the RSC production of Edward Albee’s All Over, to Hamlet co-starring Albert Finney at the National Theatre.
You may have seen Ms. Lansbury in Deuce by Terrence McNally (2007) Madame Armfeldt in Stephen Sondheim’s A Little Night Music (2010) or Gore Vidal’s The Best Man (2012), all on Broadway. And if you were in Australia in 2013 you might have been able to catch her on tour with James Earl Jones in the acclaimed production of Alfred Uhry’s Driving Miss Daisy.
Appearing in over 70 films, Ms. Lansbury was a part of the Studio System. She began at age seventeen with Gaslight (1944) working with Ingrid Bergman and Charles Boyer whom she mentioned were kind to her as a youngster starting out. Her performance as Laurence Harvey’s mother in The Manchurian Candidate (1962) starring Frank Sinatra, Janet Leigh and Laurence Harvey for which she is perhaps most noted, won her a nomination for Best Supporting Actress. That she was around the same age as Laurence Harvey and was able to convince theatergoers that she was his steely, cool, politically compromised mother is certainly a testament of her acting skills.
As a side note, both Gaslight and The Manchurian Candidate are so striking as cult classics, they have produced memes that have been used with references to their dramatic plots. The memes are currently on Social media.”Gaslighting” has come to mean tricking or conniving to brainwash then victimize. (It references the husband’s nefarious plot to dupe his wife into thinking she is insane.) “Manchurian Candidate” has come to mean an unwitting puppet groomed and compromised by an adversarial government. (It references a useless idiot brainwashed to believe an alternate reality for an adversarial government’s nefarious purposes to further their own agenda and destroy a nation from within.)
In films Ms. Lansbury acted with Elizabeth Taylor in National Velvet and became friends with her and Richard Burton and many other Hollywood greats, for example Katherine Hepburn and Spencer Tracey. Recently, Ms. Lansbury has been in Nanny MPhee, Mary Poppins Returns and the animated The Grinch That Stole Christmas.
When she took the starring role as mystery writer and amateur detective Jessica Fletcher on Murder, She Wrote, it was a boon. She was so beloved, that the network kept the show running for 12 seasons, 264 performances from 1984-1996. It was the longest-running detective drama series in TV history. As a result she was either nominated or won the Golden Globe as Best Performance by an Actress in a TV series 10 out of the 12 years the series ran (5 Golden Globes). And she was nominated for a Prime Time Emmy 18 times.
The rest of her award list belies that Angela Lansbury is very charming and humble in person. She is a recipient of the National Medal of the Arts and the Kennedy Center Honors. She won 3 Oscars, a Silver Mask for Lifetime Achievement from the British Academy, and an Oscar for Lifetime Achievement in Motion Pictures. In 2014 she was named a Dame of the British Empire by Queen Elizabeth II. But perhaps her greatest honor was her marriage to motion picture executive Peter Shaw for 53 years. In her discussion she noted the pleasure of raising her three children and looking forward to watching her three grandchildren grow up.
Charlotte Moore co-founded the award-winning Irish Repertory Theatre with Ciarán O’Reilly in 1988 after acting together and discussing Irish theater. It was an event of synchronicity for as they bonded, they decided to work together to form the successful Irish Repertory Theatre.
Before her fated discussions with Ciarán O’Reilly, Charlotte Moore appeared in A Perfect Ganesh, The Perfect Party and Private Lives on Broadway (with Elizabeth Taylor and Richard Burton who became dear friends) to name a few productions. She also appeared in many performances with the New York Shakespeare Festival. During the thirty-one years at the Irish Repertory Theatre she has directed almost eighty productions, the most recent being The Plough and the Stars, part of the Sean O’Casey Season and On a Clear Day You Can See Forever. Ms. Moore has received two Tony Award nominations, the Outer Critics Circle Award, the Drama Desk Award, the Drama League Award, the Eugene O’Neill Lifetime Achievement Award and the 2008 Irish Women of the Year Award. In 2011 she was named “Director of the Year” by The Wall Street Journal. This year Charlotte Moore and Ciarán O’Reilly will receive Ireland’s Presidential Distinguished Service Award for the Irish Abroad.
Charlotte Moore asked Ms. Lansbury about her friendships with Elizabeth Taylor and Richard Burton, mutual friends. Ms. Lansbury mentioned that they came to see her perform and visited her backstage. And when they came, she made sure to have alcohol at the ready for the Burtons. This received much laughter. She noted the beauty of Elizabeth Taylor’s violet eyes. They were striking. One couldn’t help when one was in Ms. Taylor’s presence to not only listen to what she was saying but to note the stunning color of her eyes.
Charlotte Moore asked Ms. Lansbury about her relationship with Katherine Hepburn who many knew that in her later years became rather prickly; she didn’t suffer fools gladly. After rolling her eyes at the implication that Katherine Hepburn was a definitive personality, which got a laugh, Ms. Lansbury said that they were good friends and Katherine Hepburn was an interesting and lovely individual. Ms. Lansbury would visit at Katherine Hepburn’s home on Long Island. (Ms. Lansbury pronounced it as the natives unwittingly do running the guttural “g” into the “Island” to much laughter.) She referenced that Katherine Hepburn and Spencer Tracey were partners who would never be able to marry or go public with their relationship. However, she knew Tracey as well and she thought he was a superlative actor and lovely individual.
When Charlotte Moore asked what it was like to work with Frank Sinatra, Ms. Lansbury was specific. He was a gentleman and they became good friends. It was not a romantic relationship. However, he took her under his wing and told her a lot about the Studios and Hollywood and a lot about the industry for which she was grateful and very appreciative. When asked about the nature of The Manchurian Candidate and the character she played. Ms. Lansbury was profound. Without being definitive and ruining it with one theory or another, she implied that The Manchurian Candidate was a complex film. There are no easy answers, especially with regard to the ending which cannot be framed as a thesis/antithesis, either “this” or “that.”
One of the interesting tips that Angela Lansbury suggested for budding actors is to leave their personality and their identity at home. She always tries to do that, to put aside her thoughts and concerns about her own life and immerse herself in the character she is playing. And she quipped that the characters were always more interesting anyway and that reality and being oneself is rather boring. Again, the audience laughed.
The overarching impression one received from the interview was that Angela Lansbury enjoyed working. Familiar to acting, like second nature, she started acting when she was a child, coming from an acting family (her mother was an actress). When Ms. Lansbury commented that she is British-Irish (her father British and her mother Irish) Charlotte Moore indicated her great pleasure about the “Irish part,” and the two shared the joke, considering that Charlotte Moore has devoted a good part of her life to uplifting Irish culture.
Angela Lansbury actually is British-Irish-American. In fact her family came over during WW II (1939-1940) to escape The Blitz. With her mother and two brothers, she moved permanently to the United States. She studied acting in New York City and then proceeded to Hollywood, Los Angeles in 1942 and signed with Metro-Goldwyn-Mayer. There she obtained her first film roles, Gaslight (1944) and The Portrait of Dorian Grey (1945). She struck gold right then and there with two Oscar nominations and a Golden Globe.
When Ms. Moore asked what it was like working with George Cukor, Ms. Lansbury said he was a very fine director and no nonsense. She learned a lot from him, other directors and her co-actors with whom she always got along. Her pleasant attitude seems to always have been about being professional and following the suggestions of the director to enhance her character portrayals.
The easy conversation between Ms. Lansbury and Ms. Moore flew by. The audience was sorry that it had to end. Members of LPTW, friends and patrons of Lincoln Center and the Irish Repertory Theatre gave Ms. Lansbury a standing ovation in celebration of her life and career spreading joy to millions.
On Friday 16 March The League of Professional Theatre Women held their awards for outstanding accomplishments of women in the theater. With the #metoo movement in full swing and the entertainment industry highlighting the paltry showing of sterling women who have yet to be represented in parity and equity with men, the LPTW shines a special light on the tremendous capabilities of women in the industry. They have been doing this for years beginning with their pioneering efforts championing women in the theatre since their inception in 1984.
The importance of this organization at this time is not to be underestimated. The pernicious nature of male chauvinism, paternalism and the preeminence of patriarchy is deeply entrenched in the folkways of our culture and has risen its ugly head politically, indicating that only lip service had been given to women’s inclusion in the power game. Indeed, men have been dragged along with the arc of progress and justice continues to be flogged by men in power under cover of darkness. Meanwhile, all is smiles and compliments by men for women when the spotlight is on.
Well, women are bending the arc of progress toward their inclusion. It is enough that they are more than half the population, yet have been relegated to the back of the line when the golden rings of power are bestowed by other men. Indeed it is enough!
For years LPTW members identified the under-representation of women in positions of power and importance in the entertainment/theatre industry. And this ironically was not because women demonstrated a lack of creative talent, leadership abilities or phenomenal skill sets. It was because of surreptitious discrimination and a network of mores supported by men AND women wittingly and unwittingly. The concept that “boys will be boys” and women were less than “all that” reigned supreme in the competition for employment. Outstanding women had to push diligently, subtly and prodigiously to get a “place at the table” where men ultimately dominated. Women compromised their behaviors, attitudes, intelligence and creativity to meld into a preeminent male world of directors, playwrights, and design directors and assistants. Because of these pioneers, progress has been moving forward. But we have a long way to go before reaching parity and equity. Thankfully, “the whole world is watching.”
Thus, The League of Professional Theatre Women cannot be praised or recognized enough because they have been at the forefront of supporting women in the theatre world in the US and globally before there was creditable appreciation for womens’ indelible contributions. Over the years their numbers have grown. Their mission has thrived and gained critical mass especially in the current noxious political atmosphere. Now, more than ever their work, their efforts are a beacon to the international theatre community and entertainment industry because their values indicate there are no inconsequential roles, no “little” players. All are integral and vital if live theatre which makes a difference in the minds and hearts of citizens is to continue in its goal to uplift, instruct, unify and promote understanding between and among global communities.
The theatre community receives strength in its diversity of gender, ethnicity, religious beliefs and international participation. As a maverick organization their force and presence are unmistakable. It should be shouted from the rooftops. Thus, it is with gratitude to this organization for what they have accomplished in solidarity over the years that I enumerate the women and the awards the LPTW bestowed last Friday at The TimesCenter.
Florencia Lozano, Host
Florencia Lozano (@ilovelorca) actor, writer and performance artist with a multitude of TV, theatre and film credits is one of the original members of the LAByrinth Theater company and currently serves as LAB’s literary manager. Host of the LPTW Theatre Awards, Florencia Lozano introduced the presenters who then bestowed the awards.
The Lee Reynolds Award, Co-presented by Marshall Jones III & Wayne Maugans to Rohina Malik
The Lee Reynolds Award is given annually to a woman or women active in any aspect of theatre whose work has helped to illuminate the possibilities for social, cultural or political change. Producing Artistic Director of the Crossroads Theatre Company and theatre professor at Rutgers University Marshall Jones III (#MarshallKJonesIII) and Wayne Maugans (@WayneMaugans) the Founding Artistic Director of Voyage Theater Company presented the Lee Reynolds Award to Rohina Malik (@rohina_malik). Her plays have been produced all over the country at various venues, and globally at two South African Theater festivals. She worked with Marshall Jones III and Wayne Maugans with their companies and has formed vital ongoing connections with them continually spurring on new works.
The Ruth Morely Design Award, Presented to Cricket S. Meyers by Shelley Butler
The Ruth Morley Design Award, established in 1998 to honor leading film and theatre costume designer Ruth Morley, is given to an outstanding female theatre designer of costumes, scenery, lighting, sound or special effects. This year’s winner presented by director Shelley Butler (#ShelleyButler) was given to Cricket S. Myers (@sound_myers) for her award winning efforts in Sound Design.
The LPTW Special Award, Presented by Roma Torre to Linda Winer
A LPTW Special Award, presented to a remarkable theatre woman for her service to the League and to her field was given to award winning Linda Winer (#LindaWiner) by NY 1 theater critic, the award winning Roma Torre (@NY1 #RomaTorreNYC). Linda Winer was Chief Theatre Critic for Newsday from 1987-2017 and she has taught critical writing at Columbia University’s School of the Arts since 1992. Both women quipped about the idea that a theater critic might receive an award when in the past, “critics” were looked upon with skepticism and sometimes fear. Certainly, both of these women have provided a wealth of information about productions and have placed them in the historical record revealing the development of theater in this nation.
The Josephine Abady Award, Presented by Karen Kandel to Emily Joy Weiner
The Josephine Abady Award honors the memory of LPTW member Josephine Abady. The award goes to an emerging director, producer or creative director of a work of cultural diversity who has worked in the profession for at least five years. Emily Joy Weiner, Co-Founder and Artistic Director of Houses on the Moon Theater Company received the award presented by award winning Karen Kandel, Co-Artistic Director of NYC based theatre company, Mabou Mines. The Houses on the Moon Theater Company was founded in 2001 with the mission of telling untold stories in the interest of social justice. Emily Joy Weiner has been creating developing, performing, producing and directing new works with the Houses on the Moon Theater Company that address the sensitive issues of our time with community organizations and the talented company of artists.
The LPTW Lucille Lortel Award, Presented by Celia Keenan-Bolger to Adrienne Campbell-Holt
The LPTW Lucille Lortel Award is an award from the Lucille Lortel estate endowment to fund an award and grant. The award is given to “an aspiring woman in any discipline of theatre who exemplifies great creative promise and deserves recognition and encouragement.” This year’s award was presented to director Adrienne Campbell-Holt (@adriennecolt, @Colt_Coeur) by award winning actor Celia Keenan-Bolger (@celiakb). The grant was awarded to Ms. Campbell-Holt’s company, Colt Coeur. Adrienne Campbell-Holt inspired the women in the room with her remarks and encouragement to women playwrights to tell women’s stories. Women, above all are storytellers and she suggested that we must continue to push each other and the culture forward into a new day of acceptance and unity.
The Lifetime Achievement Award, Presented by Jocelyn Bioh to Phylicia Rashad
The Lifetime Achievement Award presented to Phylicia Rashad (#PhyliciaRashad) needs no explanation and the honoree needs no introduction. The award was presented by Jocelyn Bioh (a Ghanaian-American writer/performer from NYC). Jocelyn Bioh (@Jjbioh) has carved a path for herself as an actor on Broadway and Off Broadway. She has appeared in film and TV. Jocelyn Bioh is also a playwright and is working as a staff writer on Spike Lee’s She’s Gotta Have it.
Phylicia Rashad has appeared in all entertainment venues, TV, Broadway and film. She has made lasting contributions throughout her career with her prodigious body of work. An example of this includes performances on Broadway in August Osage County, Cat on a Hot Tin Roof, Cymbeline (Lincoln Center Theater), August Wilson’s Gem of the Ocean for which she received a Tony Award nomination, A Raisin in the Sun (Tony and Drama Desk Awards), Into the Woods, Dreamgirls, The Wiz.
Off-Broadway she has appeared in A Midsummer Night’s Dream, Sunday in the Park with George, Head of Passes for which she won a Lucille Lortel Award, The Story, Helen, Everybody’s Ruby, Blue, The House of Bernarda Alba to name a few. She has performed in Regional Theater and has also directed Ma Rainey’s Black Bottom and Joe Turner’s Come and Gone at the Mark Taper Forum to mention two directorial achievements. She has directed many other productions at numerous venues for example, the Goodman Theatre, the Long Wharf Theatre, the McCarter Theatre, Ebony Repertory Theatre, Kirk Douglas Theatre, Westport Country Playhouse, Seattle Repertory Theatre. And she directed Four Little Girls at the Kennedy Center. She is simply sensational, and as Jocelyn Bioh affirmed, she is “regal,” she is “legendary.”
At the end of the evening a champagne toast heralded to celebrate the award winners and their presenters. Until another year! We’re looking forward to our members’ and exploits in 2018-2019. If you are currently a woman working in the theater globally as an actor, playwright, director, designer, consider viewing the LPTW website to check out their online community. This organization will help you network, meet individuals to spur on your career. Above all it encourages inclusion of women before we even were aware to ask for an “inclusion rider” in our contracts in the entertainment and theater industry. JUST DO IT!!! CLICK HERE FOR THE WEBSITE. Tweet @LPTWomen.