The two-time Academy Award winner Glenda Jackson, who died Thursday after a short illness at the age of 87, was one of the leading British actors of her generation.
There was never anything shrinking about the confidence Glenda Jackson projected on stage and screen in her heyday. Afflicted with an uncommon common sense, her characters were defined by their sharp intelligence, independence and, yes, irritability. They were nobody’s fool, even when they wound up with the short end of the stick.Thursday at her home in London after a short illness at age 87, was one of the leading British actors of her generation.
“I left school with no particular qualifications,” she said. “I was working at a local chemist shop, and a friend of mine was a member of a local amateur group and said, ‘Come along, it’s fun.’ And somebody said to me that I should do this professionally, so I wrote to the only drama school I had ever heard of and said I have to have a scholarship, because we have no money.
Jackson naturally gravitated toward difficult women — Ibsen’s Hedda Gabler, making mischief in her bourgeois prison; Shakespeare’s Lady Macbeth, determined to grab the regicidal opportunity she fears her husband is too lily-livered to snatch; O’Neill’s Nina in “Strange Interlude,” unable to emotionally submit to the dictates of men.
Seizing hold of the character’s emotional savagery, Jackson let us see that it was born not just from royal entitlement but also from filial selfishness and ingratitude. The transformation was subtle. Lear’s personality never loses its angry cast, but the shift in consciousness was meticulously illuminated.
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