Glenda Jackson saw the world through the eyes of her characters. When she played standard women’s roles, such as needy sidekicks to the male leads, she made sure to make them deeply interesting
No, none of those, she would say, searching for a hanky or looking the other way as the clips played behind her. She never watched her old stuff, anyway. She always insisted that her finest performance was in 1971 on the comedy show “Morecambe and Wise”, playing Cleopatra in a glossy black wig beside Ernie Wise as Mark Antony and Eric Morecambe, in his owlish glasses, as “Octavian Caesar”. Eric had given her the best note she had ever had: “Don’t laugh, and speak up.
Awards didn’t mean that you got work afterwards. But she had to. She had started acting, as a bored teenager serving in Boots in northerly Birkenhead, because she thought there might be a job in it. Two years ofrecruited her. Work kept cropping up after that, but she stayed convinced, each time one job finished, that she wouldn’t get another.
“Elizabeth R” was an exception. There she was regally, icily in charge. Courtiers cringed before her. She played the part again in the film “Mary, Queen of Scots”, where her contempt almost toppled her rival off her horse. Yet she had also studied Elizabeth’s softer side, finding that, for example, the great queen once went to sleep sucking her thumb. It was a six-part series, so they spent a long time together, that mythical figure and herself.
This preoccupation with human behaviour led in 1992 to an extraordinary decision, to give up stage and screen for politics. Pretty similar, really. If there was any one trigger, for she had been Labour all her life, it was Margaret Thatcher’s remark that there was “no such thing as society”. Against her own expectations, she won Hampstead and Highgate—north London wealth with patches of poverty—and represented it, seriously but passionately, for 23 years.
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