Dame Maggie Smith talks to WWD about stage acting in a 1970 interview

This interview was originally published by WWD on February 10, 1970.

LOS ANGELES

The premiere of Miss Maggie Smith may still be imminent.

And perfectionist Maggie would rather let the critics dictate entry. She comes from a group of performers from the National Theater of Great Britain and has been praised by critics and audiences alike for her outstanding stage skills – particularly her current role as Mrs. Sullen in “Beaux Stratagem” at the Ahmanson Theater in Los Angeles “an unqualified triumph.”

But none of this acclaim seems to have inflated Maggie’s ego. She settles into a chair in the theater’s small dressing room and begins to relax between performances. “Doing matinees in addition to the evening show is terribly tiring, I usually spend the time sleeping.”

MAGGIE TALKS ABOUT HER RECENT AWARD. . . the London Film Critics Best Actress Award for her performance in The Prime of Miss Jean Brodie.

“I’m happy,” she reports calmly. “That’s what I share with Vanessa (Redgrave).” There is no trace of the Hepburn-Streisand sour grapes saga. “She is a wonderful woman with enormous abilities. . . “my Margaret,” husband and co-star Robert Stephens, volunteer. He sits nearby. . . calmly, he cheers up his nervous leading lady.

“Playing here for the first time was quite an adjustment,” admits Maggie. “I’m not used to such a big theater and the audience is so huge. It demands much more from me. You have to use more of yourself and move your whole body.” But American audiences have impressed England’s repertoire queen. “It’s frightening. They are such a group that does everything. Of course, certain jokes are better received in London, but here people listen so carefully.”

MAGGIE’S schedule is demanding.

“That’s why Robert and I don’t talk. I challenge everyone to play both roles at the same time and do one of them well.” Does she prefer the stage to filming? “Not really, but we haven’t done that much film work yet.” (Robert becomes a silent partner in “We”.)

“It’s nice to work on stage because you’re constantly improving your performance. You can’t make mistakes in the film. . . and the hours are physically draining.” Maggie says she feels more comfortable in a comedy role. “But I also like dramatic parts. . . it all depends on the script. Brodie was a unique role for a woman. . . I have Bobby Fryer to thank for that. . . If I were nominated for an Oscar, I would be most happy for Bobby.” And if she had won? “I hate ‘if yes’ questions,” she replies, “but ‘if’ would be nice to get a prize.” “

“CLASSICS,” SAYS MAGGIE, “ARE MY FIRST LOVE.”

They challenge you more than modern theater and Maggie thrives on challenges. Beneath this fragile silhouette lies the power of a superstar. “Big-budget films are insane,” she claims. “I don’t understand the ridiculous monopoly game they are playing for ever higher salaries. It all goes towards taxes anyway. But then we are required to be lucky enough to appear in films, even though we are actually theater people.

“In the early days, film and stage were worlds apart,” she continues. “I suppose if we made films for a living it would be like being a football player. . . If the useful life is uncertain, the money would be crucial.”

MAGGIE CLAIMS THERE IS “NO PART” SHE IS LOOKING FOR.

“I love the versatility of it all. When Sir Laurence (Olivier) suggested I play Desdemona, my friends cringed. They thought I was going to fall flat.” Maggie seems to enjoy the game of proving herself. . .

The free time gives Maggie an equally satisfying role. “I was pregnant when I wasn’t busy,” she jokes. Two and a half year old Christopher accompanied his parents to California. . . and Toby, just 8 months old, stayed in London. “It’s hard being away from him at the moment, but my mother is there.”

Hollywood doesn’t evoke any particular reaction. “We really haven’t seen much of it. We rented an apartment in Malibu, and when we got through here we went to the beach and collapsed. However, we met some absolutely charming people.”

AFTER A THREE WEEK STAY OF CHEKHOV’S THREE SISTERS AND FOLLOWING BEAUX AT AHMANSON, the troupe returns to London to play Beaux for the remainder of the year. “I’ve never played Chekhov, but I adore him,” Maggie admits. “The first dry run was. . . scary, but I enjoyed it. . . Sir Laurence is heavenly to work with.”

For Maggie, the immediate future means “another terrifying polar flight home.” The young couple then goes on vacation for three weeks in Rome. “We always seem to end up there. . . We have good friends with pensions and it’s a wonderful change.”

“I’ll also be appearing in a short episode of ‘Hedda Gabbler,'” adds the busy Maggie. Then maybe another film. She has already received several offers, but it’s too far out to say anything for sure.” If she is nominated for Brodie, there’s a good chance Maggie won’t be attending the awards ceremony

celebrations. . . “I didn’t come when I was nominated for a supporting role in ‘The VIP’. . . I don’t know how I can even fit in there. And besides, this polar flight isn’t particularly inviting.”

– Karin Winner

Research by Tonya Blazio-Licorish