A class act
With a sinister turn as a schoolmarm on the edge, Judi Dench is stepping out of her comfort zone. That might just deserve an Oscar
By Matt Wolf
Sunday Times
Even on market day, which is Thursday, Stratford-upon-Avon seems quintessentially sleepy, and it is doubly so on a misty Thursday morning just before Christmas. A chill in the air seems to be keeping most people indoors. This isn’t quite the setting in which you’d expect to find one of our national treasures, Judi Dench, in the run-up to what will almost certainly be her sixth Oscar nomination in nine years. If Dench were American, she would doubtless be out on the awards campaign trail, like it or not. But then, if Dench were American, she probably wouldn’t have had the acting career she has had. So here she is, tucked away in her long-standing home, the Royal Shakespeare Company, performing in a musical, chatting away over coffee and croissants at a high-street chain cafe.
Dench is so thoroughbred a stage creature that the film part of her CV seems like a cumulative surprise. But surprising it definitely is. One has to go back to the early days of the Academy Awards, and Bette Davis, to find another performer given a comparable number of nods in quite so compressed a time. (Dench won her prize at the second hurdle, for 1998’s Shakespeare in Love.) And neither Davis nor another multiple nominee, Katharine Hepburn, were in their sixties before international renown came to call. But nothing Dench has done on screen has been more unexpected than her latest role, as the embittered teacher Barbara Covett in Notes on a Scandal, based on Zoë Heller’s 2003 novel. An actress who has been pretty well domesticated by her public — that’s the power of television sitcom for you — plays someone mean and not a little bit mad. And human, too.
When Dench and I first met, backstage at the Aldwych Theatre in 1990, during Sam Mendes’s revival of The Cherry Orchard, she spoke then of her desire, “if at all possible, to choose the most unlikely role — that’s all I’ve ever wanted to do”. The theme pops up again as we munch our croissants, with showgoers for that day’s matinée performance of Merry Wives — The Musical doing a polite double take as they clock that the very person who has brought them into town to begin with is there in the window, looking right back at them. Up close, Dench transmits warmth, if forgivable impatience at the time that is being eaten out of her schedule, even in Stratford. American film journalists and television crews are already finding their way here. But for the moment, a bright scarf swathing her cream top, she settles in like someone primed for a good morning gossip.
“I know several people like Barbara, as I’m sure you do — people who, as far as you can see, never have any kind of relationship with anybody, or are just desperately needy.” She laughs, keen not to get too gloomy on what will be a two-performance day at the Royal Shakespeare Theatre, around the corner. “Those sorts of people usually resort to having animals, of course, and that’s why animals are such comforts to us all.”
It makes sense for Dench to have seized this role with both hands, not to mention a cunning fury. Behind it are the screenwriter Patrick Marber and the director Richard Eyre — as with Dench, theatre animals. Playing a stern-faced school stalwart whose apparent sympathy and brisk efficiency are tilting toward psychosis, Dench illuminates for keeps the part of a lonely north London teacher who takes a comely new recruit, Cate Blanchett’s Sheba Hart, into her care — only to crack when it is made apparent that the adulterous Sheba may in fact care more for her family, husband Bill Nighy included, as well as a certain pupil.
Dench has long confessed to not being a good reader of material. That gift is just one of many that prompts a mention of Michael Williams, her husband of 30 years, who died in 2001 of lung cancer and is buried in nearby Charlecote. (So, too, are his parents and Dench’s mother.) But Dench’s co-star in As Time Goes By, Geoffrey Palmer, had already given her Heller’s novel when the producer Scott Rudin approached her to do a film version. “Yes, that’s rather unlike me,” she laughs, about a scenario where she knew exactly what was being proposed. And, as with so much in her career, it was the talent involved that prompted her to accept. “I knew the story, but it was working with Richard, who I seem to have known all my life” — this is their fifth collaboration — “and also working with Cate, for whom my admiration is completely undimmed.”
What about the appeal of at last playing a baddie? “Barbara’s not a villain. She’s just a victim of her own circumstance,” Dench says, in quite reasonable defence of a role that finds her narrowing her face in near-mutinous intensity as she discovers that her cherished Sheba has been having it off with a male student who, even worse, is under-age. That part is played by the striking Irish newcomer Andrew Simpson, whose amorous cavorting with Blanchett must have made him the envy of his schoolmates. Dench speaks of him most fondly: “He used to bless himself before each scene, since he’s from a good Catholic family. He was a good sport.”
So one assumes.
“People always say, ‘Do you like the character or not?’, but I don’t think you make that kind of judgment. You never make that judgment. There are things you like and dislike, as in everything. It’s what makes everybody so interesting. There are traits to somebody you may not like, but you still love them, as in a relationship. But you don’t actually categorically come down on one thing and think, ‘Oh, I like this, and I don’t like that.’ You just try to grade all the colours of the person so that it adds up to a believ- able whole.”
Still, there’s a brilliant logic to casting Dench that it isn’t up to her to explain, and her colleagues are happy to do it for her. “It helps that Judi is very loved,” Heller tells me, “because one thing I wouldn’t want is for Barbara to be a stage villain. There’s a kind of residue of everything Judi means, particularly to a British audience, that helps make her a more human, sympathetic person, so that she’s not just a glinty-eyed old bag bringing death and destruction to all around her.”
Rudin, in turn, anatomises the appeal of putting Dench in a part 180 degrees from the role of Iris Murdoch, or the financially reckless, emotionally impulsive actress in David Hare’s Amy’s View, on both of which he worked with Dench. “I wrote Judi a letter,” Rudin recalls, “at the moment when she was thinking whether to do the movie or not, and said, ‘Basically, everybody you’ve played has been one version or another of a star in the world that they’re in — but you’ve never played anybody like the audience. This is your chance to play somebody who the audience feels is them.’” Which probably isn’t the case with queens Victoria or Elizabeth I, or even Mrs Henderson in 2005.
Yet that empathy with and for the audience is part of Dench’s stock in trade, as I’ve discovered in various public interviews with her. The force field of affection is palpable. But in Notes on a Scandal, it extends to Dench’s ability, as Rudin says, “to play Barbara as someone who’s in the world, engaged, and isn’t some sort of recluse or shut-in. Judi’s in that world alone, playing the gigantic deficit of her loneliness, but she hasn’t made Barbara a victim at all. You feel she’s a spiky character who has sort of made her bed and ended up in a place of her own making”. Dench, in turn, invokes by way of comparison Lady Macbeth, whom she famously played for the RSC opposite Ian McKellen: “She’s not a grim person when she comes on. She’s a person you can relate to, and suddenly she says, ‘For goodness’ sake, give me the strength to go through with this.’ And it’s the same with Barbara: it’s all to do with human failings and human strengths.”
It is the humanity communicated time and again from Dench, whether in full command as James Bond’s M (“When I make those films, I’m 6ft tall”) or, that very afternoon, prompting cheers from a full house as Mistress Quickly, in the same week that this musical version of Merry Wives has been roundly, if not altogether fairly, dismissed in the press. That’s not to say that she can’t and won’t speak her mind. Regarding the reviews, Dench talks of “not wanting anyone coming and fracturing things and saying, ‘Well, this and this and this and this.’ We know pretty well, and our job is either to preserve what we’ve got or work on getting it better. It’s no good just a lot of people throwing the shit at us — there’s no point”.
The point for Dench, you feel, is in continuing the work that, more than ever, is her life, especially with Williams no longer by her side. There’s talk of her finally filming, later this year, the television adaptation of the Elizabeth Gaskell novel Cranford that went south a season or two ago, while her recent revival of Noël Coward’s Hay Fever, for Peter Hall, may re-emerge on Broadway. Before anything else, though, will come surgery on a long-problematic knee and yet another go at an Oscar. She smiles when the subject comes up: “You’ve got to have a nomination to go to the Oscars; I don’t have a nomination, and you do have to have one.” What she doesn’t add is the unspoken word “yet”. When it comes to modesty, as with talent, Judi Dench is worth taking note of.
Notes on a Scandal opens on February 2; Merry Wives — The Musical runs until February 10 at the Royal Shakespeare Theatre, Stratford-upon-Avon
Even on market day, which is Thursday, Stratford-upon-Avon seems quintessentially sleepy, and it is doubly so on a misty Thursday morning just before Christmas. A chill in the air seems to be keeping most people indoors. This isn’t quite the setting in which you’d expect to find one of our national treasures, Judi Dench, in the run-up to what will almost certainly be her sixth Oscar nomination in nine years. If Dench were American, she would doubtless be out on the awards campaign trail, like it or not. But then, if Dench were American, she probably wouldn’t have had the acting career she has had. So here she is, tucked away in her long-standing home, the Royal Shakespeare Company, performing in a musical, chatting away over coffee and croissants at a high-street chain cafe.
Dench is so thoroughbred a stage creature that the film part of her CV seems like a cumulative surprise. But surprising it definitely is. One has to go back to the early days of the Academy Awards, and Bette Davis, to find another performer given a comparable number of nods in quite so compressed a time. (Dench won her prize at the second hurdle, for 1998’s Shakespeare in Love.) And neither Davis nor another multiple nominee, Katharine Hepburn, were in their sixties before international renown came to call. But nothing Dench has done on screen has been more unexpected than her latest role, as the embittered teacher Barbara Covett in Notes on a Scandal, based on Zoë Heller’s 2003 novel. An actress who has been pretty well domesticated by her public — that’s the power of television sitcom for you — plays someone mean and not a little bit mad. And human, too.
When Dench and I first met, backstage at the Aldwych Theatre in 1990, during Sam Mendes’s revival of The Cherry Orchard, she spoke then of her desire, “if at all possible, to choose the most unlikely role — that’s all I’ve ever wanted to do”. The theme pops up again as we munch our croissants, with showgoers for that day’s matinée performance of Merry Wives — The Musical doing a polite double take as they clock that the very person who has brought them into town to begin with is there in the window, looking right back at them. Up close, Dench transmits warmth, if forgivable impatience at the time that is being eaten out of her schedule, even in Stratford. American film journalists and television crews are already finding their way here. But for the moment, a bright scarf swathing her cream top, she settles in like someone primed for a good morning gossip.
“I know several people like Barbara, as I’m sure you do — people who, as far as you can see, never have any kind of relationship with anybody, or are just desperately needy.” She laughs, keen not to get too gloomy on what will be a two-performance day at the Royal Shakespeare Theatre, around the corner. “Those sorts of people usually resort to having animals, of course, and that’s why animals are such comforts to us all.”
It makes sense for Dench to have seized this role with both hands, not to mention a cunning fury. Behind it are the screenwriter Patrick Marber and the director Richard Eyre — as with Dench, theatre animals. Playing a stern-faced school stalwart whose apparent sympathy and brisk efficiency are tilting toward psychosis, Dench illuminates for keeps the part of a lonely north London teacher who takes a comely new recruit, Cate Blanchett’s Sheba Hart, into her care — only to crack when it is made apparent that the adulterous Sheba may in fact care more for her family, husband Bill Nighy included, as well as a certain pupil.
Dench has long confessed to not being a good reader of material. That gift is just one of many that prompts a mention of Michael Williams, her husband of 30 years, who died in 2001 of lung cancer and is buried in nearby Charlecote. (So, too, are his parents and Dench’s mother.) But Dench’s co-star in As Time Goes By, Geoffrey Palmer, had already given her Heller’s novel when the producer Scott Rudin approached her to do a film version. “Yes, that’s rather unlike me,” she laughs, about a scenario where she knew exactly what was being proposed. And, as with so much in her career, it was the talent involved that prompted her to accept. “I knew the story, but it was working with Richard, who I seem to have known all my life” — this is their fifth collaboration — “and also working with Cate, for whom my admiration is completely undimmed.”
What about the appeal of at last playing a baddie? “Barbara’s not a villain. She’s just a victim of her own circumstance,” Dench says, in quite reasonable defence of a role that finds her narrowing her face in near-mutinous intensity as she discovers that her cherished Sheba has been having it off with a male student who, even worse, is under-age. That part is played by the striking Irish newcomer Andrew Simpson, whose amorous cavorting with Blanchett must have made him the envy of his schoolmates. Dench speaks of him most fondly: “He used to bless himself before each scene, since he’s from a good Catholic family. He was a good sport.”
So one assumes.
“People always say, ‘Do you like the character or not?’, but I don’t think you make that kind of judgment. You never make that judgment. There are things you like and dislike, as in everything. It’s what makes everybody so interesting. There are traits to somebody you may not like, but you still love them, as in a relationship. But you don’t actually categorically come down on one thing and think, ‘Oh, I like this, and I don’t like that.’ You just try to grade all the colours of the person so that it adds up to a believ- able whole.”
Still, there’s a brilliant logic to casting Dench that it isn’t up to her to explain, and her colleagues are happy to do it for her. “It helps that Judi is very loved,” Heller tells me, “because one thing I wouldn’t want is for Barbara to be a stage villain. There’s a kind of residue of everything Judi means, particularly to a British audience, that helps make her a more human, sympathetic person, so that she’s not just a glinty-eyed old bag bringing death and destruction to all around her.”
Rudin, in turn, anatomises the appeal of putting Dench in a part 180 degrees from the role of Iris Murdoch, or the financially reckless, emotionally impulsive actress in David Hare’s Amy’s View, on both of which he worked with Dench. “I wrote Judi a letter,” Rudin recalls, “at the moment when she was thinking whether to do the movie or not, and said, ‘Basically, everybody you’ve played has been one version or another of a star in the world that they’re in — but you’ve never played anybody like the audience. This is your chance to play somebody who the audience feels is them.’” Which probably isn’t the case with queens Victoria or Elizabeth I, or even Mrs Henderson in 2005.
Yet that empathy with and for the audience is part of Dench’s stock in trade, as I’ve discovered in various public interviews with her. The force field of affection is palpable. But in Notes on a Scandal, it extends to Dench’s ability, as Rudin says, “to play Barbara as someone who’s in the world, engaged, and isn’t some sort of recluse or shut-in. Judi’s in that world alone, playing the gigantic deficit of her loneliness, but she hasn’t made Barbara a victim at all. You feel she’s a spiky character who has sort of made her bed and ended up in a place of her own making”. Dench, in turn, invokes by way of comparison Lady Macbeth, whom she famously played for the RSC opposite Ian McKellen: “She’s not a grim person when she comes on. She’s a person you can relate to, and suddenly she says, ‘For goodness’ sake, give me the strength to go through with this.’ And it’s the same with Barbara: it’s all to do with human failings and human strengths.”
It is the humanity communicated time and again from Dench, whether in full command as James Bond’s M (“When I make those films, I’m 6ft tall”) or, that very afternoon, prompting cheers from a full house as Mistress Quickly, in the same week that this musical version of Merry Wives has been roundly, if not altogether fairly, dismissed in the press. That’s not to say that she can’t and won’t speak her mind. Regarding the reviews, Dench talks of “not wanting anyone coming and fracturing things and saying, ‘Well, this and this and this and this.’ We know pretty well, and our job is either to preserve what we’ve got or work on getting it better. It’s no good just a lot of people throwing the shit at us — there’s no point”.
The point for Dench, you feel, is in continuing the work that, more than ever, is her life, especially with Williams no longer by her side. There’s talk of her finally filming, later this year, the television adaptation of the Elizabeth Gaskell novel Cranford that went south a season or two ago, while her recent revival of Noël Coward’s Hay Fever, for Peter Hall, may re-emerge on Broadway. Before anything else, though, will come surgery on a long-problematic knee and yet another go at an Oscar. She smiles when the subject comes up: “You’ve got to have a nomination to go to the Oscars; I don’t have a nomination, and you do have to have one.” What she doesn’t add is the unspoken word “yet”. When it comes to modesty, as with talent, Judi Dench is worth taking note of.
Notes on a Scandal opens on February 2; Merry Wives — The Musical runs until February 10 at the Royal Shakespeare Theatre, Stratford-upon-Avon