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

LOS ANGELES

MISS MAGGIE SMITH’S PRIME MAY STILL BE IN THE WINGS.

And the perfectionist Maggie prefers to let critics determine its entrance. Plucked from a group of performers at the National Theater of Great Britain, her superior stage skills – especially her current role as Mrs. Sullen in ‘Beaux Stratagem’ at the Ahmanson Theater in Los Angeles – earned her praise from critics and viewers alike. . as ‘an unmitigated triumph’.

But none of this praise seems to have inflated Maggie’s ego. As she curls up in a chair in the theater’s small dressing room, she begins to unwind between shows. “Doing matinees in addition to the evening show is terribly tiring, I usually spend the time sleeping.”

MAGGIE TALKS ABOUT HER MOST RECENT OBJECTION. . . the Best Actress Award from the London Film Critics for her role in ‘The Prime of Miss Jean Brodie’.

“I’m very happy,” she reports calmly. “That’s the one I share with Vanessa (Redgrave).” There is no trace of the Hepburn-Streisand sour grapes saga. ‘She is a wonderful woman with enormous capabilities. . . my Margaret,” husband and co-star Robert Stephens volunteers. He’s sitting nearby. . . calmly giving a pep talk to his very tense leading lady.

“It was quite an adjustment playing here for the first time,” Maggie admits. “I’m not used to such a big theater and the audience is so immense. It demands a lot more from me. You have to use more of yourself and move your whole body.” But American audiences have impressed the English repertoire queen. “It’s surprising. They are such a go-along group. Of course, certain jokes come across better in London, but here they listen so attentively.”

MAGGIE’S SCHEDULE IS TOUGH.

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

“It’s fun to work on stage because you are constantly improving your performance. In the film business you can’t afford to be wrong. . . and the hours become physically draining.” Maggie claims she feels more comfortable in a comedic 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 Academy Award, I would be happiest for Bobby.” And if she won? “I hate ‘if’ questions,” she says, “but ‘if’ questions would be nice to get a prize.” . “

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

They stretch you more than modern theater and Maggie thrives on challenge. Beneath that vulnerable silhouette lie the seeds of superstar power. “Big budget films are madness,” she claims. ‘I don’t understand the ridiculous monopoly game they are playing for ever higher salaries. It all goes to taxes anyway. But then our fortunes are asked for films, while we are actually theater people.

“In the past, film and theater were worlds apart,” she continues. “I suppose if our livelihood was movies it would be like being a footballer. . . with an uncertain time span of usefulness the money would be of the utmost importance.”

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

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

Free Time gives Maggie an equally satisfying role. “I’ve been pregnant when I wasn’t busy,” she jokes. Two-and-a-half-year-old Christopher accompanied his parents to California. . . and Toby, only 8 months old, was staying in London. “It’s hard to be away from him right now, but my mom is here.”

Hollywood provokes no particular reaction. “We haven’t actually seen much of it. We rented an apartment in Malibu, and when we’re done here, we’ll go to the beach and crash. But we did meet some absolutely charming people.”

AFTER A THREE-WEEK STINT OF CHEKHOV’S ‘THREE SISTERS’, FOLLOWING ‘BEAUX’ AT THE AHMANSON, the company returns to London to play ‘Beaux’ for the rest of the year. “I’ve never played Chekhov, but I love him,” Maggie admits. “The first dry run was. . . terrible, but I enjoyed it. . . it is heavenly to work with Sir Laurence.”

For Maggie, the near future means “another terrible arctic flight home.” The young couple then goes on holiday in Rome for three weeks. “It seems like we always end up there. . . we have good friends with a pension and it is a wonderful change.”

“I’ll also be in a short series of ‘Hedda Gabbler,’” adds busy Maggie. Then maybe another movie. She has already had several offers, but it is still too far in advance to say anything definitive.’ If she’s nominated for “Brodie,” there’s a good chance Maggie won’t attend the award

Festivities. . . “I didn’t come when I was nominated for a supporting role in ‘The VIP’. . . I don’t see how I could fit in there. And besides, that polar flight is not that inviting.”

– Karin Winner

Research by Tonya Blazio-Licorish