The esteemed British actress, Maggie Smith, a luminary of both stage and screen, whose illustrious career was adorned with two Oscars, three Emmys, and a myriad of theatrical accolades, graced the world with her talent until her passing on Friday in London, at the age of 89. Her sons, Toby Stephens and Chris Larkin, issued a heartfelt statement, lamenting, "With profound sorrow, we must announce the loss of Dame Maggie Smith. She peacefully departed this morning, the 27th of September, in the company of cherished friends and family, at a hospital. Known for her profound privacy, she was surrounded by love at her final moments. She leaves behind two sons and five adoring grandchildren, deeply grieved by the absence of their extraordinary mother and grandmother. We extend our gratitude to the remarkable staff at Chelsea and Westminster Hospital for their compassionate care and unwavering kindness during her final chapter."
In the twilight of her seventh decade, Smith captured the hearts of a new generation as the Dowager Countess in the globally adored series "Downton Abbey," a triumph for ITV, PBS's "Masterpiece," and audiences worldwide. Her portrayal earned her two Emmys and additional nominations, cementing her status as a fan favorite.
Like a beacon among British thespians, Smith illuminated the "Harry Potter" film series as Professor Minerva McGonagall, her presence a staple among the magical cast. A virtuoso in both classical and contemporary roles, Smith was celebrated for her nuanced intricacies and bold gestures alike. Her fiery red hair and unforgettable performances in "Mary, Mary," "Hedda Gabler," "Othello," "Private Lives," "Night and Day," and "Lettice and Lovage" captivated theater-goers across the Atlantic for generations. Her cinematic endeavors in "The Prime of Miss Jean Brodie," "California Suite," "A Room With a View," "Travels With My Aunt," and many more, left an indelible mark on global audiences.
In 2015, she shone brightly in "The Lady in the Van," a film adaptation of Alan Bennett's play based on his personal experiences, directed by Nicholas Hytner, who had also helmed the stage production.
Smith's contributions to the arts were recognized in 1990 when she was bestowed the title of Dame Commander of the British Empire, a prestigious honor shared by a select few of her generation, including Judi Dench and Diana Rigg. A critic once hailed her as possessing "the power to command your gaze and attention at all times, laconic yet nervous, a master of comedy, and deeply moving in pathos—a true gem of an actress." Even her critics, who found fault in her theatrical excesses—the perpetual elbow jutting, flailing hands, triple takes, and swooping vocal inflections—could not deny the electric energy she brought to every performance. Undeterred by such criticisms, Smith famously remarked that it was better to err on the side of excess than insufficiency onstage.
Amidst a pantheon of breathtakingly talented actors, Marlon Brando instantly comes to mind, and so does Margaret Smith, whose talent, both profound and versatile, occasionally propelled her to the brink of excess. Yet, at her prime, she was a force to be reckoned with, effortlessly captivating audiences and stealing the spotlight from all who dared to share the stage. Contrary to her contemporaries who adhered to the bombastic style of Laurence Olivier, Smith stood out as a breath of fresh air, embodying a lightheartedness that was both a boon and a challenge. Early in her career, she had to convince doubters of her gravitas, proving she could hold her own amidst the classics and earn her stripes as a formidable actress.
Born in the bustling town of Ilford, Essex, Smith embarked on her journey at the prestigious Oxford School for Girls, before delving into the world of theater at the Oxford Playhouse School. By 1952, she was already gracing the stages of Oxford University, particularly excelling in revues like "On the Fringe," which took her on tours far and wide. When this production made its way to the prestigious West End, it was there that American producer Leonard Sillman spotted her raw talent and invited her to be the sole British representative in the Broadway extravaganza, "New Faces of 1956."
This breakthrough led to a string of comedic triumphs, including a stint in "Share My Lettuce" and a cameo in the film "Nowhere to Go." But Smith was not content to rest on her laurels; she returned to the stage in "The Stepmother," and subsequently joined the hallowed ranks of the Old Vic, where she solidified her reputation as a serious actress through her performances in "The Double Dealer," Shakespeare's "As You Like It" and "Richard II," as well as "The Merry Wives of Windsor" and "What Every Woman Knows."
In 1960, she embarked on a remarkable collaboration with Olivier, co-starring in Eugene Ionesco's thought-provoking "Rhinoceros." Her career continued to soar as she appeared in "Strip the Willow," Jean Anouilh's "The Rehearsal," and participated in readings of Sean O'Casey's "Pictures in the Hallway," which ultimately paved the way for her role in the film adaptation of "Young Cassidy," sharing the screen with Rod Taylor in the portrayal of the legendary Irish playwright.
Smith's stellar journey in the world of theater and cinema commenced with her maiden Evening Standard triumph for her portrayal in Peter Shaffer's masterful double bill, "The Private Ear/The Public Eye." This accolade was swiftly followed by another triumph, this time in Jean Kerr's heartwarming play, "Mary, Mary," solidifying her place in the acting firmament.
Hollywood's gaze fell upon this talented actress at the dawn of this golden era, as she effortlessly shone in a supporting role alongside the iconic duo of Richard Burton and Elizabeth Taylor in the 1963 film "The V.I.P.s." Her prowess was further exemplified the very next year in the poignant drama "The Pumpkin Eaters," where she stood shoulder to shoulder with Anne Bancroft, leaving an indelible mark.
Olivier, the theater's grandee, then beckoned her to grace the stage of his esteemed National Theatre Company, entrusting her with the iconic role of Desdemona in "Othello." This performance not only catapulted her to theatrical stardom but also earned her an Oscar nod for her cinematic rendition. The National Theatre became her playground, where she triumphantly tackled roles in productions like "The Recruiting Officer," "The Master Builder," and a radiant "Hay Fever," among others. Her tour de force in Ingmar Bergman's directorial gem, "Hedda Gabler," clinched her a second Evening Standard Award in 1970.
Amidst this flurry of achievements, Smith secured the coveted lead in "The Prime of Miss Jean Brodie," besting seasoned performers like Zoe Caldwell and Vanessa Redgrave. Her portrayal was so captivating that it won her the prestigious Oscar, albeit she was absent from the ceremony, gracing London's stages in "The Beaux Strategem." Her filmography during this phase glistened with titles like "The Honey Pot," "Hot Millions," and the satirical masterpiece, "Oh! What a Lovely War."
Embarking on a new chapter, Smith graced the esteemed Stratford Festival in Ontario, dazzling audiences in productions such as "Antony and Cleopatra," "The Way of the World," and Shakespeare's timeless "A Midsummer Night's Dream" and "As You Like It." Her stardom transcended borders as she shared the stage with Brian Bedford in "The Guardsman" in Los Angeles before returning to Broadway's limelight in Tom Stoppard's "Night and Day," garnering her a second Tony Award nomination, a testament to her enduring brilliance in both theater and film.
George Cukor's masterpiece, "Travels With My Aunt," secured a second Oscar nod for its lead, who then dazzled audiences in Neil Simon's "California Suite," a performance so captivating that it netted her a second Academy Award, this time in the Best Supporting Actress category. Her cinematic journey during this era was adorned with gems like "Clash of the Titans," "Quartet," "Evil Under the Sun," and "Better Late Than Never," yet it wasn't until the heart of the 1980s that films truly commensurate with her talents emerged.
"A Private Function," penned by the esteemed Alan Bennett, and "A Room With a View," both offered platforms that showcased her inimitable artistry, earning her a fifth Oscar nomination for the latter. Moreover, both "A Private Function" and the critically acclaimed "The Lonely Passion of Judith Hearne" bestowed upon her BAFTA Awards for Best Actress, a testament to her versatility and depth.
On the stage, even the most intricate of assignments, such as Jean Cocteau's enigmatic "The Infernal Machine," transformed into must-see spectacles under her deft touch. Her portrayal of 'Virginia'—a nod to Virginia Woolf—garnered her yet another Evening Standard Award in 1981, followed by another accolade for "The Way of the World" in 1984. Alan Bennett's ingenious monologue, "Bed Among the Lentils," was tailored especially for her, and her television rendition in 1988 was met with thunderous applause.
Peter Shaffer crafted the delightful comedy "Lettice and Lovage" specifically for her, a work that harmonized seamlessly with her comedic prowess. She triumphantly premiered it in London before bringing it across the Atlantic to New York, where she finally triumphed with a Tony Award. Ironically, it was around this triumphant time that she was diagnosed with Graves' disease, a health challenge that subsequently impacted her ability to work as vigorously or for prolonged stretches, leaving a poignant reminder of the fragility of artistic brilliance amidst life's uncertainties.
Indeed, she etched her name in the annals of theater with awe-inspiring performances, notably her accolade-garnering portrayal of "Three Tall Women," penned by Edward Albee, which graced the London stage in 1994. Her cinematic journey was equally illustrious, spanning roles in Steven Spielberg's enchanting "Hook," the blockbuster comedy "Sister Act" and its sequel, the mystical "The Secret Garden," the empowering "The First Wives' Club," the poignant "Washington Square," and a mesmerizing Ian McKellen-led fascist interpretation of "Richard III." She also lent her charm to the whimsical "It All Came True" alongside Michael Caine and shared the screen with Cher in the heartwarming "Tea With Mussolini."
In the realm of television, her performances in "Memento Mori" and "Suddenly Last Summer" were etched in viewers' memories, the latter even garnering her an Emmy nomination. Her television film credits boasted titles like "All the King's Men," a poignant tale of WWI tragedy, and "David Copperfield," yet another Emmy-nominated endeavor. In 2003, she triumphantly won an Emmy for her work in the HBO telefilm "My House in Umbria," and her talent was further recognized with subsequent nominations for "Capturing Mary" in 2010 and two more for her iconic portrayal of the Dowager Countess of Grantham, Violet, in the beloved U.K. series "Downton Abbey."
The 2000s saw Smith consolidate her mainstream appeal with supporting roles in films such as "Gosford Park," "Divine Secrets of the Ya-Ya Sisterhood," "Becoming Jane," the delightful "Keeping Mum," and "Nanny McPhee Returns." Her portrayal of Professor Minerva McGonagall in the "Harry Potter" film franchise introduced her to legions of J.K. Rowling's devoted fans. However, amidst the magic of Hogwarts, Smith, then 74, bravely faced a breast cancer diagnosis, emerging victorious and seamlessly returning to both the silver screen and television.
Her artistic journey continued unabated, featuring a role in the enchanting "From Time to Time," voice work in the 2011 animated delight "Gnomeo and Juliet," and appearances in the hit "The Best Exotic Marigold Hotel" franchise. In 2012, she shone in Dustin Hoffman's directorial venture "Quartet," a poignant adaptation of Ronald Harwood's play about opera singers in a retirement home, and stole hearts in "My Old Lady," Israel Horovitz's directorial debut, adapted from his own play.
Smith's personal life was marked by two marriages: first to actor Robert Stephens in 1967, and later to writer Beverly Cross in 1976, until his passing in 1998. She leaves behind a legacy of love, embodied in her sons, actors Christopher Larkin and Toby Stephens, and their cherished grandchildren.
