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Lansbury was born in London in 1925, to Irish actor Moyna Macgill and Edgar Lansbury, a politician and timber merchant who died when she was nine. “A private family ceremony will be held at a date to be determined.”
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“Thank you for having me back,” she said in her emotional acceptance speech.“In addition to her three children, Anthony, Deirdre and David, she is survived by three grandchildren, Peter, Katherine and Ian, plus five great grandchildren and her brother, producer Edgar Lansbury. (Lansbury’s fifth and final Tony would come in 2009, for best supporting actress in a play-the revival of Blithe Spirit-which she won 43 years after her first. The show went on to win eight Tony Awards, including ones for Lansbury-her fourth-Cariou, Prince, Sondheim, and for the show itself as best musical.
Later convinced by Sondheim and Prince that the role was equal to the one that would eventually go to Len Cariou, Lansbury signed on, and delivered a performance that The New York Times described as “towering” (and that, luckily, was later recorded for television). I put down the phone and said to my husband, ‘Hmmm, all right, this show is called Sweeney Todd, the Demon Barber of Fleet Street. “Hal said he wanted me to play the role of Nellie Lovett. “I was in Ireland when a woman called to say, ‘There’s a telegram here from New York from a fella named Harold Prince,’” Lansbury told New York magazine in 2009, referring to the show’s director. Lovett in the Grand Guignol musical Sweeney Todd.īut that collaboration got off to a slightly rocky start. In 1975, Lansbury was reunited with Sondheim when she starred in the first Broadway revival of Gypsy (and for which she would win another Tony), setting the stage for their next venture together-and perhaps Lansbury’s greatest Broadway role-Mrs. It was a win she would repeat three years later, when starring in Herman’s Dear World, the musical adaptation of the Jean Giraudoux play The Madwoman of Chaillot. He prevailed against the wishes of his producers, who wanted a bigger name, and the result was a triumph: Lansbury ended up on the cover of Life and won that season’s Tony Award for best actress in a musical. More important, among the few people to see that show before it closed was Jerry Herman, and it convinced him that Lansbury should take the title role in the new musical he was then writing, Mame.
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The show flopped, closing just nine days after its opening night, but it cemented a close professional and personal relationship with its composer, Stephen Sondheim. She said she sang “A Foggy Day,” and though she was not a trained singer, “I got away with it.” “I can’t begin to tell you what a thrill it was” when the show’s author, Arthur Laurents, reached out to ask if she would audition, Lansbury once told an interviewer. In 1964, Lansbury played the lead character in a new musical, Anyone Can Whistle. Potts in Beauty and the Beast and singing the Oscar-winning title song.)Ī second career soon beckoned on Broadway.
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“I just never got to play the great roles, and I think I would have loved to have had a crack at some of them.” She added: “I never really advanced in movies beyond The Manchurian Candidate.” (She did, however, later rebound by voicing the character of Mrs.
“I know that I missed out on a few things that I would have liked to have played,” she told an audience at a screening of The Manchurian Candidate in 2011, when she was 85. ”īut despite rave reviews and that Oscar nomination, Lansbury’s film career seemed to stall after that. In his review for Variety, Vincent Canby accurately predicted an Oscar nomination for Lansbury, writing that her performance “as Harvey’s scheming, caustic mother (“Raymond, why do you always have to look as if your head were about to come to a point?”) is one of the most poignant and diamond-hard of the.
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