Margaret rutherford autobiography meaning
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The relationship between famous character actor Dame Margaret Rutherford and transwoman author Dawn Langley Simmons was undoubtedly an alliance of eccentrics, formed in 1960 and developed outside the status quo. What “queers” this alliance, making it not only more unique but also pre-Stonewall significant, is how the two challenged gender norms and blurred sexual identity categories just by being themselves.
Transsexualism is no mere eccentricity, of course, but the perception of Simmons as eccentric was magnified by her out-of-the-closet role as one of the first transsexuals to undergo sex reassignment surgery, directly after which she took on another then-shocking role as the first white woman in South Carolina to marry a black man. The perception of Rutherford as eccentric was magnified by a longtime spinster aura and a late marriage to an equally eccentric fellow actor with a similarly vague sexuality. Not having children of their own, they “adopted from the heart” certain talented outsiders whom they admired, most prominently the British expatriate Simmons when she was still living as Gordon Langley Hall.
Rutherford and Simmons — their individual stories are as remarkable as their intersecting story, culminating in Simmons’ biograph
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Margaret Rutherford Makes Me Happy
Though Margaret Rutherford was a real-life dame, given the British Dame-Capital-D title (DBE) in 1967, to fans she is best remembered and well-loved as Agatha Christie’s super sleuth dame Miss Marple. (Personally, I most cherish her role as a fantastic Madame Arcati in Noel Coward’s Blithe Spirit.)
During her heyday, Margaret was a familiar, and a wee bit unconventional, face on stage, screen and television. Starting out as a pianist and elocution teacher, Rutherford took up acting relatively late in life, making her stage debut at age 33 in 1925. While her age, “spaniel jowls” and husky frame prevented her from assaying romantic leads, the very attributes that kept her from playing debutantes helped make her a beloved comedy staple for decades. (Kenneth Tynan wrote, “The unique thing about Margaret Rutherford is that she can act with her chin alone.”) Though Margaret wrote in her autobiography, “I never intended to play for laughs. I am always surprised that the audience thinks me funny at all”, she had a knack for always making eccentricity more loveable than annoying.
Rutherford made her first big splash with critics and the audience with her performance as Miss Prism in John Gielgud’s
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Description
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