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      Patti LuPone Says She Resigned From Stage Actors’ Union

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      The actress left months ago, and revealed her exit on Monday after her name arose during discussion of the errant reprimanding of a “Hadestown” patron who was using a captioning device.The much-honored stage actress Patti LuPone said on Monday that she resigned from the labor union Actors’ Equity months ago, revealing the news after her history of reprimanding cellphone-using audience members was invoked in a new controversy about the policing of electronic devices.The drama that consumed the corner of social media obsessed with theater began to unfold last week when a “Hadestown” audience member with hearing loss said she had been reprimanded by one of that show’s current stars, Lillias White, while using a theater-approved captioning device mistaken for a cellphone.“On a daily basis, actors are confronted with digital devices illegally capturing their work,” the musical’s producers said in a statement on Monday. “In this case, following a terrible miscommunication, in the middle of a live performance, Lillias mistook the closed-captioning device for a cellphone.”The “Hadestown” incident, for which the show apologized, prompted significant criticism of White. Then, on social media, LuPone’s name was cited in the discussion because she had in the past been celebrated for seizing a cellphone from a texting theater patron.Some of the criticism directed toward White was ugly. “The discourse on social media around the incident has devolved into racist, ageist and other abhorrently discriminatory language we unequivocally condemn,” the production said.The tenor of the criticism of White, who is African American, prompted some on social media to recall that LuPone, who is white, has been lauded on occasions when she has chastised misbehaving theatergoers.Because the patron White reprimanded was using a device for legitimate purposes, it is an imperfect comparison. But LuPone turned to Twitter on Monday in an apparent effort to distance herself from the situation, writing: “Quite a week on Broadway, seeing my name being bandied about. Gave up my Equity card; no longer part of that circus. Figure it out.”LuPone left the union over the summer, long before the “Hadestown” incident, upon finishing her Tony-winning run in a revival of “Company.”“When the run of ‘Company’ ended this past July, I knew I wouldn’t be onstage for a very long time,” LuPone said in a statement emailed in response to a question about her tweet. “And at that point I made the decision to resign from Equity.”Her departure came after a change in union rules that eliminated a cap on dues collected from high-earning performers. She had expressed concern about the change and the way it was communicated, according to people familiar with the thought process behind her resignation.Her spokesman, Philip Rinaldi, when asked about the issue, said only: “It was a number of issues that led to her decision. Patti was an Equity member for 50 years.”It is not clear what the statement means about her professional future. But this is not the first time LuPone, 73, who also won Tonys for her work in “Evita” and a revival of “Gypsy,” has said she was going to step back. In 2017 she said she expected “War Paint” to be her final musical; a year later she was back onstage in “Company” in London.In some instances, it is possible for performers who are not members of Equity to perform on Broadway. It is also possible to rejoin a union.The “Hadestown” controversy has also renewed discussion about monitoring audience behavior. The playwright Jeremy O. Harris urged reconsideration of such policies, saying, “Having a more realistic relationship to technology as well as more generous read of the actions of others would stop things like this from happening.” More

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      in Television

      ‘House of the Dragon’ Star Fabien Frankel on Playing Kingmaker

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      The man who placed the crown on the new King of Westeros’s head is still not quite sure how he got there.This interview includes spoilers for the first nine episodes of “House of the Dragon.”To this day, Fabien Frankel doesn’t really know how he wound up on “House of the Dragon.”“I got an email from my agent that said ‘Untitled HBO Television Series,’” he said. He was asked to audition for a character named “Clint.”Wearing all black, the startlingly photogenic English actor, who plays the lethal Kingsguard knight Ser Criston Cole, settled back into a couch at HBO’s New York headquarters last week to continue the story. “I did the audition, and heard nothing back other than that they were looking for a slightly more Jason Momoa type for the part. That certainly wasn’t me, and I really didn’t think about it again.”Six months later, by which point the word was out that a “Game of Thrones” prequel was in the works, he was offered the part. “What I still don’t know, and I’m fascinated to know, is whether they couldn’t find their Jason Momoa type, or if they decided to change their casting brief. If the opportunity arises to ask them, I will.”Judging from how things have been going in Westeros, Frankel has time to spare. In the show’s most recent episode, his Ser Criston struck the first blow in the internecine conflict for control of Westeros — known as the Dance of the Dragons in George R.R. Martin’s source novel, “Fire & Blood” — and placed the crown on the head of the new king, the creepy Aegon II (Tom Glynn-Carney). In the book, this earns Cole the sobriquet of “Kingmaker.” To hear Frankel tell it, though, the acclaim has not yet hit home.These are edited excerpts from the conversation.“House of the Dragon” is an enormous hit. How has your life changed?My life in London is more or less the same. I’m probably getting slightly more calls from my agents, and a weekly call from my brother and friends to talk about the episodes. But my day-to-day life is not very different at all.London’s a good city at keeping you grounded because people tend to be quite private and un-invasive. You hear all these stories of, “I couldn’t walk down the street,” but I don’t have any of that. I can count on two hands the amount of times people on the street have taken notice.I’m a bit surprised to hear that. I’m not sure if you’ve noticed, but you’ve become kind of a sex symbol among the fandom.I haven’t. I mean, I suppose it was inevitable for whoever was going to have a romance with Rhaenyra [the princess who seduces Cole, played by Milly Alcock and, later, Emma D’Arcy], but I can tell you now that no one in my close circle is swooning.Cole with Milly Alcock, as the younger version of Rhaenyra. The character shaped Cristen Cole’s trajectory in the show.Ollie Upton/HBOLet’s talk about Ser Criston’s journey from one side of the conflict to the other. When he first becomes romantically involved with Rhaenyra, he seems a little idealistic, a little naïve.I never felt that he was naïve. I felt that he was taken out of a life he understood into a life he didn’t.Return to Westeros in ‘House of the Dragon’HBO’s long-awaited “Game of Thrones” prequel series is here.Playing Kingmaker: Fabien Frankel plays Ser Criston Cole, who got to place the crown on the new King of Westeros’s head. He is still not sure how he landed the role.The Princess and the Queen: Emma D’Arcy and Olivia Cooke, who portray the grown-up versions of Rhaenyra Targaryen and Alicent Hightower, talked about the forces that drive their characters apart — and pull them together.A Man’s Decline: By the eighth episode of the season, Viserys no longer looks like a proud Targaryen king. The actor Paddy Considine discussed the character’s transformation and its meaning.A Rogue Prince: Daemon Targaryen is an agent of chaos. But “he’s got a strange moral compass of his own,” Matt Smith, who portrays him, said.He’s a soldier. In the army, you don’t just become a sergeant or a captain; you work to become a sergeant or a captain. In King’s Landing, it’s hereditary names, titles, people who haven’t earned the right to be anywhere. You take this character, who has nothing in common with that entire world, and put him in the central circle. It takes him a beat to figure things out.Then, obviously, there is a darkness within him that a certain moment triggers, and he becomes what he is.Why does he react so fanatically when Rhaenyra rejects his marriage proposal and counters with a sort of indecent proposal of her own?There’s nothing extraordinary about it: He’s asked a girl to run away with him, and he’s been told no. That’s the basis. It doesn’t matter who she is — they’re two kids, and they’re young, and he has very strong feelings for her. And she said, “No, but I’ll keep you on the side, do what I need to do,” which is disrespectful unto itself.My justification, and this is probably somewhat controversial, was that Rhaenyra could have let him go at the end of that conversation, or at some point before her wedding. Instead, she made him sit through the whole thing. And he flips. It becomes very evident that he has a temper that we had not yet seen. That temper, for reasons he feels are profound, makes him flip.Frankel didn’t know what he was auditioning for when he first read for “House of the Dragon.” Peter Fisher for The New York TimesI like how you put it earlier, that there’s a darkness within him. It’s much closer to the surface now than it used to be.Yes. The sourness and bitterness of this world has washed off on him. You are your surroundings; you are the people you’re surrounded by. Ser Criston happens to be surrounded by an incredibly ambitious group of very Machiavellian human beings whose sole ambition is power. Eventually, you go: “Well, that’s the life I live. That’s what I am now. I’m in too deep.”And you become the Kingmaker. You draw first blood in the conflict between the so-called “Greens” and “Blacks,” bashing in the head of poor Lord Beesbury (Bill Paterson). Was that an accident, or did Cole kill him on purpose?I don’t want to say. If it comes from me, then it’s decided, and I’d rather “House of the Dragon” fans, who are so astute, watch it and decide for themselves.Then he puts the crown on King Aegon II’s head in full view of the public. He’s famous now. Is that a role he embraces?I think he sees it as his duty, by proxy of being Alicent’s sworn protector, to protect these boys. He’s been very close to a father figure to them. Criston Cole taught these kids to fight, taught these kids respect. There’s that bit where Aemond [Aegon’s younger brother, played by Ewan Mitchell] is talking, and Criston didn’t like how he was speaking, and he says something like — I don’t remember ——“Every woman is an image of the Mother, to be spoken of with reverence.”Yes. So I think that’s his duty now. He doesn’t want to be a big star or very famous. It’s not in his nature. That’s just what happened.That’s a very funny line given what we’ve seen and heard from Criston.I’m glad you found it funny because I remember thinking it was hilarious. There was a conversation between Sara [Hess, the episode’s writer]; Clare [Kilner], our director; and myself when we were in Spain shooting that scene about how it should be delivered. I said it can only be funny. I mean, he’s not exactly proved that every woman is an image of the Mother.Frankel said his life hasn’t changed much since “House of the Dragon” began airing. “My day-to-day life is not very different at all,” he said.Peter Fisher for The New York TimesThat sequence really built up the relationship between Criston and Aegon’s kid brother, Aemond One-Eye. There’s a mutual respect there, even among such shifty characters.Criston sees Aemond in himself, and himself in Aemond. Ewan and I talked a lot about that. He and I would spend a lot of time together, walking around Spain together, discussing this relationship. There’s a real closeness between them.They’re also the two coolest characters on the Green side, to be honest.Oh, mate, I’m loving you saying that. I’m very Team Green, and proud of it. That’s kind of how I’m programmed to think now. I’m glad to hear there’s some love for the Greens out there. I think we are a force to be reckoned with. It’s a good solid crew. I’d back us in a street fight.Perhaps it’s too late at this point to ask, but does some part of Ser Criston still love Rhaenyra?[Smiles ruefully.] First love is first love. I think everyone will always love the person that they fell in love with for the first time. From the first time you hear a beautiful piece of music, you’ll always love it, even if you’ve heard it a hundred times, because you remember that first time you heard it. So yeah, he will always love Rhaenyra. More

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      in Movies

      Robbie Coltrane, the Beloved Hagrid in ‘Harry Potter’ Films, Dies at 72

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      The veteran Scottish actor and comedian also played a gambling-addicted psychologist in the 1990s crime series “Cracker.”Robbie Coltrane, the veteran Scottish actor who played the beloved half-giant Rubeus Hagrid in the “Harry Potter” films and starred in the cult British crime series “Cracker,” died on Friday in Larbert, Scotland. He was 72.His death, in a hospital, was confirmed by Belinda Wright, his British agent. Ms. Wright said that Mr. Coltrane’s family had not disclosed a cause, but that he had been “unwell for some time.”Mr. Coltrane veered from the comic to the gritty in a 40-year career in film and television, with turns as an antihero detective in “Cracker” (1993-96), a K.G.B. agent turned ally to James Bond and a gangster who disguises himself as a nun after betraying his fellow criminals in “Nuns on the Run” (1990).But those roles did little to prepare Mr. Coltrane to play Hagrid, a fan favorite from the “Harry Potter” books whose transition to the big screen would face the sky-high expectations of millions of young readers.Mr. Coltrane successfully embodied the 8-foot-6 half-giant. He appeared in all eight “Harry Potter” films, infusing the franchise with warmth even as he towered over the young witches and wizards at the center of the series who were embroiled in a fight against evil.The first film, “Harry Potter and the Sorcerer’s Stone,” opened in November 2001 and went on to gross more than $1 billion worldwide, building on the already fervent global fan base of J.K. Rowling’s book series.Ms. Wright, Mr. Coltrane’s agent of 40 years, said the role was the reason he received a “stream of fan letters every week for over 20 years.”Fiercely protective of his privacy, Mr. Coltrane gave few interviews and could be hard-edged with reporters. But he said he had to cast that gruffness aside when he was embraced by a legion of young “Harry Potter” fans.“Kids come up to you and they go, ‘Would you like to sign my book?’ with those big doe-eyes,” he told The Guardian in 2012. “And it’s a serious responsibility.”Mr. Coltrane was born Anthony Robert McMillan on March 30, 1950, in Rutherglen, Scotland, outside Glasgow. His father, Ian Baxter McMillan, was a doctor; his mother, Jean Ross Howie, was a teacher.He grew up on the outskirts of Glasgow and enrolled in Glasgow School of Art, where he studied drawing and painting but struggled to capture his ideas on canvas.“I wanted to paint like the painters who really moved me, who made me want to weep about humanity,” he told The Herald, a Scottish newspaper, in 2014. “Titian. Rembrandt. But I looked at my diploma show and felt a terrible disappointment when I realized all the things that were in my head were not on the canvas.”As the prospect of a future as a painter dimmed, he was encouraged by a drama teacher who told him that he had acting talent after he appeared in a staging of Harold Pinter’s one-act play “The Dumb Waiter,” The Herald reported.After adopting his stage name as a tribute to the great jazz saxophonist John Coltrane, Mr. Coltrane found steadier footing when he moved to London. He worked as a stand-up comedian and actor, picking up theater roles and small parts in television and film productions.He attracted critical acclaim as Dr. Edward Fitzgerald, known as Fitz, the chain-smoking criminal psychologist in the hit series “Cracker,” whose alcohol addiction echoed Mr. Coltrane’s own issues with drinking. The role earned him the BAFTA award for best TV actor in 1994, 1995 and 1996.A turn as Valentin Zukovsky, a former K.G.B. agent turned Russian mafia kingpin, in the James Bond films “GoldenEye” (1995) and “The World is Not Enough” (1999) exposed Mr. Coltrane to a broader audience, particularly in the United States.There was nothing, however, that could compete with the global fame he found after he was cast as Rubeus Hagrid in the “Harry Potter” series. With his bushy beard and growling voice, Mr. Coltrane brought the beloved character to life. Mr. Coltrane, center, as Rubeus Hagrid in “Harry Potter and the Half-Blood Prince” (2009), with Jim Broadbent, left, as Professor Horace Slughorn, and Daniel Radcliffe as Harry Potter.Alex Bailey/Warner Brothers PicturesThe young actors who grew up on the sets of the “Harry Potter” films fondly remembered Mr. Coltrane as someone they could count on to lift their spirits with a joke or a word of encouragement.Daniel Radcliffe, who played Harry Potter, said on Friday that Mr. Coltrane “used to keep us laughing constantly as kids.”“I’ve especially fond memories of him keeping our spirits up on ‘Prisoner of Azkaban,’” Mr. Radcliffe said in a statement, “when we were all hiding from the torrential rain for hours in Hagrid’s hut and he was telling stories and cracking jokes to keep morale up.” James Phelps, who played Fred Weasley in the series, wrote on Twitter that when he was 14 years old and nervous on his first day on the set, Mr. Coltrane came over and said, “Enjoy it, you’ll be great.”Mr. Coltrane is survived by his children, Spencer and Alice, and a sister, Annie Rae. In the HBO Max retrospective “Harry Potter 20th Anniversary: Return to Hogwarts,” which premiered on Jan. 1, Mr. Coltrane reflected on the role that introduced him to a new generation of fans.“The legacy of the movies is that my children’s generation will show them to their children,” he said. “So you could be watching it in 50 years’ time, easy. I’ll not be here, sadly, but Hagrid will, yes.” More

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      in Television

      ‘House of the Dragon’: Emma D’Arcy and Olivia Cooke on Forgiveness and Favorite Drinks

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      In a joint interview, Emma D’Arcy and Olivia Cooke talked about the forces that drive their characters apart — and pull them together.This interview includes spoilers for the first eight episodes of “House of the Dragon.”By the time Emma D’Arcy and Olivia Cooke debuted, in the sixth episode, in HBO’s fantasy smash “House of the Dragon,” you had seen them before. Well, their characters, anyway.D’Arcy and Cooke play Princess Rhaenyra Targaryen and Queen Alicent Hightower, childhood friends driven apart by a power struggle over who will inherit the Iron Throne from King Viserys (Paddy Considine), Rhaenyra’s father and Alicent’s husband.But because of the story’s unusual structure — the show covers decades in its first season, during which Rhaenyra and Alicent grow up and have children of their own — their roles were played by the younger performers Milly Alcock and Emily Carey in the first five episodes. As the time for the cast switch-over drew closer, D’Arcy grew more and more nervous.“I found that bit the most pressurized point of the whole job so far,” D’Arcy said during a conference call from London earlier this week. “The audience only gets to meet you in a state of grief, having just lost the person they spent five hours with. The closer we got to inflicting that on people, the more stressed I felt.”Cooke looks at it a bit differently. “Those were the halcyon days,” she said. “We weren’t confronted with millions and millions of people watching our performances week after week. Usually, you do a film, it comes out, it goes away.”“No one watches it!” D’Arcy chimed in, prompting raucous laughter from both actors — a common occurrence in the conversation.“No one watches it” is certainly not a problem faced by “Dragon,” a “Game of Thrones” prequel that has thus far has lived up to the blockbuster success of its predecessor. The complicated relationship between D’Arcy’s and Cooke’s characters is the primary engine of the story, and that centrality, along with a series of charming promotional videos and appearances, has made the actors among the show’s most popular performers. Even D’Arcy’s favorite drink order — “a Negroni Sbagliato with prosecco in it” — now has its own online fan base.Return to Westeros in ‘House of the Dragon’HBO’s long-awaited “Game of Thrones” prequel series is here.The Princess and the Queen: Emma D’Arcy and Olivia Cooke, who play the grown-up versions of Rhaenyra Targaryen and Alicent Hightower, talked about the forces that drive their characters apart — and pull them together.A Man’s Decline: By the eighth episode of the season, Viserys no longer looks like a proud Targaryen king. Paddy Considine discussed the character’s transformation and its meaning.The New Littlefinger?: Larys Strong, a shadowy character, burns bright as a major player in the show. Here’s his back story.A Rogue Prince: Daemon Targaryen, portrayed by Matt Smith, is an agent of chaos. But “he’s got a strange moral compass of his own,” the actor said.Seeing how well the two actors get along, it is easy to forget that they play bitter enemies. At the end of the show’s most recent episode, there was a hint that the cold war between their characters might finally thaw. But given the dying king’s garbled prophecy and the patriarchal system that seems determined to divide Rhaenyra and Alicent, their renewed peace appears to be in peril.These are edited excerpts from the conversation.Rhaenyra and Alicent have been estranged for the duration of your time on the show, but there’s a moment near the end of this week’s episode when their former closeness seems to have been rekindled.OLIVIA COOKE Even in fury, there is still a desire to be as close to one another as possible. They’ve not seen each other for such a long time, since Alicent attacked Rhaenyra [during Episode 7]. Alicent has been alone in that castle with all these men, and she’s probably been festering and thinking about that for a very, very long time.EMMA D’ARCY We had an amazing conversation, in advance of shooting the episode, about it being sort of set in a hospice [for the dying King Viserys]. Proximity to death can alter your chain of priorities; it offers a canvas for forgiveness where there wasn’t one previously. Going in, we really wanted to make sure that that moment at the end felt honest, that we could buy that these two people get there. It’s not an “all is forgiven” moment, but it’s a gesture to forgiveness.COOKE They’re really seeing each other for the first time since they were children — probably since the first time Rhaenyra found out that Alicent was marrying her dad. It’s unification in grief, and recognizing each other’s inner child in this loss.It feels like a small moment of freedom for two characters who’ve been forced into their roles by the men in their lives.COOKE These characters are being watched all the time. They’re always operating under the constraints of this straitjacket and learning how to maneuver within it. In this episode, it’s about taking chances and jumping on an opportunity Alicent may never get again — desperation for a friend and ally.D’ARCY It’s no coincidence that the male figures with power within this court have created conditions where Alicent and Rhaenyra’s relationship becomes untenable. It’s no coincidence that patriarchal structures look to divide and conquer strong female relationships. They would be the ultimate allies because there’s no one else who can truly understand what it is to be the oppressed party. Patriarchal structural oppression operates in such a multiplicitous and slimy way. That understanding can’t be conjured in someone who doesn’t live through it.In a scene earlier this season, Alicent physically attacked Rhaenyra. “Even in fury, there is still a desire to be as close to one another as possible,” Cooke said.HBOMilly and Emily have discussed the possible presence of a sublimated romantic or sexual spark between Rhaenyra and Alicent. Does that motivate the characters, even as adults?COOKE I don’t know if Alicent knows what it feels like to feel those things now. There’s layers and layers of repression; sexuality and lust are probably a prehistoric, sedimentary layer by now. From Alicent’s point of view, I don’t think she’s that self-aware, in terms of what she’s feeling, to know what’s propelling her to reach out to Rhaenyra again.D’ARCY That sort of erotic energy is very present in their early relationship. I think Rhaenyra is primarily motivated by a deep desire to be known and seen. The hurt and pain is so dominant that I don’t know if there’s a space, at this point, for a conscious interaction with sexual lust, but she definitely yearns for the old physical intimacy that they shared. It’s different from what she shares with her current husband and her children. A different form of contact.Olivia, I’ve seen a lot of debate over the end of this episode, when Viserys mistakes Alicent for Rhaenyra and tells her about his ancestor Aegon the Conqueror’s prophecy of a messianic “Prince That Was Promised.” She mistakenly believes Viserys is referring to their son, Aegon. Does she fully believe it, or is she hearing what she wants to hear?COOKE We spoke a lot about this. There was a massive amount of relief when Alicent told Rhaenyra, “You will make a great queen.” She’s so over the fighting and having this ball of bitterness and anxiety in her stomach: Just let it go, Rhaenyra is the heir, this is fine.When Viserys says that, I genuinely think she thinks he’s talking about Aegon, her son. And I think she’s furious. She’s like, “After all that?” But Viserys is on his deathbed; that’s what he requested, and so she must follow it through. Whether that’s unconscious wishful thinking, I don’t know, but that’s how I played it.Emma, this is shifting gears pretty dramatically, but there’s a video clip of you telling Olivia that your favorite drink is “a Negroni Sbagliato with prosecco in it” that went viral on TikTok and Twitter and inspired a number of articles. Is this something you’re aware of?D’ARCY I thought it’d be quite funny to be drinking one right now, but I’m not. [Laughs.] I keep thinking I should tell my mum that I’ve become a meme in the hope that she’ll be happy for me, but I’d have to explain what a meme is, and I’ve decided it’s too much effort.I feel so embarrassed. Because in those interviews, when we’ve been at it for six hours, I’m honestly only trying to make Olivia laugh.COOKE [Laughs.] Is that right?D’ARCY No, I’m obviously doing Campari’s next campaign.COOKE I’d be like, “Ten million pounds, please!”Speaking not as your characters but as yourselves: Whom would you side with? Alicent or Rhaenyra?COOKE It’s funny: The whole point of this story is that these two women have been split apart and people have been forced to take sides. Now the whole internet is doing the exact same thing, even though “House of the Dragon” is supposed to be a cautionary tale. I’d like to think that I wouldn’t pit either of them against each other. [Pause.] But yeah, probably Rhaenyra. [Both laugh.]D’ARCY I don’t know the answer to that. I’m married to my uncle. Who’s to say? More

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      in Theater

      Angela Lansbury, TV’s Favorite Sleuth on ‘Murder She Wrote,’ Dies at 96

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      She was a Hollywood and Broadway sensation, but she captured the biggest audience of her career as the TV sleuth Jessica Fletcher.The New York Times sat down with Angela Lansbury in 2010 to discuss her life and accomplishments on the stage and screen. She spoke with us with the understanding the interview would be published only after her death.Sara Krulwich/The New York TimesAngela Lansbury, a formidable actress who captivated Hollywood in her youth, became a Broadway musical sensation in middle age and then drew millions of fans as a widowed mystery writer on the long-running television series “Murder, She Wrote,” died on Tuesday at her home in Los Angeles. She was 96.Her death was announced in a statement by her family.Ms. Lansbury was the winner of five competitive Tony Awards for her starring performances on the New York stage, from “Mame” in 1966 to “Blithe Spirit” in 2009, when she was 83, a testament to her extraordinary stamina. She also received a special Tony for lifetime achievement at this year’s ceremony. Yet she appeared on Broadway only from time to time over a seven-decade career in film, theater and television in which there were also years when nothing seemed to be coming up roses.Ms. Lansbury as Madame Arcati in the 2009 production of “Blithe Spirit” with, from left, Jayne Atkinson, Christine Ebersole and Rupert Everett. The role won Ms. Lansbury her fifth Tony.Sara Krulwich/The New York TimesThe English-born daughter of an Irish actress, she was just 18 when she landed her first movie role, as Charles Boyer’s cheeky Cockney servant in the thriller “Gaslight” (1944), a precocious debut that brought her a contract with MGM and an Academy Award nomination for best supporting actress. She received a second Oscar nomination in 1946, for her supporting performance as a dance-hall girl in “The Picture of Dorian Gray.”It was a giddy start for a young woman who at 14 had fled wartime London with her mother and had only recently graduated from New York’s Feagin School of Dramatic Art. Ms. Lansbury imagined she might have a future as a leading lady, but, she said in a New York Times interview in 2009, she was not comfortable trying to climb that ladder.“I wasn’t very good at being a starlet,” she said. “I didn’t want to pose for cheesecake photos and that kind of thing.”It might also have been a matter of bones. Her full, round face was not well suited for the dramatic lighting of the time, which favored the more angular looks of stars like Lauren Bacall and Katharine Hepburn. In any event, she appeared in many a forgettable film before breaking out as the glamorous, madcap aunt in “Mame” on Broadway.MGM regularly cast her as an older woman, or a nasty one. Of the 11 movies she made after “Dorian Gray,” perhaps her most notable role was in “State of the Union” (1948), with Ms. Hepburn and Spencer Tracy, in which she played a newspaper magnate trying to get her married lover elected president.With the expiration of her MGM contract in 1951, Ms. Lansbury joined the national touring productions of two stage plays, “Remains to Be Seen” and “Affairs of State.” But when she returned to the movies as a freelance actress, she again found herself cast as either of two types: as she put it, “bitches on wheels and people’s mothers.”Ms. Lansbury with Roddy McDowall in the Disney musical fantasy “Bedknobs and Broomsticks.” She played a witch.DisneyShe was Elvis Presley’s possessive mother in “Blue Hawaii” (1961). She was Laurence Harvey’s sinister mother in “The Manchurian Candidate” (1962), a role that won her a third supporting actress Oscar nomination. (Though she was only three years Mr. Harvey’s senior, her maternal authority was entirely convincing when she told him, “You are to shoot the presidential nominee through the head.”) She played a woman who kills her husband in “Please Murder Me” (1956) and an overbearing mother in “The Reluctant Debutante” (1958). And so it went.On to BroadwayMs. Lansbury made her Broadway debut in 1957 in “Hotel Paradiso,” a translation of a 19th-century French farce. Good reviews encouraged her to try more theater work. She returned to Broadway in 1960 as the alcoholic single mother of a pregnant teenager in “A Taste of Honey.”In 1964 she was cast as a corrupt mayor in the Arthur Laurents-Stephen Sondheim musical “Anyone Can Whistle.” A notorious failure, it closed after only 12 previews and nine performances, but it showed she could summon the right stuff for live musical performance. “I had a little, high soprano, and they wanted a belter,” she said in 2009. “So I learned how to belt.”Ms. Lansbury with Frankie Michaels in “Mame.” More than a dozen other actresses, including Judy Garland, Doris Day and Audrey Hepburn, were said to be under consideration for the role.via Angela LansburyMs. Lansbury was anything but a shoo-in for the coveted lead in “Mame,” the Jerry Herman musical adaptation of Patrick Dennis’s novel “Auntie Mame,” which had already been adapted into a stage play and a movie — both starring Rosalind Russell, and both great successes.Ms. Russell did not want to play Mame again. Mary Martin was cast but opted out. More than a dozen other actresses, including Judy Garland, Doris Day and Ms. Hepburn, were said to be under consideration. But Ms. Lansbury was one of the few willing to audition for the role in front of the show’s creative and financial principals.In a Life magazine cover article about the show and her part in it, she recalled that there had been many distracting interruptions by men in dark glasses, compelling her to sing the songs over again. “Then they said, ‘Goodbye, thank you.’ That was all,” she said.Back home in Malibu, Calif., with her husband, Peter Shaw, an MGM executive, and their teenage children, Anthony and Deirdre, she waited for months for a call from the East. Finally, she flew to New York and confronted the producers.“I am going back to California,” she recalled telling them, “and unless you tell me — let’s face it, I have prostrated myself — now, yes or no, that’s the end of it.” That afternoon, she got an official yes.Her performance made her a genuine star at last. The show opened in New York on May 24, 1966, and the columnist Rex Reed reported in The Times that on the night he attended, “when the people got tired of whistling and clapping like thunder, they stood up in the newly refurbished seats in the Winter Garden and screamed.” He likened Ms. Lansbury to “a happy caterpillar turning, after years of being thumb-nosed by Hollywood in endless roles as baggy-faced frumps, into a gilt-edged butterfly.”Ms. Lansbury in 1966. In 2013, she received an honorary award from the Academy of Motion Picture Arts and Sciences for creating “some of cinema’s most memorable characters” and “inspiring generations of actors.”Sam Falk/The New York TimesTo Ms. Lansbury’s disappointment, though, Lucille Ball was chosen for the film version of “Mame,” which was not a success.Ms. Lansbury won her second Tony for best actress as the 75-year-old Countess Aurelia in “Dear World,” a 1969 musical adaptation of “The Madwoman of Chaillot.” The production itself was not well received and closed after 132 performances. For a while, though, it held the distinction of charging the highest ticket prices on Broadway: $12.50 for the best seats (the equivalent of about $105 today).She then returned to Hollywood, where she played an aging German aristocrat in “Something for Everyone” (1970), a rare cinematic effort from the Broadway producer and director Harold Prince, and a witch in the Disney movie “Bedknobs and Broomsticks” (1971).But this was a tumultuous time for her and her family. Their Malibu house was destroyed in a brush fire. Her son and daughter were using hard drugs. She and Mr. Shaw decided to leave California for the coast of County Cork, Ireland, where they built a home based on traditional farmhouse design.It was the sanctuary they had hoped for: Ms. Lansbury became a serious gardener, and her children overcame their drug problems. Anthony became an actor and then a television director, with credits including numerous episodes of “Murder, She Wrote”; Deirdre eventually married Enzo Battarra, a restaurateur, and became his business partner.With Len Cariou in “Sweeney Todd.” Ms. Lansbury won a Tony Award for her performance as the baker Mrs. Lovett.Martha SwopeOver the next decade Ms. Lansbury worked mostly on the stage, in London and New York. She starred as Mama Rose in a revival of “Gypsy,” which opened in London and won her a third Tony when it reached Broadway in 1974. She won yet another for her performance as Mrs. Lovett, the baker with a grisly source of meat for her pies, in Mr. Sondheim and Hugh Wheeler’s “Sweeney Todd,” with Len Cariou in the title role, which opened in March 1979 and ran for 557 performances.Success on the London stage closed a circle for Ms. Lansbury.Angela Brigid Lansbury was born in London on Oct. 16, 1925, and grew up there in upper-middle-class comfort, the daughter of Moyna MacGill, an Irish actress, and Edgar Lansbury, a timber merchant and politician who was the son of a Labour Party leader, George Lansbury. Her father died of stomach cancer when she was 9; her grandfather died five years later, and that loss, together with the Blitz, prompted her mother to move to the United States with Angela, her half sister and her twin younger brothers.“We left everything behind,” Ms. Lansbury recalled. “Suddenly, we just weren’t there anymore.”Ms. Lansbury as the mystery writer and amateur sleuth Jessica Fletcher on the hugely successful CBS series “Murder, She Wrote.”CBSA Surprise HitFor all her stage success, Ms. Lansbury would capture the biggest audience of her career in 1984, when she was cast as the mystery writer and amateur sleuth Jessica Fletcher on the CBS series “Murder, She Wrote.”It was widely believed that the series, whose protagonist was a bicycle-riding widow living in a small town in Maine, had little chance against sexier competition like the action crime drama “Knight Rider” on NBC. The conventional wisdom was that advertisers would not go after the older audience the show was likely to attract.“We were getting condolences even before we went on the air,” Richard Levinson, one of the show’s creators, recalled. “At best, we hoped that it would be a marginal success.” Instead, the show became a huge hit. In its second season it outdrew Steven Spielberg’s highly anticipated anthology series, “Amazing Stories,” by more than two million viewers a week, and it went on to run until 1996.“What appealed to me about Jessica Fletcher,” Ms. Lansbury said in an interview with The Times early in the show’s second season, “is that I could do what I do best and have little chance to play — a sincere, down-to-earth woman.”She received 12 successive Emmy nominations for her portrayal of Jessica Fletcher, but she never won.Ms. Lansbury remained active on television (she returned to her signature role in four made-for-television “Murder, She Wrote” films) and in movies, notably the Disney animated hit “Beauty and the Beast” (1991), in which she was the voice of the talking teapot Mrs. Potts. And there were more Broadway performances to come. Neither arthritis nor hip and knee replacements could keep her off the stage for very long.She starred with Marian Seldes in the Terrence McNally comedy “Deuce” in 2007 and played the eccentric medium Madame Arcati in the 2009 revival of Noël Coward’s “Blithe Spirit,” earning Tony No. 5. Her lifetime achievement award brought the total to six — a total matched only by Audra McDonald and Julie Harris (including Ms. Harris’s own lifetime achievement award). Ms. Lansbury received another nomination for her performance later that year as Madame Armfeldt in a revival of the Sondheim musical “A Little Night Music.”Though she never won an Oscar or an Emmy, Ms. Lansbury received an honorary award from the Academy of Motion Picture Arts and Sciences in 2013 for creating “some of cinema’s most memorable characters” and “inspiring generations of actors.” A year later, she was made a dame by Queen Elizabeth II.Ms. Lansbury and the MGM executive Peter Shaw. They married in 1949.via Angela LansburyMr. Shaw, her husband, died in 2003. An earlier marriage to Richard Cromwell, an American actor, ended in divorce after less than a year. Ms. Lansbury is survived by her sons, Anthony and David; her daughter, Deirdre; a brother, Edgar; three grandchildren; and five great-grandchildren.While many older actresses complained about a shortage of roles, Ms. Lansbury never lacked for work and seldom turned it down.She did opt out of a big chance to return to Broadway for the 2017-18 season, in a revival of “The Chalk Garden,” saying she had decided to spend more time with her family rather than face a long, lonely stretch of living in New York. But other good roles continued to catch her fancy, including the rich, imperious Aunt March in the BBC mini-series “Little Women” and the nice lady who sells magical balloons in the film “Mary Poppins Returns.” Both were released in 2018.“I really don’t know how to relax to the degree that I could just stop,” she told Katie Couric of CBS in 2009. “So when something comes along and is presented to me, and I think ‘Gee, I could have some fun doing that,’ or ‘I think I could bring something to that,’ I’ll do it.”Ms. Lansbury in 2009. “I really don’t know how to relax to the degree that I could just stop,” she said that year.Fred R. Conrad/The New York TimesBut, she added, there was one thing she was still missing after all those years: “I’d like to do one great movie before I pass along the way. I don’t know what it’ll be, but I think there’s one out there somewhere.” More

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      Angela Lansbury, Broadway’s Beloved Everywoman

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      She performed without sentimentality or histrionics, embodying the full range of human joy and depravity while remaining professional and approachable.We know that actors are not their roles, but it still came as a shock to see Angela Lansbury backstage in bunny slippers and a tatty robe, offering visitors a nice hot cuppa.This was in May 2007, just minutes after she’d finished playing Leona Mullen, a retired tennis player, in Terrence McNally’s “Deuce,” the play that brought her back to Broadway, at age 81, after a 24-year absence. She’d based Mullen in part, she told me secretly, on Ann Richards, the former Texas governor, borrowing her bearing along with the bright red suit.You’d think that after playing hundreds of characters over a 75-year career, at least some element of some of them would have stuck. But the woman in the slippers and robe was no Cora Hoover Hooper, the cartoon mayoress of “Anyone Can Whistle,” her first stage musical role, in 1964. Nor was she Mame Dennis, the glamorous bohemian she created in the show that made her a Broadway star in 1966. And she was certainly no Nellie Lovett, the human-pie-maker of “Sweeney Todd,” a performance that earned her the fourth of six Tony Awards, in 1979.These, along with several still to come — the daffy Madame Arcati in “Blithe Spirit” and the imperious Madame Armfeldt in “A Little Night Music,” not to mention her dozens of movie and television roles from 1944 to 2018 — were, she told me, just “gloves.” She put them on and took them off.Lansbury as the daffy Madame Arcati, with Rupert Everett, in “Blithe Spirit” in 2009.Sara Krulwich/The New York TimesAnd underneath? “Just a cabbage,” she said. “I absorb everything.”If Lansbury, who died on Tuesday at 96, was “boring as all get out,” as she later added, that too was a costume, and a tool. The hausfrau disguise permitted all the others, allowing the cabbage to store everything for later use. The corollary was that she needed to play many different kinds of characters, to make the best yield of all she’d observed. Her family said she’d go anywhere for a false nose.So when she was creating the amoral Lovett in “Sweeney,” she thought back to her childhood in London, and the cheerful, can-do Cockney help in her home. Their attitude turned out to be the key to the comedy: She played the character not as an accessory to murder but as a woman brightly solving problems. (Dead clients at the barbershop upstairs? Not enough meat for her pies downstairs? Bingo!) Far from critiquing her by applying an ironic varnish to the performance, Lansbury dared to advocate for her by making her as clever and merry as possible. The audience could supply the irony.Hers was a prodigious memory, but to achieve such effects it also took finesse and courage. McNally, the “Deuce” playwright, marveled that “if you say to her, ‘You’re doing 1.3 on that line, can you do 1.4?’ she could do it and you’d see the difference.” Marian Seldes, her co-star, agreed: “She is such a brilliant technician as well as having a pool of emotions she can tap into in a second to show the audience and then take away. The technician is like a great musician: I play this note and then I stop.”Taste, for Lansbury, was a matter of making the right choices in the right amounts. She disdained acting that depended on personality instead of action, and when I spoke to her at length in 2007, she seemed to connect that to a childhood spent shouldering her mother’s grief after her father died and the Blitz began. She was already independent, unafraid and a problem solver:“I remember taking the bus home in absolute pitch black, walking up Finchley Road alone, the balloons in the air. It was exciting; anything could happen. The first time the air-raid alarm went off my sister lost it, but I did not. There’s a portion of me that simply doesn’t react to things like this. Instead, I slow down to a dead crawl and then make the right choices.”Lansbury as the amoral Mrs. Lovett, with Len Cariou as the title character, in “Sweeney Todd” in 1979.Martha Swope/The New York Public Library for the Performing ArtsThat’s how she performed, too, without sentimentality or histrionics. But that doesn’t mean she didn’t stand up for herself and her characters. While working on “Anyone Can Whistle,” she complained to Stephen Sondheim, who wrote the songs, that she didn’t really understand and thus feel comfortable playing the corrupt mayoress: There was “no there there.”Sondheim didn’t know what to do about that, but when she added that her co-star, Lee Remick, “has five songs while I have four,” he said, “That I can solve.” He immediately wrote “A Parade in Town” for her — a great song that evened the score and not incidentally gave Lansbury a deeper character to play.In a way, her characters were like her family: People she cared for deeply but recognized as separate beings. She was connected to them through action. It was thus an easy if no less painful decision to drop out of the musical “The Visit” to care for her husband, Peter Shaw, when he became very ill, taking care of him until his death in 2003. “And when I say I took care of him,” she said, with as much overt emotion as I ever heard from her, “I really took care of him.”That lack of personal neediness made her perhaps the best-loved of all Broadway (and television) stars of her time, embodying the full range of human joy and depravity while remaining, in her own deportment, professional, approachable and neatly tucked in. You never felt, as you did with so many divas, the need to feed her ego or point her toward help. Quite the reverse: When she met McNally, drunk at a party in 1981, she told him — “with such love and concern,” as he later recalled — “I don’t know you very well, but every time I see you, you’re drunk, and it bothers me.” It was the beginning of his sobriety.Feeling through action was the Lansbury touch, and if it came at some cost to her, it never showed. “She’s very brave,” Seldes told me. “She never wants to be loved; she wants to play the part.”What showed was the brilliance of her technique, informed by feeling you couldn’t in fact see. Perhaps McNally was thinking of that when he had Seldes’s “Deuce” character say, “People should love what they do,” to which Lansbury provided a sharp correction.“People should be good at what they do,” she said. More

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      Eileen Ryan, Actress of Stage and Screen, Dies at 94

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      She put her career on hold for a time to raise her sons, the actors Sean and Chris Penn and the musician Michael Penn.Eileen Ryan, a stage, television and film actress who paused her career to raise her sons, the actors Sean and Chris Penn and the musician Michael Penn, then later racked up dozens of acting credits, sometimes working with her sons and her husband, the director Leo Penn, died on Sunday at her home in Malibu, Calif. She was 94.Her family announced her death through a spokeswoman.Ms. Ryan was in her late 20s and appearing in “The Iceman Cometh” at Circle in the Square in Greenwich Village in 1956 when she met Mr. Penn, who stepped into a role being vacated by Jason Robards. They married soon after.Her career was going well at that point; she had already made her Broadway debut in “Sing Till Tomorrow” in 1953 and would return to Broadway in 1958 in “Comes a Day.” But she prided herself on making her own decisions — “I don’t think anybody could have felt stronger than I did about controlling my own destiny,” she told The Los Angeles Times in 1986 — and soon she made a difficult one, choosing to scale back her acting.The choice, she said, began to be clear when she had a job that took her away from home and had to leave Michael, then a baby, with Leo.“I was out of town and all I did was cry,” she told The Times. “That made it very clear to me that I wanted to be home with the kids.”The family moved to the West Coast, and she still performed occasionally in the 1960s and ’70s; she appeared in episodes of “The Twilight Zone,” “Bonanza” and other shows, some of them directed by Leo Penn, who, though blacklisted in the 1940s and ’50s, emerged to become a prolific television director.But, she said in 1986, for a long stretch her most important performance came in a supporting role in a home movie made by young Sean Penn and his neighbor Emilio Estevez, son of the actor Martin Sheen.“I was a background mother screaming from the kitchen,” she said.Ms. Ryan went back to acting more regularly with her appearance in the 1986 film “At Close Range,” a crime drama in which she played the grandmother of characters played by her sons Sean and Chris. Two years later she played the mother of Sean Penn’s character in the movie “Judgment in Berlin,” a drama directed by Leo Penn whose stars also included Mr. Sheen.Ms. Ryan and her husband also returned to the stage, starring in “Remembrance,” a drama by the Irish playwright Graham Reid staged in 1997 at the Odyssey Theater in Los Angeles, with Sean Penn as producer.Leo Penn died in 1998. Ms. Ryan continued to act, accumulating more than two dozen additional TV and film credits, most recently in the 2016 movie “Rules Don’t Apply,” directed by Warren Beatty.Eileen Rose Annucci was born on Oct. 16, 1927, in the Bronx. Her father, William, was a lawyer and a dentist. Her mother, Rose (Ryan) Annucci, was the source of the surname Eileen later adopted for her acting career.That career, or at least the aspiration to it, started early. As a child growing up in New York she would stage plays in the courtyard of her apartment complex.“I remember beating up all the little boys in my apartment building so they’d be in my plays,” she said.She earned a bachelor’s degree at New York University, then embarked on an acting career, putting her on a path to meet Mr. Penn.Once she restarted her career in the 1980s, among her first credits was Ron Howard’s comic drama “Parenthood” (1989). She played one-half of an older couple; the male half was played by Mr. Robards, the man whose departure from “Iceman” decades earlier had allowed her to meet Mr. Penn.Ms. Ryan’s son Chris died in 2006. In addition to her other sons, she is survived by three grandchildren. More

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      Douglas Kirkland, Who Took Portraits of Movie Stars, Dies at 88

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      His many memorable shots included one of his earliest assignments and probably his most famous: Marilyn Monroe in bed, wrapped in a silk sheet.Douglas Kirkland, a photojournalist and portraitist whose subjects included Marilyn Monroe wrapped in a silk sheet and Coco Chanel at work in her Paris atelier, died on Oct. 2 at his home in the Hollywood Hills neighborhood of Los Angeles. He was 88.Francoise (Kemmel-Coulter) Kirkland, his wife and manager, confirmed the death but did not specify a cause.For more than 60 years, Mr. Kirkland was a leading celebrity photographer, first for Look and Life magazines and then as a freelancer for various magazines, Hollywood studios and advertising agencies. Courteous and exuberant — he was no annoying paparazzo — Mr. Kirkland was welcomed into stars’ homes and hotel rooms and onto movie sets.The tall, dashing Mr. Kirkland “had this magical quality,” said Karen Mullarkey, who worked with Mr. Kirkland as director of photography at New York and Newsweek magazines. “He had this way of making people comfortable — he was so enthusiastic.” For an issue of New York, she recalled, she brought the model Kathy Ireland a bunch of peonies, and as he photographed Ms. Ireland, Ms. Mullarkey heard him saying: “Caress them! Kiss them! They’re your boyfriend!”“I am new with this magazine,” Mr. Kirkland recalled telling Elizabeth Taylor, whom he was assigned to shoot for Look. “Can you imagine what it would mean to me if you let me photograph you?”Douglas KirklandIn 1961, a year after joining Look, Mr. Kirkland had two dramatic encounters. For the first, he accompanied Jack Hamilton, a reporter, to Las Vegas for an interview with Elizabeth Taylor, then one of the biggest stars in the world. When the three met, Ms. Taylor said that she would talk but not sit for pictures.After the interview, Mr. Kirkland recalled to the website Vintage News Daily in 2021, he tried to persuade her to pose for him. He held her hand and said: “I am new with this magazine. Can you imagine what it would mean to me if you let me photograph you?”“I did not let go of her hand; she wore jungle gardenia perfume which I could smell later on,” he continued. “She thought for a while and said, ‘Come back tomorrow at 8 p.m.’”Mr. Kirkland perched himself on a balcony to photograph Marilyn Monroe.Douglas KirklandHiding everything but her face in the sheet and hugging the pillow, she was, it seemed, directing herself.Douglas KirklandThe result — a picture of Ms. Taylor in a yellow jacket, wearing spectacular diamond earrings — appeared on the cover of Look’s Aug. 15, 1961, issue.Later that year, Look sent Mr. Kirkland to Los Angeles to photograph Ms. Monroe. They met at her house, where she told him what she wanted for the shoot: a white silk sheet, Frank Sinatra records and Dom Perignon Champagne.When they met at a studio four days later, she slipped out of a robe and got into a bed, swaddled herself in a sheet and posed for Mr. Kirkland, who for part of the shoot perched himself in a balcony above her. She was, it seemed, directing, herself, with what looked like joy. She hugged the pillow, hid everything but her face in the sheet and turned her back to the camera.“I had everything technically right,” Mr. Kirkland said in an interview with “CBS This Morning” in 2012. “My Hasselblad — click, click, click — but it was Marilyn Monroe who really created these images.”Ann-Margret in Las Vegas in 1971.Douglas KirklandHe recalled that shoot in the 2020 documentary “That Click: The Legendary Photography of Douglas Kirkland,” directed by Luca Severi: “What the pillow represents is what she would like to be doing to a man, and I could have been in there and been the pillow. But I chose to keep taking pictures, because that’s how Douglas Kirkland really, bottom line, is.”Look used only one of the Monroe pictures, inside the magazine, but Mr. Kirkland collected many of them in a 2012 book, “With Marilyn: An Evening/1961.” His other books of photographs include “Light Years: 3 Decades Photography Among the Stars” (1989), “Icons” (1993) and “Legends” (1999).At Look and Life, and then as an on-set photographer, Mr. Kirkland shot pictures during the production of more than 100 films, including “Butch Cassidy and the Sundance Kid,” “2001: A Space Odyssey,” “Fiddler on the Roof,” “Sophie’s Choice,” “Rain Man” and several Baz Luhrmann films, starting with “Moulin Rouge!” in 2001. Mr. Luhrmann said in “That Click” that Mr. Kirkland’s photography “captures the romance of cinema.”Sophia Loren in Rome in 1972.Douglas KirklandHis career started at a time when his subjects were accessible to journalists, and it continued into a time when stars and their handlers exerted greater power over the media. “In the ’60s, there was an idea of letting the camera be revealing of truth,” he told The New York Times in 1990. “Today, it’s more like ‘Entertainment Tonight.’”Douglas Morley Kirkland was born on Aug. 16, 1934, in Toronto and raised from age 3 in Fort Erie, Ontario. His father, Morley, owned a shop where he made men’s made-to-measure clothing, and his mother, Evelyn (Reid) Kirkland, kept the books in the store.He took his first picture with a Brownie camera as a young child: his family standing at the front door of their home on Christmas Day. By 14, he was photographing weddings. After high school, he studied at the New York Institute of Photography and then returned to Canada, where he worked for two local newspapers, and then moved to Richmond, Va., to work as a commercial photographer.In 1962, Mr. Kirkland spent three weeks with the designer Coco Chanel in Paris.Douglas KirklandWhile there, he wrote three letters to the influential fashion photographer Irving Penn, seeking a job. In 1957, Mr. Penn hired him as his assistant.“I was paid $50 a week, and even in those days in New York it was not too simple,” he said in an interview with the American Society of Media Photographers in 2017. “But I was with Penn and I was quickly learning.”In 1960 he joined Look. He stayed there until the magazine folded in 1971, when he was hired by Life, where he remained until it stopped weekly publication the next year. For the rest of his career he was a freelancer, working for Time, Paris Match, Sports Illustrated, Town & Country and other magazines.He received the American Society of Cinematographers’ Presidents Award in 2011 for his photographic work on film sets. The next year, he was commissioned by the Academy of Motion Picture Arts and Sciences to create a series of official portraits of the Oscar nominees in the four acting categories, among them George Clooney, Brad Pitt, Meryl Streep and Glenn Close.One of them, Michelle Williams, had been nominated for playing Ms. Monroe in “My Week with Marilyn.” In the documentary “That Click,” she said that being photographed by the same man who had photographed Ms. Monroe a half-century earlier had been a moving experience.“Never could I have imagined this sort of circumstance,” she said.Mr. Kirkland with examples of his work at the Annenberg Space for Photography in Los Angeles in 2009.Gabriel Bouys/Agence France-Presse — Getty ImagesIn addition to his wife, Mr. Kirkland is survived by his son, Mark, and his daughters, Karen Kirkland and Lisa Kirkland Gadway, from his marriage to Marian Perry, which ended in divorce; five grandchildren; and one great-granddaughter.In August 1962, Mr. Kirkland spent three weeks with Coco Chanel in Paris for Look. At first she was wary of him, permitting him to shoot only the outfits she had designed but not her. But after he showed her his first set of prints, she backed off, letting him observe her at work — always in a hat and usually surrounded by her staff. On his last day there, she suggested that they take a ride to the Palace of Versailles. He took one last picture of her, walking alone in the palace’s gardens.“It was chilly and had started to rain, even though it was August, so I gave her my raincoat,” Mr. Kirkland told The Guardian in 2015. “She put it over her shoulders and it looked almost like a fashionable cape. She said that she often liked to go there because it gave her an opportunity to get lost in time while being surrounded by the magnitude of old French culture.” More