McCrory, Helen

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    The Artists We Lost in 2021, in Their Words

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    This year, as pandemic deaths ebbed and flowed, a distinctive, eternal beat — that of artist’s deaths — played on as usual, bringing its own waves of collective grief. Some, such as Cicely Tyson and Stephen Sondheim, held the spotlight for generations. Others, like Michael K. Williams and Nai-Ni Chen, left us lamenting careers cut short. Here is a tribute to just a small number of them, in their own words.Cicely TysonAssociated Press“I’m not scared of death. I don’t know what it is. How could I be afraid of something I don’t know anything about?”— Cicely Tyson, actress, born 1924 (Read the obituary.)Melvin Van PeeblesMichael Ochs Archives/Getty Images“I want people to be empowered and also have a damn good time.”— Melvin Van Peebles, filmmaker, born 1932 (Read the obituary.)“I want my steps to speak.”— Liam Scarlett, choreographer, born 1986 (Read the obituary.)“I remember my childhood often, I remember a lot of the past. But when it comes to music, I always look forward.”— Nelson Freire, pianist, born 1944 (Read the obituary.)Bob AvianKarsten Moran for The New York Times“When my parents went out, I would push back the furniture, clear an open space, turn on the record player and leap around the apartment.”— Bob Avian, choreographer, born 1937 (Read the obituary.)“School was a crashing bore and a terrible chore, until one day when I was cast as the girl with the mandolin in ‘Sleeping Beauty.’”— Carla Fracci, dancer, born 1936 (Read the obituary.)“As I grew up in Kyoto, the wood of the Buddhist statues, trees, the grain of the wooden pillars, the patterns on the floor, the stones in the gardens, the bamboo, trees and plants in Kyoto are all a part of me — and as I read a script, I borrow from all these things.”— Emi Wada, costume designer, born 1937“I still feel sky-deprived when in the forested places. Many, many people born to the skies of the plains feel that way.”— Larry McMurtry, novelist, born 1936 (Read the obituary.)Ed AsnerWally Fong/Associated Press“My father told me, ‘You didn’t make a success as a student, you’re not going to make a success as an actor.’ I said, ‘I’ll be the judge of that.’”— Ed Asner, actor, born 1929 (Read the obituary.)Olympia DukakisAbramorama“I came to New York with $57 in my pocket.”— Olympia Dukakis, actress, born 1931 (Read the obituary.)Charlie WattsEvening Standard/Hulton Archive, via Getty Images“When I first went to New York with the Stones, the first thing I did was to go to Birdland. And that was it. I’d seen America. I mean, I didn’t want to see anywhere else.”— Charlie Watts, drummer, born 1941 (Read the obituary.)Jacques D’AmboiseJohn Dominis/The LIFE Picture Collection, via Getty Images“Spread me in Times Square or the Belasco Theater.”— Jacques D’Amboise, dancer, born 1934 (Read the obituary.)“If you have a leading character, they should be in a hurry. You can slow it down when you’re shooting, but it helps in the writing: Even if they’re not moving, they’re thinking about moving on, or getting away from the scene they’re in.”— Robert Downey Sr., filmmaker, born 1936 (Read the obituary.)Joe AllenJim Cooper/Associated Press“I always said I lacked ambition — but that does not mean I was lazy.”— Joe Allen, theater district restaurateur, born 1933 (Read the obituary.)“I don’t assume an audience’s interest. I assume the opposite.”— Charles Grodin, actor, born 1935 (Read the obituary.)Jerry PinkneyJoyce Dopkeen/The New York Times“I solve problems — visual problems.”— Jerry Pinkney, children’s book illustrator, born 1939 (Read the obituary.)Larry KingAlberto E. Rodriguez/Getty Images‘‘If you’re combative, you never learn.”— Larry King, TV host, born 1933 (Read the obituary.)Anna HalprinSam Falk/The New York Times“I started to teach people how the body actually works. I looked at the skeleton. I did human dissection. I did all these things to understand the nature of movement, not just my movement.”— Anna Halprin, choreographer, born 1920 (Read the obituary.)“I’m not interested in the intentions of artists; I’m interested in consequences.”— Dave Hickey, art critic, born 1938 (Read the obituary.)Nai-Ni ChenStephanie Berger for The New York Times“My thirst for expressing myself, both East and West, could only happen through creating my own company.”— Nai-Ni Chen, choreographer and dancer, born 1959 (Read the obituary.)Virgil AblohDavid Kasnic for The New York Times“When I studied engineering at the University of Wisconsin in Madison, it was the humanities classes that I had put to the side that ultimately started me on this path of thinking about creativity in a much more cultural context — not designing for design’s sake, but connecting design to the rhythm of what’s happening in the world.”— Virgil Abloh, designer, born 1980 (Read the obituary.)Yolanda LópezAlexa Treviño“Those of us who make images must always be very conscious about the power of images — about how they function — especially in a society where we are not taught our own history.”— Yolanda López, artist, born 1942 (Read the obituary.)“You’re more anarchic onstage than you are anywhere else.”— Helen McCrory, actress, born 1968 (Read the obituary.)Michael K. WilliamsDemetrius Freeman for The New York Times“The characters that mean the most to me are the ones that damn near kill me. It’s a sacrifice I’ve chosen to make.”— Michael K. Williams, actor, born 1966 (Read the obituary.)bell hooksKarjean Levine/Getty Images“We cannot have a meaningful revolution without humor.”— bell hooks, writer and scholar, born 1952 (Read the obituary.)Norm MacdonaldMargaret Norton/NBC, via Getty Images“Making people laugh is a gift. Preaching to them is not a gift. There are people who can do that better. Preachers.”— Norm Macdonald, comedian, born 1959 (Read the obituary.)“The thing that everybody thinks is going to work will not. The thing that nobody thinks will work will.”— Elizabeth McCann, theater producer, born 1931 (Read the obituary.)“The success of my books is not in the characters or the words or the colors, but in the simple, simple feelings.”— Eric Carle, author and artist, born 1929 (Read the obituary.)“I think children want to read about normal, everyday kids.”— Beverly Cleary, author, born 1916 (Read the obituary.)Young DolphPaul R. Giunta/Invision, via Associated Press“My whole thing is about giving these folks the real.”— Young Dolph, rapper, born 1985 (Read the obituary.)“I try to use words that fit a pattern, that are musical and expressive, but do not sound mechanical. Above all it should have a speech rhythm that is like the rhythms that the audience would speak.”— Carlisle Floyd, composer, born 1926 (Read the obituary.)“Birds were the first composers. They like to sing in spring. Purely serving of the beauty — that’s what we try to do.”— Louis Andriessen, composer, born 1939 (Read the obituary.)Cloris LeachmanAssociated Press“I don’t have a lot of trappings, I think, in my personality. I’m just a simple person, with a silly bone.”— Cloris Leachman, actress, born 1926 (Read the obituary.)“I’m a witness of my time, you know, of a history.”— Hung Liu, artist, born 1948 (Read the obituary.)“Technology is changing the way people work. With electronic mail, the internet, teleconferencing, people are starting to ask, ‘What is a headquarters or office environment?’”— Art Gensler, architect, born 1935 (Read the obituary.)Christopher PlummerTom Jamieson for The New York Times“I’ve made over 100 motion pictures, and some of them were even good. It’s nice to be reborn every few decades.”— Christopher Plummer, actor, born 1929 (Read the obituary.)“After you see your work, you always want to go right back and do it all over again.”— Lisa Banes, actress, born 1955 (Read the obituary.)“I think of the art as dead when it leaves my studio. I don’t even own it anymore. Installing in a museum or a show that’s coming up, I’m not allowed to touch my own work ever. It just seems strange to me. If somebody puts me in front of my drawings, I’d put more text in it. It’s never finished, but none of my work is ever finished.”— Kaari Upson, artist, born 1970 (Read the obituary.)SophieFrazer Harrison/Getty Images For Coachella“I don’t have the need to bring any more clutter into the physical world. And I like the fact that musical data is weightless and spaceless in that way.”— Sophie, pop producer and performer, born 1986 (Read the obituary.)Etel AdnanFabrice Gibert, via Galerie Lelong & Co.“My paintings are not usually titled. Art should make people dream, and when you have a title, you condition the vision.”— Etel Adnan, author and artist, born 1925 (Read the obituary.)Michael NesmithMichael Ochs Archives/Getty Images“We’re a couple of old men, but we sound the same when we play this music — and it nourishes us the way it nourishes you.”— Michael Nesmith, musician, born 1942 (Read the obituary.)“We always put music first and marriage second. One night after dinner, for instance, I was going to do the dishes and Jerry said, ‘Forget the dishes. Let’s practice. I’ll do the dishes later.’”— Dottie Dodgion, drummer, born 1929 (Read the obituary.)Jessica WalterDove and Express, via Hulton Archive/Getty Images“Even my ‘leading ladies’— you know, in air quotes — were characters. They were not Miss Vanilla Ice Cream. They weren’t holding the horse while John Wayne galloped into the sunset.”— Jessica Walter, actress, born 1941 (Read the obituary.)“The last note, the high last note — it must say something.”— Edita Gruberova, soprano, born 1946 (Read the obituary.)DMXChad Batka for The New York Times“I’m going to look back on my life, just before I go, and thank god for every moment.”— DMX, rapper, born 1970 (Read the obituary.)Stephen SondheimFred R. Conrad/The New York Times“Life is unpredictable. It is. There is no form. And making forms gives you solidity. I think that’s why people paint paintings and take photographs and write music and tell stories that have beginning, middles and ends — even when the middle is at the beginning and the beginning is at the end.”— Stephen Sondheim, composer and lyricist, born 1930 (Read the obituary.) More

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      in Television

      Damian Lewis Discusses the Future of ‘Billions’

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      In an interview, the actor talked about his character’s big twist and what it means for the Showtime series and his career.This article includes spoilers from Sunday’s Season 5 finale of “Billions.”One of TV’s last great antiheroes departed Sunday night on Showtime’s “Billions.” Bobby Axelrod, the proudly venal hedge-fund titan played by Damian Lewis, flew off into the sunset in the Season 5 finale, slipping the grasp of the law and his chief nemesis, Chuck Rhoades (Paul Giamatti), one last time on his way to a less punitive future in Switzerland.While the character’s final scene was somewhat open-ended, with Axe (as he is most commonly known) being welcomed by the Swiss authorities after fleeing America, Lewis confirmed in a recent video interview that he was leaving the show.“There’s an opportunity maybe for me to return,” he said from his home in North London. “But for now, broadly speaking, Axe has been vanquished.”Lewis’s exit ends what amounts to “easily the most time I’ve spent playing one character,” he said. The actor was previously best known for his three-season stint on another Showtime series, “Homeland.”It also comes just months after a personal tragedy. Lewis’s wife, the acclaimed actress Helen McCrory, died in April, not long after “Billions” returned from its pandemic production hiatus. Lewis shot much of his final stretch on the show remotely, from England.Over five seasons on the pulpy markets-and-machers drama, Axe embodied the culture’s often contradictory feelings about the superrich. A self-made, self-described capitalist monster, he shamelessly destroyed anything — careers, lives, entire towns — that got between him and his next billion. But he did so with enviable audacity and panache, with an equally alluring penthouse-and-private-jet lifestyle.“When I’m walking down the street in New York, it’s: ‘Axe, you the man!’” Lewis said. “He’s a really despicable human being, but no one seems to care.”That’s owed largely to Lewis, who from the beginning imbued a character that could have been a sneering caricature with emotional depth and a predatory physicality. (When he was developing the character, his acting exercises included moving about on the ground like a cheetah.) Much as Jon Hamm and Bryan Cranston made Don Draper and Walter White irresistible even when they were awful, Lewis made Axe’s financial marauding fun to watch.“Damian Lewis is not an actor who’s scared the audience is going to dislike him,” said Brian Koppelman, who is a showrunner along with David Levien. “He is willing to play the character in as caustic a manner as the character requires, and he has faith that if he’s true to that, it will connect with the audience.”But after 60 episodes of elaborate, at times inscrutable schemes, and of Chuck and Axe squaring off in various configurations, Lewis was ready to move on.“It’s difficult to keep mining, creatively,” he said. “We know who he is.”And after six years of spending months at a time in New York filming “Billions,” he plans to stick close to home and to his two teenage children after “we had a sadness in our family,” he said, referring to McCrory’s death, at 52, from cancer.It’s a subject he’s reluctant to talk about, his normal expansiveness giving way to terse responses. He wants to remain in London for the foreseeable future for “obvious reasons,” he said. “It is self-evident.”Lewis said McCrory’s death did not explain his departure from “Billions.” He initially signed on for five seasons and “always just assumed that would be enough,” he said. Koppelman said the show, which premiered in 2016, had been building toward Axe’s departure for several years.But it does explain why Lewis spent much of the last few episodes appearing remotely. Actors and crew flew to England to shoot scenes that were framed within the show as a stint for Axe in Covid quarantine. (Lewis did return to New York for part of the final episode.)“We wouldn’t ask him to come to America in that situation — right after the love of his life passed away, who was a remarkable, incredible artist and human being,” Koppelman said.Lewis’s character channeled mercenary hedge-funders in the wake of the Great Recession, embodying the culture’s often contradictory feelings about the superrich.   Showtime“It’s Damian’s private life, so it’s not really ours to comment on,” he continued. “We just feel truly, unbelievably lucky to have had five years with Damian Lewis and Paul Giamatti together.”From the beginning, the cat-and-mouse dynamic between Axe and Chuck has been the show’s defining dimension. (A close second: The abundant awkward cameos by real-life financiers and Manhattan luminaries.)When the show returns on Jan. 23 for its sixth season, Corey Stoll’s Mike Prince, who arrived this season, will be the master-of-the-universe foil for Giamatti’s ethically ambiguous lawman. The finale found Prince literally taking Axelrod’s seat, after buying his company in an offer Axe couldn’t refuse.With his carefully cultivated image and world-saving rhetoric, the Prince character has more in common with our current crop of rocket-riding billionaires than with the mercenary hedge-funders Axe channeled in the wake of the Great Recession. (Andrew Ross Sorkin, a New York Times editor and columnist who chronicled the 2008 crash in his book, “Too Big to Fail,” is a creator and executive producer of “Billions.”)“A long-running show has to evolve,” Levien said. “So it’s like a reload in a great way, at the right time.” Showtime has not yet committed to a seventh season, but Gary Levine, the network’s president of entertainment, said, “From what I’ve seen of Season 6, I’m very encouraged.”For Lewis, who is currently preparing to shoot the British Cold War series “A Spy Among Friends,” his departure from American television comes almost exactly 20 years after he was introduced to U.S. viewers, as a star of the HBO World War II mini-series “Band of Brothers,” in September 2001. It also wraps up a decade he spent mostly on Showtime, beginning with his time on “Homeland” as the soldier turned sleeper agent Nicholas Brody. (“I’ve had to say goodbye to Damian twice now,” Levine said.)An Eton-educated Brit, Lewis has displayed a remarkable knack for playing blue-collar Americans. (Axe wears his Yonkers roots on the sleeve of his cashmere hoodie.) But he isn’t sure when, if ever, he will seek out another American series.“I don’t like closing chapters,” he said. “But it does feel like it’s the end of that for now.”Lewis won’t miss playing Axelrod, he said. But he is proud that he and the writers had been able to capture something about both the allure and the corrupting influence of extreme wealth. While there are still plenty of appealingly terrible rich people on TV — “Succession” returns Oct. 17 — Axe’s particular flavor of swaggering villainy has gotten rarer in an era currently defined by the likes of Ted Lasso.“We did somehow make him a thing in the culture,” Lewis said. “And that’s always fun to achieve.” More

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      in Theater

      How Helen McCrory Shone, Even in a Haze of Mystery

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      She was unforgettable onstage playing seemingly serene women who rippled with restlessness.Selfishly, my first feelings on hearing that the uncanny British actress Helen McCrory had died at 52 were of personal betrayal. We were supposed to have shared a long and fruitful future together, she and I. There’d be me on one side of the footlights and her on the other, as she unpacked the secrets of the human heart with a grace and ruthlessness shared by only a few theater performers in each generation.I never met her, but I knew her — or rather I knew the women she embodied with an intimacy that sometimes seemed like a cruel violation of privacy. When London’s theaters reawakened from their pandemic lockdown, she was supposed to be waiting for me with yet another complete embodiment of a self-surprising life.Ms. McCrory had become world famous for dark and exotic roles onscreen, as the fiercely patrician witch Narcissa Malfoy in the Harry Potter movies and the terrifying criminal matriarch Polly Gray in the BBC series “Peaky Blinders.” But for me, she was, above all, a bright creature of the stage and in herself a reason to make a theater trip to London.More often than not, she’d be there, portraying women of wit and passion, whose commanding serenity rippled with hints of upheavals to come, masterly performances in masterworks by Shakespeare, Chekhov, Pinter, Ibsen, Rattigan and Euripides. Sometimes, she’d take you to places you thought you never wanted to go, to depths where poise was shattered and pride scraped raw.How grateful, though, I felt at the end of these performances, even after a pitch-bleak “Medea,” at the National Theater in 2014, which she turned into an uncompromising study in the festering nightmare of clinical depression. Granted, I often felt sucker-punched, too, maybe because I hadn’t expected such an ostensibly self-contained person to unravel so completely and convincingly. Then again, that was part of the thrill of watching her.Her “Medea,” also for the National Theater, dared to hit rock bottom before the play had even started.Richard Hubert SmithMost of Ms. McCrory’s fans felt sucker-punched by her death, I imagine. Aside from her family — who include her husband, the actor Damian Lewis, and their two children — few people even knew she had cancer. The announcement of her death was a stealth attack, like that of Nora Ephron (in 2012), who had also managed to keep her final illness a secret.I have great admiration for public figures who are able to take private control of their last days. Still, when I saw on Twitter that Ms. McCrory had died, I yelled “No!,” with a reiterated obscenity, and began angrily pacing the room.Damn it, Ms. McCrory had within her so many more complex, realer-than-life portraits to give us. Imagine what we would have lost if Judi Dench, Maggie Smith or Helen Mirren had died in her early 50s.McCrory, center, with Emily Watson, left, and Simon Russell Beale in “Uncle Vanya.”Stephanie Berger for The New York TimesLike Ms. Mirren, Ms. McCrory, at first glance, exuded a seductive air of mystery. Even in her youth, she had a sphinx’s smile, a husky alto and an often amused, slightly weary gaze, as if she had already seen more than you ever would.In the early 21st century, I saw her as the languorous, restless Yelena in Chekhov’s “Uncle Vanya,” a role she was born for (in repertory with a lust-delighted Olivia in “Twelfth Night,” directed by Sam Mendes); as a defiantly sensual Rosalind in “As You Like It” on the West End; and (again perfectly cast) as the enigmatic friend who comes to visit in Harold Pinter’s “Old Times” at the Donmar Warehouse.In those productions, she brought to mind the erotic worldliness of Jeanne Moreau. It was her default persona in those days, and one she could have coasted on for the rest of her career. She brimmed with humor and intelligence, and I could imagine her, in another era, as a muse for the likes of Noël Coward.But Ms. McCrory wanted to dig deeper. And within less than a decade, between 2008 and 2016, she delivered greatness in three full-impact performances that cut to the marrow of ruined and ruinous lives. First came her electrically divided Rebecca West in Ibsen’s “Rosmersholm,” a freethinking “new woman” torn apart by the shackling conventions of a society she could never comfortably inhabit. Then there was her heart-stopping Hester Collyer, an upper-middle-class woman destroyed by sexual reawakening, in Terence Rattigan’s “The Deep Blue Sea.”In between, she dared to be a Medea who had hit bottom before the play even started. In Carrie Cracknell’s unblinkingly harsh production, Ms. McCrory played Euripides’s wronged sorceress as a despair-sodden woman who believed she would never, ever feel better. It was the horrible, dead-end logic of depression that drove this Medea.“Nothing can come between this woman and her misery,” observed the household nanny (played by a young Michaela Coel). But it was Ms. McCrory’s gift to lead us into that illuminating space between a character and her most extreme emotions, and to make us grasp where those feelings come from and how they have taken possession of her.I never failed to experience that flash of revelation watching Ms. McCrory. London is going to seem so much lonelier whenever I return to it. More

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      in Television

      Helen McCrory, British Star of Stage, Film and TV, Dies at 52

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      She was acclaimed for her work on the TV series “Peaky Blinders” and in three Harry Potter movies, but she first gained notice in the London theater.Helen McCrory, the accomplished and versatile British stage and screen actress who played Narcissa Malfoy in three Harry Potter films and the matriarch Polly Gray on the BBC series “Peaky Blinders,” in addition to earning critical plaudits for her stage work, has died at her home in north London. She was 52.Her death, from, cancer, was announced on social media on Friday by her husband, the actor Damian Lewis.Ms. McCrory was a familiar face to London theater audiences and to British television and film viewers well before she won wider recognition in the Harry Potter movies. She began her career in the theater in 1990, straight out of drama school, playing Gwendolen in a production of Oscar Wilde’s “The Importance of Being Earnest” in Harrogate, Yorkshire. In 1993, the director Richard Eyre, who was the head of the National Theater, cast her in the leading role in his production of Arthur Wing Pinero’s comic play “Trelawny of the ‘Wells,’” for which she earned glowing reviews.“Helen McCrory, in the title role, perfectly captures Rose’s crossover from a lovelorn ingénue to wounded woman,” Sheridan Morley wrote in The International Herald Tribune.The next year she played Nina in Chekhov’s “The Seagull” at the National Theater, alongside Judi Dench and Bill Nighy, and in 1995 she was named “most promising newcomer” in the Shakespeare Globe Awards for her portrayal of Lady Macbeth in the West End.Ms. McCrory worked steadily in the theater over the next two decades, with notable appearances as Yelena in Chekhov’s “Uncle Vanya” in 2002; as Rosalind in “As You Like It” in 2005 (which earned her an Olivier Award nomination for best actress); as Rebecca West in Ibsen’s “Rosmersholm” in 2008; and as Medea in 2016.“Portrayed with unsettling accessibility and nerves of piano wire by Helen McCrory,” Ben Brantley wrote in The New York Times, “the Medea of ancient myth has become the sad but scary crazy lady next door, the kind who inspires you to lock up your children.”But as early as 1994, Ms. McCrory was also venturing into film and television work. In 2003 she appeared as Barbara Villiers, the mistress of Charles II, in Joe Wright’s four-part series “Charles II: The Power and the Passion,” and in 2006 she made a cameo appearance as Cherie Blair, the wife of Prime Minister Tony Blair, in Stephen Frears’s “The Queen” — a role she reprised in the 2010 film “The Special Relationship,” written, as was “The Queen,” by Peter Morgan.Ms. McCrory became known to worldwide audiences through her 2009 role as Narcissa Malfoy, the mother of Harry’s nemesis, Draco Malfoy, in “Harry Potter and the Half-Blood Prince.” She played the role again in Parts 1 and 2 of “Harry Potter and the Deathly Hallows,” the final films in the series. (She had in fact been slated for a larger role, as Bellatrix Lestrange, in the earlier “Harry Potter and the Order of the Phoenix,” but had been forced to withdraw after discovering she was pregnant; Helena Bonham Carter took over.)She was good at playing villains — the evil alien Rosanna Calvierri in an episode of “Doctor Who,” the spiritualist Evelyn Poole in the series “Penny Dreadful,” and, perhaps most notably, Polly Gray, the aunt of the gang boss Tommy Shelby, on the period crime drama “Peaky Blinders,” a role she played for its entire five-season run, from 2013 to 2019.Ms. McCrory with Jason Isaacs, left, and Tom Felton in “Harry Potter and the Deathly Hallows: Part 2” (2011).Jaap Buitendijk/Warner Brothers PicturesHelen Elizabeth McCrory was born on Aug. 17, 1968, in the Paddington neighborhood of London, the eldest of three children. Her father, Iain McCrory, was a diplomat; her mother, Ann (Morgans) McCrory, worked for the National Health Service.During her childhood, her father’s work for the Foreign Service took the family to Tanzania, Norway, Madagascar and Paris.“Dad tells me my first appearance onstage was dancing during an official visit by the French president,” Ms. McCrory said in a 2014 interview with The Times of London. “I’m pretty sure the idea of being an actress came to me around that time. Every evening at the house was like a little concert.”In her teens she was sent back to England, to the Queenswood School for Girls in Hertfordshire. She began to act while there and, after graduating, spent a year traveling around Italy before being accepted at the Drama Center London.Being an actress “was the only thing I wanted to be,” she told The Times of London in 2017, adding that she had been “incredibly lucky” to be quickly given major roles.Ms. McCrory met Mr. Lewis in 2003, when they were both appearing in Joanna Laurens’s “Five Gold Rings” at the Almeida Theater in London. “Damian’s naughty, and I’ve always loved my naughty boys,” she said last year on the BBC 4 radio program “Desert Island Discs.” They had two children, Manon in 2006 and Gulliver in 2007, and married in 2007. Although Mr. Lewis also found fame, on the television series “Homeland” and “Billions,” they maintained a low-key life in London.Ms. McCrory with her husband, the actor Damian Lewis, in London in 2017 after she was named an officer of the Order of the British Empire.Pool photo by Wpa“I’m much happier as I’ve got older,” Ms. McCrory told The Times of London in 2016. “Age has given me nothing but confidence, security and joy.” She added, “To me, ‘Helen McCrory, 47’ means nothing. ‘Helen McCrory, bad housewife and argumentative after a bottle of gin’ would be much more relevant.”In recent years she appeared on TV in leading roles in David Hare’s political drama “Roadkill” and James Graham’s “Quiz” and as the voice of a daemon in “His Dark Materials.”Last year, Ms. McCrory and Mr. Lewis spearheaded a fund-raising effort to provide meals for members of the National Health staff amid the coronavirus pandemic. Their work led to donations of close to £1 million ($1.4 million) to the Feed NHS Scheme. Just a month ago, on March 12, she appeared with Mr. Lewis on ITV’s “Good Morning Britain” to discuss the project.Her illness was not widely known, and her death came as a surprise to most. Complete information on survivors, in addition to her husband and children, was not immediately available. More