Word: riggs
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Dates: during 1990-1999
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...some, nobody will ever fill Emma Peel's leather bodysuit like Dame Diana Rigg. Still, UMA THURMAN is doing a creditable job. The Suit--a staple of the '60s British show The Avengers--is back again now that the show is being made into a feature film (a movie of a TV show! Why didn't anyone think of this before?!), with Thurman, RALPH FIENNES and Sean Connery. As for the old Avengers, they're perfectly happy. "Actors complain that their TV shows have not been good for them, but The Avengers has been great to me," says Patrick Macnee...
...moment three classics of the American postwar theater are enjoying simultaneous London revivals. Davies (who eventually did direct an acclaimed 1988 National Theatre production of Cat on a Hot Tin Roof) has staged a hit revival of Edward Albee's masterpiece, Who's Afraid of Virginia Woolf?, starring Diana Rigg and David Suchet. Willie Loman is lugging his valises home once again in a National Theatre production of Arthur Miller's Death of a Salesman. And veteran director Peter Hall has imported Jessica Lange to play Blanche Dubois (a role she played on Broadway in 1992) and surrounded her with...
...they do it in a garish, Roman-Colosseum spectacle. The conceit of Albee's play--two couples spend a long, booze-soaked night exposing their secrets and lies--has been copied so often that it might seem passe by now. But Davies' production quickly brushes away any cobwebs. Diana Rigg, as Martha, the university president's daughter frustrated with her underachieving history-teacher husband, is acid, sexy and funny without turning into a camp diva spewing one-liners. She is matched snide-for-snide by David Suchet (PBS's Poirot), with his oversize glasses and chiseled, world-weary sarcasm. Together...
...rest is more ordinary. Rigg is wonderful in quiet moments but awkward in striving for the unchained melodrama that Zoe Caldwell achieved in a 1982 revival. The balance of the cast, also from London, is workmanlike, save for Nuala Willis, whose keening songs redeem that most archaic of theatrical ploys, the chorus. The set, a vast wall of rusted metal panels that bang like thunder and tumble away at key moments, is effective but excessive, a tacit confession of shaky faith in the power of the play's words. That doubt is foolish. Medea is the greatest role ever written...
...Diana Rigg takes on Medea, the greatest role for a woman...