Transcript
David Remnick (0:01)
From one World Trade center in Manhattan, this is the New Yorker Radio Hour.
Marco Rubio (0:07)
I've never heard a boxer after a match asked, hey, were you upset when he punched you in the face in the third round? Cause he would sound stupid. So of course he punched me in the face. It was a boxing match.
Susan Glasser (0:17)
Marco Rubio of Florida was at one time the favored candidate for the presidential nomination on the Republican side. And he'll talk with our political columnist Susan Glasser about how to be a conservative Republican in the age dominated by Donald Trump. That's later this hour. Now, if I say to you name an actor who held political office, you'll immediately say Ronald Reagan and then probably Arnold Schwarzenegger. If you were English, though, a different name would come to mind, and that's Glenda Jackson.
Glenda Jackson (0:45)
Well, in the past two days you have picked me up in the rain, given me tea, brought me lunch, lured me to this hideaway with the intention, I presume, of getting me into bed for what you Americans so charmingly call a quickie. Is that a fair resume so far?
Marco Rubio (0:58)
Why do you.
Glenda Jackson (0:59)
Why do women always think the worst? Why does sex always have to be.
Susan Glasser (1:02)
The first thing that. Yes, Jackson became a powerhouse actress in the early 70s, winning all kinds of awards for her stage roles, and she won Oscars for Women in Love and A Touch of class. Then in 1992, reacting to the impact of Thatcherism on the United Kingdom, Jackson stood for Parliament. She became an MP for the Labour Party, and after representing her district for more than 20 years, she finally stepped down and now she's back on Broadway. I just saw Jackson in a production of Edward Albee's Three Tall Women, and she plays the character called a. An imperious 90 something who's of course diminished by age but still full of fight and wit. Jackson, who's only 82, remains at the very height of her powers and she's been nominated for a Tony Award. I have to tell you, this play and performances, they're extraordinary. And at the same time, you have to know that when your audience is sitting there, they don't know how you do it night after night. Emotionally, this play is wrenching. And for this to be your job to inhabit this role and do it I don't know how many times a week.
Glenda Jackson (2:12)
Well, we do it eight times a week, but there are only three of us in the play. It is a remarkably, well, demanding in the right kind of way as a play because these characters have layers and the layers are revealed during the process of the evening. But within the play, as within all good plays, there is an energy. That is what gives you, in addition to your own energies, the capacity to find those characters, find them anew.
