Richard E Grant: Despite our vast combined vintage, our paths have never crossed before, have they? Christine Baranski: Regrettably not. We could have had some good fun a few decades ago.
A girl could have got into some real trouble. But here we are, and now we’re the veterans. You’re among the great character actors, popping up delightfully in so many things and always being spot-on.
REG: My late wife said I’m in the condiment years, where you’re added to the meal in these cameo roles like vinegar or ketchup or mustard, spice or pickle or whatever. I think that’s absolutely accurate. CB: It makes for an interesting and varied career.
You have a shelf life certainly if you’re a leading lady. It’s a harder perch to descend from, which is sort of what Hay Fever is about. My character, Judith Bliss, can’t quite accept that she’s not up there doing it any more.
I’ve had a long career because I was comfortable being the supporting actress. I did The Real Thing by Tom Stoppard on Broadway in 1984 [for which she won the first of two Tony awards]. My character in that, Charlotte, is so bitingly witty and she has this marvellous repartee with Henry, played by Jeremy Irons.
I’d do my scenes, then go up to my dressing room, and people would say: “Oh, we wanted you to come back!” They’ll have their fill of me with Hay Fever. It’ll be more like: “When is she going to leave the stage?” Ryan Gilbey: Judith in Hay Fever has been played by everyone from Edith Evans and Celia Johnson to Judi Dench, Penelope Keith and Lindsay Duncan. Why is the part such a magnet for great performers?
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