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Lansbury played a former tennis pro who reunites with her doubles partner for an honors ceremony at the U.S. In 2007, she returned to Broadway after more than two decades, performing in the show Deuce. Lansbury won Tony Awards for Actress in a Musical for all four of these productions. Lovett, in Sondheim’s Sweeney Todd (1979). Lansbury later portrayed special pie preparer, Mrs. This was followed by her part as the mad Countess Aurelia in Dear World (1969) and then as the famed Mama Rose in Gypsy (1974).

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A role in the drama A Taste of Honey (1961) and the Stephen Sondheim musical Anyone Can Whistle (1964) followed.Ī powerhouse vocalist, Lansbury landed the lead role as the titular character in the musical production Mame (1966), playing a grand free spirit who attempts to guide her nephew down a true-to-self path. She made her Broadway debut in 1957 with the play Hotel Paradiso. In addition to her screen work, Lansbury is regarded as one of the most iconic stage performers of all time on both sides of the pond. Photo: Randy Marcus/NBC/NBCU Photo Bank via Getty Images Tony-Winning Star of Stage Potts and sang the title track 'Beauty and the Beast' and “Be Our Guest” with Jerry Orbach, and Anastasia (1997).Īngela Lansbury as Jessica Fletcher in 'Murder, She Wrote' She has voiced several animated characters as well for films including Beauty and the Beast (1991), in which she voiced Mrs. She made a notable appearance on Law & Order: Special Victims Unit in 2005, which earned her an Emmy Award nomination for Outstanding Guest Actress in a Drama Series.

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As the diplomatic, kind and clever Fletcher, Lansbury earned Emmy Award nominations in the Outstanding Lead Actress in a Drama Series category every year from 1985 to 1996, eventually taking over production duties for the show as well.Īfter the show ended, Lansbury appeared in television movies, including some Murder, She Wrote specials, and feature films.

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Beginning in 1984, she played sleuth Jessica Fletcher in the popular TV mystery series Murder, She Wrote. Lansbury alternated between film, television and the stage for years, finding success on the small screen by the mid-1980s. Photo: Hulton Archive/Getty Images 'Murder, She Wrote' Lansbury was often cast as supporting characters and in fact, would be known for roles where she played figures considerably older than her real age. Lansbury landed other major roles early on in her career, including that of Elizabeth Taylor’s older sister in National Velvet (1944) and opposite Judy Garland and Cyd Charisse in The Harvey Girls (1946). She was nominated again the next year and won a Golden Globe for playing dance hall lady Sibyl Vane in The Picture of Dorian Gray, which followed the story of a man who makes a supernatural pact to remain young at a high cost. Playing the housemaid Nancy, Lansbury held her own against established stars and earned an Academy Award nomination for Actress in a Supporting Role. She appeared in 1944's Gaslight opposite Ingrid Bergman and Charles Boyer.

Her mother took a job with a Canadian production and instructed Lansbury to move to Los Angeles, where the fledgling actress worked in a department store before landing her debut film role. In New York City, Lansbury received a scholarship to study drama at the Lucy Fagan school. I think that's what made her so acceptable to an across-the-board audience.” And I loved Jessica's every woman character. And there was always a satisfying conclusion to the whodunit. I grew up fast because I had to.” “There was never any blood, never any violence. I couldn’t have both.” “If anything good came out of my father's early death, it was being catapulted into maturity ahead of my contemporaries. And that is a surprise to me.” “My career has, at times, driven a huge wedge in what I would have liked to have had in my family life. In the process of keeping busy, I’ve always stayed relevant. She has an enormous heart.” “It surprises me that I didn’t get left behind. I wanted it to be something special.” “'Nanny McPhee' pulled me out of the abyss.

I did put out a strong message that I wanted standards to be extremely high. It is a part of my memory of my father and my grandfather, of our family life then: how we lived.” “I don’t remember ever saying, ‘oh my god, I’m 40’, I just drifted through and never thought about it.” “I felt a strong sense of responsibility for the quality of. “I am still absolutely steeped in Englishness.