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Hall has become best known to American audiences not for her work on the stage but on the screen—the kind of work that gets you a glam squad and a Manhattan suite for the afternoon.(Though not, as Hall noted with some chagrin, for an overnight stay).
When Hall was born, her father had been the director of Britain’s National Theatre for almost a decade, overseeing its controversial move from the Old Vic into its current home, on London’s South Bank.In between, she’s appeared in a wide variety of roles, in movies ranging from excellent (“Frost/Nixon,” in which she played Caroline Cushing, David Frost’s girlfriend) to mediocre (like “Transcendence,” in which she played the wife of an artificial-intelligence expert enacted by Johnny Depp).Writing in the of her performance, Manohla Dargis called Hall “one of those actresses who always seem smart even in dumb roles.” Hall acknowledges the hazards of casting.The production also showed the mastery of its director, Sir Peter Hall, the founder of the Royal Shakespeare Company, the former head of London’s National Theatre, and Rebecca Hall’s father.
Given Shakespeare’s dramatic fascination with the relations between fathers and their offspring, and with the complicated questions of lineage and inheritance, the casting choice looked less like nepotism and more like a fruitful artistic convergence.
“She is very mentally dexterous, and she is also full of rage, and it is also a real expression of female rage, which I find quite potent.