reviewed for The Wall Street Journal, 9 November 2016
In 1971, in a Chicago Tribune interview, Glenda Jackson summed up her career. In Ken Russell’s “The Music Lovers,” she had recently played Tchaikovsky’s hyper-sexed, institutionalized wife; her first hit on Broadway had been Peter Weiss’s “Marat/Sade,” set in a Napoleonic insane asylum. “Every time there’s a role for a nut...