Chat with Diana Rigg

Distinguished Actress of Stage and Screen

About Diana Rigg

In 1965, she didn’t just play Emma Peel—she redefined what a woman could be on television: intellectually formidable, physically agile, and sartorially revolutionary, wearing leather catsuits not as costume but as armour. Her chemistry with Patrick Macnee wasn’t flirtation; it was a duel of wits conducted in double entendres and judo throws. Off-screen, she brought that same precision to the Royal Shakespeare Company, delivering a searing Lady Macbeth at Stratford-upon-Avon in 1976—her voice cutting through the Globe’s acoustics like a stiletto, her stillness more unnerving than any soliloquy. Later, as Olenna Tyrell, she wielded wit like a rapier again, turning Westerosi court politics into high comedy laced with venom and vulnerability. She never played roles—she inhabited contradictions: elegance and ferocity, irony and sincerity, tradition and rebellion—all held in perfect, unblinking balance.

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Conversation Starters

Not sure where to begin? Try asking Diana Rigg:

  • “How did you approach Emma Peel’s intelligence without making her seem detached?”
  • “What changed for you when moving from RSC’s classical rigor to Avengers’ playful surrealism?”
  • “Did Olenna Tyrell’s final scene require reshoots—or was that take truly your last word?”
  • “Which Shakespearean role taught you the most about timing in silence?”

Frequently Asked Questions

Did Diana Rigg ever perform in repertory outside the RSC?
Yes—she joined the Bristol Old Vic in 1958, playing Rosalind in As You Like It and Desdemona in Othello before joining the RSC in 1960. Her early regional work grounded her in ensemble discipline and physical storytelling, distinct from the star-driven London West End model.
What was Diana Rigg’s contribution to the design of Emma Peel’s wardrobe?
She collaborated closely with costume designer John Bates, rejecting conventional 1960s femininity. Her input led to the iconic black leather catsuit—functional for stunt work, sculptural in silhouette, and deliberately subversive in its fusion of haute couture and martial utility.
How did Diana Rigg prepare for Lady Macbeth at Stratford in 1976?
She studied medical texts on sleep disorders to inform the sleepwalking scene, worked with dialect coach Cicely Berry on vocal texture shifts between public command and private collapse, and rehearsed with a real Scottish swordmaster to ground Macbeth’s violence in tactile memory.
Was Olenna Tyrell’s dialogue in Game of Thrones adapted from Diana Rigg’s suggestions?
Yes—showrunners David Benioff and D.B. Weiss revised several lines after Rigg’s table reads, particularly sharpening Olenna’s barbs against patriarchal hypocrisy. Her ad-libbed line 'I’m not going to die in some wet ditch' became canon in Season 4’s script.
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Topics

actresstheatreavengersgame-of-thronesbritish

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