Judi Dench, the acclaimed British actress, reflects on her extensive career in a new memoir, offering insights into her journey from theatre to film and her enduring passion for the stage. At 91, Dench recounts her experiences with candor and humor, revealing facets of her personality that have endeared her to audiences worldwide.

The memoir, titled *Is It Too Late to Make a Run for It?*, is structured as a series of conversations between Dench and actor-director Brendan O’Hea, with whom she also collaborated on the 2023 production *Shakespeare: The Man Who Pays the Rent*. The book covers a wide range of themes including faith, comedy, animal companions, and the intricacies of selecting roles, though it eschews a strict chronological narrative. It begins with reflections on her early life in York but closes with an account of her post–A-level decisions, creating an unconventional flow.

Dench recounts a formative moment from the late 1950s when a Hollywood producer dismissed her potential for film, telling her she had “every single thing wrong with your face.” At the time 23 and about to debut professionally as Ophelia in *Hamlet* at London’s Old Vic, she took the rejection as a push to focus on theatre. Although she later found significant success in film during the 1990s—most notably as M in the James Bond franchise and for her Oscar-winning portrayal of Elizabeth I in *Shakespeare in Love*—she continues to identify primarily as a theatre actor, describing the stage as where she “feels safest.”

Despite her success on screen, Dench emphasizes that her acting is driven by storytelling rather than appearance, dismissing the industry’s glamour as irrelevant to her craft. The memoir is sprinkled with anecdotes that highlight her mischievous side, including a prank during a performance of Brecht’s *Mother Courage* at London’s Barbican where she swapped the drinks served to fellow actors with cider vinegar, much to their surprise.

Dench also offers personal glimpses into her life, sharing the names of her pets—including a cat with an unusual moniker, Bernard the Duck Fucker—and recalling a risqué gift from co-star Frances Barber during the opening night of *Madame de Sade*. The memoir pays tribute to late friends such as Maggie Smith, whom Dench describes as complex and intensely private.

Her sharp wit and warmth are consistent throughout, qualities that contributed to her status as a beloved figure in British theatre and film, a label she modestly resists. Though her eyesight has declined, Dench’s memories remain vivid, and she expresses no desire to retire, warning: “Don’t retire, do not go gentle, and don’t even think about going quietly.” The book’s title alludes to her occasional nervousness before performances, when she admits to keeping her bag by the rehearsal room door in case she feels the urge to “do a runner.”

Overall, the memoir reveals an artist committed to her work with humor, resilience, and a lifelong love of the theatre.