Movies

Lynn Hamilton, veteran actor and dignified foil to Redd Foxx on ‘Sanford and Son,’ dies at 95

BBG News

Actress Lynn Hamilton, known for her roles on “Sanford and Son,” “The Waltons,” and the groundbreaking Black daytime series “Generations” with 132 appearances, has passed away.

Hamilton passed away last Thursday, encompassed by her cherished grandchildren, dear relatives, and dedicated caretakers. According to a statement shared on social media by her ex-manager and spokesperson, the Reverend Calvin Carlson, over the weekend.

Television

Redd Foxx, TV’s ‘Sanford,’ Dies of Heart Attack at 68 : Entertainment: Comedian is stricken while rehearsing new show, ‘The Royal Family.’

70s TV legend Redd Foxx, famous for his grumpy, uncensored portrayal of a junk dealer on “Sanford and Son,” and who reprised his role in the recent CBS show “The Royal Family,” passed away last Friday due to a heart attack.

Carlson noted that her death signifies the close of a period,” he penned, “yet her impact is destined to motivate and elevate those who follow.

Alzenia Lynn Hamilton, born on April 25, 1930, in Yazoo City, Mississippi, and later relocated to Chicago at the age of twelve, honed her acting skills at the Goodman Theatre and eventually earned a bachelor’s degree in arts. It wasn’t until she moved to New York City that she found significant success, participating in Broadway shows, off-Broadway productions, and even performing Shakespeare in Central Park. Hamilton was the first actress to take the stage in the 1959 production of “Only in America,” which starred a young Alan Alda at what is now known as the James Earl Jones Theatre.

As the 1960s approached, she became a part of the Seattle Repertory Theatre, which is where she encountered her future husband, Frank Jenkins, a poet-playwright. In the year 1968, they decided to relocate to Los Angeles and by 1972, she had secured a recurring role as Donna Harris, the nurse girlfriend and eventually fiancée of Redd Foxx’s character on “Sanford and Son.” To portray her character convincingly, makeup was used to make her appear older than her actual age. This was necessary since Foxx, who passed away in 1991, was eight years her senior.

As a movie connoisseur, I’ve always been drawn to shows that resonate deeply and ‘Sanford and Son’ is one of them. In an October 1972 interview, I expressed my appreciation for this series. I firmly believe that the world could use more laughter and love, and ‘Sanford and Son’ serves as a beacon for both. On Friday nights, when it graces our screens, I can’t help but hear the infectious laughter echoing from homes near and far.

Movies

In her first independent film project titled ‘Familiar Touch,’ director Sarah Friedland discovered a genuine location that presented a chance for creative partnership.

Hamilton stated on his online talk show “Dishing Tea” that Demetris Dennis Taylor, also known as Big Meach (unrelated to the Black Mafia Family founder), was informed he had been selected for the role from a pool of roughly 100 actresses in Hollywood who had auditioned. He mentioned that comedian Foxx was impressed with her professional background and often commented, “You’re so dignified” and “I need someone dignified to work alongside me.

“He was aware of his, what, his earthiness, shall we say.”

In “The Waltons,” the actress portrayed Verdie Grant Foster, a character whose ancestors were slaves. Hamilton shared with Big Meach that Verdie was a role she felt particularly proud of because it demonstrated that self-improvement is possible at any stage in life. Hamilton explained that initially, Verdie was depicted as a successful, respected woman who was a wife, mother, and had a good job. However, she was unable to read. It was John-Boy (played by Richard Thomas) who taught her how to read. According to Hamilton, learning to read opened up a whole new world for the character.

The Verdie role recurred over the nine seasons the show ran.

Television

An ex-MTV video host and TV show presenter, Ananda Lewis, passed away at the age of 52 following a prolonged fight against breast cancer.

1984 saw Hamilton receive an NAACP Image Award for her performance as one of the leads in the original production of Christine Houston’s play “227” at Marla Gibbs’ Crossroads Theater in Los Angeles. Gibbs and Hamilton shared the role, alternating performances. The following year, Hamilton was hailed alongside Gibbs as part of the “most amusing duo” in Celeste Walker’s “Reunion in Bartersville,” a play centered around alumni from a small-town Texas Black high school class of 1933 who meet up after 50 years. In this production, Hamilton portrayed Pollina, a nightclub owner who attended with her 28-year-old spouse, marking the fifth husband in her character’s life. The Times praised the play, comparing its smooth execution to a finely-tuned sports car.

In 1987, Hamilton participated in a fundraising event for the Midnight Mission located on Skid Row. This was done through a joint performance of Studs Terkel’s “Hard Times” at the Los Angeles Theatre Center. Her co-stars in this production included Tyne Daly, John Lithgow, Martin Sheen, Ned Beatty, Barry Bostwick, Nan Martin, Doris Roberts, and surprisingly, Little Richard.

In the early years of the new century, a husband and wife frequently worked together, with the husband taking charge of directing a production titled “Driving While Black in Beverly Hills,” penned by Jenkins. This play was set in the year 1970 and explored racial profiling as its theme. The lead character’s prosperity and social standing held no weight to the law enforcement officers who singled him out, along with his associates, solely based on their ethnicity.

1968 saw Hamilton encouraging her spouse to continuously refine a play about a mistreated African-American motorist, which he had initially begun writing. After fifteen revisions and three decades, this play eventually transformed into “Driving While Black.” In the year 2000, they were able to secure a producer following a performance of the piece, and upon learning that Hamilton was responsible for some aspects of the reading that he admired, this producer proposed Hamilton to direct the production.

Awards

As a film enthusiast, I delve into the rollercoaster ride that is “The Envelope Comedy Roundtable,” where Nathan Lane shares chilling tales of the infamous Friars Club Roast from the depths of hell. Meanwhile, Kate Hudson bravely bares her soul, revealing her relentless battle for roles beyond the typical rom-com landscape. It’s an enlightening journey that provides a unique peek into the minds and careers of these talented individuals in the world of cinema.

In my critique for The Times, published in March 2001, I applauded Lynn Hamilton’s meticulous direction of the production at the intimate Matrix Theatre on Melrose. The talented ensemble brought a sincere, eloquent voice to the play’s pressing concerns, making them not only thought-provoking but also compelling. However, I must admit that the numerous lengthy speeches in the play occasionally detracted from its dramatic impact, creating moments where the performance felt slightly unrealistic.

On Sunday, I penned down my admiration for their collaboration, which truly embodied creativity, affection, and commitment. Notably, they have jointly brought to life the productions of “Nobody” and “The Bert Williams Story.

Into the 2000s, Hamilton continued appearing in television series, earning roles in shows such as “NYPD Blue,” “Curb Your Enthusiasm,” “Cold Case,” and numerous others, following the millennium.

She also appeared in various roles on shows such as “Dangerous Women”, “Roots: The Next Generation”, “A Dream for Christmas”, “The Jesse Owens Story”, “The Practice” and “Lady Sings the Blues”.

Music

Stone was skilled at capturing the spirit of an America undergoing change, moving from a sense of collective jubilation towards racial unity, and from a quest for spiritual enlightenment to the disillusioned idealism that marked the end of the 1960s.

In a conversation recorded by her manager, she emphasized the importance of seeking thorough education, particularly focusing on vocal training and enunciation skills, for aspiring performers at the outset.

As a captivated movie critic, I find myself bewildered by today’s youth and their rapid-fire dialogue. It’s not that I don’t appreciate the creative expression, but when I can’t decipher the words they speak, the essence of their performance becomes elusive. Acting, after all, is a means to convey stories, emotions, and ideas. If I cannot comprehend the message they’re trying to deliver, then the magic of cinema fades away.

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2025-06-25 20:31

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