coaxed back to the stage. She appeared on Broadway in Barefoot in Athens and married editor George Davis. Late career In 1956, she won a Tony Award for her role as Jenny in Marc Blitzstein's English version of The Threepenny Opera, the only time an off-Broadway performance has been so honored. Lenya went on to record a number of songs from her time in Berlin, as well as songs from the American stage. Her voice had deepened with age. When she was to sing the soprano parts in Rise and Fall of the City of Mahagonny and The Seven Deadly Sins, the music needed transposition to substantially lower keys. Sprechstimme was used in some famous songs in the Brecht-Weill plays, but now Lenya used it even more to compensate for the shortcomings of her voice. Lenya was aware of this as a problem; in other contexts, she was very careful about fully respecting her late husband's score. She founded the Kurt Weill Foundation for Music, to administer incomes and issues regarding rights, and to spread knowledge about Weill's work. She was present in the studio when Louis Armstrong recorded Brecht-Weill's "Mack the Knife". Armstrong improvised the line "Look out for Miss Lotte Lenya!" and added her name to the list of Mack's female conquests in the song. Her role as Vivien Leigh's earthy friend Contessa Magda Terribili-Gonzales in the screen version of Tennessee Williams' The Roman Spring of Mrs. Stone (1961) brought Lenya Academy Award and Golden Globe nominations as Best Supporting Actress. In 1963, she was cast as the SPECTRE agent Rosa Klebb in the James Bond movie From Russia with Love starring Sean Connery and Robert Shaw. In 1966, Lenya originated the role of Fräulein Schneider in the original Broadway cast of the musical Cabaret. Kander and Ebb's score was considered by some to be inspired by Weill's music. In 1979, two years before her death, Lotte Lenya was inducted into the American Theater Hall of Fame. Personal life Lenya was born to Catholic working-class parents in Vienna. She went to Zürich to study in 1914, taking her first job at the Schauspielhaus, using the stage name Lotte Lenja. She moved to Berlin to seek work in 1921. Lenya and Weill did not meet properly until 1924 through a mutual acquaintance, the writer Georg Kaiser. They married in 1926, and later divorced in 1933, only to reconcile in