Word: broadways
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...hobbled puppeteer opposite Leslie Caron in Lili and as Prince Andrei in War and Peace, where he costarred with the fourth of his five wives, Audrey Hepburn. Before movies he went to Princeton, edited a newspaper, wrote a children's book, was a radio disc jockey and danced on Broadway. Ferrer's signature movie role was in El Greco (1966), for which his long features and noble bearing admirably suited...
...genius in changing her name ever so slightly. Eartha Mae Keith became Eartha Kitt - discarding an ordinary surname for one of inspired felinity. It heralded the sex kitten who purred the lyrics to her lightly naughty hit singles of the early '50s; whose sophisticated persona in films and on Broadway barely concealed her claws; and who would achieve camp renown as the prowling, growling Catwoman on the '60s Batman TV series...
...McKinney, Anna May Wong - had left their homeland with its crushing racial roadblocks, to find work and acclaim on the continent. But they were in the middle of their careers, and never matched their European eclat back home. Eartha was just starting hers. And in postwar America, the movies, Broadway and cabaret were more welcoming to black performers, especially ones with a touch of aristocratic or sexual exotica: Sidney Poitier, Dorothy Dandridge, Harry Belafonte, and Eartha - not Keith - Kitt...
...spell and exploit her allure. Calling Kitt "the most exciting woman in the world," he cast her as Helen of Troy in a production of Faust that played in France, Belgium and Germany. Back in the States, she went on to make her mark in seven media - cabaret, Broadway, pop records, movies, TV, the concert stage and the best-seller charts - one at a time. From a stint at the Village Vanguard, she was cast in the Leonard Sillman revue New Faces of 1952 and given one of her signature songs, the bored-with-love "Monotonous." ("I met a rather...
...success in other fields, the fact is that after her big splash she made only ancillary ripples. She did receive a Tony nomination in the play Mrs. Patterson (and two more, for the 1978 musical Timbuktu and, in 2000, for The Wild Party); but she didn't become the Broadway magnet she should have been. In the late '50s she had featured roles in The Mark of the Hawk, with Poitier, and St. Louis Blues, with Nat "King" Cole, and the lead in Anna Lucasta, a daring B film with Sammy Davis Jr. She cut a powerful figure...