Word: pasted
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Dates: during 1960-1969
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...young man, Dennis, sits on the front porch in a floorlength white robe, with blond hair flowing past his shoulders. "Why are you wearing a dress?" I ask. "I'm a witch," he answers. "In fact, you're just in time to see one of my ceremonies. Come on upstairs." I follow. "Don't worry, I'm not a black witch, I'm a white witch. Most of us are. Our powers diminish when we use them selfishly." We come into a room draped with silk cloths. A dozen people?housewives, girls, young men?are sitting in a circle...
Coco also sets some sort of anticipation record, for Brisson has been laboring over this show for the past twelve years. "I'd been fascinated with Chanel since I was ten." Brisson says, "when I was at school in England. I was fascinated by this woman who cut her hair, smoked in public, wore pants." Brisson approached Lerner in 1960, but they did not start work together on Coco until 1965. By that time. Chanel had seen Lerner's My Fair Lady and loved it. "I was convinced that Lerner was incapable of doing anything vulgar," she said...
Hepburn has been immersed in Coco for a year-primarily to have an answer ready for the can-she-sing question. Basically, she is a contralto with a range of an octave and three notes. For the past eight months she has been studying voice in various places-rattling the walls in Manhattan, London, Hollywood and Connecticut. So totally has Hepburn plunged into this production that when the first rehearsal was called on Sept. 29, she swept onstage knowing all her lines...
...Dressing up is a bore," says Hepburn. "At a certain age, you decorate yourself to attract the opposite sex, and at a certain age, I did that. But I'm past that age." This spareness carries over into her profession. "Addition can make an enormously interesting artist," says Kate, "but the elimination makes a great artist. Simplifying, simplifying, simplifying." She relaxes by playing tennis or taking long walks. When she and Director Michael Benthall worked on The Millionairess, she used to insist that he run around the Central Park reservoir with her every morning. "It nearly killed...
There are a few adornments to the story. Through a series of flashbacks using filmed sequences shown on mirrored screens, Coco's past love affairs are recalled. She develops a motherly feeling for one of her young mannequins and becomes one of the angles in a rather flimsy triangle involving herself, the mannequin and the girl's lover. The Lerner script makes a stab at smart-set language, but at heart Coco is an old-fashioned musical. It stands or falls on its star and its music...