I can't believe I'm saying this, but Elaine Stritch has passed away. She has been such an inspiration to me over the years, and I honestly thought she'd live forever with her brassy attitude. I just watched Elaine Stritch: Shoot Me, where she talks about "going home" and leaving a picture for the world. Well, that's an indelible image, and I will go on loving her forever! Rest in peace, Stritchy. You were so loved and adored. I will miss you terribly. Here's a New York Times article about her life and career in the arts:
Elaine Stritch, Broadway’s Enduring Dame, Dies at 89
Elaine Stritch, the brassy, tart-tongued Broadway actress and singer who became a living emblem of show business durability and perhaps the leading interpreter of Stephen Sondheim’s wryly acrid musings on aging, died on Thursday at her home in Birmingham, Mich. She was 89.
Her death was confirmed by a friend, Julie Keyes. Before Ms. Stritch moved to Birmingham last year to be near her family, she lived for many years at the Carlyle Hotel in Manhattan.
Ms. Stritch’s career began in the 1940s and spanned almost 70 years. She made her fair share of appearances in movies, including Woody Allen’s “September” (1987) and “Small Time Crooks” (2000), and on television; well into her 80s, she had a recurring role on the NBC comedy “30 Rock” as the domineering mother of the television executive played by Alec Baldwin.
But the stage was her true professional home. Whether in musicals, nonmusical dramas or solo cabaret shows, she drew audiences to her with her whiskey voice, her seen-it-all manner and the blunt charisma of a star.
In April 2013, before she left the Carlyle, where she had often performed in its cabaret lounge, Café Carlyle, she gave one last show: “Elaine Stritch at the Carlyle: Movin’ Over and Out.” A documentary film, “Elaine Stritch: Shoot Me,” was released this year.
Plain-spoken, egalitarian, impatient with fools and foolishness, and admittedly fond of cigarettes, alcohol and late nights — she finally gave up smoking and drinking in her 60s, after learning she had diabetes, though she returned to alcohol in her 80s — Ms. Stritch might be the only actor ever to work as a bartender after starring on Broadway, and she was completely unabashed about her good-time-girl attitude.
“I’m not a bit opposed to your mentioning in this article that Frieda Fun here has had a reputation in the theater, for the past five or six years, for drinking,” she said to a reporter for The New York Times in 1968. “I drink, and I love to drink, and it’s part of my life.”
In an interview this year in The New York Times Magazine, she said of her resumption of drinking: “I’m almost 89, I’m gonna have a drink a day or two. I know how to handle it, so there.”
Most of the time she was equally unabashed onstage, rarely if ever leaving the sensually astringent elements of her personality behind when she performed. A highlight of her early stage career was the 1952 revival of “Pal Joey,” the Rodgers and Hart-John O’Hara musical, in which she played a shrewd, ambitious reporter recalling, in song, an interview with Gypsy Rose Lee; she drew bravas for her rendition of the striptease parody “Zip.”
Photo Ms. Stritch last September at the condo in Birmingham, Mich., that she moved into when she left New York. Credit Fabrizio Costantini for The New York Times In a nonsinging role in William Inge’s 1955 drama, ”Bus Stop,” she received a Tony nomination as the lonely but tough-talking owner of a Kansas roadside diner where a group of travelers takes refuge during a snowstorm. Three years later, in her first starring role on Broadway, “Goldilocks,” a musical comedy by Jean and Walter Kerr and the composer Leroy Anderson, she played a silent film star alongside Don Ameche and impressed The Times’s critic Brooks Atkinson.
“Miss Stritch can destroy life throughout the country with the twist she gives to the dialogue,” he wrote. “She takes a wicked stance, purses her mouth thoughtfully and waits long enough to devastate the landscape.”
Noël Coward, one of Ms. Stritch’s fans, built the 1961 musical “Sail Away” around her role as Mimi Paragon, the effervescent hostess of a cruise ship, and she repaid his trust not only by giving what Howard Taubman of The Times said “must be the performance of her career” (including a delicious rendition of Coward’s hilariously snooty “Why Do the Wrong People Travel?”) but also by successfully ad-libbing, on opening night, when a poodle in the cast betrayed its training onstage.
The show was not a hit, but Ms. Stritch came away with her third Tony nomination. Her next Broadway role was in the replacement cast of Edward Albee’s scabrous portrait of a marriage, “Who’s Afraid of Virginia Woolf?,” as Martha, the bitter, boozy wife.
One of her memorable appearances was in the Stephen Sondheim musical “Company”(1970), in which, as a cynical society woman, she saluted her peers with the vodka-soaked anthem “The Ladies Who Lunch.” The performance brought her another Tony nomination, and the tune became her signature — at least until, in her 70s, she became known for Sondheim’s paean to showbiz longevity and survival, “I’m Still Here.”
Photo Ms. Stritch in the musical revue “Angel in the Wings,” in 1948, in which she sang “Civilization.” Credit Associated Press That song was the centerpiece of her 2001 one-woman show, “Elaine Stritch at Liberty,” and she sang it in 2010 at Mr. Sondheim’s 80th-birthday concert at Lincoln Center and at the White House for President Obama.
Essentially a spoken-and-sung theater memoir, “Elaine Stritch at Liberty,” created with the New Yorker critic John Lahr, began performances at the Public Theater in Manhattan when Ms. Stritch was 76 and then moved to Broadway, where it was a smash.
Alone onstage except for a chair, clad only in tights and a white silk shirt, Ms. Stritch wove together music (including “Zip,” “The Ladies Who Lunch,” “I’m Still Here” and two more Sondheim songs: “The Little Things You Do Together,” a mordant salute to marriage from “Company,” and the aging showgirl’s lament “Broadway Baby,” from “Follies”) and showbiz memories into a tour de force that won a Tony Award for best special theatrical event.
“I’m a do-it-yourself kind of broad,” Ms. Stritch told The Guardian in 2008, when she performed the show in London. It was an apt description of herself and the performance, which opened with her entering and declaring to the audience, “Well, as the prostitute once said, ‘It’s not the work, it’s the stairs.’ ”
Born in Detroit on Feb. 2, 1925, Ms. Stritch was the youngest of three daughters of George and Mildred Stritch. She went to a convent school but knew long before she graduated that she wanted a show business career.
Photo Ms. Stritch backstage with Noël Coward in 1961 after the opening of his musical “Sail Away.” Credit John Lent/Associated Press When she was 4, for example, her father, an executive at B. F. Goodrich, took her to see a touring production of “The Ziegfeld Follies.” They went backstage to meet the star, the comedian Bobby Clark, who was a friend of her father’s. “From that moment on,” she recalled, “I was hooked.”
She was popular and seemingly carefree at school but struggled, she said, to overcome a deep-seated lack of confidence. By high school she had discovered that liquor helped mask her fears.
After graduation she told her parents she wanted to go to New York to study acting. They said she could go only if she agreed to live in a Manhattan convent. In 1944, she took the train to New York, moved into her convent room on the East Side and enrolled at the New School for Social Research, where she studied acting with Erwin Piscator. According to a story she told in “At Liberty,” her classmate Marlon Brando stopped speaking to her after she declined his invitation to spend the night at his apartment.
(Ms. Stritch, a Roman Catholic who said she was a virgin until she was 30, was no prude. Before she married in 1972, she was romantically linked with the actors Gig Young and Ben Gazzara and the restaurateur Joe Allen.)
She made her New York stage debut in a children’s play, “Bobino.” In 1947, she opened on Broadway in a musical revue, “Angel in the Wings,” in which she sang “Civilization,” a satirical number expressing an African’s thoughts about frightful aspects of modern life, including the lament: “Bongo bongo bongo, I don’t want to leave the Congo.”
Photo Ms. Stritch in 2010 in her role as the mother of Alec Baldwin’s character on “30 Rock.” Credit Ali Goldstein/NBC In a short time she established herself as a promising actress who could also hurl a song lyric to the far reaches of the balcony. In 1950 she won the job of understudy to Ethel Merman in “Call Me Madam.” Merman stayed healthy, and Ms. Stritch never got to perform the role on Broadway, although she did star in the touring company. Then came “Pal Joey.”
She did some television work as well, live dramas as well as series like “My Sister Eileen” and “Wagon Train.” She almost landed the role of Trixie Norton on “The Honeymooners,” with Jackie Gleason, Art Carney and Audrey Meadows, but the part finally went to Joyce Randolph. Gleason, she explained, thought she was too much like him.
Recent Comments Bruce 15 hours ago Kind of a shame that some reports of Ms. Stritch's death refer to her (in the headline) as a star of "30 Rock." Of course, this is not...
CitizenReno 15 hours ago I don't condone this death one bit, dogdamnit.You move to the suburbs and you're gone?When we went to lunch, before she was diagnosed with...
Wish I could Tell You 15 hours ago I'm not only noting her passing to what i assume and hope is a really great party, but mourning the passing of a New York that doesn't make...
Ms. Stritch made her London stage debut in “Sail Away” in 1962, and appeared there again in 1972 in “Company.” Remaining in London, she met the American actor John Bay during rehearsals for a production of Tennessee Williams’s “Small Craft Warnings” and married him. In Britain, she won a wide following in stagings of American plays and as co-star of the television comedy series “Two’s Company,” in which she played a prickly American writer working at an English estate.
Ms. Stritch and her husband moved back to the United States in 1982, and he shortly died of a brain tumor. They had no children. Ms. Stritch is to be buried near him in Chicago. She is survived by many nieces and nephews.
In the mid-1980s, Woody Allen, dissatisfied with his film “September,” decided to reshoot it. Ms. Stritch accepted the part originally played by Maureen O’Sullivan while recuperating from surgery to have polyps removed from her vocal cords. She played the hard-drinking survivor of a roller-coaster life, a former glamour girl whose daughter, played by Mia Farrow, is both angry and depressed. Her performance initiated a fecund period of movie work.
Photo Ms. Stritch, tending bar in the summer of 1964 at Elaine’s (no relation), after she had become a Broadway star. Credit United Press International Continue reading the main story Continue reading the main story Continue reading the main story Her other films included “Cocoon: The Return” (1988), which reunited her with Ameche; “Cadillac Man” (1990), with Robin Williams; “Autumn in New York” (2000), a May-December romance starring Richard Gere and Winona Ryder; and “Monster-in-Law” (2005), in which, as Jane Fonda’s mother-in-law, she delivers a blistering put-down: “You were a television weather woman from Dubuque, Mont. You drove around in a broken-down minivan, and you drank red wine — from a box!”
She also made guest appearances on television, on “The Cosby Show,” “Head of the Class,” “Law & Order,” “Oz” and “3rd Rock from the Sun.” Back on Broadway, she joined Harold Prince’s 1994 revival of the Jerome Kern-Oscar Hammerstein II musical “Show Boat.” Ms. Stritch played Parthy, the nagging wife of the showboat’s Cap’n Andy.
She went on to earn another Tony nomination in the Lincoln Center Theater’s 1996 revival of “A Delicate Balance,” Edward Albee’s ferocious dark comedy about an upper-class household in distress. She played the witty, bellicose houseguest of her sister (Rosemary Harris) and brother-in-law (George Grizzard).
When “Elaine Stritch at Liberty” was broadcast on HBO in 2004, Ms. Stritch added an Emmy to her collection of awards, but that was far from her final triumph. She also created a series of solo cabaret shows for Café Carlyle, including one that was a tribute to Sondheim.
“The blazingly here-and-now Ms. Stritch gives the word ‘trouper,’ a term of respect for stars who have trod the boards for decades, an almost mythological dimension,” Stephen Holden of The Times wrote in a review.
In May 2008, in a surprising change of pace, she appeared in a production of “Endgame,” Samuel Beckett’s grim comedy about mortality, at the Brooklyn Academy of Music. As inhabitants of a bleak netherworld, she and her onstage husband (Alvin Epstein) lived in oversize garbage cans.
Ms. Stritch performed at the Paper Mill Playhouse in Millburn, N.J., in June 2009 in a production of “The Full Monty,” based on the 1997 British film comedy about a group of unemployed steelworkers who decide to perform as male strippers. Ms. Stritch, who played the group’s rehearsal pianist, said in an interview that she was “happy to be doing something that wasn’t all about me.”
She made her final Broadway appearance in 2010, replacing Angela Lansbury as the aging Madame Armfeldt in a Broadway revival of “A Little Night Music.” It was a role that allowed her to sing once more of Mr. Sondheim’s rueful, mortality-defying musical meditations, “Liaisons,” an aching paean to love affairs past, and she brought to it an original and rather stinging bitterness about a life that is nearly over.
In “At Liberty,” Ms. Stritch earned one of her biggest laughs with a story about a long night of drinking with a friend. The story was ostensibly about the friend — Judy Garland — but it was self-reflective, too. Along about breakfast time, Ms. Stritch recalled, Garland turned to her.
“Elaine, I never thought I’d say this,” Garland said, “but good night.”
I'm not a huge fan of Glenn Beck, but I really appreciated this discussion about the Common Core. The Common Core will dictate what every student in the United States should know at the end of each grade from Kindergarten through 12th grade. In this YouTube segment, it is implied that Bill Gates (Microsoft), Yahoo, and Google are dumping millions of dollars into funding for the Common Core Initiative so that students will be educated in the ways of working for Microsoft, Yahoo, Google and the like.
Students, under the direction of teachers who have been taught everything they need to know to prepare students for work in technology related fields, will be funneled into huge corporations as employees that push power to the higher ranks. This will ensure that competition in the form of new upstarts will cease, and these already powerful corporations will become more powerful, and are guaranteed that power for years to come.
This scares the hell out of me. Topics like this have been written about by authors for centuries, and the books they produce have been labeled as dystopian fiction. This isn't fictional, this is real. Welcome to the United Corporations of America.
Further reading: Common Core Initiative Page, Wikipedia Common Core Page
The following are the nominees for the 2014 Academy Awards (the ones I care about) announced by Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, on Thursday. For some strange reason, she was joined by "Hunger Games" actor Chris Hemsworth. Weird. I wonder who he had to screw to get that spot... Anyway, The Academy Awards will air live on ABC on March 2, starting at 7 p.m. ET. Share your picks in the comments.
CNN Coverage | Official Oscar Site
Mark Twain said it beautifully, "All you need in this life is ignorance and confidence; then success is sure. ” Oh, so true!
I went to WalMart tonight to pick up some tea and ice cream (wonderful combo, I know), and was astonished at the level of happiness I saw in individuals who are very clearly and hopelessly ignorant. Now, I don't mean rude or stupid, although some of them could be, but I mean that they have no connection to the realities of humanity and the way it works.
They seem to go along, very happily, as large, lazy, junk eaters who only gain amusement out of being confronted by the ways of the world and other people. I marveled at the lack of concern about what others must think of them, and stood in wonderment at the self checkout as a woman devoured a melted carton of Ben and Jerry's ice cream as she paid for her diabetic-coma-waiting-to-happen grocery bill with a food stamp card. She looked stress-free without a care in the world.
Meanwhile, I can't leave the house if I haven't showered and made myself presentable, even if it's just a trip to WalMart. I need to see a therapist twice a week to work on issues that stem as far back as my single digit childhood years. I am always stressed, and even have panic attacks. This leaves me thinking I've been living this life devastatingly wrong, and I am surely missing out on some secret. The secret of not giving a shit. If someone could clue me in to this awesome way of living, please do so in the comments. Thank you in advance!
U.S. to Recognize Utah Gay Marriages Despite State Stance
The Obama administration on Friday said that it will recognize as lawful the marriages of 1,300 same-sex couples in Utah, even though the state government is refusing to do so.
Wading into the fast-moving legal battle over same-sex marriage rights in one of America’s most socially conservative states, the administration posted a video on the Justice Department’s website. Attorney General Eric H. Holder Jr. said that the federal government will grant federal marriage benefits to the same-sex couples who had rushed to obtain marriage licenses after a federal judge last month unexpectedly struck down Utah’s ban on same-sex marriage.
“I am confirming today that, for purposes of federal law, these marriages will be recognized as lawful and considered eligible for all relevant federal benefits on the same terms as other same-sex marriages,” Mr. Holder said in the video. “These families should not be asked to endure uncertainty regarding their status as the litigation unfolds.”
Click the article title for full coverage by the New York Times.
My feeling is one of cautious optimism. I think it's great that the U.S. government is going to step in and recognize these marriages, but I'm afraid how this will be viewed by those who advocate state sovereignty. That aside, I think our country is heading in the right direction in terms of recognizing the rights of homosexuals in general. When is Pennsylvania going to join the party?
Last night, I was watching documentaries on Netflix with my boyfriend Corey. One of them was called "Park Avenue: Money, Power, and the American Dream," which features clips of Ayn Rand speaking about her vision of Laissez Faire Capitalism. This brought me into research mode, wanting to find out a little more about the Ayn Rand Institute. I have loved Ayn Rand and "Atlas Shrugged" for years, but I never knew that ARI was a political powerhouse. On my quest, I came across an article George Saunders had written for the New Yorker called "I Was Ayn Rand's Lover."
I had known about Ayn Rand's affair with Nathaniel Branden from reading her many biographies, in particular "The Passion of Ayn Rand." It creeped me out quite a bit back then, but now to see that she prowled on more than one innocent young man left me with a sour taste. If you know Ayn Rand and her philosophy of Objectivism, you wouldn't be too surprised that Nathaniel Branden was a target on her radar. To hear Saunders recount his having essentially been "raped" by her was a little off-putting to say the least, but his developing jealousy over Ayn having set her eyes on a young Paul Ryan disturbed me. It wasn't his feelings of jealousy that disturbed me, rather her voracious appetite for bedding young men in late puberty is what was particularly disturbing.
So, we now know of three men in their late teens who were successfully pursued by Ayn Rand. There are probably plenty more, but my interest stops there. Seeing Paul Ryan run wild with Ayn's version of Laissez Faire Capitalism as it pertains to our present day economy was like being punched in the gut by Ayn Rand herself. All of her theories sound good as just that -- a theory, but when put into practice as Paul Ryan has done as a congressman, they are truly frightening. I don't know what plagues me more: the affairs with young boys, or being disillusioned by Paul Ryan's crazy plans for American prosperity.
To understand what I'm talking about, you'll have to do a little research. Most of it can be done by watching the "Park Avenue" documentary, reading "Atlas Shrugged," "The Passion of Ayn Rand" (also a film), and then reading George Saunder's New Yorker piece (which is very well-written, I might add). It amounts to a sick feeling in the pit of your stomach, I'll bet, because that's what I'm feeling right now. It can all be summed up in one word: UGH!
Watch the entire "Park Avenue" documentary:
Barbara Branden (Nathaniel Branden's wife) on The Passion of Ayn Rand:
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My name is Nicholas Emeigh, but everyone calls me Nick, and I prefer it. I'm usually called Nicholas when I'm in trouble. I'm from the Philadelphia area, work in business, and fancy myself as a freelance graphic designer, writer, and artist. I have a passion for art in all its forms including music, but I restrict my singing to the shower and the car for the good of society. If you'd like to know more, just send me an e-mail. I really appreciate you stopping by.