The World Says Good-Bye To Raquel Welch
Raquel Welch has passed on. In 1981 she starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role.
In 1997, Welch starred on Broadway in Victor/Victoria, following Julie Andrews and Liza Minnelli in the title role.
That year, she also acted in an episode of the comedy series Seinfeld, entitled “The Summer of George”, Welch played a highly temperamental version of herself, assaulting series characters Kramer and Elaine, the former because he fired her from an acting job and the latter because Welch mistakenly thought Elaine was mocking her.
In 2001, she had supporting roles in the comedy films Legally Blonde opposite Reese Witherspoon and Tortilla Soup. In 2002, she starred in the PBS series American Family, a story about a Mexican American family in East Los Angeles. Her next film was Forget About It (2006). She also appeared in Welcome to The Captain, which premiered on CBS television on February 4, 2008. In 2015 she played a role in The Ultimate Legacy.
Most recently Welch appeared in a sitcom titled Date My Dad (2017) where she reunited with Robert Wagner on screen, four decades after starring together in The Biggest Bundle of Them All. She acted in How to Be a Latin Lover (2017).
For many years, Welch performed in a successful one-woman nightclub musical act in Las Vegas.
She first came to attention for her role in Fantastic Voyage and won a contract with 20th Century Fox. They lent her to a British studio where she made One Million Years B.C. Her images in the doe-skin bikini became one of the bestselling posters and turned her into an international sex symbol. She later starred in Bedazzled, Bandolero!,
100 Rifles, Myra Breckinridge and Hannie Caulder.
She made several television variety specials.
Her rise to stardom in the mid-1960s brought her international fame. She won a Golden Globe Award for Best Motion Picture Actress in a Musical or Comedy for her performance in The Three Musketeers.
She was also nominated for a Golden Globe Award for Best Actress in Television Film for her performance in the film Right to Die.
In 1995, Welch was chosen by Empire magazine as one of the “100 Sexiest Stars in Film History”. Playboy ranked Welch No. 3 on their “100 Sexiest Stars of the Twentieth Century” list.
Rachel Welch’s career was so varied that to write about her life completely would be to write a novel. The best way I know how to celebrate a performers life is to gather the clips that allow us to see their work.
Welch died yesterday, February 15, 2023, at her home in Los Angeles, following a brief illness. She was 82. With her the era of sex symbols diminishes.
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
Ken Fallin’s Broadway: A Dolls House: Arian Moayed and Jessica Chastain
I went with T2C’s editor to A Dolls House, which inspired this caricature. You can read Suzanna’s review of the show here.
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