Ethel Merman: A LifePenguin, 01.11.2007 - 352 Seiten “Kellow’s chronology is dishy and seamless; he understands the dynamics of the theater world and makes you feel the exhilaration of an evolving hit and the frustrations inherent in working with a performer like Merman.”—The New York Times Book Review “[Kellow] has painted a vivid portrait of a Broadway diva who shone brighter and sang louder than anyone else.”—The Washington Post BookWorld More than twenty years after her death, Ethel Merman continues to set the standard for American musical theater. The stories about the supremely talented, famously strong-willed, fearsomely blunt, and terrifyingly exacting woman are stuff of legend. But who was Ethel Agnes Zimmermann, really? Brian Kellow’s definitive biography of the great Merman is superb, and the first account to examine both the artist and the woman with as much critical rigor as empathy. Through dozens of interviews with her colleagues, friends, and family members, Kellow (author of Can I Go Now?: The Life of Sue Mengers, Hollywood's First Superagent) traces the arc of her life and her thirty-year singing career to reveal many surprising facts about Broadway’s biggest star. |
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... successful way of introducing performers to a wider public, and many of the actors and singers in New York were shooting them during the day while appearing on Broadway at night. The next evening after work, Ethel showed up at Mills ...
... successful way of introducing performers to a wider public, and many of the actors and singers in New York were shooting them during the day while appearing on Broadway at night. The next evening after work, Ethel showed up at Mills ...
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... success had been stymied by acute alcoholism; she never possessed an instrument that could compare with Merman's.) There was Ruth Etting, dubbed by Walter Winchell “Queen of All Torch Warblers.” Etting had a clear, attractive voice with ...
... success had been stymied by acute alcoholism; she never possessed an instrument that could compare with Merman's.) There was Ruth Etting, dubbed by Walter Winchell “Queen of All Torch Warblers.” Etting had a clear, attractive voice with ...
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... successful musical-comedy producers. Nothing in his background indicated that he might carve out a career in the theater: he was born in 1891 into a prominent Main Line Philadelphia family, and it was expected that he would become a ...
... successful musical-comedy producers. Nothing in his background indicated that he might carve out a career in the theater: he was born in 1891 into a prominent Main Line Philadelphia family, and it was expected that he would become a ...
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... successful that by 1927 it felt natural enough for them to open their own Broadway theater at 250 West Fifty-second Street. They dubbed it the Alvin— a conflation of the first syllables of both their first names. The Aarons-Freedley ...
... successful that by 1927 it felt natural enough for them to open their own Broadway theater at 250 West Fifty-second Street. They dubbed it the Alvin— a conflation of the first syllables of both their first names. The Aarons-Freedley ...
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... successes during the 1920s, but by 1930 they were in eclipse. Both composers had shows open that year: Romberg's Nina Rosa was a disappointment, and Friml's Luana was an outright flop. Depression-era economics helped put the entire ...
... successes during the 1920s, but by 1930 they were in eclipse. Both composers had shows open that year: Romberg's Nina Rosa was a disappointment, and Friml's Luana was an outright flop. Depression-era economics helped put the entire ...
Inhalt
Chapter Five | |
Chapter Seven | |
Chapter Eight | |
Chapter Nine | |
Chapter Fourteen | |
Chapter Fifteen | |
Chapter Sixteen | |
Chapter Seventeen | |
Chapter Eighteen | |
Chapter Nineteen | |
Chapter Twenty | |
Chapter Twentyone | |
Chapter | |
Chapter Eleven | |
Chapter Twelve | |
Chapter Thirteen | |
Chapter Twentytwo | |
Acknowledgments | |
Notes | |
Bibliography | |
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Häufige Begriffe und Wortgruppen
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