The Other Woman

Joan Collins in The Opposite Sex (MGM, 1956)

"When Steven doesn't like what I wear, I take it off!"

Presumably, Steven likes bananas.

Everything Old Is New Again

Some things never change.

The Gospel According To Kate

General mood, darlings.

Coaxing The Blues Right Outta That Horn

Ann Miller

Susan Hayward

Celeste Holm

Jane Morgan

Charming the husk right off of the corn from the roaring Twenties into the swinging Sixties.

The Miller Mystique

"Ann Miller comes onto this show camera-ready; she's wearing a designer dress; her makeup is exquisite; her hair is perfect and she even smells nice. It's such a pleasure for us. You know what I mean -- so many of the people come here in jeans with their hair flying all over. What's so special about that? You can get that at home." -- An associate producer for The Merv Griffin Show, 1983

Sister Showdown

Julie Andrews and Peggy Wood in The Sound of Music (20th Century Fox, 1965)

Greer Garson, Debbie Reynolds and Agnes Moorehead in The Singing Nun (MGM, 1966)

Anna Lee, Peggy Wood and Portia Nelson in The Sound of Music (20th Century Fox, 1965)



Greer Garson, Ed Sullivan, Agnes Moorehead and Debbie Reynolds in The Singing Nun (MGM, 1966)

Julie Andrews, Peggy Wood, Portia Nelson, Anna Lee, Marni Nixon, Evadne Baker and Doreen Tryden in The Sound of Music (20th Century Fox, 1965)

Debbie Reynolds and Juanita Moore in The Singing Nun (MGM, 1966)

Julie Andrews in The Sound of Music (20th Century Fox, 1965)

Debbie Reynolds in The Singing Nun (MGM, 1966)

Julie Andrews at the New York City premiere of The Sound of Music (20th Century Fox, 1965)

Agnes Moorehead and Debbie Reynolds at the Milwaukee premiere of The Singing Nun (MGM, 1966)

Ladies and gentlemen, pick your nuns.

That's Right...

...we're forcing Monday into submission.

Sing A Song

Don't worry that it's not good enough for anyone else to hear.

Her Shining Hour

"Mimi Hines Is A Happening!"

So proclaimed the title of her 1967 Decca album; and, last night at 54 Below, the little lady with the big voice proved it so once more, knocking a sophisticated, jaded audience out of their collective seats.

How sophisticated and jaded, you may query? How's this for starters: Lucie Arnaz. Joyce Breach. Jim Caruso. Fran Drescher. Donna Mckechnie. Jerry Mitchell. Liliane Montevecchi. Faith Prince. LeRoy Reams. Billy Stritch. Julie Wilson.

All of them rapt, attentive, spellbound one moment; then screaming, banging the tables, clamoring for more, the next. Strutting on stage to the strains of "Nothing Can Stop Me Now!", Ms. Hines -- making a rare appearance, in celebration of her 80th birthday -- demonstrated just that for the next hour plus. Looking fabulous with mile-long false eyelashes and a swath of blue eyeshadow, Mimi the magnificent belted out "Chicago," crooned "Till There Was You," and had us all in the palm of her hand.

The one-time Funny Girl (she took over for Streisand on Broadway when Barbra took the show to London) paid homage to that career highlight by singing "I'm the Greatest Star," making it clear in the process that she's no Streisand clone. She's 100% Mimi Hines, and she makes the material her own. Hines also sang the lovely ballad, "Who Are You Now," which was cut from the film version of the musical, and a treat to hear.

Mimi Hines has always been a brassy, belting broad; she still possesses a rapid-fire show biz wit and delivery when recounting some of her backstage tales, but time and experience have mellowed her singing voice. She still has reserves of power, to be sure, but remarkably, who she reminded us most of throughout the evening, was the inimitable saloon singer, Sylvia Syms. Big ballads that, in other hands (and, perhaps, Hines', too, once upon a time) would be overwrought and overdramatic -- "Who Can I Turn To?" and "Yesterday I Heard the Rain" -- were heartbreaking, devastating in their intimacy. Any lowered keys and skillfully sidestepped high notes were more than compensated for by powerful connection with the lyrics.

To that end, in a completely unexpected, stunning feat of acting, this quintessential "mensch" (as Jule Styne called her in the liner notes to that 1967 album) transformed herself completely into Madame Armfeldt for a stunning rendition of "Liaisons" from A Little Night Music. It was a revelation, not only for the total surprise of hearing and seeing Hines become that character, but for the sheer brilliance of her interpretation.

For us, though, the highlight of the evening was the seldom-revived "I'll Only Miss Him When I Think of Him" from Skyscraper; Hines recorded it for her debut album in 1966. Full disclosure: Hines' recorded rendition has never curried favor with us, in spite of the song being one of our all-time favorites. But last night, Mimi Hines sang it as its never been sung before, with such longing and tenderness, that we immediately realized that she wasn't singing about an unfortunate love affair; she was experiencing the pain and ache that only true loss can bring. And, sure enough, as the last notes drifted to the heavens, Hines whispered, "I miss ya, Phil." (The late Phil Ford was her long-time spouse and musical partner.) It was an almost painfully personal moment, and there wasn't a dry eye in the house. Cannily, Hines segued almost immediately into an upbeat arrangement of "It Only Takes a Moment" from Hello, Dolly!, with Ford still clearly on her mind.

Although the rapturous audience -- who visibly moved Hines with their unabashed appreciation and adoration -- would have gladly let her stay all night and sing 'em all, every good thing must come to an end. Fittingly, Hines closed her set with a beautiful, touching version of Johnny Mercer's "My Shining Hour." And when she wrapped up with his lyric: "This will be my shining hour/Till I'm with you again," truer words could never be spoken. Or sung.

Mimi Hines is a happening.

Pardon Our Absence...

 

...but in addition to the holiday weekend and the rigors of the everyday, we have been granting interviews, darlings. We shall resume normal posting soon, but sometimes, it's all too, too much.

We Never Will Forget...Jeanette MacDonald

Just to think of her gives our heart a pang.
 

JEANETTE MACDONALD

June 18, 1903 - January 14, 1965

Are You The Top?

COLE PORTER

June 9, 1891 - October 15, 1964

In Case You Had Forgotten...

...Nancy Kwan enjoys being a girl.

NANCY KWAN

May 19, 1939

Always An Original...

...even when the roles weren't.

MISS CELESTE HOLM

April 29, 1917 - July 15, 2012

Queen For A Day

CAROL BURNETT

April 26, 1933

Birthday Roundup

Dead Ringer (Warner Bros., 1964)

Starring Bette Davis and Bette Davis

Score ("Figueroa") by Andre Previn 

"You're Gonna Hear from Me" from Inside Daisy Clover (Warner Bros., 1965)

Performer: Natalie Wood (dubbed by Jackie Ward)

Composers: Andre and Dory Previn

"It's Impossible" from Valley of the Dolls (20th Century Fox, 1967)

Performer: Patty Duke

Composers: Andre and Dory Previn

ANDRE PREVIN

April 6, 1929

"Trapped in the Web of Love" (Scopitone S-1057, 1965)

"Gowns, Beautiful Gowns" from Hillbillys in a Haunted House (Woolner Bros., 1967)

JOI LANSING

April 6, 1929 - August 7, 1972

Billy Dee Williams and Diana Ross in Mahogany (Paramount, 1975)

BILLY DEE WILLIAMS

April 6, 1937

Remember, darlings -- success is nothing without dolls, gowns, and a Colt 45 to share it with.

Hal-lelujah

Barney Miller (1975-82) was one of our father's favorite shows, and even at a very young age, we recognized something solid and comforting about Hal Linden's steady, even presence. But in spite of these early memories, perhaps because he does almost everything well, and makes it all look so effortless, the multi-talented Hal Linden sometimes flies under our collective radar. He's a damned good actor, a fine light comedian, and we happen to adore his singing. (He's also got those salt-and-pepper looks and sonorous voice which drive us nuts -- just for the record.)

Handsome early publicity photo, c. 1960

Before earning his seven Emmy nominations for Barney Miller, the former Hal Lipshitz paid his dues by performing as a clarinetist and singer for various big bands, then getting his big break by replacing Sydney Chaplin in the original Broadway run of Bells Are Ringing in 1958. Linden also understudied in the legendary, if ill-fated, Lucille Ball musical, Wildcat (1960-61) and the similarly troubled-yet-fabled On a Clear Day You Can See Forever (1965-66); but his most visible and acclaimed role came as the male lead in the off-Broadway revival of Cole Porter's Anything Goes (1962), which was greeted warmly by critics, and provided Linden the first opportunity to lay down vocals for an original cast album.

There was one more major triumph on the stage (a Best Actor in a Musical Tony Award for The Rothschilds in 1971) before Barney Miller turned Hal Linden into a TV superstar. However, it was eminently clear to viewers tuning in to the variety shows and specials which still were a staple of network programming, that Linden, fantastic as he was as the rumpled, beleaguered, yet dignified Captain Miller, seemed to be happiest when given the chance to put on a tux and be a song and dance man.

Dorothy Loudon, Hal Linden and Barbara Eden in The Best Of Everything variety special (aired  September 18, 1983)

Cathryn Damon, Hal Linden, Linda Lavin and Bonnie Franklin in The Hal Linden Special (aired April 11, 1979)

The Borden Twins, c. 1976

Because we do admire the man and his underrated talent so, we feel a mild pang of guilt for the first variety show clip we've chosen to celebrate Mr. Linden's 82nd year -- from a 1976 episode of The Donny and Marie Show where Paul Lynde and Karen Valentine debase themselves in wigs cast-off by The Borden Twins; The Welcome Back, Kotter boys bump booties; poor Little Jimmy Osmond is forced into mild drag and dances with what appears to be a strange mating of the dancing Old Gold cigarette box and a blow-up doll; and Hal sings a disco-fied version of "I Could Have Danced All Night." But it's all so wonderfully, jaw-droppingly entertaining, we simply had to share it with you -- and, at the very least, Hal walks away with most of his dignity intact...in spite of the bedazzled mock turtleneck they made him endure.

Just to even things out a bit, here, in infinitely less sparkly surroundings, is a rather lovely rendition of The Carpenters' "I Won't Last a Day Without You" from an episode of The Carol Burnett Show.

After Miller ended its seven year run, Linden continued to be visible in television movies, specials, and guest appearances; he also attempted three more starring vehicles, but neither Blacke's Magic (1986), Jack's Place (1992-93) nor The Boys Are Back (1994) managed to capture the public's imagination. Linden was as nimble an actor as ever, and if anything, seemed to be growing handsomer; but like other beloved icons of 1970's television -- Mary Tyler Moore, anyone? -- he was forever cast in stone as his most famous creation, and audiences seemingly couldn't accept him as any other character on a weekly basis. Acceptance as a guest star, however, or as his charming self, was another story: Linden took home two Daytime Emmy Awards for his work as host of the children's program, FYI, in 1984 and 1985; and won a third Daytime Emmy for his guest role on CBS Schoolbreak Special in 1994.

Suave as ever in Blacke's Magic (1986)

Most recently, Linden has been touring with his cabaret act, which he has performed off-and-on since the early 1980's. He also released his long-overdue solo album debut, It's Never Too Late (2011) -- which had also been in the recording process, off-and-on, since the early 1980's, but the initial tracks were shelved when record companies of the time couldn't see any investment value in Barney Miller singing pop and jazz standards. Happily, it's time finally came, and we certainly find Hal Linden richly deserving of all appreciation his talent receives -- and wish him much, much more.

HAL LINDEN
March 20, 1931