SHOW BUSINESS - ACTRESSES - 1900s-1920s

PATHWAY OF THE PERFORMER AS EXHIBITIONISTIC RECLUSE:
Storyline: The handsome hermit doesn’t really want to be alone, since no one is really there, whenever she is by herself, but leaves herself little choice in her desire to be a legend rather than a life.
Greta Garbo (Greta Louisa Gustaffson) (1905-1990) - Swedish/American actress. Outer: Father was an unskilled peasant street/sweeper, who was often unemployed. Mother was a washerwoman who regularly beat her husband when he came home drunk. Grew up despising the latter. Youngest of 3, one brother also had a brief film career. Grew up in humiliation, violence and poverty in a 4 room cold-water walk-up. Her father died of drink when she was 14, and she had to drop out of school to care for him at the end. Worked as a lather girl in a barbershop, then as a shopgirl. Chosen to appear in a publicity film for the store, which led to another ad short, and then the role of a bathing beauty in a slapstick comedy. Won a two year scholarship to the Royal Dramatic School, and began appearing on the stage as part of her training. Discovered by director Mauritz Stiller (Richard Lester) when she was 18, and the duo became inseparable as he endlessly coached and remolded her, introducing her to his social set and taking total charge of her life. The name Garbo was from a Polish word for refashioning coarse animal skins into fine leather. After several films together, he was signed by MGM, but insisted she come with him to America, despite misgivings by the studio head. The studio did not quite know what to do with her, since she really only came alive in reel life, and was less than impressive in real life. Became a star with her very first American film, The Torrent, at the age of 21. Stiller fared less well, and died within 2 years after returning home, leaving her with an enormous amount of guilt for not accompanying him. Bisexual, but she abandoned all sense of heterophile romance after nearly marrying actor John Gilbert (Tom Selleck), following their torrid fantasy entanglement on the screen in their next opus. Numerous high-powered men followed, although she ultimately remained single, eventually becoming predominantly into her own sex, and finally asexual. Preferred the company of women, although later was ardently pursued as a social trophy by homophile photographer Cecil Beaton. Managed to maintain her mystery and aura of glamor, despite a pedestrian personality, and became America’s favorite screen goddess of the 1930s, appearing in both drama and later comedy, with the best of the MGM lot assigned to her projects. Had the uncanny ability to project mature womanly beauty for the camera, and was usually the dominant figure in her screen romances. Her first talkie elicited the proclamation, ‘Garbo Talks!’ in which she delivered the much imitated line, “Gimme a visky with chincher ale on the side and don't be stingy, baby.” Her first comedy, nearly a decade later, inspired the come-on, ‘Garbo Laughs!’ In 1941, after the unsuccessful release of her 24th Hollywood film, Two-Faced Woman, she abruptly announced her retirement, without giving reason, and went on to lead a reclusive life, dividing her time between her NYC apartment, Switzerland and the Riviera, while collecting kitsch paintings, obsessing over shoes, pinching her pennies, and fretting over her health and fitness. Became an American citizen in 1951. Occasional photos of her aging figure would appear in the press, although she maintained her solitude, preferring to be remembered as she was, rather than the older, lonely woman she had become. Received a special Oscar in 1954, although never won one during her career. Died of pneumonia and had herself cremated and her ashes secreted, consistent in death as in life. Inner: Extraordinarily pedestrian with a passion for privacy and a fear of intimacy. Success depressed her and drove her ever deeper into narcissism. Often referred to herself as a man in her later years. Froze herself deliberately in the past, in an unconscious desire not to repeat her last life when she had outlived her fame, and had also died very much alone. Largely an empty vessel with the gift of coming alive under mechanical eyes. Hated the name Greta, referred to herself as GG. Her unusual beauty coupled with her ability to convey passion allowed her a two-dimensional depth that was sorely lacking in her four dimensional life, as she became the preternatural apotheosis of the close-up. Camouflaged lifetime of maintaining strict control over her image, after a humiliating upbringing, preferring to keep the past alive at the cost of her own growth and happiness, a Dorian Gray who never aged publicly, and never grew privately. Fanny Janauschek (Francesca Janauschek) (1830-1904) - Czech/ American actress. Outer: Father was a tailor, mother was a theater laundress. 4th of 9 children. Short and stocky, with hazel eyes. Made her debut in Prague at 16, and within 2 years she had become a leading player on the German stage, with a handsome stage presence, despite being plain-featured. By her mid-30s, she was both famous and wealthy. Toured Europe and then brought her own troupe of actors to America in her late 30s, where she would eventually settle. Managed by F. J. Pillot, a self-styled German baron who mishandled her affairs. Both of them denied being married for professional reasons, despite their close association. Pillot became an alcoholic and she wound up supporting him until his death in 1894. A classical declamatory actress, and the last of her kind on the international scene. Reached her peak at 40, then her heroic, rather than emotional, style of declaiming went out of fashion. After her husband’s demise, her whole career fell apart, since she was a figure of a long dead era. Continued to tour unsuccessfully, and eventually stooped to melodrama and vaudeville, where she was received with the same lack of enthusiasm. At 70, she had a stroke and sank into poverty. Forced to sell her jewels and costumes, she finally wound up in a home. Died in a hospital from chronic gastritis after another paralytic stroke. Inner: Empty vessel, playing with the outer accouterments of fame and fortune, only to have them taken away from her, so as to see herself without them. Empress-with-no-clothes lifetime of outliving her acclaim, forcing her the next time around in this series to retire at the height of her fame, and keep it kindled, rather than undergoing a similar self-exposure over her ongoing inability to reconcile herself to being a has-been. Elizabeth Morris (1753?-1826) - English/American actress. Outer: No known record of her early life up through her marriage to Owen Morris, an actor in the traveling American company of Lewis Hallam (Henry Fonda). Came to America and made her recorded stage debut in her late teens in Philadelphia. Tall and elegant, she performed in the grand, exaggerated manner of the time. Acted in numerous cities until the Revolutionary War broke out, then spent most of the next decade with her troupe in the West Indies. Returned in 1785 to continue touring, until she and her husband left Hallam for a new company organized by his old partner, Thomas Wignell (James Stewart) in 1791. The following year she and her spouse were arrested in Boston, which still held the theater to be illegal. In 1794, the company opened the Chestnut Street Theater in Philadelphia, and she remained with them until 1810, when her husband died. During that period, she was acclaimed as the leading American actress, cultivating an aura of mystery and elegance about herself, while affecting an unsubtle brand of grand emoting. Eventually retired from the stage and became a notorious recluse, disappearing into her own sense of self-myth. In her occasional public appearances, she would often be costumed in outfits from a half century past. Inner: Hidden and intent on preserving her own sense of mystery, even if its outer realities no longer warranted it. Dorian Gray lifetime of getting lost in her own reputation again, and refusing to concede to any reality larger than her myopic own, an ongoing repetitive theme of hers that she probably has yet to exhaust. Anne Bracegirdle (c1673-1748) - English actress. Outer: Father was probably a coachmen and possibly an innkeeper, 2 other siblings. Unable to provide for his children, her sire placed his daughter with the family of actor Thomas Betterton (Charles Laughton), who gave her an education. A noted beauty, with dark brown hair and prominent eyebrows. First came to notice in her mid-20s, and became one of the first prominent actresses upon the English stage, specializing in comedic roles. Numerous parts were written for her by a variety of playwrights, including William Congreve (Tennessee Williams), with whom she may have been married, since he left her a legacy at his life’s end. Equally adept at comedy and sentimental parts. Became co-manager of a theatrical company with Betterton and Elizabeth Barry (Ingrid Bergman). Retired at the height of her career, for fear of being eclipsed by her rival. Buried in Westminster Abbey. Inner: Cold, vain, competitive, manipulative. Unusually virtuous for an actress of her day, since she was controlled by projections of how she felt people thought of her. Other-directed lifetime of finding self-expression through a repressed exterior, and doing it her own way, although unable to open herself up, either emotionally or sexually, in a great desire to protect her reputation at all costs in a profession deemed, at the time, little better than prostitution.

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PATHWAY OF THE PERFORMER AS UNINTEGRATED REFORMER:
Storyline: The untamed wild woman puts her passions right on the line, so that nothing short of a lobotomy can stop her from acting out her outrageous sense of fear and loathing.
Frances Farmer (Frances Anderson) (1914-1970) - American actress. Outer: Mother was a highly manipulative hawk-like woman who loved to champion lost causes and did nothing in moderation. Father was an amiable attorney. Youngest of 3. Neither parent was capable of giving their children emotional support. Parents separated when she was 4, and she continually moved in California afterwards, before returning to Seattle at 12. Good athlete and excellent student in high school, with left-wing sympathies, although felt herself a freak, despite being a striking blonde-haired beauty. Wrote an essay called “God Died,” for Scholastic magazine, and was denounced from the pulpit and press for it. Went to the Univ. of Washington and won a trip to Moscow as a prize for an essay she penned for a radical magazine, ‘The Voice of Action.’ On her way back from Russia, she met a producer who introduced her to Paramount executives for a screen test. 5’6”. Made her screen debut in her early 20s in Too Many Parents, but didn’t care for Hollywood at all, finding it far too stifling and superficial. Also had a rich, contralto singing voice. Became involved in the Group Theater, in NYC, as well as with its leading playwright, Clifford Odets, who was married at the time. Felt this period was the high point of her life, despite being ultimately disappointed in Odets, who went back to his wife. Sensed she had been used by him and began drinking. Reluctantly returned to Hollywood and continued her film career in uninspiring vehicles, while marrying actor Leif Erickson in 1936, whom she did not love, divorced 6 years later. Unkempt and unHollywood in her private life, while difficult on the set. Despite her outer beauty and talent, her inner unhappiness dominated her emotional life, and she became addicted to alcohol and amphetamines in order to control her depression. Became pregnant, and was forced to have an abortion, which made having children impossible. Returned to Broadway, failed in 2 plays and was fined for withdrawing from a third, ending her Great White Way career. Conformed on her return to Hollywood, but was only given supporting roles. Her subsequent unpredictable behavior, as well as continual run-ins with the law, made her unemployable by her late 30s. Jailed briefly several times for drunk driving, parole violation and vagrancy. At one point she was carried out of a hotel by police, wrapped only in a shower curtain. Institutionalized from 1944 to 1949, at her mother’s behest, where she was diagnosed as schizophrenic, suffered rape, electro-shock treatment, a lobotomy and submersion in cold water. She was finally released, and certified as fully recovered in 1951. n 1954, she married and divorced Alfred Lobley, a Seattle engineer in order to take care of her parents, although had little connection with him, and left him to work in a photo shop. Worked under an assumed name at a hotel, where she was rediscovered. Made a degrading appearance on TV’s “This is Your Life,” which many of her former friends refused to participate in, appeared as a singer on “The Ed Sullivan Show,” and then became a hostess of a local Indianapolis show, while acting in one more film. Also became actress-in-residence at the Univ. Theater at Purdue, although was unable to control her alcoholism. Her last marriage, from 1958-1963, was to Leland Mikesell, an Indiana radio sales consultant, which also ended in divorce. Died of cancer of the esophagus in a charity ward. Her autobiography, “Will There Really Be a Morning?” was published posthumously and a biopic of her life, Frances, starring lookalike Jessica Lange, appeared a little over a decade after her death. Inner: Impassioned, highly political, with a need to feel both powerful and powerless, and an inability to find loving support from any of her intimates. Phoenix lifetime of continuing her struggle between creation and destruction, ultimately rising out of her own ashes, to give a lobotomized nod to the former. Samantha Smith (1972-1985) - American schoolgirl. Outer: Father taught literature and writing at the Univ. of Maine, mother was a social worker. Wrote to Russian premier Yuri Andropov at the age of 10 about her fears surrounding nuclear war, and was invited to the Soviet Union at his behest as a publicity ploy. Given a sanitized tour, although never met Andropov. Appeared on several TV talk shows afterwards, but after the spotlight faded, she found she wanted to remain a public someone. Her sire became her manager, and she hosted a talk show on the Disney channel, and was in the process of filming Lime Street, when she died in a plane crash, along with her father. Inner: Great desire for fame and fortune. Brief lifetime of trying to take her ongoing struggle between creation and destruction to another plane, before returning back in time to live out a full and crazed life woven from similar elements. Olive Logan (1839-1909) - American actress, author and lecturer. Outer: Father was actor, manager and dramatist Cornelius Ambrosius Logan (Clifford Odets). Both parents were of Irish descent. 8 children, 3 daughters became actresses, 2 sons became actors, and a 3rd son became a prominent physician. Carried on stage as an infant by Edwin Booth (Montgomery Clift) and Edwin Forrest (Marlon Brando). Spent much of her childhood in Cincinnati. Made her formal stage debut at 15, and 3 years later, she went to Europe to continue her education. At 19, she married Henry De Lille, a French chevalier of the Legion of Honor, and a man of letters, which introduced her to intellectual circles, divorced 8 years later. Returned to the U.S. in her mid-20s, and resumed her career, mostly touring, before retiring in her late 20s, after admitting she never had any use for the craft. Began giving lectures over the next dozen years, becoming involved in the political current of the time, particularly the women’s rights movement, through writing, activism and speaking. Also translated plays from the French for Broadway productions. At 31, she married William Wirt Sikes, a newspaperman who had been her business manager. Wrote several novels and 3 collections of personal commentary. Her husband died in her mid-40s. Nearly a decade later, she married her secretary, James O’Neill, who was 20 years her junior, and took her last name as his own. He was an unsupportive drunk, and the duo separated as she grew prematurely old and deaf. American expatriate mischiefmaker, Tennessee Claflin (Jill Johnston), took pity on her and brought her to London. At the end of her life, her mind failed and she died in an asylum. Buried in a pauper’s grave. Inner: Homely, but clever speaker, able to move her audiences. Political and polemical with a strong urge towards third raillery as an ultimate means of self-expression. Mixed bag lifetime of struggling with self-creation and self-destruction, a continuous unresolved and maddening theme of hers. Elizabeth Arnold Poe (1787?-1811) - English/American actress. Outer: Both parents were actors with the Covent Garden theater. Her father died when she was 3, and her mother kept working on the English stage for another 5 years, before sailing for America in 1791 with daughter in tow, and another actor, whom she married. Both parents succumbed to yellow fever, and she was taken by friends to Philadelphia, where she joined a theatrical company. Made her debut at 9 in “The Mysteries of the Old Castle,” and from the age of 13, sang, danced and acted along the Eastern seaboard, to steady applause. Married actor Charles Hopkins in 1802, and he, too, died 3 years later. Married actor David Poe, who had abandoned the law for a stage career some 3 years prior to their union. 3 children from union, including writer Edgar Allan Poe (Patti Smith). The duo acted together in the northeast, culminating with a 3 year stint in Boston, which would be the happiest stretch of her brief, tragic life. Brought to NYC in 1809, she was abandoned by her husband, who disappeared, after having been the victim of the vituperation of select critics. Left destitute, she finally gained employ with a Virginia theatrical company, but died shortly afterwards of pneumonia, leaving her children to be raised by three different families. Inner: Audience-pleaser and versatile player, sometimes doing 3 roles an evening. Brief one-act lifetime of suffering deaths and desertion, before succumbing herself to the plague of tragedies which beset her, but not before bringing forth literary genius, as testament to her own budding abilities, which were still a-building at this juncture. Geertje Dircx (c1612-c1656) - Dutch servant and muse. Outer: From an extremely modest background, which afforded her little education and even less opportunity to elevate herself. As a teenager, she worked in an inn, before meeting artist Rembrandt van Rijn (D.W. Griffith), through her brother, who was a ship’s carpenter. Married quite young, although widowed afterwards, with no children from the union. Following the death of Saskia van Rijn (Lillian Gish) in 1642, she was hired as a wet nurse for Rembrandt’s only surviving child, Titus (Robert Zemeckis), and in the process became the famed artist’s paramour, as well as serving as model for some of his paintings. In appreciation of her service to him on a number of levels, he bequeathed several rings to her that had belonged to his deceased wife, much to the displeasure of the latter’s family. By 1649, she had been replaced in the artist’s affections by his housekeeper, Hendrickje Stoffels (Cameron Diaz), and the two had a falling-out. After Rembrandt promised he would support her to tune of 60 guilders a year, she moved out, and took a room nearby above a sailor’s inn. When her former lover/employer failed to keep his part of the bargain, she pawned one of the rings given her and brought him before the Commissioners of Marital Affairs. After several back-and-forths, she got 200 guilders, while Rembrandt was so caught up in their drama, that he had a completely fallow year creatively around it. Subsequently caused quite a stir at the signing of the agreement, when she refused to affix her signature to it. Continued her vendetta against him by testifying to his inconstancy, and in return he had her committed to a madhouse, for fear of any further hurt she could do his reputation. Given a twelve year sentence by the unsympathetic authorities, she served five years, before ill health earned her an early release. Died the following year, a victim of her powerlessness against entrenched social interests, and long-held prejudicial views against uppity women. Inner: Highly emotional and vindictive, albeit from a standpoint of having no personal power other than the voluptuous intensity of her emotions. Victimized lifetime of serving her ongoing personal apprenticeship to rotating genius, as well as being forced to deal with her projected off-balanced interior, through her unwillingness to allow anyone to overpower her, no matter the consequences.

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PATHWAY OF THE PERFORMER AS DETERMINEDLY HER OWN WOMAN:
Storyline: The unwed and unbowed mother follows her heart and principles to transcend wagging tongues as a symbol of head-held-high independence.
Ingrid Bergman (1915-1982) - Swedish actress. Outer: Orphaned at a young age and raised by relatives. After high school, she enrolled at Stockholm’s Royal Dramatic Theater School, and within a year, her youthful, wholesome beauty became a fixture on the Swedish screen, beginning with an uncredited appearance in 1932. 5’10”. At 22, she married a Swedish dentist, later divorced. Brought to Hollywood at 23 by producer David O. Selznick (Brett Ratner), who wanted to recreate her from her name on down, but she said, “This is what you bought, and this is what you get,” a lifetime credo. Made her Broadway debut the following year. Gradually improved her range as both a stage and screen actress, with the ability to perform in 5 languages. Married Petter Lindstrom, a Swedish surgeon, in 1937, daughter Pia Lindstrom became a media personality. Became a fast film favorite in the 1940s, winning an Oscar in 1944 for her part in Gaslight, followed by performances as Joan of Arc (Petra Kelly) and a saintly nun in The Bell’s of St. Mary’s, as part of her public image. Won a Tony in 1947 for “Joan of Lorraine.” Shocked America when she abandoned her family for Italian director Roberto Rossellini in 1948, and bore a child out-of-wedlock the following year. The duo married in 1950, after she divorced her husband and she had twin girls as well, one becoming model/actress Isabella Rossellini. Denounced in headlines by religious groups, women’s groups, and in the U.S. Senate, and almost disappeared back into oblivion. Barred from American films for 7 years, while her dual first effort with her husband was a critical and commercial disaster. Ultimately made 6 movies with him. Eventually resurrected her career in a Parisian film and then won her 2nd Best Actress Award in 1956 for Anastasia, which was shot in London. Forgiven for her sins through the Oscar bestowal, her marriage to Rossellini was annulled 2 years later, and she married Lars Schmidt, a Swedish stage producer, before divorcing him a little over a decade and a half later. That stodgy relationship may have been a sop to the American public’s demands on her as a rehabilitated nun. Continued working, although ill the last stretch of her life, and won a third Oscar in 1974 for Best Supporting Actress for her a comedic portrayal in Murder on the Orient Express. Her last film was Ingmar Bergman’s Autumn Sonata, about a woman who had sacrificed her role as mother for her desire for a brilliant career. Died of cancer, after an 8 year struggle with the disease. Wrote her autobiography, “My Story,” in 1980, and won a posthumous Emmy for playing Golda Meir. Inner: Candid, vibrant, forthright. Driven, impassioned about her craft, recognizing it as a mirror for her. Hard-drinking, hard-smoking, with a singular focus on career, and little real interest in her children or any relationship that did not further her own ends. Determined lifetime of following her own strong will and largely prevailing in making her unique amoral presence felt and accepted, only to ultimately eat herself away, perhaps for the compromises of her later life. Helena Modjeska (Helena Opid) (1840-1909) - Polish/American actress. Outer: Father was a successful Cracow musician. Mother gave birth to 3 sons with him, then after his death, to 2 more daughters of uncertain parentage. As the elder of the 2, she was educated by a school/teacher guardian who stimulated her imagination and filled her with dreams of fame. Devout Roman Catholic. After suffering financial hardships, she dropped out of school for singing lessons, then ran away from home at the age of 16, married an actor and joined a company of strolling players, appearing in provincial repertory.Divorced, she had an illegitimate child with Gustav Modrzejewski, a wealthy friend of the family, then may or may not have married him, but lived with him and had a 2nd child. Left him at the urging of her family after her daughter died, and took to the stage in Warsaw, where she remained a number of years, becoming a star while doing Shakespearean roles, as well as contemporary Polish drama, and becoming the predominant young Polish actress of her time. In 1868, she married a Polish count, Karol Chlapowski, in a childless union, and moved in the highest cultural circles, until she became ill from typhus. Moved to America for her health, settled on a rustic retreat in Anaheim, California with her husband in her mid-20s and several others, but it was a financial failure because no one knew how to farm. After 10 weeks, she returned to the stage in San Francisco, after having learned some English. Successful again, despite her heavy accent, and her continuing ill health. Became a naturalized citizen and continued to act sporadically in the U.S., as well as in London, finally retiring from the stage after a farewell performance at the Metropolitan Opera House in 1905. In poor health the last 2 decades of her life. Died from Bright’s disease with heart complications, and had the first celebrity funeral in the his’n’herstory of Los Angeles. Considered one of the finest players of light Shakespearean roles of the 19th century, with a subtle and naturalistic acting style. Her autobiographical reminiscences were published posthumously. Son became a leading American bridge engineer. Inner: Tall, lithe, with a strong stage presence. Outspoken critic of the American theater, which was looked upon as mere entertainment, in contrast with the European view of it as art. Gritty lifetime of battling a frail body as well as social conventions to recreate herself as a self-willed international star. Elizabeth Barry (1658-1713) - English actress. Outer: Father was a barrister and Royalist soldier, who was ruined by the English Civil War, forcing his children to make do on their own. Put in the care of William Davenant (David Hare), who had a London theater license. Gained a good education, although did not seem to have much stage presence at the start of her career, and was removed from the boards after her first role in Thomas Otway’s (Sam Shepard) “Alcibiades.” Became involved with the Earl of Rochester (Leo Tolstoy), who felt he could train her, after betting he could make her an actress in 6 months. Had a daughter with him, who died at 12, and never married. A poor ear initially made her a clumsy actress, but she worked hard at her craft. Not particularly attractive, but she could create illusions around herself, and eventually learned how to use her voice, by exercising control over it. By her early 20s, she had scored a success in Otway’s “The Orphan,” which made her famous. Able to play both comedy and tragedy, she was a prosperous actress for the rest of her long career. In competition with Anne Bracegirdle (Greta Garbo), a leading comic actress, but chose tragedy as her most popular means of expression. Became co-manager with Bracegirdle and Thomas Betterton (Charles Laughton) of a new company in her late 30s. Had the highest female salary in the company, and was relatively well-off through a shrewd business sense. Also quite promiscuous, with many lovers, making her the subject of much scandalous gossip. Able to maintain her power up through her retirement in her late 40s, and then lived off her accumulated wealth. Ultimately bitten by her lap dog who had rabies and died shortly afterwards. Her death symbolized an unintegrated sense of anger. Inner: Mercenary but serious actress. Not notably gifted, but through hard work and a willingness to learn, able to transform herself into a leading theatrical light of her time. In control lifetime of self-creating, and doing quite handsomely through her adeptness with money and her ability to learn from others. Jutta of Denmark (fl. 13th cent.) - Danish/ Swedish consort. Outer: the youngest of three sisters of the Danish king Eric IV and Jutta, the daughter of the duke of Saxony. Became a nun, and at a young age, was made Prioress of Roskilde, but eventually grew tired of the monastic life. Her sister Sofia had married Valdemar I, the King of Sweden, a pleasure-loving sort, and after a visit home, she brought her beautiful sibling back with her to experience the life of the court. To the shock of everyone, the king fell in love with her, and she had a son by him, which necessitated his going to Rome to seek a pardon from the Pope. The country erupted in Civil War on his return, and the king lost half his realm to his brother 2 years later, before ultimately suffering imprisonment and an ignominous death 2 decades later because of his actions, while she disappeared into herstory. Inner: Mega/mischievous lifetime of flouting convention, much to the shock and horror of one and all, while precipitating a change in the course of the world’s story, as emblem of her ongoing international power and willingness to claim her power as a woman. Semiramis (Sammu-Ramat) (fl. 9th cent BZ) - Assyrian queen. Outer: Both a figure of myth and actuality. The myth made her daughter of Atargatis, a fish-goddess and a Syrian youth. Abandoned by her mother but kept alive by doves and then raised by the chief shepherd of the royal herds, who gave her her name. Because of her eye-blasting beauty, the governor of Nineveh married her, only to be forced to commit suicide by the covetous king of Babylon, Ninus, who made her his wife. She subsequently asked him to make her regent for a day, and promptly had him executed as her first executive order. She then went on to take on a new lover each night, and so as never to be compromised by any of them, had each summarily killed in order to maintain her power unimpeded by any man. Credited with building the city of Babylon to its early glory, and conquering numerous neighboring states. After ruling for a quarter of a century, she turned her scepter over to her son by Ninus, Ninyas, who promptly had her killed. The reality is more mundane. Married an Assyrian king, Shamshi-Adad V, and served as regent for their son, Adad-Nariri III for approximately three years, following her mate’s death in 811 BZ. Later Greek his/storians would project upon her their various fantasies surrounding women and power, and she would become a figure for the mythological ages. Inner: Such was her mythic power, she was believed to have once attacked and killed the sun for not returning her love, only to restore it later to life. Legendary lifetime of serving as an icon for female power and independence, via male his/storians’ obsession with beauty and sexuality as the sine qua non of female rule.

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PATHWAY OF THE PERFORMER AS SELF-IMMOLATING ENCHANTRESS:
Storyline: The golden goddess fires the imagination of her times with her beauty and little girl charm, but an aching emptiness inside takes her prematurely out of time, time-after-time, in her ongoing inability to find self-love.
Marilyn Monroe (Norma Jean Baker) (1926-1962) - American actress. Outer: Illegitimate daughter of an unstable mother, with a his’n’herstory of suicide in the family. Both grandparents on her mother’s side wound up in mental institutions, and an uncle killed himself. Her unknown father was probably an itinerant baker who died in a motorcycle accident when she was 3. The appellation on her birth certificate had been Norma Jean Mortensen, and then was changed to reflect her mother’s name of Baker. Had an impoverished upbringing, and her mother was institutionalized for most of her childhood, which was spent in a dozen foster homes and an orphanage. Two families were religious fanatics, and one gave her empty whiskey bottles to play with as dolls. Raped as a child, and by 9 she developed a stammer, all the while dreaming of becoming a movie star. Dropped out of high school, and had a teen-age marriage to James Dougherty, a 21 year old aircraft plant worker to escape being sent to another foster home or orphanage, while making a halfhearted suicide attempt. 5’5 1/2”, 118 lbs., with a curvaceous body and gray-blue eyes. Became a model, which effectively ended her marriage as she bleached her brown hair to blonde, then pursued a motion picture career, making her debut with a bit part in 1948 in Scudda-Hoo Scudda-Hay although her close-ups wound up on the cutting room floor. Dropped by 2 studios, she then posed in the nude for a memorable calendar photo, for which she was paid $50, and which ultimately sold one million copies. Her name was changed to Marilyn Monroe, and she took acting classes, before appearing on the screen in small roles which gradually expanded. Became a major star in the early 1950’s, and a queen of Hollywood, parlaying her voluptuous golden good looks and little girl breathlessness into being the female icon of desirability of the decade. In 1954, she married baseball player Joe DiMaggio, but his desire for her to be his domestic goddess, and her need for attention and sociality, doomed the relationship to divorce after 9 months, although the baseball idol remained in love with her, blaming Hollywood for their breakup, while discounting his slapping her around at the slightest excuse. Called all her major mates ‘Daddy,’ while constantly looking for him in the men in her life. After announcing her intent to become a serious actress, she formed her own production company, moved to NYC, began taking lessons at the Actor’s Studio, and wound up marrying playwright Arthur Miller in 1956, after converting to Judaism. Unable to conceive children, her lifelong wish, she didn’t learn how to achieve orgasm until late in life, after much therapy. Miller would find her too little girlish for his tastes, and cerebrally unstimulating. Suffered from agonizing menstrual periods, and had a number of miscarriages, while becoming more and more addicted to uppers and downers, as well as enemas, to allow her instant weight loss. Despite her popularity with the public, she went through frequent bouts of depression, and feelings of worthlessness. Had difficulties on movie sets, with her passive-aggressive ploys for attention, and was often tardy and occasionally totally absent, earning the opprobrium of being ‘unprofessional.’ After shooting The Misfits in 1961, which was written for her by her husband, she divorced him, then twice entered a hospital for psychiatric care and rest. Seemingly recovered, she began the aptly titled Something’s Got to Give, but fell into her old patterns of rarely showing up and was fired. Shortly afterwards, she committed suicide with an overdose of sleeping pills over a rumored love affair with Robert Kennedy. Her nude body was found in bed with the incriminating evidence beside it. Also linked with John F. Kennedy, for whom she had earlier sung ‘Happy Birthday,’ in a memorable skintight dress. Died insolvent, with her estate controlled by a woman she never knew. Her autobiography, “My Story” was published posthumously, and she became the subject of some 600 books, written by intellectuals and gossipmongers alike, in a never-ending fascination with both her life, her myth and questionable death. Inner: Harbored an impoverished sense of self, because of an emotionally impoverished upbringing. Admitted “I was never used to being happy, so that wasn't something I ever took for granted.” Heavily addicted to a whole assortment of drugs, while exhibiting the same delusional genetic tendencies that had undone her mother. Her screen image belied her profound insecurities. Vulnerable, restless, passive, paranoid and exploited. Iconic lifetime of serving as a symbol for beauty, passivity and profound victimization. Olive Thomas (Oliveretta Duffy) (1894-1920) - American actress. Outer: Father died in a work-related accident in 1906, causing her and her brothers to go live on the farm of their grandparents, while their mother worked in a local factory. Did the same, and married a fellow factory worker in 1911, from whom she got her stage name, although the duo were divorced in 1915, after he proved to be an abusive spouse. Went to NYC to live with a cousin and worked as a salesclerk in a Harlem department store. After winning a beauty contest as ‘The Perfect Model,’ she became a success in that trade for several well-known artists, which led to a stage career as one of producer Flo Ziegfeld’s (Robert Evans) showgirls. Highly social and an avid partygoer, she was much sought after by cafe society. Earned the billing as “the world’s most beautiful girl.” Signed to a movie contract, she became a star of early silents in her early 30s, appearing in light comedies, beginning with Beatrice Fairfax in 1916. Soon afterwards, she married actor Jack Pickford (Ryan O’Neal), brother of Mary Pickford, but tensions arose twixt the two because of work separations, as well as his enlisting in the navy, only to subsequently be dishonorably discharged. Subsequently infected by syphilis by him. On their delayed honeymoon, which was orchestrated to save their failing marriage, she committed suicide in a Paris hotel room with an overdose of sleeping pills, after dipping down into the murky side of Paris nightlife, and developing an addiction to heroin. Her nude body was found on the floor, with the incriminating evidence beside it. Her final film was Everybody’s Sweetheart. A few months later, another youthful Hollywood icon, Bobby Harron (Peter Lawford) also committed suicide. Inner: Extremely social, effervescent personality, but with an unseen dark side. Heartbroken lifetime of initiating a remarkably similar dynamic to her Marilyn Monroe go-round, with a the same unhappy conclusion, while working on her continuous theme of building on self-esteem from a beggared base. Maria Monk (1816-1849) - Canadian/American writer and prostitute. Outer: Little known of her early life in Canada. Originally born into a Protestant family in Quebec. After she was a toddler, a slate pencil was rammed into her ear, and she became subject to wild fantasies afterwards, as well as exhibiting an uncontrollable nature. Worked as a servant, but an excessive promiscuity landed her in a Catholic asylum for prostitutes, only to be discharged in 1834 for the sin of being pregnant. Formed a sexual liaison with a fanatical anti-Catholic clergyman, who took her to NYC, where he and some fellow nativist agitators embellished upon her experiences, thanks to her own fevered imagination, and hatched a tale of libidinous priestly and nun congress with the resultant babies being killed and buried in cellar graves. Her story was published serially in the American Protestant Vindicator in 1835 under the unsubtle title of “The Awful Disclosures of Maria Monk, As Exhibited in a Narrative of Her Sufferings during a Residence of Five Years as a Novice, and Two Years as a Black Nun, in the Hotel Dieu Nunnery at Montreal.” The work became a sensational bestseller, thanks to the anti-Catholic sentiment of the time, despite denunciations from respectable sources, both Protestant and Catholic alike. The book was continually reprinted into the 20th century, while she left her initial sponsor for a 2nd reverend, another of her collaborators, and produced a follow-up edition in 1837, “Further Disclosures of Maria Monk.” Ran off to Philadelphia with an unidentified male companion and gave birth to another illegitimate child, before claiming she had been abducted by a group of priests hellbent on returning her to Montreal. Finally went back to prostitution as a trade. Arrested for picking the pocket of a customer in a bordello in NYC, she was sent to an almshouse, where she died. Inner: Had birthday parallels, as well as the same name rhythm as her later existence, which may have been chosen to reflect elements of this go-round. Ignominious lifetime of allowing herself to be exploited to the max through a weakened mental condition, which necessitated a repeat acting out in century 20, to be altogether released. Martha Ray (Martha Reay) (1742-1779) - English mistress and murder victim. Outer: Father was a London stay-maker. Grew up in poverty, but had a fine singing voice, as well as a striking comeliness. Apprenticed at 13 to a mantua-maker, and at the age of 18, became the mistress of the notorious 4th Earl of Sandwich, after whom the sandwich was named. 5’5”, with a perpetual smile. Although he never married her, they had 5 children together, two of whom, Basil and Rodger, both became prominent, the former as a lawyer, and the latter as an admiral. The earl already had a proper blue-blood wife, but the beautiful young singer was his constant social companion for 16 years, in the convoluted hierarchical relationships of the time. Around 1775, she met Rev. James Hackman (Ryan O’Neal), although the extent of their relationship has always remained a mystery. On April 7, 1779, after attending a play about a marriage between social unequals, she was shot in the head by Hackman, who had wanted to marry her and take her off to his parish. He subsequently made an abortive suicide attempt, then was tried and hanged for his perfidy. The case was a sensation of the time, and the subject of much moralizing and projection for a full century afterwards. Inner: Innocent lifetime, once again, of expressing her victimization through the hand of men, in her ongoing role as a hyper-feminized casualty of the deranged actions of men around unattainable beauty.

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PATHWAY OF THE PERFORMER AS POWERHOUSE COMMUNICATOR:
Storyline: The dynamic doyenne rules as communication central for a mythical kingdom, finding her power in her genius for exploiting gossip, and riding it into self-crowned enthronement for herself.
Hedda Hopper (Elda Furry) (1890-1966) - American actress and gossip columnist. Outer: Of German ancestry. Parents operated a butcher shop in Pennsylvania. 5th of 9 children. Raised in a stern Quaker family, although she developed a forbidden love for the stage from an early age onward. After her father’s business went bankrupt, he headed for the Klondike, and she and her brothers had to collect from creditors. Resentful of male privilege, she quit school after the 8th grade, and ran away from home to join a theater troupe. Worked in the chorus of an opera company, before making her Broadway debut at 19 in “The Motor Girl.” Met actor/singer DeWolf Hopper (Mandy Pantinkin), while playing in “A Matinee Idol,” and married him in 1913, as the 5th of his 6th wives. He was 50 at the time to her 23. One son from union, William Hopper, became an actor. Changed her name to Hedda on the advice of a numerologist in 1918. The duo divorced in 1922. Made her film debut in Virtuous Wives in her mid-20s. Although she had a brief flurry of starring vamp roles, she was soon playing supporting parts, and became known as ‘The Queen of Quickies.’ As her career faded, she sold real estate, worked as an actor’s agent, and modeled for a mail order catalogue. Feeling herself a failure in her mid-40s, she abruptly decided to cash in her storytelling abilities and gossipy cachet. Always highly active socially, she began to parlay her intimate knowledge of Hollywood into a far more successful career as a radio personality in 1936. 2 years later, she found her true métier and became a syndicated gossip columnist, ultimately wielding enormous power through the vast audience she reached in her lively commentaries on the personalities of the film industry. Began her long feud with her fellow power-gossip, Louella Parsons, in 1939, when she scooped her on presidential son James Roosevelt’s divorce. An ultra right-winger, she espoused conservative causes, and supported Tory candidates. Became a Hollywood doyenne, from whom everyone curried favor, although she was never fooled by sycophants. Lost a disastrous libel suit in 1965, which was settled out of court. Wrote two volumes of memoirs, “From Under My Hat,” in 1952, which made the bestseller lists, and “The Whole Truth and Nothing But” in 1963. Died of double pneumonia and heart complications. Inner: High-spirited, witty, but simple and uneducated. Aggressive and sympathetic, although capable of longterm feuds. Sported a variety of exotic hats as her unique trademark. Well-liked, but also dreaded for the power she wielded, wryly calling her home, “The House that Fear Built.” Deliciously meddling lifetime of learning how to exercise extreme power through her own powers of communication, and enjoying every minute of it. Ada Clare (Jane McElhenney) (1836?-1874) - American actress and writer. Outer: Of Scottish descent. Family was prosperous and well-connected, but both parents died when she was young. 2nd of 3 children, cousin of poet Paul Hamilton Hayne (Allen Tate). From the age of 11, she was under the care of her wealthy maternal grandfather, who took her on visits to the North where she became fascinated by the dual worlds of the stage and the pen. At 18, she inherited a small income and left home and made her way to NYC, breaking with her family by doing so. Wrote fervid love poems and sketches for periodicals, originally using ‘Clare’ and then ‘Ada Clare,’ as her nom de plume. Had a dainty figure, with violet-blue eyes. Her first amateur performance, the same year, in “The Hunchback,” fared poorly, but she proved to be an eager theatrical pupil, and her craft improved over the next year. Had a brief affair with the pianist Louis Gottschalk (George Gershwin), then went to Paris to bear a son, who was never acknowledged by his father. Sent comments on the theater in Paris to an American periodical, before returning to the NY stage 2 years later. Wrote a sprightly column over the next 5 years for two periodicals concerning everything from the theater to politics, while socializing with the best and brightest that NYC had to offer. Sailed to San Francisco at the near end of the Civil War, and wrote for that city’s periodicals, before returning to NYC later that year after an unsuccessful stage appearance. Published a novel “Only a Woman’s Heart,” 2 years later, which failed to capture its audience’s mind. Toured the South under the name ‘Agnes Stanfield,’ then married J. Franklin Noyes, a fellow actor, in her early 30s, and produced one son who died in infancy. After 6 years of incessant travel as an itinerant player, she was bit by a lap dog in the office of a theatrical agent and died of hydrophobia a few days later. Her death was a strong symbol of frothing anger unreleased. Inner: Highly social, with a strong need for several outlets of self-expression. Called ‘the Queen of Bohemia,’ for her charm and wit. Her writing was popular in her time, although had little to recommend it to future generations. Queen of the moment lifetime of tying her social and expressive skills together to serve the tastes of the times, in order to give herself the foundation for a far more powerful and influential interweaving the next time around. Elizabeth Inchbald (Elizabeth Simpson) (1753-1821) - English actress and writer. Outer: Father was a Catholic farmer, who died when she was 8. 8th of 9 children. Ran away from home to join her brother on the stage, but because of a stammer, was initially turned down despite being quite beautiful. Called a combination of a milkmaid and a duchess. In 1772, she ran off to London, but after being molested by a manager who promised to help her, she agreed to marry Joseph Inchbald, an actor/painter, and made her debut opposite him in “King Lear.” Joined a Scottish touring company, but left it when her husband had an altercation with the audience. Went to Paris, experienced extreme poverty, then became a popular player in both the provinces and in London. Close friend of actress Sarah Siddons (Laurie Anderson), and fell in love with her brother, John Kemble (Leonardo Di Caprio), although it remained platonic. After her husband died of a heart attack in 1779, she turned down many offers of marriage, including a proposal from writer William Godwin (Betty Friedan) following the death of his wife, Mary Wollstonecraft (Margaret Sanger). Retired from the stage in 1789, and turned to writing fulltime, as one of the earliest women playwrights, after earlier having some of her plays produced. Wrote sentimental, moralizing comedies based on French and German models, which proved successful. Also acted as a journalist, contributing to the Edinburgh Review and wrote 2 prose romances, as well as editing a 25 volume collection of British dramas. Died in a genteel Catholic retirement home, after burning her memoirs, despite being offered £1000 for them. Inner: Strong, witty, affectionate and highly independent, with liberal political views, and a good business sense. Self-expressive lifetime of maintaining her integrity and independence, while carving a unique niche for herself, despite extremely humble beginnings and a speech defect that would have thwarted most from pursuing her very public career.

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PATHWAY OF THE PERFORMER AS SOVEREIGN VIRGIN:
Storyline: The demure damsel without reproach shows herself strong, resilient and in it for the long run, taking absolute control over her life, and showing a fierce independence beneath her quiet demeanor.
Lillian Gish (Lillian Diana De Guiche) (1893-1993) - American actress. Outer: Mother was a part/time actress, who had taken to the stage because of the unreliability of her husband. Father was an absentee drifter, who eventually deserted the family. Her younger sister Dorothy (Cameron Diaz) also became a screen personality. Made her debut at 5, when her mother was convinced by friends to let her daughters become child actresses. Billed as “Baby Lillian,” she toured both with and without her mother and sister, and also posed with the latter for artists and photographers. A chance meeting with former child/star friend Mary Pickford, led to working with director D.W. Griffith. All 3 Gishes appeared together in 1912 in one of his films, An Unseen Enemy, on their first day of work. 5’6”, slim. Deeply devoted to Griffith, who saw in her his ideal heroine - physically fragile, spiritually strong and able to deal with sentimental dilemma. Became the pre-eminent American actress of the silent screen, mostly notably as the heroine of Birth of A Nation, showing dedication and a creative flair under the tutelage of Griffith, who directed most of her films, casting her continually as the innocent who transcends potential violation. Worked with him until the early 1920s, when they parted over a salary dispute, although she continued to be his staunch defender during his long downslide. Directed her sister in 1920, then starred in several vehicles, exercising complete control over her scripts and directors. Went to work for MGM and did 2 successful films, although her movie career was largely finished by the advent of sound. Refused to manufacture a scandal around herself to revive interest in her, via a suggestion by producer Irving Thalberg (Steven Spielberg), despite the promise of an $8000 a week salary. Returned to the stage, which had been her true passion, and acted in several Broadway plays during the 1930s, doing one more screen lead in 1934. Focused on the theater, and later TV and lecture tours, with occasional Hollywood roles in character parts. Never married, although was involved with critic George Jean Nathan, and managed to keep her private life discreetly private. Given a special Oscar in 1970 for her body of work, and four years later, she was given the American Film Institute’s Lifetime Achievement Award. Still active into her late 90s, she made her last screen appearance at the age of 90. Died in her sleep of a cerebral hemorrhage and heart failure. Following the demise of her sister in 1968, she turned her energies toward writing and penned “The Movies, Mr. Griffith and Me” in 1969, following by a book of photographs, “Dorothy and Lillian Gish.” In her will she left the largest single bequest ever received from an actor or actress for film preservation, to the Film Department of NYC’s Museum of Modern Art. Inner: Beneath her sweet, frail veneer, a tough survivor, with the ability to control her life. Well-liked, loyal, discreet. In control lifetime of asserting her own keen sense of independence over a long and productive career and life. Julia Dean (1830-1869) - American actress. Outer: From a distinguished theatrical family. Mother was the daughter of an actor/manager, and a star in her own right in the provincial theater of the West. Father was also an actor, and her 2nd husband, while an aunt trod the boards as well. Youngest of 2 daughters, losing her mother when she was 2. Brought up by her father’s relatives in a Quaker household. Rejoined his company at 11, after he had remarried, in order to serve her acting apprenticeship in his theaters. Made her debut in NYC at 15, then toured extensively, while her fame and stature as an actress grew. Unhappily married Arthur Hayne, the abusive and alcoholic son of a senator, 4 children from the union, 2 dying in infancy. Stayed mostly in the West for the decade of her marriage, then separated from her husband, and divorced him at the end of this period. Married James Cooper, a federal official in her mid-30s and came back East with him to continue her career on the stage, but died unexpectedly after childbirth in her late 30s. Had a facility for winning over audiences, despite somewhat limited skills. Inner: Gentle, intelligent, unpretentious. Act out lifetime of suffering most of her drama off-stage, while taking her limited skills as far as she could, before exiting stage left to pursue a far more independent existence in her next go-round, allowing her career to flourish unencumbered by family and mates. Saskia van Rijn (Saskia van Uylenburgh) (1612-1642) - Dutch spouse. Outer: Father was the former burgomaster or mayor of Leeuwarden, and a lawyer, as well as one of the founders of the Univ. of Franeker. Youngest of 8. Orphaned at the age of 12, she lived with various relatives of some means, including her sister and her spouse. Inherited wealth, so that she had a handsome dowry of some 40,000 guilders when she met artist Rembrandt van Rijn (D.W. Griffith) in her early 20s, through a cousin, who was also an artist and art dealer. The duo were married when she was 22. Able to bring a large circle of friends into their lives, as well. Their first 3 children died in infancy, but their 4th son, Titus (Robert Zemeckis), became an artist. The two lived lavishly, entertaining royally, with their house, which was next to her cousin’s gallery, as a cultural center of Amsterdam. Often served as a model Enjoyed a highly active social life with her brilliant husband, who did numerous portraits of her, but she contracted tuberculosis at the height of his fame, and died at 30, precipitating his own material decline, albeit allowing him to touch on his greater genius through his sense of loss at her early departure. Rembrandt captured the death-haunted eyes of her last weeks, and then a year after she died, made a beautiful posthumous portrait of her, as if to obliterate his final memories of her and restore her to happier times. Eventually sold her grave in order to pay for the burial of his final mistress, Hendrickje Stoffels (Dorothy Gish). Inner: Gentle, social, sweet. Co-dependent lifetime of close association with sheer artistic wizardry, and serving as both partner and inspiration for it, before exiting early to begin her own difficult pursuit of independence and artistry.

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PATHWAY OF THE PERFORMER AS DAUGHTER OF THE STAGE:
Storyline: The footlit first lady rises out of a backstage trunk to blossom forth as genuine theatrical royalty, while playing her true life tales off a talented but self-absorbed mate quite given to the melodramatic.
Helen Hayes (Helen Brown) (1900-1993) - American actress. Outer: Mother was an actress, who was moody and erratic and self-involved in her own career as a sometime comedienne. Father spent much time on the road as a salesman for a meat-packing plant. Didn’t have much of a childhood, made her stage debut at 5, and was on Broadway by 9. Diminutive with an elfin charm, 5’, 100 lbs. Strongly influenced by her grandmother, who was a storyteller and verbal caricaturist. Adopted her mother’s family name for the stage. Appeared in many plays, as well as silents as a teenager, and by the time she was 18, had achieved theatrical stardom. Enjoyed a long and productive career on the Broadway stage, ultimately winning the plaudit of the ‘First Lady of the American Theater.’ In her late 20s, she married playwright Charles MacArthur, daughter from union became an actress but died of polio, while adopted son became an actor. MacArthur was a debonair alcoholic depressive who was a powerful force in her life. Came to Hollywood when he, rather than she, was offered a long-term contract, and won an Oscar in 1931 for her very first film, The Sin of Madelon Claudet, then played several more leads over the next couple of years, although never cared for the film industry. Returned to Broadway in her mid-30s, and won Tonys in 1947 for “Happy Birthday,” and in 1958 for “Time Remembered.” Subsequently scored her greatest triumph as “Victoria Regina,” where she aged from childhood to dotage. Continued with her stage career, making only occasional appearances in films, and thanks to her popularity, a theater was renamed after her in 1959. When it was demolished in 1982, a huge uproar caused another theater to gain her appellation the following year. Eventually won a Best Supporting Actress Oscar at the age of 70, as a passenger in Airport. Retired from the stage the following year because of chronic asthmatic bronchitis brought on by dusty theaters, but continued to work in films and on TV, costarring in a TV series called “The Snoop Sisters,” in 1973. Wound up playing Broadway almost annually for 50 years. Well-rewarded for her long and illustrious career, with a commemorative gold coin minted with her likeness on it, and a lifetime Tony in 1980. Also won an Emmy in 1953, and two Grammys in the 1970s for spoken word recordings, largely running the table to entertainment industry awards. Her husband drank himself to death after the untimely demise of their daughter. Wrote several volumes of reminiscences, but it took her two autobiographical volumes to finally admit her spouse’s failings. In 1982, along with Ladybird Johnson, she helped create the National Wildflower Center in Texas. Died of congestive heart failure. Inner: Sweet, but strong-willed. Hardcore Republican and Roman Catholic traditionalist, so as to be very much a creature of her time, where the wife was subservient to the husband. Footlit lifetime of literally being born to the stage, and receiving full reward for her efforts, only to find her own domestic dramas sadly unintegrated into the rest of her stellar life. Helena Faucit (Helena Savile) (1817-1898) - English actress. Outer: From a theatrical family, mother was an actress. 4 of 5 siblings went into the theater, despite the former’s discouragement. Beautiful and born for the stage, she made her debut in 1833 as Juliet. At 20, she joined William Macready’s (Ralph Richardson) company at Covent Garden to become his leading lady, although fell hopelessly in love with him, despite the fact he was already married, which created considerable tensions, and their artistic relationship ended bitterly 8 years later, when she was acclaimed the superior artist to him by critics. Played both Shakespearean roles and contemporary English drama. Tall, graceful, with a clear voice. Enjoyed a high, albeit not universal, reputation with some carping that it was her appearance more than her skills that accounted for her success. In her mid-30s, she married Theodore Martin, the official biographer of Prince Albert (Joseph Albers), who was later knighted for his efforts. Used her social position to advance the cause of the theater. Despite precarious health she continued to act, although after her late 40s, she confined most of her theatrical activities to readings. A great favorite of Queen Victoria, she and her husband were often guests at her various royal homes, and were honored by her regal presence in their own domicile. Inner: Looked upon as the embodiment of eternal womanhood, a projection she took on with great moral earnestness, trying to imbue her characters with a greater sense of femininity than her predecessors had. Victorian lifetime of bringing her own moral sense of self and womanhood to the stage, in an adult life relatively free of conflict, thanks to prevalent restraints on behavior. Ann Oldfield (1683-1730) - English actress. Outer: Daughter of a soldier. Became a seamstress’s apprentice, and while living with her mother, she was introduced to actor and manager John Rich (Anthony Hopkins), and made her debut in 1692, as a child actress in 1692. Her career was slow to take off, largely because her beauty superseded her talent, until 1704, when her gift for light comedy was noted. Joined the seceders at Haymarket, 2 years later, and finally returned to Drury Lane, in 1711, playing there for the rest of her life. Her first husband, Arthur Mainwaring, deserted her, although later left her and their son half his fortune on his death. Specialized in polite comedy, although was capable of tragic turns, winning the plaudits of many of the leading writers of her day. Later married Gen. Charles Churchill, one son. Buried in Westminster Abbey. Inner: Held a great beauty and was very ladylike, with the ability to both learn and expand on what was initially a very modest talent. Foundation lifetime of enjoying a long and illustrious career on the stage, after a slow start, while setting her own stage for difficult intimate relationships coupled with more stable ones.

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PATHWAY OF THE PERFORMER AS MASTER OF STAGE LITE:
Storyline: The well-grounded grande dame does it both by herself and in perfect theatrical partnership, while continuing to polish her act as long-lived doyenne of the light stage.
Lynn Fontanne (Lillie Louise Fontanne) (1887-1983) - English/American actress. Outer: Father was an impecunious French type-founder, mother was Irish. Lower middle-class upbringing. Always coy about her birthdate, which may have been 5 years earlier. Younger of 2 sisters. Fascinated by the stage, she went to study with actress Ellen Terry (Vanessa Redgrave), who gave her sporadic lessons in exchange for light housework, before making her debut in 1905 in the chorus of “Cinderella.” 5’6”, 102 lbs. Played small parts, worked as an artist’s model, fell in and out of love with a lawyer, before finally finding success in 1914 with a fat part in “Milestones.” Taken to America by actress Laurette Taylor (Jennifer Jason Leigh), she made her NY debut in 1916 in “The Harp of Life.” Introduced to actor Alfred Lunt backstage in 1919, and he promptly fell flat on his face while descending a flight of stairs to meet her. After a 3 year courtship, in which she had to compete with his jealous mother, they were married, although he did not have the $2 for the license, and she had to pay for it. Considered plain and inelegant before she hooked up with Lunt, but was able to transform her projected self afterwards, although the duo were far better suited for the distance of the stage, than the close-up intrusion of the screen, and later TV. The union was probably never consummated, and they had a preference for trios, with another man, usually gay, as the third part of their threesome. She remained more partial to other men, but felt the propriety of matrimony would enhance her career, and their marriage remained a piece of theater for them, with their friends as their audience. Their first big hit was Ferenc Molnar’s “The Guardsman,” in 1924. The two quickly became the foremost acting duo of their time, with inseparable careers, although they enjoyed fighting with one another off-stage, and were the inspiration for Cole Porter’s “Kiss Me Kate,” a musical version of Shakespeare’s “Taming of the Shrew.” Able to dovetail their dialogue and make it sound like a real conversation, as well as display their genuine affection for one another with the spotlight on them. Specialized in light comedies, particularly those of Noel Coward, but also on occasion, did high drama with her mate, to less applause. Together the duo had a 3 and a half decade run, ending with “The Visit,” in 1958. The same year, they had a NYC theater named after them. The two came out of retirement once for a TV special, and then she appeared alone on TV 2 years later, her first separate role from her husband in almost 40 years. Also appeared in 3 films. Won the Presidential Medal of Freedom with her mate in 1964, and an Emmy award the following year. Afterwards, they retired to a 60 acre farm in Wisconsin that they named Ten Chimneys, which had long served as a legendary retreat for fellow artistes of the stage. Lunt died in 1977. Paranoid in her last years, and continually checking in closets and under beds for unnamed villains, she ultimately slipped into Alzheimer’s the last eighteen months of her life, before dying of pneumonia. Inner: Upbeat and self-confident. Continually rehearsed with her husband, extending the stage out into their lives. Also played cheerleader to her spouse’s more pessimistic nature. Very health and fitness conscious, bragged she never had a facelift. Partnership lifetime of extending her considerable craft into comedy and working in direct tandem with her longtime mate to create a unique dual career for both that made them the most noted light comedy stage duo of the 20th century in the English language. Frances Drake (Frances Denny) (1797-1875) - American actress. Outer: Little known of her early life, save that she was raised in comfortable circumstances. At 17, she joined a theatrical troupe that was formed to tour the wildlands of Kentucky. Made her stage debut in Cherry Valley, NY in a comedy, “The Midnight Hour,” and then served her theatrical apprenticeship for several years, showing a great flair for her chosen profession. Went out on her own and made her NY debut in 1820 in “Man and Wife.” In her mid-20s, she married the son of her former manager, and a gifted comedian in his own right, Alfred Drake (Alfred Lunt), 3 children from union. By the following year, she had established herself as a star of the NY stage, playing mostly tragic heroines, but also doing some comedy as well. From her late 20s, she appeared primarily in the West, where she earned the reputation as a tragedy queen. Managed a theater in Cincinnati with her husband until his death in 1830. Occasionally returned to NYC to play opposite the top actors of her time. Her powers began to wane in her late 30s, although she continued to act until her late 40s, and then retired to a farm in Kentucky for several decades of ruminations and redesign. Inner: Joyous, affable, acted in the ‘grand manner’ style of her time. Hand-at-the-tiller lifetime of forging a solo career for herself, without integrating her longtime husband into the act, while expanding her natural comedic talents into the popular melodramatic forms of the time.

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PATHWAY OF THE PERFORMER AS WHOLESOME HEROINE:
Storyline: The game gamin shares a crypto-past and present with cinemeister D.W. Griffith, along with several other fellow silent screeners, as she develops her own skills for exposition and self-expression in her ongoing desire to be both independent and quite in control of her life.
Bessie Love (Juanita Horton) (1898-1986) - American/English actress and writer. Outer: Father was a cowboy who moved the family to Hollywood when his daughter was in the 8th grade in order to rstablish a chiropractic practice. After graduating high school, she spent 6 months traveling around the U.S. visiting its major cities, as a present from her parents. On her return, her family needed an added income and she was introduced to filmmaker D.W. Griffith for that purpose. The latter subsequently launched her on her film career, after redubbing her Bessie Love. Had small parts in his seminal silents, The Birth of a Nation and Intolerance, before establishing herself on her own as a screen favorite with several other film companies, working with some of the top male stars of her time, as a wholesome, winsome heroine. 5’, with an innocent, large-eyed beauty. Moved to Vitagraph Studios, where she played in both dramas and comedies during the teens. Continued to be a major silent screen star throughout the 1920s, and had the honor of dancing the first Charleston on the silver screen, and also appearing in Hollywood’s initial dinosaur drama. Able to make the transition to sound at decade’s end, where she starred in several early musicals, although by the early 1930s, her film career was on the downslide. In 1929, she married William Hawks, the producer brother of director Howard Hawks, one daughter from the union, which ended in divorce in 1935. Moved to England the same year, and continued in the film industry there, as well as appearing on the stage. When WW II loomed, she returned to the U.S., where she worked for the Red Cross, as well as entertained the troops. At war’s end, she came back to England, which became her permanent home. Continued playing character roles in both England and the U.S., doing mostly low budget and TV fare from 1950 to 1970, with bit parts in a few major productions, as well. Also penned a play called “The Homecoming,” in 1958. Finally retired in 1983, following seven decades in front of the camera. After several years of ill health, she died of natural causes in her adopted home country. Made over 130 appearances in both films and TV. Inner: Highly independent with a natural charm, and a drive to continually prove herself. Hand upon the tiller lifetime of relaunching herself via her genius crypto-mentor before establishing her own independent career, and loosely maintaining it through sheer dint of will for seven decades, in her ongoing desire to be completely her own woman. Cornelia van Rijn (1654-?) - Dutch progeny. Outer: Mother was Hendrickje Stoffels (Cameron Diaz), father was Rembrandt van Rijn (D.W. Griffith). One older brother who died as an infant. Named after her father’s beloved mother. A half-sister who died as an infant in 1640 also bore her name. Her parents were unable to marry because of a stipulation in the will of Saskia van Rijn (Lillian Gish), who had left her money to Titus van Rijn (Robert Zemeckis) the only surviving son of her father’s first marriage, under the stipulation Rembrandt did not marry again. Had an artist, Christiaen Dusart appointed as her guardian after the death of her mother from the plague in 1662. At the time, their household was in a downward financial spiral, from which it never emerged, making for gloomy environs in which to grow up. Close with her brother Titus, but lost him to death as well in 1668, after he had left home. Probably had a great desire for stability, although may never have achieved it, since her name does not appear in any marriage records of the time, nor was her progress or regress the subject of any follow-up biographers. Following her father’s death in 1669, she largely disappears into the fog of total obscurity. Inner: Secondary lifetime of incarnating into the household of genius, only to see it steadily fall apart, leaving her to self-create her own aftermath, whatever it mysteriously turned out to be, before emerging several centuries later as one of the lookalike female reflections of her father’s sharp cinematic eye.

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PATHWAY OF THE PERFORMER AS INSECURE ICON:
Storyline: The oddball heroine first takes the safe route towards conventional success, then allows her wistful independence to dictate a far more cursory course, as she slowly gives truer expression to the conflicted player within her.
Jean Arthur (Gladys Greene) (1900-1991) - American actress. Outer: Father was a still photographer. A tomboy as a youth, her first ambition was to be a dancer. Quit school at 15 and became a model. Married a photographer at 16, although her husband died shortly after the union was annulled. 5’4”. Became a stage actress, then made her film debut at 22, before appearing in a series of forgettable westerns and comedy shorts as an ingenue. Her unusual husky, wistful voice became a distinct asset with the advent of sound, and her vehicles improved, although they still remained undistinguished. After having her first union to Julian Ancker annulled in a day, she married Frank Ross, a real estate broker-turned-producer in her early 30s, divorced 17 years later. Quit films briefly in her early 30s for the Broadway stage, before finally finding her metier in her mid-30s in light comedy. Played a host of unpretentious oddball heroines, most memorably in two Frank Capra hits of the 1930s, Mr. Deeds Goes To Town and Mr. Smith Goes to Washington. Described by Capra as his favorite actress. After a legal fight with Columbia pictures head Harry Cohn (Suge Knight), she was released from her contract commitments, and appeared in only 2 more films, the final a classic western in 1953, Shane. Returned to Broadway, winning plaudits at 50 for Peter Pan. Starred in a short-lived TV series in her mid-50s, then taught drama at Vassar and other colleges, while making occasional stage appearances with repertory companies. Spent the latter part of her life as a recluse. Died of heart failure following a paralyzing stroke. Inner: Shy, wistful, with her fortunes tied to her voice. Quietly temperamental, crying in her locked dressing-room after takes. Steadfast lifetime of taking a while to find her true niche, playing it for great popularity, the-n dealing with increasing solitude as a means of self-discovery and perhaps further independence. Clara Fisher (1811-1898) - English/American actress. Outer: Father was the proprietor of a library and later an auctioneer who was also an enthusiast of the theater. Youngest of 6. Her begetter took her to the theater at a young age, and she immediately became enthralled by it. At 6, she made her debut with her 2 sisters in a play adapted by her father and her sister’s music teacher for children. Subsequently became famous throughout Great Britain as a child actress. Came to America at 16 with her mother and older brother, with her progenitor joining them later. Several siblings also had theatrical careers, but she was, by far, the best known. Over the next 7 years, she established herself as a leading lady throughout the country, playing a remarkable variety of roles. In her early 20s, she happily married James Maeder, an Irish composer and music teacher, 7 children, 4 of whom pursued the theater as their professions. In her mid-20s, the depression of 1837 affected her career and she went into semi-retirement, giving elocution lessons. During the Astor Place riots in 1849, when partisans of Edwin Forrest (Marlon Brando), charged the stage during a William Macready (Ralph Richardson) performance of “MacBeth,” she was one of the witches onstage, but was led to safety. Spent some 7 decades before the lights, giving her last performance in her 70s. Inner: Charming, captivating, born for the stage. Refined, discreet and sweet. Unrocked boat lifetime of pursuing a conventional theatrical career, and being well-loved in both her public and private life, giving her motivation, perhaps, to try to do it a little more dramatically, and with a lot more feeling, the next time around.

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PATHWAY OF THE PERFORMER AS FRANKENSTEIN’S BRIDE:
Storyline: The elfin bohemian provides ballast for a difficult mate, while rediscovering herself as a unique wedding of personality and performance.
Elsa Lanchester (Elizabeth Lanchester Sullivan) (1902-1986) - English actress. Outer: Parents were both prominent socialists. Had a free-spirited and bohemian upbringing, studied with dancer Isadora Duncan’s (Twyla Tharp) at 11 and performed with her Parisian troupe, before turning to acting with a children’s theater in Soho when she was in her mid-teens. Afterwards, she began producing plays at a cabaret, ‘The Cave of Harmony.’ Took her mother’s maiden name as her stage name. 5’4 1/2”. Made her film debut in her mid-20s in One of the Best.. By the time she met actor Charles Laughton, she was tired of the bohemian life. Appeared in his first hit with him in 1927, “Mr. Prohack.” Small and frizzy-haired. Married him 2 years later, and despite his difficult character, was able to play off him with her elfin charm in an extremely close union, no children. Tolerated his taste for young men as well. Went to Hollywood with him in 1934, and they ultimately settled in Southern California. Played a wide variety of roles, but is best remembered for her eccentric comedy parts, most notably in the title role of The Bride of Frankenstein. Played opposite her husband several times, and was twice nominated for Oscars. Wrote her autobiography, “Charles and I” in 1939. In the 1940s, she joined the Turnabout Theater and did cabaret work, allowing live audiences to see her spirit unfettered by roles and parts, as she gradually worked her way out of her husband’s long shadow, outliving him by almost a quarter of a century. Continued working into her 70s, and ultimately died of bronchial pneumonia. Inner: Charming, petite, creative and highly social. Play-off lifetime, once again, of balancing off her longtime difficult mate and carving a unique performance persona for herself as well. Ellen Tree Kean (1805-1880) - English actress. Outer: Youngest of 3 sisters, one became a dancer, the other a noted actress, Maria Bradshaw. Appeared in private theater, then made her debut in her late teens in an operatic version of “Twelfth Night,” playing opposite her sister. Initially ill-received, although she improved with succeeding performances. In her early 30s, she appeared in America over 3 seasons. In her mid-30s, she married actor Charles Kean (Charles Laughton), and her career afterwards merged with her husband’s, after having acted with him previously. The duo adopted a daughter who became an actress. Accompanied her mate on his theatrical treks to America, as well as his other tours, playing the heroine to his heroes. Retired from the stage at her spouse’s death, when she was in her mid-60s. Like her husband, her early career was unremarkable, but she was able to learn from her stage experience, and her reputation gradually expanded. Maintained her pleasing personal aesthetic into old age. Inner: Handsome, intelligent, affectionate and highly protective of her spouse, supporting him thoroughly. Genuinely funny, sprightly humor. Support lifetime of expanding her craft through a close association with a master of that realm, showing the ability to grow and develop with experience, so that she could try it quasi-independently the next time around.

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PATHWAY OF THE PERFORMER AS PASSION PERSONIFIED:
Storyline: The earthy prima donna emerges from the Eternal City’s mean streets in order to become a memorable voice and picture of the Italian emotional landscape, while allowing her unconventional character free release in expressing its deepest-held feelings.
Anna Magnani (1908-1973) - Italian actress. Outer: Illegitimate child of an Italian mother and Egyptian father. Brought up by her maternal grandmother in the slums of Rome. Educated at a convent school, then enrolled at Rome’s Academy of Dramatic Arts. Sang bawdy songs in lowlife clubs to support herself, before doing variety shows and finally broaching the legitimate stage at 18 in stock drama. Toured Argentina, then played a bit part in a silent, while continuing her career as a stage actress and singer. Re-entered films in her mid-20s, and the following year married an Italian director, who tried to contain her ambitions. The duo separated but did not divorce until a decade and a half later. Continued playing minor roles throughout the 1930s, scoring a breakthrough in 1941, which led to steady filmwork throughout WW II. During that period, she gave birth to an illegitimate son by an actor, Massimo Serato. He later developed polio and she served as a very devoted mother to him. Entertained American troops after the liberation of Rome, and gave the world an emotional eyeful in Roberto Rossellini’s Open City in 1945, which announced her as a major international actress. The pair would go on to have a tempestuous relationship afterwards, until he met Ingrid Bergman. 5’3”, plumpish, and unkempt, with dark circles around her eyes, she nevertheless exuded passion, emotion and a sensual, earthy persona. Her first American film in 1955, The Rose Tattoo, earned her a Best Actress Oscar. Following her triumphs of the 1950s, her career went into decline, although she continued working in film, and in her last years, on stage and Italian TV. Died of cancer after a long struggle with a tumor of the pancreas. Given a lavish funeral and laid to rest in the tomb of the family of Roberto Rossellini. Inner: Earthy, passionate, instinctually emotional, and self-destructive. Tumors usually represent deep unresolved anger. Legitimizing lifetime of totally reinventing herself through a far more earthy upbringing, allowing her heretofore hidden passions to the fore to make her an international force on both the stage and screen. Adelaide Ristori (Cividale del Friuli) (1822-1906) - Italian actress. Outer: From a theatrical family of strolling players, born while her parents were performing, and was on the stage by the age of 3, drawing notice by the time she was 14. The next year, she joined the Royal Sardinian Company and became their leading juvenile actress, gradually expanding her range. Stately, with a strong physique and commanding presence, although she lacked natural passion and had no real sex appeal. Her overview was largely dictated by the only reality she knew, the theater. Acted in the grand style, with passionate outbursts filtering through her stately style. A prima donna assoluta, her career dovetailed with the rise and formation of modern Italy. Nearly a decade later, she moved on to a larger company, enjoying a wide range of roles, including Shakespeare and contemporary European drama. In her mid-20s, she married marchese Giuliano Capranica del Grillo, a Roman nobleman, and briefly retired from the stage, but returned in her early 30s, then moved to Paris 2 years later and became extremely popular there, although she was criticized for lacking a pure classicism. Toured Europe, and visited America 4 times, while augmenting her classical repertoire. On returning to Italy in her mid-30s, she was barred from reciting her poems by the Austrian police, for fear of inciting riots, as huge crowds flocked to see her. Did a world tour in her early 50s, and retired from the stage a little over a decade later. Wrote a fascinating memoir, “Memoirs and Artistic Studies.” Inner: Fervent patriot, limited repertoire, chose roles that served her talents, rather than trying to expand herself into challenges. Large gestures, small facial expressions. Caged lifetime of literally being born to the stage, and being constrained by it, while filtering an unconventional character through the conventions of success of the time, before returning in far more unconventional form to release her deeper self.

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PATHWAY OF THE PERFORMER AS TERPSICHOREAN EXTRAORDINAIRE:
Storyline: The adept stepper brings an innate grace and gracefulness to all she assays as moviedom’s premiere female dancing partner, while maintaining her formidable mother as her pre-eminent off-screen confrere, in a pas de deux of highly companionable souls.
Ginger Rogers (Virginia Katherine McMath) (1911-1995) - American dancer, singer and actress. Outer: Of Scottish and Welsh descent. Her parents separated soon after her birth, and she went with her mother, Lela, to live with her maternal grandparents in Kansas City. Kidnapped twice by her father in the subsequent custody dispute after her progenitors’ divorced. Had an extremely close relationship with her mother, who would prove to be her lifelong companion, while her father died when she was 11, an almost nonexistent figure in her life. Continued to live with her grandparents, while her mother went to Hollywood to try to be a silent screenwriter. Got her name because of a cousin’s mispronunciation of Virginia. When she was 9, her mother remarried a wounded war vet she had met after enlisting in the marines for WW I, and she took her stepfather’s name, even though he never legally adopted her. Appeared in some advertising films, then moved to Fort Worth, Texas, where her mother worked as a drama critic for a local paper. The latter’s interest in the stage fed into her own, and after winning a local Charleston contest, she wound up touring for the next four years, along with her mother, who divorced her husband during this period. 5’5”, 110 lbs., blonde and blue-eyed. Once they hit NYC, she stayed, getting radio singing gigs, and then making her Broadway debut in a musical, “Top Speed,” which opened on Christmas in 1929. The same year, she also began appearing in film shorts, and was wed to Edward Culpepper, a singer who was once a boyfriend of one of her aunts, much to her mother’s dismay, only to separate soon after the wedding and divorce in 1931. Discovered by the Gershwins, she starred in their “Girl Crazy,” for which Fred Astaire served as choreographer. The duo dated briefly, and she became a star from the show, at the tender age of 19. Signed a seven year contract with Paramount, then got out of it, while moving with her mother to Hollywood. Married actor Lew Ayres in 1934, only to separate shortly after the wedding, and officially divorce in 1941. Made several forgettable films, before getting her breakthrough role in Forty-Second Street, then reteamed with Astaire again, in what would be the epitome of partnered grace in nine films for RKO during the Depression years of 1933 to 1939, beginning with Flying Down to Rio. Able to equal his matchless grace, if not quite his elegance, in virtuoso routines especially written for them, while complementing her dancing skills with a natural comedic charm and a handsome esthetic. Far superior as an actress to his limited thespian abilities, and also far more attractive than he. Only did one solo in all the films they made together, letting him have much of their joint camera time, while acting the perfect partner in projecting her continual delight dancing with him. Although Astaire did the choreographing, along with his partner Hermes Pan, she contributed ideas as well. After 1939, she decided to take a break from the punishing schedule that their musicals demanded, and turned to dramatic acting. Scored her biggest triumph with Kitty Foyle, winning a Best Actress Oscar in 1941 for it. That same annum, she was listed as America’s highest paid woman, raking in $355,000. The year before, she bought a 1000 acre ranch in Oregon, and spent her next 50 years living there, along with her mother, who died in 1977, after an extremely busy life herself, including testifying before the House Un-American Activities Committee, in which she named names. Like her daughter, she was a staunch Republican, as well as strongly anti-communist. In 1943, she married yet again, to Jack Briggs, a marine, and this union, like the others, was childless and ended in divorce in 1949. Continued as a major star through the war years, then saw her career decline. Had one last reunion with Astaire in 1949, with The Barkleys of Broadway. In 1953, she married Jacques Bergerac, a lawyer turned actor, who was 16 years younger than she. They divorced in 1957, and her final union was to director and producer William Marshall, which lasted a decade from 1961 to 1971. Made her last film appearance in 1965, although continued to appear on Broadway and tour, before finally retiring in 1984. Penned her autobiography, “Ginger, My Story,” in 1991. Suffered two strokes and wound up wheelchair bound, barely able to speak. Died of congestive heart failure, and was buried next to her mother, with Fred Astaire not too far away. Made 73 films all told, with her work with Astaire as timeless classics of their kind. Inner: Conservative traditionalist, who reserved her most lasting partnerships for her mother and the celluloid Astaire. Amateur artist and Christian Scientist, with a great love of the outdoors and excellent athletic ability. Prom queen lifetime of having her skills permanently preserved for all time, while flitting from partner to partner, only to always save the last dance for her favorite and most beloved companion, her mom. Kate Vaughan (Catherine Candelin) (1852?-1903) - English dancer and actress. Outer: Father was a musician who played in the orchestra of London’s Grecian Theater. Older of two sisters. Had some dance training, then with her sister Susie, made her music hall debut in her late teens as the Sisters Vaughan. Had a small part in a burlesque of a popular play two years later, then in 1873, established herself dancing as one of the Furies along with her sister, in Jacques Offenbach’s (Cole Porter) “Orpheus in the Underworld.” Created her signature costume for the part of a black skirt and black tights with gilt trimmings. Later added black gloves and a lace handkerchief to it, while inaugurating the skirt-dance, an extremely modest form of the can-can. In addition to her dancing, she showed herself to be a subtle actress, who specialized in burlesques. Began a seven year association with the Gaiety Theater in 1876, and became part of a legendary quartet of performers who delighted London audiences during that period, allowing her to become a dominant popular dancer on the English stage from that point onward. In 1884, she married Frederick Arthur Wellesley, the grandnephew of the Duke Wellington, to become the second wife of the third son of the first Earl Cawley. Briefly retired from the stage, although she was back the following year, in a two minute dance in the ballet “Excelsior,” and despite, its brevity, she continued to prove to be an extremely popular attraction. Her health however, forced her to turn in her dancing shoes, and instead, assay comedy and drama, for which she showed an equal talent. Formed a comedy troupe with a partner in 1886, and began touring the provinces. Soon dissolved the partnership, and began managing the Opera Comique, appearing on stage as well, in classic fare to great applause. Continued touring the provinces, then tried burlesque again, but health and age began to catch up to her, and she no longer was able to perform with her earlier sparkling luster. Went to Australia for her health in 1896, after a testimonial performance at the Gaiety, and the following year she was scandalously divorced by her husband. Played one more short season in 1898, and then was forced to head for warmer climes. A final theatrical tour in South Africa proved unsuccessful, and she died soon after. Seen by many as the greatest popular English dancer of the 19th century. Inner: Refined, graceful and magnetic. Never a prima donna, always showing restraint and courtesy in whatever situation she found herself. Had a marvelous innate sense of rhythm. Light-footed lifetime of tripping the light fantastic to wild applause, only to be prematurely betrayed by a body that could not support her transcendental talent, while, per usual, evincing difficulty in partnerships outside her family and off the stage.

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PATHWAY OF THE PERFORMER AS EXTREMELY SUNNY STAR:
Storyline: The cheerful chanteuse enjoys the fortunes of fame with an easy-going aplomb, while setting various gender precedents in becoming a well-loved small screen fixture for many a decade, thanks to her innate Southern charm and big-hearted likability.
Dinah Shore (Frances Rose Shore) (1916-1994) - American singer and actress. Outer: Parents were both Russian-born Jewish immigrants. Mother was a contralto with operatic ambitions, father was a prosperous drygoods merchant. Younger of two sisters. Had a slightly deformed leg through a childhood bout with polio at 18 months, and would wear slacks or long dresses the rest of her life to conceal it. Sang throughout childhood, often entertaining customers at her sire’s emporium, while maintaining a mellifluous Southern accent throughout her life. When she was 8, the family moved to another Tennessee town, where her father opened a department store. A cheerleader in high school, as well as highly active and social, she also debuted at 14 at a local nightclub, although her parents ended her premature career at one performance, after witnessing it. Two years later, her mother died suddenly of a heart attack, which put her career on further hold, in lieu of finishing her education. 5’6”. Majored in Sociology at Vanderbilt Univ., where she was a sorority sister and also highly active on campus. While at school, she took voice and acting lessons, and sang on the local Nashville radio station, WSM. On graduating in 1938, she came to NYC and began singing on the radio, making her national debut the following year. At the same time, she appeared on little-seen experimental TV. Despite failing auditions for several top swing bands, she launched a solo singing career, and become the first female artist of her era to do so. Made her initial recordings with bandleader Xavier Cugat, and after enjoying a hit with “Dinah,” changed her first name, since she had become so identified with the song. Signed by comedian Eddie Cantor (Chris Tucker) as a regular on his show in 1940, and he proved a show biz mentor for her, teaching her how to self-confidently connect with an audience, and bringing her her first hit, “Yes, My Darling Daughter.” In 1943, she married actor George Montgomery, one daughter and an adopted son from the union, which would be a happy Hollywood affair, that ultimately was sabotaged by her constant working. Her daughter would later resent her for her fame, probably the only person in the world to do so. Became the first entertainer to visit the troops on the front lines during WW II, during her many USO tours. Made her film debut playing herself alongside Cantor in Thank Your Lucky Stars in 1943, and then made some eminently forgettable musicals, before quickly seeing film was not her most advantageous medium. During the same period, she was given her own radio show, “Call to Music.” Continued appearing on radio, as well as switching to Columbia Records, where she had a goodly number of number one hits throughout the rest of the decade. Returned to RCA in 1950 in a $1 million deal, although her peak recording years were now behind her. Remained a fan favorite, however, throughout the decade, and by its end, had switched to Capitol Records, where she did her most memorable albums in a two year stretch in lieu of her earlier hit singles. The rest of her recording career would be largely anticlimactic. In 1949, she began making guest appearances on TV. Along with numerous other firsts, she became the first female star to have her own prime-time TV variety show, beginning in 1951 on NBC. Garnered the first of many Emmys for her effort in 1955, while the show’s sponsorship theme song, “See the U.S.A. in Your Chevrolet,” would also become closely identified with her. Maintained the same sendoff throughout her TV career, a great big “MWAH” kiss to the audience, which reciprocated by making her one of their favorites for the length of her well-loved career. The show transmuted into “The Dinah Shore Chevy Show,” in 1956, and proved a popular showcase for many stars into the next decade, with its various versions running through 1963. The same year, she divorced and married Maurice Smith, a contractor and professional tennis player, a little over two weeks later, only to divorce again the following year. Had a goodly number of high profile romances, including actor Jimmy Stewart, and singers Frank Sinatra and Eddie Fisher. The central love of her later life would be actor Burt Reynolds, who was nearly two decades her junior, when they hooked up in 1971, in a four year affair that ended when he left her for Sally Field. An enthusiastic golfer, she began hosting the Colgate Dinah Shore Tournament in 1972, which ultimately became a major on the women’s tour under a different name. In the 1970s, she hosted two daytime talk shows, one on NBC, which was canceled after she had won an Emmy for it, since it didn’t conform to the networks’ game-show format, and the second a syndicated affair which focused on show business guests, including an infamous spot with comedian Andy Kaufman in mega-obnoxious mode, which ended with him tipping a pan of eggs on her head. Completed her forty year TV run with a cable interview show from 1989 to 1992. Won 9 Emmys all told, as well as a Peabody Award and a Golden Globe. In 1994, she was inducted into the World Golf Hall of Fame as an honorary member, and also had several roads named after her, both in Southern California and her hometown. Died from ovarian cancer, with both George Montgomery and her children present at the end. Inner: Sunny, upbeat, athletic, and extremely at ease in front of a camera. Sophisticated, self-disciplined, and totally into whatever she was doing at the moment. MWAH lifetime of enjoying a mutual love affair with her audiences over a long career, in a triumphant upbeat go-round marred by very few downbeats and underscored by a host of hosting firsts. Henrietta Baker (Jeannette Davis) (1837-1909) - American actress and singer. Outer: From a family of comfortable means. Had at least one sister. Made her debut in 1854 as a vocalist in her native Philadelphia, under her own name, Jeannette Davis, before taking on the stage name Henrietta Baker. Later that year she appeared in her first play, “The Willow Copse.” Joined the Arch Street Theater, where she remained the next two annums, and over the next several years, built a successful stage reputation for herself as an actress and singer. In 1858, she married popular actor Franz Chanfrau (Chris Tucker), one son from the union. Although both she and her husband would be fan favorites, they preferred performing separately so as not to intertwine their public lives with their private ones. A natural performer, who depended on personality, rather than affectations and mannerisms, as so many of her contemporaries did. Best known for her role as Portia in Shakespeare’s “Julius Caesar,” in which all three Booth brothers appeared, John Wilkes (Michael Kennedy), Edwin (Ben Chaplin), and Junius, Jr. (Lew Ayres). Lost her husband in 1884, and retired briefly afterwards, before touring Europe and returning to the NY stage two seasons later. Eventually retired after a long and extremely well-received career. Purchased a newspaper, but soon withdrew to being a Christian Science leader in Philadelphia, throwing all her energy into working within that sect, until life’s near-end. Inner: Unpretentious and a great audience pleaser. Well-loved lifetime of bringing her glow to the various stages of her time, as an ongoing public exemplar of artless art, effortless charm and a delightfully facile gift to entertain.

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PATHWAY OF THE PERFORMER AS COMEDIC CUT-UP:
Storyline: The barge-mouthed lass finds love quite easily from her appreciative audiences, although has far more of a problem in her search for it in her private life, as she segues from a performing duo to a solo act, while negating her innate beauty in an all-out desire for applause and laughs.
Martha Raye (Margaret Theresa Yvonne O’Reed) (1916-1994) - American actress, singer and comedienne. Outer: Parents were a vaudeville team, Reed and Hooper. Born in a charity ward, while they were touring and stranded. Joined the family act at 3, and stayed with it for a decade, gaining her only real education on the stage, while suffering from the insecurity of the life her parents led. At 15, she became solo vocalist with the Paul Asch Orchestra, employing the loud, brash style of the day, with a speciality in novelty tunes. Took her name from a Manhattan phonebook, unconsciously plugging into her last name of her previous life in this series, which also emanated from Manhattan. Between engagements, she worked as a nurse’s aide in Los Angeles. Sang in nightclubs, and also made radio appearances with some of the big name comedians of the time. Made her film debut at 19. 5’3”. Although an attractive young woman, her most prominent feature was her large, elastic mouth, and she continually played off her exaggerated comedic persona, as a very high-energy physical comedienne. Married makeup expert Bud Westmore in 1937, divorced four months later, and bandleader David Rose in 1938, divorced 2 years later. Her film career was mostly in forgettable vehicles, after Paramount tried to change her image to make her a musical comedy star, but gave up because of her natural bent for mugging. Her usual role was as an aggressive man chaser, and she could be quite funny at times, depending on the material. Most of the time she was corseted in slapstick roles. Her most memorable cinematic turn was in Monsier Verdoux in 1947, where she played a murder victim who could not be killed. Extremely patriotic, she entertained troops overseas for the USO during WW II, the Korean War and the Vietnam War, bringing her antics to the front, and earning a special 1969 Academy Reward for her selfless service. Also won two purple hearts for tending to wounded soldiers personally. Most of her career was spent in nightclubs and burlesques, as well as TV. Had her own successful eponymous show in the 1955-1956 season, after doing guest spots, and also appeared on Broadway as a replacement for two long-running shows, “Hello Dolly” and “No No Nanette,” as well as support roles in two TV series. Had 4 more failed marriages, to Neal Lang from 1941 to 1944, Nick Condos from 1944 to 1953, which produced a daughter, and to actor Ed Begley, from 1954 to 1956. The same year she wed Robert O’Shea, a married police officer, who had been acting as her body guard. Earlier she had ettled out of court with his wife for $20,000, and after wedding him, promptly divorced him 2 months later. Became a spokeswoman for a denture company, although unsuccessfully sued David Letterman when he lampooned her for it on his TV show. Suffered a stroke in 1990, which confined her to a wheelchair, then the following year, she made her 6th and final marriage to Mark Harris, a bisexual fan, 30 years her junior, and he, in turn, unsuccessfully sued the producers of the Bette Midler vehicle For the Boys, claiming the character was based on her. Died of the aftereffects of a stroke and circulatory problems. Inner: Uninhibited, high-energy, born to entertain. Beloved by her fans, if not by her ex-husbands. Extremely giving, with an outsized desire to be loved. Large-hearted lifetime of trying to compensate for an innate insecurity through a brash persona, only to win distant love, but not the intimate approval she craved. Malvina Florence (Anna Pray) (1830-1906) - American actress, dancer and comedienne. Outer: Father was a master carpenter of the Broadway Theater, who died in a fire there trying to extinguish some enflamed curtains. Two sisters became performers, and one married comedian Barney Williams (Red Skelton). Studied dancing as a child, and was billed as ‘Miss Malvina,’ when she began her career as such in her mid-teens. At 16, she married an old-time bowery actor, daughter from union became actress Mrs. Josephine Shepherd. Divorced, and married entertainer William Florence (Sammy Davis, Jr.) in 1853, no children from union. The duo teamed up as two popular archetypes of the day, Yankee Girl and Irish Boy and did farces, proving to be an extremely entertaining performing couple. In 1856, they did a successful tour of England, and reprised their act in 1862, while becoming mainstays of the NY stage. Enjoyed continual success and was noted for her fashionable wardrobe. Highly regarded as a comedienne, despite sharing a bill for most of her professional career. In 1889, the duo retired, and 2 years later, her husband died. In 1893, she married a much younger actor and playwright, but 3 years afterwards, the couple was divorced, as her health failed. Virtually blind at the end of her life, she died of chronic nephritis in a NYC boardinghouse. Inner: Ebullient and highly likable. Tandem lifetime of enjoying huge success as part of a husband-wife entertaining team, only to suffer mightily after retirement, and the end of all the applause, when old age robbed her of both her vision and happiness, leaving her shell behind to wither in the silence of a final closed curtain.

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PATHWAY OF THE PERFORMER AS VENUSIAN ICON:
Storyline: The dazzling dancer allows herself to be the fantasy of others, as an ongoing love goddess, but is never able to integrate both mind and body on her own, and remains a victim and prisoner of her own breathtaking beauty.
Rita Hayworth (Margarita Cansino) (1917-1987) - American actress. Outer: Parents were vaudeville dancing partners, father was Spanish-born, and a descendant of Sephardic Jews. Mother had been a Ziegfeld Follies showgirl. Chubby and shy as a child, she began taking dance lessons at her uncle’s studio at 4, then dropped out of school in the 9th grade, before the family moved to Los Angeles, and she became her father’s dance partner on stage, at the age of 12. May have been abused by him. Because of restrictive work laws, they went across the border to Mexico to work, and she was discovered the next year in Tijuana. Exuded a catlike sensuality on stage, although was still painfully shy and inarticulate off-stage, despite her budding womanhood. 5’6”. Appeared in films under her own name, usually as a dancer, beginning in 1935, but was dismissed from Fox studios, when it merged with 20th Century, and she lost the backing of her initial discoverer, after getting leads in some minor productions. In 1937, she married Edward Judson, a suave, portly, astute businessman 22 years her senior, who gave up his career as a car salesman to steer his wife to stardom. Changed her name to an alternate of her mother’s Haworth, and became auburn-haired, rather than her natural dark tresses, while having her low hairline, which gave her a primitive look, painfully removed by electrolysis. Desperately wanted to be a movie star, and was willing to undergo the transformation necessary, allowing her image to be altered from a Latina exotic to an All-American beauty, via publicity and mostly action vehicles that highlighted her decorative appeal. Always able to transform herself through her dancing, finding her true beauty in her kinetic motion. The head of Columbia Pictures, Harry Cohn (Suge Knight), took a personal interest in her career, seeing her as a studio goldmine, while remaining hopelessly infatuated with her. By the early 1940s, she had become a glamorous star, and the subject of a famous negligee-clad pin-up, which was fastened to the atomic bomb that was tested in Bikini. Her husband’s direction of her career proved too successful, and she soon moved past him to become intertwined with several stars, ultimately divorcing him and marrying residential Hollywood genius, Orson Welles in 1943, who also wanted to play Svengali with her, although had no interest in domesticity, one daughter from union. As Hollywood’s love goddess, she reached a peak with Gilda in 1946, doing a famously subtle strip tease. Afterwards she said, “Most men fell in love with Gilda, then awakened with me.” Separated from Welles, while still working with him, and in 1948, she met Aly Khan, the playboy scion of a Muslim spiritual leader. Married him in 1949, while briefly forfeiting her career in the process, daughter from union. On their divorce 2 years later, she returned to films, but was unable to resurrect her previous station and fought continuously with Cohn over what she perceived as neglect of her career. Married singer Dick Haymes in 1955, but that union, too, was over in 2 years, thanks to his myriad problems around finances and immigration. Returned to the screen in 1957, and married the co-producer of that vehicle, James Hill, before divorcing him 3 years later, when he forced her to continue working, while she wished to retire and paint. Appeared in some unmemorable European films, drifted off into alcohol and attempted a stage career in 1971, but couldn’t remember her lines, thanks to the onset of Alzheimer’s disease. Ultimately was put in the care of her 2nd daughter, Yazmin, who became a spokesperson for her mother’s illness. Died at home after lapsing into a semi-coma for several months, of her affliction with Alzheimer’s. Inner: Continual feeling of being manipulated and controlled by the males in her life. Sense of internal emptiness at the end, at having once more given her power away to men. Love goddess lifetime of serving as a world icon in that arena, but never quite finding it on a personal level. Juliette Drouet (Julienne Josephine Guavain) (1806-1883) - French actress. Outer: From a poor background, father was a tailor, mother was a housemaid. Orphaned early, although was proud of her humble background, stating, “I am of the people.” Served a model for artist James Pradier, and had a daughter with him. Supported by several rich lovers, allowing them to overlap in order to insure her continued upkeep, then used her beauty to rise out of her demimondaine world to become a fairly well-known, albeit mediocre actress on the French stage, changing her name to Drouet. In 1833, while rehearsing a minor role in one of his plays, she met poet and playwright Victor Hugo (Henry Miller), whose own marriage was falling apart at the time, and the duo became an item. His jealousy forced her to totally forsake all elements of her previous existence, which consisted of a considerable list of lovers, and she became a steadfast and loyal companion of his, rarely leaving home without him, and becoming prisoner of his all-encompassing demands. His wife was able to accept their relationship, and continued a celibate connection to her husband, while both she and her sons recognized the latter as Mme. Drouet, and were also able to tolerate her socially. Went into exile with him, and continued to be the mistress of his home wherever he was for the rest of her life, dutifully copying out his books, and serving as a wife in everything but name, even though his sexual appetites often led him astray. The subject of several of his poems, she was his muse as well. He followed her in death 2 years after her expiration. Inner: Extremely faithful and devoted, once she had found her solute, sacrificing whatever career she might have had to be around someone she considered a genius, while readily giving herself up to another. Boisterous sense of humor, and free-spender. Loyal lifetime of self-sacrifice to a literary immortal, in an attempt to redefine herself through association rather than achievement.

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PATHWAY OF THE PERFORMER AS PERKY TERPSICHOREAN:
Storyline: The ancient temple dancer dedicates her lives to the old adage there’s no business like show business, preferring a public career to a private life even though continually denied stardom, while seeing dance as her spiritual stairway to her own sense of self-fulfillment.
Ann Miller (Lucille Ann Collier) (1919-2004) - American actress and dancer. Outer: Had an extremely strong connection to her mother, who was her closest companion until the latter’s death in 1981. Father was a Texas lawyer, her parents separated when she was 11. In a sense, she remained married to her mother the rest of her life. Began dancing in childhood, and made her film debut at 17 in The Devil on Horseback, when her mother took her to Hollywood. 5’7”. Appeared in minor musicals for a decade, evincing a vigorous tap-dancing talent, as well as an engaging personality. Somehow never destined for feature stardom, she fell into a niche of second leads at MGM in her 30s, most memorably in On the Town and Kiss Me Kate. Louis B. Mayer (Master P), the head of the studio, fell madly in love with her and wanted to marry her, despite being wed at the time. Married Reese Milner, a multimillionaire steel heir in 1946, who knocked her down a flight of stairs when she was 9 months pregnant, and a stillborn daughter resulted. Divorced in 1947. Suffered through B movies in the 1940s, save for notable turns in Easter Parade and On the Town and ended her film career in the mid-1950, doing nightclub and TV work, as well as the Broadway stage. In 1958, she married William Moss, a Texas oil millionaire who had been married to actress Jane Withers, divorced 3 years later. In 1961, she tied the knot with yet another Texas oil magnate, Arthur Cameron, who refused to give up his 16 mistresses, and the marriage was annulled the following year. Noted for her longevity, and her ability to maintain a strong and shapely pair of legs into full maturity. Found her raison d’etre in her public, rather than her private life, and finally enjoyed stardom on Broadway as a replacement for Angela Lansbury in “Mame.” Revived her career with “Sugar Babies,” and toured extensively with it during the 1980s. Collaborated on her autobiography “Miller’s High Life.” Died of lung cancer. Inner: Strong believer in reincarnation, always felt she was an old temple dancer, as well as Hatshepsut (Clare Booth Luce), Egypt’s only female pharaoh. Buoyant personality, aggressively upbeat. Flashing feet lifetime of being denied a major career through the fickle hand of fate, but still managing to make herself a memorable and long-lasting show business figure through her strong work ethic and continual need to be on public display. Anne Gilbert (Anne Hartley) (1821-1904) - English/American dancer. Outer: Father was a printer. Began studying dance at the age of 12 at Her Majesty’s Theater, Haymarket, and pranced in the corps of that venue and the Drury Lane until her mid-20s, when she married George Gilbert, a dancer and manager, from whom she also took her professional name. The duo worked as a touring team in England and Ireland, and then emigrated to America in 1849. After failing at farming in Wisconsin, they returned to the stage in Milwaukee, then joined a theatrical company in Chicago, for which they both arranged and performed ballets. After an injury ended her husband’s career, she began taking small acting roles, and in 1857, joined a Cleveland company, specializing in old women’s parts. The following year she played Lady MacBeth opposite Edwin Booth (Montgomery Clift). Made her New York debut in 1864, and continued on the NY stage over the next several years, playing opposite formidable actors and holding her own. In 1869, she joined the Augustin Daly (Aaron Spelling) company, and for most of the next 3 decades was associated with his productions. Became known as one of his ‘Big Four,’ a team that specialized in ensemble technique. After Daly died in 1899, she acted under Charles Frohmann (Harvey Weinstein), and in 1904, at the age of 83, she enjoyed her first starring role on the Broadway stage in “Granny,” an adaptation from the French, which was commissioned specifically for her. After taking it to Chicago, she died a month following in her hotel room. Inner: Footlit lifetime of enjoying support status all the way til the end of a long and productive career, before exiting stage left, after having finally achieved stardom, only to repeat it all over again the next time around, without similar spousal support.

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PATHWAY OF THE PERFORMER AS ILL-MATED INNOCENT:
Storyline: The saucer-eyed soubrette deals with earlier hidden pain by enduring a long abusive marriage for the sake of show, in her own ongoing struggles with reality and fantasy and the stark difference twixt the two.
Carol Channing (1921) - American actress and singer. Outer: Father was a well-known Christian Science lecturer, and prominent newspaper editor, who was actually part German and part African-American, although passed for white, while singing gospel music around the house. Only child. 5’9”, 138 lbs. Remained a Christian Scientist. Worked as a model in Los Angeles, then dropped out of Bennington College, where she had majored in drama and dance, to pursue a Broadway career, after having appeared at Pocono resorts. Made her Broadway debut as an understudy in “Let’s Face It.” Had her first memorable turn as Lorelei Lee in “Gentleman Prefer Blondes,” in 1949, in which she intoned ‘Diamonds are a Girl’s Best Friend,” which would become one of her signature songs, delivered in her unique raspy voice. Her second enduring role was that of the widow Dolly Levi in “Hello Dolly,” for which she won a Tony in 1964. Only appeared in a handful of films, beginning in 1950 with Paid In Full, and never reprised any of her hit Broadway roles in the subsequent movies made of them. Married and divorced Theodore Naidish, a writer, and their son, Chan Lowe, became an editorial cartoonist. Married and divorced Alexander Carson, a pro football player, then in 1956, married Charles Lowe, who turned out to be impotent, so that their only attempt at union was immediately after the wedding. Her husband was physically abusive to her, and exploited her financially, while she remained loyal to him, throughout the rest of her long, highly successful career. The duo eventually divorced in 1999, during which time she revealed the details of their marriage. Wrote her autobiography, “Just Lucky I Guess,” in which she revealed her African-American heritage. In 2002, she married Harry Kullijian, a real estate agent and a childhood sweetheart, in an attempt to finally integrate her real self with her projected shining star Broadway persona, and continues to tour with a one-woman show into her mid-80s, while devoting most of her time to her educational foundation. Inner: Extremely careful about diet, carrying her own food with her wherever she went. Very social, and able to hide her pain behind a continually upbeat public face. Hello reality lifetime of dealing with issues of her previous go-round, and taking a longtime to finally work her way through them, before revealing all at the end, and finally being rewarded with a sense of being truly loved on all levels. Georgia Cayvan (1857-1906) - American actress and singer. Outer: Father was a longshoreman and sailor, who died when his daughter was young. Mother ran a candystore until the family moved to Boston in early 1870. Showing a flair for theatrics, she was given elocution lessons, and made her amateur debut in 1874, before becoming a dramatic reader. Made her professional debut in NY in 1979 in Gilbert & Sullivan’s “H.M.S. Pinafore,” and quickly established herself as a versatile star, capable of both singing and acting, with a number of well-received roles over the next decade and a half. Served as the leading lady of Daniel Frohman’s (Bob Weinstein) prestigious company for 7 years. Grew increasingly fat, and in 1894, ill health forced her to retire. Traveled and underwent surgery for a tumor, then attempted a comeback with her own company, but it failed, and she retired for good to her home in NY. In 1899, she was named in a sensational divorce case, as the recipient of some of the largesse of the party of the first part. Though later exonerated at the trial, and supported by the public, she suffered a complete breakdown and had to be carted off as a shell of herself, ultimately dying from a pulmonary edema and general paresis. Inner: Charming, womanly, gracious, modest, emotional and conscientious. Her subsequent go-round insistence of good diet would come from the failures of this one. Padded room lifetime of immersing herself so deeply in her gift for entertaining in artificial milieus, that when reality raised its ugly head, she was unable to integrate it into her troubled self-view.

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PATHWAY OF THE PERFORMER AS PEEK-A-BOO BEAUTY:
Storyline: The perishable player nearly drowns in her own fears, before finally surfacing to begin the long process of breathing a healthy calm back into her unstable waters.
Veronica Lake (Constance Ockelman) (1922-1973) - American actress. Outer: Father was a seaman who was killed in an industrial explosion when she was 12, mother remarried a staff artist for the NY Herald Tribune. May have been abused as a child. At 15, she became Miss Florida, then studied acting at the Bliss Hayden School in Southern California. Diagnosed as a paranoid schizophrenic, she had a troubled teenhood. 5’2 1/2”, and slender. Married John Detlie, an art director, at 18, 2 children, 1 dying in infancy, divorced 3 years later. Entered films at 19 as Constance Keane, her stepfather’s name, and then 2 years later changed it to Veronica Lake, which coincided with her sensational rise as a sultry screen personality. Became a star after playing opposite Alan Ladd in This Gun for Hire in 1942. Her peek-a-boo hair style falling over one eye became so popular during WW II, that the government asked her to stop wearing her hair long because copycats in war plants were catching their tresses on the machinery. Starred in 26 films, although was neurotic and unstable, and earned the reputation of being difficult to work with. Despite her emotional fluctuations, she was courted by some of the world’s wealthiest men. Married director Andre de Toth, in her mid-20s, divorced 7 years later, 2 children from the union. Did a successful stage turn in Georgia, but her career began to decline as she approached 30, and after she and her husband filed for bankruptcy proceedings in her early 30s, she disappeared into alcohol, with an occasional headline for public drunkenness. Married Joseph McCarthy, a songwriter, in her early 30s, divorced 4 years later. Worked in a factory, then was rediscovered as a barmaid in a NY fleabag hotel in her 40s. Published her autobiography, “Veronica,” in 1970, and began putting her life back together as an actress, beginning with off-Broadway and stock. Appeared in a few low-budget films, summer stock, radio and TV before going to live in the Bahamas and then England, where she did “A Streetcar Named Desire.” Married at 50 to an English sailor, Robert Carleton-Munro, but died of acute hepatitis and renal failure while in the process of getting a divorce. Inner: Projected cool determination, but underneath was quite the opposite, often appearing aloof or belligerent to mask her underlying fears. Overwhelmed by emotions earlier in life. Head-first lifetime of diving into her own lake to finally re-emerge to try to begin the process of truly finding and healing herself. Mattie Blaylock (Celia Ann Blaylock (1850-1888) - American wanton woman. Outer: May have been born in Wisconsin, but grew up in Iowa. Ran away from home when she was 16, and became a prostitute in Kansas, winding up in Dodge City, where she met future Western legend Wyatt Earp (Jeff Bridges) sometime in her early 20s. Became his common-law wife and like other women in his life, continued as a part-time prostitute in order to help support herself, while ultimately moving to Tombstone, Arizona with him. Suffered from migraine headaches, and used laudanum, a popular opiated pain killer of the time to relieve them, only to get addicted to the drug. Left Tombstone after Morgan Earp (Lloyd Bridges) was killed, and went to California without Wyatt, who wished to avenge his sibling’s death. Awaited word to come back, but It never came because Earp had fallen in love with Josephine Marcus (Nina Hartley). Returned to a small silver mining town that she they had lived in earlier, but now had gone bust, leaving her with no way to earn money. Blamed Earp for ruining her life, and committed suicide by overdosing on laudanum and alcohol. Inner: Victim lifetime of both heartbreak and addiction, two common themes of hers, in her ongoing struggles to try to find herself amidst the wreckages she creates around her lives.

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PATHWAY OF THE PERFORMER AS NOT SO SUNNY DAY:
Storyline: The vivacious virgin keeps up a cheery front, although continually attracts exploitative and abusive characters to her, in a curious need to temper her own considerable gifts with constant reminders that life is anything but a sentimental journey.
Doris Day (Doris von Kappelhoff) (1924) - American singer and actress. Outer: Born the same exact day as actor Marlon Brando. Parents were German Catholics. An older brother died before she was born. Father was a music teacher, church organist and choir master, as well as a strict disciplinarian, although he was not above having a string of affairs, including one with his wife’s best friend. Her mother named her after her favorite actress, Doris Kenyon. Her parents separated in 1936 and then divorced over her sire’s infidelities, and her mother worked in a bakery to support the kids. Felt the loss of family throughout her life, later opining that all she ever wanted was a stable home. Studied dance, and as a young teen, won an amateur show with a male partner as a team. The duo went to California with their mothers, then returned to the midwest. Soon after, she crushed her right leg in an auto accident, ending her dream of a dance career. 5’5”, 120 lbs. Spent 14 months in a hospital, and exited determined to become a singer. Took lessons, and got tremendous support from her highly ambitious mother. Got on local radio, and her name was changed for billing purposes by a bandleader after she sang “Day After Day,” for him, although she initially thought it was far too prosaic. Began touring with bands, and in 1941, married a highly abusive and unfaithful trombone player, Al Jorden, whom she described as one of the glummest people she ever met. The pair were divorced 2 years later, after having spent much of their union on the road, while he often beat her in jealous rages, and then apologized through passionate priapic couplings. Their son Terry, whom he demanded she abort at gunpoint, finally ended their union, although she fell into a deep depression afterwards. Jorden would later blow his own brains out. Started touring again to great success, while dropping her son off at her mother’s in Cincinnati, and remaining largely on the road. Had her first hit song in 1944 with “Sentimental Journey,” and the following annum, she married saxophonist George Weidler, and moved to southern California, but the duo separated after eight months and divorced, thanks to her predilection for unfaithful spouses, and her husband’s inability to accept her success. Became a Christian Scientist afterwards. A diva noted for her legendary tantrums, she was also quite immodest about her gifts, and had a penchant for multiple lovers when not officially wed, including none other than future president Ronald Reagan for a while. Hit the Hollywood party circuit, and made her first film in 1948, Romance on the High Seas, showing herself to be such a natural in front of the camera that she was told never to take acting lessons. All her costars would agree, feeling she brought out the best in them. Started suffering panic attacks in the early 1950s, which her Christian Science beliefs couldn’t alleviate, and eventually had a hysterectomy after a huge intestinal tumor was discovered. Her most enduring pairing on the screen would be with Rock Hudson, with whom she made three hit films in the late 1950s and early 1960s, and helped turn him into a comedic lead, in what would prove to be an enduring and affectionate friendship, with neither remotely like the wholesome image they projected in celluloid. Married her wheeler-dealer and constantly hustling agent, Marty Melcher on her 27th birthday in 1951, and he would go on to adopt and then mercilessly abuse her son Terry, who would became a record producer. Continued throughout the 1950s as America’s favorite virginal sweetheart, while her husband was busy signing her to projects she didn’t want to do. In 1956, she became an animal rights activist after seeing how they were abused on the set. Hit her financial peak in 1960, when she was not only Hollywood’s top moneymaker, but the world’s best-selling female vocalist. Following her roundly disliked and abusive spouse’s death in 1968, she discovered he and his partner had mishandled her fortune of some $23 million, and she was bankrupt. Ended her film career at the same time, claiming burnout, but her husband had committed her to a TV series, “The Doris Day Show,” which ran for 5 seasons, until 1973, at which point she retired from show business. During her heyday, she was the no. 1 female box-office star of all time, over a three decade period, from the 1940s to the 1960s. Won a $22 million lawsuit from her former lawyer, and promptly put her considerable energy into animal rights. Published her ghostwritten autobiography, “Doris Day: Her Own Story” in 1975, revealing a far more complex and troubled character than her cheery public persona. At the same time, she became involved with a much younger maitre de’, Barry Comden, in what would be her valedictory marriage in 1976. He would aid her in setting up an eponymous line of pet foods, and helped create the Doris Day Distributing Co., which would expand into a whole line of pet products, although like her other relationships, it, too, ended badly through the manipulations of a fraudulent distributions manager. The marriage would soon lead to separation, ambivalent reconciliations, and a final divorce in 1981, after which her son managed her affairs. Moved up to Carmel afterwards, with her truckload of dogs and cats, and it would become her ultimate 11 acre fortress refuge. In 1977, she founded the Doris Day Pet Foundation, which became the DD Animal Foundation, and a decade later, she founded the Doris Day Animal League, which would focus on lobbying for pro-animal legislation. The latter bred the Animal League, which makes a connection twixt animal violence and people on people violence. Made one more return to the small screen as a cable show hostess in 1985-1986, using an AIDS-struck Rock Hudson on her first show, which totally shocked America. By the time of its broadcast, he had already died. Won a Lifetime Achievement Award in 1989 at the Golden Globes, and weathered numerous rumors and innuendoes afterwards about living like a bag lady. Wound up so devastated by the loss of her son to prostate cancer in 2004, that she was unable to attend his funeral. Remains an icon of a lost time of innocence for many, while her reality, as always, with real and reel life, is another story entirely. Inner: Able to project considerable warmth and feeling with her voice, and a pleasing humanity with her character, making her a perfect public figure of her times, as reflection of postwar white America, basking in its moral superiority. Vegetarian, anything but sunny and largely hidden, with a surprising amount of insecurity for all her successes. The keeper of a large menagerie of dogs, all of whom, she would call her “kids,” finding far more love and trust in animals than she ever did in her own unscrupulous species. Exploited lifetime of learning how to fight for own rights against the exploiters she intimately drew to her, while presenting the outward appearance of someone far simpler and cheerier than the person who lay at her core, in reflection of a dualistic America only to eager to embrace outer appearances over the far more complex substance that lies behind them. Matilda Woods (Matilda Vining) - English/American singer and actress. Outer: Father was one of 9 children of a silversmith to have a stage career. Mother was also an actress, cousin of actress Fanny Vining (Bridget Fonda). Made her stage debut in 1841, then spent 12 years acting in the provinces. In 1854, she married fellow actor John Wood, daughter from union also took to the stage. Came to America with him and made her debut the same year in “The Loan of a Lover.” Played 3 seasons in NY, mostly in farces and burlesques, where she outshone her mate. Toured the west and separated from her disgruntled partner in 1858, and she became a west coast theater manager, showing the ability to successfully support herself by herself. Returned east for four seasons, then was actress-manager of her own Olympic Theater. Enjoyed immense popularity, doing burlesques, songs and farces. Returned to England in 1866, and was an actress-manager in London until retiring in 1905, after a long and well-received career spent on light-hearted fare. Became a Christian Scientist in later years. Died at home. Inner: Petite, vivacious and high-spirited. Born backstage lifetime of learning how to be independent, while maintaining a long career as a well-loved figure, before exploring her less balanced side in her next go-round in this series.

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PATHWAY OF THE PERFORMER AS TRANSATLANTIC TREASURE:
Storyline: The highly principled player brings her keen moral sense to her dubious profession, and finds her ongoing upliftment through the sheer joy of work.
Angela Lansbury (Angela MacGill) (1925) - English actress. Outer: Great-uncle, Robert Mantell (Michael Caine), was a well-known trans-Atlantic stage star. Mother, Moyna MacGill, was a stage and silent screen actress, father was town mayor of Poplar, as well as a lumber merchant.
Grandfather had been a labor party leader. Entertainment and politics shook hands in her family. Younger twin brothers both became producers. Loved to watch her mother perform from the wings as a child. Quiet and overly sensitive, she indulged in lots of make-believe, with a combination of Irish humor and English reserve. Her father died when she was 9, which brought her out of her fantasy world. Began training for the stage in childhood, then in her teens moved to NYC, when London began being shelled during the early part of WW II, to continue her drama studies, while supporting herself as a salesclerk. After singing in a Montreal nightclub, she went to Hollywood and signed a longterm contract with MGM. Began her career playing 2nd leads and vixens, often assaying older domineering women, despite her youth and gentle disposition. 5’8”. Briefly married to Richard Cromwell, a homophile actor, at 19, then several years later, she made a long-lasting marriage to Peter Shaw, a production company president, who became her manager, 2 children from union, as well as a stepson. Frequently played Broadway in between film stints, spending several decades as a popular performer in musicals as well as straight drama, and winning 4 Tonys for her efforts. As she matured, she became a screen mother, often to actors her own age. Best remembered for her role as the hypnotic mother in The Manchurian Candidate in 1962. In her late 50s, she capped her career with the long-running TV series, “Murder She Wrote,” in which she played novelist Jessica Fletcher, an Agatha Christie-ish amateur sleuth, who always wound up investigating murders wherever she went. Beloved throughout her long career by the public, she has also served as a TV hostess for the Tony and Emmy awards. After a 20 year absence, she returned to Broadway in 2007 in the comedy, “Deuce,” and the following year won her fifth Tony for a support role in the revival of Noel Coward’s “Blithe Spirit,” 43 years after garnering her first. Inner: Strong believer in herself and in the healing powers of work. Positive, upbeat, focused, although has difficulty in forgiving and letting go of anger when she feels betrayed. Well-loved lifetime of crossing the ocean to find her true home on the American stage and screen, while using her many talents to give herself a strong sense of purpose. Marie Cahill (1870-1923) - American actress. Outer: Parents were both Irish immigrants. Little known of her early life. Had a Catholic upbringing, and always held herself to high moral standards, never performing during holy week. Began her career in an Irish romantic drama, “Kathleen Mavourneen,” in her mid-teens in Brooklyn, where she had grown up. Amply proportioned, she made her NY debut in 1889 in a farce, “C.O.D.” Quickly became well-established as an actress, touring New England and the leading NY theaters, specializing in comedies as a support actress in the early part of her career. Became a headliner from 1902 onwards. Married Daniel Arthur, her business manager, the following year, no children from the union. Her rendition of ‘Nancy Brown,’ a sentimental ballad, caught the nation’s fancy and propelled her into stardom. After rising to that level, she showed a temperamental side heretofore hidden, and walked out on one of her engagements in 1905. Over the next 15 years, she appeared in a new vehicle every year. Used glances and studied vocal inflections rather than the exaggerated gestures of the time. Morally quite puritanical, she objected to the revealing attire of the stage and insisted that the women in her shows sing and dance in long skirts. Vigorously condemned Eva Tanguay (Madonna) for her outrageous exhibitionism and skimpy costumes. Enjoyed a long and well-loved career and died of chronic Bright’s disease. Inner: Had a natural grace and dignity, as well as a deeply moral respectability. Felt obesity was the greatest danger of modern women. Lived by the motto, ‘if you don’t succeed, try and fail again.’ Virtuous lifetime of bringing a sense of moral dignity to an immoral, undignified profession, and able to make her standards prevail in her own small universe through the dint of her talent, beliefs and practices.

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PATHWAY OF THE PERFORMER AS HYPER/EMOTIONAL CHANNEL:
Storyline: The melodramatic obsessive slowly learns that all the world may be a stage, although its most telling moments are never in front of the footlights or camera, but in the most revealing proscenium there is, the human heart.
Julie Harris (1925) - American actress. Outer: Father was an investment banker, who was also an amateur zoologist and ultimately became curator of mammals at the Univ. of Michigan. Mother was a trained nurse, 2 brothers. Privileged upbringing, had tunnel-vision actress ambitions from an early age. Skinny and awkward as an adolescent, she took singing and dancing lessons to gain confidence. A movie addict as a kid, she began attending performances in Detroit of road companies at 10. Studied at the Perry-Mansfield School of Dance and Theater in Colorado, and did theater camp in summer, before gaining her dramatic training at the Yale Drama School, thanks to a wartime shortage of applicants. Made her Broadway debut at 20 in “It’s a Gift,” during a leave of absence from the former, and immediately established herself as a strong emotional presence on the stage, giving both sensitivity and subtlety to her characterizations. Accepted by the Actor’s Studio, and also at 21, married a lawyer and producer, divorced 8 years later. Became a star in her mid-20s for her role in “Member of the Wedding,” which she would repeat 2 years later in her debut upon the silver screen, playing a 12 year old while in her mid-20s. Although memorable in her sporadic screen performances, her true love remained the theater, where she continued to appear, save for a serious illness in 1982. Winner of a record 5 Tony awards, beginning with “I Am A Camera,” in 1952. Also has worked on TV, including a 7 year stint on “Knots Landing,” while winning several Emmys in the process, and giving a weepy acceptance speech to the honor. Married Jay Julian in 1946, divorced in 1954, then wed Manning Gurian, a stage manager, at 30, one son from the union, which ended in divorce 12 years later. Married Walter Carroll, a writer, in her early 50s, claiming that her focus on her career had ruined her earlier unions. Suffered a stroke in 2001, although recovered from it. Best at eccentric, independent women, a role she plays in real life as well. Inner: Emotional, theatrical, totally enamored of her craft. Carefully researches all her roles, with an emphasis on authenticity. Obsessive lifetime of placing most of her focus on performing, before eventually learning that life is a performance on all levels. Clara Morris (1846-1925) - Canadian/American actress and writer. Outer: Born in Toronto but claimed Cleveland as her native city in order to appear American. Eldest of 3 of a bigamous union. Mother was a servant, father was a French-Canadian taxi driver. When her mother heard of her husband’s 2nd marriage, she gave up her 2 younger children, and took her daughter with her, reverting to her maiden name of Morrison. Her mother then worked as a farm hand, domestic and nurse in the mid-west, before settling in Cleveland after her husband’s death. Served a long apprenticeship in ballet after her mother took a job as house/keeper in a boardinghouse for actors. Moved to Cincinnati for a theater season at 22, and then came to NYC. Had her first triumph when she replaced an actress in a melodrama the following year. Proved sensational as a madwoman in “L’Article 47,” researching for her role in asylums. Built a reputation on realistic portrayals of unhappy women, probably projecting herself on them. In her mid-20s, she married Frederick Harriot, the young scion of 2 wealthy NY families, and he became her constant companion and agent until his death 4 decades later, no children from the union. Toured with her own company during the 1870s and 1880s, but her popularity waned when her exaggerated emotionalism went out of style. In 1890, she gave up regular performances and did lectures, vaudeville and revivals. Her precarious health failed towards the end of her career, and she made her last stage appearance in her mid-50s. Wrote unreliable accounts of her memories for theater magazines, and then suffered 5 years of temporary blindness, before her sight was partially restored. Her mother lived with her until 1917. Died 8 years later from chronic endocarditis. Inner: Insecure, unwilling to truly look at the world around her. Overblown emotionally, probably invested herself with a lot of her mother’s unhappiness. Compromised lifetime of clinging to approval at the expense of art and further inner and outer development.

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PATHWAY OF THE PERFORMER AS LITERAL TRAGEDIENNE:
Storyline: The adulatory actress suffers sudden and overwhelming catastrophes in her life’s scripts, to counterpoint her sharp thespian skills, as a means of both closing off and opening up herself to the underlying strengths and weaknesses that continually make her far more than a face in the crowd.
Patricia Neal (Patsy Louise Neal) (1926) - American actress. Outer: 2nd daughter of a coal company transport manager. Born in a mining camp, before her family moved to Knoxville when she was 3. Raised a Methodist, she showed an early inclination to perform, reciting monologues at church gatherings, while gaining parental support for her ambitions. In high school, she acted with the Tennessee Valley Players. 5’8”. Went to Northwestern Univ., where she majored in speech and drama. Came to NYC afterwards with $60, worked as a cashier, clerk model, and came to the attention of some Broadway heavyweights, including Eugene O’Neill and Lililan Hellman. In 1947, she won a Tony in the first year of that award for Best Supporting Actress for Hellman’s “Another Part of the Forest.” Won a contract with Warner Bros. and made her film debut two years later in John Loves Mary. Earlier she had begun an intense affair with Gary Cooper (Brad Pitt), with whom she would appear in The Fountainhead, in 1949, despite a quarter century age difference twixt the two. His wife sent her an angry telegram asking her to end it, and she also became pregnant by him, but he persuaded her to have an abortion, which she felt extremely guilty over for a longtime afterwards. Continued in routine vehicles, and was largely miscast, before being suspended for refusing to do a Western. Did more Broadway. Ultimately, Cooper reconciled with his spouse, causing her to suffer a nervous breakdown, and in response, in 1953, she moved to England, decrying the U.S., although continued doing Broadway work. Married English writer Roald Dahl beforehand the same year, despite not loving him, after having met him two years earlier. 5 children from the union, one daughter died at 7 from complications from the measles, and one son was slammed into a bus by a taxi at 4 months, causing hydrocephalus, and years of painful operations, before the condition subsided. Her roles improved, following her marriage, including a memorable turn in A Face in the Crowd in 1957, and an Academy Reward for Best Actress in 1963 for Hud. In February of 1965, on the first day of filming for Seven Women, she suffered the first of three strokes while giving a daughter a bath, caused an artery to rupture inside her head, bringing paralysis to her right side, and making her wheelchair bound, with her speech severely impaired. Also pregnant at the time, although she delivered a healthy daughter. Nevertheless, she went into a coma for 21 days following the rupture. Able to fight her way back through the martinet efforts of her husband, who bullied her into wellness at his country estate outside of London, while designing her recovery routines, as she learned how to both walk and talk again, and battle an everpresent sense of despair over her disability, which she finally overcame 18 months later. Became a spokesperson for rehabilitation afterwards. Able to return to filmdom in 1968 with The Subject Was Roses. Continued doing film and TV work in a much lower profile career after her various tragedies. In 1978, her hometown Medical Center dedicated the Patricia Neal Rehabilitation Center in her honor. In 1981, Glenda Jackson played her in a TV biopic. Divorced Dahl in 1983, after discovering he was having an affair with her best friend, and he would precede her in death in 1990. Penned her autobiography, “As I Am,” five years later. Ultimately moved back to Martha’s Vineyard and Manhattan after 30 years in England, and continued her career, working sporadically by doing guest appearances on TV. Died of lung cancer at home. Inner: Extremely strong-willed, as well as strongly maternal. Heavy drama lifetime of dealing with far more tragedy and redemption off the stage than on, while showing a remarkable resiliency, thanks to a strong constitution and a strange martinet mate who never let her sink into self-pity. Kate Lester (Infant Suydam) (1857-1924) - English actress. Outer: From a distinguished NY family with a long his/storical pedigree and high social standing. Her parents were wealthy New Yorkers in England at the time of her birth. Dreamed of a stage career from early on, despite resistance from her conservative progenitors Educated at tony private schools, she graduated from Normal College. Like others of her social set, she studied drama on the stage of the Madison Square theater, with actor and playwright Dion Boucicault (Robert Shaw). Asked by him to substitute for an ill player in a grande dame role, despite being only in her 20s at her time. Did so, and to the annoyance of her family, continued on in the role. Adopted the stage name of Kate Lester, and within a few seasons she was a leading lady for the Richard Mansfield (Robert Redford) company. 5’7”, full-bodied with dark blue eyes. Had a long and highly successful stage career, acting with all the top players of her time, and eventually specializing in dowagers and royal personages, when she reached middle age. By the time she began her film career in silents in 1916 with Molly Make-Believe, she was already matronly. Played the grand dame in her subsequent film career, which lasted over much of the next decade, after her hair turned prematurely white. An explosion in her dressing-room at Universal Studies summarily ended her life, after she tried to light the gas in a leaky stove. Suffered burns all over her upper body, and died unconscious in Hollywood Hospital. Inner: Cultured and refined, with an overwhelming desire to be stage center. Phoenix lifetime of transposing her grande dame upbringing to the realm of make-believe to great success, before exploding off-stage in order to return in far more humble manner in order to better weather the vicissitudes that would be subsequently thrust upon her.

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PATHWAY OF THE PERFORMER AS CHILD PRODIGY:
Storyline: The magnificent moppet shows a prodigiously preternatural ability to entertain as a youngster, but can’t quite translate it into a satisfactory extended career, and wisely bows out as a young woman to pursue other avenues of expression.
Shirley Temple Black (1928) - American actress and public official. Outer: Mother was starstruck and had been thwarted from her dream of becoming a ballerina. Instead, she sublimated her ambitions into her daughter. Father became a branch bank manager. 3rd child and first daughter. Began taking dancing lessons at 3, and was chosen for a series called ‘Baby Burlesks,” which were slightly risqué takeoffs on popular stars and films of the time. Way underpaid for all her early work, as well as punished for infractions in a highly exploitative operation that ultimately went bankrupt. Came to public attention in 1934 in Stand Up and Cheer, in which she sang ‘Baby Take a Bow,’ and she was signed up by 20th Century-Fox for an extended curtain call, as a dimpled, curly-haired singing and dancing wunderkind. Her mother altered her birthdate by a year to make her seem younger and did her hair with 56 pin curlers for every film, as she became the ideal little American girl, a buoyant little beauty with an otherworldly talent for entertaining, who was perfect antidote to the far harsher realities of the Depression of the time. Quickly became an industry unto herself, with dolls, garb, and even drinks, hawked in her golden name, while her mother carefully controlled every aspect of her life, although in retrospect, she never begrudged her. For her 8th (actually 9th) birthday she received 167,000 presents, surely (or Shirley) a world record never to be broken. By 1936, she was Hollywood’s top box office attraction, and held that position through 1938, only to find herself, by decade’s end, no longer held in cinematic fascination, now that she was approaching her teens. Fox refused to loan her to MGM for the role of Dorothy in The Wizard of Oz, which would prove a career-maker for Judy Garland. Instead, she continued making nondescript films for a variety of studios, including MGM, where producer Arthur Freed, on first meeting her, promptly exposed himself to her, eliciting laughter rather than shock from her. Soon found that the public preferred keeping her frozen back in time, and she elicited little interest throughout the 1940s. 5’2”. Married actor John Agar in 1945, who proved to be both an alcoholic and highly unfaithful, and divorced him in 1950, at which point, she also ended her film career. One daughter from the union. Discovered after 57 films, that her father had spent all but $44,000 of the $3,000,000 + she had made. Refused, however, to sue him, and, instead wound up nursing him through his final illness. Married a businessman and maritime expert, Charles Black, who was 9 years her senior and had never seen her movies, in another symbolic break from her past, and he would prove the loving anchor she needed. Son and a daughter who became a professional rock’n’roller, from the union. Tried two eponymous TV shows in the late 1950s and early 1960s, but again, elicited little viewership. Became active in Republican politics afterwards, running unsuccessfully for Congress in the late 1960s. Appointed a U.N. delegate in 1969, she was subsequently given two ambassadorships, to Ghana in 1974 and Czechoslovakia in 1989, and was U.S. chief of protocol in 1976. Wrote her autobiography in 1988, “Child Star,” and was one of the first women to go public with having a mastectomy. Her husband died in 2005, which sent her into seclusion. Given the Screen Actor’s Guild Lifetime Achievement Award the following year Inner: Simple, straightforward, and remarkably forgiving, accepting people, including her parents, for who they were, without extraneous judgments. Totally understood her appeal as a product of desperate times looking for momentary escape. Cracked lollypop lifetime of enjoying unprecedented fame as a child, only to suffer public rejection afterwards, before reclaiming her power as a public official, and as an exemplar of someone more than willing to put their past behind them. Adelaide Phillipps (1833-1882) - English/American singer. Outer: Welsh mother was a professor of dancing, and English father was an attorney. One of 7 children in a close family, which emigrated to Canada, then Boston. Her sire worked as a druggist, while her mother continued her teaching. Made her stage debut at 8 in “Old and Young,” playing 5 different characters. Hailed as a prodigy over her next performance for her singing, acting and dancing, and a little star was born. Over the next decade, she continued performing with a Boston stock company, while seriously studying voice, with the intent of becoming an opera star. Jenny Lind (Judy Garland), the most famous singer of the day, helped her leave the vaudeville stage and train with an eminent Spanish singing master. Accompanied by her father to Europe, she stayed and made her operatic debut in Italy under an Italianized version of her name in 1853, during a two year stay, before making her eagerly awaited NY debut in 1856. The subject of carping and mixed reviews, she contracted yellow fever in her mid-20s, which would undermine her health for the rest of her life. Toured the European capitals in the 1860s, and bought a farm in Massachusetts. Never married, preferring to stay wedded to her career, which never lived up to her earlier prodigy promise, thanks to an audience expecting far more than she could deliver. Formed her own opera company, but it failed after a season. Joined a Boston company, and died while in Germany, when she went to take the waters there for her continuing ill health. Inner: Never involved with anyone, lived totally for her career. Had an exemplary private life, but also may never have matured, which was instinctively reflected by her audience. Great big little girl lifetime of enjoying spectacular early success, only to have the rest of her life anticlimactic, and perhaps equally undeveloped, necessitating a stark change in careers the next time around, to allow her the full maturity lacking in this go-round.

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