| re: She has a Donaldson which was the big theater award before the Tonys | |
| Posted by: JereNYC (JereNYC@aol.com) 02:58 pm EDT 10/04/23 | |
| In reply to: re: She has a Donaldson which was the big theater award before the Tonys - PlayWiz 06:46 pm EDT 10/02/23 | |
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| I read both Andrews' autobiographies and I am not in any way disparaging her choices in her career or personal life. If it's one thing that she made crystal clear in those books, it's that if you want a career and a family life, tough choices need to be made constantly. If anyone ever had the idea that being a major film star was all glitz and glamour, Andrews' second book will quickly disabuse them of that notion. And, of course, I realize that she did films with theatre content and sometimes performed in concerts. But none of that actually changes the fact that she did not have a major career on Broadway. It was a phase in her career and then she moved on. Any of us here on ATC could probably name 100 famous actors who started their careers on stage and made the choice to move on to film and/or television when those opportunities arose and who never came back. Andrews, at least, did come back once (or twice, if we're counting the brief run of PUTTING IT TOGETHER). That CINDERELLA and THROUGHLY MODERN MILLIE were later adapted for the stage had nothing to do with her. MILLIE was a mostly forgotten film and CINDERELLA, at that point, was more associated with Whitney Houston and Brandy. And, if VICTOR/VICTORIA had gone that way as well, meaning getting adapted by people not her husband, I doubt that Andrews would have returned to Broadway in that show at all. If she'd been interested in returning to the Broadway grind in the mid-90's independent of her need to help her husband finance VICTOR?VICTORIA, she would likely have returned in a show that wasn't as taxing on her as V/V turned out to be, perhaps a Broadway transfer of PUTTING IT TOGETHER or the 1996 revival of THE KING AND I. Maybe, if she'd made it known that she was interested in returning to Broadway, someone might have written a new show specifically tailored to her talents and limitations at that time. Maybe she might have had the same kind of late career Broadway renaissance that Angela Lansbury had with many roles over several years, all carefully considered and built around what she could deliver at that point in her life. But I agree that an Andrews LADY IN THE DARK would have been legendary. I'm also curious about what an Andrews Mrs Lovett (especially given her career origins in British music halls) or Witch might have been. I wonder what kind of spin she might have put on Norma Desmond or Desiree Armfeldt or Phyllis Rogers Stone. And, of course, she'd likely have inspired writers to write new material especially for her as well. |
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