I WISH!
Why doesn't Mary do a one woman show instead of Somers? Mary's life is very dramatic as well. I think if she did a show it'd even beat 700 Sundays!
How about a show like Suzanne Sommer's show. She can sing songs from "Breakfast at Tiffany's:"
"If your donut is sweet and your coffee's hot. You've got as much as any girl's got!"
Worst lyric ever on Broadway?
I would want to see Mary on Broadway. I think a one woman show would be great.
I wouldn't even compare her to Suzanne - Mary has had a hell of a better career than Suzanne has.
Better career - yes. But whose life was more full of drama?
I believe both had drug and divorce issues, no?
Mary had a son and I think a brother, too, who both died tragically?
Regardless, I can see her now - on a Broadway stage, chatting about her life and career, ending the show with the famous MTM theme song and flipping her hat in the air. Accepting the Tony. Breaking box office records.
LINES! LINES! LINES!
"Shortly before she was about to go onstage in an early preview of Simon’s latest play, Rose’s Dilemma, his wife handed her a letter from the playwright that said, among other things, “learn your lines or get out of my play.” Devastated, Moore quit."
Did everyone forget about this incident?
I would LOVE to see Mary in a one woman show! You got me so excited, CapnHook when I read the subject line!
I saw Mary on Larry King a few weeks ago talking about the Juvenile Diabetes Research Foundation. I had no idea she suffered so bad from diabetes.
Love,
Brandon
Broadway Legend Joined: 4/5/04
Pab,
I was just thinking that Moore probably has too many issues with memorization at this point in her life to ever do a solo show.
I don't think she'd sell many tickets, sadly. She wasn't that big of a draw for "Rose's Dilemma."
Did she have a problem memorising or was Simon just changing them too much?
Simon is a bastard - I'm sure she had a majority of her lines memorized - but Simon probally took it out of context. Sweet Charity drama - anyone?
I would show up just to see if she could do it without someone feeding her lines about her own life story. lol
I don't think she has a problem with line memorization. At least not a MAJOR problem.
I remember she did a tv movie a few years ago...MARY & RHODA. They reunited and their "daughters" met.
She is a survivor, but I doubt she'd want to relive so much pain, as her son's tragic death, 7-8 times a week. She is also more of a private person. She loses herself in her performances, so she might find opening wounds in front of strangers unseemly. As most good actors work steadily, they use the highs/lows of their own experience to play OTHER people. Interesting how often the less talented are dying to tell their own stories.
I enjoyed her immensely in the female-rewrite of WHO'S LIFE, and even in that somewhat disappointing (and rather silly) Guerney play, SWEET SUE, when she and Lynn Redgrave played the same woman. In her book, she talks about the disconnect between the two of them, in rather classy terms. They clearly did not become buddies, but Moore (if I recall) attributed it to differences in actor sensibilities and approach to the work.
I love Mary, all her risk taking work (ORDINARY PEOPLE, Mary Todd Lincoln.) But may I say how upsetting it has been to watch her age via regretable plastic surgery decisions? She's turned into a strange sort of waxy Gloria Vanderbilt look alike. Too bad, because I think she would've aged beautifully otherwise.
i think that "memorization thing was a big hoaks so she could getg out of that show..that script was really bad.
my guess is the commonly constant Simon rewriting of lines was more to blame than memory...he is famous for quibbling through previews, so no one is secure as they go on with daily updates.
And as for the "draw", in that case she was much more than Simon, despite his great and well-deserved reputation. Look at 45 SECONDS FROM BROADWAY. Or the "revised" SWEET CHARITY book.
i'd rather see her in a good new play than a life story, however. Stritch, Crystal, Bea Arthur, Liza, MacLaine, even Chita...they sort of do stand-up all the time. Let them do the "story of my life as told by me in a nightclub act" routine. Other greats, much less "theatrical" in person (Barbara Cook, Mel Torme, etcetera) stick to what they do best and don't try the monolog-of-my-life approach. MTM strikes me as the latter. She's an actress, not a raconteur. Though i love her in interviews.
Michael--You are making that up, aren't you?
anyone who has worked on a new play or musical knows that it is very difficult and there are always rewrites--Ms. Moore has many awards and accolades on her shelf and if she can't say her lines and not bump into the furniture, then she has no business being in a Broadway show, solo or otherwise.
we have no evidence she didn't know her lines. And the "bump into the furniture" line is a cliche you didn't even try to re-invent or freshen. When you have achieved her level of good professional and philanthropic work, then you can take cheap shots at a classy lady. But it still won't be good karma.
Please note, i did not denigrate Simon in my reaction. There is no need to so clumsily belittle someone in order to make a point.
It was well known, around the theatre, that she was receiving prompting through a microphone in her ear.
she was not the first nor the last, on-camera or off. It's a bit like saying "those singers on Broadway now need a microphone to be heard". There were mics all the way back to the 1930's. There were prompter's boxes built into stages for centuries. A good memory does not a good performer make, nor the reverse.
Wow.... someone really got my hopes up...
That's fine. So if it's so common place then why should she get so defensive about it and quit. If it were my play I would also want the actor/actress, whoever they are, to at least know their lines.
me too, MOMINATOR, me too.
wasn't a cliche, TxTwoStep, but a reference to Spencer Tracy, i was paraphrasing his advice to actors....Hamlet said it too: speak the speech--trouble is, you have to know it first. Even a first-year acting student quickly learns that no progress can be made if an actor doesn't have his lines.
She's tight, and by that, I mean her face
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