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Post by HollywoodHepcat on Oct 30, 2007 14:00:07 GMT -5
Oh My Sainted Aunt.
That's Glorious.
I'm going to NYC this summah!!!!!!!!!!
I'm photocopying the hell out of every page. LMAO. I don't care if I'm arrested. I'll call him a "moron" and say I was doing research.
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Post by Shaun on Oct 30, 2007 14:19:48 GMT -5
PLEASE DO!!! At least you would be getting arrested for a good cause. When you've been sprung you can share your loot with us.
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Post by Richard on Oct 30, 2007 22:14:32 GMT -5
Thanks for the heads-up, val.
Amber, I agree with Shaun. Do that! Or don't even bother coming back on here. ;D
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Post by HollywoodHepcat on Oct 30, 2007 22:59:27 GMT -5
HAH! I'll pull some Pink Panther moves no worries!
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Post by dreamer on Nov 5, 2007 13:57:38 GMT -5
This is so great - wish I did not live that far away Here is another article I found Diary reveals feisty side of Katharine Hepburn By Tom Leonard in New York Last Updated: 2:32am GMT 01/11/2007 Katharine Hepburn was as strong-willed and prickly as the characters she played, previously unreleased diaries and private letters have revealed. The papers, covering her theatre career and donated by the trustees of her estate to the New York Public Library for the Performing Arts, show the late actress as the sort of woman prepared to call a policeman a "moron" to his face and to fight for the right to utter expletives on stage. Insecure about her acting, Katharine Hepburn made pages of notes on intonation, cadence and pitch The 22 boxes of papers, which include scripts, photographs, letters and scrapbooks, also show that Hepburn was insecure about her acting, especially on stage. She made pages of notes on intonation, cadence and pitch for a voice that Tallulah Bankhead once compared to "nickels dropping in a slot machine". Hepburn, who died in 2003, threw away very little, providing much for acting scholars and fans to pore over once the papers go on public display next February after they have been catalogued. On a 1950 tour of As You Like It Hepburn records in her journal how she was arrested for speeding by an Oklahoma policeman. Taken to a local lawyer's office, she slammed the door in the officer's face as she announced: "I have been arrested by this moron." Her anger grew as they tried to find a judge. "I said that I was sorry I did not have a week to take off and if I ever found an Oklahoma car in Connecticut, I would flatten all the tyres," she wrote. A costume design was found amongst the papers (drawing from The Millionairess) She later singed her mink coat on the lawyer's stove. When he speculated that it must have cost $700, she admitted she was "cheap enough to answer 'Certainly not. $5,500'". Cynthia McFadden, a co-executor of Hepburn's will, said the arrest story was written in the voice of the woman she loved – "impatient, funny and occasionally just a little high-handed". The collection includes fan letters from Sir Laurence Olivier, Henry Fonda and Charlton Heston, who gushed: "You have made all our hearts tremble, one time or another." Judy Garland wrote in 1952: "I've always said you were our leading actress. I am getting fat and pregnant and mean." A letter to her from a producer reveals George Bernard Shaw's misgivings about casting her in a production of The Millionairess. On being told that she played tennis every morning, Shaw said it would be too dangerous for her to play the part, which involved doing judo on an actor. "She'll probably kill him," he said. www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/10/31/whepburn131.xml
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Post by dreamer on Nov 5, 2007 14:04:05 GMT -5
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Post by Shaun on Nov 5, 2007 14:23:02 GMT -5
Excellent dreamer! Thanks for the pictures. I've seen very few of them. Well, none is more like it. Thanks again.
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annie
Junior Member
Posts: 86
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Post by annie on Nov 5, 2007 15:27:35 GMT -5
Here are some of the other photos which were used along with the many articles posted on the net. that one is TO cute !!!
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Post by dreamer on Nov 6, 2007 1:21:14 GMT -5
Yeah isn't it ;D
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Post by dreamer on Nov 6, 2007 1:26:41 GMT -5
Found the article again from where most of the photos were in - here it comes Kate Hepburn, Aunt Rose and MeI'm been rummaging through the attic of Katharine's Hepburn Turtle Bay townhouse -- which will be available to fans and scholars beginning in February at the New York Public Library's splendid Performing Arts branch in Lincoln Center -- and and I found all this great stuff about her theatrical career, which spanned more than 50 years. (A much longer version of my Post article today, which was cut for space, is pasted on the jump, along with some juicy excerpts from Kate's papers). I was lucky enough to see Hepburn perform twice, in a Stratford (Conn.) Shakespeare Festival production when I was in junior high school in the early '60s, and later starring as the fashion designer Coco Chanel in the musical "Coco'' on Broadway. But my Aunt Rose Lauria told me during her 92nd birthday dinner last week that she was actually invited into Hepburn's Turtle Bay house (where she lived from 1928 until around 2000) on one occasion in the 1960s. Aunt Rose worked in an office in the area with an older woman who introduced her to Hepburn -- unrecognizable in a scarf, Aunt Rose says -- at a produce stand. Kate later invited the two of them to tea in the parlor of the house, which Aunt Rose says was below street level. When Aunt Rose, an great movie fan, told Kate she had seen all her movies, Kate thanked her and added, "not many people have.'' Iconic actress Katharine Hepburn, who would have been 100 this year, is best known for her work in Hollywood, where she won a record four Best Actress Oscars and nine nominations. But Hepburn's first love was the stage, and she continued acting before live audiences for more than fifty years. She stored a voluminous record of her theater work in the attic of the Turtle Bay townhouse where the screen legend lived from 1928 up until a few years before her death in 2003. Now hundreds of photographs and thousands of pages of journals, scrapbooks, curtain speeches and letters — some offering a rare window into her sometimes diva-like behavior — have been donated to the New York Public Library, which will begin making them available to both scholars and her fans early next year. "We think of her as someone who was fiercely protective of her privacy," says Bob Taylor, curator of the library's Billy Rose Theater division at Lincoln Center, which is announcing the acquisition today. "But she instructed her executors to make this available to the public, not just to scholars. And she really saved everything." The contents of boxes covering 30 linear feet are still being catalogued, including hundreds of fan letters, from both ordinary citizens and celebrities like Judy Garland and Charlton Heston. One of the earliest items is a photograph of a very androgynous- looking Hepburn in a 1926 student production at Bryn Mawr College. One of the newest is the curtain speech she delivered at the final performance of her penultimate Broadway appearance in "A Matter of Gravity" (1976). Referring to the generally scathing reviews (one headlined "Kate in Looneyland") , she said: "It's a marvelous thing, the independent action of the American citizen, since you have been told very carefully to stay away from this." Hepburn had a famously rocky relationship with critics, particularly earlier in her career. Reviewing "The Lake" (1934), the humorist Dorothy Parker wrote that Hepburn's performance "ran the gamut of emotions from A to B." There's a typewritten statement from Hepburn that was delivered at a 1963 memorial service for producer Lawrence Langer. Because she had been "roasted in `The Lake' unmercifully and deservedly," (CQ) Hepburn recalled, the surprisingly thin-skinned actress persuaded him not to bring her 1936-37 touring production of "Jane Eyre" to New York despite "great business." "The next time I went to New York — I wanted to feel — at least from my own point of view — that I was as good as I could be." There are tellingly few reviews in the collection, and no material on her screen work — the latter donated at her request to the Margaret Herrick library of the Academy of Motion Picture Arts and Sciences in Los Angeles. One of the more entertaining items at the NYPL is a typed journal she kept of a national tour of Shakespeare' s "As You Like It" in 1950-51, in which her flinty and sometimes snobbish off-stage personality comes through loud and clear. She complains about the smelly bathroom at a Philadelphia theater and gripes that the manager of her hotel there "took great care not to reply to my telephone calls as to `what the hell happened to my room on the twenty-first floor which had been reserved for me?'¤" And when she and another actor are stopped for speeding while passing through Blackwell, Okla., on the way to a show in Kansas, all hell breaks loose. "I leapt out of the car at the officer in a fury [and] called to him `Which way do we go? I haven't time to waste.'¤" In her account, she calls the 6-foot-5 officer a "moron" and tells him in a "seething rage" that "if I ever found an Oklahoma car in Connecticut I would flatten all the tires." The furious Hepburn and her pal get off with a $20 fine, but not before she damaged her sable coat — which she informs everyone cost $5,500 — on a gas stove in her lawyer's office. Also covered are her years at the American Shakespeare Festival in Stratford, Conn., near the family estate on Long Island Sound that Hepburn maintained for decades and where she died. There's a 1959 letter to Hepburn signed by 25 actors, including Ed Asner, protesting the ouster of John Houseman as the festival's artistic director. Even more political is a speech that she delivered — after receiving a telegrammed plea from actor Keir Dullea — following the performance of the musical "Coco" at Broadway's Mark Hellinger Theatre on May 7, 1970. "A few days ago a few kids were killed at Kent State College," she said. "Now, you may call them rebels or rabble rousers. [But] our generation are responsible and we must take time to pause and reflect and do something .¤.¤.'¤" A ghostly presence in Hepburn's papers is her longtime companion, Spencer Tracy, with whom she made nine movies. Archivists believe that at least some of the unsigned congratulatory telegrams Hepburn saved are from him, and an ornate leather binder containing vocal exercises Hepburn used to prepare for her singing debut in "Coco" has the large initials "S.T." on the cover. Though her relationship with Tracy, who was long separated from his wife but wouldn't remarry for religious reasons, was an open secret in Hollywood, the American press kept it quiet until seven years after his death, when their friend Garson Kanin published a 1974 book on the couple. But a hefty scrapbook of photographs and press clippings from a 1955 tour of Australia indicates overseas reporters weren't always so discreet. A lengthy unsigned gossip item from a Brisbane newspaper cites "rumors" of Tracy's presence in the country and reports that Hepburn travels with "several framed portraits" of the actor. "A chauffeur could not establish contact when she phoned [her hotel] to tell her that her car was ready," read what could be a modern-day Page Six item. "Outside her door were a pair of very masculine looking brogues." EXCERPTS Undated letter from a family friend to another producer, circa 1930: "I want to introduce you to Katharine Hepburn, an actress of possibilities .¤.¤. She has had a variety of experience, including some stock, and she played for Arthur Hopkins in `These Days.' Arthur thought she had enough interest to carry her along as an understudy for Hope Williams in "Holiday" [Hepburn starred in a 1938 movie version]. She played opposite Philip Merivale in "Death Takes a Holiday" on tour and got some fine notices, but the Schubert factory hands dropped her .¤.¤. `' Letter to Hepburn from producer Lawrence Langer, describing a conversation he and an associate, Armina Marshall, had with playwright George Bernard Shaw, about casting the actress in Shaw's "The Millionairess, " July 1950: "GBS: I know she's a good actress. I mean is she strong? Armina: She's one of the most athletic girls I know .¤.¤. Shaw: Then it's dangerous for her to play the part. LL: Why? GBS: Dangerous for the actor she'd doing the judo with. She'll probably kill him. LL: Oh no, GBS. She's a very tender-hearted girl. She wouldn't kill another actor .¤.¤. " Entry in Hepburn's journal for tour of "As You Like It," Hershey, Pa., September 1950: "A man named Mr. Council took .¤.¤. me through the factory from stem to stern — most interesting — and shall never eat chocolate again — Hershey or otherwise .¤.¤. Realizing I would miss the plane if I could not make better time [in a traffic jam] — I went on the gravel [shoulder] and must have passed 300 cars all in screaming fury — till finally a man in a trailer truck shook his fist and tried to run me down. Needless to say we escaped."
Letter to Hepburn from Judy Garland, after Hepburn opened on Broadway in "The Millionairess, " October, 1952: "I've always said you were our leading actress, and what everyone is saying out here about you in the new play just about cliches the title for you. Congratulations. I am getting fat and pregnant and mean. It is fun, most of the time, but I am getting terribly impatient about now [sic]. I wish you would come out here so I could see you. Love and kisses, Judy."
Hepburn speech at memorial for producer Lawrence Langer, January 1963: "[In] 1938 [playwright] Philip Barry brought me "The Philadelphia Story" — I told him I must take it to Lawrence — Phil did not want to because he'd done the last one with the [Theater] Guild and he hadn't been too happy — I said I had no choice — I must take it to them — that they had been very decent about [canceling a planned New York run of] "Jane Eyre" and that I felt obliged — Phil said OK — `'
Curtain speech at "Coco'' following the shooting of students by National Guardsman at Kent State University, May 1968: "You can pray but we must think! And together for we belong to each other. If we don't we're lost. The mayor joins with me and the rest of the cast in asking you stay for a few minutes silence .¤.¤. if any wish to leave you may do so. Thank you for listening!"
Letter from Hepburn to an official at the Los Angeles Civic Light Opera Association, pleading to be released from her contractual obligation not to use the world "sh—" in the local production of "Coco," June 1971: "We have tried everything that anyone can think of to use instead — nothing works .¤.¤. .In an era of literature and cinema where every other expression is a four little word — it is — let's face it — curiously head in the sand — to prohibit the use of the least offensive of these expressions. .To me it is a seriously arbitrary decision and a false one — and alas one which injures very much our play."
Letter to Hepburn from Charlton Heston after seeing her final play, "The West Side Waltz,'' in Los Angeles, January 1981: "I thought you were extraordinary last night. [My companion at the performance] was a medical student when her first saw you. You were doing `The Philadelphia Story'; he sat in the front row. As you whipped into an angry turn upstage in a scene of wild weeping, one of your tears flew off the stage and lit on his cheek. He said to tell you his heart still trembles as he remembers it drying there..You have made all our hearts tremble, one time or another."
Letter from fan Paula Phillips to Hepburn, who had temporarily stopped a Boston performance of "Waltz'' when Phillips took a photograph, April 1982: "I apologize for upsetting you during your performance .¤.¤. this was the first time I have brought a camera into a theatre. I learned a bitter and very unpleasant lesson .¤.¤. Your theatrical admirers number among the million, and I am one of those million."
http://blogs. nypost.com/ movies/archives/ 2007/10/katharin e_hepbu.html# more
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Post by HollywoodHepcat on Nov 20, 2007 1:54:58 GMT -5
Well, if you didn't know it before, you'd definitely know now -- EVERYBODY LOVED KATE, BASICALLY.
HAHA when the hecks would Spence have visited her in Austrailia? But, awwwww picture frames. Mayhap that one of him standing between his polo ponies. While looking hot. In his polo duds. Indeed.
"Outside her door were a pair of very masculine looking brogues."
They were probably her's. *eyeroll* I can make fun because I love her. ;P
HAHAHAHAHA she drives like an escaped convict! Seriously, how many car situtaions can we count? But, yeah missing a performance is a no-no.
And... I just love how I knew most of those stories already. Pfffffffffftttt.
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Post by HollywoodHepcat on Nov 20, 2007 2:00:12 GMT -5
OH AND THE PICTURES.
LOVE THEM.
AND PHYLLIS PEEKING OUT FROM THE FLOOR ON TURKEY DAY.
AND THE FACT THAT ALL KATE LOVES TO DO IS CRAWL ON THE GRASS AND TAKE PHOTOS OF BUGS.
AND THE TPS SHOTS. Tracy's getting blackmailed! Or her father is. Or... Dexter? Some shady blackmailing is going on someplace, that's for sure.
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Post by Tracy Lord on Nov 20, 2007 22:12:34 GMT -5
Here are some of the other photos which were used along with the many articles posted on the net. that one is TO cute !!! i agree! gah! i love it!
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Post by HollywoodHepcat on Nov 25, 2007 4:08:14 GMT -5
THERE'S MORE ON THE WEBERNET, YA'LL. HAHAHAHAHA. I'm over Spence, ya'll. Yes, I know that's a statement. She should have just married Bobby The Flamboyance King. I can see them buying a lyrebird farm and taking turns changing his koala children's diapers. Benthall could live next-door. And fine, Spencer could live on the other side. It would be a beautiful sham-lavender marriage a la Jeanette/Gene Raymond. I don't care if there are SO MANY things wrong with that set-up. Also, she wore that smock thing ALL THE TIME. But Australia hearts Kate, which I suppose is the reason why I selected this one to post... alright, and the ST phone call thing. Go here now kthanks: www.nytimes.com/slideshow/2007/10/29/arts/20071031_KATE_SLIDESHOW_index.htmlHi, do you see how she went all Howard Hughes in her notes? Ladies and gents, we now know what Kate did with her spare time. Good God, sweetheart. THIS LIBRARY IS MINE FOR THE TAKING.
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Post by Richard on Nov 25, 2007 13:50:32 GMT -5
That was awesome Amber. Thanks for the link.
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