Search results for ""Author Kevin Winkler""

Bette Midler today is a beloved legacy star, best known for her comic witch in Disney''s Hocus Pocus (1993) and its 2022 sequel. She has also gained prominence for sentimental, anthemic ballads like Wind Beneath My Wings, her initiation of green space projects in New York City, and tussling with Donald Trump on Twitter. Her profile is that of an articulate, civic-minded matriarch enjoying thoroughly mainstream stardom. But more than fifty years earlier she emerged from the steam of the subterranean Continental Baths as the Divine Miss M, the bawdy, campy, fearless alter ego she created in front of an audience of towel-clad gay men who came to the baths seeking not just sex, but a sense of community and safety from an often-harrowing outside world. I was able to take chances on that stage that I could not have taken anywhere else, she later wrote. Ironically, I was freed from fear by people who, at the time, were ruled by fear. And for that I will always be grateful. Overnight, Bette Mi

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Grand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw. Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim. Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy. Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination.

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