More than blood and gore, horror films survive on their sense of dramatic stakes. Similarly, theater diva Lainie Kazan, who has graced a number of horror themed projects, has as much drama in her voice as the best of them.
First coming to prominence as Barbra Striesand’s understudy in the original Broadway run of Funny Girl, Kazan may be better known as a comedienne in projects such as My Big Fat Greek Wedding and Lust in the Dust. But she’s added sass and vibrancy to Out of the Dark, a late ‘80s slasher featuring a golden cast of stand-bys including Karen Black, Tab Hunter and Geoffrey Lewis, and an episode of Tales From the Cryptthat featured other notables such as Bill Paxton and Brad Dourif…who did away with her overbearing office manager character in a very gruesome manner.
Cult aficionados know the exquisite Barbara McNair from her association with writer-director Jess Franco. Forever tempting in Venus in Furs, one of Franco’s most fully realized fever dreams, she also sang the theme song to 99 Women, one of his more popular (and sleazy) women in prison epics.
But McNair was a maverick on many levels. She was the first black woman to host her own syndicated variety show. She also co-starred on Broadway and recorded for Motown Records, scoring a minor hit or two with them. Appearing on many of the hottest shows of the ‘60s and ‘70s, she always added elegance and flair, as well.
Here, she gives the dapper, joking Dean Martin a run for his money with their take on the standard, The Devil and the Deep Blue Sea, an appropriate title for a horror blog if there ever was one.
Sultry cabaret legend (and Broadway performer) Julie Wilson joined the ranks of such acclaimed stage doyennes as Vivian Blaine, Gisele McKenzie and Patricia Morison when she appeared on the 1991 Monsters episode, A Face for Radio. All these grand dames of the dusky boards had horror credits to their names and Wilson was a welcome addition to the club.
Here as the clairvoyant Cassandra, Wilson tries to warn Morton Downey, Jr.’s obnoxious Ray Bright about impending danger. Of course, Bright treats Cassandra with nothing but skeptism and scorn. Despite this hateful onslaught, Wilson allows her character to maintain the cool regality that made her a wonder of the song set and establishes Cassandra as someone with both compassion and a rigid will. Naturally, Bright’s cynicism eventually relegates him to the clutches of a Dick Smith inspired creature in the episode’s penultimate awakening. Still, the finest moments here, for terror freaks who like the horror mixed with a cup of class, belong to Wilson.
Interestingly, the smoky Laura Branigan, a singer who possessed a much different style yet equally passionate fan base, also appears here as the woman who helps spell Downey’s doom. All in all, it’s a twisted music lover’s wonderland.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
The dreamy Linda Purl survived a vicious attack from Michael Ironside’s misogynistic killer in the semi-classic slasher Visiting Hours.
Known for the more refined atmosphere of the stage and weepy television flicks, the eclectic Purl also is a cabaret singer of note. Here, her subtle yet commanding take on Kurt Weill’s My Ship proves to be a real winner.
Until next we meet at that dock of sweet aspirations….
Not many can say that they were romanced by Humphrey Bogart and killed by Jodie Foster, but the classically beautiful, smoky voiced Alexis Smith can wear both of those cinematic crowns with pride. As the proud Cecily Latham in The Two Mrs. Carrolls and the even prouder Mrs. Hallett in The Little Girl Who Lives Down the Lane, she truly helped create celluloid magic.
And while her death by cellar door in the twisted and macabre Little Girl is certainly memorable, fans of a certain set will surely find her take on Stephen Sondheim’s Could I Leave You from Follies much more compelling by far.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
She added a little sophistication and dignity to cheesy, fun monster fests such as 1979’s The Darkand to 1982’s Parasite, but the glorious Vivian Blaine was best known for her take on the ditzy Adelaide in the original Broadway and movie versions of Guys and Dolls. Most importantly, perhaps, Blaine was also one of the first celebrity advocates for the AIDS crisis, providing a very visible presence in a time when most public figures shunned the realities of the disease.
Blaine, who also acted and sang in multiple movie musicals with the likes of the vivacious Carmen Miranda and smooth crooner Perry Como, reprised Adelaide’s Lament, her most famous number from Guys and Dolls, on the 1971 Tony Awards, twenty years after her debut in the role. There, she proved, beyond a doubt, that no one could portray the little quirks and eccentricities of the character quite like she could.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Acting like a witch isn’t always a bad thing – especially when you are talking about Charlie Irving and Aaron Cammack, the two versatile performers playing seductive witches in New American Folk Theatre’s Dark of the Moon. I, recently, had the chance to talk with this fabulously talented duo and I am still feeling beguiled and fascinatingly charmed!
I left my prom dress at home – but the kind cast of Bailiwick Chicago’s production of Carrie, The Musicalstill allowed me to chat with them after a recent show.
Carrie, the Musical runs through July 12th, 2014 in Chicago at the Victory Gardens Theatre, 2433 N. Lincoln Avenue. Further information is available at http://www.bailiwickchicago.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Brass Beds, Brass Monkeys, Brassy Dames! Big Gay Horror Fan will take the latter, thank you, especially if it is the grand, larger-than-life goddess of stage and screen, Marcia Lewis (1938-2010).
Lewis made her Broadway debut opposite such powerhouses as Phyllis Diller and Ethel Merman in a production of Hello, Dolly! Their combined magnificence obviously gave her a clue on which coat rack hook to hang her professional personality. Lewis became best known for belting out the goods as the comically evil Miss Hannigan in Annie (appearing with Jason Goes to Hell’s Allison Smith) in the 80’s and as a superior Big Mama Morton in the award winning 90’s revival of Chicago.
Ice Pirates
But, this saucy wonder also appeared in such science fiction efforts as the original Bionic Woman (as an aggressive wrestler on the second season episode ‘In This Corner, Jaime Sommers’) and 1984 goof-fest The Ice Pirates (whose jaw dropping supporting cast included Anjelica Huston, Ron Perlman, John Carradine and Bruce Vilanch).
Terror and thriller enthusiasts were also glazed over with happiness when Lewis appeared in a couple of horror influenced offerings in the late 70’s, as well.
In 1977 television film The Night They Took Miss Beautiful, a handful of glamorous pageant contestants are kidnapped by a group of ruthless, politically charged outlaws. Suffering from roulette style degradation and aggression, these pretty ladies (including genre regular Rosanne Katon, Dallas’ Victoria Principal and Karen Lamm from Ants, AKA It Happened at Lakewood Manor, and The Unseen) soon find their worst enemy just happens to be Lewis’ drippingly sweet, completely savage Mrs. Barrett. As mother to Lamm’s sweet Cindy Lou, Lewis is a wicked wonder. Lewis’ Barrett is so determined that her daughter escape with youth intact, that she offers her up, willingly, as a sexual conquest, to one of the amorous vigilantes. When Lamm/Cindy Lou finally rejects her mother in the telefilm’s final moments, Lewis shows shocked vulnerability yet a steely determination to go on – it is a bravura performance (worthy of a Tennessee Williams’ subplot or two) in an enjoyable yet unsubstantial suspense offering.
In 1982’s Night Warning (AKA Butcher, Baker, Nightmare Maker among others), which was filmed in the late 70’s, Lewis brings an appropriate yet over-the-top charm to her nosey Margie. As best friend to Susan Tyrell’s increasingly unhinged lead, Cheryl, Lewis radiates with personality. She hits the nail on the head as the much seen housewife who truly wears the pants in the family. It’s a theatrical performance, but one grounded in reality. Concerned yet sneaky, Margie soon faces down the psychotic Tyrell with an emotional resourcefulness brined in great fear. Incidentally, Night Warning has become a deserved cult classic due to it modern take on the Gothic esthetics of hag horror, it’s even keeled treatment of gay characters and subtle looks at the venomous effects of racism.
Here is a fun clip of Lewis trying to manipulate the legendary Phil Silvers in The Night They Took Miss Beautiful: