Exceptional People: Billy Clift

"The sadness of our existence should not leave us blunted, on the contrary--how to remain thin-skinned, vulnerable and stay alive?"

--Montgomery Clift

The surname "Clift," has long been part of my own life and career.  Those of you who are regular readers of this site, and those who know me, are aware of the many years I've studied and written about the work and life of Montgomery Clift whose brilliant career and monumental contributions to the world of film and theatre are often overshadowed by the tragic turns of his personal life and his untimely end.  The Clift family history, in general, is an interesting tale of American success, ingenuity and, in some cases, yearning.  

Though I was never afforded an opportunity to meet, or even correspond with, Montgomery Clift who passed away in 1966, seven years before my birth, I have been fortunate enough to enjoy an association with a cousin of his, Billy Clift--an influential and ingenious fellow in his own right.


I was first aware of Billy Clift as being the personal hair and make-up man of Elizabeth Montgomery.  They were the perfect team, joking with each other about the coincidence of their surnames "Montgomery-Clift."  During this period of his life, of course, Mr. Clift worked with many celebrity clients, but Miss Montgomery was the benchmark of elegance, self-control and style, and Billy found a deep connection with the talented actress.  When Miss Montgomery's battle with cancer came to an end, Billy Clift was deeply affected by the death of his close friend and associate, and, soon found that his work was no longer as gratifying as it once was.  And, so, Mr. Clift sought to reinvent himself, to restart his life, and to continue to live the life of class and dignity which he spoke of with Miss Montgomery.  Packing up his belongings and his reluctant partner, Mr. Clift relocated to what he calls,the "sleepy town of Pacific Grove, in-between Monterey and Carmel, very cinematic."

The bucolic setting freed Mr. Clift to sort through the many feelings which had built up inside of himself during his time in Los Angeles, giving him an opportunity to make sense of his many thoughts and plans as well as make peace with the world around him.  This important and beneficial time in Mr. Clift's life soon spurred another transition, this time in the form of a move to San Francisco, a city of great significance to the Clift family.  Mr. Clift describes his affinity for San Francisco thusly, "I had always had a deep connection with [San Francisco]. My family ties with the Clift Hotel (founded by my great Uncle Fredrick C. Clift), the history of the city and a simple soul connection made this an obvious choice."

The relocation initially proved to be personally and artistically fruitful.  There, Mr. Clift completed his book, “Everything Is Going to Be Just Fine; the Ramblings of a Mad Hairdresser," (2001).  This joyful time was soon threatened when Mr. Clift was weakened by full-blown AIDS. His prognosis was negative, so much so, that at a point, Mr. Clift was released from the hospital so that he might die at home as was his wish.  

The day after his release from the hospital, Mr. Clift's doctor called his home to see if the critical patient had died.  Clift's caregivers informed the physician that he had not, and, in fact, that he wished to return to the hospital--but with one caveat.  Clift had a desire to either "die well or live well."  And, if he was going to live, and be treated, his doctors had to listen to him, to treat him, and not the syndrome.  As Billy describes the time, "Before I had so many things attacking me they were throwing the kitchen sink at me.. I knew that this was killing me more then the diseases."

And, listen, they did.  A year later, Clift had recovered enough strength to travel to talk about his book as well as lend his talents to work with the STOP AIDS Project, for which he served as a counselor for the PLUS seminars. Five years since the day Mr. Clift first left  the hospital, he finally began to feel that his body had recovered its former strength.  His experience staring into the face of death, reminded Billy how brave he truly was, and he soon tackled a dream which he'd often dismissed for himself--to become a filmmaker.  Billy tells me, "Growing up in Hollywood, it had always been a secret passion of mine to tell stories on film. I now gave myself permission to follow this dream. The most obvious was to take my book and turn it into a screenplay, but first I needed to learn how to become a director/writer and producer."  Living his own philosophy of "stop whining and learn," Mr. Clift tackled his first film project, a short titled "The Fairy Tale."   This led to the documentaries, "The Pure Eccentrics, San Francisco” and “The Jose Sarria Story."

With those successes to his credit, Mr. Clift returned to his initial goal of seeing his book “Everything is Going To Be Just Fine” translated into a feature film.  With the film almost completely financed, high-end stars signed, and everything falling into place, the stock market crash of 2008 changed everything.  The dream was suspended.  Billy allowed himself one day to grieve.  The following day, he began work on the screenplay, "Baby Jane?"  Fundraising followed, and, in six months, Mr. Clift was filming his first feature film.  No, it wasn't what he thought would be his first feature, but it was still the answer to a lifelong question.  The film premiered in 2010 at the Castro Theatre in SF to a sold out crowd, receiving rave reviews from Variety, Fangoria, SF Examiner and KCET to name a few. 

In 2011, Clift directed the film “I Want To Get Married” which went straight to world wide distribution.

Future projects include a return to Clift's family history.  Billy tells me, "I never met my famous distant cousin, Montgomery Clift, But I did know Brooks, his brother, who lived in Hollywood. Brooks would come for holidays like Christmas and thanksgiving dinners. He had an uncanny tone and mannerism that reminded one of Monty. He had dedicated his life to educating people on Monty’s career and talent."  Upon realizing his own goal of becoming a filmmaker, Billy knew that he could also further the dreams of both Montgomery and Brooks Clift.

I, personally, have always believed that Monty Clift has never been given his rightful place in Hollywood's pantheon of greats.  After all, without Monty, there'd have been no Brando, no Dean.  The face of cinematic acting would have been vastly changed had Montgomery Clift not paved the way for future generations of actors, giving them permission to create sensitive, deep, complicated characters.  As I previously stated, too often the confusion of Monty's personal life clouds the brilliance of his career achievements.  Yet, personal and professional lives are often tightly woven together.  And, I've longed to see a true depiction of Montgomery Clift's life come to light.  

So, I find it most pleasing that Mr. Clift is in development for a film about the life of his famous cousin, Montgomery, chronicling Monty's friendship with Elizabeth Taylor and culminating with the car crash during the filming of the ponderous picture, "Raintree Country" which proved to be the turning point in Monty's existence--both personal and professional.  

 Additionally, Billy is in development for the horror/fantasy “Alice In Zombieland”, and “Samantha”, a parody of "Bewitched" in the style of “The Brady Bunch Movie."  Billy adds, "I owe Elizabeth to wash away the memory from people's minds of that poorly constructed film starring Nicole Kidman."  Two films which will be completed in 2013 are  “Hush Up Sweet Charlotte”, "an almost-sequel" to “Baby Jane?” (in much the same way that, "Hush...Hush, Sweet Charlotte" was an almost-sequel to "Whatever Happened to Baby Jane") and a parody of the spy genre called “Mr. Las Vegas”, about two wacky spies who are hired by Wayne Newton to uncover a plot   to steal his title of Mr. Las Vegas.

That's quite a resume for a man who was sent home to die a dozen years ago, and a true testament to the strength and resiliency of the creative spirit.  When Montgomery Clift spoke of allowing oneself to remain vulnerable and stay alive, he could well have been speaking of his distant cousin--a man he never would meet, but who clearly keeps his keen and inspirational spirit alive.

Exceptional People: Silas Weir Mitchell

I don't know what the secret to longevity as an actor is. It's more than talent and beauty. Maybe it's the audience seeing itself in you.

--Joan Blondell 

If you've watched a television program in the last decade, you're bound to have seen Silas Weir Mitchell playing any one of the dozens of characters he's created.  The celebrated character actor is often described as playing, "offbeat," "quirky," or "unstable" characters.  yes, certainly, when one examines the actor's filmography, it's easy to see that he specializes in playing "outsider" types.  However, what's no immediately apparent is that Mitchell makes these "others" into wholly relatable, sympathetic and motivated characters which are often quite likable.

With David Giuntoli on "Grimm."
NBC Universal

I'm not going to list Mr. Mitchell's many credits.  That information can be found anywhere else online.  Here, however, I'd like to focus on the man's talent as that's his greatest contribution to our collective humanities.  In order to do that, let's examine Mr. Mitchell's current starring role in NBC's Grimm.   Now in its second year, the program stars David Giuntoli as a Portland detective, Nick, who also happens to be descended from the famed Brothers Grimm who, when not chronicling the stories of mythological creatures, spent a great deal of time fighting them into submission, it seems.  When Nick learns of his heritage and becomes aware that as the "heir" to the Grimm title, he must face all manner of wicked creatures, he happens upon a "blutbad" (essentially a werewolf) called Monroe.  With Monroe's help, Nick is prepared to carry on the family tradition.


Mitchell's performance as "Monroe" is an excellent example of what sets this actor apart.  While many might play Monroe as simply a werewolf who's trying to be "good," Mitchell, at once, gives the character a richness and depth.  Monroe, in Mitchell's care, is sympathetic, a Renaissance man with refined tastes which belie his primal nature.  This is the mark of a true character actor--one who can play an untraditional role and still make that character relatable and likable.  It's a feat few actors can competently accomplish.  

When not blutbad-ing, the Pennsylvania-native maintains his interest in his first love, theatre, and spends time with his doberman.  The actor, beyond the onscreen traditions of his fictional blutbad ancestors, knows quite a bit about the importance of family lineage.  He is named for the Nineteenth Century author and physician, Silas Weir Mitchell.

Exceptional People: Linda Gray

“The beauty of a woman is not in the clothes she wears, the figure that she carries, or the way she combs her hair. The beauty of a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides. True beauty in a woman is reflected in her soul. It's the caring that she lovingly gives, the passion that she shows & the beauty of a woman only grows with passing years.” 

― Audrey Hepburn 

About sixteen years ago, when I was a young pup still working in television production, the program for which I worked wrapped production for the season and everyone went off to do other things. Everyone except me. I remained at the stages, a fixture of the studio not unlike the scissor lifts or lighting grids. My task, during the hiatus was to take care of the stages and see to it that the prop house and set storage were organized. I spent many, many days completely alone on those dark stages, entertaining myself occasionally by driving around in circles on one of the lifts. 

For a hermit-type like me, this was all quite heavenly. And, then, I was informed that the stages had been rented, and, as a fixture, I went along with the deal. “Dallas,” the long-running primetime serial had hired the empty space so that they could, in a time-saving effort, shoot interior scenes for the last of their reunion movies, while other cast and crew were engaged shooting at nearby Southfork Ranch. And, thus, “The War of the Ewings” was underway. Before I could figure out where I was going to hide while all this was going on, I was informed I was to continue as stage manager and take care of our visiting primetime guests. My duties were to: a. unlock doors, b. make sure no one monkeyed with the Soutfhork interiors which had sprung up, as if overnight, on my private playground, and c. see that no one set fire to the place. In general, I was also meant to make sure that our guests were comfortable. 

And, so, I’d make a show of walking about with my toolbelt (from which I never withdrew anything), my ring of keys and a smile, greet people and then retreat to my little hutch from where I watched the proceedings—wholly aware that of the over-fifty people there, I was certainly the least important unless someone got locked out of the bathroom.

All the while, though timid, and nervous being the only representative of the studio present, I was quite pleased. I had watched Dallas with my parents growing up. As a North Texan, I’d been to Southfork many a time. This was part of my personal history, and to see the cast of the defunct show, reunited for what, at the moment, seemed like the last time was quite special indeed. I introduced myself to many people with whom I’d grown up, but of all of them—throughout their entire visit to those now-gone stages—only two made a point to remember my name and to greet me every day. One was Patrick Duffy. The other was Linda Gray.

I was particularly impressed with Miss Gray. She displayed a keen sense of humor and a lack of pretension. Even after a particularly grueling series of shots wherein she and Patrick Duffy, wearing nude-colored ungarments, stood in a shower together—take after take of being sprayed with what appeared to be a showerhead, but what was really a garden hose of foul Texas water—Miss Gray emerged, cheerful and spirited, if not soggy. And, when those Southfork bedrooms were struck, and the trucks departed, it was Miss Gray, and she alone, who paused at the entrance, set down her bags, and walked back to the stage door to say a sincere, “Thank you, Joseph. You were wonderful.”


Now, so much has changed. I’m nearly forty. Gone is the wiry, dark-haired youth with TV dreams. He has been recast with a sturdy, henna-haired writer, though still prone to being a hermit. The stages are long gone. They’re a warehouse and I sincerely doubt that anyone who works there knows that those walls once housed many wonderful fantasies. 

Of course, Southfork remains. It always does. And, it is once again home to the Ewings who have found a primetime home once again.

Mr. Duffy is still handsome, though grayer. Mr. Hagman has left us. But, Linda Gray—she seems, somehow unchanged. And, I must confess, I’m quite glad of it.

Linda Ann Gray a California native, began her career in front of the camera as a model who would appear in almost four hundred television commercials. She made small appearances in several feature films, but, for the most indelible of her roles in the 1960s, we didn’t even see her face. “Mrs. Robinson, are you trying to seduce me?” Those legs…they did not belong to Anne Bancroft. They belonged to young Linda Gray who jokes that she was paid “$25 per leg” for the use of those appendages in the film and in all of the picture’s advertising. 

Meatier roles would follow in the 1970s as Miss Gray appeared on many television series such as “Marcus Welby, M.D.,” “McCloud”and “Switch.” 1977 brought a starring role in a series when Miss Gray was cast as Linda Murkland, a fashion model and also the first transgender series regular on American television in the television series “All That Glitters.” A role in “Murder in Peyton Place” would soon follow. 

And, then, came “Dallas.” Miss Gray’s role of J.R. Ewing’s (Larry Hagman) long-suffering on-again, off-again, alcoholic, former beauty queen wife, Sue Ellen, would bring the actress international recognition and acclaim. With “Sue Ellen” came an Emmy nomination for Best Actress and numerous international awards including Germany’s Bambi Award, Italy’s Il Gato for Best Actress on Television and she was voted ‘Woman of the Year’ by the Hollywood Radio & Television Society as well as an opportunity for Miss Gray to act as a director. 

While we tend to associate Linda Gray with “Sue Ellen,” and will continue to do so now that she’s once again roaming the halls of Southfork in TNT’s reboot of the series, we mustn’t forget that there’s much more to Linda Gray who has made quite a splash in independent films such as “The Flight of the Swan,” “A Very Mary Christmas” and ”Hidden Moon.” 

However, perhaps most impressive is Miss Gray’s work on stage. She has appeared in a theatre reading of “Bette Davis Speaks”, “Terms of Endearment”, and most recently, in the London West End production of “The Graduate” where audiences were treated to more than just her legs this time as she portrayed Mrs. Robinson. 

Despite the busy schedule of “Dallas,” her work as a theatre actress and director, and having some semblance of a personal life, Miss Gray always makes time to support those causes which she holds most dear. 

Miss Gray served as the United States Goodwill Ambassador from 1997 to 2007 and remains active in raising awareness of women’s and children's health issues, traveling globally to speak to women about maintaining their own health as well as the health of their families. Miss Gray has also leant her keen spirit, talents and humor to an organization which allows differently-abled persons to participate in horseback riding, and has worked tirelessly to support AIDS charities, and Meals on Wheels. She even traveled to Malawi, Africa where she distributed food to children in need.

For all of these reasons, and many more, Miss Gray is an exceptional person. Like Audrey Hepburn before her, Miss Gray’s true beauty is the beauty that she makes in the world. And, truly, for me, she’ll always be the star who stopped to remember me—a fixture, not unlike the scissor lifts, not even worthy of screen credit. That says a lot about a person. And, that…that is truly exceptional.

To learn more about Linda Gray, visit her official website.

Exceptional People: Kathy Garver

“When I cry, do you want the tears to run all the way or shall I stop halfway down?” 

--Margaret O’Brien. at age 6 

While most of us spent our earliest years concerned about spelling tests and math homework, and preoccupied with when, where, with whom, and with what we can play, some children have tasks that most adults couldn’t master—memorizing scripts, dealing with fans and learning how to be the best in the business.

We’ve all heard about those child actors whose adult lives have been just the opposite of the happy endings their characters enjoyed. For each of those tragic stories, there are dozens more of young entertainers who have been afforded content and fulfilling lives. One such story is that of Kathy Garver.

Maybe her name doesn’t immediately ring a bell, but I’d wager if I said, “Cissy” from “Family Affair,” you’d know her at once. Pretty, sweet, intelligent and loyal, Cissy was the big sister everyone wanted. Though most of us will always think of Miss Garver as “Cissy,” that’s not where her career ended…or even started.

The California native always exhibited exceptional behavior and an impressive talent. She caught the eye of the great Cecil B. DeMille who initially had contracted the child actress for a minor part in his “The Ten Commandments.” So impressed by Miss Garver’s performance, the legendary director ordered new scenes to the film to showcase his find. But, by this point, Kathy was already a pro. She’d already been featured in the classic, celebrated film, “The Night of the Hunter,” under the direction of Academy Award winner, Charles Laughton. 

As a freshman at UCLA, Miss Garver was the obvious choice for the role of “Cissy” in a new CBS sitcom, “Family Affair,” joining film-star Brian Keith as “Uncle Bill” and classically-trained Sebastian Cabot as “Mr. French.” The series lasted five years and allowed America to watch Miss Garver grow into a beautiful woman alongside her on-screen siblings: Anissa Jones as “Buffy” and Johnny Whitaker as “Jody.”

Miss Garver remembers the years she spent on “Family Affair” to be exciting and happy. She brightly recalls, “Brian Keith only worked for about half the production schedule so the rest of us would have to film scenes from as many as six different episodes in one day.” Furthermore, the laws concerning young child actors dictated that the smallest cast members could only work certain hours. Kathy reminisces, “I actually had to do most of my close ups opposite the assistant director, a paunchy middle aged man glued to a cigar. I had to use a lot of imagination to see him as my six year old sister, Buffy!”

After “Family Affair,” wrapped production, the world stage beckoned to Kathy Garver. In what had to have been a true adventure, Miss Garver starred in an Israeli musical stage version of the TV series. I’d love to have seen that. Miss Garver learned Hebrew phonetically for her role.

This would be followed by a turn at London’s esteemed Royal Academy of Dramatic Art, and a continuation of her dramatic studied. There, Miss Garver starred in productions of “Romeo and Juliet” and other classical works which served to hone her already sharp performing skills.

A return to the U.S. brought starring roles in productions of “My Fair Lady,” “Sunday in New York,” “A Midsummer’s Night Dream” and the “Trojan Women.” With these triumphs to her credit, Miss Garver returned to her alma mater, UCLA, where she earned a Master’s Degree in Theater Arts. 

The recipient of countless honors, Miss Garver is the recipient of “The Family Television Award, “The Golden Halo Award,” and the “Emerald Award” a lifetime of outstanding achievements in the entertainment world including not only her roles in motion pictures, television, and on the stage, but also her work in radio, voice-over animation, and audio book narration. 

Now, Miss Garver uses her talents to inspire and motivate people, as well as to educate them through a series of motivational workshops, Keynote speeches and presentations designed to demonstrate and encourage a healthy lifestyle for a woman managing family, success and relationships. And, somehow, she still manages to find the time to act! In recent years, Miss Garver has been featured in films such as “ Sweet November,” and “The Princess Diaries,” in addition to a number of television appearances.

Like others before her who have transitioned from child star to functional adult, Miss Garver also seeks to encourage young actors. To that end, Kathy has served on the board of the Young People's Committee of the Screen Actors Guild, has volunteered to assist new, young actors in the business. Miss Garver also lends her talents to such charities as Child Help (which aids abused children), Rose Resnick Light House for the Blind, and The Make a Wish Foundation. 

To be honest, that’s just the tip of the iceberg. I could go on and on about the many other projects which this talented individual has launched and is currently in the process of developing. To learn more about Miss Garver, you can visit her website.

We spend so much time, as a culture, dwelling on the tragic, we often forget that not all young actors meet sad ends. Miss Garver, like Margaret O’Brien before her, has shown that a person’s life can take a successful and joyful direction regardless of a childhood spent in front of a camera or bathed in stage lights. It’s Miss Garver’s past, yes, which is fascinating, but it’s her future which makes her truly exceptional. 

Exceptional People: The Art of Judith Light

“Without wonder and insight, acting is just a trade. With it, it becomes creation.”    --Bette Davis 

The landscape of television programming, what little remains that hasn’t given way to the dubiously-labeled genre of “reality programming,” is, populated by trades-people who offer passable and acceptable wares. Few, however, are what one might consider artists. When one stumbles upon such a creator of art, that individual’s name and face remain forever in his memory.

One of those names, for over two decades, has been Judith Light. 

Miss Light’s theatre roots are obvious at once. The Carnegie Mellon University graduate began her acting career on the stage in repertory theaters throughout the United States, Canada and Europe. Debuting on Broadway, Judith performed in the classic “A Doll’s House.” This successful introduction to the Great White Way led to a season at the Eugene O’Neil Playwright’s Conference.

While most of us tend to associate the divine Miss Light with her television roles, it’s important to note that her heart will always be on the stage. After bringing her talent into homes across the world through the medium of television, Miss Light returned to live theatre with a 1999 with her starring role as the complex and commanding “Dr. Vivian Bearing” in the critically-acclaimed and Pulitzer Prize winning Off-Broadway production of “WIT”, at Union Square Theater. Miss Light’s performance was heralded as brilliant, and her achievement was recognized by her peers when Judith received the Helen Hayes Award and the Elliot Norton Award for the role.

This star-turn in “Wit” led, in 2001, to Washington, DC, where at The Shakespeare Theater, Miss Light portrayed the eponymous character in the Henrik Ibsen classic “Hedda Gabler.” Several other celebrated stage roles followed. One brought a nomination for a Tony Award for “Best Performance by an Actress in a Featured Role in a Play” in 2011, for Miss Light’s role in “Lombardi,” by Academy Award winner Eric Simpson. 

Most recently, in June of 2012, Miss Light’s acting genius afforded her a coveted Tony Award for “Best Performance by a Featured Actress in a Play,” for her work in “Other Desert Cities”—a role which also earned Judith a Drama Desk Award for Best Featured Actress. 

Throughout all of this, Miss Light also found the time to entertain millions with her television in film work starting with her ingénue role as Karen Wolek on “One Life to Live,” a part which won her two Best Actress Emmy awards.

Most of us, however, recognize Miss Light as Angela Bower from her beloved primetime series “Who’s the Boss?” A host of other featured television roles would follow in addition to work in films such as “The Shoemaker” with Danny Aiello, and “Ira & Abby” by Jennifer Westfeldt, with Robert Klein, Fred Willard, and Frances Conroy. 

This year, we’ve seen Miss Light’s deliciously Oedipal turn on TNT’s “Dallas” reboot as a scheming villainess who looks remarkably younger than the son to which she is just a bit too attached.

Though the many awards Miss Light has amassed throughout her career speak to her unique talent, the true measure of her art is evident to anyone who has seen her perform. It’s the “wonder and insight” of which Bette Davis once spoke that gives the bite and heart to all of Miss Light’s roles. Without this depth, an actor is simply parroting life. Judith Light clearly gives a new, remarkable life to each character she portrays. It’s this singular sense of creating, of being, of living which makes hers a very special talent. 

All Images from JudithLight.Com

Thankfully for many, Miss Light doesn’t keep her talent limited to just her work. She is an active Board Member and advocate for many organizations representing AIDS-related and Human Rights concerns. These include: Broadway Cares: Equity Fights AIDS, The Names Project/The AIDS Memorial Quilt, The AIDS Memorial Grove, CDC’s Business Responds to AIDS/Labor Responds to AIDS, Hollywood Health and Society, Project Angel Food, The Matthew Shepard Foundation, The National Aids Memorial Grove, The Point Foundation, The Rome Chamber Music Festival, Faith In America and The Trevor Project.

Exceptional People: The Art of Renée Taylor

“Comedy demands more timing, pace, shading and subtlety of emphasis. It is difficult to learn…” 

--Irene Dunne 

Miss Dunne would certainly, in my estimation, be someone whom I would wish to study to get a sense of the workings of comedy. Dunne later went on to say that once an actor perfected comedy, dramatic scenes used the same principles, only slowed down. Using that logic, developing a mastery of comedic timing is the key to all acting. When I think of my favorite dramatic actors, each one of them, from Clift to Davis (Bette, not Geena), was, as a person, patently humorous and clever.

I have few deep affections for living performers. None of you should be surprised by this, given that you all know me as a historian. I find a good many present-day actors to be lacking in depth and versatility. Perhaps, it is because individuals are often typically trained to be good at only one thing. Nonetheless, for the most part, I’m perennially underwhelmed by the current crop of “stars.”

Furthermore, those who know me well know that it’s quite difficult to make me laugh. I mean really laugh—a big guffaw from the gut. Even if I do find a performer amusing, it’s likely to fade quickly. I’ve written long enough that I know all the tricks, and I’ve acted just enough to know when a performer is trying to be funny. Most comedians leave me cold.

And, then, there’s Renée Taylor—glorious, glowing, gorgeous, genuine Renée Taylor. Now, there’s an actor who, without fail, makes me laugh. Big laughs! Continuous laughs! Miss Taylor keeps me guessing. She doesn’t follow the set “comedy pattern.” That’s beneath her. She knows how to dissect the pattern and reassemble it into a mosaic of true comic genius. In fact, Miss Taylor’s performances are so indelibly brilliant that just the mere thought of a bit I saw years ago can make me chuckle. 

Most audiences these days know Renée Taylor as “Sylvia Fine,” the passionately opinionated, over-involved, protective and endlessly hungry mother of Fran Drescher’s (another one who can always get me laughing) character on “The Nanny,” and most recently as a recurring character on Fran’s newest show, “Happily Divorced.” Underneath the monumental blonde coiffure and behind the tiger-print top which we associate with Sylvia, lies a sharply clever mind and beats a fierce heart—the two organs most involved in comedy. To make people think and feel, one must first do the same. Otherwise, parrots would earn Emmy Awards.

And, though Sylvia Fine is, for many the first thought when hearing Renée’s name, Miss Taylor has an impressive history in entertainment which predates the voracious mama.

The Bronx-born beauty began her career in comedy in the 1960s when she took the spotlight at Bon Soir, a popular New York nightspot. You may have heard of her opening act—a then-struggling singer named Barbra. Yep. Streisand. 

1968 brought Miss Taylor to the big screen when she portrayed “Eva Braun” in the original version of Mel Brooks’ The Producers. Further film success came when, Renée and her husband since 1965, Joseph Bologna, received Academy Award nominations for the film adaptation of the sensational Broadway smash which they wrote together, “Lovers and Other Strangers.” In 1971 saw the couple star in the film “Made For Each Other,” a property which they also penned. That screenplay earned the duo a nomination for the Writers Guild of America Award for Best Comedy.

Miss Taylor is no stranger to television, of course. In addition to a host of special appearances, Renée Taylor, showed off her comedic genius in programs such as “Dream On” and “How I met Your Mother.”

Regardless of the medium, Miss Taylor’s talent knows no bounds. I’m reminded of Montgomery Clift’s assertion that acting is not “holding a mirror to life,” but rather “holding a magnifying glass to it. Clift rightfully believe that a successful actor must know just how much to magnify life. Whether she knows it or not, that’s exactly what Renée Taylor does with each performance. In order to play a “larger than life” character such as Sylvia Fine, an actor must first understand life. Anyone can be comically exaggerated, but only a successful comedian knows how to exaggerate just enough to make that character human, believable and sympathetic. This is a skill which few possess, and, it is what makes Renée Taylor a joy to behold. That sort of cleverness, ability and human understanding is, truly, exceptional.

Exceptional People: Paul Carroll

"Zest is the secret of all beauty. There is no beauty that is attractive without zest."    
--Christian Dior 



Very often, the zest about which Dior spoke, is sacrificed, sliced and shorn, on an altar of utilitarianism, and from those deep cuts, beauty bleeds itself into a pallid, but serviceable ghost.  In my years of research in the arts and humanities throughout the ages, I've found that the artists who often best understand the fuel of zest are those who work in fashion.  Clothing is utilitarian, fashion is art.  And, frankly, in this pajamas-all-day culture, we need all the art we can get.

The idea of fashion means many things to many people.  For some, it's a scarecrow of a model, galloping down a runway in a garment so affected as to be utterly unwearable in life.  Yet, to the finest designers, fashion can and does equate to wearable art for all.  And, this leads us to Paul Carroll, this week's "Exceptional Person."

  The founder of Paul Carroll NY, Mr. Carroll designs for real women, women who are more than walking mannequins, women with lives, loves and responsibilities--not just walking hangers.  Mr. Carroll's innate mastery of shape, color and texture allows him to create both couture and high-end ready-to-wear designs which enhance a woman's lifestyle and show the world her sensibilities and inherent elegance.

The dance of sequins in the light, the sheen of silk against jersey, the fluidity of a line, softness contrasted against sharp planes, comfort, opulence, timelessness with a playful eye to the flavor of the week.  This is Paul Carroll.  This is art.  Art in motion.

If the name sounds familiar, you may have heard of Mr. Carroll in association with a favorite television program or cause.  You've seen his work on CBS' Guiding Light and Another World.  His delicate designs have graced the lovely Susan Lucci and other stars through a long association with All My Children, formerly of ABC Daytime, and soon to be resurrected online.  You will, no doubt, have noticed Mr. Carroll's creations on red carpets.  His masterworks have promoted the "Go Red" movement to raise awareness of women's heart health.  Fabrications,  threads, beads and sequins combine in a most brilliant dance--a celebration of a woman's life.

With two collections a year from his fashion house since 2000, Mr. Carroll's wares have graced some of the most famous and beautiful women in the world.  You know his work.  You've admired it.  But, first, you admired the woman wearing the gown.

You see, Paul Carroll doesn't force the woman into the dress, he makes the dress for the woman.  Fashion isn't the master, art is.  And, like all art, Mr. Carroll's  designs seek to enhance the beauty of nature, to frame what is real.  He doesn't force the woman into the style; he creates the style around the woman.  With the same sensibility of a painter or a sculptor, Carroll employs his media to create something greater than reality without betraying that  reality.

Carroll describes his product as "uniquely American," and counts the sheer glamour of classic Hollywood among his inspirations.  His creations are sexy without being vulgar, elegant without being unwearable, current without being trendy.  In short, each garment is unique.

That range of creation can only come from commitment and such commitment can only be born of zest.  Dior would be proud.

Learn more about Paul Carroll and view recent collections here.

Exceptional People: Carol Channing

Laughter is much more important than applause. Applause is almost a duty. Laughter is a reward.

--Carol Channing

  

Recent birthday girl Carol Channing is the first in our weekly series of Exceptional People. The very name of this American favorite elicits thoughts of pure talent and joyful entertainment. With her big voice and slight figure, Miss Channing embodies the spirit of the American theater.

Born January 31, 1921, into a Christian Scientist Family, Miss Channing recalls being drawn to theatre as a small child when, accompanying her mother on a trip to distribute the publication, “The Christian Science Monitor” backstage at San Francisco theatres, she immediately became aware that her life was to be on stage. She said, “And I stood there and realized – I'll never forget it because it came over me so strongly – that this is a temple. This is a cathedral. It's a mosque. It's a mother church. This is for people who have gotten a glimpse of creation and all they do is recreate it. I stood there and wanted to kiss the floorboards.” 

And kiss the floorboards, Miss Channing did—with a mesmerizing stage presence and a keen sense of timing and fluidity which was rare and enchanting. After her first stage job at the age of 19 in 1941, Channing quickly earned a place as Eve Arden’s understudy in the Broadway production of “Let’s Face It!” Within five years, Channing was performing in a featured role in a Broadway revue when she was spotted by by author Anita Loos and cast in "Gentlemen Prefer Blondes" as Lorelei Lee—the role which defined the rest of her career and gave her the song most often associated with her, “Diamonds Are a Girl’s Best Friend.”

By 1964, Miss Channing was already a Broadway legend when she awarded the title role in “Hello Dolly,” a part which brought her a Tony Award. In between these famous productions, Channing delighted audiences across the world with winning performances in films as “Thoroughly Modern Millie” and “Skiddoo.” 

With a larger than life personality, sharp wit and endearing self-awareness, Miss Channing made for the ideal guest on a host of television programs—further sealing her spot as a beloved American personality. The always cheerful Channing has used her celebrity to bring attention to the causes she most values. A fervent supporter of LGBT rights, Channing has acted as a voice for many who would otherwise go unheard. Furthermore, as a survivor of ovarian cancer, Miss Channing has sought to raise awareness of the condition and urged women to ensure their personal well-being through regular checkups. 

But, most of all—she’s Carol Channing. And, she’s wonderful. With each delightful flip of her trademark platinum locks, with each purring note and brassy song, Channing—the little woman with the big voice—has, over the course of her seventy-year long career, brought immeasurable delight to millions of people, across every medium. 

For that alone, Carol Channing is truly exceptional.

Introducing "Exceptional People"

Starting in February, I'll be introducing a new feature, "Exceptional People," at Stalking the Belle Époque which will be a combination of our past "Person of the Week" and "Humanitarian of the Week" features.  

Each week, we'll look at the life and the work of an exceptional person who is actively helping to make our world more beautiful.  Each individual will have a tie to the arts and/or humanities.  We'll see everyone from artists to actors and puppeteer to producers.

Through our Facebook presence, I've received many nominations from you, listing those individuals you feel are working to give us a new Belle Époque.  Please, feel free to email your nominations to me, should you have one. 

At the end of the year, we'll vote for our "Exceptional Person of 2013."  I look forward to seeing the contributions of these exciting people.