Marilyn Monroe: The Legacy of a Legend, an exhibition of the David Gainsborough Roberts collection, opened at London’s Design Centre last week. Fellow collector Scott Fortner attended the launch, alongside impersonator Suzie Kennedy and actress Linda Gray (aka Sue-Ellen Ewing from TV’s Dallas.)
In an article for the Telegraph, Bethan Holt discussed the ‘lipstick, diamonds and cigarettes’ among Marilyn’s personal effects, while Ben Miller looks at the ‘vulnerability and humanity’ revealed by her drawings and notes in his review for Culture24.
After closing on June 20, the collection will move to the Museum of Style Icons at Newbridge in County Kildare, Ireland, where it will be on display from June 25-July 25.
The collection of David Gainsborough Roberts – one of the world’s largest Marilyn archives, including many of her iconic movie costumes – will be sold in November, Julien’s Auctions has announced.
Although the live auction will be held in Los Angeles, UK fans will be able to see Roberts’ full collection at London’s Design Centre from May 25- June 20. It will then visit the Newbridge Museum of Style Icons in Ireland from June 25-July 25, before crossing the Atlantic on Cunard’s Queen Mary 2 in August, with more US exhibition dates to be confirmed.
Fellow collector Scott Fortner has been helping to catalogue the items, and is reporting his findings on the MM Collection blog. And finally, here’s an excerpt from the Julien’s press release.
“Highlights from this historic sale include a sheer black beaded and sequined dress worn by Monroe in her Golden Globe winning role Sugar Kane as she crooned ‘I’m Through With Love’ in the award winning 1959 film Some Like it Hot; an elaborate embellished stage gown worn by Monroe as she sang ‘After You Get What You Want You Don’t Want It’ in the 1954 comedy There’s No Business Like Show Business which was designed by one of Marilyn’s all-time favorite designers, William Travilla; a pink linen halter wiggle dress designed for Monroe by Dorothy Jenkins for the 1953 thriller Niagara; a green satin one-piece with black sequins and gold fringe worn by Monroe as she sang ‘That Old Black Magic’ in the 1956 film Bus Stop; a lilac satin leotard worn by Monroe as Lillian Russell in the 1958 photo series by Richard Avedon and featured in Life magazine in 1958. Additional film pieces offered include costumes from Gentlemen Prefer Blondes and Let’s Make Love, along with a pair of rhinestone earrings worn by Monroe in How To Marry A Millionaire and a pair of sequin embellished opera gloves from the Rachmaninoff scene of The Seven Year Itch.
Monroe’s personal style is represented by a figure hugging black cocktail dress by Ceil Chapman, a favorite of Monroe; a slender fitting bias cut crepe evening gown worn by Monroe to the 1955 premiere of The Rose Tattoo; an embellished slubbed silk Lanvin gown; and rhinestone jewelry. Personal items include prescription pill bottles, Victoria and Albert museum exhibited high heels, a plastic doll in the likeness of Monroe given as a souvenir at her 34th birthday party; documents and correspondences; household items; and Monroe’s Detroit Free Press New Faces Award from 1952.”
Hello Norma Jeane, Dylan Costello’s comedy about an Essex grandmother who might just be Marilyn Monroe, has opened at the Park Theatre in Finsbury Park, North London. Here’s what the critics have to say…
“The cast launch themselves into their characters with enthusiasm … The first half in particular seemed to zing with energy and snappy one-liners that had the audience laughing; the second half seemed to lose a little pace and perhaps needs to be a little tighter in order to maintain focus.” – Gay Star News
“Costello’s play wavers uncertainly between camp comedy and sentimental melodrama before finally settling on the latter, and despite the occasional delightfully bitchy joke, the moments of touching affection between grandmother and grandson are the most satisfying things on offer here.” – The Stage
“Vicki Michelle starts off in hilarious form as the crimplene-clad Lynnie … Her Lynnie is funny, charming, and cheerily blue in her use of language, yet she is also vulnerable and more frail than she wants to admit. .” – The Reviews Hub
“It is a credit to the writing that by the end of the second act, I had changed my mind a dozen times as to whether Lynnie was or wasn’t Marilyn. In fact, I have seen the second act twice – and not just because of Peter McPherson’s abs – and come to a different conclusion each time.” – London Theatre 1
“Michelle’s performance maintains buoyancy through the second act transition from comedy to reflections on ageing, but there’s some squelchy sentimentality and facile sub-plotting … it’s expanded to a needless two hours 15 when the sweetness of the idea really demands the sharpness of an hour-long version.” – The Londonist
“The plot is intriguing but the acting sometimes falls flat … a warm-hearted and at times very funny play. With more polish it has the potential to go far. It is unpredictable, which is its greatest charm.” – The Upcoming
UK readers, listen up: Marilyn is featured in today’s Telegraph. She is featured on the cover of Sunday supplement, Stella magazine, with a six-page spread about the Greene/Kirkland exhibition in London. You can also read the article here.
After ES Updates reported last week of an exhibition featuring Milton Greene and Douglas Kirkland’s photos of Marilyn opening in Amsterdam, comes news of another Greene/Kirkland show, in the UK. As announced by Luxury London, ‘Gentlemen Prefer Blondes Starring Marilyn Monroe’ will be on display at the Little Black Gallery on Park Walk, Chelsea, from January 19-February 27, with a selection of prints for sale.
‘Archetype of the American Hero’, Alistair Cooke’s tribute to Gary Cooper, was published in The Guardian after Cooper’s death in May 1961. In this extract from Alistair Cooke at the Movies, Cooke considers how movie stars were then so often dismissed as mere ‘personalities’, and rarely credited with much talent or intelligence.
“It is easy to forget now, as always with artists who have matured a recognisable style, that for at least the first dozen years of his film career Gary Cooper was the lowbrow’s comfort and the highbrow’s butt. However, he lasted long enough, as all great talents do, to weather the four stages of the highbrow treatment: first, he was derided, then ignored, then accepted, then discovered. We had seen this happen many times before; and looking back, one is always shocked to recognise the people it has happened to. Today the intellectual would deny, for example, that Katharine Hepburn was ever anything but a lovely if haggard exotic, with a personal style that might enchant some people and grate on others, but would insist she was at all times what we call a serious talent. This opinion was in fact a highly sophisticated second thought, one which took about a decade to ripen and squelch the memory of Dorothy Parker’s little tribute to Miss Hepburn’s first starring performance on Broadway: ‘Miss Hepburn ran the gamut of human emotions from A to B.’
Marilyn Monroe is a grosser example still. Universally accepted as a candy bar or cream puff, she presented a galling challenge to the intelligentsia when she married Arthur Miller, a very sombre playwright and indubitably un homme serieux. The question arose whether there had been serious miscalculation about a girly calendar that could marry a man who defied the House Un-American Activities Committee. The doubt was decided in Miss Monroe’s favour when she delivered pointed ripostes to dumb questions at a London press conference.”
Gary Cooper was one of many stars who attended a party in Marilyn’s honour at Romanoff’s restaurant in Hollywood, to celebrate her filming The Seven Year Itch in November 1954. He also attended the 1959 Fox luncheon for Soviet premier Nikita Krushchev, where he was seated at Marilyn’s table.
At the auction of Dame Joan Collins’ personal property at Julien’s earlier this month, a June 1960 letter from Cooper to Marilyn was sold for $1,280. Cooper was then in hospital, and thanked Marilyn for sending him roses, expressing his regret at being unable to attend a recent party (possibly her 34th birthday celebrations, on the set of Let’s Make Love.) Click on the picture below to read his letter in full.
The full programme for the BFI’s June season of MM films is now online, with tickets available now for members, or from May 12 for non-members. All of Marilyn’s films from 1952-62 are included (apart from O. Henry’s Full House), with multiple showings of The Misfits as part of its nationwide reissue, and a new print of Niagara. This retrospective includes two other events: ‘Who Do You Think You Are, Marilyn Monroe?‘ on June 3rd, featuring authors Jacqueline Rose and Bonnie Greer; and a Marilyn Monroe Study Day on June 27, with guests including Sarah Churchwell. You can view the digital guide for June here.
Details of the British Film Institute’s June retrospective (at London Southbank) have been posted on their blog, naming 12 of the 15 Marilyn movies to be screened – and giving us a sneak preview of the season’s poster. (Interestingly, the BFI have partnered with Stylist, the free women’s magazine who have picked Marilyn as their cover girl on more than one occasion.)
This photograph of a determined-looking Marilyn, arriving at the Comedy Theatre for the London premiere of husband Arthur Miller’s play, A View From the Bridge, in October 1956 – watched by a wanly smiling Sir Laurence Olivier, with whom she was filming The Prince and the Showgirl – was taken by Brian Seed, an Englishman who worked for Life magazine during the 1950s and 60s. A selection of his work is published today on the Time-Life website.
Unpublished at the time, Brian Seed’s photos of Marilyn are now in demand. In 2013, Brian – who now lives in Illinois – was interviewed by the Chicago Sun-Times. ‘That Marilyn Monroe was a really smart cookie,’ he recalled. ‘Look at this picture — she’s looking directly at me, because she knows I’m likely the only photographer in there who’s working for a magazine, and that the photo that would result would not be used in one day’s paper and then gone forever.’
Bruce Davidson’s photo of a pensive Marilyn, watched by husband Arthur Miller during filming of The Misfits, features in The Photographers 2014, a dual exhibition at two London galleries, Beetles+Huxley and Osborne Samuel (whose website includes several photos of Marilyn by Elliott Erwitt.)