Permission to open ‘The Marilyn’, a new speakeasy-style cocktail on Monroe Street, NYC, has been denied, Bowery Boogie reports. Monroe Street is in the Two Bridges district of Manhattan. While in theory it sounds like perfect branding, it seems the developers failed to address residents’ concerns.
Two Bridges is located near the footings of the Manhattan Bridge and Brooklyn Bridge, the subject of a touching 1955 poem by Marilyn…
A new Broadway musical based on Some Like It Hot is in the works, Playbill reports.
“A new musical adaptation of the film classic Some Like It Hot is in the works, with a Broadway premiere slated for 2020. The project hails from the Shubert Organization and Craig Zadan and Neil Meron, the team behind NBC’s roster of live musicals.
The show will feature a score by Marc Shaiman and Scott Wittman, plus a book by playwright Matthew Lopez. Casey Nicholaw will direct and choreograph.
Shaiman and Wittman are no strangers to the Marilyn Monroe canon, having previously penned songs for Bombshell, the fictional Monroe bio-musical in the NBC series Smash. A real-life stage presentation of Bombshell, produced by Zadan and Meron, is long-gestating
The 1959 Billy Wilder comedy was previously adapted for the stage with Jule Styne, Bob Merrill, and Peter Stone’s Sugar, which opened on Broadway in 1972, going on to earn four Tony nominations and play over 500 performances.”
On July 8, 1953, Frank Powolny photographed Marilyn wearing one of the world’s largest diamonds, the so-called ‘Moon of Baroda’. It was then owned by Meyer Rosenbaum, a jeweller from Detroit, and was loaned to Marilyn for the shoot, in which Sidney M. Brownstein, president of the Jewellery Academy, presented her with a special award for her role in Gentlemen Prefer Blondes, proclaiming her ‘the best friend a diamond ever had.’
But as the Times of India reports today, the Barodian royal family want their precious jewellery – also including the world’s most expensive pearl carpet, the ‘Star of the South’ – to be returned home for a public exhibition.
The Moon of Baroda was last displayed at the Antwerp World Diamond Centre in 2008. In 2012, a ‘Mr Matsuki’ appeared on a Japanese television show with what he claimed was the legendary gem. It was authenticated and valued at 150 million yen.
The Mad About Marilyn fan club chronicled the Moon of Baroda’s history in 2013, including a bizarre rumour that Marilyn fell victim to the diamond’s curse.
Marilyn is at the centre of an exhibition of some of the world’s most iconic photographs, on display in Manhattan until May 25, as Carl Glassman reports for Tribeca Trib.
“If only size mattered, then Marilyn Monroe would be the star of this eclectic display of photographs, simply titled ‘Photo Show,’ now at the Hal Bromm Gallery. Upon entering the Tribeca art space, she greets you nearly from floor to ceiling in 10 poses, wearing that come-hither look and little else. The set of framed color photographs, faded into reddish hues, is from Bert Stern’s famed 1962 series, ‘The Last Sitting’ … While Marilyn may be the show’s dominant presence, she is just the opener in an unusual mix of artists and eras that come together in a logic all its own.
Others include … Philippe Halsman, represented by his own famous—maybe the most famous—Marilyn portrait.”
Meanwhile at Christie’s NYC, ‘Crucifix IV’, a chromogenic print by Stern from 1995, is among the lots from the Yamakawa Collection, to be auctioned on April 6.
Marilyn is featured in ‘Leading Ladies Who Sing‘, a free event in the Scenes Through the Cinema Lens series at BMCC Tribeca Performing Arts Centre in Manhattan on Tuesday, March 20 at 7:30 p.m.
“Leading Ladies Who Sing will showcase choice moments in cinema history when stars who can both act and sing are presented at their most glamorous. The event will focus on distinguished jazz singers like Abbey Lincoln, Peggy Lee and Billie Holiday, all of whom successfully made the transition to cinema, as well as timeless performances by singer/actresses including Judy Garland, Diana Ross and Marilyn Monroe.
Scenes Through the Cinema Lens is curated and hosted by Krin Gabbard, Professor of Comparative Literature and English at the State University of New York at Stony Brook and author of Hotter Than That: The Trumpet, Jazz, and American Culture.
Each Scenes Through the Cinema Lens screening is followed by a Question and Answer session moderated by Professor Gabbard, and all events are free. No reservations are necessary.”
The first season at The Shed, a new multi-arts centre opening at the Hudson Yards next year, will include Norma Jeane Baker of Troy, an intriguing collaboration depicting Marilyn as the Spartan queen famed in Greek mythology, whose incomparable beauty was said to have sparked the Trojan War, as Andrew R. Chow reports for the New York Times.
“On Wednesday, the Shed’s artistic director, Alex Poots, revealed the first batch of commissions for the Hudson Yards venue’s inaugural season.
The ambitious, genre-melding performances will begin in the spring of 2019, and include a musical series conceived by Steve McQueen and Quincy Jones and a collaboration between the poet Anne Carson, the actor Ben Whishaw and the opera singer Renée Fleming.
A newly commissioned piece by Ms. Carson entitled Norma Jeane Baker of Troy, based on Euripides’ Helen, will be shown in the venue’s more intimate theater space. (The play draws a line between Helen and Marilyn Monroe, who was baptized as Norma Jeane Baker.)
‘I asked Ann, Would you ever consider writing a dramatic monologue for a performer?’ Mr. Poots recalled. ‘Within six to nine months, she sent me the first draft and said: ‘I’ve written this for Ben Whishaw. And he’ll do it.’ Mr. Whishaw will perform it with Ms. Fleming.”
Michael Colby is a songwriter and the grandson of Ben and Mary Bodne, who owned Manhattan’s famed Algonquin Hotel from 1946-1987. In an interview with the New York Post‘s Barbara Hoffman, Colby recounts a somewhat risque tale of Marilyn.
“‘Marilyn Monroe used to come in at lunchtime and get a Beefeater martini,’ says Michael Colby, striding past the bar in the Algonquin Hotel on West 44th Street. And it was just down the street, at Fifth Avenue, that his grandmother once spotted her wearing a white mink coat.
‘If you think that’s something,’ the actress told her, perhaps after a few too many martinis, ‘you should see what’s underneath!’
Yes, Colby tells the Post, leaning against a portrait of hotel regular Tallulah Bankhead: His granny got flashed by Monroe.”
As fans will know, Marilyn was proud of her body, often went out sans underwear and thought nothing of wandering round her apartment or dressing room nude. Sam Shaw and Yves Montand have also told of similar encounters; but tales of Marilyn have a way of growing so that practically anyone vaguely connected to her will claim to have experienced the same.
Monroe biographer Carl Rollyson considers it ‘possible’, but points out that the Algonquin was not known as one of Marilyn’s more regular haunts, and that particular brand of exhibitionism was more commonly associated with the outrageous Tallulah Bankhead.
Canadian-American musician Meghan Remy aka U.S. Girls is about to release her sixth studio album. In an interview for The Ringer, Meghan takes Lindsay Zoladz on a sightseeing tour of New York, including the subway grate on Lexington and 52nd Street where Marilyn shot an iconic movie scene, while her marriage fell apart.
“The night that iconic photo of Marilyn Monroe was taken—you know the one: stilettos on a subway grate, billowing white dress—Monroe and her husband Joe DiMaggio got into a screaming match. The fight was partially about the photo itself: While shooting The Seven Year Itch, the studio had savvily leaked Monroe’s whereabouts to the press, and by the time Billy Wilder was ready to roll camera on what would become the most notorious scene in the movie, several thousand onlookers had shown up to watch. (They were almost all men, but I hardly need to tell you that.) DiMaggio was there, and he wasn’t too keen on what he took to be his wife’s public exhibitionism. When she showed up to set the next morning, Monroe’s hairdresser applied foundation to hide fresh bruises. She filed for divorce from DiMaggio before The Seven Year Itch wrapped.
‘We’re constantly presented with this smiling Marilyn,’ says Meg Remy, the singer and eccentric creative mastermind behind the band U.S. Girls. ‘But for some reason, when you have all the information, it just feels so heavy.’
I should mention that Remy is speaking into a headset, as she drives a rented, 15-seat van deftly through the streets of Manhattan. In anticipation of the release of U.S. Girls’ new album In a Poem Unlimited—the most ambitious and, as it happens, best album of Remy’s decade-long career—her label suggested a listening party for fans and members of the press. Remy asked around enough to learn what a listening party was, and, ever the DIY-minded eccentric, then decided it just wasn’t her style. What she came up with instead was this: a van tour of ‘sites of injustices in New York City,’ written and narrated by Remy herself, while we listen to the new album in the background.”
Richard Avedon’s first collaboration with Marilyn was in September 1954, when she visited New York to film The Seven Year Itch with director Billy Wilder. It may also have been their first meeting, and their warm camaraderie is evident in the resulting photos, taken by Sam Shaw. Earl Steinbicker, who was Avedon’s studio assistant at the time, remembers the shoot in Avedon: Something Personal.
“I met a helluva lot of famous people with Dick … I was there for the first sitting Dick ever did with Marilyn Monroe. The Daily News had sent a photographer to photograph him photographing her. I worked the fan blowing her hair, and at the end of the sitting she came over and said, ‘Wouldn’t you like a picture of me?'”
Over at the Village Voice, Molly Fitzpatrick looks at New York’s many iconic movie locations with blogger Nick Carr (Scouting New York) and Sarah Louise Lilley, a guide for TCM’s On Location tours.
“At times, there was an almost virtual reality–like quality to the experience, when Lilley’s commentary and film clips, cued up to play on overhead monitors when we passed the real-life locations within them, transformed the present-day city seen from the bus windows into a long-lost version of itself … Had Lilley not pointed it out, the subway grate at 52nd Street and Lexington Avenue where Marilyn Monroe famously posed in The Seven Year Itch could have been any one of the city’s thousands and thousands more just like it, unglamorously trod on every day by locals and visitors alike.
Both Lilley and Silverman cited Sutton Place Park as their favorite movie landmark on the tour, a tiny, peaceful lookout onto the East River with a stunning view of the Queensboro Bridge … Sutton Place is the swanky, townhouse-lined neighborhood that lies just south of the bridge. ‘The history of New York and the history of film is beautifully interwoven there,’ Lilley says. In the early-twentieth century, the same stretch of East River waterfront was home to not only luxurious apartments with views to match, but poverty-stricken tenements and the gangs who inhabited them, as depicted onscreen in 1937’s Dead End. By 1953, Sutton Place had become the must-have address for the trio of enterprising husband-seekers — Marilyn Monroe, Betty Grable, and Lauren Bacall — in How to Marry a Millionaire.”