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After the war, when she served as a member of the American Women's Voluntary Services, she began hosting a live variety show, "Hollywood on Television," in 1949.
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The Associated Press contributed to this gallery.įor generations, the actress, comedian and television presenter Betty White (January 17, 1922-December 31, 2021) was one of TV's most familiar and beloved faces, often hilariously playing against the sweet image of her smiling eyes and dimpled cheeks on the series "The Mary Tyler Moore Show" and "The Golden Girls."īorn in Oak Park, Illinois, and raised in California during the Great Depression, White performed on radio and for an experimental TV station in Los Angeles in the 1930s.
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Watching Ed starting to entertain the possibility of a different model for family life with Arnold and his foster son, David (an energetic Jay Lycurgo making his stage debut), resonates powerfully into the twenty-first century.Betty White, of "The Mary Tyler Moore Show." | CBS Photo Archive Getty ImagesĪ look back at the esteemed personalities who left us this year, who'd touched us with their innovation, creativity and humanity.īy senior producer David Morgan. But what endures is its sense of optimism that a better future is possible.
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The shadow of the decade that would follow inevitably hangs over ‘Torch Song’. Now, viewed through the lens of the ’80s Aids crisis, this slapstick vision of sex feels almost wistfully playful. Needham is hilarious as Arnold heroically attempts polite conversation during a backroom shag. But it’s also extraordinarily progressive in its willingness to explore Ed’s sexual identity without censor or lazy closure.ĭirector Drew McOnie splashes his production in neon-lit colour, punctuates it with disco and really goes for the laughs. In some ways, from its language to some of its tropes, ‘Torch Song’ is very much rooted in its time – a bulb-flash snapshot of a lost New York City. While there’s strong work from Daisy Boulton and Bernice Stegers as Ed’s girlfriend and Arnold’s mother, they’re more like cameos. Dino Fetscher, meanwhile, gives us an endearingly bewildered Ed, often confounded by himself. Matthew Needham is magnetic as a spiky, raw Arnold, chucking out cynical asides like a stand-up while exposing every bruised nerve-ending. The cast beautifully sell Fierstein’s deep dive into the fragile but enduring spark of love. From there, ‘Torch Song’ follows their tumultuous connection through Ed’s decision to pursue a heterosexual relationship, a brutal tragedy in Arnold’s life, and the tentative beginnings of something new.
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We witness their meeting in the first person, as each character directly addresses the audience. The original trilogy of plays lend their titles to the three acts: ‘International Stud’, ‘Fugue in a Nursery’ and ‘Widows and Children First!’ We first encounter Arnold talking about the impossibility of finding love in a gay bar in 1970s New York, followed by Ed, a bisexual man, attempting to navigate who he is through darkroom hook-ups. Here, it kicks off the inaugural season of the Turbine Theatre, in an archway in the shiny new Battersea Power Station development.
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It’s also full of heart and hope.īest known for its longer 1978 incarnation, ‘Torch Song Trilogy’, this new take is based on Fierstein’s own cut-down version, which was first performed off-Broadway in 2017. The writing spills over with rapid-fire patter. Like Arnold, the gay, Jewish drag queen at its centre, Harvey Fierstein’s LGBTQ+ classic ‘Torch Song’ is anxious and wistful.