Who said hello gorgeous

Eye on the target: Beanie's new sneak peek is underscored by the vamp from the show's big first act closing number - the hard-charging song Don't Rain On My Parade. Oughtta have a sense of humor: The intertitles read: 'They told her she'd never be on Broadway, they told her she'd never be a star, then something funny happened'. The show presented a fictionalized account of Fanny's rise to fame in the s and her marriage to Frances' father, the con man gambler Nicky Arnstein.

Forever more: Barbra reprised her stage role for the movie, which assembled Old Hollywood stalwarts like director William Wyler and cinematographer Harry Stradling. The score produced one of her most enduring hits - People - which became the title song of her album that dislodged the Beatles' A Hard Day's Night from number one.

When the show opened on Broadway it became a smash hit and received a rapturous response for her performance which she also took to London. Barbra played opposite Charlie Chaplin's son Sydney - with whom she had an affair amid her marriage to her first husband Elliott Gould. Stick around for the jokes: The show presented a fictionalized account of Fanny's rise to fame in the s; Fanny is pictured in a publicity still for the Ziegfeld Follies in The New York Times said the show occasionally 'oozes with the a thick helping of sticky sentimentality' but raved about the leading lady: 'Since Fanny herself cannot be brought back, the next best thing is to get Barbra Streisand to sing and strut and go through comic routines a la Brice.

Barbra and Kay reprised their roles for the movie, which assembled Old Hollywood stalwarts like director William Wyler and cinematographer Harry Stradling. Her leading man in the movie was Omar Sharif, with whom she also had an affair - and with whom she set off a scandal when a still of one of their staged kisses for the film went public in , the year of the Six-Day War between Egypt and Israel.

The music that makes me dance: Barbra is pictured onstage in the original production of Funny Girl - the project that made her a superstar. The movie was top grosser of , with Roger Ebert writing: 'The trouble with Funny Girl is almost everything except Barbra Streisand.

She is magnificent. Although the movie led to a critically savaged sequel called Funny Lady in the show has never been revived on the Great White Way before. A Broadway revival was attempted in with Lauren Ambrose as Fanny but was ultimately scrapped over problems raising money.

Sadie, Sadie, married lady: Her leading man in the movie was Omar Sharif, who played Fanny's first husband, the con man gambler Nicky Arnstein. However in and a London production with Sheridan Smith in the title role did manage to become a runaway success.

The show went from a limited engagement at the Menier Chocolate Factory to a longer run at the Savoy Theatre that was then extended by popular demand. When you're gifted then you're gifted: Barbra won a best actress Oscar, memorably looking at her trophy onstage and repeating her iconic opening line in the film: 'Hello, gorgeous'. Meanwhile Jane Lynch who rose to national prominence on the musical TV show Glee will feature in the cast as Fanny's mother.

Beanie already has Broadway experience under her belt, having played Minnie Faye in the Hello, Dolly! Incidentally it was Carol Channing in the original production of Hello, Dolly! I gotta try once, I gotta fly once: In and a London production with Sheridan Smith in the title role did manage to become a runaway success.

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View all. Bing Site Web Enter search term: Search. We're deeply hurt, Shmoopers. Click here for the proof. Well, if you happened to be watching the Academy Awards , you heard Streisand say the line when accepting the award for Best Actress which she tied for with Katherine Hepburn.

Yes they occasionally have ties at the Oscars. If you were just a glimmer in your parents' eyes back then, it's more likely that you've heard it as the name of a hair salon , hair extensions brand , or hair ball okay, so that last one doesn't exist. Also, if you've ever watched RuPaul's Drag Race , you've noticed he calls his contestants "funny girls. If you were to drop this quote at a dinner party, would you get an in-unison "awww" or would everyone roll their eyes and never invite you back?

Maybe being the girl that guys never look at twice, and when I sing about that — about being like an invisible woman — people feel like protecting me. And hers was a Jewish-American success story, too. When she entered show business, she was told repeatedly that she would have to get a nose job if she were to have any hope of succeeding. Of course, she refused, in large part because, she said, she did not want to betray herself, which also meant betraying her Jewishness.

Because most of all I want to be true to myself. Really, people should be left to themselves, instead of everyone trying to change everyone else.

She was the entertainer of the marginal, the disenfranchised, the disadvantaged, the disaffected, the put-upon, and, not least of all, the different.

And not only understand them but win for them. If in her songs she conveyed the pangs of lost love, she also conveyed the defiance to soldier on. And if, in her films, she always portrayed the ugly duckling, she also made that duckling into someone indomitable and self-confident.

She was a force of nature. Streisand began as a coterie entertainer, winning favor with those who were a little off-center as she herself was, rather than an entertainer with immediate mass appeal. By , when she hit the hungry in San Francisco, the word of mouth had built, the coterie had grown, and she was beginning to attract larger audiences, just as she had done earlier in New York.

And by the time she hit the Basin Street East back in New York that May, with its seat room and on the same bill with Benny Goodman, her first album had become a full-fledged success. It would stay on the list for 24 weeks and win her a gold record. She was on a roll, and she knew it. Taping The Judy Garland Show the next month, Judy, who was clearly intimidated, nervously asked Streisand if there was anything more she could possibly want in life.

The murmurs about the show at CBS were so strong that the network decided to rearrange its schedule and rush it onto the air the following week. That life, which traced an arc from a poor, awkward, neglected Brooklyn girl to a self-possessed woman, from an outsider to a guiding light, was also the story she repeatedly told in her films.

In effect, she was simultaneously living her story and telling her story in her work, basically performing her life. She became popular by demonstrating how someone like her, someone with her seeming disadvantages, could become popular.

While this forged an iron bond between performer and audience that has lasted decades, it also turned Streisand into a cultural trailblazer — again, in a way that no other entertainer was or is.

Streisand arrived at the beginning of the feminist movement, and her gutsy, unsinkable, indomitable persona resonated with women.

She found a lure beyond conventional attractiveness — something deeper. She had this uncanny confidence that her talent was what counted, that it would trump everything else, and that embracing who she was became instrumental to that talent as it became instrumental to her admirers.