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Press Express
The good, the bad, the unforgettable in Oscar fashions
February 27, 2004
Associated Press
AP File photo
Oscar winner Grace Kelly poses with her statuette at the 1954 Academy Awards at the RKO Pantages Theatre in the Hollywood section of Los Angeles on March 30, 1955. Kelly won best actress of the year for her portrayal in "The Country Girl."
Here's a list of some of the most memorable Oscar fashion moments:
_Often imitated, never duplicated. Ask today's A-listers who inspired their look and they'll likely say Grace Kelly, proving that elegance _ and, yes, grace _ is always in style. The blue silk spaghetti-strap gown and evening coat by costume designer Edith Head that Kelly wore to the Oscars in 1955 remains a classic.
_Casual chic. Sharon Stone made Gap glamorous when she paired an everyday turtleneck with a Giorgio Armani velvet coat and a long skirt in 1996. Two years later, Stone wore a crisp white men's shirt to complement a lavender Vera Wang skirt.
_A tangled web. The Bob Mackie-designed Mohawk headdress that Cher wore in 1986 marked the peak of her individuality. Unfortunately, there was little else to her costume.
The good, the bad, the unforgettable in Oscar fashions
February 27, 2004
Associated Press
AP File photo
Oscar winner Grace Kelly poses with her statuette at the 1954 Academy Awards at the RKO Pantages Theatre in the Hollywood section of Los Angeles on March 30, 1955. Kelly won best actress of the year for her portrayal in "The Country Girl."
Here's a list of some of the most memorable Oscar fashion moments:
_Often imitated, never duplicated. Ask today's A-listers who inspired their look and they'll likely say Grace Kelly, proving that elegance _ and, yes, grace _ is always in style. The blue silk spaghetti-strap gown and evening coat by costume designer Edith Head that Kelly wore to the Oscars in 1955 remains a classic.
_Casual chic. Sharon Stone made Gap glamorous when she paired an everyday turtleneck with a Giorgio Armani velvet coat and a long skirt in 1996. Two years later, Stone wore a crisp white men's shirt to complement a lavender Vera Wang skirt.
_A tangled web. The Bob Mackie-designed Mohawk headdress that Cher wore in 1986 marked the peak of her individuality. Unfortunately, there was little else to her costume.
scriptgirl
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Augusta.com
When it comes to the Oscars, it's not about who wins or loses, it's about who looks good doing it.
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Visit our special section for the latest Academy Awards ® news, profiles of actors and reviews of nominated movies. Go to the Oscars section.
Tom Cruise and Nicole Kidman smile as they arrive for the 69th Annual Academy Awards at the Shrine Auditorium in Los Angeles, March 24, 1997.
AP / File
Gwyneth Paltrow arrives at the 71st Annual Academy Awards at the Dorothy Chandler Pavilion of the Los Angeles Music Center March 21, 1999.
AP / File
''South Park's" Trey Parker, wearing a Jennifer Lopez-style dress, left, and Marc Shaiman, nominated for the song "Blame Canada" from the movie "South Park: Bigger, Longer and Uncut," arrive with Matt Stone, right, also of "South Park," at the Shrine Auditorium in Los Angeles for the 72nd Academy Awards on March 26, 2000.
AP / File
Singer Bjork arrives at the 73rd annual Academy Awards March 25, 2001, in Los Angeles.
AP / File
Barbra Streisand with her Oscar for her performance in "Funny Girl" April 15, 1969 in the Hollywood section of Los Angeles.
AP / File
Cher wears a creation by designer Bob Mackie as she poses with actor Don Ameche after presenting him with the Oscar for best supporting actor at the Academy Awards in Los Angeles, March 24, 1986. Over the years, Cher has been a prime and often outrageous contributor to Oscar styles.
AP / File
Jim Sheridan and his daughters, 27-year-old Kirsten and 31-year-old Naomi, all screenwriting nominees for the Irish immigrant tale "In America," were well aware of the red carpet as they prepared for Sunday's 76th annual Academy Awards.
"I'd like to look like Grace Kelly in the '60s," Naomi told The Associated Press as the Sheridans began "shopping" for their free Oscar dresses, which were practically thrown at them by publicity-hungry designers.
"Maybe we'll put my dad in a red dress - that'll get us noticed," joked Kirsten.
It's true that the right Oscar outfit makes a lasting impression.
More people remember a glamorous Gap-clad Sharon Stone at the Academy Awards in 1996 than who took home the top acting trophies that year (Susan Sarandon and Nicolas Cage). Salma Hayek, still a struggling starlet in 1997, stole the spotlight when she wore a beaded Giorgio Armani gown and a diamond tiara.
Last year, nominee Renee Zellweger won rave reviews for her sexy red Carolina Herrera gown even though Nicole Kidman, who went with a more demure midnight-blue Jean-Paul Gaultier dress, was named best actress.
And then there's poor Celine Dion, who is probably still haunted - or at least taunted - by the backward white coat and fedora by John Galliano for Christian Dior that she wore on the red carpet in 1999.
This is why the search for the perfect Oscar-night ensemble is more than a last-minute shopping spree.
Some designers begin working with likely nominees months before the contenders are officially announced. Scores of jewelers, accessory-makers and hair and makeup stylists set up temporary shops in Los Angeles the week before the ceremony.
Holly Hunter, an Oscar winner for 1993's "The Piano" and a nominee this year for "Thirteen," has had a long collaborative relationship with Vera Wang.
Hunter turned up in the front row of Wang's New York Fashion Week runway show earlier this month, and she wore a Wang-designed purple halter gown to Sunday's Screen Actors Guild Awards.
"A really fabulous designer will have ideas that I won't," Hunter told the AP.
Meanwhile, the Sheridans paid a recent visit to the Kwiat diamond showroom in New York and then made stops at the Max Azria BCBG and Laundry by Shelli Segal stores.
"There are so many A-list actresses who will be dressed by the Diors and Valentinos, I'm not trying to compete, I'm not going to try to outdo them," said Kirsten.
"I'm thinking of something a little more independent - like our film," she added.
That doesn't mean she's thinking small: Kirsten was practically giddy as she tried on a 5-carat cushion-cut diamond necklace, while Naomi favored a 38-carat necklace featuring two large round stones surrounded by Marquis-cut diamonds that would retail for about $200,000.
"The kind of jewelry I usually buy is the $8 stuff you can get at the airport," said Kirsten. Then she wondered aloud if jewelers would provide security for the diamonds that would have to be returned the day after the event.
Even Sheridan, a veteran Oscar nominee for "In the Name of the Father" and "My Left Foot," got caught up in the fashion frenzy as he eyed gold and diamond cuff links.
"When I went (to the Academy Awards) for 'In the Name of the Father,' I didn't realize what a big deal the red carpet is. ... This time I want to wear something really nice," he said. He'll probably wear a classic Brooks Brothers or Ralph Lauren tuxedo.
Jennifer Royle, public relations coordinator for Laundry, said the Sheridan sisters seemed a little overwhelmed by all the attention they received at the store, but stayed true to their own sense of style.
"They knew what they wanted: A dress was either an immediate yes or an immediate no," Royle said. "I think they left happy. Each girl took one dress."
Kirsten's choice was a V-neck dress with lace panels on the bodice, a red sash around the waist and full black ball skirt. Naomi liked a long black matte jersey dress.
The dresses were a gift from the company. "For the right celebrity, we would absolutely give them anything they wanted with the hope they would wear it in public and get them photographed in it," said Royle, who also noted that Laundry offers dresses to TV show costumers just to see the company's name listed in the credits.
About 50 percent of the garments that are sent out to celebrities get worn, including dresses that stars specifically request, according to Tara Hannert, BCBG's public relations director.
"The kind of exposure you get from being photographed on the red carpet and Joan Rivers asking, 'Whose dress are you wearing?' ... There is no other marketing tool like it - it's worth jumping through a few hoops to get there," she said.
For the Oscars, those hoops include giving Naomi a blue halter dress and a red satin gown to consider, and Kirsten a cream-colored strapless dress with black embroidery and a tulle skirt.
The fact that the Sheridans asked to visit BCBG has left Hannert hopeful: "It's a dream for any designer to be worn on the Oscar red carpet."
Here's a list of some of the most memorable Oscar fashion moments:
-Often imitated, never duplicated. Ask today's A-listers who inspired their look and they'll likely say Grace Kelly, proving that elegance - and, yes, grace - is always in style. The blue silk spaghetti-strap gown and evening coat by costume designer Edith Head that Kelly wore to the Oscars in 1955 remains a classic.
-Casual chic. Sharon Stone made Gap glamorous when she paired an everyday turtleneck with a Giorgio Armani velvet coat and a long skirt in 1996. Two years later, Stone wore a crisp white men's shirt to complement a lavender Vera Wang skirt.
-A tangled web. The Bob Mackie-designed Mohawk headdress that Cher wore in 1986 marked the peak of her individuality. Unfortunately, there was little else to her costume.
-Fairytale princess. Gwyneth Paltrow was the belle of the ball in a pink Ralph Lauren gown in 1999. (Paltrow was almost equally as memorable in 2002, this time for her misguided Goth gown.)
-Forget borrowed baubles. Elizabeth Taylor wore her own 69-carat pear-shaped Cartier diamond, which later became known as the Taylor-Burton diamond, to the 1970 Oscars. Taylor asked costumer Edith Head to design a gown with a low neckline to show off her necklace.
-Wrong way on the runway. Celine Dion's backward white coat by John Galliano for Christian Dior in 1999 was perhaps too fashion-forward. Maybe the fedora she wore with the outfit was pulled too far down over her eyes.
-"Funny Girl" is a sexy girl. Barbra Streisand put the world on notice that she'd be a strong woman in a man's world when she wore a see-through pantsuit designed by Arnold Scaasi to the 1969 ceremony.
-Swan song. Singer Bjork hasn't been seen at the Oscars since she wore that white feather bomb in 2001.
-Going for the gold. Lizzy Gardiner, who won the Oscar for costume design in 1994 for "The Adventures of Pricilla, Queen of the Desert," used dozens of American Express Gold Cards - all with invalid numbers - and metallic links to create her gown.
-All eyes were on Nicole Kidman when she wore an Asian-inspired chartreuse gown by Christian Dior to the 1997 Oscars.
-Hardly a drag. Matt Stone and Trey Parker, the creators of "South Park," provided comic relief when they showed up at the 2000 Oscars dressed like Gwyneth Paltrow and Jennifer Lopez.
When it comes to the Oscars, it's not about who wins or loses, it's about who looks good doing it.
ADVERTISEMENT
Have a thought?
Go to the Forums or Chat.
Subscribe
E-mail this story
Write a letter to the Editor
Printer-friendly version
Get news on your PDA
Get e-mail headlines
Visit our special section for the latest Academy Awards ® news, profiles of actors and reviews of nominated movies. Go to the Oscars section.
Tom Cruise and Nicole Kidman smile as they arrive for the 69th Annual Academy Awards at the Shrine Auditorium in Los Angeles, March 24, 1997.
AP / File
Gwyneth Paltrow arrives at the 71st Annual Academy Awards at the Dorothy Chandler Pavilion of the Los Angeles Music Center March 21, 1999.
AP / File
''South Park's" Trey Parker, wearing a Jennifer Lopez-style dress, left, and Marc Shaiman, nominated for the song "Blame Canada" from the movie "South Park: Bigger, Longer and Uncut," arrive with Matt Stone, right, also of "South Park," at the Shrine Auditorium in Los Angeles for the 72nd Academy Awards on March 26, 2000.
AP / File
Singer Bjork arrives at the 73rd annual Academy Awards March 25, 2001, in Los Angeles.
AP / File
Barbra Streisand with her Oscar for her performance in "Funny Girl" April 15, 1969 in the Hollywood section of Los Angeles.
AP / File
Cher wears a creation by designer Bob Mackie as she poses with actor Don Ameche after presenting him with the Oscar for best supporting actor at the Academy Awards in Los Angeles, March 24, 1986. Over the years, Cher has been a prime and often outrageous contributor to Oscar styles.
AP / File
Jim Sheridan and his daughters, 27-year-old Kirsten and 31-year-old Naomi, all screenwriting nominees for the Irish immigrant tale "In America," were well aware of the red carpet as they prepared for Sunday's 76th annual Academy Awards.
"I'd like to look like Grace Kelly in the '60s," Naomi told The Associated Press as the Sheridans began "shopping" for their free Oscar dresses, which were practically thrown at them by publicity-hungry designers.
"Maybe we'll put my dad in a red dress - that'll get us noticed," joked Kirsten.
It's true that the right Oscar outfit makes a lasting impression.
More people remember a glamorous Gap-clad Sharon Stone at the Academy Awards in 1996 than who took home the top acting trophies that year (Susan Sarandon and Nicolas Cage). Salma Hayek, still a struggling starlet in 1997, stole the spotlight when she wore a beaded Giorgio Armani gown and a diamond tiara.
Last year, nominee Renee Zellweger won rave reviews for her sexy red Carolina Herrera gown even though Nicole Kidman, who went with a more demure midnight-blue Jean-Paul Gaultier dress, was named best actress.
And then there's poor Celine Dion, who is probably still haunted - or at least taunted - by the backward white coat and fedora by John Galliano for Christian Dior that she wore on the red carpet in 1999.
This is why the search for the perfect Oscar-night ensemble is more than a last-minute shopping spree.
Some designers begin working with likely nominees months before the contenders are officially announced. Scores of jewelers, accessory-makers and hair and makeup stylists set up temporary shops in Los Angeles the week before the ceremony.
Holly Hunter, an Oscar winner for 1993's "The Piano" and a nominee this year for "Thirteen," has had a long collaborative relationship with Vera Wang.
Hunter turned up in the front row of Wang's New York Fashion Week runway show earlier this month, and she wore a Wang-designed purple halter gown to Sunday's Screen Actors Guild Awards.
"A really fabulous designer will have ideas that I won't," Hunter told the AP.
Meanwhile, the Sheridans paid a recent visit to the Kwiat diamond showroom in New York and then made stops at the Max Azria BCBG and Laundry by Shelli Segal stores.
"There are so many A-list actresses who will be dressed by the Diors and Valentinos, I'm not trying to compete, I'm not going to try to outdo them," said Kirsten.
"I'm thinking of something a little more independent - like our film," she added.
That doesn't mean she's thinking small: Kirsten was practically giddy as she tried on a 5-carat cushion-cut diamond necklace, while Naomi favored a 38-carat necklace featuring two large round stones surrounded by Marquis-cut diamonds that would retail for about $200,000.
"The kind of jewelry I usually buy is the $8 stuff you can get at the airport," said Kirsten. Then she wondered aloud if jewelers would provide security for the diamonds that would have to be returned the day after the event.
Even Sheridan, a veteran Oscar nominee for "In the Name of the Father" and "My Left Foot," got caught up in the fashion frenzy as he eyed gold and diamond cuff links.
"When I went (to the Academy Awards) for 'In the Name of the Father,' I didn't realize what a big deal the red carpet is. ... This time I want to wear something really nice," he said. He'll probably wear a classic Brooks Brothers or Ralph Lauren tuxedo.
Jennifer Royle, public relations coordinator for Laundry, said the Sheridan sisters seemed a little overwhelmed by all the attention they received at the store, but stayed true to their own sense of style.
"They knew what they wanted: A dress was either an immediate yes or an immediate no," Royle said. "I think they left happy. Each girl took one dress."
Kirsten's choice was a V-neck dress with lace panels on the bodice, a red sash around the waist and full black ball skirt. Naomi liked a long black matte jersey dress.
The dresses were a gift from the company. "For the right celebrity, we would absolutely give them anything they wanted with the hope they would wear it in public and get them photographed in it," said Royle, who also noted that Laundry offers dresses to TV show costumers just to see the company's name listed in the credits.
About 50 percent of the garments that are sent out to celebrities get worn, including dresses that stars specifically request, according to Tara Hannert, BCBG's public relations director.
"The kind of exposure you get from being photographed on the red carpet and Joan Rivers asking, 'Whose dress are you wearing?' ... There is no other marketing tool like it - it's worth jumping through a few hoops to get there," she said.
For the Oscars, those hoops include giving Naomi a blue halter dress and a red satin gown to consider, and Kirsten a cream-colored strapless dress with black embroidery and a tulle skirt.
The fact that the Sheridans asked to visit BCBG has left Hannert hopeful: "It's a dream for any designer to be worn on the Oscar red carpet."
Here's a list of some of the most memorable Oscar fashion moments:
-Often imitated, never duplicated. Ask today's A-listers who inspired their look and they'll likely say Grace Kelly, proving that elegance - and, yes, grace - is always in style. The blue silk spaghetti-strap gown and evening coat by costume designer Edith Head that Kelly wore to the Oscars in 1955 remains a classic.
-Casual chic. Sharon Stone made Gap glamorous when she paired an everyday turtleneck with a Giorgio Armani velvet coat and a long skirt in 1996. Two years later, Stone wore a crisp white men's shirt to complement a lavender Vera Wang skirt.
-A tangled web. The Bob Mackie-designed Mohawk headdress that Cher wore in 1986 marked the peak of her individuality. Unfortunately, there was little else to her costume.
-Fairytale princess. Gwyneth Paltrow was the belle of the ball in a pink Ralph Lauren gown in 1999. (Paltrow was almost equally as memorable in 2002, this time for her misguided Goth gown.)
-Forget borrowed baubles. Elizabeth Taylor wore her own 69-carat pear-shaped Cartier diamond, which later became known as the Taylor-Burton diamond, to the 1970 Oscars. Taylor asked costumer Edith Head to design a gown with a low neckline to show off her necklace.
-Wrong way on the runway. Celine Dion's backward white coat by John Galliano for Christian Dior in 1999 was perhaps too fashion-forward. Maybe the fedora she wore with the outfit was pulled too far down over her eyes.
-"Funny Girl" is a sexy girl. Barbra Streisand put the world on notice that she'd be a strong woman in a man's world when she wore a see-through pantsuit designed by Arnold Scaasi to the 1969 ceremony.
-Swan song. Singer Bjork hasn't been seen at the Oscars since she wore that white feather bomb in 2001.
-Going for the gold. Lizzy Gardiner, who won the Oscar for costume design in 1994 for "The Adventures of Pricilla, Queen of the Desert," used dozens of American Express Gold Cards - all with invalid numbers - and metallic links to create her gown.
-All eyes were on Nicole Kidman when she wore an Asian-inspired chartreuse gown by Christian Dior to the 1997 Oscars.
-Hardly a drag. Matt Stone and Trey Parker, the creators of "South Park," provided comic relief when they showed up at the 2000 Oscars dressed like Gwyneth Paltrow and Jennifer Lopez.
scriptgirl
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Pocono Record
Display of Grace Kelly's famous wedding dress
Fifty years ago the eyes of the world were fixed on the tiny principality of Monaco, where a real-life fairy tale was unfolding in the marriage of Philadelphia-born film star Grace Kelly 1929-1982 and Prince Rainier III of Monaco 1923-2005, head of Europe's oldest ruling family. The royal wedding that took place on April 19, 1956, represented a dazzling intersection of the worlds of monarchy and celebrity, high fashion and Hollywood, old Europe and Irish Catholic Philadelphia.
The Philadelphia Museum of Art will present the exhibition "Fit for a Princess: Grace Kelly's Wedding Dress," through Sunday, May 21, along with a lavishly illustrated publication devoted to Grace Kelly's style, her famous gown and its colorful history. The dress was donated to the museum shortly after the ceremony, and has become one of the museum's most beloved objects.
For conservation reasons, the dress can only be placed on view for short periods; it was last shown in 1997-'98.
The bride-to-be was besieged with offers from American and European designers to create her wedding dress, but the honor ultimately went to costume designer Helen Rose of MGM studios, who had designed clothes for top stars — including Kelly — in more than 90 films.
The Philadelphia Museum of Art is on Benjamin Franklin Parkway at 26th Street. For information, call 215 763-8100.
Display of Grace Kelly's famous wedding dress
Fifty years ago the eyes of the world were fixed on the tiny principality of Monaco, where a real-life fairy tale was unfolding in the marriage of Philadelphia-born film star Grace Kelly 1929-1982 and Prince Rainier III of Monaco 1923-2005, head of Europe's oldest ruling family. The royal wedding that took place on April 19, 1956, represented a dazzling intersection of the worlds of monarchy and celebrity, high fashion and Hollywood, old Europe and Irish Catholic Philadelphia.
The Philadelphia Museum of Art will present the exhibition "Fit for a Princess: Grace Kelly's Wedding Dress," through Sunday, May 21, along with a lavishly illustrated publication devoted to Grace Kelly's style, her famous gown and its colorful history. The dress was donated to the museum shortly after the ceremony, and has become one of the museum's most beloved objects.
For conservation reasons, the dress can only be placed on view for short periods; it was last shown in 1997-'98.
The bride-to-be was besieged with offers from American and European designers to create her wedding dress, but the honor ultimately went to costume designer Helen Rose of MGM studios, who had designed clothes for top stars — including Kelly — in more than 90 films.
The Philadelphia Museum of Art is on Benjamin Franklin Parkway at 26th Street. For information, call 215 763-8100.
scriptgirl
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EDP
Liza Lording it up
26 February 2005
Liza Goddard lives her life out of a suitcase – and is thriving on it. Despite being at an age – although it must be said she doesn't look anything like it – when most of us would be thinking of putting our feet up and taking it easy, Liza continues to work at full speed.
For several years now, Liza has been on the touring circuit, taking top-quality drama out to the provinces. “It very rewarding, the audiences are very appreciative. And the theatres are full. It's so much better than the West End where the ticket prices are keeping people away,” she says.
Liza's appeared in several popular pieces. She has most recently been in Alan Ayckbourn's Season's Greetings with Matthew Kelly while we last saw her at the Theatre Royal in Norwich three years ago in Secret Spies with her old friend, Robert Powell.
“You certainly get to see the country – a friend of my daughter asked me about restaurants in Edinburgh so I got out my touring diary and looked it all up for her. I sometimes think that I could write my own guide to Britain,” says Liza.
Liza, now in her mid 50s, has just joined the cast of Cole Porter's High Society, a glossy, glamorous musical set to the master's mouth-watering music.
“It's been adapted from the 1956 movie that starred Grace Kelly, Bing Crosby and Frank Sinatra,” explains Liza. “It's packed with great songs like Who Wants to be a Millionaire, Swell Party and I Love Paris and Just One of Those Things.”
For Liza, this all-singing, all-dancing role is a slight departure from her usual dramatic performances. “Yes, it is terrifying!” she laughs. “I played the Wicked Witch in the Wizard of Oz in Cambridge a couple of years ago and that was a proper singing and dancing role. But this is taking it all a step further and I'm loving it.”
Liza started to rehearse on her own, learning the songs and the dance steps and then she travelled to Glasgow to train with the cast. She plays Margaret Lord, mother of Tracy – the rich heiress played by Grace Kelly. “It's a question of remembering it all, getting it in the right order,” she says. “I get to sing one number on my own, Throwing a Ball Tonight, which is lovely.”
Another plus is the fabulous frocks, Liza admits. “They are all made to measure and are very glam,” she says. “And it's lovely to have perfectly-fitting outfits. Susie Blake liked one of her outfits so much that she had it made again to wear to her son's own wedding.”
The show, which started out in Regent's Park Open Air Theatre in London, has been highly successful, with Liza saying: “Yes, it's been doing very well, with queues for returns. I think it's because it's just a classic with some wonderful songs. It seems to appeal to all ages, with younger people liking all the swings songs because of Robbie Williams and Rod Stewart.
“It's just a great feel-good show, you are uplifted as you leave which is all anyone can ask for.”
While Liza travels all over the country because of her work, her heart remains very much in Norfolk where she has lived for the past 15 years.
Together with her film producer husband David Cobham, she made the county her home and returns every weekend. Her daughter, Sophie, and grand daughter, Adelaide, who is five in March, are also based in north Norfolk so Liza gets a great deal of pleasure from the little one whom she often writes about in her column.
“She's just started at a local school and is really enjoying it. It's lovely, there are only 85 pupils in the whole school and they are so well behaved!” Liza says.
Liza also shares her farmhouse home near Fakenham with five dogs, three ponies, six chickens and a cat. “Yes, Adelaide has sat on a pony but doesn't go out riding much in the winter – it's too cold.”
And despite being a keen and very competent horsewoman herself, Liza doesn't get to ride much. “I just get to muck out these days,” she says.
She's looking forward to staying at home while appearing in Norwich. “Yes, I'll drive home at night which will be lovely. I'll get to do all those little jobs that build up – I'll get to the hairdressers, have my eyes tested – all those sorts of little things,” she says.
“I would much rather be at home but I haven't worked out another way to make a living yet and the work I've been getting is so enjoyable.
“For women, as they get older, there are more roles in the theatre than on television. I'd like to do some television but it's the theatre work that keeps coming in.”
Roles that Liza, who started acting in Australia when she starred in the hit TV series, Skippy, still craves include Gertrude in Hamlet and Judith Bliss in Hayfever.
And we've enjoyed over the years seeing her in top TV series such as Bergerac where she played the upmarket Phillipa Vale, the Brothers where she played April Merroney and Victoria in Take Three Girls. Most recently she appeared in a Dawn French sitcom set in Cornwall called Wild West.
Liza is due to be in High Society until early July and then hopes to take a holiday. She and David are very keen on Greece, especially the Ionian island of Ithaca. “It would be lovely to have a good rest, I don't know what will happen after this show, I'll just wait and see.” t
High Society runs at Norwich Theatre Royal from Monday until Saturday, February 28 to March 5. Tickets cost from £5. For more details phone the box office on 01603 630000 or visit www.theatreroyalnorwich.co.uk
Liza Lording it up
26 February 2005
Liza Goddard lives her life out of a suitcase – and is thriving on it. Despite being at an age – although it must be said she doesn't look anything like it – when most of us would be thinking of putting our feet up and taking it easy, Liza continues to work at full speed.
For several years now, Liza has been on the touring circuit, taking top-quality drama out to the provinces. “It very rewarding, the audiences are very appreciative. And the theatres are full. It's so much better than the West End where the ticket prices are keeping people away,” she says.
Liza's appeared in several popular pieces. She has most recently been in Alan Ayckbourn's Season's Greetings with Matthew Kelly while we last saw her at the Theatre Royal in Norwich three years ago in Secret Spies with her old friend, Robert Powell.
“You certainly get to see the country – a friend of my daughter asked me about restaurants in Edinburgh so I got out my touring diary and looked it all up for her. I sometimes think that I could write my own guide to Britain,” says Liza.
Liza, now in her mid 50s, has just joined the cast of Cole Porter's High Society, a glossy, glamorous musical set to the master's mouth-watering music.
“It's been adapted from the 1956 movie that starred Grace Kelly, Bing Crosby and Frank Sinatra,” explains Liza. “It's packed with great songs like Who Wants to be a Millionaire, Swell Party and I Love Paris and Just One of Those Things.”
For Liza, this all-singing, all-dancing role is a slight departure from her usual dramatic performances. “Yes, it is terrifying!” she laughs. “I played the Wicked Witch in the Wizard of Oz in Cambridge a couple of years ago and that was a proper singing and dancing role. But this is taking it all a step further and I'm loving it.”
Liza started to rehearse on her own, learning the songs and the dance steps and then she travelled to Glasgow to train with the cast. She plays Margaret Lord, mother of Tracy – the rich heiress played by Grace Kelly. “It's a question of remembering it all, getting it in the right order,” she says. “I get to sing one number on my own, Throwing a Ball Tonight, which is lovely.”
Another plus is the fabulous frocks, Liza admits. “They are all made to measure and are very glam,” she says. “And it's lovely to have perfectly-fitting outfits. Susie Blake liked one of her outfits so much that she had it made again to wear to her son's own wedding.”
The show, which started out in Regent's Park Open Air Theatre in London, has been highly successful, with Liza saying: “Yes, it's been doing very well, with queues for returns. I think it's because it's just a classic with some wonderful songs. It seems to appeal to all ages, with younger people liking all the swings songs because of Robbie Williams and Rod Stewart.
“It's just a great feel-good show, you are uplifted as you leave which is all anyone can ask for.”
While Liza travels all over the country because of her work, her heart remains very much in Norfolk where she has lived for the past 15 years.
Together with her film producer husband David Cobham, she made the county her home and returns every weekend. Her daughter, Sophie, and grand daughter, Adelaide, who is five in March, are also based in north Norfolk so Liza gets a great deal of pleasure from the little one whom she often writes about in her column.
“She's just started at a local school and is really enjoying it. It's lovely, there are only 85 pupils in the whole school and they are so well behaved!” Liza says.
Liza also shares her farmhouse home near Fakenham with five dogs, three ponies, six chickens and a cat. “Yes, Adelaide has sat on a pony but doesn't go out riding much in the winter – it's too cold.”
And despite being a keen and very competent horsewoman herself, Liza doesn't get to ride much. “I just get to muck out these days,” she says.
She's looking forward to staying at home while appearing in Norwich. “Yes, I'll drive home at night which will be lovely. I'll get to do all those little jobs that build up – I'll get to the hairdressers, have my eyes tested – all those sorts of little things,” she says.
“I would much rather be at home but I haven't worked out another way to make a living yet and the work I've been getting is so enjoyable.
“For women, as they get older, there are more roles in the theatre than on television. I'd like to do some television but it's the theatre work that keeps coming in.”
Roles that Liza, who started acting in Australia when she starred in the hit TV series, Skippy, still craves include Gertrude in Hamlet and Judith Bliss in Hayfever.
And we've enjoyed over the years seeing her in top TV series such as Bergerac where she played the upmarket Phillipa Vale, the Brothers where she played April Merroney and Victoria in Take Three Girls. Most recently she appeared in a Dawn French sitcom set in Cornwall called Wild West.
Liza is due to be in High Society until early July and then hopes to take a holiday. She and David are very keen on Greece, especially the Ionian island of Ithaca. “It would be lovely to have a good rest, I don't know what will happen after this show, I'll just wait and see.” t
High Society runs at Norwich Theatre Royal from Monday until Saturday, February 28 to March 5. Tickets cost from £5. For more details phone the box office on 01603 630000 or visit www.theatreroyalnorwich.co.uk
scriptgirl
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Johns Hopkins Newsletter
cquiring the moniker "Style Icon" before one's name is no small feat. Appearing flawless from head to toe, day after day, is only the most basic prerequisite. All public appearances -- be they red carpet events or trips to the grocery store -- must be intricately pondered, with the expectation that a pesky paparazzo could snap away at any moment, plastering the icon's image on magazines and TV shows.
To be a Style Icon is to be on permanent display. A true Icon will never don an outfit twice, and must forecast trends at least a month in advance, in order to ensure being "so over" must-have items by the time they're actually deemed "must-haves."
Moreover, any worthy Icon must not simply predict and sport trends, but create her own, contributing something innovative and unbeknownst to the fashion world.
The Style Icon must be a goddess. She meets with a trainer and a nutritionist bi-weekly, partaking in regular workouts to maintain her sleek, toned figure. Facials, manicures, laser teeth-whitening and body wraps become perfunctory affairs.
She must attend all popular benefits and fashion shows. She must forever wear a coy, sexy smile. And, above all, she must encounter fans, reporters, and adversaries with gracious diplomacy.
Essentially, the Style Icon must be flawless -- the embodiment of sheer perfection. And, as one would expect, such perfection and the acquisition of the coveted title could take years.
Perhaps this is why Style Icons of the past were women in their late twenties and mid-thirties -- Jackie Onassis, Princess Diana, Grace Kelly, and Elizabeth Taylor, to name a few. Each of these women worked hard to earn her title, bearing lesser titles in the hierarchical gamut along the way -- "Hipster," "Trendy Lady," "Socialite," "Fashionista," and, eventually, the royalty of all titles, "Style Icon."
The process is a lengthy, arduous one. Or at least it used to be. In today's fast-paced world, where entrepreneurs can be eight-year-old prodigies and students begin training for the SATs while still in Middle School, it only seems logical that the paradigm has shifted.
Switching on the Style Network the other night, I came across a show titled Style Star: It Girls of the Era. Anticipating a program devoted to the stylish ladies who inspired countless designers and impacted the way Americans everywhere dressed -- Ms. Onassis, Ms. Taylor, and the like -- I was thrown off by the "women" to whom the network bestowed the Style Icon moniker.
Not Jackie O., not Grace Kelly, not even Lady Taylor -- but, instead, Lindsay Lohan, Hillary Duff, Mischa Barton, Mary Kate and Ashley Olsen, and Scarlett Johansson.
The new Style Icons, the "women" to whom fashion designers cater and draw inspiration, the "ladies" who set the tone in the fashion world, are no longer those who arduously climbed the ranks to obtain their title. No, the new Style Icons cannot even be called ladies, or even women, as each girl mentioned is under the age of 20.
Though producing an initial repulsion, as none of these teenage girls -- no matter how stylish -- has been in the spotlight for more than a few years, I realized how logical this paradigm shift truly is. In our youth-obsessed culture, none is more fit to adopt the title of Style Icon and set the fashion trends of the nation than 18-year-old Lindsay Lohan or teen queen twins Mary Kate and Ashley.
After all, aren't we the culture that emphasizes our youth to an unparalleled extent, taking care to provide "the future of our nation" with opportunities abound? Moreover, the "girls of Hollywood" -- the teen queens appearing in countless blockbusters and promoting every imaginable product -- are whom the older stars, it seems, strive to emulate.
Kim Catrall, for example -- a 47-year-old established actress -- drew inspiration for her Sex and the City character from the young starlets of the industry, as is apparent in the style of dress chosen for her character. Even her demeanor -- sly, boy-crazy seductress -- is more the behavior of a teen queen than a stately woman of 47.
Forty-four year-old Demi Moore, an award-winning silver screen darling, can often be seen prancing throughout Manhattan and L.A. sporting the tight, girly jeans of the moment, bubble-gum pink t-shirts, and rainbow-print Vuitton bags. Moore even accessorizes with a man nearly half her age -- teen heartthrob Ashton Kutcher.
Clearly, teenagers, with their coquettish ways and fanciful style, are what's hot -- so hot that these blithe girls have officially become the new Style Icons, taking the reigns from their much older predecessors.
But don't be misled. Lindsay, Hillary, Mandy and the others aren't ordinary teens, and they haven't simply been handed the Style Icon title without any strife. These girls are power-house industries in themselves, with staying-power far exceeding the whimsical ways of current trends.
Mary Kate and Ashley Olsen, for example -- the 18-year-old twins presiding over their $1 billion brand -- have been working continually since before they could speak. In addition to hundreds of straight-to-video films, the girls -- regulars at fashion shows from New York to Milan -- have a lucrative clothing brand, make-up line, music videos, and action figures in their likeness.
Lindsay Lohan, known for her exorbitant shopping sprees and stellar sense of style, has quickly built herself into an award-winning actress, platinum recording artist, and permanent fixture in the fashion world. Lindsay's immense passion for fashion even drove her to take leave from the Hollywood set of her upcoming movie Herbie: Fully Loaded to fly to New York for fashion week.
And then, of course, there's The OC's 18-year-old beauty Mischa Barton, who has been approached by Tommy Hilfiger, Calvin Klein and other high-profile designers coveting her face for their brand. But can these girls -- Scarlet, Lindsay, Hillary, Ashley, and Mary-Kate -- really be the current generation's Jackie Onassis or Grace Kelly?
The fact that each of the "It girls" and Style Icons of our current generation is a young woman beneath the legal drinking age is surely a testament to the power and determination of today's youth. The teen market is so prolific and influential that traditional fashion publications like Vogue and Elle have created "teen equivalents" to their women's magazines, like Teen Vogue and Elle Girl.
Additionally, renowned designers like Donatella Versace and the team behind the creations of Louis Vuitton are creating clothing with the teen market's preferences in mind. Scarlett Johansson, 18, is even the new face of Vuitton's ad campaign.
And while today's Style Icons may not have customarily spent years climbing the fashion ladder to obtain their titles, they are, undeniably, icons in their own right. What other teenager can pull off a Sass and Bide dress like Mischa, or don an eccentric Alexander McQueen suit like Mary-Kate?
Perhaps becoming iconic no longer requires a lengthy ascension. Or, perhaps these leading ladies truly are exceptional creatures.
Whatever the explanation, Style Icons of the past beware: There's a new set of It girls on the scene and they're making their presence known. From Jackie O. to Lindsay Lo, today's iconic goddesses may be young, but they've certainly got the style to earn them the title.
cquiring the moniker "Style Icon" before one's name is no small feat. Appearing flawless from head to toe, day after day, is only the most basic prerequisite. All public appearances -- be they red carpet events or trips to the grocery store -- must be intricately pondered, with the expectation that a pesky paparazzo could snap away at any moment, plastering the icon's image on magazines and TV shows.
To be a Style Icon is to be on permanent display. A true Icon will never don an outfit twice, and must forecast trends at least a month in advance, in order to ensure being "so over" must-have items by the time they're actually deemed "must-haves."
Moreover, any worthy Icon must not simply predict and sport trends, but create her own, contributing something innovative and unbeknownst to the fashion world.
The Style Icon must be a goddess. She meets with a trainer and a nutritionist bi-weekly, partaking in regular workouts to maintain her sleek, toned figure. Facials, manicures, laser teeth-whitening and body wraps become perfunctory affairs.
She must attend all popular benefits and fashion shows. She must forever wear a coy, sexy smile. And, above all, she must encounter fans, reporters, and adversaries with gracious diplomacy.
Essentially, the Style Icon must be flawless -- the embodiment of sheer perfection. And, as one would expect, such perfection and the acquisition of the coveted title could take years.
Perhaps this is why Style Icons of the past were women in their late twenties and mid-thirties -- Jackie Onassis, Princess Diana, Grace Kelly, and Elizabeth Taylor, to name a few. Each of these women worked hard to earn her title, bearing lesser titles in the hierarchical gamut along the way -- "Hipster," "Trendy Lady," "Socialite," "Fashionista," and, eventually, the royalty of all titles, "Style Icon."
The process is a lengthy, arduous one. Or at least it used to be. In today's fast-paced world, where entrepreneurs can be eight-year-old prodigies and students begin training for the SATs while still in Middle School, it only seems logical that the paradigm has shifted.
Switching on the Style Network the other night, I came across a show titled Style Star: It Girls of the Era. Anticipating a program devoted to the stylish ladies who inspired countless designers and impacted the way Americans everywhere dressed -- Ms. Onassis, Ms. Taylor, and the like -- I was thrown off by the "women" to whom the network bestowed the Style Icon moniker.
Not Jackie O., not Grace Kelly, not even Lady Taylor -- but, instead, Lindsay Lohan, Hillary Duff, Mischa Barton, Mary Kate and Ashley Olsen, and Scarlett Johansson.
The new Style Icons, the "women" to whom fashion designers cater and draw inspiration, the "ladies" who set the tone in the fashion world, are no longer those who arduously climbed the ranks to obtain their title. No, the new Style Icons cannot even be called ladies, or even women, as each girl mentioned is under the age of 20.
Though producing an initial repulsion, as none of these teenage girls -- no matter how stylish -- has been in the spotlight for more than a few years, I realized how logical this paradigm shift truly is. In our youth-obsessed culture, none is more fit to adopt the title of Style Icon and set the fashion trends of the nation than 18-year-old Lindsay Lohan or teen queen twins Mary Kate and Ashley.
After all, aren't we the culture that emphasizes our youth to an unparalleled extent, taking care to provide "the future of our nation" with opportunities abound? Moreover, the "girls of Hollywood" -- the teen queens appearing in countless blockbusters and promoting every imaginable product -- are whom the older stars, it seems, strive to emulate.
Kim Catrall, for example -- a 47-year-old established actress -- drew inspiration for her Sex and the City character from the young starlets of the industry, as is apparent in the style of dress chosen for her character. Even her demeanor -- sly, boy-crazy seductress -- is more the behavior of a teen queen than a stately woman of 47.
Forty-four year-old Demi Moore, an award-winning silver screen darling, can often be seen prancing throughout Manhattan and L.A. sporting the tight, girly jeans of the moment, bubble-gum pink t-shirts, and rainbow-print Vuitton bags. Moore even accessorizes with a man nearly half her age -- teen heartthrob Ashton Kutcher.
Clearly, teenagers, with their coquettish ways and fanciful style, are what's hot -- so hot that these blithe girls have officially become the new Style Icons, taking the reigns from their much older predecessors.
But don't be misled. Lindsay, Hillary, Mandy and the others aren't ordinary teens, and they haven't simply been handed the Style Icon title without any strife. These girls are power-house industries in themselves, with staying-power far exceeding the whimsical ways of current trends.
Mary Kate and Ashley Olsen, for example -- the 18-year-old twins presiding over their $1 billion brand -- have been working continually since before they could speak. In addition to hundreds of straight-to-video films, the girls -- regulars at fashion shows from New York to Milan -- have a lucrative clothing brand, make-up line, music videos, and action figures in their likeness.
Lindsay Lohan, known for her exorbitant shopping sprees and stellar sense of style, has quickly built herself into an award-winning actress, platinum recording artist, and permanent fixture in the fashion world. Lindsay's immense passion for fashion even drove her to take leave from the Hollywood set of her upcoming movie Herbie: Fully Loaded to fly to New York for fashion week.
And then, of course, there's The OC's 18-year-old beauty Mischa Barton, who has been approached by Tommy Hilfiger, Calvin Klein and other high-profile designers coveting her face for their brand. But can these girls -- Scarlet, Lindsay, Hillary, Ashley, and Mary-Kate -- really be the current generation's Jackie Onassis or Grace Kelly?
The fact that each of the "It girls" and Style Icons of our current generation is a young woman beneath the legal drinking age is surely a testament to the power and determination of today's youth. The teen market is so prolific and influential that traditional fashion publications like Vogue and Elle have created "teen equivalents" to their women's magazines, like Teen Vogue and Elle Girl.
Additionally, renowned designers like Donatella Versace and the team behind the creations of Louis Vuitton are creating clothing with the teen market's preferences in mind. Scarlett Johansson, 18, is even the new face of Vuitton's ad campaign.
And while today's Style Icons may not have customarily spent years climbing the fashion ladder to obtain their titles, they are, undeniably, icons in their own right. What other teenager can pull off a Sass and Bide dress like Mischa, or don an eccentric Alexander McQueen suit like Mary-Kate?
Perhaps becoming iconic no longer requires a lengthy ascension. Or, perhaps these leading ladies truly are exceptional creatures.
Whatever the explanation, Style Icons of the past beware: There's a new set of It girls on the scene and they're making their presence known. From Jackie O. to Lindsay Lo, today's iconic goddesses may be young, but they've certainly got the style to earn them the title.
scriptgirl
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Irish Examiner
ecretary scene voted sexiest in the movies
12/03/2006 - 10:49:48
A spanking scene in the movie Secretary has been named the sexiest moment in film.
The kiss between Jake Gyllenhaal and Heath Ledger in the gay cowboy movie Brokeback Mountain came second.
Hollywood heart-throb George Clooney and star Jennifer Lopez take third place for the movie Out Of Sight.
The sexual tension between Clooney’s bank robber and Lopez’s federal agent is sparked when he locks her in the boot of his car.
The opening sex scene featuring French actress Beatrice Dalle in the explicit 1986 film Betty Blue is fourth.
The kiss between stars Selma Blair and Sarah Michelle Gellar in the 1999 movie Cruel Intentions is fifth.
The classic Alfred Hitchcock movie Rear Window is next in the poll for Lovefilm.com, for the moment when James Stewart’s character is woken by a kiss from his girlfriend (Grace Kelly).
DVD rental service Lovefilm.com surveyed 120,000 of its members for the poll.
Top Ten Sexiest Movie Scenes
1. Secretary (2002
Lee (Maggie Gyllenhaal) being spanked by her boss (James Spader)
ecretary scene voted sexiest in the movies
12/03/2006 - 10:49:48
A spanking scene in the movie Secretary has been named the sexiest moment in film.
The kiss between Jake Gyllenhaal and Heath Ledger in the gay cowboy movie Brokeback Mountain came second.
Hollywood heart-throb George Clooney and star Jennifer Lopez take third place for the movie Out Of Sight.
The sexual tension between Clooney’s bank robber and Lopez’s federal agent is sparked when he locks her in the boot of his car.
The opening sex scene featuring French actress Beatrice Dalle in the explicit 1986 film Betty Blue is fourth.
The kiss between stars Selma Blair and Sarah Michelle Gellar in the 1999 movie Cruel Intentions is fifth.
The classic Alfred Hitchcock movie Rear Window is next in the poll for Lovefilm.com, for the moment when James Stewart’s character is woken by a kiss from his girlfriend (Grace Kelly).
DVD rental service Lovefilm.com surveyed 120,000 of its members for the poll.
Top Ten Sexiest Movie Scenes
1. Secretary (2002
Lee (Maggie Gyllenhaal) being spanked by her boss (James Spader)scriptgirl
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usa today
The Country Girl
* * * 1/2
1954, Paramount, unrated, no extras, $15
Bing Crosby is an alcoholic has-been actor, Grace Kelly is his long-suffering wife and William Holden is a brash, woman-burned stage director who first sympathizes with Bing, then switches allegiances. Two Oscars, five more nominations.
Back story: Critically undervalued today, this star-powered adaptation of Clifford Odets' play got Kelly an Oscar and an amazing Crosby a nomination just as both were enjoying more prototypical popularity (she in Rear Window, he in White Christmas). Academy Award voters are now pummeled for picking Kelly over A Star Is Born's Judy Garland, but it's worth noting that the National Board of Review and the New York Film Critics also honored Kelly. Writer/director George Seaton won an Oscar for his script. He was no visualist, but the final shot of Holden (equally terrific) is a personal favorite.
The Country Girl
* * * 1/2
1954, Paramount, unrated, no extras, $15
Bing Crosby is an alcoholic has-been actor, Grace Kelly is his long-suffering wife and William Holden is a brash, woman-burned stage director who first sympathizes with Bing, then switches allegiances. Two Oscars, five more nominations.
Back story: Critically undervalued today, this star-powered adaptation of Clifford Odets' play got Kelly an Oscar and an amazing Crosby a nomination just as both were enjoying more prototypical popularity (she in Rear Window, he in White Christmas). Academy Award voters are now pummeled for picking Kelly over A Star Is Born's Judy Garland, but it's worth noting that the National Board of Review and the New York Film Critics also honored Kelly. Writer/director George Seaton won an Oscar for his script. He was no visualist, but the final shot of Holden (equally terrific) is a personal favorite.
scriptgirl
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scriptgirl
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ebay
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PPE
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You are welcome.
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