Tallulah! [NOOK Book]

Overview

Outrageous, outspoken, and uninhibited, Tallulah Bankhead was an actress known as much for her vices -- cocaine, alcohol, hysterical tirades, and scandalous affairs with both men and women -- as she was for her winning performances on stage. In 1917, a fifteen-year-old Bankhead boldly left her established Alabama political family and fled to New York City to sate her relentless need for attention and become a star. Five years later, she crossed the Atlantic, immediately taking her place as a fixture in British ...

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Tallulah!

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Overview

Outrageous, outspoken, and uninhibited, Tallulah Bankhead was an actress known as much for her vices -- cocaine, alcohol, hysterical tirades, and scandalous affairs with both men and women -- as she was for her winning performances on stage. In 1917, a fifteen-year-old Bankhead boldly left her established Alabama political family and fled to New York City to sate her relentless need for attention and become a star. Five years later, she crossed the Atlantic, immediately taking her place as a fixture in British society and the most popular actress in London's West End. By the time she returned to America in the 1930s, she was infamous for throwing marathon parties, bedding her favorite costars, and neglecting to keep her escapades a secret from the press. At times, her notoriety distracted her audience from her formidable talent and achievements on stage and dampened the critical re-sponse to her work. As Bankhead herself put it, "they like me to 'Tallulah,' you know -- dance and sing and romp and fluff my hair and play reckless parts." Still, her reputation as a wild, witty, over-the-top leading lady persisted until the end of her life at the age of sixty-six.

From her friendships with such entertainment luminaries as Tennessee Williams, Estelle Winwood, Billie Holiday, Noël Coward, and Marlene Dietrich, to the intimate details of her family relationships and her string of doomed romances, Joel Lobenthal has captured the private essence of the most public star during theater's golden age. Larger-than-life as she was, friends saw through Bankhead's veneer of humor and high times to the heart of a woman who often felt second-best in her father's eyes, who longed for the children she was unableto bear, and who forced herself into the spotlight to hide her deep-seated insecurities.

Drawn from scores of exclusive interviews, as well as previously untapped information from Scotland Yard and the FBI, this is the essential biography of Tallulah Bankhead. Having spent twenty-five years researching Bankhead's life, Joel Lobenthal tells her unadulterated story, as told to him by her closest friends, enemies, lovers, and employees. Several have broken decadelong silences; many have given Lobenthal their final interviews. The result is the story of a woman more complex, more shocking, and yet more nuanced than her notorious legend suggests.

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Product Details

  • ISBN-13: 9780061865978
  • Publisher: HarperCollins Publishers
  • Publication date: 10/13/2009
  • Sold by: HARPERCOLLINS
  • Format: eBook
  • Pages: 592
  • Sales rank: 287,022
  • File size: 3 MB

Meet the Author

Joel Lobenthal is assistant editor of Ballet Review, and has also written for Dance Magazine, Playbill, Quest, and the New York Times. He is the author of Radical Rags: Fashions of the Sixties.

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Read an Excerpt

Tallulah!

Chapter One

Lace Curtains

"When I was twelve years old I used to think it was the best sport in the world to give impressions of my step-mother. At that time dad said severely: 'The place for people to give impersonations is on the stage!' and so the seed was planted."

The opening years of the twentieth century were a time of intense reaction in the American South, the inauguration of the Jim Crow doctrine of "separate but equal." Amid an attempted restoration of the prewar civil order, whites who possessed any degree of power could live as if they were antebellum plantation owners. Statues of Confederate heroes appeared in courthouse squares. There was a new sense of identification with the settlers of the Old South, a nostalgic, recidivist affinity with the lost cause. Integral to this mood was a renewed investment in the prewar vision of the elite white Southern woman and her consecrated purity, passivity, and dependency. Yet bright women chained into the rigid and puritanical society of the upper-class South found ways to express themselves and to make waves. The words that came out of Tallulah Bankhead's mouth would register shock to new extremes, but her dialogue had been primed by women talking out long before she was born in 1902. "All the Bankhead women were outspoken," said Kay Crow, who married Charles Crow, son of Tallulah's cousin Marion Bankhead. But it was the men who stepped up to public platforms. Tallulah was the first woman in her family to bestow her performances not just on friends and family, but to exhibit herself for pay -- to seize a public pulpit.

She wasnamed for her grandmother, Tallulah Brockman Bankhead, whose parents believed they had conceived her during a stopover at Tallulah Falls in northern Georgia. Tallulah Brockman married John Hollis Bankhead in 1866. He had served as captain in the Confederate Army, and to the end of his days he was called "Captain John" by the family. After the surrender he ran a cotton mill and was warden of a prison in Wetumpka, Alabama. Mrs. Bankhead had given birth to Marie, John Jr., and Louise before Tallulah's father, William Brockman Bankhead, was born in 1874. In 1887, Captain John was elected to the House of Representatives, beginning a thirty-three-year career in Congress.

Both John and Tallulah Bankhead were formidable, but their styles were different. Mrs. Bankhead was driven around Washington by a liveried chauffeur. Captain John, however, devoutly took the streetcar every day to the Capitol. "Grandaddy would say 'Ain't,' " Tallulah recalled to author Richard Lamparski in 1966. "And my grandmother used to be furious. She'd say, 'Honey, Captain John, you know better than to say 'ain't'!' He said, 'Tallulah -- first of all, it's an old Elizabethan word, perfectly legitimate; second, if I didn't say "Ain't" I wouldn't get a farmer's vote in the whole state!' "

Their son Will Bankhead was moody, high-strung, and nurtured theatrical ambitions that could not be achieved. Will followed his older brother, John, to the University of Alabama, where he was president of the class of 1892 and won a Phi Beta Kappa key, and then followed John to the law school at Georgetown University in Washington, D.C.

In 1897, he went to New York with two friends to set up a brokerage office, which limped along perilously. "My life in New York has been more of a struggle than I have heretofore known," he wrote in his diary in January 1898. But he managed to attend the theater frequently, filling his diary with jottings on what he had seen, and he brewed with the desire to take his love of oratory to the theatrical stage. He happened upon an advertisement in a trade paper announcing openings in a Boston theatrical stock company, and coining a fictitious resume, he was hired. He sent word to his mother and left for Boston.

As a teenager, Mrs. Bankhead herself had enjoyed performing in private theatricals to raise money for the Confederacy, and as a young man, Captain John loved to recite Shakespeare with his neighbors on his farmhouse porch in west Alabama. But a career in the theater was not what they envisioned for Will. Sitting on the Boston Commons, buffeted by the winter chill, he read his mother's letter demanding that he return. "And so I decided this little country boy had better go home," he told Tallulah many years later.

Tallulah's mother, Adelaide Eugenia Sledge, was "Ada" to her friends and family, but "Gene" to her husband. She was just as high strung as Will and just as keen on the stage. The younger of two daughters, Adelaide grew up in Como, a small town in northern Mississippi. She never knew her mother, who succumbed to infection soon after delivering her in 1880; her father subsequently remarried. Her grandfather had amassed a small fortune and he doted on his lovely young granddaughter. As a teenager, she was sent to Paris, returning with trunks full of couture clothes that rustic Como offered few opportunities to display. But Adelaide thought nothing of donning a Paris gown to trundle off down the dirt roads of the town.

Her education was slightly more ambitious than one would have expected of a woman of her time and class. At fifteen, she spent one year at the Salem Female Academy in North Carolina, which had been founded by Moravians in the eighteenth century. She took all the required courses: Latin, math -- arithmetic, algebra, and geometry -- French history, physical geography, and "miscellaneous," which that year meant grammar, composition and dictation, natural history, penmanship.

Her father paid extra every quarter so that Adelaide could also avail herself of vocal lessons and a class in elocution, and Adelaide performed in several school performances. In the early 1940s, a classmate of Adelaide's came backstage to see Tallulah and told her that she had inherited her talent from her mother, citing as evidence Adelaide's ability to faint on cue whenever a certain young Moravian doctor appeared in her vicinity ...

Tallulah!. Copyright © by Joel Lobenthal. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted June 26, 2008

    A reviewer

    I thought this book would be interesting but twenty pages into the book i found it boring. The book goes over each and every play she was in. It goes into great depth of each plays plot, all the characters, their back grounds, etc..... I feel i spent alot of money on this book and came out really disappointed.

    4 out of 4 people found this review helpful.

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  • Posted November 30, 2013

    What a story...I am now officially obsessed with Tallulah!! Yes

    What a story...I am now officially obsessed with Tallulah!! Yes, the beginning in London is a bit tedious and detailed, but well worth getting through as it documents her early talent and experience before coming back to America and Broadway. Oh, to have known her....

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