03/27/2023
In this entertaining debut, actor/dancer Rivera provides a lively backstage glimpse of her seven-decade career. As an outlet for her childhood rambunctiousness, Rivera’s mother enrolled her in ballet classes. She subsequently trained at the School of American Ballet, and though she always thought of herself as “more of a dancer than a Broadway musical star,” Rivera was cast as the original Anita in West Side Story in 1957, and went on to perform in numerous productions, including Bye-Bye Birdie, Chicago, Mr. Wonderful, Kiss of the Spider Woman, and The Visit. “I do miss that girl, full of energy, agility, optimism, and hope,” Rivera reminisces, and describes her attempts to hold onto her through milestones including her three Tony wins and receipt of the Presidential Medal of Freedom in 2009. Rivera fondly recounts her memories with a touch of humor and a hint of the fire that characterizes the many roles she has portrayed on stage and screen; references to her less restrained alter ego “Dolores” (or as her daughter would say: “Mom goes Puerto Rican”) are particularly charming. This deserves a standing ovation. Agent: Mel Berger, WME. (Apr.)
"Playful and history-rich. . . . Broadway-loving readers will appreciate the play-by-play (pun intended) of this fizzy book." — New York Times
“Chita Rivera blazed a trail where none existed so the rest of us could see a path forward. She was part of some of the greatest musicals in the history of the form, from Anita in the trailblazing West Side Story through Claire Zachanassian in the underrated masterpiece The Visit, over 60 years later. She was a Puerto Rican Broadway icon and the original ‘triple threat.’ We were so lucky to be alive in the same timeline as Chita Rivera." — Lin-Manuel Miranda
"A frank and fascinating memoir from one of the truly great artists of the American Theater. Lots of stories. . . . Lots of insight . . . and quite a few caustic statements from Chita’s alter ego, Dolores. An illuminating history and a guaranteed pleasure!" — John Kander
"This deserves a standing ovation." — Publishers Weekly
"Chita’s magnificent memoir literally danced off the page and into my heart with her signature style, wit, humor, warmth, and humility. It was as if she was giving me a personal glimpse into the golden years of show biz and beyond. It’s filled with Chita’s loves, laughs, losses, and all that jazz. If it’s possible—it made me love her even more than I already do!" — Rob Marshall
"Fans of musical theater and dance are in for a real treat." — Kirkus Reviews
"An enjoyable and inspiring inside look at a life in the theater." — Library Journal
"A captivating, stirring memoir [filled with] loads of dramatic incidents. . . . Every fast-reading page is animated with her upbeat, outspoken spin on a spunky, fearless life where she blazed her own trail. Chita, take your well-deserved bow!" — Brian Bromberger, Bay Area Reporter
"Delicious!…One of the main and most delightful concepts of the book: 'Chita is sweet and kind,' she insists before admitting, 'Dolores [alter ego] is a bat out of hell.' Rivera’s advice to us all comes from an Ebb lyric in the team’s 70, GIRLS, 70: 'Say yes!' Indeed, say yes to this marvelous memoir so that you can not only savor all there is to Chita but also understand where Dolores is coming from, too." — Peter Filicia, Masterworks Broadway
"This colorful and entertaining memoir-as vital and captivating as Chita herself-is the unforgettable and engrossing personal story of a performer who blazed her own trail and inspired countless performers to forge their own unique path to success." — Richie Ridge, Broadway World
"Chita Rivera knows how to tell a story…The book is a fast, fun read full of fabulous tales, smart and insightful. It may well make you laugh and cry. And I bet you'll be sad when it ends. I was." — Wendy Caster, TalkinBroadway
"Wow! A wide-ranging, entertaining memoir about her life on stage and screen. And yes, Chita is as wonderful as she is!" — Town&Country
"Gripping, moving, insightful…wonderfully inspirational! Reading Chita, A memoir, is like going to the still center of Broadway creativity and the remarkable people who gave their all to make it happen. The details of her life are simply astounding!" — Cahir O'Doherty, The NY Irish Voice
"Full of sharp, insightful humor." — Vulture
02/01/2023
Rivera's memoir, written with Patrick Pacheco (American Theater Wing, an Oral History) begins in 1957. That's when the young unknown dancer landed the role of Anita in a new work that would change musical theater forever: West Side Story. Born Dolores Conchita Figueroa del Rivero to a Scottish Irish mother and a Puerto Rican father in Washington, DC, in 1933, Rivera was enrolled in a ballet class by her mother at a young age. At 15, she was discovered by an American School of Ballet teacher, who whisked her off to New York to dance. Besides Anita, Rivera went on to originate the Broadway roles of Rosie Grant in Bye Bye Birdie and Velma Kelly in Chicago. But when it came time for the movie versions of those productions, she was passed over. Though she had a few film roles (Sweet Charity), a film career eluded her. But she's earned 10 Tony nominations and three wins, including a lifetime achievement award. She candidly shares backstage stories about the Broadway greats she worked with, including Bob Fosse, Liza Minnelli, Sammy Davis Jr., and others. VERDICT An enjoyable and inspiring inside look at a life in the theater; will be of interest to celebrity watchers and aspiring actors.—Rosellen "Rosy" Brewer
Chita Rivera--actor, singer, and, foremost, dancer--narrates her memoir, full of behind-the-scenes Broadway stories. Rivera's narration style is casual and personal. Her sometimes languid pace and occasional inconsistent pauses are a bit disruptive but a small compromise in exchange for hearing her tell her own story. With her feisty Puerto-Rican American persona, Rivera burst onto the stage as Anita in WEST SIDE STORY in 1957 after studying under Balanchine at the American School of Ballet. With a wink of humor, she describes the elation of creative successes such as KISS OF THE SPIDER WOMAN and touches briefly on the crises that are inevitable in show business. Her fond stories about some of the greatest names in American entertainment are delightful. N.M.C. © AudioFile 2023, Portland, Maine
Chita Rivera--actor, singer, and, foremost, dancer--narrates her memoir, full of behind-the-scenes Broadway stories. Rivera's narration style is casual and personal. Her sometimes languid pace and occasional inconsistent pauses are a bit disruptive but a small compromise in exchange for hearing her tell her own story. With her feisty Puerto-Rican American persona, Rivera burst onto the stage as Anita in WEST SIDE STORY in 1957 after studying under Balanchine at the American School of Ballet. With a wink of humor, she describes the elation of creative successes such as KISS OF THE SPIDER WOMAN and touches briefly on the crises that are inevitable in show business. Her fond stories about some of the greatest names in American entertainment are delightful. N.M.C. © AudioFile 2023, Portland, Maine
2022-12-29
The star of numerous hit Broadway musicals recounts her 70 years in the public eye.
Born Dolores Conchita Figueroa del Rivero in 1933, she was raised in Washington, D.C., by her mother and grandmother after her father died young. Accepted into the School of American Ballet when she was 16, Rivera still considers herself more of a dancer than a Broadway star. She originated the role of Anita in West Side Story, a "hot-blooded, hormonal, and competitive" character with whom she identified, and she went on to a spectacular award-winning career that included starring roles in such classics as Bye Bye Birdie, Sweet Charity, Chicago, The Rink, Kiss of the Spider Woman, and The Visit. The author describes the germination and development of her roles and provides intimate reminiscences of working and playing with such boldfaced names as Jerome Robbins, Sammy Davis Jr. (“a friend and one-time lover”), Liza Minnelli, Dick Van Dyke, Bob Fosse (“a flash of lightning in a dark sky”), John Kander, and Fred Ebb. With the assistance of TV commentator Pacheco, Rivera writes about the pervasive stereotyping of Latinas in show business, explaining how she avoided being pigeonholed. “When I did play Latinas,” she writes, “I was naturally upset when my characters were subjected to racist taunts.” She also acknowledges the devastating impact of the AIDS crisis on the theater and dance communities. Along the way, Rivera gives voice to Dolores, “my sensual, dark, and renegade alter ego,” who relishes opportunities "to throw shade at the opposite sex.” The intimate tone of this backstage look at Rivera's career makes for compelling reading. Lyrics from the musicals discussed begin each chapter with a poetic flourish, and a series of “Entr’acte” sections between the chapters fill out personal details.
The author is honest and outspoken in life and on the page, and fans of musical theater and dance are in for a real treat.
