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Tbe Barb 9
FFFortissimo
(continued from page 7)
“Hollywood” is a fas
cinating book. Virtually
everybody is in it’ Marilyn
Monroe, Ingrid Bergman,
Cary Gram, Hepburn,
Laughton, even Rin Tin Tin.
Cinema devotees will par
ticularly enjoy it, tx* I
recommend it for anyone
wbo is fadnated by the
Hollywood myth. Reading
“Hollywood” can almost
be described as voyeurism,
but then, haven’t the movies
always been voyeuristic?
Tbe legacy of Hollywood,
those flickering images in
the dark, is the legacy of
America--and for anyone
who has grown 19 in Ameri
ca, “Hollywood” is a must.
Clubs
Halleujah. Atlanta!
Daphne Davis has arrived
at the SCORE ONE and Bar
entertainment may never
be the same again. This
talented, Blonde, Austral
ian Ms is one of the finest
performers I’ve seen in a
Bar in years, and is also
one of tbe finest impress
ionists around. She cer
tainly made for a change
of pace pace in the Atlanta
gaybar diversion scene,
and the SCORE ONE is due
many thanks for that.
She strolled onstage in
silver sequins and wowed
audiences for two weeks.
Continues
Her impressions of Davis,
Bankhead, Crawford, Diet-
rich, (more names than
space permits) were ex
cellent- One of my favorites
was Hepburn. To wit; (in a
trembling voice, with
trembling jaw) “Last night
the mosquitoes were so
large that I lost my virgin
ity.” For those interested
in pure tack, she did a
“raunchy” Rona Barrett,
that I somehow suspect
would flatter that lady. Mae
West bumped and ground
out “I won’t tell you bow
many men I’ve been through
many men I’ve been
through, but the number on
MacDonald’s Golden Arch
es doesn’t even come
close.”
Funny. Yet, more than
being just funny, Daphne’s
act is a tribute to the great
ladies and great bitches of
whom she does impres
sions. There is a great
deal of love in her act.
Daphne’s “costume” tree
is on the stage next to her;
she chooses the characters
and order of each show as
she feels it onstage. I saw
the act five times, and it
was never dull, never tired,
never anything except ab
solutely fabulous. Over
much use of superlative,
perhaps, but this gal is
gorgeous!
Daphne is able to use her
voice and facial expres
sions extremely well. This
was demonstrated best
when she did Davis, Bank-
head and Crawford in con
versation as follows:
BANKHEAD: Ah, Bette,
I remember when you
dicfai’t :
have a star on your dres
sing-room door. A few in
your bed maybe.
DAVIS: Tellulah, I re
member when you didn’t
have a door on your dres -
sing-room. And when you
did get one when had to
put a dime in the slot to
get in.
CRAWFORD: Hello,
Bette, Tallulah, my two
favorite female imper
sonators.
Each of the above ladies
had their own face and
voice. They all three were
perfect.
Her impression of Liza
Minelli was my very favo
rite. Clad in a “Cabaret”
outfit, she captured and en
larged cm many of Liza’s
very idstinctive manner -
isms, then flowed incredi
bly into “The Man That
Got Away,” as Judy Gar
land. The transition was
magical. Suddenly, Judy
Garland was there. Several
evenings this number
brought the audience to its
collective feet. Back to
Liza for a few moments.
Then Marilyn Monroe in
“Seven Year Itxh” drag
and the song “Bye Bye
Baby’’ in perfect Monro
Baby” in perfect Monro-
ian tones. I wanted to kiss
her. I hope she (and you)
will induldge me as I plag-
erize a little and label her
“The Divine Ms D!”
Daphne Davis As Katherine Hepburn
Five pew
£qy pjagazipes
tt>ebccHbii? p.c.bcx w-ft atlapta, ga.
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