Karen Abbott Quotes

Leave the fireworks for those who cast no spark of their own.

An amusing city, Chicago, any way you look at it. I'm afraid we are in for the time of our lives.

There is nudity, of course striptease is an essential component of burlesque but it's much more complex and intelligent than a display of nudity for nudity itself. And its often laugh-out-loud funny.

Female spies typically represented one of two extremes: the seductress who employed her wiles to manipulate men, and the cross-dresser who blended in by impersonating them.

One of the biggest questions to me was whether or not Gypsy the person was capable of loving anyone or anything beyond Gypsy Rose Lee the creation, and even that was a conflicted, tortured relationship.

I felt differently about her [Gypsy Rose Lee] during every phase of the research and writing process. Often, I felt incredibly sorry for her; she had an extremely difficult childhood and a complicated 'to say the least' relationship with her family, her mother especially.

Classic burlesque in the style of Gypsy which many modern burlesque troupes practice is, at its core, so playful and teasing and innocent. It's not hardcore stripping so much as letting your body tell a story; the women are playing characters and unfolding a complete narrative onstage, with beginning, middle, and end.

Burlesque thrived during the Great Depression, and by extension, so, too, did Gypsy [Rose Lee]. Men could no longer afford to pay $5.50 to see a show on Broadway, but they could scrape together $1.00 for a matinee at a burlesque house.

The ideas and practices of Franz Anton Mesmer, an 18th-century Australian healer, had spread to the United States and, by the 1840s, held the country in thrall. Mesmer proposed that everything in the universe, including the human body, was governed by a 'magnetic fluid' that could become imbalanced, causing illness.

Gypsy [Rose Lee] is as unique as she is timeless. Her story is classic Americana, and the strangest rags-to-riches saga you'll ever read; I like to call it Horatio Alger meets Tim Burton.

A half-century before Madonna, Gypsy [Rose Lee] understood how to make performance out of desire, how to exploit the very human and eternal instinct to always want most what we'll never have.

She [Gypsy Rose Lee] was a sophisticated self-satirist with a contagious delight in the comedy of sex. She was coy; she was sly; she always had a witty quip; she had an intensely dramatic presence.

If Lady Gaga and Dorothy Parker had a secret love child, it would've been Gypsy Rose Lee. Gypsy arrived for opening nights at the Met wearing a full-length cape made entirely of orchids, while Lady Gaga shows up wearing a full-length cloak made of meat.

When Gypsy was older, after she became Gypsy Rose Lee, I think she was both proud and slightly ashamed of her Seattle roots. She worked very hard to rid her voice of any trace of a local accent, cultivating an affected way of speaking that sounded as if she pinned the ends of her words.

I think Gypsy [Rose Lee] would be appalled at today's rawer, more blatant displays of the female form. She was, in her own way, a prude.

I thought both she [Gypsy Rose Lee] and her story would be ill-served by a conventional, birth-to-death narrative, and so I structured the book like one of her stripteases: revealing a peek of shoulder, then a glimpse of knee, pulling back a bit before you go a bit further, until all is revealed at the end.

Gypsy [Rose Lee] wasn't a linear person, and she didn't live life in a linear fashion. She was relentlessly self-inventing, and moved backward as often as she moved forward.

The cousin said that Gypsy [Rose Lee] took a full fifteen minutes to peel off a single glove, and that she was so damn good at it he gladly would've given her fifteen more. So this story got me thinking, who was Gypsy Rose Lee? Who could possibly take the simple act of peeling off a glove and make it so riveting that one might be compelled to watch this for a full half-hour? So I began researching, and I came across a series of articles from the year 1940 about Gypsy in Life magazine.

I came upon a telegram from Eleanor Roosevelt herself to Gypsy Rose Lee that read, 'May your bare ass always be shining'. That was the clincher; I had to write about this woman.

I spent three years researching American Rose, research that included connecting with Gypsy's sister, the late actress June Havoc (I was the last person to interview her) and Gypsy's son, and also spending countless hours immersed in Gypsy's expansive archives at the New York Public Library. I became obsessed with figuring out the person behind the persona.

In Gypsy [Rose Lee] the musical, her mother, 'Mama Rose', is portrayed as a slightly eccentric, pushy, ambitious stage mother, but that version doesn't come close to the truth.

She once said, 'I'm really a little prudish, which people may think incongruous'. I take a prudish point of view on certain films, books, and trends. Then, I pull myself up short and ask myself how Gypsy Rose Lee could possibly be this way.I thought that quote was so telling, a key insight into the way she so carefully separated who she was from her meticulous creation.

The real Rose Hovick was seriously mentally disturbed; June Havoc called her a beautiful little ornament that was damaged.

I greatly admired Gypsy [Rose Lee] for being able to rise above her circumstances; I was terrified of her; I thought she was generous; I thought she was brilliant; I thought she was cruel.

Gypsy [Rose Lee ] was a masterful storyteller, and her memoir and by extension, the musical weren't only Gypsy's monument; they were also her chance for monumental revisionism.