God, I want Mamma Mia to become the Fast and Furious franchise of musicals. They just keep making them for no reason, and the more they make the more you don’t even care that there isn’t a plot.
You think we care about a plot? The first movie could have been solved in 2 seconds with a DNA test, but instead they decide to sing about how this girl doesn’t know which of these 3 men is her dad for 2 hours and in the end THEY STILL DON’T HAVE AN ANSWER. AND NO ONE CARES.
The plot is ABBA karaoke, and it brings me joy. That’s all you need to know.
Beatrice Arthur discusses her experience working as an understudy
for the legendary stage and screen diva Tallulah Bankhead in a 1956 Broadway revival of Ziegfeld Follies during an interview from 2002. Though Tallulah had been dead for over thirty years at this point, Bea was still clearly hurt and annoyed by Bankhead’s inference
that she wasn’t attractive enough to be a star. Bea’s colorful language was bleeped and an abrupt “fade to black” was made when the interview aired. Cast as glamorous stage star Vera Charles in the Broadway musical Mame opposite Angela Lansbury in 1966 (a role which she later reprised in the 1974 film version opposite Lucille Ball), Bea won
a Tony Award as Best Featured Actress in a Musical for her performance. Tallulah Bankhead, fully aware that Bea had become a star, died two years later at the age of 66.
