Dietrich, Marlene (1901–1992) & Bacharach, Burt. (1928-2023). "Marlene Dietrich & Burt Bacharach Live in Concert" - SIGNED 1960 SOUVENIR PROGRAM.
Rare signed oversized souvenir program
from the 1960 concert tour of the legendary Dietrich, as supported by Burt Bacharach, American composer, pianist, songwriter, and record producer, widely regarded as one of the most important and influential figures of 20th-century pop music. Signed to the inside rear cover beneath his portrait by Burt Bacharach and signed and inscribed on the front cover image by Dietrich to Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
36 pp. 9 1/4" X 12 1/4" inches and includes extensive text on the career of MARLENE DIETRICH, salutation from JEAN COCTEAU, CECIL BEATON and KENNETH TYNAN, reprinted reviews from "Variety", London's "Daily Sketch", London's "Evening Standard", London's "New Statesman and Nation", the "San Francisco Chronicle" and Paris' "Le Monde" as well as publications in Tel Aviv, Munich, Zurich and Buenos Aires and a number of photos of MARLENE DIETRICH from her stage and film careerLight wear to spine, else fine.
Dietrich remained popular throughout her long career by continually re-inventing herself, professionally and characteristically. In the Berlin of the 1920's, she acted on the stage and in silent films. Although she still made occasional films in the post-war years, Dietrich spent most of the 1950's to the 1970's touring the world as a successful, highly-paid cabaret artist, performing live in large theaters in major cities worldwide. In 1953, Dietrich was offered a then-substantial $30,000 per week to appear live at the Sahara Hotel on the Las Vegas Strip. The show was short, consisting only of a few songs associated with her. Her daringly sheer "nude dress" — a heavily beaded evening gown of silk soufflé, which gave the illusion of transparency — designed by Jean Louis,attracted a lot of publicity. This engagement was so successful that she was signed to appear at the Café de Paris in London the following year, and her Las Vegas contracts were also renewed.
Dietrich employed Burt Bacharach as her musical arranger starting in the mid-1950's; together they refined her nightclub act into a more ambitious theatrical one-woman show with an expanded repertoire. Her repertoire included songs from her films as well as popular songs of the day. Bacharach's arrangements helped to disguise Dietrich's limited vocal range and allowed her to perform her songs to maximum dramatic effect. She would often perform the first part of her show in one of her body-hugging dresses and a swansdown coat, and change to top hat and tails for the second half of the performance. This allowed her to sing songs usually associated with male singers, like "One For My Baby" and "I've Grown Accustomed to Her Face". She performed on Broadway twice (in 1967 and 1968) and won a special Tony Award in 1968.
Dietrich, Marlene (1901–1992) & Bacharach, Burt. (1928-2023). "Marlene Dietrich & Burt Bacharach Live in Concert" - SIGNED 1960 SOUVENIR PROGRAM.
Rare signed oversized souvenir program
from the 1960 concert tour of the legendary Dietrich, as supported by Burt Bacharach, American composer, pianist, songwriter, and record producer, widely regarded as one of the most important and influential figures of 20th-century pop music. Signed to the inside rear cover beneath his portrait by Burt Bacharach and signed and inscribed on the front cover image by Dietrich to Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
36 pp. 9 1/4" X 12 1/4" inches and includes extensive text on the career of MARLENE DIETRICH, salutation from JEAN COCTEAU, CECIL BEATON and KENNETH TYNAN, reprinted reviews from "Variety", London's "Daily Sketch", London's "Evening Standard", London's "New Statesman and Nation", the "San Francisco Chronicle" and Paris' "Le Monde" as well as publications in Tel Aviv, Munich, Zurich and Buenos Aires and a number of photos of MARLENE DIETRICH from her stage and film careerLight wear to spine, else fine.
Dietrich remained popular throughout her long career by continually re-inventing herself, professionally and characteristically. In the Berlin of the 1920's, she acted on the stage and in silent films. Although she still made occasional films in the post-war years, Dietrich spent most of the 1950's to the 1970's touring the world as a successful, highly-paid cabaret artist, performing live in large theaters in major cities worldwide. In 1953, Dietrich was offered a then-substantial $30,000 per week to appear live at the Sahara Hotel on the Las Vegas Strip. The show was short, consisting only of a few songs associated with her. Her daringly sheer "nude dress" — a heavily beaded evening gown of silk soufflé, which gave the illusion of transparency — designed by Jean Louis,attracted a lot of publicity. This engagement was so successful that she was signed to appear at the Café de Paris in London the following year, and her Las Vegas contracts were also renewed.
Dietrich employed Burt Bacharach as her musical arranger starting in the mid-1950's; together they refined her nightclub act into a more ambitious theatrical one-woman show with an expanded repertoire. Her repertoire included songs from her films as well as popular songs of the day. Bacharach's arrangements helped to disguise Dietrich's limited vocal range and allowed her to perform her songs to maximum dramatic effect. She would often perform the first part of her show in one of her body-hugging dresses and a swansdown coat, and change to top hat and tails for the second half of the performance. This allowed her to sing songs usually associated with male singers, like "One For My Baby" and "I've Grown Accustomed to Her Face". She performed on Broadway twice (in 1967 and 1968) and won a special Tony Award in 1968.