A Quote by Sada Thompson
I saw stars like Helen Hayes, Maurice Evans, Tallulah Bankhead and Cornelia Otis Skinner. It was enchanting. I knew that was the world I wanted to be in.
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Tallulah [Bankhead] is always skating on thin ice. Everyone wants to be there when it breaks.
Tallulah [Bankhead] never bored anyone, and I consider that humanitarianism of a very high order indeed.
I remember Tallulah (Bankhead) telling of going into a public ladies' room and discovering there was no toilet tissue. She looked underneath the booth and said to the lady in the next stall, 'I beg your pardon, do you happen to have any toilet tissue in there?' The lady said no. So Tallulah said, 'Well, then, dahling, do you have two fives for a ten?'
Tallulah [Bankhead] never beat about the bush - she'd gossip about you in front of your back!
Tallulah [Bankhead] was the foremost naughty girl of her era but, in those days, "naughty" meant piquant, whereas values have so changed that now, in the 1970s, it generally means nauseating.
Sure, I'd play an ape if they asked me. Maurice Evans did.
I think of people like Ray Charles, Otis Redding, and Isaac Hayes. They all came out of the South, and they followed a certain tradition and energy. That's no knock to groups like The Temptations or The Supremes, not at all, but they were way more polished in how they did things.
I knew that at least a few of the stars I saw were probably gone already, collapsed into nothing. I felt like I was looking at a lie. But I didn't mind. The world makes liars of us all.
I didn't know I wanted to go into entertainment, but I knew I wanted to be on stage when I was about seven. I saw a play, like most kids do, at a children's theater in Cleveland, and I just saw them up there, and I thought, 'that's where I want to be.'
Before I knew it, I was singing, 'I'm so tired of being alone,' and that's Al right there. From then, my attitude was, 'Let Otis be Otis and James be James. I'm not going to emulate them anymore.'
What a thrill it was to play opposite Maurice Evans in this brilliant, dazzling musical, based on the life of two of the greatest personalities in stage history.
I'd like to do Harvey again. I did it two years ago with Helen Hayes in New York. It was a joy. I was so glad to do it again because I never thought I did it right the first time.
Ernie Hayes, Jimmy Lewis, and either Belton Evans or Khalil Mahdi on drums [were in Sweet Basil]. All those guys really took care of me.
She saw Valentine's eyes as the sword hurtled toward her; it seemed like eons, though it could only have been a split second. She saw that he could stop the blow if he wanted. Saw that he knew it might well strike her if he didn't. Saw that he was going to do it anyway.
Sometimes I'll write a song first and then I'm like, "Oh this person will be great on this song." But there are some artists I know what want, like off the top I knew I wanted Brandy and Faith Evans. Their music is like the soundtrack to my life, so it was a personal thing for me. So once they said yes, I wrote songs specifically for them.
Artists like Otis Redding, Sam & Dave, Albert King, Ann Peebles, Isaac Hayes, and so many more gave me hope when I was an angst-filled teenager trying to make sense of it all... They were my teachers. Through their music, I learned how to live, how to be true to myself, and how to tell my story as a songwriter the way that I was feeling it.
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