Notes

Introduction

1. Although throughout this book, the identification of a Jewish "race" is associ• ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi• cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo• ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self• consciously and order it alphabetically as an attempt at organization. As Henry Bial notes, a significant characteristic of recent studies in Jewish popular culture is the use oflisting and categorization of characters, artists, and performances as ( often ambiguously) Jewish. See Henry Bial, Acting Jewish: Negotiating Ethnicity on the American Stage and Screen (Ann Arbor: University of Michigan Press, 2005), l38-42. As I will discuss below, my choice to "read Jewish" is based on both issues of personal self-identity and (almost certainly not unrelated) the desire to contribute to an analysis of performances that are too often "simply" understood as either "Jewish" or "female." Having worked in this area of study for over a decade and almost exclusively within non-Jewish environments, I realize that many people do not necessarily recognize performers as Jewish. The most common response in the South West of England (where I live) to the 168 NOTES

statement that I am writing a book about female Jewish performers is to ask who these women might be. I usually offer a version of this list and do so here for a similar reason. 5. For instance, when feminist theories of "women's humor" began to develop in the mid-1980s, the Jewishness of performers such as, for example, Joan Rivers and later Roseanne, was either left unmentioned or uninterrogated. 6. Bial, Acting Jewish, 141. 7. Qtd. in Simon Shepherd and Mick Wallis, Drama/Theatre/Performance (London: Routledge, 2004), 223. 8. See, for instance: Bial, Acting Jewish; Harley Erdman, Staging the Jew: The Performance of an American Ethnicity, 1860-1920 (New Brunswick, NJ: Rutgers University Press, 1997); Ann Pellegrini, Performance Anxieties: Staging Psycho• analysis, Staging Race (London: Routledge, 1997); Alisa Solomon, Re-Dressing the Canon: essays on theater and gender (London: Routledge, 1997). 9. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), 147. 10. Butler, Bodies That Matter: On The Discursive Limits of "Sex" (New York: Routledge, 1993),234. See also Geraldine Harris, Staging Femininities: Perform• ance and Performativity (Manchester: Manchester University Press, 1999),77. 11. Butler, Bodies That Matter, 1. 12. Stuart Hall, "New Ethnicities;' The Post-Colonial Studies Reader, ed. Bill Ashcroft, Gareth Griffiths, and Helen Tiffin (London: Routledge, 1997). Although the modern application of the word "diaspora" by Jews dates from the advent of Zionism in the late nineteenth century, Jews have considered themselves a peo• ple of diaspora since their exile to Babylon after the destruction of the First Temple in 596 B.C.E. The concept of the "wandering Jew" who reputedly holds no allegiance to his/her "host" country has acted as a further justification for anti-Semitic persecution and intolerance. To be Jewish has been considered, at best, a hyphenated identity, despite strategic and occasionally full assimilation into dominant cultures. 13. Homi K. Bhabha, "Signs Taken for Wonders," in Ashcroft, Griffiths, and Tiffen, eds., The Post-Colonial Studies Reader, 35. 14. See Sander L. Gilman, Difference and Pathology: Stereotypes of Sexuality, Race, and Madness (Ithaca, NY: Cornell University Press, 1985). 15. Ruth Frankenberg, White Women, Race Matters: The Social Construction ofWhite• ness (London: Routledge, 1993). 16. Davida Bloom, "White but Not Quite: The Jewish Character and Anti-Semitism• Negotiating a Location in the Gray Zone Between Other and Not," Journal of Religion and Theatre 1, no. 1 (2002): 12. 17. Frankenberg, White Women, Race Matters, 131. 18. Sander Gilman, The Jew's Body (London: Routledge, 1991),3. 19. Ann Pellegrini, "Interarticulations: Gender, Race, and the Jewish Woman Question," in Judaism since Gender, ed. Miriam Peskowitz and Laura Levitt, 49-55 (London: Routledge, 1997),50. 20. Gilman, The Jew's Body,S. NOTES 169

21. Ibid., 63. 22. Ibid., 84. 23. Ann Pellegrini, Performance Anxieties, 28; emphasis original. 24. For a discussion of the stage representation of fa belle juive in the nineteenth century, see Erdman, Staging the Jew, chap. 2. 25. Jean-Paul Sartre,Anti-Semite and Jew, trans. George J. Becker (New York: Schocken, 1976),48-49. 26. Gilman, "Salome, Syphilis, Sarah Bernhardt, and the Modern Jewess;' in The Jew in the Text: Modernity and the Construction of Identity, ed. Linda Nochlin and Tamar Garb, 97-120 (London: Thames and Hudson, 1995); Carol Ockman, "When Is a Jewish Star Just a Star? Interpreting Images of Sarah Bernhardt;' in Nochlin and Garb, eds., The Jew in the Text, 121-39; Pellegrini, Performance Anxieties; Solomon, Re-Dressing the Canon. This book owes a large debt to their work. 27. I am using "Jewess" and "La Belle Juive" (which would technically translate as "The Beautiful Jewess") as synonymous terms throughout this book. 28. Pellegrini, Performance Anxieties, 43. 29. Marjorie Garber, Symptoms of Culture (London: Penguin, 1999). 30. Gilman, The Jew's Body, 2. 31. Simone de Beauvoir, The Second Sex, trans. H. M. Parshley (London: Picador, 1988),295. 32. In 1894, Alfred Dreyfus, a Jewish officer in the French armed forces, was wrongly condemned for spying for the Germans and was eventually sentenced to life imprisonment on Devil's Island. By the late 1890s, rabid militarism and anti• Semitism were rife in France. Bernhardt was passionately pro-Dreyfusard and by the following year "came out" as a Jew. Following intense pressure from Dreyfusards, the case was tried again, and Dreyfus was found guilty but par• doned. It was not until 1906 that the verdict was reversed in a civil court. Dreyfus was restored to his army rank, fought in Word War I, and was awarded the Legion of Honor. In 1914, Bernhardt too was made a Chevalier of the Legion of Honor. 33. Pamela Robertson, Guilty Pleasures: Feminist Camp from Mae West to Madonna (London: I. B. Tauris, 1996). 34. Similarly, I have excluded women who performed almost exclusively in Yiddish theater-even the more powerful and flamboyant ones such as Dinah Feinman (a leading lady who performed many of Bernhardt's roles), Fanny Waxman (an actress-manager), and Miriam Karalova (who moved from performing in her parents' traveling circus to prima donna, travesty, and, later, character comedy roles)-as they were mainly performing to Jews and within a Jewish context. Although some Yiddish plays certainly dealt with dominant cultures' percep• tions and projections of Jewishness, they were produced mainly for "internal consumption." 35. I similarly decided I could not include women who converted to Judaism once their careers had been firmly established. I do not, for example, feel that Marilyn 170 NOTES

Monroe's conversion in order to marry Arthur Miller justifies an analysis of her career as a Jewish woman. 36. Carol Ockman, "Was She Magnificent?: Sarah Bernhardt's Reach;' in Sarah Bernhardt: The Art of High Drama, ed. Carol Ockman and Kenneth E. Silver, 23-73 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005),71.

Chapter 1

1. Qtd. in Sander L. Gilman, "Salome, Syphilis, Sarah Bernhardt, and the Modern Jewess," in The Jew in the Text: Modernity and the Construction of Identity, ed. Linda Nochlin and Tamar Garb, 97-120 (London: Thames and Hudson, 1995),111. 2. Qtd. in Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siecle (London: Virago Press, 1992), 106. 3. Alisa Solomon, Re-Dressing the Canon: Essays on Theater and Gender (London: Routledge, 1997),97-98,99. 4. Showalter, Sexual Anarchy, 169. 5. Qtd. in Romy Golan, "From Fin de Siecle to Vichy: The Cultural Hygienics of Camille (Faust) Mauclair;' in Nochlin and Garb, eds., The Jew in the Text, 159. In this chapter, I will discuss the significant slippages between the "lewd Englishman" and "Jewess addicted to morphine;' as embodied by Oscar Wilde and Sarah Bernhardt. It is worth noting that although Bernhardt undeniably used opiates occasionally, I have seen no evidence that she was ever "addicted" (unlike her sister Jeanne, who died in 1884). Opiates were readily available and legal at the time, however; many "addicts" were middle-class women who never felt withdrawal symptoms or had problems accessing these drugs, and so the question of addiction rarely arose. The "cunning Belgian" is more difficult for me to locate. It is well-known, however, that the French and Belgians have fre• quently expressed their nationalisms through antagonism toward the other. Certainly, lewdness and cunning, as well as the many implications of addictive personality, were characteristics ascribed to la belle juive. Kenneth Silver has suggested that Alexandre's comment has more to do with Bing himself, a man of German Jewish origin who chose to display the work of many non-French designers. See Janis Bergman-Carton, "'A Vision of a Stained Glass Sarah': Bernhardt and the Decorative Arts," in Sarah Bernhardt: The Art ofHigh Drama, ed. Carol Ockman and Kenneth E. Silver, 99-123 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005),119. 6. John Jervis, Exploring the Modern: Patterns of Western Culture and Civilization (Oxford: Blackwell, 1998),273. 7. Marcel Proust, Remembrance of Things Past. Volume V. The Guermantes Way. Part One, trans. C. K. Scott Moncrieff (London: Chatto and Windus, 1971),56-57. 8. Qtd. in Harley Erdman, Staging the Jew: The Performance ofan American Ethnicity, 1860--1920 (New Brunswick, NJ: Rutgers University Press, 1997),48. NOTES 171

9. The role of the director was in its nascent stages at this time, and Bernhardt's contribution would probably not be recognized today as "directing:' She may have conceived many elements of the production, but their manipulation and coordination was probably left to others. 10. Arthur Gold and Robert Fizdale, The Divine Sarah: A Life of Sarah Bernhardt (London: HarperCollins, 1992),254. 11. Carol Ockman, "When Is a Jewish Star Just a Star? Interpreting Images of Sarah Bernhardt," in Nochlin and Garb, eds., The Jew in the Text, 127. 12. Qtd. in Gold and Fizdale, The Divine Sarah, 269. 13. Qtd. in Joanna Richardson, Sarah Bernhardt (London: Max Reinhardt, 1959), 136. 14. John Stokes, Michael R. Booth, and Susan Bassnett, Introduction to Bernhardt, Terry, Duse: The Actress in Her Time, by Stokes, Booth, and Bassnett, 1-13 (Cambridge: Cambridge University Press, 1988),3. 15. Gold and Fizdale, The Divine Sarah, 38. 16. D. H. Lawrence, The Letters of D. H. Lawrence. Vol. 1. 1901-13, ed. James T. Boulton (Cambridge: Cambridge University Press, 1979), 58. 17. Qtd. in Gold and Fizdale, The Divine Sarah, 115. 18. Lenard R. Berlanstein, Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin-de-Siecle (Cambridge: Harvard University Press, 2001), 219. 19. Carol Ockman, "Was She Magnificent?: Sarah Bernhardt's Reach;' in Sarah Bernhardt: The Art of High Drama, ed. Carol Ockman and Kenneth E. Silver, 23-73 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005),51-52. 20. Qtd. in Bernard Grebanier, Then Came Each Actor (New York: David McKay, 1975),261. 21. Solomon, Re-Dressing the Canon, 100. 22. Qtd. ibid., 101. 23. Qtd. in Laurence Senelick, The Changing Room: Sex, Drag and Theatre (London: Routledge, 2000), 278. 24. Solomon, Re-Dressing the Canon, 101. 25. Qtd. in Stokes, "Sarah Bernhardt;' in Stokes, Booth, and Bassnett, Bernhardt, Terry, Duse, 27. 26. Ibid., 16. 27. Qtd. in Ann Pellegrini, Performance Anxieties: Staging Psychoanalysis, Staging Race (London: Routledge, 1997),46. 28. Qtd. in Carl Hill, The Soul of Wit: Joke Theory from Grimm to Freud (Lincoln: University of Nebraska Press, 1993), 154. 29. Qtd. in Gerda Taranow, Sarah Bernhardt: The Art Within the Legend (Princeton, NJ: Princeton University Press, 1972),222. ''I'm not pleased that France is neu• tral" (my translation). 30. Gold and Fizdale, The Divine Sarah, 288. 31. Max Beerbohm, who had disapproved of her manly Hamlet, ironically wrote of l'Aiglon: "The trouble is that to everyone she looks like a woman, walks like one, 172 NOTES

talks like one, is one:' Apparently however, not "everyone" agreed. Richardson tells of one young lady who fell in love with the Bernhardt's Duc de Reichstadt and refused all her suitors. Bernhardt sent for the child and, wearing no make• up or costume, said "This is what I am really like. There is no such person as l'Aiglon except on the stage." The girl "wisely" married her next suitor (Richardson, Sarah Bernhardt, 148). 32. In 1909, Bernhardt created another patriotic role, the title heroine of Proces de Jeanne d'Arc. It was one she had played once before in Barbier-Gounod's Jeanne d'Arc of 1890, although this time the coup de theatre had an even greater effect. The 65-year old Bernhardt had the audacity to announce to her stage inquisi• tors each night that she was only nineteen (as Napoleon's son, nearly a decade earlier, she played a seventeen year old). It seems that age, like gender, is a cate• gory that the Jewess can also transgress through performance. 33. Julia Kristeva, "Proust: In Search of Identity;' trans. Claire Pajaczkowska, in Nochlin and Garb, eds., The Jew in the Text, 140. 34. Gold and Fizdale, The Divine Sarah, 252. For more about the significant friends shared by Bernhardt and Proust, see Kenneth E. Silver, "Sarah Bernhardt and the Theatrics of French Nationalism: From Roland's Daughter to Napoleon's Son;' in Ockman and Silver, eds., Sarah Bernhardt, 82-84. 35. Kristeva, "Proust;' 146. 36. Ibid. 37. Ibid., 140-41. 38. Ibid., 154. 39. Kristeva is only one critic who has analysed Proust's A la Recherche in these terms. See, for instance: Hannah Arendt, The Origins of Totalitarianism (New York: Harcourt Brace, 1958); Jonathan Freedman, "Coming Out of the Jewish Closet with Marcel Proust;' in Queer Theory and the Jewish Question, ed. Daniel Boyarin, Daniel Itzkovitz, and Ann Pellegrini, 334-64 (New York: Columbia University Press, 2003); and Eve Kosofsky Sedgwick, "Epistemology of the Closet;' in Boyarin, Itzkovitz, and Pellegrini, eds., Queer Theory. I use Kristeva's reading here specifically because it offers a way of situating and understanding Bernhardt's Jewess in nineteenth-century France and, later, Gilman's because of his emphasis on disease imagery and the Jew. 40. This is dealt with at length in Sander Gilman's The Jew's Body (London: Routledge, 1991) and also his Freud, Race, and Gender (New York: Routledge, 1993). See also Marjorie Garber, Vested Interests: Cross-Dressing & Cultural Anxiety (New York: Routledge, 1993); Jay Geller, "Freud, Bhiher, and the Secessio Inversa: Mannerbunde, Homosexuality, and Freud's Theory of Cultural Formation;' in Boyarin, Itzkovitz, and Pellegrini, eds., Queer Theory; and Daniel Boyarin, "Homophobia and the Postcoloniality of the 'Jewish Science;" in Boyarin, Itzkovitz, and Pellegrini, eds., Queer Theory. Further parallels between historical representations of Jews and homosexuals are made by Warren J. Blumenfeld in "History/Hysteria: Parallel Representations of Jews and Gays, Lesbians, and Bisexuals;' in Queer Studies: A Lesbian, Gay, Bisexual, and Transgender Anthology, ed. Brett Beemyn and Mickey Eliason, 146-62 (New York: New York University Press, 1996). NOTES 173

41. See Alan Sinfield, The Wilde Century: Effeminacy, Oscar Wilde and the Queer Moment (London: Cassell, 1994). 42. Georges Bataille, Erotism: Death & Sensuality, trans. Mary Dalwood (San Francisco: City Lights, 1986),63,65. 43. Freedman, "Coming Out;' 344. 44. Gilman, The Jew's Body, 125. 45. Such methodologies were not confined to France; if anything, this trend is extraor• dinary in its prevalence throughout Western Europe. The resulting stereotypes, while exhibiting some localized characteristics in response to specific anxieties, are remarkably similar. Here I am especially interested in exploring the dialecti• cal relationship between English and French discourses, which tend to inform and reinforce each other. 46. Gilman, The Jew's Body, 126. 47. Kristeva, "Proust;' 150, 149. 48. Gilman, "Salome, Syphilis;' 100, 103. 49. Panizza qtd. in Gilman, "Salome, Syphilis," 108. 50. Prince qtd. in Showalter, Sexual Anarchy, 120. 51. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982),4. 52. Qtd. Sander 1. Gilman, Difference and Pathology: Stereotypes of Sexuality, Race, and Madness (Ithaca, NY: Cornell University Press, 1985), 155. 53. Sigmund Freud, On Sexuality: Three Essays on the Theory of Sexuality and Other Works, ed. and trans. James Strachey (Middlesex: Penguin, 1979), 154,79. 54. Sigmund Freud, "Hysterical Phantasies and Their Relation to Bisexuality;' in Dora: An Analysis of a Case ofHysteria (New York: Macmillan, 1963), 151. 55. Claire Kahane, Introduction: Part 2, to In Dora's Case: Freud-Hysteria-Feminism, ed. Charles Bernheimer and Claire Kahane, 19-32 (New York: Columbia University Press, 1985), 21. The relationship between melodrama and hysteria will be returned to later in this chapter. 56. Gilman, The Jew's Body, 81. 57. Pellegrini, Performance Anxieties, 28. 58. Gilman, Difference and Pathology, 208. 59. Pellegrini, Performance Anxieties, 22. 60. Sander 1. Gilman, Health and Illness: Images of Difference (London: Reaktion, 1995),53-54,61,60. 61. Ibid., 66. 62. Gilman, Difference and Pathology, 107. 63. Gilman, "Salome, Syphilis;' 111. 64. Karl Beckson, Introduction to Aesthetes and Decadents of the 1890s: An Anthology of British Poetry and Prose, ed. Karl Beckson, xxi-xliv (Chicago: Academy Chicago Publishers, 1982), xxxix. Apparently the book (which happened to have a yellow cover) was Aphrodite by Pierre Louys. See H. Montogomery Hyde, Oscar Wilde (London: Mandarin Paperbacks, 1975),510. 65. Qtd. in Beckson, Introduction, xxxi. 66. Qtd. in Sinfield, The Wilde Century, 94. 174 NOTES

67. Qtd. in Gilman, "Salome, Syphilis;' 114. Wilde, too, envisaged the production of Salome in terms of symbolic color. He told the costume designer Graham Robertson that he "should like everyone on the stage to be in yellow;' with the exception of the title character herself who should be in "green, like a curious, poisonous lizard" (qtd. in Showalter, Sexual Anarchy, 149). This highlights the role of "nature;' horrific and feminine, which is necessary to (but set apart from) a decadent environment. 68. Gilman, "Salome, Syphilis," 114. 69. Ruth Brandon, Being Divine: A Biography ofSarah Bernhardt (London: Mandarin Paperbacks, 1992), 111. Montesquiou, who was friends with both Bernhardt and Proust, is reflected in many of Charlus's preoccupations and in his anti• Semitic attitudes reflecting "traditional order and aristocratic prejudices." See Jonathan Freedman, "Coming Out of the Jewish Closet with Marcel Proust;' 343-47. 70. Sedgwick, "Epistemology of the Closet;' 48. Sedgwick goes on to point out that, on the evidence of Proust's "Sodom and Gomorrah" books, Esther's is not a par• ticularly efficacious model for homosexual "transformative revelation:' It remains relevant, however, that the analogy of Jewess and sodomite was used for its potential slippage and that Proust's hero did not invoke a male Jew. 71. Gilman, Difference and Pathology, 216. 72. Sinfield, The Wilde Century, 137. 73. Gilman, Difference and Pathology, 35. 74. Senelick, Changing Room, 10. 75. The fictional Pussy was not the only Bernhardt impersonator. In the 1880s, the "top female imp" of the time, Harry Le Clair, was billed as the "Sarah Bernhardt of vaudeville." 76. Sarah Bernhardt, The Art of Theatre, trans. H. J. Stenning (New York: Benjamin Blom, 1969),94. 77. Ockman, "Jewish Star" 130-35. 78. Elin Diamond, Unmaking Mimesis (London: Routledge, 1997), v. 79. Bernhardt, The Art of Theatre, 146; emphasis added. 80. Gilman, "Salome, Syphilis;' 115. 81. Similarly, we want to believe that the photograph taken in Paris in the 1890s of a chunky man in harem-chic drag, kneeling with bejewelled arms outstretched before a severed head, is Oscar Wilde himself playing Salome at a private the• atrical. This picture is reproduced in Showalter's Sexual Anarchy; and Richard Ellmann, Oscar Wilde (New York: Knopf, 1988). Questions of its authenticity are alluded to in both (Ellmann does not refer to the photograph in his text), although both generally accept that it is Wilde. It is almost certainly not him. As Alan Sinfield notes, "It is part of the modern stereotype of the gay man that he should want to dress as a woman, especially a fatally gorgeous one. Our cultures observe the Wilde they expect and want to see" (The Wilde Century, 6). 82. Gail Finney, "Demythologizing the Femme Fatale: Wilde's Salome," in The Routledge Reader in Gender and Performance, ed. Lizbeth Goodman with Jane de Gay, 182-86 (London: Routledge, 1998), 185. NOTES 175

83. In fact, in the Gospels (Matthew 14:6-11 and Mark 6:21-28), Salome is not even given a name. Rather than being executed for her transgressions, she was later married to her father's half-brother, Herod Philip the Tetrarch, ruler of areas in what is now Syria, and then to Aristobulus, ruler of Lesser Armenia. 84. Finney, "Demythologizing the Femme Fatale;' 185. 85. Showalter, Sexual Anarchy, 151-52. 86. Ibid., 159, 160. 87. Ibid., 163. 88. John Pym, ed., Time Out Film Guide, 9th ed. (London: Penguin, 2001). 89. As "normal" Western women gradually refused the veil during the twentieth century and demanded that their voices be heard, the physicalization needed to become more explicit but equally impossible, simultaneously balancing and refocusing the direction of the gaze (toward and from the performer) to avoid objectification. While a woman in the late nineteenth century was always veiled, mysterious, and considered an impersonator, the unveiled woman at the fin de millennium needs to become a "female impersonator" to achieve same effect (in other words, she must make the drag of femininity explicit before removing it). This is perhaps why the most successfully subversive Salomes of the late twenti• eth century were homosexual men like Lindsay Kemp. At the height of the gay liberation movement and onset of queer politics, Wilde's themes of masquerade and revelation could (only) be performed by a(nother) different body. 90. I do not wish to imply that there is much sympathy between (male) Jews and homosexuals at the fin de siec/e, despite similarities in representation and, to some extent, experience. One only has to read the caricature of the monstrous, "hideous;' "horrid" old Jew, who works in the theater and is presented as Sybil Vane's pimp/captor in The Picture of Dorian Gray, to see that Wilde was not unafraid to capitalize on the prevalant stereotyping of others. This could per• haps be because his career was spent playing up to the stereotypical images pro• jected onto him. Interestingly, Wilde claimed his portrayal of Sybil Vane was influenced by Edmond de Goncourt's La Faustin (1882), a novel about a Jewish actress (a thinly disguised Bernhardt) who is preparing to play Phedre. Her aim is to equal Rachel's performance in the role, but she becomes possessed by lust just like the character she is playing. Rachel Brownstein reads the femme artiste Goncourt presents as "incapable of love. She is a monster, a temptress whose sexual allure is partly a function of class-and of crossing classes." See Brownstein, Tragic Muse: Rachel of the Comedie-Franfaise (Durham, NC: Duke University Press, 1995),57. 91. The response of Jewish men is somewhat different. As Gilman states, it may take a variety of forms: "It may be internalizing and self-destructive (self-hating) or it may be projective and stereotyping; it [may] take the form of capitulation to the power of the image or the form of resistance to the very stereotype of the Jew" (The Jew's Body, 6). While this may also accurately describe the strategies of the Jewess and the homosexual, Jewish men do not tend to focus on gender/ sexuality matrices. This tendency in Jewish male camp may have been slow in 176 NOTES

developing, however, and is observable by tracing a lineage from Eddie Cantor's "unabashedly queer" performance in Whoopee! which was made in 1930 (see Linda Mizejewski, Ziegfeld Girl: Image and Icon in Culture and Cinema [Durham, NC: Duke University Press, 1999], 152), to Tony Curtis (from Some Like It Hot to Spartacus especially) to the 1960s fork in the road leading to Woody Allen in one direction and William Shatner in the other. While the pre• dominant emphasis by Jewish male performers has been on a form of "effemi• nate" intellectuality that may play with prevailing gender stereotypes, these are rarely linked to sexuality by the end of the twentieth century. 92. Qtd. in Mark Booth, "Campe- Toi! On the Origins and Definitions of Camp;' in Camp: Queer Aesthetics and the Performing Subject, ed. Fabio Cleto, 66-79 (Edinburgh: Edinburgh University Press, 1999),75. 93. Some critics, indeed, challenge these critics as well. See (on Meyer) for example, Fabio Cleto, Introduction to Cleto, ed., Camp. In fact, Sontag makes a startling and sweeping comparison between Jews and homosexuals in her "Notes." She states that homosexual camp taste is paralleled by Jewish liberalism. While acknowledging that not all Jews are liberal and not all homosexuals are camp, Sontag seems to ignore the existence of Jewish homosexuals (who are, presumably, wrestling with their morality and campy neutralization of it). See Susan Sontag, "Notes on 'Camp;" in Cleto, ed., Camp. There has also been a more recent trend to identify forms of camp that are not explicit signifiers of sexual positions-for example, "Jewish camp" and "Black camp." I would still maintain that these originated as a form of "queer parody" in which the intersection of race and gender can only be understood in terms of their relationship with stereotypes of sexuality; they carry within them traces of this source. Additionally, this study as a whole is largely a response to assumptions that male and female Jews are stereotyped, and subsequently behave in, the same way. As this chapter attempts to indicate, Jewish women working within a tradition of theatrical performance are more likely to "act" as homosexuals than Jewish men. 94. Sontag, "Notes on 'Camp;" 54. 95. Esther Newton, "Role Models" (excerpt from Mother Camp: Female Impersonators in America), in Cleto, ed., Camp, 103. 96. Jack Babuscio, "The Cinema of Camp (aka Camp and the Gay Sensibility)," in Cleto, ed., Camp, 127. 97.0ckman, in discussing both Bernhardt's performance style and, in particular, her playful photograph with Louise Abbema as pasha and odalisque, suggests that there "might be a category applicable to Bernhardt, something akin to les• bian camp" ("Was She Magnificent?" 70). I would argue that, much as Sinfield identifies the late-nineteenth-century dandy as "queer" via his bisexuality rather than solely his same-sex relations, Bernhardt's camp derives from the "bisexual• ity" of the Jewess. 98. Sarah Bernhardt, My Double Life: Memoirs of Sarah Bernhardt (London: William Heinemann, 1907),53. NOTES 177

99. Brandon, Being Divine, 298. Brandon also notes that Bernhardt's thinness, associated with tuberculosis, was probably due to anorexia (299), a disease that was strongly identified with Jewish women in the 1970s and 1980s. 100. Ockman, "Was She Magnificent?" 55. 101. Freud, On Sexuality, 84. 102. John Jervis, Transgressing the Modern: Explorations in the Western Experience of Otherness (Oxford: Blackwell Publishers, 1999),23. 103. Heath, qtd. in Jervis, Transgressing the Modern, 24. 104. Arsene Alexandre, qtd. in Taranow, Sarah Bernhardt, 64. 105. Gold and Fizdale, The Divine Sarah, 4. 106. Pellegrini, Performance Anxieties, 40. See also George Dimock, "The Pictures Over Freud's Couch;' in The Point of Theory: Practices of Cultural Analysis, ed. Mieke Bal and Inge E. Boer, 239-50 (New York: Continuum, 1994). 107. Jervis, Exploring the Modern, 31-32. 108. Diamond, Unmaking Mimesis, 10. 109. Qtd. in Gold and Fizdale, The Divine Sarah, 302-3. 110. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama and the Mode ofExcess (New Haven, CT: Yale University Press, 1976),36,43. 111. Qtd. in Gilman, "Salome, Syphilis;' 98. 112. Amy-Jill Levine, "A Jewess, More and/or Less;' in Judaism since Gender, ed. Miriam Peskowitz and Laura Levitt, 149-57 (London: Routledge, 1997), 151; emphasis original. 113. Pellegrini, Performance Anxieties, 21. 114. See Andrew Parker and Eve Kosofsky Sedgwick, "Introduction: Performativity and Performance;' in Performativity and Performance, ed. Parker and Sedgwick, 1-18 (London: Routledge, 1995).

Chapter 2

1. Rachel M. Brownstein, Tragic Muse: Rachel of the Comedie-Fran~aise (Durham, NC: Duke University Press, 1995), 16. 2. "What the English would call a star." Brownstein, Tragic Muse, 194. 3. Paul McDonald, "Supplementary Chapter: Reconceptualising Stardom;' in Stars, new ed., by Richard Dyer, 175-211 (London: British Film Institute, 1998),180. 4. Susan Sontag, Illness as Metaphor (Middlesex: Penguin, 1983),35,48. 5. Marjorie Garber, Bisexuality & the Eroticism of Everyday Life (New York: Routledge, 2000),140,142. Garber places the word "both" in quotation marks because she believes that limiting the number of sexes or genders to two is mis• leading and narrow. 6. Juliet Mitchell, Women: The Longest Revolution (London: Virago, 1984),307-8. This is not to deny that there were always rumors of female lovers for both Rachel and Bernhardt, and it is certainly possible that some of these rumors 178 NOTES

were accurate. Chapter 1 refers to Bernhardt's likely same-sex relation with Louise Abbema. 7. Lenard R. Berlanstein, Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin-de-Siecle (Cambridge, MA: Harvard University Press, 2001), 213. 8. This of course does not preclude Rachel from having affairs with both Delphine and Emile de Girardin (the latter of whom later became Bernhardt's lover). 9. Dyer, Stars, 17-18. 10. Similar criticisms revolving around the decoration of their personal domestic spaces were later made against Bernhardt, Barbra Streisand, and Roseanne. 11. Brownstein, The Tragic Muse, 135-36. 12. In a section of their Dialectic of the Enlightenment entitled "Elements of Anti• Semitism" published in 1947, Adorno and Horkheimer trace the development of Jewishness as a socio-economic category. They state that historically the association of Jews and money-making was forced upon the Jews and then per• petuated through irrational needs. Anti-Semitism was the "self-hatred of the bourgeoisie projected onto the Jews, who in fact were relatively impotent, con• fined as they were mostly to the sphere of distribution, rather than participating in production. Because of the continuation of the contradictions of capitalism, the Jews, or a group like them, were a necessary outlet for repressed frustrations and aggressions." See Martin Jay, The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923-1950 (London: Heinemann, 1973),230. 13. Carol Ockman, "When Is a Jewish Star Just a Star? Interpreting Images of Sarah Bernhardt," The Jew in the Text: Modernity and the Construction of Identity, ed. Linda Nochlin and Tamar Garb, 121-39 (London: Thames and Hudson, 1995), 125. 14. Brownstein, The Tragic Muse, 209. 15. Qtd. in ibid., 54-55. 16. Brownstein, The Tragic Muse, 52. 17. Charlotte Bronte, Villette (London: Penguin, 1979),339. 18. Arthur Gold and Robert Fizdale, The Divine Sarah: A Life of Sarah Bernhardt (London: HarperCollins, 1992), 126. 19. Qtd. in John Stokes, "Sarah Bernhardt;' in Bernhardt, Terry, Duse: The Actress in Her Time, by John Stokes, Michael R. Booth, and Susan Bassnett, 13-63 (Cambridge: Cambridge University Press, 1988),52. 20. Gold and Fizdale, The Divine Sarah, 126. 21. John Jervis, Exploring the Modern: Patterns of Western Culture and Civilization (Oxford: Blackwell, 1998),32. 22. Joanna Richardson, Sarah Bernhardt (London: Max Reinhardt, 1959), 12. 23. Ibid. 24. Edward W. Said, Orientalism: Western Conceptions of the Orient (Middlesex: Penguin, 1995),72. 25. Rana Kabbani, Europe's Myths of Orient (London: Macmillan, 1986), 11. 26. Said, Orientalism, 247-48. NOTES 179

27. Laura Chrisman, "Empire, 'Race' and Feminism at the Fin de Siecle: The Work of George Egerton and Olive Schreiner;' in Cultural Politics at the Fin de Siecle, ed. Sally Ledger and Scott McCracken, 45-65 (Cambridge: Cambridge University Press, 1995), 55. 28. Said, Orientalism, 208. 29. Ibid., 206. 30. Brownstein, Tragic Muse, 88. 31. Ibid., 133. An etching accompanies the description of Rachel's costume as Roxane. 32. If Rachel can be seen as setting a clear precedent for Bernhardt, then it is also worth pausing to consider Adah Isaacs Menken. Menken was at the start of her short but influential career when Rachel toured America in 1855; according to Renee Sentilles, she "knew a marketable identity when she saw one and proba• bly realized that Rachel's Jewishness contributed to the moral latitude she was given by American spectators." Perhaps more uncannily, Menken died in Paris just as Bernhardt's career was taking off. Menken can be considered one of the earliest American celebrities who carefully cultivated a notorious, glamorous image through self-promotion. She ensured, for instance, that a striking photo• graph of her face appeared in shop windows wherever she performed and had at least two semi-nude photographs taken of herself in Paris to act as cartes de visite. She was one of the first American women to crop her hair short and to smoke cigarettes in public, deliberately blurring gendered boundaries. The similarities between Menken and Bernhardt are remarkable, although patterns seem often to be working in reverse. Rather than denying her Jewishness, she seems to have invented it. Menken's background, like Bernhardt's, is shrouded in deliberate mystification, but she was almost certainly not born Jewish (nor probably was she African-American, which has been claimed frequently since her death, although not before). Her Jewishness was confirmed when she mar• ried a Jewish musician named Alexander Isaacs Menken in 1856 (her first of four marriages in seven years, some of which were "accidentally" bigamous). Sentilles believes that Menken "owed much of her success as a celebrity" to the Reform Jewish community in Cincinnati where her husband's family lived and where she learned to craft an "authentic" offstage image of herself as a Jewess. Most famously Menken portrayed Mazeppa in the equestrian melodrama of the same name. Cross-dressed as an orientalist representation of a man, wearing little besides a skimpy chemise and a body stocking, she was strapped to a horse that galloped up an exceedingly steep ramp. Public response was one of shock, scandal and delight. Like Bernhardt, Menken was a visual artist (a painter) and also a writer. She took Mazeppa to London and then Paris, befriending Dickens, Dumas pere, George Sand, Dante Gabriel Rossetti, and Swinburne (and having affairs with several of them). Unfortunately, despite the success of Mazeppa in London, Menken did not conquer Europe as Bernhardt did America; she died in near poverty at the age of 33, apparently from a combination of peritonitis and tuberculosis (although the cause of her death, like the circumstances of her birth, remains unclear). She was eventually buried in the Jewish section of Montparnasse Cemetery in Paris, under a tombstone that reads "Thou Knowest:' 180 NOTES

See Sentilles, Performing Menken: Adah Isaacs Menken and the Birth ofAmerican Celebrity (Cambridge: Cambridge University Press, 2003). 33. Alisa Solomon, Re-Dressing the Canon: Essays on Theater and Gender (London: Routledge, 1997), 103. 34. Sardou, qtd. in Gold and Fizdale, The Divine Sarah, 201. 35. Reproduced in the exhibition catalogue: Carol Ockman and Kenneth E. Silver, eds., Sarah Bernhardt: The Art of High Drama (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005), 56. 36. Elin Diamond, Unmaking Mimesis (London: Routledge, 1997),4, 18. 37. This is also a way of understanding the different responses to "Dora" and Breuer's "Anna 0:' Bertha Pappenheim's hysteria was "cured" through revelation; Ida Bauer walked out on Freud before her "treatment" was complete or successful. Ida Bauer thus remains as "Dora;' the fragmented and hybrid Jewess, always and forever performing for us. ''Anna 0." becomes Bertha Pappenheim, a Jewish woman. 38. Linda Mizejewski, Ziegfeld Girl: Image and Icon in Culture and Cinema (Durham, NC: Duke University Press, 1999),43. 39. Stokes, "Sarah Bernhardt;' 45. 40. Qtd. in Solomon, Re-Dressing the Canon, 101. 41. Bernhardt's association with vampirism (perhaps retrospectively) is reinforced not only through the imagery of her resting in a coffin but also her repeated use of a bat motif as a personal symbol. See the photograph entitled Sarah Bernhardt in Personal Wardrobe (Bat Hat), 1880 in Ockman and Silver, eds. Sarah Bernhardt: The Art of High Drama, 116. 42. Ockman, "Jewish Star;' 125. 43. Qtd. in ibid., 127. 44. Berlanstein, Daughters of Eve, 221-24. 45. Janis Bergman-Carton, "'A Vision of a Stained Glass Sarah': Bernhardt and the Decorative Arts:' in Sarah Bernhardt: The Art ofHigh Drama, ed. Carol Ockman and Kenneth E. Silver, 99-123 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005), 104-5. 46. Qtd. in Stokes, Booth, and Bassnett, Bernhardt, Terry, Duse: The Actress in Her Time (Cambridge: Cambridge University Press, 1988),9; emphasis original. 47. Adler, apparently, understood the position she was in and "felt no rancor." See Lulla Adler Rosenfeld, The Yiddish Theatre and Jacob P. Adler (New York: Shapolsky, 1988), 186. 48. Eve Golden, Anna Held and the Birth ofZiegfeld's Broadway (Lexington: University Press of Kentucky, 2000), 88. 49. Harley Erdman, Staging the Jew: The Performance of an American Ethnicity, 1860-1920 (New Brunswick, NJ: Rutgers University Press, 1997), 121. SO. Sander L. Gilman, Health and Illness: Images of Difference (London: Reaktion, 1995),111. 51. Golden, Anna Held and the Birth ofZiegfeld's Broadway, 26. 52. Mizejewski, Ziegfeld Girl, 45. 53. Qtd. in Mizejewski, Ziegfeld Girl, 52. NOTES 181

54. Jervis, Exploring the Modern, 119. 55. Richard Dyer, Heavenly Bodies: Film Stars and Society (New York: St. Martin's, 1986),17. 56. Elizabeth Wilson, "The Body Adorned:' in Performance Analysis: An Introductory Coursebook, ed. Colin Counsell and Laurie Wolf, 146-52 (London: Routledge, 2001),152. 57. Mizejewski, Ziegfeld Girl, 44. 58. Ibid., 62. 59. Despite being virtually abandoned by her mother until the age of thirteen, Carrera spent a great deal of energy resuscitating her mother's image through books, museums and biographical playscripts after her death. Even before then, she took the stage name Anna Held Jr. As Mizejewski notes, "The masculine touch of the name-becoming Junior-seems appropriate for the daughter of such a phallic, fetishized mother" (Ibid., 64). 60. Ibid., 59. 61. Ibid., 54. 62. When in 1918 Held discovered that her multiple myeloma would soon kill her, she issued the following press release: "It is the last curtain. I have lived and I will hold out to the last-it is the spirit of Joan of Arc and the spirit of my parentage-the unconquerable French" (Golden, Anna Held and the Birth ofZiegfeld's Broadway, 210). Although Held's devotion to France is beyond question-she returned to Europe and made sorties to the front lines with volunteer nurses and entertainers from the start of the war, only returning to America when she was too exhausted to carryon-it still sounds as if Bernhardt had recom• mended a good script writer. It is worth pointing out another similarity: in 1870, during the Franco-Prussian war, Bernhardt kept the Odeon open as a mil• itary infirmary, as well as accompanying groups of nuns and clerics to the bat• tlefield of Chatillon to recover the dead and wounded. See Suzanne Schwarz Zuber, "Chronology of Sarah Bernhardt's Life;' in Ockman and Silver, eds., Sarah Bernhardt, 169. 63. Mizejewski, Ziegfeld Girl, 116. 64. R. J. c. Young, Colonial Desire: Hybridity in Theory, Culture and Race (London: Routledge, 1995),3. 65. Robert Sklar, Movie-Made America: A Cultural History ofAmerican Movies (New York: Random House, 1975),96. 66. Judith Halberstam argues that the "reason Gothic monsters are over-determined, which is to say open to numerous interpretations, is precisely that monsters transform the fragments of otherness into one body. That body is not female, not Jewish, not homosexual but it bears the marks of the constructions of fem• ininity, 'race' and sexuality.... Gothic anti-Semitism fixes all difference in the body of the Jew." See Halberstam, "Technologies of Monstrosity: Bram Stoker's Dracula:' in Ledger and McCracken, eds., Cultural Politics, 252, 263. 67. The documentary Couples & Duos: Theda Bara & William Fox (2001), which appears as a bonus on the DVD Embrasse-Moi Idiot [A Fool There Was], features a first person narrative in Bara's "voice" in which it is repeated that she had a bar 182 NOTES

mitzvah in 1898. This is highly unlikely: girls do not have bar mitzvahs, and the first recorded bat mitzvah in the United States occurred in 1921. From the mid• nineteenth century, Reform congregations held group confirmations for both girls and boys at the age of 15, but this is hardly the same thing. 68. Mendel Kohansky, The Disreputable Profession: The Actor in Society (Westport, CT: Greenwood, 1984), 173-74. 69. Qtd. in Steven Marcus, "Freud and Dora: Story, History, Case History:' in In Dora's Case: Freud-Hysteria-Feminism, ed. Charles Bernheimer and Claire Kahane, 56-91 (New York: Columbia University Press, 1985),62. 70. Dyer, Heavenly Bodies, 138. 71. Laura Mulvey, "Visual Pleasure and Narrative Cinema:' in The Routledge Reader in Gender and Performance, ed. Lizbeth Goodman with Jane de Gay, 270-75 (London: Routledge, 1998),270.

Chapter 3

1. Marjorie Garber, Vested Interests: Cross-Dressing and Cultural Anxiety (New York: Routledge, 1993), 131; emphasis original. 2. Linda Mizejewski, Ziegfeld Girl: Image and Icon in Culture and Cinema (Durham, NC: Duke University Press, 1999),79. 3. Hedy Lamarr seemed to successfully make the transition from vamp to (a still exotic) "American girl." Lamarr was born in Austria in 1914 to a highly assimi• lated Jewish family of Hungarian origin. She studied acting with Max Reinhardt in Berlin as a teenager and, in 1933, starred in the film, Extase (Ecstacy), which was considered scandalous for her scenes of very near nudity and performance of orgasm. She married a Nazi sympathizer (a Jewish convert) at her parent's behest, but left him in 1937 to emigrate to America, where an edited version of Ecstasy had gained notoriety. In the end, she had a total of six husbands (more impressive than Sophie Tucker, Fanny Brice, and Roseanne, who each had three, and even Nora Bayes and Belle Barth, who each had five). She was hired by Louis B. Mayer (of MGM Studios), who gave her the surname Lamarr, and her Jewishness was never alluded to (she had been Hedwig Eva Maria Kiesler). In the movie Ziegfeld Girl in 1941, she plays the archetypal showgirl: "Hedy Lamarr's exquisite exoticism and mannequin coolness perfectly match her char• acter Sandra, the ideal untouchable showgirl" (Mizejewski, Ziegfeld Girl, 171). She was, however, more than just a pretty face. The year after Ziegfeld Girl was made, at the height of her career, Lamarr co-invented and patented a torpedo guidance system with one of her neighbors, George Antheil. Their collaboration began with a chat about the possibility of her having breast implants (he, inci• dentally, had been an avant-garde composer in the 1920s), and their invention was fundamental to the development of a basic tool for secure military com• munications. The patent, however, was ahead of its time and considered classi• fied information by military intelligence; Lamarr's contribution went unnoticed for many years. By the time of her death in 2000, she was a very bitter woman NOTES 183

who felt that she had been discarded by Hollywood when her beauty faded (the curse of the "American girl"), marred by unsuccessful attempts at plastic sur• gery, and resented by her children, who felt she placed them second to her career. See Arena: Calling Hedy Lamarr, broadcast BBC2, February 12,2005. 4. Mizejewski, Ziegfeld Girl, 79. In this passage, Mizejewski also compares the vamp to the "more significant threatening female images" of Jewish immigrant women in America. Actually, she is unknowingly contrasting two related ver• sions of the Jewess with much in common. 5. Sophie Tucker, Some of These Days (Garden City, NY: Doubleday, 1945),2. 6. These issues are explored in Laura Levitt's analysis of the work of poet Melanie Kaye/Kantrowitz. See Levitt, Jews and Feminism: The Ambivalent Search for Home (London: Routledge, 1997). 7. June Sochen, "Fanny Brice and Sophie Tucker: Blending the Particular with the Universal;' in From Hester Street to Hollywood: The Jewish American Stage and Screen, ed. Sarah Blacher Cohen, 44-57 (Bloomington: Indiana University Press, 1986),48. 8. William Green, "Strippers and Coochers: The Quintessence ofAmerican Burlesque;' in Western Popular Theatre, ed. David Mayer and Kenneth Richards, 157-68 (London: Methuen, 1977), 161. 9. Alisa Solomon, Re-Dressing the Canon: Essays on Theater and Gender (London: Routledge, 1997),97. 10. Tucker, Some of These Days, 10-11. 11. This became apparent to me while I was watching Sophie Tucker-In a Few Words and a Song-Recorded by Sheer Chance at the Famous Hollywood Gardens, New York, 29/09/1930, British Pathe film collection, Cannister ID PT027, Film ID 1018-09. 12. Robert W. Dana, "Tips on Tables;' September 29, 1950. Qtd. in Craig's "Bigbands and Bignames;' available at http://www.bigbandsandbignames.com/ sophietucker.html. Accessed October 26, 2004. 13. Maurice Bernhardt,Anna Held Jr., and Sophie's son, Bert Tucker, all appeared on the professional stage at some point in their lives. Needless to say, none achieved the success of their mothers. While there are some Jewish family performance "dynasties" (like the Adlers), there are none that originated primarily from a matriarchal foundation. This, of course, could be said of most non-Jewish stage families as well; it appears as if a strong patriarchal figure is necessary to set this tradition in motion, even if it is eventually a female family member who receives the most widespread fame and success. It could be said that the women them• selves encouraged this tendency. Fanny Brice is quoted as saying: I always hoped I'd have a boy and a girl, and I had them. I always hoped the boy would have talent, and not the girl, and it worked out that way. Because, as I realize it, I didn't want my daughter to have a career. Because if a woman has a career, she misses an awful lot. And I knew it then, that if you have a career, then the career is your life. (qtd. in Sochen, "Fanny Brice and Sophie Tucker," 49) 14. Tucker, Some of These Days, 18-19. 15. Ibid., 44-45. 184 NOTES

16. Ibid., 118-22. 17. Ibid., 125-26. 18. Tucker continued to support charitable organizations throughout her life, including the Jewish Theatrical Guild, the Negro Actors Guild, the Catholic Actors Guild, the Episcopal Actors Guild, and the Motion Picture Relief Fund. She also helped establish schools and youth centers in Israel and endowed a chair in theater arts to Brandeis University through the Sophie Tucker Foundation, which she set up to benefit various charities. 19. Tucker, Some of These Days, 120. This observation, of course, reveals as much about Tucker's class aspirations as her views on the role of women in traditional Judaism. 20. Ibid., 134. 21. Ibid., 123. 22. Ibid., 33. 23. Ibid., 40-41. 24. In fact, it could be said that performance in blackface offered Jews a greater opportunity to express a Jewish performativity than those who performed stereo• typed "Hebraic comedy;' "Yiddish characterizations;' and "Hebe acts" in vaude• ville and burlesque. 25. Claire Pajaczkowska and Barry Curtis, "Assimilation, Entertainment, and the Hollywood Solution;' in Nochlin and Garb, eds., The Jew in the Text, 241-42. 26. Quoted in Sarah Blacher Cohen, "The Unkosher Comediennes: From Sophie Tucker to Joan Rivers," in Jewish Wry: Essays on Jewish Humor, ed. Sarah Blacher Cohen, 105-23 (Bloomington: Indiana University Press, 1987), 107. 27. See Jeanne Scheper, "'Take Black or White': Libby Holman's Sound," Women and Performance 18 (1997): 95-118. Holman, who was born Elizabeth Holzman in Ohio in 1904 (and attended the University of Cincinnati like Theda Bara), was found dead in her Rolls Royce (presumably by suicide) in 1971. A friend of Alice B. Toklas and Jane and Paul Bowles, she introduced songs such as "Body and Soul" and her signature tune, "Moanin' Low" to the public. In 1932, she was arrested for the murder of her husband, Zachary Smith Reynolds II, who was the younger son of a tobacco magnate. The charges were eventually dropped at the request of the family, and she inherited his fortune. (The 1935 movie, Reckless, starring Jean Harlow, is based on this episode in Holman's life.) Committed to the civil rights movement, she used her money and fame to sup• port good causes; for instance, she helped to finance Martin Luther King Jr:s visit to meet Ghandi in India. One curious rumor surrounding her is that she prevented her lover, Montgomery Clift (30 years her junior and also widely acknowledged as gay), from taking the lead role in the movie Sunset Boulevard (1950) because the plot was supposedly too close for comfort. 28. Peter Stallybrass and Allon White, The Politics and Poetics ofTransgression (London: Methuen, 1986), 186-87. 29. Ibid., 191. 30. Tucker, Some of These Days, 94-95. NOTES 185

31. The Yiddish word shmaltz has two meanings, both of which are applicable to Tucker. It refers to "fat" in this context. As I mention later, it also describes sen• timentality. 32. Tucker, Some of These Days, 94. 33. Mizejewski, Ziegfeld Girl, 56. 34. Tucker, Some of These Days, 95-96. 35. Ibid., 91. 36. Ibid., 85. 37. Fayles Literary Lunch, 07/07/1948, British Pathe film collection, Cannister ID UNA 2006, Film ID 2222-01. 38. See Richard Dyer, Stars, new ed. (London: British Film Institute, 1998),47. 39.Tucker, Some of These Days, 199. 40. Ibid., 106. 41. Riv-Ellen Prell, Fighting to Become Americans: Jews, Gender, and the Anxiety of Assimilation (Boston: Beacon, 1999),29. 42. This film, directed by Lloyd Bacon, is believed to be lost. 43. My mother, who probably saw Tucker perform in the mid 1950s in Montreal (she can't quite remember), provided me with the following impression. I found her memories of the event particularly useful and offer them here: She had a strong, competent singing voice that effectively conveyed a myriad of sentiments and messages .... I don't remember specific songs, of course (except maybe, "My Yiddishe Mama") or their lyrics, but I DO remember believing her. She seemed to sing about things familiar to her. Topics that she seemed comfortable with. I think I remember a husky timbre to her voice but, I don't know now if that was an actual sound, or an emotion she conveyed. Besides her singing, she told jokes. In a very direct, powerful, almost mascu• line fashion. I say "masculine;' because even at my young age I could sense the difference between a coy and hesitant delivery and an authoritative, "in-your• face;' "been - there-done-that" kind of delivery. Like a confident male, she tossed her humour out in a manner that was devoid of apologies or pretence. And, again, I don't remember actual material, but I DO remember that members of her adult audience laughed at things I simply didn't get. I didn't feel stupid, sim• ply left out. I was too young to know what risque or double entendre material was back then, but somehow I just knew that she was talking about grown-up things. And, from their response, funny, "real" grown-up things. As I told you before, she was a big woman. With flabby arms and a large com• pact body. The compact effect was probably achieved with fine corsets. And, for some reason, I seem to remember that she wore things in her blonde hair that matched her outfits. They could have been small hats, but I seem to think they were simply small ostrich plumes, and the like, stuck in her Marcelled (perfect finger waves) hairdo. The only other thing I recall, or, at least I THINK I recall: Sophie Tucker moved while she performed. Not her body parts so much. Although, I remem• ber now that she almost always carried a chiffon scarf, or large handkerchief when she was on stage, and she seemed to use it to emphasise her words, or to 186 NOTES

draw attention to herself in an almost subliminal way. A feminine gesture per• haps to soften an otherwise masculine approach to entertaining? "See these ostrich feathers, and filmy props? See me as a female?" Anyway, as I was saying, I remember her moving while she performed. She walked and sang. Walked and talked. Walked solidly. Almost defiantly. Deliberately. When I think of her, I don't think of her standing in one spot while she belted it all out. She dared you to follow her around ... physically and metaphorically. 44. Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Bloomington: Indiana University Press, 1984),25. 45. Pamela Robertson, Guilty Pleasures: Feminist Camp from Mae West to Madonna (London: 1. B. Tauris, 1996). 46. In 1962, Lenny Bruce was arrested for obscenity in a Chicago nightclub. While a great deal of attention was paid to his use of words such as "cocksucker;' I've rarely seen mention of the fact that his show that week opened with the line "Sophie Tucker! You're a cunt!" See Albert Goldman, Ladies and Gentlemen Lenny Bruce!! (New York: Random House, 1971),464. 47. I include Baker here to indicate that there were indeed others, besides Tucker, who performed risque musical comedy in the early years of the twentieth cen• tury. It seems that Baker was unable to establish Tucker's balance of "blueness" and acceptability and also that she had a less defined performing persona, mov• ing between genres with more ease than Tucker. Although in the late 1920s Baker was considered a "Star of the First Magnitude" (for instance, in promo• tional material for the national radio program and recording series, Brunswick Brevities, along with Jolson, Libby Holman, Red Nichol, and the Irving Mills Hotsy Totsy Gang featuring Hoagy Carmichael), her influence has not been long lasting, and I have never seen her cited in inspirational terms by other performers. 48. "Pearl Williams;' EncycloComedia, available at http://www.comedystars.com. Accessed January 4, 2005. 49. Rusty Warren, "Knockers Up! Rusty Warren: The Shecky! Interview!" [online] http://www.sheckymagazine.com. Accessed September 30, 2005. Rusty makes similar comments in a 2003 radio interview that can be heard on her own web• site [online] http://www.rustywarren.com. Accessed August 24, 2005. 50. Michael Bronski, "Funny Girls Talk Dirty;' The Boston Phoenix, August 15-21, 2003, available at http://www.bostonphoenix.com. Accessed September 20, 2005. 51. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982). 52. Quoted in Cohen, "The Unkosher Comediennes;' Ill. 53. Abbott also made some "straight(er)" Yiddish recordings. Her range, based on her entries in the catalog for the Robert and Molly Freedman Jewish Music Archive at the University of Pennsylvania, is rather impressive. The "genres" listed for Abbott's records include Vaudeville, Shund, Novelty, Off Color, Double Entendre, Obscene, Swing, Cabaret, Klezmer, and Freylekhs/Romanian. 54. Kurva means "whore" in Yiddish. Roto-Rooter is an American plumbing service that operates nationwide. Presumably Williams was referring to some device that NOTES 187

the company used to clear blocked drains. MP3 files from this album can be heard at http://blog.wfmu.orgl freeformlmonicas_postsl. Accessed November 8,2005. 55. John Fiske, Understanding Popular Culture (London: Unwin Hyman, 1989),81-83. 56. Mikhail Bakhtin, Rabelais and His World, 35. 57. Although only one generation removed from speaking Yiddish as a first language, I find some of William's act impossible to understand. 58. Gilman, The Jew's Body, 28. 59. Bronski, "Funny Girls Talk Dirty." 60. Riv-Ellen Prell uses Bakhtin's modeling to position the figure of the JAP in 1970s literary fiction. See Prell, "Cinderellas Who (Almost) Never Become Princesses: Subversive Representations of Jewish Women in Postwar Popular Novels;' in Talking Back: Images of Jewish Women in American Popular Culture, ed. Joyce Antler, 123-38 (Hanover, MA: Brandeis University Press, 1998). 61. Stallybrass and White, The Politics and Poetics of Transgression, 9. 62. Quoted in Cohen, "The Unkosher Comediennes;' 114-15.

Chapter 4

1. Before Funny Girl opened on March 26, 1964, Streisand had achieved some suc• cess on Broadway in the role of Miss Marmelstein in I Can Get it for You Wholesale (1962; her future husband, Elliott Gould, played the lead). She had also been performing in nightclubs, such as New York's Bon Soir, since 1960; had made six albums (including the original cast recordings of both Wholesale and Funny Girl, as well as The Barbra Streisand Album [1963], for which she won Grammys for Album of the Year and Best Female Vocal Performance); and had appeared many times on television (including The Jack Paar Show, Tonight with Johnny Carson, The Ed Sullivan Show, The Bob Hope Show, and most famously, The Judy Garland Show [1963], in which she sang a trio with Garland and Ethel Merman). 2. Patterns of Jewish assimilation can be traced productively in Irving Berlin's career trajectory. Berlin came to America at the age of four, and his father was a cantor in Russia. He began by writing Jewish character songs, some of which hybridized ethnic experience (for example, "Yiddle on Your Fiddle, Play Some Ragtime" in 1910). From composing for a Jewish minority voice, he moved to writing for a "majority voice" ("White Christmas" and "Easter Parade") and then a "universal" American voice, which included both (the unofficial national anthem, "God Bless America"). 3. Julian Rose was the most successful of these Jewish acts, though there were many Jewish women who specialized in "Hebrew impersonation" as well: Sadie Fields, Belle Gold, Annie Goldie, Leah Russell, Lillian Shaw, and Fanny Woods. See Barbara W. Grossman, Funny Woman: The Life and Times of Fanny Brice (Bloomington: Indiana University Press, 1991),31. 188 NOTES

4. Harley Erdman, Staging the Jew: The Performance of an American Ethnicity, 1860-1920 (New Brunswick, NJ: Rutgers University Press, 1997), 156. 5. Herbert G. Goldman, Fanny Brice: The Original Funny Girl (Oxford: Oxford University Press, 1992),36-37. 6. Qtd. in Karen Levitov, "The Divine Sarah and the Infernal Sally: Bernhardt in the Words of Her Contemporaries," in Sarah Bernhardt: The Art ofHigh Drama, ed. Carol Ockman and Kenneth E. Silver, 125-43 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2005), l37. 7. Qtd. in Grossman, Funny Woman, 29. 8. Mary Russo, The Female Grotesque: Risk, Excess and Modernity (London: Routledge, 1994),53. 9. Qtd. in Susannah Heschel, Introduction to On Being a Jewish Feminist: A Reader, ed. Susannah Heschel, xxxi-liv (New York: Schocken, 1983), xxxvii. 10. Goldman, Fanny Brice, 70. 11. Susan Weidman Schneider, Jewish and Female: Choices and Changes in Our Lives Today (New York: Simon and Schuster, 1984),34. 12. The similarities are probably not simply coincidental, nor is the fact that artists have used different cultural versions to comment on each other. Various folk• lorists have linked Lilith to Diana and also the medieval witch-queen Herodias, who was known as the Wandering Jewess (apparently this is not a direct refer• ence to Salome's mother but to her grandmother, wife of Herod the Great), to the Germanic goddess Bertha and to the Northern European Frau Holda. It is probably necessary to clarify my use of the term archetype here, since I believe that most so-called "female archetypes" (madonna, virgin, whore) are actually gendered stereotypes in disguise. A "whore" or "virgin," after all, can be male or female. Rather, I am referring to Jungian archetypes, which are not gender• specific. Even the animus and anima are "neutral" constructions based on con• text and individual desire within the framework of collective consciousness. Thus, the phallic female demon can be considered either a "shadow" or an "ani• mus" in a recurring form due to cultural anxiety. l3. Aviva Cantor, "The Lilith Question;' in On Being a Jewish Feminist: A Reader, ed. Susannah Heschel, 40-50 (New York: Schocken, 1983),43. 14. Ibid., 46. It is relevant to point out that Lilith is one of very few negative mod• els of Jewish womanhood created by Jews themselves before the twentieth cen• tury. Most women in the Bible are presented ambivalently, neither wholly "good" nor wholly "bad;' and their actions must be read within their specific contexts. Thus, Judith-the "castrating" Jewess who was so often conflated with Salome at the turn of the century-is seen as a hero for killing the enemy Holofernes and saving her people. 15. For women at the fin de siecle, as well as men who admired (and desired) pow• erful femininity, Lilith, like Salome, has been recuperated as a role model by modern Jewish women. The first Jewish feminist journal, which began publish• ing in 1976, is called Lilith. 16. Additionally, it appears that this was a cover-up by the Jewish community itself. It has been estimated that between 1913 and 1920, 17 percent of prostitutes NOTES 189

arrested in Manhattan were Jewish. Jewish men were actively involved in the "white slave" trade both in America and in Europe. This was a major issue for Bertha Pappenheim, who campaigned on behalf of Jewish prostitutes, mainly of Eastern European origins, in Germany. In Constantinople, prostitutes donated money to have their pimps called to the Torah on holidays. It seems that, even within the Jewish community, the "east" has been sexualized. There are a large number of Israeli prostitutes, mainly from Sephardic or Mediterranean fami• lies. All these cases represent the consequences of extreme poverty; however, as Pappenheim noted at the turn of the century, prostitution can be seen as the result of the low status of women in Jewish society, which left them uneducated and without the skills to support themselves except through their bodies. (Schneider, Jewish and Female, 224-25). 17. Grossman, Funny Woman, 31. 18. It is also worth noting that in 1908 there was a satirical coon song called "De Sloamey Dance" being performed in burlesque, mocking the Salome craze. 19. According to Goldman, Brice "tanned up" rather than appearing in blackface with Cantor (Fanny Brice, 82). 20. June Sochen, "Fanny Brice and Sophie Tucker: Blending the Particular with the Universal;' in From Hester Street to Hollywood: the Jewish American Stage and Screen, ed. Sarah Blacher Cohen, 44-57 (Bloomington: Indiana University Press, 1986),50. 21. Otd. in Norman Katkov, The Fabulous Fanny: The Story of Fanny Brice (New York: Alfred A. Knopf, 1953),205; emphasis original. 22. Linda Mizejewski, Ziegfeld Girl: Image and Icon in Culture and Cinema (Durham, NC: Duke University Press, 1999), 110-11. 23.0td. in Sharon Pucker Rivo, "Projected Images: Portraits of Jewish Women in Early American Film;' in Talking Back: Images of Jewish Women in American Popular Culture, ed. Joyce Antler, 30-49 (Hanover, MA: Brandeis University Press, 1998),36-37. 24. Gilbert Seldes, The 7 Lively Arts (New York: Sagamore, 1957), 175. Seldes's book was first published in 1924. 25. Goldman, Fanny Brice, 74. 26. Florodora Baby is yet another Dora to add to Freud's analysand, Bernhardt's Theodora, and her Eastern European Fedora. The sentiments in this song (the need to marry for money rather than love) are still being reinforced by Joan Rivers in her act. Interestingly, Brice played yet another Dora in one of her least successful stage appearances. Always desperate to become a "serious actress;' she opened in a play called Why Worry? in 1918 as waitress Dora Harris. After a dis• astrous preview, the show closed for "repairs;' and a few weeks later it re-opened with a few additions, in particular two songs written for Brice by Blanche Merrill. One was 'Tm an Indian" (in which she appears as Rosie Rosenstein), and the sec• ond was a new Theda Bara vamp song, ''I'm Bad:' The show still received terrible reviews, with the exception of her comic songs, and quickly closed. 27. Otd. in Goldman, Fanny Brice, 108. 190 NOTES

28. Stacy Holman Jones, "Emotional Space: Performing the Resistive Possibilities of Torch Singing;' Qualitative Inquiry 8, no. 6 (2002): 738-59. 29. Douglas Gilbert in American Vaudeville (New York: Whittlesey House, 1940), available at http://www.garlic.com/-tgracyklnorabayes.html. Accessed March 26,2005. 30. Seldes, The 7 Lively Arts, 181-82. 31. Brice resurrected her Yiddish vamp in various guises for twenty years. In 1918, for instance, as well as performing "I'm Bad" in Why Worry? she appeared in the Ziegfeld Nine O'Clock Revue singing a custom-tailored piece by Merrill, called "A Yiddisha Vampire." In 1920, in the "proper" Ziegfeld Follies, she performed ''I'm a Vamp from East Broadway" (by Irving Berlin, Bert Kalmar, and Harry Ruby). In 1934, she performed one of her most famous vamps, the Countess Dubinsky. This is a burlesque of burlesque; she is a "dirty duchess" who is "shak• ing those fringes and how" at the striptease houses owned by the (Jewish) Minsky Brothers. In this routine, the Countess performs what Time called "a monstrously coy strip-teaser routine" followed by a fan dance (Grossman, Funny Woman, 206). 32. Stanley Green, The Great Clowns ofBroadway (Oxford: Oxford University Press, 1984),8. 33. Seldes, The 7 Lively Arts, 181. Following straight on from his critique of Brice's Vamp, I think it is possible to include this particular "satire" in the examples of "originals" identified by Seldes (including the "classical interpretative dancing" of ballet) that Brice creates in the process of destroying them. 34. Sander L. Gilman, Difference and Pathology: Stereotypes of Sexuality, Race, and Madness (Ithaca, NY: Cornell University Press, 1985),213. 35. The endpapers of Sophie Tucker's Some of These Days feature an undated photo of her doing a "sister act" with Judy Garland, both of them wearing short frilly gingham pantaloons, big bows in their hair, and ankle socks under shiny patent shoes. 36. In 1930, Brice opened on Broadway in Sweet and Low. Though the show was received coolly, it served to introduce what would become Brice's specialty. She did a sketch in which she played "Babykins;' a precocious three-and-a-half• year-old child being examined by her pediatrician. Brice insisted that the con• cept originated in 1912 when she was in vaudeville and she had based it on child actors in the movies, rather than other vaudevillians like Ray Dooley, who spe• cialized in child parts. Babykins had become Baby Snooks by the 1934 Ziegfeld Follies (produced after Ziegfeld's death). In 1937, Brice participated in NBC's Good News of1938, and Baby Snooks became a regular feature of the subsequent hour-long radio programs. In March 1940, it became Maxwell House Coffee Time, a half-hour program divided evenly between comedian Frank Morgan and Baby Snooks. The half-hour-long Baby Snooks Show on CBS was trans• ferred back to NBC in 1949. 37. There are no known copies left of this movie, which, like The Jazz Singer, was part "talkie." According to Goldman, Brice was the first woman to star in a sound motion picture (Fanny Brice, 140). My Man featured some of her best-known NOTES 191

material: "My Man;' "Second Hand Rose," ''I'm an Indian;' ''I'd Rather Be Blue;' and her monologue "Mrs Cohen at the Beach:' 38. Perhaps the only movie that indicates Brice's film potential is Everybody Sing! (1938), in which she plays the maid, Olga Chekaloff. Significantly, she needs to be positioned as "contrast" to Judy Garland and also as a supporting character rather than central figure. Her solo number "Quainty, Dainty Me" is masterful clowning, but it is indeed difficult to know how her particular skills and per• forming presence could have been positioned at the center of any mainstream movie prior to the rise of the solo "concert" or "cabaret" film. It is a scene which could have appeared in Midler's Divine Madness or Bernhard's Without 1Qll I'm Nothing, but both of these films lie outside narrative genres of movie-making. 39. Neal Gabler, An Empire of Their Own: How the Jews Invented Hollywood (New York: Crown, 1988). 40. Rivo, "Projected Images;' 42-43. 41. Goldman notes: "While Fanny Brice was doubtless not the first comedienne to do a Jewish mother, it is nonetheless significant that 'The Rise of the Goldbergs; Gertrude Berg's first 'Goldberg' story and the vehicle that launched her on a long career, was written shortly after Fanny repeated this monologue in her first motion picture. The same enthusiasm, naIvete, and zest for living that marked 'Mrs Cohen' are visible in Molly Goldberg, and Fanny's line, 'Hello, Mrs. Bloom,' was later reprised-many times-in Molly's famous 'Yoo-hoo, Mrs. Bloom.'" (Fanny Brice, 136). Berg will be briefly discussed further in Chapter 5. 42. Both quoted in Goldman, Fanny Brice, 6. 43. Sander Gilman, The Jew's Body (London: Routledge, 1991), 185-87. 44. Grossman, Funny Woman, 147. It has also been suggested, by Brice herself, that the nose job was a way of starting a new life or becoming a new person after her separation from Arnstein (who had disapproved of the idea). 45. Qtd. in Grossman, Funny Woman, 146. 46. Ibid., 151. 47. John Jervis, Transgressing the Modern: Explorations in the Western Experience of Otherness (Oxford: Blackwell, 1999), 197. 48. Homi Bhabha, The Location of Culture (London: Routledge, 1994), 116. 49. Qtd. in Schneider, Jewish and Female, 246. 50. While there is unfortunately not enough space to pursue a full analysis here, Fanny Brice's legacy is probably most evident in the work of Gilda Radner, who, while working on Saturday Night Live in the late 1970s, developed a repertoire of characters who gently subverted stereotypes of American Jewish woman• hood through multiple embodiments. In 1978, she introduced her flamboyant JAP, Rhonda Weiss. Weiss first appears in a spoof advertisement for "Jewess Jeans," sporting "designer nails and a designer nose." Riv Ellen Prell notes that "if a minstrel-like 'Jew face' existed in the world of entertainment, Gilda Radner's routine perfected it;' and she goes on to describe Radner's technique as "Jewing Up;' a concept I have borrowed to describe a tradition of female Jewish perform• ance (See Prell, Fighting to Become Americans: Jews, Gender, and the Anxiety of Assimilation [Boston: Beacon Press, 1999], 181). I think it is also worth noting 192 NOTES

that Radner, a fat child who began taking diet pills as a teenager, was bulimic at the height of her popularity. In the 1970s and 1980s, a high percentage of anorex• ics and bulimics were Jewish, and it was often called a "Jewish woman's disease" (see Schneider, Jewish and Female, 246). At least one of Sarah Bernhardt's biog• raphers notes that her thinness, associated with tuberculosis, was due to anorexia (Ruth Brandon, Being Divine: A Biography ofSarah Bernhardt [London: Mandarin Paperbacks, 1992), 299). There are many obvious parallels to be drawn between late twentieth-century anorexics and fin de siecle hysterics. 51. Plenty of other aspects of Brice's life were erased from Funny Girl, one notably being her first (very short-lived) marriage to barber Frank White in 1910. Nick's seduction of Fanny in the movie ("You Are Woman, I Am Man") would cer• tainly not have worked if she was perceived as anything but a nail virgin. 52. Gilman, The Jew's Body, esp. chaps. 1, 7. 53. Stacy Wolf, A Problem like Maria: Gender and Sexuality in the American Musical (Ann Arbor: University of Michigan Press, 2002), 187. The chapter on Streisand is republished with few alterations as "Barbra's 'Funny Girl' Body;' in Queer Theory and the Jewish Question, eds. Daniel Boyarin, Daniel Itzkovitz, and Ann Pellegrini, 246-65 (New York: Columbia University Press, 2003). 54. The Independent on Sunday, ABC magazine supplement, January 16,2005,19. First comments by Simmy Richman; second by Nick Coleman. 55. Goldman, Fanny Brice, 194. 56. Mark Bostridge, "Oh, Barbra;' The Independent on Sunday, January 16,2005, p. 6. 57. Anne Edwards, Streisand (London: Orion, 1997), 12. 58. Qtd. in ibid., 223. 59. She is also anticipating Sandra Bernhard's claim that "Without you I'm noth• ing." See Chapter 6. 60. Wolf, "Barbra's 'Funny Girl' Body," 260. 61. Certainly the invisibility of Jews at the heart of the American cultural industry by the early 1960s can be considered as much the results of the HUAC (House Un-American Activities Committee) campaign to blacklist suspected subver• sives and communists (read "Jews") in Hollywood following World War II as earlier Jewish self-censorship following the establishment of the PCA. However, some of the best-known "friendly witnesses" for HUAC were Jack Warner and Louis B. Mayer, representing Hollywood studio heads. 62. Wolf, "Barbra's 'Funny Girl' Body;' 254. 63. Felicia Herman, "The Way She Really Is: Images ofJews and Women in the Films of Barbra Streisand;' in Antler, ed., Talking Back, 171-72, 173, 190, 189, 172. In the last quotation, Herman is citing Letty Cottin Pogrebin, Deborah, Golda and Me: Being Female and Jewish in America (New York: Doubleday, 1991). It is also perhaps worth noting that the first Jewish Miss America, Bess Meyerson, was crowned in 1945. Meyerson went on to a career in television and also held the post of Manhattan's Commissioner of Cultural Affairs under Mayor Edward Koch. In 1988 she was tried and acquitted of bribery while a Senatorial candidate. 64. Qtd. in James Spada, Streisand: The Intimate Biography (London: Little, Brown and Company, 1995),352. NOTES 193

65. Marjorie Garber, "Category Crises: The Way of the Cross and the Jewish Star;' in Boyarin, Itzkovitz, and Pellegrini, eds., Queer Theory, 22. This is a republished excerpt from Garber's Vested Interests (1992). 66. Henry Bial notes that the film's meaning relies on its audience's awareness of Streisand's "true" identity and that, as a result, Yentl is a film that plays "with the idea of passing" but ultimately rejects "the practice of passing in favor of a grounded and fixed identity" (Acting Jewish: Negotiating Ethnicity on the American Stage and Screen [Ann Arbor: University of Michigan Press, 2005], 105). 67. Sarah Bernhardt, The Art of Theatre, 137. 68. There are some fascinating parallels between The Main Event and Fanny Brice's second movie Be Yourself! Brice plays Fanny Field, a nightclub entertainer who guides Irish boxer Jerry Moore (played by Robert Armstrong) to the heavyweight championship. 69. Transcribed from Barbra Streisand: The Concert, live at the MGM Grand, December 31,1993/ January 1, 1994, Sony Music Video, 2004. 70. In 2005, Streisand explained that she had made no movies and few public appearances for eight years due to her happy marriage with James Brolin: "When I was in between relationships, I had to work so that it was almost a sub• limation for love. Now I'm happy and contented which is why I've made very few movies. I'm a homebody. I stay in my home. I'm currently designing a house, which to me is like doing a movie." Qtd. in David Usborne, "A Star is Reborn;' The Independent, January 29, 2005, 40. 71. Herman, "The Way She Really Is;' 171. 72. Goldman, Fanny Brice, 152. 73. Herman, "The Way She Really Is;' 190. 74. For a further discussion about how Jews (and in particular, Streisand and Woody Allen) "became sexy;' see Bial, Acting Jewish, 86-104. Certainly, Streisand's role as a funny, middle-aged, sexually active, liberal Jewish mama / sex therapist in Meet the Fockers (2004) joyfully capitalizes on and extends the public image she developed earlier in her career.

Chapter 5

1. It must be said that Midler's "filthiness" pales when compared to that of Pearl Williams or Belle Barth some years earlier. 2. Stephen M. Silverman, Funny Ladies: The Women Who Make Us Laugh (New York: Harry N. Abrams, 1999),35. It is significant that as the jokes became pro• gressively "dirtier;' Midler stopped referring to her character as "Sophie Tucker;' abbreviating the name to "Soph:' 3. Qtd. in Kevin Winkler, "Your Mother Is up Here Working!: Bette Midler, the Continental Baths, and the Mainstreaming of Gay Male Sensibility;' in Performing Processes: Creating Live Performance, ed. Roberta Mock, 83-93 (Bristol: Intellect, 2000),91. 194 NOTES

4. Qtd. in Neil Appelbaum, "Bette, You Is My Woman;' After Dark, May 1971, avail• able at http://www.betteontheboards.comlboards/magazine-05.htm. Accessed March 21, 2005. 5. Belle Barth certainly may have said this, but so did Pearl Williams. It can be heard on one of her live albums. Downloaded from "Pearl Williams: For This You'll Need a Glusenshpiegelbaster (MP3s);' available at http://blog.wfrnu.orgl freeform/monicas_posts/. Accessed October 25, 2005. 6. "Big Noise from Winnetka" is a big band number from the 1940s, though Midler's version in Divine Madness includes some lyrics written by her expressly for the song. A complete version (sans monologue) can be heard on her 1979 album, Thighs and Whispers. 7. Sinfield, The Wilde Century, 156. 8. By the time Midler played her last dates at the baths a few years later, Ed McCormack notes that, "There were a surprising number of fully clothed het• erosexual couples as well, who had come to witness a Fellini fantasy in the flesh." See McCormack, "The Gold Lame Dream of Bette Midler: 'Puh-leez, Honey;" Rolling Stone (February 15, 1973), available at http://www.betteontheboards.com. Accessed March 21, 2005. 9. Winkler, "Your Mother Is up Here Working!" 87. 10. Ibid., 83. 11. Michael Bronski, Culture Clash: The Making of Gay Sensibility (Boston: South End Press, 1984), 107. This is not a particularly original description. It has been used many times in connection with Mae West, for instance, and John Waters used the phrase to describe Jayne Mansfield. 12. Philip Core, "From Camp: The Lie That Tells The Truth," Camp: Queer Aesthetics and the Performing Subject, ed. Fabio Cleto, 80-86 (Edinburgh: Edinburgh University Press, 1999),81. It should be noted that this is the precise phrase Paul Burston uses to describe Sandra Bernhard's performance strategy (quoted in chapter 6). Another of Philip Core's "Camp Rules" is that it is "cross-dressing in a Freudian slip;' which seems particularly relevant to my fin de siecle contextu• alization of both the Jewess's and homosexual's queer identity. The excerpt from Core's longer work that I cite includes a whirlwind romp through camp iconog• raphy and its major players. Many of them have appeared in this study already: Wilde (of course), Proust, Bette Midler ("a Piaf for a camp accepting world"), and finally La Divine Sarah herself (as one of "those women who adore and pre• fer to be adored by homosexual men, together with those women who adore each other.... Their excesses exaggerated the gap between the genders and set the stage for the required enormities of femme fatales and Hollywood Stars"). As Core succinctly notes, "Throughout history there has always been a significant minority whose unacceptable characteristics-talent, poverty, physical uncon• ventionality, sexual anomaly-render them vulnerable to the world's brutal laughter. Hiding their mortification behind behaviour which is often as deviant as that which is concealed is the mainspring of camp." 13. Terry Eagleton, William Shakespeare (Oxford: Basil Blackwell, 1986), 3-4. NOTES 195

14. Camille Paglia, Sex, Art, and American Culture: Essays (London: Penguin, 1993), 99-100. 15. Laurence Senelick, The Changing Room: Sex, Drag and Theatre (London: Routledge, 2000),33. 16. Elsewhere I situate the above discussion of Bette Midler's work within a queer framework to explore the efficacy of heterosexual femme performances that may challenge and subvert ideological normativities through their transactions with gay men. See Roberta Mock, "Heteroqueer Ladies: Some Performative Transactions Between Gay Men and Heterosexual Women;' Feminist Review 75 (2003): 20-37. I thank the publishers for their permission to reprint this mate• rial here. 17. Qtd. in Colin Dangaard, "Divine Midler: Bette Midler in Toronto for a Revealing Interview;' Photoplay (February 1981), available at http://www.betteontheboards .com/boards/magazine-34.htm. Accessed March 19,2005. 18. Various writers, "Why Bette Midler?;' Ms. (August 1973): available at http://www .betteontheboards.com. Accessed March 212005. 19. Midler quoted in June Sochen, "From Sophie Tucker to Barbra Streisand: Jewish Women Entertainers as Reformers;' in Talking Back: Images ofJewish Women in American Popular Culture, ed. Joyce Antler, 68-84 (Hanover, MA: Brandeis University Press, 1998),79. 20. One of Midler's ex-Harlettes is Katey Sagal, a Jewish woman who left just before the filming of Divine Madness. She went on to star in the sitcom Married ... With Children as Peg Bundy, the far-from-nurturing mother with atrociously tacky dress sense. This program was renowned for lowering the standards of "taste" on television in its portrayal of dysfunctional family life. 21. Bette Midler,A View from a Broad (New York: Simon and Schuster, 1980),48. 22. Ibid. 23. Sylvia Barack Fishman notes that in many of Midler's films she plays "the over• bearing Jewish matron, which absorbs the whiny demands and materialism of the JAP" ("Our Mothers and Our Sisters and Our Cousins and Our Aunts: Dialogues and Dynamics in Literature and Film;' in Antler, ed., Talking Back, 158). Her allusion to recognizable Jewish gender stereotypes may have eased Midler's transition into Hollywood movies. 24. Jane Stern and Michael Stern, Jane and Michael Stern's Encyclopedia of Pop Culture (New York: HarperPerennial, 1992),22. 25. Although here I will be discussing this historical moment at the height of her celebrity, it should be remembered that Roseanne, like Tucker and Brice before her, has failed to succeed in Hollywood movies. While this could certainly be due to her lack of range as an actor, it is equally possible that this range is lim• ited by audience expectation created through a sustained engagement with Roseanne's persona on and off stage and camera. This persona may resist cer• tain types of representation: in particular, those that are "naturalistic" (like "seri• ous" mainstream movies), as opposed to those that are "realistic" (like stand-up and television sitcoms). 196 NOTES

26. Roseanne Barr, Roseanne: My Life as a Woman (New York: Harper & Rowe, 1989),161. 27. Qtd. in Lisa Schwartzbaum, "All the Rage," Entertainment Weekly (April 21, 1995): 26. 28. Russo, The Female Grotesque, 23. 29. Qtd. in Stern and Stern, Jane and Michael Stern's, 23. 30. Roseanne Arnold, Roseanne: My Lives (London: Century, 1994),202. 31. It was the context, rather than the specific performance of masculinity, that peo• ple found offensive. Elayne Boosler (a glamorous, big-haired, graceful Jewish stand-up), for instance, was doing grotesque impersonations of macho baseball players who couldn't stop touching their genitals in the late 1980s. Roseanne's reception, however, could also be due to the fact that the spitting and crotch• grabbing seemed closer to her "unladylike" performances of "self" (as opposed to an impersonation), a heightened affirmation of something that already made some audience members uncomfortable. 32. Arnold, Roseanne: My Lives, 204. 33. Ibid., 205. 34. Qtd. in Stern and Stern, Jane and Michael Stern's, 23. 35. Lucy Ellmann, "Fat and feminist issues," Independent on Sunday, February 18, 1996, 12; emphasis original. Ellmann describes the encounter between Ruby Wax (a Jewish performer and writer) and Roseanne as "a duel of sassiness:' In one scene, they sit in Roseanne's bathtub together (fully clothed, Ruby wearing Roseanne's latest bridal veil). Wax warns the new mother Roseanne, "If you lac• tate in my face, I'm going to sue you:' Wax began her career as an RSC actor and starred in the sitcom Girls On Top in 1984 with Dawn French and Jennifer Saunders. She was born in Chicago, the daughter of a sausage-skin manufacturer, but her professional career has taken place primarily in Britain. By the late 1990s, she was primarily known as a tele• vision presenter, a celebrity interviewer with a real knack for prizing unexpected information from her guests (or victims; for example, she got O. J. Simpson to mime stabbing somebody to death with a banana). Her public persona is described by Glenn Wilson (a psychologist writing in The Guardian) as obnox• ious and rather irritating; she has a startlingly quick brain and a loose tongue. This performativity has been in evidence since Girls On Top: [H] er persona was very much defined by a Miss Piggy competitiveness and a fragility of ego about her own attractiveness. She was the archetypal Jewish• American princess gone wrong and would, indeed, go on to play up this studied Jewishness in her interviews, ensuring, for example, that many of them took place in the kitchen (Wilson, "The Real Ruby Wax;' The Guardian, July 9,1999). When Wax embarked on her path as a "media personality," she was criticized (in much the same way as Joan Rivers) for her extreme intrusiveness and vulgar• ity; her line of enquiry was almost always highly prurient and fixated with bod• ily functions (in one notorious interview with the Duchess of York, she rummaged through lingerie drawers and personal effects to the obvious discom• fort of her subject). This was generally blamed on the fact that she was American. NOTES 197

Wax eventually softened her aggressiveness, though she is still known for her acerbic wit and what Wilson describes as her "bi-culturality:' 36. Phil Reeves, "The Trouble with Roseanne;' The Independent, April 30, 1994, Arts 30. 37. This is neither a new technique nor a new accusation. Critics of Bernhardt, not• ing that some weeks had passed between the publication of Colombier's Memoires and Bernhardt's son Maurice's attacks on the author, suspected that the affair had been plotted to generate publicity for a production "languishing at the box office" (Berlanstein, Daughters ofEve, 223). 38. Jasper Rees, "You Must Remember This, a Kiss Is Just a Kiss;' The Independent, June 4,1994,48. 39. Stephen Maddison, Fags, Hags and Queer Sisters: Gender Dissent and Heterosocial Bonds in Gay Culture (Basingstoke: Macmillan, 2000),137. 40. Kevin Sessums, "Really Roseanne;' Vanity Fair 57, no. 2 (February 1994): 114. 41. Ibid., 113. 42. Reeves, "The Trouble with Roseanne:' 43. Sian Mile, "Roseanne Barr: Canned Laughter-Containing the Subject;' New Perspectives on Women and Comedy, ed. Regina Barreca, 39-46 (Philadelphia: Gordon and Breach Science, 1992),41. 44. Philip Auslander, From Acting to Performance: Essays in Modernism and Postmod• ern ism (London: Routledge, 1997), 123. 45. Arnold, Roseanne: My Lives, 242. 46. Schwartzbaum, ''All the Rage." Of the cast of Roseanne, Sara Gilbert (who played her younger daughter Darlene), Michael Fishman (her son, D.J.), Estelle Parsons (her mother), and Sandra Bernhard (her friend Nancy) were all Jewish. Tom Arnold (whose character married Nancy) converted to Judaism when he mar• ried Roseanne but is apparently still active in the Los Angeles Jewish community despite their divorce. Sara Gilbert's character is especially interesting: moody, intelligent, and funny, she quickly became a lesbian icon. 47. Arnold, Roseanne: My Lives, 220. 48. Barr, Roseanne: My Life, 7. 49. Qtd. in Schwartzbaum, "All the Rage;' 26; emphasis original. Entertainment Weekly coyly refused to "spell out" the expletives which I have restored here. 50. Helene Cixous, "The Laugh of the Medusa;' trans. Keith Cohen and Paula Cohen, in New French Feminisms: An Anthology, ed. Elaine Marks and Isabelle de Courtivron, 245-64 (London: Harvester Wheatsheaf, 1981), 258. Subsequent page numbers in the text refer to this edition. 51. Auslander, From Acting to Performance, 122. 52. In the acknowledgements of My Life as a Woman, Roseanne thanks the "people I learned from." Among them can be found the following Jewish performers: Fanny Brice, Joan Rivers, Rene Taylor, Bette Midler, Gilda [Radner], Barbra Streisand, Elaine May, and Selma Diamond. Interestingly, she doesn't mention Sophie Tucker, the woman I feel most set her precedent. 53. Mine was certainly not the only family whose evening television viewing was frequently punctuated by the comment, "He's a Jew, you know:' This tendency was captured in a perceptive Saturday Night Live sketch in the 1980s, a game 198 NOTES

show parody (hosted by Tom Hanks) called "Jew, Not a Jew:' Coffee table books featuring pictures of famous Jewish people are common in Jewish living rooms. The near obsession with identifying other Jews is also indicated by the popular• ity of the Jewhoo website. See also Henry Bial, Acting Jewish: Negotiating Ethnicity on the American Stage and Screen (Ann Arbor: University of Michigan Press, 2005), chap. 6. 54. Mary F. Brewer, Race, Sex, and Gender in Contemporary Women's Theatre: The Construction of "Woman" (Brighton: Sussex Academic Press, 1999). 55. Auslander, From Acting to Performance, 125. 56. Geraldine Barr with Ted Schwarz, My Sister Roseanne: The True Story ofRoseanne Barr Arnold (New York: Birch Lane, 1994),3. 57. Susan Kray, "Orientalization of an 'Almost White' Woman: A Multidisciplinary Approach to the Interlocking Effects of Race, Class, Gender, and Ethnicity in American Mass Media: The Case of the Missing Jewish Woman;' in Feminism, Multiculturalism, and the Media: Global Diversities, ed. Angharad N. Valdivia, 221-44 (London: Sage, 1995),225. 58. Ibid., 233; emphasis added. 59. Donald Weber, "The Jewish-American World of Gertrude Berg: The Goldbergs on Radio and Television, 1930-1950;' in Antler, ed., Talking Back, 97. 60. Bial, Acting Jewish, 40-48. 61. Roseanne qtd. in Sessums, "Really Roseanne:' 116. 62. Barr, Roseanne: My Life, 6. 63. Arnold, Roseanne: My Lives, 230-3l. 64. Sessums, "Really Roseanne;' 116. 65. Schneider, Jewish and Female, 426. 66. Mimi Scarf, "Marriages Made in Heaven? Battered Jewish Wives;' in On Being a Jewish Feminist: A Reader, ed. Susannah Heschel, 51-64 (New York: Schocken, 1983),50.

Chapter 6

l. Qtd. in Carol Leggett, "loud and clear;' Arena (November 1994),82. 2. Ben Thompson, "Still Giving till It Hurts;' The Independent on Sunday, December 4,1994, p. 24. 3. Ann Pellegrini, Performance Anxieties: Staging Psychoanalysis, Staging Race (London: Routledge, 1997),54. 4. Will & Grace, episode #3.11 entitled "Swimming Pools ... Movie Stars;' first broadcast January 11,2001, NBC television (USA). 5. Qtd. in Paul Burston, "Bigmouth Strikes Again;' The Independent, November 26, 1994, Arts section: 29. 6. Confessions of a Pretty Lady. Dir. Kristiene Clarke. BBC Arena, 1993. 7. Qtd. in Paul Burston, "Sandra Bernhard: What's She Like?" Attitude (October 1994): 56. NOTES 199

8. Walton notices that there are a few brief sightings of an elderly white couple in Bernhard's audience at the club (which she erroneously calls "The Parisian Room:' This is actually the name of the club in which Bernhard's lounge singer claims she originally broke in her act. She also says The Parisian Room no longer exists). Their presence, Walton notes, perhaps indicates another way in which the act fails to impress her spectators: "The couple, like supportive and proud parents, smile blandly at Sandra, as though they are completely unaware of the irony that is meant to undercut her 'dramatic interpretations.'" See Jean Walton, "Sandra Bernhard: Lesbian Postmodern or Modern Postlesbian?" in The Lesbian Postmodern, ed. Laura Doan, 244-61 (New York: Columbia University Press, 1994),249. 9. Unlike performers such as Sophie Tucker and Pearl Williams, both of whom knew they were playing as much to the "girls;' Bernhard is primarily playing to audiences familiar with the conventions of American "stand up" comedy as it developed post-Lenny Bruce. There was a supposition, certainly in the late 1980s and early 1990s, that a feminist performer ought to feel uncomfortable working within a phallocentric environment that relies on dominance over a heterosexual male audience that colludes with the comedian to objectify the female spectator. The microphone is seen as a phallus that signifies, enhances and enables patterns of masculine control and power. See Lisa Merrill, "Feminist Humor: Rebellious and Self-Affirming," in Last Laughs: Perspectives on Women and Comedy, ed. Regina Barreca, 271-80 (New York: Gordon and Breach, 1988),274. In fact, in her live performances, Bernhard adopts many of these techniques herself and consciously plays with this "phallocentric" style. 10. Rebecca Schneider, The Explicit Body in Performance (London: Routledge, 1997), 113. 11. Burston, "Sandra Bernhard;' 55. 12. Bernhard's monologues continue to use what I call her "Stevie Nicks format;' in which Sandra plays the awestruck admirer of a celebrity who grants her a fleet• ing and seemingly intimate encounter. (In fact, more than a decade after Without .ThM I'm Nothing, she continued to make jokes about Nicks-and other members of Fleetwood Mac-in her sets, long after the band ceased to be a household name.) There is no doubt, for instance, that she is lampooning the unreliability, superficiality, and selfishness of rock star Courtney Love in I'm Still Here . .. Damn It! but it is impossible to know how much of her story is fic• tion and how much Bernhard herself colluded in the behavior she describes. There is certainly a hint in the story that Bernhard has been as unreliable, super• ficial, and selfish as the subject of her criticism and that these characteristics were due to the celebrity status which allowed her access to the likes of Love in the first place. 13. Judith Butler, Bodies That Matter: On The Discursive Limits of"Sex" (New York: Routledge, 1993), 112. 14. Although unnamed throughout the film, the character played by Cynthia Bailey is identified as "Roxanne" in the credits. 200 NOTES

15. Matei Calinescu, Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism (Durham, NC: Duke University Press, 1987),252. 16. Qtd. in Leggett, "loud and clear;' 84. 17. For a close reading of Streisand's Playboy cover and interview, see Henry Bial, Acting Jewish: Negotiating Ethnicity on the American Stage and Screen (Ann Arbor: University of Michigan Press, 2005), 86-102. 18. Apparently Bernhard refers to herself as "Sandi" in private and among friends. However, she only uses this name professionally when she wishes to create inti• macy (usually ironically) with her audience, or else to sarcastically refer to peo• ple who think they know her. Bernhard is at the very least deliberately blurring public and private, as well as "reality" and "artifice;' by presenting herself this way. Using the name "Sandi" could be a strategy that mirrors the way her "real" body is painted gold; it both is and is not her. 19. Sandra Bernhard, "Not Just Another Pretty Face;' Playboy (September 1992): 72-74. 20. Philip Auslander, Presence and Resistance: Postmodernism and Cultural Politics in Contemporary Performance (Ann Arbor: University of Michigan Press, 1992). I attempted to illustrate why postmodern frameworks served subjects like Sandra Bernhard inappropriately in my own earlier reading of her work, some of which is repeated here and serves as a starting point for this chapter. See Roberta Mock, "Without You I'm Nothing: Sandra Bernhard's Self-Referential Postmod• ernism;' Women's Studies 30 (2001): 543-62. 21. bell hooks, Black Looks: Race and Representation (Boston: South End Press, 1992). In Performance Anxieties, Ann Pellegrini notes a number of possible misread• ings and inconsistencies in her critique. One is that the textual black male gaze in the film cannot be unified with the extra-textual gaze of the film audience. Another is that hooks chose to read the interracial desire in the film exclusively heterosexually, focusing on the sex scene with Joe "the boyfriend;' rather than Bernhard's stripping for a single black female spectator at the end of the movie. Most importantly, however, hooks "does not clarify the connections between Bernhard's assumed blackness, on the one side, and her Jewishness and queer• ness, on the other" (57-58). 22. Qtd. in "Sandra's Blackness;' Vibe 1 (1992): 116. 23. hooks, Black Looks, 37. 24. Lauren Berlant and Elizabeth Freeman, "Queer Nationality;' in Fear of a Queer Planet: Queer Politics and Social Theory, ed. Michael Warner, 193-229 (Minneapolis: University of Minnesota Press, 1993), 218. 25. Pellegrini, Performance Anxieties, 58. 26. Qtd. in ibid., 59. 27. Qtd. in Sandra Bernhard's Collagen Corner, available at http://www-personal.umich .edu/-Iarson/sandra.html. Accessed May 10, 1999. 28. Qtd. in Noma Faingold; "Kaballah Hasn't Dulled Sandra Bernhard's Rough Edge;' Jewish Bulletin of Northern California, March 27, 1998, available at http://www.jewishsf.com/content/2 -0-/ module/ displaystory/ story_id/8330/ edition_idI158/format/htmlldisplaystory.html. Accessed March 20, 2007. NOTES 201

29. Ibid. 30. Even when considering "Judaism" as religious code, there are vastly different cri• teria that define which religious practices constitute "Jewishness." These depend on individual interpretation based on communal affiliation. Many Orthodox Jews who live both within and outside of Israel, for instance, do not consider Reform converts to be "really" Jewish. At the same time, however, they would have considered people who lived in the former Soviet Union whose ancestry was Jewish, but who were prohibited from practicing any Jewish ritual and denied basic religious education, to be "Jews:' 31.As such, I find the assertion that there is a "realer" Aunt Sarah, in the form of bell hooks's grandmother (Elspeth Probyn, Sexing the Self: Gendered Positions in Cultural Studies [London: Routledge, 1993], 153-54), rather narrow-minded. 32. The media is always grateful for a hook and has followed her lead. See, for instance, the front cover of The List magazine (August 1992). Under the content banner which reads "Sandra Bernhard-Read My Lips!" is a full-page burnt out portrait of her with prominent full sneering red lips. The headline of the article inside is "Hips, Lips, Tits, POWER!" My own short preview of Bernhard in The Independent appeared under the headline "Child -bearing Lips" ( 1994). This had nothing to do with me. 33. Pellegrini, Performance Anxieties, 52. 34. Sheryl Garratt, "Funny Face;' The Face 2, no. 48 (September 1992): 44. 35. Qtd. in Pellegrini, Performance Anxieties, 55; emphasis original. 36. For accounts of the complex relationship between blacks and Jews in America, see: Maurianne Adams and John Bracey, eds., Strangers and Neighbors: Relations Between Blacks and Jews in the United States (Amherst: University of Massachusetts Press, 2000); and Karen Brodkin, How Jews Became White Folks and What That Says About Race in America (New Brunswick, NJ: Rutgers University Press, 1998). 37. Pellegrini, Performance Anxieties, 54. 38. Ibid., 52. 39. Ibid., 59. 40. Qtd. in Faingold, "Kaballah Hasn't Dulled Sandra Bernhard's Rough Edge." In 2004, Madonna publicly confirmed her commitment to kaballah, publishing a children's book inspired by her studies and changing her name (although not officially) to Esther. 41. Bernhard, qtd. in Tom Lanham, "Post Modern Sisters;' Creem (October 1993): 56-61. 42. Philip Roth explores this process in his novel Operation Shylock (New York: Simon and Schuster, 1993). In the following passage, he discusses how Irving Berlin wrote the songs "Easter Parade" and "White Christmas": The two holidays that celebrate the divinity of Christ-the divinity that's the very heart of the Jewish rejection of Christianity.... Easter he turns into a fash• ion show and Christmas into a holiday about snow. Gone is the gore and the murder of Christ-down with the crucifix and up with the bonnet! He turns their religion into schlock. But nicely! Nicely! So nicely the goyim don't even know what hit 'em (157). 202 NOTES

43. Claire Pajaczkowska and Barry Curtis, "Assimilation, Entertainment, and the Hollywood Solution;' in The Jew in the Text: Modernity and the Construction of Identity, ed. Linda Nochlin and Tamar Garb, 238-52 (London: Thames and Hudson, 1995),248. By 1994, Lauren was consciously trying to appeal to black urban consumers by using black male models and associating his product with hip-hop culture, like fellow designer Tommy Hilfiger. This is in no way incon• sistent, as it also appealed to middle-class white young people who ironically aspired to "street cred." 44. Riv-Ellen Prell, Fighting to Become Americans: Jews, Gender, and the Anxiety of Assimilation (Boston: Beacon Press, 1999),238. 45. Ibid., 245. 46. I realize that there is a very fine distinction between a Jewish tradition of "per• forming at performing" and generic definitions of performance as restored behavior that, according to Marvin Carlson in Performance: A Critical Introduction (London: Routledge, 1996) "simultaneously reinscribes and resists pre-existing models" (173). However, there is a difference between the concept of the Jewish performer who is performing herself performing a character in a performance (or else, substituting "herself" for character) and more traditional double• coded forms of acting in which the performance of self is "replaced" by per• formance of character. 47. A slightly altered written version of this routine also appears in Bernhard's Confessions of a Pretty Lady (London: Flamingo, 1993). 48. It is no coincidence that Felicia Herman's essay on images of Jews and women in Streisand's films is titled "The Way She Really Is" (emphasis original). 49. Qtd. in Mim Udovitch, "Naked Truths;' The Observer, July 16, 2000, available at http://film.guardian.co. uklfeatures/featurepages/0,,343831 ,00.html. Accessed March 21, 2007. SO. Walton, "Sandra Bernhard," 257-58. 5 l. Within weeks, Estee Lauder (MAC's parent company) replaced this video on its website with an edited version that removed the "Republican bitch" reference. The full version, however, could soon be watched on the YouTube website and it is worth noting the extreme comments posted by viewers in response. Those who criticized Bernhard most often also commented on her appearance ("hideous skank;' "dogface;' "ugly") and frequently mentioned the gap between her teeth. Her supporters describe her as "beautiful;' "powerful;' and "intelli• gent;' and they often mention the fact that she's 51 years old. See "Sandra Bernhard" posted by HokieKokie, August 16, 2006, available at http://www .youtube.com/watch?v=64SnLJ8qPM4. Accessed October 1,2006. 52. Berlant and Freeman, "Queer Nationality;' 193-94. Sources

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A Rebours (Huysmans), 36 Barth,Belle,3,11,86,91-92,93,94,95, Abbema, Louise, 25, 26 124,193n1 Abbott, Patsy, 90, 91, 92 Bataille, Georges, 29 Abzug, Bella, 118, 138 Baudelaire, Charles, 20 Adler, Jacob, 60, 78 Bauer, Ida, 33, 180n37. See also Dora Alexandre, Arsene, 20 Bayes, Nora, 75,104 Allen, Steve, 2-3 Beardsley, Aubrey, 36, 37, 42 Allen, Woody, 176n91 Beaton, Cecil, 41 Alpert, Herb, 151 Beatty, Warren, 149 Anna Held Girls, 62 beauty standard, American, 11,67,75, 77,101,102 anorexia, 177n99, 192n50 Beauvoir, Simone de, 13 anti-Semitism, 1,6,9,11,28,31,66,75, Berg, Gertrude, 3, 94-95,107,141, 109,168n12, 169n32 191n41 Antin, Eleanor, 163 Berlin, Irving, 97,101,104,161, 187n2, Arendt, Hannah, 28 201n42 Arnold, Roseanne. See Roseanne Bernays, Edward, 63-64 Arnold, Tom, 134, 135 Bernhard, Sandra, 12, 122, 138, Arnstein, Nicky, 89, 104 145-66; Bernhardt and, 146, 164; art nouveau, 20, 21,22,59 blackness and, 156-57, 158, 160, Arthur, Bea, 3 164; camp and, 151, 164; fashion assimilation, Jewish, 1-2,28,61,76,77, industry and, 151; gay culture and, 87,93,94-95,102,187n2; 150--51; Jewishness of, 3,154-56, embourgeoisement and, 33-34, 51, 157,158-59,161,165;kabbalah 91, 166 and, 155; in The King of Comedy, Auslander, Philip, 136, 138-39, 153 145,146-47; Madonna and, 149, 159-60; nudity and, 163-64; Babuscio, Jack, 43 Playboy magazine and, 152, 161, Baby Snooks. See Brice, Fanny 162; in Roseanne, 135, 145; sexuality Bacall,Lauren, 107 and, 149-50, 152-53; Streisand and, Bacharach, Burt, 151, 161 162-63 Baker, Belle, 90,104, 186n47 Bernhardt, Maurice, 183n13 Bakhtin, Mikhail, 89, 93, 95 Bernhardt, Sarah, 9, 10, 18,20-29, Bara, Theda, 11,68-70,71,75,100, 36-40,44-46,58,59-60,86,98, 105,110 102,134,142; as Duc de Reichstadt, Barnum, P. T., 52, 66 27-28; as Hamlet, 25-27, 28; as Barr, Roseanne. See Roseanne Medea, 45; camp and, 42-43, 220 INDEX

Bernhardt, Sarah-continued Brandmann-Palmer, Millicent, 25 194n12; criticism of, 25-27, Brandon, Ruth, 37, 44 197n37; fashion trends and, 62, 64; Breuer, Joseph, 34, 44 French politics and, 13,27-28,124, Brewer, Mary, 139 166, 172n32, 181n62; Ibsen and, 58; Brice, Fanny, 3, 97-99,101-2,103,111, in Fedora, 57; in Gismonda, 22; in 119-20,129,131, 189n26, 197n52; La Samaritaine, 22-23, 41; in Le as Baby Snooks, 106, 107, 111, Passant, 37; in Phedre, 21, 54; 190n36; as Sadie "Salome" Cohen, Jewishness of, 22-23, 30, 38-39, 40, 15,97-98; blackface and, 101-2, 56,57,59,66,76; male roles of, 189n19; blackness and, 156-57; 25-27,37, 115-16, 171n31; cosmetic surgery and, 108-9, melodrama and, 45-46; Menken 191n44; ethnic appearance of, 108; and, 179n32; opiates and, 170n5; family of, 183n13; Funny Girl and, orientalism and, 15,55-56,57,71; 192n51; gay men and, 119; Proust and, 21, 28, 174n69; Rachel infantilization and, 12; Jewess and, 44, 51, 55; Salome and, 40, 41; stereotype and, 12; Jewishness of, sculpture of, 25; self construction 102, 120; Jolson and, 103; movie of, 20-21, 59; sexuality of, 150, career of, 89,106, 190n37, 191n38, 177n6; Streisand and, 15, 113, 119; 193n68; public persona of, 107-8; tuberculosis and, 15,44, 177n99; radio and, 94-95; sexuality and, vampirism and, 59, 180n41; Wilde 105; Streisand and, 15,97,111-12 and, 38,39,41,42,43, 125, 170n5 Broadway, 2, 113 Berthon, Paul, 18,59 Bronski, Michael, 91, 94,126 Bhabha, Homi, 6, 109 Bront', Charlotte, 50, 53, 71 bisexuality, 10,50,118,150, 176n97; Brooke, Jocelyn, 38 Bernhard and, 152; Bernhardt and, Brooks, Peter, 46 177n6; Rachel and, 177n6; Bruce,Lenn~89-90,94, 130, 186n46, Roseanne and, 135-36 199n9 blackface, 77, 80, 82-84, 101, 106, Burston, Paul, 148 184n24; Brice and, 101-2, 189n19; Bush, George W., 118, 165 coon-shouting and, 65, 82, 83,101, Butler, Judith,S, 150 106,156, 189n18; Tucker and, 78, 82-84,101 Calinescu, Matei, 151 blackness, 6, 46, 77,156-57; Bernhard camp, 42-43, 84, 119, 126-27, 194n12; and, 156-57, 158, 160, 164; Brice Bernhard and, 151, 164; Bernhardt and, 156-57; Held and, 156; and, 42-43; Jewish men and, Jewishness and, 6, 38,154,158; 175n91; Jews and, 176n93; lesbian, Midler and, 129; Tucker and, 129, 176n97; Midler and, 125; Tucker 156-57 and, 89 Bloom, Davida, 6 Cantor, Aviva, 99 Bloom, Harold, 156 Cantor, Eddie, 78, 84, 86,102, 176n91 Boosler, Elayne, 3, 196n31 carnival, 93, 95 Borscht Belt, 92, 95 Carrera, Liane (Anna Held Jr.), 64, Brabin, Charles, 70 181n59 INDEX 221 celebrity, 3,11,15,50,58-59,63,148; 37. See also hysteria; syphilis; authenticity and, 54-55; tuberculosis consumption and, 87; fashion and, Divine Madness (Midler), 125, 127, 129 64; Jewishness and, 4, 111, 113; domestic violence, 143 marketing and, 69-70; product Dora, 11,71,138, 180n37. See also sponsorship and, 60, 63-64, 108; Bauer, Ida sexuality and, 58 double entendre, 84-85, 91, 125 Chanel, 151, 161 Dowson, Ernest, 37 Chaplin, Charlie, 69 Dracula (Stoker), 99, 181n66 Charcot, Jean-Martin, 33-34, 45 drag queens, 94, 125, 126-27 Cities of the Plain (Proust), 30-31 Drescher, Fran, 3 Cixous, Helene, 34,45, 138-39 Dreyfus Affair, 13,27,29,47,56,61,66, Clinton, Bill, 118 169n32 Cocteau, Jean, 41, 46 duality, 4, 19,39,164 Cohen, Sarah Blacher, 84 Duse, Eleonora, 58 Cohn, Harry, 107 Dyer, Richard, 54, 63, 71 Colombier, Marie, 22, 24, 59 Eagleton, Terry, 127 comedy, stand-up, 2-3, 90-96, 123-24, Eastern Europe, 1,56-57,65,67,75, 147, 199n9 76,77,85,94,100 Como, Perry, 86 Ebersberg, Ottokar Franz, 35, 36 Conroy and Le Maire, 82 Eltinge, Julian, 89 consumerism, 63-64, 87 Essman, Susie, 3 coon-shouting, 65, 82, 83,101,106, 156, 189n18 fashion, 62-64, 65,151 Core, Philip, 126-27, 194n12 fatness, 77, 96, 132 Council ofLove, The (Panizza), 31-32 Feinman, Dinah, 169n34 Crawford, Joan, 89 Felix, Jacques, 52, 57 cross-dressing, 38,115,127, 174n75, Felix, Rachel. See Rachel 174n81 Felix, Rapha'l, 52 Curtis, Tony, 176n91 feminism, 4, 33, 133, 139 femme fatale, 19,30,56,59,68,146 decadence, 20, 36-37 Fiddler on the Roof, 126 deCordova, Richard, 58, 64 Fields, Totie, 3,11,90,95-96,142 Delf, Harry, 97 Finney, Gail, 40 Dennis, Sandy, 162 Fiske, John, 93 deracination, 2, 47, 65-66, 70, 71, Fizdale, Robert. See Gold and Fizdale 75, 120 Frankenberg, Ruth, 6 Diamond, Elin, 5, 45, 58 Freud, Sigmund, 2, 7, 58, 63-64, 71, Diamond, Selma, 3, 197n52 180n37; hysteria and, 33-34, 44-45 diaspora, 6,143, 168n12 Funny Girl (Streisand), 12, 15,97,110, Diller, Phyllis, 4 111, 115, 162, 192n51 disease: homosexuality and, 11,31,33; Jewishness and, 35; prostitution Gabler, Neal, 107 and, 35; race and, 34; sexuality and, Garber, Marjorie, 10,50,75,115 222 INDEX

Garland, Judy, 88, 191n38 Hollywood, 2, 88, 102, 107, 113, 120, gay men, 13; Bernhard and, 150-51; 131, 132, 192n61 Brice and, 119; Midler and, 126; Holman, Libby, 84,104,129, 184n27, Streisand and, 119. See also 186n47 homosexuality Holocaust, the, 94 George V and Queen Mary, 86 homosexuality, 19,37,106,150-51; "Ghetto Girl" stereotype, 87-88 camp and, 42-43, 176n93; disease Gilbert, Sara, 137, 197n46 and, 11,31,33; Jewishness and, Gilman, Sander, 7-8,11,12,30,31,34, 29-31, 175n90, 176n93; Proust and, 37-38,108; on Bernhardt, 40; on 29-30; Rubenstein and, 41; Salome and, 42, 175n89 Jewishness, 110; on Yiddish, 93 hooks, bell, 153 Girardin, Delphine de, 50-51,113 Hoover, J. Edgar, 63 Gismonda (Sardou), 22 House Un-American Activities Giving Till It Hurts (Bernhard), Committee (HUAC), 192n61 145, 150 Hugo, Victor, 24 Goddard, Paulette, 75 Huysmans, Joris-Karl, 36, 37 Gold and Fizdale, 27, 28, 45 hybridity, 4, 6, 7, 67, 75, 77,109,150 Goldbergs, The (Berg), 141, 191n41 hyperfemininity, 10, 19, 118, 126 goyishe, 157, 165 hysteria, 8,11,33-34,44-45; Bernhardt Green, William, 77 and, 58; orientalism and, 65; Grossman, Barbara, 108 tuberculosis and, 50 grotesque, 11,65,75,86,89,91,95-96, 98,101,124,134 Ibsen, Henrik, 58 Guilbert, Yvette, 103 immigration, 67, 76, 94,102 infantilization, 12, 106, 109 Hackett, Buddy, 92 intertextuality, 10, 14,43,57,88,89, halacha, 2,14.99 148, 149, 152 Hall, Stuart, 6 Israel, 14, 128 Halprin, Anna, 163 Ivanhoe (Scott), 9 Hamlet, 25-26 Jazz Singer, The (Jolson), 78 Haskalah, 99, 167n2 Jewess, 9-10,19,23,27,31,34,38,47, Hawn, Goldie, 3 71,93,94,96, 139, 164, 180n37; Held, Anna, 11,60--63,64-67,75,163, actress and, 23, 24; Bernhard as, 165, 181n62; criticism of, 66; 145,146, 166; Bernhardt as, 40, 45, fashion trends and, 62, 64; 46, 109, 113, 125, 172n39; Brice as, Jewishness of, 61, 66, 76; marketing 12,99, 105, 108, 129; decadence of, of, 61-62; orientalism and, 65, 66, 20,65; deracination and, 47, 65, 71,128; race and, 64-65, 75, 130, 138; disease and, 11,33,34-35, 129, 156 65; Held as, 60; homosexuality and, Hemingway, Mariel, 135 13,37,38, 174n90, 176n91, 195n12; Hendrix, Jimi, 163 hybridity and, 77, 86; Jewishness Herman, Felicia, 114, 120 and, 47; la belle juive and, 9, Hill, Carl, 26 169n27; male Jews and, 42, 46-47; Hollander, Xaviera, 163 Menken as, 179n32; Midler as, 12, INDEX 223

126, 128; mythology and, 100; Kahane, Claire, 33 nation and, 13, 102, 166; Kahn, Madeline, 3, 119 orientalism and, 56-57, 65, 70-71, Karan, Donna, 142 130; prostitute and, 23, 31; Rachel Karlova, Miriam, 169n34 as, 50; Roseanne as, 12, 138; Salome Kemp, Lindsay, 175n89 as, 188n14; sexuality of, 9, 30, 40, kitsch, 86,151 43,85,98,105,118,123,163;staged Klapp, Orrin E., 86 performances of, 43-44, 46, 112; Kray, Susan, 141 stereotype of, 14,29,34,67,76; Kristeva, Julia, 28-29, 31, 32, 91 Streisand as, 15, 113, 118; Tucker as, Ku Klux Klan, 70 12,85; woman and, 13,32, 138, 139. L'Aiglon (Rostand), 13,27-28 See also la belle juive la belle juive, 8-9,12,19,30,32,54,56; Jewish American Princess OAP) Bernhard and, 164; Bernhardt and, stereotype, 95, 110, 187n60, 191n50 9,22,27,29,55; Racheland,53; Jewish men. See men, Jewish Streisand and, 112, 117 Jewish mothers, 76-77, 95 La Juive (opera), 9 Jewish Museum (New York), 14,58,162 La Samaritaine (Rostand), 22-23 Jewishness, 1,5,13-14,20,76,154,156; Lamarr, Hedy, 107, 110, 163, 182n3 American, 60, 110, 162; Ashkenazi, Lamb,Myrna, 127 6,14; Bernhard and, 154-56, 157, Lauren, Ralph, 161, 202n43 158-59,161,165; Bernhardt and, Lawrence, D. H., 24 22-23,30,38-39,40,56,57,59,66; Le Clair, Harry, 164n75 blackness and, 6, 38,154; Brice and, Lee, Gypsy Rose, 91 102, 120; comedy and, 2-3, 92-93; Leroy-Beaulieu, Anatole, 19 cosmetic surgery and, 109-11; Les Memoires de Sarah Barnum disease and, 19,35,46; feminism (Colombier), 22, 59, 197n37 and, 4; Held and, 61, 66; lesbianism, 41,135,147,150. See also homosexuality and, 30-31; race homosexuality and, 47,70-71,128, 167n1; Rachel Levine, Amy-Jill, 47 and, 51-53; religion and, 201n30; Lewis, Jerry, 147 Roseanne and, 138, 168n5; Lieberman, Rhonda, 161-62 secularity and, 28-29, 178n12; Lilith, 99-100, 188n12, 188n14, 188n15 sexuality and, 30-31, 85, 98,105-6, Lipman, Maureen, 3 120; Streisand and, 110, 113; Tucker Louise-Dreyfus, Julia, 3 and, 76; vampirism and, 68; lounge singers, 129-30 whiteness and, 154 Jolson, Ai, 78, 91,103, 186n47 Mile Judith (actress), 57 Jones, Stacy Holman, 104 Madonna, 149, 159-60,201n40 Joplin, Janis, 129, 131 Main Event, The (Streisand), 116 Joseph, Jacques, 108 Malina, Judith, 163 Judaism, 81, 99, 201n30 Manilow, Barry, 126 Judith, 9, 36, 57, 113 marginalization, 1,6-7,10,20,24, 31,39 kabbalah, 155-56, 159,201n40 May, Elaine, 3, 197n52 Kabbani, Rana, 56 Mayer, Louis B., 107, 182n3 224 INDEX

McCarthy, Eugene, 118 Nordau, Max, 36 McDonald, Paul, 49 nose, Jewish, 39, 108, 109-11 melodrama, 45-46, 57-58 nostalgia, 84, 89,151,152,160, 166 men, Jewish, 1-2,4,19,27,31,56-57, "Notes on 'Camp'" (Sontag), 42-43 100; blackness and, 46-47; camp nudity, 163 and, 175n91; comedy and, 3, 90, 91-92; disease and, 8,11,33,35; O'Neal, Ryan, 116 Hollywood and, 82,107,113; Ockman, Carol, 14-15,22,39,44,59 homosexuality and, 27, 30-31, Orchard Trilogy (Brooke), 38 175n90; prostitution and, 31, orientalism, 55-57, 65; America and, 188n16; religious patriarchy and, 70-71,128; Bara and, 71,100; 81-82; stereotyped representations Bernhardt and, 15,55-56,57,71; of, 7-8, 42 exoticism and, 55, 71, 94,128; Held Menken, Adah Isaacs, 35,146,163, and, 65, 66, 71, 128; hysteria and, 179n32 65; Rachel and, 57, 71 Merman, Ethel, 4 Orientalism (Said), 55, 128 Merrill, Blanche, 103, 189n26, 190n31 otherness, 4, 14,37,85, 106, 110 Merv Griffin Show, 95 Paglia, Camille, 127 Messing, Debra, 3,146 Pajaczkowska and Curtis, 83,161 Metcalf, Laurie, 13 7 Panizza, Oskar, 31-32 Meyers, Carmel, 70 Pappenheim, Bertha ("Anna 0:'), Meyerson, Bess, 192n63 180n37 Midler, Bette, 3,12,96,123-31,135, Parker, Dorothy, 108 142,166, 193n1; as Dolores Delago, Parker, Sarah Jessica, 3 129-30; as Divine Miss M, 124, 127, patriarchy, 1,81-82,99 131; Barth and, 124; blackness and, Pellegrini, Ann, 7-8, 9-10, 34, 47,146, 129; Brice and, 131; gay men and, 154, 157,200n21 126; orientalism of, 128, 130; performativity, 5,10,13,14,54-55 Streisand and, 124; Tucker and, 123, Perlman, Rhea, 3 127,131 Mike Douglas Show, 95 Peters, Jon, 114 phallic effeminacy, 30, 42 Minsky brothers, 77, 190n31 (Racine), 21, 29, 53-54 miscegenation, 35, 75 Phedre Mitchell, Juliet, 50 Pickford, Mary, 69 Mizejewski, Linda, 76, 85 Picon, Molly, 3 Monroe, Marilyn, 169n35 Picture of Dorian Gray, The (Wilde), Mucha, Alphonse, 20, 22-23, 26 36, 175n90 Mulvey, Laura, 71 Playboy (magazine), 152 postmodernism, 153-54, 200n20, Nadar, Felix, 163 200n21 Nazimova, Alia, 11,42,65,68,75,100 Powell, Eleanor, 88 Neuwirth, Bebe, 3 Prell, Riv-Ellen, 87,161,162, 191n50 Newman, Laraine, 3 Prince, 165 Newton, Esther, 43 Production Code Administration, 107 Nicks, Stevie, 149, 199n12 Progressive Era, 60 INDEX 225 prostitution, 23-24, 30-31,106,142, Rudner, Rita, 3 188n16; disease and, 35; plumpness Russo, Mary, 98, 132 and, 77 Proust, Marcel, 21, 28-31, 37 Sagal, Katey, 195n20 Sahl, Mort, 94 Queen Victoria, 50 Said, Edward, 55, 56, 70, 128 Salome, 9,11,31-32,36-37,38,40-42, Rachel, 10,23,37,49-53, 102, 113, 134, 71,97,100, 175n83; Bara as, 69; 146; Bernhardt and, 44,55; Bernhardt and, 40, 41; Brice and, bisexuality of, 49-50, 150, 177n6; 98,100; censorship of, 38,41; criticism of, 51; French politics and, homosexuals and, 42, 175n89; Lilith 13,53, 124, 166; in Phedre, 53-54; and, 100; Nazimova and, 42,100; Jewishness of, 51-53, 113; Rubenstein and, 41,100; Wilde's orientalism of, 57, 71; "self" version of, 40-41, 71, 174n67 construction of, 43-44; sexuality of, Sarah's Travel Letters from Three 24, 52; tuberculosis and, 35, 49-50 Continents (Ebersberg), 35-36 Racine, Jean, 29, 37, 51, 57,113 Sardou, Victorien, 22, 57, 59 radio, 94, 106 Sartre, Jean-Paul, 9 Radner, Gilda, 3, 191n50, 197n52 Scarf, Mimi, 143 realism, 3, 58 Schneemann, Carolee, 163 Reddy, Helen, 133 Schneider, Susan Weidman, 99 Richardson, Joanna, 55 Scorsese, Martin, 146-47 Rivers, Joan, 3, 93, 96, 109, 168n5, Seaman, Sylvia, 109 189n26,197n52 Seldes, Gilbert, 103, 104, 105 Rogers, Will, 86 Senelick, Laurence, 38,127 Rooney, Mickey, 88 sexuality, 8,12,21,33,35,41,77,84, Rose, Billy, 105, 119 85,120; Bernhard and, 149-50, Rose, Julian, 187n3 152-53; Bernhardt and, 150; Roseanne, 3,12,129,131-43; cosmetic Brice and, 105; celebrity and, 58; surgery and, 142-43; critics of, disease and, 37; fashion and, 62; 132-33; feminism and, 133; Held and, 65; humor and, 92-94; influences of, 197n52; Jewishness Jewishness and, 30-31, 85, 98, of, 138, 168n5; motherhood and, 105-6,120; race and, 105, 176n93; 139-40; movies and, 195n25; Rachel and, 52; Roseanne and, "realness" of, 134, 136-37; sexuality 135-36; Streisand and, 118, 120; and, 135-36; "Star Spangled Tucker and, 84-85, 86 Banner" performance of, 133, 166, Sharif, Omar, 115 196n31; Tucker and, 123, 135; Shatner, William, 176n91 whiteness and, 137, 156-57, 160 Shaw, George Bernard, 59 Roseanne (television show), 132, 135, Showalter, Elaine, 20, 41 138-39,141,145; Jewish cast of, Siddons, Sarah, 25 197n46 silent movies, 68 Rosenkranz, Karl, 34 Silverman, Sarah, 3 Rosenthal, Rachel, 163 Silverman, Sime, 103 Rubenstein, Ida, 11,41,100 Simone, Nina, 156 226 INDEX

Sinfield, Alan, 36, 42, 125 Tucker, Sophie, 3, 11,74-90,95; Singer, Isaac B., 114-16 bawdiness of, 84-86,142, 186n47; Sissums, Kevin, 135 blackface and, 78, 82-84, Smith, Bessie, 84 101; blackness and, 129, 156-57; Sochen,June,76,77 Bruce and, 89-90; camp and, 89; Solomon, Alisa, 20, 25-26, 77 double entendre and, 125; family Sondheim, Stephen, 116 relationships of, 78-80; in Sontag,Susan,42-43,50 performance, 76-77, 89, 185n43; Sprinkle, Annie, 163 influence of, 90-91; Jewishness of, 76,81-82; marriage to Louis Tuck, Stafford, Hanley, 111 76; Midler and, 124, 129, 131; Stallybrass and White, 84, 95 movie career of, 88; philanthropy Strachey, Lytton, 54 of, 184n18; Roseanne and, 123, 135; Streisand, Barbra, 3,12,93,96,110-20, sexuality of, 84-85, 96 124,162-63, 187n1,197n52;as Twain, Mark, 61 celebrity, 116-17; Bernhardt and, 15,58,113,119; Brice and, 15,97, vamp, 68,70, 75,94,100, 190n31 111-12; criticism of, 111-12, vaudeville, 82-83, 91; Yiddish acts and, 117-18; Funny Girl and, 12, 15, 97-98 97,110,115; gay men and, 119; Jewishness of, 110, 113, 120; Walker, Betty, 90 Playboy magazine and, 152; politics Walters, Barbara, 137 Warhol,Andy, 148 and, 118; sexuality and, 118, 120; Warner Brothers, 107 Yentl and, 114-16 Warren, Rusty, 11,90,95 Studies on Hysteria {Freud and Watson, Billy, 77 Breuer),34 Wax, Ruby, 3, 134, 196n35 suffragism,75 Waxman, Fanny, 169n34 surgery, cosmetic, 108-10, 111, 142-43, Way We Were, The (Streisand), 112, 115 191n44 Weininger, Otto, 7-8, 26, 93 syphilis, 8,11,31-32,33,34-35 Welch, Joe, 97 West, Mae, 4, 194nll Taylor, Rene, 197n52 whiteface, 82, 84, 101, 110 television sitcoms, 3, 141 whiteness, 6, 7, 84,101,102, 108, 109, Terry, Ellen, 60 161, 201n42; Bernhard and, 154, Theatre Sarah Bernhardt, 26, 27 160, 164; Held and, 65, 75, 129; Thomas, Ben, 134 Jewishness and, 154; Midler Thomashefsky, Boris, 78 and, 129; Roseanne and, 137, Tomlin, Lily, 3 156-57, 160 torch songs, 104, 126 Wilde, Oscar, 36, 38, 40-41, 42-43,105, Trump, Donald, 133 125,175n90 tuberculosis, 11,33,34-35,49-50; Williams, Pearl, 11,90,91,92-93,94, Bernhardt and, 15,44, 177n99; 95,193n1 hysteria and, 50; Rachel and, 44, Wilson, Elizabeth, 64 49-50 Winkler, Kevin, 126 Tucker, Bert, 183n13 Winters, Shelley, 124 INDEX 227

Without You I'm Nothing (film), 12, Yiddish cinema, 88 129, 145, 147, 148, 152-56, 156-59, Yiddish Theater, 77-78, 169n34 166; erotic dance in, 153, 163, 165; Yiddishe Mama, 77, 86, 88. See also Jewishness of, 154-55; kabbalah Jewish mothers and, 156; stage version of, 145, 148. Young, R. J. c., 67 See also Bernhard, Sandra Wolf, Stacy, 11 0, 113 Ziegfeld, Flo, 60, 61-62, 64, 66-67, 77 Wollen, Peter, 41 Ziegfeld Follies, 75; Brice and, 101, 102, 104,105, 190n36; film (1945),111; Yellow Book, The, 36, 37 Held and, 62; radio program of, Yentl (Streisand), 114-16, 117, 193n66 106; Tucker and, 104 Yiddish,93 Zukor, Adolph, 102, 107