Melba’s career is not toast
http://newpittsburghcourieronline.com/articlelive/articles/38184/1/Melbas-career-is-not-toast/Page1.html
C. Denise Johnson
Courier Staff Writer
By C. Denise Johnson
Published on 07/12/2007
Melba Moore is one of those people that diligently and persistently pursues her craft with the side show of paparazzi, stunts and scandal. As she has done since making here back on Broadway in the groundbreaking hit musical “Hair,” she has just her job to the best of her ability.
Melba’s career is not toast
Melba Moore is one of those people that diligently and persistently pursues her craft with the side show of paparazzi, stunts and scandal. As she has done since making here back on Broadway in the groundbreaking hit musical “Hair,” she has just her job to the best of her ability.
That focus is one reason she has crafted a career that spans nearly four decades (although you’d never know by looking at her) and what brings her to Pittsburgh with the touring Broadway production of “Chicago.”
Moore will be seen in the role of prison matron Mama Morton (played by Queen Latifah in the Oscar-winning film), previously played by Nell Carter.
“I love the show—it’s been a challenge,” says the still-slender Moore. “The previous actors were robust, so I have to bring something extra to establish that domineering presence.”
But don’t be too quick to pigeonhole her in to musical theatre.
Although it was her Broadway debut in original cast of “Hair” (becoming the first Black actress to take over a role previously by a white actress—Diane Keaton) that led to her Tony-winning role as Lutiebelle Gussie Mae Jankins in “Purlie” (making her the first African-American to win Best Performance by a Featured Actress in a Musical), it was her voice that put her on the radar screen.
“I was doing session work as a background singer,” recalls Moore. “I was working with Ashford and Simpson before they teamed up. We were offered the opportunity to audition; they opted to instead become songwriters for Motown and I auditioned and got the part.”
The ensuing years saw Moore spread her wings taking on film, television and recording gigs. She shared the stage with the legendary Eartha Kitt in the 1978 production “Timbuktu!” In 1996 history repeated itself the third time when Melba took over the role of Fantine in the long-running Broadway musical “Les Miserables.”
In the interim, Moore became a fixture on the R&B charts (including her 1975 Grammy-nominated debut recording, Peach Melba). She also had a TV variety show with Clifton Davis. Moore’s recording career made her a fixture on talk and variety shows and she had numerous guest roles on a myriad of sitcoms and dramas.
Although she’s touring with “Chicago” she is excited about her first release in 10 years, “I’m Still Here,” as well as mounting her one-woman production “Sweet Songs of the Soul,” both of which feature Moore displaying her multi-octave range in a gospel milieu (she is classically trained and considered a lyric soprano.)
In acknowledging this relatively “new” recording genre and fresh approach to recording, Moore says she is now “looking at things from God’s perspective.”
That perspective is also manifested in her Melba Moore Foundation for Abused & Neglected Children. In summing it all up, Moore simply says, “Its my job.”
(“Chicago” is a PNC Broadway Across America—Pittsburgh is a presentation of The Pittsburgh Cultural Trust, Pittsburgh Symphony, and Live Nation. The engagement runs from July 17-22 at Heinz Hall. Ticket prices range from $20 to $58.50 are available at the Heinz Hall box office or by calling 412-392-4900.)
That focus is one reason she has crafted a career that spans nearly four decades (although you’d never know by looking at her) and what brings her to Pittsburgh with the touring Broadway production of “Chicago.”
Moore will be seen in the role of prison matron Mama Morton (played by Queen Latifah in the Oscar-winning film), previously played by Nell Carter.
“I love the show—it’s been a challenge,” says the still-slender Moore. “The previous actors were robust, so I have to bring something extra to establish that domineering presence.”
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| MELBA MOORE |
But don’t be too quick to pigeonhole her in to musical theatre.
Although it was her Broadway debut in original cast of “Hair” (becoming the first Black actress to take over a role previously by a white actress—Diane Keaton) that led to her Tony-winning role as Lutiebelle Gussie Mae Jankins in “Purlie” (making her the first African-American to win Best Performance by a Featured Actress in a Musical), it was her voice that put her on the radar screen.
“I was doing session work as a background singer,” recalls Moore. “I was working with Ashford and Simpson before they teamed up. We were offered the opportunity to audition; they opted to instead become songwriters for Motown and I auditioned and got the part.”
The ensuing years saw Moore spread her wings taking on film, television and recording gigs. She shared the stage with the legendary Eartha Kitt in the 1978 production “Timbuktu!” In 1996 history repeated itself the third time when Melba took over the role of Fantine in the long-running Broadway musical “Les Miserables.”
In the interim, Moore became a fixture on the R&B charts (including her 1975 Grammy-nominated debut recording, Peach Melba). She also had a TV variety show with Clifton Davis. Moore’s recording career made her a fixture on talk and variety shows and she had numerous guest roles on a myriad of sitcoms and dramas.
Although she’s touring with “Chicago” she is excited about her first release in 10 years, “I’m Still Here,” as well as mounting her one-woman production “Sweet Songs of the Soul,” both of which feature Moore displaying her multi-octave range in a gospel milieu (she is classically trained and considered a lyric soprano.)
In acknowledging this relatively “new” recording genre and fresh approach to recording, Moore says she is now “looking at things from God’s perspective.”
That perspective is also manifested in her Melba Moore Foundation for Abused & Neglected Children. In summing it all up, Moore simply says, “Its my job.”
(“Chicago” is a PNC Broadway Across America—Pittsburgh is a presentation of The Pittsburgh Cultural Trust, Pittsburgh Symphony, and Live Nation. The engagement runs from July 17-22 at Heinz Hall. Ticket prices range from $20 to $58.50 are available at the Heinz Hall box office or by calling 412-392-4900.)