For over a hundred years some of the greatest video treasures of all time have been produced. Some have been lost in the sands of time and others, soon to be rediscovered, will become fan favorites for a whole new generation.
Each week we will feature just one of the many hidden gems that you can see on ATVN with insights and commentaries on classic television shows and legendary cinematic performances.
As part of ATVN’s celebration of Black History Month, here at the “Showplace” we are putting the spotlight on African American actors who excelled not just on the big and small screens but those who also inspired change with their courage and perseverance.
Few entertainers have influenced the world for as many decades…and in as many ways…as Eartha Kitt.
Born Eartha Mae Keith on January 17th, 1927 in a small town of North, South Carolina, Eartha’s birth and early years are shrouded in a bit of a mystery. She did not know who her father was, and the person she believed to be her mother died at an early age. Her step-father refused her because he believed her skin was too light and she was sent to live with a relative named Mamie Kitt–who may have been her actual biological mother.
Kitt began her entertaining career in 1942 by joining the Katherine Dunham Company. The Chicago based company was the first professional-based organization in America to prominently feature African-American singers, dancers, musicians and entertainers.
While with the group, she recorded a number of songs that registered on national charts, including “Let’s Do It”, “Champagne Taste”, “Just an Old Fashioned Girl”, “Je cherche un homme”, “Love for Sale” and “I’d Rather Be Burned as a Witch.”
In 1945 she earned her first appearance on Broadway in the 1945 original theater production of the musical Carib Song. She left the company in 1948 but her success continued in the early 1950s, hitting charts in both the United States and overseas. She had six US Top 30 hits, including “Uska Dara” and “I Want to Be Evil”. Her other notable recordings include the UK Top 10 hit “Under the Bridges of Paris” and “Just an Old Fashioned Girl.”
Also in 1950, she secured her first starring role when Orson Wells spotted her, reportedly referring to her as the most exciting woman in the world. Wells cast her as Helen of Troy in the picture, Dr. Faustus. Two years later, she was cast in the revue New Faces of 1952, introducing “Monotonous” and “Bal, Petit Bal”, two songs with which she is still identified. In 1954, 20th Century Fox distributed an independently filmed version of the revue entitled New Faces, in which she performed “Monotonous”, “Uska Dara” and “C’est si bon,” as well as the now annual Christmas favorite, the original “Santa Baby.”
Throughout the rest of the 1950s and early 1960s, she recorded; worked in film, television, and nightclubs; and returned to the Broadway stage, in Mrs. Patterson (during the 1954–1955 season), in 1957’s Shinbone Alley, and the 1959 production of Jolly’s Progress. In 1964, Kitt helped open the Circle Star Theater in San Carlos, California. In the late 1960s, Batman featured Kitt as Catwoman after Julie Newmar had left the show in 1967. Also in 1967, Kitt guest-starred on the popular spy-thrilling television show, Mission: Impossible, in an episode called “The Traitor,” portraying a contortionist.
Eartha was also very active in a number of major civil rights movements throughout the 1950s and 1960 and was just beginning to make her voice heard internationally fighting for civil rights and social justice. But in 1968 an event occurred that would attempt to silence her voice–both professionally and personally.
We’ll examine that event and feature many more hurdles Kitt had to overcome as well as many more glorious accomplishments that she would achieve, next week here at “The Showplace”.
In the meantime, be on the lookout for Eartha’s starring performance in Mark of the Hawk this month on ATVN.
To view the complete rundown of classic programming on ATVN, check out the weekly listings on our website.
The views expressed in this blog are those of the author and do not necessarily reflect the official policy or position of Astound Broadband or any other agency, organization, employer or company.