Isabel Rose, a Manhattan-based singer and actress, recently released her new album, the early ‘60s inspired Trouble in Paradise.
Isabel Rose 'Trouble In Paradise'
Rose, who will be celebrating the new album release Wednesday with a show at New York City’s 54 Below, spoke with uInterview about the inspiration behind her latest musical effort. While Rose pays homage to the pre-hippie 60s era, her music and accompanying stylistic act is modern.
“The performances are stylized, but I'm not a pastiche act, so it's not like going to see a '60s act, like Hairspray on Broadway,” Rose told uInterview exclusively. “I'm a here-and-now performer influenced by that era, but really performing in the here and now.”
“The '60s – that I'm referencing – was before, like, everyone dropping acid; it was sort of the Camelot/Rat Pack '60s,” Rose explained. “That was just a gay old martini time,...
Isabel Rose 'Trouble In Paradise'
Rose, who will be celebrating the new album release Wednesday with a show at New York City’s 54 Below, spoke with uInterview about the inspiration behind her latest musical effort. While Rose pays homage to the pre-hippie 60s era, her music and accompanying stylistic act is modern.
“The performances are stylized, but I'm not a pastiche act, so it's not like going to see a '60s act, like Hairspray on Broadway,” Rose told uInterview exclusively. “I'm a here-and-now performer influenced by that era, but really performing in the here and now.”
“The '60s – that I'm referencing – was before, like, everyone dropping acid; it was sort of the Camelot/Rat Pack '60s,” Rose explained. “That was just a gay old martini time,...
- 9/30/2014
- Uinterview
Singer Isabel Rose is celebrating the release of her new album Trouble in Paradise in style with a gig at Manhattan's 54 Below. Rose finds her stylistic inspiration in the pre-hippie 60s. "I'm not a pastiche act," she told uInterview exclusively. "I'm a here-and-now performer, influenced by that era, but really performing in the here and now."
For the title song's video, Rose had a little help from some of Gotham's leading drag queens — Hedda Lettuce, Paige Turner and Ivy Winters. "I learned so much from them, they are so fun, so talented, and they really represented the theme of the song and that is that nothing is at it seems," Rose said.
Catch Isabel Rose on Wednesday, Oct. 1 at 9:30p.m. at 54 Below (254 W 54th Street, N.Y, N.Y.) For tickets, click here.
For the title song's video, Rose had a little help from some of Gotham's leading drag queens — Hedda Lettuce, Paige Turner and Ivy Winters. "I learned so much from them, they are so fun, so talented, and they really represented the theme of the song and that is that nothing is at it seems," Rose said.
Catch Isabel Rose on Wednesday, Oct. 1 at 9:30p.m. at 54 Below (254 W 54th Street, N.Y, N.Y.) For tickets, click here.
- 9/29/2014
- Uinterview
On Thursday, May 30, 54 Below will welcome Isabel Rose for a one-night-only performance at 7pm. With arrangements that match Michael Buble's for their lush, imaginative interpretation of standards and contemporary fare alike, Isabel Rose delivers a high-energy, toe-tapping evening of crowd-pleasing favorites. Compared to Ann-Margret by Jazz Times, Isabel is more Vegas than cabaret, though her roots lie squarely in the Great American Songbook. 60s favorites like Reflections and Peter Gunn share the bill with That's All and This Could Be The Start of Something Big.
- 5/28/2013
- by BWW
- BroadwayWorld.com
Samuel Goldwyn Films
Yet another film seeking to pay homage to 1950s American cinema, "Anything but Love" earns an A for effort but a much lower grade in the entertainment department.
Shot in what the filmmakers call "an approximation of Technicolor" and using optical techniques of '50s comedies, director Robert Cary and his star and co-writer Isabel Rose get the look right more often than not. Lacking the budget for a period piece, they opt instead for a contemporary story in the '50s mode. The clash in sensibilities is somewhat jarring, but much more problematic are two halting and ultimately dull love stories that form not so much an eternal triangle but an infernal drag on viewers' good will. Audience response will probably be as tepid as its story.
What links the '50s to the present-day tale is its heroine, Billie Golden (Rose), who insists on living her life to a '50s beat. She dresses like Audrey Hepburn and Rita Hayworth and sings '50s torch songs in a dismal JFK Airport lounge. She chooses to ignore, as much as she can, her mother's alcoholism and her family's past failures whenever any one attempts to follow their dream.
Her '50s mind-set also interferes with a developing love relationship with a rich high school classmate-turned-Manhattan attorney (a stiff Cameron Bancroft). When Billie needs to improve her piano skills to maintain the lounge act, she hires a disheveled but similarly dreamy pianist (Andrew McCarthy), then finds herself torn romantically between the two men. The final key cast member is none other than ageless chanteuse Eartha Kitt, who provides words of wisdom that make Billie face the music.
We, of course, know who her true soulmate is. Bancroft is encouraged (and dressed) to play a smug suit with little tolerance for his lover's retro sensibilities. McCarthy, on the other hand, is comfortably rumpled with a filthy baseball cap and passion for '50s tunes.
Cary lacked the money to stage musical numbers with any flair, and he and his cohorts are such slaves to the '50s models that they forget to be original in any way. "Anything but Love" ends up little more than a vanity piece for Rose and an exercise in style over substance for Cary. Technical credits are not nearly good enough for such an ambitious film.
Yet another film seeking to pay homage to 1950s American cinema, "Anything but Love" earns an A for effort but a much lower grade in the entertainment department.
Shot in what the filmmakers call "an approximation of Technicolor" and using optical techniques of '50s comedies, director Robert Cary and his star and co-writer Isabel Rose get the look right more often than not. Lacking the budget for a period piece, they opt instead for a contemporary story in the '50s mode. The clash in sensibilities is somewhat jarring, but much more problematic are two halting and ultimately dull love stories that form not so much an eternal triangle but an infernal drag on viewers' good will. Audience response will probably be as tepid as its story.
What links the '50s to the present-day tale is its heroine, Billie Golden (Rose), who insists on living her life to a '50s beat. She dresses like Audrey Hepburn and Rita Hayworth and sings '50s torch songs in a dismal JFK Airport lounge. She chooses to ignore, as much as she can, her mother's alcoholism and her family's past failures whenever any one attempts to follow their dream.
Her '50s mind-set also interferes with a developing love relationship with a rich high school classmate-turned-Manhattan attorney (a stiff Cameron Bancroft). When Billie needs to improve her piano skills to maintain the lounge act, she hires a disheveled but similarly dreamy pianist (Andrew McCarthy), then finds herself torn romantically between the two men. The final key cast member is none other than ageless chanteuse Eartha Kitt, who provides words of wisdom that make Billie face the music.
We, of course, know who her true soulmate is. Bancroft is encouraged (and dressed) to play a smug suit with little tolerance for his lover's retro sensibilities. McCarthy, on the other hand, is comfortably rumpled with a filthy baseball cap and passion for '50s tunes.
Cary lacked the money to stage musical numbers with any flair, and he and his cohorts are such slaves to the '50s models that they forget to be original in any way. "Anything but Love" ends up little more than a vanity piece for Rose and an exercise in style over substance for Cary. Technical credits are not nearly good enough for such an ambitious film.
Samuel Goldwyn Films
Yet another film seeking to pay homage to 1950s American cinema, "Anything but Love" earns an A for effort but a much lower grade in the entertainment department.
Shot in what the filmmakers call "an approximation of Technicolor" and using optical techniques of '50s comedies, director Robert Cary and his star and co-writer Isabel Rose get the look right more often than not. Lacking the budget for a period piece, they opt instead for a contemporary story in the '50s mode. The clash in sensibilities is somewhat jarring, but much more problematic are two halting and ultimately dull love stories that form not so much an eternal triangle but an infernal drag on viewers' good will. Audience response will probably be as tepid as its story.
What links the '50s to the present-day tale is its heroine, Billie Golden (Rose), who insists on living her life to a '50s beat. She dresses like Audrey Hepburn and Rita Hayworth and sings '50s torch songs in a dismal JFK Airport lounge. She chooses to ignore, as much as she can, her mother's alcoholism and her family's past failures whenever any one attempts to follow their dream.
Her '50s mind-set also interferes with a developing love relationship with a rich high school classmate-turned-Manhattan attorney (a stiff Cameron Bancroft). When Billie needs to improve her piano skills to maintain the lounge act, she hires a disheveled but similarly dreamy pianist (Andrew McCarthy), then finds herself torn romantically between the two men. The final key cast member is none other than ageless chanteuse Eartha Kitt, who provides words of wisdom that make Billie face the music.
We, of course, know who her true soulmate is. Bancroft is encouraged (and dressed) to play a smug suit with little tolerance for his lover's retro sensibilities. McCarthy, on the other hand, is comfortably rumpled with a filthy baseball cap and passion for '50s tunes.
Cary lacked the money to stage musical numbers with any flair, and he and his cohorts are such slaves to the '50s models that they forget to be original in any way. "Anything but Love" ends up little more than a vanity piece for Rose and an exercise in style over substance for Cary. Technical credits are not nearly good enough for such an ambitious film.
Yet another film seeking to pay homage to 1950s American cinema, "Anything but Love" earns an A for effort but a much lower grade in the entertainment department.
Shot in what the filmmakers call "an approximation of Technicolor" and using optical techniques of '50s comedies, director Robert Cary and his star and co-writer Isabel Rose get the look right more often than not. Lacking the budget for a period piece, they opt instead for a contemporary story in the '50s mode. The clash in sensibilities is somewhat jarring, but much more problematic are two halting and ultimately dull love stories that form not so much an eternal triangle but an infernal drag on viewers' good will. Audience response will probably be as tepid as its story.
What links the '50s to the present-day tale is its heroine, Billie Golden (Rose), who insists on living her life to a '50s beat. She dresses like Audrey Hepburn and Rita Hayworth and sings '50s torch songs in a dismal JFK Airport lounge. She chooses to ignore, as much as she can, her mother's alcoholism and her family's past failures whenever any one attempts to follow their dream.
Her '50s mind-set also interferes with a developing love relationship with a rich high school classmate-turned-Manhattan attorney (a stiff Cameron Bancroft). When Billie needs to improve her piano skills to maintain the lounge act, she hires a disheveled but similarly dreamy pianist (Andrew McCarthy), then finds herself torn romantically between the two men. The final key cast member is none other than ageless chanteuse Eartha Kitt, who provides words of wisdom that make Billie face the music.
We, of course, know who her true soulmate is. Bancroft is encouraged (and dressed) to play a smug suit with little tolerance for his lover's retro sensibilities. McCarthy, on the other hand, is comfortably rumpled with a filthy baseball cap and passion for '50s tunes.
Cary lacked the money to stage musical numbers with any flair, and he and his cohorts are such slaves to the '50s models that they forget to be original in any way. "Anything but Love" ends up little more than a vanity piece for Rose and an exercise in style over substance for Cary. Technical credits are not nearly good enough for such an ambitious film.
- 12/4/2003
- The Hollywood Reporter - Movie News
Samuel Goldwyn Films has struck a deal to distribute director Robert Cary's modern musical "Anything but Love", which stars Isabel Rose and has a fall release date planned. A celebration of the style and sensibility of the 1950s Technicolor musicals, "Love" tells the contemporary love story of a young woman choosing between the life she wants and the dreams she can't live without. In addition to Rose, the film stars Cameron Bancroft, Andrew McCarthy and Eartha Kitt. It was written by Cary and Rose and produced by Aimee Schoof and Isen Robbins. "The film takes me back to the era of great Samuel Goldwyn musicals," Goldwyn Films president Meyer Gottlieb said. "If you like musicals with a happy ending, you'll love this movie. The beautiful Isabel Rose is a real charmer."...
- 5/20/2003
- The Hollywood Reporter - Movie News
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