Review by Publisher's Weekly Review
In this entertaining debut, actor/dancer Rivera provides a lively backstage glimpse of her seven-decade career. As an outlet for her childhood rambunctiousness, Rivera's mother enrolled her in ballet classes. She subsequently trained at the School of American Ballet, and though she always thought of herself as "more of a dancer than a Broadway musical star," Rivera was cast as the original Anita in West Side Story in 1957, and went on to perform in numerous productions, including Bye-Bye Birdie, Chicago, Mr. Wonderful, Kiss of the Spider Woman, and The Visit. "I do miss that girl, full of energy, agility, optimism, and hope," Rivera reminisces, and describes her attempts to hold onto her through milestones including her three Tony wins and receipt of the Presidential Medal of Freedom in 2009. Rivera fondly recounts her memories with a touch of humor and a hint of the fire that characterizes the many roles she has portrayed on stage and screen; references to her less restrained alter ego "Dolores" (or as her daughter would say: "Mom goes Puerto Rican") are particularly charming. This deserves a standing ovation. Agent: Mel Berger, WME. (Apr.)
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Review by Library Journal Review
Rivera's memoir, written with Patrick Pacheco (American Theater Wing, an Oral History) begins in 1957. That's when the young unknown dancer landed the role of Anita in a new work that would change musical theater forever: West Side Story. Born Dolores Conchita Figueroa del Rivero to a Scottish Irish mother and a Puerto Rican father in Washington, DC, in 1933, Rivera was enrolled in a ballet class by her mother at a young age. At 15, she was discovered by an American School of Ballet teacher, who whisked her off to New York to dance. Besides Anita, Rivera went on to originate the Broadway roles of Rosie Grant in Bye Bye Birdie and Velma Kelly in Chicago. But when it came time for the movie versions of those productions, she was passed over. Though she had a few film roles (Sweet Charity), a film career eluded her. But she's earned 10 Tony nominations and three wins, including a lifetime achievement award. She candidly shares backstage stories about the Broadway greats she worked with, including Bob Fosse, Liza Minnelli, Sammy Davis Jr., and others. VERDICT An enjoyable and inspiring inside look at a life in the theater; will be of interest to celebrity watchers and aspiring actors.--Rosellen "Rosy" Brewer
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Review by Kirkus Book Review
The star of numerous hit Broadway musicals recounts her 70 years in the public eye. Born Dolores Conchita Figueroa del Rivero in 1933, she was raised in Washington, D.C., by her mother and grandmother after her father died young. Accepted into the School of American Ballet when she was 16, Rivera still considers herself more of a dancer than a Broadway star. She originated the role of Anita in West Side Story, a "hot-blooded, hormonal, and competitive" character with whom she identified, and she went on to a spectacular award-winning career that included starring roles in such classics as Bye Bye Birdie, Sweet Charity, Chicago, The Rink, Kiss of the Spider Woman, and The Visit. The author describes the germination and development of her roles and provides intimate reminiscences of working and playing with such boldfaced names as Jerome Robbins, Sammy Davis Jr. ("a friend and one-time lover"), Liza Minnelli, Dick Van Dyke, Bob Fosse ("a flash of lightning in a dark sky"), John Kander, and Fred Ebb. With the assistance of TV commentator Pacheco, Rivera writes about the pervasive stereotyping of Latinas in show business, explaining how she avoided being pigeonholed. "When I did play Latinas," she writes, "I was naturally upset when my characters were subjected to racist taunts." She also acknowledges the devastating impact of the AIDS crisis on the theater and dance communities. Along the way, Rivera gives voice to Dolores, "my sensual, dark, and renegade alter ego," who relishes opportunities "to throw shade at the opposite sex." The intimate tone of this backstage look at Rivera's career makes for compelling reading. Lyrics from the musicals discussed begin each chapter with a poetic flourish, and a series of "Entr'acte" sections between the chapters fill out personal details. The author is honest and outspoken in life and on the page, and fans of musical theater and dance are in for a real treat. Copyright (c) Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
