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The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.
I did the Ed Sullivan show four times. I did the Steve Allen show. I did the Jackie Gleason show.
I loved playing the part of the feisty Annie Sullivan in The Miracle Worker.
I remember tap-dancing and singing in front of the TV when I was a kid, telling my dad to stop watching Ed Sullivan or Milton Berle and watch me.
The irony is that the more we fight age, the more it shows. Paint on a 50-year-old face brings to mind a Gilbert and Sullivan comic figure. Smooth the cheeks, and suddenly the ear lobes and hands look out of place. Do we run around in October, painting the gold leaves green?
And I was booked once to go on 'Ed Sullivan' and I got bumped and ran out the back door crying.
In 1912, when I was working in The Hague, I first saw a drawing by Louis Sullivan of one of his buildings. It interested me.
I feel really proud of my work on 'Sullivan & Son.' It's a really different character for me. I was excited to play this really tough, sweet smart, quirky girl because that's who I am at my core, but that's never who I was playing. The show is like my pride and joy.
My thinking was scrambled when Sullivan and I separated. Something happened to me that had never happend before. I couldn't cope. It was heartbreak time. I thought it was the end of the world.
I was born with my moustache and, no, I've never been tempted to shave it off. I don't spend a lot of time worrying about my face and, like Gilbert and Sullivan's Katisha, my best feature is my left shoulder-blade.
