ORIGINAL SINGER PHOTO THEATER BROADWAY CAROL LAWRENCE VINTAGE

Description: A VINTAGE ORIGINAL PHOTOGRAPH OF SINGER CAROL LAWRENCE. Carol Lawrence is an American actress, appearing in musical theatre and on television. She is known for portraying Maria on Broadway in the musical West Side Story, receiving a nomination for the Tony Award for Best Featured Actress in a Musical Carol Lawrence That aside, Lawrence has had some interesting things cooking as of late. She recently performed in Branson for eight months with singer Ed Ames and, previous to that, starred in “Amy’s View,” an L.A. adaptation of the Broadway show, for which she won the L.A. Critics Award for Best Performer But Lawrence, born Carolina Maria Laraia in Melrose Park, Illinois, also has other interests on the back burner. One of them just happens to be good, old-fashioned Italian cuisine. “I’ve been cooking for friends all my life,” she relates. “My mother was a lavish cook. She would concoct recipes and make them so rich – she’d put in heavy cream instead of milk, for example. Because people like Frank Sinatra and Gene Kelly and other were so nice to me, I used to cook up some of her recipes and bring food to them. When Frank did a national telethon for Cerebral Palsy I was hosting – it was the first time he had ever appeared on a telethon – I brought him a whole pan of his favorite dish, Lasagna, when he was in Las Vegas performing at the Sands.” Several years ago, Lawrence wrote an Italian cookbook called “I Remember Pasta,” in tribute to her mother’s cooking In it (it’s now out of print), were her mother’s recipes for such delights as Lasagna, Spaghetti Sauce, Veal Marsala, Antipastos, Wedding Soup, Christmas specialties and more. Lawrence still goes home to her brother’s house in Wheaton, Illinois, every year to celebrate Christmas and do all the traditional things that are part of her family roots. “I’m just so proud of being Italian,” Lawrence says. “My father was born in a little town in Italy named Trivigno and came to the United States when he was five or six years old. My mother was born in this country but her family was from the same town as my dad’s. Everything in our house was kept Italian in mode – it was very Catholic, very strict, very Old World and sheltered. The girls couldn’t go out with boys and when I wanted to go into show business, it was a big deal. My dad was an insurance broker and wanted to be a lawyer, which is what he wanted me to be. He never really understood show business or approved of my being in it, though he bragged about me to everybody else. It bothered me that he couldn’t tell me because I wanted to know that he was proud of me – you always want your father to be proud of you.” “Growing up in an Italian home is like growing up in a opera,” she adds. laughing. “Everybody is always screaming and singing and having an opinion. And everything is always at high pitch and very dramatic, which is a good preparation for show business.” With it all, Lawrence found her heart in the live theater, the medium she loves best. She says it is what she aspired to do ever since she could stand up -- if there was music playing, she was dancing. She went to New York right out of high school and ended up starring as Maria in “West Side Story.” From that role, she then came to Las Vegas for the first time to play the Flamingo in 1960. Today, Lawrence says that her return to the values of her childhood and her strong belief in God, family and country have brought her the greatest happiness. The hardest thing for her has been adjusting to life as a woman alone but she says that she thrives on her work and her sons, Christopher and Michael, 40. As for the future, Lawrence says she would like to get married again. In the meantime, she’s geared up to keep working and wants to get her own TV show – and, of course, keep cooking. Obviously, she can take the heat – and will never stay out of the kitchen American musical theatre dancer, singer, and actress Carol Lawrence (b. Melrose Park, IL, September 5, 1932) is perhaps best known for creating the role of Maria in Bernstein’s West Side Story in 1957, and for her many subsequent appearances on Broadway and on national tours; in later years the focus of her acting and singing career has shifted to television. She received a Tony Award® nomination in 1958 for Best Featured Actress in a Musical. Born Carolina Maria Laraia, Lawrence was at first trained primarily as a dancer, but soon established her presence as a “triple crown” (or, to her rivals, a “triple threat”), singing and acting as well. After an apprenticeship in chorus lines, she made her Broadway debut in Leonard Sillman’s New Faces of 1952, followed by a stint as a replacement dancer in Plain and Fancy (1955) and the featured role of Liat in a City Center revival of South Pacific (1955). She had a part in a Broadway flop called Shangri-La in 1956, and danced in the Ziegfeld Follies of 1957 with Beatrice Lillie before landing her greatest role later that year in West Side Story. She stayed in the show for two years before taking a break to star in a short-lived musical, Saratoga, then returned to West Side Story in 1960. Carol Lawrence did three more star turns in Broadway musicals in the ’60s (Subways Are For Sleeping 1961, Night Life 1962), the most successful of which was as a replacement for Mary Martin in I Do, I Do in 1967. She did not appear on Broadway again until 1993, when she replaced Chita Rivera (her co-star from West Side Story days) as the Spider Woman in Kiss Of The Spider Woman, for by the late 1960s, Lawrence was well into her new television and national touring career. Cities across the United States cheered Lawrence in Funny Girl (1967, 1975), The Sound Of Music (1971), Sweet Charity (1977), Sugar Babies (1983), No, No, Nanette (1990), The Unsinkable Molly Brown, and Woman Of The Year. In Los Angeles she was acclaimed for her performances in Do I Hear A Waltz?, Camelot, Follies, Mame, and Amy’s View, for which she received The Los Angeles Drama Critics Award. Although she has almost never appeared in a film that was not made for television (the silver screen role of Maria went to Natalie Wood), the film industry honored her with a Star on the Hollywood Walk of Fame, the first ever in the category of Live Theatre. Over the last five decades, Carol Lawrence has made dozens of appearances as a guest on series television: the 1960s saw her in Breaking Point, Wagon Train, Rawhide, and The Fugitive; during the 1970s she appeared on Hawaii 5-0, Marcus Welby, M.D., Medical Center, Kung Fu, Mannix, and as Bathsheba in Greatest Heroes of the Bible. In the ’80s she had leading roles in Love Boat, Matt Houston, Simon & Simon, and Hotel, as well as several episodes of Murder, She Wrote. In 1991 she played Angela Eckart regularly on General Hospital, and in 1994 played Bernice Stein in sixty-five episodes of Valley of the Dolls. Continuing as a guest, Lawrence was seen in Murder One, Lois and Clark, The Commish, Touched by an Angel, That Championship Season, and Sex and The City. She also continued to entertain on countless musical variety shows. Lawrence hosted five shows of Chef du Jour for the Food Network, cooking from her own cookbook, I Remember Pasta, and setting a record for cookbook sales on the Home Shopping Network. With an avid interest in fitness and nutrition, she has produced an aerobic/dancercise video, Broadway Body Workout. Her autobiography, Carol Lawrence, The Backstage Story, was published in 1990. Lawrence was married and divorced three times. Her longest-lasting relationship (1963–1981) was with her second husband, Robert Goulet, with whom she appeared in many popular concerts and summer-stock musicals, and with whom she had two children. Lawrence has been named the Harvard Hasty Pudding Woman of the Year (1960), and has earned a Spirit of Life Award from the City of Hope. She continues to appear around the country in a multimedia concert act with a twelve-piece orchestra. Standby: Carol Lawrence [Lotta Bainbridge]PlayOriginalKiss of the Spider Woman (May 03, 1993 - Jul 01, 1995)Starring: Carol LawrenceSpider Woman / Aurora - Replacement (Feb 21, 1994 - Feb 26, 1994)Spider Woman / Aurora - Replacement (Nov 08, 1993 - Nov 13, 1993)MusicalDramaOriginalI Do! I Do! (Dec 05, 1966 - Jun 15, 1968)Starring: Carol LawrenceShe (Agnes) - Replacement (Dec 04, 1967 - Jun 15, 1968)She (Agnes) - Replacement (Oct 18, 1967 - Dec 02, 1967)MusicalComedyOriginalNight Life (Oct 23, 1962 - Dec 15, 1962)Starring: Carol Lawrence [Gia]PlayDramaOriginalSubways Are for Sleeping (Dec 27, 1961 - Jun 23, 1962)Starring: Carol Lawrence [Angela McKay]MusicalComedyOriginalWest Side Story (Apr 27, 1960 - Dec 10, 1960)Starring: Carol Lawrence [Maria]MusicalDramaRevivalSaratoga (Dec 07, 1959 - Feb 13, 1960)Starring: Carol Lawrence [Clio Dulaine]MusicalOriginalWest Side Story (Sep 26, 1957 - Jun 27, 1959)Starring: Carol LawrenceMaria - (Sep 26, 1957 - May 31, 1959)MusicalDramaOriginalZiegfeld Follies of 1957 (Mar 01, 1957 - Jun 15, 1957)Performer: Carol Lawrence [Singer, Nautch Dancer]MusicalRevueOriginalShangri-La (Jun 13, 1956 - Jun 30, 1956)Performer: Carol Lawrence [Arana]MusicalOriginalSouth Pacific (May 04, 1955 - May 15, 1955)Performer: Carol Lawrence [Liat]MusicalDramaRevivalPlain and Fancy (Jan 27, 1955 - Mar 03, 1956)Performer: Carol LawrenceDancer - ReplacementMusicalComedyOriginalLeonard Sillman's New Faces of 1952 (May 16, 1952 - Mar 28, 1953)Performer: Carol Lawrence [Townsperson, Gussie, Moroccan Girl, Featured Dancer]MusicalRevueOriginalBorscht Capades (Sep 17, 1951 - Dec 02, 1951)Performer: Carol Lawrence [Ted Adair Dancer] An actress, singer and dancer of the first magnitude, Ms. Lawrence created the role of Maria in the Leonard Bernstein/Jerome Robbins Broadway classic, “West Side Story,” receiving a Tony Award nomination. Miss Lawrence went on to star in several other Broadway productions including “Saratoga,” “Subways Are For Sleeping,” “Nightlife,” “I Do, I Do,” and “Kiss of the Spiderwoman.” She appeared in the television movie of Jason Miller's “That Championship Season,” Off-Broadway in Jason Odell Williams's play, “Handle with Care.” Ms. Lawrence has also starred in national tours of “Funny Girl,” “The Unsinkable Molly Brown,” “The Sound of Music,” “Sweet Charity,” “No, No Nanette,” “Woman of the Year,” and “Sugar Babies.” Carol appeared in Los Angeles productions of “Do I Hear A Waltz?,” “Follies,” “Mame,” and “Amy’s View,” receiving the LA Drama Critics Award. Her many television appearances include “General Hospital,” “Touched by an Angel,” “The Commish,” “Murder She Wrote,” “Sex And The City,” “Lois and Clark,” “Simon & Simon,” “Flipper.” For three years, Carol hosted her TV talk show, “The Carol Lawrence Show, ” hosted five shows on “Chef du Jour.” She created her own cookbook, I Remember Pasta, and an aerobic, dancercise video, “Broadway Body Workout.” Ms. Lawrence has received Grammy Award nominations and numerous humanitarian awards including City of Hope’s “Woman of the Year” Award, and “The Spirit of Life Award.” Her autobiography, with Phyllis Hobe, is entitled Carol Lawrence: The Backstage Story.” She received a star on the Hollywood Walk of Fame. Her proudest achievements will always be her sons, Christopher and Michael Goulet. How does your strong passion for creating keep fueling you? It’s just trying to stay on the cutting edge where people hearts and needs are; its really required to supply a kind of place in which people can come to the theatre and hopefully after the performance, the audience has been enriched, informed, and hopefully, coming out a better human being. Carol Lawrence and Carmen Gutierrez (Official Masterworks Broadway) When I saw you not too long ago Off-Broadway in “Handle With Care,” it seemed you had such a good time. What drew you to want to act in that comedy? I wanted so much to come back and act on a stage in a play that had integrity. We were right on 43rd street, near to the theatre district. It was a lovely romantic comedy, and the audience loved it. I think the show was a crossing religious boundaries, dealing with love and dating. I wanted the exercise of playing an older woman, a grandmother with a rich heart who had been touched out of her comfort zone. Did singing always come naturally for you growing up? I come from large Italian family, which is the Italian norm. When my father was born, he was poor, living in the poorest “anklebone of the boot” of Italy, in a small town, Trivigno, in a mountain range so gorgeous where everywhere you turned was a picture-postcard view. My grandfather was the rogue of the little village, a very cocky little Italian rogue who led every Catholic festival. He got to do all the dances in the festival, every wedding, every grand march. I understand you grew up watching Gene Kelly and Fred Astaire — and later had the opportunity to dance with Gene Kelly. It was a dream come true. Only because I started dancing at the age of five learning ballet, dancing all kinds of dance, the entire scope. I was married to Robert Goulet, and my two sons are replicas of him, very handsome, very bright and charming, but neither of them ever exhibited the need to be in “Show Business.” I believe when you aspire to Broadway or to the opera or to ballet or wherever your passion leads you, you have to be so addictive to performing — to take it away from you would mean death. I never stopped growing or seeking a role that would enrich me. And Uta Hagen was a strong influence on you as an actress— She was my mentor. She was the one I learned the most from. Along with Wynn Handman, and Ludwig Donath, who was one of the magnificent stars of “The Dybbuk,” directed by Sidney Lumet. For him, acting was a religious experience. Actors today have to keep working, training. You must have started quite young — My mother put patent leather shoes on my feet and took mw to a dance studio when I was five. We walked in and we were looking at a mirror, and the teacher made us start dancing immediately. I was so young, but I looked at the teacher, and on the spot, I came to a revelation. This was it for me. If there was music, I danced. I began dancing on every surface I could find. My mother finally gave me two feet behind the stove and said: “Dance your heart out,” and I did. She didn’t thwart my need to practice and learn my craft. I was making terrible black spots on the floor, so she pulled the stove away from the wall, and I danced behind the stove and wore the linoleum pattern out and I wore my tap shoes out and outgrew them. It took over my life. I had my one nightclub act at thirteen which I did for three years; I’m basically a hoofer at heart. That’s how I began. My father actually wanted me to be a lawyer, but I was a dancer, and my first audition was for my first Broadway show, it was my first day in New York City, it was called “Borscht Cafe,.” My father wanted me to come back to Chicago. But I stayed and did what I loved, and Joel Grey was in the show, and the Barry Sisters, and I had a lot of solos and did the curtain speech, presenting Mickey Katz. When you landed a role in “Pipe Dream” you almost had a chance of working with Harold Clurman. He was a fantastic human being, but I was really uninformed about the business of the theater at that point. When I auditioned, they all agreed to cast me but I was doing a show at The Lyric Theatre in Chicago and I couldn’t be released. So unfortunately, I never had the chance to work with Clurman. It must have been such a joyous relief to be cast after thirteen auditions you had landed the role of Maria in “West Side Story,” “West Side Story” It was a relief because Jerry (Jerome) Robbins couldn’t make up his mind, and finally he did. I ended up doing two shows “Shangri-La” and “Ziegfield Follies” during those two years. It was a difficult time but I was working with Leonard Bernstein, Jerome Lawrence, Arthur Laurents, Stephen Sondheim — they were all geniuses! It was a show that changed everything - the audience loved it, they recognized the tradition that it brought to the Theater, and the message that even in the midst of gang wars, that intolerance is not to be tolerated. There was no one in the world who maintained that kind of control that Jerry held. He was so successful as a choreographer but he had never directed a Broadway show before “West Side Story.” He barely knew anything about directing; he had no idea how to communicate as a director. He worked from being a choreographer — his idea was to push the dancer, putting down everything the dancer did until they’re trying to prove their worth to him, and Jerry got it from us through brute force. He was a genius and you loved him and you hated him. There was a gritty reality to the show - and he knew his power and could read people faster than anyone I’ve ever known. He knew which button to push to find your vulnerabilities, and he’d do it to you in front of the entire company. And he never stopped pushing to make it “real.” Actors would really beat each other up during the show, we’d always have to have a doctor on call. When Jerry and Lennie (Leonard Bernstein) were together, you couldn’t believe the scenes. Jerry would pick on Lennie (Leonard Bernstein) in front of everyone. The collaborators, including Arthur Laurents, had made a rule to never argue in front of the company. Except Jerry would go against his own rule and we’d all cringe. We started out as “Gang Way” when we went out of town, first originally it was “East Side Story,” with a catholic girl and a Jewish boy but we became “West Side Story,” after Arthur Laurents and Leonard Bernstein were in Los Angeles at a pool and they read a newspaper that said “Gang Kill Five in A Rumble,” and they called Jerry in New York City and made it the Puerto Ricans against everyone else. Jerry “froze” the show in Washington D.C. — keeping everything where it was except he felt the ballet was old-fashioned. We ended up doing an eight hour rehearsal only on the ballet, which was deathly exhausting, but we were all strong and made it through. Larry Kert and I seriously had our sanity tested. We'd come out of the sessions “bleeding at the gill.” He was an angel to work with, we all loved him. Larry would say, “Let’s go work the balcony scene with Lennie,” and Lennie would find a piano and he’d nurture us through it. “West Side Story” was nominated for six Tony Awards, and you received a nomination as Best Featured Actress. I actually got to meet Larry (Laurence) Olivier at the Tony Awards that year. He handed me the Tony that Oliver Smith won for Best Set for “West Side Story.” Jerry (Jerome Robbins) didn’t win as Best Director, but he did receive the Tony for Best Choreography. Later on, I asked the critic, John Chapman, why “West Side Story” didn’t win the Tony for Best Musical that year. He told me that: “as a group of American critics we couldn’t glorify juvenile delinquents in the middle of a Cold War with Russia.” It’s the 60th anniversary of the original “West Side Story production, so I’ve been working on that. I had the good fortune of taking a course at NYU and Richard Rogers, Stephen Sondheim and Goddard Lieberson came and shared their insights. I know Goddard Lieberson was the producer for the recording of “West Side Story.” Absolutely. He was there every minute of the time, and his decisions were excellent, deciding what the cuts would be, what we’d use; he was instrumental leading us through all the whole thing. He was a wonderful elegant man and I admired him very much. You’ve also had the opportunity to play amazing roles including Lady Guinevere in “Camelot.” How did you develop your particular approach to who she was? You can see Lady Guinevere being treated like a pawn to a king. She’s very naive about sex and love and how attracted she becomes to Launcelot. I decided to play her like a tomboy, that she’s very strong-headed. So when I arrive at the hillside, I ran on the stage and took a nosedive so I wouldn’t be seen. It was lively and gave me a chance to play the humor of the situation. She’s also extremely stubborn; I loved doing the role. For that production, I also made them add a dance to the show. Also we dramatized the action in the show much more. In the big climax scene, I was brought in with my hands over my head tied to a stake. I say: “Let’s put all the action on stage; it’s makes it all quite wonderful.” It’s been important for you to help others. You had volunteered for an organization called World Vision that has provided aid to sick and impoverished children in Africa. You made several trips there, and created documentaries about the dire need to help the children there. I have always felt strongly because of everything I have been given; I have to give back. When I was went there, I was a little frightened. There was a Civil War in Somalia, in Ethiopia, and the tribes were still feuding. When we about to land in a helicopter, the pilot told us that there was a raid going on below us. Armed soldiers from Idi Amin with advanced artillery had crossed the border and were killing poor nomads.When we were finally able to land, we visited a school helping children. We help as much as we could, bandaging the wounded. They asked us for water and supplies, and I tried to do everything I could. I went there because the children were starving, and World Vision had pledged to create a campsite in Somalia. In a short time, it mushroomed from thirty thousand people to over seventy thousand, and there were so many children in the camps. I tried to help in any way I could, but we didn't have enough milk to feed them all. Some mothers had to decide which of their children would receive food to survive. I thought of my sons who were born fourteen months apart and I couldn’t imagine having to make that kind of a choice. Once the documentary appeared with me holding the children, telephones rang off the wall and support streamed in. I felt I was trying to honestly show a woman who wanted to help, and it was what the world needed to hear. One of the most important things we have in this world is our faith and forgiveness for ourselves and for others, which can give us a lot of strength — Being Italian, and growing up in a home of high emotions, I know what you mean, I grew up in a house with several men in the family; it was like being in an opera. When things are not going well, they get it out of their systems, there’s so much drama. And I would get depressed. “I Remember Pasta” by Carol Lawrence When I lost my father first, it happened on Father’s Day, and then when Bobby (Robert Goulet) decided to leave, and soon after that, when my mother died; it was very hard for me. As I was her only daughter, I went into a depression. The only thing that brought me out was doing stories and old Christian songs; I did concerts, and my album got nominated. I don’t know what I would have done - and so I just went into Jesus. He answered my call and He saved me. One of the closest things to my heart is that I have an access to the veterans association, and I try and teach wounded vets with no legs, I try to be supportive to their families. I try and teach them to tap dance and to entertain their families; I find great joy in that. When I look in to the mirror, I see who I am — I’m a hoofer. I feel if I can get one kid to feel the way I feel about dance or an adult to do a shuffle-ball-change, that’s it! I see how it really works, how quickly they respond. And we all need one more way to feel joy, and for me, its tap dancing - I say here it is! It’s important to keep moving, to keep the muscles strong; I say: keep dancing! Carol Lawrence (born Carolina Maria Laraia; September 5, 1932) is an American actress, appearing in musical theatre and on television. She is known for portraying Maria on Broadway in the musical West Side Story (1957), receiving a nomination for the Tony Award for Best Featured Actress in a Musical. She appeared at The Muny, St. Louis, in several musicals, including Funny Girl. She also appeared in many television dramas, including Rawhide and Murder She Wrote. She was married to fellow performer Robert Goulet. Contents1Biography1.1Early years1.2Career2Awards3Personal life4References5External linksBiographyEarly yearsBorn Carolina Maria Laraia [1] in Melrose Park, Illinois, her parents were of Italian ancestry. Her father was born in Trivigno, in the province of Potenza, and her maternal family came from the same town.[2] She spent one year at Northwestern University and then left to pursue her career.[3] CareerLawrence made her Broadway debut in 1952 in Leonard Sillman's New Faces of 1952.[4] She achieved success in the role of Maria in the original Broadway production of West Side Story in 1957,[4] and received a nomination for a Tony Award for Best Featured Actress in a Musical for this role.[4] She played the role for two years, and after an appearance in the short-lived show Saratoga in 1959[4] she returned to West Side Story for its 1960 season. Other Broadway successes were Subways Are for Sleeping, I Do! I Do! (replacement "She/Agnes", 1967) and Kiss of the Spider Woman (1992–93, replacement Spider Woman/Aurora).[3][4] She played several roles at The Muny in St. Louis, Missouri, the largest outdoor theater in the U.S., including Fanny Brice in Funny Girl (1975),[5] Charity in Sweet Charity (1977), and Lucille Early in No, No, Nanette (1990). Among her other musical theatre parts are the title role in Mame (2000 at the Helen Hayes Center for Performing Arts in Nyack, New York),[6] Guenevere in Camelot (opposite husband Robert Goulet),[3] Do I Hear a Waltz? at the Pasadena Playhouse (2001)[7] and Follies at the Wadsworth Theatre in Los Angeles in 2002.[8] Her television performances include a guest role in Breaking Point (as Evelyn Denner in the 1963 episode entitled "There Are the Hip, and There Are the Square"). In October 1976, she appeared as the special guest on the popular weekly variety program The Bobby Vinton Show, which aired across the United States and Canada. She performed "Friend of the Father". Other appearances include Rawhide, Combat!, Wagon Train, The Fugitive, The Big Valley, Hawaii 5-0, Marcus Welby, M.D., Medical Center, Kung Fu, Mannix, Murder She Wrote, Saved by the Bell, and Sex and the City.[9] In 1992–93, she played the role of matriarch Angela Eckart on General Hospital.[9] She hosted five shows of Chef du Jour for the Food Network, cooking from I Remember Pasta, her own cookbook, and setting a record for cookbook sales on the Home Shopping Network.[9] In 1999, she appeared in the television movie remake of Jason Miller's That Championship Season in a cameo role as Claire's mother (the mother-in-law of Vincent D'Onofrio's character), a role written into the film specifically for her.[10] In 2013, she appeared Off-Broadway at the Westside Theatre Downstairs in Jason Odell Williams's play Handle with Care.[11] Lawrence has written her autobiography, with Phyllis Hobe, titled Carol Lawrence: The Backstage Story, published in 1990.[1] AwardsThe Theatre World Award "Most Promising Newcomer" West Side Story 1958Lawrence was awarded the Harvard Hasty Pudding Woman of the Year Award in 1960.She has a star on the Hollywood Walk of Fame.Personal life Lawrence (center) next to John F. Kennedy at the White House, two days before Kennedy's assassinationLawrence married three times: Cosmo Allegretti (January 13, 1956 – January 30, 1959; annulled)[12]Robert Goulet (1963–1981);[13][14] together they had two sons, Christopher (b. 1964) and Michael Goulet (b. 1966).Greg Guydus (March 7, 1982 – December 12, 1984)[15]Lawrence and Goulet married while both were Broadway stars; their romance was treated in the press like a fairy-tale. In her 1990 book, Carol Lawrence: The Backstage Story, she accused Goulet of alcoholism and an abusive husband and father.[16] Lawrence, a registered Democrat, accompanied Democratic National Committee (DNC) Chairman John Bailey, DNC Vice-Chairwoman Margaret B. Price, DNC Secretary Dorothy Vredenburgh Bush, Lena Horne, Richard Adler and Sidney Salomon on a visit with President John F. Kennedy at The White House on November 20, 1963; two days before his assassination.[17] Lawrence is Presbyterian and a member of the Bel Air Presbyterian Church.[18]

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