I had a good connection with a choreographer and I went to New York for an audition, sure I would get the part. But, I’ve always loved working regardless.” “I’ve been in some cheap shows with so-so costumes. You watch her move across the stage in the big Razzle Dazzle number and her smile is bigger than anyone’s on that stage.ĭe Freitas admits her career hasn’t all been roses. De Freitas may be almost twice as old as others on stage, but she stands out. You dance with your whole being and it conjures spiritual aspects.” It’s disciplined but it’s also passionate. When you dance you release energy stored within. “I am a dancer first and last, even though I like to sing and act as well. A good role in “The Lion King” in Toronto followed. Dance was the one thing I thought I was good at.”Īt 18, De Freitas got a small role in “West Side Story” at Stratford. And Laxton was a mentor and friend who gave her the confidence to see it as more than just a hobby. I was encouraged to take dancing purely as a hobby, to help me stay out of trouble.”īut, De Freitas found dance lessons opened new worlds to her. “My parents were born in Trinidad and Tobago and I don’t think they even knew what musical theatre was. Then, too, when I was little, girls were supposed to be seen and not heard,” De Freitas remembers. I was always the baby taking someone’s hand. I was the youngest in my family and I just sort of tagged along. She pushed her pupils gently, always encouraging them to do their best. Laxton was something of a genius at bringing shy girls out of their shells. “When I got there, I knew I was home,” she laughs. It’s hard to believe she was shy growing up.īorn in Hamilton, De Freitas discovered dance when she was eight years old at Lois Laxton’s Dance Studio in Stoney Creek. Watching her in the musical’s second act, in the featured role of Go-to-Hell Kitty, is a scorcher. Watching Amanda De Freitas in the opening number of the red-hot musical “Chicago” at Stratford’s Festival Theatre is a revelation. Over the years it has been available on most major formats, including vinyl, audio tape, CD and 8-track.Whoever thought she could shimmy and shake like that? album never charted in the UK, it has since picked up a cult following in ongoing years and eventually reached a world sales figure in the region of 300,000 copies. Instead, Bell Records opted for a 'safer' bet with the disco/rock number "You Belong to Me", which charted that year (this song was not included on the album in question).Īlthough the G. album and "Satan's Daughter" was never issued as a single. As a result, the tour sold out, but they virtually stopped promoting the G.G. To try to sell tickets (and records) they staged a publicity stunt saying Glitter would be retiring from live performing. "Satan's Daughter", a track composed for Glitter by Haras Fyre, was scheduled to be the follow-up single to "Papa-Oom-Mow-Mow" in early 1976, However, Glitter's record label were worried about the decline in record sales and the hundreds of unsold tickets at most venues on his current tour. The album also performed poorly compared to his previous efforts. It was his worst chart showing to date, his 11 previous singles all having reached the top 10. album (or any singles from it) was never released in the USA.īack in the United Kingdom, Glitter's homeland, the first single from the album "Papa-Oom-Mow-Mow", stalled outside the top 30. Though Glitter had previously had hits there in 1973 with "Rock and Roll" and "I Didn't Know I Loved You (Til I Saw You Rock 'n' Roll)" and some further minor success with his debut album Glitter, his follow-ups didn't do as well as in other countries. As well as attempting to broaden his style, the album was also an attempt to break Glitter into the music market of the United States. Also unlike his previous albums, Glitter had very little to do with the composing of the songs, having only one credit as a songwriter on "I'll Carry Your Picture (Everywhere)" (it was the B-side of the hit single "Love Like You and Me"). It was produced by Mark Munro, unlike Glitter's previous efforts which were done by Mike Leander. The album was an attempt by Glitter to change his musical direction from the usual heavy glam rock he had been recording. (or Gary Glitter) is the title of Gary Glitter's third studio album, which was released in 1975.
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