• by Kathleen Brady
  • Narrated by C. M. Hébert
  • 12 hrs and 48 mins
  • Unabridged Audiobook

Publisher's Summary

In 20 years of show business, Lucille Ball had only modest and sporadic success. Her television program, I Love Lucy, was her last chance to fulfill the ambition that had sustained her through the frustrations of her professional life and the anguish of a failing marriage. The role of Lucy Ricardo revealed her true gifts, but it changed her life immeasurably, and the remarkable individual who was Lucille Ball became slowly obscured in the shadows of Lucy.This definitive portrait of Lucille Ball is based on the recollections of fellow performers, including Milton Berle, Ginger Rogers, Bob Hope, and Katherine Hepburn; her closest friends and family; and Lucille herself. From her childhood, when her virtual abandonment instilled in her a relentless drive for love and attention, through her struggling years in Hollywood and her troubled relationship with Desi Arnaz, Brady vividly recounts the story of this passionate and vulnerable woman.


What the Critics Say

"While Brady is a fan, she is also a fine biographer. Her admiration is both clear-eyed and penetrating. With insight and impressive detail, Brady goes beyond Ball's most famous creation, Lucy Ricardo, to expose the complex, determined woman." (Chicago Sun-Times)


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Customer Reviews

Most Helpful

A So-So Look at Lucy

While you'll learn nothing new in this well-crafted look at a TV icon and entire era, if you're a fan of Lucy, Desi and all the rest, you'll smile nostalgically at the facts you've known for a long, long time. Worth a listen if for nothing more than a friendly walk down memory lane.
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- James Gordon

Again, prep work and pronunciation issues

Not even for my love of Lucy can I overlook yet another ill-prepared reading of a book. Helen Brady, the performer for "Lucille: The Life of Lucille Ball" may be able to roll her R's for "arroz con pollo" but "cringingly" mispronounces general accepted names such as Garson Kanin as "Garson Cannon". Pantages, rather than with the expected emphasis on the second syllable, has the emphasis on the first, requiring the listener to rewind or playback to make sure they heard it correctly.

Are there editorial/performance meetings before such recordings? At least with the author performing their own work you know that however they pronounce something it is uniquely them. When a hired performer reads another's work, listeners who purchase/license work have some expectation of more than a soothing, modulated voice. We want accurate phrasing and pronunciation.
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- R. SUBA "mrex"

Book Details

  • Release Date: 01-10-2007
  • Publisher: Blackstone Audio, Inc.