Societal images of the 1950s create a vision of gender relations that are complex and evolving within American culture. It is common knowledge that during the second World War women flocked into the workplace to fill jobs vacated by men joining the armed services. However, with the end of the war and the reintegration of the servicemen, women were expected give up their jobs and return to their previous existence as housewives and mothers. Many of these women were ambivalent about giving up their jobs to return to domesticity. In this period of post-war American history there is a noted ambivalence towards women who chose to work. The musical career of Steve Lawrence and Eydie Gorme spotlights them not only as singing partners, but also in their personal lives as a married couple. Their close personal and professional association gives an interesting angle to their publicity which blurs the line between their private and public lives, and at the same time examines social gender expectations during this period of American history.
Steve Lawrence and Eydie Gorme were married in Las Vegas on December 29, 1957. The couple had met during their stint as performers on the Tonight Show, with host Steve Allen. The announcement of their marriage ran in the Los Angles Times the following day. The construction of the article is fascinating when considering and examining gender. The headline, "Eydie Gorme, Former Singing Partner Wed" shows that at this point in their relationship, Gorme was the more well known of the two. This is further verified in the opening paragraph, "Eydie Gorme, 25, television and night-club singer, was married here today to her former singing partner, Steve Lawrence, 21." What is also interesting when looking at this is the age difference between the couple. A male older than female relationship is commonly acceptable even in contemporary society. However, if the woman in the relationship is older than the man the partnership quickly becomes one of scandal and tabloid fascination. The apparent taboo of an older woman dating a younger man is even evident in the 21st century, and the coining of the term "cougar." In the more conservative middle of the 20th century, it is likely that this would have caused even more of a stir.
It seems, when looking at the subject of age in Lawrence and Gorme's publicity, with the exception of their LA Times marriage announcement, in many instances the topic their age is sidestepped. However, in the marriage announcement which ran in the
Chicago Daily Tribune, it was reported that both were the same age, 22. In later articles, their ages are further reversed, making Lawrence older than his wife. Many contemporary sources verify that she was four years senior to her husband, when examining primary articles, it appears that this touched a nerve among journalists and as such is often omitted or lied about. The idea of a woman marrying a younger man is a drastic departure from accepted cultural norms as well as grants the female member of the couple tremendous agency, as a result this is a pattern which is seen as threatening in post war culture.
The couples publicity further changes as the years progress into their marriage. Early into the marriage, the agency Gorme is granted within the articles is striking. As the 1950s progressed into the 1960s and she gave birth to their first child, her role in their publicity changes. Early in their career together, she is defined by her singing career as well as her life before show business. On July 27, 1958, Don Paige wrote in the Los Angeles Times, "Eydie has had an interesting climb to the top...She started out to be a crisply efficient young businesswoman working as a Spanish interpreter with an export firm..." In the summer of 1958, Steve and Eydie were serving as the summer replacements for their friend Steve Allen. Paige writes, "Eydie Gorme... a petite package with a vocal range that can make a coloratura blink, is solidly holding her own (with husband Steve Lawrence) in the summer spot for vacationing Steve Allen...." In these write-ups, her marriage and partnership is secondary, while her talent and skills are valued.
Her treatment in their publicity really changes after the birth of their first child in 1960. At this point, Gorme's role is redefined, emphasizing her domestic role rather than her professional life. In 1964 when her husband was appearing in the Broadway musical "What Makes Sammy Run," John S. Wilson wrote in the New York Times, "Mr. Lawrence's success in "Sammy" has temporarily stymied the night club career of his partner, Mrs. Lawrence. She is, however, occupied as wife, mother to their two sons, David 4, and Michael, almost 2, and mistress of their New York apartment." While earlier articles emphasized her identity as a singer and a performer, these later pieces define her identity solely in relation to her personal life as a wife and mother. While she is still a celebrity, it is no longer an important part of her persona. In a 1960 article by John Pagones, he writes, "Eydie has splendid Kirghiz eyes, a bodaciously proportioned figure that would make a chorus girl gnash her teeth with envy and the dark Semetic beauty that pashas must dream about...”. Our house is a mess...Steve was just discharged from the army, David was eight months old that day..." Besides the problematic wording, this quote further pigeon holes Gorme into her feminine, domestic duties, while her husband chiefly deals with the matters of their singing career.
While their publicity is affected by their personal lives, their act also incorporates elements of their marriage, commenting on and playing with stereotypes of matrimony. In a 1962 episode of the popular gameshow "What's My Line" when Steve was appearing on the panel, Eydie was brought in as the "Mystery Guest." When Eydie is exposed after a lengthy questioning process, during which her husband is seemingly fooled, Steve says: "No wonder you told me to get out of the house early tonight! Who is watching the children?" Host John Dailey chimes in, "When Steve left the house, Eydie was over the kitchen sink with her hair down..." After some further bantering, Steve asks, " I would just like to know how come you made it so fast now, but when we have to go out I always have to sit and wait two hours?" To which Eydie replies, "That's show biz." This is an example of the humor Steve and Eydie employed in their act. Within this moment, similar gender stereotypes which are present in their publicity are also present within their act. However, throughout their career, Steve is the most supportive of his wife's career. In Wilson's review of "What Makes Sammy Run" Lawrence says of Eydie, "For a housewife...she makes a hell of a living..." He is acknowledging her active role within their relationship. Eydie is not simply staying at home in the stereotypical position of the housewife, she is earning her own living.
The difference in publicity between husband and wife demonstrates the value of a woman's domestic life in the post World War Two era in American society. Eydie Gorme was a popular and successful nightclub performer, and throughout her early career, her publicity allows Gorme to assume an active persona relating to her professional life. Her career is interesting, in her close personal and professional relationship with husband Steve Lawrence, their publicity begins to blur their public lives with their professional lives. However, after her marriage and the birth of her children, the importance of this feminine duty overshadowed the success of her career, forcing her to take a back seat to her husband's career. In a study of these legendary performers, the societal hostility towards working women during the post World War Two era becomes strikingly apparent.
For this weeks Fangirl Friday (of which there are already a ton penciled in), I’d like to take a minute and focus on Sherlock’s own silver fox, Rupert Graves.
In following his career with open eyes, Graves has proven to be incredibly versatile. He moves easily from rougher, more villainous characters, to the wounded and fragile Edward Crecy in The Crimson Field or the surprisingly vulnerable Lestrade. All one has to look at is the (albeit brief) interaction between Sherlock and Lestrade in “The Hounds of the Baskerville” or the interactions throughout the whole series between Lestrade and Molly (Louise Brealey). 
