Meryl Streep and Goldie Hawn in "Death Becomes Her" (1992)
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Two divas meet: Marlene Dietrich congratulates Maria Callas backstage at the Metropolitan Opera on October 29, 1956, after Callas made her debut in Norma. Between them is her husband, Batista Meneghini.
Photo: Tom Fitzsimmons for the AP
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Phyllis Hyman backstage before a show at Kimball’s East in San Francisco, 1992
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Whitney Houston By Steven Meisel, 1986
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Who’s up for some “diva worship”? My quick review of the Diva exhibit at The Victoria & Albert Museum (my boyfriend Pal, our friend Fenella and I went on Sunday 27 August). The first floor (featuring early divas of opera, stage, silent cinema and golden age Hollywood) is a treasure trove. Things fall apart somewhat on the second floor, which brings us to the present day and the concept of “diva” seems to stretch to any random modern female pop star with a vaguely “empowering” message (or at least the ones who’ve loaned outfits for the exhibit. Let’s be grateful at least that Taylor Swift and Dua Lipa weren’t included. I wonder if the V&A regrets the emphasis on Lizzo given her current blizzard of bad publicity and legal woes). We could all bicker about our personal favourites not being featured, but it feels like glaring omissions that Marlene Dietrich and Madonna are barely represented (surely the Cinema Museum in Berlin could have loaned a Dietrich costume from their permanent collection?). And Eartha Kitt is represented by just an album cover! If they’re going to declare Elton John, Freddie Mercury, Prince and Lil Nas x honorary “male divas”, then why not include Divine, who was a diva of both cult cinema and hi-NRG disco?
Conclusion: The Diva exhibit is enjoyable but ultimately superficial and best approached as “eye candy”. It’s on until 7 April 2024.
Pictured: the “flame dress” Bob Mackie - maestro of the strategically placed sequin! - designed for soul queen Tina Turner to wear onstage in 1977. Want to see more? Here's my lavishly-illustrated scene report!
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