Carol Lawrence, born Carol Maria Laraia on September 5, 1932, in Melrose Park, Illinois, is an American actress, dancer, and singer celebrated for her work in musical theater and television. Known as one of Broadway’s most talented “triple threats,” she excelled as a performer with remarkable versatility and charisma.

Carol often said she had been dancing and singing for as long as she could remember. “I studied in local schools,” she recalled, “and later in Chicago. I worked hard in high school and got straight A’s, which earned me a scholarship to North Western University. “Just before my second year, I moved to New York with my family. Shortly after, I read about an audition in a theatrical paper. Out of curiosity, I attended, asking if I could observe. I was told spectators weren’t allowed but could stay if they auditioned. I did—and to my surprise, I landed a job.”

Over the next few years, Carol honed her craft in Hollywood, on the road, and in Broadway productions such as New Faces of 1952, Plain and Fancy (1955), Shangri-La (1956), and Ziegfeld Follies (1957). In 1957, after an impressive 12 auditions, Carol Lawrence secured the lead role of Maria in the groundbreaking Broadway musical West Side Story, marking her first major breakthrough. Her performance captivated critics and audiences alike, who praised her extraordinary magnetism, impeccable timing, and commanding presence. West Side Story became an instant sensation, with Carol’s portrayal of Maria receiving widespread acclaim.

Following this success, she starred in the 1959 Broadway musical Saratoga, further solidifying her reputation as one of the era’s most versatile and talented performers. Her Broadway success quickly opened doors to television, where she showcased her dramatic range and charisma. In 1959, she appeared on U.S. Steel Hour, earning glowing reviews and being named the “Best Young Actress on Television” by Hearst critic Jack O’Brien. Over the years, she became a sought-after guest star, making memorable appearances on programs hosted by Ed Sullivan, Garry Moore, Andy Williams, and Perry Como, as well as in color specials with Phil Silvers, Bing Crosby,
and Gene Kelly.

In 1960, Carol released her debut album, Tonight at 8:30, a tribute to Broadway’s timeless musicals. Known for her vocal versatility, she followed this with her second album, This Heart of Mine, in 1962, featuring arrangements by Dick Hazard and Harry Betts. In 1963, Carol married Broadway star Robert Goulet, with whom she had two sons, Christopher and Michael. Despite the marriage’s challenges, which led to their separation in 1981, they were one of Broadway’smost glamorous couples.

Carol continued to shine in various venues. In 1963, her nightclub act at the Plaza Hotel’s Persian Room earned rave reviews, with Ed Sullivan calling it “a flashy, professional performance.” Burt Bacharach hailed her as “today’s most talented entertainer.” This success led to her third album, An Evening with Carol Lawrence (1964), arranged by Joe Harnell.

Her Broadway career flourished with roles in Subways Are for Sleeping, I Do! I Do! (replacement for “She/Agnes” in 1967), and Kiss of the Spider Woman (1992–93, as Spider Woman/Aurora). Carol also appeared in films and television series such as General Hospital and
Touched by an Angel. She frequently performed in traveling nightclub acts and on cruise ships, delighting audiences worldwide.

At the Muny in St. Louis, she took on roles in Funny Girl (1975), Sweet Charity (1977), and No, No, Nanette (1990), among others. In 1984, she embarked on a national tour with Sugar Babies, where critics described her as a “glamorous singer-dancer-comedienne” and “one of the best entertainers in the business.”

In 1998, she starred in the Off-Broadway revue Puttin’ On the Ritz—The Irving Berlin Songbook, which later toured 30 cities. The following year, she served as the standby for Lauren Bacall in Noël Coward’s Waiting in the Wings.

Now 93, Carol Lawrence remains a beloved figure in musical theater. Though it has been years since her last Broadway credit, her enduring contributions as a performer continue to inspire, leaving a legacy defined by talent, versatility, and an unwavering connection to the stage.

—Jordi Pujol (Taken from the inside liner notes of FSR V144 CD)