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Still in her teens, she performed in Europe (including London), Mexico and South America, and made her screen debut as one of Dunham's dancers in John Berry's Casbah (1948).

When she failed to fulfil her aunt's ambitions that she should become a concert pianist (she hated practising) her aunt threw her out and she worked as a seamstress, in a factory and on a farm.

" Her reputation on the cabaret circuit grew, and she returned to New York in December 1951, for an engagement at the 54th Street night club La Vie en Rose.

The result was a scholarship to Dunham's dance school and a chance to tour with her troupe.

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She could conceivably build a rep along novelty lines, as a coloured songstress who bases her catalogue on French tunes." Max Gordon, the enterprising owner of the Village Vanguard, spotted Kitt's potential and two months later she opened at his club to a great reception.

She then appeared at the sophisticated night club The Blue Angel on 55th Street, a haunt of such luminaries as Lena Horne, Truman Capote and Tallulah Bankhead, her repertoire including several songs with which she would become identified – "C'Est Si Bon", "I Wanna Be Evil", "Santa Baby" and "Uska Dara"."I have a great need for affection from an audience," she said."I don't know whether this is because I had such a tough life when I was a child." Kitt returned to Broadway in December 1954, to star in Mrs Patterson, the story of an adolescent girl in the Deep South in the 1920s who fantasises conflicting dream lives – one as a dignified, rich white woman, the other as a black hellion – before accepting reality.

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