The 1960s were the breakout decade for Barbra Streisand, during which she transformed from a teenage nightclub singer into a global superstar across music, Broadway, and film. Often referred to as her “golden voice” period, she became known for her clear, powerful vocals and an “unconventional” beauty that she refused to change for industry standards.

In the early 1960s, Streisand stood out by defying the “cookie-cutter” pop star mold. Her voice was technically flawless, but it was her dramatic phrasing, treating every song like a three-minute play, that captivated audiences.

In 1962, she stole the show in the Broadway musical I Can Get It for You Wholesale, playing Miss Marmelstein. In 1964, she landed the role of Fanny Brice in Funny Girl. The show was a massive hit, and the song “Don’t Rain on My Parade” became her definitive anthem. Her 1965 CBS special, My Name Is Barbra, was a landmark event. It was monochromatic, artistic, and proved she could carry a massive production entirely on her own.

Streisand’s move to Hollywood in 1968 was legendary. She reprised her role in the film version of Funny Girl, which resulted in a rare tie for the Best Actress Oscar with Katharine Hepburn. She followed this with the big-budget musical Hello, Dolly! (1969). Although she was technically “too young” for the title role, her performance solidified her status as the new queen of the movie musical.

Streisand’s 1960s look was a masterclass in leaning into one’s unique features rather than hiding them. She popularized the dramatic “Egyptian” or “Cleopatra” winged eyeliner, often paired with pale lipstick and heavy lashes. She cycled through iconic 1960s styles, from the sleek bob with flipped ends to elaborate, sculptural beehives. She frequently wore Mod-inspired silhouettes, sailor suits, and sophisticated gowns designed by Arnold Scaasi. Her most famous (and controversial) look of the decade was the sheer, sequined Scaasi bell-bottom jumpsuit she wore to accept her Oscar in 1969.

Streisand represented a shift in the “American Beauty” standard. By refusing to change her nose or her name, she became a symbol for authenticity. She was also one of the few artists who could move seamlessly between the “Old Guard” of show tunes and the burgeoning “New Hollywood” energy.

During the filming of The Children’s Hour, MacLaine portrayed Martha Dobie, a role that remains one of the most emotionally raw performances of her career. On set, she and her co-star Audrey Hepburn shared a close camaraderie and mutual respect that was noted by the production crew.

MacLaine later recalled that director William Wyler, “trepidatious” about the film’s controversial subject matter, cut several intimate scenes, such as her character lovingly brushing Hepburn’s hair, fearing they would be too much for audiences at the time.

MacLaine deeply admired Hepburn, describing her as a “healer” who tried to take on others’ pain. Despite the heavy themes of the film, they reportedly never explicitly discussed the underlying subtext of their characters’ sexualities while filming.

The set was a hub for Hollywood elite; notable figures like Frank Sinatra and Dean Martin visited the cast and crew at Paramount Studios during production.