I was born in a revue company stage
My family worked in the theatre always
I sang and performed from a very young age
I was quite determined, never in a daze
The Netherlands was my place of expression
My life was articulate in many ways
Three husbands, some kids, and show-biz accession
I even lived in Pretoria for a time
I enjoyed an effective working session
Eureka, the movie company, was mine
My son André was at the head of management
Lien, my daughter, any task she could align
My films were all about Bet, the corpulent
She was bossy with her henpecked husband Hein
Their physical imbalance caused amusement
It could be compared to the Nursery Rhyme
Where Jack ate no fat and his wife ate no lean
The comedic buildup was utterly prime
Since betwixt them both they licked the platter clean
My screen character debuted in variétée
She made people laugh in every vaudeville scene
Thus, I brought my Jordaan-genre to the ciné
It mocked some locals from the Dutch Capital
It was about the Jordaan neighborhood cliché
My acting style was somehow biographical
It was a tribute to Lion, my brother
He took his own life and it was tragical
Art can transform pain into something other
The Adriënne Solser hallmark was social farce
Constructive satire I would never smother
My live-act in synch with the screen was a force
I adored the multidisciplinary
My fiction had a pragmatical discourse
My method was close to documentary
Since I was often shooting on location
In the midst, life’s joys were transitionary
On one end I got my standing ovation
On the other I lost my son suddenly
Pneumonia hit him and left no salvation
My grief made me plunge into work entirely
In my film, Bet trained for the Olympic Game
It was in 1928 precisely
That my city, Amsterdam, hosted the flame
Women were allowed to join for the first time
I was at the height of my success and fame
Later on, my jubilee was so sublime
For my sixty years in the performing arts
I felt swept away by my own pantomime
It was 1943 in fits and starts
But later that year I was pushed off a train
It was like being tossed from some high ramparts
I went to hospital for a femur sprain
Doetinchem is where I was stationed to mend
Alas, how I longed for a glass of champagne.
My family worked in the theatre always
I sang and performed from a very young age
I was quite determined, never in a daze
The Netherlands was my place of expression
My life was articulate in many ways
Three husbands, some kids, and show-biz accession
I even lived in Pretoria for a time
I enjoyed an effective working session
Eureka, the movie company, was mine
My son André was at the head of management
Lien, my daughter, any task she could align
My films were all about Bet, the corpulent
She was bossy with her henpecked husband Hein
Their physical imbalance caused amusement
It could be compared to the Nursery Rhyme
Where Jack ate no fat and his wife ate no lean
The comedic buildup was utterly prime
Since betwixt them both they licked the platter clean
My screen character debuted in variétée
She made people laugh in every vaudeville scene
Thus, I brought my Jordaan-genre to the ciné
It mocked some locals from the Dutch Capital
It was about the Jordaan neighborhood cliché
My acting style was somehow biographical
It was a tribute to Lion, my brother
He took his own life and it was tragical
Art can transform pain into something other
The Adriënne Solser hallmark was social farce
Constructive satire I would never smother
My live-act in synch with the screen was a force
I adored the multidisciplinary
My fiction had a pragmatical discourse
My method was close to documentary
Since I was often shooting on location
In the midst, life’s joys were transitionary
On one end I got my standing ovation
On the other I lost my son suddenly
Pneumonia hit him and left no salvation
My grief made me plunge into work entirely
In my film, Bet trained for the Olympic Game
It was in 1928 precisely
That my city, Amsterdam, hosted the flame
Women were allowed to join for the first time
I was at the height of my success and fame
Later on, my jubilee was so sublime
For my sixty years in the performing arts
I felt swept away by my own pantomime
It was 1943 in fits and starts
But later that year I was pushed off a train
It was like being tossed from some high ramparts
I went to hospital for a femur sprain
Doetinchem is where I was stationed to mend
Alas, how I longed for a glass of champagne.
You Might Like
