In 1991, Bebe won another Emmy Award for Outstanding Supporting Actress in a Comedy Series playing Lilith Sternin on Cheers.
Bebe won the TFD Rolex Dance Award and in 1997. The awards is literally a gold Rolex.
Bebe danced with the Princeton Ballet.
Bebe Neuwirth starred in the unsold television pilot Dear Diary. In a move to get publicity, the producers released it in movie theaters and it won the Academy Award for Best Live Action Short Subject.
In 1990, Bebe won an Emmy Award for Outstanding Supporting Actress in a Comedy Series playing Lilith Sternin on Cheers.
Bebe won a Seattle Film Critics award in 2002 for best supporting actress in her role in Tadpole.
Bebe was offered to play Lilith as a regular on Frasier but she turned it down.
Bebe was married to Paul Dorman for 7 years (1984 - 1991).
Bebe is the winner of two Tony awards.
Bebe Neuwirth who played A.D.A. Tracey Kibre in the Law and Order SVU episode 'Night', also played Nina Laszlo in the season one episode of Law and Order SVU, '...Or Just Look Like One.'
Bebe Neuwirth raises money to help stray cats and dogs.
Even though she was a regular on Cheers, Bebe didn't appear in the series finale.
Bebe's real first name is Beatrice.
Bebe Neuwirth: My parents are such great people... They wanted me to do whatever it was that I loved doing.
Bebe Neuwirth: I'll always be a dancer first.
Bebe Neuwirth: You have to be aware. Like, I'm not going to do any downhill skiing. It looks like a whole lot of fun, but I'm not going to risk breaking a leg. I want to be dancing the way I'm dancing now for 30 more years.
Bebe Neuwirth: In a really well-written musical, you talk until you just can't talk anymore, you're going to have to sing. And when you're just so full you can't sing anymore, then you have to dance. It's a natural progression.
Bebe Neuwirth: Stage and film are just two wildly different animals. Why compare the two?
Bebe Neuwirth: People are at their happiest if they are true to themselves. I think that applies to their chosen profession, friends and relationships. It goes for your health too. If you are true to yourself, it seems to me everything should work out pretty well.
Bebe Neuwirth: Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
Bebe Neuwirth: It's very hard for a performer to trust the material and trust that we don't have to do anything but speak the truth.
Bebe Neuwirth: In New York I was always offered the hot, sexy roles. But in L.A. I was offered the plain, dowdy roles. It says a lot about the difference between the coasts.
Bebe Neuwirth: If I'm not in shape, it feels like something is wrong. If I haven't been able to get to class for a while or I've been sick, I don't feel complete. It doesn't feel like the electricity is making its connections.
Bebe Neuwirth: I've been on stage since I was 7. That's where I'd rather be than anywhere else. Just because you can do a bunch of things doesn't mean you are a bunch of things. I can act. I can sing. But I am a dancer.
Bebe Neuwirth: I really abuse the substance unapologetically. There was one good year where I gave up sugar completely. Then, when my birthday came around, I decided I wasn't going to celebrate without chocolate cake. So I eased myself back on sugar. Besides, it makes me happy.
Bebe Neuwirth: I missed New York. Every break I had from the series, I'd fly back to the East Coast just to get back onstage.
Bebe Neuwirth: I kept getting asked to sing places, but I didn't have any material. I didn't want to do some kind of cabaret revue, and I wasn't comfortable talking to the audience. I prefer to have a character in a world set by the conceit of a theater piece.
Bebe Neuwirth: I don't see my dancing or acting as two separate things. I don't define them separately, so I can't say one has helped the other, It's all the same thing. More than anything I love being on stage and performing.
Bebe Neuwirth: I am just a plain Jew; I mean have no training.
Bebe Neuwirth: At a museum, there will be one person weeping in front of the Monet, another weeping in front of the Renoir and another weeping in front of the Picasso. Who can say what moves each person so? That's how I feel about Weill's work.