Episode 11 with Guest Harry Belafonte

On Wednesday, November 30^th, 1972, at 10:00 pm, the 11^th Episode of The Julie Andrews Hour was aired. Unlike the previous Disney show, this episode with guest artist Harry Belafonte was clearly a sophisticated show meant for late night audiences.

After saying hello from their onstage dressing rooms, Julie and Harry appear on a stage set of starry blue night and perform some fancy moves before launching into their high energy medley of “walking” songs:

“There’s the kind of walk you walk when the world’s undone you,

  There’s the kind of walk you walk when you’re feeling proud…”

The eight Tony Charmoli male dancers, who join the stars, dancing with abandon along a lighted walkway, add to the “hip” feel of the number. Julie Andrews and Harry Belafonte do some sharp period ballroom dancing, after which Belafonte takes off with some funk of his own, bringing a unique excitement to the piece. The medley concludes on a high note with an energy level usually reserved for show finales, yet in this case, it’s only the beginning.

The next scene opens with guest Sivuica playing guitar in the foreground and Harry Belafonte seated in darkness under a spot in the background. Belafonte sings “Suzanne,” a slow, folk song, with quiet intensity. This number is beautifully shot, as are all the numbers on the show. For this show, Belafonte’s solos have been carefully planned in terms of movement, lighting and camera angles, making it one of the over all finest of the series.

[Belafonte was born March 1, 1927 in Harlem, New York. From the age of five, until he was thirteen, he lived with his grandmother in Jamaica. After serving in the U.S. Navy during World War II, he returned to New York and pursued a career as an actor and studied alongside great actors Sidney Poitier and Marlon Brando.

To pay for his acting classes, Harry Belafonte began working as a club singer. Although he began as a pop singer, he had a keen interest in folk music and his careful and studied pursuit of this led him to great success. After an appearance at the Village Vanguard in NYC, he was given a recording contract with RCA. His 1956 album, Calyso, sold over a million copies in one year, the first LP in U.S. history to do so. “Matilda” was his first widely released single. In the next decade he earned six Gold Record.]    

There are many nice moments in Episode 1. Among those that stand out are the times where Julie, Harry and Sivuica (whom Julie describes as “Santa Claus”) get together and have some musical fun. Their first number together is Belafonte’s great hit, “Mary Ann.” Later in the show, Sivuica trades the guitar for the accordion and this time, the trio really goes wild. While Sivuica squeezes all kinds of wild sounds from his “box,” Harry starts dancing and encourages Julie to let go, which she does, first playing a whistle, then a gong, and finally pulling in some wild vocal sounds of her own. From here, the trio launch with great fun into one of Harry Belafonte’s top hits, “Matilda.”

At one point, adding to the fun, impersonator Rich Little enters the stage dressed like Belafonte and singing with his accent. It makes for a good laugh, especially when Julie tries to hit him.

One of the loveliest moments in the show occurs after Harry Belafonte suggests that Julie try singing with Sivuica’s playing. Standing against a lovely set, replicating European garden arches, she sings “Starry, Starry Night” to the gentle tones of Siviuca’s guitar. The song is about Vincent Van Gogh’s troubled life and, ultimately, his suicide. The quiet, intimacy of her performance is beautiful and deeply moving.

Belafonte follows this beautifully sad song with one of his hits, “Mr. Bojangles.” Set in a park with rows of benches and street lamps, Belafonte is dressed in ragged clothing and wearing shoes with holes in their soles. A bowler hat and cane add to the style of the piece.  It’s difficult to tear one’s eyes from the artist and the atmospheric scene. Director Bill Davis uses a number of unique shots to add to the artistry, including split screens with close-ups and full body shots and a still shot that captures the singer leaping through the air. It’s a great performance, captured with wonderful artistry by director Bill Davis and cameramen.

                                      ***

It is always a surprise to see how much is packed into an episode of The Julie Andrews Hour and this show is no exception. Indeed, the next number is a surprise. Dressed in a gorgeous gold weave caftan gown with Nehru collar, Julie Andrews sings a very intense rendition of “This Nearly Was Mine.” Once again, the director uses a split screen to show Julie’s beauty in this splendid gown, which must have cost a fortune. In the finale of this number, Julie is captured in slow motion as she twirls with joy to the music. This number simply has to be seen to be appreciated.

Then, suddenly, we are not in a musical land anymore. Julie and Harry appear, seated on a park bench. Almost immediately, we feel they are not themselves. In fact, Julie’s character seems completely different from her, a true testament to her acting ability. The characters Andrews and Belafonte are portraying seem almost playful in the beginning, yet, underneath, there is something tightly strung and not quite right. Though this scene lasts only a few minutes, it seems forever and we cannot turn away. We must find out what is going on with these two characters. Belafonte seems protective of Andrews, while she seems ready to snap at any moment. Again, realizing the brevity of the scene, it is amazing to realize how deeply we are pulled into it. In the end, after she tells him, “I wouldn’t talk to you if you were the last person on the earth...” the camera turns back and we discover that indeed, they are the last two persons on earth.

On the 11^th episode, “Look to the Stars” is devoted to those born under the sign Gemini. Among those paid tribute to are Bob Dylan, (Belafonte sings “Blowing in the Wind), Beatrice Lillie (Julie sings a hilarious “Fairies at the Bottom of our Garden”), and Paul McCartney (Julie sings “Yesterday.”)  There are also some scenes and vignettes with Alice Ghostley and Rich Little portraying the characteristics of Geminis, but it is the tribute to one of the show’s creative men, Nelson Riddle, that steals this segment.

 “Fever,” an arrangement which Riddle wrote for Peggy Lee, is sung by Julie Andrews. Although she’s wearing a high collared pantsuit, a costume which seems odd for this particular song, what she is wearing soon matters little as Tony Charmoli’s choreography comes into play. The number begins with Julie surrounded by eight male dancers, who are standing on huge drums. We, the viewer, only see the dancers’ legs as they beat out the rhythm of this very seductive song. As Julie sings, she moves provocatively from place to place, sometimes taking hold of dancer’s leg, sometimes leaning against them. It’s a great number.

As the segment on Gemini concludes, we find that the show is over. It was a great show. Thank you, Julie Andrews, Harry Belafonte and all associated with this show. Bravo!

All photos on this site are for entertainment purposes only!

For more information on Harry Belafonte, please visit:

http://en.wikipedia.org/wiki/Harry_Belafonte

Please e-mail your comments to: catsong2@netzeron.net

Along with the blog listings on this site by month, a complete list of blogs and links back to this site can be found at: 

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Coming Soon:-December 6th - Episode 12 – Tom and Dick Smothers & Jack Cassidy

                       -December 8^th – Christmas with Julie

Episode 10 - A Tribute to Walt Disney

On Wednesday, November 22^nd, 1972, the day before Thanksgiving, The Julie Andrews Hour was moved from 10:00pm to 8:00 in order to allow Julie’s young fans the opportunity to see her holiday special. The producers of the show had a grand treat planner for the viewers -- a tribute to Walt Disney and the songs from his films. Weaving the original Disney film clips into the live performances of Miss Andrews and her guests, the creative team created a timeless treasure. It is surprising that it has not been shown again during the holidays.



Donald O'Connor

The show opens with Julie Andrews looking lovely in a pink chiffon evening gown. Guest stars Donald O’Connor, Alice Ghostley, and the Walt Disney characters, including Mickey Mouse, Donald Duck, Dumbo, The Three Little Pigs, the Wolf, Goofy and many more join her for the opening, "Zip-A-Dee-Doo-Dah"

As Julie explains, Mickey Mouse, who made his first appearance at the Colony Theater in New York in 1938, turned 44 that year. Clips of Mickey’s early films are cleverly woven into the dialog and music here. This same method of weaving film clips into the action throughout the show, holds our attention and makes the show move along quickly. The quality of Walt Disney's films are such that no matter the age, they are a pleasure to watch.

This espisode of The Julie Andrews Hour includes a very talented group of performers known as The Young Americans, a choral group, founded by Milton C. Anderson in 1962. What made The Young Americans unique is that they were the first choir in the United States to combine choral singing with dancing and movement. Naturally, the young men and women (between the ages of sixteen and eighteen) were multi-talented. In their segment of the show, The Young Americans perform a great medley of songs from Walt Disney pictures, including “Second Star from the Right.”

Carol McCluer had recently joined The Young Americans when they received the offer to appear on The Julie Andrews Hour. Of course, she was thrilled to appear on the same stage as Julie Andrews. Looking back now she says, “I remember being so impressed with how professional she was.”

One of the most charming segments of the show is the scene in which Donald O’Connor (who reveals himself to be a fine character actor on this show) plays Geppetto, the toy maker who created the puppet, Pinocchio. Julie Andrews plays the wooden puppet who becomes a real boy. Her charming portrayal of Pinocchio is a testament to her acting ability. Julie captures the sweet simplicity of a child and even sings the sing "I've Got No Strings" in a child's voice, not the Julie Andrews voice that we are accustomed to.

The scene also boasts a real fluffy grey kitten and a goldfish. In some out-takes that recently surfaced on the internet, the kitten crawls down, and, in an effort to hide tries to crawl up Julie’s pant leg. Ever the disciplined performer, she attempts not to break character until the laughter in the studio is so loud, she can’t help but laugh too.

Adriana Caselotti circa 1938

 One of the truly special moments on this show is the guest appearance of Adriana Caselotti. In 1937, Adriana was hired by Walt Disney to be the voice of Snow White  in the first feature animated film, Snow White and the Seven Dwarfs. On the show, Casselotti (1916-1997) tells the story of how Walt Disney was looking for a particular kind of voice for his film. He asked her father, a voice teacher, if he had any students who might play the role. Finding no one who pleased him, Disney discovered in Adriana the perfect combination of vocal ability and childlike innocence. 

During her appearance on the show, Adriana sings “I’m Wishing” and “Someday My Prince will Come" during which clips from the original film are shown. Vocally, it seems she has not changed in the last 34 years. When she and Julie Andrews join together in a duet of these songs, it is truly lovely.

Other special moments on the show include a comic sketch with Donald O’Connor as Donald Duck, and Alice Ghostley as Cinderella’s wicked step- sister, his wife. (Of course, Alice Ghostley was one of the step-sisters in the original musical television production of Cinderella, starring Julie Andrews.) Another special moment is the musical number, “He’s a Tramp” from the film Lady and the Tramp. In it, Julie takes a break from fairy tales. Dressed in a sophisticated gown with feather boa, she moves through the back alley singing. We soon discover, the object of her affection is “Goofy.”

During a good portion of the show, Julie Andrews wears a beautiful pink, chiffon gown. She has never looked lovelier, and seems completely at ease and filled with happiness. Toward the end of the hour, Julie and Donald O’Connor join together to recall some of the songs from Walt Disney’s films. When Donald mentions “Mary Poppins,” Julie looks at the camera and says “Who?” It’s a very funny moment. Then they proceed to have a wonderful time singing and dancing “Chim-Chim Cheree,” “A Spoon Full of Sugar,” “Jolly Holiday with Mary,” “Step In Time” (with clips from the film), and “Supercalifragilisticexpialidosis.” Julie also sings the lovely solo, “Feed the Birds.”

A friend who attended the taping told me that during Julie and Donald's dance numbers there was some difficulty. The beautiful “scarves,” designed to flow from Julie’s shoulders, were very long and touched the floor, and when hoofer O’Connor was dancing, he kept stepping on them. Apparently, because of this, they had to stop a lot during the taping. The problem seems to have been solved for the most part by having Julie Andrews hold the scarves, or grab them, and make them part of the dance, however, here and there--something you probably wouldn’t notice it unless you were looking for it--Donald steps on Julie’s dress. It’s just one of those problems performers run into and overcome to make “the show go on.” It’s a shame they had this problem because the gown is truly one of the loveliest Jack Bear designed for Julie.

As someone on the crew explained to me, in 1972, technology was far less advanced than it is now. Everything they did with the chromo key-- a kind of blue screen of the period-- was far more difficult and time intensive than it is now. Watching this show, however, you would never guess how difficult it was to produce. The result is flawless. The artistry of Walt Disney and the artistry of those working on The Julie Andrews Hour is seamless and enchanting.

Speaking of enchantment, one of the most wonderful segments on this show is the one in which Julie is put into the Fantasia film. Dressed in leotard, tights and a filmy sort of fairy or flower costume, Julie floats, twirls and drifts through scenes of flowers, leaves and snowflakes. Likely, it took hours of rehearsal, shooting and editing to create this lovely scene, but it is all well worth it. This scene is another treasure which has been too long forgotten with time.

From the author's 1972 Collection



At that conclusion of the show, Julie tells us that Walt Disney’s dream was to make every child in the world happy and to make their dreams come true. After all these years, it is amazing to realize the extent to which Walt Disney succeeded with his dream. It continues, even now.

To close the show, Julie is joined by Donald O’Connor, the Disney characters and The Young Americans, singing “When You Wish Upon a Star. "

As the credits role up, we see children of many ages coming up on stage. Of course, they are more impressed by Donald Duck and Mickey Mouse (one little girl kisses Mickey’s nose) than Julie Andrews. My friend, Vivian, would later tell me that after the show, a little boy and his little sister came up onstage to greet Julie. The little girl gave Julie a flower and the boy, her brother, took it away from Julie saying, “You can’t have that!” Of course, children know nothing about movie stars.

Happy Thanksgiving!

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Coming soon: Behind the scenes with Julie and The Smothers Brothers and Jack Cassidy

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Episode 9 - Guest Stars Robert Goulet and Joel Grey

From the author's 1972 collection

The 9^th episode of The Julie Andrews Hour brought Broadway to the small screen with guest stars Robert Goulet and Joel Grey. From the moment the show begins, the audience is a roller coaster of great entertainment. These three performers know what it’s all about and they give a “socko” performance.

The show opens with Julie Andrews, Robert Goulet and Joel Grey seated before their dressing room mirrors, singing “Four Minutes Before We Open.” Julie and Joel Grey, who are still dressed in their bathrobes, begin to practice their dance steps, while Robert Goulet waits in impatiently for the arrival of his pants. He is  dressed only in a shirt, bow tie, tails, socks and shorts. 

After the opening number and some joking around, the show moves forward with the weekly segment, Look to the Stars. Tonight’s astrological sign is Cancer or “Moon children.” Paying tribute to Ringo Starr, Julie, "Bobby" and Joel sing Sgt. Pepper’s Lonely Hearts Club Band. Each one plays a musical instrument; Julie has a big marching band drum strapped on, Joel plays the noisy cymbals and Robert, a triangle. The stars' playing of these instruments makes for some humorous moments.

The first solo of the evening is performed by Joel Grey.  Grey was born Joel Katz on April 11^th, 1932 in Cleveland, Ohio. His father, Mickey Katz, was an actor, comedian and musician. Joel began performing as a child at the Cleveland Playhouse. He attended high school in Los Angeles and, eventually, ended up in New York where, by the 1960s, he appeared in one major Broadway musical after another: Come Blow Your Horn (1961), Stop the World – I Want to Get Off (1962), Half a Sixpence (1965) and the musical Cabaret (1966) for which he created the role of the Master of Ceremonies and won the Tony Award.

In 1968, Grey appeared in George M!, a musical about the life of showman, George M. Cohan. The show was a smash hit. On The Julie Andrews Hour, he performs a modernized version of George M’s “Yankee Doodle Dandy.” The music rocks, and the dance style is classic and hip. Grey is fantastic here, singing, while he dances across the stage with incredible speed.

It should also be noted that 1972 was the year the film “Cabaret” was released. Prior to this time, Grey was known to primarily to Broadway audiences. In 1972, however, he became a household name, and was praised internationally for his work. Six months after his appearance on The Julie Andrews Hour, he would receive the Academy Award for Best Supporting Actor for his role as the MC in Cabaret.

At the conclusion of Joel Grey's number, Julie and Robert Goulet pay tribute to Rodgers and Hammerstein with the song, “We Kiss in the Shadow” from the musical, The King and I. The song was given a special arrangement for the show, with new harmony for the two singers. It is passionate and beautiful.

Following the musical numbers, Alice Ghostley portrays the characteristics of Moon Children in two comic scenes. In the first scene, she appears with both male guest stars, showing how Moon Children like to agree with others. In the second scene, she and Joel Grey play a married couple. The writers went to town on this scene. It is wild and wacky. In the scene, Joel and Alice play a married couple, having an argument after a party. Joel's character is drunk and wearing a lampshade on his head. It’s a crazy, funny scene, performed brilliantly by these two actors.

Choreographer and director of Cabaret, Bob Fosse, another Moon Child, is paid tribute to next. In an amazing segment, brilliantly filmed in dim light before a mirror, we watch Joel Grey mime putting on his makeup for the role of the MC in Cabaret. Having completed this action, he turns to the camera and smiles, and in that moment we see this brilliant actor go from Joel Grey the man to the character. It is stunning. Joel then performs “Wilkommen,” followed by Julie singing “Maybe This Time,” a fine performance that makes one realize Sally Bowles was a role she could have played. 

Robert Goulet enters, seats himself backwards on a chair and begins to sing “Cabaret” in a way that is riveting. Julie and Joel join in. The two men are seated, while Julie remains standing. The eight Tony Charmoli dancers enter carrying chairs and dance behind them.

                                                           ****

The first half of the show is broken by a huge dance number with Julie Andrews and the eight Tony Charmoli Dancers. Although no notations on this have been found, it appears that this dance is patriotic and may have been inspired by the musical 1776 which appeared on Broadway in 1969 and closed in February of 1972. That same year the film was released.

In this musical number, Julie and the male dancers are all dressed in off white tights and high collared jackets with gold braid. The dance is quite long and intricate, with leaps, high kicks and formation. At one point, we see Julie and the dancers on the apron of the stay with a view of the audience. This is the dance written of previously, that Julie rehearsed and shot for three hours with the audience present. The huge applause at the end, no doubt marks the audience's happiness that they finally got it right. 

                                                           ****

The second half of Episode 9 is dedicated to the songwriting team Alan Jay Lerner and Frederick Lowe. With Robert Goulet and Joel Grey  working on the show, it was the perfect opportunity for Julie Andrews to celebrate these great songwriters. The trio open this segment riding onto the stage in an wagon pulled by a big horse. They are singing songs from Paint Your Wagon. The stage is set with a wide horizon of blue sky which darkens as Julie sings her lovely solo, “I Talk to the Trees.”

The wonderful Lerner and Loew musical, “Gigi” is next with Joel Grey serving champagne to Julie, who is dressed in a lovely red gown. The pair sing “The Night They Invented Champagne,” and then, with chorus, dance a lively Can-Can. It's great fun. The hauntingly beautiful title song, "Gigi" is then sung tenderly by Robert Goulet.

Songs from "Brigadoon” are performed brilliantly Julie sings, “Almost Like Being in Love,” followed by other songs, including one where she and Joel Grey dance wonderful Highland fling.

Watching these great scenes, one marvels that the creators of The Julie Andrews Hour were able to put this show together in a week. But even more than that, one wonders how Julie, Joel and Robert were able to learn all these songs and dances and perform them so wonderfully with only a few days of rehearsal. The quality of the work tells us how amazing these performers really were.

Of course, the celebration of Lerner and Lowe gives Julie Andrews and Robert Goulet the opportunity to recreate a few moments from the musical Camelot in which they appeared together on Broadway. For this episode, they have chosen “What Do the Simple Folk Do.” It is a charming number, but, perhaps, what is most special is that for a few moments we feel as if we have time traveled back to Broadway fifty years ago. That is a treasure.

My Fair Lady arrives at the conclusion of this grand tribute, and any chance to see Julie Andrews recreate something from the show which made her a star is not to be missed. Here she sings “Show Me” with her eight dancers, and at one point, literally knocks them over. Whenever she performs these Broadway numbers she takes on an incredible energy, one that is magnetic, showing us how amazing she must have been on the Broadway stage.

At the end, the three stars sing “With a Little Bit of Luck.” Julie puts on her cockney, and, and at one point, playfully winks at the camera. In the end, all three performers are laughing and falling over one another. Seeing the energy and character of these three great Broadway stars is a joy, an inspiration and, for any aspiring actor or musical performer, a lesson not to be missed.

As Julie Andrews sings the final notes of her song, “Time Is My Friend,” it seems for a moment her voice trembles with emotion. It must have been a grand week for her, and, for us, it has been a grand night.

Julie and Harry Belafonte PART 2

This content has been removed.

Julie and Harry in 1969

All photos are posted for entertainment purposes only.

Coming Next: Episode 8 with Guests: Robert Goulet and Joel Grey!

In the Studio with Julie Andrews and Harry Belafonte

Please note: This blog has been edited down toward the release of a new book on The Julie Andrews Hour.

The day of my return to The Julie Andrews Hour had arrived at last! I took my classes in the morning and, then, hopped on a bus to the ABC Studios on Prospect Avenue. 

I had the letter I'd received from Julie's secretary in my purse (just in case)but seeing that the guard was busy, I walked through the gate and up the slight incline to the studio. As predicted, the “Do Not Enter” sign was sitting on a stand in front of the door. I opened the door and walked in.

It was dark inside, except for the stage. The seats in the back had a low light over them, but sitting there might look as if I had snuck in and didn’t belong. There were a few people sitting down front, so I made my way quietly down the aisle and sat in the center, a few rows back from the stage.

Julie was onstage in her dressing gown. She was rehearsing with Harry Belafonte. Of course, I recognized him right away. My mother often spoke of him. Beginning in the 1950s, Belafonte made a name for himself singing folk songs, particularly those with a calypso beat. Recordings like “All Day, All Night, Mary Ann” and “Matilda” had made him a household name. Unbeknownst to me, three years earlier, Julie and Harry had appeared together on a television special titled, “An Evening with Julie Andrews and Harry Belafonte.” In essence, they were old friends.

As I sat down, Julie and Harry were working on the opening for the show. They each had to open a make-believe door and rush out, but they couldn’t seem to do it fast enough for the director. Director Bill Davis, who we only heard through the PA system, told them to do it again. It seemed the scene was going to be shot in chromo-key, with a cartoon door (not sure about that), so Director Davis asked them to pantomime opening and closing the doors.

Watching these two great performers pantomiming their actions caught my attention. They were doing exactly what I had been studying in my acting class! ...

While Julie and Harry changed into their costumes, the stagehands laid out a design of foot lights on the stage floor, which gave the performers a path to dance on.  

While the crew was setting up, I moved over to a seat against the apron of the stage. Somehow I felt more secure there, as if I could blend into the structure and not be noticed. It also put me opposite center stage. The apron extended from the stage out into the audience about twelve rows. It was the place where, most of the time, the camera on the boom was located ...

An Evening with Julie Andrews and
Harry Belafonte in 1969.

.... The section of the number, when everyone danced in and out of the scene needed a bit more work...  For a time, Harry practiced with Julie’s choreographer, Tony Charmoli, while Julie sat on the side in her chair and took off one of her shoes.

Episode 8 – Guests Dan Dailey and Cass Elliot

The eighth episode of The Julie Andrews Hour was a nostalgic return to the era of musical comedy films with special guests Dan Dailey and Cass Elliot.

Dan Dailey in the early
days of his career.

Dan Dailey was a well-loved movie musical star who had appeared in such great hits as When Mother Wore Tights opposite Betty Grable, and There’s No Business Like Show Business in which he appeared with Ethel Merman, Donald O’Connor, Johnny Raye and Marilyn Monroe.

Cass Elliot, of course, had been a member of the famed group, The Mamas and the Papas.  Formed in 1965, Cass Elliot eventually left the group after being repeatedly insulted by John Phillips. The Mamas and the Papas, as of 2012, have sold nearly 40 million record albums. In 1972, Cass was working solo and had recorded two record albums for RCA, both of which were released that year. Her three guest spots on Julie’s show likely helped to publicize her new albums.

Dailey and Elliot's appearance together was likely meant to attract a wider audience to the show; one that included older folks who loved nostalgia and the younger set who preferred rock and roll.

                                                         ***

The show began with uproarious applause as Julie Andrews introduced her guests. There was also a neat, two-story set onstage with twelve doors which the dancers opened and shut quickly, saying "Alright!" to everything that's about to take place. 

Julie and Dan then sat down for a brief talk about the old movies. Julie said she’d “have given anything to be in a musical” with Dan. From there, the pair hurried back to a new set where they reenacted a compendium of movie musical stories about a couple trying to get into show business in the old vaudeville days. Alice Ghostley and Cass Elliot joined Dan in a little Charleston, and Rich Little made an appearance as Groucho Marx. It’s a quick but interesting story which enables the cast to sing some great old songs. Julie tap dances and, in the end, she and Dan perform one of those old, sentimental, charming numbers, “You Were Meant for Me.” It’s the kind of song and dance that brings a smile to your face and makes you feel warm inside. On the night it was performed, the audience knew they were seeing something special and showed their appreciation by letting out a cheer. That says it all.

The opening vaudeville routine is contrasted beautifully by the next scene in which Julie Andrews sings a modern solo, “And I Love Him.” The song begins with Julie, dressed in a simple, white summer gown, standing half in shadow, half in light, as if she were standing in the moonlight.  

The 70s was a time of experimentation with the camera. Hollywood was looking for reality and extreme close-ups were often used. Bill Davis frequently directed the cameramen to come in close for Julie’s solos, sometimes focusing on her blue eyes. This kind of work brought an intimacy to audiences at home that had previously not existed. For part of this song, Julie is lit by a beautiful backlight, which, in the end, becomes a halo of light around her head. She sings this song beautifully, from her heart; the combination of her artistry and that of the lighting and camera work are quite stunning.

                                                         ***

“Roommates” was a made-up sketch created by the writers about Julie Andrews and Alice Ghostley living as roommates in New York City during the early part of their careers. From time to time, there were new episodes of this story. Alice Ghostley is hilarious as the roommate who sits at home alone and never gets a date, while her perfect roommate, Julie, receives hundreds of phone calls, Broadway roles and can make a dress, create moose meat dip, speak hundreds of languages and learn a role all in a matter of minutes.  

In this particular sketch, an almost unrecognizable Rich Little plays Julie’s Indian date, Razmir, speaking a strange language in a high-pitched voice. When Julie and Rich start speaking this language together as Alice looks on, it’s hilarious. All three performers have great comic sense and great timing, making these a scene you can watch over and over and still laugh. The comic abilities of all three are amazing.

As Rich and Julie go on their date together, leaving Alice all by herself, the camera turns to a Cass Elliot, who is sitting in a window seat, looking out a rainy window. Cass sings “Alone Again, Naturally” with an honestly and simplicity that is striking. Her song is met with huge applause and whistles.

                                                        ***

The “Look to the Stars” segment follows. Capricorn is the astrological sign of the day and tributes are paid to those who were born under the “sign of the goat.” Julie, Dan and Cass all take part in honoring Martin Luther King, Jr., Carl Sandburg, and Rudyard Kipling, among others. Rich Little plays Richard Nixon (also a Capricorn) and then, as Nixon, begins to sing “Minnie the Moocher” in tribute to Cab Calloway. It’s a very funny number. Cass Elliot takes over the song, dancing with The Tony Charmoli Dancers. Although Cass was quite overweight at the time, she’s a fine dancer and sings the old songs great. Cass Elliot, who lost the Broadway role of Miss Marlmelstein in I Can Get It for You Wholesale to Barbra Streisand, proves here that she could have been a great musical comedy performer.

Two ladies Dan Dailey mentions who were born under the sign of Capricorn are Ava Gardner and Marlene Dietrich. At the mention of Dietrich, Julie walks to a chair, puts one foot up on it and gives a fine portrayal of Dietrich singing “Falling in Love Again.”

Then, in one of the finest performances he ever gave on the show, Rich Little portrays Humphrey Bogart in a scene from “The Caine Mutiny Court Martial.” It is truly an amazing performance, proving that Little’s ability is not just one of impersonating a voice, but a talent to become that person on a very deep level. At the end of the scene, the camera turns to Julie and we see that she is truly moved by what Rich Little has achieved here.

It has been said that The Julie Andrews Hour was one that included so many great songs and routines it’s rather overwhelming. This show exemplifies that as the cast pays tribute to Jule Styne. Dan Dailey sings and dances “All I Need Now Is the Girl” from Gypsy and Julie Andrews performs a simple yet intricate “Bye, Bye Baby” from Gentlemen Prefer Blondes with the eight Tony Charmoli Dancers. Once again, Charmoli has created a stylish and clever dance number, great for the television screen, and one which makes the show shine.

                                                  ***

In one of the darkest scenes of the entire series, Julie Andrews and Dan Dailey portray two vaudevillians who are about to perform their last show. At one time they had dreams of a great future onstage, and a lovely home and children. The reality is that they have failed. He is an alcoholic and she is bitter, making plans to leave him after the show is over. Both actors dig deep for this scene and the acting is excellent, with the actors putting their clown make-up on as the scene progresses.

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The final setup is a repeat of the set the previous week, when Julie and Diahann Carroll sang together, with Nelson Riddle’s orchestra on the stage. This time it’s Julie and Cass Elliot singing. Julie is wearing a beautiful one-shoulder coral print gown, looking dressed to appear on any concert stage. Cass is wearing a lovely deep blue gown. The singers announce that they will be performing a medley of Simon and Garfunkel songs.

Cass and Julie singing that
memorable Simon and Garfunkel duet.

Ordinarily when one thinks of Julie Andrews or of Cass Elliot, one does not think of the two singers together, or even that their style or voices might go well together, but Julie and Cass are great together and the difference between them only adds to the excitement of their performance.

Cass was used to singing “four-part male-female harmony.” Being accustomed to holding her own against three singers, she is a little bold in her manner of singing. She takes the low voice and is not intimated by Julie’s beauty or vocal ability. She knows her music and she wants to connect and take care of the other performer, in this case, Julie.

There is a point in the song where the two women are singing “Da-dee-dee-dee, Da-dee-dee-dee” as the entrance into “Mrs. Robinson.” At this point, the two ladies really let loose. They are having a great time singing together, and we have a great time watching them. The voices of The Dick Williams Singers join Julie and Cass with "Scarborough Fair," and the music here is rich with intricate harmonies. It’s a beautiful piece.

As mentioned in the past, there are songs on The Julie Andrews Hour which should be released on CD for the world to enjoy. This duet with Julie Andrews and Cass Elliott is one of those surprising, beautiful and perfect pieces of music that belong out in the world. It really seems a crime that it’s not. It belongs on a list of the top ten, if not one of the top five, for a Julie Andrews Duets CD. Is there anyone listening who can make this happen?!

As usual, the show concludes with Dan, Cass, Alice and Rich onstage as Julie  sings the closing notes of her theme song, “Time Is My Friend.” Episode 8 is a lovely, warm show. It’s like going home at Thanksgiving to a familiar place filled with love and laughter, and when it’s all over, you are so glad you were there.

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