Julie Andrews Hour Magazine Covers 1972-1973

In 1972, Julie Andrews was one of Hollywood’s greatest female stars, rivaled only perhaps by Barbra Streisand. Although, years later, critics made much of the fact that Ms. Andrews’ films after The Sound of the Music did not do that well at the box office, I can tell you --as person who lived through that period-- the average person was not judging Ms. Andrews based on the box office. She was a great star and everyone knew it.

During late 1972 and the first half of 1973, because Ms. Andrews was a great star, there was a great deal of attention as to what took place in Studio C at ABC where The Julie Andrews Hour was being taped. 

During this period, quite a few mainstream magazines chose to put Julie on their cover. These were beautiful covers. Here is a little bit about some of those cover stories.

TV Guide – December 9, 1972

Julie posed for this lovely photo on the set of The Julie Andrews Hour. This article, for which the writer interviewed Blake Edwards, gives something of the history of Julie’s career and the creation of The Julie Andrews Hour. It was hoped that the television series would continue for at least two years. In the article, producer Lew Grade states that if the show remains on the air just two years, he will earn about $15 million.

The TV Guide article also reveals that the show opened with a Nielsen rating of 17.3 and then descended to a rating of 11.4 the second week.  Unfortunately, the show had been given a 10 pm weeknight slot, which, as producer Nick Vanoff noted, was obviously too late for a good portion of Julie’s fans.

Toward the end of the article, an interview with Cass Elliott is quoted. Ms. Elliott speaks of working until 4am with Julie, noting how even at that hour, Julie was pulling out everything she had to make the show work. “I was embarrassed to complain. I dunno, but there is something very special there, which you grow to love…”

This McCalls cover was one of my favorite.
The blue of the "McCalls" and Julie's eyes
were perfectly matched!

             ***

One week after The Julie Andrews Hour won seven Emmys, the McCall’s May 1973 issue, with a beautiful photo of Julie on the cover, appeared on the newsstand. The article was titled “Julie Andrews Fights Back.”

Author Chris Chase interviewed Julie before anyone knew whether The Julie Andrews Hour would be renewed or cancelled. The article featured photos of Julie getting out of her car in front of her Beverly Hills home, standing by her pool, in the recording studio, and by the ocean at the beach house in Malibu. 

In response to the question about how she would feel if the show was cancelled, Julie says, “Off course I’ll be hurt, everyone wants to be accepted and loved, but all you can do is your best… I’ll feel sorry for all the people who’ve worked so hard…” To close our her statement, Ms. Andrews concludes that she’ll be rather glad to be home again, hinting that her daughter Emma has had a rather bad time with her being away from home so much.

Those who worked with her had this to say:

“She’s an angel,” -Nelson Riddle.

“She has no temperament,” -Ian Fraser.

“She’s so kind, so sensitive, so unwilling to see anyone embarrassed.” - Alice Ghostley

Women’s Homelife – June 1973

Summer 1973

The photo shoot for this cover can be seen in Blake Edwards’ documentary film, “Julie.”  The editors chose the brightest photo of the shoot and called the article, “The Trials and Triumphs of a Working Wife.”

The article stated that Blake was very protective of Julie. According to the writer, Julie loved to be silly and rowdy, but had to save that aspect of her personality for the times when Blake wasn’t around. However, he concluded, Blake was good for her.

The 1973 Emmy Awards - The Julie Andrews Hour Wins!

On April 20^th, 1973, the 25^th Annual Emmy Awards celebrated television’s best work for the previous season. That day The Los Angeles Times headlined the Emmy story with the fact that The Julie Andrews Hour and The Waltons were the leaders in this “Emmy Race.”

The Waltons, a wholesome series about a real family of the Depression area starring Richard Thomas, came in first with 12 nominations. 

No one involved with The Julie Andrews Hour was quite sure what to expect. The Times stated that while Julie’s show opened with “fanfare and critical favor,” it had never been able “to climb out of the bottom ratings.” 

That night, as the awards for The Julie Andrews Hour began to pile up, producers  Nick Vanoff and Bill Harbach were estatic. Last year, Mr. Harbach sent me a copy of a photo he and Nick had taken after the awards ceremony. 

Producer Lew Grade presenting Julie with her
Emmy Award for The Julie Andrews Hour

Photos appearing here are for entertainment purposes only!

Episode 24 - The Final Show with Henry Mancini

The final episode of The Julie Andrews Hour, which aired on March 31^st, 1973 was met with great anticipation and sorrow by fans who loved seeing Julie on their television every week. It had been a great adventure. Now it was over.

The show opened with a wide, seemingly vacant set, expect for the grand piano at the back of the stage. Julie stood next to it, wrapped in what appeared to be a grand cloak, ruffled about the neck and wrists, a style popular at the time.

Then, “Whistling in the Dark,” a song Henry Mancini wrote the film, Darling Lili, is heard and Julie begins to sing. The camera follows her as she walks through light and shadow. This is one of Julie Andrews’ finest performances, a melding of grand music, beautiful singing and subtle emotions which pass across her face, wrapping the audience into the experience.

At one point, Julie opens her cloak and we see that it is really a lightly made wrap under which she is wearing a sparkling bronze body-suit. Loosening the cloak, she waltzes to the soaring music. It is perfection.

Now the lights come up, revealing that a full orchestra is onstage. At the close of the number, the musicians are all on their feet, applauding. A true tribute.

Julie and Henry Mancini

Julie introduces us to Henry Mancini, by 1972 (as Julie tells us) winner of three Academy Awards and twenty Grammy Awards. Quite amazing. On entering, Henry, who seems to have a dry sense of humor, announces that he has been practicing his jokes and bird calls for the show.

Meanwhile, Julie asks if he recognizes one of the trumpet players in the orchestra, saying he looked slightly familiar. The camera turns to the orchestra and we see, it’s the Pink Panther sitting there.

After that, Julie, who has lost her clock and is now dressed only in her bronze halter pant suit, tries to track the Pink Panther down. Soon he has multiplied to four Pink Panthers, and a dance with comic moves follows. At one point, the Panthers indicate that Julie should jump in their arms. When she tries, they all vanish!

Following the Pink Panther segment, Julie comes to the piano where Henry Mancini is conducting a group of singers. She joins them, with no background music other than the chorus, to sing “The Days of Wine and Roses.” Needless to say, it’s lovely.

Then, we see Henry Mancini seated at the piano, half in dark, half in light. Julie appears, dressed in a trench coat, holding a gun. This is the Peter Gunn segment, no doubt a tribute to Blake Edwards as well as Mancini.

At one point, Julie tells Henry she’s looking for Blake Edwards. When he tells her that Blake is married to Julie Andrews, she says, “Mary Poppins? Oh, well, whatever turns him on.”

In the midst of all this, Julie shoots Henry and he falls on the piano, apparently dead. Then a chase begins, to find the killer backed by the music from Peter Gunn. Excitement and suspense are fill the scene as the dancers appear in spots of light. There is running and movement throughout the entire studio, including the audience area. Julie, in a trenchcoat is on the trail and at one point a woman passes clues in an envelope to her, taking it from her dress. Later, she has clues hidden in her garter. 

In the end, Julie arrives at a door, thinking she will find what she’s looking for. Behind the door is a man with his back to us. It turns out to be Nelson Riddle. He is the one who shot Mancini because, he says, Mancini was moving in on his orchestra.  The two men then join together for a short duet, Nelson on his trombone and Mancini on his piccolo. Julie joins them, vocalizing, and together they create another famous piece of music (Elephant Walk?)

                                                      ***

After a break, Julie and Henry Mancini are seated on the “Getting to Know You” set, having tea and speaking about Mancini’s family. He has twin girls who are now grown and a son. One of his daughters had written him a note in a card, which he then wrote music for and which became “Sometimes,” a song recorded by the Carpenters. Julie loves the song asks to sing it. It is a song of gratitude to those we love and with Henry Mancini playing and Julie singing, it is a special moment.

When Henry Mancini compliments Julie on her television series, he says that her work is always so “perfect.”  In response, Julie asks him not to call her perfect. Somehow, she comments, that word is always used about her, but she is far from perfect. She thinks the reason this work is used about her may be because of Mary Poppins’ “practically perfect in every way.” To prove how imperfect she is, she says they have some clips which will show all her mistakes, and we get to see some of these delightful bloopers.

There is also a very beautiful song included on this show. Julie tells us it was recorded some time ago but never seemed to fit in any show, so they are putting it on this show. It’s called “Once Upon a Time,” and in this lovely song, we also get to see Julie standing beneath the dazzling crystal tree.

When the cameras once again return to Julie and Henry on the set, Mancini comments that there are some people waiting to see her. The people are the eight male Tony Charmoli Dancers and Julie says she wants to see them as well because there’s something she’s been wanting to do for a long time.

When the dancers enter dancing to “This Guy’s In Love with You,” the camera pulls back to show Julie standing downstage, back to us, watching them. She says she wants to introduce the guys who have been dancers, singers and friends on the show. Performer Ken Berry later commented on Julie’s desire to introduce the dancers, saying that it was so kind of her because dancers work so hard and get very little in return, other than the joy of their art.

Julie introduced each dancer as they sang a phrase from “This Guy…” to her. They are introduced in this order:

Joe Kyle, Jerry Trent, Wayne Dugger, Walter Stratton, Gary Crabbe, Gary Menteer, Tom Anthony and Garrett Lewis.

This is the last time the dancers appear on the show. From here, we turn to a conversation between Julie and Henry about the importance of music in film; how it brings out the drama, comedy or whatever is in a scene. To illustrate this, they perform a scene from Gaslight (or what appears to be). For the first run-thru of this scene, Julie enters as a distraught wife, hearing things and fearing she is going mad, or that her husband is trying to drive her mad. The scene takes place in the late 1800s, and Julie and Henry are wearing period costume on a period set. Mancini is not a bad actor and looks like cold and forbidding at the beginning of the scene. The intensity of the music adds to the suspense.

For the second run-thru of the scene, there is rinky-dink piano playing in the background. There is also a laugh track, but the music alone is enough to make you laugh. Julie and Henry Mancini’s reactions only heighten the comic effect. When Mancini goes to take a drink of wine, attempting to ignore his wife’s (Julie) worry that he is driving her insane, he can’t help laughing. The director have left this uncut and it’s funny to watch his laughs.

Julie plays along. Standing at the back of the set, unable to see the laugh we do on camera, but obviously aware he’s loosing it, Julie asks, “Are you alright?” which makes it even funnier.

At the end, Mancini, attempting to push Julie out the window, falls out himself, only on the second time around, when she calls his name he answers. Going to the phone, she orders sandwiches and asks the restaurant to call the police (rather than calling herself) as there’s been an accident. What makes it even funnier is the fact that the old fashioned phone she’s talking on is not screwed tightly together and keeps falling apart, however, Julie, pro that she is, moves the parts around and just keeps going!

***

For the final segment of the show, we are back on the stage with a full orchestra. Henry Mancini is seated at the piano, and in the background we see Julie seated with the orchestra.  Mancini plays “A Time for Us” from Romeo and Juliet. Then, playing a phrase from Whistling in the Dark, he launches into Charade. Julie stands in the back among the musicians and sings, Charade, Sweetheart Tree and Dear Heart. Then, walking to the piano, she and Mancini conclude this wonderful musical performance with his most famous song, “Moon River.”

After this grand performance, there is no sentimentality about the ending of the series; in fact, no word is mentioned that this is the final show. After a break, Julie concludes the show with a few bars of her song, “Time is My Friend” while Henry Mancini does bird calls, making Julie laugh. Then, she says, “Goodnight,” and the two turn and walk to the back where Nelson Riddle is standing. The three can be seen, through the credits, talking and, at one point, Julie appears to be demonstrating a bird call of her own.

Thus ends this grand series

© Michelle Russell

Photos appearing here are for entertainment purposes only!

Cubby O'Brien - Drummer

One member of Nelson Riddle’s orchestra, though he didn’t start out that way, was drummer Cubby O’Brien.  O’Brien was a former Mouseketeer and by 1972, working with some name people. He began working on The Julie Andrews Hour as a rehearsal drummer.

Born in Burbank, California in 1946, Cubby’s given name was Carl Patrick O’Brien. As a baby, his mother thought he looked like a little bear cub and began calling him “Cubby.” The name stuck.

Cubby’s father, “Hack” O’Brien was a well-known drummer, who worked with some of the era’s great Big Bands.  All three O’Brien boys, of which Cubby was the youngest, were interested were interested in music.  Cubby began taking music lessons at the age of five. As a youngster, he performed with Roger Babcock Dixieland Band, sometimes appearing at charity events. At one of these events, a staffer for Walt Disney staffers saw him, and recommended him to Mr. Disney. As a result, Walt Disney personally asked nine year-old Cubby O’Brien to audition for The Mickey Mouse Club. (Walt Disney selected each member of the show himself.)  Cubby was among the first Mousekateers, appearing on the show from 1955 – 1958.

By 1972, Cubby O’Brien was a professional drummer. As he explains it, in those days there was a lot of work for musicians. He played for The Carpenters, among others and filled in wherever he could. When The Julie Andrews Hour went into production, he was hired to work as the rehearsal drummer for the dancers. He’d play during the week at dance rehearsals, drumming the beat of the music. On the weekends, he often traveled to Vegas to work with the Carpenters as well as other singers.

In addition, as Cubby explained it, although the music was always pre-recorded for the show, during the taping, usually one or more musician was there to play live. Eventually, he began to fill in on this work as well, and finally stepped in, playing with the band.

Cubby says he was thrilled to work with Nelson Riddle, a legend even then. And working with Julie Andrews was always a great pleasure.

Today Cubby O’Brien continues to work with singers, often backing Bernadette Peter.

More on Cubby later. You may find his site on the web.

© Michelle Russell

To request that The Julie Andrews Hour be released on DVD, please contact:  dan.gopal@itv.com    at ITV and let your voices heard!

Be sure to ask for the release of the music on CD as well!

Photos appearing here are for entertainment purposes only!

Episode 23 with Harve Presnell and Donald O'Connor

The opening of Episode 23 on March 24^th, 1973 was quite a departure from Julie’s earlier shows. In a tribute to the popular Kung Fu films, a group of Karate Black Belts were on the stage, practicing their moves. Meanwhile, in the back we see Julie Andrews, dressed in a simple white pantsuit with a black belt, hands clasped behind her, standing stock still. She probably was advised to do so as well, in order not to get hurt!

Eventually, Julie begins to sing, “Something’s Got to Give.” At certain moments, she does her own Karate moves. A series of shots with the Black Belts, leaping, breaking blocks of wood are shown, sometimes catching them mid-air or mid-move follows. Finally, one fellow takes everyone out. Things are flying around Julie, and it’s difficult to imagine that she shot this scene without breaking into laughter. In the end, the winner takes the prize—Julie--that is until she knocks him out herself!

Of course, this entire show is not about Karate. Ms. Andrews soon introduces her wonderful guests, Donald O’Connor and Harve Presnell, who we are told has flown in from London where he is starring (as Rhett Butler) in the musical version of Gone with the Wind. Unfortunately, this show did not succeed.

To Learn More about Harve Presnell who sadly left us in 2009, please visit:

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

                                                ***

The first half of the show is Julie and Donald O'Connor. They begin with songs about streets and we are taken back to old Broadway and the great musicals of the 1940s. It’s obvious that Julie enjoys working with Donald O’Connor and they make a great musical pair. Watching this, one wishes they had made a film together.

After the opening number, Julie appears dressed in a button gown of old English Music Hall, but it’s an elegant button gown, with a train. She also sports a cap. She and her fellows sing an updated version of the “The Old Kent Road.” (You may recall Shirley Temple sang this song with Arthur Treacher in the film, The Little Princess, though I imagine most British people know it for other reasons.

Donald O’Connor appears onstage next with the eight Tony Charmoli Dancers, singing and dancing “When My Sugar Walks Down the Street (the Little Birdie’s go Tweet, Tweet, Tweet.”)  To have something to sing about, Julie walks by them first. She’s dressed in a tight fitting-dress, twirling a handbag and swinging her hips. She appears again at the end, and says ‘hello’ to the guys in a manner it’s difficult not to laugh at. Very cute. The song and dance by O’Connor and fellows is just a classic.

The next musical number takes us to Paris! Julie and Donald are singing “Bonjour Paris,” a song from Funny Face. Musical walkways are used for this number and the dancers join in. From here, we move to New Orleans. It’s a great scene, beginning in darkness and moving to a brightly lit stage, everyone is wearing wonderful costumes with hats, and waving and slapping their tambourines. Julie appears dressed like a saloon singer. There’s a lot of dancing and rhythm, and everyone on stage seems to be having so much fun, it makes you want to jump out of your chair and join them! Wow! What a wonderful set of musical numbers, but it’s not over yet.

 To learn more about musical comedy star, Donald O’Connor, please visit:

http://en.wikipedia.org/wiki/Donald_O'Connor

                                                   ****

Just before our intermission, we hear some familiar music and out comes Rich Little as Johnny Carson. Even before he says a word, he’s got Johnny down to a “T” and we can’t help loving him. There are great jokes and lots of laughter. “After the commercial we’ll have WWII with the original cast and a surprise ending.” It’s all in the way he says it, and we have to laugh. From there, Rich changes to Jack Parr – that is Jack Parr putting down Rich Little. Whether you remember Jack Parr or not, Rich Little is still funny.

                                          ****

If the entertainment was great for Part one of this show, part two astounds. The music comes up and Julie appears as a vision, playing the girl in various costumes in the art work (this period and artist eludes me now and will have to be filled in later.)--while Harve Presnell sings about “Julie.” It is stunning.

Soon, we see Julie wrapped in yards of plush satin singing, “But Not for Me.” She appears in other costumes with wigs as well (recreating the artwork). In one, she looks like a Jane Austin character. This is a lovely and amazing series on pictures that must be seen, rather than described. I can imagine someone wanting this artwork on their wall.

Then, suddenly, as Harve Presnell sings, we see Julie, in a flowing white gown, the wind blowing her chiffon gown as she twirls. He meets her and they dance to “Out of My Dreams” from Oklahoma. It is a glorious, unbelievably beautiful scene, during which Julie gets to use her voice in a way that only she can. A true work of art.

                                                      ***

Next, we have a break from beauty. This portion of the show is a comedy-drama in which Julie, wearing a sleek form-fitting modern dress with a gold coin-link belt, is in danger and needs to escape. At least, that’s what she’s told by Rich Little who is playing Humphrey Bogart in a scene from one of his films.

As Julie travels from place to place, she encounters Rich again, in the persons of Perry Mason, John Wayne, Truman Capote and Henry Fonda, among others. The acting is extremely well-done, and by the end, Julie has messed up her hair as she runs her fingers through it in despair. Finally, she stands swigging a big bottle of wine. She hiccups and then, the unexpected reaction sets her into a fit of laughter, obviously not planned for the scene, but the director has left it in, all for our enjoyment. 

Now we see Julie, standing on a spiral stairway, wearing deep pink and purple. She sings “The Man That Got Away,” all the while, going round and round, down the staircase, until at the end she is seated at the bottom. The song is well-done, the staircase, a bit dizzying. A comic touch ends the scene. The phone rings and Julie has to run all the way up those stairs to see if the ‘man that got away’ is calling!

Finally, we see the three stars before us: Donald O’Connor, Julie Andrews and Harve Presnell. Mr. Presnell is quite tall and for once—a rare occasion as Julie is 5’7,” she looks small. 

On this night, the trio is celebrating the music of Frank Loesser, giving us some rare treats. For the opening Donald O’Connor and Harve Presnell sing “Standing on the Corner, Watching All the Girls Go By.” Although these two performers have about a foot difference in their height, they are equally strong and it’s great. In the end, Donald O’Connor does a pratfall, falling on his face.

Next, Julie, wearing a lovely gown, on a set with flowers, begins a new scene with “Somebody, Somewhere” a song rarely heard. She comes forward to join Harve Presnell for “My Heart Is So Full of You.” This musical number with these two great musical performers brings tears to the eyes. It is beautiful and THRILLING! I can say no more than that. It amazes me that this musical treasure, among others, has not seen the light in forty years. What a shame. (I neglected to say, this should be top of the list for any duet CD with Julie Andrews.)

The cast now moves on to the musical, “Where’s Charley” and after some fun with the whole cast, especially Julie who can make you laugh just by looking into the bassoon she is supposedly playing, we get to see O’Connor sing and dance, “Once In Love with Amy.” Short of seeing the original, Ray Bolger, watching Donald O’Connor is great entertainment. You cannot help but get a smile on your face as you watch him.

From here, the show moves to “Guys and Dolls.” Julie, sporting a feather boa, takes the solo, “If I Were a Bell” and she is ready to go. She’s having a great time singing this number, looking into the camera right at us, and we can’t help having a great time with  her.

Presnell follows with “Luck Be a Lady.” His persona and voice are powerful. It’s a thrill to see a great performer like this, sing a great musical theater song.

The scene from “Hans Christian Anderson,” perhaps a lesser known musical by Frank Loesser is quite enjoyable. Julie Andrews and Donald O’Connor are seated in a swing together, singing. Donald, who once sang with Ethel Merman, is not meek about his part of the song and holds his counterpoint melody strongly. There’s great pleasure between these two performers working together and it makes it all the more pleasurable for us, the audience.

“I Believe in You” from “How to Succeed in Business without Really Trying” is sung by Harve Presnell and Julie Andrews. Then, with two faces looking at one another through the bubbling water bottle dispenser, the camera pulls out as the cast joins together to sing and dance, “Brotherhood of Man.”

Once again, the obvious enjoyment of great talent working together, singing great music just overflows from this show. And when Julie Andrews is truly happy to be performing, she radiates with beauty and joy.

As Julie says 'goodnight’ to her guests, Donald replies, “It’s always a pleasure to dance on your show,” and gives us an impromptu tap step, then leaps through the air as he leaves the stage. Harve follows with a few notes and Julie responds in a few notes, sounding like a deep-voiced diva.  Rich Little closes out as Cary Grant.

Then, standing before the set of Loesser sheet music and a deep, starry sky, Julie sings the entire song, “Time Is My Friend,” a rare event. As she sings “Time now to go, for everything must end,” do we detect a tear in her eye? She has one more show to go. Sad, indeed. But what a wonderful night it was. And what a treasure!

© Michelle Russell

All photos on this blog are for entertainment purposes only.

For more information on The Julie Andrews Hour and a list of subjects on this blog, please visit:

http://www.JulieAndrewsHour1972.com

Episode 22 with Guests Carol Lawrence and Steve Lawrence

On March 17^th, 1973, the 22^nd Episode of The Julie Andrews Hour aired on ABC.

1930s Set - Photo courtesty of Art Director,
Brian Bartholomew. Amazingly, most of the
show was performed on this set, including
the dances!

For this show, Julie’s old friend and former guest, Steve Lawrence, and Broadway star Carol Lawrence were the guests. Of course, Carol Lawrence, who was perhaps best known for her role as the first Maria in Broadway’s legendary show “West Side Story,” was also married to Julie’s former co-star, Robert Goulet.

The opening of the show revealed a sleek set, a curved platform by Brian Bartholomew. It is only later, as we learn the theme of the show that we realize this set actually says, “The 30s.”

Julie enters in fine spirits. Recently, the cast and crew of The Julie Andrews Hour had learned that the show had been cancelled by ABC. None of this, however, is evident in the star’s demeanor, and Julie wastes no time in telling us that this show will be celebrating the 1930s and to help her with this are her guests Carol Lawrence, Steve Lawrence, Alice Ghostly and Rich Little. Everyone enters, dressed beautifully, including Julie, who is wearing a gown woven with gold.

Now, without wasting a moment, the show is off to a flying start. An almost unrecognizable Rich Little appears on camera as a young Walter Cronkite. He will appear throughout the show, announcing each new year and informing us of some of the events which took place that year. Often, while he speaks, we are treated to newsreel footage and photos of these events.  

 Julie and Steve Lawrence perform the first musical number of the decade by singing Gershwin’s “Embraceable You.” The song has a great arrangement and which keeps us glued to the screen. It’s another great duet for a Julie Andrews’ Duets CD!

Glorious scene with Carol Lawrence and Garrett Lewis for
the dream segment of "Ten Cents a Dance."
Set and Photo courtesy of Art Director
Brian Bartholomew who won an Emmy for
his work on the show.

This musical number is followed by a superb one starring Carol Lawrence. In it, the lovely Miss Lawrence is stuck in a lowdown dive, singing “Ten Cents a Dance,” with a bunch of rough guys. Then, as she muses over hear dream man, we see her transformed into a golden girl, being waltzed and spun through the air by her dream man in the person of the handsome, wonderful Garrett Lewis.

The set by Brian Bartholomew glistens and, through the work of the camera, forms a glittering kaleidoscope effect. The dance is beautifully choreographed by Tony Charmoli, the direction by Bill Davis, camera work and editing, and brilliant performance—both singing and dancing—by Miss Lawrence, all makes for a glorious musical number. This is one of those moments on The Julie Andrews Hour where it is amazing to realize it came together in a few days, rather than the weeks it would take to create on film or on Broadway.

The year 1931 brings some comedy with the recreation of a film series that was born that year—Charlie Chan.  In the scene, Steve Lawrence plays Charlie Chan and Rich Little plays Number One Son. Their solving a murder scene includes a maid, chauffer, gardener, cook and butler and it’s quite funny.

The year 1932 introduces us to radio debut of crooner Bing Crosby, ablely played by Steve Lawrence. Following Steve, we discover Julie, in a lovely 1930s dress, singing “I’m Getting Sentimental Over You.” Standing on a moving turntable stage, she is surrounded by four trombone players. The scene is quite striking.

Steve Lawrence, singing “Eydie Was a Lady,” appears next.  The set is made up of nine high-backed armchairs, oddly spaced, facing away from the camera. Steve and the Tony Charmoli Dancers sing and dance the song around these chairs. At the end, all the fellows sit in their chars. When Steve peeks around the corner of his high-backed chair, we also see that a woman’s legs hanging over the side!

1933 Introduces us to Franklin Delano Roosevelt, the new president of the United States and his theme. In an old, rarely seen newsreel, he asks his little daughter to announce that theme, “Happy Days Are Here Again!”

Carol Lawrence and Julie Andrews sing “Heatwave” for us, barefoot and dressed as tropical gals with bandanas on their heads.

When we reach 1934, we learn that this year was the birth year for Walt Disney’s Donald Duck. It was also the birth year for one of the world’s favorite comic strip girls, Little Orphan Annie. Alice Ghostly plays the role to a “T,” singing the song, “Little Orphan Annie.” She is really cute in the role. A wonderful Annie!

We also learn about Dr. Jekyll and Mr. Hyde with Rich Little taking us through the transformation, first  as a sort of Richard Burton Dr. Jekyll and then as Ed Sullivan transforming into Jack Parr and then into Richard Nixon. We can hear a great deal of laughter in the studio as Little performs this scene and, indeed, he is the master of his craft here.

The year 1934 is rounded out in a lovely way as Julie and Carol, seated in a vintage car, wearing old fashioned hats, sing “You Ought to Be in Pictures” to their driver, Rich Little. Rich, of course, proceeds to portray a variety of personalities, from Clark Gable to Cary Grant.

The next year, 1935, is introduced with a rare film clip of W.C. Fields showing off his muscles and his ability to hang by his nose (obviously a fake).

In a wild and funny take on this year, Julie, Carol and Steve seated onstage before the band. Rich Little plays a radio Master of Ceremonies who is conducting a sort of talent contest. Each person is called up to perform and only gets a few seconds to sing. As the show goes on, their time decreases, so they all end up running up, only to be replaced by the next person after a few notes. At one point, Julie does a tap dance, while Rich holding the long, old-fashioned mic on a pole down to the ground to catch her taps. When Steve Lawrence runs up for his few seconds of song, in order to sing in the mic, which Rich still has down on the floor, Steve lies on the floor. It’s a clever move and you have to see it to catch the full humor of the moment.

Carol Lawrence sings a great few bars of “I Feel A Song Coming On,” a hit song of the 1930s which Judy Garland later revived in the 1960s. Steve Lawrence and Julie Andrews also sing a wonderful duet with Begin the Beguine. Nelson Riddle is conducting the band in the background, and the sound is great!

The introduction of 1936 brings some interesting information. It was this year that Life magazine first appear on the news stands. This was also the year that Edward the VIII of England abdicated the throne. Along with that, entertainment introduced the Jitterbug, and big bands, including Benny Goodman.

The scene opens with a lot of dancers doing the Jitterbug. When the dancers part, they reveal Carol Lawrence dancing with a male dancer who proceeds to lift her up over his head, swing her between his legs. While the pair appear to be having a good time, it’s interesting to realize just how rough this dance is. At one point, two fellows swing Miss Lawrence between them, then over one of the men’s shoulders, and around to the floor, where she lands on her knees. It’s quite a spectacular move.

From there, the group moves on to the Lambath Walk, an English dance of the period. This dance includes all the stars of the show: Julie, Carol, Steve, Rich Little and Alice Ghostley. It’s quite lively, and Julie throws herself into with extra zest.

From there, the cast move on to the Dipsey Doodle, which includes some neat moves and a line dance, which is just as energetic as the latter. It’s also as if we’ve happened in on a great a great party. Comparing these dances to the dances of today, it’s clear that the people of the 30s did a whole lot more jumping, skipping, intricate stepping and flying through the air than people do now. They must have been in really great shape!

For the year 1937, we find Julie, dressed in a simple plaid dress, leaning against a piano, watching Steve, with a hat on his head, working away at writing a song. It’s soon clear that this pair is none other than Andy Hardy and Betsy Booth, two characters originally played by none other than Mickey Rooney and Judy Garland.

In this scene, Julie and Steve capture that wonderful, wistful innocence of love. While Steve -Andy works away at the piano, Julie, as Betsy, gives suggestions as to which words might better fit the notes, and we soon recognize it as the song, “I Like New York in June.” Meanwhile, after all her help, the rather insensitive Andy tells Betsy, “Stop bothering me. I’ve got to write this song.” It’s funny, but touching as we know how, despite his ego, Betsy loves him. With that, Julie/Betsy quietly begins to sing “Where or When.” This scene only serves to remind us of what a superb actress Julie Andrews really is.

With 1938, Rich Little introduces us to Orson Welles and the fact that Mr. Welles once, for a few hours, set the states in a tizzy by convincing his radio listeners that the Martians had indeed landed in America.

1938 was also the year that The Society for the Preservation and Encouragement of Barbershop Quartet Singing in America was founded. In the next scene, Alice Ghostley, Carol Lawrence and Julie Andrews along with Steve Lawrence, appear as part of a Barbershop Quartet. All are dressed in suits with straw boaters and sporting mustaches. The singing is obviously dubbed with male voices, Julie’s being the lowest and Steve’s being the highest. This number, although silly, and with a good laugh track, remains extremely funny. It’s difficult not to laugh when Julie appears to sing the deep, low notes and Steve the high! Alice Ghostley and Carol Lawrence elicit laughs as well.

The year 1939 was one of great films and great books. This year, The Grapes of Wrath by John Steinbeck won the Pulitzer Prize. To close out the 1930s decade, the most famous scene from the film is portrayed. Alice Ghostley plays Mama with great depth and Rich Little, plays Henry Fonda as Jedd.  It’s a beautiful, classic moment recreated from a great film.

Following this scene of great seriousness, Julie Andrews appears and tells us that in September of 1939, the war began in England. As the camera pulls back, we see that she is standing before a large British flag. She proceeds to sing “There’ll Always Be an England.” This song, sung with great love and feeling, is among the finest moments in the series.

After a commercial, Episode 22 returns to find Julie, Steve and Carol, wearing contemporary, casual clothing. Speaking of all the wonderful songs from the 30s that they didn’t get to sing, Julie suggests that they fill the time left with these songs. The medley that follows is wonderful, relaxed and fun. Steve goes from one woman to the other for a while, until finally, he and Carol Lawrence, singing a love song, get lost in each other. Julie, finding herself out, finally hauls off and hits Steve. In a comic bit, he seems quite surprised and holds his arm as if she’s really hit him a little too hard. (Maybe she had!)

The show closes with the cast singing, “Goodnight, Sweetheart.” Steve calls out, “Goodnight, Eydie,” followed by Carol saying, “Goodnight, Bobby” and, finally, Julie saying, “Goodnight, Blake.”

It’s a sweet and happy ending.

(c) Michelle Russell

To learn more about Broadway star Carol Lawrence, please visit:
http://en.wikipedia.org/wiki/Carol_Lawrence

All photos used for entertainment purposes only.

Please let your voices be heard: Send your requests to dan.gopal@itv.com

asking that ITV release The Julie Andrews Hour on DVD and show it television stations in the UK, US and any other country where you’d like to see it.

If you prefer, you may look up ITV in London or Los Angeles, and send a letter there.

For more information on this blog and a complete list of subjects with links back to this site, please visit: http://www.JulieAndrewsHour1972.com

Note: Unfortunately, due to computer problems I have had difficulties accessing this site. Photos will be added later.

1973 - The Sound of Music Reunion Benefit

At last, March 14^th had arrived. Tonight The Sound of Music would return to the movie screen, but more importantly, Vivian and I were excited because we were finally going to see Julie in-person again....

Julie Andrews arriving to The Sound of Music benefit
that April 14th, 1973 in Beverly Hills
A friend of mine apparently was given a copy of this photo
by a woman who was friends with Blake Edwards' parents.
I have no idea who owns the copyright.

As each name appeared on the screen, the entire audience applauded. They also applauded after each musical number. It was so amazing and exciting to have Julie and the children there in the audience, enjoying the film with us. (By now the youngest girl was about 14 or 15.)

All photos here for Entertainment Purposes only!

Episode 21 with Sammy Davis Jr.

Julie Andrews’ guest for the 21^st Episode of The Julie Andrews Hour was one of the top entertainers in the world at that time, Sammy Davis Jr. Although the average person was probably a surprise at the choice—Julie and Sammy seemed to be opposites in every way—this show, which aired on March 3rd, 1973, is a great one.

Sammy Davis Jr. was born on December 8^th, 1925 in New York City to an African-American father and Cuban mother. Sammy came from a real show-business home. His father was an entertainer and his mother a tap dancer. By the age of three, little Sammy was appearing on the vaudeville stage as part of a trio with is father, Sammy Sr, and Will Mastin. They would be known as the Will Mastin Trio.

After his time in the service, Sammy returned to the Will Mastin Trio, and in 1951, during his performance at Ciros after the Academy Awards, Sammy Davis Jr became a sensation. As another guest on Julie Andrews’ Hour, Ken Berry, said of Sammy at that time, ‘he could do everything; sing, dance, tell jokes, impressions.’ So, it didn’t take long for Sammy Davis Jr. to become a solo act.

Sammy Davis Jr. was one of the first entertainers of his race to cross the color barrier and be loved and accepted just for his talent. This, however, did not occur with out a great deal of trouble. At the time he began appearing in Las Vegas, black performers were not allowed in the casinos, or allowed to stay in the hotels. They had to stay off the strip and wait out by the pool until it was time for them to go onstage. When Sammy fell in love with white actress, Kim Novak, he was threatened with his life. Eventually he married a Swedish actress, Me Britt and had three children with her.

Sammy was in a horrific accident during this time and lost an eye, which was later replaced by a glass eye. However, none of these things kept him down. Befriended by Frank Sinatra, Sammy became a member of the famed Rat Pack. In 1972, the year before his appearance on The Julie Andrews Hour, Sammy had a huge unexpected hit with the release of “The Candy Man,” a song he didn’t particularly care for. During this time, he also adopted a very “hip” look, wearing loads of jewelry and mod clothes. He was considered “cool” to the young and still enjoyed by those who liked the classic song. Sammy could do it all.

***

After appearing onstage in a glittering gold and bronze gown, singing “It’s a Musical World”--a song that is a bit more modern than usual-- Julie introduces Sammy Davis Jr. It is interesting to note that while, even with his platform shoes, Sammy is a good deal shorter than Julie; his energy fills the stage, almost banishing the difference in size.

At this point, we learn the reason for Sammy’s presence on the show. He and Julie are old friends, having become acquainted when they were neighbors on Broadway; she in Camelot and he in Golden Boy. During this time they became well acquainted and even went out to dinner together.

Julie is clearly thrilled to have Sammy on the show. She tells him he can do anything he wants and with that, they are off and running, heading immediately to one of Julie’s great Broadway hits, My Fair Lady, where Sammy immediately jumps into the role of Henry Higgins, or rather, Rex Harrison as Henry Higgins. His impersonation is spot on and extremely entertaining. He sings, “Why Can’t a Woman Be More Like a Man” with Rich Little in the role of Colonel Pickering.

As soon as Sammy finishes his number, Julie bursts through the door as the furious and indignant Eliza Doolittle, singing, “Just You Wait Henry Higgins.” It is a powerful performance and gives us the chance to see a portion of Julie’s historic performance with all its nuances. Thank goodness this is preserved! Julie is brilliant, and at the end, so furious, she takes a glass and shatters it on the desk. Then she looks around for something else to smash, even opening the desk drawer and looking inside, which is a rather funny moment.

From My Fair Lady we travel to Guys and Dolls with Sammy Davis playing Nathan Detroit wonderfully and Julie, in a blonde wig, as Adelaide. In a humorous bit, Julie, as Adelaide, complains about boyfriend Nathan’s gambling, while she slips some of his winnings down the front of her dress. Julie and Sammy are great working together on “Sue Me.”

Next, we are off to Russia where Sammy plays Teyve in Fiddler on the Roof. It is interesting to note that some years earlier, after a long conversation with entertainer Eddie Cantor, Sammy Davis decided to convert to Judaism. As a black man, his conversion caused quite a commotion and it is said, made him even more famous than he already was. Davis’ performance of “If I Were a Rich Man” is wonderful; he seems to revel in the role. It is interesting to note that with Sammy on the show, the company added several African American chorus girls to the cast.

At the ending of “If I Were a Rich Man,” we hear a strain of music from Finian’s Rainbow. Sammy sings, “I hear a bird, a Londonderry bird,” and then quips, “In Russia?”

The camera then reveals Julie, dressed as an Irish lass, singing “How Are Things in Glocca Morra.” This song was one of the loveliest cuts on an early Julie Andrews album, and it is a rare treat to see her sing it.

Following ‘Glocca Morra,’ is another song from Finian’s Rainbow, “When I’m Not with the Girl I Love, I Love the Girl I’m Near.” For this number, Sammy Davis, dressed as a leprechaun, cavorts around the stage with various lovely girls. It’s great fun, and the director closes the scene by freezing a shot of Sammy mid-air, clicking his heels just like a leprechaun. A treasure.

In the next scene, we see Sammy and Julie dressed in white suits for a scene a scene from The Music Man, “Trouble Right Here in River City.” A large group of people join in on this number, including dancers, singers and extras.

***

After a commercial break, Julie suggests that Sammy, who is a wonderful impersonator, join forces with impersonator Rich Little for some fun. The idea is for them to sing together as various stars. When asked who she is going to be, Julie replies, “Why Julie Andrews, of course!”

Sammy starts off as Frank Sinatra and Rich does Anthony Newley. After that, both Sammy and Rich sing as Dean Martin, until Sammy suddenly becomes Jerry Lewis. Then, it’s Bing Crosby for Sammy and Perry Como for Rich.

 When Julie asks Sammy to sing as Nat King Cole, we are thrilled as she to see how he channels Cole with “Sweet Lorraine.” Then, Rich plays Liberace.  During this entire performance, it’s as if we, the audience, have been invited to a wonderful party. With Sammy, there is a feeling that the audience is as much a part of the performance as the performer. We have a sense that we are his dear friends and he wants to make us happy, which he does.

At one point, Julie asks Sammy to play someone. It’s difficult to hear the name she mentions, but at that point, Sammy takes off singing and kicking his legs in a dance that makes Julie and Rich laugh for joy. It is clear that these two performers are overjoyed to be working with this great performer.

Sandy Vanoff, sister of producer Nick Vanoff, told me that of all the guests she met during the time she worked on The Julie Andrews Hour, Sammy Davis Jr. was the nicest.  The joy in this scene is infectious. During the rest of this segment, Rich and Sammy play Johnny Cash, Frankie Laine, Elvis Presley, Tony Bennett and Robert Goulet.  In the end, Julie ambles to the front of the stage and speaks (obviously using a voice over). She’s impersonating John Wayne and the expression on her two co-stars’ faces is priceless.

***

After another commercial break, Julie Andrews and Sammy Davis Jr. return, dressed in tuxedos. They sing and dance an old soft shoe. Eventually, they decide to tap. This gives Sammy a chance to show what a great tap dancer he is. When they take turns, Sammy dances up a storm and, humorously, Julie responds each time with one tap or one stamp.

The next number is “A Couple of Swells” a wonderful routine originated in Easter Parade by Fred Astaire and Judy Garland. Julie and Sammy perform it wonderfully, and in the end, having been pushed so many times by Julie-- who is really into her performance—Sammy stands on the side to get out of her way, and Julie completes the number by herself.  Of course, this is all in good fun, and Julie, who is keeps singing and dancing, barely able to hold back her laughter, is finally pushed off stage by Sammy.

The pair also performs another Judy Garland number, “Be a Clown” which Judy first performed in the film, The Pirate, with Gene Kelly. It is obvious there was a lot of cutting up off camera and by the end of the song, the two performers are rolling on the floor, laughing so hard, they can’t even sing.

The comedy numbers are concluded by a quiet duet, which Sammy suggests. The duet is a medley of wonderful songs about spring and the scene is shot through branches of cherry blossoms and beautiful little birds.

Throughout the show it has been obvious how much Julie looks up to Sammy and is thrilled to be performing with him. Then, for a moment, as Julie sings a lovely solo line, we see Sammy Davis turn, clearly enthralled by the beauty of her voice. It’s a lovely moment and a lovely duet.

***

The final musical number of this episode takes place on the stage with the band. Julie and Sammy have changed to seventies garb, bell bottom pants and vests with long fringe. Julie wants to “get down” with Sammy and he is going to show her how.

Sammy is clearly into rock and roll and jumps into the jive with a Blood, Sweat and Tears medley as easily as he performs his Broadway numbers and impersonations. Julie jumps in and, under Sammy’s tutelage, is having a great time, just “letting it all hang out,” but while Julie can do anything, rock and roll is just not her thing—not where she shines.

At the end of their number, as staged, Julie appears in a daze, as if she has dreamed it all. Sammy calls her name, and giving her a kiss, says goodbye, adding, “Peace, Love and Togetherness.” Then, as Julie turns to the camera and sings the final bars of “Time Is My Friend,” we see the Julie we know. Even after all the rock and roll, her voice is clear and beautiful.

The 21^st Episode of The Julie Andrews Hour with Sammy Davis Jr. is a great show; it’s the kind of show that makes you feel warm and happy. It reminds us of what truly great entertainment is.

***

If you think The Julie Andrews Hour should be released for the public on DVD, along with music releases of Julie and her guests, please e-mail a polite request: dan.gopal@itv.com

If you prefer, you may look up ITV in London or Los Angeles, and send a letter there.

To learn more about Sammy Davis Jr. please visit:

http://en.wikipedia.org/wiki/Sammy_Davis,_Jr

All Photos are for entertainment purposes only

To see a complete list of Julie Andrews Hour blogs with links back to this site.

Please visit :   http://www.JulieAndrewsHour1972.com