Episode 17 - Guests Peggy Lee and Robert Goulet

    On January 27^th, 1973, ABC broadcast the 17^th episode of The Julie Andrews Hour.  Julie's guests were Peggy Lee and Robert Goulet. 

    Ms. Andrews introduces them as the “sultry” Peggy Lee and the “handsome” Robert Goulet, which sets off a charming and humorous argument. Peggy asks that she not to call her “sultry” and Goulet requests that he not be called “handsome.”

 Alice Ghostley was in a skit which opened with her lying in bed, next to a lump that we assume is her husband. She is watching Robert Goulet is on television and Ms. Ghostley tells her husband to wake up. “I’m on fire,” she says, “and you’re raining on my parade. It’s difficult not to laugh at Alice Ghostley, and the laughter from the studio crew verifies it.

    

Peggy Lee sings "You’re Gonna Love Me.” 

     Although Peggy appeared in a few films, including The Jazz Singer, her greatest  work was in her recordings and her club and television appearances. During the 1950s, she built a new career. Ahead of her time, she created a style that included blues and jazz with popular music. Her greatest hit of this period was “Fever,” which caused a sensation. In the 1960s, Peggy Lee worked for Walt Disney, writing songs for the film, Lady and the Tramp. During this time, she also created a new look and style style for herself, once again adapting to the times. Like many great singers, Peggy Lee had worked with Nelson Riddle in the past. Nelson had written some great arrangements for her and they recorded an album together.

     As successful as the 1960s were for Peggy Lee, she also suffered some great setbacks in terms of her health. She had a double pneumonia which nearly destroyed one of her lungs. She also had heart problems. The change in her appearance and manner at the time she appeared on The Julie Andrews Hour is so different from nine years earlier when she appeared on The Judy Garland Show, it's startling. Still, Peggy was a strong lady and would continue with her career for another twenty-three, during which she would have many more hit recordings and successes.

     The Look to the Stars segment was next, celebrating those persons who were born under the sign of Sagittarius. While many names are mentioned, including Sammy Davis Jr and Maria Callas, few of these people are included in the performance. Julie opens the tribute with Mary Martin’s “I’m Gonna Wash that Man Right Out of My Hair” from South Pacific. The song is set in quite a low key, and Miss Andrews belts it out with greater fervor than usual. Joined by the Tony Charmoli dancers, they do a sort of rock and roll dance and then lift Julie up in the air and down while she continues to sing the song.

      Rich Little appears frequently during this segment, first as Kirk Douglas, then as Jean Stapleton singing as Edith Bunker, interspersed with cuts of him as Archie Bunker. Along with some short appearances by Peggy Lee and Robert Goulet, Julie Andrews’ lovely tribute to Ira Gershwin, “How Long Has This Been Going On” is the most memorable portion of this celebration. Turquoise blue is the interwoven color for the Sagittarian tribute, and for this song, the photography of Julie in a blue gown is quite stunning.

     Rich Little, playing Norton on The Honeymooners as the closeout for the first half of the show, should not go without mention. It’s a brilliant few seconds.

***

      The second half of Episode 17 takes on a new atmosphere. Now, we are definitely watching an evening show; one that’s glamorous and just plain classy. Julie and Peggy appear, dressed in white chiffon, and together, they make a beautiful pair. They are the bright spots on a set that is mostly dark, except the kaleidoscope lighting which appears on portions of the backdrop. Both ladies are gorgeous and look happy to be singing together.

     Peggy Lee’s vocal range allows Julie to take the high voice in their harmony and her intimate style compliments Julie’s naturally delicate tones. The medley is lovely group of songs about singing, and includes: “Sing a Song,” “Sing a Rainbow,” “My Beautiful Balloon,” “I Believe in Music,” “I Want to Be Happy and more. Any collection of Julie Andrews duets should include this one, and I’m sure it is a duet that Julie herself would want included.

***

     For the final segment of the show, the production team pays tribute to Broadway producer, David Merrick, who, we are told, produced over 70 Broadway productions in his career. For openers, the cast celebrates his achievements with a song from Merrick's most famous production, Hello Dolly. Julie begins the song, “Before the Parade Passes By” and is joined by the rest of the cast and the dancers. During this portion of the show, everyone is dressed in black, adding to the feeling of a formal night at the theater.

     Peggy Lee follows the opening number with a song from Oliver, “Who Will Buy?” She begins the song with hauntingly beautiful tones, and it is here that she shows us why she was and is one of the most respected artists in the business. Miss Lee then takes this show ballad and turns it into a jazz piece with great rhythm and subtle, sexy inflections. She talks to us, with layers of meaning that cannot be summed up, turning her performance into a brilliant work of art.

     From The Roar of the Greasepaint, The Smell of the Crowd, Robert Goulet and Rich Little appear together, singing “What Would I Do without You?” This is an amazing and humorous number as Rich Little plays Goulet with Goulet. Although his singing is obviously not up to Robert Goulet’s, it’s pretty good and Robert Goulet can’t help laughing at certain moments as he listens to Little imitating him. At the end, he takes Rich Little’s hand and kisses it.

     The next scene is shot in darkness, except for a spotlight on Julie Andrews, who is seated on a carousel horse, wearing a rather sexy dress. Julie sings “Love Makes the World Go Round” from the musical Carnival. At one point, we see her dancing beautifully in the background, half in darkness, half in light, joined by a few of the male dancers.

     Robert Goulet follows with the title song from the musical Fanny. His performance, shot up-close, his face the only light in the midst of darkness is unforgettable. Every phrase has layers of meaning and the richness of his voice is a theatrical treasure. 
From there, he joins Peggy Lee for the lovely “Make Someone Happy.” Despite their different vocal styles, Goulet and Lee perform wonderfully together, showing their honest admiration for one another at the same time.

     Rich Little then portrays Anthony Newley in Stop the World I Want to Get Off by singing “Gonna Build a Mountain.” Two dancers stand behind him, miming his movements. The scene is quite effective and Little’s work here, as with all his work on this show, is brilliant.

    The next musical scene finds Robert Goulet and Julie Andrews together for a song from I Do, I Do--“My Cup Runneth Over with Love.” There is nothing lovelier than these two performers singing together, and this song is no exception. It is touching as we watch Julie sing, “In only a moment,we both will be old...” to which Goulet responds, "We won't even notice the world growing cold..."

     This was Robert Goulet’s third and final appearance on The Julie Andrews Hour. It is not known whether Julie Andrews and Robert Goulet ever performed together again. Watching this moment, it is sad to realize that Robert Goulet, with his brilliant voice, is no longer with us. Only months after appearing on Broadway in La Cage aux Follies and making a special appearance at Town Hall for Broadway by Year where he recreated his Broadway performance of “If Ever I Would Leave,” by singing the song without a mic, Robert Goulet was diagnosed with a rare form of pulmonary fibrosis, a deadly disease which can only a lung transplant can sure. Several weeks after his diagnosis, on October 23rd. 2007, Robert Goulet passed away.

***

     For the “eleven o’clock” number of the night, Julie sings “Let Me Entertain You” from Gypsy. Her opening pose is stunning. Dressed in a long, black gown with a train and a sequin cap, Julie walks the lit runway, and launches into Gypsy Rose Lee’s number as if she’s waited all her life to play the role. At the end, her belt is so powerful; it seems she rivals Ethel Merman herself.

     As we watch the cast--Goulet, Andrews, Lee and Little (above)-- join together for the final “Together Wherever We Go,” we know we are looking at the best of the best. It has been one classy show.

     Julie announces her guests for the next show: John Denver and Sid Caesar. Then, as she bids her farewells, Rich Little imitates her “Good night everybody” and she slaps him, all in fun, of course. After that, “It’s time now to go, for everything must end…” which Julie tells us each week. We just wish it didn’t have to end.

See you next week!

Remember, you can always find a list this blog’s Julie Andrews Hour subjects with links back to this page at:

http://www.JulieAndrewsHour1972.com

For more information on Robert Goulet, please visit his official website:

http://www.robertgoulet.com/

For more information on Peggy Lee, please visit:

http://www.peggylee.com

January 26 - 3 - Julie with Angela Lansbury and Steve Lawrence

Angela Lansbury, Steve Lawrence
and Julie Andrews on the "ship"

 The last scene to be taped on this night, the three actors stood on what appeard to be a small portion of a ship, which rocked from side to side. 

Steve Lawrence was the captain, and Angela and Julie were the shipmates. They all sang “I am the captain of the ship…” from HMS Pinafore. 

 

A list of The Julie Andrews Hour blogs with links to this page can always be found on:    http://www.JulieAndrewsHour1972.com

Note: All photos here are for entertainment purposes only

January 26th -1973

On Friday, January 26^th, Julie Andrews taped Episode N. with co-stars Angela Lansbury and Steve Lawrence. 

Julie's opening number for this show was a beautiful version of "All the Things You Are." Here are a few notes from my diary of that time:

"The crew set up a long line of footlights and at the back a frame of lights with a starry sky. The lights were turned on us, and I suddenly realized that I was going to be on television again!

Julie was wearing a gorgeous white chiffon caftan-style gown with a blue sequin pattern over it. I

She sang, Jerome Kern's “All the Things You Are.” 

A list of all blogs with links back to this site can be found at:

http://www.JulieAndrewsHour1972.com

Episode 16 - Special Show with Maria von Trapp, Eydie Gorme & Jim Nabors

Among the truly special episodes of The Julie Andrews Hour is the 16^th episode, which aired on January 20^th, 1973. It is a show full of happiness and boasts a very special guest, Maria von Trapp.

The show opens with skiers on the snowy slopes of Sun Valley. Via technology, Miss Andrews is soon seen flying down those slopes. While skiing, she introduces guest star, Jim Nabors, who shortly thereafter is taken out by a tree. Julie’s second guest star, singer Eydie Gorme, arrives on the scene like Mary Poppins—descending from the sky, holding an umbrella. After this introductory segment, during which Julie sings “I Whistle a Happy Tune,” she zips from the slopes to the studio stage.

Shortly after arriving in the studio, Julie introduced us to Maria von Trapp. Maria, of course, is the woman Ms. Andrews portrayed so beautifully in the film, The Sound of Music. Her story is known to millions around the world. When Maria appeared on The Julie Andrews Hour, it was six days before her 67^th birthday. A strong woman, nearly as tall as Julie, she wears her native Austrian costume, and informs Julie that early that morning when she left her present home, a ski lodge in Stowe, Vermont, the temperature was 28 degrees below zero. 

In answer to Julie’s comic, round-about question as to how she did playing Maria in the film, Maria von Trapp tells her ‘fine’ but adds that her yodeling in “The Lonely Goatherd” was not quite up to par. As a result, Maria teaches Julie to yodel and the two yodel together.

After intermission, we find Julie Andrews and Maria von Trapp seated on the “Getting to Know You” set; it is a cheerful setting of white wicker with yellow cushions and a silver tea set. 

Maria has no trouble talking about her life. When Julie asks her what happened after they went over the Alps--the last scene in the film--Maria tells her story. In one day, she says, the family went from being quite wealthy to living as penniless refugees with no rights. They traveled from country to country, finally turning their hobby, singing, into a way to make money and survive. Maria has some very humorous stories to tell, and as she tells Julie about her life, likely every person in the studio audience was held in awe. It is at this moment that we realize the reality of the story and the fact that we are hearing it from the person who actually lived it. At the end of their talk, Julie and Maria sang Edelweiss together. Julie Andrews’ affectionate hug of the real Maria von Trapp was obviously heartfelt... 

***

The second half of Episode 16 opens with Julie and Eydie Gorme standing in a bar, singing “I Am Woman.” Julie Andrews is a great singer and Eydie Gorme fabulous as well, but it’s a good bet that when thinking of female stars singing duets, no one ever thought of these two women together. Be surprised! They are fabulous! 

Following the modern duets and scene, the balance of the show takes us into the past---down to Dixie before the Civil War. This mini-musical with story, characters, music and dancing is something would likely never be done now, but it’s quite wonderful!

The scene opens with Eydie, Julie and Jim Nabors singing “Those Were the Days.”Julie and Eydie are both wearing ante-bellum hooped skirt gowns. Julie is particularly gorgeous, with a wiglet of curls and a gown with flowers sewn on the skirt and bodice.

The scene takes place in a lovely Southern home with two sisters, Daffney (Julie) and Lydia (Eydie). A local bachelor, Beauregard (Jim Nabors), is smitten with Daffney and asks her to marry him, singing “Mandy.” When she complains that her name is not “Mandy” he says there are no songs for her name because how could you rhyme words with a crazy name like “Daffney.” The dialog is quick and witty.

In this scene, Julie looks like a lovely
English painting come to life.

After Beauregard asks Daffney to marry him, the couple (Jim and Julie) sings a beautiful duet, “Make Believe” (Showboat). Meanwhile Daffney is pining for Rhett the butler (Rich Little) who appears to be an exact copy of Clark Gable, mustache and all. Daffney’s sister, Lydia is pining for Beauregard (Jim Nabors), and heartbroken that he wants her sister, she (Eydie), sings her hit, “Didn’t We.” It’s amazing, positioned as she is, bent over on the divan, that Miss Gorme can have that fabulous voice coming out of her. Listening to her, one cannot help but be totally blown away by her voice. In this writer’s humble opinion, there are no singers on the present scene who can match the beauty and excitement of Eydie Gorme’s voice. Jim Nabors, who is still singing, has a glorious voice. A native from Alabama who has always had something of a humble down home way of speaking, it is always a surprise to hear that deep, rich voice come from him, as it does when he sings “Mandy” and “Make Believe.”

The 16th episode of The Julie Andrews Hour is one of the few taped almost entirely before a live audience. The sense of fun, freedom and enjoyment in the show itself adds greatly to quality of the performance. Even as Julie sings the final notes of her closing song, “Time Is My Friend,” her face is full of joy, showing us what a wonderful time she had doing the show. We, the audience have had a wonderful time as well. Thank you, Julie, and all those involved!

Much of this blog has been edited out toward the release of a new book on the subject....
For more information on Julie’s guests, please visit the following:

Maria von Trapp: http://www.trappfamily.com/story/biography

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

Eydie Gorme: http://www.steve-eydie.com

Jim Nabors: http://www.jimnabors.com

A complete list of The Julie Andrews Hour blogs with links to this site may be found at:  http://www.JulieAndrewsHour1972.com

All photos shown here for entertainment purposes only.

If you would like to see The Julie Andrews Hour released on DVD, along with possible music CDs, including a duets CD with Julie Andrews and her guests, please send a respectful e-mail to:  dan.gopal@itv.com

January 13th - 18th - Life

Those of you who have read the six January 12^th blogs on The Julie Andrews Hour may find this account interesting. In the week following January 12^th, I tried to make sense of all that had occurred.  This account is a mingling of my 1973 diary notes and additional information.

January 13, 1973

Saturday morning I woke up still having trouble believing all happened the day before. My roommate, Lynn, was still not there. Anne, my scene partner for the final, came over to practice. We were to perform a scene from The Importance of Be Ernest, but I was in such a state, even commenting in my diary that ‘I didn’t feel like acting in an English play.’

I told Anne a small part of what happened, but I doubt she believed me. When she saw my postcard from Liza on the wall, she said, “Liza is so sweet and real…” She made me feel better about Liza, but right now Julie is here.

Lynn finally returned this afternoon. When I told her the story of what had happened, she got very excited. Like me, Lynn could barely believe it. Then, I called Mommy. She took it all very calmly saying that Julie was right. Having been in show business, she’s always saying, “Famous people are just like everyone else.” Now she told me, “See. 

What have I been telling you…” It didn’t bring me much comfort.

Tonight, I went to see Marlene Dietrich at the Los Angeles Music Center and was inspired again. At first, I thought, “She’s old; she has no energy. She’s just beautiful and has a name,” But a quarter of the way through her show something happened. I wanted to cry. Though she really doesn’t carry a note, her voice warmed. When she sang, suddenly, she was young again.

At first she had only pulled her white fur coat around her like a train, and moved slow like an old movie. I thought her hand movements so slow, but then, as she went on, I found there was glamour and romance in what she did. She entranced you. That smile held a sorrow and loneliness, and that voice made you get a lump in your throat.  As she gazed at you, her audience, you knew that she loved you. She was alone, but with you, she was not, so she gave you her love…

What is it – star quality? Talented, perfect people don’t matter; but let a star come full of faults and we don’t even see their faults…

Sunday, Jan 14

Today, after church, I decided to go to Beverly Hills. It was a hot day, and as I waited in the shade for the bus at the corner of Sunset and Vine, a man passed me, then turned and said, “Hi!” I recognized him. He works under The Julie Andrew Hour producer, Nick Vanoff. I said, “Hi.” Then, he continued down the street. The fact that he knew me, made me cry.

It was a beautiful ride from Vine down to Wilshire. Arriving in Beverly Hills, I walked around for about an hour and a half. The streets are beautiful; they remind me a bit of my hometown, Pasadena. It’s also the place where so many of my favorite stars from the 1930s and 40s live.

While I was walking, I thought I saw Tony Charmoli, but wasn’t sure. He tried to talk to me, but since I wasn’t sure, I didn’t answer. (Reading this now, I can only think, “what a shame.” Sometimes I trusted people I shouldn’t, and then I’d run away from people I should trust.)

Later, I went to see “Travels with my Aunt” starring Maggie Smith. I enjoyed the film, but as much as I wanted to be distracted, continued to feel shaken by Friday’s events.

Tuesday, Jan 16

I had the last of my semester classes today. Then, my scene partner, Anne, and I worked and worked on our scene. “I despise Cecily,” I wrote in my diary.

In this midst of all this, I decided that I should get a job and start earning some money. I suppose the events of Friday had given me some push toward my career or some reason to need money. My mother gave me an allowance of something like $15-20 a week. Since I got two meals a day, it was more than sufficient for school. Anyway, the place the school sent me was “horrid” and I was glad they no longer needed anyone. Meanwhile, it was raining hard and I was soaked to the skin.

Wednesday, January 17^th

I went to my singing lesson today. Mr. Loring was late because he was talking to someone on the phone about a movie that he’s going to be working on.

He had me sing “Wouldn’t It Be Loverly” three times. I also sang “Put on a Happy Face.” I thought I sounded better in some ways and worse in others.

Mr. Lorning told me I breathe the wrong way and gave me some exercises to do. Then, he drove me to school. In the car, he asked me what I want to do. I told him I wanted to work in theater. He said he would like me to aim for auditioning for The Los Angeles Music Center next September. They have a theater training scholarship. He said he would sponsor me. Me??? That was all I could think.  Life seems impossible. These days, I love singing more ever.

January 18^th

With finals coming, Lynn and I are practically at each other’s throats. The heads of the theater department all came today to watch our acting finals. I guess mine was okay. Yesterday, Anne and I decided to switch parts. One of the teachers in the department said it was good but unfortunately during the final, I messed up my part, so I’m sure I’ve failed.

Today I went from feeling angry and distrustful of Julie to thinking about sending her a note with flowers. I went to shop for roses and see how much they cost. They are a dollar each (a lot at the time) but I think I better get roses. Julie had to eat a carnation once on the show, so I don’t think she likes carnations.

Tonight, I called Mrs. Priest. She told me to call her “Claire” from now on. She said the executives on the show had a discussion with the ABC heads. Claire and the Assistant director were also there. She told me emphatically, NO ONE is allowed in this week. Everyone had decided this, saying… “The script is too difficult.” She told me need to “concentrate hard” on it. I didn’t quite understand what this had to do with the ABC rule, but I let it go. This week Robert Goulet will be one of the guests. (I had a feeling they didn’t want us there with him – or at least said so in my diary.) I hope they will have an audience next week so we can come.

Clare Priest gave me Kelly’s telephone number—I guess so I can keep up with what’s going on. Funny, when she told me no one could come to the taping, she said, “That includes Vivian and you.”  Clare also gave me Vivian’s number. I did tell her that I had no connection with the others, except when I was at the studio, just knew them in passing.

Friday, January 18^th

When Friday came I decided to skip my 3 pm class. I got on the bus and went home to West Covina. Some girls on the bus were chatting in such high voices they drove me nearly insane, especially when I thought about missing the taping that day with Julie, Robert Goulet and Peggy Lee. Nevertheless, I couldn’t wait to get home. I surprised my mother arriving so early.

© Michelle Russell 1973, 2013

You can find a list of all blog subjects with links back to this site at:

http://www.TheJulieAndrewsHour.blogspot.com

Coming Next: January 20th - A Commentary on Episode 16 with guest stars Eydie Gorme, Jim Nabors and special guest Maria von Trapp

January 12 - Julie's Special Guest - Maria von Trapp!

…continued from the “Intermission” blog…

Inside the studio, they had set up for the “Getting to Know You” segment with the wicker furniture, yellow cushions and silver tea set.  Julie came out in a pale green, tailored dress. Maria was wearing a dark blue Austrian costume, and a veil that looked like a modern nun (actually Austrian scarf). The hairdresser came out and tried to fix her hair. 

At this point, Julie introduced Maria von Trapp to the audience and Maria smiled. Maria’s speech was not written, but Julie’s lines were. They were questions, asking about what had happened after the end of the movie. Maria began to tell the story and we all listened very intently. 

This was the real Maria von Trapp! I tried to picture her as a young woman coming from the convent to take care of all those children. Maria was so real and much more beautiful in-person than on the TV monitor. At one point the director said over the loudspeaker, “Wait! Let’s begin again.”

“What happened,” asked Maria.

“I dropped some papers,” said director Bill Davis.

“Well, stop that!” she scolded. “Who are you anyway?”

Then, she looked up and said, “Where are you? Where is that voice coming from?”

She was very good humored and loved to joke. She and Julie whispered and made motions with their hands as they talked between takes. Maria was always smiling. I could tell she thought Julie a lovely woman. Looking at her one did not have to know her story; it showed through. She told of how, after climbing over the alps and leaving Austria, they had nothing. They had been very wealthy; now they were refugees with nothing, no rights and no money. There were not seven children as in the film, there were ten, plus Maria was pregnant at the time. To survive, they turned their hobby, singing, into a way to make money. The von Trapp family sang their way through Europe and eventually came to America.

Off camera, Julie stood up and poured a cup of tea for Maria. She put cream in it and then poured a cup with cream for herself, and stirred it.

“Okay,” said the director.

“Everything stops for tea!” said Julie.

They showed seven clips from The Sound of Music, which was going to be re-released in a few months, just before Easter. When they played the opening of the film (which Maria said she could watch ever day for breakfast), it was so strange watching it with both Maria and Julie there. Julie and Maria talked through practically all of the film clips. Maria would point out something and then talk. Julie pointed at the part that shows the stream.

Maria von Trapp and Julie Andrews
singing Edelweiss

Then, they showed the scene with Julie and the children singing “Do Re Me.” I thought she would enjoy seeing that and remembering the children, but seeing that clip she had the same expression on her face that she had when she watched her acting in the scene from The Taming of the Shrew. Once during the bike sequence, she did smile and point.

After that, Julie and Maria sang “Edelweiss” together.  I shall never forget that became I knew these would be my last moments in the studio; and because it was so special to see the real Maria von Trapp and Julie Andrews singing together. I believe they did a couple of takes for “Edelweiss.” Maria sang harmony with Julie, and one time her voice went too high, almost off-key. She smiled as though she would laugh or stop, but Julie reached out to her and then she to Julie. It was such a moment of rapport, so moving.

During their talk before the song, Maria said that before this she had only written good things about herself. Now, she had written a new book, where she told of her mistakes in hope that these mistakes could be avoided by others. She had brought a book for Julie and signed it, “From one Maria to another, with love.”

When Maria said that and handed the book to Julie, Julie's eyes filled with tears, almost to overflowing, and her voice sounded as if she would cry. Later, I heard Maria say, 

“You will read it,” and Julie said, “Oh yes, right away,” and opened the book to look the pages. She stopped around the center of the book and was reading something with an intent look on her face. This, of course, was on a short break between takes.

The audience was intense. It was wonderful. Then, it was over. I wiped my tears away.

Kelly and Patty got up and started up the aisle, running. “Are you going somewhere?” I asked. “Yes,” was all they said. I think they were going to see Julie. 

Outside, I started to ask Mrs. Priest if she would drive me home, but she just said, “Goodnight.” So I walked home in my sorrow. I was sad to leave ABC.

Next: The days following …. January 13 – 16

A list of The Julie Andrews Hour blogs with links to this page can always be found on:    http://www.JulieAndrewsHour1972.com

Note: All photos here are for entertainment purposes only

If you would like to see The Julie Andrews Hour put out on DVD, along with  a Duets CD of Julie and her guests (and maybe others as well), please send a respectful e-mail to requesting this to:     dan.gopal@itv.com

http://thejulieandrewshour.blogspot.com/2013/01/january-12-intermission-rich-little.html

January 12 - Julie with Eydie Gorme and Jim Nabors

Here is a short section about this episode

Julie with Jim Nabors

Julie seemed to be in a very good mood. I think she enjoyed working with Eydie Gorme and Jim Nabors. She was also dressed beautifully in a cream-colored hooped skirt with pink camilias all over. She looked adorable with a wiglet of curls on her head.

Julie and Eydie kidded each other along onstage. Then, Julie sat on the lounge seat in her hooped skirt with stage manager, Woody. They were both their feet back and forth like a couple of kids.

I have to admit that our seats were excellent. While we were sitting stage right, no cameras ever got in our way. In fact, I had never watched Julie from a better spot. 

The studio audience on this night was the best audience I had seen during the time I attended the show and the performers received a warm response to everything they did. There was a lot of dancing onstage too. Jim Nabors, who was courting Julie in this Southern scene, sang a song to her and danced around so funny we all laughed. That is, all but Patty and the fan club president.

Then, in the midst of it all, Eydie Gorme sang her hit song, “Didn’t We.” It was great! And she did it in one take. The audience roared! After she finished, the producers and all of the crew came out on stage to shake hands with her. She’s a great professional; just natural, friendly and so funny. She constantly broke down laughing during the scene with Julie, Jim and Rich. She’s the sort of lady you’d like to be your neighbor.

When Julie and Jim Nabors sang “Only Make Believe” from Show Boat, it was so beautiful, I cried. Because of Jim Nabor’s appearance and sort of gawky Southern manners when he speaks, people don’t expect the beautiful singing voice that comes out of him. I wrote in my diary that night: “Romance lived in the sound of Jim and Julie’s voices.”

When Rich Little came onstage made-up dressed to look like Clark Gable as Rhett Butler, he said, “I’ve been waiting to play this role all week!”

Julie was supposed to play a harp with Jim Nabors standing so close, his nose was practically through the strings. In the end of the scene, Eydie was to marry Jim Nabors, and Julie was to marry Rich Little as Clark Gable. When it came time for Eydie to say her line, “She’s in love with Rhett the Butler,” she broke up. She laughed so hard, the tears rolled down her cheeks. In fact, she was laughing so hard, she could hardly stand up. Then, she ran to get a Kleenex to keep her mascara from running. She was hilarious. The director didn’t call “cut” when this happened, so, we, the audience, laughed with her..."

A list of The Julie Andrews Hour blogs with links to this page can always be found on:    http://www.JulieAndrewsHour1972.com

Note: All photos here are for entertainment purposes only

Episode 15 - "Two on the Aisle" with Keith Michell

On January 6^th, 1973, ABC aired what was intended to be one of The Julie Andrews Hour’s most ambitious shows. Julie’s only guest was multi-talented Keith Michell, who had recently won an Emmy for his unforgettable portrayal of King Henry VIII on the PBS series, The Six Wives of Henry the Eighth. In addition, Michell had recently appeared in the London production of Man of La Mancha.

Episode 14 would be Julie Andrew’s first show of 1973. Appearing shortly after New Years, it was no doubt meant to be a kind of holiday celebration. In addition, it would be the last show to appear in the old timeslot, Wednesday at 10pm. At the end of the show, Julie announced that beginning next week The Julie Andrews Hour would be shown on Saturdays at 9:00pm, 8:00 Central. By now, it was no secret that the ratings were not as hoped and both ABC and the producer were scrambling to improve them.

***

For the opening, Julie appeared in a long blue and white satin coat. After introducing Mr. Michell, she presented him with his Emmy. Then the pair were off, literally, to the show. The theme, “Two on the Aisle,” took the couple to the theater where they would view a series of scenes from various plays, in which they had the starring roles. The only other persons on this show were a few of the male dancers, who during the first scene, served as ushers and seated them in the theater. The other audience members on this rather mod set were mannequins.

Keith Michell as the King

Over the next hour, Julie and Keith ran the gamut of theatrical productions. The first scene was a portrayal of The King’s Breakfast by A.A. Milne, a poem that Julie said was one of her favorite when she was a child. Shot against an illustrated background, the pair, who portrayed king and queen, dairymaid and cow, appeared to have come alive in an illustrated children’s book. Their portrayals are wonderful. Julie is especially wonderful as the queen, when she speaks in a rather deep, haughty voice.

The second scene, a theatrical music piece, “Mack the Knife” finds Julie and Keith on rather modern set with steps and scaffolding. The pair are dressed in proper English men’s attire that includes bowler hats. Julie often plays Keith’s shadow, creeping behind him and then disappearing. The director uses a kind of stop action camera work with editing; the pair suddenly disappear and then reappear 4 or 5 feet away. The number is interesting, though not one of the best on the show.

The third scene is from The Applicant, a play by Harold Pinter about the future in a computer-aged society. In the scene, Keith Michell, wearing a fright wig, plays a very gawky physicist applying for a job. Julie Andrews is a sort of Eve Arden/Nancy Kulp character, proper and completely focused on the job at hand – testing the applicant for a job. The scene progresses to a hysterically funny sequence where Julie questions Keith, who is hooked up to electrical wires, about his personal responses and life. By the end, the whole experience has sent him over the edge. The scene defies description.

Keith Michell and Julie Andrews
The Taming of the Shrew

This rather over the top comic scene is followed by Shakespeare’s The Taming of the Shrew with Keith Michell playing Petruchio, who is intent on wooing the lovely young Kate, played by Julie Andrews in a long, brown wig. Kate, of course, is a girl who would not be wooed, and this leads to verbal confrontation and then physical confrontation. Both actors are wonderful in this scene, only making us wonder how much more wonderful would they have been if they had the luxury of appearing on stage night after night, working on the rich subtleties that develop with the repetition of a role. As far as we know, this is the only time Julie Andrews ever played Shakespeare and she shows great ability.

This scene from The Taming of the Shrew, although considered a comedy, is a rather intense scene with a lot of physical struggle and fighting. The scene was taped without an audience and had a laugh track added later, which unfortunately doesn’t seem to enhance the scene.  

The fourth scene, from the delicate and witty English comedy, The Importance of Being Ernest by Oscar Wilde, is a nice break from the intensity of the previous scene. In it, Julie plays Gwendolyn, a young woman who believes that she can only love a man by the name of Ernest. Michell plays Jack, a man only pretending to have the name of Ernest so he can marry Gwendolyn. Julie is very funny as she tells Jack that that the name “Ernest produces vibrations” and “Jack produces no vibrations.” Earlier in the show, the sets had a rather modern, spare appearance but for this scene, the pair appear in a fine drawing room.

The Importance of Being Earnest marks the first half of the show. At Intermission, Keith Michell and Julie Andrews go “outside” to discuss the show and charmingly get into an argument. She thinks the “actor” in the play brilliant and he does as well, but when he says that the “actress” is “stepping on his lines,” Julie becomes incensed and calls him a “male chauvinist.” It’s all very funny, especially in the context of 1973, when women’s liberation was a big deal and caused many an argument.

The second half of the show begins with something we were waiting for – music! Julie appears in the shadows of the stage, wearing a gown that dazzles. The gown is black with patterned bright flowers and gold sequins. The flowers on the gown are also sequined and beaded and, as Julie sings “On A Clear Day,” she literally sparkles.” Begun in close-up, quietly, the song concludes with high energy, showing Julie full-length standing on stage. It is, perhaps, one of the best moments of the show.

The next scene takes us into the future. Julie is a little girl in a completely fabricated garden. She explains that she gathers leaves off the tree in fall and puts them back on in spring. Keith then gives her a real apple to eat, something that is shocking and wonderful to her. This little scene is the lead in for Keith Michell’s solo, “Consider, What Will You Leave.” It’s a song that seems even more poignantly relevant in 2013 than it did in 1973. Michell gives a fine, intense performance.

The ninth segment of this show is a masterpiece beyond anything else in it, and, in this writer’s humble opinion, as grand as anything on the entire series of The Julie Andrews Hour. For this number the pair dance to their pre-recording of “Dancing in the Dark.” The set is glorious, as are the costumes and music. In the middle of the number, Julie appears, dazzling in her gold gown, singing “He dances overhead…” It is sentimental and lovely with a background of stars. In the final segment, as the dancers, Julie and Keith, join together to dance once more, the use of mirrors is stunning. This musical number with choreography by Tony Charmoli is a work of art, simple, glorious, and unforgettable!

For the final segment of the show, Julie and Keith play Edith and Edward, a couple on their honeymoon in 1911. The scene is from Noel Coward’s Cavalcade. The couple’s conversation is sentimental and playful as they speak of love and death while standing on the deck of a ship in the moonlight. The scene is photographed beautifully and we are drawn into the charm and sentimentality of the moment. Then, as they move away from the deck, we see the name on the lifesaver - “Titanic,” and in that second we realize that this is indeed the last night of their lives.

Now the show is over, and from their seats in the audience, Julie and Keith sing “This Was a Lovely Way to Spend an Evening.” The two stars seem happy and relaxed. Julie announces her next show and then sings, “Time Is My Friend,” with Keith holding her hand. These moments seem relaxed and off the cuff, though all was planned and rehearsed. It does seem as if we’ve spent a lovely evening with them.

So began The Julie Andrews Hour in 1973.

Remember you can find a list of all The Julie Andrews Hour blogs with links back to this page on:    http://www.JulieAndrewsHour1972.com

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. 

Coming Up Next: Events Leading Up to the Next Closed Set of the Julie Andrews Hour

Note: All photos here are for entertainment purposes only.

Art Director Brian Bartholomew

One of the things which set The Julie Andrews Hour apart was its beautiful, elegant appearance. In part, this appearance was due to the art work of Brian Bartholomew.

The very elegant "Dancing in the Dark"
set with Julie and Keith Michell

Born in England, Brian Bartholomew became interested in art, both drawing and painting, early in life. He says he was “pretty good at” at both.  Recently, via e-mail, I asked him how he became involved in scenic design.

“…I was introduced early in my teens, by my older two sisters, to the English theatre, mostly the ballet, which at that time, at the end of the Second World War, was becoming very important. I very much wished to design scenery.”

As soon as he was out of school, Mr. Bartholomew went to work, not in theatre as he had been inspired to do, but in television. From 1968-1970, he worked as Production Designer for the television series This Is Tom Jones, a musical variety show starring singer Tom Jones. This show, Brian Bartholomew tells me was a "co-operative series with ABC-TV" which "took the English production crew to Hollywood in 1969 and 1970" for the taping of "a small number of shows." 

Returning to England after This Is Tom Jones, Brian Bartholomew designed a number of variety shows including: television series: The Des O'Connor Show and KopyKats, and a number of Burt Bacharach specials. Both the Burt Bacharach specials and KopyKats were produced and directed by Americans--Gary Smith and Dwight Hemion--who were under contract to Sir Lew Grade. They would continue to work at his company ATV (Associated TeleVision Incorporated Limited) for quite a few years before returning to the United States.

Once Lew Grade confirmed his agreement with ABC to produce The Julie Andrews Hour, he hired Brian Bartholomew as Art Director for the show and sent him over to the United States. Mr. Bartholomew believes he arrived in Hollywood sometime around July or August of 1972.

When asked if there were any guidelines as to the design of the show when he began, he states:

“Guidelines were very much in evidence for the first show because much of this was based on Julie Andrews’ previous work. Later shows permitted a freer hand, but often the scene or scenes required designing to some sort of location or scripted concept.”

The “crystal tree” was an integral part of the show and used quite a few times for Julie’s solos. It has since become somewhat legendary. When I asked Mr. Bartholomew about it, he said that he did not design the tree but had given the makers general size limits for it. Nick Vanoff was the one who put him in touch with the sculptor and the store which supplied the crystals. As far as he knows (agreeing with information given by director Bill Davis), after the series ended the tree was returned to the sculptor and the crystals, which were said to be extremely valuable, were return to the store and sold.

Julie singing "If" on a set with
European atmosphere

Mr. Bartholomew comments that working on The Julie Andrews Hour “provided a considerable contrast with my working practices coming from English television.”  He describes the hours worked as “excessively long” and “very onerous” (burdensome and oppressive). However, when thinking of the show now, he recalls the advantages. He says he earned an Emmy award for his work and gained “very, good friends.”

Because of the intense work involved in creating The Julie Andrews Hour, often there wasn’t much time for anyone to supervise the Art Directors’ work. As listed on the credits, Mr. Bartholomew worked with two other Art Directors:  Keaton S. Walker and James Tompkins. Sandy Vanoff tells me that Brian was the Senior Art Director and the other two men worked under him.  **Note: Brian Bartholomew and Keaton Walker won the Emmy Award for Art Direction on The Julie Andrews Hour. Mr. Tompkins name was not listed on the nomination.

Lovely set of the Christmas Show with Julie in costume
center (Taken from rough DVD copy)

The producer, director and others seem to have assumed that with the Art Directors’ great talent, everyone was on the same page and everyone would be pleased with the work. When I asked Mr. Bartholomew whether, after completing a set design, the producer needed to approve it, or whether he ordered changes, he replied:

Sometimes. Often there was little time for any great scrutiny. But Nick Vanoff was very perceptive, had great taste… Also, the director Bill Davis was consulted, especially regarding the camera shots and positions. Sometimes some designs were in the workshop before the producer had time to examine the drawings.

As Art Director, Brian Bartholomew’s job required him to be involved throughout the process.

I was very much involved with the onstage setting-up, and even, to an extent, the lighting of a scene. I was pretty involved during the shooting of the action too.

When the first season of The Julie Andrews Hour concluded in the spring of 1973, Brian Bartholomew went on to work as Art Director on the special Barbra Streisand and Other Musical Instruments. During the next years, he worked as Art Director on many television shows, including Cher…Special and both The 28^th and 31^st Primetime Emmy Awards. In addition, he was Art Director for the television film: Star Wars Holiday Special, Lost Face and Mitzi… Roarin In the 20s with Mitzi Gaynor and Tony Charmoli.

Mr. Bartholomew is the winner of 3 primetime Emmy Awards for the following shows: The Julie Andrews Hour, Barbara Streisand and Other Musical Instruments and The 28^th Annual Primetime Emmy Awards. He was nominated for four additional Emmy’s including: The Magic of David Copperfield VIII: Walking Through the Great Wall of China, Cher…Special and This Is Tom Jones.

Keaton Walker worked on many awards shows, such as The Screen Actors Awards, the Academy Awards and Emmy Awards. He also worked on the television series Big Brother and Ghost Busters, among many others.

Jim Tomkins began his career as a set designer and art director for a theater in Youngstown, Ohio. He moved to California in 1965 in order to take part in the work going on to renovate and revive the Pasadena Playhouse. In 1969, he began to look for work in Hollywood.

Along with The Julie Andrews Hour, Tompkins also worked as art director on The Sonny and Cher Show, The Smothers Brothers Comedy Hour and The Dating Game. After Ronald Reagan was elected President, Jim Tompkins moved to Washington, DC where he worked in print design and architecture for the Reagan Administration. Later he worked for Debbie Reynolds, designing her fabulous sets in Las Vegas. Mr. Tomkins passed away in 2002.

Thank you for helping me pay tribute to the Art Direction on The Julie Andrews Hour.

                                               ***

Tomorrow – “Two on the Aisle” – Julie’s Show with Keith Mitchell

 For a list of all the blogs on The Julie Andrews Hour, please visit:

http://www.JulieAndrewsHour1972.com

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. 

Please note: All photos used here are for entertainment purposes only!