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

Interview with Ian Fraser - Music Arranger for The Julie Andrews Hour

In the summer of 1972, as Julie Andrews prepared for her new television series, she was inspired to write the some music which she thought might make a good theme for her new show. Every star with a television variety show usually had a closing theme song.

When Julie’s good friend, lyricist Leslie Bricusse came to visit, Julie asked for his opinion of her music. He liked it. In response, he wrote some lyrics for the ‘song,’ calling it, “Time Is My Friend.”

Now, Julie needed someone to write an arrangement of her new song. Although in my interview with Ian Fraser, he did not say Leslie Bricusse was the one who suggested him for the job, his credits seems to point to that fact. In 1965, Ian Fraser was the vocal supervisor for Bricusse’s Doctor Doolittle. Then, in 1970 Leslie Bricusse wrote both words and music for the musical version of Charles Dicken’s classic, Scrooge. Ian Fraser arranged and conducted the music for this film and both men were nominated for Academy Awards that year. Thus, it seems fairly clear that Bricusse was the one who suggested Fraser as an excellent person to arrange Julie’s new song.

Julie loved Ian’s work, and after he completed the arrangement for “Time Is My Friend,” she said “I’d like you to work with me.” At that point, he already had another job lined up in New York, so he told her he couldn’t do it. But as fate would have it, the New York job was cancelled, and he accepted Julie’s offer. Soon, Ian Fraser was hard at work as a member of the creative team on The Julie Andrews Hour, working under the musical direction of Nelson Riddle.

During the 24 episodes of The Julie Andrews Hour, at least a part of Julie's “Time Is My Friend” (if not all) was sung as the closing number for the majority of the shows.

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Born and raised in England, as a young man, Ian Fraser joined the Royal Artilliary Band and Orchestra where he performed as solo concert pianist, harpist and percussionist. After five years service, Mr. Fraser joined the London night life, playing in some of the city's finest night clubs. He found work in theater and television as well, and after a time, expanded his talents to music arranger. 

Working for Decca Records, Mr. Fraser became acquainted with Anthony Newley, who was pleased with his work and eventually hired him as arranger and musical director for what would be his greatest hit show, Stop the World, I Want to Get Off.  In 1962, Ian Fraser came to New York with the show. After that, he made the United States his home.

Working on The Julie Andrews Hour, Fraser recalls that the weeks were intense. They taped for three weeks (3 shows) in a row and then took a week off. Taping the shows  two weeks ahead of the air dates, allowed for some breaks and took some of the pressure off, but not much. Although the weeks when they had no shows were meant to give them some breathing time before the next onslaught of work, according to Ian, he really never had a week off during the time the series ran.

Every week there were big production meetings where they learned who the guests would be and what the theme was for the next show. The songs were then chosen according to the theme. Once they knew what the songs would be, Ian went to work, laying out the vocal arrangements for the show.

About The Julie Andrews Hour, Mr. Fraser says, “It was really an amazing operation.” Week after week, the crew and the stars created great shows, with everything running like clockwork.

On Mondays, Nelson Riddle would meet a team of arrangers over lunch. There they would discuss the plans for the week. By 5pm that same day, the music for the dance numbers would be all laid out, so that Tony Charmoli and his dancers could go to work and be ready for the final rehearsal on Thursday.

Ian got his assignments on Monday and a day and a half later, Wednesday, at two or three in the afternoon, all the musicians and the back-up singers met at the RCA recording studios to lay down the tracks. Then, late in the afternoon, Julie and her guests would join them at the studio to lay down the vocal tracks. They often worked past midnight to get everything just right. Ian was at RCA all day, and then, generally, all night, working on the mixing.

Wednesday night, all the recording and the mixing (with voices, instruments and back-up singers) had to be perfectly balanced and ready for the Thursday morning rehearsal. It was Ian’s job to see that this was done and take the tapes to the studio for the 8 or 9am onstage rehearsal Thursday morning.

Sometimes, Julie and/or her guests intended to record a song during their "live" studio performance on Friday, but even when they intended to do that, the orchestra tracks were all pre-recorded on Wednesday. Then, at ABC, one or more of the musicians would play live with the singers.

Mr. Fraser says that the quietest day of the week for him was Tuesday. Even on Fridays, when his job was basically done, he was always at the studio, working. He was present for the Thursday rehearsals and Friday tapings, which went from the morning until midnight and sometimes into the wee hours of the morning.  On rare occasions, he also appeared on camera, playing piano for Julie. 

“Julie was amazing,” he said. “She kept her energy up throughout.” Still, the show was extremely exhausting and as Mr. Fraser intimated, Julie wasn’t sure, if the show was renewed for another year, whether she could keep up that level of work.   

Ian Fraser is not sure when or how he heard that the show was canceled. That was a sad day for everyone involved, but in the long run, he says, it worked out just as well. Julie was given a series of specials which she was able to do in her own time, without the pressure of producing a weekly show. She was also able to tape these specials in England, where she was living at the time.

Julie Andrews with daughter, Emma Walter Hamilton,
 and composer, Ian Fraser

Over the years, in addition to his prolific work as a conductor and composer, Ian Fraser has continued to work with Julie Andrews. Following The Julie Andrews Hour, he was musical director for her two Christmas albums and  five television specials in London.  In the 1990s, Mr. Fraser also filled the role of conductor for Ms. Andrews’ return to Broadway in Victor/Victoria. He also composed the music for Dame Julie’s narration of her children’s book, Simeon’s Gift.

Ian Fraser has been nominated for twenty-three Emmy Awards. He has received eleven Emmys, including for the 1993 52^nd Presidential Inaugural Gala, The Sound of Christmas(Julie Andrews) and Baryshnikov on Broadway. Mr. Fraser has worked with a wide range of musical artists from Placido Domingo to Christina Aguilera. His collaboration on the duet, Peace on Earth for Bing Crosby and David Bowie is one of the most popular ever and sold over two million copies.

I would like to thank Ian Fraser for taking time to speak with me and for preserving something of what it took to create The Julie Andrews Hour.

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, please write: Look for ITV studios in London or California.

 All Photos are for entertainment purposes only

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

http://www.JulieAndrewsHour1972.com

Coming Next: Episode 22 with Guest Sammy Davis Jr!