Julie_Andrews_4_ever

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The Dame that is Julie Andrews!

Happy Birthday!!! ♥♥♥

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Part 5 of 5 in Julie Andrews’s 1958 serialised “life story”, So Much to Sing About.

To read Part 1, click here. To read Part 2, click here. To read Part 3, click here. To read Part 4, click here.

But wait, there’s more! In the spirit of archival preservation and share-the-Julie-love, the Parallel Julieverse has collated all five instalments of “So Much to Sing About” into a single PDF. For a limited time, it can be downloaded from the following link. Please be advised that the file size is >40MBs which is the smallest we could compress the images without adversely affecting quality:

Julie Andrews “So Much to Sing About” Complete PDF

Source:

Andrews, Julie. “So Much to Sing About, Part 5.” Woman. 31 May, 1958: 31-35, 48-51.

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Immortal Goddess Dame Julie Andrews was honoured with the Golden Lion Lifetime Achievement Award at the 76th Venice International Film Festival on September 3, 2019.

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Julie Andrews looks cheerful in shades and a baseball cap as she steps out in Venice. x

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VENICE, ITALY - SEPTEMBER 02: Julie Andrews arrives at the 76th Venice Film Festival on September 02, 2019 in Venice, Italy. (Photo by Pascal Le Segretain/GC Images,)

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Julie Andrews’ Academy Award Nominations and Wins

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Following our recent posts marking the 60th anniversary of the wedding of Julie Andrews and Tony Walton, here we shine a brief spotlight on how the newlyweds were covered by the media in the early years of their marriage. Their May 1959 wedding was a definite high-water mark of media exposure for Julie and Tony but public interest didn’t end once they’d walked down the aisle. Newspapers and magazines continued to feature regular stories and photos about the ‘happy couple’, detailing what they were up to and how they were adapting to life as husband-and-wife. 

Much of the coverage presented the newlyweds as a quintessentially modern couple who were combining the twin demands of dual careers with companionate marriage. A multi-page profile in the January 1960 issue of British women’s magazine, Housewife serves a good case-in-point. Essentially a ‘celebrities at home’ pictorial, the article marshals the couple’s “delightful new home––a large flat overlooking Eaton Square––to which they went when they were married eight months ago” as a symbolic expression of the blended amalgamations of marital domesticity (Antony: 38). 

The “Andrews-Walton flat is a combination of their two careers,” the article chirps, “Julie’s piano has a prominent place and one room is made into Tony’s studio” (Antony: 40). Elsewhere it describes a cosy everyday scenario of domestic give-and-take as “Julie spends hours practising her singing” with Tony acting as one of her “sternest musical critics,” while Julie in turn “gets a thrill out of Tony’s work for the theatre [and] enjoys posing for his costume designs” (38-39). The image painted here is a transactional blend of conventional married home-life with newer forms of egalitarian coupledom: “two young people––both so young and in love––embarking on a duet” in “their lovely new home…a good basis for security in their marriage” (40-41).

Other profiles were considerably less blithesome. A recurrent refrain in a lot of the media coverage of Julie and Tony’s marriage was the perceived challenges faced by a couple in which, as one early newspaper report put it, “the wife’s name has embarrassingly eclipsed the husband’s” (Wilson: 10). In an era still tethered to orthodox notions of male breadwinners and female homemakers, a union in which the wife assumed greater professional and financial prowess than the husband was sufficiently novel to evoke both curiosity and, at times, unease. 

In the newspaper profile just mentioned, Cecil Wilson (1959) strikes a note of thinly-veiled anxiety when discussing what he apprehends as a gendered dilemma in the couple’s marriage. Titled “How Not to Be Known as Mr Julie Andrews”, the article asserts a very traditional view of marriage in terms of masculine dominance and feminine support. “No man could have done more in less time” than Tony Walton, it proclaims, “to rise above the reflected glory of being ‘Julie Andrews’s husband’ or, worse still, the ignominious label of ‘Mr. Julie Andrews’” (10). “Since his childhood sweetheart from Walton-on-Thames consolidated her…stardom in My Fair Lady, he has firmly established the name of Tony Walton by designing four West End shows…[and n]ow, to give Julie Andrews further pride in being known as Tony Walton’s wife, he has gone into management” as a theatre producer (ibid.).* 

It is a testament to Julie and Tony’s fortitude and well-grounded emotional security that, for the most part, they deflected such concerns as immaterial. Responding to a reporter’s question about how her status as “one of the country’s wealthiest young actresses” impacted her new married lifestyle, Julie  demurred: “I don’t know how much I’m worth…We haven’t a car, although I hold a licence. But Tony holds the important licence, the marriage one” (Hickey: 3). Later, on the eve of her departure for New York to start rehearsals for Camelot, Julie mused further on the ambivalent demands of career and marriage: “Of course it’s nice to get back to work. I love the stage. But what I really like and what I want to do is to settle down and be plain Mrs. Walton” (Tanfield: 12). 

For his part, Tony Walton struck a particularly mature and, for the time, progressive attitude to the unorthodox dynamics of his and Julie’s marriage. When asked in a 1959 interview if he experienced “professional jealousy” of Julie, he replied with categorical pragmatism: “Not a bit. After all, Julie has one career and I have another. But I still wouldn’t rank my fame with hers” (Wilson: 10). It was a consistently balanced approach he maintained––at least publicly––right throughout the marriage, even after Julie had graduated to the exponentially increased fame and fortune of film stardom.  “[T]he embarrassments people see for me are easily coped with because they’re so absurd,” he remarked in a 1966 article, “I’d be stupid if I let them affect me” (Leslie: 8). If there is any problem, he ventured in an admirably democratic take on modern marriage, it is 

“who at any one time is going to be the support. I don’t mean financial but emotional––which is the basis on which the whole marriage is built. When Julie and I were both in the theatre, and she was rehearsing at something and I was working at something else, the pressure times would swing back and forth between us. And at times I’d find myself taking on an almost feminine role, trying to calm, soothe, protect or whatever. And then as soon as I was deeply involved and under pressure then the roles would be reversed. I think if I were an over-dominant kind of male I’d find this situation harder to cope with. But neither of us is over-poweringly masculine or over-poweringly feminine” (ibid.)

That the marriage of Julie Andrews and Tony Walton ultimately didn’t last is a matter of historical record. Following extended periods of separation, the two officially filed for divorce in November 1967, eight and a half years after they were wed (”Julie Andrews Suing”: I-23). But the pair have, by all accounts, maintained a strong and enduring friendship, even after both of them found and subsequently married new partners (Robins: D-6). In fact, Julie is fond of recounting how Tony and his second wife, Gen LeRoy-Walton, affectionately refer to her as “our ex” (Andrews: 323). “They’re best friends and they gang up against me,” explains Tony Walton of the relationship between his former and current partners (McDonnell: 3D). As Julie observed in a 2001 interview: “[T]he divorce was extremely sobering but I’ve known [Tony] since I was 13 and he was 12, and you cannot undo that knowledge” (Birch: 16).

Notes:

* This kind of angst-ridden discourse about the perceived gendered power imbalance of the Andrews-Walton marriage intensified once Julie made the move to Hollywood and the even greater success of global film stardom. “When a wife starts earning much more money than her husband,” wrote one especially egregious example, “the marriage is not long for the lasting” (Shearer: 15). Such sensationalist commentary was evident even in international reports.”Julie Andrews and her prince-consort” was how one French-language article billed the marriage (Von Cottom: 22).

Sources:

Andrews, Julie. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008.

Antony, Jonquil. “Theatrical Duet in Eaton Square.” House Wife. March 1960: 38-41.

Birch, Helen. “Truly Andrews.” Daily Telegraph. 7 December 2001: 15-16.

Hickey, William. “For Julie it’s the Beginning.” Daily Express. 8 August 1959: 3.

Jordan, Ruth. “No Fashion Fuss for Julie.” Woman’s Journal. December, 1959: 26-27, 134.

“Julie Andrews Suing Designer for Divorce.” Los Angeles Times. 15 November 1967: I-23.

Leslie, Ann. “Beating the Hysteria: ‘Mr. Julie Andrews’.” Daily Express. 19 April 1966: 8.

McDonnell, Brandy. “Tony Time.” The Oklahoman / Sunday Life. 27 May 2018: D1-D3.

Robins, Cynthia. “When Art and Love Meld Successfully.” San Francisco Examiner. 6 September 1992: D-6.

Shearer, Lloyd. “When a Wife Earns More than a Husband.” Parade. 9 July 1967: 14-15.

Tanfield, Paul. “My Year of Bliss…by Julie Andrews.” Daily Mail. 18 August 1960: 12.

Von Cottom, Joseph. “Julie Andrews et son prince-consort: le pitoyable drame des maris de vedettes.” Ciné-Télé-Revue. 4 August 1966: 22-23.

Wilson, Cecil. “How Not to Be Known as Mr Julie Andrews.” Daily Mail. 24 September 1959: 10.

Photographs by John Dixon, George Konig, and anon.

© 2019 Brett Farmer All Rights Reserved

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Scenes from a Marriage

A final post in honour of the 60th anniversary of Julie Andrews’ wedding to first husband, Tony Walton in May 1959

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When the day is grey and ordinary, Mary makes the sun shine bright!

Julie Andrews on the set of Mary Poppins at the Walt Disney Studios, Burbank, California, July 1963

Photographed by Earl Theisen for Look magazine

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The hills are alive with the sound of music, with songs they have sung for a thousand years. The hills fill my heart with the sound of music. My heart wants to sing every song it hears.

The Sound of Music (1965)

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Julie Andrews with her daughter, Emma Kate, during a break on filming for The Sound of Music, Salzburg, Austria, c. May 1964.

Photo credit: Zoë Dominic

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“Ding Dong the Bells are Gonna Chime…!”

This Day in Julie-history: Julie Andrews weds first husband, Tony Walton sixty years ago on 10 May 1959.

When Julie Andrews and longtime beau, Tony Walton finally decided to marry in the English spring of 1959, they had hoped to keep the wedding relatively low-key. Rather than plump for a big city venue, the couple chose to hold the ceremony at the small parish church of St. Mary’s Oatlands in Weybridge, close to their collective family home of Walton-on-Thames in Surrey. In her memoirs, Julie recalls that, even though she and Tony had both grown up in the very next village, she “had to prove residency in the parish of Oatlands” in order to get married at the picturesque mid-Victorian church (Andrews: 258). So for six weeks prior to the wedding, the star moved into the nearby Oatlands Park Hotel, making the daily commute into London for ongoing performances of My Fair Lady.

However, as profiled in our last post, the couple’s courtship had been a focus of such intense media attention that there was little serious hope they’d be able to keep the wedding out of the public eye.  And, lo, come the big day, a sunny and unusually warm spring Sunday, a phalanx of over sixty reporters, press photographers and newsreel cameramen was on hand to cover the event. What’s more, a huge crowd of fans and public well-wishers –– ranging in estimates from two to three thousand––congregated around the church and surrounding lanes to get a glimpse of the star bride. It was a carnival-like atmosphere complete with “ice cream men and even a winkle stall” (Rolls: 2). “The pretty tree-shaded churchyard looked like Hampstead Heath on a Bank Holiday Monday,” noted one press report, “as fathers, mothers and children struggled on the lawns littered with ice lolly-sticks and sweet papers” (Marlborough and Court: 5). 

More than two miles of cars clogged the roads leading up to the church, so not surprisingly the bridal party was a little late in arriving, pulling up to the front of the church ten minutes behind schedule. As Julie emerged from the bridal car, led by father Ted Wells, the crowds surged forward and news crews rushed to get shots. Some women reportedly fainted in the crush and “[t]eams of police had their hands full making way for Julie” (Rolls: 2). “This crowd makes me more nervous than playing Eliza on the first night,” exclaimed the star (ibid.). Ever the consummate professional, Julie took it in stride with reporters marvelling that “throughout the Hollywood-style hysteria, Miss Andrews remained calm, cool and apparently unperturbed” (Marlborough and Court: 5). 

She also looked every inch the resplendent star bride in a stunning seventy-yard rose-budded white organza gown that had been designed specially for her by husband-to-be Tony Walton. Made from the designs by Julie’s longtime friend, theatrical costumier Madame de Rachelle, who had provided several earlier bespoke dresses for the star, the bridal gown had an estimated cost of £350, a substantial amount for the time. Rachelle also helped dress Julie the morning of the wedding, painstakingly fastening all 72 buttons at the rear of the gown with a small buttonhook (Hickey: 5).

Once inside the church, the wedding party was able to relax a little during the 35 minute service. As the officiating vicar quipped, “Forget your friends inside the church and the crowds outside. There’s nothing high-falutin’ about a marriage service” (Hickey: 1).* The 300-strong guest list was weighted heavily with local friends and family but there were a few famous faces dotted among the pews, mostly theatre folk who had been important to Julie during her career. Stanley Holloway, Robert Coote, and Noel Harrison, son of Rex, were on hand to represent the My Fair Lady crew. Rex was unable to attend as he was abroad visiting his ailing wife Kay Kendall in Paris. Sandy Wilson and Vida Hope flew The Boy Friend flag and others were there from Julie’s early radio and pantomime years such as Hattie Jacques and Vic Oliver. Further celebrity friends included Maggie Smith, Svetlana Beriosova, Anne Rogers and the official wedding photographer was none other than Tony Armstrong-Jones (Cottrell: 118). 

Following the ceremony, the bridal party and guests made their way to the reception at the Mitre Hotel in Kingston-on-Thames directly opposite historic Hampton Court. Thousands more lined the roads to cheer them on and some even hired rowboats in an effort to get a closer peek at proceedings from the riverfront (Rolls: 2). Inside, the three hundred invited guests were treated to a lavish champagne supper with dance music provided by Johnnie Howard and his Orchestra who played inevitable selections from My Fair Lady but also from Sandy Wilson’s Valmouth with which Tony had been successfully associated (“Denmark Street”: 7). Maintaining the dual theatrical theme, the three tiered wedding cake was topped with two miniature figures, one in Eliza Dolittle flower girl costume and the other in an artist’s smock (Cottrell: 121).

After it was all over, the newlyweds were driven straight to London airport to catch a late night flight to Los Angeles. It was billed as a two-week “honeymoon”, though it was in fact more of a working holiday with Julie taping a TV special with Jack Benny and Tony working on designs for a new musical (Cottrell: 122). Julie recalls that she and Tony slept most of the long flight to California, both exhausted from their big day. As the flight prepared to land, Julie writes that as she slowly roused, she saw Tony smiling at her in the next seat:

“’Help!’ I said to him in a very small voice. He nodded, knowing what I meant. The festivities were over; we were married and heading into the unknown” (Andrews: 262)

Notes:

* In her memoirs, Julie gives the name of the officiating vicar at the wedding as Rev. Keeping, “a charming man, kind and gentle in our meetings with him” (Andrews: 259). Press reports from the time, however, list him as Rev. John McKitterick (Hickey: 1; “Marriages”: 12; Rolls: 2). Far be it from us to suggest that she-who-is-practically-perfect-in-every-way got it wrong, which is why, in one of the photos accompanying our previous post, we followed Dame Julie’s lead and identified the kindly vicar as Rev. Keeping.

Sources:

“2000 at Julie Andrews’s Wedding.” Belfast Telegraph. 11 May 1959: 8.

Andrews, Julie. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008.

Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.

“Denmark Street Doodles.” The Stage. 21 May 1959: 7.

Hickey, William. “Phew! What a Scramble for the Bride and the Motorist: My Fair Lady Marries Boy Next Door.” Daily Express. 11 May 1959: 1, 5.

Marlborough, Douglas and Court, Monty. “PictureMail Goes to the Stage Wedding of the Year: Shouting Women Delay Julie.” Daily Mail. 11 May 1959: 5.

“Marriages: Mr. T. Walton and Miss J. Andrews.” The Times. 11 May 1959: 12.

Nathan, David. “C-r-a-w-l-i-n-g Home But What a Loverly Day it was for a Wedding.” Daily Herald. 11 May 1959: 1, 3.

Rolls, John. “Cor! Wot a turn ant for Eliza…” Daily Mirror. 11 May 1959: 2.

Photographs by Tony Armstrong-Jones, Ron Burton, Kenneth Denyer, and Terry Fincher.

© 2019 Brett Farmer All Rights Reserved

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This week marks the 60th anniversary of Julie Andrews’ wedding to first husband, Tony Walton in May 1959. Here in the Parallel Julieverse, we generally avoid discussing Julie’s private life as we believe it is…well…private. However, the vortex of media attention surrounding stars like Julie means that the divide between public and private isn’t always easy to discern, let alone respect. The torrent of studio PR, interviews, magazine profiles, biographies, gossip columns and candid exposes that saturate our celebrity-obsessed media push the personal lives of stars firmly into the public spotlight and, by so doing, make off-screen knowledge as integral to a star’s image or ‘persona’ as their on-screen roles and public performances (DeCordova 1990; Jerslev and Mortensen 2018). 

Like most stars, Julie is no stranger to celebrity culture’s constitutive demand for “the public performance of private selves” (Dyer: 15). Even in her earliest years as a budding child star, she was frequently subject to a probing media inquiry of her private family life. In her memoirs Julie recalls how, after the opening night of Starlight Roof, the press, eager for a story about the new “prima donna in pigtails,” followed her home, taking photographs as she played in her bedroom and “bombarding me with questions” (Andrews: 80). 

While this interest in the private lives of stars is a common feature of celebrity media at large, it assumes a particularly pronounced form in relation to female stardom. Christine Geraghty (2000) observes that longstanding cultural associations “between women and the private sphere of relationships and domesticity” motivate a widespread, even obsessive, media concern with female stars’ off-screen domestic lives in a way that isn’t typically the case for their male counterparts (186). "Stories of love affairs, weddings and divorces” are the default register for pop media representations of female stars, Geraghty notes, a soap opera-like narrative economy that renders female stars as public figures whose cultural legibility, and possibly even value, is tethered to their private roles as wives, mothers, daughters, lovers (ibid).

It is in this context that we can situate Julie’s 1959 wedding to Tony Walton. Dubbed “the show business wedding of the year” (Marlborough and Court: 5), the event was accompanied by an almost frenzied degree of media attention, making headline news in the UK and reported widely via international news-services around the world. It was the culmination of a long gestating “soap opera” that had surrounded the pair’s relationship and been played out in regular instalments across the pages and columns of the celebrity press.

Right throughout her all-important Broadway years as Julie made the transition to international stardom in, first, The Boy Friend and, then, My Fair Lady, media commentators were obsessed with her “off-stage” doings and romantic liaisons. Interviewers routinely quizzed her about her love life and gossip columnists linked her with a veritable revolving door of suitors, real or otherwise:

“A boy friend? Yes. Julie has one. He’s a twenty-four-year-old Canadian actor she met in England” (Crane, February 1955: 7)

“Julie Andrews, star of The Boy Friend has a new ditto: Dr Stanley Behrman, a young oral surgeon who treats the perils of such belles as Bette Davis and Bobo Rockfeller” (Kilgallen, March 1955: 16)

“The real Boy Friend in pretty Julie Andrews’ life is a TV actor in Toronto. He calls her from there almost every evening” (Kilgallen, April 1955: 30)

“Julie Andrews and Neil McCallum talking marriage” (Sullivan, November 1955: 27C)

By 1956, the young star was already complaining openly that, “People link you and unlink you. They tie you with this person and knot you up with the next one” (Freudenheim, 11-B). 

Here it is worth recalling the extent to which Julie’s star image in this era was invested in one of the most resonant narratives of popular romance and sentimental feminine domesticity: Cinderella. As star of My Fair Lady, a particularly influential iteration of the Cinderella fable –– to say nothing of the whole framing narrative of rags-to-riches, Walton-on-Thames to New York star-is-born mythology –– Julie emerged in the 1950s as what Maya Cantu (2015) calls “the decade’s Cinderella ideal” (162). And what is Cinderella without a Prince Charming? 

Small surprise, then, that media tongues were set wagging and public hearts fluttering when Tony Walton, Julie’s childhood sweetheart from Walton-on-Thames, came to New York to visit the star during the early run of My Fair Lady in April 1956. Despite Julie’s protestations they were “just friends” (Freudenheim: 11B), the local press quickly cast the pair as leads in a romantic fairy tale: “Julie Andrews, the Fair Lady leading lady, and her betrothed, Tony Walton of London” (Winchell, April 1956: 4). What followed was a two-year saga of “on again-off again” romantic intrigue played out in the gossip pages:

“Julie Andrews and Tony Walton picking the date” (Sullivan, May 1956: 45)

“Julie Andrews, the dazzler of My Fair Lady is delighted by the visit of her best beau, British artist Tony Walton. But she longs for him to find a stage designing job that would keep in the U.S. for a while” (Kilgallen May 1956: 38).

“It’s been denied on this side of the Atlantic, but London’s theatrical set is buzzing with the rumor that Julie Andrews…is secretly married to British Tony Walton” (Kilgallen, November 1956: 14)

“Julie Andrews tells friends she’s fixing up her apartment for two. Could it be that a merger with Tony Walton is closer?” (Walker, February 1957: 39).

“The British newspapers are crowing happily over the fact that, although Julie Andrews has become a big star in the U.S., she isn’t making the mistake of marrying a Yankee. Julie remains true to her British boy-next-door, young Tony Walton” (Kilgallen, April 1957: 16).

“Is there a wedding in the offing for Julie Andrews?…No, said Julie, from New York last night. But her 15-ear-old brother, Donald told me earnestly: ‘She’s going to announce her engagement as soon as she comes home in April’” (Fielding, December 1957: 2)

Widely reported on both sides of the Atlantic –– indeed, it even received international attention as far away as Australia (“She is Broadway’s ‘Fair Lady’”: 3) –– the brewing romantic soap opera reached almost feverish intensity in the lead-up to the much-ballyhooed London opening of My Fair Lady in April 1958. 

No sooner had Julie touched down at London airport than she was grilled by the waiting media scrum about her relationship with Tony. “Julie Andrews…first hour home was spent denying that she will marry as soon as the show opens,” reported the Daily Express, “I have known the boy I want to marry for 12 years, but we shan’t rush to marry yet” (Lambert: 5). The Daily Mirror made the story its front page news with the declarative headline, “I love him! I love him!! I love him!!!”

“Please clear up all those rumours that Tony and I have had a quarrel….All this business about an on-off romance just isn’t true…We have never quarrelled in our lives, and there has been nobody else for either of us since we fell in love two years ago” (Wilcox: 1).

The fact that the pair were childhood sweethearts from the same small Home Counties village –– as cliched a romantic convention as they come –– intensified public interest in their relationship, while at the same time cementing Julie’s popular image at home as “a nice sensible English girl thoroughly unspoiled by fame” (Wiseman: 10; see also, Nathan: 6).

Even Julie herself was not beyond framing her and Tony’s relationship as a somewhat fanciful storybook romance. In her serialised celebrity memoir published in Woman magazine in May 1958 to coincide with her triumphant return to London, the star drew widely from narrative romance tropes and metaphors to describe the “blossoming” of her and Tony’s love. She even ends the memoir with a fairytale climax where, following the grand London opening of My Fair Lady, the couple are depicted waltzing on the floor of the Savoy Hotel like Cinderella and the Prince:

“At midnight, with Mummie, Uncle Charles, and all my darling family about me, I was at the Savoy and, as I danced with Tony, the orchestra started playing the music from My Fair Lady. The floor cleared and Tony and I were left dancing together, dancing, I felt, in a world of all the dreams and ‘One Days’ come true at last” (Andrews 1958: 51).

Thus, when Julie and Tony finally made public their plans to marry, it came like the pre-scripted climax to a very public fairytale romance, the final chapter in the Cinderella narrative through which Julie’s early star image was so throughly cast: 

“Once upon a time there was a spindly-legged, freckle-faced little girl with braces on her teeth named Julie Wells. She lived with her mother and stepfather and bothers and sister in a little house in the country. Of course there was a boy-next-door. The years went by and she grew into lovely silver-blonde. By this time she was Julie Andrews…She was called ‘the nicest girl in show business.’ And after My Fair Lady she was one of the richest. But like the princesses of fairy tales, riches did not turn her heart from the lad who loved her…Tomorrow they marry in the little village church at Oatlands, Weybridge…They will, undoubtedly, live happily ever after” (Stix: 11).

Sources:

Andrews, Julie. “So Much to Sing About, Part 5.” Woman. 31 May, 1958: 31-35, 48-51.

_____________. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008. 

Cantu, Maya. American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy. London: Palgrave MacMillan, 2015.

Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.

Crane, Lionel. “Julie, The Broadway Bombshell.” Daily Mirror. 8 February 1955: 7.

DeCordova, Richard. Picture Personalities: The Emergence of the Star System in America. Urbana: University of Illinois Press, 1990.

Dyer, Richard. Heavenly Bodies: Film Stars and Society. New York: St Martins Press, 1986. 

“Fair Lady Andrews Plans to Marry.” Evening Sun. 6 May 1958: 3.

Fielding, Henry. “Julie’s No.” Daily Herald. 11 December 1957: 2.

Freudenheim, Milt. “American Success Startles British Star Julie Andrews.” Chicago Daily News. 19 April 1956: 11B.

Geraghty, Christine. “Re-examining Stardom: Questions of texts, bodies and performance.” In Gledhill, Christine and Williams, Linda, eds. Reinventing Film Studies. London: Arnold, 2000.

Jerslev, Anne and Mortensen, Mette. “Celebrity in the Social Media Age: Renegotiating the Public and the Private.” In Elliott, Anthony, ed. Routledge Handbook of Celebrity Studies. London: Routledge, 2018.

Killgallen, Dorothy. “Broadway Grapevine.” Star-Gazette. 15 March 1955: 16.

Killgallen, Dorothy. “Broadway Grapevine.” Star-Gazette. 7 April 1955: 36.

Killgallen, Dorothy. “Voice of Broadway.” Star-Gazette. 10 May 1956: 38.

Killgallen, Dorothy. “Voice of Broadway.” Star-Gazette. 12 November 1956: 14.

Killgallen, Dorothy. “Voice of Broadway.” Star-Gazette. 12 April 1957: 16.

Lambert, John. “Fair Lady Julie is Home––Marriage? Not Yet.” Daily Express. 7 April 1958: 5.

Lowe, Shirley. “The Boy Friend’s Girl Friend’s Great-Grandmother.” Daily Express. 4 October 1955: 3.

Marlborough, Douglas and Court, Monty. “PictureMail Goes to the Stage Wedding of the Year.” Daily Mail. 11 May 1959: 5.

Nathan, David. “The Last Time I Saw Julie.” Daily Herald. 8 April 1958: 6.

“She is Broadway’s ‘Fair Lady’.” The Sydney Morning Herald. ‘Women’s Section.’ 5 July 1956: 3.

Stix, Harriet. “Rich-Girl Julie Weds Boy Next Door.” Daily Express. 9 May 1959: 11.

Sullivan. Ed. “Little Old New York.” Daily News. 4 November 1955: 27C.

Sullivan. Ed. “Little Old New York.” Daily News. 7 May 1956: 45.

Walker, Danton. “Broadway.” Daily News. 25 February 1957: 39.

Wilcox, Dennis. “I Love Him! Says Julie Andrews” Daily Mirror. 7 April 1958: 1. 

Wilson, Cecil. “Pocket Money Star Stops the Show.” Daily Mail. 24 October 1947: 3.

Winchell, Walter. “On Broadway.” The Post-Star. 26 April 1956: 4.

Winchell, Walter. “Broadway Cinderellas.” Daily Times. 25 June 1956: 4A.

Wiseman, Thomas. “Has Success Spoiled Julie Andrews?” Evening Chronicle. 17 April 1958: 10.

© 2019 Brett Farmer All Rights Reserved

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What Do the Simple Folk Do?

Candid shot of Julie Andrews in the kitchen of her New York City-Lenox Hill apartment during the Broadway run of Camelot. Photographed by Ed Alexander, c. December 1960.

[julieaandrews4ever]

#julieandrews

[paralleljulieverse]

“When you know the notes to sing…”

Julie Andrews practising guitar during pre-production rehearsals for The Sound of Music. Stage 1, Twentieth Century-Fox Studios, February 1964 Photograph by James Mitchell.

[julieaandrews4ever]

#julieandrews