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The first day of October 1935 saw Julia Elizabeth Wells being born in England. Her mother, Barbara Ward (Morris), and stepfather, both of whom were performers in vaudeville, found out about her odd but indisputably gorgeous four-octave singing voice, and they immediately got her started on a career as a singer. She began her theatrical career at the age of 20 in a rendition of “Cinderella” at the London Palladium. Throughout her youth and adolescence, she entertained audiences in music halls and other venues.
Andrew first appeared on Broadway in 1954 in the play “The Boy Friend.” Two years later, in 1956, he played the part of Eliza Doolittle in the groundbreaking musical “My Fair Lady,” which propelled him to the status of a bona fide celebrity. Her reputation as a celebrity continued to grow in 1957, when she was featured in a television rendition of Cinderella (1957), and lasted until 1960 when she portrayed the role of Guinevere in “Camelot.” In 1963, Walt Disney approached Julie Andrews with an offer to appear in his next show, which was a spectacular musical fantasy that included both live-action actors and animated characters.
She consented to the proposal on the condition that she would not be offered the part of Eliza Doolittle in the forthcoming film adaptation of My Fair Lady (1964). After it was decided that Audrey Hepburn would play the role of My Fair Lady, Julie Andrews made her debut in the film industry with Walt Disney’s Mary Poppins (1964), for which she was nominated for an Academy Award for Best Actress.
Andrews continued to work on Broadway up until the release of The Sound of Music (1965), which was the highest-grossing movie of its day and is consistently ranked among the highest-grossing movies of all time.
She quickly discovered that audiences connected her mainly with singing, sugary-sweet nannies, and governesses, and they were unwilling to accept her in tragic parts in Alfred Hitchcock’s thriller Torn Curtain (1964) and The Americanization of Emily (1964). (1966). In addition, the negative impacts of the musical-film boom that she helped to generate were progressively reflected in the box office performances of the musicals that Julie later directed and produced.
Thoroughly Modern Millie (1967) was for a while the most successful picture that Universal had made, but even so, it was unable to compete with Mary Poppins or The Sound of Music for international praise and fame. Star! (1968) and Darling Lili (1970) were two more films that were commercial failures when they were released. Thankfully, Andrews did not allow this to deter or discourage her in any way. During the 1970s, she was a host on a television variety show as well as working in nightclubs.
In 1979, Julie Andrews made her comeback to the big screen. She did so by starring in films that were directed by her then-husband, Blake Edwards. Her new roles were very different from anything that she had played in the past. The performances that Andrews gave in the films 10 (1979), S.O.B. (1981), and Victor/Victoria (1982) garnered her a nomination for an Academy Award in the category of Best Actress in a Leading Role. She maintained a career as an actress throughout the 1980s and 1990s, appearing in films and on television, presenting a number of specials, and starring in a comedy that lasted just a few seasons. She co-starred with Anne Hathaway, who was a newbie at the time, in the film The Princess Diaries (2001), which was released in 2001.
Family audiences flocked to theatres in droves to see the movie, which went on to become one of the year’s highest-grossing pictures with a G rating, and Julie Andrews later went on to reprise her role as Queen Clarisse Renaldo in The Princess Diaries 2: Royal Engagement (2004). Andrews has had a variety of parts in contemporary animated films and television shows, including Tooth Fairy (2010), Shrek 2 (2004), Shrek the Third (2007), Enchanted (2007), Shrek Forever After (2010), and Despicable Me (2010). In 1954, Andrews made her debut on Broadway in the American production of The Boy Friend, an American adaptation of the successful British musical parody.
In the iconic musical My Fair Lady, which was written by Alan Jay Lerner and Frederick Loewe, she originated the character of Eliza Doolittle, a Cockney flower girl, in the year 1956. The performance by Andrews received praise from critics all around the world, and the show went on to become one of the most successful shows in the history of Broadway. It was also a tremendous smash in Britain. Andrews made her debut on American television in 1957, while the program was still running, performing a musical adaptation of Cinderella that Richard Rodgers and Oscar Hammerstein II had written just for her.
Her performance as Queen Guinevere in Lerner and Loewe’s Camelot in 1960 was another one of her successful roles, which had been written just for her. Despite the fact that she was not cast as Eliza in the film adaptation of My Fair Lady (1964), Andrews did make her debut in the film industry the same year. Walt Disney went backstage after seeing Julie Andrews’ performance in Camelot and offered her the titular part of the magical proper English nanny in his Mary Poppins (1964). Andrews was awarded both a Grammy and an Academy Award for her performance, which contributed to the success of the film in terms of financial returns for Disney.
However, it would be difficult for Andrews to abandon the role and image of a morally upstanding person. Her performance as Maria, the governess and aspiring nun in The Sound of Music (1965), one of the highest-grossing films of all time, garnered Andrews another nomination for the Academy Award and further solidified her reputation as a lovely “goody-goody.” Andrews sought to shift that image with serious, nonmusical parts in films such as The Americanization of Emily (1964) and Alfred Hitchcock’s Torn Curtain (1966), but the popularity of her musicals made her one of the greatest stars of the decade, and these roles were eclipsed by her musicals.
Julie Andrews Contact Information
Here you can find her contact data, including her fan mail address, address details, email id, residential address, house address, place of birth, phone number, contact number, email id, physical address, booking agent data, and manager/secretary contact information.
Fan Mail Address:
Julie Andrews
Greengage Productions, Inc.
P.O. Box 657
Fairfield, TX 75840-0011
USA
Address Information:
Julie Andrews
Hanson & Schwam Public Relations and Marketing
9350 Wilshire Boulevard
Suite 315
Beverly Hills, CA 90212
USA
Nevertheless, by the late 1960s, the classic cinema musical was beginning to lose its appeal. Andrews was thought by many to be a has-been after starring in two lavish musicals that were deemed to be failures: Star! (1968) and Darling Lili (1970). The latter film was produced, directed, and co-written by Blake Edwards, whom she married in 1970. She continued to perform on television and in concerts, and under the pen name Julie Edwards, she penned two novels for children: “Mandy” (1971) and “The Last of the Really Great Whangdoodles” (1974).
She did not, however, have another noteworthy film role until 1979, when she took a supporting role in Edwards’s successful comedy 10, which was released in 1979. (1979). The public’s reception of Andrews in a broader variety of roles started to improve after the release of the film. She demonstrated her talent as a versatile actor by being successful in both comedic and dramatic roles, and she was nominated for an Academy Award for her work in Edwards’ film Victor/Victoria, in which she played the role of a woman mimicking a male female impersonator (1982).
In the film Duet for One, she played a violinist who was afflicted with multiple sclerosis and received a lot of acclaim for her performance (1986). Later in her career, she starred in the family-friendly comedy The Princess Diaries (2001) and The Princess Diaries 2: Royal Engagement (2004). In addition, she performed the narration for the fantasy film Enchanted (2007) and the voice of the queen in many of the animated Shrek flicks (2004, 2007, and 2010). In addition, Andrews has provided their voices for characters in the animated films Despicable Me (2010), Despicable Me 3 (2017), and Aquamanile (2018).
In 2011, she was presented with a special Grammy Award in recognition of her career achievements in addition to winning a Grammy Award for a spoken-word CD for children titled Julie Andrews’ Collection of Poems, Songs, and Lullabies 2011. Andrews reprised her role as Victor/Victoria on Broadway in 1995, which is when she caused a commotion by refusing to accept a Tony nomination for her performance. This was the only nomination that the show received, and Andrews felt that the rest of the cast and crew, including director Edwards, had been “egregiously overlooked.”
Andrews was honoured with induction into the Theater Hall of Fame in the year 1997. After another three years had passed, she was promoted to the rank of Dame Commander of the Order of the British Empire (DBE). She is the author of the memoirs Home: A Memoir of My Early Years (2008) and Home Work: A Memoir of My Hollywood Years (2019), the latter of which she co-wrote with her daughter Emma Walton Hamilton. Both books were published in 2008. When the lyricist Sandy Wilson and the American producer Cy Feuer first saw Julie Andrews, she was performing in the pantomime Cinderella in the role of the title character.
Wilson was the author of the Boy Friend, a successful musical comedy that was performed on the West End and was a parody of musical comedies from the 1920s. Cy Feuer intended to transfer the musical to Broadway and was looking to hire British actors in it so that it would have the same feel as the original London production. Julie Andrews was hesitant to fly to America when Feuer and his partner, Ernest Martin, offered her the main role in the Broadway production of The Boy Friend. The Boy Friend was directed by Feuer. She was just 18 years old and had never been away from her family for so long.
After much deliberation, she decided to sign a contract for one year and then boarded an aircraft to the nation in which she would spend most of her life. On Broadway, The Boy Friend was an instant hit, and young Julie Andrews was a phenomenon, thrilling reviewers and audiences with her fresh good looks, elegance, brilliant singing voice, and gem-like diction. The play was also a huge success. She was given the opportunity to try out for the words and music team of Alan Jay Lerner and Frederick Loewe, who were creating the initial production of My Fair Lady, their musical adaptation of George Bernard Shaw’s play Pygmalion.
(1)Full Name: Julie Andrews
(2)Born: 1 October 1935 (age 87 years)
(3)Father: Edward Charles Wells
(4)Mother: Barbara Ward Wells
(5)Brother: Christopher Stuart
(6)Spouse: Blake Edwards (m. 1969–2010), Tony Walton (m. 1959–1968)
(7)Occupation: Actress
(8)Famous As: Actress
(9)Birth Sign: Libra
(10)Nationality: British
(11)Height: 1.73 m
(12)Religion: NA
(13)School: Cone-Ripman School
(14)College/University: NA
(15)Educational Qualifications: YES
(16)Hometown: Walton-on-Thames, United Kingdom
(17)Address: Walton-on-Thames, United Kingdom
(18)Hobbies: NA
(19)Contact Number: 310-358-3288
(20)Email ID: NA
(21)Facebook: https://www.facebook.com/julieandrews
(22)Twitter: https://twitter.com/JulieAndrews
Many Broadway insiders were sceptical that Lerner and Loewe would be able to adapt George Bernard Shaw’s classic comedy into a hit musical. It had been over a decade since the duo’s last Broadway hit, Brigadoon, and it was widely believed that the duo had lost their touch. In the first act of Pygmalion, Eliza Doolittle is a dishevelled street urchin, but by the time the play’s second act begins, she has been turned into a royal social beauty. The character of Eliza Doolittle has previously been performed by a number of renowned actresses on stage and in film.
The musical adaption required a multitalented young actress who was also an experienced vocalist. Julie Andrews, who was just 20 years old at the time, had never previously performed in such a demanding role, but Lerner, Loewe, and director Moss Hart chose to take a risk on her regardless of the fact that a number of famous stars were interested in playing the part. Even though he was a veteran of the theatre and film industry, her co-star Rex Harrison had never sung on stage before. The dress rehearsals were challenging. Even though Andrews was certainly capable of performing the challenging songs, the group felt uneasy since she had very little acting experience.
She describes the process in her interview with the Academy of Achievement, in which she describes how hard Director Hart worked with her. In 1956, when the musical “My Fair Lady” made its debut, it was an unrivalled phenomenon. It was hailed as the best music that had ever been performed, and all of the tickets were purchased months in advance. For her dazzling performance, Julie Andrews garnered plaudits from critics and audiences alike. The original cast album proved a huge commercial success, being one of Columbia Records’ most profitable recordings in their whole company’s history. Throughout the many years that followed, it continued to be a staple in the label’s discography.
Andrews also made her debut on American television a few days before the performance began, starring alongside Bing Crosby in a musical adaptation of the Maxwell Anderson play High Tor. The show was televised. Julie Andrews was asked to play Cinderella once more by America’s premier theatrical songwriters, Rodgers and Hammerstein after she had previously portrayed the character in pantomime and starred in the most successful of modern Cinderella stories. Rodgers and Hammerstein had written an original musical for television with the new star in mind.
Cinderella, written by Rodgers and Hammerstein, was performed live on CBS; however, Julie Andrews did not appear in it since she was taking a night off from her eight-performance-a-week schedule in My Fair Lady. Julie Andrews finally made her way back to England in order to perform in the London production of My Fair Lady on the West End after spending two years portraying Eliza on Broadway. She was able to secure a spot in the show for a second extended run when it proved to be just as popular in London as it had been in New York.
While she was in London, she rekindled her friendship with her childhood friend Tony Walton, who was at that time beginning his own career in the theatre as a set and costume designer. 1959 was the year that Andrews and Walton tied the knot.
Back in New York, Lerner, Loewe, and director Moss Hart were very excited about the prospect of having Julie Andrews play the role of Queen Guinevere in their new musical, Camelot. Richard Burton was cast in the role of King Arthur, and Broadway newcomer Robert Goulet was cast in the role of Lancelot.
The show’s run on Broadway got off to a shaky beginning, in spite of the widespread praise for the performances of an extraordinarily gifted cast. The box office demand increased when Andrews and Burton performed portions of the play on the famed Ed Sullivan television program. Initially, ticket sales were poor; but, after the performance, box office demand skyrocketed. The CD of the original cast did very well in the marketplace, and it was a particular favourite of both President John F. Kennedy and Mrs Kennedy at the White House.
Andrews was contacted by Walt Disney to feature in a film musical adaptation of the children’s book Mary Poppins when she was performing in Camelot for a period of two years. Disney was prepared to wait until after the birth of her kid to begin production, despite the fact that she was pregnant with her first child at the time. Emma was born to Andrews and Walton in 1962 as their first child together. Andrews and her numerous fans were dismayed when Warner Brothers decided to put an established film star, Audrey Hepburn, in the part of Eliza Doolittle in the film adaptation of My Fair Lady. Andrews had wanted to be cast in the film version of My Fair Lady. Hepburn was not a skilled singer, and singer Marni Nixon overdubbed her vocals so that they could be used in the film. There was a lot of publicity around the decision.
