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| re: She has a Donaldson which was the big theater award before the Tonys | |
| Posted by: JereNYC (JereNYC@aol.com) 02:58 pm EDT 10/04/23 | |
| In reply to: re: She has a Donaldson which was the big theater award before the Tonys - PlayWiz 06:46 pm EDT 10/02/23 | |
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| I read both Andrews' autobiographies and I am not in any way disparaging her choices in her career or personal life. If it's one thing that she made crystal clear in those books, it's that if you want a career and a family life, tough choices need to be made constantly. If anyone ever had the idea that being a major film star was all glitz and glamour, Andrews' second book will quickly disabuse them of that notion. And, of course, I realize that she did films with theatre content and sometimes performed in concerts. But none of that actually changes the fact that she did not have a major career on Broadway. It was a phase in her career and then she moved on. Any of us here on ATC could probably name 100 famous actors who started their careers on stage and made the choice to move on to film and/or television when those opportunities arose and who never came back. Andrews, at least, did come back once (or twice, if we're counting the brief run of PUTTING IT TOGETHER). That CINDERELLA and THROUGHLY MODERN MILLIE were later adapted for the stage had nothing to do with her. MILLIE was a mostly forgotten film and CINDERELLA, at that point, was more associated with Whitney Houston and Brandy. And, if VICTOR/VICTORIA had gone that way as well, meaning getting adapted by people not her husband, I doubt that Andrews would have returned to Broadway in that show at all. If she'd been interested in returning to the Broadway grind in the mid-90's independent of her need to help her husband finance VICTOR?VICTORIA, she would likely have returned in a show that wasn't as taxing on her as V/V turned out to be, perhaps a Broadway transfer of PUTTING IT TOGETHER or the 1996 revival of THE KING AND I. Maybe, if she'd made it known that she was interested in returning to Broadway, someone might have written a new show specifically tailored to her talents and limitations at that time. Maybe she might have had the same kind of late career Broadway renaissance that Angela Lansbury had with many roles over several years, all carefully considered and built around what she could deliver at that point in her life. But I agree that an Andrews LADY IN THE DARK would have been legendary. I'm also curious about what an Andrews Mrs Lovett (especially given her career origins in British music halls) or Witch might have been. I wonder what kind of spin she might have put on Norma Desmond or Desiree Armfeldt or Phyllis Rogers Stone. And, of course, she'd likely have inspired writers to write new material especially for her as well. |
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| re: She has a Donaldson which was the big theater award before the Tonys | |
| Last Edit: PlayWiz 03:49 pm EDT 10/04/23 | |
| Posted by: PlayWiz 03:37 pm EDT 10/04/23 | |
| In reply to: re: She has a Donaldson which was the big theater award before the Tonys - JereNYC 02:58 pm EDT 10/04/23 | |
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| Besides Andrews' stage roles (which we and many others are still discussing --- i.e. in this thread), the fact that many, many people wanted her to return to Broadway over the years, especially in the 1970s when she didn't make many movies at all, first trying tv, is akin to proof that her prior Broadway appearances were prominent in people's memory and LPs were played often on their Hi-Fis. What was there was considered pretty "cherce", as Spencer Tracy used to describe Katharine Hepburn. From the mid-60s to about 1970 she was also a big movie star, so I don't think folks expected her to interrupt that career momentum, at least till her films started to flop in a big way and studios canceled some of her planned films. But then she and Blake Edwards had other plans for many years. That "Cinderella" and "Millie" existed at all was because the originals were written for her. "Millie" was done because of her success in the 1920's-themed "Boy Friend" when possibly the rights weren't available or its plot was thought too simple or old-fashioned to fill out a film. Ken Russell certainly had an original take on it when he filmed "The Boy Friend". I do recall that someone talked about making a musical of "Dutchess of Duke Street" for her -- don't know if that was ever written or produced. I think it was director Vivian Matalon around the time he directed the first famous revival of "Morning's at Seven" and was prominent at that time. There was also talk of a "Merry Widow" film with Placido Domingo. Many folks did dream, kind of like the pop music fan's 1970s dream of a Beatles reunion, with Julie Andrews prime among stars who had started on Broadway returning. Unfortunately "Victor/Victoria" wasn't done well. She sounded fine in "Putting It Together" prior to that, but the keys she sang in V/V were too low for her, among other things contributing to her getting what turned out to be an unfortunate vocal operation and the subsequent loss of her singing voice. I guess she could have pulled off Mrs. Lovett, as she could do Cockney from her "My Fair Lady" experience, though she never really did what might be considered character roles until she got older playing older royalty (well, maybe Mary Poppins could be considered sort of a character role with a hint of a romance with Bert), unlike Lansbury who very much did them throughout her career. I think writers would have crafted things for Andrews if she had expressed a strong interest in returning to the theater though. |
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