LOS ANGELES (Hollywood Reporter) - more than six decades after his professional debut in 1947, Julie Andrews remains popular with all generations.
She cut his teeth performing in his native England, appearing in concerts and vaudeville and on radio programs, becoming widely known for a unique voice which spans four octaves. She then has to fame in films, theatre, television and recordings. Monday, the Geffen Playhouse in Los Angeles will honor Andrews to fundraising.
Andrews, 75, recently shared with the memories of the Back stage of his career and the lessons she learned in his creative path.
YOU HAVE SUCH A DIVERSE CAREER, COLLECTS MANY ACCOLADES. WHEN YOU WERE A YOUNG INTERPRETER IN ENGLAND, A ASPIRE YOU TO CERTAIN THINGS WHICH WERE TO COME?
I think that the things that happened were mainly beyond my wildest dreams. Who would have imagined that life would have taken this wonderful and turns twisting or that I would often be so fortunate to be in the right place at the right time? Execution is always a process of learning, even today.
THAT YOUR EARLY TRAINING HAS PREPARED YOU FOR OPPORTUNITIES?
I know ever one is exactly ready. You jump in with both feet, in a very large fish pond. But I think that the first years are due at the beginning to learn some disciplines. When travelling in vaudeville, meet you different types of audiences, according to what time of the week, it is, how long the pubs were open, and things like that. But it was only years later that I discovered what a great Foundation I had. It certainly helped me to stand and sing on the stage. This is what I have been primarily known for these days.
YOU, WHAT YOUR GREATEST CAREER BREAKTHROUGHS - IN THE EARLY YEARS AND BEYOND?
In the beginning, there are three major milestones that I remember very clearly. One was when I was 12 and is what I would call my official debut. I sang a song in a musical revue in London. At almost the last minute, I was almost rejected because they felt that in one such sophisticated context, this little girl with a freak voice was much too innocent. My parents and an agent or two descendants on poor producers. They said: "you do not have to give this girl a break, and she will sing something more difficult." That evening, I actually quit the show and the public would not stop applauding. This was the beginning of recognition of this kind of child prodigy I was for several years. The next thing happening on Broadway (starring in "the Boy friend," in 1954, at age 18). I had a tour to England constantly throughout my teenage years, but when I arrived at the United States to perform on Broadway, it was a not enormous. Then, obviously, goes to Hollywood after a long period on Broadway.
CAREER ACHIEVEMENTS APART IN YOUR MEMORY AS YOUR WORK MORE REWARDING?
There is so much that filled. Obviously, "my fair Lady", and immediately everything after "Camelot," which was a great joy. I want to say, what chance a girl to do work with first Rex Harrison and Richard Burton and go to look at and study? And then the break when Walt Disney I offered "Mary poppins" and the film being so successful. Then followed closely by "the sound of music." And then later down the line were the projects that I made with Blake Edwards (writer-director and her late husband), who saw other aspects of my character that could be highlighted.
YOU'VE DONE MUCH WORK WITH MR. EDWARDS - MANY MOVIES AND THE ADAPTATION OF THE STAGE OF "VICTOR/VICTORIA." IT A CHALLENGE WORKS WITH A SPOUSE?
Yes (laughing) and some institutions unusual, as when it was assumed that, since he knew me so well, he did not need to work with me. We discussed the type of shortcut. And I kept thinking, Yes, I'm an actress too. I would like to than some entries here. "But, of course, I could get it later. Also, there is always a slight disadvantage silly if you do a scene of love with anyone and your husband said, "it's beautiful, darling, but I know that you can do better." Makes feel you a little stupid. But, in collaboration with him, I always felt very, very protected, that I would be safe in everything I did.
ON "VICTOR/VICTORIA," IT IS AN EXCEPTIONAL OPPORTUNITY FOR AN INTERPRETER TO REPEAT A ROLE IN A FILM ON THE STAGE. WHAT WAS THE EXPERIENCE LIKE?
It's beautiful. We arrived at the flesh of things on a lot. For example, there was a phenomenal between two women tango, when my character is claiming be one guy. It is so good, we wanted, it was thought before.
IN ADDITION TO MR. EDWARDS, WHO ARE THE OTHER PEOPLE WHO HAVE HELPED MUCH IN YOUR CAREER?
Lerner and Loewe and Moss Hart. Also, Rodgers and Hammerstein were extremely generous and kind and written the musical television "Cinderella" for me. And then the directors such as George Roy Hill and Robert Wise. Someone else who has had a huge influence on me was Michael Kidd, choreographer. He and his wife have been good friends of Blake and mine, and he has made numerous benefits and guided me often.
YOU MADE YOUR DEBUT DIRECTING IN RECENT YEARS, WITH "THE BOY FRIEND". YOU WANT TO DO MORE DIRECT?
Yes, I absolutely loved it. In my view, this is a great way to give back to a certain extent, and it is very exciting. I have a piece - one of the books (children), I wrote with my daughter (Emma Walton Hamilton) is being developed for the theatre, and I hope that I get to lead. He called "The great Musical American." It is developed by the Goodspeed Opera and us have hope that his debut towards the end of this year.
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