#The New Amsterdam Theatre

[escapismsworld]

The best kept Art Nouveau theater in the United States is this one: The New Amsterdam Theatre in NYC built 1902-1903. It was designed by the architecture firm Hertz and Tallant. It is the oldest operating.

[wgm-beautiful-world]

New Ansterdam Theatre in New York City

[clarabowlover]

Stunning Portraits Of Austrian Actress

Tilly Losch In The Band Wagon (Theatre 1931)

[outoftowninac]

MISS SPRINGTIME

1918

Miss Springtime (originally Little Miss Springtime) is a three act musical by Guy Bolton, with music by Emmerich Kalman and Jerome Kern, and lyrics by Herbert Reynolds and P.G. Wodehouse. It is based on the Hungarian operetta Zsuszi kisasszony by Miksa Brody and Ferenc Martos. It was originally produced by Klaw and Erlanger, staged by Herbert Gresham, and choreographed by Julian Mitchell.

The musical is best remembered for being the first time P.G. Wodehouse was credited for lyrics in a Broadway musical.  In 1905 he went uncredited for the lyrics for “Put Me in My Little Cell” with music by Frederick Rosse, which was part of the score of Sergeant Brue. 

The musical takes place in the Village of Pilota and in Budapest.

The story is woven around a grand opera star who goes back to his home village Incognito after sending word to the townspeople that he could not visit there. He then Impersonates himself at the request of promoters of a festival so that the townspeople might not be disappointed. He meets a young girl aspiring to the stage and encourages her. Later, it becomes known that he was an imposter and at the same time he discovers the girl loved a young man in her home town. He does not deny that he was an imposter and leaves,  supposedly under arrest.

Reviewers praised the economy of setting, using only three sets, one for each act. 

In its pre-Broadway tryouts, the musical was supposed to premiere at Nixon’s Apollo Theatre in Atlantic City on August 28, 1916, but the engagement was delayed, then canceled. Instead, it premiered at the Forest Theatre in Philadelphia. 

The musical opened on Broadway at the New Amsterdam Theatre (214 West 42nd Street) on September 25, 1916. 

About the Venue: The New Amsterdam was built by Klaw and Erlanger in 1903. In 1913, Ziegfeld brought his "Follies" to the New Amsterdam. In 1937 it became a movie palace. In 1982, it earned landmark status and was purchased by the Nederlanders, who sold it to New York State in 1992. Disney performed extensive renovations before reopening the theatre in 1997 with The Lion King.   

Reviews were positive, especially from the New York Times, which reviewed it twice - each time glowingly. 

But all was not well between Kern and Wodehouse. In his personal correspondence, Wodehouse records an overseas rift between the two. 

Writing in Vogue, Wodehouse further added to his thoughts about the musical: 

It closed on April 7, 1917 after 224 performances. 

Miss Springtime finally played Atlantic City at the Apollo Theatre on February 15, 1918, as part of its post-Broadway tour. Several members of the original company were still part of the company of 80: John E. Hazzard, George MacFarland, and Charles Meakins.  

In September 1917, while Miss Springtime was still touring, Klaw and Erlanger rolled out a follow-up musical, The Riviera Girl, also by Kalman, Bolton and Wodehouse with a cast of 100 - up 20 from Miss Springtime. It also played at the New Amsterdam, accruing 78 performances. 

Miss Springtime continued to tour until April 1919. 

[nickdewolfarchive]

new york city summer 1978

new amsterdam theatre west 42nd street

photograph by nick dewolf https://www.flickr.com/photos/dboo/50559090881

[lost-decade]

Dance AU + Criminal AU for any fic involving nico?

Thanks for asking! I enjoyed writing this a lot. Vague angsty past brocedes and a bit of Nico/Mick

**

There’s a painting in Nico’s office in Nice, above the desk so he doesn’t have to look at it very often; first thing in the morning and again in the evening when he leaves. A small reminder of where he began. A little needle of what might have been, and what didn’t come to pass. It keeps him honest, that memory.

It isn’t his own exact likeness, the painting, although people always assume it is and Nico lets them. A beautiful boy, eighteen, nineteen maybe, backstage at a theatre perhaps, en pointe, arms outstretched, angel wings folded on his back. In the corner of the painting there’s a mirror, the reflection of a demon’s face, flared in red, eyes glittering. It had been a gift from one of his father’s friends, the summer before he took up his place at Juilliard.

“You are the dancer,” Michael had said, grinning at him as Nico had stared, transfixed, at the image in the frame. “And who will be your demon?” 

Nico had felt honoured, and unsettled, the way he always did when Michael gave him gifts. He wasn’t stupid, he knew the nature of his father’s business, of Michael’s, and wanted nothing to do with either. 

Later he’d found out the painting was a long vanished Wyeth; but he’d already discovered his demon by then.

Or was Lewis the angel?

He’s stared at that painting for hours across the years and still never been able to make up his mind. Sometimes he thinks Michael only gave it to him as a punishment for turning him down, or because Keke broke their business ties, as if he thought Nico would be stupid enough to display it and get arrested or something.

He hadn’t displayed it, not for years. But it’s different now; there’s enough security staff in the building, cameras he can dial into on his phone. If Lewis or another one of his colleagues from Interpol were to somehow make it through to Nico’s office the Wyeth would already be in the vault by then, something legitimate in its place.

He checks his schedule. It’s been a quiet few months, a lull of the sort that he likes to engineer in between big scores. The buyer in Qatar he thought he’d found for the Brancusi had fallen through and now he’s stuck with a quite identifiable sizable brass cock in a warehouse in Amsterdam that he needs to figure out how to sell. He leans back in his leather Eames office chair, hands clasped as he considers his latest distraction. 

* 

It’s salt in the wound, always, returning to New York, to Juilliard. That’s partly why Nico does it. Scene of his dreams before they dissolved. No one in his life now knows why he walks with a cane, just that something happened once upon a time in New York and that when Keke’s prodigal son had returned to Europe all dreams of dancing had been abandoned, the fancy forced aside allowing Nico to take up his mantle in the family business.

He’s made it his own since then, even branching out. The forgery arm that he’d created has proved more lucrative than his dad’s old fashioned brand of thievery; easier to find someone who’s good at painting than it is to break a team of men into the Uffizi in the middle of the night. Still, sometimes he gets lucky with that. Sometimes there are boys who will do anything because they believe Nico might love them, that he even knows what love is, anymore. 

The jet touches down, a car waiting to take him to the opening night of the New York City Ballet’s fall gala. It’s not really Nico’s type of ballet, this one tonight, he prefers the classics but the dancers are undoubtedly skilled. When he was young, having two men dance a pas-de-deux for an actual public performance was unheard of. There’s something about it that twists in his stomach, a memory that he allows only because he knows it makes him stronger. 

Mick is part of the ensemble, talented enough, yet miles away from the skill of the leads, Nico can see it. He watches them again, the principal dancers, the hypnotic motion of their bodies, the love story played out in the fluidity of their limbs. He sees himself, who he was before. Himself…Lewis. The Lewis he thought he knew, not the Lewis who was his enemy. 

His ankle throbs. A gunshot to the achilles does that to you, even so many years later. 

“Can I ask you about this,” Mick says, later that evening when they’re splayed out naked atop the sheets, bodies damp with perspiration. Nico's hotel room of course, not Mick's student digs, no matter how nice they are now. 

Fucking Mick is a delight heightened by just how much Nico knows Michael would hate it. Giving to the son what he had denied the father. Mick rubs his big toe over the scarred mess of Nico’s right heel. None of his other lovers has ever dared to ask that question. Nico admires the bravura. He turns onto his back, sliding a hand down Mick’s taut stomach. Oh to be so young. Nico is in shape, he eats healthily, goes to the gym four times a week, but still Mick’s twenty years feels like a lifetime away, both physically and mentally. 

“My dance partner put a bullet in me,” Nico says, matter of factly. “He wasn’t who I thought he was.” They were learning each other, not the choreography. All along. Learning how to unravel, searching out any weak spots. Maimed but not caught, though. Nico has never seen the inside of a cell. 

Mick winces, rolls over to look at him. “That’s rough.” 

“Tell me about it. But I guess, in some ways we’re still dancing.” He pauses. “So there’s another reason I came to visit you, actually. Do you know the Whitney Museum? There’s something I’d like you to do for me.”

[bestmusicalworldcup]

The Broadway League has announced the light dimming ceremony honoring Hinton Battle will be a partial ceremony, with only 9 of the 41 Broadway theatres dimming their lights.

The Shubert, Marquis, St. James, New Amsterdam, Samuel J. Friedman, Circle in the Square, Hayes, Vivian Beaumont, and Todd Haimes theatres will dim their marquee lights for one minute at 6:45 PM March 12.

I find the idea of a partial dimming to be quite farcical. The fact it took the Broadway League this long to announce the light dimming also does not sit right with me.

[wilbursoot-updates]

LOVEJOY NORTH AMERICAN TOUR: Ticket info! (Please note that prices do not include any additional fees)

May 4 - The Basement East (Nashville, Tennessee): $20. ALL AGES. Capacity is 400

May 5 - Shaky Knees Festival (Atlanta, Georgia): $119 for 1 day general admission. ALL AGES.

May 8 - Granada (Dallas, Texas): $22. ALL AGES. Capacity is 1000.

May 9 - Scoot Inn (Austin, Texas): $25 general admission. ALL AGES. Capacity is 800.

May 12 - Crescent Ballroom (Phoenix, Arizona): $25. AGE RESTRICTION: 16+. Capacity is 500.

May 13 - Music Box (San Diego, California): $27. AGE RESTRICTION: 21+. Capacity is 700.

May 16 - The Novo (Los Angeles, California): Ticket price is currently unknown. ALL AGES. Capacity is 2400.

May 17 - Bimbo's 365 Club (San Francisco, California): $25. ALL AGES. Capacity is 700.

May 19 - Hawthorne Theatre (Portland, Oregon): $25. ALL AGES. Capacity is 550.

May 20 - Neumos (Seattle, Washington): $25-28. ALL AGES. Capacity is 650.

May 23 - The Complex (Salt Lake City, Utah): $25. ALL AGES. Capacity is 850.

May 24 - Gothic Theatre (Denver, Colorado): Ticket price is currently unknown. AGE RESTRICTION: 16+. Capacity is 1100.

May 26 - Amsterdam (Minneapolis, Minnesota): $25. ALL AGES. Capacity is 600.

May 27 - The Back Room @ Colectivo (Milwaukee, Wisconsin): Starting from $25. ALL AGES. Capacity is 300.

May 28 - El Club (Detroit, Michigan): $32.50. ALL AGES. Capacity is 400.

May 30 - The Danforth (Toronto, Ontario): Ticket price is currently unknown. ALL AGES. Capacity is 1400.

June 2 - Royale (Boston, Massachusetts): $25. ALL AGES. Capacity is 1300.

June 3 - TLA (Philadelphia, Pennsylvania): $25.00 to $27.50. ALL AGES. Capacity is 1000.

June 6 - Howard Theatre (Washington, DC): Ticket price is currently unknown. ALL AGES. Capacity is 1200.

June 10 - Gov Ball Festival (New York City, New York): $139 for 1 day general admission. ALL AGES

Please see this thread by babaphobe on Twitter for ADA/accessibility information for each show!

[purplefloyd]

latest art drop for my friends at new amsterdam theatre. some wall hangings of Babkak, Omar, Kassim and Iago! i added beading on them as well that reflects their costumes and to add to that agrabah vibe.

i brought these a few weeks ago when i went for my birthday, so they have probably been hanging in the new am since which is very cool!

[depressedraisin]

a compilation of tlsp covering leonard cohen's memories live

also known as: baby miles charming everybody's pants off for 3 mins straight

BBC Electric Proms 2008, Philharmonic Hall, Liverpool

The Mayan Theatre, Los Angeles

Paradiso, Amsterdam

Cirque Royale, Brussels

Manchester Apollo, Manchester

Sheffield City Hall, Sheffield

Manhattan Grand Ballroom, New York

Hammersmith Apollo, London

Store Vega, Copenhagen

Carling Academy, Glasgow

[voca1ion]

1925 Playbill for the show “Sunny” at the New Amsterdam Theatre on 42nd Street.

[delicatuscii-wasbella102]

"Art Nouveau interior of the New Amsterdam Theatre on Broadway, New York, designed in 1902-03 by architects Herts & Tallant, and renovated in 1997"

[louisupdates]

FITFWT23: TOUR RECAP MASTERPOST

FASHION RECAP: NORTH AMERICA, EUROPE (Top Ten)

LITHOGRAPHS and PORTRAITS

OUTRO SONGS

IQ 123: Tour promo and production interviews

TOUR TECHNICAL SPECS [TPI MAGAZINE]

GROUP PHOTOS NA

Louis’ care for his fans

NORTH AMERICA

26 May - Mohegan Sun Arena, UNCASVILLE, CT

27 May - Bank of New Hampshire Pavilion, GILFORD, NH

29 May - Place Bell, LAVAL QC

30 May - Budweiser Stage, TORONTO ON

1 Jun - Blossom Music Center, CUYAHOGA FALLS, OH

2 Jun - Michigan Lottery Amphitheater, STERLING HEIGHTS, MI

FITFWT23: WEEK 1

3 Jun - The Icon Festival Stage, CINCINNATI, OH

6 Jun - Kemba Live! Outdoor, COLUMBUS, OH

7 Jun - TCU Amphitheater at White River State Park, INDIANAPOLIS, IN

9 Jun - Saint Louis Music Park, ST. LOUIS, MO

PORTRAITS, 1st set [10.6.2023]

IG stories and selfies [10.6.2023]

10 Jun - Starlight Theatre, KANSAS CITY, MO

13 Jun - BMO Pavilion, MILWAUKEE, WI

15 Jun - Huntington Bank Pavilion, CHICAGO, IL

16 Jun - The Armory, MINNEAPOLIS, MN

17 Jun - Harrah’s Stir Cove, COUNCIL BLUFFS, IA

19 Jun - Denny Sanford Premiere Center, SIOUX FALLS, SD

21 Jun - Red Rocks Amphitheatre, MORRISON, CO: CANCELLED 😪

24 Jun - Wamu Theater, SEATTLE, WA

26 Jun - Doug Mitchell Thunderbird Sports Center, VANCOUVER BC

27 Jun - McMenamins Edgefield Concerts, TROUTDALE, OR

29 Jun - The Greek Theatre, BERKELEY, CA

PORTRAITS, 2nd set [29.6.2023]

PORTRAITS posted 30.6 [x]

30 Jun - Louis Instagram recap

30 Jun - The Hollywood Bowl, LOS ANGELES, CA

1 Jul - The Chelsea at the Cosmopolitan, LAS VEGAS, NV

3 Jul - Arizona Financial Theatre, PHOENIX, AZ

6 Jul - The Pavilion at Toyota Music Factory, IRVING, TX

7 Jul - Moody Amphitheater at Waterloo Park, AUSTIN, TX

8 Jul - The Cynthia Woods Mitchell Pavilion, THE WOODLANDS, TX

PORTRAITS, 3rd set [9.7.2023]

9 Jul: Louis Instagram recap

10 Jul RTL Radio Interviews

11 Jul - St. Augustine Amphitheatre, ST. AUGUSTINE, FL

13 Jul - Hard Rock Live at Seminole Hard Rock Hollywood, HOLLYWOOD, FL

14 Jul - Yuengling Center, TAMPA, FL

15 Jul - Cadence Bank Amphitheatre at Chastain Park, ATLANTA, GA

18 Jul - Ascend Amphitheater, NASHVILLE, TN

19 Jul - Charlotte Metro Credit Union Amphitheatre, CHARLOTTE, NC

21 Jul - Red Hat Amphitheater, RALEIGH, NC

22 Jul - Merriweather Post Pavilion, COLUMBIA, MD

PORTRAITS, 4th set [23.7.2023]

24 Jul - MGM Music Hall at Fenway, BOSTON1, MA

25 Jul - MGM Music Hall at Fenway, BOSTON2, MA

27 Jul - TD Pavilion at the Mann, PHILADELPHIA, PA

28 Jul - Stone Pony Summer Stage, ASBURY PARK, NJ

29 Jul - Forrest Hills Stadium, NEW YORK, NY

PORTRAITS, 5th set [31.7.2023]

North America FAN EDIT

AUGUST 2023 GAP 1 recap

AWAY FROM HOME FESTIVAL

19 Aug - Parco Bussoladomani, LIDO DI CAMAIORE, Italy

AUGUST 2023 GAP 2 recap (including the 28 launch)

EUROPE

29 Aug - Barclays Arena, HAMBURG

31 Aug - Royal Arena, COPENHAGEN

1 Sep - Spektrum, OSLO [Bigger Than Me anniversary content]

PORTRAITS, 6th set [2.9.2023]

2 Sep - Hovet, STOCKHOLM

4 Sep - Ice Hall, HELSINKI

DORK MAGAZINE PHOTOS 2022 w/ links

5 Sep - Saku Arena, TALLINN

7 Sep - Arena Riga, RIGA

PORTRAITS, 7th set [8.9.2023]

8 Sep - Zalgiris Arena, KAUNAS

10 Sep - Tauron Arena, KRAKOW

11 Sep - Atlas Arena, ŁÓDŹ

13 Sep - Wiener Stadhalle D, VIENNA

14 Sep - Stozice Arena, LJUBLJANA

15 Sep - Budapest Arena, BUDAPEST

PORTRAITS, 8th set [16.9.2023]

17 Sep - Arenele Romane, BUCHAREST

18 Sep - Arena Armeets, SOFIA

20 Sep - Plateia Nerou, ATHENS w/ links to AOTV announcements

SEPTEMBER 2023 GAP recap

1 Oct - Bilbao Arena Miribilla, BILBAO (VIZCAYA)

3 Oct - Altice Arena, LISBON

5 Oct - Wizink Center, MADRID

6 Oct - Palau Sant Jordi, BARCELONA

PORTRAITS, 9th set [7.10]

8 Oct - Pala Alpitur, TURIN

9 Oct - Unipol Arena, BOLOGNA

11 Oct - Rockhal, ESCH-SUR-ALZETTE

12 Oct - Sportspaleis, ANTWERP

14 Oct - Accor Arena, PARIS

15 Oct - Ziggo Dome, AMSTERDAM

17 Oct - Lanxess Arena, COLOGNE

19 Oct - O2 Arena, PRAGUE

20 Oct - Mercedes Benz Arena, BERLIN

PORTRAITS, 10th set [21.10]

22 Oct - Olympiahalle, MUNICH

23 Oct - Hallenstadion, ZURICH

FITFWT23: LATAM promo begins [28.10]

Twitter spree: part 1, part 2, part 3, part 4 Hall Of Fame, [31.10]

IGTV [1.11]: transcript, gifs [x] [x] [x] [x] [x]

8 Nov - 3Arena, DUBLIN

10 Nov - Utilita Arena, SHEFFIELD

11 Nov - AO Arena, MANCHESTER

12 Nov - Ovo Hydro, GLASGOW

14 Nov - Brighton Center, BRIGHTON

15 Nov - International Arena, CARDIFF

17 Nov - The O2, LONDON

18 Nov - Resorts World Arena, BIRMINGHAM

FITFWT23 has come to an end!

ROLLING STONE UK 2023 AWARDS

23 Nov - Camden Roundhouse, LONDON

[bikinikillarchives]

Le Tigre announce 2023 tour!!! touring for the first time since 2005. tickets on sale on Friday the 27th at 9AM PST/ noon EST. link to tix & new merch.

photo by Leeta Harding, 2004.

05-27 Philadelphia, PA - Union Transfer

06-01 Barcelona, Spain - Primavera Sound Barcelona

06-03 London, England - Troxy

06-05 Manchester, England - Albert Hall

06-06 Glasgow, Scotland - Barrowland Ballroom

06-08 Madrid, Spain - Primavera Sound Madrid

06-09 Porto, Portugal - Nos Primavera Sound Porto

06-11 Paris, France - Le Trianon

06-14 Amsterdam, Netherlands - Paradiso

06-16 Berlin, Germany - Huxleys Neue Welt

06-17 Hamburg, Germany - Markthalle

07-01 Oakland, CA - Mosswood Meltdown Festival

07-03 Vancouver, British Columbia - Commodore Ballroom

07-06 Seattle, WA - Paramount Theatre

07-07 Portland, OR - Roseland Theater

07-09 Los Angeles, CA - The Greek Theatre

07-15 Chicago, IL - The Salt Shed

07-17 Cleveland, OH - Agora Theatre

07-18 Millvale, PA - Mr. Smalls Theatre

07-19 Baltimore, MD - Baltimore Soundstage

07-21 Toronto, Ontario - History

07-22 Montreal, Québec - L’Olympia

07-24 Boston, MA - Royale

07-28 New York, NY - Brooklyn Steel

[paralleljulieverse]

Come taste the wine... : 70th anniversary of Julie Andrews's 'cabaret debut' at the Café Dansant, Cleethorpes, 3 performances Easter, 14-17 April, 1954

This week, seventy years ago, Julie Andrews made her official 'cabaret debut' at the Café Dansant in Cleethorpes. While not a major milestone in the traditional sense -- and one that seldom features in standard Andrews biographies -- the Cleethorpes appearance was nevertheless a significant event in the star's early career.

For a start, it was Julie's first appearance in cabaret -- the theatrical genre that is, not the Broadway musical which is a whole other Julieverse story. Characterised by sophisticated nightclub settings with adult audiences watching intimate performances, cabaret emerged in fin-de-siècle Paris before expanding to other European cities such as Berlin and Amsterdam (Appignanesi, 2004). Imported to Britain in the interwar years, cabaret offered a more urbane, adult alternative to the domestic traditions of English music hall and variety with their family audiences and jolly communal spirit (Nott, 2002, p. 120ff).

Julie's debut in cabaret was, thus, a significant step in her professional evolution towards a more mature image and repertoire. By 1954, Julie was 18, and well beyond the child star tag of her earlier years. Under the guidance of manager, Charles Tucker, there was a calculated strategy to reshape her stardom towards adulthood.

The maturation of Julie's image had begun in earnest the previous summer with Cap and Belles (1953), a touring revue that Tucker produced as a showcase for Julie, comedian Max Wall, and several other acts under his management. Cap and Belles afforded Julie the opportunity to shine with two big solos and a number of dance sequences. Much was made in show publicity of Julie's new "grown up" look, including the fact that she was wearing "her first off-the-shoulder evening dress" ('Her First Grown-Up Dress', 1953, p. 4). The Cleethorpes cabaret was a further step in this process of transformative 'adulting'. Indeed, it was something of a Cap and Belles redux. Not only was Max Wall back as headline co-star, Julie even wore the same 'grown up' strapless evening gown. In keeping with a cabaret format, though, Julie was provided a longer solo set where she sang a mix of classical and contemporary pop songs including "My Heart is Singing", "Belle of the Ball", "Always", and "Long Ago and Far Away" ('Cabaret opens', 1954, p. 4). That Julie should have chosen Cleethorpes for her cabaret debut might seem odd to contemporary readers. Today, this small town on the north Lincolnshire coast is largely regarded as a somewhat faded, out-of-the-way seaside resort. In its heyday of the mid-twentieth century, however, Cleethorpes was a vibrant tourist hub that attracted tens of thousands of holidaymakers each year (Dowling, 2005). With several large theatres and entertainment venues, Cleethorpes was also an important stop in the summertime variety circuit, drawing many of the era’s big stars and entertainment acts (Morton, 1986).

The Café Dansant was one of Cleethorpes' most iconic nighttime venues, celebrated for its elegant suppertime cabarets and salon orchestras. Opening in the 1930s, the Café was a particularly popular haunt during the war and post-war era when servicemen from nearby bases danced the night away with locals and visiting holidaymakers to the sound of touring jazz bands and crooners (Dowling, 2005, p. 129; Ruston, 2019).

By 1954, the Café was starting to show its age, and incoming new management decided to shutter the venue for several months to undertake a luxury refurbishment (‘Café Dansant closed', 1954, p. 3). A gala re-opening was set for the Easter weekend of April 1954, just in time for the start of the high season (‘Café Dansant opens', 1954, p. 8). Opening festivities for the Café kicked off with a lavish five hour dinner cabaret on the evening of Wednesday, 14 April. Julie was “one of the world famous cabaret stars" booked for the gala event, and she received considerable promotional build-up in both local and national press (‘Café Dansant opens', 1954, p. 8). There was even a widely circulating PR photo of Julie boarding the train to Cleethorpes at London's Kings Cross station. In the end, Max Wall was unable to appear due to illness, and Alfred Marks -- another Tucker artist and former variety co-star of Julie's (Look In, 1952) -- stepped in at short notice. Rounding out the bill were several other minor acts, including American dance duo, Bobby Dwyer and Trixie; novelty entertainers, Ruby and Charles Wlaat; and magician Ericson who doubled as cabaret emcee.

Commentators judged the evening a resounding success. The "Cafe Dansant has got away to a flying start, after probably the biggest opening night ever seen in Cleethorpes," effused one newspaper report (Sandbox, 1954, p.4). Special mention was made of Julie who “received a great reception when she sang a selection of old and new songs, accompanied at the piano by her mother” (‘'Café Dansant reopening’, 1954, p. 6). 

Following her performance, Julie joined the Mayor of Cleethorpes, Mr Albert Winters, in a cake-cutting ceremony and mayoral dance. Decades later, Winters recalled how he still “savour[ed] the memory of snatching a dance with the young girl destined to be a star… [S]he seemed very slim and frail,” he reminisced, “but she was a great dancer and I thoroughly enjoyed myself” (Morton, 1986, p. 15).

Julie stayed on in Cleethorpes for two more performances on Thursday 15 and Saturday 17 April respectively, before returning to London with her mother on Easter Sunday, 18 April. The very next day she commenced formal rehearsals for Mountain Fire, Julie's first dramatic 'straight' play and another step in her professional pivot to more adult content (--also, time permitting, the subject of a possible future blogpost).

A final noteworthy aspect about the Cleethorpes appearance is that it was during this weekend that Julie made the momentous decision to go to America to star in The Boy Friend. In what has become part of theatrical lore, Julie had been offered the plum role of Polly Browne in the show's Broadway production sometime in February or March of 1954 while she was appearing in Cinderella at the London Palladium. To the American producers’ astonishment --- and manager Tucker’s horror -- Julie was initially reluctant to accept, fearful of leaving her home and family. She prevaricated for weeks. Finally, while she was in Cleethorpes, Julie was given an ultimatum and told she had to make her decision.

In her 1958 serialised memoir for Woman magazine, Julie recounts:

“Mummie and I went to Cleethorpes to do a concert. It was a miserable wet day. From our hotel I watched the dark sea pounding the shore with great grey waves. I was called to the downstairs telephone. “Julie,” said Uncle Charles [Tucker]‘s voice from London, “they can’t wait any longer. You’ll have to make your mind up NOW.” I burst into tears. “I’ll go Uncle,” I sobbed, “if you’ll make it only one year’s contract instead of two. Only one year, please.” … Against everyone’s judgment and wishes I got my way…None of us knew that if I’d signed for two [years], then I should never have been free to do Eliza in My Fair Lady. And never known all the happiness and success it has brought me” (Andrews, 1958, p. 46).

The Cleethorpes ultimatum even found its way into an advertising campaign that Julie did for Basildon Bond stationery in 1958/59, albeit with the telephone call converted into a letter for enhanced marketing purposes. Framed as a choice between going to America and the “trip [that] changed my life” or staying at home in England “and go[ing] on in pantomime, concerts, and radio shows—the mixture as before,” the advert highlighted the “sliding door” gravity of that fateful Cleethorpes weekend (Basildon Bond, 1958). What would the course of Julie's life been like had she said no to Broadway and opted to remain in the UK?

It is a speculative refrain that Julie and others have made frequently over the years. “If I’d stayed in England I would probably have got no further than pantomime leads,” she mused in a 1970 interview (Franks, 1970, p. 32). Or, more dramatically: “Had I remained in London and not appeared in the Broadway production of The Boy Friend…who knows, I might be starving in some chorus line today” (Hirschorn, 1968).

In all seriousness, it's doubtful that a British-based Julie would have faded into professional oblivion. As biographer John Cottrell quips: "that golden voice would always have kept her out of the chorus” (Cottrell, 1968, p. 71). Nevertheless, Julie's professional options in Britain during that era would have been greatly diminished. And she certainly wouldn't have achieved the level of international superstardom enabled by Broadway and Hollywood. Who knows, in a parallel 'sliding door' universe, our Julie might have gone on playing cabarets and end-of-pier shows in Cleethorpes...

Sources

Andrews, J. (1958). 'So much to sing about, part 3.' Woman. 17 May, 15-18, 45-48.

Appignanesi, L. (2004). The cabaret. Revised edn. Yale University Press.

Basildon Bond. (1958). 'I had 24 hours to decide, says Julie Andrews'. [Advertisement]. Daily Mirror. 6 October, p. 4.

'Cabaret opens Café Dansant." (1954). Grimsby Daily Telegraph. 15 April, p. 4.

‘Café Dansant closed.' (1954). Grimsby Evening Telegraph. 28 January, p. 3.

‘Café Dansant opens tonight – with world-famous cabaret’. (1954). Grimsby Evening Telegraph. 14 April, p. 8.

‘Café Dansant reopening a gay affair.’ (1954). Grimsby Evening Telegraph. 15 April, p. 6.

Cottrell, J. (1968). Julie Andrews: The story of a star. Arthur Barker Ltd.

Dowling, A. (2005). Cleethorpes: The creation of a seaside resort. Phillimore.

'Echoes of the past, the old Café Dansant'. (2009). Cleethorpes Chronicle. December 3, p. 13.

Frank, E. (1954). Daily News. 15 April, p.6. 

Franks, G. (1970). ‘Whatever’s happened to Mary Poppins?’ Leicester Mercury. 4 December, p. 32.

'Her first grown-up dress.' (1953). Sussex Daily News. 28 July, p. 4.

Hirschorn, C. (1968). 'America made me, says Julie Andrews.' Sunday Express. 8 September, p. 23.

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[pilferingapples]

I got so into the joy of Boops I didn't even check my mail and almost MISSED this Important Announcement yesterday!! Article under cut in case they take it down:

The producer of Willy’s Chocolate Experience has announced that the Roald Dahl rip-off will transfer to Broadway, with an opening-night performance slated for April 25 at 11pm — just in time for Tony Awards consideration.

The interactive show made international headlines in February when it played a warehouse in Glasgow. Lured by AI-generated images of a fantastical candy wonderland, Scottish ticket-buyers plunked down £35 each to enter the workshop of “Willy McDuff,” a whimsical chocolatier assisted by green-haired “Wonkidoodles” and haunted by “The Unknown,” a rival candy-maker who inhabits the walls of the factory.

Derided as “Willy Wonka’s Meth Lab,” the immersive production fell far short of the expectations set by marketing material, with actors struggling to bring coherence to a script that was obviously authored by ChatGPT, on a set that looked like a daycare on Riker’s Island. An audience revolt prematurely ended the run, with several ticket-buyers demanding refunds from the event’s visibly frazzled organizer.

“We learned so much from our out-of-town tryout,” the upbeat producer told TheaterMania, reframing the whole thing as a brilliant publicity stunt.

“I’ve been closely collaborating with our script doctor, Goog LeGemini, and I think we’ve solved the major problem of The Unknown being too…unknown. She is now an unhoused victim of Willy’s gentrification, a socially relevant backstory that I think makes for a much richer narrative. That was all the Glasgow run was missing, really.”

TheaterMania can exclusively reveal that Willy’s Chocolate Experience will play the defunct McDonald’s on 42nd Street next to the New Amsterdam Theatre. “It’s a perfect opportunity to snag tourists unable to get into Aladdin,” the producer enthused. “They might feel a little disappointed at first, but just wait until they get a load of our show.”

While the shuttered 42nd Street McDonald’s has not previously been considered a Broadway house, our investigations revealed that a certain former Broadway League president quietly elevated the venue on February 15 through an obscure administrative procedure that has gone unnoticed by the theatrical press until now.

“Between Here Lies Love and the revival of Cabaret, it’s clear that producers are seeking more versatile venues,” said the ex-prez when reached for comment, “and I can think of no better space for immersive shows than this hamburger palace with a theatrical marquee. You’re welcome, Broadway.”

Readers interested in a deeper dive should return to TheaterMania on Friday, when our desperate Story of the Week columnist will have banged out 2,000 words about why this is happening and how it will have absolutely no impact on this year’s Tony Awards.

Until then, we wish you a very happy April Fools’ Day.