People who dislike Meghan for rational reasons cannot even express their opinions. Sometimes when I commented about how her thigh split dress was not inappropriate anymore for her to wore in public. I get bombarded with you’re a racist, if Kate wore this then you will defend her to death, she’s feminist and empowering bla bla bla. Yo see this Meghan sugars, pull your ass off from your maga hat and see there are various of people who might not see things in the same way you are seeing. Be an adult, and accept constructive criticisms. Don’t simply brings races to defend your stans. Every single member of royal family does get hates and have flaws. Even Charlotte get hates. If you cannot handle that, get fuck off the internet. Because it’s fucking nightmare here.
“I am upset I get called on my bullshit, so I’m going to write novel about how I am justified. To further my credibility, I’m going to call people who disagree with me names and make assumptions about their political beliefs, while ironically preaching about different perspectives.
If you cannot handle my bullshit, including claiming Smeggy’s purse is a coffin for her pretend dead baby, get off the Internet and stop inconveniencing me, for I pay taxes and am God. I will even hate on children because they are royal, have flaws, and I pay taxes and am Perfect™. Please grow up because I can’t, and need to gaslight literally everyone to make myself feel like I am a not a complete waste of oxygen.”
Both sleeveless: 1 red floral cut to black chiffon, pair black tulle CF & CB skirt gores; 1 purple w/ low back trimmed w/ small silver studs & crystal beads,
70th anniversary of Julie Andrews Christmas pantomime debut in Humpty Dumpty London Casino, 119 performances (21 December 1948 - 5 March 1949)
Seventy years ago this month, the young Julie Andrews made another significant forward step in her budding career when she made her professional pantomime debut in Emile Littler’s all-star production of Humpty Dumpty. Blending music, dance and slapstick into a family variety entertainment, pantomimes, or ‘pantos as they are popularly know, are a longstanding British theatrical staple that are especially popular at Christmastime. And Emile Littler, part of a dynasty of theatrical impresarios that ruled the West End for decades across the mid-20th century, was the undisputed king of spectacular Christmas pantomimes (Hughes, 128).
Being cast in a Littler panto was, thus, a major professional coup for the 13-year-old Julie Andrews who had not long come out of her acclaimed twelve-month stint in Starlight Roof. Cast alongside fellow Starlight Roof alumni, Vic Oliver and Pat Kirkwood, and other major UK stars of the era such as comedian Richard Hearne, Julie assumed the titular role of Humpty the Egg. As Julie recalls:
“My first entrance in the show was accompanied by great flashes of lightning and a blackout. The big, prop egg on the wall toppled backward and I, lying on my back in a second, cracked egg backstage, would be thrust upright and through a hidden door in the wall during the blackout to be revealed, sitting cross-legged and surprised, at the foot of it. I was dressed as a boy, with shorts, suspenders, and a jacket. I don’t remember much about my role, but at some point in the show I sang an obligatory song, “I Heard a Robin Singing,” which had nothing whatsoever to do with the story. Fortunately, once again, I received a lovely ovation from the audience on opening night, and the following morning the headlines of one review stated: ‘Young Julie Andrews as usual stole the show’ (Andrews, 95).
Indeed, Julie was singled out in nearly all the show’s notices, with reviewers praising not only her virtuoso singing but accomplished juvenile acting skills:
“Julie Andrews, the 13-year-old pocket-sized soprano, made her pantomime debut..and, once again stopped the show with her grown-up trills. The title role gives her more to say but less to sing than before, but in song and speech alike she is sweetly, unprecociously self-assured” (Wilson, 3).
“The…outstanding success of the show is Julie Andrews, who not only uses that remarkable voice of hers to full advantage…but acts in a convincing manner. She has plenty to do and does it all well.” (“The Casino”, 2).
“The star of the show is little Julie Andrews as Humpty Dumpty. Her singing is in the top class and she is also a spirited actress” (”London Letter,” 2).
“Humpty Dumpty––as mischievous as is unorthodox––is little Julie Andrews, whose high trilling notes and superb self-confidence took the audience of ‘Starlight Roof’…by surprise and destined her for a Humpty Dumpty of no ordinary kind” (“Humpty Dumpty”, 2).
“Little Miss Andrews, as Humpty Dumpty himself, stopped the show, as the saying runs, with her singing” (”London Notes”, 2).
“A spectacular production…with the pure, unforced soprano of small Julie Andrews proving most effective” (”Panto is Hatched”, 3).
“There is Miss Julie Andrews, who is hardly old enough to be interested in anything but Pêche Melbas, and vocally is really rather a peach of a Melba herself” (”Pantomimes”, 2).
“And, finally, a plum indeed, little Miss Julie Andrews as Humpty treats us to singing incredibly mature for her age” (Keown, 24).
With rave reviews like that, it’s no surprise that Humpty Dumpty proved a huge success. Even before the show opened, 50,000 tickets had pre-sold across the projected two month run (”Variety Gossip”, 3). Demand was so great that Littler opted to extend the season an extra month till 5 March (”Chit Chat”, 6).
Humpty Dumpty even attracted the attention of some rather notable theatregoers. The show was selected for a special pre-opening Royal Performance on 20 December in aid of King George’s Fund for Sailors. Queen Mary was the official royal sponsor of the benefit and she brought along the Duchess of Kent and her two elder children, the Duke of Kent and Princess Alexandra, all of whom “laughed heartily at the antics” and joined the “tremendous applause” at the close (“Jennifer Writes”, 6). During the interval, Julie and several of the other principals were presented to the Queen (”Queen Mary”, 4). Word of the show must have spread back at the Palace because a few weeks later, Princesses Elizabeth and Margaret attended a performance, escorted by the Duke of Edinburgh (”Princesses”, 1).
Several press reports made special mention of the fact that Julie was unwell for the opening of Humpty Dumpty with what was described as “a cold” but that, in true trouper spirit, she went on and sang beautifully (Wilson, 2). She would, however, miss a performance on the night of December 28 requiring one of the juvenile dancers from the chorus, Shirley (Fuzzy) Alpress, to take over “at a moment’s notice” (”Understudy”, 5). Years later, in her autobiography Julie recalls that she actually had the mumps during the run but was sworn to secrecy by her mother, which can’t have been easy for her, physically or emotionally (Andrews, 96).
With Humpty Dumpty, Julie Andrews proved herself a rounded theatrical performer and not just a one-trick novelty act suggested by her “prima donna in pigtails” turn in Starlight Roof. Co-star Pat Kirkwood later reflected:
“However nervous Julie may have been in Humpty Dumpty, she seemed to have a certain inner strength in that she always knew what she wanted to do and did it. I don’t think she had ever acted before in her life, but she played this part so beautifully, with a kind of simplicity and innocence which she still brings across today” (Cottrell, 51).
Julie’s breakout success in Humpty Dumpty would help secure parts in subsequent Christmas pantos, pretty much every year thereafter, culminating in the lead role of Cinderella at the Palladium in 1953/54 where she came to the attention of visiting US producers looking for a new star to lead the Broadway production of The Boy Friend. And, well, the rest as they say…
Sources:
“And Now the Pantos.” Daily Mirror. 24 December 1948: 3
Andrews, Julie. Home: A Memoir of My Early Years. New York: Hyperion, 2008.
“The Casino: ‘Humpty Dumpty’.” The Stage. 31 December 1948: 2.
“Chit Chat.” The Stage. 28 October 1948: 6.
Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.
Hughes, Maureen. A History of Pantomime. London: Sword and Pen, 2013.
“’Humpty Dumpty’ Review.” The Times. 22 December 1948: 2.
“Jennifer Writes Her Social Journal.” The Tatler and Bystander. 5 January 1949: 6.
Keown, Eric. “At the Play.” Punch. 5 January 1949: 20.
Kirkwood, Pat. The Time of My Life. London: Robert Hale, 1999.
“London Letter.” Western Morning News. 23 December 1948: 2.
“London Notes.” Yorkshire Post and Leeds Mercury. 22 December 1948: 2.
“The Panto is Hatched.” Daily Herald. 22 December 1948: 2.
“Pantomimes.” The Sunday Times. 2 January 1949: 2.
“Princesses at Panto.” The Birmingham Gazette. 4 January 1949: 1.
“Queen Mary at Preview of Pantomime.” The Guardian. 21 December 1948: 4.
“A Royal Visit to ‘Humpty Dumpty’.” The Sphere. 1 January 1949: 24.
Trewin, J.C. “The World of the Theatre.” The Illustrated London News. 15 January 1949: 92.
“The Understudy (aged 13).” Daily Mirror. 29 December 1948: 5.
“Variety Gossip.” The Stage. 19 August 1948: 3.
Willis, Ted. “Practice for the Panto.” Daily Worker. 17 December 1948: 2.
Wilson, Cecil. “Julie Does It Again.” Daily Mail. 22 December 1948: 3.
Now Bilbo, we can’t offer you any of the gold at this time. But we can offer you exposure for your burglary business if you work for us, and that’s worth its weight in gold!
