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![]() ![]() In the words of one of my favourite writers Katherine Anne Porter, when all about is lying in ashes, it will be the arts who remind us who we are, where we've come from and where we can go."Īt this point, we are politely reminded that the interview has just 30 seconds remaining on the clock. "The arts bridge cultures, they're good for the economy and they're good for fostering empathy and decency. I've read research saying that they are more inclined to vote when they come of age. Children exposed to the arts are better students and can concentrate longer. "More than anything, the arts are the best teaching tool," Andrews says. It's not just a matter of developing the audiences of the future, adds this grandmother to 10 and three-time great-grandmother. "Programs that bring the arts to young kids are always the first to be cut. ![]() Co-created with her daughter Emma Walton Hamilton and featuring puppets made by the Jim Henson Company, the show is driven by her passionate belief in the value of the arts for young people.Ī resident of Long Island, New York, Andrews says she is furious with the Trump Administration's threats to cut arts funding. Her latest project, Julie's Greenroom, debuted on Netflix in the US in March this year. Her career has also been notable for its commitment to work for children. ![]() She went on to play Guinevere in the Broadway production of Camelot in 1959, but Andrews' career became increasingly dominated by screen roles: Mary Poppins The Sound of Music Alfred Hitchcock's Torn Curtain the 1967 hit Thoroughly Modern Millie the Robert Wise-directed flop Star!, and a successful series of films directed by Blake Edwards including Darling Lili, 10 and S.O.B. The show opened in 1956 with Andrews playing opposite Rex Harrison. Her star quality and four-octave voice was immediately noticed by the producers of My Fair Lady, who invited her to audition for the female lead. In a letter to The Age published during the production's current Melbourne season, one audience member described "murmurs of discomfort" rippling through the audience as Higgins "pummeled Eliza with his verbal abuse".Īndrews made her Broadway debut in 1954 in The Boyfriend. I tell her a number of women I've spoken to who have seen the show have expressed how difficult it is to watch Henry Higgins' bullying of Eliza Doolittle and then accept what looks like her surrender to him in the final scene. "Her timing and presence is a joy"), we get down to business. Andrews is radiant.Īfter some introductory chat – she's pleased I've seen the show twice – and some fulsome praising of her Australian cast ("I look at Robyn Nevin with such admiration," she says. The windows have been blacked out with plastic sheeting. An assistant is dispatched to bring a pot of tea. "Come into my parlour," Andrews says, extending a hand. The production is expected to bring more than 19,000 overnight visitors to Sydney and bring about $7 million into the NSW economy, according to the NSW Minister for Trade, Tourism and Major Events, Stuart Ayres.Julie Andrews (right) with Anna O'Byrne and Charles Edwards, who play Eliza Doolittle and Charles Edwards in My Fair Lady. ![]() "I am delighted and it is indeed a privilege to work with Dame Julie Andrews as she creates a new My Fair Lady that will capture the magic of the world's greatest musical for a new generation of classic musical lovers," Mr Terracini said. "To think that Broadway's original Eliza Doolittle, Julie Andrews, will direct our new production at the Sydney Opera House 60 years later will, I'm sure, excite both Australian and international audiences," theatre producer John Frost said.įrost and Opera Australia artistic director Lyndon Terracini will present the new production together at the Joan Sutherland Theatre at the Opera House next year. The Eliza Doolittle role in 1956 was Andrews' second part on Broadway, and her performance of Wouldn't It Be Loverly? and I Could Have Danced All Night launched her career. ![]()
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