Acting legend Julie Andrews and her daughter, bestselling author Emma Walton Hamilton, have written a charming celebration of the arts born from a true story in WAITING IN THE WINGS, which is in stores now. I had the great pleasure of interviewing both of them via email about all of this and more.
Julie Andrews has a legendary career that encompasses the Broadway and London stages, as well as multiple films, television shows, album releases, concert tours, directing assignments, and the world of children’s publishing. In 2000 the title of Dame Commander of the British Empire was bestowed upon her by Queen Elizabeth II for lifetime achievements in the arts and humanities. She was married to film director Blake Edwards for forty-one years, and the couple have five children, ten grandchildren, and three great-grandchildren. She invites you to visit her online at @julieandrews on both Instagram and Twitter.
Emma Walton Hamilton is an award-winning writer, producer, and arts educator. Together with her mother, Julie Andrews, she has written over thirty-five books for children and young adults, including the New York Times bestselling Very Fairy Princess series, Waiting in the Wings, and The First Notes: The Story of Do, Re, Mi. Her first book of poetry, Door to Door, was published in 2022. Emma is a longtime faculty member of Stony Brook University’s MFA in Creative Writing and invites you to visit her online at @ewhamilton on both Instagram and Twitter.
To start things off, would the two of you mind telling us about the book?
JULIE: WAITING IN THE WINGS, our new picture book, is about the magic and power of theater, as seen through the eyes of a pair of ducks. Mr. and Mrs. Puddleduck are looking for the perfect place to nest, and they find a cozy planter in the courtyard of a seaside theater. While Mrs. P is warming the eggs, Mr. P sneaks inside to watch rehearsals, and is captivated by the music, lights, costumes, and scenery… even performing some of the songs and dances for Mrs. P while she warms her eggs. But it turns out he has learned much more than how to put on a show. When the chicks begin hatching by the roadside, Mr. P’s newly acquired theater skills come to the rescue! The book is charmingly illustrated by E.G. Keller.
How did the opportunity to write WAITING IN THE WINGS come about?
EMMA: We often write stories that celebrate the arts – but this one was inspired by a true event. My husband, Stephen Hamilton, and I co-founded Bay Street Theater, a small professional theater in Sag Harbor, New York. One spring, a pair of ducks made their nest in a flower box in the theater courtyard. When the ducklings hatched, we were startled to see them almost immediately tumble out of the flower box and follow their mother out of the courtyard toward the road. The entire theater company jumped into action, fanning out to create a human barricade around the duck family, protecting them from traffic and other dangers as they paraded down the wharf, jumped into the water, and paddled off toward the sunset to a round of applause from the crowd. That story stayed with us, and when Mom and I were brainstorming ideas for a new picture book it felt like the right moment to tell this story.
What was it like getting to write it?
JULIE: Writing a picture book is always both fun and challenging, and this one was no exception! Telling a compelling story for young readers in 500 words or less, not writing what the art will show, not “talking down” to readers or being didactic – these are just some of the challenges of writing picture books.
EMMA: We also knew we needed to take the story beyond just the facts – you can’t write a story about ducks nesting beside a theater without at least one of them going inside to see a show! So, we worked hard to balance the truth with a bit of whimsical fun and arts advocacy, without getting preachy – we hope!
The two of you previously wrote over 35 books together. What made writing this one in particular stand out from the rest?
JULIE: We’ve enjoyed writing all our books for different reasons – but again, this one was inspired by a true event that we wanted to honor. We also had to do a lot of additional research about how ducks choose, make, and tend to their nests.
EMMA: And then we had to find a way to use all that as a springboard without letting the facts get in the way of a good story!
What do each of you hope readers end up taking away from WAITING IN THE WINGS?
EMMA: We hope readers might come away with an increased appreciation for, or perhaps a new curiosity about, the arts… especially the performing arts.
JULIE: Also, a smile – and respect for nesting ducks, and birds of all kinds!
Going back to the beginning, how did both of you first get started in the theatre?
JULIE: My theatrical career began in childhood, accompanying my mother and stepfather in their vaudeville act. My first solo break was at age 12, in a variety show called Starlight Roof at the London Hippodrome. I sang a very challenging aria called “The Polonaise” from Mignon. During my teens, I toured all around the United Kingdom, performing in English “pantos” and variety shows until 1953, when I was invited to make my Broadway debut as Polly Browne in Sandy Wilson’s The Boy Friend, which opened on the eve of my 19th birthday, if you can believe it!
EMMA: Having grown up with both parents in the theater – my dad was the award-winning costume and scenic designer Tony Walton – I was around theater from an early age. In my teens and early twenties I did some acting on stage, and in film and television – but quickly realized I was happier behind the scenes, so transitioned to directing and producing. In 1992, my husband and I, along with Sybil Christopher, co-founded the Bay Street Theater in Sag Harbor, which we ran for 17 years before I shifted my focus to writing and teaching.
Julie, you were fortunate enough to have made your Broadway debut at such a young age in THE BOY FRIEND. What do you remember most about getting that job as well as doing the show itself?
JULIE: I remember being terribly homesick… but just before I left, when I was struggling with the decision whether or not to, and all the attendant separation anxiety, my dad said, “It’ll be the best thing in your life. It’ll open up your head, and you will see America. You should not miss that opportunity.” He was absolutely right, of course. I learned so much – about my craft, about the world, about myself. But I was definitely homesick!
You of course went on to be a part of several projects that to this day, have continued to enjoy enormous staying power such as MY FAIR LADY, CAMELOT, MARY POPPINS, THE SOUND OF MUSIC, and many others. What has it been like for you to see each of them endure?
JULIE: Those projects were made by superb craftsmen – and that, too, was part of my learning curve. I think their endurance is a testament to the quality and caliber of their creators… and I consider myself inordinately lucky to have been mentored by them.
This August will mark the 60th anniversary of the release of the original MARY POPPINS. How do you look back at your experience of making it?
JULIE: With immeasurable gratitude to Mr. Disney for taking a chance on this newcomer! My experience was, once again, all about learning – this time, a new medium. I was constantly racing to catch up on things, to try to look as though I knew what I was doing!
Your performance in MARY POPPINS managed to win you an Oscar for Best Actress. What do you remember most from that night?
JULIE: I fully believed that Anne Bancroft would win, because of her extraordinary performance in The Pumpkin Eater that year, and I felt fortunate just to be nominated. I remember sitting beside my husband, Tony Walton, who was also nominated for having designed the sets and costumes for Mary Poppins - which I was thrilled about since it was also his film debut. Sidney Poitier was presenting the Best Actress award, and I was stunned to hear him call my name. I went up on stage and stammered into the microphone, “I know you Americans are famous for your hospitality, but this is really ridiculous!”
This year’s Oscars recently took place. As an academy member, what usually goes through your mind when making your votes on the nominations as well as the winners?
JULIE: I’m a classic Libra, so I find it almost impossible to choose! And it is always so hard when there are five or more equally worthy candidates for recognition in each category. Who is to say that a musical is better than a drama, or one performance is better than another? In the end, I feel the highest accolade is to be recognized by one’s peers.
You've also won several other awards from the Emmys, Golden Globes, and Grammys in addition to receiving a Kennedy Center Honor. What has all that recognition meant to you?
JULIE: It’s all an enormous complement… and a lot to live up to, the next time out! But truthfully, I know that I have been very blessed.
Emma, you’re a co-founder of the Bay Street Theater. How did that come about for you?
EMMA: I had been visiting Sag Harbor ever since I was a child, with my dad, stepmom, and stepsister. Eventually they bought a house in the village, and when Steve and I were dating we would spend as much time there as possible. We were both working in the theater in New York, and had been experimenting with producing and directing plays via our membership in Ensemble Studio Theatre… but we were so in love with Sag Harbor that we kept fantasizing about living there and still somehow doing theater. One day we were dining with an old family friend, Sybil Christopher, and we looked across the street at the building which is now Bay Street. We started talking about what a wonderful site for a theater it would be. A friend who is a realtor happened to be at the next table, and having overheard our conversation she persuaded us to submit a proposal to the landlord. The rest is history, as they say!
What does it mean to you to see it still running today?
EMMA: It’s a thrill. When Bay Street opened, we were virtually kids – I was still in my 20s. We were so green, and we learned on our feet, weathering enormous challenges, like recessions and shifts in community demographics and industry standards. We couldn’t be more proud of Tracy Mitchell and Scott Schwartz, the dynamic team who have been running the theater for the past decade - or more pleased that over 30 years after our initial “Hey, let’s put on a show!” dream came to life, the theater is still a vibrant part of our community. It contributes so much to people’s lives, from the artists who work there to the theatergoers who attend the shows to the kids who take part in the education programs, and more.
For those who’d like to pursue a career in the theatre, where do each of you think would be a good place to start?
JULIE: Whenever someone asks me this question, I say, “Do your homework! What I mean is that you never know when an opportunity might pass under your nose, so you’d better be ready when it does. Learn and hone your craft, and don’t give up.”
EMMA: My acting teacher, Herbert Berghof, used to say, “Never mind the talent – do you have the tenacity?” And I would add: remember that there are multiple ways to make a life in the theater, not just on stage but behind the scenes as well. It is truly a collaborative medium, and every person’s contribution matters.
Before we go, do either of you have any other upcoming projects that you’d like to share with us?
EMMA: In addition to the book coming out this week, one of our other children’s books that was adapted into a musical, The Great American Mousical, will be presented at The Legacy Theater in Connecticut in July, with Mom directing. We are also at work on another book, as well as a documentary about Mom’s life and work.
For more information regarding WAITING IN THE WINGS, please click here.
Julie Andrews has a legendary career that encompasses the Broadway and London stages, as well as multiple films, television shows, album releases, concert tours, directing assignments, and the world of children’s publishing. In 2000 the title of Dame Commander of the British Empire was bestowed upon her by Queen Elizabeth II for lifetime achievements in the arts and humanities. She was married to film director Blake Edwards for forty-one years, and the couple have five children, ten grandchildren, and three great-grandchildren. She invites you to visit her online at @julieandrews on both Instagram and Twitter.
Emma Walton Hamilton is an award-winning writer, producer, and arts educator. Together with her mother, Julie Andrews, she has written over thirty-five books for children and young adults, including the New York Times bestselling Very Fairy Princess series, Waiting in the Wings, and The First Notes: The Story of Do, Re, Mi. Her first book of poetry, Door to Door, was published in 2022. Emma is a longtime faculty member of Stony Brook University’s MFA in Creative Writing and invites you to visit her online at @ewhamilton on both Instagram and Twitter.
To start things off, would the two of you mind telling us about the book?
JULIE: WAITING IN THE WINGS, our new picture book, is about the magic and power of theater, as seen through the eyes of a pair of ducks. Mr. and Mrs. Puddleduck are looking for the perfect place to nest, and they find a cozy planter in the courtyard of a seaside theater. While Mrs. P is warming the eggs, Mr. P sneaks inside to watch rehearsals, and is captivated by the music, lights, costumes, and scenery… even performing some of the songs and dances for Mrs. P while she warms her eggs. But it turns out he has learned much more than how to put on a show. When the chicks begin hatching by the roadside, Mr. P’s newly acquired theater skills come to the rescue! The book is charmingly illustrated by E.G. Keller.
How did the opportunity to write WAITING IN THE WINGS come about?
EMMA: We often write stories that celebrate the arts – but this one was inspired by a true event. My husband, Stephen Hamilton, and I co-founded Bay Street Theater, a small professional theater in Sag Harbor, New York. One spring, a pair of ducks made their nest in a flower box in the theater courtyard. When the ducklings hatched, we were startled to see them almost immediately tumble out of the flower box and follow their mother out of the courtyard toward the road. The entire theater company jumped into action, fanning out to create a human barricade around the duck family, protecting them from traffic and other dangers as they paraded down the wharf, jumped into the water, and paddled off toward the sunset to a round of applause from the crowd. That story stayed with us, and when Mom and I were brainstorming ideas for a new picture book it felt like the right moment to tell this story.
What was it like getting to write it?
JULIE: Writing a picture book is always both fun and challenging, and this one was no exception! Telling a compelling story for young readers in 500 words or less, not writing what the art will show, not “talking down” to readers or being didactic – these are just some of the challenges of writing picture books.
EMMA: We also knew we needed to take the story beyond just the facts – you can’t write a story about ducks nesting beside a theater without at least one of them going inside to see a show! So, we worked hard to balance the truth with a bit of whimsical fun and arts advocacy, without getting preachy – we hope!
The two of you previously wrote over 35 books together. What made writing this one in particular stand out from the rest?
JULIE: We’ve enjoyed writing all our books for different reasons – but again, this one was inspired by a true event that we wanted to honor. We also had to do a lot of additional research about how ducks choose, make, and tend to their nests.
EMMA: And then we had to find a way to use all that as a springboard without letting the facts get in the way of a good story!
What do each of you hope readers end up taking away from WAITING IN THE WINGS?
EMMA: We hope readers might come away with an increased appreciation for, or perhaps a new curiosity about, the arts… especially the performing arts.
JULIE: Also, a smile – and respect for nesting ducks, and birds of all kinds!
Going back to the beginning, how did both of you first get started in the theatre?
JULIE: My theatrical career began in childhood, accompanying my mother and stepfather in their vaudeville act. My first solo break was at age 12, in a variety show called Starlight Roof at the London Hippodrome. I sang a very challenging aria called “The Polonaise” from Mignon. During my teens, I toured all around the United Kingdom, performing in English “pantos” and variety shows until 1953, when I was invited to make my Broadway debut as Polly Browne in Sandy Wilson’s The Boy Friend, which opened on the eve of my 19th birthday, if you can believe it!
EMMA: Having grown up with both parents in the theater – my dad was the award-winning costume and scenic designer Tony Walton – I was around theater from an early age. In my teens and early twenties I did some acting on stage, and in film and television – but quickly realized I was happier behind the scenes, so transitioned to directing and producing. In 1992, my husband and I, along with Sybil Christopher, co-founded the Bay Street Theater in Sag Harbor, which we ran for 17 years before I shifted my focus to writing and teaching.
Julie, you were fortunate enough to have made your Broadway debut at such a young age in THE BOY FRIEND. What do you remember most about getting that job as well as doing the show itself?
JULIE: I remember being terribly homesick… but just before I left, when I was struggling with the decision whether or not to, and all the attendant separation anxiety, my dad said, “It’ll be the best thing in your life. It’ll open up your head, and you will see America. You should not miss that opportunity.” He was absolutely right, of course. I learned so much – about my craft, about the world, about myself. But I was definitely homesick!
You of course went on to be a part of several projects that to this day, have continued to enjoy enormous staying power such as MY FAIR LADY, CAMELOT, MARY POPPINS, THE SOUND OF MUSIC, and many others. What has it been like for you to see each of them endure?
JULIE: Those projects were made by superb craftsmen – and that, too, was part of my learning curve. I think their endurance is a testament to the quality and caliber of their creators… and I consider myself inordinately lucky to have been mentored by them.
This August will mark the 60th anniversary of the release of the original MARY POPPINS. How do you look back at your experience of making it?
JULIE: With immeasurable gratitude to Mr. Disney for taking a chance on this newcomer! My experience was, once again, all about learning – this time, a new medium. I was constantly racing to catch up on things, to try to look as though I knew what I was doing!
Your performance in MARY POPPINS managed to win you an Oscar for Best Actress. What do you remember most from that night?
JULIE: I fully believed that Anne Bancroft would win, because of her extraordinary performance in The Pumpkin Eater that year, and I felt fortunate just to be nominated. I remember sitting beside my husband, Tony Walton, who was also nominated for having designed the sets and costumes for Mary Poppins - which I was thrilled about since it was also his film debut. Sidney Poitier was presenting the Best Actress award, and I was stunned to hear him call my name. I went up on stage and stammered into the microphone, “I know you Americans are famous for your hospitality, but this is really ridiculous!”
This year’s Oscars recently took place. As an academy member, what usually goes through your mind when making your votes on the nominations as well as the winners?
JULIE: I’m a classic Libra, so I find it almost impossible to choose! And it is always so hard when there are five or more equally worthy candidates for recognition in each category. Who is to say that a musical is better than a drama, or one performance is better than another? In the end, I feel the highest accolade is to be recognized by one’s peers.
You've also won several other awards from the Emmys, Golden Globes, and Grammys in addition to receiving a Kennedy Center Honor. What has all that recognition meant to you?
JULIE: It’s all an enormous complement… and a lot to live up to, the next time out! But truthfully, I know that I have been very blessed.
Emma, you’re a co-founder of the Bay Street Theater. How did that come about for you?
EMMA: I had been visiting Sag Harbor ever since I was a child, with my dad, stepmom, and stepsister. Eventually they bought a house in the village, and when Steve and I were dating we would spend as much time there as possible. We were both working in the theater in New York, and had been experimenting with producing and directing plays via our membership in Ensemble Studio Theatre… but we were so in love with Sag Harbor that we kept fantasizing about living there and still somehow doing theater. One day we were dining with an old family friend, Sybil Christopher, and we looked across the street at the building which is now Bay Street. We started talking about what a wonderful site for a theater it would be. A friend who is a realtor happened to be at the next table, and having overheard our conversation she persuaded us to submit a proposal to the landlord. The rest is history, as they say!
What does it mean to you to see it still running today?
EMMA: It’s a thrill. When Bay Street opened, we were virtually kids – I was still in my 20s. We were so green, and we learned on our feet, weathering enormous challenges, like recessions and shifts in community demographics and industry standards. We couldn’t be more proud of Tracy Mitchell and Scott Schwartz, the dynamic team who have been running the theater for the past decade - or more pleased that over 30 years after our initial “Hey, let’s put on a show!” dream came to life, the theater is still a vibrant part of our community. It contributes so much to people’s lives, from the artists who work there to the theatergoers who attend the shows to the kids who take part in the education programs, and more.
For those who’d like to pursue a career in the theatre, where do each of you think would be a good place to start?
JULIE: Whenever someone asks me this question, I say, “Do your homework! What I mean is that you never know when an opportunity might pass under your nose, so you’d better be ready when it does. Learn and hone your craft, and don’t give up.”
EMMA: My acting teacher, Herbert Berghof, used to say, “Never mind the talent – do you have the tenacity?” And I would add: remember that there are multiple ways to make a life in the theater, not just on stage but behind the scenes as well. It is truly a collaborative medium, and every person’s contribution matters.
Before we go, do either of you have any other upcoming projects that you’d like to share with us?
EMMA: In addition to the book coming out this week, one of our other children’s books that was adapted into a musical, The Great American Mousical, will be presented at The Legacy Theater in Connecticut in July, with Mom directing. We are also at work on another book, as well as a documentary about Mom’s life and work.
For more information regarding WAITING IN THE WINGS, please click here.