danny kaye up in arms mp4 download Danny Kaye. David Daniel Kaminsky, known as Danny Kaye (January 18, 1913 ? March 3, 1987) was an American actor, singer and comedian. Born to Jewish immigrants in Brooklyn, red-haired Kaye became one of the world's best-known comedians. He learned his trade in his teen years as a tummler in the Catskills. In 1941 he appeared in the Broadway show, Lady in the Dark and performed the famous number "Tchaikovsky," by Kurt Weill and Ira Gershwin, in which he sang the names of a whole string of Russian composers at breakneck speed, seemingly without taking a breath. Born to Jewish immigrants in Brooklyn, red-haired Kaye became one of the world's best-known comedians. He learned his trade in his teen years as a tummler in the Catskills. In 1941 he appeared in the Broadway show, Lady in the Dark and performed the famous number "Tchaikovsky," by Kurt Weill and Ira Gershwin, in which he sang the names of a whole string of Russian composers at breakneck speed, seemingly without taking a breath. According to The New York Times, when he appeared at the London Palladium music hall In 1948, he "roused the Royal family to shrieks of laughter and was the first of many performers who have turned English variety into an American preserve." Life magazine described his reception as "worshipful hysteria" and noted that the royal family, for the first time in history, left the royal box to see the show from the front row of the orchestra. Kaye made his film debut in a 1935 comedy short subject, entitled Moon Over Manhattan. His feature film debut was Up in Arms (1944). He starred in several movies with actress Virginia Mayo in the 1940's, and is well known for his roles in films such as The Secret Life of Walter Mitty (1947), The Inspector General (1949), White Christmas (1954), Knock on Wood (1954), The Court Jester (1956), and Merry Andrew (1958). Kaye starred in two pictures based on biographies, Hans Christian Andersen (1952) about the Danish story-teller, and The Five Pennies (1959) about jazz pioneer Red Nichols. His wife, Sylvia Fine, wrote many of the songs Danny Kaye became famous for. Some of Kaye's films included the theme of doubles, two people who look identical (both played by Danny Kaye) being mistaken for each other, to comic effect. Kaye starred in a radio program of his own, The Danny Kaye Show, on CBS in 1945-1946. Despite its clever writing (radio legend Goodman Ace, Sylvia Fine, and respected playwright-director Abe Burrows were the writers for the show) and performing cast (including Eve Arden, Lionel Stander, and big bandleader Harry James), the show lasted only a year. He hosted his own variety hour on CBS, The Danny Kaye Show, from 1963 to 1967. Kaye also did a stint as one of the What's My Line? Mystery Guests on the popular Sunday Night CBS-TV program. Later, Kaye also served as a guest panelist on that quiz show. Years later, Kaye also guest-starred in episodes of The Cosby Show and of the 1980's remake of The Twilight Zone (see The New Twilight Zone). Kaye's influence was felt beyond the entertainment world in the world of professional sports as well. Kaye was the original owner of the Seattle Mariners along with his partner Lester Smith, from 1977-81. During the 1950s, Kaye also acted in a pantomime production of Cinderella, in Sydney, Australia, where he played the role of "Buttons", Cinderella's stepfather's servant, and also Cinderella's friend. In many of his movies, as well as on stage, Kaye proved to be an able actor, singer, dancer and comedian, often having his comedic talents showcased by special material written by his wife, Sylvia Fine. He showed quite a different and serious side as Ambassador for UNICEF, and in one of his few dramatic roles in the memorable TV-movie Skokie, in which he played a Holocaust survivor. Before he died in 1987, Kaye also demonstrated his ability to conduct an orchestra during a comical, but technically sound, series of concerts organised for UNICEF fundraising. Kaye received two Academy Awards, an honorary award in 1955 and the Jean Hersholt Humanitarian Award in 1982. In his later years he took to entertaining at home as chef?he had a special stove installed in his patio?and host. He specialized in Chinese cooking. Kaye died in 1987 from a heart attack, following a bout of hepatitis. He left a widow Sylvia Fine and a daughter Dena. He is interred in the Kensico Cemetery in Valhalla, New York. His grave is adorned with a bench that contains friezes of a baseball and bat, an aircraft, a piano, a flower pot, musical notes, and a glove. Danny Kaye - Hugs - Winter Love (2017) 01. No Two People 02. Civilization 03. Eat, Eat, Eat 04. Let's Not Talk About Love 05. Jenny 06. The Five Pennies Saints 07. Snow 08. Mad Dogs and Englishmen 09. Anywhere I Wander 10. The Babbitt and the Bromide 11. The Ugly Duckling 12. Anatole of Paris 13. Tubby the Tuba 14. Beatin', Bangin' 'n' Scratchin' 15. Santa Claus Looks Like My Daddy 16. Dinah 17. Tchaikovsky and Other Russians 18. Thumbelina 19. Oh, by Jingo 20. Bloop Bleep 21. The Woody Woodpecker Song 22. Inchworm 23. Minnie the Moocher 24. White Christmas 25. How D'ye Do and Shake Hands 26. Wonderful Copenhagen 27. Ballin' the Jack. A gifted mimic and peerless physical comedian, Danny Kaye ranked among America's most popular entertainers in the years during and following World War II. Rubber-faced and manic, he rose to stardom in film and in television, on record and on Broadway, easily adapting from outrageous novelty songs to tender ballads; for all of his success as a performer, however, his greatest legacy remains his tireless humanitarian work -- so close were his ties to the United Nations International Children's Emergency Fund (UNICEF) that when the organization received the Nobel Peace Prize, Kaye was tapped to accept it. Born David Daniel Kominsky on January 18, 1913, in Brooklyn, NY, he dropped out of high school at the age of 14 to hitchhike with his friend Louis Elison to Florida, where the duo sang for money. Upon returning to New York they teamed in an act dubbed Red and Blackie, later working as "toomlers" (i.e., creators of tumult, or all-around entertainers) on the borscht-belt circuit in the Catskills. In 1933 he joined the Three Terpsichoreans' vaudeville act, performing for the first time as "Danny Kaye"; after touring the country in the stage revue La Vie Paree, the troupe sailed to the Orient in 1934. In Japan and China, Kaye developed his pantomime and face-making techniques; he also began singing in gibberish, allowing only the occasional word to be rendered intelligible. After returning stateside in 1936, Kaye worked with comedian Nick Long, Jr., and toured with Abe Lyman's Band before journeying to London to play the city's cabaret circuit. The trip proved unsuccessful, and soon Kaye was back in New York; there he met pianist and songwriter Sylvia Fine, who became not only his performing partner but also his wife. Fine wrote many of Kaye's best-known songs, including "Stanislavsky," "Pavlova," and "Anatole of Paris"; much of the material he then performed on Broadway in The Straw Hat Revue, which opened in 1939. Kaye subsequently appeared in Moss Hart's The Lady in the Dark in what became a star-making performance; he then moved on to Cole Porter's Let's Face It! before touring in support of the war effort, where he sold about one million dollars in bonds over a period of just six months. Kaye made his feature film debut in 1944's Up in Arms. The following year he began hosting his own CBS radio program, launching a number of hit songs including "Dinah," "Tubby the Tuba," "Minnie the Moocher," "Ballin' the Jack," "Bloop Bleep," and "Civilization"; "I've Got a Lovely Bunch of Coconuts," his lone U.S. chart hit, was released in 1950. In 1947 he starred in The Secret Life of Walter Mitty, arguably his definitive screen role; following an appearance in 1948's A Song Is Born, he made a triumphant return to London, appearing in a series of record-breaking performances at the Palladium as well as several Royal Command performances. Kaye then went to Canada in 1950, becoming the first solo performer to star at the Canadian National Exhibition, before returning to Britain in 1952 for a tour of the nation's provincial music halls. Amid this flurry of activity Kaye continued his film career, and after completing 1951's On the Riviera he began work on Hans Christian Andersen, one of the most successful motion pictures in the history of MGM Studios; two of its Frank Loesser-penned songs, "The Ugly Duckling" and "Wonderful Copenhagen," reached the Top Five on the U.K. pop charts. In 1954, Kaye appeared in both Knock on Wood and White Christmas; after 1956's The Court Jester, he starred as 1920s cornet player Red Nichols in 1958's The Five Pennies, appearing with Louis Armstrong. From 1963 to 1967, he hosted his own television variety program, The Danny Kaye Show, before returning to Broadway in 1969 in The Madwoman of Challiot. A year later, he starred in the Richard Rodgers and Martin Charnin musical Two by Two. In the 1970s and 1980s, Kaye regularly conducted classical orchestras; he also appeared frequently on television, winning an Emmy for 1975's Danny Kaye's Look-In and the Metropolitan Opera, produced for CBS' Festival of Lively Arts for Young People series. He also starred in small- screen productions of Pinocchio and Peter Pan. From the early '50s on, however, much of Kaye's time was spent in support of UNICEF, and he served as the charitable organization's ambassador-at-large for 34 years. Awarded a Special Oscar in 1954, he also received the Academy of Motion Picture Arts and Science's Jean Hersholt Humanitarian Award in 1982. After suffering a heart attack, Kaye died on March 3, 1987; he was 74 years old. Danny kaye up in arms mp4 download. As Victoria tells the story, the series was slumping in its sophomore season and looking for a ratings boost. When she—a week shy of her fourth birthday—hit it off with Danny during an interchange at the end of the annual Christmas show, fan mail poured in. The producers quickly called her back again, and again, and again. But after about a half-dozen appearances, Victoria started to clam up. The magic was gone. The producers tried everything to get her talking again —clearing out the audience for her bit with Danny, creating a whole “Vickie’s Room” set—but nothing worked. For my book Danny Kaye: King of Jesters , producer Perry Laffery speculated on a possible cause: “I don’t know whether her mother was pushing the kid or what.” Victoria, drawing upon a photographic memory, insists her mother was nothing but supportive. The problem, she says, was Danny. Kaye, as I can attest others have shared with me, had a tendency of occasionally needling co-workers, just to see if he could push their buttons. Victoria says Danny liked to call her “Vickie,” knowing she hated to be called that. He even had songwriter Billy Barnes write a song about her (and also about singer Vikki Carr) called “Vickie.” Kaye supposedly also knew that she disliked the color yellow. But the Vickie’s Room was set done all up in yellow. And, during one fateful episode, Danny asked her what color her gold necklace was. She replied, “Gold.” Danny corrected her, “No, it’s yellow .” The audience laughed. But Victoria was confused, convinced that her buddy Danny had turned on her and was encouraging the audience to laugh at her. After seven appearances, the producers cancelled her contract for the remainder of season two. She would return for a Christmas-themed show in season three and for seven episodes in season four, now a grizzled show biz pro at age 6. She would remain close friends with Danny for the rest of his life, working with him one last time: as a co-presenter at the 1983 Emmy Awards. To hear more of her tales of life with Danny, download Victoria and my 2.5-hour appearance on Stu’s Show (it’s a 99-cent download—program 307—from www.stusshow.com/archives.php). Victoria is also set to return to Stu’s in the near future to talk about her work post-Kaye: as a regular on Green Acres , appearing with Elvis in Speedway , twice turning down the lead in The Exorcist , and more! Friday, January 18, 2013. The Court Jester’s King Speaks! In The Court Jester , Danny sings a lullaby to the rightful heir to the throne, played by young Larry Stalley. Or was it Gary? In celebration of Danny Kaye's "centennial" birthday, I’m sharing an interview I conducted recently with one of the few surviving stars of The Court Jester . No, not Angela “Princess Gwendolyn”/ Muder She Wrote Lansbury. And, no, not Glynis “Maid Jean”/ Mary Poppins Johns. But rather the King from the 1956 movie. (Uh. but no, I don’t mean Cecil Parker, who played King Roderick. He would be 114 today, if he hadn’t died 40- some years ago.) I mean the rightful king—the infant whose throne Roderick usurped. That role fell to a pair of months-old Southern California twins, Larry and Gary Stalley. “My mother learned of a need for a set of identical twins for the making of a Danny Kaye movie, perhaps from an advertisement in the newspaper,” Larry recalls. “She told me there were something like 50 sets of twins that inquired or tried out for the role.” Hollywood often looks for twins when casting roles for babies, since the chores can be split between two little ones—and the film-makers have twice the chance of getting the desired “performance.” In fact, as babies are wont to do, Larry or Gary occasionally would act up and had to be swapped out. Larry notes that during the lullaby in the cottage, “when Danny Kaye is holding the child in his arms while singing a song, both babies would begin to act up or cry when he got to a certain point in the song. It didn’t matter which baby was used, we both began to act up at a certain point. At that point in the song you can see Mr. Kaye hold the child closer to his chest in order to quiet or cover up the cry.” In fact, in the scene where Kaye places the baby inside the wine barrel, the twins’ father stood in for Danny, playing the part with his back to the camera. It would be the boys’ only movie role. Larry shares, “My mother said she was told we could probably make a career in Hollywood. At the time, they were looking for a baby Little Ricky on the I Love Lucy show. She said there was also an opportunity to appear on a Northern Bathroom Tissue commercial. However, my mother was a Christian and was concerned influence from a career in Hollywood would not be best.” Her decision proved prescient. Today, Larry is a pastor, at New Beginnings Christian Church in Spokane, Wa. His brother, Gary, lives in Costa Rica, where he rents out rooms in his house to tourists. Over the years, their big Hollywood break has earned them little acclaim. As the boys grew up, their mother told them about the role, but it took 12 years before they had a chance to see it for themselves. “As you know, in those days there was no such thing as VCRs or DVDs,” says Larry. “One day, during my 6th-grade school year, a flier was passed out to the children informing all of us that there would be a special movie showing at the school on Saturday. The flier said the movie would be The Court Jester , and there would be popcorn. I began to tell my friends that I was in the movie. But they didn't believe me. I don’t think my teacher did, either. That was the first time I saw the movie.” Worse, they can’t tell themselves apart on screen, in any of their scenes, so they don’t really know if that’s them up there in any particular shot. The crew—and family members—had the same trouble. “My brother and I apparently looked very much alike,” Larry says. “At some point in making the movie, my grandmother insisted that we had been mixed up on the movie set. However she distinguished us apart, returning home one day she was convinced that I was actually Gary and now Gary was really Larry. Twice my mother went on Queen for a Day . Both times she was a selected as a finalist. Each time, if she became Queen, her wish was to have a fingerprint expert determine whether or not her twins had been mixed up. Which one is which? But neither time was my mother chosen to be the Queen for that particular day. So who am I? Maybe I’m really Gary. Maybe Larry is over in Costa Rica right now!” Alas, neither has a purple pimpernel berthmark to confirm his true identity. Danny Kaye and Sylvia Fine: Two Kids from Brooklyn Danny Kaye in Film. From 1944 to 1962, Danny Kaye maintained a steady career in the film industry making blockbuster Hollywood movies. His wife, Sylvia Fine, was an integral part of these productions as she wrote the music and lyrics for a majority of his pictures. Danny Kaye in Hollywood. Danny Kaye’s Hollywood career making feature-length, major-studio films lasted from 1944 with Up in Arms through 1962 with On the Double , and he worked for most of the major production studios—Samuel Goldwyn, Paramount Pictures, Warner Bros., and 20th Century Fox. One of his most iconic films was a movie that almost never came to fruition: White Christmas (1954). The film suffered during the writing stages, but its biggest setback was the loss of Bing Crosby’s original costar, Fred Astaire. The second choice, Donald O’Connor, fell severely ill before shooting was scheduled to start. The studio was finally able to lock in Kaye as costar and have the film ready for a December release in 1954. White Christmas . Film poster. United States: Paramount Pictures Corporation, 1954. Prints and Photographs Division, Library of Congress (016.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj0. The Secret Life of Walter Mitty , 1947. The Secret Life of Walter Mitty (1947) was the fourth of Kaye’s films for the Samuel Goldwyn studio. The film was about a daydreaming writer who finds his dreams mixing with reality, based on American author James Thurber’s most popular short story. Despite being a large box office draw, the preparatory stages were marred with difficulties in writing the script. Eventually, Thurber was called in to assist with the writing. The Secret Life of Walter Mitty . Film poster. United States: RKO Radio Pictures, Inc., 1947. Prints and Photographs Division, Library of Congress (014.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj1. On the Riviera , 1951. Because of his aptitude with characters and accents, Danny Kaye was often cast in roles that served multiple functions. In three of Kaye’s films— Wonder Man (1945), On the Riviera (1951), and On the Double (1961)—he performed in double-roles where he played two characters that looked exactly alike. In On the Riviera , Kaye played Jack Martin, an American entertainer performing in nightclubs on the French Riviera. Martin gives an impersonation of the wealthy businessman, Henri Duran, in one of the performances. Duran, taken by the striking physical similarities between him and Martin as well as Martin’s great impersonation, requests that Martin impersonate him at a party while he tends to business in London. On the Riviera . Film poster. United States: 20th Century Fox Film Corp., 1951. Music Division, Library of Congress (015.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj2. Sylvia Fine the Song Writer. As the popularity of Danny Kaye’s films grew throughout the world, so did Sylvia Fine’s songs written for them. The songs from the 1955 Dena/Paramount film The Court Jester , were translated in many different languages and published around the world. These songs were “The Maladjusted Jester,” “Life Could Not Better Be,” “Outfox the Fox,” “I’ll Take You Dreaming,” “My Heart Knows a Lovely Song,” and “Ritual of Knighthood.” Sylvia Fine and Sammy Cahn. “Le Ciel me Sourit/Life Could Not Better Be,” from The Court Jester . Sheet music. Roger Desbois, translator. Hollywood: Dena Music, Inc., 1955. Music Division, Library of Congress (017.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj3. Behind the Scenes. From the beginning of Danny Kaye’s film career, Sylvia Fine worked behind the scenes with producers and directors to write songs that highlighted Kaye’s unique talents. Her work was used in ten of Kaye’s feature-length Hollywood films. In the earlier films, Fine’s contributions were a mixture of previously written material from Kaye’s stage shows and new compositions. As more films were produced, she was asked to write more. Fine’s material for Kaye expanded from witty patter songs to ballads and ensembles. Two films in which her work was heavily featured were The Court Jester (1955) and The Five Pennies (1959). Sylvia Fine. “The Five Pennies.” Sheet music. New York: Dena Music, Inc., 1959. Music Division, Library of Congress (018.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj4. Knock on Wood Stage Appearance, 1954. In the early 1950s, Kaye and Fine created a production company named Dena Productions, named after their only child, Dena Kaye. The creation of this company allowed for more control over the films in which Kaye starred. Dena Productions often coproduced with other film companies such as Paramount Pictures. It also produced The Danny Kaye Show (1963–1967). The first film produced by Dena Productions was Knock on Wood (1954), a film about a ventriloquist caught in a spy ring as his doll is used unknowingly to smuggle stolen plans. Because of the new control that Kaye and Fine had over the filming of the picture, they could be more selective about the script and team. While Fine generally wrote only a few songs for a film, in Knock on Wood she composed a majority of the music—both incidental and sung. Film Score for Knock on Wood , 1954. Music Division, Library of Congress (019.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-in-film.html#obj5. Dena Productions and Knock on Wood. After the premiere of a major studio film, Danny Kaye would often travel the world promoting it. This generally included a stage appearance at a movie hall. The routine would be similar to his stage show, but would include songs from the film. Since Knock on Wood (1954) was filmed in England, Danny Kaye made many such appearances in London. Danny Kaye onstage at the European premiere of Knock on Wood , April 23, 1954. Photograph. Music Division, Library of Congress (019.01.00) Danny Kaye and Sylvia Fine: Two Kids from Brooklyn Danny Kaye Onstage. Of all the aspects of Danny Kaye’s career, his live performances were among the most revered. Audiences filled the largest performance venues around the world to witness his unique style of entertainment. A Young Danny Kaye. Born David Daniel Kaminsky in Brooklyn on January 18, 1911, the future Danny Kaye had a long road ahead of him to become the internationally recognized star of film, stage, and television. From an early age Kaye molded himself into a performer. As a teenager, he and friend Lou Eisen performed songs and comedy on New York street corners as “Red and Blackie.” In 1929 the duo was hired as part of the entertainment staff at White Roe, a summer resort in the Catskill Mountains. There, and later at similar venues in the “Borscht Belt” (a term used for summer resorts in the Catskill Mountains), Kaye, like many Jewish entertainers of the time, developed his trade as a singing, dancing, and acting comedian. The staff at White Roe, Livingston Manor, New York, summer of 1935. Photograph. Music Division, Library of Congress (001.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj0. Vaudeville. Danny Kaye returned to White Roe for multiple summers to work as a “tummler”—a person hired to keep resort guests entertained in between events through comedic antics. During the summer of 1932, Kaye joined up with the dance duo Dave Harvey and Cathleen Young. Adding Kaye to their routine allowed them to expand their repertoire to more comedic areas because he acted as a clownish character. “The Three Terpsichoreans” were a hit at White Roe, and in the fall of 1933 they joined a vaudeville tour and traveled across the country. Their success on the road led the trio to join La Vie Paree , a touring vaudevillian revue of more than seventy-five performers that was booked on a trip to Asia. This exposure to new cultures would prove seminal in the development of Kaye’s many characters as well as his comfort on stage. Dave Harvey, Danny Kaye, and Cathleen Young as “The Three Terpsichoreans,” ca. 1933. Photograph. Music Division, Library of Congress (002.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj1. Broadway. After many years of hard work and struggles in the New York entertainment business, Danny Kaye was finally able to break into Broadway when Moss Hart attended one of Kaye’s performances at the nightclub La Martinique in late 1940. Hart was so struck by Kaye’s stage presence and performance skills that he wrote a role for Kaye in his new musical Lady in the Dark , which featured songs by Kurt Weill and Ira Gershwin. Danny Kaye as Russell Paxton in the circus scene from Lady in the Dark . Alvin Theatre, New York, 1941. Facsimile. Music Division, Library of Congress (004.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj2. "Tschaikovsky [and Other Russians]" Although Kaye’s part was small in Lady in the Dark , his performance of the song, “Tschaikovsky [and Other Russians],” in which he rattled off the names of fifty Russian composers in less than forty seconds, brought the house down. The piece became a staple of Kaye's repertoire and was included in nearly all of his performing endeavors from his stage shows to his television and radio shows. Kurt Weill, composer and Ira Gershwin, lyricist. “Tschaikovsky [and Other Russians],” between 1945 and 1950. Stage show arrangement. Music Division, Library of Congress (003.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj3. Playbill for Cole Porter's Musical Let's Face It. After Lady in the Dark , Kaye went on to headline in a new 1941 Cole Porter musical, Let’s Face It . The show, about American GIs caught up in a scheme between married couples, featured two songs by Sylvia Fine: “Fairy Tale” and “Melody in 4F.” “Melody in 4F” was later incorporated into Kaye’s first studio film Up in Arms (1944), produced by Samuel Goldwyn studio. Playbill for Let’s Face It . Imperial Theatre, New York, 1941. Music Division, Library of Congress (006.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj4. "Concerto for Tongue and Orchestra" Much of Danny Kaye’s success onstage came from his one-of-a-kind performances. One aspect of his performance style was his scat-like singing that he called “double-speak.” Kaye would rattle off gibberish at speeds few people could reach, while staying in perfect key and rhythm with the music being played. It was a skill that he learned early in his career entertaining in the Catskills and perfected as his repertoire grew. Sylvia Fine tailored many songs to this unique facet and helped refine the performances so that they could be included in his film, television, and radio appearances. Sylvia Fine, composer and Buddy Breuman, arranger. “Concerto for Tongue and Orchestra,” arranged for the Paramount Theatre Orchestra, ca. 1952. Holograph manuscript. Music Division, Library of Congress (007.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj5. The Royal Command Variety Performance. By the end of the 1940s, Danny Kaye’s films were widely distributed across the world; however, his popularity as a live performer was centralized in the United States. In 1948, Kaye was invited to perform his variety show for a six-week run at the premiere theater in London—the Palladium. His act was a success with the London audiences as shows were quickly sold out and rave reviews rolled in. The performances were attended by the English elite including Winston Churchill and members of the Royal Family. After his stint was over, he was invited by King George VI to perform at the Royal Command Variety Performance—an annual variety show at the London Palladium hosted by the Royal Family. The show, which was headlined by Kaye, featured hundreds of other performers including a young Julie Andrews. Program for the November 1, 1948, Royal Command Performance at the London Palladium. Cover. Music Division, Library of Congress (009.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj6. Kaye during the Royal Command Performance. After his 1948 successes at the London Palladium, Kaye’s international career as a live performer was solidified. He returned to the Palladium throughout the following decades. Each performance run was a box office hit as theatergoers queued up for days to purchase tickets. Kaye would often include a tour of the United Kingdom and other parts of Europe along with the visits to the Palladium, proving to be a star wherever he traveled. View of stage and auditorium during the Royal Command Performance at the London Palladium. Danny Kaye at the microphone onstage, the Royal box is seen through the spotlights, November 1, 1948. Photograph. London: Fox Photos Ltd., 1948. Music Division, Library of Congress (010.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj7. Danny Kaye Onstage. Although Danny Kaye was a master of many performance genres—film, music, theater, radio, and television—the style to which he was best suited was the vaudevillian, variety-style live show. In this capacity he could bring all of his talents together and connect with his audience in a way that other venues did not allow. In the early 1940s his stage show exploded in popularity with the addition of his Broadway and film careers. Kaye was selling out shows at the most famous and largest venues across the United States and the world. He would keep this live act in pace with his other careers through the 1960s. Scene outside the RKO Palace in New York City before a Danny Kaye variety show performance, 1953. Photograph. Music Division, Library of Congress (008.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj8. The London Palladium. After his 1948 successes at the London Palladium, Kaye’s international career as a live performer was solidified. He returned to the Palladium throughout the following decades. Each performance run was a box office hit as theatergoers queued up for days to purchase tickets. Kaye would often include a tour of the United Kingdom and other parts of Europe along with the visits to the Palladium, proving to be a star wherever he traveled. Danny Kaye at the Famous London Palladium , 1955. Program. Music Division, Library of Congress (011.00.00) Bookmark this item: //www.loc.gov/exhibits/danny-kaye-and-sylvia-fine/danny-kaye-onstage.html#obj9. Kaye Onstage at Harrah's. Danny Kaye’s live stage act was an eclectic vaudevillian show. It featured songs, dance, characters, skits, monologues, and an array of guest stars such as the Dunhills, a comedic dance troupe. By the 1950s, his variety show, often titled The Danny Kaye Show or The Danny Kaye International All-Star Show , had become a well-designed institution that toured the world. Danny Kaye dances with the Dunhills onstage at Harrah’s in Tahoe, Nevada, 1968. Photograph. Music Division, Library of Congress (012.00.00)