The production design of Dick Van Dyke: 98 Years of Magic, 2024 Emmy nominee for Outstanding Achievement in Production Design for a Variety Special, underwent a significant evolution. To start, the original staging was supposed to be in a practical theater setting but later moved to a soundstage. After many locations were scouted, production designers James Yarnell and Steve Morden felt they could scenically convey all of Van Dyke’s accomplishments more effectively outside the confines of a traditional theater space. A Broadway legend for sure, but Van Dyke is so much more than the theater. A soundstage would free up the designers to incorporate more of the visual history of Dick Van Dyke in all facets of entertainment.
The Dick Van Dyke Show (1961-1966)
Dick Van Dyke: 98 Years of Magic (2024)
Most people were introduced to Dick Van Dyke through the 1961 sitcom, The Dick Van Dyke Show. The iconic Mid-century Modern living room is one of the most recognizable sets in television history. Recreating it on stage would take a formidable amount of space, so the next problem became where can the required video screen displaying clips of Van Dyke’s career exist in proximity. The screen had to be large enough to adequately display the clips and act as a backdrop for the musical numbers while maintaining a shootable relation to the stage dressing.
To avoid compromising on the size of that playing space, the designers decided to use a curved video screen to surround the existing set further and reveal it with an on-camera split of the living room set into two halves. The effect was stunning and used for the show’s opening with Rob Reiner walking out into the full living room, then stepping aside as the stage split in half to reveal an enormous performance space with the video screen and custom floor for the subsequent dance numbers.
The floor was inlaid with gold vinyl, mimicking the hood detail from the car in the 1968 film Chitty Chitty Bang Bang. Audible gasps were heard from the audience as well as an astonished expression from Van Dyke as he and his wife sat in a semicircular booth also modified to resemble the car’s interior and nautical sides. As a nod to the 1964 release Mary Poppins, a custom coffee table was also built and designed with a replica hat and canes from Van Dyke’s most famous costume from the film.
My team and I [Set Decorator, John Sparano], recreated the set dressing for the living room set almost from scratch. Ninety percent of the furnishings were custom-built from publicity stills of the show to get the colors correct. This technique was also used to recreate the colors and textures of the walls. Even though the show itself was broadcast in black and white, this kind of design detail preserved the richness of the original show on a subconscious level.
Larry Matthews, who played Dick’s son Richie on the show, was in attendance and told the design team personally that the room was just how he remembered it. But television was just one of the forms of entertainment Dick Van Dyke has thrilled audiences with over the years. The next problem was how to incorporate his treasured film career in visual terms.
The designers researched what was the most signature performance from Dick Van Dyke’s movie career and came up with “Step in Time” from Mary Poppins. The question remained, however, of where and how to represent it. Ingeniously, the designers turned the entire audience seating area into a London rooftop with skylights, a scenically enhanced floor, and meticulously recreated chimneys over pitched rooves.
The idea went over so well that the choreographers (Emmy-nominated Allison Faulk and Kiki Nyemchek) moved half of the “Step in Time” routine with Jojo Siwa into the audience and onto the chimney tops. This gave the director (Emmy-nominated Russell Norman) vast opportunities to shoot Van Dyke’s reaction as twenty dancers literally surrounded him on all parts of the stage.
Because Chitty Chitty Bang Bang was referenced many times in the show with an elaborate dance number to the song “The Old Bamboo” and scenic hints referencing the car itself, we made a full-court press trying to find a replica of the car to round out the design. A street-legal reproduction of the Chitty Chitty Bang Bang car was found, trucked in from New York and placed in the audience just behind Dick and his wife’s booth. Again, expanding the visual metaphor into all parts of the soundstage and, almost accidentally, creating a 360-degree experience. It was an unexpected gift for the director and our creative team.
Meanwhile, back on the main stage, the split function was utilized again. Being that the special was airing close to Christmas, the creatives wanted to include a nod to a Christmas episode from 1976’s Van Dyke and Company, so the stage was closed back up. The living room was transformed into a Christmas look for a dance routine choreographed to the original medley from the episode sung by Van Dyke and country music star Bobby Gentry.
The slew of celebrity guests who gathered for Van Dyke could do their tributes from all different parts of the stage because of all the playing space options rather than from a center podium. The impact of this was tremendous because stars were literally coming out of the woodwork to give their tributes. The evening lived up to its name, and the feeling of magic permeated throughout the evening. The large array of talented singers’ and dancers’ performances often brought Van Dyke and his wife to tears.
Keeping the audience small safeguarded the intimacy and gave them the space to become emotional. A well-conceived design has that effect. This also gave the audience the sense that they were a part of a one-of-a-kind experience. Even the professional dancers from “Dancing With the Stars” filming on an adjacent stage could be found sneaking in to get a look at a genuine triple threat and a truly unforgettable variety special.
Dick Van Dyke: 98 Years of Magic is nominated for Outstanding Production Design of a Variety Special at the 2024 96th Emmy Awards.
Have you seen the Special? As always, we would love to know your thoughts in the comments below.
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John- what a nice article you’ve written. It was such a pleasure to have been part of the weeklong production and our participation in providing my Chitty Chitty Bang Bang car , that was shipped by CBS all the way from New York’s Long Island to Los Angeles. The entire team, James and Steve, the production designers and crew were all incredibly professional, and of course working with Dick and Arlene Van Dyke once again was phenomenal. We were thrilled at the amount of screen time Chitty was given and the full screen end credit thanking us for providing the car and the dedication to my late mom, the reason for whom I built the car. Thanks again!