Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0010
- Subject:
- Music, Popular
Broadway musicals were a ready source for the early musicals, and RKO's smash Rio Rita led the way. Some of the adaptations were close, while others strayed wildly from the originals. Among the ...
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Broadway musicals were a ready source for the early musicals, and RKO's smash Rio Rita led the way. Some of the adaptations were close, while others strayed wildly from the originals. Among the Broadway stars repeating their stage roles were Irene Bordoni in Paris, and Ziegfeld diva Marilyn Miller in Sally. Such films as No, No Nanette bore less resemblance to the stage success than it did to the thriving backstage genre. Composers DeSylva, Brown and Henderson found their works transferred more successfully than did Rodgers and Hart or Cole Porter. By the time of the most lavish Broadway adaptation, Whoopee!, musicals were in decline, yet with Eddie Cantor, Busby Berkeley, and Technicolor it scored a notable success.Less
Broadway musicals were a ready source for the early musicals, and RKO's smash Rio Rita led the way. Some of the adaptations were close, while others strayed wildly from the originals. Among the Broadway stars repeating their stage roles were Irene Bordoni in Paris, and Ziegfeld diva Marilyn Miller in Sally. Such films as No, No Nanette bore less resemblance to the stage success than it did to the thriving backstage genre. Composers DeSylva, Brown and Henderson found their works transferred more successfully than did Rodgers and Hart or Cole Porter. By the time of the most lavish Broadway adaptation, Whoopee!, musicals were in decline, yet with Eddie Cantor, Busby Berkeley, and Technicolor it scored a notable success.
Frederick Nolan
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195102895
- eISBN:
- 9780199853212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102895.003.0015
- Subject:
- Music, Popular
All through this period, Richard Rodgers and Lorenz Hart were hard at work on the Dillingham show, She's My Baby, which had begun rehearsals November 7th and had tryouts of a week each in Washington, ...
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All through this period, Richard Rodgers and Lorenz Hart were hard at work on the Dillingham show, She's My Baby, which had begun rehearsals November 7th and had tryouts of a week each in Washington, Baltimore, and Newark. As well as Bea Lillie, the producer had lined up the debonair Clifton Webb, who'd made a mark as far back as 1916 in Cole Porter's Broadway bow, See America First, then graduated to featured roles in As You Were with Irene Bordoni and Sunny with Marilyn Miller. More recently he had won plaudits as an adagio dancer partnering Mary Hay at the Palace and at Giro's nightclub. The ingenue and juvenile were Irene Dunne and smiling, red-haired Jack Whiting, the poor man's Fred Astaire. To their dismay, Rodgers and Hart discovered that Charles Dillingham had lost interest in the show.Less
All through this period, Richard Rodgers and Lorenz Hart were hard at work on the Dillingham show, She's My Baby, which had begun rehearsals November 7th and had tryouts of a week each in Washington, Baltimore, and Newark. As well as Bea Lillie, the producer had lined up the debonair Clifton Webb, who'd made a mark as far back as 1916 in Cole Porter's Broadway bow, See America First, then graduated to featured roles in As You Were with Irene Bordoni and Sunny with Marilyn Miller. More recently he had won plaudits as an adagio dancer partnering Mary Hay at the Palace and at Giro's nightclub. The ingenue and juvenile were Irene Dunne and smiling, red-haired Jack Whiting, the poor man's Fred Astaire. To their dismay, Rodgers and Hart discovered that Charles Dillingham had lost interest in the show.
