-♪ It's the song I love the melody of ♪ -Next on 'Great Performances'... -♪ 42nd Street -The Tony Award-winning all-singing, all-dancing dream fable of Broadway.
♪♪ With Clare Halse as the ingenue Peggy Sawyer, Tom Lister as the demanding director Julian Marsh, and Bonnie Langford as Broadway diva Dorothy Brock.
-♪ We're in the money -With a cast of nearly 60, this is a tap-dance musical extravaganza like no other.
-We've got a show to do.
♪ Forty -Next.
♪ Second Street ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ -Hey. Did ya see this?
Julian Marsh is doing a show.
-It's a variety.
Julian Marsh is doing a show!
-We're gonna work again!
-Get out your tap shoes, Frances.
-Julian Marsh is doing a show! -Julian Marsh is doing a show!
-First audition -- 10:00 a.m. tomorrow!
♪♪ ♪♪ [ Rhythmic tapping ] [ Cheers and applause ] ♪♪ ♪♪ ♪♪ -Right arm over!
♪♪ Change lines!
[ Indistinct talking ] -I'll get you back -- you wait!
♪♪ ♪♪ ♪♪ ♪♪ Pick this up!
[ Indistinct shouting ] ♪♪ ♪♪ ♪♪ ♪♪ Go!
-♪ One, two, three, four, five, six, seven, eight ♪ ♪ One, two, three, four, five, six, seven, eight, break ♪ ♪♪ Yeah!
[ Cheers and applause ] [ Indistinct conversations ] -Okay, kids. Hold it down.
All of ya! [ Conversations stop ] Here come the writers.
Well, Miss Jones, what do you think?
-Not a bad bunch, Andy. Gladys, you're improving.
Winnie, keep those knees up.
Boys, you gotta pick 'em up and lay 'em down!
They're paying $4.40 a seat out there.
[ Light laughter ] Mac, get these names and addresses.
I want everything set when Julian Marsh gets here.
Come on, Bert. We still have four songs to write.
-Oh, we got the whole weekend.
Let's have those names and addresses.
-Phyllis Dale, 156 West 47th Street.
-Lorraine Flemming, same address as her.
-Diane Lorimer, 333 Park Avenue.
-And I'll bet she gets a little behind in her rent.
-Well, look who's here.
You remember Ann Reilly. -'Anytime Annie'? Who could forget her?
She only said 'no' once, and then she didn't hear the question.
-Hey, Ethel, must have been tough on your mother not having any children.
[ Indistinct shouting ] -Quiet, all of ya!
This is still an audition, damn it!
Anyone who doesn't want this job, the nearest breadline is around the corner!
Alright, Mac, get those names and addresses.
-Alright, let's have 'em.
♪♪ ♪♪ -Looking for somebody? -The Dance Director.
I'm here to get into the show. -Well, you're a little late.
They've already picked the course.
You should have been here at 10:00.
-Oh, I was, but it took me an hour to get up enough courage to go through the stage door. -[ Chuckles ] -You're not Mr. Marsh, are you?
-Billy Lawlor, one of Broadway's better juveniles!
Say, you must be new to show business.
-Oh, I've had experience. -How many shows?
-Any number of 'em. -Such as...? -This would have been my first, if they'd taken me.
-I'd take you any day. How about lunch?
-[ Chuckling ] Oh, no. I've got to see the Dance Director.
-Okay, then, dinner. Or lunch tomorrow?
-That's very kind, but I really must see the Dance Director.
-♪ I know a bundle of humanity ♪ She's about so high ♪ I'm nearly driven to insanity ♪ ♪ When she passes by ♪ She's a sunny little honey ♪ Who's, oh, so hard to kiss ♪ I'll try to overcome her vanity ♪ ♪ And then I'll tell her this -Hey! Watch it. -Sorry!
-♪ I'm young and healthy ♪ And you've got charms ♪ It would really be a sin not to have you in my arms ♪ ♪ I'm young and healthy ♪ And so are you ♪ When the moon is in the sky, tell me, what am I to do? ♪ ♪ If I could hate ya ♪ I'd keep away ♪ But that ain't my nature ♪ I'm full of vitamin A ♪ Say Say, I have an idea.
You're not gonna get Andy Lee to audition you unless he's got no choice.
Come with me!
-Watch out, honey.
He's a tenor, but he's got 'base' ideas.
-Er, you do know this song, don't you?
-Of course I do.
-Okay, kid. Go to it. -To what?
-Well, your first notes on Broadway!
Er, what are you looking for? -My good-luck scarf!
I wore it when I was elected Miss Allentown and Miss Junior Elk.
-Come on, kid.
-♪ I'm young and healthy ♪ And you've got charms ♪ It would really be a sin not to have you in my arms ♪ ♪ I'm young and healthy ♪ And so are you ♪ When the moon is in the sky, tell me, what am I to do? ♪ -♪ If I could hate ya -♪ I'd keep away -♪ But that ain't my nature ♪ I'm full of vitamin A ♪ Say -♪ I'm young and healthy ♪ So, let's be bold -Face front!
-♪ In a year or two or three, maybe we will be too old ♪ -Take it from the top, Oscar.
-♪ I'm young and healthy ♪ And you've got charms ♪ It would really be a sin not to have you in my arms ♪ -Hold it! Hold it, Oscar!
Who told you to sing? -It was my idea, Andy.
-That's a pretty fresh idea. You, beat it.
-Oh, give her a break, Andy. She's great.
Andy, Mr. Marsh is here.
-I got no time for breaks. Mr. Marsh is here.
Amscray, toots. -Alright. I'm going.
-At least give me your name.
-[ Gasps ] -Mr. Marsh! Excuse me. I'm sorry.
I didn't see you.
I don't know what I was thinking.
-What the hell was that?
-She wanted to get into the line, boss.
-What as -- a quarterback? [ Laughter ] Alright, everybody gather 'round and listen to me.
This is April 2nd, 1933, and today, we start work on a new show.
You're gonna rehearse four weeks then try out in Atlantic City.
You're gonna work 12 hours a day, 7 days a week.
You're gonna dance till your feet fall off, and you aren't able to stand up, but five weeks from now, 'Pretty Lady's' gonna be the best damn show this town's ever seen.
You're on your way to glory... and 32 bucks a week.
[ Excited talking ] -So, anybody who doesn't think he can take it better quit right now.
Take a half-hour, get measured for wigs and costumes, and let's get to work!
[ All cheering ] -Come on, get a move on!
-Hey! Someone left a purse on the piano.
-It must hers, the kid Andy threw out.
Is there anything in it? -Er, yeah.
40 cents and a card -- 'Peggy Sawyer, 125 Elm Street, Allentown, Pennsylvania.'
Look, you go to your fitting, and I'll see that she gets it.
-Julian, that was a great speech, and you won't regret a word of it.
'Pretty Lady' is the best show we've ever written.
-That's why we're producing it ourselves.
-And now with the greatest Director on Broadway, we... -Never mind the soft soap, Maggie.
I need this show as much as you do.
-Wall Street got you, too? -You know the old saying.
'There's a horse's ass for every light on Broadway.'
-I've given all I had to that glittering gulch out there, and it's been a hell of a ride.
Okay, so The Crash got me down for the count.
I'm still Julian Marsh, damn it, and 'Pretty Lady's' gonna put me back on top.
Let's talk about the cast. -Best in town.
Billy Lawlor for the juvenile.
-Me and Maggie playing the comedy roles.
-And Dorothy Brock in the lead!
-It's Brock I'm worried about.
Her last hit was 10 years ago.
-We have to use her, Julian.
She's got Abner Dillon in her back pocket.
-You know, 'Dillon's Kiddie Kars'? -♪ Hop on for a run, hop on for some fun ♪ ♪ On your Kiddie Kar, Kiddie Kar ♪ ♪ Dillon's Kiddie Kars Beep, beep!
-The Kiddie Kar business hasn't suffered from The Depression.
-And he's agreed to put up the whole $100,000 if she's the star. -But she can't dance!
-Put a lot of girls around her. Let her wave her arms a lot.
The public will never know the difference.
-I don't know, Maggie. I think we need to -- -Easy, Marsh. Here she comes. Dorothy, may I -- -Don't say a word! I wanna do this myself.
Mr. Marsh, ever since I was a tiny, little girl and saw my first Julian Marsh show, I've dreamed of the day when I might work with the king of Broadway.
At last! That day has come, and I am filled with pride, joy... and humility.
-Thanks, Miss Brock.
I'm feeling a little full myself.
Now, before we go any further, I'd like to try you out on one of the numbers.
-Hold on, Mr. Marsh.
Dorothy don't have to try out.
She's already got her contract.
-Mr. Dillon, what would I do without you?
By the way, there were a few items you forgot to mention, so I made a list -- limousine, redecorated dressing room, private maid.
No problem about the salary -- I just added another zero.
-Now, see here, Dorothy -- -Of course, if there's any objections, I won't insist.
We'll just peddle our Kiddie Kars, and you can start selling apples.
-You're not hearing me, Miss Brock.
I'd like to try you on one of the songs to see if you can handle the role.
-If you're asking me to audition, Mr. Marsh, I'm afraid the answer is no.
-It's not an audition, Dorothy.
Julian just wants to find out if it's in the right key.
-Try that new one we sent over to you yesterday, Dorothy.
You are going to love it.
Now, Bert and I see you in this lowdown dive.
The piano pounds out a hot jazz beat as you enter and sing!
♪ Shadows on the wall ♪ I can see them fall ♪ Here and there ♪ Everywhere ♪ Silhouettes in blue ♪ Dancing in the dew ♪ Here am I, baby ♪ Where are you?
♪ In the shadows, let me come and sing to you ♪ ♪ Let me sing, I want to sing -Stop her.
-Thank you, Maggie.
-♪ Let me dream a dream that I can bring to you ♪ ♪ Here comes a big, fat dream, pow! ♪ -Maggie! -♪ Take me in your arms ♪ And let me cling -Maggie!
-What?! -That was fine.
Oscar, try it three-quarter time for Miss Brock.
-Julian, we wrote that number as a jazz -- -And down a tone.
From the top, Miss Brock? -I have no intention -- -From the top, Miss Brock.
♪♪ -♪ Shadows on the wall ♪ I can see them fall ♪ Here and there ♪ Everywhere ♪ Silhouettes in blue ♪ Dancing in the dew ♪ Here am I ♪ Where are you? -That's fine.
Andy, Mac! -Yeah, boss?
-I want two shin-busters -- one right, one left.
Miss Brock, right here, if you please.
-You got a drop on line 28, bring it in.
-Coming in, Mr. Marsh.
-Oscar, top of the chorus, nice and easy.
Kill the work lights!
Miss Brock... if you please.
-♪ In the shadows, let me come and sing ♪ Ow! -That's alright.
Look straight front.
-♪ To you ♪ Let me dream a song that I can bring ♪ Got ya!
-I've got you.
Look behind ya.
-[ Gasps ] ♪ To you ♪ Take me in your arms and let me cling to you ♪ ♪ Let me linger long ♪ Let me live my song ♪ In the winter, let me bring the spring to you ♪ ♪ Let me feel that I mean everything ♪ ♪ To you ♪ Love's old song will be new ♪ In the shadows when I come and sing ♪ ♪ In the shadows when I come and sing ♪ ♪ In the shadows, in the shadows ♪ ♪ In the shadows ♪♪ ♪♪ Oof.
♪♪ ♪♪ ♪♪ -♪ In the shadows, let me come and sing to you ♪ ♪ Let me dream a song that I can sing to you ♪ ♪ Take me in your arms and let me cling to you ♪ ♪ Let me linger long ♪ Let me live my song ♪ In the winter, let me bring the spring to you ♪ ♪ Let me feel that I mean everything to you ♪ ♪ Love's old song will be new ♪ In the shadows when I come and sing ♪ ♪ In the shadows when I come and sing ♪ ♪ In the shadows when I come and sing to you ♪ ♪♪ ♪♪ -♪ In the winter, let me bring the spring to you ♪ ♪ Let me feel that I mean everything to you ♪ ♪ Love's old song ♪ Will be new ♪ In the shadows when I come and sing to you, dear ♪ ♪ In the shadows ♪ When I come and sing ♪ To you [ Music ends ] [ Cheers and applause ] -Not bad, Miss Brock.
-Mr. Marsh, what does it take to get a compliment out of you?
-That was a compliment, Miss Brock.
-Wardrobe! Where are you?! How do you expect me to dance with sleeves halfway to the ground and feathers up my nose?
-Hello, kid. -Pat?
Pat, darling, what are you doing here?
-Had to see some booking agents in the neighborhood and thought I'd drop by to see my best girl.
-But, Pat, what if Mr. Dillon had been here?
-I don't care about Abner Dillon.
-No, no! -[ Laughs ] -It's too dangerous!
Now -- Now, be a dear.
Take in a picture or something and meet me in my dressing room at 5:00.
-Dorothy... I can't take your money.
It was alright in the old days, when we had the act in Vaudeville, but now you're a star.
-Well, what difference does that make if we still care for each other?
Oh, Pat, don't you think I hate meeting in corners like this, too?
But isn't it better than not meeting at all?
♪ In the winter, let me bring the spring to you ♪ ♪ Let me feel that I mean everything to you ♪ ♪♪ -Now, run along, my dearest, and meet me in my dressing room at 5:00.
-Dorothy, I can't -- -Till 5:00, my darling.
-Come on, girls, get a move on.
We only have an hour for lunch. -An hour?
-Hey, kid! I've been looking for you.
You left this on the piano. -[ Gasps ] Oh.
-And don't worry -- the bankroll is intact.
-Thank you, Miss... -Jones. Maggie Jones.
Say, you look like you could use some grub.
How about putting on the feedbag with me and the girls?
-[ Scoffs ] -I don't think I can.
-Not another word -- it's all settled.
-Hey! I've been looking for you. How about having lunch?
-I'd love to. -I meant Peggy.
-Sorry, but I just promised to eat with Miss Jones and the girls.
-Would you like to join us? -Er, no thanks.
I'm looking for a mouthful, not an earful, but don't feel bad -- I'll let you have a rain check.
-What makes tenors such wolves?
-I think it's that tight underwear they wear.
-No, that's what makes them tenors.
Come on, girls.
I'm taking you to that lovely place with the windows.
-The Astor Roof? -The Astor Roof?
-Alright. The Gypsy Tea Kettle, but you're gonna dance your way over.
I don't want to waste any time.
-But I don't know your steps.
-Well, if you think you can pick 'em up, I'll show 'em to you.
Now with the pullback.
Hey, kid, you're good! -I know!
-Well, come on.
Let's put it all together.
Five, six, seven, eight.
♪♪ ♪♪ ♪♪ -What'll ya have?
[ Cheers and applause ] -Five cups of boiling water and one teabag.
-Any gravy? -No thanks.
There was enough on the tablecloth.
Now, bring us five combination dinners and get the lead out.
We're heavy tippers.
Well, Peggy, you still wanna get into show business after today?
-More than ever.
Imagine someday dancing on the same stage as Dorothy Brock.
-I understand how she feels.
My grandmother felt the same way.
-I don't know how you can say that.
Dorothy worked very hard to get where she is.
I remember on her first show, she made 30 bucks a week and sent $100 home to her mother.
-Let's face it.
The only thing she has over anyone at this table is Abner Dillon. -Who's he?
-Her sugar daddy. -Her father?
-You can't be just 21.
A girl can't get that dumb in only 21 years.
-Kid, we're gonna have to teach you the Broadway facts of life.
-Don't worry about me.
I learned all about men in Allentown.
-Eugene O'Neill would give his eyeteeth to have written that line.
-Should we tell her about musicians?
-All she has to know is that we keep them in a pit, and it's for a good reason.
-I still wish I were in the show with you.
-You will be, kid.
If not this show, the next one.
You're a looker.
You can chirp like a bird, and you're pretty hot stuff in the steps department, too.
You hopefuls are the luckiest ones in the whole darn businesses.
So, what if you had a bit of bad luck this a.m.? You've got all you need to cheer you up right there at the end of your ankles.
♪ If you've a melancholy case of the blues ♪ ♪ I've got a remedy for you ♪ If you've an ounce of rhythm down in your shoes ♪ ♪ Then I'll change your point of view ♪ ♪ If you've been singing a sad and blue song ♪ -♪ Go into your dance -♪ Until you learn how to sing a new song ♪ -♪ Go into your dance ♪ Don't be complaining -♪ Learn how to smile -♪ And if it's raining -♪ Dance in the rain a while -♪ Put off your sorrow until tomorrow ♪ ♪ Go into your dance ♪♪ ♪♪ ♪ To get a job in a Broadway chorus ♪ ♪ Go into your dance ♪♪ ♪ Just strut your stuff and they can't ignore us ♪ ♪ Go into your dance -Dance, girls, dance!
♪ If it's a two-step, give 'em a smile ♪ ♪ If it's a new step, do it with grace and style ♪ -♪ A raw beginner can be a winner ♪ -♪ Just give me a chance -♪ Shake your shoes and go into your dance ♪ ♪♪ ♪♪ ♪♪ ♪♪ -Come on, girls.
♪♪ ♪♪ Hey, Andy!
-Not now, girls, I'm busy.
-Too busy to dance?
♪♪ ♪♪ -Ha!
♪♪ ♪♪ ♪♪ ♪♪ Ha-ha!
♪♪ -♪ To get a job in a Broadway chorus ♪ ♪ Go into your dance ♪ Just strut your stuff, and they can't ignore us ♪ ♪ Go into your dance ♪ Shake your shoes And go into your ♪ ♪ Go into your ♪♪ ♪♪ [ Music ends ] [ Cheers and applause ] [ Indistinct talking ] -Just what the hell do you think you're doing?! Here, I'm knocking my brains out, trying to put on a show they'll pay good money to see, and you're giving it away free on the street?
Now, you kids get back in there.
Not so fast, Andy. -Something wrong, boss?
-Wrong? We're shy one girl -- that's what's wrong.
-Boss, you told me to pick two dozen.
-Plus one for good measure.
I always pick one for good measure.
-You never pick one -- -Now, don't you give me any excuses.
Just get me another girl.
-Well, I could have one here first thing in the morning.
-Well, that's just ducky! I can hardly wait!
I'm supposed to set the 'Boardwalk' number this afternoon.
You know, I've got a good mind to pick the first girl I see off the street?
-Go up to the first dame who passes and say... you.
Can you dance?
-I'm from Allentown, Pennsylvania, and I can do any tap step ever invented.
-Hey. Hey. Hey!
Allentown, take it easy.
You've got the job.
-Thank you! -Andy, take her in there and get her ready to rehearse at 2:00 sharp.
Wait a minute.
Aren't you the Mack truck that tried to run me down this morning?
I didn't know it was you.
It'll never happen again, I swear on my mother. -Alright.
-On my mother and father. -Alright.
-On my aunts and uncles and cousins.
-Relax, kid. I kind of enjoyed it.
Now, get in there and start learning those routines.
We've got a show to do.
-Thank you, Mr. Marsh!
♪♪ -Mac, have you got the kids in costume?
-Yes, sir. -Good.
Now, get me Brock and Billy.
I wanna rehearse the 'Boardwalk' number with the dialogue.
-We can't do the dance section, Mr. Marsh.
Gladys is out with a cold. -Then use Winnie.
-That won't work, boss. Winnie's in the number before.
She'll never make the costume change in time.
-Then get me any girl.
We'll put a costume on her later.
I want to rehearse this number right now.
Bring in the 'Boardwalk' drop.
Miss Brock, Billy, let's go.
-[ Clapping ] -No, no, no.
[ Light laughter ] -It is a summer afternoon in Atlantic City.
The sun sparkles brightly on a section of the Boardwalk as we discover Rodney... and Madeleine.
-Darling, darling, why did you take so long to declare yourself?
The answer is yes, of course!
We'll live together in a cottage by the sea, and every morning, we'll have breakfast and kisses in bed.
Oh, my God.
-And will you always love me, Madeleine?
-Yes, yes, yes, yes!
-Now Rodney declares his love, and they kiss.
-Hold on a minute!
What's that fella doing to Dorothy?! -I'm just acting, Mr. Dillon.
-I don't care what you call it.
I ain't putting up good money to see the lady I loooove kissed by no actor.
-Alright, cut the kiss. -What?
-Just say the speech... and improvise something.
-Oh, my darling, I love you!
I worship you!
I adore you!
[ Laughter ] ♪♪ -♪ I don't know exactly how it started ♪ ♪ But it started in fun ♪ I just wanted someone to be gay with ♪ ♪ To play with someone ♪ But now I realize that I could never let you go ♪ ♪ And I've come to tell you so ♪ Every kiss, every hug seems to act just like a drug ♪ ♪ You're getting to be a habit with me ♪ ♪ Let me stay in your arms ♪ I'm addicted to your charms ♪ You're getting to be a habit with me ♪ ♪ I used to think your love was something ♪ That I could take or leave alone ♪ ♪ But now I couldn't do without my supply ♪ ♪ I need you for my own ♪ Oh, I can't break away ♪ I must have you every day as regularly as coffee or tea ♪ ♪ You've got me in your clutches ♪ ♪ And I can't get free ♪ You're getting to be a habit with me ♪ ♪♪ ♪♪ ♪♪ -Peggy?! [ Indistinct talking ] -Stay with Hank!
-Move it! -Sorry.
♪♪ ♪♪ ♪♪ -Watch it!
♪♪ Who are you?
-This is not what we rehearsed!
Miss Brock! Miss Brock, don't... ♪♪ -[ Speaking indistinctly ] -Get over here!
♪♪ He's over here.
He's the only one dancing round on his own.
-So sorry! -What are you waiting for?
[ Indistinct shouting ] -Hold it! Hold it!
-Who is that person?! -Her name's Peggy Sawyer.
You okay, kid?
-It's not Peggy's fault. She didn't eat any lunch.
-Alright, Billy, Mac, put her in Brock's dressing room.
The rest of you, this is still a rehearsal!
Andy, come on.
I want to clean up that last section before the pivot, and this time... do it like you mean it.
-Five, six, seven, eight.
-Easy, Mac. Okay, set her down.
-What happened? -One of the kids fainted.
Par for the course on a Julian Marsh show.
Get her some water, will ya?
You better get back out there before the boss starts yelling for ya. -Er, when she comes to, tell her I'll be back as soon as I get a break.
Er, the name's Lawlor -- Billy Lawlor!
-Yeah, yeah. Come on, Billy.
-Are you alright?
-I guess I fainted. -Good guess.
-But I guess I'm all right now.
-Whoa, bad guess.
Now, let me be the doctor for a while.
What you need is some rest. -But the rehearsal isn't over.
-Oh, yes, it is, young lady. For you, anyway.
Now, as your doctor, my first prescription is for you to sit on this chaise.
And, as your doctor, my second prescription is for you to get those legs up.
-And I'll bet I know what your third prescription is.
-Dorothy, I didn't expect you -- -It's quite obvious you didn't expect me, Doctor.
-But, darling, she fainted, and they brought her in here till she came to!
-And since when is my dressing room an emergency ward for every web-footed chorine who throws a little fainting act?
Get her out of here before I prescribe a little medication she won't like so much.
-Please, Miss Brock -- -You, shut up!
And if my prescription upsets you, Doctor, you can just get out with her!
-What the hell is going on here?
I'm trying to conduct a rehearsal on that stage!
Who are you?
-My name is Pat Denning, Mr. Marsh.
I was a guest of Miss Brock's. -Well, beat it!
Miss Brock's official gentleman friend happens to be in the house, and I don't want him to get any funny ideas.
[ Knock on door ] -Dorothy!
-It's Abner! Pat, quick, behind the shades!
-You stay right where you are.
Come right in, Mr. Dillon.
We were just having a little script conference.
-Hm. -Hello, Sugarplum.
I just brought these posies for ya.
-I hope I'm not interrupting anything.
-No, no, not at all. We were just winding up.
By the way, this is one of our dancers, Peggy Sawyer, and her boyfriend, Pat Denning.
-Now, just a moment, Julian.
-Say, Mr. Dillon, do you realize it's your fault our conference is breaking up?
-My fault? -Yes.
Dorothy said she didn't want to discuss the script any further... because she wanted to be alone with you.
-Do you mean that, Dorothy?
-Of course I mean it!
What girl wouldn't wanna be alone with you?
Just look at yourself!
♪♪ -Mr. Denning, your presence in this dressing room has caused a great deal of unnecessary turmoil.
I suggest such visits do not occur again.
And, Mr. Denning, this kid's a pretty good hoofer.
I don't wanna lose her for the price of a bowl of chili.
Take her out.
Get her something to eat.
Miss Brock, may I have a word with you?
-Of course, Julian.
Is it about the character I'm playing?
-It's about the character you're playing around with.
I don't know what went on in that dressing room, but 'Pretty Lady' means far too much to me to let some gigolo stand in its way.
I want you to give him up.
-Aren't you a bit confused, Julian?
You are the director of my show, not my personal life.
-When your personal life gets in the way of my show, I direct that, too.
-Mr. Marsh, I shall see whom I please when I please, and no show is gonna stand in my way.
[ Inhales sharply ] -[ Scatting ] -Bert, I think we've got ourselves a little problem, and I think I've got myself a little solution.
Nick Murphy, please!
-Murphy? He's a killer!
Look, Julian, if you don't like the song, just say so.
-I put his girlfriend in my last show, and, boy, does he owe me a favor.
I'm calling about a bit of a problem I'm having.
You see, there's a fella been hanging around Dorothy Brock by the name of Pat Denning, and I thought that, since your place is right across the street, maybe you could send a couple of boys over to persuade him to make himself scarce for the next few weeks.
Thank you, Nick.
Pleasure doing business with ya.
And that, I believe, is the end of Pat Denning.
-Julian! I just got a call from Atlantic City.
They've canceled our booking.
-What?! -But everything's alright.
We picked up a week at the Arch Street Theatre in Philadelphia!
-But all our shows have opened in Atlantic City!
-Maybe Philly'll change your luck.
-He's right. -Come on!
Let's get packing.
♪ I'm grabbing my hat and coat -♪ I'm leaving the cat a note -♪ Quick, call me a ferryboat ♪ Gettin' out of town -I'm sorry I couldn't take you any place fancier, but, you know, the old purse strings are a bit frayed at the moment.
-You know a guy named Pat Denning?
-Oh, yes. -We got a message for him.
He better lay off this Brock dame, or it's gonna be too bad for him.
Get it? -Alright. I'll tell him.
-Yeah? This is so's you don't forget.
-[ Grunts ] -Pat!
Who were they? -Friends.
With good advice.
You with the company? -Yeah.
-I'd like to leave a message for Miss Dorothy Brock.
Tell her Pat Denning has joined a stock company in Philadelphia.
Will be gone at least six months.
With no forwarding address!
♪ I'm shining my traveling shoes ♪ ♪ Big scoop in ♪ ♪ Who's saying his toodle-oos? ♪ ♪ Gettin' out of town!
-I'm sorry, but I don't want to go to Philadelphia.
My contract says I must play out of town in Atlantic City!
-I got a note for you, Miss Brock.
Fella left it last night.
-Dorothy, why don't you wanna go to Philadelphia?
-Who says I don't wanna go to Philadelphia?
I wanna go to Philadelphia!
My contract says I must play out of town in Philadelphia!
♪♪ -♪ Cares fly by ♪ They're going bye-bye ♪ And we're shoutin', 'Hoorah!' ♪ ♪ Wings spreadin' ♪ 'Cause we're headin' for hot cha ♪ ♪ Hot cha cha cha!
-Alright, you got everything -- hats, coats, trunks, dogs, cats, canaries?
So let's get 'em aboard.
The dress rehearsal in Philadelphia starts at 8:00 sharp, so get moving.
Say goodbye to little old New York.
-♪ My neighbors are awful nice ♪ They've promised to feed the mice ♪ ♪ Hey, Iceman, don't need your ice ♪ ♪ Gettin' out of town ♪♪ ♪ Cares fly by ♪ They're going bye-bye ♪ And we're shouting, 'Hoorah!' ♪ ♪ Wings spreading ♪ 'Cause we're heading for hot cha ♪ ♪ Hot cha cha cha ♪ Hot cha cha cha ♪ A new kind of company ♪ Is just magnetizing me ♪ I'm footloose and fancy-free ♪ Getting ♪ Getting out ♪ Getting out of town!
[ Cheers and applause ] -Alright, now!
The company got you all to Philadelphia, and it's up to you to see that we get out of here alive.
There's a pit full of musicians down there just dying to go on overtime, so let's get this dress rehearsal started.
[ Indistinct shouting ] One more thing.
Not all the scenery and costumes have arrived yet, and we'll be adding things as we go along, so don't let it throw you.
Professor, we're late. Let's go!
-Dressing room assignments are on the callboard!
[ Indistinct shouting ] ♪♪ [ Shouting continues ] ♪♪ -I can't hear my first note.
♪♪ What is it? -No, no, no.
-Mac? Mac, please!
-I know. I know.
♪♪ ♪ Who writes the words and music ♪ ♪ For all... -Sorry!
-♪ ...the girly shows?
♪ No one cares, and no one knows ♪ ♪ Who is the handsome hero ♪ Some villain always frames?
♪ But who cares if there's a plot or not ♪ ♪ When they've got a lot of dames? ♪ ♪♪ -♪ What do you go for, go see a show for? ♪ ♪ Tell the truth ♪ You go to see those beautiful dames ♪ ♪ You spend your dough for ♪ Bouquets that grow for ♪ All those cute and cunning young and beautiful dames ♪ ♪ Dames ♪ Are temporary flames to you ♪ Dames, you don't recall their names ♪ ♪ Do you?
♪ But their caresses ♪ And home addresses ♪ Linger in your mem'ry of those beautiful ♪ ♪ In your mem'ry, see those beautiful ♪ ♪ In your mem'ry, all those beautiful dames ♪ ♪♪ ♪♪ ♪♪ -♪ What's cute about a little cutie? ♪ ♪ It's her beauty, not brains -♪ Oh, Father Time will never harm you ♪ ♪ If your charm still remains -♪ After you've grown old, baby ♪ -♪ You don't have to be a cold baby ♪ -♪ Keep young and beautiful -♪ Keep young and beautiful -♪ Oh, yes -♪ It's your duty to be beautiful ♪ -♪ Oh, yes -♪ Keep young and beautiful -♪ Keep young and beautiful -♪ If you want to be loved -♪ If you want to be loved -♪ Oh, yes, we wanna -♪ Don't fail to do your stuff -♪ Our stuff?
-♪ With a little powder and a puff ♪ -♪ A puff -♪ Keep young and beautiful -♪ Keep young and beautiful -♪ If you want to be loved -♪ If you want to be loved -♪ If you're wise, exercise all the fat off ♪ ♪ Take it off, off-a here, off-a there ♪ -♪ When you're seen anywhere with your hat off ♪ ♪ Have a permanent wave in your hair ♪ -♪ Take care of all those charms ♪ -♪ Those charms -♪ And you'll always be in some guy's arms ♪ -♪ His arms! -♪ Keep young and beautiful -♪ If you want to be -♪ Oh, we want to be -♪ If you want to be loved ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ -♪ Who writes the words and music ♪ ♪ For all the girly shows?
♪ No one cares, and no one knows ♪ ♪ Who is the handsome hero ♪ Some villain always frames?
-♪ But who cares if there's a plot or not? ♪ ♪♪ -♪ What do you go for, go see a show for? ♪ ♪ Tell the truth ♪ You go to see those beautiful dames ♪ ♪ You spend your dough for ♪ Bouquets that grow for ♪ All those cute and cunning, young and beautiful dames ♪ ♪♪ ♪ Dames ♪ Are temporary flames to you ♪ Dames, you don't recall their names ♪ ♪ Do you?
-♪ Keep young and beautiful -♪ Doo-doo-wah -♪ It's your duty ♪ To be beautiful -♪ Doo-wah -♪ Keep young and beautiful -♪ Doo-doo-wah -♪ If you want to be loved -♪ Doo-wah, doo-wah, dames!
-♪ Don't fail to do your stuff -♪ Doo-doo-wah -♪ With a little powder and a puff ♪ -♪ Doo-wah -♪ Keep young and beautiful -♪ Doo-doo-wah -♪ If you want to be loved -♪ All those lovely dames -♪ Those gorgeous dames -♪ Are temporary flames to you -♪ Are temporary playthings to you ♪ -♪ Dames -♪ Yet, all the same -♪ You don't recall their names ♪ -♪ You melt when they cling to you ♪ -♪ Slim, trim, or curvy ♪ Sweet, shy, or nervy ♪ There is nothing as divine, as beautiful ♪ ♪ No sun can shine like beautiful ♪ ♪ Bring on a line of beautiful ♪ Dames, dames, dames, dames ♪ Dames, dames, dames, dames ♪ Dames!
[ Music ends ] [ Cheers and applause ] -Kill the spots!
That was damn good.
-Too damn good.
I am the star of this show, Julian, and I do not appreciate making my entrance 10 seconds before the blackout.
-Are you suggesting I bring you on after the blackout?
-I'm suggesting you redo the dance to suit my talents.
-That might make it a rather short number, Miss Brock.
-You'll regret that remark, Mr. Marsh.
You may be the director of this show, but I'm driving the Kiddie Kar.
Get out of my way!
-Alright, the rest of you, you've earned it, so I want you to go out and relax and forget all about 'Pretty Lady' until tomorrow.
Then, I want you to come back here and give the performance of your lives!
Company dismissed. -Company dismissed!
-Company dismissed! -Half-hour call, 8:00!
8:00 sharp! -Girls! That means you.
-We heard ya! -We heard ya!
-Willard! I wanna check those spot cues.
-I'll finish changing, Peggy. Meet you at the stage door.
-Be there in a minute, Billy.
Are you coming to the party, Mr. Marsh?
-Huh? -To the Regency Club.
Miss Jones and Mr. Barry just invited everyone.
Is something funny?
Eyes shining like a kid at Christmas, dreaming of parties and opening nights, the tinsel and glitter of musical comedy.
Just look at yourself.
A speck of dust on this stage, indistinguishable from the 40 other specks of dust I put there.
-I know that, Mr. Marsh, but -- but all those specks together, you have something alive and beautiful that can reach out to thousands of people we've never seen before.
-Broadway dreams, Sawyer. We've all had them.
-Well, I mean to hold on to mine, Mr. Marsh.
-So did I.
Sweet dreams, kid. -They are.
I'm a speck of dust in your show.
Andy, where the hell are ya?! -Right here, boss! Comin'. I got all the notes typed out, all seven pages.
-The notes can wait. -But, boss... -I've decided to take some of my own advice and forget about everything until tomorrow.
Jones and Barry are throwing a party at the Regency Club.
Let's go dream a little.
♪♪ [ Indistinct talking, laughter ] ♪♪ ♪♪ -Mr. Barry, d'you think I'll ever be a star?
-If you can make those sing, you will be.
-Aah! Mr. Barry, stop!
-Hey, Mac, are you sure there were no calls for me?
-No, Miss Brock, but there is a gentleman waiting.
-Why didn't you say so?! Where is he?! -Hello, kitten! Are you glad to see me?! -I'm practically hysterical.
-You know, I got half a mind -- -You're telling me.
-Is it me, or is she getting harder to love?
Play something fun, will ya?
Something not from the show!
-Say, another one of those, and they'll build a bridge over you.
-Another crack like that, they'll build a monument over you.
-Kitten, I turned around, and you disappeared!
How does that feel, sweetie pie?
-Like a dead, wet cobra.
-Dorothy! -Say, what's eating you tonight?
-I finally figured out what this show needs -- a few more songs by Irving Berlin.
Now get away from me and take Buffalo Bill with ya.
-Hey, wait a minute!
I got $100,000 in this show, so you better not give me the air!
-So I better not give you the air, huh?
-Well, how about just a few bubbles?
-Aah! -Now, get on your Kiddie Kar and pedal back to Tulsa, you beached whale!
-Oh, she didn't mean it!
She's all excited, you know, with the opening tomorrow.
-There ain't gonna be no opening tomorrow, not with Dorothy Brock.
She's out of the show! -Wrong!
Brock opens tomorrow night, as scheduled.
Don't be a fool, Dillon.
You wanna toss away all that money because of a dame? -It's my funeral, ain't it?
-And the funeral of half a hundred kids who've been dancing their feet off to give you a show you could be proud of.
You wanna put them out on the street, too?
-Oh, Mr. Dillon!
You wouldn't do that, would you?
-Not after we've put all our faith in you.
-But she called me a whale. -Oh!
-And a cobra! -No!
-Listen, in show business, that's a compliment!
What you need is some fun.
Why don't you come to a quiet corner, and I'll sing you the scores from our last six shows?
Get a load of this.
-Hello, Belvedere. Have you got a Pat Denning there?
Well, give him to me, you idiot!
-I don't know what got into Dorothy.
She was fine this afternoon.
-I smell a rat, and the rat's initials are Pat Denning.
-Hey, boss. It's Flo at the switchboard.
She's an old pal of mine.
She just told me Dorothy Brock's been calling all over town to get Pat Denning.
-So I was right. Denning's in town.
-Hello, Pat. Pat, darling, I can't go on like this.
I've tried to forget you, but it's no use.
I've been such a fool.
Please come back. I need you so.
-What are you gonna do about Denning, Boss?
-Call Nick Murphy.
I think he's got a couple of Philadelphia cousins who might be able to handle the situation.
-Oh, Pat, darling, can you ever forgive me?
-Dorothy, will you calm down and tell me what's wrong?
-In a minute. Just hold me first.
Hold me and never let me go!
-It's all set.
Two of the boys'll be over in 10 minutes, and they better not find Denning here.
-Hey, Peggy, how about the next dance?
-Sorry, Billy, but a friend of mine is in trouble.
-A man friend or a lady friend?
But it's not -- -I get it.
Good night, Peggy. -Billy, I... ♪♪ -Something the matter, Billy?
-Not anymore. Come on!
Let's have some fun! -Ooh!
-♪ Keep young and beautiful ♪ It's your duty to be beautiful ♪ ♪ Keep young and beautiful ♪ If you want to be loved [ Knock on door ] -Who is it?
-Peggy Sawyer, Miss Brock.
Oh, the fainting violet Mr. Denning took out to dinner last week.
-I've got to see Pat. There's going to be trouble.
-You're darn right there is unless you get the hell out of here!
-Wait a minute, Dorothy. What is it, Peggy?
-Two men, friends of Murphy's.
-Don't tell me to wait a minute, and how come you're sticking up for her in the first place?
-Dorothy, you don't understand.
-I think I understand all too well.
-No, you don't! -Get out of here!
Both of you! -But, Miss Brock -- -It's alright, Peggy.
Now, Dorothy -- -I said, 'Both of you'! -Alright, if that's the way you want it -- -That's the way I want it! Get out! Out! Out!
[ Sniffles, sighs ] ♪♪ ♪ Are the stars out tonight?
♪ I don't know if it's cloudy or bright ♪ ♪ 'Cause I only have eyes ♪ For you, dear ♪ The moon may be high ♪ But I can't see a thing in the sky ♪ ♪ 'Cause I only have eyes for you ♪ ♪ How can I live a day without you? ♪ ♪ I need your love to see me through ♪ ♪ You're not here by my side ♪ Maybe millions of people pass by ♪ ♪ But they all disappear from view ♪ ♪ 'Cause I only have eyes ♪ For you ♪♪ ♪♪ ♪ You're not here by my side ♪ Maybe millions of people pass by ♪ ♪ But they all disappear from view ♪ ♪ 'Cause I only have eyes ♪ For you [ Applause ] ♪♪ -♪ I don't know if we're in a garden ♪ ♪ Or on a crowded avenue ♪ You are here ♪ So am I ♪ Maybe millions of people pass by ♪ ♪ But they all disappear from view ♪ ♪ 'Cause I ♪ Only have eyes [ Clears throat ] ♪ For ♪ You -[ Vocalizing ] [ Applause ] -Garden drop, out!
Come on, ladies. Come on. Step lively.
Keep moving. Keep going. Quick, quick!
-Is the chorus ready? -Yes, sir.
-Is Brock ready yet? -Not yet.
-That broad is starting to work my last nerve.
Is she ready now? -Yes, sir.
-Mac, take it away.
-Cue 58! Go!
♪♪ -♪ Misery!
♪♪ -♪ I walk along the street of sorrow ♪ ♪ The boulevard of broken dreams ♪ ♪ Where gigolo and gigolette can take a kiss without regret ♪ ♪ And so forget their broken dreams ♪ ♪ You laugh today and cry tomorrow ♪ ♪ When you behold those shattered schemes ♪ ♪ And gigolo and gigolette ♪ Wake up to find their eyes are wet ♪ ♪ With tears that tell of broken dreams ♪ ♪ Here is where you'll always find me ♪ ♪ Always walking up and down ♪ But I left my soul behind me ♪ In an old cathedral town ♪ The joy that you find here, you borrow ♪ ♪ You cannot keep it long, it seems ♪ ♪ But gigolo and gigolette still sing a song and dance along ♪ ♪ The boulevard of broken dreams ♪ ♪♪ ♪♪ ♪ Here is where you'll always find me ♪ ♪ Always walking up and down ♪ But I left my soul behind me ♪ In an old cathedral town ♪ The joy that you find here ♪ You borrow ♪ You cannot keep it long, it seems ♪ ♪ But gigolo and gigolette still sing a song and dance along ♪ ♪ The boulevard of broken ♪ Dreams [ Music ends ] [ Cheers and applause ] -Boss! Boss, we are in.
This is the best out-of-town opening we've ever had.
They love it.
-Well, they won't love it for long if we don't speed up these changes.
Mac! Where the hell is that cue? -Just waiting for the kids to get in their place, Mr. Marsh.
-Alright. Here they are.
♪♪ -[ Gasps ] You got it. -Now pull it up.
-I gotta wait for the gum to stick.
-It's stuck. Now pull it up.
-Watch out for the subway grating!
-I got it. -Well, what is it?! A penny?
-A nickel? -A nickel?
-Would ya hold your horses and let me get the dirt off?
[ Gasps ] A dime.
♪ We're in the money ♪ We're in the money -♪ We got a lot of what it takes to get along ♪ -♪ We're in the money ♪ The skies are sunny -♪ Old Man Depression, you are through ♪ ♪ You've done us wrong ♪ We never see a headline 'bout a breadline today ♪ ♪ And when we see the landlord ♪ We can look that guy right in the eye ♪ ♪ We're in the money ♪ Come on, my honey ♪ Let's spend it, lend it, send it rolling along ♪ ♪♪ ♪♪ ♪♪ ♪ We're in the money ♪ We're in the money ♪ We got a lot of what it takes to get along ♪ ♪ We're in the money ♪ The skies are sunny ♪ Old Man Depression, you are through ♪ ♪ You've done us wrong ♪ We never see a headline 'bout a breadline today ♪ ♪ And when we see the landlord ♪ We can look that guy right in the eye ♪ ♪ Look that guy right in the eye ♪ ♪ Look that guy right in the eye ♪ ♪ We're in the money ♪ Come on, my honey ♪ Let's spend it, lend it, send it ♪ ♪ Let's spend it, lend it, send it ♪ ♪ Roll, roll, roll, roll ♪ Rolling along ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music ends ] [ Cheers and applause ] -Sunbursts! Come on! What are you waiting for, roses?
Get out of here. Hey, Roxy! Move it.
♪♪ -Places. Places! Act one, finale.
-How's it going, Julian?
-Like a Marsh show should. Great.
But this is the number that counts.
Send 'em out for the intermission buzzing, and that's the ballgame.
-Then we've nothing to worry about -- the finale's the best number in the act.
-Well, there won't be a finale unless Brock gets out here.
Dorothy, where the hell are ya?! -There's no need to shout, Julian.
I can hear you. -Right.
You're on in about 10 seconds.
-I have never missed a cue in my life.
When I do, you can take me to task, not before.
-Excuse me, Miss Brock. I want to explain -- -I don't want an explanation from you.
-But, Miss -- -Get away from me!
The farther the better. -[ Whispering ] Quiet.
-You're on. -Alright, everybody.
♪♪ -♪ In the heart ♪ Of little old New York ♪ You'll find a thoroughfare ♪ It's the part of little old New York ♪ ♪ That runs into Times Square ♪ A crazy quilt that Wall Street Jack built ♪ ♪ If you've got a little time to spare ♪ ♪ I want to take you there ♪ Come and meet those dancing feet ♪ ♪ On the avenue I'm taking ya to ♪ ♪♪ ♪♪ -[ Gasps ] -[ Screams ] [ Indistinct shouting ] -Curtain! Curtain! Bring it in. -What happened?
-What the hell happened?
-She pushed me!
Sawyer! -Damn it, Sawyer.
What were you doing out of line? -I wasn't out of line.
-She pushed me!
I want her fired.
-You little fool.
Take your things and get outta here.
No one steps out of line in a Marsh show!
[ Indistinct talking ] -Oh!
-May I have your attention, please?
Miss Dorothy Brock has had an accident and will not be able to continue with tonight's performance of 'Pretty Lady.'
Ladies and gentlemen, your tickets will be refunded at the box office.
[ Audience murmurs ] House lights!
[ Applause ] [ Indistinct conversations ] ♪♪ -Any word?
-No, Billy. We're waiting for the doctor.
-Well, Doc, what is it?
-I'm afraid it's broken -- compound fracture.
It'll be months before she can walk on that ankle again.
-Are you nuts?
She's got a show to do tomorrow night.
-She's a trooper. Put a bandage on it.
-You don't seem to understand.
She won't even be able to stand up.
Miss Brock has a broken ankle.
-We'll get another doctor, a second opinion.
[ Overlapping talking ] -Quiet. Quiet, all of ya!
We have no star.
Without a star, there's no show. We're closing.
-What? -You can't do that!
-My decision is final.
No star, no show.
Tell the kids to clear out of their dressing rooms.
'Pretty Lady' closes tonight.
-Boss, you can't be serious! [ Indistinct shouting ] -The show is closing! -The show is closing!
-The show is closing?! -I'm out of a job!
-I can't pay my rent! -I'm broke!
-The show is closing! -The show is closing!
♪♪ -♪ Sing tra la la la la la la la ♪ ♪ The sun may never ever shine -♪ That's tra la la la la la la la ♪ ♪ Somewhere the weather's fine -♪ Long ago, one fine day ♪ Some philosopher was heard to say ♪ -♪ There's a sunny side to every situation ♪ -♪ And the same applies to you ♪ His philosophy's still true -♪ There's a funny side to every situation ♪ -♪ You've no dough, so relax ♪ You don't have to pay an income tax ♪ -♪ You've no job ♪ So just pretend it's your vacation ♪ ♪ Should the landlord raise your rent ♪ ♪ Thumb your nose and pitch a tent ♪ ♪ Every situation has a sunny side ♪ ♪ Sing tra la la la la la la la ♪ ♪ The sun may never ever shine ♪ But tra la la la la la la la ♪ ♪ Somewhere the weather's fine -♪ With no bonds and no stocks ♪ In your little safe deposit box ♪ -♪ You can never be affected by inflation ♪ -♪ When your car is out of gas ♪ Then no red lights can you pass ♪ -♪ Every situation has a sunny side ♪ ♪ Every situation has a sunny -Wait a minute! Why does the show have to close?
-Because our star broke her ankle.
-So? We get someone to replace her.
-Someone to replace Brock?
-Someone to replace Brock! Yeah.
-What about Marilyn Eaton?
-She's in London.
-Mary McKay? -Hollywood.
-Nora Sinclair? She sings. She dances. She acts.
-And has been for the past 50 years.
-Wait a minute. I know someone who can do it.
-That kid? -Yes, Peggy.
She's got a voice that'll panic 'em, and she can dance rings around Brock.
-She has got something. -She sure is pretty.
-It might be worth a try!
-We'd have to get to Mr. Marsh before he leaves the theater.
-Well, what are we waiting for? Come on, let's go!
[ Indistinct talking ] ♪♪ [ Talking continues ] -Mr. Marsh, wait a minute!
You don't have to close the show.
-We've got someone right in the company who can replace Brock. -My dear Miss Reilly, if there were someone in the company with that much talent, don't you think I would have noticed her?
-Maybe not in this case.
-We're wasting our time.
-All you have to do is give her a chance.
Isn't anything better than closing the show?
-Who is she? -Peggy Sawyer.
-That kid? -Yes. Peggy.
She's got a voice that'll panic 'em, and she can dance rings around Brock.
-A raw beginner!
This is her first job in the chorus.
-Now, wait, boss.
She is the best dancer in the line.
-That's not carrying a show.
Brock's such an easy performer, she's fooled you.
That sort of style takes years of experience to develop.
-Unless this kid's got it naturally, which she just might have.
-D'you know how many pages she'd have to learn, not to mention the songs and routines?
Kids can do anything.
-You could put the dancing back in the show, boss.
-Julian... it's worth a try, isn't it?
[ Laughter ] -Alright. Send her in. [ All murmuring ] -There's only one hitch. You just fired her.
-But it may not be too late to get her back.
She's taking the 11:10 to Allentown.
That gives you 20 minutes to get down to Broad Street Station.
-What do we do, boss? -Get her off that train.
I want Sawyer in New York, ready to work at 8:00 tomorrow morning.
-Ain't we gonna stay here in Philadelphia?
-Not even a dog would come to a tryout without a star.
Our only chance is to ship the show to New York, beat the part into her in 36 hours, and open cold on Thursday.
Now get going!
[ Indistinct talking ] No!
Wait a minute.
This is my job.
I fired her. It's up to me to get her back.
-But, Julian, I'm the producer. I can go.
-No. You might scare her.
-I said I'll go.
Thank you, Annie.
You may have done me quite a favor.
-Anytime, Mr. Marsh.
-Alright! We'll give him 15 minutes to convince her.
Then we bring in the big guns.
[ Indistinct conversations ] ♪♪ [ Bell dinging, train whistle blows ] ♪♪ ♪♪ -Sawyer!
I know you're angry with me, and I can't blame ya.
It's not easy being fired.
-You did me a favor, Mr. Marsh.
It may not have been easy, but I got the message loud and clear -- 'Go back to where you came from, Miss Peggy Sawyer,' and that's just what I'm gonna do.
-Miss Sawyer, I'm here to apologize for what happened and to ask you to come back... -I have a train to catch, Mr. Marsh.
-...and take over Dorothy Brock's role in 'Pretty Lady.'
Her ankle's broken.
She's out of the show.
If you can do it, the part's yours.
-I'm sorry, Mr. Marsh.
Show business isn't for me.
I'm going back to Allentown.
-What was that word you just said?
'Allentown'? I'm offering you a chance to star in the biggest musical Broadway's seen in 20 years, and you say 'Allentown'? Now, listen, Sawyer, and listen good.
Even if you don't give a damn about me, think of all those kids you'll be throwing out of work if you don't do this.
Think of the songs that will wither and die if you don't get up there and sing them.
Think of the scenery that'll never be seen, the costumes never worn, the orchestrations never heard.
Think of 'Pretty Lady' and the thrill and pleasure it could give to millions.
Think of musical comedy, the most glorious words in the English language.
Think of Broadway, damn it!
♪ Come on along and listen to ♪ The lullaby of Broadway ♪ The hip hooray and ballyhoo ♪ The lullaby of Broadway ♪ The rumble of a subway train ♪ The rattle of the taxis ♪ The daffodils who entertain ♪ At Angelo's and Maxie's ♪ When a Broadway baby says good night ♪ ♪ It's early in the mornin' ♪ Manhattan babies don't sleep tight ♪ ♪ Until the dawn ♪ Good night, baby ♪ Good night ♪ Milkman's on his way ♪ Sleep tight, baby ♪ Sleep tight ♪ Let's call it a day ♪ Listen to the lullaby ♪ Of old Broadway ♪♪ [ Chuckling ] You gotta be kidding me.
-♪ Come on along and listen to ♪ The lullaby of Broadway -♪ The hi-de-hi and whoop-di-do ♪ -♪ The lullaby of Broadway -Get yourself down here. I need your help.
-♪ The band begins to go to town ♪ ♪ And everyone goes crazy ♪ You rock-a-bye your baby 'round ♪ ♪ Till everything gets hazy ♪ 'Hush-a-bye, I'll buy you this and that' ♪ ♪ You hear a daddy saying ♪ And baby goes home to her flat ♪ ♪ To sleep all day -♪ Good night, baby ♪ Good night -♪ Milkman's on his way -♪ Sleep tight, baby ♪ Sleep tight -♪ Let's call it a -♪ Day Oop!
-♪ Listen to the lullaby ♪ Of old Broadway -Where you going?
-♪ Come on along and listen to ♪ The lullaby of Broadway ♪ That hip hooray and ballyhoo ♪ The lullaby of Broadway -♪ The rumble of a subway train ♪ ♪ The rattle of the taxis -♪ The daffodils who entertain ♪ Until the dawn ♪♪ ♪♪ -Hey, guys. Come on. Help us out.
[ Indistinct talking ] ♪♪ ♪♪ [ Talking stops ] -I'll do it!
[ All cheering ] ♪♪ -♪ Come ♪ Along ♪ Come on along and listen to ♪ The lullaby of Broadway ♪ The hi-de-hi and whoop-di-do ♪ The lullaby of Broadway ♪ The band begins to go to town ♪ ♪ And everyone goes crazy ♪ You rock-a-bye your baby 'round ♪ ♪ And sleep all day -♪ Listen to ♪ The lullaby of -♪ Old ♪ Broadway [ Music ends ] [ Cheers and applause ] ♪♪ ♪♪ -Alright.
Schmidt and Kirk, pack up those sets and costumes and get 'em back to New York.
♪ Cares fly by, we're going bye-bye ♪ ♪ And we're shouting, 'Hoorah!' ♪ ♪ Wings spreading ♪ 'Cause we're heading for hot cha ♪ ♪ Hot cha cha cha ♪ Hot cha cha cha ♪ A new kind of company ♪ Is just magnetizing me ♪ I'm footloose and fancy-free ♪ Heading ♪ Heading back ♪ Back to old Broadway -Sawyer!
You're two minutes late. -Sorry, Mr. Marsh.
I was looking for my good-luck scarf.
-Sawyer, 'Pretty Lady' opens on this stage in exactly 36 hours.
You've got 25 pages, 6 songs, and 10 dance routines to learn by 8:30 tomorrow night.
You think you can do it? -Well, I... -Do you think you can do it, Sawyer?
-Yes, Mr. Marsh. I can.
-Then we begin. Oscar... Mac, where the hell is the piano?
-Coming in, Mr. Marsh.
-Andy, let's go.
I wanna start with the opening number, then work through all the songs and dances, then go back and do the scenes.
There'll be a five-minute break every hour for food or coffee and a full 15 minutes every four hours for rest.
And no one else on this stage unless I call it.
-Alright! Clear the stage. -Clear the stage!
-By tomorrow night, I'll either have a live leading lady... or a dead chorus girl.
What are we waiting for? Let's go!
-Alright, Peg. Flaps on the right.
-And... -One, two, three, four, five, six, flap-ball-change. -Come on. Sharp, sharp!
-One, two, three, four, five. -Andy, show her how.
-One, two, three, four, five, turn!
One, two, three, four, five... -Come on. Smile, Allentown.
You're not in the back row now. -...six, seven, eight.
A-one, two, three, four, five, six, seven, eight.
A one, two, three... -Come on. Come on.
-...five, six, seven, eight. -Show moxie.
-Alright, Peg. Down the back.
Okay. Ballet combination.
♪♪ One, two, three, four, five, move.
-Lyrical! -Four, five, six, two... -Elegant! -...two, three, four.
-Make every man fall in love. -Three, two, three, four!
-Hold it! Hold it! She went too wide, Andy.
She's late. -Sorry, Mr. Marsh.
-Alright, boss. I'll fix it.
-I'm sorry. -Fix it now.
-Girls, girls, come on. From the balancé. A-one, two, three, four, five, move.
Two, three, four, five, six. Two, two, three, four.
-That's very pretty. Now stay tight.
-Three, two, three, four. -Stay tight. Come on.
-Four, two, three, four.
Five, two, three, four, five, six, six, two, three, four.
-Very nice, Billy. -Seven, two, three, four.
-Beautiful. Very nice, girls.
An-- Andy! Where the hell is she?
-She's right here, boss. Hold your horses.
-Which way do I turn? -Turn left.
-Six, seven, eight. A-one, two, three, four.
-Turn right. -Five, six, seven, eight.
-Do it like you mean it. -A-one, two, three, four, five, six, seven, turn.
Two, three, four. -Single step, going back.
-Five, six, seven, eight. A-one, two, three, four... -And double it! -...five, six, seven, eight.
A-one, two, three. -[ Gasping ] Oh.
♪♪ -I can't do this.
I can't do this. -Crisscross.
[ Clapping ] Andy, give the rest of them a break.
I wanna run the love scene.
-Please, Mr. Marsh, I'm exhausted.
Can't we stop for a minute?
-It's 6:30, Sawyer.
That curtain goes up in exactly two hours.
It's now or never.
Take it from Jim's entrance.
♪♪ Well, what are you waiting for?
From Jim's entrance.
-Jim, they didn't tell me you were here.
It was grand of you to come -- -Oh! No! That is impossible.
You are greeting the man you love.
Make it mean something.
They didn't tell me you were here.
It was grand of you to come.'
Try it again.
They didn't tell me you were here.
It was grand of you to come.
-No, no, no!
It won't do.
Listen... have you ever been in love?
You ever had a man take you in his arms and crush you to him and kiss you?
Now say the line.
-Jim! They didn't tell me you were here!
It was grand of you to come!
[ Laughter, applause ] -Again. -Jim!
They didn't tell me you were here.
It was grand of you to come.
[ Laughter ] -Once more. -Jim, darling!
They didn't tell me you were here.
It was grand, grand, grand of you to come!
-Alright. That's it.
Now, places for the finale.
-Places for the finale. Finale, everyone!
A-five, six, seven, eight.
♪♪ -Come on! -Please, Mr. Marsh!
I can't. I can't. I can't! -Sawyer!
-Now you've done it, Marsh.
-You've pushed her too far! -I had to!
That curtain goes up in 45 minutes.
Unless she knows this part way down in her gut, she'll never get through, and that goes for the rest of you, too.
Andy, I want 'em down in the lounge, and clean up those last 16 bars.
Everybody down in the lounge.
Come on! Get a move on!
♪♪ ♪♪ -They said I'd find you here. -Miss Brock!
-Pat, could you leave us alone for a moment?
-But, Dorothy, they just called a half-hour.
D'you think this is the time for this?
-Darling, I have some things to say to Miss Sawyer.
So, you're gonna take my place.
I know how tough it must be.
-Do you? I'm not sure.
When I started for the theater this afternoon, I wanted to tear your heart out.
I wanted to hate you.
I wanted to see you fail.
You, singing songs, wearing costumes, playing role... ...but sitting there in that theater and watching you rehearse, I found I couldn't hate you... because you're good, maybe even better than I would have been.
The public wants youth, freshness, beauty, and, Peggy... that's what you've got.
Only, I'm getting something, too.
My whole life, the theater has kept me away from the only thing I've ever wanted, and it was a broken ankle that finally made me realize it.
Pat Denning and I were married this morning.
-Oh, Miss Brock! [ Laughs ] -I have only one last wish for you, my dear.
Get out there, and be so swell, you'll make me hate you. [ Both chuckle ] Oh, one more thing, Sawyer.
I hope you won't mind it, but it's about the next-to-closing number.
You've gotta take it easy.
Let the audience come to you.
Would you let me show you what I mean?
-I would appreciate it very much, Dorothy.
♪♪ -♪ Life begins when somebody's eyes look into your own ♪ ♪ Life begins when you get your guy all alone ♪ ♪ From morning until twilight, I don't know I'm alive ♪ ♪ But I know love begins at 8:45 ♪ ♪ The stars are gonna twinkle and shine ♪ ♪ This evening about a quarter to 9:00 ♪ ♪ His loving arms -♪ His loving arms -♪ Are gonna tenderly twine -♪ Are gonna tenderly twine -♪ Around me about a quarter to 9:00 ♪ -♪ I know I won't be late 'cause at half past 8:00 ♪ ♪ I'm gonna hurry there ♪ I'll be waiting where the lane begins ♪ ♪ Waiting for him on needles and pins ♪ ♪ And then the world is gonna be mine ♪ ♪ This evening about a quarter to 9:00 ♪ -♪ I know I won't be late ♪ 'Cause at half past 8:00 I'm gonna hurry there ♪ ♪ I'll be waiting where the lane begins ♪ ♪ Waiting for him on needles and pins ♪ -♪ And then the world is gonna be mine ♪ ♪ This evening -♪ This evening -♪ This evening -♪ This evening -♪ This evening ♪ About a quarter to 9:00 [ Music ends ] [ Cheers and applause ] -Now, Pat, get me the hell out of here.
-You can do it, darling.
-Oh, Peggy! -Are you nervous, hon?
-Oh, well, that's a pretty dumb question.
Of course she's nervous.
-But she'll come through.
Won't ya, kid? -I'll try.
-She's gotta come through, not for Jones or Barry or any of those stuffed shirts out there, but for us, the kids in the line.
Oh, you're not just Peggy Sawyer tonight -- you're every girl who ever kicked up a heel in the chorus.
Now, get out there in front, kid, and show 'em what we can do.
-Oh, Annie, Gladys, Lolly, Phyl, I'll do my best.
I promise. -Best?
That's not good enough.
I want better than your best.
I want sheer, unadulterated brilliance.
Now, what are you girls hanging around for?
Get into your places for the opening.
Peggy, I wanna talk to you.
-Julian, it's 8:40. We've gotta call places.
-They've waited this long. They can wait another minute.
♪♪ -Now, listen and listen hard.
100 people... 100 jobs... $100,000... five weeks of grind and blood and sweat, and it all depends on what you do out there tonight.
-[ Whimpers ] -I know what you're thinking.
'Here comes Marsh with another one of his pep talks.'
Well, it's the last of them, Sawyer, and it comes straight from the heart.
Our hopes, our futures, our lives are in your hands.
Go out there and make them shine with your golden talent.
This afternoon, it was acting.
This one... I mean.
We have got to begin.
Tell them to take the house to half.
Sawyer... you're going out there a youngster, but you've got to come back a star!
♪♪ ♪♪ ♪♪ -♪ Oh, oh, oh, baby, what I couldn't do ♪ ♪ With plenty of money and you ♪ In spite of the worry that money brings ♪ ♪ Just a little filthy lucre buys a lot of things ♪ ♪ And I could take you to places you'd like to go ♪ ♪ But outside of that, I've no use for dough ♪ ♪ It's the root of all evil, of strife and upheaval ♪ ♪ But I'm certain, honey, that life could be sunny ♪ ♪ With plenty of money and you ♪♪ ♪♪ ♪ Baby, what I couldn't do ♪ With plenty of money and you ♪ In spite of the worry that money brings ♪ ♪ Just a little filthy lucre buys a lot of things ♪ ♪ And I could take you to places you'd like to go ♪ ♪ But outside of that, I've no use for dough ♪ ♪ It's the root of all evil, of strife and upheaval ♪ ♪ But I'm certain, honey that life could be sunny ♪ ♪ With plenty of money and... -♪ You -♪ You -♪ Ah-ah ♪ Oh, baby, what I couldn't do ♪ With plenty of money and you ♪ In spite of the worry that money brings ♪ ♪ Just a little filthy lucre ♪ Buys a lot of things ♪ And I could take you to places you'd like to go ♪ ♪ But outside of that, I've no use for dough ♪ ♪ It's the root of all evil ♪ Of strife and upheaval ♪ But I'm certain, honey, that life could be sunny ♪ ♪ With plenty of money and... ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪ I'm certain, honey ♪♪ ♪ That life could be sunny ♪ With plenty of money and you ♪♪ [ Music stops ] [ Cheers and applause ] [ Music resumes ] ♪♪ [ Indistinct talking ] ♪♪ -Good.
You got by, they liked you, but you're not finished yet.
The toughest part is coming.
You've got to give more in the finale.
So, dig down there and pull it out, Sawyer.
You're gonna need it.
Now get changed. -Okay.
-Ready with the wedding scene, Mr. Marsh.
-Well, what are you waiting for?
-Cue 23, go!
♪♪ ♪♪ [ Women laugh ] ♪♪ -♪ Now that we have had the rice and flowers ♪ ♪ The knot is tied -♪ I can visualize such happy hours ♪ ♪ Close by ♪ Your side -♪ The honeymoon in store -[ Laughs ] -♪ Is one that you'll adore [ Both laugh ] ♪ I'm gonna take you for a ride ♪ ♪♪ -♪ You'll go home and get your panties ♪ ♪ I'll go home and get my scanties ♪ ♪ And away we'll go ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ ♪♪ ♪ To Niagara in a sleeper ♪ There's no honeymoon that's cheaper ♪ ♪ And the train goes slow ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ ♪ Someday, the stork may pay a visit ♪ ♪ And leave a little souvenir ♪ Just a little cute, 'What is it?' ♪ ♪ But we'll discuss that later, dear ♪ ♪ For a little silver quarter, we can have the Pullman porter ♪ ♪ Turn the lights down low ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ ♪♪ -♪ You'll go home and get your clothies ♪ ♪ I'll go get my these and thosies ♪ ♪ And away we'll go ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ ♪ To Niagara in a sleeper ♪ There's no honeymoon that's cheaper ♪ ♪ And the train goes slow ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ ♪ Someday, the stork may pay a visit ♪ ♪ And leave a little souvenir ♪ Just a little cute, 'What is it?' ♪ ♪ But we'll discuss that later, dear ♪ ♪ For a little silver quarter, we can have the Pullman porter ♪ ♪ Turn the lights down low ♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, shuffle off to Buffalo ♪ -♪ Matrimony is baloney ♪ She'll be wanting alimony in a year or so ♪ -♪ Ooh-ooh-ooh -♪ Still they go and shuffle, shuffle off to Buffalo ♪ ♪♪ ♪ When she knows as much as we know ♪ ♪ She'll be on her way to Reno ♪ While he still has dough -♪ Ooh-ooh-ooh -♪ She'll give him the shuffle -♪ When they're back from Buffalo ♪ -♪ So if you're wise, you'll sew two trousseaus ♪ -♪ Ooh-ooh-ooh -♪ One for getting wed, of course ♪ ♪ And the second trousseau you sew ♪ ♪ You can wear for your divorce ♪ -♪ Ooh-ooh -♪ First you serve them with subpoenas ♪ ♪ Then you take them to the cleaners ♪ ♪ Then it's, 'So long, Joel' -♪ Ooh-ooh-ooh -♪ Give the bum the shuffle -♪ When you're back from Buffalo ♪ -♪ Ooh-ooh!
♪♪ ♪♪ ♪♪ -[ Screams ] [ Laughter ] ♪♪ [ Both scream ] [ Laughter ] ♪♪ -♪ Ooh-ooh-ooh -♪ Where'd he go to shuffle?
-♪ Shuffle off to Buffalo -♪ For a little silver quarter, we can have the Pullman porter ♪ ♪ Turn the lights down low -Yoo-hoo! -♪ Ooh-ooh-ooh ♪ Off we're gonna shuffle, come along and shuffle ♪ ♪ Shuffle, shuffle ♪ Shuffle, shuffle, shuffle, shuffle, shuffle ♪ ♪ To Buffalo ♪♪ [ Music ends ] [ Cheers and applause ] ♪♪ -What is it? What the hell's wrong?
-I don't think I can do the rest of the show.
I can't remember a single lyric.
-You will do the rest of the show.
And without any mistakes.
And without that thing, either.
♪♪ I'm Julian Marsh, damn it, and I say you will.
♪♪ ♪♪ ♪♪ ♪♪ -♪ In the heart of little old New York ♪ ♪ You'll find a thoroughfare ♪ It's the part of little old New York ♪ ♪ That runs into Times Square ♪ A crazy quilt that Wall Street Jack built ♪ ♪ If you've got a little time to spare ♪ ♪ I want to take you there ♪ Come and meet ♪ Those dancing feet ♪ On the avenue I'm taking you to ♪ ♪♪ ♪♪ ♪ Come and meet ♪ Those dancing feet ♪ On the avenue I'm taking you to ♪ ♪ 42nd Street ♪ Hear the beat ♪ Of dancing feet ♪♪ ♪ It's the song I love the melody of ♪ ♪ 42nd Street ♪ Little nifties from the 50s ♪ Innocent and sweet ♪ Sexy ladies from the 80s ♪ Who are indiscreet ♪ They're side by side ♪ They're glorified ♪ Where the underworld can meet the elite ♪ ♪♪ ♪ Where the underworld can meet the elite ♪ ♪ Forty ♪ Second Street ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ -My purse!
They stole my purse!
♪♪ [ Gunshot ] [ Woman screams ] [ Whistle blows ] -Hey, hey!
-[ Whimpering ] ♪♪ ♪♪ -♪ The big parade ♪ Goes on for years ♪ It's the rhapsody ♪ Of laughter and tears ♪ Naughty, bawdy ♪ Gaudy, sporty ♪ 42nd ♪♪ [ Cheers and applause ] -♪ Little nifties from the 50s ♪ Innocent and sweet ♪ Sexy ladies from the 80s ♪ Who are indiscreet ♪ The big parade goes on for years ♪ ♪ It's the rhapsody of laughter and tears ♪ ♪ 42nd Street!
♪ Come and meet ♪ Those dancing feet ♪ On the avenue I'm taking you to ♪ ♪ Hear the beat of dancing feet ♪ ♪♪ ♪ Little nifties from the 50s ♪ Innocent and sweet ♪ Sexy ladies from the 80s [ Cheers and applause ] ♪♪ ♪ Naughty, bawdy ♪ Gaudy, sporty ♪ 42nd Street [ Music ends ] [ Cheers and applause ] [ Cheers and applause continue ] [ Cheers and applause continue ] [ Indistinct talking ] -Annie, Peggy, Billy, kids, you've all got jobs!
-For the next two years!
-Wasn't she terrific?
-Oh, turn off the waterworks, would you?
We've got a party to go to.
-My place. The booze is on me, and everybody kicks in two bits for the eats.
-You're gonna be there, aren't you, Peggy?
The whole shindig's in your honor.
-Of course she is, escorted by Mr. Billy Lawlor himself!
-Now, come along.
We're giving a little party at The Ritz in your honor.
I'll be there in a minute, Miss Jones.
-Girlie, you were just swell.
Now, any time you want a Kiddie Kar, you just say the word.
-Abner! -Yes, dear?
-Come on. -[ Chuckles ] See you at the Ritz.
-Billy, it's so exciting!
They all love the show.
-They all loved you.
And that goes double for me.
Now, come on. We got a party to go to.
-Gee, Billy, I'm not sure I can.
What about the party at The Ritz?
Billy... am I really a star?
-From now on and forever.
-And can stars do anything they want?
-Then I wanna go to the kids' party.
-Ha, Peggy! -Billy, wait a minute.
-Well, you haven't changed your mind?
-Of course not. I'll be along in a minute.
Wait for me at the stage door.
-Okay, but just one minute.
You know how temperamental tenors are.
[ Exhales deeply ] [ Applause ] -Mr. Marsh.
Say, what is the matter with me?
In all the excitement, I forgot to congratulate you.
-Thank you, Mr. Marsh, but you and I both know who was really out there on that stage tonight.
Oh, I said the lines and sang the songs and did the steps, but you were inside me, pulling the strings, so I congratulate you.
[ Laughter ] -You're quite a girl, Miss Peggy Sawyer, quite a girl, and you're on your way to becoming quite a star.
You've broken through, Peggy.
You're the million to one shot that comes home a winner.
For years to come, thousands of little chorus girls will go to auditions and say to themselves, 'Who knows?
I might come out of this another Peggy Sawyer.'
I ask you only to be the sort of star those little girls would want you to be.
Shine your light over this glorious gulch they call 42nd Street.
Give it your talent, your strength, your youth.
But try, if you can, not to give it all your heart, because it's a very loving heart, and I'd never wanna see it broken.
[ Light laughter ] Now, go along to The Ritz and enjoy yourself.
-I'm going to the kids' party.
-[ Chuckles ] -I was right -- quite a girl.
-Good night, Mr. Marsh.
-Good night... Allentown.
-[ Laughs ] -Er... Where is the kids' party?
The address is on the callboard!
[ Light laughter ] And, Mr. Marsh, it would be grand, grand, grand... if you would come.
[ Applause ] -Good night, Mr. Marsh.
♪♪ -[ Sighs ] ♪♪ ♪ Come and meet ♪ Those dancing feet ♪ On the avenue I'm taking you to ♪ ♪ 42nd Street ♪ Hear the beat ♪ Of dancing feet ♪ It's the song I love the melody of ♪ ♪ 42nd Street ♪ Little nifties from the 50s ♪ Innocent and sweet ♪ Sexy ladies from the 80s ♪ Who are indiscreet ♪ They're side by side ♪ And glorified ♪ Where the underworld can meet the elite ♪ ♪ Naughty ♪ Bawdy ♪ Gaudy ♪ Sporty ♪♪ [ Chuckles ] ♪ Forty ♪ Second ♪ Street ♪♪ [ Cheers and applause ] ♪♪ [ Cheers and applause continue ] ♪♪ -♪ Dames!
♪ Are temporary flames ♪ To you ♪ Dames!
♪ You don't recall their names ♪ Do you?
-♪ Slim, trim, or curvy ♪ Sweet, shy, or nervy ♪ There is nothing as divine, as beautiful ♪ ♪ No sun can shine like beautiful ♪ ♪ Bring on that line of beautiful ♪ ♪ Dames, dames, dames, dames ♪ Dames, dames, dames, dames ♪ ♪ Come on along and listen to ♪ The lullaby of Broadway ♪ The hi-de-hi and whoop-di-doo ♪ ♪ The lullaby of Broadway ♪ The band begins to go to town ♪ ♪ And everyone goes crazy ♪ You rock-a-bye your baby 'round ♪ ♪ And sleep all day ♪ Good night, baby ♪ Sleep tight ♪ Let's call it a day ♪ Listen to the lullaby ♪ Of old ♪ Broadway!
[ Music ends ] [ Cheers and applause ] [ Cheers and applause continue ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Cheers and applause ] ♪♪ ♪♪ -To find out more, visit pbs.org/greatperformances, find us on Facebook and follow us on Twitter.
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