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Visually stunning musical that is a treat in Technicolor.
Picture Play Magazine (Jan 1930)
Date of Release: Jan 12, 1930
Studio: First National
Director: John Francis Dilllon
Screenplay: Waldermar Young
Music: Joe Burke, B. G. DeSylva, Al Dubin, Clifford Grey, Jerome Kern
Choreographer: Larry Ceballos
Leading Actors: Marilyn Miller (Sally), Alexander Gray (Blair Farquar), Joe E. Brown (Connie [The Grand Duke]), T. Roy Barnes (Otis Hooper), Pert Kelton (Rosie, his girlfriend), Ford Sterling ("Pops" Shendorff), Maude Turner Gordon (Mrs. Ten Brock), Nora Lane (Marcia, her daughter), E. J. Ratcliffe (John Farquar, Blair's father), Jack Duffy (The Old Roué), Albertina Rasch Ballet
Sally was based on Ziegfeld’s Broadway musical of the same name. The Broadway show opened in 1920 and ran for two years, and marked the height of leading lady Marilyn Miller’s career.
Studio: First National
Director: John Francis Dilllon
Screenplay: Waldermar Young
Music: Joe Burke, B. G. DeSylva, Al Dubin, Clifford Grey, Jerome Kern
Choreographer: Larry Ceballos
Leading Actors: Marilyn Miller (Sally), Alexander Gray (Blair Farquar), Joe E. Brown (Connie [The Grand Duke]), T. Roy Barnes (Otis Hooper), Pert Kelton (Rosie, his girlfriend), Ford Sterling ("Pops" Shendorff), Maude Turner Gordon (Mrs. Ten Brock), Nora Lane (Marcia, her daughter), E. J. Ratcliffe (John Farquar, Blair's father), Jack Duffy (The Old Roué), Albertina Rasch Ballet
Sally was based on Ziegfeld’s Broadway musical of the same name. The Broadway show opened in 1920 and ran for two years, and marked the height of leading lady Marilyn Miller’s career.
Marilyn Miller in Screenland (Nov 1929)
Marilyn Miller was a popular Broadway actress who performed in the USA and across Europe. Miller was married and divorced several times, and suffered from chronic sinus issues and alcoholism. Sally was the first of three film appearances for Miller, and she was reportedly paid $100,000 for her film debut. While not the top salary in Hollywood, it was certainly one of the highest.
Sally had a limited release in late December 1929 at the Winter Garden Theatre, New York, but did not officially open until January 12, 1930. It played at the Winter Garden until March, when it moved to the Strand. In Los Angeles, the film played at the Warner Bros Theatre in Hollywood.
The critics praised the use of Technicolor, describing the visuals as spectacular and gorgeous. The usually restrained Education Screen described it “One of the best productions of its kind to date,” and The New York Times stated it “…the most beautiful picture that has come to the screen.”
Variety was less enthusiastic, claiming the film was “old-fashioned” and predicting it wouldn’t last longer than a week.
The prediction proved inaccurate, and Sally broke box office records around the country.
Sally had a limited release in late December 1929 at the Winter Garden Theatre, New York, but did not officially open until January 12, 1930. It played at the Winter Garden until March, when it moved to the Strand. In Los Angeles, the film played at the Warner Bros Theatre in Hollywood.
The critics praised the use of Technicolor, describing the visuals as spectacular and gorgeous. The usually restrained Education Screen described it “One of the best productions of its kind to date,” and The New York Times stated it “…the most beautiful picture that has come to the screen.”
Variety was less enthusiastic, claiming the film was “old-fashioned” and predicting it wouldn’t last longer than a week.
The prediction proved inaccurate, and Sally broke box office records around the country.
Technicolor advert for Sally in The Film Daily (Jan 5, 1930)
Sally was one of the earliest First National films to have a nationally coordinated advertising effort. Advertisements focused heavily on Marilyn Miller, the use of Technicolor, and the idea that the movie was bigger than the Broadway production. Among some unusual stunts were free movie tickets to women named Sally, and a tie-in with a bakery that distributed free tickets in loaves of bread.
It was common for musicals of this period to include one or two lavish production numbers filmed in Technicolor. In a break from convention, the entirety of Sally was filmed in Technicolor.
It is unclear if the full color prints have survived. In 1971, MoMA announced that a full color print had been found, and a screening would take place as part of an American musical film retrospective. For reasons yet unknown, the screening did not take place. After contacting MoMA, I learnt that the print was on loan from United Artists, which is now owned by Warner Bros. While this print may still exist, the Warner Archive DVD release from 2009 only contains one Technicolor scene.
Sally was directed by John Francis Dilllon, also known as Jack Dillon, an actor and director of the silent era. The screenplay was written by Waldermar Young, a Mormon screenwriter whose twenty year career spanned both the silent and early talkie eras.
Given that most early musicals created by silent film veterans are painful to watch today, and the fact that most of the film is now only available to view in black and white, Sally is a surprise treat.
Marilyn Miller is gorgeous, and it is clear she was a terrific stage performer, but her singing and dancing do not read well on screen. While Alexander Gray’s voice comes across as rich and resonant, Miller’s voice is grating.
Most songs are played as performances at the club, at the Ten Brock garden party, or on Broadway, however a couple of songs are sung as extensions of the characters’ feelings. Some critics were not enamored with this breaking of musical convention. As Motion Picture News noted, “Right then and there, logic died and musical comedy was crowned king.”
The score was written by Joe Burke, B.G. DeSylva, Al Dubin, Clifford Grey, and Jerome Kern. This team of highly accomplished musicians and composers contributed to many of the movie musicals of 1929 including The Show of Shows, Gold Diggers of Broadway, The Hollywood Revue of 1929, Say it With Songs, The Cock-Eyed World, The Vagabond Lover, and Show Boat.
It was common for musicals of this period to include one or two lavish production numbers filmed in Technicolor. In a break from convention, the entirety of Sally was filmed in Technicolor.
It is unclear if the full color prints have survived. In 1971, MoMA announced that a full color print had been found, and a screening would take place as part of an American musical film retrospective. For reasons yet unknown, the screening did not take place. After contacting MoMA, I learnt that the print was on loan from United Artists, which is now owned by Warner Bros. While this print may still exist, the Warner Archive DVD release from 2009 only contains one Technicolor scene.
Sally was directed by John Francis Dilllon, also known as Jack Dillon, an actor and director of the silent era. The screenplay was written by Waldermar Young, a Mormon screenwriter whose twenty year career spanned both the silent and early talkie eras.
Given that most early musicals created by silent film veterans are painful to watch today, and the fact that most of the film is now only available to view in black and white, Sally is a surprise treat.
Marilyn Miller is gorgeous, and it is clear she was a terrific stage performer, but her singing and dancing do not read well on screen. While Alexander Gray’s voice comes across as rich and resonant, Miller’s voice is grating.
Most songs are played as performances at the club, at the Ten Brock garden party, or on Broadway, however a couple of songs are sung as extensions of the characters’ feelings. Some critics were not enamored with this breaking of musical convention. As Motion Picture News noted, “Right then and there, logic died and musical comedy was crowned king.”
The score was written by Joe Burke, B.G. DeSylva, Al Dubin, Clifford Grey, and Jerome Kern. This team of highly accomplished musicians and composers contributed to many of the movie musicals of 1929 including The Show of Shows, Gold Diggers of Broadway, The Hollywood Revue of 1929, Say it With Songs, The Cock-Eyed World, The Vagabond Lover, and Show Boat.
Alexander Gray and Marilyn Miller in Picture Play (May, 1930)
Blair (Alexander Gray) sings “Look for the Silver Lining” to comfort the miserable Sally (Marilyn Miller). Gray’s rich baritone voice is incongruous with his sappy character, but the delightful melody and arrangement are a treat. Alexander Gray was a classically trained singer who appeared on Broadway in the Ziegfeld Follies and several musical productions including Rio Rita and The Desert Song. He was reportedly bought onto Sally at Marilyn Miller’s request. Gray also appeared in The Show of Shows (1929), and No, No, Nanette (1930).
Later, Blair literally exclaims he “doesn’t have the words to express what I really think of her” and breaks out into the charming tune “Sally.” His party of friends join in with a rich male chorus refrain.
A reprise of “Look for the Silver Lining” has a well filmed dance number, but the music and choreography are incongruous. The music is light and floating, while the dancing is energetic and staccato.
Sally’s dance at the club, "All I Want To Do, Do, Do Is Dance” is another energetic tap number, however the routine is uninspiring.
A comedy routine involving a ladder and Joe E. Brown playing an old man is presumably lifted straight from the Broadway show. It is amusing, but drags on too long. Brown deservedly received good notices for his role in Sally. He started out as an acrobat in vaudeville, and worked as a baseball player, and briefly in business. After returning to show business, he appeared in at least six Broadway productions, and toured extensively around the country. Brown was awarded a Special Tony Award in 1948 for his work in the touring production of Harvey. He appeared in over 70 films including On With the Show (1929) Show Boat (1951), and Some Like it Hot (1959), His biography, Laughter is a Wonderful Thing was published in 1956.
Later, Blair literally exclaims he “doesn’t have the words to express what I really think of her” and breaks out into the charming tune “Sally.” His party of friends join in with a rich male chorus refrain.
A reprise of “Look for the Silver Lining” has a well filmed dance number, but the music and choreography are incongruous. The music is light and floating, while the dancing is energetic and staccato.
Sally’s dance at the club, "All I Want To Do, Do, Do Is Dance” is another energetic tap number, however the routine is uninspiring.
A comedy routine involving a ladder and Joe E. Brown playing an old man is presumably lifted straight from the Broadway show. It is amusing, but drags on too long. Brown deservedly received good notices for his role in Sally. He started out as an acrobat in vaudeville, and worked as a baseball player, and briefly in business. After returning to show business, he appeared in at least six Broadway productions, and toured extensively around the country. Brown was awarded a Special Tony Award in 1948 for his work in the touring production of Harvey. He appeared in over 70 films including On With the Show (1929) Show Boat (1951), and Some Like it Hot (1959), His biography, Laughter is a Wonderful Thing was published in 1956.
Still from the Warner Bros Archive dvd
“Wild Rose” takes place at the Ten Brock garden, "the biggest party of the year", and is the only number currently available in color. The composition of the shots, the dancing, and music all come together to create a visually radiant scene. The color prints bring the scene to life in a way black and white cannot replicate. The presence of an all-male ensemble, instead of the usual white long-limbed girls is also refreshing!
The final number is a reproduction of the Butterfly Ballet from the Broadway show. Even in black and white it is visually stunning, and one can only imagine how it must have looked in color.
The most difficult aspect of Sally is the dialogue. It is stilted and cliched, unaided by use of unchanging straight on mid-shots.
Marilyn Miller appeared in two more films, Sunny (1930) and Her Majesty, Love (1931) before her death in 1936 at the age of 37.
Sally is currently available on Youtube (sans the Technicolor) and on DVD through the Warner Archive.
The most difficult aspect of Sally is the dialogue. It is stilted and cliched, unaided by use of unchanging straight on mid-shots.
Marilyn Miller appeared in two more films, Sunny (1930) and Her Majesty, Love (1931) before her death in 1936 at the age of 37.
Sally is currently available on Youtube (sans the Technicolor) and on DVD through the Warner Archive.
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Warner Bros’ first contribution to the revue style musical.
Advert in Picture Play (Feb 1930)
Date of Release: Nov 20, 1929
Studio: Warner Bros
Director: John G. Adolfi
Screenplay: Frank Fay, J. Keirn Brennan
Composers: Al Bryan, Rube Bloom, Perry Bradford, J. Keirn Brennan, Nacio Herb Brown, Joe Burke, Michael H. Cleary, Al Dubin, Gus Edwards, Arthur Freed, Joe Goodwin, M. K. Jerome, Jimmy Johnson, Sam Lewis, Herb Magidson, Ray Perkins, Jean Schwartz, Bernie Seaman, Marvin Smolev, Ed Ward, Ned Washington, Joe Young
Musical Director: Louis Silvers
Choreographer: Larry Ceballos, Jack Haskell
Leading Actors: Frank Fay (Master of ceremonies), William Courtenay (The minister), H. B. Warner (The victim), Hobart Bosworth (The Executioner), Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, Patsy Ruth Miller (Florodora Sextette), Ben Turpin (Waiter), Heinie Conklin (Ice man), Lupino Lane (Street cleaner), Lee Moran (Plumber), Bert Roach (Father), Lloyd Hamilton (Hansom cabby), Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, Jack Curtis (Pirates), Johnny Arthur (Hero), Julanne Johnston, Carmel Myers, Ruth Clifford, Sally Eilers, Viola Dana, Shirley Mason, Ethlyne Clair, Frances Lee, Julanne Johnston (Ladies), Douglas Fairbanks Jr. (Ambrose), Chester Conklin (Traffic cop), Grant Withers, William Collier Jr., Jack Mulhall, Chester Morris, William Bakewell (Boys), Lois Wilson, Gertrude Olmstead, Pauline Garon, Edna Murphy, Jaqueline Logan (Girls), Monte Blue (Condemned man), Albert Gran, Noah Beery, Tully Marshall, (Soldiers), Armida, John Barrymore, Richard Barthelmess, Sally Blan, Irene Bordini, Anthony Bushell, Marion Byron, Georges Carpentier, James Clemmons, Betty Compton, Dolores Costello, Helene Costello, Marceline Day, Louise Fazenda, Alexander Gray, Beatrice Lillie, Winnie Lightner, Hariette Lake, Lila Lee, Ted Lewis, Nick Lucas, Molly O'Day, Rin-Tin-Tin, E. J. Radcliffe, Sid Silvers, Sojin, Lola Vendrill, Ada Mae Vaughn, Alberta Vaughn, Ted Williams Adagio Dancers, Alice White, Loretta Young
Studio: Warner Bros
Director: John G. Adolfi
Screenplay: Frank Fay, J. Keirn Brennan
Composers: Al Bryan, Rube Bloom, Perry Bradford, J. Keirn Brennan, Nacio Herb Brown, Joe Burke, Michael H. Cleary, Al Dubin, Gus Edwards, Arthur Freed, Joe Goodwin, M. K. Jerome, Jimmy Johnson, Sam Lewis, Herb Magidson, Ray Perkins, Jean Schwartz, Bernie Seaman, Marvin Smolev, Ed Ward, Ned Washington, Joe Young
Musical Director: Louis Silvers
Choreographer: Larry Ceballos, Jack Haskell
Leading Actors: Frank Fay (Master of ceremonies), William Courtenay (The minister), H. B. Warner (The victim), Hobart Bosworth (The Executioner), Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, Patsy Ruth Miller (Florodora Sextette), Ben Turpin (Waiter), Heinie Conklin (Ice man), Lupino Lane (Street cleaner), Lee Moran (Plumber), Bert Roach (Father), Lloyd Hamilton (Hansom cabby), Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, Jack Curtis (Pirates), Johnny Arthur (Hero), Julanne Johnston, Carmel Myers, Ruth Clifford, Sally Eilers, Viola Dana, Shirley Mason, Ethlyne Clair, Frances Lee, Julanne Johnston (Ladies), Douglas Fairbanks Jr. (Ambrose), Chester Conklin (Traffic cop), Grant Withers, William Collier Jr., Jack Mulhall, Chester Morris, William Bakewell (Boys), Lois Wilson, Gertrude Olmstead, Pauline Garon, Edna Murphy, Jaqueline Logan (Girls), Monte Blue (Condemned man), Albert Gran, Noah Beery, Tully Marshall, (Soldiers), Armida, John Barrymore, Richard Barthelmess, Sally Blan, Irene Bordini, Anthony Bushell, Marion Byron, Georges Carpentier, James Clemmons, Betty Compton, Dolores Costello, Helene Costello, Marceline Day, Louise Fazenda, Alexander Gray, Beatrice Lillie, Winnie Lightner, Hariette Lake, Lila Lee, Ted Lewis, Nick Lucas, Molly O'Day, Rin-Tin-Tin, E. J. Radcliffe, Sid Silvers, Sojin, Lola Vendrill, Ada Mae Vaughn, Alberta Vaughn, Ted Williams Adagio Dancers, Alice White, Loretta Young
Film Daily (Dec 16, 1929)
By the end of 1929, every studio had released a revue style musical film featuring lavish production numbers performed by the studio’s roll call of stars; MGM’s The Hollywood Revue of 1929, Fox’s Movietone Follies, Paramount’s Paramount on Parade and Warner Bros’ The Show of Shows.
The Show of Shows was the largest of the revues, and featured 77 stars and hundreds of dancing girls (some sources say up to 1000). The studio built excitement for the film with frequent “COMING SOON” notices advertising prominent stars and announcing the addition of new cast members.
The Show of Shows was the largest of the revues, and featured 77 stars and hundreds of dancing girls (some sources say up to 1000). The studio built excitement for the film with frequent “COMING SOON” notices advertising prominent stars and announcing the addition of new cast members.
PUBLICITY
Theatre managers went all out with publicity stunts. In San Diego, the Plaza Theatre printed “trick heralds” of a woman sitting in a bathtub. When the bathtub flap was pulled down, it revealed, instead of a naked woman, advertising copy for the film.
Colorado Springs installed a small bathtub and shower curtain in the foyer, complete with a life-size cutout of actress Winnie Lightner standing in the tub. The sign read “Singin’ in the shower is like singin’ in the rain, but you haven’t heard anything until you hear my comedy song hit ‘Singin' in the Bathtub’”
The Paramount Theatre in Atlanta, Georgia had a store window dressed to look like a bathroom, featuring a real bathtub with an actual girl singing in it. When the girl wasn’t on display, Victor records played hit songs from the show. According to Motion Picture News, the display drew crowds of over 50,000 people and the police had to be called in to re-direct traffic.
In October 1929, many theatres were still being wired for sound. For many people, Show of Shows was the first talkie they saw, and heard.
Theatre managers went all out with publicity stunts. In San Diego, the Plaza Theatre printed “trick heralds” of a woman sitting in a bathtub. When the bathtub flap was pulled down, it revealed, instead of a naked woman, advertising copy for the film.
Colorado Springs installed a small bathtub and shower curtain in the foyer, complete with a life-size cutout of actress Winnie Lightner standing in the tub. The sign read “Singin’ in the shower is like singin’ in the rain, but you haven’t heard anything until you hear my comedy song hit ‘Singin' in the Bathtub’”
The Paramount Theatre in Atlanta, Georgia had a store window dressed to look like a bathroom, featuring a real bathtub with an actual girl singing in it. When the girl wasn’t on display, Victor records played hit songs from the show. According to Motion Picture News, the display drew crowds of over 50,000 people and the police had to be called in to re-direct traffic.
In October 1929, many theatres were still being wired for sound. For many people, Show of Shows was the first talkie they saw, and heard.
Motion Picture News, Feb 1930
Motion Picture News, March 1930
OPENING AND RECEPTION
Opening night was a buzzy and exciting affair. Film Daily (Nov 19, 1929) reported the Winter Garden theatre in New York erected a sign “155 feet in length and 33 feet in height” to accommodate pictures of the 40 top-billed performers in 3ft stars on the marquis, and an unprecedented 18 lamps were used to light the exterior of the theatre.
The Show of Shows opened to rave reviews and did very well at the box office. The Film Daily (Nov 21, 1929) called it “a modern, sophisticated, tuneful, fast moving musical cocktail.” The Educational Screen (Jan 1930) described it as an “Elaborate spectacle, all in gorgeous color,” and Picture Play (Feb 1930) stated it was “The most gorgeous and varied and interesting of all the revues.”
Opening night was a buzzy and exciting affair. Film Daily (Nov 19, 1929) reported the Winter Garden theatre in New York erected a sign “155 feet in length and 33 feet in height” to accommodate pictures of the 40 top-billed performers in 3ft stars on the marquis, and an unprecedented 18 lamps were used to light the exterior of the theatre.
The Show of Shows opened to rave reviews and did very well at the box office. The Film Daily (Nov 21, 1929) called it “a modern, sophisticated, tuneful, fast moving musical cocktail.” The Educational Screen (Jan 1930) described it as an “Elaborate spectacle, all in gorgeous color,” and Picture Play (Feb 1930) stated it was “The most gorgeous and varied and interesting of all the revues.”
Motion Picture News, March 1930
The Show of Shows
Despite the absence of a plot, and the painful race and gender politics, The Show of Shows is one of the most entertaining musicals of 1929. The conceit is that we are watching a live stage show, presented in a revue format. Frank Fay acts as the Master of Ceremonies, performing short bits between comedy sketches, large production numbers, and solo songs.
Following the overture and credits, the film opens with a French revolution style execution. H.B Warner’s head is cut off at the guillotine, obscured from view by the attending soldiers, and cheering crowds. Hobart Bosworth announces, “On with the show of shows!”
The camera immediately cuts to a large stage, most of which is covered with a staircase that spans the stage’s width. It is soon filled with over 100 soldiers for “The Military March.” The soldiers march up and down the stairs, creating geometric formations with their bodies, and their black-and-white capes forming different patterns. The number is beautifully choreographed, and highlights choreographer Larry Caballos’ innovative skill and vision. Just when you think they couldn’t possibly fit any more people on the stage, a drum corps appears complete with twirling batons.
Frank Fay appears in front of the curtain in dressed in military garb. His patter is amusing, if not somewhat dated today, and the theme of Fay offering to perform and being interrupted by the "show" behind him recurs throughout the film. Fay was an immensely influential vaudeville star and comic. He was one of the first comedians to perform his act sans props, and as such is often cited as the first stand up comic. Although praised for his quick wit and unrelenting pace on stage, Fay was also famous for his intolerant and derisive racism and fascist affiliations.
“The Floradora Sextette” features film stars Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, and Patsy Ruth Miller. Despite their individual abilities, the number does not showcase the talents of the women. They are dressed identically, and sing in unison, wondering “what has become of the Floradora Boys?” They are soon replaced by the six Floradora Boys; Ben Turpin, Heinie Conklin, Lupino Lane, Lee Moran, Bert Roach and Lloyd Hamilton. In contrast to the women, the men are dressed in unique costumes. Each actor has a solo verse, designed to highlight his comic abilities.
Notorious for playing villains and sidekicks, Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, and Jack Curtis appear as pirates for “Motion Picture Pirates.”A cheesy Gilbert and Sullivan type number, the men sing and swagger aboard a large ship. The "wenches" are summoned, and the women enter crying and screaming before singing a song about being leading ladies in distress. Johnny Arthur, “the hero” enters and promises to save the women and “protect the rear”. The women faun over the hero and exit. The hero is promptly tossed overboard, and a catch of "strange fish" is announced.
The "strange fish" are in fact a well-dressed band “from the land of jazz, rhythm and melody.” They are led by Ted Lewis, a well-known stage and screen composer and performer. The captain declares if he likes the band, they’ll live, if not, they’ll die. A somewhat flat number about jazz musicians being akin to pirates follows. The jazzy music is enough to save the band and Ted Lewis leads a spirited rendition of “Lady Luck.”
Despite the absence of a plot, and the painful race and gender politics, The Show of Shows is one of the most entertaining musicals of 1929. The conceit is that we are watching a live stage show, presented in a revue format. Frank Fay acts as the Master of Ceremonies, performing short bits between comedy sketches, large production numbers, and solo songs.
Following the overture and credits, the film opens with a French revolution style execution. H.B Warner’s head is cut off at the guillotine, obscured from view by the attending soldiers, and cheering crowds. Hobart Bosworth announces, “On with the show of shows!”
The camera immediately cuts to a large stage, most of which is covered with a staircase that spans the stage’s width. It is soon filled with over 100 soldiers for “The Military March.” The soldiers march up and down the stairs, creating geometric formations with their bodies, and their black-and-white capes forming different patterns. The number is beautifully choreographed, and highlights choreographer Larry Caballos’ innovative skill and vision. Just when you think they couldn’t possibly fit any more people on the stage, a drum corps appears complete with twirling batons.
Frank Fay appears in front of the curtain in dressed in military garb. His patter is amusing, if not somewhat dated today, and the theme of Fay offering to perform and being interrupted by the "show" behind him recurs throughout the film. Fay was an immensely influential vaudeville star and comic. He was one of the first comedians to perform his act sans props, and as such is often cited as the first stand up comic. Although praised for his quick wit and unrelenting pace on stage, Fay was also famous for his intolerant and derisive racism and fascist affiliations.
“The Floradora Sextette” features film stars Marian Nixon, Sally O'Neil, Myrna Loy, Alice Day, and Patsy Ruth Miller. Despite their individual abilities, the number does not showcase the talents of the women. They are dressed identically, and sing in unison, wondering “what has become of the Floradora Boys?” They are soon replaced by the six Floradora Boys; Ben Turpin, Heinie Conklin, Lupino Lane, Lee Moran, Bert Roach and Lloyd Hamilton. In contrast to the women, the men are dressed in unique costumes. Each actor has a solo verse, designed to highlight his comic abilities.
Notorious for playing villains and sidekicks, Noah Beery, Tully Marshall, Wheeler Oakman, Bull Montana, Kalla Pasha, Anders Randolf, Philo McCullough, Otto Matiesen, and Jack Curtis appear as pirates for “Motion Picture Pirates.”A cheesy Gilbert and Sullivan type number, the men sing and swagger aboard a large ship. The "wenches" are summoned, and the women enter crying and screaming before singing a song about being leading ladies in distress. Johnny Arthur, “the hero” enters and promises to save the women and “protect the rear”. The women faun over the hero and exit. The hero is promptly tossed overboard, and a catch of "strange fish" is announced.
The "strange fish" are in fact a well-dressed band “from the land of jazz, rhythm and melody.” They are led by Ted Lewis, a well-known stage and screen composer and performer. The captain declares if he likes the band, they’ll live, if not, they’ll die. A somewhat flat number about jazz musicians being akin to pirates follows. The jazzy music is enough to save the band and Ted Lewis leads a spirited rendition of “Lady Luck.”
Against a Parisian backdrop, Georges Carpentier sings “If I Could Love Again,” accompanied by Alice White, Patsy Miller, and the chorus girls sporting pretty parasols. The number leads into an extended dance routine, featuring some interesting choreography shot from above. The highlight of the number comes at the end of the song, when the backdrop disappears and the chorus girls climb the black wall at the rear of the stage. The visual effect is quite impressive and must look incredible on a big screen.
"Pingo-Pongo," a solo comedy number, is performed with panache by Winnie Lightner. Famous for her brassy voice and “risqué” performances, Winnie Lightner started out on the stage in vaudeville and on Broadway. Her first film Gold Diggers of Broadway (1929) was a huge hit, and she went on to make five more musicals in quick succession. The appearance of a woman in a featured number, playing a role apart from that of the damsel, is refreshing.
Frank Fay drags a German Shepherd puppy onto the stage and is ready to launch into a song about the puppy when he is interrupted by Nick Lucas. Lucas was a highly successful jazz recording artist, and one of his signature songs was "Tiptoe Through the Tulips." Lucas sings “Lady Luck,” accompanying himself on guitar. At the end of the number, the camera cuts back to Frank Fay who is now sporting a long white beard. The puppy has grown into celebrity canine Rin-Tin-Tin. Rin-Tin-Tin was rescued as a puppy from France during the First World War and went on to appear in nearly 30 films.
In front of the curtain, Louise Fazenda, Beatrice Lillie, Frank Fay and Lloyd Hamilton recite poems one by one that eventually, when read together, create an amusing speech. Louise Fazenda was a highly successful actress who worked in both silent and talking pictures. She worked for MGM, Warner Bros, and Paramount, and was known for her funny character acting and “country bumpkin” characters. Canadian born Beatrice Lillie was a highly acclaimed comedienne and actress who performed in America and England. Her show, An Evening with Beatrice Lillie, won a Special Tony Award in 1953. Lloyd Hamilton started out as a stage actor and went onto become one of the most successful and well-regarded comedic actors of the silent era. Hamilton suffered from alcoholism and it took a toll on his career which declined into the late 1920s and early 1930s
“Meet My Sister” features eight pairs of sisters (seven of which were real-life siblings); Dolores and Helene Costello, Sally O’Neil and Molly Day, Alice and Marceline Day, Sally Blaine and Loretta Young, Armida and Lola Vendrill, Harriet and Marian Bryon, Alberta and Ada Mae Vaughn, and Viola Dana and Shirley Mason. Accompanied by the chorus girls, each set of sisters is dressed in a different national “costume.” While each sister-set has their own verse, complete with a dance break in the “style” of the nationality they are representing, the whole number is designed to highlight that Hollywood gals are attractive to men from any background. The song is catchy, but the lyrics often don't fit well with the melody. The final pair, Viola Dana and Shirly Mason dressed in Dutch outfits - complete with twirling windmills in the background - end their verse with a kiss.
"Pingo-Pongo," a solo comedy number, is performed with panache by Winnie Lightner. Famous for her brassy voice and “risqué” performances, Winnie Lightner started out on the stage in vaudeville and on Broadway. Her first film Gold Diggers of Broadway (1929) was a huge hit, and she went on to make five more musicals in quick succession. The appearance of a woman in a featured number, playing a role apart from that of the damsel, is refreshing.
Frank Fay drags a German Shepherd puppy onto the stage and is ready to launch into a song about the puppy when he is interrupted by Nick Lucas. Lucas was a highly successful jazz recording artist, and one of his signature songs was "Tiptoe Through the Tulips." Lucas sings “Lady Luck,” accompanying himself on guitar. At the end of the number, the camera cuts back to Frank Fay who is now sporting a long white beard. The puppy has grown into celebrity canine Rin-Tin-Tin. Rin-Tin-Tin was rescued as a puppy from France during the First World War and went on to appear in nearly 30 films.
In front of the curtain, Louise Fazenda, Beatrice Lillie, Frank Fay and Lloyd Hamilton recite poems one by one that eventually, when read together, create an amusing speech. Louise Fazenda was a highly successful actress who worked in both silent and talking pictures. She worked for MGM, Warner Bros, and Paramount, and was known for her funny character acting and “country bumpkin” characters. Canadian born Beatrice Lillie was a highly acclaimed comedienne and actress who performed in America and England. Her show, An Evening with Beatrice Lillie, won a Special Tony Award in 1953. Lloyd Hamilton started out as a stage actor and went onto become one of the most successful and well-regarded comedic actors of the silent era. Hamilton suffered from alcoholism and it took a toll on his career which declined into the late 1920s and early 1930s
“Meet My Sister” features eight pairs of sisters (seven of which were real-life siblings); Dolores and Helene Costello, Sally O’Neil and Molly Day, Alice and Marceline Day, Sally Blaine and Loretta Young, Armida and Lola Vendrill, Harriet and Marian Bryon, Alberta and Ada Mae Vaughn, and Viola Dana and Shirley Mason. Accompanied by the chorus girls, each set of sisters is dressed in a different national “costume.” While each sister-set has their own verse, complete with a dance break in the “style” of the nationality they are representing, the whole number is designed to highlight that Hollywood gals are attractive to men from any background. The song is catchy, but the lyrics often don't fit well with the melody. The final pair, Viola Dana and Shirly Mason dressed in Dutch outfits - complete with twirling windmills in the background - end their verse with a kiss.
Winnie Lightner returns for “Singin’ in the Bathtub,” joined by a chorus of tap dancing men in drag. The dance break features tubby elderly white men dressed in old-fashioned bathers. The number ends with wrestler Bull Montana dressed in top hat and tails singing “You Were Meant for Me” to Lightner, and the boys dancing below. Italian-born Bull Montana started out as a professional wrestler and after some encouragement from Douglas Fairbanks, went onto become a Hollywood actor, appearing in over 90 films. The number is silly and fun, and its easy to see why it was selling point of the film. The song went on to become a best-seller.
Irene Bordoni stands in front of a piano, dressed in stunning black ball gown with strange white accents, and sings “Just an Hour of Love.” Her performance is lovely, though the song is forgettable. Bordoni started out a stage actress in Paris and went on to become a successful Broadway performer. She famously introduced several Cole Porter songs, including “Let’s Do It (Let’s Fall in Love).”
Irene Bordoni stands in front of a piano, dressed in stunning black ball gown with strange white accents, and sings “Just an Hour of Love.” Her performance is lovely, though the song is forgettable. Bordoni started out a stage actress in Paris and went on to become a successful Broadway performer. She famously introduced several Cole Porter songs, including “Let’s Do It (Let’s Fall in Love).”
Nick Lucas and Myrna Loy lead the visually spectacular, the horribly dated and racist, “Li-Po-Li." Loy’s dancing is decidedly average, though Lucas’ voice sounds excellent. The number ends again with an ever-increasing number of chorus girls climbing up and down frames at the rear of the stage, Lucas and Myrna watching on. In my Warner Bros dvd copy, this is the only number in Technicolor. Watch the clip above, and look out for the descending black genie set piece!
Frank Fay and Sid Silvers do an amusing bit about Al Jolson not being present in the film. Silvers does a decent Al Jolson impersonation, and it's a relief that he doesn't perform in blackface. Silvers started out in vaudeville and went on to become a prominent comedian and writer. The Show of Shows marked his screen debut.
“On a bicycle built for two” performed by William Blakewell, Chester Conklin, Douglas Fairbanks Jr., Pauline Garon, Jacqueline Logan, Chester Morris, Jack Mulhal, Edna Murphy, Gertrude Olmstead, Ann Sothern, Lois Wilson, and Grant Withers contains some fun choreography and moving set pieces.
Fay and Silvers return for “Why Should I,” which is capped by a cameo appearance by giant John Aasen.
Frank Fay and Sid Silvers do an amusing bit about Al Jolson not being present in the film. Silvers does a decent Al Jolson impersonation, and it's a relief that he doesn't perform in blackface. Silvers started out in vaudeville and went on to become a prominent comedian and writer. The Show of Shows marked his screen debut.
“On a bicycle built for two” performed by William Blakewell, Chester Conklin, Douglas Fairbanks Jr., Pauline Garon, Jacqueline Logan, Chester Morris, Jack Mulhal, Edna Murphy, Gertrude Olmstead, Ann Sothern, Lois Wilson, and Grant Withers contains some fun choreography and moving set pieces.
Fay and Silvers return for “Why Should I,” which is capped by a cameo appearance by giant John Aasen.
The infamous “Black and White Ballet” is truly a highlight, with beautiful costumes and clever choreography. The ending however is unsatisfying, with an unnamed chorus member calling a strike because the costumes are ankle length instead of knee length.
Harry Akst appears at the piano and Fay finally gets his big number, “Your Love is All That I Crave.”
Atop a pile of dead bodies, John Barrymore delivers Richard’s soliloquy from Shakespeare’s Henry VI. The soliloquy is, for the most part, shot with Barrymore’s chest and head filling the frame. It is a captivating performance.
Harry Akst appears at the piano and Fay finally gets his big number, “Your Love is All That I Crave.”
Atop a pile of dead bodies, John Barrymore delivers Richard’s soliloquy from Shakespeare’s Henry VI. The soliloquy is, for the most part, shot with Barrymore’s chest and head filling the frame. It is a captivating performance.
The lavish 10 minute finale, a medley of instrumental versions of songs from the film and book-ended by “Lady Luck”opens with two women hanging like rods in front of the curtain. The curtain opens to reveal two large chandeliers with women suspended around the lights as decorations. The number features hundreds of chorus girls and various dance soloists performing energetic routines and acrobatic tricks. Several African American dancers are featured, and it is a shame they are not credited as their tap dancing is a real highlight.
MUSIC
The film’s score was composed by Warner Bros’ immensely talented staff of contract writers. Most were Jewish men who started out in vaudeville or Tin Pan Alley and had headed west following the advent of talkies. The vast majority of the music team went onto prominent careers as film songwriters, and their songs are still remembered today.
Rare exceptions to the white and Jewish profile were two African American musicians, Perry Bradford and Jimmy Johnson. Perry Bradford was a multi-talented musician, songwriter, and producer. He was instrumental in creating the first recordings of African American bands and music, and in bringing blues and jazz to New York. Bradford’s compositions include “That Thing Called Love,” “Crazy Blues,” “You Can’t Keep a Good Man Down,” and “Keep a Knockin’.”
Jimmy Johnson, or James Price Johnson, was a highly influential African American pianist and composer who is credited for leading the transition from ragtime to jazz. He wrote popular songs, symphonies, and full length scores, and his work was used on stage and screen. His well-known songs include “The Charleston,” “If I Could Be With You (One Hour Tonight),” and “Old Fashioned Love.” Johnson taught Fats Waller, whom he also later collaborated with. He was inducted into the Songwriters Hall of Fame in 1970.
The film’s score was composed by Warner Bros’ immensely talented staff of contract writers. Most were Jewish men who started out in vaudeville or Tin Pan Alley and had headed west following the advent of talkies. The vast majority of the music team went onto prominent careers as film songwriters, and their songs are still remembered today.
Rare exceptions to the white and Jewish profile were two African American musicians, Perry Bradford and Jimmy Johnson. Perry Bradford was a multi-talented musician, songwriter, and producer. He was instrumental in creating the first recordings of African American bands and music, and in bringing blues and jazz to New York. Bradford’s compositions include “That Thing Called Love,” “Crazy Blues,” “You Can’t Keep a Good Man Down,” and “Keep a Knockin’.”
Jimmy Johnson, or James Price Johnson, was a highly influential African American pianist and composer who is credited for leading the transition from ragtime to jazz. He wrote popular songs, symphonies, and full length scores, and his work was used on stage and screen. His well-known songs include “The Charleston,” “If I Could Be With You (One Hour Tonight),” and “Old Fashioned Love.” Johnson taught Fats Waller, whom he also later collaborated with. He was inducted into the Songwriters Hall of Fame in 1970.
Film Daily (Nov 19, 1929)
AFTER THE SHOW
The Show of Shows highlights the dominance of white stars, and the secondary role of women. Of the 77 named stars to appear in the film, all are white. Although the film features "A Chinese Fantasy," the number is resplendent with dated stereotypes and cultural appropriation. The only Asian actor to appear in the film is actually Japanese, silent film star Sojin. He is dressed in a stereotyped costume of a Chinese farmer, and never speaks.
Apart from Winnie Lightner and Irene Bordoni, who are able to demonstrate individual skills and unique characters, women in The Show of Shows are interchangeable, white, and slim. Women exist only as silly objects for men -- highlighted by the finale, where women are literally ornamental, and part of the furniture.
The Show of Shows highlights the dominance of white stars, and the secondary role of women. Of the 77 named stars to appear in the film, all are white. Although the film features "A Chinese Fantasy," the number is resplendent with dated stereotypes and cultural appropriation. The only Asian actor to appear in the film is actually Japanese, silent film star Sojin. He is dressed in a stereotyped costume of a Chinese farmer, and never speaks.
Apart from Winnie Lightner and Irene Bordoni, who are able to demonstrate individual skills and unique characters, women in The Show of Shows are interchangeable, white, and slim. Women exist only as silly objects for men -- highlighted by the finale, where women are literally ornamental, and part of the furniture.
Most of the actors did not fare well following the advent of talkies. In the few years following The Show of Shows release, they faded into obscurity.
The Show of Shows is a fascinating contribution to the movie musical genre. An early part of Hollywood's rich tradition of borrowing from the stage, and an attempt to capture the magic of stage on film. The result is slightly clunky, visually spectacular, and, apart from the awful sexism and racism, a lot of fun.
Motion Picture News predicted in October 1929 that revue movies would now be an annual staple. By mid-1930 however, audiences had tired of revues and backstage musicals. Motion Picture printed letters to the editor complaining of the saturation of musicals. One reader wrote that he was concerned producers were seeking only to film stage shows instead of making movies. Ah, if only!!!
The Show of Shows is a fascinating contribution to the movie musical genre. An early part of Hollywood's rich tradition of borrowing from the stage, and an attempt to capture the magic of stage on film. The result is slightly clunky, visually spectacular, and, apart from the awful sexism and racism, a lot of fun.
Motion Picture News predicted in October 1929 that revue movies would now be an annual staple. By mid-1930 however, audiences had tired of revues and backstage musicals. Motion Picture printed letters to the editor complaining of the saturation of musicals. One reader wrote that he was concerned producers were seeking only to film stage shows instead of making movies. Ah, if only!!!
- Published on
Instead of filming live musicals on a soundstage, producers should be filming live stage musicals, complete with a live audience, as a better way to give a wider audience access to live musical theatre.
NBC’s The Sound of Music Live! was an ambitious attempt to live-record a musical on a soundstage, and broadcast the feed, live, to the televisions of viewers across America. The production was watched by a massive 18.4 million viewers across the United States. Although the production received mixed reviews from critics and viewers alike, its success in introducing a wide audience to musical theatre has been celebrated.
Filming a live musical and broadcasting it is not a new phenomenon. Since the development of film, artists have attempted to capture live musicals for the screen, and The Sound of Music Live! is another installment in that history.
Gotta Sing!
Starting with the commercialization of film, producers turned to live theatre for content. With the development of the talkies in the 1920s, movie studios filmed short clips of vaudeville stars performing their routines to demonstrate the possibilities of the combination of sound and image. Broadway productions became fodder for Hollywood scripts, and, in the early movie musicals, whole scenes from currently running Broadway musicals were filmed and incorporated into the story. As movie musicals gained confidence and success, and blossomed into their own genre, live stage musicals were filmed less and less for the cinema.
Anything Goes on Television
A revival in the recording of live musical theatre occurred with the development, and availability, of television. The 1950s saw a “golden age” for live theatre on television, with theatre able to provide proven ready-made content, though most of these programs were filmed without a live audience.
Musicals were featured in short excerpts of currently playing productions, and programs such asBell Telephone Hour (NBC), The Ed Sullivan Show (CBS), and Tonight on Broadway (CBS) all featured live excerpts from Broadway. Between 1950 and 1955, the Colgate Comedy Hourfeatured popular shortened versions of contemporary musicals such as Annie Get Your Gun, Anything Goes, Kiss Me Kate, and Wonderful Town.
In 1955 NBC screened a full-length production of Peter Pan, starring Mary Martin, which thanks to its popular star, flying actors, and a variety of other effects, proved popular enough to continue to be aired into the 1960s. In 1957, CBS aired a live broadcast of Rodgers and Hammerstein’s Cinderella starring Julie Andrews. The production was viewed by over 100 million people.
As with cinema, television production quickly grew more sophisticated, and developed its own content more suited to its medium. Practitioners at the time believed that theatre had to be filmed in one long continuous shot, with the stage frame always visible, in order to create the illusion of the theatre. They were also limited by heavy and bulky cameras. This way of filming, along with poor quality recordings, due to light and sound designed for the theatre and not for television, created content that became less popular, compared to material specifically created for television.
A Niche Market
In 1972 Harold Prince recorded the London production of Stephen Sondheim’s Company.
Prince began to break from traditional filming methods, but without a means of distributing the recorded production, filming live theatre did not pick up again until almost a decade later.
The availability of VHS and new filming technologies in the early 1980s gave the filming of live musicals a new chance. The use of the new technologies allowed for the use of cinematic devices such as close-ups, cuts between scenes, and multiple angles. This paved the way for filming live theatre as dynamic and exciting as watching a film or well-produced television show. Through VHS, producers were able to tap into a niche market, and more and more productions were filmed, and distributed for public consumption. Excellent examples from this period include Sondheim’sSunday in the Park with George (1986) and Into the Woods (1991), both produced by Brandman Productions.
Throughout the 1990s, and continuing to the present day, producers have intermittently recorded live musicals, such as Victor/Victoria, Oklahoma!, Candide in Concert, and Love Never Dies, for commercial release on VHS, DVD, and Blu-ray. The Great Performances series on PBS has also aired many of these productions.
The Internet is Really, Really, Great... (for musicals!)
The availability of the internet in the early 2000s provided another means for distribution to a niche market.YouTube has made it possible to watch excerpts, and indeed whole recordings, of live musical theatre performances. Bootleg recordings, where audience members covertly film a live production and post the footage online, of live musicals are not entirely uncommon. BlueGobo, a kind of Youtube for musical theatre fans, provides an archive of musical theatre clips, mostly television performances, from the 1940s through to the present day.
The quality of clips on YouTube, and even Blue Gobo, can be shaky at best, and illegal at worst. On the bright side, independent companies have used the internet to provide high quality, legal, recordings of live musical productions to viewers. Broadway Worldwide created Direct from Broadway, a pay-per-view program of Broadway productions, including Jekyll and Hyde, Smokey Joe’s Cafe, and Sondheim’s Putting it Together. In 2010, Digital Theatre, a UK-based online company providing pay-per-view live theatre content, recorded Timothy Sheader’s 2010 Regent’s Park open-air production of Stephen Sondheim’s Into the Woods. According to Suzie Rendle, Digital Theatre’s Operations Manager, the recording has been very successful, selling “hundreds a month...since the launch,” with downloads in over 63 countries, and increasing.
Martin Franklin, Director of the Digital Media program in the UK’s South Hill Park Centre for the Arts, moved into online video streaming following the success of online podcasts. In June 2012, South Hill Park Arts received a grant from the British Arts Council specifically for live streaming. The first production to be streamed was From Up Here, an original musical developed through Perfect Pitch, a UK-based organization that supports the development of new musicals. The production was streamed live for free, with the hope that the stream would generate interest for future productions, and increase attendance at the theatre itself.
Ohmigod You Guys!
As technology has improved, and recordings have become more sophisticated, the past five to ten years has seen the return of live musical theatre to television, and the cinema. In 2007 Legally Blonde: The Musical, was the first live musical production to air on television whilst still playing on Broadway. The producers aimed to use the broadcast to boost ticket sales, both on Broadway and for the national tour, and it worked. Two years after the screening, Variety reported that the telecast, along with the reality television program, Legally Blonde Search for the New Elle Woods, had helped to ensure strong ticket sales, and a continuous running tour since the show’s Broadway close in 2008. Since Legally Blonde, other Broadway musicals such as Fela!, RENT, and Into the Heights have been recorded and screened on television, and at the cinema. The availability of DVD recordings have been limited due to contractual agreements with performers and creatives.
In 2011, producer Ellen M. Krass filmed a special production of Company: Live from Lincoln Centre. The performance was released into cinemas around the world in 2012. Following the musical itself, the screening included an interview with Krass about the making of the production for cinematic release. Krass stated that she had experienced difficulty in obtaining funding for the project as investors had not yet heard of filming a live musical and releasing it as a commercial product!
Next to Normal Viewing
There are industry concerns that the availability of recorded live performance, whether on television, in the cinema, or on DVD, will replace attendance at the actual live performances. After all, the cost of a movie ticket, or watching content at home on television, or online, is vastly cheaper than the average cost of a theatre ticket.
Outside of musical theatre and into the worlds of opera and “straight” theatre, programs such asThe Met: Live and NT: Live have shown that filming live theatre for cinematic release is immensely profitable, attracts audiences who have not previously attended the theatre, and boosted ticket sales at the theatre themselves. The popularity of Legally Blonde the Musical, and The Sound of Music Live show that there is absolutely a market for filmed live musical theatre.
There is plenty of content ready for filming around the world. From the splendor of the Australian production of Love Never Dies, the fun and frivolity of the National Theatre’s London production ofOklahoma!, and the delight of star performances in the Lincoln Centre’s Company there are shows ready for filming and distribution.
So yes, let’s celebrate the success of The Sound of Music Live!. But rather than creating more soundstage musicals for broadcast, let’s get people into the theatre and film live stage musicals. We’ve been doing it for over a hundred years, and if the content from the last five years is anything to go by, it’s only going to keep getting better.
This article is based on my MA thesis, “Filming Performance: The Filming of Live Stage Musicals for Mass Distribution”, completed at the Royal Central School of Speech and Drama in 2011.
NBC’s The Sound of Music Live! was an ambitious attempt to live-record a musical on a soundstage, and broadcast the feed, live, to the televisions of viewers across America. The production was watched by a massive 18.4 million viewers across the United States. Although the production received mixed reviews from critics and viewers alike, its success in introducing a wide audience to musical theatre has been celebrated.
Filming a live musical and broadcasting it is not a new phenomenon. Since the development of film, artists have attempted to capture live musicals for the screen, and The Sound of Music Live! is another installment in that history.
Gotta Sing!
Starting with the commercialization of film, producers turned to live theatre for content. With the development of the talkies in the 1920s, movie studios filmed short clips of vaudeville stars performing their routines to demonstrate the possibilities of the combination of sound and image. Broadway productions became fodder for Hollywood scripts, and, in the early movie musicals, whole scenes from currently running Broadway musicals were filmed and incorporated into the story. As movie musicals gained confidence and success, and blossomed into their own genre, live stage musicals were filmed less and less for the cinema.
Anything Goes on Television
A revival in the recording of live musical theatre occurred with the development, and availability, of television. The 1950s saw a “golden age” for live theatre on television, with theatre able to provide proven ready-made content, though most of these programs were filmed without a live audience.
Musicals were featured in short excerpts of currently playing productions, and programs such asBell Telephone Hour (NBC), The Ed Sullivan Show (CBS), and Tonight on Broadway (CBS) all featured live excerpts from Broadway. Between 1950 and 1955, the Colgate Comedy Hourfeatured popular shortened versions of contemporary musicals such as Annie Get Your Gun, Anything Goes, Kiss Me Kate, and Wonderful Town.
In 1955 NBC screened a full-length production of Peter Pan, starring Mary Martin, which thanks to its popular star, flying actors, and a variety of other effects, proved popular enough to continue to be aired into the 1960s. In 1957, CBS aired a live broadcast of Rodgers and Hammerstein’s Cinderella starring Julie Andrews. The production was viewed by over 100 million people.
As with cinema, television production quickly grew more sophisticated, and developed its own content more suited to its medium. Practitioners at the time believed that theatre had to be filmed in one long continuous shot, with the stage frame always visible, in order to create the illusion of the theatre. They were also limited by heavy and bulky cameras. This way of filming, along with poor quality recordings, due to light and sound designed for the theatre and not for television, created content that became less popular, compared to material specifically created for television.
A Niche Market
In 1972 Harold Prince recorded the London production of Stephen Sondheim’s Company.
Prince began to break from traditional filming methods, but without a means of distributing the recorded production, filming live theatre did not pick up again until almost a decade later.
The availability of VHS and new filming technologies in the early 1980s gave the filming of live musicals a new chance. The use of the new technologies allowed for the use of cinematic devices such as close-ups, cuts between scenes, and multiple angles. This paved the way for filming live theatre as dynamic and exciting as watching a film or well-produced television show. Through VHS, producers were able to tap into a niche market, and more and more productions were filmed, and distributed for public consumption. Excellent examples from this period include Sondheim’sSunday in the Park with George (1986) and Into the Woods (1991), both produced by Brandman Productions.
Throughout the 1990s, and continuing to the present day, producers have intermittently recorded live musicals, such as Victor/Victoria, Oklahoma!, Candide in Concert, and Love Never Dies, for commercial release on VHS, DVD, and Blu-ray. The Great Performances series on PBS has also aired many of these productions.
The Internet is Really, Really, Great... (for musicals!)
The availability of the internet in the early 2000s provided another means for distribution to a niche market.YouTube has made it possible to watch excerpts, and indeed whole recordings, of live musical theatre performances. Bootleg recordings, where audience members covertly film a live production and post the footage online, of live musicals are not entirely uncommon. BlueGobo, a kind of Youtube for musical theatre fans, provides an archive of musical theatre clips, mostly television performances, from the 1940s through to the present day.
The quality of clips on YouTube, and even Blue Gobo, can be shaky at best, and illegal at worst. On the bright side, independent companies have used the internet to provide high quality, legal, recordings of live musical productions to viewers. Broadway Worldwide created Direct from Broadway, a pay-per-view program of Broadway productions, including Jekyll and Hyde, Smokey Joe’s Cafe, and Sondheim’s Putting it Together. In 2010, Digital Theatre, a UK-based online company providing pay-per-view live theatre content, recorded Timothy Sheader’s 2010 Regent’s Park open-air production of Stephen Sondheim’s Into the Woods. According to Suzie Rendle, Digital Theatre’s Operations Manager, the recording has been very successful, selling “hundreds a month...since the launch,” with downloads in over 63 countries, and increasing.
Martin Franklin, Director of the Digital Media program in the UK’s South Hill Park Centre for the Arts, moved into online video streaming following the success of online podcasts. In June 2012, South Hill Park Arts received a grant from the British Arts Council specifically for live streaming. The first production to be streamed was From Up Here, an original musical developed through Perfect Pitch, a UK-based organization that supports the development of new musicals. The production was streamed live for free, with the hope that the stream would generate interest for future productions, and increase attendance at the theatre itself.
Ohmigod You Guys!
As technology has improved, and recordings have become more sophisticated, the past five to ten years has seen the return of live musical theatre to television, and the cinema. In 2007 Legally Blonde: The Musical, was the first live musical production to air on television whilst still playing on Broadway. The producers aimed to use the broadcast to boost ticket sales, both on Broadway and for the national tour, and it worked. Two years after the screening, Variety reported that the telecast, along with the reality television program, Legally Blonde Search for the New Elle Woods, had helped to ensure strong ticket sales, and a continuous running tour since the show’s Broadway close in 2008. Since Legally Blonde, other Broadway musicals such as Fela!, RENT, and Into the Heights have been recorded and screened on television, and at the cinema. The availability of DVD recordings have been limited due to contractual agreements with performers and creatives.
In 2011, producer Ellen M. Krass filmed a special production of Company: Live from Lincoln Centre. The performance was released into cinemas around the world in 2012. Following the musical itself, the screening included an interview with Krass about the making of the production for cinematic release. Krass stated that she had experienced difficulty in obtaining funding for the project as investors had not yet heard of filming a live musical and releasing it as a commercial product!
Next to Normal Viewing
There are industry concerns that the availability of recorded live performance, whether on television, in the cinema, or on DVD, will replace attendance at the actual live performances. After all, the cost of a movie ticket, or watching content at home on television, or online, is vastly cheaper than the average cost of a theatre ticket.
Outside of musical theatre and into the worlds of opera and “straight” theatre, programs such asThe Met: Live and NT: Live have shown that filming live theatre for cinematic release is immensely profitable, attracts audiences who have not previously attended the theatre, and boosted ticket sales at the theatre themselves. The popularity of Legally Blonde the Musical, and The Sound of Music Live show that there is absolutely a market for filmed live musical theatre.
There is plenty of content ready for filming around the world. From the splendor of the Australian production of Love Never Dies, the fun and frivolity of the National Theatre’s London production ofOklahoma!, and the delight of star performances in the Lincoln Centre’s Company there are shows ready for filming and distribution.
So yes, let’s celebrate the success of The Sound of Music Live!. But rather than creating more soundstage musicals for broadcast, let’s get people into the theatre and film live stage musicals. We’ve been doing it for over a hundred years, and if the content from the last five years is anything to go by, it’s only going to keep getting better.
This article is based on my MA thesis, “Filming Performance: The Filming of Live Stage Musicals for Mass Distribution”, completed at the Royal Central School of Speech and Drama in 2011.