Welcome to a new Musical Theatre Monday and the continuation of our six week series on the yet-to-be covered scores of George Gershwin. Although we’ve highlighted a lot of the master composer’s work in the past, the entries in this series are either really early in his career or those I initially deemed too popular and well known to be considered “forgotten.” But the time has come to give all of his brilliant work fair play, and so far we’ve highlighted La-La-Lucille! (1919) and A Dangerous Maid (1921). Today…
III. Girl Crazy (10/14/30 – 06/06/31)
As one of the shows initially deemed too well known to be included on Musical Theatre Mondays, Aarons and Freedley’s Girl Crazy has earned its place in the history books for giving a Broadway debut to Ethel Merman, one of the theatre’s most legendary performers. On opening night, a star was born: she had three numbers and brought the house down with each one. But although the show has become more a part of Merman’s narrative than any other’s, she was not the lead. The book, by Guy Bolton and John McGowan, concerned Danny Churchill (Allen Kearns), a New York playboy who is shipped out to Custerville, Arizona by his father in an attempt to straighten him out. But Danny, who falls in love with local postmistress Molly Gray (Ginger Rogers), brings the bright lights of the city out west and converts the family’s farm into a gambling, boozy, babe-filled dude ranch. Complicating matters is a love triangle involving Molly and Danny’s New York rival Sam Mason (Donald Foster), who sweeps the former off her feet after a big win at the casino and rides off which Danny’s girl (until she comes to her senses and avoids his drunken advances). Meanwhile, Danny becomes friends with Gieber Goldfarb (Willie Howard), a cabbie who becomes sheriff. Merman plays a saloon singer from San Francisco, Kate Fothergill, whose no-account gambling husband, Slick (William Kent) gives her some heartache. Naturally, things work out in the need: Boy gets Girl and the villains are punished. (Oh, and Lew Parker, That Girl‘s Daddy, had a small part too!)
The show was an unqualified hit. In addition to the breakout performance of Ethel Merman, the show featured a marvelous cast of performers, including Ginger Rogers — yes, THE Ginger Rogers — who got to dance with Fred Astaire for the first time in her career when the producers brought him in to help with some of the choreography. But beyond the players, both the book and score were praised by 1930 theatergoers. Critics today take a less kinder view of the book than they did back then; as always, there are cries of “dated” and “thin”, but compared to other works of the time, Girl Crazy features more cohesion between song and story than you’d expect. (It’s a Gershwin show, remember?) This is probably why it was turned into a film three times — in 1932 (featuring a brand new Gershwin song), 1943 (with Garland and Rooney), and in 1965 as When The Boys Meet The Girls. All three used a handful of the tunes, but made alterations to the book. 1932 is most faithful to the story, while 1943 uses more of the score. In 1992, a Gershwin jukebox, Crazy For You, musical supposedly adapted from Girl Crazy opened on Broadway. The premise is dramatically different and only five songs from the original score are used.
There have been a handful of small scale Girl Crazy revivals over the years, along with limited concert productions. The score is always extolled as superb, and it’s not difficult to see why. In fact, of all the Gershwin shows we’ve covered here in the past two-and-a-quarter years, Girl Crazy may be the most consistent — and my favorite. Yes, every single song is a winner. Of course, the big hit, thanks to Merman, is “I Got Rhythm.” I featured that number in my first post on Ethel Merman, way back in July 2013. The rendition, heard above, is from a live performance of Merman in an unreleased April 1931 (when the show was still running) newsreel. It’s the earliest surviving record of her singing the number.
Although “I Got Rhythm” became La Merm’s first anthem, the first song Kate had in the show was the jazzy “Sam And Delilah.” She recorded it in 1961; hear it above. Her final number, the bluesy “Boy! What Love Has Done To Me!,” went unrecorded by its originator. Nancy Walker’s rendition several decades later is well known, but I’m sharing this version, performed by Ana Gasteyer and taken from an audio of the 2009 Encores! production, which uses a faster tempo.
Next to “I Got Rhythm,” the standard with the most longevity is Danny and Molly’s “Embraceable You.” Here’s an unreleased rendition by Ginger Rogers herself, recorded in the mid ’60s.
Rogers also recorded her Act Two solo, “But Not For Me,” my favorite non-Merman number from the score. I think this is truly some of both Gershwin brothers’ finest work and emblematic of the high quality material that they produced for Girl Crazy.
An example of the Western sound in which the Gershwins imbued a lot of score can be found in “Bronco Busters,” heard below by Judy Garland and company in an outtake from the soundtrack of the 1943 MGM film.
There are so many marvelous numbers that I’d love to share with you here, but we’ll close today’s entry with one of my favorite Gershwin duets, Danny and Molly’s “meet not-so-cute”, “Could You Use Me?” Here’s the rendition from the highly recommendable 1990 studio cast album, which you can purchase here. (For access to that aforementioned Encores! recording and/or a 1987 concert conducted by John Mauceri, subscribe and comment below!)
Come back next Monday for another George Gershwin musical! And tune in tomorrow for the best from the first season of WKRP In Cincinnati!
Love that early Merman recording. It’s such a shame she never recorded “Boy What Love Has Done To Me.” I can only hope something will turn up some day!
Any chance I could get that 1987 concert recording? Thanks!
Hi, Michael! Thanks for reading and commenting. I have emailed you at your gmail address.
Merman made unreleased test recordings of both “I Got Rhythm” and “Boy! What Love Has Done To Me” during the run of GIRL CRAZY, but they are not known to have survived.
I don’t think the Gershwins get enough credit for their integrated musicals, especially the political satires (Strike Up the Band, Of Thee I Sing, Let ‘Em Eat Cake). I don’t see how those shows could be any *more* integrated! Girl Crazy may be somewhat looser in the connection between score and script, but nothing in it seems arbitrary. And, as you pointed out, the songs are top-notch, and most of them “work” perfectly when performed outside the context of the show.
Please send me the two recordings you mentioned when you have a chance. Many thanks!
Hi, Scott! Thanks for reading and commenting.
I have emailed you at your earthlink address.
Good Morning Jackson!
Still listening and loving your blog! Girl Crazy is one of my favorite musicals!
I listen to the 1990 Mauceri recording constantly… and if my dream of owning
my own theatre ever materializes, Girl Crazy will be the first production. I collect
all the Encore recordings but never heard of a recording of GC… I LOVE Ana
Gasteyer! Please send me that and the Mauceri concert… my inner Gershwin
is jumping for joy! And speaking of Encores… have you heard any more news
about their Paint Your Wagon recording? I havn’t heard a word about it since
they announced it way back in March… another one of my all time favorites!
Keep the music playing!
Michael Z. in Nashville
Hi, Michael! Thanks for reading and commenting. I have emailed you at your AT&T address.
PAINT YOUR WAGON was recorded in June. I have not heard much about it since then, but I’ve been told to expect it from Sony sometime this fall.
Thanks Jackson… You’re the Tops!
First time I’ve ever heard Ginger Rogers, But Not For Me and Embraceable You. I saw Crazy For You and it was good but the really changed the story . Have the cast album but how much is the Encores recording and the 1987 concert. Keep up the good work . I look forward to your blog every Monday. Bob K
Hi, Bob! Thanks for reading and commenting.
Those two recordings aren’t commercially available and I don’t sell them. However, because you’re a subscriber and regular reader, I have sent them to you for download via your gmail address!
I look forward to musical comedy mondays every week. I’ve heard the Encores! version of Girl Crazy, but have never heard the 1987 Concert version. Could you share that with me?
Hi, Roland! Thanks for reading and commenting.
I have emailed you at your yahoo address.
It’s so nice to hear all these recordings, especially “Boy What Love Has Done To Me”, which I’ve never heard before. If you are able to send the 1987 recording and the 2009 Encores recording, I’d be very interested to listen!
Hi, John! Thanks for reading and commenting.
I have emailed you at your gmail address.
In the 2009 production, did they switch the orders of I Got Rhythm and Sam And Delilah, or is the tracking wrong on the audio files?
They swapped the order of the two numbers, believing that the Merman character should be introduced with the song better associated with her star-making performance in the original production. It was not a decision that everyone loved. See below.
“…Indicative is the decision to switch Kate’s two songs at the end of Act 1. Merman came out and sang ‘Sam and Delilah’ as a performance number. Then, later in the scene, she did ‘I Got Rhythm’ as a book song. Whoever reversed the songs (and their functions) has forgotten that simple show-biz dictum: Save the best for last.” (https://www.backstage.com/review/ny-theater/off-broadway/girl-crazy-in-concert/)