This break-a-leg-kid version finds Thelma Mason (Linda Brent), Sue Collins (Ariel Heath), Polly (Renee Helms), Glenda Benton (Iris Adrian) and Ann (Lorraine Miller), all boarders with Joan Terry (Frances Langford)at the same professional boarding house. The other girls all come to the conclusion that Joan has the "real goods" and makings of a big star, so they and the landlord, "Pop" Billings (Alec Craig) pool their funds and form "Talent, Inc." to promote Joan's career.
Hey, "Stage Door," it ain't...even if one them does die.
Joan, forgetting her old boy friend in Kansas City, James Blake (Craig Woods), is falling in love with Steve Dexter (Edward Norris) , but James shows up and is determined to talk Joan into forgetting her silly ambitions and return to Kansas City as his wife.
Meanwhile, Glenda reads a script that Sue has written and realizes it is a "grand" vehicle for Joan and, in 1945, "grand" was one notch better than "swell" and it's hard to get any sweller than swell. Glenda convinces two shoestring producers (Charles Judels and Charles Williams) to shoestring-produce the show and they have it pretty well laced-up, but James comes along and buys them out. James, cad that he be, intends to close the show and force Joan to marry him and return to Kansas City. James is not one to lose sight of his goal and has no problem putting his money where his mouth is in order to achieve this goal. But since he is billed fourth in the cast, behind Steve's 2nd-billing, the odds of him pulling this off is even lower than the virtually impossible odds that the NFL's Houston Texans would pick an obscure defensive end first in the NFL draft over the likes of Vince Young or Reggie Bush. But, since they did, maybe James will get Joan back to Kansas City to cook his waffles and iron his shirts.
And, he might have if Sue hadn't met with a fatal accident but, before it became totally fatal, she hung on long enough to disclose that her big show-biz heart was set on making a Broadway star out of Joan.
Anybody who needs to be told the finish of this one just don't know nothing a'tall about Show Business and 1940s cast ordering. Frances Langford and Lorraine Miller---as in Lorraine MILLER---in the cast makes it a keeper, along with being the only Jack Schwartz-production ever made worth watching beyond the opening credits.
Hey, "Stage Door," it ain't...even if one them does die.
Joan, forgetting her old boy friend in Kansas City, James Blake (Craig Woods), is falling in love with Steve Dexter (Edward Norris) , but James shows up and is determined to talk Joan into forgetting her silly ambitions and return to Kansas City as his wife.
Meanwhile, Glenda reads a script that Sue has written and realizes it is a "grand" vehicle for Joan and, in 1945, "grand" was one notch better than "swell" and it's hard to get any sweller than swell. Glenda convinces two shoestring producers (Charles Judels and Charles Williams) to shoestring-produce the show and they have it pretty well laced-up, but James comes along and buys them out. James, cad that he be, intends to close the show and force Joan to marry him and return to Kansas City. James is not one to lose sight of his goal and has no problem putting his money where his mouth is in order to achieve this goal. But since he is billed fourth in the cast, behind Steve's 2nd-billing, the odds of him pulling this off is even lower than the virtually impossible odds that the NFL's Houston Texans would pick an obscure defensive end first in the NFL draft over the likes of Vince Young or Reggie Bush. But, since they did, maybe James will get Joan back to Kansas City to cook his waffles and iron his shirts.
And, he might have if Sue hadn't met with a fatal accident but, before it became totally fatal, she hung on long enough to disclose that her big show-biz heart was set on making a Broadway star out of Joan.
Anybody who needs to be told the finish of this one just don't know nothing a'tall about Show Business and 1940s cast ordering. Frances Langford and Lorraine Miller---as in Lorraine MILLER---in the cast makes it a keeper, along with being the only Jack Schwartz-production ever made worth watching beyond the opening credits.