On Your Toes (1939)A young hoofer quits vaudeville to become a composer and hooks up with a Russian ballet troupe. Director:Ray Enright |
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On Your Toes (1939)A young hoofer quits vaudeville to become a composer and hooks up with a Russian ballet troupe. Director:Ray Enright |
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Vera Zorina | ... |
Vera Barnova
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| Eddie Albert | ... |
Phil Dolan Jr.
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| Alan Hale | ... |
Sergei Alexandrovitch
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Frank McHugh | ... |
Paddy Reilly
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| James Gleason | ... |
Phil Dolan Sr.
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Leonid Kinskey | ... |
Ivan Boultonoff
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Gloria Dickson | ... |
Peggy Porterfield
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Queenie Smith | ... |
Mrs. Lil Dolan
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Erik Rhodes | ... |
Konstantin Morrisine
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Berton Churchill | ... |
Donald Henderson
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| Donald O'Connor | ... |
Phil Jr. as a Boy
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Sarita Wooton | ... |
Vera as a Girl
(as Sarita Wooten)
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Junior Donal, an ex-vaudevillian now teaching music at Knickerbocker University in New York, enlists to help of patroness Peggy Portefield to persuade Sergei Alexandrovich, the director of the Russian Ballet, to stage a friend's jazzy "Slaughter on Tenth Avenue" ballet. Junior becomes involved with the company's prima ballerina, Vera Barnova, and even takes over the male lead in "Slaughter". This so enrages Vera's lover and regular dancing partner that he hires two thugs to kill Junior while he is performing on stage. Written by Alessandro Martini <alemartini@geocities.com>
I had the pleasure of seeing the revival of this marvelous Rodgers and Hart show when it played San Francisco some years ago. The CD is available and should be mentioned as it is the only complete recording to be had. I agree with all the reviews previously mentioned on this site and also enjoyed Donald O'Connor in his early days. Eddie Albert did very well and probably was cast since he was well received in R&H's "Boys From Syracuse" which was tremendously successful as was "On Your Toes".
My disappointment arises from the same comments previously made; the missing wonderful lyrics of Larry Hart,the inane shenanigans of the Russian characters played by very capable actors, the waste of not thinking of casting Bolger, minimizing Junior's worth by not recognizing he is a music professor in the original play, and missing the opportunity of capturing a piece of Broadway history.
Anything, however, that captures what Rodgers and Hart did for the American theatre world deserves preservation on film.