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an Old Fashioned Wedding From Annie Get Your Gun

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1946 musical by Irving Berlin

Annie Get Your Gun
Annie Merman.jpg

Broadway 1946 Original Cast Album
Music Irving Berlin
Lyrics Irving Berlin
Book
  • Dorothy Fields
  • Herbert Fields
Productions
  • 1946 Broadway
  • 1947 West Finish
  • 1947 U.South. Tour
  • 1947 Australia
  • 1950 Moving picture
  • 1958 Broadway revival
  • 1966 Broadway revival
  • 1975 México
  • 1986 Britain tour and London revival
  • 1992 West End revival
  • 1999 Broadway revival
  • 2000 U.South. Tour
  • 2009 London revival
  • 2014 Great britain Tour
Awards 1999 Tony Honor for Best Revival

Annie Get Your Gun is a musical with lyrics and music by Irving Berlin and a book by Dorothy Fields and her brother Herbert Fields. The story is a fictionalized version of the life of Annie Oakley (1860–1926), a sharpshooter who starred in Buffalo Bill's Wild W, and her romance with sharpshooter Frank East. Butler (1847–1926).[i]

The 1946 Broadway product was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, a 1950 motion-picture show version and television versions. Songs that became hits include "There'south No Business concern Similar Bear witness Concern", "Doin' What Comes Natur'lly", "You Can't Go a Man with a Gun", "They Say It's Wonderful", and "Anything You Can Do (I Can Exercise Amend)".

History and background [edit]

Dorothy Fields had the thought for a musical about Annie Oakley, to star her friend, Ethel Merman. Producer Mike Todd turned the project downwards, so Fields approached a new producing squad, Richard Rodgers and Oscar Hammerstein Two. After the success of their commencement musical collaboration, Oklahoma!, Rodgers and Hammerstein had decided to become producers of both their ain theatrical ventures and those by other authors.[2] They agreed to produce the musical and asked Jerome Kern to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book.[2] Kern, who had been composing for picture show musicals in Hollywood, returned to New York on November 2, 1945, to begin piece of work on the score to Annie Get Your Gun, but three days afterward, he collapsed on the street due to a cerebral hemorrhage.[3] Kern was hospitalized, and he died on November 11, 1945.[4] The producers and Fields then asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs.[5] Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show".[v] Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Tin can't Get a Man With a Gun", and "There's No Business Like Show Business".[6] Berlin'south songs suited the story and Ethel Merman's abilities, and he readily composed the rest of the score to Annie Become Your Gun.[five] [7] The show's eventual hit song, "There's No Concern Similar Show Concern", was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did non like information technology.[8] In imitation of the structure of Oklahoma! a secondary romance between two of the members of the Wild West Show was added to the musical during its evolution.[9]

Co-ordinate to some sources, the role of Annie was originally offered to Mary Martin, who turned it down. This is not true. Dorothy Fields went to the hospital later Merman gave nascence to her son to ask her if she would do the show. The bear witness was conceived for Merman, but when time came to transport out the post-Broadway national tour and Merman was unwilling to do information technology, Martin jumped at the gamble, going on the road for approximately ii years and belting out the songs, which had the effect of lowering her voice from its normal lyric-coloratura range to mezzo-soprano-alto.

For the 1999 revival, Peter Stone revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs "Colonel Buffalo Bill" and "I'grand An Indian Too".[x] Stone said, "The big challenge is taking a book that was wonderfully crafted for its time and get in wonderfully crafted for our fourth dimension... It was terribly insensitive...to Indians.... Only it had to be dealt with in a way that was heartfelt and non obvious... In this instance, it was with the permission of the heirs. They're terribly pleased with information technology."[xi] Stone also altered the structure of the musical, beginning it with "In that location's No Business organization Like Show Business" and presenting the musical as a "prove inside a prove".[nine]

Plot summary [edit]

Human activity I [edit]

When the traveling Buffalo Beak'south Wild Due west evidence visits Cincinnati, Ohio ("Colonel Buffalo Bill"), Frank Butler, the evidence'due south handsome, womanizing star ("I'm a Bad, Bad, Man"), challenges anyone in town to a shooting match. Foster Wilson, a local hotel owner, doesn't capeesh the Wild Due west show taking over his hotel, and then Frank gives him a side bet of one hundred dollars on the match. Annie Oakley enters and shoots a bird off Dolly Tate's hat, and so explains her simple weald ways to Wilson with the help of her siblings ("Doin' What Comes Natur'lly"). When Wilson learns she'south a brilliant shot, he enters her in the shooting friction match against Frank Butler.

While waiting for the lucifer to start, Annie meets Frank Butler and is instantly smitten with him, non knowing he will be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants will "vesture satin... and smell of cologne" ("The Girl That I Ally"). The rough and naive Annie comically laments that "You Can't Get a Human with a Gun". At the shooting friction match, Annie finds out that Frank is the "large swollen-headed stiff" from the Wild West bear witness. She wins the contest, and Buffalo Bill and Charlie Davenport, the show'southward manager, invite Annie to join the Wild West Show. Annie agrees considering she loves Frank fifty-fifty though she has no idea what "bear witness business" is. Frank, Charlie, and Buffalo Bill explain that "There's No Business Like Show Business organisation".

Over the class of working together, Frank becomes enamored of the plainly-spoken, honest, tomboyish Annie and, every bit they travel to Minneapolis, Minnesota, on a train, he explains to her what "love" is ("They Say Information technology's Wonderful"). Buffalo Bill and Charlie discover that their rival, Pawnee Bill's Far Due east Prove, will be playing in Saint Paul, Minnesota, while the Wild West show plays in nearby Minneapolis. They ask Annie to exercise a special shooting stunt on a motorcycle to draw Pawnee Bill'south business away. Annie agrees because the trick will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby".

Every bit Annie and Frank fix for the testify, Frank plans to propose to Annie afterwards the show so ruefully admits that "My Defenses Are Downwards". When Annie performs her trick and becomes a star, Chief Sitting Bull adopts her into the Sioux tribe ("I'm An Indian Besides"). Hurt and angry, Frank walks out on Annie and the show, joining the competing Pawnee Beak's show.

Deed Two [edit]

Returning to New York from a tour of Europe with the Buffalo Bill prove, Annie learns that the show has gone broke. Sitting Bull, Charlie, and Buffalo Bill plot to merge Buffalo Nib's show with Pawnee Beak's equally they believe that show is doing well financially. Annie, now well-dressed and more refined and worldly, notwithstanding longs for Frank ("I Got Lost in His Arms").

At a k reception for Buffalo Nib's troupe at the Hotel Brevoort, Pawnee Bill, Dolly, and Frank also plot a merger of the 2 companies, assuming Buffalo Pecker's bear witness fabricated a fortune touring Europe. When they all meet, they presently find both shows are bankrupt. Annie, however, has received sharpshooting medals from all the rulers of Europe worth ane hundred thousand dollars, and she decides to sell the medals to finance the merger, rejoicing in the simple things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their dearest and decide to marry, although with comically different ideas: Frank wants "some petty chapel", while Annie wants "A wedding in a big church with bridesmaids and flower girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Old-Fashioned Wedding"o). When Annie shows Frank her medals, Frank again has his pride injure. They call off the merger and the wedding, simply challenge each other to 1 last shooting match to make up one's mind who is the best shot.

On the ferry to the Governors Island match site, Dolly attempts to ruin Annie'southward chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. However, they and so determine to follow through with Dolly's plan then that Annie will lose the match, knowing that would soothe Frank's ego allowing the ii to reconcile and the merger to take place.

As the match is ready to begin, Annie and Frank's egos come out again with each claiming they are better than the other ("Anything You Can Do"). Sitting Balderdash convinces Annie to deliberately lose the lucifer to Frank, reminding her that she "can't get a homo with a gun." That washed, Frank and Annie finally reconcile, deciding to marry and merge the shows.

Notes:

  • This description is based on the 1966 revised volume.
  • In the 1999 volume, Frank also deliberately misses his shots in the terminal lucifer, which ends in a tie.
  • o written for 1966 revision and included in 1999 Broadway Revival; non in the original product
  • § omitted from the 1999 Broadway Revival

Notable Casts [edit]

Character Original Broadway[12]

(1946)

Original Due west Cease[13]

(1947)

Outset U.Due south. Bout[14]

(1947)

First Broadway Revival[fifteen]

(1958)

Second Broadway Revival[16]

(1966)

Beginning Westward End Revival

(1986)

Third Broadway Revival[17]

(1999)

Second U.Southward. Tour[xviii]

(2000)

Annie Oakley Ethel Merman Dolores Gray Mary Martin Betty Jane Watson Ethel Merman Suzi Quatro Bernadette Peters Marilu Henner
Frank Butler Ray Middleton Bill Johnson Earl Covert David Atkinson Bruce Yarnell Eric Flynn Tom Wopat Rex Smith
Dolly Tate Lea Penman Barbara Babington Jean Cleveland Margaret Hamilton Benay Venuta Maureen Scott Valerie Wright Susann Fletcher
Buffalo Neb William O'Neal Ellis Irving Jack Rutherford James Rennie Rufus Smith Edmund Hockridge Ron Holgate George McDaniel
Chief Sitting Bull Harry Bellaver John Garside Zachary A. Charles Harry Bellaver Harry Bellaver Berwick Kaler Gregory Zaragoza Larry Storch
Tommy Keeler Kenneth Bowers Irving Davies Tommy Wonder Richard France 10[a] ten Andrew Palermo Eric Sciotto
Charlie Davenport Marty May Hal Bryan Donald Burr Jack Whiting Jerry Orbach Matt Zimmerman Peter Marx Joe Hart
Winnie Tate Betty Anne Nyman Wendy Toye Billie Worth Rain Winslow ten 10 Nicole Ruth Snelson Claci Miller
Pawnee Beak George Lipton Edmund Dalby Bern Hoffman William LeMassena Jack Dabdoub Michael Thousand. Jones Ronn Carroll Charles Goff

Notes

  1. ^ Characters Tommy Keeler and Winnie Tate were cutting in both this production and the 1986 West End revival cast

Characters [edit]

  • Annie Oakley—a sharpshooter in the Wild West testify
  • Frank Butler—the Wild West prove'southward star
  • Dolly Tate—Frank'southward flamboyant assistant; Winnie's sis (Charlie's sister in the 1966 version)
  • Buffalo Bill—owner of the Wild Due west bear witness
  • Main Sitting Balderdash—Sioux chief and holy human being; Annie's protector
  • Tommy Keeler§—knife-thrower in the Wild West prove; Winnie's fellow; part Native American (not in the '66 version)
  • Charlie Davenport—manager of the Wild W show
  • Winnie Tate§—Dolly'south sister; Tommy's girlfriend and his assistant in the knife-throwing human action (not in the '66 version)
  • Pawnee Beak—owner of a competing western show
  • Foster Wilson—hotel owner
  • Little Boy-show opens on him
  • Annie'due south brothers and sisters: Jessie, Nellie, Niggling Jake, and Minnie (Minnie was written out of the 1999 revival[19])

Notes

  • §Tommy and Winnie and their songs were written out of the film & 1966 revision. The 1999 revival restored their characters and songs.

Musical numbers [edit]

Original 1946 product [edit]

Notes
  • §: omitted from the 1950 moving picture version
  • "Allow's Go West Once again" was written by Berlin for the 1950 film but was not used. However, there are recordings past both Betty Hutton and Judy Garland.
  • "Take It in Your Footstep" was a solo for Annie written for the original product. It was replaced by a reprise of "There's No Business Like Bear witness Business" when Merman constitute the number as well difficult. It was recorded past Liz Larsen for the anthology Lost in Boston.

1999 revival [edit]

"An Quondam-Fashioned Nuptials" was written by Berlin for the 1966 revision, sung by Annie and Frank, and was also included in the 1999 revival

Productions [edit]

Original productions [edit]

Annie Get Your Gun premiered on Broadway at the Imperial Theatre on May sixteen, 1946, and ran for 1,147 performances. Directed past Joshua Logan, the show starred Ethel Merman as Annie, Ray Middleton as Frank Butler, Lea Penman every bit Dolly Tate, Art Bernett as Foster Wilson, Harry Bellaver equally Chief Sitting Bull, Kenneth Bowers as Tommy Keeler, Marty May as Charlie Davenport, Warren Berlinger equally the Little Boy and William O'Neal as Buffalo Bill.

The musical toured the U.Due south. from October three, 1947, starting in Dallas, Texas, with Mary Martin as Annie. This tour also played Chicago and Los Angeles. Martin stayed with the tour until mid-1948.

The show had its West End premiere on June 7, 1947, at the London Coliseum where information technology ran for i,304 performances. Dolores Gray played Annie with Bill Johnson every bit Frank.

The kickoff Australian production opened at His Majesty's Theatre in Melbourne on July xix, 1947. Information technology starred Evie Hayes as Annie with Webb Tilton as Frank.

A French version, Annie du Far-Due west, starring Marcel Merkes and Lily Fayol, began production at the Théâtre du Châtelet in Paris on Feb nineteen, 1950, and ran for over a year.

1958 Broadway revival [edit]

The get-go Broadway revival was staged in 1958 at the New York City Center, directed by Donald Burr and produced by Jean Dalrymple, director of the NYCC Light Opera Company. This production opened on February nineteen, 1958, and ran until March 2, for 16 performances. Betty Jane Watson played the function of Annie with David Atkinson equally Frank, Margaret Hamilton as Dolly, James Rennie as Chief Buffalo Pecker, and Jack Whiting equally Charles Davenport. Included in the cast was Harry Bellaver, reprising his original function of Chief Sitting Bull. The program didn't list the performer who was to play Annie, and instead a "to-be-appear" statement was substituted for the name. At the terminal infinitesimal, Watson signed for the office. Even the program for the 2nd week of the two-week engagement didn't list her name, except every bit understudy; this was the first fourth dimension in retentivity that a leading performer wasn't listed.[fifteen]

1966 Broadway revival [edit]

The show had its second Broadway revival in 1966 at the Music Theater of Lincoln Centre. This product opened on May 31, 1966, and ran until July ix, followed past a short 10-week U.Southward. Bout. It returned to Broadway at the Broadway Theatre on September 21 for 78 performances. Ethel Merman reprised her original role as Annie with Bruce Yarnell as Frank, Benay Venuta as Dolly, and Jerry Orbach equally Charles Davenport. The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With You" and "Who Do You Honey, I Hope?", and the song "An Old-Fashioned Nuptials" was specially written for the revival and added to the 2nd act.[15] : 305 This version of the bear witness is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version by NBC on March nineteen, 1967, and is the simply musical revived at Lincoln Center during the 1960s to exist telecast.[ commendation needed ]

1973 Shady Grove Music Fair product [edit]

Jay Harnick directed a revival at the Shady Grove Music Fair starring Barbara Eden, John Bennett Perry and Sandra Peabody that ran from 1973 to 1974.[xx]

1976 Mexican production [edit]

In 1976 a Spanish-language version was produced in Mexico City with the name of Annie es un tiro. Information technology was directed by José Luis Ibáñez and starred by Mexican film star Silvia Pinal. The product was represented at the Teatro Hidalgo and was co starred by the thespian and vocalizer Manuel López Ochoa. The success of the product produced the first Castilian-language version of the musical's soundtrack.[21]

1977 Los Angeles Civic Light Opera product [edit]

In 1977, Gower Champion directed a revival for the Los Angeles Civic Light Opera starring Debbie Reynolds as Annie.[22] The Assistant Director was James Mitchell. Harve Presnell, Reynolds's old co-star in the 1964 film The Unsinkable Molly Brown, played Frank Butler. The cast featured Art Lund as Buffalo Bill, Bibi Osterwald as Dolly Tate, Gavin MacLeod as Charlie Davenport,[23] Peter Bruni as Foster Wilson, Don Potter as Pawnee Bill, and Manu Tupou equally Sitting Bull.[24] [25] The cast also included Trey Wilson and Debbie Shapiro. The production later toured various N American cities, but never ran on Broadway, its planned destination.

1986 UK tour and London revival [edit]

In 1986, a David Gilmore Chichester Festival Theatre production, with American stone star Suzi Quatro as Annie and Eric Flynn as Frank, opened at the Chichester Festival Theatre.[26] [27] It moved to the Theatre Purple, Plymouth,[27] and and then to the Aldwych Theatre in London's West Terminate where it played from July 29 to October 4.[28] The cast recorded an album, Annie Get Your Gun - 1986 London Cast[29] and Quatro'due south songs "I Got Lost in His Arms"/"You Can't Go a Man with a Gun" were released every bit a single.[27] Since then "I Got Lost in His Arms" has too been included in the compilation albums The Divas Drove (2003)[30] and Songs from the Greatest Musicals (2008).[31]

1992 London revival [edit]

A short-lived London product ran at the Prince of Wales Theatre in the West End, starring Kim Criswell as Annie.[32] Criswell'southward studio bandage recording of the testify - fabricated with Thomas Hampson and usher John McGlinn[33] - provided the impetus for the product. Pippa Ailion was the Casting Manager for this production.

1999 Broadway revival [edit]

In 1999, a new product had its pre-Broadway date at the Kennedy Center, Washington, D.C., from December 29, 1998, to Jan 24, 1999. Previews began on Broadway on February 2, 1999, at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September 1, 2001, afterwards 35 previews and 1,045 performances.

This revival starred Bernadette Peters as Annie and Tom Wopat as Frank, and Ron Holgate equally Buffalo Bill, with direction by Graciela Daniele, choreography by Jeff Calhoun, and music arrangements by John McDaniel. Peters won the 1999 Tony Award for All-time Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.

This production had a revised book by Peter Stone and new orchestrations, and was structured as a "prove-within-a-prove", gear up as a Big Top travelling circus. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "There's No Business concern Similar Show Business", which is reprised when "Annie" agrees to join the traveling Wild West show. The production dropped several songs (including "Colonel Buffalo Bill", "I'thou A Bad, Bad Man", and "I'chiliad an Indian Likewise"), but included "An Sometime-Fashioned Nuptials". There were several major dance numbers added, including a ballroom scene.[34] A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was also included. In the 1946 product, Winnie was Dolly'southward daughter, but the 1966 &1999 productions she is Dolly'south younger sister. In this version, the concluding shooting match between Annie and Frank ends in a tie.[35]

Notable replacements [edit]

While Peters was on vacation, All My Children star Susan Lucci made her Broadway debut every bit Annie from Dec 27, 1999, until Jan 16, 2000. Peters and Wopat left the show on September 2, 2000. Sometime Charlie'south Angels star Cheryl Ladd made her Broadway debut as Annie on September half-dozen, 2000, with Patrick Cassidy as Frank Butler. Country music singer Reba McEntire made her Broadway debut equally Annie from Jan 26, 2001, to June 22, 2001, opposite Brent Barrett every bit Frank.[36] On June 23, 2001, quondam Wings star Crystal Bernard, who had been playing Annie in the national tour of Annie Get Your Gun, assumed the role of Annie in the Broadway product, with Tom Wopat returning as Frank Butler.[37]

2000 U.Southward. tour [edit]

The 1999 Broadway production, in a "slightly revised version", toured in a U.S. national tour starting in Dallas, Texas, on July 25, 2000, with Marilu Henner and Rex Smith. Tom Wopat joined the tour in tardily October 2000, replacing Smith.[38]

2006 Prince Music Theater production [edit]

In 2006, the Prince Music Theater of Philadelphia, Pennsylvania, revived the 1966 Lincoln Heart Theater version for ane month. This product starred Andrea McArdle (the original Annie of the 1977 Broadway musical Annie), Jeffrey Coon as Frank Butler, John Scherer as Charlie Davenport, Chris Councill as Buffalo Bill, Mary Martello as Dolly Tate, and Arthur Ryan as Sitting Bull. The production was well received by critics.[39] The production was directed by Richard K. Parison, Jr. and choreographed by Mercedes Ellington.[40]

2009 London revival [edit]

Jane Horrocks, Julian Ovenden and director Richard Jones mounted a major London revival at the Young Vic, Waterloo. The bear witness opened at the off west stop venue on October 16, 2009, initially booking until January ii, 2010, but with an extra week added due to popular demand. The production featured new arrangements by Jason Carr for a band consisting 4 pianos.[41] London's Guardian newspaper awarded the show 5 stars, claiming that "Richard Jones's brilliant production offers the wittiest musical staging London has seen in years."[42]

2010 Ravinia Festival concert [edit]

A concert staging of the original version of Annie Get Your Gun took place at the Ravinia Festival, Chicago from August 13–15, 2010 to celebrate the 150th ceremony of Annie Oakley's birth. Directed by Lonny Cost, the concert starred Patti LuPone as Annie, Patrick Cassidy equally Frank and George Hearn as Buffalo Pecker.[43] The concert received unanimously strong reviews, notably for LuPone and Price'due south direction.

Other major productions [edit]

Lucie Arnaz starred in a product in the summer of 1978 with Harve Presnell at the Jones Embankment Theater in Nassau County, New York.[44] This was the start major production of the musical done in the New York area later the 1966 revival.

The Paper Manufactory Playhouse produced a well-reviewed production in June 1987 starring Judy Kaye every bit Annie and Richard White every bit Frank.[45]

In 2004, Marina Prior and Scott Irwin starred in an Australian production of the 1999 Broadway rewrite of the bear witness.

In 2014 Carter Calvert and David Weitzer starred in a product that opened the Algonquin Arts Theatre'due south 2014-2015 Broadway Flavour. Information technology was too the first prove to be performed after the Algonquin underwent the task of installing new seating which had not been done since 1938.

In Oct 2015, a two night concert version was presented at the New York City Eye Gala starring Megan Hilty (Annie Oakley) and Andy Karl (Frank Butler). The concerts are directed by John Rando, and the bandage features Judy Kaye (Dolly Tate), Ron Raines (Buffalo Bill), Brad Oscar (Charlie) and Chuck Cooper (Pawnee Bill).[46] [47]

Film and telly versions [edit]

In 1950, Metro Goldwyn Mayer made a well-received movie version of the musical. Although MGM purchased the rights to the film version with an announced intention of starring legendary singer-actress Judy Garland equally Annie, early on work on the motion-picture show was plagued with difficulties, some attributed to Garland's health. Garland was fired and replaced by the brassier, blonde Betty Hutton.

In 1957, a production starring Mary Martin equally Annie and John Raitt as Frank Butler was broadcast on NBC. In 1967, the Lincoln Center product described above, starring Ethel Merman and Bruce Yarnell, was circulate on NBC. The Mary Martin version has been re-broadcast sporadically over the years, but the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio prune of "I Got the Lord's day in the Mornin' (and the Moon at Night)" is known to exist,[48] as does an audio-just recording of the entire 90-infinitesimal show.[49]

Recordings [edit]

There are several recordings of the Annie Get Your Gun score, including:

  • 1946 Original Broadway Cast: an original bandage recording was released by Decca Records in 1946, featuring the cast of the original 1946 Broadway production. The primary stars were Ethel Merman and Ray Middleton. The anthology was added to the Grammy Hall of Fame in 1998.
  • 1957 TV Bandage: a recording based on the Television set version shown in 1957, with Mary Martin and John Raitt.
  • 1963 Studio Cast featuring Doris Day and Robert Goulet: non based on a theatre production.
  • 1966 Broadway Revival Cast
  • 1976 Castilian-language version with Mexican bandage.
  • 1986 1986 London Cast[29]
  • 1991 Studio Cast: Kim Criswell (Annie), Thomas Hampson (Frank), Jason Graae (Tommy), Rebecca Luker (Winnie), David Garrison (Charlie), David Healy (Buffalo Nib), Alfred Marks (Sitting Balderdash), Gregory Jbara (Foster Wilson) Simon Dark-green (Pawnee Bill), Peta Bartlett (Dolly), Kerry Potter, Hayley Spencer, Emma Long (Annie'due south sisters: Minnie, Jessie Nellie), Paul Keating (Annie's brother: Little Jake), Nick Curtis, Carey Wilson, Michael Pearn (Trainman, Waiter, Porter), Clare Buckfield (Small Daughter), John McGlinn (Mac), Bruce Ogston (An Indian), Ambrosian Singers, London Sinfonietta, conducted by John McGlinn. Producer: Simon Woods; Balance Engineer: John Kurlander; Editor Matthew Cocker; Production Banana: Alison Fox. Recorded July 1990, No 1 Studio, Abbey Road, London. CD: EMI CDC 7 54206 two.
  • 1999 Broadway Revival Bandage (Grammy Award)

Conductor John Owen Edwards along with JAY Records recorded the first-ever complete recording, with all musical numbers, scene modify music and incidental music, of the bear witness's score in the 1990s with Judy Kaye and Barry Bostwick. Christopher Lee had the role of Sitting Balderdash.[fifty]

Reception [edit]

The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and volume were not particularly distinguished. John Chapman of the Daily News alleged that the production had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time show" but pronounced Merman the best part of the testify, stating "She is a improve comedienne than she ever was earlier", stating that "Annie is a good, standard, lavish, big musical and I'k certain it will be a huge success--but it isn't the greatest show in the earth".[51] Louis Kronenberger of PM stated that the show was 'in many ways routine", simply greatly praised Merman's performance, opining, "For me, Annie is mainly Miss Merman'south evidence, though the rest of it is competent enough of its kind...Irving Berlin's score is musically not heady--of the real songs, only one or two are tuneful".[51] Ward Morehouse of The New York Lord's day declared, "The large news about Annie Become Your Gun is that it reveals Ethel Merman in her best course since Anything Goes...She shouts the Berlin music with expert consequence. She often comes to the aid of a sagging book".[51] He stated, "Irving Berlin'south score is not a notable one, only his tunes are singable and pleasant and his lyrics are peculiarly good. The book? It's on the flimsy side, definitely. And rather witless as well".[51] Lewis Nichols of The New York Times said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to roll her optics and to shout downwards the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway past this time is well used to a book which doesn't get anywhere in particular".[51]

However, the show itself was greatly lauded by some critics: Vernon Rice of the New York Post proclaimed, "Irving Berlin has outdone himself this time. No use trying to selection a hit tune, for all the tunes are hits...Ethel Merman is at her brawny, gratis and easy best...She is at present able to develop a consistent label and stay with it to the show'due south end. And when she opens her mouth to sing, she sings!"[51] William Hawkins of the New York Globe-Telegram said that Merman was "bright as a whip, certain every bit her shooting, and generously the foremost lady clown of her time" and asserted that the prove itself was comparable to those of Rodgers and Hammerstein, proclaiming, "For verve and buoyancy, unslackening, at that place has seldom if ever been a show like information technology...the girls in Annie have the dazzler and grapheme of looks 1 assembly with a Rodgers and Hammerstein evidence. And the production has in every manner the distinction that has get their hallmark".[51]

Historians have viewed the show as inaccurate, citing among other reasons its portrayal of Annie equally a loud, bouncy character, when in reality she had a placidity personality and did needlepoint in her spare time.[ commendation needed ]

Redface [edit]

Native Americans accept criticized the shows portrayal of Redface and promotion of cultural stereotypes. Particularly in the song "I'one thousand an Indian Too" sung by Annie later Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest outside the New York theatre,[ when? ] as well as movie theaters, holding sentry signs stating: "Don't See "Annie Get Your Gun". As a result of this reaction, many contemporary productions have omitted the song from their revivals, and the protests stopped.[52]

Awards and nominations [edit]

  • Mary Martin received a Special Tony Award in 1948 for "Spreading Theatre to the Country While the Originals Perform in New York" (1947-48 US Tour)[53]

1966 Broadway revival [edit]

Year Award Ceremony Category Nominee Outcome
1966 Tony Honor Best Direction of a Musical Jack Sydow Nominated
Best Choreography Danny Daniels Nominated

1999 Broadway revival [edit]

Yr Honor Ceremony Category Nominee Consequence
1999 Tony Honor Best Revival of a Musical Won
Best Performance past a Leading Actor in a Musical Tom Wopat Nominated
All-time Functioning past a Leading Extra in a Musical Bernadette Peters Won
Drama Desk Award Outstanding Revival of a Musical Nominated
Outstanding Actor in a Musical Tom Wopat Nominated
Outstanding Extra in a Musical Bernadette Peters Won
Grammy Honor Best Musical Show Anthology Won
2001 Drama Desk Award Special Award Reba McEntire Won
Theatre World Award Won

2009 London revival [edit]

Twelvemonth Honour Ceremony Category Nominee Result
2009 Laurence Olivier Honor Best Musical Revival Nominated

Notes [edit]

  1. ^ A number of Internet sources claim that the musical is based on Walter Havighurst's volume Annie Oakley of the Wild West, just the book was written in 1954, viii years after the musical was get-go produced.
  2. ^ a b Bloom and Vlastnik, p.13
  3. ^ Nolan, pp.164-65
  4. ^ Kern, p. 165
  5. ^ a b c Kantor and Maslon, p.223
  6. ^ Nolan, p.166
  7. ^ Nolan, pp.166-67
  8. ^ The Earth of Musical One-act:The Story of the American Musical (1984), Stanley Light-green, pp. 79-80, Da Capo Press, ISBN 0-306-80207-four
  9. ^ a b Bloom and Vlastnik, p.14
  10. ^ Brantley, Ben. "Everything the Traffic Will Let". The New York Times, March four, 1999, p.E1
  11. ^ Simonson, Robert. "Playbill On-Line's Cursory Come across with Peter Stone" Playbill.com, March ii, 1999
  12. ^ "Annie Get Your Gun – Broadway Musical – Original | IBDB". www.ibdb.com . Retrieved August 26, 2020.
  13. ^ "Credits for Annie Get Your Gun (London Production, 1947)". Ovrtur . Retrieved Baronial 26, 2020.
  14. ^ "Annie Get Your Gun – Broadway Musical – Tour | IBDB". www.ibdb.com . Retrieved August 26, 2020.
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References [edit]

  • Bloom, Ken and Vlastnik, Frank (2004). Broadway Musicals: The 101 Greatest Shows of all Time. New York: Black Dog & Leventhal Publishers. ISBN 1-57912-390-two
  • Kantor, Michael, and Maslon, Laurence (2004). Broadway: The American Musical. New York: Bullfinch Press. ISBN 0-8212-2905-ii
  • Nolan, Frederick (2002). The Audio of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books. ISBN 978-1-55783-473-7.
  • Suskin, Stephen (1990). Opening Dark on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre. New York: Schrimmer Books. ISBN 0-02-872625-1.
  • Annie Get Your Gun plot summary & character descriptions from StageAgent.com
  • The Judy Garland Online Discography "Annie Get Your Gun" pages.
  • Listing at the RNH site Archived Baronial 19, 2012, at the Wayback Motorcar
  • 1999 Revival at RNH Archived May 2, 2012, at the Wayback Machine
  • 'Annie Get Your Gun' Story, Cast, Scenes and Settings at guidetomusicaltheatre.com

External links [edit]

  • Annie Get Your Gun at the Internet Broadway Database
  • Annie Get Your Gun (1957) (Boob tube) at IMDb (Mary Martin)
  • Annie Go Your Gun (1967) (Goggle box) at IMDb (Ethel Merman)
  • Curtain Upwardly reviews from 2/8/01 and 3/ix/99

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