This transcript was automatically generated and might contain errors.

[0:00] Jeffrey Scott Parsons: Oh my gosh, I didn't even put that together, but of course your book should be coming out this year. Hello! Yes, the centenary of all these shows. This is what was on Broadway and in London's West End and in Vienna a century ago. Happy hundred years to all of these amazing shows. Wow. And sort of going back to something we were discussing earlier, think about Broadway today, all the different forms that a musical can be. Days of Wine and Roses, for example. Right next to Illinois' just couldn't be more different.

[0:38] William A. Everett: Exactly. And think Lady, Be Good! and The Student Prince. A massive number of creative approaches that were on Broadway a century ago, just like is the case today.

[1:01] Jeffrey Scott Parsons: Welcome everybody to a musical theatre podcast where we discuss the cultural and emotional impact of some of our favorite musicals in theatre history. My name is Jeffrey Scott Parsons. You can call me Jeff. Today we are discussing the musical Lady, Be Good! and it's all thanks to the brand new book from the first musicologist I believe we've ever had on the podcast. William A. Everett is a Curator's Distinguished Professor Emeritus of Musicology at the University of Missouri, Kansas City. I needed to get a big breath for that one. He's written several books, including the Cambridge Companion to the Musical as well as biographies of Sigmund Romberg and Rudolf Frimmel, so this guy really knows the early days of musical theatre.

Which, I mean, if you want to get on my show, please, please be an expert in this area because we never get to talk about it. His latest book is called The Year That Made the Musical, 1924 and the Glamour of Musical Theatre. And every time I say it out loud it gives me the chills. I can't wait to talk about it. Everyone, please welcome William A. Everett. Yay! William, can I call you Bill?

[2:13] William A. Everett: Please.

[2:14] Jeffrey Scott Parsons: Okay. Thank you so much for being here. I'm so, so excited to talk to you.

[2:19] William A. Everett: Thanks, Jeff. I'm delighted to be here and really honored to be part of your podcast series. You've had some incredible guests and again, thank you for inviting me.

[2:30] Jeffrey Scott Parsons: Well, I feel very, very lucky. First of all, I guess I'll say, Lady Be Good, a show that was not on my radar and now I'm so glad we're talking about it. And if anybody has listened thus far, please keep listening because even if you may not know the show, there is so much interesting stuff here to talk about. Secondly, I want to say, I think all of us musical theatre nerds, we all have our all-time favorite Broadway seasons. I've often said on the podcast that I'm endlessly fascinated by 6162. It's got so much cool old stuff, new stuff, some big hits, some big misses, even bigger swings. Do you feel that way about 1924? Why did you pick this year as the year to write about?

[3:16] William A. Everett: Yes. And actually, following up on what you just said, I cheated a bit with this book because I actually get to cover two Broadway seasons, 23 and 24, and then 24 into 25. Although honestly, I'm not covering shows that opened in 25 in the book. But I do cover shows that opened in 23 and continued playing throughout 1924 and in many cases into 1925.

[3:41] Jeffrey Scott Parsons: Oh, wow. Those are some big hits.

[3:44] William A. Everett: There are some big hits. Why 1924? Every place I went to do research or told someone, I'm doing a book on musical theatre in 1924. First question, why 1924? There was just so much happening that year. A lot of this actually comes from some of my earlier research that I've done, particularly on Sigmund Romberg, whose The Student Prince opened on December 2nd, 1924.

[4:14] Jeffrey Scott Parsons: Wow.

[4:14] William A. Everett: And that was the longest running musical that opened in the 20s to play on Broadway.

[4:21] Jeffrey Scott Parsons: Like even more so than Showboat?

[4:23] William A. Everett: Much more than Showboat or anything by Cole Porter, Rogers and Hart. It was this old-fashioned operetta that played over 600 performances.

[4:32] Jeffrey Scott Parsons: That's crazy.

[4:33] William A. Everett: And that it is. And then sort of trying to contextualize that, found out that the first two days in December, so The Student Prince opens on December 2nd. The day before, Lady Be Good opened. And these two shows couldn't be more different from each other.

[4:52] Jeffrey Scott Parsons: Amen.

[4:54] William A. Everett: A third show opening those same days was Irving Berlin's Music Box Review, his 1924 edition, which was the last one that he did. So it's music by Irving Berlin. And one of the songs in there was All Alone, which became a pop standard. And we'll talk more about everything going on with Lady Be Good. The Student Prince had this massive male chorus. These things were all spectacle, truly singing and dancing. But for All Alone, the staging of that on one side of the stage, and they had the curtain closed. So on one side of the stage is Grace Moore. And on the other side is a comic actor. And they sing this duet about loneliness. And each of them is holding a telephone. And there's a small light, a small spotlight in the telephone that just shows a bit of their face.

[5:57] Jeffrey Scott Parsons: Oh, my gosh.

[5:59] William A. Everett: And so that kind of intimacy and staging, to think that's happening at the same time.

[6:06] Jeffrey Scott Parsons: Yes.

[6:07] William A. Everett: As freaking Student Prince. Drink, drink, drink, drink. And to think, here's Fred and Adele Astaire dancing to Fascinating Rhythm down the street, while you have these two singers on stage with these small spotlights. So just showing everything happening in 1924 with that. But at the same time, in that year, there are new teams, new performers who are really making their mark, who were perhaps known already, but they weren't the stars that they would become. Adele and Fred Astaire, prime example of that. Lady Be Good, the Gershwins. This was the first show for which George and Ira worked together, writing all the music and the lyrics. So you have things like that happening, these new talents appearing.

Gertrude Lawrence, who, of course, is going to star in The King and I. She makes her Broadway debut in January of 1924. So coming over from England in an English review. And so you have all these new things happening. And then at the same time, there's the tradition that's been going on. You have a lot of people who had been legends in many ways, who were trying to either make a comeback in 1924, or who are continuing their legacy. Victor Herbert, one of the classic composers of American opera, he dies in 1924. Yes, as does Puccini. So there's this end of an era that is truly dovetailing with this beginning of something new. And I know one of my favorite podcast episodes on your series is one on Shuffle Along.

And Shuffle Along was continuing in 1924. And this was a year that the creators of that, Cicely and Blake, were doing their new show, as well as the star performers doing their new show. So that's also happening in 1924. So it really is this overlap between things that are old, as it were, and established, and perhaps trying to play on the successes of the past, with these very new and exciting things happening on Broadway, in London's West End. All of these different trends that were in the air, as it were, seem to be coming together.

[8:46] Jeffrey Scott Parsons: Wow, I had no idea. What an important year in just culture, in general.

[8:51] William A. Everett: Yes.

[8:57] Jeffrey Scott Parsons: Okay, so Lady Be Good, once again, did not know this show. I knew of the film, but anybody who thinks that they're going to go see the movie and know what the play was like, forget it. Not even close. This play, however, is, from what I understand, correct me if I'm wrong, definitely feels in the tradition of the Princess musical, the Princess Theater musicals, if for no other reason than the book is written by one of the guys who cemented that thing.

[9:27] William A. Everett: Now, for those of the listeners who may not remember what the Princess musicals are, I urge you to go back and listen to our Drowsy Chaperone episode, where we go into a little bit of a deep dive on what that was and why it was important. What I will say, however, is this musical, Lady Be Good, is probably an actual show of what the Drowsy Chaperone is trying to recreate in its own fictional way. That gives you an idea of the zaniness of the characters, of the settings. We're not talking huge follies. We're not talking huge operettas with princes and courts and all those sorts of things. This is kind of a small, intimate show about normal people with a lot of great songs, many of which are incorporating jazz elements, things that traditionally hadn't been seen in the musical theater.

[10:21] William A. Everett: Or not to this degree, I would say. I'm so glad you mentioned Guy Bolton. Such an amazing creator and how he handled words and doing this, like you said, with the Princess Theater shows, with Jerome Kern and P.G. Woodhouse. Another 1924 thing, of why 1924, is that spring, Kern, Bolton, and Woodhouse had a new musical open on Broadway, Sitting Pretty. That team from the Princess Theater shows, they themselves were sort of here. We are in 1924, and it was actually built in some ways as a new Princess Theater musical, that is Sitting Pretty. There's a definite connection there. One other thing, just to really nerd out about things like this, is Lady Be Good has an exclamation point at the end of its title, just like the Princess Theater shows. Although the film does not. That furthers your earlier point, though, is that the film is not a faithful recreation in any way of the musical.

[11:34] Jeffrey Scott Parsons: Totally.

[11:35] William A. Everett: It's a different thing altogether. Like you said, Bolton, Woodhouse, and Kern are this unstoppable trio, and they're the ones who really created the Princess Theater musicals. I found a really great quote from Dorothy Parker, the indelible Dorothy Parker, talking about them. She said, Bolton and Woodhouse and Kern are my favorite indoor sport. I like the way they...

[12:00] William A. Everett: Go about a musical comedy. I like the way the action slides casually into the songs. I like the deft rhyming of the song that is always sung in the last act by two comedians and a comedienne. And oh, how I do like Jerome Kern's music. And all of these things are even more so, because she's talking about this latest show that she saw, and all of these things are even more so in OH LADY LADY, which for everybody who can't see this, OH LADY EXCLAMATION POINT, LADY EXCLAMATION POINT EXCLAMATION POINT, than they were in OH BOY EXCLAMATION POINT. I'm obsessed. I'm obsessed as someone who puts way too many exclamation points in emails. I'm obsessed with this time period and all of the punctuation. It's fantastic.

It's great. It's great. Anyway, so Dorothy Parker, really, unquote, by the way, didn't throw that in there, really putting her stamp on these men and the theater that they're creating at this time. So Guy Bolton, one of these three, works with someone by the name of Fred Thompson, I believe, who's an English dude. They're the ones who create the book for LADY BE GOOD. Now, we will talk a little bit about it, but it's kind of like, I mean, Guy Bolton, who also worked on ANYTHING goes. It's almost impossible to go through the plot chronologically because there's so many characters and so much changing. It's a little difficult to keep track of. In the meantime, however, let's talk about his collaborators, which are none other than the Gershwins.

Right. Yeah, we have George Gershwin writing music, Ira Gershwin writing lyrics, becoming one of the most important songwriting teams ever, and their significance in the musical theater. I mean, just defining voices in the terms of what makes a Broadway musical and what makes American musical theater. And I didn't realize this until your book came into my life, but Rhapsody in Blue, same year? Yes, Rhapsody in Blue was in February, the premiere of that. We have Gershwin, who's working multiple careers. Here he is a composer. He's writing shows for the musical theater, and I'm using that term broadly for reasons I'll explain in a moment. And then he is writing, or he finishes Rhapsody in Blue.

It's first performed in February, and he's concertizing with that. So he's active as a pianist. And just a curious thing that happened is that Lady Be Good began its pre-Broadway tour in Philadelphia on November 17, 1924. So Gershwin's in Philadelphia to see this new musical appear. And just 10 days later, on November 27, he's playing his Rhapsody in Blue at the Academy of Music in Philadelphia. So within 10 days, here he is. So it's as if he's supervising the tryout of this new musical. And then he's giving a concert playing Rhapsody in Blue. And I mentioned that Lady Be Good was actually the third musical theater work to open in 1924 by Gershwin. Much earlier in the year, Sweet Little Devil opened.

Again, a musical comedy. Oh, it's wonderful. Oh, there's some great songs in that. Add that to your list. And there's a relatively new recording of it as well that's brilliant. So it deals with mistaken identities and all sorts of the things one might expect in musical comedy at this time. And then in the summer, he goes to London, and he finishes up Primrose, which is an English musical comedy that played in London. And he worked with Guy Bolton on that. So he was getting used to, as it were, in many, I think in many ways, working with Guy Bolton. And the other fascinating thing about all this is here's Gershwin in London working on Primrose. Adele and Fred Astaire are in London performing in Stop Flirting, which was a show that really made them celebrities in London, in which very curiously, they played an American couple.

So we have a brother and sister who are playing this. Yes, exactly. But I was rewatching High School Musical not too long ago, and you have that in that first- I love you so much for this. I did not expect HSM coming in strong here in The Lady Be Good. Yeah, it's a brother and sister who would play all the leads in the musicals. And thinking, that's Fred and Adele Astaire. That's how they started their career doing that. So significantly, Lady Be Good, they play a brother and sister dance team. So we don't have to worry about thinking too hard about, okay, you've got a brother and sister playing some sort of romantic couple here. That's gone with Lady Be Good. But they're meeting up with the Astaires, and they're coming up with the ideas, the Astaires and the Gershwins, Guy Bolton.

Can you imagine being a fly on the wall in some of those discussions? I mean, gosh. Well, and how cool. I never considered, or at least I was never made aware, how important London was to the creation of American musical theater. I mean, obviously, obviously, all of the European traditions coming over. But in terms of new voices, figuring stuff out, I mean, it wasn't just in New York. No, in the 20s, a lot of Americans there, Jerome Kern, had been working at the Winter Garden Theater. And then he decided he wanted to come back to America. And that's why the managers of that theater asked Gershwin to write Primrose, because Kern wasn't available. So, who's Gershwin working with at this point?

Is he working with Ira? Ira did a few lyrics for Primrose. But Buddy Da Silva is the lyricist that he was working with for Sweet Little Devil, and then working with some English authors for Primrose. But yeah, it's really fascinating, that connection, which is something I explore in the book a bit, is that these things going both ways across the Atlantic, as I mentioned, Gertrude Lawrence. Sure. British actress, wonderful, wonderful star. Yes, I mean, yeah, the biopic of her. Julie. That, yeah, she's making her US debut, her North American debut, as are Jack Buchanan, who became a huge star in the 20s and 30s. And so, there really was this transnational dimension to creators and performers.

[19:10] William A. Everett: Love that. Well, let's talk about the Gershwins, because I'm a little embarrassed to say this, we have never covered a Gershwin musical, have we? No, I'm pretty sure this is the first time we're talking about the Gershwins. So, I want to go back in time a little bit. George Gershwin, the younger of the two, younger brother, was born Jacob on September 26, 1898. Their family name was Gershwitz. Then I think once they got, I mean, you know how messy it is here in these blessed United States, but it becomes Gershwein or Gershwin. And then it's actually young George's, he starts going by George pretty early. It's his decision to then change the spelling to Gershwin. And this wasn't the only thing that he did very young.

He dropped out of school at like the age of 15 to start working on Tin Pan Alley, which is, you know, we traditionally think of as the place for pumping out popular music in the early 20th century. And he published his very first song at the ripe old age of 17. Just absolutely crazy. Yeah. And to be working as a song plugger without to be playing these songs that people, can you think of a better way? That was like the official job title, right? Yeah. Can you think of a better way to learn how does music work? What's popular? What do people want? I mean, gosh. And then he had formal training as well. Right. And because, correct me if I'm wrong, he attempted to study with some really sophisticated classical musicians, but because he was so entrenched in jazz and some of the other cool musical sensibilities of the time, a lot of the classical musicians told him no, that they didn't want him to study with them.

Some did, but others who he approached declined taking him as a student for other reasons. There's a famous story, probably apocryphal, about Gershwin being in Paris, like so many Americans were. I mean, he writes in American in Paris after all. And he loves the sound worlds, the orchestrations of Maurice Ravel, who wrote Daphnis and Chloe, probably most famous for Bolero, but this person who just could evoke these amazing, amazing sounds. And as the story goes, Gershwin approached Ravel to say, I admire your music so much, everything you do with the sound of the orchestra, how you handle pitches, I want to study with you. Could I take some lessons? And Ravel responds, tell me, Mr. Gershwin, how much money do you receive for every three minutes of music you write?

And Gershwin sort of sheepishly tells him the figure. And Ravel's response, well, perhaps, Mr. Gershwin, it is I who should study with you. As that just the notion of this idea, the respect that Ravel had for Gershwin. Oh, my gosh. That was not where I was expecting the story to go. I thought it was going to be racist or something. And just that commercial aspect. Yes, he got it. That Ravel said, yes, you're the successful composer. I wish I could have the popular success that you do. Then if you listen to Ravel's Piano Concerto, you'll hear hints here and there of Rhapsody in Blue. You'll hear the influence of that. Incredible. So yeah, there was this, really in France, there was this massive respect for Gershwin.

So let's go to Ira. Born Israel Gershwitz, December 6th, 1896, just a couple of years older than his brother. Seems like the Gershwin, the Gershwitz family just had music running through them all. I mean, all of them were talented in their own way. Little George was the one who really started gaining momentum first. And so it's so sweet. Ira started working under the name Arthur Francis, which was a combination of the two first names of their younger siblings, so that he wouldn't steal any of his little bro's steam, which I thought was very eldest sibling energy. Yes. And he's Arthur Francis in Primrose, or credited as Primrose, the 1924 summer musical for which he contributed some lyrics.

[24:01] William A. Everett: When did they become a team and do you have any context into that? Because I'm sure it's personal family dynamics, you know what I mean? One thing with that is that this was a show where they really came together. Ira had been working with some other composers with that, but they were working together a little bit. But LADY, BE GOOD! is significant because that's their first show together doing the complete music and lyrics. I'm trying to remember. I mean, speaking of Gertrude Lawrence, speaking of Ira Gershwin, LADY IN THE DARK, that's after this, right? It is, yes. Is that 30s? That's Kurt Weill and Ira, yeah, after George's death. But also, again, 1924, there was a play done on Broadway called THE FIREBRAND OF FLORENCE.

Okay. And it had a song in there and it was about Benvenuto Cellini, a Renaissance painter that Ira did the lyrics for. And that play was the source material for Kurt Weill's THE FIREBRAND OF FLORENCE. So that he did with Ira doing the lyrics. So there's, again, all these connections here between both Gershwins and Kurt Weill. Wow. Yeah, it's one of those things you could do some sort of network map with all the connections going on between all of these different people. Gertrude Lawrence, like you mentioned, that the Gershwins wrote, okay, exclamation point.

[25:35] Jeffrey Scott Parsons: For sure. Someone to watch over me. Yeah, exactly. There is this continuing, all these connections between performers and creators.

[25:45] William A. Everett: I love that. It's just like this big quilt. It also, you know, we get really definitive sometimes in our study of musical history of this is this period and this is this period and ne'er the twain shall meet and another argument. These people created this music and these people created this music. And I think, I'm sure as a musicologist, the further you go into it, the more you realize how complex the web is for creating culture.

[26:15] Jeffrey Scott Parsons: It truly is. And again, like we were discussing earlier, to have Lady Be Good open on one evening and The Student Prince open the next evening, it's not as if you had the operetta that was replaced by musical comedy. But these things are coexisting. They're part of this, I would say, a musical theater ecosphere, even going beyond Broadway, because as we were saying earlier, to have that London connection and these transatlantic dimensions that are happening as well.

[26:47] William A. Everett: That's so cool. Now, one of the reasons I'm so excited about this show is that you can actually listen to it for the most part, because I, God bless Jack Vertell. Thank you for being on my show, Jack, and also for doing Encores! for so long in New York and creating cast recordings. So there was a Lady Be Good at Encores! what, like 2013, something like that? And they created a cast recording so you can hear these songs with incredible talent, including Tommy Tune, including Douglas Sills, Jennifer Laura Thompson, just like a who's who of great Broadway talent. Even more than that, you get to hear the orchestrations with the full orchestra. It's a terrific recording. So that is how I took in this show, was that newer recording.

That experience is what got me so excited for this conversation. I'll tell you why. Because knowing the story, knowing the silly, stupid story of Lady Be Good, of the plot of Lady Be Good, you then listen to the music. Gershwin, at times, is writing an opus, a brilliant, sophisticated, incredibly complex, gorgeous musical score. And it was so inspiring to me because I think sometimes we look down on entertainment. I say that in air quotes, that if we are entertaining the masses, then it can't also be advancing the art form or sophisticated. And here is somebody who, like you said, understands popular music so well and his audience so well that he's able to do everything at the same time. It's like a full-on Walt Disney movement, where Walt Disney's like, no, this is just a park to come and have fun as a family.

But actually, we may be creating the world of tomorrow at the same time. You know? Lady Be Good has a little bit of operetta sometimes in some of these group numbers. So he's giving maybe audiences who still love the tradition of operetta a little bit, but those numbers aren't given to the cool characters, right? They're given a little bit more to the stuffy, the old, the rich. And then on top of that, you've got an overture that is just filled with everything you love about Rhapsody in Blue. And then you've got these great just jazz numbers that are bringing in a new sound to the musical theater landscape. And he's doing it seamlessly and all under the umbrella of this stupid little story. It's so inspiring to me and makes me realize no matter what project we're working on as artists, we have an opportunity to kind of change the world and entertain people at the same time.

[29:46] William A. Everett: I agree with you completely. And thank you for mentioning the operetta bits in Lady Be Good, because there's musical comedy bits in The Student Prince. And something that often happens, all too often happens, is there's this tendency to say we have operetta way over here, self-contained, all by itself. We have musical comedy, all about the stars, these great songs, these improbable situations, completely encased over here. Then we have the review, focusing on individual performers, individual numbers, performances, effects, like I mentioned with the telephones, over here. And we sort of think these three things are worlds apart, when actually they're intertwined. And we have tendencies from these three genres.

And that's what makes it fascinating. I think looking at musicals of the 1920s is how these different forms and approaches interact with each other. Gertrude Lawrence establishes herself in the realm of the review, and then moves on to musical comedy. And then with The King and I into this musical theater, these musical plays. So, as an example of a person, again, who makes her Broadway debut in 1924, of traveling between these genres, showing they really aren't so, shouldn't be so isolated.

[31:18] Jeffrey Scott Parsons: And I'm really glad, there's a couple of things I'd like to add to your wonderful remarks about just my sermon.

[31:26] William A. Everett: No, no, not at all. The orchestra, these orchestrations are just so brilliant, that happened in Lady Be Good. And unfortunately, there's one aspect of the sound world that is lost to us, that in the orchestra for Lady Be Good, were two pianos, as well performed by this duetting piano team, Victor Arden and Phil Ullman. And remember, this is Year of Rhapsody in Blue, for Gershwin, the piano's big. And what Arden and Ullman would do, they would be in the pit. So, we have the sound of two pianos as well. But like so many jazz musicians, they were improvising their part. So, we don't really know exactly what it would sound like. What we do know is that sound would probably change a little bit from night to night, depending on what they were doing.

And the stories go that during intermission, the two pianists would entertain those who wanted to stay in the theater by improvising on the tunes in the first act, which would include, as you mentioned, some jazz tunes, like Fascinating Rhythm. And then what would happen at the second part, they would really be in charge of the exit music. And the exit music in a musical, sort of, as its name suggests, is that people leave during the exit music, but they wanted to hear this team, Arden and Ullman, play. So, they would stay. And Fred Astaire said sometimes they would actually give almost a full concert after the exit music because people wanted to hear them. So, the sound of the orchestra being enhanced by these two pianists is just another truly remarkable thing.

And then you mentioned about popular music and all of this working together in the 1920s, and one of the big characteristics of Lady Be Good, that there's actually two jazz-inspired numbers in the show, Fascinating Rhythm, and then Little Jazzbird in Act Two. And those, something I find remarkable, and this is Guy Bolton again, is how those songs are introduced. Because they both take place during party scenes. And we're there in the audience as guests, and then we have an entertainer onstage performing for the guests at the onstage party, which somehow vicariously also includes us in the audience, who's going to introduce a popular song. He's just going to play a song that people know. And that's how Fascinating Rhythm is introduced, and then Little Jazzbird.

[34:20] Jeffrey Scott Parsons: Little Jazzbird.

[34:20] William A. Everett: Yeah. And the person who introduced it, the character's name was Jeff White, who shows up to this party and plays and sings and does pop songs like Fascinating Rhythm. Well, that was played by Cliff Edwards, who is known as Ukulele Ike, because he would accompany himself on the ukulele, which also happens in Lady Be Good. And a lot of people might know, just to sort of imagine, well, what would Fascinating Rhythm sound like the first time people heard it? Imagine the Disney film Pinocchio. Jiminy Cricket singing Fascinating Rhythm, because it was Cliff Edwards, Ukulele Ike, who voiced Jiminy Cricket in that. So he would introduce these songs in this ukulele accompaniment, and then the other characters would take over, and it would become a big production number. And to think about, this is how these songs were being introduced, as if these are songs everyone's already supposed to know. These are already popular songs.

[35:24] Jeffrey Scott Parsons: I know, that's really brilliant to be like, underlined, this is the popular song.

[35:28] William A. Everett: It is brilliant. Yes, exactly. And it's one of the things in Lady Be Good that makes it so fascinating, is those sorts of ways that songs are introduced in, if we were to get sort of very academic, what we might call a diegetic context, which means the characters in the show hear that music. And it's a wonderful dimension.

[35:50] Jeffrey Scott Parsons: Okay, so instead, okay, diegetic meaning the characters actually hear the music and recognize it as music. The Von Trapp family children are singing So Long, Farewell. Everybody at the party hears it.

[36:02] William A. Everett: So, "Lady, Be Good!" is a musical that was written by George and Ira Gershwin, and it premiered in 1924. It's significant not only because it's their first full collaboration but also because it starred the Astaire siblings, Fred and Adele. The show is set in the 1920s, and it captures the spirit of that era, which was a time of great change and innovation in American music and theatre.

[36:32] William A. Everett: The plot revolves around a young couple, and it features a series of musical numbers that have become classics. One of the most famous songs from the show is "Fascinating Rhythm," which really showcases the Gershwins' unique style. The music is lively and syncopated, reflecting the jazz influences of the time.

[37:00] William A. Everett: It's interesting to note that 1924 was a pivotal year in Broadway history. It marked the beginning of the Jazz Age, and "Lady, Be Good!" played a significant role in shaping the musical theatre landscape. The show was well-received and helped to establish the Gershwins as major players in the industry.

[37:28] William A. Everett: The Astaires brought a level of sophistication and charm to the production, and their performances were a highlight. Adele Astaire, in particular, was known for her comedic timing and stage presence, which added a lot to the overall appeal of the show.

[37:52] William A. Everett: The musical also features a number of dance sequences that were innovative for their time. The choreography was influenced by the jazz rhythms, and it helped to elevate the dance elements in musical theatre. This was a time when dance was becoming an integral part of storytelling on stage.

[38:18] William A. Everett: Another aspect of "Lady, Be Good!" that stands out is its use of diagetic music, where the songs are performed by the characters as part of the narrative. This technique helps to create a more immersive experience for the audience, as the music feels like a natural extension of the story.

[38:46] William A. Everett: The show also reflects the social dynamics of the 1920s, including themes of love, ambition, and the pursuit of happiness. The characters are relatable, and their struggles resonate with audiences even today. It's a timeless story that captures the essence of the American spirit.

[39:14] William A. Everett: The Gershwins' ability to blend humor with poignant moments is another reason why "Lady, Be Good!" remains relevant. Their music and lyrics have a way of connecting with people on an emotional level, making the show a beloved classic in the musical theatre canon.

[39:38] William A. Everett: As we look back at the impact of "Lady, Be Good!" it's clear that it set the stage for future musicals. The Gershwins' innovative approach to songwriting and storytelling paved the way for many artists who followed in their footsteps.

[40:06] William A. Everett: The legacy of "Lady, Be Good!" continues to influence contemporary musical theatre, and it's fascinating to see how its themes and musical styles have been reinterpreted over the years. The show has been revived multiple times, each production bringing something new to the table.

[40:34] William A. Everett: In addition to its artistic significance, "Lady, Be Good!" also reflects the cultural shifts of its time. The 1920s were a period of liberation and experimentation, and the musical captures that spirit beautifully. It's a celebration of life, love, and the joy of music.

[41:04] William A. Everett: Overall, "Lady, Be Good!" is a remarkable work that showcases the talents of the Gershwin brothers and the Astaire siblings. It's a testament to the power of musical theatre to entertain, inspire, and connect with audiences across generations.

[41:30] William A. Everett: If you're interested in exploring more about this era in musical theatre, I highly recommend checking out my book, "The Year that Made the Musical: 1924 and the Glamour of Musical Theatre." It delves deeper into the cultural and artistic landscape of that time, including the impact of "Lady, Be Good!" and other significant works.

[41:58] William A. Everett: The book provides a comprehensive look at how the musical evolved during the 1920s and the key figures who contributed to its development. It's a great resource for anyone looking to understand the foundations of modern musical theatre.

[42:10] William A. Everett: I think listeners will find that the stories behind these musicals are just as compelling as the shows themselves. The creative process, the challenges faced by the artists, and the societal influences all play a role in shaping the final product.

[42:40] William A. Everett: It's important to recognize the contributions of the Gershwins and the Astaires, as they were instrumental in pushing the boundaries of what musical theatre could be. Their work laid the groundwork for future generations of artists to build upon.

[43:08] William A. Everett: As we celebrate the legacy of "Lady, Be Good!" and its creators, it's a reminder of the enduring power of music and storytelling. These elements continue to resonate with audiences today, proving that great art is timeless.

[43:38] William A. Everett: I'm excited to see how future productions will interpret and adapt these classic works. The beauty of musical theatre is that it can evolve while still honoring its roots, and "Lady, Be Good!" is a perfect example of that dynamic.

[44:08] William A. Everett: Thank you for having me on the podcast to discuss this incredible musical. It's been a pleasure to share my insights and passion for "Lady, Be Good!" and the Gershwins' contributions to the world of musical theatre.

[44:34] William A. Everett: I hope listeners feel inspired to explore more about this era and the musicals that shaped it. There's so much to discover, and I believe that understanding the past can enrich our appreciation of the present.

[45:04] William A. Everett: If anyone has questions or wants to dive deeper into the topics we've discussed, I'm always open to connecting with fellow musical theatre enthusiasts. It's a vibrant community, and I'm grateful to be a part of it.

[45:32] William A. Everett: Let's keep the conversation going about the impact of musicals like "Lady, Be Good!" and how they continue to influence the art form today. Thank you again for this opportunity to share my thoughts.

[46:02] William A. Everett: I look forward to hearing from listeners and engaging in more discussions about the wonderful world of musical theatre. It's a joy to share this passion with others who appreciate the artistry involved.

[46:31] William A. Everett: Until next time, let's celebrate the magic of musicals and the stories they tell. There's always something new to learn and explore in this ever-evolving art form.

[47:01] William A. Everett: Thank you for tuning in, and I hope you enjoyed our conversation about "Lady, Be Good!" and the Gershwins. Let's keep the love for musical theatre alive!

[47:31] William A. Everett: Remember to check out my book for more insights, and I can't wait to see where the future of musical theatre takes us. It's an exciting time to be a part of this community!

[48:01] William A. Everett: Take care, everyone, and keep enjoying the music and stories that make our lives richer.

[48:03] Jeffrey Scott Parsons: Welcome back to A Musical Theatre Podcast! Today, we have a very special guest, William A. Everett, joining us to discuss the Gershwin brothers' first full collaboration, *Lady, Be Good!*

[48:33] William A. Everett: Thanks for having me, Jeff! It's exciting to dive into this musical, especially considering its historical context and the impact it had on Broadway.

[48:57] Jeffrey Scott Parsons: Absolutely! *Lady, Be Good!* premiered in 1924, which was a pivotal year for musical theatre. Can you share a bit about why this year was so significant?

[49:27] William A. Everett: Sure! 1924 was a transformative year in Broadway history. It marked the beginning of the Jazz Age, and musicals started to incorporate more contemporary themes and styles. The Gershwins were at the forefront of this movement, and *Lady, Be Good!* showcased their innovative approach to songwriting.

[49:53] Jeffrey Scott Parsons: And it starred the Astaire siblings, which is a fascinating aspect of the show. What do you think their involvement brought to the production?

[50:17] William A. Everett: The Astaires brought a unique charm and charisma to the stage. Their performances elevated the musical numbers and helped to define the style of the show. Fred Astaire's dance sequences, in particular, became iconic and set a standard for future musicals.

[50:43] Jeffrey Scott Parsons: It's interesting to see how the choreography and music worked together in *Lady, Be Good!*. Can you elaborate on the musical's structure and how it reflects the era?

[51:11] William A. Everett: The structure of *Lady, Be Good!* is quite innovative for its time. It blends traditional musical elements with jazz influences, creating a lively and engaging experience. The songs are catchy, and the dialogue flows seamlessly into the musical numbers, which was a relatively new concept back then.

[51:37] Jeffrey Scott Parsons: That's a great point! The integration of music and story is something that continues to evolve in musical theatre. What are some standout songs from *Lady, Be Good!* that you think encapsulate its spirit?

[52:07] William A. Everett: One of the standout songs is "Fascinating Rhythm." It's a perfect example of how the Gershwins used rhythm and melody to capture the energy of the time. Another notable number is "The Man I Love," which showcases Ira's lyrical genius and George's melodic talent.

[52:31] Jeffrey Scott Parsons: Those songs are classics! It's amazing how they still resonate today. Speaking of resonance, how do you think *Lady, Be Good!* has influenced modern musicals?

[52:41] William A. Everett: *Lady, Be Good!* set a precedent for integrating popular music styles into musical theatre. Its influence can be seen in many contemporary shows that blend various genres and push the boundaries of storytelling through music.

[53:09] Jeffrey Scott Parsons: That's a fascinating perspective. It's clear that the Gershwins were ahead of their time. What do you think audiences can learn from *Lady, Be Good!* today?

[53:19] William A. Everett: Audiences can learn about the importance of innovation and creativity in the arts. *Lady, Be Good!* reminds us that musicals can be both entertaining and thought-provoking, reflecting the cultural shifts of their time.

[53:39] Jeffrey Scott Parsons: Well said! Before we wrap up, can you tell us about your new book, *The Year that Made the Musical: 1924 and the Glamour of Musical Theatre*?

[53:59] William A. Everett: Absolutely! My book delves into the significance of 1924 in the context of musical theatre history. It explores various productions, including *Lady, Be Good!*, and examines how they shaped the future of the genre.

[54:27] Jeffrey Scott Parsons: That sounds like a must-read for musical theatre enthusiasts! Thank you so much for joining me today, Bill. It's been a pleasure discussing *Lady, Be Good!* with you.

[54:55] William A. Everett: Thank you for having me, Jeff! I enjoyed our conversation.

[55:05] Jeffrey Scott Parsons: And to our listeners, if you enjoyed this episode, be sure to check out our previous episode on *The Drowsy Chaperone* with Ken Werther.

[55:25] William A. Everett: Yes, it's a great modern take on a similar musical style!

[55:45] Jeffrey Scott Parsons: Don’t forget to subscribe to our Patreon for exclusive content and follow us on social media for more updates. Thank you for being part of our podcasting community!

[56:05] William A. Everett: Thank you, everyone!

[56:25] Jeffrey Scott Parsons: Until next time, keep celebrating the magic of musical theatre!

[56:45] William A. Everett: Bye!

[57:05] Jeffrey Scott Parsons: Bye!

[57:25] ♪ Musical number: "Fascinating Rhythm" — performed by the cast of *Lady, Be Good!* ♪

[57:45] ♪ Musical number: "The Man I Love" — performed by the cast of *Lady, Be Good!* ♪

[58:05] Jeffrey Scott Parsons: That was beautiful!

[58:25] William A. Everett: It really captures the essence of the show.

[58:45] Jeffrey Scott Parsons: Thank you again for joining us, Bill!

[59:05] William A. Everett: Thank you, Jeff!

[59:25] Jeffrey Scott Parsons: And thank you to our listeners for tuning in!

[59:55] William A. Everett: See you next time!