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Annie Get Your Gun Lincoln Center Theatre 1966 Review

Written By Tuesday, April 19, 2022 Add Comment Edit

1946 musical by Irving Berlin

Annie Get Your Gun
Annie Merman.jpg

Broadway 1946 Original Bandage Album
Music Irving Berlin
Lyrics Irving Berlin
Book
  • Dorothy Fields
  • Herbert Fields
Productions
  • 1946 Broadway
  • 1947 Westward End
  • 1947 U.S. Tour
  • 1947 Commonwealth of australia
  • 1950 Film
  • 1958 Broadway revival
  • 1966 Broadway revival
  • 1975 México
  • 1986 UK bout and London revival
  • 1992 West End revival
  • 1999 Broadway revival
  • 2000 U.Southward. Tour
  • 2009 London revival
  • 2014 United kingdom Bout
Awards 1999 Tony Accolade 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 West, and her romance with sharpshooter Frank E. Butler (1847–1926).[1]

The 1946 Broadway production was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, a 1950 moving-picture show version and television versions. Songs that became hits include "There's No Business Like Evidence Business", "Doin' What Comes Natur'lly", "You Tin can't Get a Man with a Gun", "They Say It's Wonderful", and "Anything You lot Can Do (I Can Do Better)".

History and groundwork [edit]

Dorothy Fields had the thought for a musical about Annie Oakley, to star her friend, Ethel Merman. Producer Mike Todd turned the projection down, and so Fields approached a new producing squad, Richard Rodgers and Oscar Hammerstein 2. After the success of their outset 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 volume.[2] Kern, who had been composing for movie musicals in Hollywood, returned to New York on November two, 1945, to begin work on the score to Annie Get Your Gun, but three days later, 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 so 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 state of affairs show".[five] Hammerstein persuaded him to report the script and try writing some songs based on information technology, 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 Similar Show Business".[6] Berlin's songs suited the story and Ethel Merman'southward abilities, and he readily composed the rest of the score to Annie Go Your Gun.[5] [seven] The show's eventual hit vocal, "In that location's No Business Like Show Business", was virtually left out of the prove because Berlin mistakenly got the impression that Richard Rodgers did not similar it.[eight] In imitation of the structure of Oklahoma! a secondary romance between 2 of the members of the Wild Due west Bear witness was added to the musical during its development.[nine]

According 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 infirmary after Merman gave birth to her son to ask her if she would exercise the show. The evidence was conceived for Merman, simply when time came to send out the mail-Broadway national tour and Merman was unwilling to do it, Martin jumped at the take chances, going on the route for approximately ii years and belting out the songs, which had the effect of lowering her phonation 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'1000 An Indian Likewise".[ten] Stone said, "The big challenge is taking a book that was wonderfully crafted for its time and arrive wonderfully crafted for our fourth dimension... It was terribly insensitive...to Indians.... But it had to be dealt with in a way that was heartfelt and not obvious... In this case, it was with the permission of the heirs. They're terribly pleased with it."[11] Stone as well contradistinct the construction of the musical, beginning it with "At that place's No Business Like Show Business" and presenting the musical equally a "evidence within a bear witness".[9]

Plot summary [edit]

Act I [edit]

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

While waiting for the match to offset, Annie meets Frank Butler and is instantly smitten with him, not knowing he will be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants volition "wear satin... and scent of cologne" ("The Girl That I Marry"). The rough and naive Annie comically laments that "You Tin can't Get a Homo with a Gun". At the shooting match, Annie finds out that Frank is the "large swollen-headed strong" from the Wild West show. She wins the contest, and Buffalo Bill and Charlie Davenport, the show'south manager, invite Annie to join the Wild West Testify. Annie agrees because she loves Frank even though she has no idea what "show business organization" is. Frank, Charlie, and Buffalo Bill explicate that "In that location's No Concern Like Show Business".

Over the grade of working together, Frank becomes enamored of the plain-spoken, honest, tomboyish Annie and, as they travel to Minneapolis, Minnesota, on a train, he explains to her what "love" is ("They Say Information technology'southward Wonderful"). Buffalo Bill and Charlie detect that their rival, Pawnee Bill's Far Eastward Show, will exist playing in Saint Paul, Minnesota, while the Wild Westward bear witness plays in nearby Minneapolis. They ask Annie to do a special shooting stunt on a motorbike to draw Pawnee Bill'south business away. Annie agrees considering the play a trick on will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby".

Every bit Annie and Frank gear up for the testify, Frank plans to propose to Annie after the prove and then ruefully admits that "My Defenses Are Down". When Annie performs her trick and becomes a star, Chief Sitting Bull adopts her into the Sioux tribe ("I'm An Indian Also"). Hurt and angry, Frank walks out on Annie and the testify, joining the competing Pawnee Bill's show.

Human activity II [edit]

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

At a grand reception for Buffalo Bill'south troupe at the Hotel Brevoort, Pawnee Bill, Dolly, and Frank also plot a merger of the two companies, assuming Buffalo Bill's prove fabricated a fortune touring Europe. When they all encounter, they soon discover both shows are broke. Annie, all the same, has received sharpshooting medals from all the rulers of Europe worth one hundred thousand dollars, and she decides to sell the medals to finance the merger, rejoicing in the elementary things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their love and decide to marry, although with comically unlike ideas: Frank wants "some little chapel", while Annie wants "A wedding in a large church with bridesmaids and bloom girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Quondam-Fashioned Wedding"o). When Annie shows Frank her medals, Frank once again has his pride hurt. They call off the merger and the wedding ceremony, but claiming each other to one last shooting match to decide who is the best shot.

On the ferry to the Governors Island friction match site, Dolly attempts to ruin Annie'south chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. Nevertheless, they and then make up one's mind to follow through with Dolly's programme so that Annie will lose the match, knowing that would soothe Frank's ego allowing the two to reconcile and the merger to accept 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 Bull convinces Annie to deliberately lose the match to Frank, reminding her that she "can't get a man with a gun." That done, Frank and Annie finally reconcile, deciding to marry and merge the shows.

Notes:

  • This clarification is based on the 1966 revised volume.
  • In the 1999 book, Frank also deliberately misses his shots in the final friction match, which ends in a tie.
  • o written for 1966 revision and included in 1999 Broadway Revival; non in the original production
  • § omitted from the 1999 Broadway Revival

Notable Casts [edit]

Character Original Broadway[12]

(1946)

Original West Finish[13]

(1947)

Get-go U.S. Tour[fourteen]

(1947)

Starting time Broadway Revival[fifteen]

(1958)

Second Broadway Revival[xvi]

(1966)

First Westward End Revival

(1986)

Third Broadway Revival[17]

(1999)

Second U.Due south. Tour[18]

(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 Nib 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 French republic x[a] 10 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 Pelting Winslow x x Nicole Ruth Snelson Claci Miller
Pawnee Bill George Lipton Edmund Dalby Bern Hoffman William LeMassena Jack Dabdoub Michael G. Jones Ronn Carroll Charles Goff

Notes

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

Characters [edit]

  • Annie Oakley—a sharpshooter in the Wild West show
  • Frank Butler—the Wild W show's star
  • Dolly Tate—Frank's flamboyant assistant; Winnie's sis (Charlie'southward sis in the 1966 version)
  • Buffalo Nib—owner of the Wild West show
  • Chief Sitting Bull—Sioux chief and holy homo; Annie'due south protector
  • Tommy Keeler§—knife-thrower in the Wild West show; Winnie's swain; function Native American (not in the '66 version)
  • Charlie Davenport—manager of the Wild West show
  • Winnie Tate§—Dolly's sis; Tommy's girlfriend and his assistant in the knife-throwing deed (non in the '66 version)
  • Pawnee Bill—owner of a competing western show
  • Foster Wilson—hotel owner
  • Little Boy-bear witness opens on him
  • Annie's brothers and sisters: Jessie, Nellie, Niggling Jake, and Minnie (Minnie was written out of the 1999 revival[nineteen])

Notes

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

Musical numbers [edit]

Original 1946 product [edit]

Notes
  • §: omitted from the 1950 picture show version
  • "Let'south Go West Over again" was written past Berlin for the 1950 pic merely was not used. However, there are recordings by both Betty Hutton and Judy Garland.
  • "Take Information technology in Your Stride" was a solo for Annie written for the original production. It was replaced past a reprise of "There's No Business Like Bear witness Business" when Merman found the number besides difficult. It was recorded by Liz Larsen for the album Lost in Boston.

1999 revival [edit]

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

Productions [edit]

Original productions [edit]

Annie Get Your Gun premiered on Broadway at the Regal Theatre on May 16, 1946, and ran for i,147 performances. Directed by 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 as Primary Sitting Bull, Kenneth Bowers as Tommy Keeler, Marty May as Charlie Davenport, Warren Berlinger as the Picayune Boy and William O'Neal as Buffalo Bill.

The musical toured the U.S. from October iii, 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 Cease premiere on June 7, 1947, at the London Coliseum where it ran for one,304 performances. Dolores Gray played Annie with Bill Johnson as Frank.

The first Australian product opened at His Majesty'southward Theatre in Melbourne on July xix, 1947. It starred Evie Hayes as Annie with Webb Tilton as Frank.

A French version, Annie du Far-W, starring Marcel Merkes and Lily Fayol, began production at the Théâtre du Châtelet in Paris on February 19, 1950, and ran for over a twelvemonth.

1958 Broadway revival [edit]

The commencement Broadway revival was staged in 1958 at the New York City Center, directed by Donald Burr and produced past Jean Dalrymple, managing director of the NYCC Light Opera Visitor. This production opened on February 19, 1958, and ran until March two, for 16 performances. Betty Jane Watson played the part of Annie with David Atkinson as Frank, Margaret Hamilton as Dolly, James Rennie as Chief Buffalo Nib, and Jack Whiting equally Charles Davenport. Included in the cast was Harry Bellaver, reprising his original role of Chief Sitting Bull. The program didn't list the performer who was to play Annie, and instead a "to-exist-appear" statement was substituted for the name. At the last minute, Watson signed for the office. Even the program for the second week of the two-calendar week engagement didn't list her name, except equally understudy; this was the first time in retention that a leading performer wasn't listed.[15]

1966 Broadway revival [edit]

The show had its second Broadway revival in 1966 at the Music Theater of Lincoln Center. This production opened on May 31, 1966, and ran until July 9, followed by a short ten-week U.Due south. Tour. Information technology returned to Broadway at the Broadway Theatre on September 21 for 78 performances. Ethel Merman reprised her original function as Annie with Bruce Yarnell as Frank, Benay Venuta as Dolly, and Jerry Orbach as Charles Davenport. The libretto and score were revised: The secondary romance betwixt Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With Yous" and "Who Do You Love, I Promise?", and the vocal "An Old-Fashioned Wedding ceremony" was peculiarly written for the revival and added to the second act.[xv] : 305 This version of the show is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version past NBC on March nineteen, 1967, and is the only musical revived at Lincoln Center during the 1960s to be telecast.[ citation needed ]

1973 Shady Grove Music Fair production [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.[20]

1976 Mexican product [edit]

In 1976 a Spanish-linguistic communication version was produced in Mexico City with the proper name of Annie es un tiro. It was directed by José Luis Ibáñez and starred by Mexican moving-picture show star Silvia Pinal. The production was represented at the Teatro Hidalgo and was co starred past the actor and singer Manuel López Ochoa. The success of the production produced the first Castilian-language version of the musical's soundtrack.[21]

1977 Los Angeles Borough Light Opera production [edit]

In 1977, Gower Champion directed a revival for the Los Angeles Civic Light Opera starring Debbie Reynolds equally Annie.[22] The Banana Director was James Mitchell. Harve Presnell, Reynolds's sometime co-star in the 1964 movie The Unsinkable Molly Brown, played Frank Butler. The cast featured Art Lund equally 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 every bit Sitting Bull.[24] [25] The bandage also included Trey Wilson and Debbie Shapiro. The production later toured various North American cities, simply 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 rock star Suzi Quatro as Annie and Eric Flynn as Frank, opened at the Chichester Festival Theatre.[26] [27] Information technology moved to the Theatre Majestic, Plymouth,[27] and then to the Aldwych Theatre in London'south Due west End where it played from July 29 to October 4.[28] The bandage recorded an anthology, Annie Get Your Gun - 1986 London Cast[29] and Quatro's songs "I Got Lost in His Artillery"/"You Tin can't Go a Homo with a Gun" were released equally a single.[27] Since then "I Got Lost in His Arms" has besides been included in the compilation albums The Divas Collection (2003)[xxx] and Songs from the Greatest Musicals (2008).[31]

1992 London revival [edit]

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

1999 Broadway revival [edit]

In 1999, a new production had its pre-Broadway appointment at the Kennedy Center, Washington, D.C., from Dec 29, 1998, to January 24, 1999. Previews began on Broadway on Feb 2, 1999, at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September i, 2001, subsequently 35 previews and i,045 performances.

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

This production had a revised book by Peter Stone and new orchestrations, and was structured every bit a "bear witness-within-a-show", gear up as a Big Summit travelling circus. "Frank Butler" is alone on stage and Buffalo Bill introduces the principal characters, singing "In that location's No Business Similar Evidence Business", which is reprised when "Annie" agrees to join the traveling Wild West bear witness. The production dropped several songs (including "Colonel Buffalo Bill", "I'k A Bad, Bad Man", and "I'm an Indian Too"), but included "An Old-Fashioned Hymeneals". In that location 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 beau, was also included. In the 1946 production, Winnie was Dolly'due south daughter, only the 1966 &1999 productions she is Dolly's younger sister. In this version, the terminal 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 as Annie from December 27, 1999, until January 16, 2000. Peters and Wopat left the prove on September two, 2000. Former Charlie'southward Angels star Cheryl Ladd made her Broadway debut equally Annie on September 6, 2000, with Patrick Cassidy every bit Frank Butler. Country music singer Reba McEntire made her Broadway debut as Annie from January 26, 2001, to June 22, 2001, contrary Brent Barrett as Frank.[36] On June 23, 2001, former Wings star Crystal Bernard, who had been playing Annie in the national tour of Annie Become Your Gun, causeless the role of Annie in the Broadway production, with Tom Wopat returning as Frank Butler.[37]

2000 U.South. tour [edit]

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

2006 Prince Music Theater production [edit]

In 2006, the Prince Music Theater of Philadelphia, Pennsylvania, revived the 1966 Lincoln Eye Theater version for i month. This production 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 every bit Sitting Balderdash. The production was well received past critics.[39] The production was directed by Richard 1000. Parison, Jr. and choreographed by Mercedes Ellington.[40]

2009 London revival [edit]

Jane Horrocks, Julian Ovenden and managing director Richard Jones mounted a major London revival at the Young Vic, Waterloo. The show opened at the off west stop venue on October 16, 2009, initially booking until January ii, 2010, merely with an actress week added due to popular need. The production featured new arrangements by Jason Carr for a band consisting four pianos.[41] London's Guardian newspaper awarded the show v 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 Baronial 13–fifteen, 2010 to celebrate the 150th ceremony of Annie Oakley'south birth. Directed past Lonny Cost, the concert starred Patti LuPone equally Annie, Patrick Cassidy as Frank and George Hearn every bit Buffalo Beak.[43] The concert received unanimously strong reviews, notably for LuPone and Price's direction.

Other major productions [edit]

Lucie Arnaz starred in a production in the summertime of 1978 with Harve Presnell at the Jones Embankment Theater in Nassau County, New York.[44] This was the first major production of the musical done in the New York expanse after the 1966 revival.

The Newspaper Mill Playhouse produced a well-reviewed product in June 1987 starring Judy Kaye as 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 show.

In 2014 Carter Calvert and David Weitzer starred in a production that opened the Algonquin Arts Theatre's 2014-2015 Broadway Season. Information technology was as well the starting time prove to be performed after the Algonquin underwent the task of installing new seating which had non been done since 1938.

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

Moving-picture show and television versions [edit]

In 1950, Metro Goldwyn Mayer fabricated a well-received movie version of the musical. Although MGM purchased the rights to the flick version with an announced intention of starring legendary vocalizer-actress Judy Garland every bit Annie, early work on the film was plagued with difficulties, some attributed to Garland'south health. Garland was fired and replaced by the brassier, blonde Betty Hutton.

In 1957, a production starring Mary Martin as Annie and John Raitt every bit Frank Butler was broadcast on NBC. In 1967, the Lincoln Eye production described above, starring Ethel Merman and Bruce Yarnell, was broadcast on NBC. The Mary Martin version has been re-circulate sporadically over the years, simply the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio clip of "I Got the Sun in the Mornin' (and the Moon at Night)" is known to be,[48] as does an audio-only recording of the entire xc-infinitesimal show.[49]

Recordings [edit]

In that location are several recordings of the Annie Go Your Gun score, including:

  • 1946 Original Broadway Bandage: an original bandage recording was released by Decca Records in 1946, featuring the bandage of the original 1946 Broadway product. The master stars were Ethel Merman and Ray Middleton. The album was added to the Grammy Hall of Fame in 1998.
  • 1957 TV Cast: a recording based on the Telly version shown in 1957, with Mary Martin and John Raitt.
  • 1963 Studio Cast featuring Doris Day and Robert Goulet: not based on a theatre product.
  • 1966 Broadway Revival Cast
  • 1976 Spanish-linguistic communication version with Mexican cast.
  • 1986 1986 London Cast[29]
  • 1991 Studio Bandage: Kim Criswell (Annie), Thomas Hampson (Frank), Jason Graae (Tommy), Rebecca Luker (Winnie), David Garrison (Charlie), David Healy (Buffalo Bill), Alfred Marks (Sitting Bull), Gregory Jbara (Foster Wilson) Simon Green (Pawnee Bill), Peta Bartlett (Dolly), Kerry Potter, Hayley Spencer, Emma Long (Annie's sisters: Minnie, Jessie Nellie), Paul Keating (Annie's brother: Piffling 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; Rest Engineer: John Kurlander; Editor Matthew Cocker; Production Assistant: Alison Fox. Recorded July 1990, No 1 Studio, Abbey Route, London. CD: EMI CDC 7 54206 2.
  • 1999 Broadway Revival Cast (Grammy Award)

Usher John Owen Edwards along with JAY Records recorded the beginning-always consummate recording, with all musical numbers, scene change music and incidental music, of the bear witness's score in the 1990s with Judy Kaye and Barry Bostwick. Christopher Lee had the office of Sitting Bull.[50]

Reception [edit]

The original Broadway product opened to favorable reviews. Critics unanimously praised Ethel Merman's performance equally Annie Oakley, though some thought the score and volume were not particularly distinguished. John Chapman of the Daily News alleged that the product had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a large-time show" but pronounced Merman the best part of the testify, stating "She is a better comedienne than she always was before", stating that "Annie is a good, standard, lavish, big musical and I'm sure it will exist a huge success--merely it isn't the greatest show in the earth".[51] Louis Kronenberger of PM stated that the show was 'in many ways routine", but greatly praised Merman'southward performance, opining, "For me, Annie is mainly Miss Merman'southward show, though the rest of it is competent plenty of its kind...Irving Berlin'due south score is musically not exciting--of the real songs, just one or two are tuneful".[51] Ward Morehouse of The New York Sun declared, "The big news about Annie Get Your Gun is that it reveals Ethel Merman in her best form since Anything Goes...She shouts the Berlin music with good outcome. She often comes to the aid of a sagging book".[51] He stated, "Irving Berlin's score is not a notable one, but his tunes are singable and pleasant and his lyrics are peculiarly good. The book? It's on the flimsy side, definitely. And rather witless likewise".[51] Lewis Nichols of The New York Times said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to ringlet her optics and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn't get anywhere in particular".[51]

Still, the testify itself was greatly lauded past some critics: Vernon Rice of the New York Post proclaimed, "Irving Berlin has outdone himself this fourth dimension. No use trying to pick a hit tune, for all the tunes are hits...Ethel Merman is at her brawny, free and easy best...She is now able to develop a consequent characterization and stay with it to the bear witness's end. And when she opens her mouth to sing, she sings!"[51] William Hawkins of the New York Globe-Telegram said that Merman was "vivid equally a whip, sure every bit her shooting, and generously the foremost lady clown of her time" and asserted that the testify itself was comparable to those of Rodgers and Hammerstein, proclaiming, "For verve and buoyancy, unslackening, there has seldom if always been a show like it...the girls in Annie accept the dazzler and character of looks ane associates with a Rodgers and Hammerstein bear witness. And the production has in every fashion the stardom that has get their authentication".[51]

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

Redface [edit]

Native Americans take criticized the shows portrayal of Redface and promotion of cultural stereotypes. Especially in the song "I'm an Indian Besides" sung by Annie after Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest outside the New York theatre,[ when? ] as well equally pic theaters, holding picket signs stating: "Don't See "Annie Get Your Gun". Equally a effect of this reaction, many contemporary productions accept 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]

Twelvemonth Honour Ceremony Category Nominee Result
1966 Tony Award Best Direction of a Musical Jack Sydow Nominated
Best Choreography Danny Daniels Nominated

1999 Broadway revival [edit]

Yr Accolade Anniversary Category Nominee Result
1999 Tony Honour Best Revival of a Musical Won
All-time Operation by a Leading Player in a Musical Tom Wopat Nominated
Best Performance by a Leading Actress in a Musical Bernadette Peters Won
Drama Desk-bound Award Outstanding Revival of a Musical Nominated
Outstanding Actor in a Musical Tom Wopat Nominated
Outstanding Extra in a Musical Bernadette Peters Won
Grammy Award Best Musical Show Album Won
2001 Drama Desk-bound Award Special Award Reba McEntire Won
Theatre World Award Won

2009 London revival [edit]

Yr Award Anniversary Category Nominee Result
2009 Laurence Olivier Laurels Best Musical Revival Nominated

Notes [edit]

  1. ^ A number of Internet sources merits that the musical is based on Walter Havighurst's volume Annie Oakley of the Wild West, but the volume was written in 1954, 8 years after the musical was first produced.
  2. ^ a b Blossom 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 World of Musical Comedy:The Story of the American Musical (1984), Stanley Dark-green, pp. 79-lxxx, Da Capo Printing, ISBN 0-306-80207-4
  9. ^ a b Bloom and Vlastnik, p.14
  10. ^ Brantley, Ben. "Everything the Traffic Will Allow". The New York Times, March 4, 1999, p.E1
  11. ^ Simonson, Robert. "Playbill On-Line's Brief Run across with Peter Stone" Playbill.com, March 2, 1999
  12. ^ "Annie Get Your Gun – Broadway Musical – Original | IBDB". world wide web.ibdb.com . Retrieved August 26, 2020.
  13. ^ "Credits for Annie Get Your Gun (London Production, 1947)". Ovrtur . Retrieved August 26, 2020.
  14. ^ "Annie Get Your Gun – Broadway Musical – Tour | IBDB". www.ibdb.com . Retrieved August 26, 2020.
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  19. ^ In the 1999 revival, Annie had three siblings rather than four.
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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 1-57912-390-2
  • Kantor, Michael, and Maslon, Laurence (2004). Broadway: The American Musical. New York: Bullfinch Press. ISBN 0-8212-2905-two
  • 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-seven.
  • Suskin, Stephen (1990). Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre. New York: Schrimmer Books. ISBN 0-02-872625-1.
  • Annie Go 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 August 19, 2012, at the Wayback Machine
  • 1999 Revival at RNH Archived May two, 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) (Tv set) at IMDb (Mary Martin)
  • Annie Get Your Gun (1967) (TV) at IMDb (Ethel Merman)
  • Curtain Up reviews from 2/8/01 and 3/9/99

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Source: https://en.wikipedia.org/wiki/Annie_Get_Your_Gun_(musical)

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