Title: Ethel Merman
Content:  August 1932 and opened—and immediately closed—in Pittsburgh the following month. Producer Buddy DeSylva, who also had written the book and lyrics, was certain it could be reworked into a success, and with a revamped script and additional songs by Vincent Youmans, it opened with the new title Take a Chance on November 26 at the 42nd Street Apollo Theatre, where it ran for 243 performances. Brooks Atkinson of The New York Times called it "fast, loud, and funny" and added Merman "has never loosed herself with quite so much abandon." Following the Broadway run, she agreed to join the show on the road, but 
Title: Happy Hunting
Content:  overshadowed by Merman and plotted to draw the focus away from her. Known throughout Hollywood for his unusually large physical endowment, he instructed costume designer Irene Sharaff to cut his pants so they would cling as tightly as possible. On opening night in Philadelphia during the pre-Broadway tryout, his appearance elicited loud gasps from the audience when he stepped out on stage for the first time. Merman was not amused by the vulgar display and demanded his costume be altered. Throughout the tryout period, Merman expressed her dissatisfaction with both the book and the score, both of which underwent revisions on a regular basis. After the show opened on Broadway, she insisted two of her least favorite numbers be replaced by songs written by her friend Roger Edens who, due to his exclusive contract with Metro-Goldwyn-Mayer, credited them to Kay Thompson.
Title: June Havoc
Content:  W. Somerset Maugham. The serious nature of the production was a departure from Merman’s string of successful musical comedies. Moreover, during rehearsals, Merman had difficulties memorizing the lyrics, and she blamed Dietz for his use of sophisticated and foreign words. She had her husband, newspaper promotion director Bob Levitt, tone down some of the lyrics. Dietz took exception to Merman’s singing the altered lyrics and gave her an ultimatum to sing his original lyrics or leave the show. In response, Merman withdrew from the production. Commentators have speculated that Merman's departure was probably due to her reluctance to assume such a serious role in 
Title: Ethel Merman
Content:  and she starred in the 1953 screen adaptation as well, winning the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy for her performance. The following year, she appeared as the matriarch of the singing and dancing Donahue family in There's No Business Like Show Business, a film with a Berlin score. Merman returned to Broadway at the behest of her third husband, Continental Airlines executive Robert Six, who was upset she had chosen to become a housewife in Colorado following their wedding in 1953. He expected her public appearances to engender publicity for the airline, and her decision to 
Title: Ethel Merman
Content:  "dull and commonplace", with Merman doing "as well as possible", but unable to register "on screen as magnificently as she does on stage."  Merman returned to Broadway for another Porter musical, but despite the presence of Jimmy Durante and Bob Hope in the cast, Red, Hot and Blue closed after less than six months. Back in Hollywood, Merman was featured in Happy Landing, one of the top 10 box-office hits of 1938 comedy with Sonja Henie, Cesar Romero and Don Ameche; another the box-office hit Alexander's Ragtime Band, a pastiche of Irving Berlin songs interpolated into a plot that vaguely paralleled the composer's life; 
Title: Ethel Merman
Content:  off a budget of $9.4 million, becoming the 3rd highest-grossing film of 1963. The film received 6 Academy Award nominations and 1 win. She also starred in the flop The Art of Love (1965). She made dozens of television appearances on variety series hosted by Perry Como, Red Skelton, Judy Garland, Dean Martin, Ed Sullivan, and Carol Burnett, talk shows with Mike Douglas, Dick Cavett, and Merv Griffin, and in episodes of That Girl, The Lucy Show, Match Game, Batman, Tarzan, and others. Producer David Merrick encouraged Jerry Herman to compose Hello, Dolly! specifically for Merman's vocal range, but when he offered her the role, 
Title: Ethel Merman
Content:  until it closed on December 27, 1970. Merman received the Drama Desk Award for Outstanding Performance for what proved to be her last appearance on Broadway. For the remainder of her career, Merman worked as frequently as offers were made. In 1979, she recorded The Ethel Merman Disco Album, with many of her signature songs are set to a disco beat. She was a guest host on a memorable episode in season 1 of The Muppet Show. Her last screen role was a self-parody in the 1980 comedy film Airplane!, in which she portrayed Lieutenant Hurwitz, a shell-shocked soldier who thinks he is Ethel Merman. 
Title: Ethel Merman
Content:  garnered respectable reviews. Although Brooks Atkinson thought the score was "hardly more than adequate", he called Merman "as brassy as ever, glowing like a neon light whenever she steps on the stage." Several months into the run, she insisted that two of her least-favorite numbers be replaced by songs written by her friend Roger Edens, who, because of his exclusive contract with Metro-Goldwyn-Mayer, credited them to Kay Thompson. She lost the Tony Award to Judy Holliday in Bells Are Ringing, and the show closed after 412 performances, with Merman happy to see what she considered "a dreary obligation" finally come to an end.
Title: Happy Hunting
Content:  Although Brooks Atkinson of the New York Times thought the score was "hardly more than adequate," he called Merman "as brassy as ever, glowing like a neon light whenever she steps on the stage." The critic for Time thought Merman "consistently converts vulgarity into fun" but called her triumph "a minor one, what with a book that has at best a routine brightness, and a score that sometimes lacks lilt even where it seems reminiscent."
Title: Ethel Merman
Content:  with the success of Auntie Mame a few years earlier, and Merman never having established herself as a popular screen presence, the studio agreed to Brisson's terms. Merman was devastated at this turn of events and called the loss of the role "the greatest professional disappointment of my life." Following the Broadway closing of Gypsy on March 25, 1961, Merman half-heartedly embarked on the national tour. In San Francisco, she severely injured her back, but continued to play to packed houses. During the Los Angeles run, LeRoy visited her backstage and claimed Russell was so ill that "I think you're going to end up getting this 

Question: Who was the producer of 1983... (A Merman I Should Turn to Be)?
Answer: Jimi Hendrix.
Johnny Allen Hendrix.
James Marshall Hendrix.
Hendrix.