Montgomery County sentinel. [volume] (Rockville, Md.) 1855-1974, 1956-03-01

Il
show business from her. And she
liked the kind of rhythm | was
able to belt out on my banjo
while she pranced around the
stage of the old Palace Theatre.
One day Vera Murray came
to see the show. She was a talent
scout for Charles Dillingham;, the
big producer. The Palace was
always loaded with scouts. Pro
dueers felt that the vaudeville
acts were a good showcase for
possible musical stars.
1t seems that Vera liked my
style, and she quickly reported
it back to her boss. He was get
ting together the cast for a new
musical, and they picked me as
second lead.
I could hardly believe it when
Mr.. Dillingham; first called me
in. you've got the part if you
want it, son" he said. And
what's more, we're going to let
you pick your leading lady
l didn't have to think that one
over. l knew right away that
wanted Ann Pennington.
"But you don't want her." he
protested. "She's been around for
a dozen years. People want to see
new faces"
His argument was good, but
had one of my own. She's well
known" / told him, land I'm not.
I'm an unknown quantity. Her
name will help carry me along
until they get used to me-
n He thought it over, observing
that | was big and clumsy, which
was land still am, / guess and
that she was tiny and cute.
You're right You'd make a
great team" That was his final
conclusion, and Ann and | were
on our way in the new musical
Jack and Jill"
l played poor mans son. OPP
posite me was another young
hopeful, who took the role of
rich mans son. He was quite
dancer, and very talented fell
low. His name was Clifton Webb.
Jack and Jill" was a fine show.
Henry Blossom and Baldwin
Sloane wrote the music and lyr-
les as well as the book, and John
Murray Anderson directed it. He
was later to go on to even great
err fame as the producer-director
of the Music Box Revues.
In the cast was another great
of the old days of show business,
old man Fields of Weber and
Fields. And one of the roles fea-
tured Lulu Mcconnell. You prob
ably remember her from the old
radio show, ut Pays to Be Ig-
norent."
The show was to open in Buff
falo, where we would rehearse
and work out the kinks before
taking it to Broadway. Every
thing was set except the big song
duet with Ann and myself. It
was key point in the produc-
ton, but Sloane and Baldwin
weren't able to come up with the
right tune.
To say the least, everyone was
a little worried as we boarded
the train for Buffalo, with a show
that wasn't even complete.
About midnight the porter
came to my berth and woke me
up. He told me that Bill Daily,
the pit orchestra leader, wanted
to see me right away. / objected,
but he insisted.
I've got it," he said.
And he did. He had suddenly
gotten the inspiration for II Want
a Pretty Girl" the song that turn
ed out to be the hit of the show.
We worked in the club car all
night and by morning, as our
train was racing the morning
sunrise. l was able to sing the
tune, bleary eyes and all.
And so we opened in Buffalo.
Everybody was waiting to see
what the critics would say about
me. And so was l. This was my
first chance with musical comedy,
and it felt a lot different to me
than the Old vaudeville stage.
A musical is a great deal diff
ferent from a revue. There was
a plot, of sorts, and it took a
little acting. And the whole thing
had to hang together Any medi.
OGRE talent in the show could
make everybody look bad.
And the critics came that open.
Ing night. Many a show that has
been headed for Broadway has
been closed out of town, and