Call Me Madam :: Rodgers & Hammerstein :: Show Details Like this page on facebook. Call Me Madam Music and Lyrics by Irving Berlin | Book by Howard Lindsay and Russel Crouse Once President Harry S. Truman appointed Washington hostess Perle Mesta as Ambassador to Luxembourg, the foundation was laid for a musical comedy that would kid politics-foreign and domestic alike. Ambassador Sally Adams, with slim credentials, is sent off to administer in the tiny duchy of Lichtenburg. It's not long before her down-to-earth, typically undiplomatic manner has surprised and charmed the local gentry, especially the handsome Prime Minister. A second romance is blossoming between her young Ivy League aid and Lichtenburg's enchanting young Princess. The course of love is threatened by the stuffy opposition, who eventually succeed in wrangling Sally's recall, but not before all has resolved happily for both pairs of lovers. About CALL ME MADAM By Robert Kimball October 12, 1950. War was raging in Korea. The US Army had advanced north of the 38th parallel. Harry S. Truman was flying to Wake Island in the Pacific for the first-ever meeting with General Douglas MacArthur.

Back home, rainfall was dampening New York’s Columbus Day parade. Americans were listening to "Goodnight, Irene" and Bing and Gary Crosby's interpretation of a 1914 song by Irving Berlin, "Play a Simple Melody." And Berlin's new musical, CALL ME MADAM, was opening at New York's Imperial Theater with an advance of over one million dollars, by far the largest in Broadway history. CALL ME MADAM was the summer-of-1949 brainchild of writers Howard Lindsay and Russel Crouse, whose Pulitzer Prize-winning play about a presidential election, STATE OF THE UNION, was a triumph of the 1945-46 theatrical season. It was President Truman’s appointment of noted party-giver Perle Mesta as Ambassador of Luxembourg that gave them the idea for MADAM. Ethel Merman was a natural choice for the starring role, having been the leading lady of Lindsay & Crouse’s first Broadway collaboration, ANYTHING GOES (1934), and Berlin’s most recent hit ANNIE GET YOUR GUN (1946). Leland Hayward, who presented STATE OF THE UNION, MR. ROBERTS and SOUTH PACIFIC, was the producer.

George Abbott directed. Jerome Robbins staged the musical numbers. While CALL ME MADAM was not really in big trouble during its mid-September 1950 New Haven break-in, it needed work and received what Variety’s Hobe Morrison, an ardent cheerleader, described as "a heroic job of tryout doctoring." One important change occurred when the 26-year-old juvenile lead, Russell Nype, scored a sensational success singing "It's a Lovely Day Today." Merman, noting the cheers for Nype, whose crew cut made him look as if he’d just stepped off a college campus, said to Berlin, "I want a duet with the kid!" She got it—the show-stopping double song "You’re Just in Love" was fashioned in a hotel room in less than two days. A month later Brooks Atkinson wrote in The New York Times, "When Miss Merman and Mr. Nype sing "You’re Just in Love," which is Mr. Berlin’s top achievement for the evening, CALL ME MADAM throws a little stardust around the theatre and sets the audience roaring." Both Merman and Nype went on to win Tony Awards for their performances.

Another change occurred a few days later in Boston when Robbins told Berlin that the second act needed "something to dance about." Berlin took Robbins at his word and promptly gave him a song with that very title. Years later Berlin told me, "One of the many reasons I love Jerome Robbins is that he always seems to know what to fix and how to fix it, but just as important he knows what to leave alone." RCA was MADAM's sole investor, putting up the entire $225,000 plus $30,000 needed for union bonds in order to secure all radio, television and cast album rights. The top ticket price, $7.20, was the highest on Broadway at that time CALL ME MADAM received generally splendid reviews and notched up 644 performances. A national tour followed featuring Elaine Stritch and Kent Smith. Two London productions were mounted, one with an American, Billie Worth, and another with England’s own Dora Bryan. 20th Century Fox released the film version starring Ethel Merman, George Sanders, Donald O’Connor and Vera-Ellen in 1953.

In 1995, Tyne Daly lead a glorious concert revival at New York City Center's ENCORES! series, leading to a cast recording from DRG Records, and sparkling numerous revivals, including a Papermill Playhouse (Millburn, N.J) production in 1996 starring Leslie Uggams. Tony Awards Dear Ed: Following is the story behind I Like Ike. In 1948 when the talk of Eisenhower for President started, I wrote a chorus of a song called I Like Ike as a campaign number. The first version was a straight campaign song. I thought then that the traditional fear of a military man in the White House would be a big issue, so one of the couplets in that original version was -- 'With so many treasures in our back yard/It's good to have a soldier standing guard' Talk about Eisenhower for President died down and I forgot about the song. When CALL ME MADAM came along I saw a spot in Lindsay and Crouse's script where we could use the Ike number as a comedy song. I then rewrote it and switched I to They. The rest of the story you know. Ike came to the opening night and he seemed to enjoy it.

I never dreamed it would be embarrassing to him. In any event, the number started going better with each performance and I realized after a while that it was based on the warm feeling we all had for General Eisenhower. After the convention, I had to change the lyrics and kept on changing them from then on to fit every change in the political situation. If you do this Sunday night, I suggest having Pat Harrington, Ralph Chambers and Jay Velie do the version that they did the opening night at the Imperial Theater. Good Luck and many thanks. Playbill VIP : MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: STANDARD Call Me Madam (1953) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends.

Error Washington hostess Sally Adams becomes a Truman-era US ambassador to a European grand duchy. Director: Russel Crouse (musical "Call Me Madam"), Howard Lindsay (musical "Call Me Madam") | 1 more credit » Stars: a list of 42 titles created 08 Feb 2012 a list of 1516 titles created 17 Feb 2012 a list of 107 titles created 10 Mar 2013 a list of 40 titles created 04 Apr 2015 a list of 3457 titles created 11 months ago Title: Call Me Madam (1953) 7/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 1 win & 4 nominations. See more awards » Photos In squeaky-clean New York at the turn of the century, playboy Charlie Hill falls so much in love that he can walk on air. The object of his affections is beautiful Angela Bonfils, a mission...

See full summary » Director: Charles Walters An American salesman pursues an heiress from Vermont, who is in turn being wooed by a Scottish lord in inancial need. Director: Henry Levin Fred and Lilly are a divorced pair of actors who are brought together by Cole Porter who has written a musical version of The Taming of the Shrew. Of course, the couple seem to act a great ... See full summary » Director: George Sidney B.G. Bruno, a rich bachelor, the head of a successful greeting-card company in Scotland, is essentially a kind man but respectable to the point of stodginess and extreme stuffiness. An ... See full summary » Director: H. Bruce Humberstone An inaccurate retelling of the life of silent filmmaker and comedian Buster Keaton. Director: Sidney Sheldon When the head of a large manufacturing firm dies suddenly from a stroke, his vice-presidents vie to see who will replace him. Director: Robert Wise Two pairs of lovers try to thwart an arranged marriage at Costa Rican fiesta time. Director: Gregory Ratoff A widowed doctor of both Chinese and European descent falls in love with a married American correspondent in Hong Kong during China's Communist revolution.

Directors: Henry King, Otto Lang Stars: William Holden, Jennifer Jones, Torin Thatcher The owner of a rubber plantation becomes involved with the new wife of one of his employees. Director: Victor Fleming A mysterious girl inspires a struggling artist. Director: William Dieterle A reworking of the movie Three Blind Mice (1938) based on the play of the same name, which in turn led to another remake Moon Over Miami (1941). This remake is set during the turn of the ... See full summary » Directors: H. Bruce Humberstone, John Brahm Stars: June Haver, George Montgomery, Vivian Blaine Developed from a radio program which began in 1941, hyperactive teenager Judy challenges and is challenged by her overly proper parents, pest of a brother Randolph and boyfriend Oogie. Director: Richard Thorpe Edit Storyline Boisterous, fun-loving, and popular Washington D.C. hostess Sally Adams is appointed U.S. Ambassador to the Grand Duchy of Lichtenburg, Europe's smallest country. In Lichtenburg, the Duke and Duchess are negotiating a political marriage for their niece, Princess Maria in exchange for a substantial dowry.

However, the country is desperate for funds, and turns to the inexperienced ambassador for a much needed U.S. loan. Sally refuses to talk money, that is, until she meets the ultra charming Gen. Cosmo Constantine. Meanwhile, Sally's press attaché Kenneth Gibson falls head over heels for Princess Maria. Written by L. Hamre April 1953 (USA) See more » Also Known As: Irving Berlin's Call Me Madam See more » Filming Locations: Did You Know? Trivia A running gag in the movie has Sally Adams taking calls from President Harry Truman, and receiving bad news about his daughter Margaret's singing career. ("Even in Denver? Well, the opera critics don't know everything. She made money, didn't she?") During her father's administration, Margaret Truman went on tour as an opera singer. Her performances always attracted large crowds, but opera critics often panned her singing. After one particularly harsh review, Harry Truman sent a personal letter to the critic: "Some day I hope to meet you.

When that happens you'll need a new nose, a lot of beefsteak for black eyes, and perhaps a supporter below!" See more » Quotes See more » Crazy Credits During the opening credits, as each word in the title appears onscreen, we hear, but do not see, Ethel Merman exclaiming, in a demanding tone of voice: "Call..me..madam!" See more » Connections (Cleveland, Ohio) – See all my reviews is an acquired taste. Apparently enough folks developed it enough to keep Ethel's shows running for a couple of decades. One of the "Queens of Broadway" (with Mary Martin) Ethel Merman's brassy voice belted through many a record-breaking run, thrilling thousands. What a rare treat to see her in a role she made her own! "Call Me Madam" is a dandy musical, rich with a great Irving Berlin score and lively performances. Equally rare is the excellent singing performance of George Sanders. His beautiful baritone is heard in "It's an Old-fashioned Idea" and other lovely ballads. As he played Gen.

Constantine, I couldn't help but wonder how his reported troubled private life might have gone had he done more light, musical fare. Sanders' whole demeanor is different: he's warm, relaxed, sincere and fun-filled--what a departure from the cynical cads he was almost always engaged to portray! [N. B. History shows he was signed to star in a stage production of "South Pacific," and his recording of solo ballads, "The Sanders Touch: Songs to the Lovely Lady"--released five years after this film--has become one of the hottest collectors' items around.] All I can say is, his singing is gorgeous in "Call Me Madam." If this Fox musical has the somewhat look and feel of an MGM production, there's Donald O'Conner and Vera-Ellen lending their aura from the latter studio. Director Walter Lang, an old-hand at Fox musicals and light comedies, keeps things on track, while Bob Alton's dances really hit-the-mark. "Call Me Madam" is a most delightful diversion, and a lasting testament to the gifted Merman--the "hostest with the mostest." 8 of 8 people found this review helpful. Was this review helpful to you?

Yes 12 Songs from Call Me Madam - Ethel Merman | Songs, Reviews, Credits | AllMusic 12 Songs from Call Me Madam AllMusic Rating google+ AllMusic Review by William Ruhlmann Call Me Madam, a fictionalized account of the life of Washington hostess and ambassador to Luxembourg Pearl Mesta, was Irving Berlin 's final hit Broadway musical. It was also his second collaboration with Ethel Merman , who had starred in his most successful show, Annie Get Your Gun. Opening October 12, 1950, Call Me Madam settled in for a run that eventually totaled 644 performances, making the commercial prospects of a cast album bright. Unfortunately, there was a glitch. The show had been financed by RCA Victor Records, who claimed the cast album. But Merman was an exclusive recording artist for Decca, one of RCA's major rivals. The result was two albums: RCA replaced Merman with Dinah Shore , while Decca replaced the rest of the original cast with Dick Haymes , Eileen Wilson , and a chorus.

The Decca album got out of the gate first and, featuring the show's star, was bound to be the more successful anyway; it just missed topping the charts. Merman is, of course, the recording's chief asset, as she belts out seven of the album's 12 songs (the original EP and 10" LP versions had only eight tracks, but they were quickly superseded by a 12-track 12" LP), including "The Hostess With the Mostes' on the Ball" and "The Best Thing for You." Her duet with Haymes , "You're Just in Love," was the hit of the show, reaching the Top 40. Haymes was in typically good voice on his solo, "Once Upon a Time Today." The best of the choral numbers was the prophetic "They Like Ike," which featured an unidentified soloist.

When MCA reissued the album for the CD era, it added the four songs Merman recorded in 1940 for the Cole Porter show Panama Hattie, among them the attractive duet with Joan Carroll, "Let's Be Buddies." Track Listing Call Me Madam (1953) Synopsis - Plot Summary - Fandango GO Synopsis Ethel Merman reprised her role as a socialite turned diplomat in this screen adaptation of Irving Berlin 's hit Broadway musical. Sally Adams ( Merman ) has made it her business to know everyone worth knowing in Washington D.C., and her penchant for parties pays off when she's appointed United States Ambassador to Lichtenburg. Once she is installed in her new position, she falls in love with suave Foreign Minister Cosmo Constantine ( George Sanders ), while Princess Maria ( Vera-Ellen ) has her head turned by Sally's press attaché, Kenneth ( Donand O'Connor ).

Call Me Madam is a showcase for Merman 's roof-raising musical comedy style, and here she gets to sing a handful of Berlin tunes, including "You're Just In Love," "Can You Use Any Money Today?" and "Hostess With The Mostes' on the Ball." Vera-Ellen 's singing was dubbed by Carol Richards . ~ Mark Deming, Rovi Provided by Rovi Call Me Madam Call Me Madam Call Me Madam Call Me Madam is a musical with a book by Howard Lindsay and Russel Crouse and music and lyrics by Irving Berlin. A satire on politics and foreign affairs that spoofs America’s penchant for lending billions of dollars to needy countries, it centers on Sally Adams, a well-meaning but ill-informed socialite widow who is appointed United States Ambassador to the fictional European country of Lichtenburg. While there, she charms the local gentry, especially Cosmo Constantine, while her press attaché Kenneth Gibson falls in love with Princess Maria. Background The lead character is based on Washington, D.C. hostess and Democratic Party fundraiser Perle Mesta, who was appointed the Ambassador to Luxembourg in 1949.

The Playbill distributed at each performance humorously noted that “neither the character of Mrs. Sally Adams nor Miss Ethel Merman resemble any person living or dead.” In 1949, Merman and her family were vacationing at the Hotel Colorado in Glenwood Springs with Howard Lindsay and his wife Dorothy Stickney. Watching Merman poolside while reading a magazine article about Mesta, Lindsay was struck by how typically “American” she was and immediately envisioned her portraying a colorful character similar to the newly appointed ambassador. When he proposed the idea to Merman, who had little interest in either society or political news, she responded, “Who’s Perle Mesta?”[1] Although Merman had announced she was interested in playing a dramatic role in her next project, Lindsay and Russel Crouse approached Irving Berlin and began working on the book for Call Me Madam when he expressed interest in composing the score. Berlin’s last production, Miss Liberty, had failed to recoup its investment, and he was determined to repeat the success he had had with Annie Get Your Gun . The three collaborators agreed they needed to treat their subject with care to avoid any legal action by Mesta.

As the work progressed, Merman conceded she would be willing to sing two or three songs, but eventually accepted the fact she was going to star in a full-scale musical comedy instead of the drama she preferred.[1] Producer Leland Hayward budgeted the production at $250,000. In exchange for the original cast recording and television broadcast rights, he arranged to have it financed 100% by RCA Records and NBC, with the two sharing 35% of the net earnings. In order to increase the profits, Hayward decided to charge an all-time high of $7.20 for orchestra seats.[1] Hayward hired George Abbott to direct, and Abbott and casting director Harold Prince auditioned thousands of actors for the twenty speaking roles and twenty-nine chorus members. Raoul Pene du Bois was hired to design sets and costumes, although the wardrobe worn by Merman was the responsibility of Mainbocher.[1] Once the script was completed, everyone agreed that, while it was little more than standard situation comedy material, it was a perfect vehicle for Merman, and that Berlin’s score, although far from his best, was tuneful and memorable. It included the comic song “Mr.

Monotony”, which originally was written for and dropped from the film Easter Parade. Berlin had then included it in Miss Liberty, but it was dropped from that as well. In this instance, the third time was not the charm: during out-of-town tryouts, Merman insisted it be dropped. (In 1988, Sarah Brightman recorded it for her CD The Songs That Got Away.) To fill the hole its omission left in the second act, Berlin wrote “Something to Dance About” to give the second act a lively opening. When the star requested a duet with Russell Nype playing her lovestruck press attaché, Berlin responded by writing the counterpoint tune “You’re Just in Love” and it ultimately became a showstopper at every performance.[1] Productions Directed by George Abbott and choreographed by Jerome Robbins , the musical premiered at the Shubert Theatre in New Haven, Connecticut on September 11, 1950. Reviews were mixed – Variety said it “inspires warm applause rather than cheer”—and Berlin wrote two new songs to bolster the sagging second act.

It opened in Boston on September 19, and while The Boston Record thought it offered “only an occasional flash of inspirational fire”, it played to standing-room-only audiences throughout the run.[1] With a record advance sale of $2 million,[1] the Broadway production opened on October 12 at the Imperial Theatre , where it ran for 644 performances and grossed more than $4 million.[1] In addition to Merman and Nype, the cast included Paul Lukas, Pat Harrington, Sr., Galina Talva, Lilia Skala, and Richard Eastham.

Brooks Atkinson of The New York Times thought it offered one of Berlin’s “most enchanting scores: fresh, light, and beguiling, and fitted to lyrics that fall out of it with grace and humor”, and the New York Post called Merman “indescribably soul-satisfying”, “a comedienne of rare skill”, and “one of the joys of the world.”[1] She remained with the show for the entire run and appeared in the limited four-week engagement staged to celebrate the reopening of the National Theatre in Washington, D.C., but her understudy Elaine Stritch starred in the national tour.[1] The musical opened in the West End at the London Coliseum on March 15, 1952 where it ran for 486 performances and starred Billie Worth.[2] The New York City Center Encores!

semi-staged concert version starring Tyne Daly , Walter Charles, and Melissa Errico was presented in February 1995.[3] A regional production ran at the Paper Mill Playhouse, Millburn, New Jersey, in April–May 1996 and starred Leslie Uggams.[4] Other major productions have starred Constance Bennett, Joanne Worley and Karen Morrow. The Union Theatre in London produced Call Me Madam in the fall of 2012. It was staged and directed by Michael Strassen and starred Lucy Williamson, Gavin Kerr, Leo Miles and Natalie Lipin. It received five nominations at the Off West End Awards and was named as one of the productions when the Union won Best Fringe at The Stage Awards in 2013 alongside The Globe (Best Theatre) Recordings In a highly unusual situation, two LP albums of the score were released. The recording rights had been granted to RCA Victor, which had invested in the show, but Merman was under contract to Decca Records, which refused to allow her to record the original cast album.

Decca issued a 10-inch LP featuring Merman singing some of her songs, accompanied by arranger-conductor Gordon Jenkins and His Orchestra and Chorus, with vocalizing by Dick Haymes (who joined Merman in the show’s biggest hit, “You’re Just in Love”, their single reaching Billboard magazine’s number 30 for a week) and Eileen Wilson (who sang “It’s a Lovely Day Today” with Haymes). RCA Victor went ahead with the original cast album replacing Merman with Dinah Shore. Merman was called back into the Decca studios to record additional songs from the show, and the label quickly re-released the album as a 12-inch LP under the title Ethel Merman: 12 Songs from Call Me Madam. The Victor album sold reasonably well, attaining the sixth spot on the Billboard popular album charts, but the LP was out of print from 1956 until RCA Red Seal reissued it briefly in 1977. Peaking at number two on Billboard‘s popular album charts, Merman’s Decca recording, which would appear on MCA Records beginning in 1973, stayed steadily in print until the end of the LP era.

Merman’s Madam album currently is available on a Decca Broadway CD, which also features Merman singing four Cole Porter tunes from the stage score of Panama Hattie (1940). Merman also is heard on the film soundtrack album (with Donald O’Connor and George Sanders), issued in 1953 as a 10-inch album, also on the Decca label. Scoring fifth position on Billboard “s popular albums charts when first released, the soundtrack, taken out of print in 1957, was reissued in 1981 by Stet Records on a 12-inch LP which also contained songs from the film scores of Guys and Dolls (1955) and I’ll Cry Tomorrow (1955). The Merman soundtrack has not been legally updated to a CD. A 1995 Broadway concert cast album, featuring Tyne Daly , Lewis Cleale, Christopher Durang, Ken Page, and Melissa Errico, is available on the DRG label. The original London West End cast recording, starring Billie Worth, has been released on the Sepia label.

Promotional Appearances On the premiere episode of The Big Show (NBC Radio) on November 5, 1950, original Broadway cast members Ethel Merman , Paul Lukas, and Russell Nype appeared in the first half hour (of the hour-and-a-half program) and performed songs from the score in order of their appearance in the production, while host Tallulah Bankhead filled in story notes between songs (although accidentally missing one story cue). Merman sang “The Hostess With the Mostes’ on the Ball,” then Lukas sang “Lichtenburg,” then Merman sang “Can You Use Any Money Today?” and “The Best Thing for You (Would Be Me),” and finally Merman sang “You’re Just in Love” with Nype.[5] Standby: Elaine Stritch (Mrs.

Sally Adams) Creative Music by Irving Berlin Lyrics by Irving Berlin Book by Howard Lindsay and Russel Crouse Musical Director: Jay Blackton Music orchestrated by Don Walker Dance arrangements by Genevieve Pitot and Jesse Meeker Additional orchestrations by Joe Glover Vocal arrangements by Jay Blackton Piano Arrangements by Helmy Kresa Directed by George Abbott Dances and Musical Numbers Stage by Jerome Robbins Scenic Design and Costume Design by Raoul Pène Du Bois Miss Merman’s dresses by Mainbocher Assistant to Mr. Du Bois: Willa Kim, Mason Arvold and Waldo Angelo Production Stage Manager: Robert Griffith Stage Manager Don Hershey Assistant Stage Mgr: Fred Hearn, Stowe Phelps and Harold Prince Call Me Madam - The Guide to Musical Theatre Call Me Madam Music and lyrics by Irving Berlin, book by Howard Lindsay and Russell Crouse Imperial Theatre, Broadway - Oct.

12, 1950 644 (perfs) London Coliseum, 15 March, 1952 One of the great musicals of all time - the story of Sally Adams, "The hostess with the mostest", who becomes US Ambassador to the tiny duchy of Lichtenburg, captivating the handsome Prime Minister and encouraging the romance of her aide with an enchanting young Princess. Of course, the 'stuffed shirts' in Washington conspire to get her recalled, but all ends happily, helped along by songs such as "You're Just in Love", "It's A Lovely Day Today" and "Marrying For Love". Synopsis The action of this play, according to the authors, is laid in the two mythical countries of Lichtenburg and the United States of America, and tells the story of Sally Adams, an exuberant, wealthy widow appointed Madam Ambassador to the Grand Duchy. Her outrageous lack of knowledge of etiquette and tradition makes most amusing entertainment. Sally Adams has such songs as "The Hostest With the Mostest", Washington Square Dance", Can You Use Any Money Today?", "The Best Thing For You Is Me" and "You're Just In Love".

All of these, though undemanding in range, need punching delivery by a full-voiced mezzo. Other numbers are "The Ocarina", "Once Upon a Time Today" and the famous "It's A Lovely Day Today" shared by the juvenile girl and boy, both of whom should be competent singers and move well. The role of Cosmo Constantine, who becomes Prime Minister of the Duchy calls for an actor with baritone voice. There are many small, non-singing roles including an excellent opportunity for two elderly performers in the roles of the Grand Duke and Duchess who make their first appearance just before the end of the play to prove that Madam Ambassador, despite her unorthodox behaviour is, after all, a very great diplomat. The dignified playing of this little episode provides great contrast to the brashness that has preceded it and makes a delightful climax. The master craftsman who created Annie Get Your Gun serves not only his principals as well in Call Me Madam but is equally kind to his chorus. He gives them some excellent ensembles on their own, demanding nothing in return except good signing from medium range voices, fine diction and a sense of modern rhythm.

Story: Sally Adams, Washington's "hostess with the mostes'," is named Ambassador to the Grand Duchy of Lichtenburg - a tiny kingdom steeped in royal custom and rapidly changing coalition governments. Kenneth Gibson, an eager young diplomat, is assigned to be her aide. True to her almost total disrespect for protocol, Sally arrives late in Lichtenburg. There she encounters foreign minister Cosmo Constantine, not, however, to the degree her romantic nature would like. Worse yet, Cosmo refuses American foreign aid. Sally gets talked into a scheme to get Cosmo elevated to Prime Minister to make way for a new foreign minister eager to accept American money to "save" the country. When the loan is all but consummated, Cosmo finds out about it and resigns. This ruins all possibilities for another coalition, and the country must hold its first general election in twenty years. Sally openly campaigns for Cosmo, forcing her recall to Washington for becoming involved in another government's internal affairs. Kenneth, too, commits a grave diplomatic error by falling in love with the Princess Maria and arranging secret meetings with her. However, a spirit of democracy is over Lichtenburg.

The princess is granted permission to ask Kenneth to marry her. Elected Prime Minister, Cosmo visits Sally in Washington to grant her the royal order of Dame and revive their "acquaintance." Cast: 6 men, 3 women, (20 speaking parts, 8 principals), chorus Sally Adams, carries the show with good acting and powerful voice. Kenneth, strong, handsome singer. OPENING CHORUS AND DANCE "Mrs. Sally Adams" SONG (Sally) "The Hostess with the Mostes' on the Ball " ENCORE (Sally) "The Hostess with the Mostes' on the Ball " SONG AND DANCE (Sally and Chorus) "The Washington Square Dance" MUSIC TO CHANGE SCENE. SONG (Cosmo and Chorus) "Lichtenburg" SONG (Sally) "Can you use any money today " DUET (Cosmo and Sally) "Marrying for love " FANFARE-OPENING SCENE 6 .

SONG and DANCE (Princess Maria and Chorus) "The Ocarina" DUET (Kenneth and Princess Mama) "It's a lovely day today" ENCORE-SONG AND DANCE (Kenneth and Chorus) "It's a lovely day today" CORRIDOR SCENE REPRISE (Kenneth and Princess Maria) "It's a lovely day today" SONG (Sally) "The best thing for you " FINALE-ACT I (Sally) "Can you use any money today?" ENTR'ACTE SONG AND DANCE (Sally and Chorus) "Something to dance about" REPRISE "Something to dance about" SONG (Kenneth) "Once upon a time, today " TRIO (Wilkins, Brockbank and Gallagher) "They like Ike " REPRISE-DUET (Kenneth and Princess Maria) "It's a lovely day today" DUET (Kenneth and Sally) "(I wonder why) You're just in love " ENCORES (ad lib) "(I wonder why) You're just in love " REPRISE (Sally) "The best thing for you " REPRISE "The best thing for you "

 REPRISE-DUET (Kenneth and Princess Maria) "It's a lovely day today " REPRISE (Chorus) "Mrs.

Sally Adams" FINALE (Sally and Chorus) "You're just in love " CURTAIN MUSIC Instrumentation: Reed I (flute, piccolo, clarinet, alto sax), Reed II (clarinet, bass clarinet, alto sax), Reed III (clarinet, oboe, cor anglais, tenor sax), Reed IV (flute, clarinet, tenor sax), Reed V (clarinet, bass clarinet, alto sax, baritone sax, bassoon), horn, 3 trumpets, 2 trombones, piano, guitar, percussion, strings. Scenes and settings: 2 acts, 13 scenes, 5 full stage sets, 3 drop sets, which are a series of painted cloth panels rather than 1-piece drops, and 1 partial stage set (Sally's sitting room in Lichtenburg). ACT I Scene 1: Office of the Secretary of State. Scene 2: Sally's Living Room in Washington. Scene 3: Public Square in Lichtenburg. Scene 4: Reception Room in the American Embassy. Scene 5: Public Square in Lichtenburg. Scene 6: The Lichtenburg Fair.

Scene 7: A Corridor in the Palace. Scene 8: Sally's Sitting Room in the Embassy. ACT II Scene 1: The Public Square. Scene 2: The Embassy Garden. Scene 3: The Public Square. Scene 4: Sally's Sitting Room. Scene 5: Sally's Living Room in Washington. Period and costumes: The mid-1950's in two mythical countries; one is called Lichtenburg, the other the United States of America: Washington party gowns and formal wear, Bright folk costumes, Call Me Madam Reviews & Ratings - IMDb IMDb 21 out of 22 people found the following review useful: Broadway's greatest musical legend repeats her classic stage role! from United States 16 July 2004 In her 60 year career, Ethel Merman only made two appearances in musical versions of her Broadway hits. The first was a much altered version of Cole Porter's "Anything Goes" in 1936, and the second was this striking and colorful musical, "Call Me Madam", by the legendary Irving Berlin.

Ann Sothern and Lucille Ball were cast by MGM in two of her other Cole Porter hits, "Panama Hattie" and "DuBarry Was a Lady", while Betty Hutton was a second choice after Judy Garland to play Annie Oakley in "Annie Get Your Gun!". Over a decade later, Rosalind Russell was given her role of Mama Rose in "Gypsy". Fortunately, 20th Century Fox saw fit to cast Merman in the film version of "Call Me Madam", giving her a rare leading film role after they had cast her in supporting roles in movie musicals of the late 1930's. The Broadway hit had co-starred Oscar Winner Paul Lukas and Russell Nype, and for the film version, Oscar Winner George Sanders took over for Lukas, and Donald O'Connor, after his triumph in "Singin' in the Rain" and the "Francis the Talking Mule" films, replaced Nype. For the role of the Princess, originated on Broadway by Tamara Geva, Fox cast the pretty Vera-Ellen.

However, the film is all Merman's as she sings, clowns, and bounces all over the fictional duchy of Lichtenberg. For the record, two small duchys of the time, Luxemborg and Lichtenstein, were combined into one to fictionalize the setting. The spoof of Pearl Mesta, American ambassador to Luxemborg, seemed appropriate for a musical, and Merman, after her triumph as Annie Oakley, was the perfect choice to spoof someone she actually knew. As Mrs. Sally Adams, Washington Hostess turned Ambassador, Merman turns the duchy upside down, and gets a charming lover in the process. George Sanders, usually cast as despicable villains (films such "Rebecca" and "All About Eve"), is cast against type, but is perfect with his suave charm. His villains also had charm in spite of their calculating manner. He also displays a fine singing voice, and does a remarkable job in spite of the fact that this is Merman's show all the way.

As the younger lovers, Donald O'Connor and Vera-Ellen have some nice dance numbers, most notably "Something to Dance About", but the musical highlight is O'Connor and Merman's duet, "You're Just in Love". Merman shines in "The Hostess With the Mostess" and the interpolated "International Rag" (which replaced "Washington Square Dance" from the original show), while O'Connor almost tops his "Make Em' Laugh" number with "What Chance of I With Love?", an Irving Berlin song originally heard in the 1941 musical "Lousiana Purchase". The very charming and colorful "Ocarina" number gives Vera-Ellen her chance to shine, and is well staged in the confines of a movie camera. Berlin's lyrics are just as good as his "Annie Get Your Gun" score, and the book by Russell Crouse and Leland Hayward delightfully spoofed America's constant gifts of money to poorer countries. In fact, Merman has several comical phone conversations with President Harry S. Truman (who actually had left office by the time this film was released), and while the comments about Margaret Truman's acting career may seem dated, they become funnier with each passing phone conversation.

In supporting roles are Billy DeWolfe as Merman's stuffy assistant, Walter Slezak as the Minister of Finance, Ludwig Stossel as the Grand Duke, and Lila Skala (later the head nun of "Lillies of the Field") who says not a word as his wife. Director Walter Lang did an outstanding job bringing the film to the big screen, and the dances by Robert Alton are outstanding as well. Every aspect of the film is done with care; costumes and scenery give the viewer a feeling of a more peaceful time in the world (even though it was less than a decade after World War II had ended), and some viewers might be reminded of the classic operettas being done on Broadway just a decade before. However, once Merman's vibrant personality takes over, there is no question that we are not in Sigmund Romberg territory; This is the Americana of Irving Berlin with brassy Merman, suave Sanders, rubber-legged O'Connor, and sweet Vera-Ellen. I first saw "Call Me Madam" back in 1982 at a summer classic movie retrospective where the audience applauded as if they were seeing a live performance.

It turned up a decade later on cable with tons of commercials, but until the introduction of the Fox Movie Channel, it seemed to be one of those rare movies unavailable for viewing. Now it has also made its way onto DVD. Merman deservedly won a Golden Globe for her performance, but was sadly overlooked for an Oscar Nomination. Perhaps, like Carol Channing, she is too big for the big screen, and comes across better on stage. Still, she was neglected in films, and "Call Me Madam" will remain a vibrant and colorful record of what this great lady did best-to entertain and make the world forget its troubles. In some scenes, she can even tear your heart out. While her follow-up Fox film, "There's No Business Like Show Business", is enjoyable for what it is, it is "Call Me Madam" that gives her the biggest chance to shine on screen. Was the above review useful to you? 16 out of 18 people found the following review useful: O'Connor and Merman Shine from Washington, DC 11 May 2004 Both Ethel Merman and Donald O'Connor suffered from the same misfortune -- lack of quality movie roles to showcase their extraordinary gifts.

In O'Connor's case, it was because from childhood up into his middle twenties he was contracted by Universal Studios which, up 'til that time, produced "B" movies, suitable for coming into an air-cooled movie theater on a hot summer's day, but not much else. He always shone brightly, however, even in those early films, but not 'til Singin' In The Rain -- and Call Me Madam -- did he get the chance to glitter in great "A" material. Ethel Merman, the greatest of the Broadway greats had expansive mannerisms, stereophonic lungs, and irrepressable exhuberance, and was not considered cinema material by the powers that be. See how wrong the powers can be? O'Connor and Merman together in this film make it great -- his dancing, her voice, their personalities blending in just the right way. Great movie with two great leads -- don't miss "Call Me Madam"! Was the above review useful to you? 17 out of 20 people found the following review useful: Madame Ambassador from New York 2 August 2004 Thanks to the Fox Movie Channel one can rediscover forgotten things that don't show on television these days.

It was a royal treat to have this film play the other night. We had seen the film years ago, but one forgets how much fun it was and how it still can delight anyone at all. It helps a great deal this musical score was written by Irving Berlin, perhaps one of the most talented American composers of all times. The music of "Call Me Madam" can't be considered his best, but it pleases the viewer when it plays on the screen. The direction by Walter Lang also was an asset; even though it's filmed musical theater, it doesn't feel claustrophobic. Ethel Merman was a magnificent star of the New York Broadway stage. She was a legend in the way she could sing a song and she could be heard in the whole theater; no mikes for Ms. Merman!. She was an original who was a consumed entertainer; she graced many musicals during her lifetime. It shows how foolish Hollywood was in not letting Ms. Merman repeat some of the same roles she created for the theater. It's sad, but it's a great loss. Donald O'Connor does some of his best work in films in the movie. He plays well against Ms.

Merman, as well as against Vera Ellen, his love interest in the film. Mr. O'Connor and Ms. Ellen are charming in their roles. A great surprise was to see George Sanders, a man who played heavies, or cynical characters on the screen, singing and acting with enough suavity to charm Ms. Merman. Also in the cast, Walter Slezak, Billy DeWolfe, who are also effective in their supporting roles. This is a film that will delight anyone looking for a pleasant time watching a delightful musical. Was the above review useful to you? 13 out of 14 people found the following review useful: Ethel's Finest Moment from United States 24 August 2004 Carol Channing, Mary Martin, Ethel Merman - the three biggest stars of Broadway between 1940 and 1970, and none made as big an imprint in movies. This seems to be a running sore in cinematic history - so few stage stars were great film figures. Some, like George M.

Cohan, did not like the restrictive effects of movie making, and made few stabs at film (though, fortunately, Cohan made THE PHANTOM PRESIDENT in 1932). Others just seemed to weak on film. The great Pauline Lord made one movie, the pathetic MISS WIGGS OF CABBAGE PATCH, which (if recalled at all) is remembered as a film "starring" (he was actually in a supporting role) W.C.Fields. Channing, star of GENTLEMEN PREFER BLONDS watched while that role went to Marilyn Monroe, and star of HELLO DOLLY watched as that role went to Barbara Streisand. Martin, star of SOUTH PACIFIC saw Mitzi Gaynor play Nellie Forbush, and star of THE SOUND OF MUSIC saw the role of Maria Von Trapp become identified with Julie Andrews. Merman with credits like ANYTHING GOES, PANAMA HATTIE, ANNIE GET YOUR GUN, and GYPSY, only was able to keep the role of Reno Sweeny in ANYTHING GOES, when it was first made into a film in the 1930s.

She was fortunate to also have the role of Sally the ambassador in CALL ME MADAM on film. It was a rarity, because she knew the part and was able to shine in a film adaptation. It's success probably enabled her to get another lead in the musical THERE'S NO BUSINESS LIKE SHOW BUSINESS. But the latter film, despite her good work in it (and Dan Dailey's, Mitzi Gaynor, and Donald O'Connor's)is recalled because Marilyn Monroe sang "We're Having a Heat Wave". Merman never led in another musical film again, and would be overlooked for GYPSY (when Rosalind Russell got the part). At least here and in the first ANYTHING GOES we see how she handled stage roles in her career. Mary Martin was less successful, her film record of her stagecraft limited to the scene in the first Cole Porter biopic NIGHT AND DAY, when she sings the song MY HEART BELONGS TO DADDY as she did on stage (unfortunately two of her chorus, Gene Kelly and Van Johnson, were not asked to repeat their chorus boy parts). There is the television version of PETER PAN, which is on video.

It's fortunate that exists (there is also some songs from SOUTH PACIFIC that were sung with Ezio Pinza on THE ED SULLIVAN SHOW). The rest is silence. As for Channing, the only time she appeared in a movie musical, it was as the wacky aunt of Mary Tyler Moore in THOROUGHLY MODERN MILLIE (a movie not based on any stage musical). Channing had little singing to do in it. So Merman was able to do one great performance on film. CALL ME MADAM, a musical spoof on the career of political hostess Pearl Mesta, was a charming little musical (no ANNIE GET YOUR GUN, though). It's best musical moment is the duet with Donald O'Connor (I HEAR MUSIC BUT I DON'T KNOW WHERE), and it is a romantic piece of fluff. Nice also to see George Sanders playing a decent chap for a change. But watching Merman at her best, makes one regret what was not captured on film of her other performances.

Ironically, that great singing voice is best recalled as a "loud-mouth broad" voice from Merman's best remembered role: the obnoxious mother-in-law of Milton Berle in IT'S A MAD, MAD, MAD, MAD WORLD. Was the above review useful to you? 10 out of 10 people found the following review useful: The Ultimate Ethel Merman Performance in a Movie from Cincinnati, Ohio 25 February 2004 I remember seeing Call Me Madam as a teenager when it first came out as a movie in 1953. There was the great Ethel Merman on the screen. I had never heard of her before as to who she was, but I saw the movie so many times that it is still very vivid in my mind. Always yelling "Hello Harry" every time the phone rang, when Billy De Wolfe tried to tell her that one of his jobs was to tell her how to dress, and she looked at him in his outfit with striped pants and quipped, "You're going to tell me how to dress? Your coat and pants don't even match!" But, the surprise of the movie was George Sanders singing especially his song "Marrying for Love".

Who would have known that he had such a rich baritone voice. This was probably Vera Ellen's best movie including "Three Little Words" with Fred Astaire. She and Donald O'Connor were perfect in their dance numbers together. Ethel Merman's rendition of "The International Rag" was brassy and sassy the way only Ethel Merman could deliver it with the end of the song singing, "Oh, oh! Wiggle your personality!" and someone in the audience said, "She sure can wiggle it; can't she?" It was if as soon as you sat down to watch this wonderful musical, it was time to leave the theater. I understand that the film is finally going to be released on Video. It's about time. I'll buy one copy to look at and another to keep just in case. Wonderful entertainment. One of the best! Was the above review useful to you?

13 out of 16 people found the following review useful: That Hostess With The Mostess from Buffalo, New York 28 October 2006 Movie audiences got a treat in Call Me Madam because they got to see Ethel Merman repeat one of two of her Broadway roles for the screen, the other being in the first Anything Goes. For some reason, movie audiences never really took to Ethel. She did some parts during the Thirties, but in the Forties worked exclusively on Broadway. Mary Martin suffered a similar fate and we never got to see any of her Broadway starring roles with the exception of the famous telecast of Peter Pan. Irving Berlin wrote the score for Call Me Madam and the book is based on the colorful life of Perle Mesta, famous Washington socialite who Harry Truman made ambassador to Luxembourg. That's the way of things in Washington. Both parties with a new administration give ambassadorships out to wealthy contributors and Perle Mesta, an oil widow was one of the wealthiest. Ethel is appointed by President Truman as Ambassador to the mythical duchy of Lichtenburg.

Her rather informal style sets some professional State Department teeth rattling and during the course of the film both causes and solves a diplomatic crisis. Her personal assistant, Donald O'Connor is in her corner, but the chief of Protocol Billy DeWolfe is at his wit's end. Both Ethel and Donald find romance in Lichtenburg, she with Count George Sanders and he with Vera-Ellen. When things aren't looking so good, they console each other with the hit song of Call Me Madam, You're Just In Love. This is what you call a contrapuntal melody with both members of the duet singing different melodies at the same time. At the same time this one was hitting the jukeboxes, another contrapuntal by Berlin, Play A Simple Melody was revived by Bing Crosby and his son Gary. To my knowledge no other major composer has ever had a hit with one of those. George Sanders surprised quite a few folks with his singing voice. They needn't have been, he in fact had appeared in some musicals on the London stage before going into film. And he drops the sneer that usually accompanies most of us film characters and makes a most dashing and romantic count.

Dropped from the film version was Irving Berlin's tribute to Dwight D. Eisenhower which became his campaign theme song, I Like Ike. I guess it was considered redundant since the American people already had him. There are many references to Harry in the book and how Ethel was going to not let him down in the position he placed her in. Billy DeWolfe steals every scene he's in as the fussy officious career foreign service employee, Pemberton Maxwell. If there ever was a name for a stuffy career WASP diplomat, that's it. They were a ripe target back then, certain politicians made a living on accusing a whole flock of them as traitors. One of them was Truman's Secretary of State, Dean Acheson. There manner didn't play well in what we would now call red state America. Call Me Madam is bright and funny with a great score and some fabulous performances. Can't do better than that. Was the above review useful to you?

14 out of 18 people found the following review useful: Merriment, Grace and Pleasure Author: sharlyfarley 2 May 2004 It's easy to forget how many great musicals 20th Century Fox has put out, and how varied - from "My Fair Lady" to "the Commitments." One of their very best has just been re-released on DVD: "Call Me Madam"... Once upon a time, boys and girls, they used to make movies that you were supposed to enjoy. They didn't thrill you, or scare you, or wow you with effects and disasters. They simply gave pleasure by having people sing amusing songs and dance with grace and lightness and ease. Here you have a chance to see the kind of singer - the incomparable Ethel Merman - who could fill a theater without using a microphone, and you could understand every word she sang. And you have a chance to see some of the greatest dancers Hollywood ever knew - Donald O'Connor and Vera Ellen - who advance the love story simply by dancing together.

I gotta admit, O'Connor's got a gleam in his eye Astaire never had, and that dance in the wine cellar did more for my imagination than thrashing naked bodies ever did. And I roared every time Merman said "Hello, Harry!" And who knew George Sanders could sing? This is not life-changing cinema...It's simply wonderful entertainment. And the more I see of today's offerings, the rarer that looks. Was the above review useful to you? 12 out of 15 people found the following review useful: Call Her MERMAN! from United States 15 September 2004 Ethel Merman was unique in the annals of the American Musical Theater -she was responsible for the success of more shows, and introduced more songs that became Broadway standards (and by the best composers) than any other performer - even Mary Martin and Gwen Verdon never quite de-throned the First Lady of Musical Theater. But Merman is one of those whose talent didn't quite transcend the big screen, despite several attempts.

Anyone seeing her on the screen today may well wonder what all the fuss was about, but take it from an eyewitness: Merman was a force of nature who had to be seen live to be appreciated - when she set foot on a stage, she OWNED that stage, the scenery, and every seat, patron, and brick of that theater. Although it came along too late to make her a real movie star (she was in her mid-40s already and, unfortunately, wasn't aging gracefully), CALL ME MADAM is her best movie, and gives us the closest approximation of how the Merman magic lit up the stage (and the box-office). MADAM was very much a star vehicle, the kind they don't have today (let's face it: because they don't have such stars), and there wouldn't have been any point in filming it with anyone else - every situation, line, lyric and note of music was tailored to her style, personality, and, of course, voice (aside from the fact that the show is very dated politically, that's the other reason it was seldom revived without her.

GYPSY, though a much better show, was considered a sacred Merman vehicle until Angela Lansbury tackled it in 1973 - it's been revived regularly ever since). Merman was known for 'freezing' a performance, seldom varying it by a syllable throughout a show's long run, and often claimed to be thinking about her grocery list while she was belting out a song. Though she probably 'tweaked' her performance for the screen, what we see here is very likely the way she played Sally Adams hundreds of times before and after the movie. Although she certainly dominates the proceedings, Merman surprisingly doesn't hog the show (she even gave one of her songs over to Donald O'Connor, "Something To Dance About") - everyone gets their chance to shine, from George Sanders (not playing a cad for once, and displaying an excellent singing voice) to the wonderful Donald O'Connor and Vera-Ellen.

O'Connor was riding the crest of his success in SINGIN' IN THE RAIN, and he's almost as good here - his performance is a joy, whether dancing with Vera-Ellen, by himself, or teaming up with Merman for the legendary duet of "You're Just In Love" that stopped the show cold on-stage (he was fond of saying that one of the Merm's high notes bent his eardrum!). So pop this one in, sit back and have a wonderful time watching several seasoned troupers doing what they did best - entertaining! Was the above review useful to you? 8 out of 8 people found the following review useful: Merman, Like Olives . . . from Cleveland, Ohio 4 July 2004 is an acquired taste. Apparently enough folks developed it enough to keep Ethel's shows running for a couple of decades. One of the "Queens of Broadway" (with Mary Martin) Ethel Merman's brassy voice belted through many a record-breaking run, thrilling thousands. What a rare treat to see her in a role she made her own! "Call Me Madam" is a dandy musical, rich with a great Irving Berlin score and lively performances.

Equally rare is the excellent singing performance of George Sanders. His beautiful baritone is heard in "It's an Old-fashioned Idea" and other lovely ballads. As he played Gen. Constantine, I couldn't help but wonder how his reported troubled private life might have gone had he done more light, musical fare. Sanders' whole demeanor is different: he's warm, relaxed, sincere and fun-filled--what a departure from the cynical cads he was almost always engaged to portray! [N. B. History shows he was signed to star in a stage production of "South Pacific," and his recording of solo ballads, "The Sanders Touch: Songs to the Lovely Lady"--released five years after this film--has become one of the hottest collectors' items around.] All I can say is, his singing is gorgeous in "Call Me Madam." If this Fox musical has the somewhat look and feel of an MGM production, there's Donald O'Conner and Vera-Ellen lending their aura from the latter studio. Director Walter Lang, an old-hand at Fox musicals and light comedies, keeps things on track, while Bob Alton's dances really hit-the-mark.

"Call Me Madam" is a most delightful diversion, and a lasting testament to the gifted Merman--the "hostest with the mostest." Was the above review useful to you? 6 out of 6 people found the following review useful: Now available on DVD - AT LAST!!! from Portland, Oregon 3 April 2003 There's been a long wait to revisit the delights of this brassy film recreation of a big Broadway hit, but now we can once again enjoy it, fairly bursting from the screen, with its several lively production numbers, John DeCuir's classy production design, Irene Sharaff's flattering costumes, plus Robert Alton's absolutely first-rate choreography. Check out Vera-Ellen and an ultra-well-rehearsed chorus of dancers in "The Orcarina" number, as well as her amazing dance duets with Donald O'Connor, who smoothly displays his exceptional terpsichorean ability, so well showcased two years earlier in MGM's "Singin' in the Rain." George Sanders's singing is a wonderful surprise, holding his own with leather-lunged Madame Merman, who had triumphed on Broadway with this votive offering to her stardom, so cleverly crafted by Irving Berlin.

Alfred Newman's Oscar for his endlessly inventive musical direction was more than well-deserved. For anyone who thinks that M-G-M was the only studio to adequately mount a film musical, this one might convince fans of this genre otherwise. (The DVD, by the way, is a very nice transfer, and boasts a quite informative commentary by "Musical Film Scholar" Miles Kreuger.) Was the above review useful to you? Page 1 of 5: Broadway Musical Home - Call Me Madam Broadway Musical Home Who starred in the original cast? Where can I buy the music? What’s the buzz on Broadway? Find out at Broadway Musical Home Call Me Madam by Irving Berlin , Howard Lindsay and Russel Crouse Playing at a Theatre Near You A political-satire, star-vehicle for Ethel Merman by Irving Berlin . Story: Sally Adams becomes Ambassador of Lichtenburg and charms Cosmo Constanstine with her undiplomatic manner. Meanwhile, her press attache, Keneth Gibson, falls in love with Princess Maria.

644 Original Cast Ethel Merman, Paul Lukas, Russell Nype, Galina Talva, Pat Harrington, Alan Hewitt, Tommy Rall and Nathaniel Frey Director Arthur Sheekman Starring Ethel Merman, Donald O'Connor, Vera-Ellen, George Sanders, Billy De Wolfe, Helmut Dantine, Walter Slezak, Steven Geray, Ludwig Stössel, Lilia Skala, Charles Dingle, Emory Parnell, Percy Helton Click on a song name to listen/purchase it on CDs Best Actress in a Musical - Ethel Merman Best Featured Actor in a Musical - Russell Nype 1952 Theatre World Award Nominations Russell Nype If You Like Call Me Madam, You Might Also Like... Broadway Musical Home Broadway tickets, merchandise, music, videos, and all the news, reviews, and information you want about Broadway musicals, people, theatres, awards, and production rights at your home for all things Broadway.

Question: Who wrote the musical Call Me Madam?
Answer: Irving Berlin