Meet Me in St. Louis Free yifyTorrents Family with Judy Garland
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8,2 / 10 Star. runtime=1Hour, 53minute. Release year=1944. Actor=Judy Garland. Liked it=19101 votes. Country=USA. E9 bb 91%e9 87%91 e5 8f 9b e5 be 92 3. ムーランルージュとは. Song make you wanna cry thinking bout Christmas. Debbie was beautiful 😍. So beautiful inside and out. E6 82%b2 e6 85%98 e4 b8 96%e7 95%8c plus. E9 9f b3 e9 80%9f e5 b0 8f e5 ad 90 1. The film quality in the movie was pretty amazing compared to movies of it's time. The plot, music, and acting in this movie are excellent.
E3 82 bb e3 83 90 e3 83 bc e3 82 b0 mean. Great music. 天氣之子 抖音. The night is bitter The stars have lost their glitter The winds grow colder Suddenly you're older And all because of the man that got away No more his eager call The writings on the wall The dreams you dreamed have all Gone astray The man that won you Has run off and undone you That great beginning Has seen the final inning Don't know what happened It's all a crazy game No more that all-time thrill For you've been through the mill And never a new love will Be the same Good riddance, goodbye Every trick of his you're on to But, fools will be fools And where's he gone to? The road gets rougher It's lonelier and tougher With hope you burn up Tomorrow he will turn up There's just no letup the live-long night and day Ever since this world began There is nothing sadder than A one-man woman looking for The man that got away The man that got away.
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Having watched this great movie again & again, I must issue a word of caution especially to those who have never seem it before. If after watching this treasure please please exercise caution if you watch any TV or recent movie immediately viewing this. You will definitely puke when you see what is being offered today. Meet Me in St. Louis Theatrical poster Directed by Vincente Minnelli Produced by Arthur Freed Screenplay by Irving Brecher Fred F. Finklehoffe Story by Sally Benson Starring Judy Garland Margaret O'Brien Mary Astor Lucille Bremer Tom Drake Marjorie Main Cinematography George J. Folsey Editing by Albert Akst Distributed by Metro-Goldwyn-Mayer Release date(s) November 28, 1944 Running time 113 minutes Country United States Language English Meet Me in St. Louis is a 1944 musical film from Metro-Goldwyn-Mayer which tells the story of an American family living in St. Louis at the time of the Louisiana Purchase Exposition World's Fair in 1904. [ 1] [ 2] It stars Judy Garland, Margaret O'Brien, Mary Astor, Lucille Bremer, Tom Drake, Leon Ames, Marjorie Main, June Lockhart, and Joan Carroll. The movie was adapted by Irving Brecher and Fred F. Finklehoffe from a series of short stories by Sally Benson, originally published in The New Yorker magazine, and later in the novel 5135 Kensington. The film was directed by Vincente Minnelli, who met Garland, on the set, and later married her. It was the second-highest grossing picture of the year, only behind Going My Way. [ citation needed] Garland debuted the standards " The Trolley Song " and " Have Yourself a Merry Little Christmas ", which both became hits after the film was released. Arthur Freed, the producer of the film, also wrote and performed one of the songs. Plot The backdrop for Meet Me in St. Louis is St. Louis, Missouri on the brink of the 1904 World's Fair. The Smith family lead a comfortable middle-class life. Mr. Alonzo Smith (Leon Ames) and Mrs. Anna Smith (Mary Astor) have four daughters: Rose (Lucille Bremer), Esther, Agnes, and Tootie; and a son, Lon Jr. (Henry H. Daniels, Jr. ) Esther, the second eldest daughter (Judy Garland), is in love with the boy next door, John Truitt (Tom Drake), although he does not notice her at first. Rose is expecting a phone call in which she hopes to be proposed to by Warren Sheffield (Robert Sully). Esther finally gets to meet John properly when he is a guest at the Smiths' house party, although her chances of romancing him don't go to plan when, after all the guests are gone and he is helping her turn off the gas lamps throughout the house, he tells her she uses the same perfume as his grandmother and that she has "a mighty strong grip for a girl". On Halloween, Tootie (Margaret O'Brien) returns home injured, claiming that John Truitt attacked her. Without bothering to investigate, Esther confronts John, physically attacking him and scolding him for being a "bully". When Esther returns home, Tootie confesses that what really happened was that John was trying to protect Tootie and Agnes (Joan Carroll) from the police after a dangerous prank they pulled went wrong. Upon learning the truth, Esther immediately dashes to John's house next door to apologize, and they share their first kiss. Mr. Smith announces to the family that he is to be sent to New York on business and eventually they will all move. The family is devastated and upset at the news of the move, especially Rose and Esther whose romances, friendships, and educational plans are threatened. Esther is also aghast because they will miss the World's Fair. An elegant ball takes place on Christmas Eve. Esther is devastated when John cannot take her as his date, due to his leaving his tuxedo at the tailor's and being unable to get it back. But she is relieved when her grandfather (Harry Davenport) offers to take her instead. At the ball, Esther fills up a visiting girl's (Lucille Ballard, played by June Lockhart) dance card with losers because she thinks Lucille is a rival of Rose's. But when Lucille turns out to be interested in Lon, Esther switches her dance card with Lucille's and instead dances herself with the clumsy and awkward partners. After being rescued by Grandpa, she is overwhelmed when John unexpectedly turns up after somehow managing to obtain a tuxedo, and the pair dance together for the rest of the evening. Later on, John proposes to Esther and she accepts. Esther returns home to an upset Tootie. She sings her "Have Yourself a Merry Little Christmas. " Tootie, however, does become more upset at the prospect of the family's move and runs downstairs, out into the cold to destroy the snowmen they have made. Smith sees his daughter's upsetting outburst from an upstairs window. Mr. Smith later announces that the family will not leave St. Louis after all when he realises how much the move will affect his family. Warren declares his love for Rose, stating that they will marry at the first possible opportunity. And all of the family finally are able to attend the World's Fair. The film ends at night with the entire family (including boyfriends-to-turn-into-presumed-husbands and Lon's new love interest) overlooking the fresh new lake at the center of the World's Fair just as the lights come up on the entire fair. Cast Music The musical score for the film was adapted by Roger Edens, who also served as an uncredited associate producer. Georgie Stoll conducted the orchestrations of Conrad Salinger. Some of the songs in the film are from around the time of the St Louis Exposition. Others were written for the movie. " Meet Me in St. Louis, Louis " Kerry Mills and Andrew B. Sterling, 1904 " The Boy Next Door ", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. " Skip to My Lou ", Traditional, with section sung to the tunes of " Yankee Doodle " arranged by Hugh Martin and Ralph Blane, 1944 "I Was Drunk Last Night, " performed by Margaret O'Brien. "Under the Bamboo Tree, " Words and music by Robert Cole and The Johnson Bros., 1902, performed by Judy Garland and Margaret O'Brien. "Over the Banister, " 19th-century melody adapted by Conrad Salinger, lyrics from the 1888 poem "Over the Banisters" by Ella Wheeler Wilcox adapted by Roger Edens (1944), performed by Judy Garland. " The Trolley Song ", Hugh Martin and Ralph Blane, 1944, performed by Chorus and Judy Garland. "You and I, " Nacio Herb Brown and Arthur Freed, sung by Arthur Freed and D. Markas, mimed by the actors. "Goodbye, My Lady Love, " (Instrumental), Joseph E. Howard, 1904. " Little Brown Jug ", (Instrumental), Joseph Winner, 1869. "Down at the Old Bull and Bush, " (Instrumental), Harry von Tilzer, 1903. " Home! Sweet Home! ", (Instrumental), Henry Bishop, 1823/1852. " Auld Lang Syne ", (Instrumental) "The First Noel", (Instrumental) " Have Yourself a Merry Little Christmas ", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. Reception Upon its 1944 release, Time called it "one of the year's prettiest pictures"; " Technicolor has seldom been more affectionately used than in its registrations of the sober mahoganies and tender muslins and benign gaslights of the period. Now & then, too, the film gets well beyond the charm of mere tableau for short flights in the empyrean of genuine domestic poetry. These triumphs are creditable mainly to the intensity and grace of Margaret O'Brien and to the ability of Director Minelli & Co. to get the best out of her. " [ 3] The film is a New York Times Critics' Pick: after seeing it at the Astor Theatre, Bosley Crowther called it a "a warm and beguiling picturization based on Sally Benson's memoirs of her folks. " [ 4] Crowther concludes: "As a comparable screen companion to Life With Father, we would confidently predict that Meet Me in St. Louis has a future that is equally bright. In the words of one of the gentlemen, it is a ginger-peachy show. " In 2005, Richard Schickel included the film on 's ALL-TIME 100 best films, saying "It had wonderful songs [and] a sweetly unneurotic performance by Judy spite its nostalgic charm, Minnelli infused the piece with a dreamy, occasionally surreal, darkness and it remains, for some of us, the greatest of American movie musicals. " [ 5] Accolades The film was nominated for Academy Awards for Best Cinematography, Color, Best Music, Scoring of a Musical Picture, Best Music, Song (Ralph Blane and Hugh Martin for "The Trolley Song") and Best Writing, Screenplay. Margaret O'Brien received an Academy Juvenile Award for her work that year, in which she appeared in several movies along with Meet Me in St. Louis. In 1994, the film has been deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry. The American Film Institute ranked the film 10th on AFI's Greatest Movie Musicals; two songs from the film made AFI's 100 Years... 100 Songs ("The Trolley Song" at #26 and "Have Yourself a Merry Little Christmas" at #76). Trivia Judy Garland at first refused to appear in the film because she felt she had played too many childish roles and wanted to play an adult. [ citation needed] She was also afraid that Margaret O'Brien would steal the film. After a talk with Vincente Minnelli, Garland finally agreed to play the role of Esther Smith. Later, she considered the role her favorite among her films. The lyrics for "Have Yourself A Merry Little Christmas" were originally different. The lyricist, Hugh Martin, wrote lyrics which referred to the soldiers fighting during World War Two. Judy Garland thought the song as written was too mean to sing to Margaret O'Brien, so he changed the lyrics. Further revisions were made when Frank Sinatra objected to the generally downbeat tone of the piece. The revised version is the one most commonly performed. Producer Arthur Freed, fearing the movie was running too long, originally wanted to delete the Halloween sequence during the second act of the film. [ citation needed] His reasoning for cutting the scene was based on the fact that it was an entity in itself and could be excised from the film without much difficulty. However, after showing the film to test audience reaction in previews, it was found that audiences loved the scene. So Freed was forced to look elsewhere for a scene to cut, ultimately deciding to cut one of Judy Garland's musical numbers. The musical number deleted from the film was a song called Boys and Girls Like You and Me, which was sung by Judy Garland's character (Esther Smith) to Tom Drake's character (John Truitt), just after the trolley number, as Esther and John tour the grounds of the World's Fair, still under construction. The cut scene has supposedly been lost, except for a glimpse of it during the film's theatrical trailer. In the final act of the film, as the Smith family attends the opening of the World's Fair, John makes a joking and seemingly out-of-place comment to Esther about preferring the fair ground "when it was still a swamp". This line is a reference to their earlier encounter in the cut scene. The song was originally planned to appear in the stage musical Oklahoma before being cut from this. It was then planned for Meet Me in St. Louis before being cut. Next, the song was planned for Take me out to the Ball Game, however it was once more cut. The song was eventually used in the musical Cinderella, although it was not included in any of the broadcast versions. [ 6] [ 7] Garland's daughter, Liza Minelli, performed the song on the Tonight Show. [ 8] Hugh Marlowe's character of Colonel Darby was originally given a larger role in early drafts of the script. [ citation needed] More scenes involving Esther and Rose Smith's pursuit of the older Darby were written, including one scene involving the sisters breaking into his hotel suite only to discover that he is married. Nevertheless, Arthur Freed felt the character was not necessary to the plot and his role was reduced to a small casual scene in which he innocently flirts with Rose Smith. The success of the film encouraged MGM to begin a sequel and make tentative plans for a series of technicolor films about the Smith family, much like the popular Andy Hardy series. The sequel, called Meet Me in Manhattan, [ citation needed] was apparently written chronicling the Smith family's eventual move to New York, which happened to Sally Benson's family in real life. The film was abandoned in its early stages. Adaptations Meet Me in St. Louis was remade in 1959 for television, starring Jane Powell, Jeanne Crain, Patty Duke, Walter Pidgeon, Ed Wynn, Tab Hunter and Myrna Loy. It was directed by George Schaefer from the original Brecher and Finklehoffe screenplay. Meet Me in St. Louis was remade again for television in 1966. This was a non-musical version starring Shelley Fabares, Celeste Holm, Larry Merrill, Judy Land, Rita Shaw and Morgan Brittany. It was directed by Alan D. Courtney from a script written by Sally Benson herself. This was to be a pilot for a TV series, but no network picked it up. A Broadway musical based on the film was produced in 1989, with additional songs. The late-19th century vintage carousel in this movie could be found at Bob-Lo Amusement Park in Amherstburg, Ontario until the park closed in September 1993. It was dismantled and sold to private collectors. References ^ Variety film review; November 1, 1944, page 10. ^ Harrison's Reports film review; November 4, 1944, page 178. ^ "The New Pictures". TIME. November 27, 1944.. Retrieved 2011-08-02. ^ Crowther, Bosley (November 29, 1944). " Meet Me in St. Louis, a Period Film That Has Charm, With Judy Garland and Margaret O'Brien, Opens at the Astor". The New York Times.. Retrieved 2011-08-02. ^ Schickel, Richard (February 12, 2005). "Meet Me in St. Louis (1944)". TIME.. Retrieved 2011-08-02. ^ Review of Cinderella at the Papermill Playhouse describing these additional songs ^ Listing of cast albums that include the song ^ External links Meet Me in St. Louis at the Internet Movie Database Meet Me in St. Louis at the TCM Movie Database Meet Me in St. Louis at AllRovi Meet Me in St. Louis at Rotten Tomatoes Meet Me in St. Louis from Meet Me in St. Louis at. Meet Me in St. Louis at the Museum of Modern Art. v · d · e Films directed by Vincente Minnelli 1940s Cabin in the Sky (1943) · I Dood It (1943) · Meet Me in St. Louis (1944) · The Clock (1945) · Ziegfeld Follies (1945) · Yolanda and the Thief (1945) · Undercurrent (1946) · The Pirate (1948) · Madame Bovary (1949) 1950s Father of the Bride (1950) · Father's Little Dividend (1951) · An American in Paris (1951) · The Bad and the Beautiful (1952) · The Story of Three Loves (1953) · The Band Wagon (1953) · The Long, Long Trailer (1953) · Brigadoon (1954) · The Cobweb (1955) · Kismet (1955) · Lust for Life (1956) · Tea and Sympathy (1956) · Designing Woman (1957) · Gigi (1958) · The Reluctant Debutante (1958) · Some Came Running (1958) 1960s Home from the Hill (1960) · Bells Are Ringing (1960) · Four Horsemen of the Apocalypse (1962) · Two Weeks in Another Town (1962) · The Courtship of Eddie's Father (1963) · Goodbye Charlie (1964) · The Sandpiper (1965) 1970s On a Clear Day You Can See Forever (1970) · A Matter of Time (1976) v · Arthur Freed musical productions 1930s Babes In Arms (1939) Strike Up The Band (1940) • Little Nellie Kelly (1940) • Lady Be Good (1941) • Babes On Broadway (1941) • Panama Hattie (1942) • For Me & My Gal (1942) • Cabin In The Sky (1943) • Du Barry Was A Lady (1943) • Best Foot Forward (1943) • Girl Crazy (1943) • Meet Me In St. Louis (1944) • Yolanda & The Thief (1945) • The Harvey Girls (1946) • Ziegfeld Follies (1946) • Till The Clouds Roll By (1946) • Good News (1947) • Summer Holiday (1948) • The Pirate (1948) • Easter Parade (1948) • Words & Music (1948) • Take Me Out To The Ball Game (1949) • The Barkleys Of Broadway (1949) • On The Town (1949) Annie Get Your Gun (1950) • Pagan Love Song (1950) • Royal Wedding (1951) • Show Boat (1951) • An American In Paris (1951) • The Belle Of New York (1952) • Singin' In The Rain (1952) • The Band Wagon (1953) • Brigadoon (1954) • It's Always Fair Weather (1955) • Kismet (1955) • Invitation To The Dance (1956) • Silk Stockings (1957) • Gigi (1958) Bells Are Ringing (1960) Uncredited as producer The Wizard Of Oz (1939) • Meet The People (1944) Non-musicals The Clock (1945) • Any Number Can Play (1949) • Crisis (1950) • The Subterraneans (1960) • The Light In The Piazza (1962).
I wonder if it was scripted or improv when Judy messes up her hair just slightly - brilliant move
The fact that we, want us be, positively feminine. What means lou. Ëe n i x. Spoilers!
At the turn of the century, everyone is getting ready for the St. Louis fair, even though it's in a years time. This absolutely class film stars the likes of Judy Garland (The Wizard Of Oz) and Margaret O' Brien (Little Women/1942 version) who was the first ever child star. This film starts in spring with a happy family staring around at the boy next door and holding house paties and singing such great tunes as "The Bamboo Tree" a new boy as (Garland's film family) the Smith's had only lived there 2 days (or vice versa) then to christmas as "Tootsie" O'Brien) throws a snowball at the man down the road and shouts "I hate you Mr Braukoff" absolute class!
One of the best films ever.
C2 bd e7 9a 84%e9 ad 94%e6 b3 95 10. Frank Sinatra/Bing Crosby We Wish you the Merriest. Thank you for this incredible movie! Love Ingrid. So Im the only one here from nostalgia critic 😂. “ everything is right in America “ “ if youre all white in America “ How true. Annoying singer, nice guitars, like the tapping, drums were class, but shame about the song. Ç¯ça a du bon. I love this movie so much. I can't decide what I'm more impressed with: The fact that she can dance in that dress, or the fact that she can keep up with his galloping pace in that dress. @krispykreme who the hell would say such a thing. E6 96%b0 e7 95%b0 e8 ae 8a e4 ba ba full.
Meet Me in St. Louis, American musical film, released in 1944, that provided Judy Garland with one of the best roles of her career, as well as several of her signature songs. Judy Garland (right) and Margaret O'Brien in Meet Me in St. Louis (1944). © 1944 Metro-Goldwyn-Mayer Inc. ; photograph from a private collection Read More on This Topic Vincente Minnelli: Films of the later 1940s: Meet Me in St. Louis, The Clock, and The Pirate Minnelli then directed Meet Me in St. Louis (1944), regarded by many as one of the greatest film musicals and as… The film, set in St. Louis, Mo., follows the Smith family in the days leading up to the 1904 World’s Fair. The two eldest daughters grapple with life, love, and their dread of the family’s impending move to New York City. Louis contains a number of hit songs, from the upbeat “ Trolley Song” to the beautiful but sombre “ Have Yourself a Merry Little Christmas. ” Garland, under contract at MGM, was initially opposed to starring in this sentimental family tale. The part required her to portray a teenager, and, at age 21, she longed to be rid of the juvenile roles in which she had traditionally been cast. She finally relented when director Vincente Minnelli convinced her the film would be a highlight in her career. Not only was Garland pleased with the finished production, but she also fell in love with and married Minnelli. Largely for her impressive performance as the youngest Smith child, Margaret O’Brien received a special Academy Award for outstanding child actress of 1944. Production notes and credits Studio: MGM Director: Vincente Minnelli Writers: Irving Brecher and Fred F. Finklehoffe Music: George Stoll Running time: 113 minutes Cast Judy Garland (Esther Smith) Margaret O’Brien (“Tootie” Smith) Lucille Bremer (Rose Smith) Leon Ames (Alonzo Smith) Academy Award nominations Screenplay Song Cinematography (colour) Score Lee Pfeiffer History at your fingertips Thank you for subscribing! Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox.
E6 b2 99%e9 9b 95%e4 b9 8b e8 b7 af review. Fukin heavy as my shit. C2 bd e7 9a 84%e9 ad 94%e6 b3 95 price. What a great lively number. really shows the dancing (and singing) talent of these two. They partner so perfectly in this routine. a most enjoyable find. love it. E9 96%83 e8 80%80 e6 9a 96%e6 9a 96 4. C2 bd e7 9a 84%e9 ad 94%e6 b3 95 plus.
E8 ac 8e e3 83 bb e9 9b a2 e5 b3 b6 b12 benefits
E6 8e 8c e4 b8 8a e4 b8 89%e5 9b bd 5. Æ²æ a.c.s. The joint is really jumpin' down at Carnegie hall. Æ²æ a.c.h. Background Meet Me In St. Louis (1944) is a delightful, classic, nostalgic, poignant, and romanticized musical film - and one of the greatest musicals ever made. It tells the story of a turn-of-the-century family in suburban, midwestern St. Louis of 1903, who live in a stylish Edwardian home at 5135 Kensington Avenue. The city, and the well-to-do Smith family (with four beautiful daughters), is on the verge of hosting (and celebrating) the arrival of the spectacular 1904 World's Fair. However, the family's head of the house is beckoned to New York due to a job promotion - an uprooting move that threatens to indelibly change the lives of the family members forever. Filmed during WWII, the decision to remain in St. Louis in the film's conclusion affirmed that nothing will be altered for the American family. This gem of cinematic, picture-postcard Americana and youthful romance, is richly filmed in Technicolor. It marked the beginning of the golden age of MGM musicals (and producer Arthur Freed's unit), and ultimately became the second most successful film for MGM (behind Gone With the Wind (1939)). The story is based on the book of the same name from Sally Benson's memoirs of her life in St. Louis, Missouri from 1903-4 - they were recalled and written in multiple issues of The New Yorker Magazine from 1941-1942 (originally published under the title "5135 Kensington" and eventually gathered together as The Kensington Stories). The charming stories, a dozen in all to represent each of the twelve months of the year, are expressed in the film in its musical numbers. The film abandoned the 'put-on-a-show' mentality of so many other backstage song/dance films. Its songs and wonderful performances are carefully and naturally integrated into the story of the close-knit family's day-to-day life, and serve to advance the action and plot from one season to the next. This most popular and financially-successful film was produced by the legendary Arthur Freed and directed by its star's future husband, newcomer Vincente Minnelli (who married 23 year-old Judy Garland a year later on June 15, 1945 - it was Garland's second marriage). The slice-of-life musical was only Minnelli's third film (after the all-black musical Cabin in the Sky (1943) and the musi-comedy I Dood It (1943) with Red Skelton) and it was Minnelli's first full-length film in color. After their marriage, Garland and Minnelli also worked together on The Clock (1945) and The Pirate (1948). Meet Me in St. Louis was nominated for four Academy Awards (without any Oscar wins): Best Screenplay (Irving Brecher and Fred F. Finklehoffe), Best Color Cinematography (George Folsey), Best Song ("The Trolley Song" with music and lyrics by Ralph Blane and Hugh Martin), and Best Scoring of a Musical Picture (Georgie Stoll). The film's awards promotion was subverted by MGM's support of its suspense thriller and gothic melodrama Gaslight (1944). However, young star Margaret O'Brien was awarded a Special (miniature) Oscar as the most outstanding child actress of the year. And this film marked the first significant film role, and probably her career-best effort, for beautiful actress Judy Garland since The Wizard of Oz (1939). Structurally, the film is a series of coming-of-age vignettes (four in number): different acts representing the seasons from summer 1903 to spring 1904 that conclude in the year of the St. Louis World's Fair/Exposition. Each segment marks changes and rites of passage - and is introduced by a filigreed tintype from the Smith family album - each static, initially sepia-toned image turns into color and comes to life. Although the Winter segment is one of the shortest vignettes, the film is still considered a favorite Christmas movie. The Story Summer, 1903 The First Vignette opens with a static view of a greeting card (or family album snapshot) picturing a lovely, sepia-colored Victorian house in St. Louis, Missouri. When the camera zooms in, the picture springs into an animated, full-color enlargement, showing the mansard-roofed home with dormer windows and a veranda, surrounded by green lawn. The camera tracks down the unpaved street, following an open, horse-drawn wagon carrying Circle Star Beer. It then turns left to track up the lawn, following a young man (son Lon) riding his bicycle onto the Smith house's lawn. The summer scene dissolves into the kitchen. There over the stove, happy housewife Mrs. Anna Smith (Mary Astor) is making ketchup, testing and critiquing its taste with Katie (Marjorie Main), the household's maid. [The opening scene is centered around everyone in the family tasting the ketchup simmering on the kitchen stove, and humming the film's title song. ] Two of the five children enter, only son Alonzo "Lon" Jr. (Henry H. Daniels, Jr. ), casually humming a bit of the tune of the title song after setting down a load of groceries. (The title song is sung by the whole family in the house. ) Then, second-youngest daughter Agnes (child star Joan Carroll) comes in, her bloomers still wet from swimming. As she walks through the kitchen, through the hallway and up the stairs, she picks up the song: "Meet Me In St. Louis. " Inside the bathroom, her Grandpa Prophater (Harry Davenport) (Mrs. Smith's father) continues the refrain. He crosses paths with Agnes in the upstairs landing, and then continues singing into his room, where he tries on samples from his exotic lodge-cap collection. He goes over to the window when he hears a foursome arriving, completing the chorus. Outside, he sees auburn-haired Smith daughter Esther (Judy Garland, a twenty-two year old playing a seventeen year old - and off-screen already showing signs of future neuroticism), and her friends pull up in front of the house in a pony cart. Alighting from the cart, Esther carries a tennis racket and enters the kitchen. Back in the kitchen, more taste-testing results in different opinions about the ketchup recipe. Esther whispers a secret request to Katie - exhorting her to arrange to have dinner served an hour earlier than usual, something that normally wouldn't be approved. Katie snaps at Esther's white lie after permission is granted: A lie's a lie, and dressed in white don't help it. Katie asks Esther why she was asked to lie. Esther explains that eldest sister - a second auburn-haired daughter Rose (Lucille Bremer in her film debut), unmarried at twenty, expects to receive a long-distance call at 6:30 pm from New York City from a far-off, admiring beau named Warren Sheffield (Robert Sully). Rose needs privacy to maneuver a proposal out of her boyfriend, because the phone is located in the dining room: "She may be loathe to say the things a girl's compelled to say to get a proposal out of a man. " Katie comments on Rose's use of the telephone - a new invention: Personally, I wouldn't marry a man who proposed to me over an invention. Katie announces the arrival of a coquettish Rose, sauntering up to the front steps of the house: "There's the poor old maid now. " Standing on the neighboring lawn is a young, handsome Boy-Next-Door dressed in white with a pipe firmly in his teeth, a new neighbor named John Truett (Tom Drake). Rose gazes at him, trying to attract a glance while entering the house. Rose quickly persuades Esther to join her and stand on the front porch to look at the boy. Attempting to be non-chalant, both desperately want to be noticed and admired. Unsuccessful in attracting his attention, he is oblivious to them and imperviously wanders inside. Rose thinks: "He's not very neighborly, I must say. " They also go inside their house, where they anticipate the evening's events. When Esther reminds Rose of her fateful phone call, stuck-up Rose disdainfully mentions her disinterest in boys before drifting upstairs to wash her hair: My dear, when you get to be my age, you'll find out there are more important things in life than boys. Unconvinced of that fact, a winsome Esther gazes toward the camera with a dreamy look, cued up to sing a soliloquy of longing with a lush, rich voice, "The Boy Next Door. " She muses about her beloved: The moment I saw him smile I knew he was just my style My only regret is we've never met Though I dream of him all the while Esther ambles over to the window seat, sitting and looking out over the neighbor's place in the direction of the Boy-Next-Door ("at 5133") as she continues singing about her crush on the teenager who lives closeby: How can I ignore the Boy Next Door? I love him more than I can say Doesn't try to please me, doesn't even tease me And he never sees me glance his way And though I'm heartsore, the Boy Next Door Affection for me won't display I just adore him, so I can't ignore him The Boy Next Door During the playing of the song's melody, Esther primps and prances in front of the hallway mirror, and then does a little dance with herself at the foot of the stairs. She returns to her window vantage point to repeat the final two lines, lovingly photographed with a rapturous closeup of her secret longing expressed in song: With a last lingering glance out the window, she slowly releases a translucent, white lace muslin curtain at the edge of the window - bewitchingly, it falls in front of her as the song ends. A closeup of the tureen of the batch of ketchup being stirred in the kitchen dissolves into view. Fussing continues over the ketchup's taste when Grandpa pronounces it "too thick. " Agnes bursts into the kitchen looking for her cat named Little Babbie. No-nonsense Katie brags about having kicked it down the cellar stairs, joking: Katie: I could hear its spine hit on every step. Agnes: Oh, oh, if you killed her, I'll kill you! I'll stab you to death in your sleep and then I'll tie your body to two wild horses 'til you're pulled apart. To Agnes' relief, the cat is found closeby in the kitchen. While preparing cabbage at the sink, Mrs. Smith advises Rose about her anticipated phone call: "If I were you, I wouldn't commit myself one way or all, we know very little about him. Why, we haven't even met his folks. " She also suggests keeping it a secret from Mr. Smith, due home shortly from work: "Not a word of this to Papa. You know how he plagues the girls about their beaus. " Esther enters the kitchen and asks where 'Tootie, ' the youngest Smith family member is. Nonchalantly, Mrs. Smith replies: "Oh I suppose she's working on the ice wagon. " In the next scene on Kensington Avenue, precocious five year old 'Tootie' (Margaret O'Brien) is shown blissfully happy, helping the ice man Mr. Neely (Chill Wills) on his horse-drawn ice-wagon rounds. She sits on the back of the wagon, sucking a piece of ice and singing a few bars of "Brighten the Corner. " 'Tootie' joins Mr. Neely in the front seat, where they begin a marvelous discussion about the near-death state of her favorite doll, Margaretha. 'Tootie' is pleasurably interested in gruesome games and the macabre, but frets about her pale-looking doll. She is seriously discussing her mortally-sick doll's fate and preparing to bury it: 'Tootie': I expect she won't live through the night. She has four fatal diseases. Mr. Neely: And it only takes one. 'Tootie': But she's gonna have a beautiful funeral in a cigar box my Papa gave me, all wrapped in silver paper. Mr. Neely: That's the way to go if you have to go. 'Tootie': Oh, she has to go. The conversation shifts to a new subject - the town of "St. Louis" - Mr. Neely mispronounces it. She corrects him and tells him the proper pronunciation. Then, when he calls it a "grand old town, " she again corrects him, expressing her hometown pride and exulting in the coming fair: It isn't a town, Mr. Neely. It's a city. It's the only city that has a world's fair. My favorite. Wasn't I lucky to be born in my favorite city? Back in the Smith household, Esther (singing and waltzing in her bloomers) and Rose (on the family upright piano in the parlor) are performing a spirited, reprised rendition of "Meet Me in St. " At the start of the second chorus, Esther rejoins Rose at the keyboard where they sing in close harmony together. In a low-angle shot tilting upwards, the two girls are to the right of the frame, with a ceramic miniature of twin Victorian damsels above the piano to the left of the frame. Breaking the spell, a very hot and grumpy Mr. Alonzo Smith (Leon Ames), the well-to-do lawyer and head of the household trudges up to the house after work at the office and squelches their performance in the parlor: "For heaven's sakes, stop that screeching! " Wiping his sweaty brow, he collapses into a chair and mutters: That song. The fair won't open for seven months. That's all everybody sings about or talks about. I wish everybody would meet at the fair and leave me alone. His day has been miserable - he's lost a case. Esther isn't very sympathetic and offers a practical solution: "Well, Papa, if losing a case depresses you so, why don't you quit practicing law and go into another line of business? " As master of the house, he blows up again when he learns that dinner will be served an hour early. He refuses to be coerced into an early dinner, asserts his authority and disrupts carefully-laid plans: "Dinner will be at 6:30! " He stomps off for a cool, soaking, restorative bath upstairs. At dinner time, the concerned family gathers around the dinner table trying to rush the meal while they glance up at the still-silent telephone. When the 'Lord and Master' of the house arrives, after slipping on one of 'Tootie's' carelessly-discarded skates, he wants a leisurely meal, but Katie the maid hurriedly speeds everyone through each course. He answers and then hangs up the phone the first time it rings, chided by Esther and then informed: "You've just ruined Rose's chance to get married, that's was Warren Sheffield calling long-distance to propose. " The only member of the family unaware of the expected phone call is Papa, and he feels like an outsider: Just when was I voted out of this family? When the phone rings a second time, Rose answers and hesitantly (but yelling throughout in order to be heard) speaks to Warren while the entire family hangs on her every word. During the phone conversation, Mrs. Smith closes the window to keep the neighbors from overhearing. Rose is unable to coax Warren to propose, though Esther looks on the bright side and breaks the ice: "Well, I'll bet there isn't another girl in St. Louis who's had a Yale man call her long-distance just to inquire about her health. " In a letter, Rose invites next door neighbor John Truett (spelled Truitt in the letter) to her Princeton University-bound brother Lon's going-away party, to be held in the Smith's parlor. While dressing upstairs the evening of the party, Esther confides to Rose: Esther: I'm going to let John Truett kiss me tonight. Rose: Esther Smith! Esther: Well, if we're going to get married, I may as well start it. Rose: Nice girls don't let men kiss them until after they're engaged. Men don't want the bloom rubbed off. Esther: Personally, I think I have too much bloom. Maybe that's the trouble with me. (She squeezes her cheeks. ) Esther makes a grand entrance down the staircase, greets a few guests, and then deliberately backs into her brother who is talking to John Truett. Esther and John are finally introduced. The youthful dancing party begins in the cramped confines of the Smith parlor. Young Lon participates in the music making - he and Esther sing and the group dances to a lively hoe-down called "Skip to My Lou" - a traditional production number. By the end of the dance, Esther has been gently pushed into John's arms. In their nightclothes at the foot of the stairs, John discovers 'Tootie' and Agnes watching the party hosted by their big sisters: "There are mice in the house, two of them. " Tootie is allowed to stay up and sing a song for her elders. She chooses "I Was Drunk Last Night, Dear Mother" and shows off, to everyone's delight: I was drunk last night, dear Mother I was drunk the night before But if you forgive me Mother I'll never get drunk anymore Esther joins a night-gowned 'Tootie' in a spontaneous, delightful little song and cakewalk to "Under the Bamboo Tree, " complete with straw hats and canes in a home-style minstrel shuffle. Later, as the guests depart, Esther has hidden Truett's hat as a way to detain him and make him the last one to leave. As they say goodbye and shake hands many times together, she makes an "untoward request. " She asks him to accompany her throughout the house to turn off the gas lights - a beautifully-executed scene in which the camera moves non-stop from light to light. As the lights are extinguished in the parlor, the dining room and the landing, she shyly courts the boy next door in the darkness - hoping (in vain) to be offered a goodnight kiss. As she gazes at him with undisguised love, he compliments her: "You don't need any beauty sleep. " She renders a sweet old song to him: "Over the Bannister. " At its conclusion, he shakes her hand goodbye one more time, awkwardly complimenting her a second time: You've got a mighty strong grip for a girl. In the final scene of the summer vignette, Esther joins an expectant crowd of young people (the ladies are sporting colorful flowery hats and shirt-waist dresses) - they are friends that have gathered for a picnic to ride a trolley bound for the under-construction fairgrounds (the fair is still six months away). She is wearing a black outfit trimmed with white without a hat, nervously noticing and despairing that John, her love, hasn't arrived yet. As they begin to ride off - to the "clang, clang" of the trolley bells, they all belt out "The Trolley Song. " It's an extravagant five-minute production number: Clang, clang, clang went the trolley Ding, ding, ding went the bell Zing, zing, zing went my heartstrings As we started for Huntingdon dell... Without singing, an anxious and tense Esther moves around the train amidst the swirl of pastel colors and song, continuing to look for John. He is late as usual from basketball practice and must run after the trolley to catch it. She is relieved when he runs after the trolley, catches it and boards - she happily finishes the song on a high note, leading all of her friends in her musical tale of flirtation with a handsome man: I went to lose a jolly, hour on the trolley, and lost my heart instead With his light brown derby and his bright green tie He was quite the handsomest of men I started to yen, then I counted to ten, then I counted to ten again [In a scene filmed but later excised from the final release of the film, Esther and John stroll through and explore the unfinished fairgrounds - John carries her in his arms through one of the muddier sections of the grounds. During the walk, Esther sings Rodgers and Hammerstein's "Boys and Girls Like You and Me. "].
@zac613 You're so welcome. I'm happy to know others enjoy this scene as much as I do. 閃耀暖暖入夜派對. WHY DID IT TAKE ME SO LONG TO FIND THE WHOLE SONNG. Skip To My Lou, Year Of Jubilo, Turkey In The Straw and Yankee Doodle. E5 a4 a2 e9 99%90 e3 83%8e e5 a4 9c 2017. Her vocals❤❤❤. Eb 9e 91%ea b7 b8 eb a6 bf ec 82%ac test. Her and Whitney have the same power in their voices. Meet Me in St. Louis is a 1944 musical film directed by Vincente Minnelli, starring Judy Garland, Margaret O'Brien, Mary Astor, Tom Drake, Lucille Bremer, Leon Ames, Marjorie Main, Joan Carroll and June Lockhart. It was adapted by Irving Brecher and Fred F. Finklehoffe from a series of short stories written by Sally Benson that was originally published in "The New Yorker" magazine under the title "5135 Kensington" and later written in novel form as "Meet Me in St. Louis. " Plot Edit Spoiler warning: The following contains plot details about the entire movie. "Meet Me in St. Louis" takes place in St. Louis, Missouri (beginning in the summer of 1903 and lasting until the year leading up to the 1904 World's Fair) and focuses on the Smith family: Alonzo & Anna and their five children: daughters Rose, Esther, Agnes & Tootie and son Lon Jr. Esther has a crush on John Truett, the boy next door, who doesn't notice her at first while Rose is expecting a phone call from Warren Sheffield, whom she hopes to be proposed marriage to. Esther finally gets a chance to meet John when he is a guest at the Smiths' house party, but her chances of romancing him don't go to plan when (after all the guests are gone) while John is helping her turn off the gas lamps in the house & tells Esther that she uses the same perfume as his grandmother and she also has "a mighty strong grip for a girl". Esther hopes to meet John again the following Friday on a trolley ride from the city to the construction site of the World Fair. Esther is sad when the trolley sets off without any sign of him, but cheers up when she sees him running to catch the trolley mid journey. On Halloween, Tootie comes home injured & claims that John attacked her. Infuriated, Esther confronts John, physically attacks him & scolds him for being a bully. When Esther comes home, Tootie confesses that John never attacked her and that he was only protecting her from the police after a prank they pulled went wrong. After learning the truth, Esther rushes over to John's house and apologizes to him & they end up sharing their first kiss. Alonzo announces to the family that he'll be sent to New York on business and will eventually move there. The family is devastated over the news, especially Rose & Esther (who is disappointed that they'll miss the World's Fair). On Christmas Eve, Esther is devastated when John is unable to take her to an elegant ball because his tuxedo is at the tailor's and is unable to get it, but cheers up when her grandfather offers to take her at the ball, Esther fills up Lucille Ballard (a visiting girl)'s dance card with losers because she believes that Lucille is Rose's rival, but when it turns out that Lucille is interested in Lon, Esther switches the dance card and dances with the awkward & clumsy partners herself. John eventually shows up at the ball after being able to get a tuxedo and he & Esther dance together for the rest of the night & John later proposes to Esther which she accepts. When Esther comes home from the ball, she sees that Tootie is upset, so Esther soothes her by singing "Have Yourself a Merry Little Christmas, " but Tootie is still upset over moving & runs outside into the cold to destroy the snowmen they made. From an upstairs window, Alonzo sees Tootie's outburst and later announces that the Smiths won't be leaving St. Louis after all realizing how much moving away would affect his family. Meanwhile, Warren finally proposes to Rose. Around April of 1904, the Smith family attends the World's Fair and it ends with the whole family (including Rose & Esther's fiances and Lon's new love interest) overlooking the Grand Lagoon at the center of the World's fair just as the thousands of lights are illuminating the grand pavilions. Cast Edit Judy Garland as Esther Smith Margaret O'Brien as Tootie Smith Mary Astor as Mrs. Anna Smith Leon Ames as Mr. Alonzo Smith Lucille Bremer as Rose Smith Tom Drake as John Truett Marjorie Main as Katie the maid Harry Davenport as Grandpa Henry H. Daniels Jr. as Alonzo "Lon" Smith Jr. Joan Carroll as Agnes Smith June Lockhart as Lucille Ballard Robert Sully as Warren Sheffield Hugh Marlowe as Colonel Darly Chill Wills as Mr. Neely the iceman Music Edit The musical score for the film was adapted by Roger Edens (who also served as an uncredited associate producer). Georgie Stoll conducted the orchestrations of Conrad Salinger. Some of the songs in the film are from around the time of the St Louis Exposition & other songs were written for the movie. "Meet Me in St. Louis, Louis" Kerry Mills and Andrew B. Sterling, 1904 "The Boy Next Door", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. "Skip to My Lou", Traditional, with section sung to the tunes of "Kingdom Coming" and *"Yankee Doodle" arranged by Hugh Martin and Ralph Blane, 1944 "I Was Drunk Last Night, " performed by Margaret O'Brien. "Under the Bamboo Tree, " Words and music by Robert Cole and The Johnson Bros., 1902, performed by Judy Garland and Margaret O'Brien. "Over the Banister, " 19th-century melody adapted by Conrad Salinger, lyrics from the 1888 poem "Over the Banisters" by Ella Wheeler Wilcox, adapted by Roger Edens (1944), performed by Judy Garland. "The Trolley Song", Hugh Martin and Ralph Blane, 1944, performed by Chorus and Judy Garland. "You and I, " Nacio Herb Brown and Arthur Freed, sung by Arthur Freed and D. Markas, mimed by Leon Ames and Mary Astor. "Goodbye, My Lady Love, " (Instrumental), Joseph E. Howard, 1904. "Little Brown Jug", (Instrumental), Joseph Winner, 1869. "Down at the Old Bull and Bush, " (Instrumental), Harry von Tilzer, 1903. "Home! Sweet Home! ", (Instrumental), Henry Bishop, 1823/1852. "Auld Lang Syne", (Instrumental) "The First Noel", (Instrumental) "Have Yourself a Merry Little Christmas", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. The lyrics for "Have Yourself A Merry Little Christmas" were originally different. The lyricist, Hugh Martin, wrote lyrics deemed too depressing by Judy Garland, Tom Drake, and Vincente Minnelli (They were: "Have yourself a merry little Christmas / It may be your last/ Next year we may all be living in the past / Have yourself a merry little Christmas / Pop that champagne cork / Next year we may all be living in New York"), so Martin changed the lyrics. Further revisions were made when Frank Sinatra objected to the generally downbeat tone of the piece (the most notable changes included "Next year" becoming "From now on", "Once again, as in olden days / Happy golden days of yore / Faithful friends that were dear to us / Will be near to us once more" becoming "Here we are, as in olden days / Happy golden days of yore / Faithful friends that are dear to us / Gather near to us once more", and "Someday soon we all will be together / If the fates allow / Until then we'll just have to muddle through somehow" becoming "Through the years we all will be together / If the fates allow / Hang a shining star upon the highest bough"). The latter revised version is the one most commonly performed. Production Edit "Meet Me in St. Louis" first began filming on December 1, 1943 and ended on April 7, 1944. When Judy Garland was offered the role of Esther Smith, she scoffed at the idea of portraying another teenager (at the time filming began, she was 21 years old) and didn't want anything to do with the film and her mother even went to then-MGM chief Louis B. Mayer on her behalf. Vincente Minelli was able to convince her to play the role and Judy fell in love with the story. She would later say that "Meet Me in St. Louis" was one of her favorite roles. Judy Garland indulged in some bad habits during production. She would complain of illnesses & headaches, often arriving late to the set and kept the cast and crew waiting for hours. She ended up missing 13 days of work which caused the production to take 70 days to complete from the original budgeted 58 days. Margaret O'Brien's mother wanted more money for Margaret to play "Tootie" in the film, but the studio then originally cast the daughter of a lighting man (who was working on the film) for the role, but Margaret was later given the role. When Margaret was playing a scene, the lighting man intentionally dropped a heavy spotlight to the sound stage which narrowly missed her. He ended up being taken away and actually admitted to a mental institution for a time because of what he did. Actor Van Johnson was originally cast in the role of John Truett, but Tom Drake took over. While singing "Have Yourself a Merry Little Christmas", Judy refused to sing the grim original line, "Have yourself a merry little Christmas, it may be your last" to Margaret O'Brien, so the line ended up being dropped from the final version of the song. The Halloween sequence on the street outside of the Smith home was primarily filmed from low angles so that the audience would experience the Halloween night as though they were viewing it through the eyes of a child. When Tootie is shown embarking on her adventure to the Braukoff home, the houses appear to be large and looming. The success of Meet Me in St. Louis had encouraged MGM to create further movies involving the Smith family and was to be based on further tales of Sally Benson's family. MGM wanted to make sort of a deluxe color group of serials in the spirit of the popular "Andy Hardy" series. A proposed sequel titled " Meet Me in Manhattan " was in the works in which the Smith family actually moved to New York, but the project never happened. Box Office Edit Meet Me in St. Louis was a massive critical and commercial success, earning $5, 016, 000 in the US and Canada during its theatrical release and $1, 550, 000 elsewhere resulting in a profit of $2, 359, 000. Critical Reception Edit Time called Meet in Me St. Louis " one of the year's prettiest pictures ", saying: " Technicolor has seldom been more affectionately used than in its registrations of the sober mahoganies and tender muslins and benign gaslights of the period. Now & then, too, the film gets well beyond the charm of mere tableau for short flights in the empyrean of genuine domestic poetry. These triumphs are creditable mainly to the intensity and grace of Margaret O'Brien and to the ability of director Minnelli & Co. to get the best out of her. " O'Brien drew further praise from Time; " [her] song and her cakewalk done in a nightgown at a grown-up party, are entrancing acts. Her self-terrified Halloween adventures richly set against firelight, dark streets, and the rusty confabulations of fallen leaves, bring this section of the film very near the first-rate. " The film is a New York Times Critics' Pick: after seeing it at the Astor Theatre, Bosley Crowther called it " a warm and beguiling picturization based on Sally Benson's memoirs of her folks. " Crowther concludes: " As a comparable screen companion to Life With Father, we would confidently predict that Meet Me in St. Louis has a future that is equally bright. In the words of one of the gentlemen, it is a ginger-peachy show. " Writing in The New Yorker, Wolcott Gibbs praised the film as " extremely attractive " and called the dialogue " funny in a sense rather rare in the movies, " although he thought it was too long. Trailer Edit Meet Me in St. Louis (1944) Official Trailer.
You wouldnt think there was a war on when this was filmed. Thank for posting this gem. I love it so much I bought it. Gives us a lift. Charming portrayal of honesty, good will, good cheer, friendship, compassion, energy, good humor, integrity, self respect, hope, common sense, etc, etc. Èe.a.r. 3. Meet Me In St. Louis August 4 – 12 First Muny production since 2009! Clang, clang, clang, we are off to The Muny! Based on the heartwarming 1944 MGM film, Meet Me In St. Louis paints a wholesome portrait of a turn of the century American family. Set in the summer of 1903, the Smiths eagerly await the grand opening of the 1904 World’s Fair. With hits such as “The Trolley Song, ” “Have Yourself a Merry Little Christmas, ” “The Boy Next Door” and the title number, this is the perfect finale to our 100 th season, and will evoke nothing but love and pride…right here in St. Louis. Shows start at 8:15 p. m. CST. Run time: 2:30 including intermission (estimate) Show Guidelines Learn More About the Show Ticket Prices Season * Single Season Savings Center Boxes (C-6) $707 $100 N/A Side Boxes (7-10) $616 12% Terrace A (A-M) $469 $77 13% Terrace A (N-Y) $343 $60 18% Terrace B (A-M) $238 $46 26% Terrace B (N-Y) $112 $31 48% Terrace C $15 * Season Ticket prices include $7 service fee. ERIN DILLY ( Mrs. Anna Smith) Broadway credits include: Chitty Chitty Bang Bang (Tony nomination, Outer Critics Circle Award), A Christmas Story (originated the role of Mother), Nice Work If You Can Get It, Into the Woods, The Boys from Syracuse and Follies. Other New York: Songbird, Fiorello! and Babes in Arms (both at NY City Center Encores! ). Muny: Into the Woods and Mary Poppins. Regional: Clue (Bucks County Playhouse), Mary Poppins (Pittsburgh Civic Light Opera), In the Mood (Berkshire Theatre Festival), Leading Ladies (Alley Theatre). National tours: South Pacific, Beauty and the Beast, Martin Guerre (Helen Hayes Award nomination). Television: Bull, Person of Interest, Boardwalk Empire, The Good Wife, Elementary, Gossip Girl, Nurse Jackie, 12 Men of Christmas, and all three Law & Order series. Films: Julie & Julia; Too Big to Fail and Everyday People. Erin founded The Living Studio, created the Summer Musical Theatre Intensive Six Days of Broadway at the Segerstrom Center for the Arts and is adjunct faculty at PACE University in the Musical Theatre Department. STEPHEN R. BUNTROCK ( Mr. Alonzo Smith) is incredibly excited to be back on the Muny stage after performing in Thoroughly Modern Millie as Trever Graydon and as Mr. Banks in Mary Poppins. Broadway: A Little Night Music (revival), starring as Fredrick Egerman, opposite Bernadette Peters. He played the same role in the show’s earlier run with original leading ladies, Catherine Zeta Jones and Angela Lansbury. Curly in Oklahoma! ; Gaston in Beauty and the Beast, St. John in the original cast of Jane Eyre, Barrett in Titanic, Enjolras in the 10 th Anniversary cast of Les Misérables, The Phantom in The Phantom of the Opera, Josephus Gage in Gentlemen Prefer Blondes (NY City Center Encores! ) and Teen Angel for the latest revival of Grease. He has toured extensively across the United States and Canada as Rueben in Joseph and the Amazing Technicolor ® Dreamcoat, starring Donny Osmond, originated the role of Arnaud du Thil in Cameron Mackintosh’s Martin Guerre and The Phantom of the Opera. Stephen has enjoyed many concert appearances as well, most recently performing alongside Dame Julie Andrews in London with the Royal Philharmonic Orchestra. KEN PAGE ( Grandpa Prophater) Muny: Aida (Amonasro), Into the Woods (Narrator), Jesus Christ Superstar (King Herod, Kevin Kline Award), Dreamgirls (Marty) and many others. New York, Paris and London audiences have enjoyed Ken in such shows as the original Broadway and film cast of Cats (Old Deuteronomy), Ain’t Misbehavin’ (Ken, Drama Desk Award), Guys and Dolls (Nicely Nicely Johnson, Theatre World Award), Children of Eden, The Wiz, It Ain’t Nothin’ But the Blues and The Wizard of Oz, among others. Film roles include Dreamgirls (Max Washington) and Torch Song Trilogy (Murray). His writing/directing work, Cafe Chanson, earned four St. Louis Theater Circle Award nominations and his production, Sublime Intimacy, earned three. Ken appeared in Ariadne auf Naxos (Major-Domo) with Opera Theatre of Saint Louis and reprised his performance of Oogie Boogie from The Nightmare Before Christmas, live at New York’s Barclay Center in 2017. KATHY FITZGERALD ( Katie) comes to The Muny directly from 10 months as Mrs. Gloop on Broadway in Charlie and the Chocolate Factory. Muny credits: Pirates! (Ruth). Other Broadway credits: The Producers (Shirley Markowitz, original Broadway cast) starring Nathan Lane and Matthew Broderick, Swinging on a Star (Drama Desk nomination) 9 to 5 (Roz, Outer Critics nomination) with Allison Janney. Kathy has also appeared in over 2000 performances of Wicked on Broadway and the national tour as Madame Morrible (Broadway World Award). Off-Broadway: Damn Yankees (Doris, Encores! ), Disaster! (Triad); Donnybrook (Irish Rep). Regionally, Kathy has worked at McCarter Theatre and the Goodspeed Opera House, to name a few. TV/Film: Smash, Mercy, One Life to Live, Curb Your Enthusiasm, The Next Three Days (with Russell Crowe), Our Idiot Brother and The Producers. EMILY WALTON ( Esther Smith) Muny debut! Broadway: Peter and the Starcatcher, August: Osage County. Off-Broadway: Ride the Cyclone (MCC), Women Without Men (Mint Theater Company), Eager to Lose: A Burlesque Farce in Rhyming Verse (Ars Nova); The Shaggs, Saved (both at Playwrights Horizons), Cactus Flower (West Side Theatre), The Deepest Play Ever (New Ohio Theatre). Favorite regional credits include Darling Grenadine (Goodspeed), The Wizard of Oz (Sacramento Music Circus), The Fairytale Lives of Russian Girls (Yale Rep), The Secret Garden (Denver Center), Sondheim on Sondheim (Great Lakes Theatre Festival) and Third (Two River Theater). Film/TV: Submission, 5 Doctors, Hack My Life (TruTV), Search Party (TBS). Emily is also a singer-songwriter and just released her debut album, Little Longings, this year! LIANA HUNT ( Rose Smith) Muny debut! Broadway: Newsies (Katherine), Mamma Mia! (Sophie). National tours: Bright Star (Margo), Wicked (Nessarose), Mamma Mia! (Sophie). Regional: Private Lives (Sibyl, Riverside Theatre), Jekyll & Hyde (Emma, Engeman Theater), Grease (Sandy, Engeman Theater), Les Misérables (Eponine, Merry-Go-Round). B. F. A. : NYU. Proud AEA member. Instagram/Twitter: @lianamariehunt DAN DeLUCA ( John Truitt) is so happy to be back on the Muny stage after marrying into The Addams Family during the 2014 season as Lucas Beineke. He originated the role of Jack Kelly on the tour of Disney’s Newsies. Regional: Thoroughly Modern Millie (Jimmy, Goodspeed Opera House), Hair (Claude, Patchogue Theatre), Next to Normal (Gabe), Mamma Mia! (Sky, Weston Playhouse); Legally Blonde (Emmett, Lexington Theatre Company), How the Grinch Stole Christmas (Young Max, The Old Globe), Children of Eden (Cain/Japheth, CAP21). Other credits include: 54 Below, Joe’s Pub, Barrington Stage, Macy’s Thanksgiving Day Parade and Radio City Music Hall. Dan serves as the Visual Director and Key Speaker for The Field Consulting specializing in Emotional Intelligence and Mindfulness. JONATHAN BURKE ( Lon Smith) Broadway: Tuck Everlasting (original Broadway cast). Off-Broadway/NYC: Joan of Arc: Into the Fire (Priest/Judge, Public Theater); Langston in Harlem (Junior Addict, Urban Stages), Jazz A La Carte (Apollo Theater), 48 Hours in… Harlem (Emmett, National Black Theatre). National tours: Mary Poppins (u/s Valentine), A Christmas Story: The Musical, Joseph and the Amazing Technicolor ® Dreamcoat (u/s Joseph, u/s Judah), Cats (Mungojerrie). Regional: Head of Passes (Crier, Berkeley Rep), Choir Boy (David Heard, Studio Theatre), Mary Poppins (Bert, Syracuse Stage), Amazing Grace (Tyler, Goodspeed), Rent (Angel, Hangar Theatre), Hairspray (Seaweed, Merry-Go-Round Playhouse), Born For This (Michael Winans/Howard, The Broad Stage), I Sing the Rising Sea (Granby, Virginia Stage Company). A., Ithaca College. Instagram/Twitter: @jondbeee ELENA ADAMS ( Tootie Smith) Muny debut! Elena has performed in youth and community theatre since the age of five and was recently nominated by Arts for Life for Best Juvenile Performer in a Musical. ELLE WESLEY ( Agnes Smith) Muny debut! She was last seen in the role of Ngana in the Stages St. Louis production of South Pacific. Akilah Ayanna ENSEMBLE Michael Baxter ENSEMBLE Leah Berry ENSEMBLE Shawn Bowers ENSEMBLE Michael Burrell ENSEMBLE Emma Gassett ENSEMBLE Berklea Going ENSEMBLE Madison Johnson ENSEMBLE Jeff Jordan ENSEMBLE Halle Morse ENSEMBLE Ben Nordstrom ENSEMBLE Commodore C. Primous III ENSEMBLE Payton Pritchett ENSEMBLE Cooper Stanton ENSEMBLE Julia Paige Thorn ENSEMBLE Nathaniel Washington ENSEMBLE MARCIA MILGROM DODGE (Director) Muny: The Little Mermaid (2017), Young Frankenstein (2016), Buddy: The Buddy Holly Story (2015) and The Addams Family (2014). Broadway: Ragtime (2010 Tony nomination). National tours: Curious George, Seussical, Ragtime. NYC: Venus Flytrap, Radio Gals, Closer Than Ever and Romance in Hard Times. Between reimagining revivals and choreographing & directing world premieres regionally and abroad, Dodge is also a wife, a mother, a teacher, an SDC executive board member and a published and produced playwright. For more, visit JOSH WALDEN (Choreographer) returns to The Muny after choreographing The Little Mermaid in 2017 and Buddy: The Buddy Holly Story in 2015. Directed/choreographed A Chorus Line for Maltz Jupiter Theatre and Theatre Memphis, The Rocky Horror Show for the University of Buffalo, Legally Blonde for Merry-Go-Round Playhouse, and the rock opera Fallen Angel for the New York International Fringe Festival. He has also choreographed for Signature Theatre, Sacramento Music Circus, Doonce Productions, Actors Theatre of Louisville, Gateway Playhouse and Morag Productions for Seabourn Cruise Lines. On Broadway, Josh was the associate director/associate choreographer for the revival of Ragtime. As a performer, he has been in Broadway revivals of 42nd Street, La Cage aux Folles, A Chorus Line and Ragtime. CHARLIE ALTERMAN (Music Director) is thrilled to be a part of Muny 100! At The Muny he served as music director for All Shook Up (2017), The Little Mermaid (2017), Young Frankenstein (2016), Hairspray (2015), Chicago (2012) and Legally Blonde (2011). Broadway: Pippin, Godspell, Next to Normal, Martin Short: Fame Becomes Me (music director/actor) and Legally Blonde (associate conductor). Tours: Next to Normal (music supervisor) and Grease (US/Asia). Off-Broadway favorites: Almost Heaven: Songs of John Denver and Silence! The Musical. Regional: The Old Globe, Theatre Under the Stars, La Jolla Playhouse, Arena Stage, Trinity Rep, Huntington Theatre and nine seasons with the Williamstown Theatre Festival. Concert appearances include shows with Brooke Shields, Frankie Avalon, Emily Skinner, Dana Reeve, Billy Porter, Carol Woods and Ken Page. Upcoming: Half Time (previously known as Gotta Dance). Michael Schweikardt (Scenic Design) Tristan Raines (Costume Design) Rob Denton (Lighting Design) John Shivers (Sound Design) David Patridge (Sound Design) Matthew Young (Video Design) Leah J. Loukas (Wig Design) J. Jason Daunter (Production Stage Manager).
悲慘世界的故事. È¬ã»e.a.r. ムーラン 予告.