On Your Toes (1936) is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart, music by Rodgers, and lyrics by Hart. It was adapted into a film in 1939.
While teaching music at Knickerbocker University, Phil "Junior" Dolan III tries to persuade Sergei Alexandrovich, the director of the Russian Ballet, to stage the jazz ballet Slaughter on Tenth Avenue. After becoming involved with the company's prima ballerina Vera Barnova, Junior is forced to assume the male lead in Slaughter. Trouble ensues when he becomes the target of two thugs hired by Vera's lover and dance partner to kill him.
On Your Toes marked the first time a Broadway musical made dramatic use of classical dance and incorporated jazz into its score.[citation needed]
Background
On Your Toes originally was conceived as a film, and as a vehicle for Fred Astaire. His refusal of the part, because he thought that the role clashed with his debonair image developed in his contemporary films, caused it to be presented initially as a stage production. Richard Rodgers wrote: "Astaire at that point in his career was a pretty chic fellow who usually wore white ties and tails, and the producers felt that there was no chance in our script for him to appear that way."[1][2] Astaire thought that the ballet background in the plot was too "highbrow" for his audiences.[3]Ray Bolger was given the stage role, which allowed him to rise to stardom. Eddie Albert, not known as a dancer in his career, gave a remarkable performance opposite Vera Zorina in the 1939 film.[4]
Productions
The first Broadway production, directed by C. Worthington Miner and choreographed by George Balanchine, opened on April 11, 1936, at the Imperial Theatre, where it ran for seven months, then transferred to the Majestic, for a total run of 315 performances. The cast included Ray Bolger (Junior), Tamara Geva (Vera Barnova), and Monty Woolley (Sergei Alexandrovitch).
On a vaudeville stage, Phil Dolan II, his wife Lili, and his son Junior perform their nightly routine, but afterwards in the dressing room, the parents tell Junior that he must go to school. Fifteen years later, as predicted, Junior is a music teacher at Knickerbocker University. He has two talented students: Sidney Cohn and Frankie Frayne. Sidney has written a promising jazz ballet which Frankie catches Junior dancing to alone in the classroom (uncovering his "secret past"), and she trades an introduction to the Russian Ballet's manager in return for his listening to her song.
In the apartment of Vera Baranova, star of the Russian Ballet, Peggy, the manager, enthusiastically tells Sergei, the company's director, about the new jazz ballet. He is not interested in anything new - he doesn't even recognise that the Revolution has happened! Junior arrives as Vera and co-star/unfaithful lover Konstantine Morrosine are having a Russian screaming match. The others leave, so that Vera and Junior can discuss the new ballet, but that leads to a new entanglement.
Back in the classroom, Frankie is jealous of Junior's stories about Vera and the Russians (Peggy has promised him a chance to dance in the corps de ballet), and they both wish they were away from it all. At the opening of the ballet, La Princesse Zenobia, Junior is told that one of the dancers is in jail and he must take his place, but onstage he gets all his steps, rhythms and positions cock-eyed and makes a laughing-stock of the ballet. But the audience loves it, nevertheless.
Act II
Sergei, Peggy, Vera, Morrosine and Junior have listened to the jazz ballet. Opinions are mixed, and Vera and Morrosine are still arguing, as he becomes increasingly jealous of Junior. Poor Junior has got love problems, too: he upsets Frankie by going to lunch with Vera (for business reasons) instead of her, but she is "Glad to Be Unhappy".
Then Peggy, Sergei, and some of the company visit Junior's school. Sergei has come to break the bad news that he will not be doing the jazz ballet, but Peggy persuades him by threatening to pull out the million dollars she has put into the company. After Sergei's announcement that the next production will be Slaughter on Tenth Avenue, the class stages the title number "On Your Toes", in which the students' jazz and the company's classical routines are deftly combined.
At a rehearsal, Morrosine's jealousy of Junior escalates, he fights with Sergei and is knocked–out, suddenly making Junior the new star. The humiliated Morrosine plots with his gangster friend, Louie, to shoot Junior at the end of the performance. Joe, the stage doorman, overhears and warns Frankie. On-stage, Junior is tipped–off by her, and signals to the conductor to avoid the final loud climax which would cover the shot, so he keeps the orchestra playing the last few bars of the music over and over as Junior dances frantically to keep the shooter from firing until the police arrest him. After the curtain call, Frankie embraces Junior and is startled to see his parents waiting to congratulate him. Junior chooses Frankie over Vera, asks her never to leave him. The music-teacher has made it back to his home-ground - the stage.
Original song list
Act I
"Two a Day for Keith" – Phil Dolan II, Lili, Junior
"Questions and Answers (The Three Bs)" – Junior, Students
Although some of the songs from the Broadway score were used as background music, the film does not have any singing in it. The Slaughter on Tenth Avenue ballet does appear at the end of the film, with choreography by George Balanchine, one of eight films for which he created the dances. Eddie Albert's character dances the lead in the ballet, opposite Zorina. According to John Reid, "Albert is no dancer...But with the aid of a visual double for one or two shots plus post-synched taps, he actually manages rather well, and even duets with the great Zorina with reasonable facility."[9]
^On Your Toes, IBDB - Internet Broadway Database, accessed May 2, 2009
^Dietz, Dan (2018). The Complete Book of 1930s Broadway Musicals (hardcover) (1st ed.). Lanham, MD: Rowman & Littlefield Publishers. ISBN978-1-5381-0276-3.
^Reid, John. More Movie Musicals (2006), Lulu.comp, ISBN1-4116-7342-5, 129
