This transcript was automatically generated and might contain errors.

[0:00] Paul Lazarus: Hi, this is Paul Lazarus. In the 1980s, I produced and hosted a radio series called Anything Goes, a celebration of the American musical theater. Now the Broadway Podcast Network is bringing back these shows. This is the conclusion of a three-part program examining the Roaring Twenties on Broadway. My guest is noted musical theater historian Alfred Simon. This program originally aired in November of 1980 and featured songs by Jerome Kern, Eubie Blake, and George Gershwin in a celebration of Broadway in the early 20's. Please note that the recordings in this program are products of their time, and some contain offensive material.

[0:58] Paul Lazarus: Rudolf Frimmel was known mostly for his operetta songs like Rosemary and so on. Now we come to a show called The Blue Kitten, which didn't have a long run, but it had a popular number at the time called Cutie. It's sung by Ethel Levy of the English cast. Ethel Levy was the first Mrs. George M. Cohan, and she's joined by Roy Royston. Another interesting thing about this show in terms of Frimmel is that, although he was one of the leading exponents of the operetta style, this is more of a musical, a straight musical comedy of the 20's.

[2:55] ♪ Musical number: "Cutie" — performed by Ethel Levy and Roy Royston ♪

[5:41] Paul Lazarus: Cutie, from the Rudolf Brimmel score, The Blue Kitten. You're listening to Anything Goes with Paul Lazarus. My guest today is Alfred Simon, noted musical theatre historian. This next show, For Goodness Sake, that we're going to feature, is distinguished for two reasons. Firstly, because it was one of the first Broadway appearances of Fred and Adele Astaire. And secondly, because it featured two fairly good Gershwin interpretations. Yes, one of which is Tra-La-La.

[6:10] Alfred Simon: Which we are going to feature from a Ben Bagley, George Gershwin revisited album. And the second number from the score that we'll be playing is Oh Gee, Oh Gosh, performed by the Astaires and written by William Daly and Paul Lannan.

[6:33] ♪ Musical number: "Tra-La-La" — performed by Fred and Adele Astaire ♪

[8:40] Paul Lazarus: Well, I'm surprised at you flirting with that fortune hunter, that, that gondola pusher.

[8:45] Alfred Simon: Well, I guess it's none of your business who I flirt with.

[8:47] Paul Lazarus: It is too. It's every man's business to protect foolish women.

[8:50] Alfred Simon: Oh, I'm foolish, am I? Just because I find the count attractive.

[8:53] Paul Lazarus: I guess you don't realize what a charm he has for women.

[8:56] Alfred Simon: Being a mere baby, you wouldn't.

[8:58] Paul Lazarus: But all these carpenters, they're so subtle, so polished.

[9:02] Alfred Simon: Yeah, shoes.

[9:03] Paul Lazarus: Manners, the things they say to us.

[9:05] Alfred Simon: A lot of lying, good for nothing, that's what they are.

[9:07] Paul Lazarus: If I were you, I'd wait until I grew up before I'd try to judge men.

[9:10] Alfred Simon: I'm 18.

[9:11] Paul Lazarus: Mere child.

[9:12] Alfred Simon: Is that so? My mother was only 18 when I was born.

[9:15] Paul Lazarus: That's what she says. Of course, in the olden days.

[9:17] Alfred Simon: In the olden days, it was far different.

[9:19] Paul Lazarus: Long, grey beards going down to the ground.

[9:21] Alfred Simon: Oh, you're nothing but a child.

[9:22] Paul Lazarus: When I stop to think that you, that I...

[9:25] Alfred Simon: Yes, Teddy.

[9:27] Paul Lazarus: Oh, God.

[9:28] Alfred Simon: There is something I must say but just hate to discuss.

[9:34] Paul Lazarus: Because I'm shy, I guess that's why.

[9:40] Alfred Simon: It's about me. I mean you. I mean the two of us.

[9:45] Paul Lazarus: And if I had no fear, here's what you would hear.

[9:51] ♪ Musical number: "I Dream About You" — performed by Unknown performer ♪

[10:09] ♪ Musical number: "Oh Gee, Oh Gosh" — performed by Unknown performer ♪

[12:04] Alfred Simon: I think there's a lot of people in the audience who remember Al Astaire in the very early part of their career performing, "Oh Gee, Oh Gosh," from *For Goodness' Sake*. Al, another feature, I think, of the 1920s that can't be overlooked were the great comedy teams. Such as Harrigan and Hart, who were really earlier, much earlier, in fact. And Wilbur Fields were also earlier. They made a big hit.

[12:34] Alfred Simon: Right, and they performed a number that was called "Mr. Gallagher and Mr. Sheen," and I believe it first appeared in the Ziegfeld Follies of 1922.

[12:43] Alfred Simon: That's correct. Good morning, Mr. Gallagher.

[12:46] Alfred Simon: Good morning, Mr. Sheen.

[12:48] Alfred Simon: There is something that is troubling me.

[12:50] Alfred Simon: That is very plainly seen.

[12:52] Alfred Simon: Mr. Gallagher, I'm a peaceful man. I never yell or shout.

[12:57] Alfred Simon: Mr. Sheen, if you will confide in me, I'll try and help you out.

[13:01] Alfred Simon: Oh, Mr. Gallagher?

[13:02] Alfred Simon: Yes, hello?

[13:03] Alfred Simon: Mr. Gallagher, well, well, well, do you think it's wrong for a man to strike his wife?

[13:09] Alfred Simon: Strike his wife? Suppose she goes out every night, then comes home and starts a fight. Is a man supposed to spend his treatment all his life?

[13:18] Alfred Simon: Well, no, but Mr. Sheen, a man who raises hands to his wife is low and mean. If it's more than you can stand, remember, never use your hands. Use diplomacy, Mr. Gallagher.

[13:35] Alfred Simon: Use a sandbag, Mr. Sheen.

[13:37] Alfred Simon: Oh, Mr. Gallagher?

[13:38] Alfred Simon: Yes, hello?

[13:39] Alfred Simon: Mr. Gallagher?

[13:40] Alfred Simon: I'm coming.

[13:41] Alfred Simon: There was a tiny Negro baby born last night.

[13:45] Alfred Simon: No.

[13:46] Alfred Simon: Yes.

[13:47] Alfred Simon: Just as black as ink, weighed a half a pound, I think. How can a baby be so dark and yet so light?

[13:54] Alfred Simon: Why, Mr. Sheen, Mr. Sheen, that is the funniest color scheme I've ever seen.

[14:03] Alfred Simon: But I know a hen as black as night, and she can lay an egg that's white.

[14:08] Alfred Simon: Why, that's nothing, Mr. Gallagher.

[14:10] Alfred Simon: No?

[14:11] Alfred Simon: Can you do it, Mr. Sheen?

[14:12] Alfred Simon: Oh, Mr. Gallagher?

[14:13] Alfred Simon: Yes, I'm here.

[14:14] Alfred Simon: Mr. Gallagher?

[14:15] Alfred Simon: Well, what is it?

[14:16] Alfred Simon: Every morning in the bedroom, I reduce.

[14:20] Alfred Simon: You reduce?

[14:21] Alfred Simon: I bend forward, up and down. Every day, I lose a pound. The only suit of clothes I own is getting loose.

[14:28] Alfred Simon: You be careful, Mr. Sheen, Mr. Sheen. Exercising in the bathroom's quite a theme.

[14:38] Alfred Simon: When you bend over, have a care if there's a radiator there.

[14:43] Alfred Simon: Oh, there is one, Mr. Gallagher.

[14:45] Alfred Simon: Be sure and face it, Mr. Sheen.

[14:47] Alfred Simon: Oh, Mr. Gallagher?

[14:48] Alfred Simon: Yes, hello?

[14:49] Alfred Simon: Mr. Gallagher?

[14:50] Alfred Simon: Yes, yes, yes?

[14:51] Alfred Simon: Homeless rights is turning out to be a joke.

[14:55] Alfred Simon: How do you know?

[14:56] Alfred Simon: They've been given the right to vote.

[14:58] Alfred Simon: But doesn't it get your vote in public places now?

[15:02] Alfred Simon: They demand the right to vote.

[15:04] Alfred Simon: You don't know the half of it, Mr. Sheen. Why, Mr. Sheen, they also love to gamble on the green.

[15:13] Alfred Simon: Why, they indulge in games of chance, where you can lose your shirt and pants. I'm speaking of women, Mr. Gallagher.

[15:20] Alfred Simon: That makes no difference, Mr. Sheen.

[15:32] Alfred Simon: You are listening to *Anything Goes* with a look at Broadway in the 1920s. You know, Al, we started off this program discussing what we thought were the general characteristics of Broadway in the 20s. And one of the first things that we talked about was this proliferation of reviews and follies and George White scandals. But I think we neglected to mention one of the most important ones.

[15:55] Alfred Simon: We certainly did. Irving Berlin, although he was not quite as active up to that point, but we'll get to him in this program. Right now, though, we should point out that he built his own theater. He and Sam Harris did. Called the Music Box.

[16:09] Alfred Simon: Music Box, which is still a very fine theater. One of the most dramatic shows now.

[16:16] Alfred Simon: Right. But at first, in the 1920s, it was devoted to this series of reviews.

[16:21] Alfred Simon: Yeah, a series of what they called Music Box reviews. They weren't as lavish as the Siegfried Follies or the scandals, but they were very tasteful and had some fine people in them. And they lasted from about 1921 to 24, is that right?

[16:34] Alfred Simon: Yes, through 24. And we're going to feature two songs. We've come chronologically to the point we're at, 1922. And we're going to feature two songs from the Music Box review of 1922. Both songs by Irving Berlin. The first, performed by John Steele, the great tenor, is entitled "Lady of the Evening," and was one of Irving Berlin's personal favorites.

[16:55] Alfred Simon: He was in the show, John Steele.

[16:57] Alfred Simon: Right. He sang in the show. So this is an original cast version. And then, secondly, from a William Bolcom and Joan Morris album called *The Girl in the Magazine Cover*, a song from that Music Box review of 1922, "Pack Up Your Sins and Go to the Devil."

[17:13] ♪ Musical number: "Lady of the Evening" — performed by John Steele ♪

[18:54] ♪ Musical number: "Pack Up Your Sins and Go to the Devil" — performed by William Bolcom and Joan Morris ♪

[20:18] ♪ Musical number: "Pack Up Your Sins and Go to the Devil" — performed by Unknown performer ♪

[23:56] Alfred Simon: And she does that song very, very well. Last song on this first part of a four-part series examining the 1920s is one of the classic Gershwin compositions, the early 20s, "Stairway to Paradise." And the vocal is by George Kateri.

[24:26] ♪ Musical number: "I'll Build a Stairway to Paradise" — performed by George Kateri ♪

[25:45] Alfred Simon: George Kateri sang "I'll Build a Stairway to Paradise," which was used as the first act finale of George Weitzman's 1922 by Gershwin. This actually was the first really important Gershwin song for the theater. "Swanee," of course, came before, but that was not from a show.

[26:04] Paul Lazarus: Right, that was more of a popular hit, wasn't it?

[26:06] Alfred Simon: That's right. Well, Al, that about wraps it up for this first part of our four-part series together, examining Broadway in the 1920s. And as always, Al, it's been a pleasure.

[26:18] Paul Lazarus: It's been a great pleasure for me, Paul, always.

[26:20] Alfred Simon: And we're going to go out today with an original cast version of "I'll Build a Stairway to Paradise," unfortunately missing the vocal part, but featuring the great work of Paul Whiteman.

[26:48] ♪ Musical number: "I'll Build a Stairway to Paradise" — performed by Unknown performer ♪