1/21/2024 0 Comments Encore shoes kansas city mo![]() And the audience laughed, and made them do it a third time. This time she hammed it up - you can hear it in her voice on the recording - and dancing a little jig around him. So the crowd stopped the show cold until they sang it again. The audience had heard all the other songs, but this one was new. He wanted simple and sang slow, she wanted fancy and sang bouncy. It was an argument song - they'd been sparring all night and now had different ideas about their wedding. Ridiculous, right? But Irving Berlin had written a new duet for her and her co-star, Bruce Yarnell, for the revival, and audiences loved it. It starred Ethel Merman, then 54 and still playing 16-year-old Annie Oakley. And once it's written in, the audience isn't stopping the show anymore the writers are.Īs I say, in decades of showgoing I've only ever seen one honest-to-god showstopping number - at a 1960s revival ofĪnnie Get Your Gun. But that's more a reprise than an encore. He did something similar in a lot of his shows, actually, adding extra choruses for songs the audience loved. Porter ended up writing her some more lyrics, so she could vary it a little. And remember, this was her first show, so when the audience made her sing it again - 11 times, by some reports - she must've just thought, "Well, this is how Broadway works." She sang it sweetly, like the ingenue she was then, but she also did a sort of mock strip-tease, dropping the shoulders of her fur coat, and the combination just brought the house down on opening night. ![]() Or Mary Martin singing a little Cole Porter ditty - "My Heart Belongs to Daddy" - in her first Broadway show. ![]() Real showstopping encores, where the audience takes control and won't let the show start up again until the actors sing the song a second time, I had read about, but they always seemed to be from some previous era: Ethel Merman holding the "I" in "I Got Rhythm" for 16 bars -ġ6! - and the audience making her sing it over and over, because they couldn't believe she'd done it. Really smart staging, but not a real showstopper. It was gonna happen even if nobody applauded. For her to be able to play this next scene, they had to dance all those waiters off the stage. And that's the moment when it's clear that the whole thing - all that saying "No," the watch-checking - was fake. Only this time, all those waiters dance off the stage and into the wings, leaving just her to play the next scene. Īnd they're off, Bailey whipping up a frenzy all over again. And the audience roars, because now it's clear that she's gonna do another chorus. But they're still cheering, so finally she walks to the side of the stage, kicks off her shoes, and hitches up her girdle. Then after a while, she looked down at the conductor - and he pointed to his watch and shook his head no. I remember Pearl Bailey really milking that applause, the crowd screaming "More!" and her grinning broadly but shaking her head no. All those waiters arrayed behind her, arms stretched high. There's a runway around the orchestra pit, and right at the climax of the song, she leads them in an arm-waving parade around it, close enough to touch. ![]() Hello, Dolly! Two dozen tuxedoed waiters at the Harmonia Gardens Restaurant have for several minutes been welcoming our heroine "back where she belongs," with flamboyant choreography and compliments sung to the rafters. Take the encore that audiences have always demanded after the title number in And until I saw the genuine article, I used to think I've only ever seen one real, audience-driven, can't-go-on-with-the-show-until-you-sing-it-again (because encore means again) showstopper. I'm not much of an opera buff, but I've been going to concerts and musicals for decades, and I'd give anything to see another encore.
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