Tag Archives: Busby Berkeley

Nr 463: The First Nudie Musical (1976)

16 Jan

The First Nudie Musical (movie)
Screenplay, Music & Lyrics: Bruce Kimmel

Gotta sing, Gotta dance
While I’m Taking of my pants

The son of an almost famous studio owner is forced to make porno films to keep the bankrupt studio from being made into a shopping center. The films have titels like Teenage Sexmutants and Stewardesses in Cages. But lately these films have started to flop. In an attempt to get back on the high ground he decides to make a new kind of porno, a musical comedy porno. He makes a bet with the debtors who wish to take ownership of the studio, that if they finance the musical and he can’t complete it within two weeks, they can foreclose.
Ribald humor, bawdy songs and plenty of skin abounds in this sophomoric satire that while unabashedly trashy, has developed a bit of a cult following.

I found the films soundtrack album in a record store in Sweden when I was a teenager and I found it deliciously smutty. I loved going around town and with a loud voice sing the songs in the hope that I would shock people. But it was the seventies so people, at least in Sweden, weren’t that easily shocked about sexual stuff. I was a bit disappointed, I mean there I was singing about Dancing Dildos, cunnilingus and Orgasms and people just thought it cute or absolutely normal… Ah, the seventies…
I loved the songs then and I still do. But I didn’t actually get a chance to see the film itself until it came out on DVD in the early noughties. I have just revisited it so it would be fresh in my mind for this blog and I can tell you that it still holds up pretty well. Some of the physical comedy feels a little forced and dated, but the dialogue is still funny and had me laughing out loud quite a few times and some of the show numbers are pure delights. It’s pretty crude and has a low-budget feel with a ”musical-within-a-movie” theme, but with satirical sexual humor and if you like that kind of thing (and I do), it’s definitely worth seeking out!
They’ve added a very funny hour long retrospective documentary as a bonus on the DVD.

The budget for the picture was $125 000. It got picked up by Paramount Pictures for distribution. But when the studio saw the finished product they thought it dragged a bit in the middle and they asked Bruce to shoot some new scenes. So he came up with the Dancing Dildos number. The studio asked ”Are there nude girls in the number?” ”Yes”, he answered and they gave him $75 000 just to shoot that scene!

There are som great future stars in this movie:
Cindy Williams who already had a nice little movie career going on, got her big break through on tv the same year the film premiered in the tv-series Laverne & Shirley. She played Shirley for 8 seasons. Laverne & Shirley was a spin-off of the sitcom Happy Days (1974-84).
Future director Ron Howard was the star of Happy Days and he did a cameo in this movie.
Cindy and Ron also played girlfriend and boyfriend in the George Lucas film American Graffiti (1973).
Diana Canova went on to play Corinne Tate in the sitcom Soap (Lödder in Sweden).
And director, actor, author, composer and lyric writer Bruce Kimmel has starred in and directed a lot of films and tv-series. He has also written plays and musicals (among them The Brain from Planet X, which you can find on this blogg, it’s nr 200). From 1988 to 1993, Kimmel co-owned the specialty label, Bay Cities, releasing over 100 albums that included American classical music, cast albums, and soundtracks. In 1993, Kimmel became a full time record producer with his own division at Varese Sarabande, producing many cast albums (Broadway and off-Broadway), Broadway singers, and musical theater concept albums, first for the Varese Sarabande, and then for a company he founded, Fynsworth Alley. His current label Kritzerland has issued close to 400 albums including cast albums, singers, and a series of reissues of limited edition soundtracks.

The film actually got some great reviews and became a minor hit. The first week of its wide release, it was the fourth highest-grossing picture in the country, behind Star Wars, You Light Up My Life, and The Spy Who Loved Me.

The actual first nudie musical is considered to be the 1963 nudie-cutie Goldilocks and the Three Bares (1963)

Chockful of youthful talent, well spiced by outrageousness and sparked by invention. The three stars are simply irresistible. Cindy Williams is enchanting, Kimmel is the ultimate appealing schnook. Fresh and funny and funky. Made for about 1 percent of the budget of New York, New York, but a hundred times funnier and more perceptive. It’s the Star Wars of nudie musicals.
– Judith Crist, New York Post

More vitality, imagination, zany comedy and stellar performances than most movies. It’s one of the most memorable movies of this year. A raunchy delight. Cindy Williams is a marvel! Kimmel is a joy to watch!
– Joseph Gelmiş, Newsday

A Mel Brooksian salute to porno chic.
– Bruce Williamson, Playboy

Silly, sophomoric, at times downright inept, this little low-budget venture picked up by Paramount is more often than not hilarious, offering good, tonic laughter to those not offended by nudity and blunt language.
– Kevin Thomas, Los Angeles Times

Basically a one-joke idea that wears thin despite an air of amiability.
– Leonard Maltin’s Film Guide (two stars out of four)

A few clever bits are downed in a larger sea of silliness, forced gags and predictable cliche.
– Arthur D Murphy, Variety

C’mon Honey
The Red Band Trailer
Audition scene
A ”naked” tv-review of the movie from 1976

Nr 460: The SpongeBob Musical (2016)

6 Jan

Chicago: 2016
Broadway: 2017 (327 perf.)
Tv version: 2019

Book: Kyle Jarrow, based on SpongeBob SquarePants by Stephen Hillenburg
Music & Lyrics: David Bowie, Brian Eno, Panic at the Disco, Tom Kitt, Jonathan Coulton, Cyndi Lauper, Rob Hyman, Alex Ebert, Sara Bareilles, Andy Paley, Tom Kenny, Lady Antebellum, Yolanda Adams, The Flaming Lips, John Legend, Steven Tyler, Joe Perry, Plain White T’s, T.I., They Might Be Giants

Just so you know, if you’re not a SpongeBob fan, it all takes place underwater.
The story: SpongeBob, a relentlessly cheery fast-food worker with self-esteem issues, learns that his beloved Bikini Bottom is in danger of being destroyed by an undersea volcano called Mount Humongous that’s threatening to blow sky-high. So he, his BFF Patrick Star, a starfish, and the brilliant scientist Sandy Cheeks, a squirrel (don’t ask), must come up with a plan to save their world.
Among the obstacles on the path to hero-hood: xenophobic prejudice (Sandy is disdained as a mammal), the bureaucratic paralysis of the mayor, panic-rousing media coverage and the villainous obstructions of the evil Sheldon Plankton and his wife, Karen the Computer.

I actually thought I was going to hate this musical. I mean come on, SpongeBob the Musical???? And because the cast album contained songs by a lot of different pop composers I also thought this was something of a juke box musical.
But, boy, was I wrong!
Nickleodeon, the cable channel for kids where SpongBob the animated series airs, brought a live version of the Broadway show to our home screens.
Lucky us! For this is an absolute marvel of a show. Just 5 minutes in and I was hooked. The music is so good, the sets and costumes are amazing, the cast is perfect down to the smallest planktons and sardines and the choreography is utterly brilliant. I was totally enthralled.
The show is totally bonkers – in a very good way. Don’t let adult thoughts of ”that isn’t even logic” or ”this is so unrealistic” disturb you from enjoying this show. Indulge yourself in the madness and pleasures of Bikini Bottom (just that name, aargh, love it, and yes they make fun of it in the show). Do what I did: I just sat in my recliner and laughed, cheered and even shed a little tear.
This show is so sunny, positive and life affirming, just what we need right now.
The cast album was on repeat in my flat for a long, long time afterwards. And every time I feel a little blue I play Best Day Ever, the best pick-me-up-song ever!

The show was nominated for 12 Tony Awards and won one: Best Scenic Design of a Musical.
It also won 6 Drama Desk Awards: Outstanding Musical, Actor, Featured Actor, Director, Sets, Wigs and Hair of a Musical.
And 4 Outer Critics Circle Awards: Outstanding New Musical, New Score, Director and Actor in a Musical.

The show was retitled for Broadway and the North American tour, now it’s SpongeBob Squarepants – the Broadway Musical.

For what it’s worth — and we’re talking millions of dollars here — you are never going to see as convincing an impersonation of a two-dimensional cartoon by a three-dimensional human as that provided by Ethan Slater at the Palace Theater. Mr. Slater plays the title role in SpongeBob SquarePants the Broadway Musical the ginormous giggle of a show that opened on Monday night.

…you will probably adore this musical if: a) “SpongeBob” was a formative influence of your childhood; b) you are a stoner who tokes up to watch reruns of the show on YouTube (categories a and b are not mutually exclusive); or c) if you are (like my date for this show) a parent of “SpongeBob”-bingeing progeny and found its sensibility crept into, and wallpapered, your weary mind.

… you may indeed enjoy such improbable spectacles as a misanthropic squid named Squidward (Gavin Lee, wearing four-legged pants) doing a virtuosic four-footed tap dance with a Busby Berkeley kick line of pink-sequined sea anemones. Or a heavy-metal boy band made up of sea skates on skateboards, with music by Steven Tyler and Joe Perry of Aerosmith. Oh, I forget to tell you. The show’s songs (supervised, arranged and orchestrated by the composer Tom Kitt) have been written by a plethora of pop-rock eminences…

Christopher Gattelli’s choreography of his sexually ambiguous ensemble (genders blur when wet) is perversely brilliant, suggesting piscine movement through breakdance and vogueing gestures instead of the expected swimming motions. But no one matches Mr. Slater in conveying the physicality of the life aquatic.
– Ben Brantley, The New York Times

Children should feel free to take their parents to Tina Landau’s psychedelically inspired version of the whimsical kiddie cartoon show … But Landau’s hallucinogenic stagecraft transcends the show’s television origins by speaking a visual language that’s three-dimensional and boldly theatrical.

(The plot) … is actually a lot scarier than any of the problems that arise in the TV show, but this is Broadway, where things tend to get inflated.
Here, that inflation surfaces in the score. Instead of working with a simpatico composer and lyricist, Landau, in the adventurous spirit of a Steppenwolf director, has stacked the show with individual pop songs written by individual songwriters … It’s not as much of a gimmick as it seems, but without a signature sound, there’s no signature style. What there is, though, is plenty of giddy, goofy fun for all.
– Marilyn Stasio, Variety

(Resulting in a show that) ”is as perfunctorily entertaining as it is insistently forgettable”.
– Alexis Soloski, The Guardian


Bikini Bottom Day/Super Sea Star Savior/Best Day Ever
When The Going Gets Tough
At the Tony Awards: I’m Not a Looser
Gavin Lee (Squidward), Ethan Slater (SpongeBob), and Wesley Taylor (Sheldon Plankton) perform ”You Could Drive a Person Crazy” from COMPANY

Nr 415: Annie Get Your Gun

7 Nov

Annie Get Your Gun (1946)

Music & Lyrics: Irving Berlin
Book: Dorothy Fields, Herbert Fields löst baserad på Annie Oakleys (1860-1926) liv och hennes romans och äktenskap med Frank E. Butler (1847- 1926).

Uppsättningar i urval:

Broadway 1946, 1 147 föreställningar
West End 1947, 1 304 föreställningar
Göteborg 1949
Stockholm 1949
Broadway revival 1966

Scandinavium 1973
Broadway revival 1999, 1 045 föreställningar

SäffleOperan 2012

Rough-and-tumble Annie Oakley is the best shot around. A backwoods gal, Annie uses her skill to support her family by selling the game she hunts. When she’s discovered by Buffalo Bill and persuaded to join his Wild West Show, Annie is plucked from obscurity and becomes the toast of Europe.
Annie meets her match in Frank Butler, Buffalo Bill’s leading man and star marksman. She falls head over heels for Frank, but soon eclipses him as the main attraction in the show. Her success with a gun makes trouble for Annie’s chance at romance.
The show follows the journey of Annie and Frank, revealing their competitive natures as they vie for best shot – and each other’s hearts.

A real classic with a ton of well known songs like  Anything You Can Do, You Can’t Get a Man With a Gun and the biggest show anthem of them all: There’s No Business Like Show Business.

Dorothy Fields had the idea for a musical about Annie Oakley, to star her friend, Ethel Merman.
Producer Mike Todd turned the project down, so Fields approached a new producing team, Richard Rodgers and Oscar Hammerstein II. After the success of their first musical collaboration, Oklahoma!, Rodgers and Hammerstein had decided to become producers of both their own theatrical ventures and those by other authors.They agreed to produce the musical and asked Jerome Kern to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book.
Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945 to begin work on the score to Annie Get Your Gun, but three days later, he collapsed on the street due to a cerebral hemorrhage. Kern was hospitalized, and he died on November 11, 1945.
The producers and Fields then asked Irving Berlin to write the musical’s score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs. Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in ”a situation show.”  Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs Doin’ What Comes Naturally, You Can’t Get a Man With a Gun, and There’s No Business Like Show Business. Berlin’s songs suited the story and Ethel Merman’s abilities, and he readily composed the rest of the score to Annie Get Your Gun
The show’s eventual hit song, There’s No Business Like Show Business, was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it.
In imitation of the structure of Oklahoma! a secondary romance between two of the members of the Wild West Show was added to the musical during its development. This romance, including their songs I’ll Share it All With You and Who Do You Love, I Hope?, was eliminated for the 1966 revival. 

For the 1999 revival, Peter Stone revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs Colonel Buffalo Bill and I’m An Indian Too. Stone said, ”The big challenge is taking a book that was wonderfully crafted for its time and make it wonderfully crafted for our time… It was terribly insensitive…to Indians…. But it had to be dealt with in a way that was heartfelt and not obvious… In this case, it was with the permission of the heirs. They’re terribly pleased with it.” 
Stone also altered the structure of the musical, beginning it with There’s No Business Like Show Business and presenting the musical as a ”show within a show”.

An Old-Fashioned Wedding skrevs till revivaln 1966 och är en typsik Berlin sång i kontrapunkt.

I Sverige har bl a Ulla Sallert, Lill-Babs och Pernilla Wahlgren spelat Annie.

Judy Garland skulle ha spelat Annie i filmversionen från början men hon kom inte överens med varken regissören George Sidney eller koreografen Busby Berkeley och markerade sin ovilja genom att komma för sent varje dag  och sen jobba halvhjärtat och oengagerat när hon väl var på plats. Det ledde till att hon fick sparken från produktionen och ersattes med Betty Hutton.

Originalversionen i London spelades 150 föreställningar längre än originalet på Broadway. Showen gjorde Dolores Grey till stor stjärna där.

Annie Get Your Gun var den andra musikalen att passera 1000 föreställningar gränsen på Broadway. Den första var Oklahoma (1943).


För originaluppsättningen på Broadway.

Annie is a good, standard, lavish, big musical and I’m sure it will be a huge success – but it isn’t the greatest show in the world.
– John Chapman, Daily News

Ethel Merman shot a bull’s eye last night withe Annie Get Your Gun. For verve and buoyancy, unslackening, there has seldom if ever been a show like it. It would not be a bad idea to declare an annual Merman Day of all May 16ths in the future.
– William Hawkins, World-Telegram

The show is cheerful, but very far from overpowering. It’s a big Broadway show, in all ways professional, in many ways routine.

It knows its formula, and sticks to it like a well-raised baby. If the show hasn’t a trace of style, at least it hasn’t a trace of artiness. It has size, a primary-colors picturesqueness, the kind of organized activity which can pass for pep.

Irving Berlin’s score is musically not exciting – of the real songs, only one or two are tuneful. But Mr. Berlin has contrived a nukber of pleasant ditties and has laced them with lyrics that, if seldom witty, are almost always brisk.
– Louis Kronenberger, PM

Irving Berlin’s score is not a notable one, but his tunes are singable and pleasant and his lyrics are particulary good. The book? It’s on the flimsy side, definitely. And rather witless, too. But in the case of Annie Get Your Gun a listless story won’t matter a great deal. Somehow in shows as big as this, such a fault is sometimes blithely overlooked.
– Ward Morehouse, Sun

It has a pleasant score by Irving Berlin and it has Ethel Merman to roll her eyes and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn’t get anywhere in particular. Annie, in short, is an agreeable evening on the town, and it takes little gift for prophecy to add that it, and she, will chant their saga of sharp-shooting for many months to come. If there are abrupt pauses with some frequency – well, Miss Merman must change costumes.
– Lewis Nichols, Times

Irving Berlin has outdone himself this time. No use trying to pick a hit tune, for all the tunes are hits.

Ethel Merman is at her lusty, free and easy best. … And when she opens her mouth to sing, she sings! Nice, loud, clear tones with not a word of the lyrics kept a secret for her and those on stage to share.
– Vernon Rice, Post

Betty Hutton, You Can’t Get a Man With a Gun från filmen
Betty Hutton och Howard Keel, Anything You Can Do
Judy Garland i I’m an Indian Too
Judy Garland i Doin’ What Comes Natur’lly
Bernadette Peters från 1999 års Tony Awards
Reba McEntire Annie Get Your Gun Medley
There’s No Business Like Show Business

Dag 364: Dames At Sea

27 Dec

Dames at Sea (1966)
, Off-Off-Broadway 148 föreställningar
Off-Broadway 1968, 575 föreställningar
Jag har lyssnat på Off-Broadway cast inspelningen från 1969
Musik: Jim Wise
Sångtexter & libretto: George Haimsohn & Robin Miller

– Just think Ruby, this morning you were on a bus with nothing but a pair of tap shoes in your suitecase and a prayer in your heart.  And now, you’re not only a big Broadway star, the toast of Manhattan, why you’re the sweetheart of the US Navy. How does it feel?
– Nice.

Det här är en ljuvlig, kärleksfull pastisch på typiska Warner Brothers musikalfilmer från det tidiga 30-talet. Jag tänker på filmer som 42nd Street, Footlight Parade och Dames. Ofta utspelade de sig bakom scenen på en Broadwayteater, hade hysteriska shownummer koreograferade av Busby Berkeley och Ruby Keeler i huvudrollen som den unga okända flickan som i ett slag både räddar showen och blir en stjärna.
Så naturligtvis heter huvudrollen här Ruby. Hon är en lantlolla från Småstad, USA som anländer till New York för hon drömmer om att bli en dansare på Broadway.
Självklart så charmar hon den sura regissören på en teater som ska ha premiär på sin nya show samma kväll. Hon får jobb i baletten.
En ung sjöman/aspirerande kompositör ser henne och blir omedelbart förälskad. Men på teatern finns ”divan”, stjärnan i showen som ser potential i den unga sjömannen och gör sitt bästa för att förföra honom. Ruby känner sig sviken och vill aldrig mer se honom.
På grund av diverse olyckliga omständigheter så börjar man riva teatern och kvällens premiär är hotad. Sjömannen hittar en lösning på dilemmat: de kan ha premiär på showen på hans båts akterdäck.
Av en slump visar det sig att kaptenen på skutan är divans ungdomsförälskelse.
Man börjar repetera men divan visar sig ha anlag för att bli sjösjuk och klarar inte av att uppträda på en båt. Vad göra?
Jo, självklart frågar man Ruby om hon tror att hon kan lära sig divans roll, sånger och alla dansrutiner på en timme.
Hon lovar att försöka.
Men när det är dags att gå ut på scenen så får hon kalla fötter och tror inte längre att hon ska klara det.
Divan går då fram till henne, peppar henne och säger: Gå ut och var så bra att jag börjar hata dig.
Hon tar detta råd, ger sig ut på scenen och blir en sensation. En stjärna är född.
Divan är inte bitter, för hon har fått ihop det med kaptenen och Ruby förlåter sin sjöman och showen slutar lyckligt med att alla gifter sig.

Det här låter verkligen som en äkta 30-tals musikal. Det känns inte så mycket som en ny musikal man lyssnar på utan mer som en gammal man redan hört ett antal gånger och älskar. Och jag menar det som en komplimang. För just det där att man känner igen soundet och stilen på sångerna gör att, åtminstone jag, omedelbart connect-ar med materialet.
Här kan man höra influenser av George Gershwin, en nypa Cole Porter men mest hör man Harry Warren och Al Dubin. Och det är ingen slump för det var just dessa två sistnämnda herrar som stod bakom de flesta av låtarna i dessa klassiska back-stagemusikaler från Warners.
Det kryllar av ”inside jokes” och ju mer man kan om den här typen av filmmusikal desto roligare har man när man lyssnar på plattan. Men man behöver inte kunna nått för att njuta av musiken och sångerna för de står stadigt på egna mycket charmiga ben.
Otroligt kul liten show och en fullkomlig njutning att lyssna på. Så gå omedelbart till Spotify och leta upp den, låt den jaga bort vintermörkret och känn hur den släpper in och låter solen stråla och lätta upp ditt vintersinne!

It’s You, Wall Street, Raining In My Heart, Good Times Are Here To Stay, Choo-Choo Honeymoon

Föreställningen vann 3 Drama Desk Awards: Bäste rollprestation (Bernadette Peters), regi och sångtexter.
Den vann också en Outer Critics Circle Award för bästa Off-Broadway musikal.

Showen innebar det stora genombrottet för en blott 18-årig Bernadette Peters.

Man gjorde en tv-version av showen 1971. Det var en kraftigt förkortad version på bara 50 minuter. Ann-Margret spelade Ruby och Ann Miller divan. Trots att så mycket av manuset och många av sångerna är strukna så är det här ändå en charmig om så väldigt kort version av musikalen och den håller än i dag.

Dames At Sea is a real winner, a little gem of a musical. The show is wonderfully helped by its cast. The star I suppose is Bernadette Peters as the wholly sweetly silly small-town chorine who taps her way from the bus station to stardom in 24 hours.
– Clive Barnes, The New York Times

Ideally, a parody should be: 1) funny about its subject matter, 2) funny in its own right, and 3) funny but not unfriendly. Dames At Sea manages to be all three – with bonus of three thoroughly engaging stars and some of the most ingenious staging currently on or off Broadway.
– Time Magazine

Om 2004 års revival:
Director David Fuller has filled this production with such subtle touches, which make the show seem intriguingly contemporary, and far from the saccharine and serious treatments this chestnut usually receives, he’s restored the true Off-Broadway spirit that used the establishment’s own forms to tweak its foibles. First staged during the Vietnam War era, the musical seems more relevant than ever as it takes precise aim at the sunny outlook that comes from near-psychotic denial of reality.
– Gay City News

Wall Street med Ann Miller
Sailor Of My Dreams
Raining In My Heart med Bernadette Peters
Star Tar
It’s You

Dag 313: No, No, Nanette

27 Okt

No, No, Nanette (1925)
, hade premiär både på West End (665 föreställningar) och på Broadway (321 föreställningar) samma år.
Har lyssnat på inspelningen av Broadwayrevivaln från 1971 (861 föreställningar)
Musik: Vincent Youmans
Sångtexter: Irving Ceasar & Otto Harbach
Libretto: Otto Harback & Frank Mandel baserad på Frank Mandels pjäs My Lady Friends från 1919.
Revivalns libretto bearbetade av Burt Shevelove

En gift förmögen bibelförsäljare, hans likaledes gifta advokat och försäljarens unga skyddsling Nanette, lyckas bli inblandade i olika trassliga romatiska situationer i 1920-talets Atlantic City.
Intrigen kryllar av missförstånd, miljonärer, missförstådda äkta hälftar, unga oskyldiga förälskade flickor, vackra fala kvinnor, svek, humor och hysteriska mängder steppdans.
Som vanligt i den här tidens musikaler så är själva ramverket inte så viktigt och intrigen är både så tom och så komplicerad på samma gång att jag faktiskt inte bryr mig om att ens försöka återge den.

Men en kul liten show är det. Musikaliskt i alla fall.
Jag älskar ju 20- och 30-tals jazz och här får jag en redig dos. Hits som Tea For Two och I Want To Be Happy är grädden på moset i en samling med sånger som är helt ljuvliga.
Jag bara älskar det här.
Och på denna cd så har man lagt till både dansmusik, ett par sånger som man var tvungen att stryka från lp-versionen p g a platsbrist samt intervjuer med flera av de medverkande.
En cd som gör mig glad. Det är svårt att sitta still och bara lyssna på den, för energin och den sprudlande glädje som strömmar ut genom högtalarna får mig att leka steppdansare i mitt eget vardagsrum.
Rekommenderas å det kraftigaste.

När originaluppsättningen åkte ut på sin try-out turné så blev showen så framgångsrik och populär att turnén kom att pågå i över ett år och resulterade i att flera av sångerna redan hade blivit hits och nästan kändes uttjatade innan den ens haft sin Broadwaypremiär.
Detta medförde att showen även hann få premiär i London innan den öppnade i New York.

Revivaln fylldes med gamla showbiz namn.
Gamle filmregissören Busby Berkeley stod som ”production supervised by” på affischen. Från början var det tänkt att han skulle regisserat showen men han var så gammal att han mest satt och sov under repetitionerna så han ersattes av Burt Shevelove som också reviderade och fräschade till manuset.
I en av huvudrollerna hittade man gamla 30-tals filmstjärnan Ruby Keeler.

Revivaln vann 4 Tony Awards: bästa kvinnliga huvudroll, kvinnliga biroll, kostymer och koreografi.
Den vann också 4 Drama Desk Awards: bästa kvinnliga huvudroll, libretto, kostym och koreografi.
Den vann också en Theatre World Award

För originaluppsättningen 1925:
We had a preconceived notion that No, No, Nanette! was a pretty dull show, probably because it had been running so long before it came to New York. … No, No, Nanette! is really very amusing.
Robert C. Benchley, Life Magazine

För revivaln:
For everyone who wishes the world were 50 years younger – and in particularly, I suspect, for those who remember it when it was 50 years younger – the revival of the 1925 musical No, No, Nanette should provide a delightful, carefree evening. … This is far closer to a musical of the twenties than anything New York has seen since the twenties, but it is seen through a contemporary sensibility.
– Clive Barnes, The New York Times

No, No, Nanette was the first show this season to come into town with ”hit” written all over it, but whoever did the writing must have gone so long without a super-musical that he forgot what the real thing was like.

Somewhere along the way, Burt Shevelove decided to make this show ”nice” and instead of the potentiall brilliant he settled for the vacantly agreeable. As such, it is sometimes amusing, sometimes not so amusing, very easy to look at and with a couple of genuinely thrilling production numbers.
– Martin Gottfried, Women’s Wear Daily

Teh roars that went up during the opening-night curtain calls … were part nostalgia, part astonishment, part pain, part delight. Pain? Yes, a kind of mourning, not for our lost innocence but for our lost pleasure. By insisting on the innocence, and not taking too superior an attitude toward it, No, No, Nanette har restored the pleasure. For wich, many thanks.
– Walter Kerr, Times

The show is a copious delight, but it has a sizable temperamental flaw. No strict decision was made as to whether it should be played straight or campy.
– T. E. Kalem, Time Magazine

At the 1972 Tony Awards
High lights från Encores! konsertversion
I Want To Be Happy
Tea For Two
Exempel på Busby Berkeleys berömda filmkoreografistil på 30-talet
Ruby Keeler sjunger titelsången till filmen 42nd St från 1932

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