Theatre: Hairspray at the Neil Simon Theatre (August 2005)

Hairspray is an American musical with music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan, based on the 1988 John Waters film Hairspray. The songs include 1960s-style dance music and "downtown" rhythm and blues. In 1962 Baltimore, Maryland, plump teenager Tracy Turnblad's dream is to dance on The Corny Collins Show, a local TV dance program based on the real-life Buddy Deane Show. When Tracy wins a role on the show, she becomes a celebrity overnight, and meets a colorful array of characters. She then launches a campaign to integrate the show.

The musical's original Broadway production opened on August 15, 2002.
In 2003, it won eight Tony Awards, including one for Best Musical, out of thirteen nominations. It ran for over 2,500 performances and closed on January 4, 2009. Hairspray has also had national tours, a London West End production, and numerous foreign productions and was adapted as a 2007 musical film. The London production was nominated for a record-setting eleven Laurence Olivier Awards, winning for Best New Musical and in three other categories.

Hairspray opened on Broadway at the Neil Simon Theatre on August 15, 2002. It received Tony Award nominations in 12 categories, winning eight, including for best musical, book, score and direction. Winokur, Fierstein and Latessa received awards for their performances. The production ran for more than six years, closing on January 4, 2009 after 2,642 performances. Thorell returned to the cast for the final ten months. Fierstein and Winokur returned to the cast for the final performances.

Act I

As “pleasantly plump” teenager Tracy Turnblad lies in bed, she muses about her love for her hometown, her love of dancing, and her desire to be famous (“Good Morning Baltimore”). She goes to school and is given a warning for "inappropriate hair height". After school, Tracy rushes home with her best friend, Penny, to catch the local teenage dance show, The Corny Collins Show (“The Nicest Kids in Town”). Edna, Tracy’s shy and plus-sized mother, is ironing and complains about the noise of the music coming from the television, while Penny’s mother, Prudy, complains about it being race music. After an announcement that auditions for a place on the show will be held due to the fact that Brenda (one of the Corny Collins Council Members) has taken a leave of absence from the show due to being pregnant, Tracy begs her mother for permission to audition. Edna, fearing that Tracy will be laughed at due to her weight, refuses. Penny and Amber (the main dancer on The Corny Collins Show) have similar arguments with their mothers ("Mama, I’m a Big Girl Now").

After gaining permission and support from her father, Wilbur, Tracy auditions for the show and bumps into teenage heartthrob, Link Larkin, which leads into a dream sequence ("I Can Hear the Bells"). Velma Von Tussle, the racist producer of The Corny Collins Show, rejects Tracy from the audition because of her size ("(The Legend of) Miss Baltimore Crabs"), as well as refusing a black girl, Little Inez. Back at school, Tracy is sent to detention for her "monumental hair-don't". There she meets black dancer Seaweed J. Stubbs (the son of the hostess of "Negro Day" on The Corny Collins Show, Motormouth Maybelle), who teaches her several dance moves. She uses the new dance steps at the Sophomore Hop the following day to introduce herself to Corny Collins ("The Madison"). When Corny sees how well Tracy can dance, he gives her a place on the show ("The Nicest Kids in Town" (Reprise)). During the broadcast, Link, following Corny’s suggestion, sings "It Takes Two" to Tracy, much to Amber’s dismay. After the show, Mr. Spritzer, the show’s worrisome sponsor, appeals to Velma over Tracy’s appointment to the Council. Velma, threatening to fire Corny from the show, is eventually left distraught and determines to ruin Tracy ("Velma’s Revenge").

At the Turnblad house, Edna is receiving calls from fans who saw Tracy on the show. A call comes in from Mr. Pinky, the owner of a plus-size dress shop, for an endorsement. Tracy pleads with her mother to come with her and to act as her agent although Edna has not left their apartment in years. Finally making it outside, Edna is given a huge makeover ("Welcome to the 60's") and Tracy becomes the spokes-girl for the shop. At school, signs of Tracy’s fame are evident in the schoolyard, with graffiti on the walls and Shelly, another Council Member sporting Tracy’s signature hairdo. During a game of dodge ball, a jealous Amber knocks Tracy out, and Link rushes to her side. Penny and Seaweed, who have developed a liking for each other, rush to fetch the school nurse, only to find her out sick. Seaweed, suggesting that some fun would make Tracy feel better, invites all of them to his mother’s record shop for a platter party ("Run and Tell That"). At the shop, Tracy rallies everyone to march against the station on the following day’s Mother-Daughter Day, as blacks are not allowed on the show except for the monthly Negro Day. Before they start, Motormouth Maybelle convinces the initially reluctant Edna and Wilbur to march as well. Link declined to participate for the sake of his contract with the show. During the protest, led by Motormouth, Velma calls the police and fights break out. When the police arrive on the scene, almost everyone is arrested ("Big, Blonde and Beautiful").

Act II

After the march, most of the women are locked up in a women's penitentiary ("The Big Dollhouse"). Because of Velma’s dirty tactics, the governor pardons and releases both her and Amber. Wilbur bails out the remaining people, excluding Tracy who is forced to remain in jail through another one of Velma’s manipulations. Tracy is alone and wishes that Link could be with her ("Good Morning Baltimore" (Reprise)). Back at the Har-De-Har Hut (Wilbur's joke shop), Wilbur and Edna are left destitute because of the money it cost them to bail everyone out and with Tracy still in prison. Edna sympathizes with her daughter’s dream – she had dreamt of making her “own line of queen-sized dress patterns”. Edna and Wilbur reminisce about their past and how they can never be parted from each other (“(You’re) Timeless to Me”). During the night, Link sneaks into the jail where he finds Tracy in solitary confinement. As Link and Tracy reunite, Penny’s mother, Prudy, punishes Penny for “going to jail without her permission” and ties her up in her bedroom where Seaweed comes to her rescue. Both couples declare their love for one another ("Without Love"). After escaping from their respective prisons, the couples seek refuge at Motormouth Maybelle’s Record Shop. Tracy thinks that it is unfair that after all of their hard work, The Corny Collins Show is still segregated. They devise a plan to help integrate the show, and Motormouth remembers their long fight for equality ("I Know Where I've Been").

On the day of the Miss Teenage Hairspray competition, Corny Collins starts the show with a song ("(It’s) Hairspray"). Amber shows off her talents in a bid to get more votes from the viewers ("Cooties"). Just as the results are about to be announced, Tracy stuns Amber as she makes her entrance in a magenta dress without any petticoat underneath, taking over the stage, and is joined by Link, Penny, Seaweed, Edna, Wilbur, Little Inez, and Motormouth. Tracy is declared the winner of the competition. Amber and Velma protest the results, claiming that it is all wrong. Little Inez then tries to take the crown by force when Amber refuses to hand it over, but Tracy stops her, claiming that her heart is set on something more important, which is Link and her future. She then proclaims the Corny Collins show is "now and forevermore" racially integrated, to much applause. When all is announced, Mr. Spritzer runs onstage thrilled with the public’s response to the telecast and announces that the governor has pardoned Tracy and gave her a full college scholarship and he offers Link a recording contract and Velma the position of vice president of Ultra Glow – beauty products for women of color, much to the latter's chagrin. Prudy arrives at the station and, seeing how happy Penny is with Seaweed, accepts her daughter for who she is. At the height of the moment, the company invites Amber and Velma to join the celebration. With the station in joyous celebration, Tracy and Link cement their love with a kiss ("You Can't Stop the Beat").

Read the review by Playbill here

Theatre: Sweet Charity at the Al Hirschfeld Theatre (April 2005)

Sweet Charity is a musical directed and choreographed for Broadway by Bob Fosse starring his wife and muse Gwen Verdon. It is based on Federico Fellini's screenplay for Nights of Cabiria. However, where Fellini's black-and-white Italian film concerns the romantic ups-and-downs of an ever-hopeful sex worker, in the musical the central character is a dancer-for-hire at a Times Square dance hall. The musical premiered on Broadway in 1966, where it was nominated for 9 Tony Awards, and also ran in the West End as well as having revivals and international productions.

Christina Applegate starred in another revival of the show, opening on Broadway at the Al Hirschfeld Theatre on May 4, 2005, after a troubled three-city preview tour. The show went into production beginning January 25, 2005 at the Historic Orpheum Theatre in Minneapolis. Audience-attended previews began February 8, with the Opening Night performance held February 17, 2005. The Minneapolis engagement closed on February 20. Applegate broke her foot in Chicago, the second stop on the tour, and was replaced by her understudy. Then, after the final leg of the tour in Boston, the producers announced that the production would not be continuing to Broadway due to lack of interest. However, two days later, the Broadway engagement was on after Applegate convinced the producers to continue. A week into previews, Applegate rejoined the cast.The show was nominated for three Tony Awards including Best Revival of a Musical and Best Actress in a Musical for Applegate. Reportedly, pop icon Britney Spears was asked to replace Applegate when her contract expired, but declined the offer. The musical ended its Broadway run on December 31, 2005, after 279 performances.

Act I

The young woman Charity Hope Valentine is a taxi dancer at a dance hall called the Fandango Ballroom in New York City. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in Central Park. While Charlie silently preens himself, Charity speaks the pick-up lines she imagines him saying, and tells him how handsome he is ("You Should See Yourself"). Charlie then steals her handbag and pushes her into the lake (usually the orchestra pit) before running off. Passers-by discuss the apparent drowning but do nothing, until a young Spaniard finally rescues her. In the Hostess Room of the Fandango Ballroom, Charity tries to convince both herself and the other skeptical taxi dancers that Charlie tried to save her. Nickie, a fellow dancer, tells Charity that her problem is "you run your heart like a hotel — you've always got people checking in and checking out". The manager, Herman, arrives to tell them it is time for work. The hostess dancers proposition the audience in the front room of the Fandango Ballroom ("Big Spender"). Helene and Nickie try to comfort Charity about Charlie's absence ("Charity's Soliloquy").
On the street, after work, Charity gives to every beggar who approaches her until she realizes she has no money. Just then, film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula. Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead. Inside the Pompeii Club, the dancers are dancing the latest craze, The Rich Man's Frug. To everyone's astonishment, the famous Vittorio is accompanied by the unknown Charity. She tries to steer him away from the subject of Ursula. Finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be "laid down". Vittorio asks "where?", and Charity recovers enough to prompt Vittorio with "your apartment!".

Lying down on Vittorio's bed, Charity claims she is no longer hungry. She admits she is a dance hall hostess, putting it down to "the fickle finger of fate" (a favorite expression of hers). Vittorio is struck by her humor and honesty. Starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity remarks on her good fortune ("If My Friends Could See Me Now"). Ursula arrives to apologize for her jealousy; Charity is swiftly bundled into a closet before Vittorio opens the door to Ursula. ("Too Many Tomorrows") While Charity watches from the closet, Vittorio and Ursula make love inside his four-poster bed. The following morning, Charity is escorted from the room by a mortified Vittorio. In the Hostess Room, the girls are disappointed that Charity failed to get more out of Vittorio. Nickie announces she is not going to remain at this job for the rest of her life, prompting the girls to speculate on alternative careers ("There's Gotta Be Something Better Than This"), but Herman brings them back down to earth. Charity decides to seek some cultural enlightenment from the YMHA on 92nd Street, where she gets stuck in a broken elevator with shy tax accountant Oscar Lindquist. While trying to calm him down, Charity learns that he is not married. She declares, "Oh Oscar... You're gonna be all right." After helping Oscar overcome his claustrophobia ("I'm the Bravest Individual"), the pair are plunged into new panic when the lights stop working.

Act II

After being trapped in a broken elevator, Oscar and Charity are finally rescued when it starts working again. Oscar invites Charity to go to church with him, to which she hesitantly agrees. As they walk under the Manhattan Bridge to the church, the faint cries of the next person to be stuck in the elevator are heard. The Rhythm of Life Church turns out to be a thin veneer on hippie culture ("The Rhythm of Life"). A police raid breaks up the meeting. Traveling home on the subway, Oscar proposes another date and tries to guess Charity's job, deciding that she works in a bank. Charity lies, saying she works for First National City, Williamsburg Branch. As they part, Oscar kisses her hand, and dubs her Sweet Charity ("Sweet Charity").

After two weeks, Oscar and Charity have continued dating, and she still has not confessed what she actually does for a living. At Coney Island Amusement Park they become trapped again when the Parachute Jump ride breaks. This time, Oscar is the calm one while Charity is scared — scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him what her real job is. As the crowd look on, the couple kiss. On a slow night at the Fandango, Charity loses the opportunity to snare one of the few customers by a new co-worker, Rosie. Disgusted by the whole business, she quits. However, in Times Square, she wonders what the alternative is ("Where Am I Going?"). Sending a telegram to Oscar, she asks to meet him at Barney's Chile Hacienda. She admits that she is a dance hall hostess; he admits he already knows, having followed her one night and watched her dancing. He says he does not care and wants to marry her. Relieved and elated, Charity leaves ("I'm A Brass Band") and packs a suitcase on which is printed 'Almost Married'.
After a farewell party at the Ballroom ("I Love to Cry at Weddings"), Charity and Oscar walk in the park, whereupon Oscar announces that he cannot go through with the wedding, saying he is unable to stop thinking about the "other men". Eventually, he pushes her into the lake and runs off. Emerging from the lake, Charity, speaking directly to the audience, asks "Did you ever have one of those days?". Realizing that unlike Charlie, Oscar has not stolen her bag, she shrugs and reprises her opening dance.

The stage blacks out onto three neon signs, reading "And so she lived … hopefully … ever after".

Link to the review by the New York Times here

Theatre: Aida at the Palace Theatre (January 2004)

Aida (also known as Elton John and Tim Rice's Aida) is a musical based on the opera of the same name by Giuseppe Verdi. It has music by Elton John, lyrics by Tim Rice, and was originally produced by Walt Disney Theatrical.

Aida premiered on Broadway on March 23, 2000, running for 1,852 performances until September 5, 2004. It was nominated for five Tony Awards and won four including Best Original Score and Best Performance by a Leading Actress, and was also named by Time Magazine as one of the top ten theatre productions of the year.

The Original Broadway Cast Recording won the Grammy Award for Best Musical Show Album. A song from the show, "Written in the Stars", recorded by Elton John and LeAnn Rimes, reached No.2 in the Billboard US adult contemporary music charts, and No.1 in the Canadian contemporary charts.

The show is based on Giuseppe Verdi's Italian-language opera of the same name. The musical originated from a children's storybook version of Verdi's opera.  In 1994 the book rights were acquired by the Walt Disney Company for a proposed animated feature film. However, Elton John chose not to pursue another animated project after The Lion King so Disney executives suggested a Broadway adaptation instead. Despite his opinion that "opera people can be very elitist"^, John, along with Tim Rice, immediately signed on.

Act1

In the Egyptian wing of a modern museum, a man and a woman touring the exhibit catch each other's eyes. A statue of Amneris, a female Pharaoh, comes to life ("Every Story Is a Love Story") and transports them to Ancient Egypt, where Radames, captain of the Egyptian army, and his men are returning from an expedition through the land of Egypt's long-time enemy, Nubia ("Fortune Favors the Brave"). When his soldiers capture a group of Nubian women, he is captivated by one of the women, Aida, who tries to free herself by out-dueling one of his soldiers. Radames forces her to wash his back, but she refuses, saying that although the Egyptians took everything from the Nubians, they will never take their spirit ("The Past Is Another Land"). Radames saves Aida's companions from the copper mines (and certain death) by sending them to the palace groundskeeper instead. He also ensures Aida serves as a handmaiden to his betrothed, Princess Amneris. Radames' father, Chief Minister Zoser, greets his son with news that the Pharaoh is dying, and Radames must prepare to become the next ruler of Egypt ("Another Pyramid"). Unbeknownst to Radames, his father is poisoning the Pharaoh in order to accelerate Radames' ascension to the throne.

Radames' Nubian servant, Mereb, is a young man who has learned the tricks of survival in Egypt. While delivering Aida to the princess, Mereb recognizes her as the daughter of the Nubian king under whom he had served during his days in Nubia. She commands him to keep her identity a secret, lest the Egyptians kill her ("How I Know You"). Presented to Amneris, Aida is liked immediately, and she perceives that the Princess' love of fashion only serves as a mask of her insecurities ("My Strongest Suit"). At a banquet, Amneris and Radames learn from the Pharaoh that they are to marry in seven days, leaving the captain distraught that his days as an explorer have ended ("Fortune Favors the Brave (Reprise)"*). Together, he and Aida share their dreams and regrets ("Enchantment Passing Through").

Later that night, Amneris worries about her father's illness, and finds in Aida someone who understands and encourages her ("My Strongest Suit (Reprise)"). Bursting into his fiancée's chamber, Radames steals a moment with Aida to share his growing attraction to her. Aida is taken by Mereb to the Nubian camp, where she reluctantly submits to her people's pleas to lead them ("Dance of the Robe"). When she implores Radames to help the Nubians, he opens his heart by giving his possessions to them ("Not Me") and declaring his love for Aida ("Elaborate Lives"). Unable to fight her feelings any longer, she falls into his embrace. Their bliss is interrupted by news that Radames' armies have captured Amonasro, king of Nubia and also Aida's father. Unable to comfort her, Radames leaves Aida in distress. Rallying her people, Aida assures them that Nubia will never die ("The Gods Love Nubia").

Act 2

Amneris, Radames, and Aida are entangled in conflicted loyalties and emotions ("A Step Too Far"): Amneris is afraid that Radames's affection for her is waning, Radames worries his love for Aida could end his life as he knows it, and Aida fears she might be a traitor to her people as she loves Radames. Aida and Mereb bribe their way into Amonasro's prison cell, where she is reunited with her father. Mereb hatches a plan to escape with the king during the commotion of Amneris' wedding. To save her father and her nation, Aida must betray the man she loves ("Easy as Life"). Meanwhile, Zoser discovers Radames' affair and warns his son that it could cost him the throne, but Radames no longer shares his father's ambitions ("Like Father, Like Son"). After an emotional bout with his son, Zoser orders his men to find Aida and kill her.

At the Nubian camp, Aida receives a written apology from Radames for the thoughtless way he acted upon hearing of Amonasro's capture ("Radames' Letter") and for his lack of showing affection. When Egyptian soldiers arrive seeking Aida, another Nubian, Nehebka, sacrifices herself so that the princess can live. Now even more determined to leave Radames forever, Aida goes to say good-bye to him over Mereb's objections ("How I Know You (Reprise)"). Radames informs Aida that he is calling off the wedding. Aida knows that this would ruin her father's escape and tells him he must go through with it ("Written in the Stars"). Radames agrees, on condition that she escapes to freedom on a boat he will provide. The heartbroken lovers part, but Amneris has overheard their entire conversation and tries to face the fact that her upcoming marriage is a sham ("I Know the Truth").
News of Amonasro's escape disrupts Amneris' wedding. Radames learns the truth of Aida's identity when he arrives at the docks just as she is about to board his boat with her father. Although he is angry that Aida hid this from him, she says she never lied about loving him. In the ensuing chaos, Mereb is mortally wounded by Zoser, and Radames makes possible Amonasro's escape by cutting the rope tied to the dock, but Aida stays with Radames and a dying Mereb. Zoser flees, and Mereb dies in the arms of his kind master and beloved princess. Radames and Aida are then arrested for treason. At the ensuing trial, Pharaoh announces Zoser's apprehension and sentences both Aida and Radames to be buried alive. Amneris reprises her role as a future Pharaoh by convincing her father to let the lovers die in the same tomb, an act of mercy for two people she has come to love. Facing death, Aida looks to Radames for strength ("Elaborate Lives (Reprise)"). As they are slowly deprived of light and air ("Enchantment Passing Through (Reprise)"), Radames swears he will search through a hundred lifetimes to find her again if he has to.

Back in the contemporary museum, the spirit of Amneris reveals that as she became Pharaoh, "the lovers' deaths gave birth to a reign of peace" between Egypt and Nubia. She watches as the modern man and woman are strangely drawn to each other. They are the reincarnations of Aida and Radames, finding each other in a new beginning ("Every Story is a Love Story (Reprise)").

The musical, now titled Elton John and Tim Rice's Aida, premiered on Broadway at the Palace Theatre on March 23, 2000 and closed on September 5, 2004 after 30 previews and 1,852 performances. The run ranks it as 36th in the longest runs in Broadway history. Directed by Robert Falls, choreographed by Wayne Cilento, scenery and costumes were designed by Bob Crowley, lighting design by Natasha Katz, and sound design by Steve C. Kennedy. Considered by its producers to be a financial success, Aida on Broadway recovered its investment in 99 weeks, and generated a profit of $12 million.

Heather Headley originated the title role of Aida. Headley won both the Tony Award and the Drama Desk Award for Best Actress in a Musical in 2000 for her performance in this role. Headley also received broad critical acclaim for her performance. Adam Pascal played the role of Radames in both the OBC and closing productions of Aida on Broadway. Sherie René Scott, who was with the project since its first workshop, originated the role of Amneris, and was named the Most Promising Actress in 2000 for her performance (Clarence Derwent Award). The cast also included Tyrees Allen (Amonasro), John Hickok (Zoser), Daniel Oreskes (Pharaoh), Damian Perkins (Mereb), and Schele Williams (Nehebka).

Pop stars, including Deborah Cox, Toni Braxton, and Michelle Williams played the title role of Aida during its run on Broadway, as well as Maya Days, Saycon Sengbloh, Simone, and Merle Dandridge. Notable replacements for Radames included Will Chase, Patrick Cassidy, Richard H. Blake, William Robert Gaynor, and Matt Bogart. Notable replacements for Amneris included Idina Menzel, Jessica Hendy, Mandy Gonzalez, Felicia Finley, Taylor Dayne, and Lisa Brescia. Notable replacements for Zoser were Micky Dolenz and Donnie Kehr.Notable Replacements for Mereb were J Marshall Evans and Julian Bass.

Theatre: 42nd Street at the Ford Center for the Performing Arts/Hilton Theatre (November 2003)

42nd Street won the Tony Award for Best Musical and became a long-running hit. The show was produced in London in 1984 (winning the Olivier Award for Best Musical), and its 2001 Broadway revival won the Tony for Best Revival. Based on the novel by Bradford Ropes and the subsequent 1933 Hollywood film adaptation, the show focuses on the efforts of famed dictatorial Great White Way director Julian Marsh to mount a successful stage production of a musical extravaganza at the height of the Great Depression.

The show is a jukebox musical because in addition to songs from the 1933 film 42nd Street, it includes songs from many other films of that time. It also includes "There's a Sunny Side to Every Situation", from the movie Hard to Get and the song "Boulevard of Broken Dreams" from Moulin Rouge. The opening act includes forty pairs of tap-dancing feet, followed by a series of tap-infused extravaganzas.

Act I

Auditions for 1933's newest show, Pretty Lady, are nearly over when Peggy Sawyer, fresh off the bus from Allentown, Pennsylvania, arrives in New York City with valise in hand. Billy Lawlor, already cast as one of the juvenile leads, notices her and hopes to charm her into accepting a date with him. He informs her she has missed the audition but he can help her bypass that process, but choreographer Andy Lee has no time for Billy's latest conquest and tells her, "Amscray, toots." Embarrassed and flustered, she rushes off, only to run into director Julian Marsh.

One-time star Dorothy Brock, indignant at being asked to audition for a role, is reassured by Bert that he merely wants to make sure the songs are in her key. Despite his feeling she is a prima donna past her prime, he agrees to cast her in order to get financial backing from her wealthy beau, Abner Dillon. Outside the theatre, writer Maggie and chorus girls Anytime Annie, Phyllis, and Lorraine take pity on Peggy and invite her to join them for lunch and some advice. They encourage her to show them a dance routine that is witnessed by Julian, who decides there might be room for one more chorus girl after all.

Julian learns that Dorothy is seeing her old boyfriend, Pat Denning, behind Abner's back. Knowing this could destroy the show's future, he decides to put an end to the affair. A phone call to an unsavory acquaintance brings Pat a visit from a couple of thugs who convince him to break it off with her. The show's cast then departs to Arch Street Theatre in Philadelphia, for the out-of-town tryout.

On opening night, someone bumps Peggy, who trips and crashes into Dorothy, knocking her to the stage. Julian fires Peggy on the spot.

Act II

Dorothy's ankle is broken, and the show may close. The chorus kids, certain Peggy could fill the lead role, find Julian and tell him that she's a fresh young face who can sing and dance circles around Dorothy. He decides it is worth a shot and rushes off to the train station to catch her before she departs.

At Philadelphia's Broad Street Station, Julian apologizes to Peggy and asks her to stay and star in the show, but she responds that she has had enough of show business and wants to go home to Allentown. Dumbfounded, he tries to coax her with the words "Come on along and listen to the lullaby of Broadway..." After the cast joins him in the serenade, she decides to accept his offer.

Forced to learn the part in two days, Peggy is on the verge of a nervous breakdown when she has an unexpected visit from Dorothy, who has been watching the rehearsals and realizes that beneath her nervous exterior, Peggy is good, "maybe even better than I would have been." She even offers a little friendly advice on how to perform the last song, "About a Quarter to Nine."

The opening night curtain is about to rise when Julian, who is completely in love with Peggy at this point, stops by for a last minute lip-lock and pep talk in which he utters the now iconic line, "You're going out there a youngster, but you've got to come back a star!" The show is a huge success sure to catapult her into stardom. In addition, even though she is invited to and expected to attend the official opening night party, she decides to go to the chorus one instead. Julian is left alone onstage with only a single ghost light casting his huge shadow on the back wall. He quietly begins to sing, "Come and meet those dancing feet on the avenue I'm taking you to...42nd Street."