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• Shall We Dance Broadway Character
• Shall We Dance 1937 Movie

Contents.PlotPeter P. Peters , an American ballet dancer billed as 'Petrov', dances for a ballet company in Paris owned by the bumbling Jeffrey Baird. Peters secretly wants to blend classical ballet with modern jazz dancing, and when he sees a photo of famous Linda Keene , he falls in love with her. He contrives to meet her, but she is less than impressed. They meet again on an traveling back to New York, and Linda warms to Petrov.

Unknown to them, a plot is launched as a publicity stunt 'proving' that they are actually married. Outraged, Linda becomes engaged to the bumbling Jim Montgomery (William Brisbane), much to the chagrin of both Peters and Arthur Miller , her manager, who secretly launches more fake publicity. Peters and Keene, unable to squelch the rumor, decide to actually marry and then immediately get divorced. Linda begins to fall in love with her husband, but then discovers him with another woman, Lady Denise Tarrington , and leaves before he can explain. Later, when she comes to his new show to personally serve him divorce papers, she sees him dancing with dozens of women, all wearing masks with her face on them: Peters has decided that if he cannot dance with Linda, he will dance with images of Linda. Seeing that he truly loves her, she happily joins him onstage.

Cast. as Peter P. 'Petrov' Peters. as Linda Keene. as Jeffrey Baird.

as Cecil Flintridge. as Arthur Miller. as Lady Denise Tarrington. William Brisbane as Jim Montgomery. as herselfProductionGeorge Gershwin – who had become famous for blending with forms – wrote each scene in a different style of dance music, and he composed one scene specifically for the ballerina.

Ira Gershwin seemed decidedly less excited by the idea; none of his lyrics make reference to the notion of blending different styles of dance (such as and jazz), and Astaire was also not enthusiastic about the concept. While the film – the couple's most expensive to date – benefits from quality comedy specialists, opulent by Carroll Clark under Van Nest Polglase's supervision, and a timeless score which introduces three classic Gershwin songs, the convoluted plot and the curious absence of a romantic partnered duet for Astaire and Rogers – a hallmark of their musicals since (1934) – contributed to their least profitable picture to date.Astaire was no stranger to the Gershwins, having headlined, with his sister, two Gershwin shows:! In 1924 and in 1927.

George Gershwin also accompanied the pair on piano in a set of recordings in 1926. Rogers first came to Hollywood's attention when she appeared in the Gershwins' 1930 stage musical.The film was named at the suggestion of, who was a friend of the Gershwins. Minnelli originally suggested 'Shall We Dance?' With a question mark, which disappeared at some point. MusicThe score is probably the largest source of Gershwin orchestral works unavailable to the general public, at least since the advent of modern stereo recording techniques in the 1950s. The movie contains the only recordings of some of the instrumental pieces currently available to Gershwin aficionados (although not all the incidental music composed for the movie was used in the final cut.) Some of the cuts arranged and orchestrated by Gershwin include: 'Dance of the Waves', 'Waltz of the Red Balloons', 'Graceful and Elegant', ' and '.

The instrumental track 'Walking the Dog', however, has been frequently recorded and has been played from time to time on classical music radio stations., musical director for the movie, hired and all or part of the Dorsey band as the nucleus of a fifty-piece studio orchestra including strings. Dorsey was in Hollywood at the time working the 'Kraft Music Hall' radio show on NBC hosted by Bing Crosby. Dorsey is heard soloing on 'Slap That Bass,' 'Walking the Dog' and 'They All Laughed.' Gershwin was already suffering during the production of the motion picture from the brain tumor that was shortly to kill him, and Shilkret (as well as ) contributed by assisting with orchestration on some of the numbers. Musical numberscollaborated with Astaire on the choreography throughout and Harry Losee was brought in to help with the ballet finale. Gershwin modeled the score on the great ballets of the 19th century, but with obvious swing and jazz influences, as well as polytonalism.

While Astaire made further attempts—notably in (1944/46), (1945) and (1955)—it was his rival and friend who would eventually succeed in creating a modern original dance style based on this concept. Some critics have attributed Astaire's discomfort with ballet (he briefly studied ballet in the 1920s) to his oft-expressed disdain for 'inventing up to the arty'. 'Overture to Shall We Dance':was written by in 1937 as the introduction to his score for Shall We Dance. Performance time runs about four minutes. 'The opening number is in Gershwin's best big-city style; propulsive, nervous, bustling with modern harmonies; it might have easily been developed into a full-scale composition except that time was growing short.'

. ' written in the style of the.

Shall We Dance Broadway Character

'Rehearsal Fragments': In a brief segment which seeks to motivate the film's core dance concept, Astaire illustrates the idea of combining 'the technique of ballet with the warmth and passion of this other mood' by performing two ballet leaps, the second of which is followed by a tap barrage. 'Rumba Sequence': Astaire watches a showing a brief orchestral danced by Ginger Rogers and Pete Theodore, choreographed by Hermes Pan; it is Rogers' only partnered dance without Astaire in the ten-film series of Astaire-Rogers musicals. The increasing complexity and chromaticism in Gershwin's music can be detected between music for this sequence and Gershwin's earlier effort at a rumba, the, written five years earlier.

Scored for chamber orchestra. ': A brief comic tap solo with cane where Astaire's rehearsing to a record of the number is cut short when the record gets stuck. 'Waltz of the Red Balloons' written in the style of a valse joyeaux. ': In a mixed race number unusual for its time, Astaire encounters a group of musicians holding a jam session in a spotless, -inspired ship's engine room. Introduces the first verse of the song whose chorus is then taken up by Astaire. The virtuoso tap solo which follows is the first substantial musical number in the picture, and can be seen as a successor to the 'I'd Rather Lead A Band' solo from (1936)—which also took place aboard ship—this time introducing a vertical element to the predominantly linear choreography, some pointedly dismissive references to ballet positions, and a middle section similarly without musical accompaniment but now imaginatively supported by rhythmic engine noises.

Shall We Dance 1937 Movie

George Gershwin's color home-movie footage of Astaire rehearsing this number was discovered only in the 1990s. 'Dance of the Waves': written in the style of the. ': This was only published in 1960 as 'Promenade' to accompany two routines for Astaire and Rogers. This is the only part of the score besides to be published for performance in the concert hall, thus far. Scored for chamber orchestra.