On this day…
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April 20, 1937: Judy appeared on Jack Oakie’s “Jack Oakie’s College” radio show and premiered a sizzling version of “Johnny One Note” as well as a fabulous version of Irving Berlin’s “Always.”
Judy’s performance of “Johnny One Note” was one of the first (if not the very first) performances of the song to a nationwide audience. The song had been introduced in the Rodgers & Hart Broadway show “Babes in Arms” just six days prior to this broadcast. “Babes in Arms” opened on Broadway on April 14, 1937, premiering a stellar score by Richard Rodgers and Lorenz Hart. Among the standards introduced were: “Where Or When,” “I Wish I Were In Love Again, ” “My Funny Valentine,” “The Lady Is A Tramp, ” “Babes in Arms,” and “Johnny One Note.”
In 1938, MGM producer Arthur Freed chose “Babes in Arms” as his first project as a producer and the ideal property to co-star Judy Garland and Mickey Rooney in what became the first of four “Let’s Put On A Show” musicals. The film was released in late 1939 and was a smash hit.
Judy recorded a studio version of “I Wish I Were In Love Again” for Decca Records on November 15, 1947, but aside from the 1948 MGM Records Words and Music soundtrack version in which she duetted with Mickey Rooney, she never recorded a studio version of “Johnny One Note” or any of the other songs from both the Broadway and film scores. She never recorded “Always” and as best as we can tell she never performed the song on the radio again, either.
Judy reprised “Johnny One Note” on the June 15, 1937, edition of “Jack Oakie’s College.” No recording of that show is known to exist although it’s more than likely that Judy sang the arrangement heard here.
These previously unreleased recordings were premiered on The Judy Room’s YouTube Channel in 2017 and early 2018, thanks to the generosity of collector John Newton. Thank you, John!
April 20, 1941: This article amusingly presents Judy as a “prima donna” in Ziegfeld Girl, which was opening in theaters around the country. Of course, we know that Judy’s character and performance in the film are far from the stereotype of the “prima donna.”
Judy, Whose Screen Popularity Ranks With Mickey Rooney’s, Is Making Her Debut As Prima Donna
“Ziegfeld Girl” Provides Young Starlet With First Really Grown-Up Part After A Number Of Successes In Juvenile Roles
When Judy Garland appears in “Ziegfeld Girl,” she will be making her debut as a prima donna. For while she has had singing roles in pictures before, including “Babes in Arms,” “Strike Up The Band,” and “The Wizard of Oz,” in “Ziegfeld Girl,” she will have her first really grown-up part in a musical whose cast is headed by James Stewart, Hedy Lamarr, Lana Turner, Tony Martin and herself.
One of her songs, “Minnie From Trinidad,” will be rendered in the Ethel Merman manner. She resembles the singer, in style an personality, according to Roger Dens, who wrote the song and has coached both stars. She will also sing a medley of tune with Tony Martin, and a number called, “Laugh, I Though I’d Split My Side,” with Charles Winninger.
Judy, who’s screen popularity ranks with Mickey Rooney’s, has grown up in pictures. As a little girl, she appeared professionally in a trip consisting of herself and two sisters. When the family journeyed from the midwest to California, Judy, then twelve years old, made the rounds of the studios, blithely announcing that she was an actress. Apparently convincing, she was offered a job and her first picture was a short subject called “Every Sunday.” Her talent was recognized from the start and feature pictures followed in quick succession, including “Broadway Melody of 1938,” “thoroughbreds Don’t Cry,” and “Love Finds Andy Hardy.”
Check out The Judy Room’s Extensive Spotlight Section on Ziegfeld Girl at http://www.thejudyroom.com/ziegfeldgirl.html
April 20, 1944: Decca Records session at the Decca studios in Hollywood, California. This was the first of two sessions during which Judy recorded studio versions of songs from Meet Me In St. Louis for the label’s “cast album” of songs from the film. On this day she recorded these three songs in the following order: “The Boy Next Door”; “Boys And Girls Like You And Me”; and “Have Yourself A Merry Little Christmas.”
Check out The Judy Garland Online Discography’s “Meet Me In St. Louis” (Decca version) at http://thejudyroom.com/decca/louis78.html
Check out The Judy Room’s Extensive Spotlight on Meet Me In St. Louis at http://www.thejudyroom.com/louis.html
April 20, 1945: Filming continued on The Harvey Girls. Judy and cast were on the “Exterior Picnic Grounds” set filming the ending of the “March of the Doagies” number. The entire production number spanned the “Interior Harvey House” set, then moved to MGM’s Backlot #3 (the “Western Street”) then back to a soundstage for this set, which featured the “Judy on fire” ending of the number. After all that time and expense, the entire sequence was cut from the film.
On this day Judy had a 10 a.m. call to be on the set, she arrived at 10:40 a.m.; dismissed at 6:10 p.m.
Check out The Judy Room’s Filmography Pages on The Harvey Girls at http://www.thejudyroom.com/theharveygirls.html
April 20, 1949: Judy posed for these wardrobe and makeup tests for Annie Get Your Gun on Stage 4 at MGM. Judy was due in makeup at 10 a.m. then due on the set at 11 a.m., arriving at 11:10. Lunch was from 12 – 1 p.m.; dismissed at 5:20 p.m.
Check out The Judy Room’s Filmography Pages on Annie Get Your Gun at http://www.thejudyroom.com/annie.html
April 20, 1952: Judy was anxiously awaiting her return to the Los Angeles stage after her already legendary successes at the London Palladium and The Palace in New York. Los Angeles was home for Judy and is where most of her peers were. She was understandably nervous but of course, her opening night at the Los Angeles Philharmonic Auditorium was another smashing success. This article by John L. Scott for the Los Angeles Times documented the new Judy and her new life.
Judy, Picture of Health, ‘Joyously Nervous’ While Awaiting L.A. Opening
BY JOHN L. SCOTT
“It’s the hardest work I’ve ever done, but it’s fun and I love it.” Judy Garland was referring to her International Variety Show, during which she puts on the longest vaudeville act ever seen in show business, to open tomorrow night at Philharmonic Auditorium.
The 29-year-old songstress, whose life a few years ago resolved into a series of crises, including a nervous breakdown and termination of her long tenure as a top star at MGM, now is the picture of health. She’s heavier, appears rested and relaxed, and eagerly awaits the gala opening of her show tomorrow evening.
“I’m nervous all right,” she told me as we chatted in her beautiful home off Sunset Plaza Drive in the Hollywood Hills. “I always am for an opening, but it’s not the kind of nervousness that makes you sick. It’s a kind of joyous nervousness.”
Rest When She Needs It
I asked to what did she ascribe her present fine state of health. “Rest when I need it,” Judy replied. “A person can work awfully hard if he knows he can enjoy complete rest when the job is finished. That wasn’t possible when I was in pictures – the job never ended.”
“The demands of a player under contract to one studio only are terrific. Never again for me. I will make pictures, but under my own conditions. In other words, we are forming our own organization. The first film probably will be a musical version of “A Star Is Born.”
This young woman, who has been entertaining the public ever since she sang “Jingle Bells” at the age of 2 in a theater at which her father and mother were appearing, is credited with reviving big-time stage vaudeville. Yet she smiles away the honor.
“People like to be entertained,” she said.
“I remember when we (the Gumm Sisters) played at the Los Angeles Orpheum in the 1930s,” she reminisced. “Donald O’Connor was appearing with his family down the street at another theater. We never got on the same bill though. He has a terrific talent – I would love to do a picture with him some day.”
Miss Garland brought back memories of the “two-a-day” as she reminisced about playing up and down the West Coast. “We got as far as Chicago once,” she said, “but that was enough and we headed back for Southern California in a hurry.”
Judy received an ovation when she opened at the London Palladium just a year ago. Last October she stood theater-wise New Yorkers on their ears with her one-woman show at the venerable Palace Theater, former paradise of vaudevillians.
“We rehearsed the show for about five days in Hollywood,” she told me. “Charles Walters fixed up our dances and we hoped for at least a two-week run. We played four months in New York.”
Works for Solid Hour
In International Variety Show, Judy takes over the second half following some top-notch vaudeville acts and, assisted by an agile male partner, works solidly for an hour.
She will duplicate her Palace routines here, except for the opening number which was rewritten to key it to Los Angeles. “I hope I don’t mix the New York and Los Angeles lines on opening night,” laughed Judy. “They’ll tar and feather me.”
Songs that Judy sings as no one else can include “We’re a Couple of Tramps” [sic] from the film “Easter Parade,” “The Trolley Song” from “Meet Me in St. Louis,” “The Boy Next Door,” “You Made Me Love You” and, of course, the topper, “Over the Rainbow,” which invariably brings mingled cheers and tears.
Rush on for Seats
When we informed the actress that 2500 seats were sold the first hour the box office here was open, she exclaimed, “Wonderful! Just wonderful!”
Since Judy’s return to health and her smash hits in London and New York, she has been deluged with stage and film offers. From the way she talks, however, the stage will get first call.
“One man even wants to do a musical version on Broadway of ‘Pygmalion,’” she said. “It doesn’t sound bad either. Then there’s a chance I may continue International Variety Show beyond the Los Angeles and San Francisco Engagements. I’ll wait and see how I feel. It’s pretty taxing you know – nice shows a week, and I’m on more than an hour each show. IN New York we did two a day every day in the week.”
“I have dozens of changes of costume and make-up, each must be made n 35 seconds backstage.”
Judy recalled how, on opening night in New York, she almost came a cropper.
“Following a ‘Happy Time’ number in which I am dressed to the teeth, wearing diamond earrings, etc., I do a tramp number which requires me to wear a beard, which I simulate with dark make-up.”
“During the fast change to the ‘Happy Time’ number, while maids were working over me feverishly, I forgot and applied the ‘Tramp’ beard. I was half way through the wings when I realized what I had done. You can imagine the scramble then.”
We asked whether television figured in the star’s plans.
Relaxes Before TV
“I’ll wait until more improvements are made in the medium,” she said, “particularly the lighting. But don’t think I dislike TV. It’s wonderful to watch.”
Beside stage and movies, Miss Garland has a contract to record for Victor. This she probably will do in New York, and because her activities will be divided between East and West she has purchased an apartment in New York.
When we suggested that she seemed to have her future fairly well plotted, Judy grinned and said, “Now, how can anyone plan his future accurately?”
With this slight build-up, we posed the question that has been thrown at the actress dozens of times since she divorced Director Vincente Minnelli. “What about wedding plans?”
‘Here We Go Again’
“Well,” the actress sighed, “here we go again. So many different things have been written about my becoming the wife of Sid Luft, and so many dates have been guessed at, that I’ll just say I don’t know when, at this time.” She added, however, that when the Los Angeles and San Francisco engagements have terminated, she and Mr. Luft may arrive at a date for the wedding.
“In any event I will have to find another house here,” she said. “This one isn’t for children – it’s built on different levels – and there’s school to be considered for my Liza and Sid’s little boy.”
April 19, 1968: The annual broadcast of The Wizard of Oz was on the NBC network for the first time after moving from its previous “home” at CBS. This was also the first time that the film was aired without a hosted intro. It returned to CBS in 1976.
Check out The Judy Room’s Extensive Spotlight Section on The Wizard of Oz at http://www.thejudyroom.com/oz/index.html