This is an ORIGINAL 96 page PERFORMING ARTS CALIFORNIA Theater PROGRAM, measuring 8-1/2" x 5-1/3" featuring great artwork to promote the stage production of



Ernest O Flatt

This Program is from November 1983 from the Orpheum Theatre and features a cover photo of Ann Miller and Mickey Rooney. Inside it has breakdown of the play plus bios and information on the cast. Nice OLD THEATRE Program!!

MORE INFO ON SUGAR BABIES: Sugar Babies is a musical revue conceived by Ralph G. Allen and Harry Rigby, with music by Jimmy McHugh, lyrics by Dorothy Fields and Al Dubin and various others. The show is a tribute to the old burlesque era. First produced in 1979 on Broadway and running nearly three years, the revue attracted warm notices and was given subsequent touring productions.

Sugar Babies opened on Broadway at the Mark Hellinger Theatre on October 8, 1979 and closed on August 28, 1982 after 1,208 performances. Staging and choreography was by Ernest Flatt, with sketches directed by Rudy Tronto, musically directed by Glen Roven, scenic and costume design by Raoul Pene Du Bois, lighting design by Gilbert Vaughn Hemsley, Jr., vocal arrangements and lyrics by Arthur Malvin, additional vocal arrangements by Hugh Martin, Ralph Blane, and orchestrations by Dick Hyman.

The revue starred Mickey Rooney in his Broadway debut, Ann Miller, Scot Stewart, Tom Boyd, Peter Leeds, Jack Fletcher, Jimmy Mathews, Bob Williams, Sid Stone, Michael Davis and Ann Jillian After the original stars left, successors included Juliet Prowse, Anita Morris, Joey Bishop, Eddie Bracken, Jeff Dunham and Rip Taylor.

The revue subsequently had a short-lived National tour which starred Carol Channing and Robert Morse, from August 1980 through November 1980. The Bus and Truck Tour starred Eddie Bracken and Jaye P. Morgan (who was succeeded by Mimi Hines) and ran in 1982. The 2nd National Tour, in 1984 and 1985, reunited Rooney and Miller.

The show consists of "traditional material ... routines going back 50 to 60 years. It contains standard songs such as 'Don't Blame Me' and 'I Feel a Song Comin' On', interspersed with newly created musical numbers, including 'The Sugar Baby Bounce' ".
The show had burlesque "tropes" such as the swing number, the sister act, the fan dance, the vaudeville dog act. It was all fast and funny and it ended with a patriotic number ... with the entire company in red, white, and blue with a flag background and Miller as the Statue of Liberty."

Songs and scenes

Source: Script

Act 1

Scene: A Memory of Burlesque

A Good Old Burlesque Show

Scene: Welcome to the Gaity

Let Me Be Your Sugar Baby

Scene: Meet Me Round the Corner

Scene: Travelin'

In Louisiana

Goin' Back to New Orleans

Scene: The Broken Arms Hotel

Scene: Feathered Fantasy (Salute to Sally Rand)


Scene: The Pitchmen

Scene: Ellis Island Lament

Immigration Rose

Scenes from Domestic Life

Scene: Torch Song

Scene: Orientale

Scene: The Little Red Schoolhouse

Scene: The New Candy-Coated Craze

The Sugar Baby Bounce

Scene: Special Added Attraction

Down At the Gaity Burlesque

Mr. Banjo Man

Act 2

Scene: Candy Butcher

Scene: Girls and Garters

I'm Keeping Myself Available For You

Exactly Like You

Scene: Justice Will Out

Scene: In A Greek Garden

Warm and Willing

Scene: Presenting Madame Alla Gazaza

Scene: Tropical Madness

Cuban Love Song

Scene: Cautionary Tales

McHugh Medley

Every Day Another Tune

I Can't Give You Anything But Love, Baby

I'm Shooting High

When You and I Were Young, Maggie Blues

On the Sunny Side of the Street

Scene: Presenting Bob Williams

Scene: Old Glory

You Can't Blame Your Death on Uncle Sammy


Time wrote that the show is a "happy send-off to burlesque", and "Rarely has so much energy been packed into so small a package. Rooney dances, he sings, he mugs, he dresses in drag."

Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for OVER 40 years!

MORE INFO ON MICKEY ROONEY: With parents who were actors, it comes as no surprise that the young Joe Yule Jr. made his debut on the stage at the age of only 15 months. He became part of the family act. He became well known for a series of some 50 silent comedies between 1927 and 1933 in which he played Mickey McGuire, a comic-strip character. In 1933, prior to being signed by MGM, he had an uncredited but key role an in Warner Bros' "The Life Of Jimmy Dolan"(1933) and played a Circus Boy in the cult action serial "Clyde Beatty And The Lost Jungle"(1934). Once at MGM, in 1934, at Mrs. Lawlor's School for Professional Children, he first met Judy Garland, with whom he would co star in many of his 15 "Andy Hardy" films as well as many memorable musicals such as "Strike Up The Band"(1940)' and ""Girl Crazy"(1943). Giving rise to the famous quote, "Lets put on a show in the barn". He gave a memorable performance as "Puck" on loan in Warner Brothers' prestigious flop A Midsummer Night's Dream (1935). With movies like The Adventures of Huckleberry Finn (1939) and National Velvet (1944), he reached the peak of his career during WWII. He was drafted during the war and, when he returned to Hollywood, his fame and box-office draw had significantly decreased. Just like other child stars, he found it difficult to get a break as an adult actor. After Summer Holiday (1948), his career went downhill and the 1950s and 1960s for him became a string of not-so-successful movies with the exception of several notable performances including supporting roles in (The Bridges at Toko-Ri (1954), "Breakfast At Tiffany's"(1961), the Rod Serling-scripted drama Requiem for a Heavyweight (1962) and the frenetic It's a Mad Mad Mad Mad World (1963)). The downward spiral of his career coincides with the decline of his former studio, MGM, which was near-mortally wounded by the Supreme Court's 1948 anti-trust decision concerning theater ownership leading to the ultimate collapse of the studio star system, which Rooney was a part of. Out of his long MGM contract by 1949, he turned increasingly to the one-eyed monster for employment. He got his own short-lived TV show, "The Mickey Rooney Show" (1954) and toured nightclubs and theaters again in the 1960s. Rooney experienced a career renaissance of sorts in 1979 on with The Black Stallion (1979) (again in a supporting role) and on stage, with the dropped pants burlesque hit "Sugar Babies" which ran for 1208 performances on Broadway. He took the play on the road for 3 years afterward where he packed houses across the U.S. (Joey Bishop and Eddie Bracken filled him for him during his 3 contractual vacations). In 1983, following 60 years as an actor, he received the "Lifetime Achievement" Oscar". Rooney, now well into his 80's, has been surprisingly active and has found himself far more in demand that he was 30 years ago, recently seen to good advantage in the hit Night at the Museum (2006).

MORE INFO ON ANN MILLER: Born Johnnie Lucille Collier in Texas in 1923, she lived there until she was nine, when mother left her philandering father and moved with Ann to California. Even at that young age she had to support her mother, who was hearing-impaired and unable to hold a job. After taking tap-dancing lessons, she got jobs dancing in various Hollywood clubs while being home-schooled. Then, in 1937, RKO asked her to sign on as a contract player, but only if she could prove she was 18. Though she was really barely 14, she managed to get hold of a fake birth certificate, and so was signed on, playing dancers and ingénues in such films as Stage Door (1937), You Can't Take It with You (1938), Room Service (1938) and Too Many Girls (1940). In 1939 she appeared on Broadway in "George White's Scandals" and was a smash, staying on for two years. Eventually RKO released her from her contract, but Columbia Pictures snapped her up to appear in such WW II morale boosters as True to the Army (1942) and Reveille with Beverly (1943). When she decided to get married, Columbia released her from her contract. The marriage was sadly unhappy and she was divorced in two years. This time MGM picked her up, showcasing her in such films as Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953). In the mid-'50s she asked to leave to marry again, and her request was granted. This marriage didn't last long, either, nor did a third. Ann then threw herself into work, appearing on TV, in night clubs and on the stage. She was a smash as the last actress to headline the Broadway production of "Mame" in 1969 and 1970, and an even bigger smash in "Sugar Babies" in 1979, which she played for nine years, on Broadway and on tour. She has cut back in recent years, but did appear in the Paper Mill Playhouse (Millburn, NJ) production of Stephen Sondheim's "Follies" in 1998, in which she sang the song "I'm Still Here, " a perfect way to sum up the life and career of Ann Miller.

It is part of our in-store inventory from our shop which is located in the heart of Hollywood where we have been in business for the past 40 years!

Please see photo(s) for more specific detail and condition.

Item #BMM0000538