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On with the Show! (1929)

Passed | | Musical, Romance | 13 July 1929 (USA)
A musical advertised as the first 100% natural color, all-singing production. The plot concerns a wide-eyed former hatcheck girl who takes the place of a rebellious star.


Alan Crosland


Humphrey Pearson (based on the play "Shoestring" by), Robert Lord (scenario)


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Cast overview, first billed only:
Arthur Lake ... Harold Astor
Betty Compson ... Nita French
Joe E. Brown ... Ike Beaton
Sally O'Neil ... Kitty (as Sally O'Neill)
William Bakewell ... Jimmy
Louise Fazenda ... Sarah Fogarty
Sam Hardy ... Jerry
Harry Gribbon ... Joe
Lee Moran ... Pete
Wheeler Oakman ... Willie Durant aka Robert Wallace
Madeline Fairbanks Madeline Fairbanks ... One of The Twins
Marion Fairbanks Marion Fairbanks ... One of The Twins
Purnell Pratt ... Sam Bloom (as Purnell B. Pratt)
Thomas Jefferson ... Dad
Ethel Waters ... Ethel


A musical advertised as the first 100% natural color, all-singing production. The plot concerns a wide-eyed former hatcheck girl who takes the place of a rebellious star.

Plot Summary | Add Synopsis


The First 100% Natural Color, Talking, Singing and Dancing Picture. A riot of colors and comedy! More stars than the galaxy! (Print Ad- Syracuse Journal,((Syracuse, NY)) 28 September 1929) See more »


Musical | Romance







English | French

Release Date:

13 July 1929 (USA) See more »

Also Known As:

Comediantes See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs


(Turner library print)

Sound Mix:

Mono (Vitaphone) (Western Electric Apparatus)


Color (2-strip Technicolor)

Aspect Ratio:

1.20 : 1
See full technical specs »

Did You Know?


Approximately one minute of the original Technicolor footage was recently discovered and preserved. The scene involves Jerry (Sam Hardy) going onstage in costume. See more »


Nita: You tell Kitty that everything is jake - and that I'll do everything in the world for her.
See more »


Birmingham Bertha
(1929) (uncredited)
Music by Harry Akst
Lyrics by Grant Clarke
Performed by Ethel Waters, with dancing by John W. Bubbles
See more »

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User Reviews

Opening Night
2 May 2007 | by lugonianSee all my reviews

ON WITH THE SHOW (Warner Brothers, 1929), directed by Alan Crosland, is the studio's contribution to MGM's box office hit, THE Broadway MELODY. Unlike other backstage musicals from that era, this one consists of no dress rehearsals nor pre-show preparations. It skips all that in favor of what's presented on opening night at the Wallace Theater somewhere in New Jersey. The opening title card sums it up best, "For weeks, 'The Phantom Sweetheart' troupe has staggered through the rough tank towns toward distant Broadway - It's pathway strewn with unpaid bills. Tonight would tell the tale, Broadway or Bust." And Broadway or Bust it is. In fact, an odd mixture of two stories for the price of one. The first being the behind the scenes plot development revolving around the theatrical troupe and staff. Instead of the usual unrelated musical numbers most commonly found in Hollywood back-stagers, the second story titled "The Phantom Sweetheart," is set to song and dance on a Southern plantation where a young man (Arthur Lake) falls in love with a veiled goddess (Betty Compson) prior to his wedding day. Not seen in its entirety, the stage production is interrupted with inter-cuts of the backstage story.

In spite of Lake and Compson heading the cast, their scenes, along with others, are secondary. There are no characters who actually dominate the story from start to finish, but an assortment of those coming in and out whenever their scenes allow. The center of attention really belongs to the least likely pair of Jimmy (William Bakewell), the head usher, and his girlfriend, Kitty (Sally O'Neil), a coat room girl, whom Jimmy feels has the "stuff" to make it on Broadway After the rise of the curtain where the actors perform to a full house, situations occur, all involving money. Jerry (Sam Hardy), the producer, owes Sam Bloom (Purnell B. Pratt) unpaid bills and keeps him from taking back his scenery or taking what's owed him from the box office cash receipts; Willie Durant (Wheelar Oakman), the show's backer, refuses to guarantee capital income and later forces himself on Kitty; Harold Astor (Lake), the juvenile leading man in need of cash to give to his mother, constantly bickering about scene stealing with fellow comedian Joe Beaton (Joe E. Brown); and leading lady Nita French (Compson), refusing to continue her performance unless she receives the $400 due her. The very moment of her strike, the box office gets held up by a mysterious figure holding a gun. All this, and opening night, too, but the show must go on, Broadway or bust.

With score composed by Harry Akst and Grant Clarke, the musical program is as follows: "Welcome Home" (sung by Henry Fink); "Let Me Have My Dreams" (sung by Betty Compson); "Am I Blue?" (sung by Ethel Waters); "Lift the Tulips in Your Two Lips" (sung by Fink and Josephine Houston, danced by the Four Covans); "Let Me Have My Dreams" (reprise by Compson); specialty dance solo number (Joe E. Brown); "In The Land of Let's Pretend" (sung by chorus); "Don't It Mean a Thing to You" (sung by Josephine Houston and Arthur Lake); "Let Me Have My Dreams" (sung by Sally O'Neil); "Birmingham Bertha" (sung by Ethel Waters); "Wedding Day" (sung by Fink, Lake and Houston); and Finale (entire cast).

Other members of the cast consist of Louise Fazenda as Sarah Fogerty, an eccentric comedienne who supplies offstage laughter; Thomas Jefferson (not the third U.S.President) as "Dad", the stage doorman; Lee Moran and Harry Gribbon as stage hands, Pete and Ike, along with specialty acts by the Fairbanks Twins and an assortment of black entertainers highlighted by a Ethel Waters, in her movie debut, taking center stage with her fine rendition of the film's most notable song, "Am I Blue?" Her solo effort, along with "Birmingham Bertha" opposite Charlie Bubbles, both unrelated to the theatrical story, are highlights, along with a lively but unmemorable score to make up for its dull stretches at the midway point. The staging by Larry Ceballos is adequate, not spectacular, yet steps towards the right direction compared to 1929 stage musicals consisting of cart wheel dancing and acrobatics.

Alan Crosland, who made history directing THE JAZZ SINGER (1927), the "first talkie," improves with techniques revolving around camera movement with angles taken from different parts of the stage, above and beyond spiral staircases as chorus girls rush down to meet their curtain call, and silhouette image of musical conductor in orchestra pit waving his stick in front of the rising curtain or stage performance. What's lacking is further use of close-ups of principal players and dancers, something that would be common place in future musicals to come. It's also fun going back in time watching antiques like this and listening to catch phrases of the day like "Go sit on a tack," or corny dialog recited by Sam Hardy, "There are only a few of you sweet kids left," or "Go out and give them everything you got."

Upon release, ON WITH THE SHOW made cinema history for being the first musical filmed entirely in color. Current prints that have circulated either in revival theaters back in the 1970s and 80s, a rare 1973 television broadcast on WPHL, Channel 17, Philadelphia, along with cable (TNT in February 1991 as part of a tribute to Black History Month) and Turner Classic Movies showings, have been shown in black and white format only. Fortunately the movie survives intact, considering how many early talkies have been lost due to neglect or decay.

Its length of 103 minutes might be a bit long, but one cannot help but feel its initial theatrical showing might have been a bit longer considering its slight jump cut during its underscoring following the opening cast credits. And now, on with the show. (***)

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