Backwards in High Heels Arizona Theatre Company Play Guide

BACKWARDS 

IN HIGH HEELS 

Play Guide 

Arizona Theatre Company Play Guide 

Backwards in High Heels

CONTENTS SPONSORS 

TABLE OF CONTENTS 

3 WHO WE ARE 

4 INTRODUCTION TO THE PLAY 

4 BIOGRAPHY OF GINGER ROGERS 

7 GINGER ROGERS FILMOGRAPHY 

11 TALKING BACKWARDS 

14 THE GOLDEN AGE OF HOLLYWOOD 

16 TIMELINE OF DANCE IN THE NINETEENTH AND EARLY TWENTIETH CENTURIES 

18 THE MOTHER-DAUGHTER RELATIONSHIP 

19 GLOSSARY 

22 DISCUSSION QUESTIONS AND ACTIVITIES 

Backwards in High Heels 

It is Arizona Theatre Company’s goal to share the enriching experience of live theatre. This play 

guide is intended to help you prepare for your visit to Arizona Theatre Company. Should you 

have comments or suggestions regarding the play guide, or if you need more information about 

scheduling trips to see an ATC production, please feel free to contact us: 

Tucson: Alison C. Terry 

Education Manager 

(520)884-8210 ext 8506 

(520)628-9129 fax 

Phoenix: Cale Epps 

Education Manager 

(602)256-6899 ext 6503 

(602)256-7399 fax 

Backwards in High Heels Play Guide compiled and written by Jennifer Bazzell, Literary Manager 

and Juliet Wilhelmi. Discussion questions and activities prepared by Alison C. Terry, Tucson 

Education Manager; Cale Epps, Phoenix Education Manager. Layout by Gabriel Armijo. 

Support for ATC’s Education and Community Programming has been provided by: 

Organizations 

APS 

Arizona Commission on the Arts 

Bank of America Foundation 

Blue Cross Blue Shield of Arizona 

City Of Glendale 

City Of Peoria 

Community Foundation for Southern Arizona 

Freeport-McMoRan Copper & Gold Foundation 

Ford Motor Company Fund 

JP Morgan CHASE 

National Endowment for the Arts 

Phoenix Offi ce of Arts and Culture 

PICOR Charitable Foundation 

Scottsdale League for the Arts 

Target 

The Boeing Company 

The Marshall Foundation 

The David C. and Lura M. Lovell Foundation 

The Hearst Foundation, Inc. 

The Maurice and Meta Gross Foundation 

The Max and Victoria Dreyfus Foundation 

The Stocker Foundation 

The Stonewall Foundation 

Tucson Electric Power Company 

Tucson Iron & Metal 

Tucson Pima Arts Council 

Union Pacifi c Foundation 

Phoenix Suns Charity 

Individuals 

Mr. Craig Altschul 

Anonymous (1) 

Mr. and Mrs. Rob Aronoff 

Ms. Beth A. Bank 

Mr. Robert Begam 

Ms. Gayle Bentley 

Mr. and Mrs. Joel Bez 

Mr. Tom Bobo 

Ms. Gayle Brezack 

Mr. Randy Brookshier 

Ms. Penny Buckley 

Mr. Tom Carlson 

Mr. and Mrs. Larry A. Cesare 

Mr. and Mrs. Robert Clark 

Mr. and Mrs. Tyrone Clark 

Mr. Thomas Chapman 

Ms. Mimi Cohen 

Mr. and Mrs. Leonard Coris 

Ms. Kathleen Cummings 

Mr. Craig Dean 

Mr. and Mrs. Darryl B. Dobras 

Ms. Jill Doddy 

Mr. Jerry D. Drossos 

Mr. and Mrs. Bruce L. Dusenberry 

Mr. and Mrs. Burton and Zelda Faigen 

Mr. Peter Faur 

Mr. and Mrs. Robert Glaser 

Ms. Roseanne Gonzalez 

Ms. Florence M. Goldwater 

Ms. Laura Grafman 

Mr. Greg B. Hales 

Mr. Brian Hauser 

Mr. and Mrs. Richard F. Imwalle 

Mr. Bill Kelley 

Drs. Steven and Marta Ketchel 

Mr. Rich and Kraemer 

Mr. and Mrs. David Krogen 

Mr. and Mrs. John Lamse 

Mr. Raul Leon 

Mrs. Ann C. Lynn 

Mr. and Mrs. Doug McClure 

Mr. and Mrs. James J. Meenaghan 

Ms. Thelma Miller 

Ms. Barbara Montandon 

Mr. and Mrs. Fred A. Nachman III 

Ms. Dana Pitt, Donald Pitt Family Foundation 

Mr. Michael Ratliff 

Steve Ratliff 

Vicki Ratliff 

Susan Rollins 

Ms. Sandra D. Rutherford 

Mr. Marc Sandroff 

Ms. Karen T. Scates 

Drs. John and Helen Schaefer 

Mr. and Ms. Mark and Amy Schiavoni 

Mr. and Ms. Michael and Enid Seiden 

Ms. Gretchen H. Shine 

Ms. Peggi Simmons 

Ms. Wendi Sorensen 

Mr. Jeffrey Sorrentino 

Ms. Val Sundberg 

Mr. Joe Tarver and Ms. Peggy Johnson 

Ms. Janet Traylor 

Mr. Brad Trebing 

Mr. Chuck Watson 

Mr. Tom Whalen 

Ms. Rebecca Winninger 

Arizona Theatre Company Play Guide Ms. Teresa Welborn 

2 

Dr. Raymond L. and Mrs. Julianne Woosley

WHO WE ARE 

Arizona Theatre Company is a professional, not-for-profi t theatre company. 

This means all of our artists, administrators and production staff are paid 

professionals, and the income we receive from ticket sales and contributions 

goes right back into our budget to create our work, rather than to any particular 

person as a profi t. 

Roughly 150,000 people attend our 

shows every year, and several thousands 

of those people support us with charitable 

contributions in addition to purchasing 

their tickets. Businesses large and small, 

private foundations and the city and 

state governments also support our 

work fi nancially. 

Each season, ATC employs hundreds of actors, 

directors and designers from all over the country 

to create the work you see on stage. In addition, 

ATC currently employs about 100 staff members 

in our production shops and administrative offi ces 

in Tucson and Phoenix during our season. Among 

these people are carpenters, painters, marketing 

professionals, fundraisers, stage directors, computer 

specialists, sound and light board operators, tailors, 

costume designers, box offi ce agents, stage crew 

-the list is endless- representing an amazing range 

of talents and skills. 

We are also supported by a Board of Trustees, a 

group of business and community leaders who 

volunteer their time and expertise to assist the 

theatre in fi nancial and legal matters, advise in 

marketing and fundraising, and help represent 

the theatre in our community. 


ARIZONA THEATRE COMPANY: WHO WE ARE 

Thousands of people make our work at ATC possible! 

Herberger Theatre in Phoenix, Arizona 

All of this is in support of our mission: to 

create professional theatre that continually 

strives to reach new levels of artistic 

Temple of Music and Art in Tucson, Arizona 

excellence and that resonates locally, in the state of Arizona and throughout the 

nation. In order to fulfi ll its mission, the theatre produces a broad repertoire ranging 

from classics to new works, engages artists of the highest caliber, and is committed to 

assuring access to the broadest spectrum of citizens. 

Arizona Theatre Company Play Guide 3

INTRO 

BIOGRAPHY 

BACKWARDS IN HIGH HEELS 

INTRODUCTION TO THE PLAY 

She danced her way into our hearts in the 

arms of Fred Astaire, setting the gold standard 

for grace and elegance on the silver screen. In 

her surprising true-life story, we follow Ginger 

Rogers from the vaudeville stage at the age of 15 

through her ascension to Hollywood goddess. 

Backwards in High Heels is the story of a smalltown 

girl from Texas who dazzled the whole 

wide world, playing everything from 'the girl 

next door' to the modern woman with a mind 

of her own. It's a candy box of show-stopping 

dance numbers, great songs and some surprising 

revelations about the movie legend. 


Anna Aimee White and Matthew LaBanca in 

Backwards in High Heels. Photo by Frank Atura. 

BIOGRAPHY OF GINGER ROGERS 

Ginger Rogers was born Virginia Katherine 

McMath in Independence, Missouri on July 16, 

1911. Her parents, Lela and William Eddins 

McMath, separated soon after their daughter’s 

birth and continually fought for custody of their 

daughter until William’s death when Ginger was 

eleven. In her early youth, Rogers stayed with her 

grandparents in Kansas City while her mother had 

a short screenwriting career in Hollywood. Many 

individuals who knew Rogers as a child claim 

that she could dance before she could walk. 

Lela eventually married John Rogers, a Marine, 

and mother and daughter followed him to Dallas, 

Texas. Though he never formally adopted Ginger, 

she took his surname. In Dallas, Virginia began to 

perform with her stepfather in local shows. At age 

sixteen, she emerged the champion of a Charleston 

Ginger Rogers 

contest in Ft. Worth, earning her a spot on an 

interstate theatre tour known as the Orpheum circuit (a company that toured vaudeville 

shows). About this time, Rogers took to calling herself “Ginger,” inspired by the nickname 

“Ginja” (shorthand for Virginia) she was given by her cousins as a young girl. Her fi rst act 


BIOGRAPHY 

on the Orpheum circuit, “Ginger and the Redheads,” was so popular that she stayed on 

tour for another four years. During this time, she met her fi rst husband, circuit dancer Jack 

Culpepper; the marriage was brief, only lasting from 1929-1931. 

On tour, Rogers appeared in St. Louis with the Skouras Brothers and in Chicago’s 

Oriental Theatre with Paul Ash before settling in New York to pursue her dreams of 

Broadway. In 1929, her fi rst musical, Top Speed, played for a promising 20-week run, 

getting her noticed by executives at Paramount. She had previously appeared in several 

short fi lms, but Paramount provided her fi rst opportunity to appear in a full-length fi lm 

with Young Man of Manhattan. Next, she starred with Ethel Merman on Broadway in 

George and Ira Gershwin’s Girl Crazy 

(one of the choreographers for this show 

was an up-and-coming Fred Astaire). 

The show was an overnight sensation, 

and Ginger Rogers became a star. 

Following her success with Girl Crazy 

she made a large number of fi lms in a 

short period of time, including The Sap 

from Syracuse and Follow the Leader, 

both in 1930; Honor Among Lovers in 

1931; and The Tenderfoot and Hat Check 

Anna Aimee White who plays 

Girl in 1932. In 1933, she played Anytime 

Ginger Rogers in ATC’s production 

Annie in 42nd Street, solidifying her status 

as an icon of the screen. She also sang 

“We’re in the Money” and “Sitting Pretty” in Gold Diggers of 1933. By the time she 

made her fi rst appearance with Fred Astaire in Flying Down to Rio (1933), Rogers 

had nineteen fi lms to her name. 

The Rogers-Astaire combination lit up the screen and kept audiences cheering. Though 

Rogers had never had any classical dance training, she found her own expressive style 

that Americans embraced. She and Astaire starred together in nine additional musicals, 

becoming a lasting symbol of elegance in American fi lm. Rogers eventually decided to 

end her career with Astaire and try for serious acting roles. The decision ultimately paid 

off; her dramatic role in the non-musical Kitty Foyle earned her the Academy Award for 

Best Actress in 1941. 

Throughout the rest of her life, Rogers continued her career in fi lm and theatre, though 

she was never able to recapture the magic of her early career. Her starring role in Hello, 

Dolly! helped revamp the show for a second Broadway run in 1965. In 1985, she 

directed the movie Babes in Arms. She also appeared on TV and radio shows across 

the country. Rogers was married fi ve times; all of her marriages ended in divorce. In 

addition to Jack Culpepper, her husbands included star of All Quiet on the Western 

Front Lew Ayres, comedian Jack Briggs, French lawyer and actor Jacques Bergerac and 



BIOGRAPHY 

director and producer William Marshall. The only constant relationship throughout her 

entire life was her close-knit relationship with her mother, who passed away in 1977. 

In 1995, Ginger Rogers died of congestive heart failure in her home in Rancho Mirage, 

California at the age of 83. 

"The magic of Astaire and Rogers cannot be 

explained; it can only be felt. They created a 

style, a mood, a happening. They fl irted, chased, 

courted, slid, caressed, hopped, skipped, jumped, 

bent, swayed, clasped, wafted, undulated, 

nestled, leapt, quivered, glided, spun - in sum, 

made love before our eyes. We have not seen 

their like since." 

–Garson Kanin, Hollywood writer and director 

Ginger Rogers & Fred Astaire 

For many people, Fred Astaire and Ginger Rogers embody the quintessential 

dance partnership. Garson Kanin, it seems, could only attempt to describe the 

wordless chemistry that has charmed moviegoers by the millions for decades. 

Fred and Ginger were acquainted through their work on Broadway before 

stepping onto the set of Flying Down to Rio in 1933. They had even dated for 

a time.Their pairing in this fi rst fi lm was somewhat accidental; Ginger was 

brought in as a replacement for Fred’s partner Dorothy Jordan. Though both 

played supporting roles, Ginger and Fred inadvertently stole the show with their 

adorable charm and unparalleled elegance. Interestingly, this fi lm marked the 

only instance in which Ginger was billed ahead of Fred, because of her fi lm 

experience. 

Needless to say, the Astaire-Rogers duo was the centerpiece of RKO’s next 

fi lm, The Gay Divorcee (1935), a timely tale of marriage norms and love at fi rst 

sight. Fred and Ginger stayed on for a total of nine fi lms with RKO, all of them 

lighthearted musicals. They starred in Top Hat in 1935 (featuring the famous 

number “Cheek to Cheek” and other Irving Berlin standards), Shall We Dance 

in 1937, and Carefree in 1938, among others. MGM produced the duo’s tenth 

and fi nal musical, The Barkleys of Broadway, in 1949. Many of the Gershwin 

melodies from this movie would fi nd their way into the Great American 

Songbook. 

Though none were Academy Award winners, the Astaire-Rogers movies endure 

as American fi lm classics. Through an expert blend of aesthetics and personality, 

they call to audiences today just as they staved off the effects of the Great 

Depression almost eighty years ago. 

- Written by Juliet Wilhelmi and Jenny Bazzell 



FILMOGRAPHY 

GINGER ROGERS’ FILMOGRAPHY 

Ginger Rogers made an amazing 77 fi lms in her 35 year fi lm career, most of which 

were concentrated into the fi rst six years of work. She continued to make occasional 

television appearances up through 1987, including several episodes of The Red Skelton 

Hour, a televised version of Rodgers and Hammerstein’s Cinderella (also starring Lesley 

Anne Warren, Walter Pidgeon, Celeste Holm, Jo Van Fleet and Pat Carroll) and a two-part 

episode of The Love Boat, among others. 

1929 

A Day of a Man of Affairs 

1930 

A Night in a Dormitory 

Campus Sweethearts 

Young Man of Manhattan 

The Sap from Syracuse 

Queen High 

Offi ce Blues 

Follow the Leader 

1931 

Honor Among Lovers 

The Tip-Off 

Suicide Fleet 

1932 

Carnival Boat 

The Tenderfoot 

The Thirteenth Guest 

Hat Check Girl 

You Said a Mouthful 

First promotion of the Rogers-Astaire 

pairing for Flying Down to Rio 

1933 

Broadway Bad 

42nd Street 

Gold Diggers of 1933 

Professional Sweetheart 

Don't Bet on Love 

A Shriek in the Night 

Rafter Romance 

Chance at Heaven 

Sitting Pretty 

Flying Down to Rio 

1934 

Twenty Million 

Sweethearts 

Upperworld 

Finishing School 

Change of Heart 

The Gay Divorcee 

1935 

Romance in Manhattan 

Roberta 

Star of Midnight 

Top Hat 

In Person 

1936 

Follow the Fleet 

Swing Time 

1937 

Shall We Dance 

Stage Door 

1938 

Vivacious Lady 

Having Wonderful Time 

Carefree 


Actor Matthew LaBanca who plays 

Fred Astaire and other roles in ATC’s 

production 

1939 

The Story of Vernon and 

Irene Castle 

Bachelor Mother 

Arizona Theatre Company Play Guide 5th Ave Girl 

7

FILMOGRAPHY 

1940 

Primrose Path 

Lucky Partners 

Kitty Foyle: The Natural History of 

a Woman 

1941 

Tom Dick and Harry 

1942 

Roxie Hart 

Tales of Manhattan 

The Major and the Minor 

Once Tender Comrade 

Upon a Honeymoon 

1944 

Lady in the Dark 

I'll Be Seeing You 

1945 

Week-End at the Waldorf 

1946 

Heartbeat 

Magnifi cent Doll 

1947 

It Had to Be You 

1949 

The Barkleys of Broadway 

1950 

Perfect Strangers 

1951 

Storm Warning 

The Groom Wore Spurs 

1952 

We're Not Married! 

Dreamboat 

Monkey Business 

Heather Lee who plays 

Lela in ATC’s production 

1954 

Forever Female 

Twist of Fate 

Black Widow 

1955 

Tight Spot 


1956 

The First Traveling Saleslady 

Teenage Rebel 

1957 

Oh, Men! Oh, Women! 

1964 

The Confession 

1965 

Harlow 


COMPOSERS 

ABOUT THE COMPOSERS 

Christopher McGovern: (Co-Creator/Book/Original 

Songs/Musical Arrangements) returns to ATC where he 

music directed, conducted and performed in Hair, [title of 

show] and The Pajama Game. He is the Author/Composer 

of Lizzie Borden (Goodspeed Musicals), Backwards in 

High Heels, A Visit To Roswell and many original songs. 

He has worked Off-Broadway on That’s Life (Outer 

Critics Circle nomination), The Jazz Singer, Sheba, The 

Fishkin Touch and Totie, among others. His national tours 

include Fame and The Presidents with Rich Little, and 

international arrangements for Disney Worldwide (The 

Christopher McGovern, co-creator of 


Lion King/Hong Kong and Aladdin/Tokyo). His favorite regional credits include Sisters of 

Swing (Carbonell nominations), Beehive, Joseph and the Amazing Technicolor Dreamcoat, 

Little Shop of Horrors, Godspell, Grease, World Goes ‘Round, Last Five Years and A 

Marvelous Party. He received this year's Carbonell Award and Silver Palm Award for Cagney 

(music and lyrics) and Some Kind Of Wonderful (Co-Creator/Arranger.) He has worked as 

Producer/Arranger/Orchestrator and Songwriter on recordings by Tony-nominees Rebecca 

Luker (Leaving Home), Susan Egan (Coffee House, Winter Tracks, Live) and Alison Fraser 

(Men in My Life). Mr. McGovern has performed in concert with Susan Egan (national tour 

including Carnegie Hall), Karen Mason, Liz Callaway, Roslyn Kind and many others. 

In addition to the original songs created by Christopher McGovern, many old favorites 

appear in Backwards in High Heels. Below is a list of some of the famous composers 

whose music appears in the musical. 

George Gershwin/ 

Ira Gershwin 

The Gershwins: Brothers George Gershwin 

(1898 – 1937) and Ira Gershwin 1896 – 

1983) worked together to create some of the 

most memorable songs in the American Jazz 

repertoire. Some of their most famous songs 

include “Let’s Call the Whole Thing Off,” 

“S’Wonderful,” “Someone to Watch Over 

Me,” “Summertime,” ”Fascinating Rhythm,” 

“Embraceable You” and countless others. 

Though each brother had a solo career, the 

music they created together was unparalleled 

and continues to inspire generations. 



COMPOSERS 

Jerome Kern: Jerome David Kern (1885 – 1945) was 

an American composer of musical theatre and popular 

music. One of the most important American theatre 

composers of the early 20th century, he wrote more than 

700 songs, used in over 100 stage works, including such 

classics as "Ol' Man River," "Can't Help Lovin' Dat Man," 

"A Fine Romance," "Smoke Gets in Your Eyes," "All the 

Things You Are," "The Way You Look Tonight," "Long Ago 

(and Far Away)" and "Who?". 

Irving Berlin 

Harry Warren 

Jerome Kern 

Irving Berlin: Irving Berlin (1888 – 1989) was an 

American composer and lyricist, widely considered one 

of the greatest songwriters in history. Composer George 

Gershwin called him "the greatest songwriter that has ever 

lived” and composer Jerome Kern concluded that "Irving 

Berlin has no place in American music - he is American 

music." Famous Irving Berlin songs include “Cheek to 

Cheek,” “God Bless America,” “Blue Skies,” “Let's Face 

the Music and Dance,” “Puttin’ on the Ritz,” and “White 

Christmas” among hundreds of others. 

Al Dubin: Al Dubin (1891 - 1945) was a Swiss-born lyricist 

who ultimately made his mark on American music. He wrote 

lyrics for several famous Broadway shows, but his perhaps 

most famous for his lyrics for the fi lm 42nd Street (which 

was later adapted into a Broadway musical). Some of his 

most famous lyrical compositions include "42nd Street,” "I 

Only Have Eyes for You," "Lullaby of Broadway" and "The 

Anniversary Waltz." 

Al Dubin 

Harry Warren: Harry Warren (1893 – 1981) was an American 

composer and lyricist. Warren was the fi rst major American 

songwriter to write primarily for fi lm. He wrote the music for 

the fi rst blockbuster fi lm musical, 42nd Street. Other wellknown 

Warren hits included "I Only Have Eyes for You," "You 

Must Have Been a Beautiful Baby," "Jeepers Creepers," "The 

Gold Diggers' Song (We're in the Money)," "That's Amore," 

"The More I See You," "At Last" and "Chattanooga Choo Choo” 

One of America's most prolifi c fi lm composers, Warren's songs 

have been featured in over 300 fi lms. 



McGOVERN 

Dorothy Fields: Dorothy Fields (July 15, 1905 – March 28, 1974) 

was an American librettist and lyricist. She wrote over 400 songs 

for Broadway musicals and fi lms and was one of the fi rst successful 

Tin Pan Alley and Hollywood female songwriters. Her most famous 

compositions include “I Can't Give You Anything But Love,” “Don't 

Blame Me,” “On The Sunny Side Of The Street,” “A Fine Romance,” 

“I'm In The Mood For Love,” “The Way You Look Tonight,” “Big 

Spender,” “If My Friends Could See Me Now” and “On the Sunny 

Side of the Street." 

*some bios above adapted from www.wikipedia.com 

TALKING BACKWARDS 

Dorothy Fields 


Just how did Backwards in High Heels come to be? Literary Manager Jenny Bazzell put 

questions about the show’s development and history to creator Christopher McGovern, an ATC 

favorite for his role as Music Director for ATC hits like The Pajama Game and Hair. Chris was 

kind enough to give us some background about the show so we could share it with you! 

Jenny Bazzell: How did the initial idea 

for BACKWARDS IN HIGH HEELS come 

about? 

Christopher McGovern: I was Music 

Directing a biographical musical for 

another theatre company and it got 

me to thinking about the nature of 

celebrity, and why people are so drawn 

to stories about famous people. We 

have become a 24-hour news cycle 

and a reality TV culture, and I was 

interested in exploring someone who 

got to be a celebrity the old fashioned 

way: with talent and hard work! It was 

also interesting to me to use dance in 

the story-telling, and of course I love 

the 1920s and 1930s. The fi lms Ginger 

made in that period were so glamorous 

and classy. It's fascinating that one of the Stanley Bahorek, Kelly McCormick Christopher 

McGovern, Sal Sabella and Lauren Lebowitz in Arizona 

many peaks of Ginger's career was during 

Theatre Company's [title of show]. Photo by Tim Fuller. 

the worst of the Great Depression - and 

she was playing these upscale roles in 

luxurious settings. The height of "escapism." 


McGOVERN 

JB: Were you already an expert about the life of Ginger Rogers when you began work on 

this musical? Were there aspects of Ginger Rogers’s life that surprised you or presented 

diffi culties in the writing? 

CM: I have written a few musicals based on life stories (Cagney, Lizzie Borden) and I think 

the biggest trick is balancing the actual events of a person's life with what is dramatically 

important to be placed on the stage. So in my research on Ginger, her most critical and 

lasting relationship was with her mother, Lela. And suddenly her story seemed like it 

could leap over the particulars of her life and become more universal and relevant to a 

contemporary audience. While the times may have changed, parent-child relationships 

remain as complex, rich and emotional as ever. The fact that Ginger and Lela's relationship 

had show business as a backdrop made it a natural to put on the stage. Ginger never had a 

child, so I think show business and her career fi lled that place in her life. 

Perhaps the biggest surprise in my research was that Ginger was such a tough cookie with 

the studios. It is easy to imagine Bette Davis standing up to Jack Warner for more money, 

better treatment, more challenging projects, but you just don't think of Ginger that way, at 

least initially. But she actually might have paved the way for those other ladies that came 

after her. She demanded equal pay, and was willing to risk her career to take on roles that 

she might not have gotten without a struggle. To win the Oscar for a drama was both a 

triumph and a well earned reward for her going out on an artistic limb (I am speaking of 

Kitty Foyle, of course.) Hard to imagine, but women getting the right to vote happened in 

Lela and Ginger’s lifetimes. 

The largest writing challenge was how to work her fi ve marriages into the storytelling. I am 

quite pleased with how we were able to compact them into the surprising use of a Berlin 

number (I hope anyhow!). Her fi rst romantic relationship is explored in more detail, but 

as in every biographical piece, you have to keep what's important front and center, and 

that is her complicated relationship with Lela. It is also challenging not to make the show 

become "And then I wrote" (or in this case "And then I danced"), so fi nding new uses of 

the source songs as well as interesting ways to tell the story hopefully mix that formula up 

a bit. This version was directed by Scott Schwartz - an amazing director who asked me a 

lot of questions, and was very interested in treating this production as a World Premiere, 

even though it had been produced previously. Scott had a fresh take on the piece, which 

inspired me to re-examine my writing. Scott and I shared an understanding of what the 

show could be, and he is the consummate chief: adept at handling all personalities and 

all departments. He's an artist and a gentleman, and I hope this is the fi rst of many future 

collaborations. 

JB: Some of the music is by classic American composers like George Gershwin, Irving 

Berlin and Jerome Kern, but there are also original songs that you created specifi cally for 

the show. What was it like trying to combine the two types of music? 



McGOVERN 

CM: By far, it is one of the things I am proudest of. I wanted to use some of those 

famous songs associated with Ginger in her fi lms - and I think an audience has an 

expectation to hear them. But it was critical to me to make the songs work as "book 

songs." In other words, I did not want to stop the action just to do an unrelated number. 

After settling into the show, I wanted the audience to become unaware of the "famous" 

songs and to be involved in the story. So when you see "Embraceable You," it is used 

as a proposal for example, or "Change Partners" frames Lela's account of Ginger's 

marriages. When a stagehand sings "There may be trouble ahead..." it precedes Ginger 

about to tangle with the head of the studio. As far as the four original songs (and tons 

of original dance music I created for the show), it is much easier writing within the 

restrictions of a time period. Many people have commented or written about how well 

the original songs fi t into the whole "score." I take that as a huge compliment. I would 

never compare myself to the songwriting giants whose works appear in the score...but 

there were a few moments where a "source song" just didn't do what I needed it to do 

for the story. I hope when an audience leaves the show, it feels like they have heard an 

entirely new score, even though it has been fashioned out of songs culled from many 

sources, as well as songs newly written for the production. Of course Patti Colombo, 

the choreographer, did a brilliant job using movement to help tell the story as well, and 

the dance music was altered for her. I would imagine a show about Ginger would be a 

dream show for a choreographer, as well as really hard work! 

JB: So often when ATC audiences see you, you’re onstage serving as music director for 

ATC shows like The Pajama Game, Hair and [title of show]. For this show, is it nice to sit 

back and not have to be on stage every night? 

CM: It's TERRIFIC! Don't get me wrong, I love playing and conducting shows, and ATC 

is one of my favorite theatres to play in (actually TWO of my favorites.) But it is healthy 

to let a show go - and let someone else contribute their vision and their interpretation. 

Stepping back, I was able to see the bigger picture since so much had been created in 

the rehearsal process. I loved seeing this brilliant cast and Scott and Patti's vision of the 

piece, and I took it as a great compliment that they lavished it with such smarts and 

love. On Opening Night, I just let it all go and became a part of the audience. It really 

is a lovely production of the show, due in large part to Scott, Patti and the gorgeous 

designs of Walt Spangler (set) and Alejo Vietti (costumes). Plus, you can't ask for better 

than this cast. Better yet, since I'm not playing or conducting, it's fun to be able to have 

a glass of wine BEFORE the show starts! 



GOLDEN 

THE GOLDEN AGE OF HOLLYWOOD 


The “Golden Age of 

Hollywood” describes the 

period in movie history 

when output of highquality 

fi lms was intense, 

studios reigned supreme 

and stars were created 

and shined brightly for 

decades, forever endearing 

themselves to the hearts 

of the American public. 

During the Golden Age 

of Hollywood, which 

lasted from the late 1920s 

silent-fi lm era to the late 

Stars of Hollywood’s Golden Age 

1940s, thousands of classic 

movies were issued from Hollywood’s studios. Though scholars and historians argue, many 

individuals date the start of the Golden Age to the release of The Jazz Singer in 1927. 

Starring Al Jolson, The Jazz Singer was the fi rst “talkie” and thus 

ended the silent fi lm era. With the creation of “talkies,” the fi lm 

industry began a period of increasing box-offi ce profi ts for fi lms 

as sound was introduced, replacing the live music that previously 

accompanied silent fi lms. 

At this point in history, Hollywood operated under the studio 

system of fi lm making and the “Big Five” studios were responsible 

for almost all fi lms produced in America. Throughout the teens and 

twenties, well-known ambitious men like Samuel Goldwyn, William 

Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner 

Brothers (Harry, Albert, Samuel, and Jack) consolidated their fi lmmaking 

power in the form of movie studios. The each had a role in forming what came to 

be known as the “Big Five,” which refers to the fi ve large studios that made the vast majority 

of all fi lms (20th Century Fox, RKO Pictures, Paramount Pictures, Warner Bros., and Metro- 

Goldwyn-Mayer). The major studios kept thousands of people 

on salary — actors, producers, directors, writers, stunt men, 

craftspersons, and technicians. They owned or leased movie 

ranches in rural Southern California for location shooting 

of westerns and other large scale genre fi lms. In addition to 

creating fi lms, the studios also owned hundreds of theaters in 

cities and towns across the nation that showed their fi lms and 

that were always in need of fresh material (essentially creating 

a monopoly on the fi lm industry). 

Arizona Theatre Company Play Guide 

14

GOLDEN 

Throughout the Golden Age, most Hollywood fi lms fell into clearly defi ned 

categories: western, slapstick comedy, musical, horror, animated cartoon, 

biopic (biographical picture), etc. Though formulaic, the public clamored to 

see the myriad of fi lms released, especially the uplifting fi lms and musicals 

that were popular escapism during the Great Depression. Exact numbers are 

uncertain, but it is estimated that in the late twenties and early thirties, 90 

million people went to the movies weekly (including repeat attendees). That 

number dropped during the worst years of the Great Depression, though is still 

estimated at an astounding 60 million despite the economic hardships 

the country was facing. 

In addition to the “Big Five” studios there were also the “Little Three” which included 

Universal Pictures, Columbia Pictures, and United Artists. 


The studio era of Hollywood history meant that stars were contracted 

with a particular studio, outlining the actors’ responsibilities and 

the number of fi lms they were required to make. Incomes and 

choice of roles were limited for actors compared to today’s open 

market approach to fi lm production. Thus, during the Golden Age, 

audiences could usually guess which studio made which fi lm based 

on the actors who appeared in it. For example, MGM claimed it had 

contracted "more stars than there are in heaven.” MGM boasted such 

stars as Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Jeanette 

MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly during 

the Golden Age. 

Many fi lm historians have remarked upon the many great works 

of cinema that emerged from this period of highly regimented 

fi lm-making. One reason this was possible is that, with so many 

movies being made, not every one had to be a big hit. A studio 

could gamble on a medium-budget feature with a good script 

and relatively unknown actors: Citizen Kane, directed by Orson 

A movie still from Citizen Kane Welles and often regarded as the greatest fi lm of all time, fi ts 

that description. In other cases, strong-willed directors like Alfred Hitchcock and Frank Capra 

battled the studios in order to achieve their artistic visions. The apogee of the studio system 

may have been the year 1939, which saw the release of such classics as The Wizard of Oz, 

Gone with the Wind (still the most successful fi lm of all time when numbers are adjusted 

for infl ation), Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels 

Have Wings, Ninotchka, and Midnight. Other fi lms from the Golden Age period that are now 

considered to be classics include Casablanca, It's a Wonderful Life, It Happened One Night, 

the original King Kong, Mutiny on the Bounty, City Lights, Red River and Top Hat. 


GOLDEN 

The Golden Age began to draw to a close through a Supreme 

Court decision, United States v. Paramount Pictures, Inc. In 

short, the decision decreed that the studios had been engaging 

in monopoly behavior of the fi lm industry and determined 

they were no longer allowed to practice business in the same 

fashion. The studios had to change their operational practices, 

ending many of the procedures that had garnered them so 

much power (and allowed the Golden Age to fl ourish). Striking 

the fi nal blow to the Golden Age was the advent of television, 

which provided people with a way to watch stories in the 

privacy and comfort of their own home, rather than having 

to go to a movie theatre. Though some historians defi ne the 

Golden Age as continuing into the 1960s, by the middle of the 

1950s, the true Golden Age was ending, though its impact will 

never be forgotten. 

-Based loosely on www.wikipedia.com, modifi ed by Jenny Bazzell 


The invention of television brought 

the Golden Age to a close 

TIMELINE OF DANCE IN THE NINETEENTH 

AND EARLY TWENTIETH CENTURIES 

Fred Astaire and Ginger Roger’s elegant dance style did not exist in a vacuum. Their 

infl uences and the infl uences of the choreographers who created many of their famous 

routines were varied. Below is a timeline of the history of dance in the nineteenth and 

early twentieth century leading up to the emergence of Ginger Rogers and Fred Astaire’s 

explosion of popularity. 

Artist Renoir’s depiction of 

the Waltz from the 1880s 

1834: The fi rst Waltz is reportedly danced in Boston. 

1900: The Floradora Sextet performs the fi rst synchronized tap routine. 

1907: The fi rst tapping chorus line appears as part of Ziegfi eld’s Follies. 

1912: The Argentine Tango fi rst appears in Britain. 

1914: The American Foxtrot makes its way across the Atlantic to England, 

where it is danced at a faster tempo and renamed “The Quickstep.” 


TIMELINE 

1926: The Savoy Ballroom opens in New York City. It 

will be a premiere dance venue throughout the next 

decades. 

1927: “Shorty George” Snowden coins the term 

“Lindy Hop.” While watching a local dance contest 

at the Savoy, a reporter asks Snowden for the name 

of the dance being performed. He glances down at a 

newspaper headline about Charles Lindburgh which 

reads, “Lindy Hops the Atlantic,” and announces “The 

Lindy Hop!” 

The Savoy Ballroom 

1930s: The Jitterbug, a six-beat variant of the Lindy Hop, emerges. In time, the terms 

“swing,” “lindy,” and “jitterbug” become interchangeable. 

1935: Herbert White starts the dance group “Whitey’s Lindy Hoppers”, which grows to be 

wildly popular on the Savoy scene. 

1938: Innovative swing choreographer Dean Collins arrives in Hollywood. His work on 

over forty movies paves the way for the Hollywood dance musical. 

1940s: A “world dances” craze sweeps the ballroom realm. Dances that received new or 

revived attention include the Tango from Argentina, the Samba from Brazil, the Paso Doble 

from Spain, and the Waltz from Austria. The American Foxtrot regains popularity as well. 

Formal teaching of lindy, jitterbug, and swing begins.The Arthur Murray Dance Studio 

establishes the divide between “East Coast Swing” and “West Coast Swing”. Other swing 

variants that emerge include the Balboa, the Shag, and the Jive. 

The East-West Divide: In the 1940s, the Arthur Murray Dance Studio commissioned 

instructors around the country to study and teach the popular dances of their respective 

cities. This challenged dance teachers to “condense” the complex, individualized 

footwork of the regional swing dances into simplifi ed forms for the general public. As a 

result, they coined the categories of swing that are familiar today. “East-Coast Swing” 

is a simple, 6-beat cycle that evolved from the Lindy Hop and the Foxtrot. “West-Coast 

Swing” is a more quick-footed variant that can have up to 8 counts and is danced in a 

smaller radius than its Eastern equivalent. 

-Written by Juliet Wilhelmi 



MOTHER/DAUGHTER 

THE MOTHER-DAUGHTER RELATIONSHIP 

“Behold, every one that useth proverbs shall use this proverb against thee, saying, As 

is the mother, so is her daughter.” – King James Bible 


The relationship between mother and daughter is a complex, 

multi-dimensional one. Throughout history, mothers have 

encouraged, cajoled, nudged, prodded and sometimes outright 

shoved their daughters into following the path in life that they 

thought best for their offspring. Of course, every mother is 

different and every mother-daughter relationship is unique in 

its own way. The relationship between Ginger Rogers and her 

mother Lela was complicated by Ginger’s success (as well as Lela and Ginger Rogers 

her headstrong nature) and Lela’s insistence she knew what was best for Ginger’s life. As 

Ginger never had any children, she never experienced the mother-daughter relationship 

from a mother’s point of view – who knows how that would have changed her perception 

of her mother’s “interference” in her life. Below is a list of famous mother-daughter pairs 

from history, today and fi ction, each fi lled with its own unique challenges. 

Marie Curie (1867-1934) and Irene Joliot-Curie (1897-1958) 

Mary Wollstonecraft (1759-1797) and Mary Shelley (1797-1851) 

Anne Boleyn (c.1504-1536) and Elizabeth I of England (1533-1693) 

Goldie Hawn & Kate Hudson 

Blythe Danner & Gwyneth Paltrow 

Janet Leigh & Jamie Lee Curtis 

Jaid Barrymore & Drew Barrymore 

Judy Garland & Liza Minnelli 

Mary Wollstonecraft Shelley 

& Mary Wollstonecraft 

Tippi Hedren & Melanie Griffi th 

Michelle Philips & Chynna Philips 

Sharon Osbourne & Kelly Osbourne 

Joan Rivers & Melissa Rivers 

Ivana Trump & Ivanka Trump 

Hillary Clinton & Chelsea Clinton 

Kathy Hilton & Paris and Nikki Hilton 

Diana Ross & Tracee Ellis Ross 

Debbie Reynolds & Carrie Fisher 

Jayne Mansfi eld & Mariska Hargitay 

Priscilla Presley & Lisa Marie Presley 

Diane Ladd & Laura Dern 

Ingrid Bergman & Isabella Rossellini 

Sarah Palin & Bristol Palin 

Sharon and Kelly Osbourne 

Lisa Marie and Priscilla Presley 

Vanessa Redgrave & Natasha Richardson 

“Mama” Rose & Gypsy Rose Lee 

Wilma Flintstone & Pebbles Flintstone 

Marge Simpson & Lisa Simpson 

Sarah and Bristol Palin 


GLOSSARY 

GLOSSARY 

Abott and Costello: A famous comedy duo who worked 

extensively in radio, fi lm and television in the 1940s and 1950s. 

Their most famous routine, “Who’s on First” is perhaps the most 

well-known comedy routine of all time and set the bar for all 

comedians that followed. 

Bette Davis 


Comedy duo Abbott & Costello 

Bette Davis: An actress well-known for her intense portrayal 

of dramatic roles (and her forceful nature both on and offscreen) 

made Bette Davis one of the most iconic fi lm stars 

of her day. Though Ginger Rogers and Bette Davis had very 

different onscreen personas for many years, they were good 

friends. 

Busby Berkeley: A highly infl uential Hollywood movie 

director and musical choreographer, Berkeley’s musical 

numbers are still some of the most famous screen moments 

of all time. He was known for using shots that looked down 

from above on his dancers while they created complex 

geometric patterns with their bodies. 

Ethel Merman: An actress and singer who dazzled both 

Busby Berkeley 

stage and screen with her powerful voice and persona. She 

appeared in Girl Crazy alongside Ginger Rogers in 1930, 

as well as in I Got Rhythm in 1930, Anything Goes in 1936, and There’s No Business Like 

Show Business in 1954. A star of both the stage and the screen, she has been called "the 

undisputed First Lady of the musical comedy stage." 

Feathers: A nickname that Fred Astaire used for Ginger. It came about on the set of Top Hat, 

perhaps their most famous fi lm, made in 1935. For the principal number “Cheek to Cheek,” 

Ginger insisted on wearing a lavish ostrich feather dress. While the dress moved well, it 

would scatter feathers when she danced - all across the fl oor, in front of the cameras, and in 

Fred’s hair and clothes. Fred Astaire and Hermes Pan jokingly rewrote the lyrics to “Cheek to 

Cheek” to say “Feathers, I see feathers…” In the end, Fred apologized to Ginger with a gold 

feather charm and a note reading “You were right.” 


GLOSSARY 

Flying Down to Rio: A Hollywood reporter recalls when Astaire and Rogers “fl ew down 

to Rio.” This is a reference to their fi rst fi lm, Flying Down to Rio, made in 1933. (The 

reporter next says that Astaire and Rogers “got a gay divorce”… this refers to their second 

fi lm, The Gay Divorcee.) 

George Shaefer: A producer at RKO. He served as the company’s president starting 

in 1941. 

Hermes Pan (with Fred Astaire 

working out a dance routine) 

Jimmy Stewart 

Harper’s Magazine: When Ginger waxes romantic about Jack 

Culpepper, Lela tells her not to believe everything she reads in 

Harper’s. This general interest magazine, still in publication 

today, came out with its fi rst issue in 1850 and covers a broad 

range of subjects, including fi nances, fashion, politics, writing, 

and art. 

Hermes Pan: A celebrated choreographer who worked with 

Fred Astaire on many of his fi lms. 

Jack Briggs: Ginger’s third husband, Briggs was an actor and 

radio broadcaster throughout the 1940s. The two of them met 

on the set of Tom, Dick, and Harry in 1940. 

James (Jimmy) Stewart: An actor who was the “nice guy” 

of Hollywood for many years. He made a wide variety of 

movies of different genres, including his classic fi lms 

Mr. Smith Goes to Washington, The Philadelphia Story, 

Harvey, It's a Wonderful Life, Rear Window, Rope, The 

Man Who Knew Too Much, and Vertigo. 

Katherine Hepburn: A fi lm and stage actress who was wellknown 

for her quick tongue and New England accent. She won 

four Best Actress Oscars during her career, a feat no other actress 

has matched. In 1999, the American Film Institute ranked her as the 

greatest female star in the history of the American cinema. 

Katharine Hepburn 

Lew Ayres: This fi lm actor, Ginger’s second husband, is best remembered for his starring 

role in All Quiet on the Western Front in 1930. 

“Little pitchers have big ears”: An idiom that Ginger refers to as a teenager, meaning that 

children hear and understand more than adults might give them credit for. 



GLOSSARY 

Marlene Dietrich: A German-American actress known for her 

glamorous style and beauty. She played femme fatales throughout 

her long career. Her most famous fi lms include Morocco, 

Dishonored, Shanghai Express, Blonde Venus, The Scarlet 

Empress, and The Devil is a Woman. 

Orpheum Circuit: Ginger’s fi rst tour is with Orpheum Circuit, Inc., an entertainment 

company started by Martin Beck in 1880. Beck owned a series of vaudeville and movie 

theatres throughout the country. Those that remain open are called Orpheum Theatres 

to this day; Orpheum Theatres still exist in Pheonix and Flagstaff, though no longer as 

part of a circuit. A show like Ginger’s would have travelled from Orpheum theatre to 

Orpheum theatre. 

Prohibition: A portion of the play occurs during the period 

between 1920 and 1933 in which the Eighteenth Amendment to 

the Constitution outlawed the trade and consumption of alcohol 

in the United States. 

Shirley Temple: Perhaps the most famous child star of all 

time, Shirley Temple got her start in fi lm at the age of three. She 

was a singer, a dancer, and an actress by the time she was fi ve, 

beating out adult stars for parts in major fi lms. 

Theda Bara 

Shirley Temple 

Speakeasy: A venue in which alcohol was illegally served. During Prohibition, 

speakeasies operated in the United States in secret locations. 

RKO, or Radio-Keith-Orpheum Pictures: RKO was one of the “Big Five” movie 

production and distribution companies of Hollywood’s “Golden Age” (which spanned 

approximately from 1920 to 1950). This studio gave Ginger her start in fi lm and 

produced nine of the ten Astaire-Rogers movies. 

Theda Bara: Ginger refers to this American silent fi lm star 

repeatedly: “Theda Bara always said, ‘the spots in the front and the 

scoops in the back.’” While Ginger praises Bara’s fi lm expertise, 

most remember her as one of American fi lm’s fi rst sex symbols, 

sporting a distinctive “gothic” look. 



GLOSSARY 

DISCUSSION QUESTIONS 

AND ACTIVITIES 

Discussion Questions 

1. Think about the lyrics to Fascinating Rhythm by George and Ira Gershwin, and its use 

in Backwards in High Heels. Do you think Ginger Rogers felt confl icted about her 

career? Why or why not? 

2. 

3. 

4. 

Ginger really wanted to get out of Texas. Why did she want that so badly? Do you 

ever feel like you just want to get away from where you are and do something else? 

Why or why not? 

Discuss Ginger’s relationship with her mother, Lela. Do you feel that they had a good 

relationship? How did being in show business impact that relationship? 

Do you think that Lela is a little jealous of Ginger’s success? Why or why not? What 

did Lela give up in order to give Ginger a better childhood outside of Hollywood? 

How do you think Lela felt when Ginger just wanted to be in show business? 

5. Many of the songs found in Backwards in High Heels were not written specifi cally for 

6. 

7. 

Vernon and Irene Castle: A husband-and-wife ballroom 

dancing pair popular on Broadway around the turn of the 

century. In the show, Ginger supposes that she and Jack could 

become “the next Vernon and Irene.” This reference is subtly 

ironic, as one of Ginger’s last fi lms with Fred Astaire tells the 

story of the Castles. 

The World’s Fair: A large public exhibition held in any 

country that displays products of science, technology, and 

culture. In 1939, the World’s Fair to which Ginger refers was 

held in New York. It covered over 1,000 acres and drew a 

crowd of 206,000. 

- Prepared by Jennifer Bazzell 

Vernon and Irene Castle 

this musical. How does the presence of these songs move the plot forward? Do you 

feel that each song has a purpose within the play? Why or why not? 

How do you think that musical theatre and dance infl uence television shows today? 

Do you watch shows about dance or that contain musical numbers? Why do you think 

that this kind of television has come back at this point in history? 

How do you think that Ginger Rogers’ career impacted her personal life? What 



DISCUSSIONS 

evidence can you fi nd in the play that backs up your assertion? 

8. Ginger Rogers worked very hard to be in control of her career, almost from the 

beginning. Given the time period during which she was rising up through the 

Hollywood ranks, why is this signifi cant? Using examples from the play, discuss the 

ways in which Ginger managed her career. 

9. Several of the actors play multiple characters in Backwards in High Heels. Using 

specifi c examples from the play, discuss how these actors use their acting tools (voice, 

physicality, imagination) to distinguish one character from another. Are the actors 

successful in differentiating one character from another? 

10. Some of the actors in this play are portraying iconic fi lm actors from the Golden Age of 

Hollywood. How do you think that developing one of these iconic characters might 

differ from developing a character with whom fewer people are familiar? How is it the 

same? As an actor, do you think you would like to play one of these famous actors? 

Why or why not? 

RELATED POST-SHOW ASSIGNMENTS: 

(Based on Language Arts State Standards) 


1. Select one of America’s great dancers other than Ginger Rogers and write a research 

paper that develops a logical argument or thesis about this person’s infl uence on dance 

(particularly in fi lm), contains comprehensive, supporting information from a variety of 

credible and cited sources, and conforms to the MLA style manual. 

2. Select one of America’s great dancers other than Ginger Rogers. Write an expository essay 

in which you compare/contrast his or her dance style(s) to that of Ginger Rogers. 

3. Select and view one of Ginger Rogers’ movies and a few episodes of So You Think You 

Can Dance. Write an expository essay in which you compare/contrast the dance styles 

exhibited in the fi lm with those found in So You Think You Can Dance. Which dance 

styles are exhibited in each? How has dance on fi lm/television evolved over time? 

4. Write a summary of Ginger Rogers’ life that presents information clearly and accurately 

and contains the most signifi cant details. 

5. Write a letter from Ginger Rogers to her mother, Lela, once her mother is no longer touring 

with Ginger. What does Ginger need to tell her mother in this moment? Use examples 

from the script to determine what Ginger writes to her mother about. Use standard letter 

format, complete sentences, and appropriate punctuation. 

6. Write a research paper tracing the history and evolution of tap dancing. Out of what 

dance styles did tap evolve? What are the cultural roots of this style of dance, and what 

is its signifi cance, particularly in the African-American community? Has tap infl uenced 

other styles of dance, and if so, how? What is the signifi cance of the fact that it was 

ultimately white fi lm stars like Ginger Rogers and Fred Astaire who brought this style of 

dance to mainstream audiences? 


DISCUSSION 

7. Write a research paper detailing the evolution of song and dance in fi lm beginning 

during The Golden Age of Hollywood and continuing through contemporary fi lm and 

television. How did this trend start? How is the use of song and dance in fi lm related 

to musical theatre? When did this trend begin to die out? When did it begin again? 

How has television continued or reinvented the use of song and dance as a method of 

storytelling? 

RELATED POST-SHOW ASSIGNMENTS: 

(Based on the Theatre Arts State Standards) 

The writers of Backwards in High Heels, Lynnette Barkley and Christopher McGovern, 

have created a musical that combines original compositions with popular songs of Ginger 

Rogers’ era. This music, regardless of the composer, is used to push the story of Ginger 

Rogers’ life forward in a way that is compelling and entertaining to an audience. 

When a performer steps onto the stage, he simultaneously commits himself to an act of 

giving and storytelling. The story he tells may take a myriad of different forms- catharsis, 

joy, music, dance- but the performer’s audience comes to the theatre to be led by the hand 

and told an amazing story. 

A musical might be described as a story of such heightened emotion that its characters have 

no choice but to express themselves by means of impromptu song and dance. That said, 

the skeleton of a musical is always its story. The singing and dancing always propel that 

story in someway. 

1. Instruct your students to pick a piece of music of any genre. The only 

guidelines are the music must move the students in some way (i.e. inspire 

them, fi ll them with energy, move them to tears, make them laugh, etc.) and 

it must be classroom appropriate. Students may work individually or in 

groups of up to three. For this exercise, group work is ideal. Group work 

will allow interaction between the students and collaboration in order to 

determine what is eventually created. 

2. Ask your students to listen to their piece of music enough times so that a 

story is created in their minds. In other words, let the way the music moves 

them become images in their imaginations. Then instruct them to allow 

those images to connect to each other until they form a story that has linear 

movement and can be communicated and understood by an audience. 

• If the students in the group have different stories in mind, encourage 

them to explore ways of combining those stories for maximum dramatic 

or comedic impact. 



DISCUSSION 

3. Ask your students to plot out a beginning, middle, and an end to this story. 

These parts should correspond somehow with the music. They should use 

mainly body language in the telling and if the music has words, instruct 

them that they may sing along. Additional dialogue should not be used, the 

idea being that if your students trust their imaginations fully and effectively 

use non-verbal communication to create the world of the story (the way a 

professional performer does), the audience will see and follow the story as 

well. 

4. When the basic outline of the story is mapped out, ask your students to 

consider the trajectory of their stories. In much the same way as a musical, 

ask your students to decide where a moment of random and impromptu a 

dance would best move the story forward. Dance is this instance may be 

thought of as a basic expression of any emotion utilizing the body. This 

“dance break” can be as loose as mosh pit style movement, or it may be a 

stylized and choreographed set of movements. The strongest choice that 

can be made in terms of type of movement is that which fulfi lls and propels 

the story they have created. The story is the skeleton and the movement is 

the muscle that propels the skeleton. 

5. Now ask your students to create a script of their story they will use to 

realize their performance. Since the ‘dialogue’ of this scene is the song 

lyrics (if present), the scene might be plotted out using the lyrics to indicate 

specifi c pieces of action. 

Example 1 (Using Its Too Darn Hot from Kiss Me Kate, written by Cole 

Porter) 

Lyric: “It’s too darn hot.” 

Action: Jack, Jill, and Debbie fan their faces with their hands and pretend 

to swoon in the heat. 

Etc. 

Example 2 (Using “Dream of a Witches Sabbath”, the 5th Movement of 

Symphonie Fantastique by Hector Berlioz) 

1 minute 43 seconds – At crescendo 

Action: Alex and Sam jump onto the stage, running from Amy, who is the 

Monster, startling her and causing her to fall down. 

1 minute 53 seconds – Clarinet featured 

Action: Alex and Sam consider the situation, and wonder if the Monster is 

really a monster at all…they begin to explore. 

Etc. 

Scripting the scene in this way will allow the students to think more 

concretely about how to most effectively communicate their story to the 

audience. 



6. 

Ask your students to perform their stories for the class. The music 

should be used as the backdrop. 

Once all of the groups have performed, ask the following debriefi ng questions. 

1. Was it diffi cult to agree on a song with your group? How did 

you ultimately decide on your song? What was it about that 

song that spoke strongly to all of you? 

2. Did your group agree immediately on the story, or did you have 

to make compromises? Was this easy or diffi cult? 

3. As you developed your story, did it change from your fi rst idea? 

How did you handle this? 

4. Ask the class to go through each scene. Were the stories clear? 

What could have been clarifi ed? Ask the students if they now 

hear different things in the song(s) then they did before. What 

do they hear now? 

5. Do you feel you have a better understanding of how songs 

might be chosen or written for a musical? Why or why not? 

Sources Include: 

http://www.centralhome.com/ballroomcountry/swing.htm 

http://www.savoystyle.com/whiteys_lindy_hoppers.html 

http://en.wikipedia.org/wiki/Swing_(dance)http://www.imdb.com/name/nm0000073/bio 

http://en.wikipedia.org/ 

http://thedabara.net/ 

http://www.answers.com/topic/world-s-fair 

http://www.imdb.com/name/nm0001677/bio (The Internet Movie Database) 

http://www.gingerrogers.com/about/bio.html (Ginger Rogers offi cial site)

Backwards in High Heels Arizona Theatre Company Play Guide

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