 Ladies and gentlemen, the railroad hour. Our studded show train. Tonight, the Association of American Railroads presents the memorable Rogers and Hart musical hit On Your Toes, starring Gordon MacRae and his lovely guest, Marion Bell. Our choir is under the direction of Norman Luboff, and our music is prepared and conducted by Carmen Dragon. Yes, tonight another great musical success is brought to you by the American Railroads, the same railroads that bring you most of the food you eat, the clothes you wear, the fuel you burn, and all the other things you use in your daily life. And now, here is our star, Gordon MacRae. Thank you, Marvin Miller, and good evening, ladies and gentlemen. Well, sir, On Your Toes begins on the day Bill Dolan III was born, 25 years ago, in a very small hotel room in a very small town. How are you feeling, Mama? OK, Phil. Here, have a look at your son. Hiya, Junior. Look at that old scene stealer. It's a big hand. That's what he is. I can tell right now he's going to be a headliner. Oh, now you stop talking voodoo around him, Phil. I want him to be something worthwhile, like a music professor. Honey, you're kidding. Could you? Could you? Could you? Could you? Could you? Get him, kick his feet. Why, he's a born hooper. Music professor? Hooper. Music professor! And so, class, we note that the early 19th century brought forth a renaissance of singing composers. Miss Frane? Yes, Professor Dolan? Can you tell me what inspired Franz Schubert to write his serenade? A beautiful girl? No, Miss Frane. It was a pork chop and some liverwurst. Even composers have to eat, you know. Now, I wish to point out that there is tremendous competition in the field of music in our time, too. So, here's my advice to all of you. Not to reach the heights to the top of the tree, the higher up the sweet of it grows. You've got to be up on the penthouse top of the roof, the higher up the higher it goes. Forget that door, don't be a fool. Up on your toes they're mailed. The dancing crowd, you're some rare male. Like that of stair mail, see the pretty lady top of the crop. You want to know the way the wind blows, that my boy you'd better hop. Up on your toes. Up on your toes. Remember what I said. And now, class dismissed. Professor Dolan. Yes, Miss Frane? Have you had a chance to look over the song I wrote? Oh, well, yes, I have it right here. Well... Well, tell me, how did you happen to write this? Well, it was here in class. The strangest thing happens to me every time I look at you, Professor. Yes? I get sick. Sick? That's not exactly it. I can't quite diagnose how I feel. That's why I wrote this song. Frane, this is not quite a scholarly thing to say, but, you know, I get sick in the same way when I look at you. Nevertheless, it's long. Tell me the land in the barber shop gave me sunstroke. Let me feel like yesterday. It's got to be long. It couldn't be indigestion. Mother, he has a dog. People say it's no worse than a cold bath. Cold bath. I'm burnt to a crisp. But nevertheless, it's only long. You know, that's a terrible way for a professor to feel about one of the students, Miss Frane. I? Well, it's wonderful. But I wish you wouldn't call me Miss Frane. All right. Frankie. Professor Dolan, may I call you Junior? Say, why don't we meet for dinner just to try on first names for size, huh? Five. Oh, oh, oh. We better make it after dinner in the park. I have to see somebody backstage at the ballet. I have come to see you, Miss Barnable, because I feel that only you are a great enough dancer to perform this ballet. My dear boy. Well, it's called Swater on Tenth Avenue, and it was composed by one of my students. You are a music professor? Yes, ma'am. Oh, dear boy, if I had known that professors are so handsome, I would have gone to school. Now come, sit closer. Well, this ballet is new and different, exciting. The Imperial Ballet Company could do it wonderfully. Yes, yes. We will talk about that later. A prima ballerina in each life. Miss Barnable. You may call me Vera. Now hold my hand. Miss Barnable, the ballet. Oh, five seconds I'll leave you alone, Vera, and I'll find you holding the hand of another man. Professor Dolan, this is Constantine Morrissey of my supporting cast. He makes noise like a sheep. I resign. All right, go ahead, resign. But do not be late for rehearsal. A very jealous man. Holly, I read that you and Morrissey are engaged. We are engaged. We are not engaged. We love each other. We hate each other. Him, her men, him, her men. Miss Barnable, I'll leave the ballet for you to consider. And be sure to look at this passage, this love theme. Right there, he takes the girl in his arms like this, and he dances. Can't you hear it? Can't you feel it in your feet? Oh, Miss Barnable, if I don't dance, I'll die. Could you get me a job with the ballet? Just part-time, maybe as a super or something? If you are nice to me. Oh, well, if you don't mind, I'll be nice to you later. I almost forgot I have a date in the park. And that's why I'm late, Frankie. I'm sorry I sort of got all involved. Why would you want to be just a super in the Imperial Ballet? Well, maybe I'll be leading a double life, being a professor and a dancer, too. But I've just got here. Are you going to be seeing that Vera Barnov again? Oh, no, honey, you shouldn't be jealous. I'll be seeing her, but I'll be thinking of you. Is that trick done with marriage? You know, I know a spot you and I are going to someday, Frankie. It's a family landmark, a tiny hotel. Like dancing, it's in my blood. Is it a spot for honeymooners? Oh, it's perfect. Oh, it'd be wonderful. There's a small hotel With a wish while I wish that we were there together. I can see a distance People are stable there Good night's sleep well We'll thank the small hotel That's how things will be someday, Frankie. Meanwhile, I've got to do what I've got to do. And if I don't see you as often as I'd like, you'll understand, won't you? Oh, everything's going to work out okay, Frankie. Cross your fingers. Good night's sleep well We'll thank the small hotel That's how things will be someday, Frankie. Good night's sleep well We'll thank the small hotel That's how things will be someday, Frankie. Give on your toes in just a moment. Now here is act two of Rogers and Hearts and George Abbott's On Your Toes starring Gordon MacRae as Professor Dolan and Marion Bell as Frankie. Well, Frankie, thanks for waiting so late. Oh, it's all right, Professor. Hey, look, stars are all out. Oh, don't ask me to look at the stars, Junior. They get me all misty-eyed. How are things at the ballet? Oh, wonderful news. They're not only doing slaughter on 10th Avenue, but I'm the special director for the modern steps. That's great, Junior, but I'll bet it means a lot of rehearsing. Mm-hmm. Day and night. If you're looking for a misty-eyed galley who used to like to meet her fellow on a starry night, she went that way. Oh, Frankie, come here. We'll have lots of nights just like this one. What time is it? Oh, what difference does it make? Well, I promised to meet Vera Barnabas and to go over tomorrow's choreography. Oh. It's very important. You're happy about this, aren't you, Frankie? It's a wonderful break for the ballet and for me. Sure, sure, Junior. I'm happy. Oh, good. Well, I'll see you in a few days. Bye, Frankie. Bye. Sure. I'll be happy. Absolutely hysterical with laughter. If you had a sense of humor, you would laugh to beat the band. Still believe the rumor that romance is simply crowned the chin. A mental stage is all a jumble. More than glad to be unhappy. Why did love zabo? No, no, Mr. Morissin. This is an American rhythm. And who are you, Mr. Amateur, to tell the great Morissin how to dance? You don't seem to get the rhythm. I'm afraid, Mr. Morissin, that when it comes to syncopation, you have a tin ear. I have the most beautiful ears in the world. But you can't dance. How dare you to say that to the great stunts of the century? I will have you torn apart like the wolf's retruing you. Oh, Junior, I have decided. You will be my partner. We will rehearse together for hours and hours. Doesn't that make you happy? I do not understand Americans. They are always happy and sad at the same time. Yeah, happy, happy and sad. It's Russian, so here I am. Very glad to be unhappy. I can't win, but it's more than happy. But it's more than glad to be unhappy. And I've got it pretty bad. It's a pleasure to be sad with no mommy and no papi. I'm so unhappy. Ladies and gentlemen, at the radio audience, we are speaking to you from our special broadcasting box at the Cosmopolitan Opera House. But we are about to hear the premiere performance of Slaughter on Tenth Avenue. The leading roles will be danced by Vida Barnova and an unknown young male dancer whose name has not yet been announced. There's been no explanation why the great Morozine is not dancing tonight. Hello. Hello. Morozine speaking. Yes, listen. At the end of the ballet, this American nobody is dancing around and around the body. When he stops dancing and collapses, that is when you shoot him. There will be bigger applause, and no winner, no did it. Good. And now the conductor raises his baton, the lights dim, the curtain is going up, and we are to hear Slaughter on Tenth Avenue. Frankie, something terrible's happened. One of the stagehands overheard Morozine calling some gangster Sadako Jr. Oh, no. Look, Frankie, peek through the curtain. Those two thugs in the right stage box, look at those bulges under their coats. They're going to get him, just as he collapses in the finale. We've got to warn him. I'll flip on stage with a note. And now, ladies and gentlemen, we come to the finale of the ballet as this brilliant young dancer frantically rounds the body on the stage. Keep going, maestro. Keep on playing. We got him. We got him. Hit the finale. I can collapse. Here's Frankie. You know, darling, never leave me again. I've got the dancing all over my system. Now all I want to do is go to a certain spot and have a honeymoon with my gal. No ballet, no audiences. Nobody else but us. Longing through the window You can see our distant steeples Thank you so much, maestro And we will thank us more I'm a lovely Marion Bell. We'll be back for a curtain call in just a moment. Meanwhile, our thanks to Fritz Feld, Isabelle Jewel, Leakey, Peter Leeds, Sidney Miller, Alvina Temple, and to our entire company. On your toes, with book by Rogers and Hart and George Abbott, and music and lyrics by Richard Rogers and Lorenz Hart, was dramatized for The Railroad Hour by Lawrence and Lee. The Railroad Hour is brought to you each week at the same time by the American Railroads. The other day, I heard it said that travel by air is now safer than travel by railroad. Is that correct? No, indeed. It is true that in the 12 months ending in September, the domestic scheduled airlines had their best safety record. But in the same 12 months, the railroad safety record was three times as good. Well, that's just for a particular 12 months. What about the record over the years? Official reports to the Interstate Commerce Commission and the Civil Aeronautics Board show that in every year for which comparative figures are available, rail travel has been from two to 20 times safer than travel by domestic scheduled airlines. Thank you, Marvin. Now, here again is our charming guest, Marion Bell. Thank you, Gordon. Can I get off my toes now? Well, the ballet's over, Marion, and you were wonderful. Oh, who's tripping the light fantastic with you next week, Gordon? Well, maybe Benzel will be our guest, Marion, and we're going to sing the rousing and unforgettable Vagabond King. We'll all be listening. Good night, Gordon. Good night, Marion, and come back real soon. Oh, la board! Well, dear friends, it looks as though we're ready to pull out, and so until next Monday night, and the Vagabond King. This is Gordon Macrae saying goodbye. Gordon Macrae appeared through the courtesy of Warner Brothers, producers of The Miracle of Fatima. Our choir was out of the direction of Norman Luboff and our music was prepared and conducted by Carmen Dragon. Until next week, this is Marvin Miller saying good night for the American Railroads. Now, stay tuned for your Monday night of music on NBC. Tonight, The Voice of Firestone features Lawrence Melchior on NBC.