 From Hollywood, California, the Lux Radio Theater presents Ginger Rogers, Rosalind Russell, and Adolf Manjoo in Stage Door. Lux presents Hollywood. This is a drama of Broadway, of the tears and joys, the struggles and romance of a group of girls battling for recognition behind the footlights. Starring our Ginger Rogers, Adolf Manjoo, and Rosalind Russell, and with Eve Arden. Conducting our orchestra is Louis Silver's, and between the acts, you'll hear one of Broadway's famous characters, George Pierce, stage-door man of the Empire Theater. Before introducing our producer, I'm worried about the product bringing you this hour of entertainment. Out here in Hollywood, 9 out of 10 screen stars use Lux Toilet soap. They use it regularly in their studio dressing rooms and at home, too. When a screen star whose complexion is priceless uses an inexpensive soap like Lux Toilet soap, you can be sure there's a reason, and here it is. Lux Toilet soap is skillfully made of the finest possible ingredients. More important, Lux Toilet soap has active lather that offers you protection against careless cleansing. Let Hollywood's beauty soap be your beauty soap, and help you protect the priceless loveliness of your complexion. And now, the producer of the Lux Radio Theater. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. It's about 25 years ago that a church worker making a sick call on a young actress living in the theatrical district of New York City noticed a pistol on the dresser. When the girl told her the neighborhood was so tough that she needed the weapon for protection, her visitor determined to do something about it. From that determination came a theatrical club, two brownstone buildings in the West 50s, the real-life background of our play, the home of hopeful young actresses who find New York a hard and lonely city. Here, Edna Ferber got her inspiration and collaborating with George S. Kaufman gave Broadway the resounding hit, Stage Door. When RKO brought Stage Door to the screen, it rediscovered one of its own stars, Ginger Rogers. Her nimble feet and appealing voice had carried her to fame in musical romances. Then came the part of Jean Maitland, which established her as one of our best dramatic actresses, and which she repeats tonight. She co-stars on the screen shortly with Fred Astaire in the story of Vernon at Irene Castle. Also from the original film cast comes that master of sophisticated charm, Mr. Adard Manjou, in the part of the theatrical producer, Anthony Powell. Mr. Manjou starred soon in the United Artists' release, King of the Turf. Making her first appearance at our microphone is Ms. Rosalind Russell, a Connecticut girl who came to Hollywood by way of stock companies and Broadway. Following her success in The Citadel, her new Metro-Goldwyn-Mayer picture is fast and loose, co-starring Robert Montgomery. And she's heard tonight in the part of Terry Randall. Eve Arden plays Linda Shaw. For now, the Lux Radio Theatre presents Ginger Rogers, Rosalind Russell and Adard Manjou in Stage Door. Broadway is a mighty stream, sparkling, swift and unfathomable, rushing on mercilessly, swollen with an overflow of talent from all the other little broadways, the main streets of America. But along the course of every roaring torrent, there are backwaters, pools and eddies where the driftwood collects. Such a backwater is the Footlights Club, a girl's theatrical boarding house just off Broadway, just around the corner from fame. In the old-fashioned living room of the club, the girls are gathered just before dinner. The air's thick with talk, sharp talk and women's talk. On the overstuffed sofa sits Jean Maitland. Jean is a dancer when she works, but she's been at liberty for the last six months. She polishes her nails calmly, ignoring the conversation that flies about her. Well, it couldn't be anywhere as it was last night. Yeah, no better than tomorrow night. Can anybody lend me a lipstick? How was the mad night, Susan? Very intimate. We had 100 people on the stage and 50 in the audience. Well, at least you had them outnumbered. Five weeks rehearsal and two weeks pay. What's the matter, the show closing? I'm like a tired clam. Oh, that's awful. Jean, did you hear that? Susan's show is folding. Yeah, and if any more fold, we can all move right into the storehouse with a scenery. Good evening, Hague. Oh, there you are, Miss Shaw. Were you speaking to me, Miss Maitland? I'm just on my way out. Come on, take them off. What? You heard what I said. Take off my stockings. What stockings? If you don't take them off, I will, and I'll take some of the hide right off with them. From now on, you can wear your own stockings or go bare-legged. Oh, is that so? Yes, that's so, stretching my size eight over your big Claude Hopper 12. Girls, girls, what's the trouble? Miss Hoidon accused me of stealing my own stockings. She swiped her last pair of stockings for me. Jean, Linda, how do you expect me to run a respectable boarding house? You're doing the best you can with the people you've got. Jean? Oh, Linda, Mr. Paul's car is here. Oh, well, tell the chauffeur I'll be right there. Well, well, Mr. Paul's car is here. Mr. Paul, the great producer, isn't here. Just his car. Well, if you were more considerate of your elders, maybe Mr. Paul would send his car for you someday. I can hardly wait. Of course he'd probably take one look at you and send you right back again, but then you have to expect that. Well, you should know. Well, good night, everyone. While you're sitting here digesting your lambs, too, you might be thinking of me dining on pheasant borderlays. Borderlays? No less. Woo, girls, listen, borderlays. Well, maybe it's casserole. I'm not quite certain. Well, be sure not to eat the bones and give yourself away. I'd say that bot was a draw, Jean. Break it up, girls. That's the end of round one. Girls, what's that knocking? It might be mice. Why is someone at the side door? Say, how do you get in here? If you really want to get in, you might blast. Oh, don't, Jean. It looks like a customer. Go around to the other door, please. It's a matter with her. Can't she read? The mice are still with us. This way. Come right in. Thanks. Good evening. Greetings. How many doors are there to this place? Well, where's the trap door, the human door, and the cuspidore? How many doors would you like? I only asked a civil question. I'd like to see someone about accommodations if you don't mind. Oh, I don't mind. Miss Orcott's the keeper on duty. Yes, I'm the one you see. You mustn't mind Jean. Evidently, Jean's a very amusing person. Woo! If you young ladies will pardon me, I shall take the wool fountains for a stroll through the park. This is a theatrical boarding house, isn't it? It's considered one of the finest. Now let me see what I have available. I'd like a room with a private bath. Well, is there anything so strange in that request? Oh, you mustn't mind the girls. They're just full of fun. We're just a great, big, happy family. Oh, yeah. How expensive are your rooms? $13 if you share a room in advance. That includes breakfast and dinner, but not luncheon. You mean meals are included for that money? Yes, indeed. And I must say we have a very fine kitchen. Woo! Girl? Girl? What shall I do about my baggage? I'm expecting a few trunks. Well, I'll have them taken care of, Miss... Randall, Terry Randall. Miss Randall, now let me see. I have only one vacancy. You'll have to share a room with Jean. You mean the girl who made all the... I'm sure you'll like the room. It's very bright. Come this way, Miss Randall. Three trunks. When does your baggage get here, Miss Randall? I'm expecting the bulk of it in the morning. We could leave the trunks here and sleep in the hall. There's no use crowding the trunks. Yes, yes. I don't know what we're going to do when the wolfhounds arrive. I hope you don't mind animals. No, not at all. I've roomed with a great many of them before. Yes, I can see that. Do you mind if I ask a personal question? Another one? Are these trunks full of bodies? Just those two. But I don't intend to unpack them. I was just thinking if the room got too crowded, we could live in the trunks. Now, that's a good idea. You don't mind helping me unpack, do you? Oh, I beg your pardon. You're not the maid, are you? Oh, it's quite all right. And may I put this picture here? Why not? It may help scare them all away. An old friend of the family? That must be my grandfather. Grandfather? Well, there is quite a resemblance, especially around the whiskers. Now, that's a fairly intelligent observation. For you? Judging from your wardrobe, I'd say he was a fairly generous old guy, as grandfathers go. He always treated me very well. I suppose if you'd had your choice, you'd have picked a much younger grandfather. I see that in addition to your other charms, you have the insolence generated by an inferior upbringing. Oh, fancy clothes, fancy language and everything. Do you mind if I hang your dress here on the floor? Temporarily, of course, I must take my bath. That should help. And remember, half the wardrobe is yours, and if anything of mine should get in the way, why, just toss it out the window. Still a community tub, you know. Hello, Kay. What's the matter, Kay? Don't you say hello to me anymore? Hello, Jean. I didn't see you. I just got in. I'm tired. Well, you certainly must have heard me. Don't pay any attention to me. Okay. Oh, it's just one of those days. Let's sit down and have a good cry. All right. Cry on my shoulder. I'm going to take a bath anyhow. What's wrong? No casting today. If you leave your name and number, we'll get in touch with you. Mr. Powell is not seeing anyone until the end of the week. Last week, and the week before, and the week before that. Somewhere, somehow I had the idea that I was a pretty good actress. Come on, shake out of it. What all those rave notices a year ago? That was a year ago. Ooh, you do sound gloomy. I don't know why I'm hanging on. There's nothing else I can do, and nobody I can go back to. Except somebody I'll never go back to. Listen, you don't have to go back to anybody. Well, you're the only good actress in this club. Something's bound to come your way. I hope so. Now, look, Kay. I don't want to butt into your private affairs, but if it's a matter of a few bucks... Oh, Jean, I've got to get that part in Enchanted April. It's me. It's my life. No one else can play that part. It belongs to me. I've got to get it. It just can't be otherwise. I've got to. I've just got to. Honey, all right, all right. Now, come on, snap out of it. Honey, there's somebody coming. Now, go on into your room, and I'll see you later. Go on, baby. What do you want? Jean, do you want a date? Some more of those lumber money yours? Well, yeah, but... The last couple we went stepping with were made of lumber, especially their feet. All right, don't. But it's not too late for dinner, and they haven't had theirs yet. Wait a minute. Did you say dinner? Yeah. Oh, well, why didn't you say so before you spoke? Hey, Mary Lou, get out of that tub. What do you think you are, a train seal? Quiet. Too darn quiet for me. Hey, where's Jean? Out with the lumbering lumberman. Oh, Miss Randall. Yes? I thought we ought to get acquainted. I'm one of the girls here, too. Oh. And Luther is my name. Are you of the theatre? Not yet, but I hope to be. With the proper coaching, you need not despair. In fact, if I don't find a play worthy of my talents, I may do a little coaching myself. Really? I can't tell you how interesting I found your discussion of 12th night at the dinner table. Thank you. I don't think the rest of the inmates shared your enthusiasm. Hang on to your chairs, girls. I have a friend for more Shakespeare. Is it against the rules of the Footlights Club to discuss the classics? The trouble with you girls is that you're all comics. Don't you ever take anything seriously? After you've sat around for a year trying to get a job, you won't take anything seriously either. You just have to sit around and do nothing about it. You think you're facing difficulties. What do you think of the men who crossed the Rockies? Did any of them crash the manager's office? No, but if they wanted to, I'm sure they could have done it. And I'll bet I can, too. Maybe she can get through the door with vanishing cream. Maybe I can. Did you say you'd bet, Miss Randall? I meant it figuratively. I'd rather have a lunch. All right. Anyone else? Yeah, I'll take a lunch. You'll crash your manager's office? How long? Give her a week. A week is enough. Name your manager. Um... Anthony Powell. Powell? V. Anthony Powell? Why not? All right. Why not? How are all your folks? What happened to you? You're limping. Am I? Did you ever dance with one of those lumberman Romeo's? Maybe. I don't remember. Well, if you did, you'd remember it all right. Well, why do you go out with them? Oh, Bide, why do I? They not only step all over you, but they bore you to death. They... Why am I telling you all this? Why not? We're going to share the same room. Why not share our troubles? We started off on the wrong foot. Let's stay that way. Oh, don't you ever stop quarreling? It's a matter, can't you take it? I can take it if you want it that way. Sure. Why not? Oh... I hope you like your bed. It's the worst of the two. Thanks. May I ask a humble question? If you ask it in English? You're probably wondering why I'm living here. Maybe I am. Why don't you sell some of those fancy clothes you've got and live in a decent place? Isn't this a decent place? I've always wanted to be in an atmosphere like this. Does this deer you haven't seen atmosphere? Wait until about six in the morning when those garbage trucks start around. Am I getting good or are you getting weak? It struck me funny. What did? The idea of having a garbage truck for an alarm clock. No, it's not funny to me. If I had your wardrobe, I'd scram out of here plenty fast and leave you here with your atmosphere. Oh, no, you wouldn't. You bark a lot that you don't bite. You wouldn't sell out for a wardrobe. That's all right for you to talk. You've got yours and Linda isn't doing so bad either. Linda? Oh, she's the other girl you fight with, eh? One of them. Well, you two probably have the right idea, I don't know. What idea is that? Stop kidding. Oh, oh, you mean having a grandfather, eh? I'll call him anything you like. If I had it to do all over again, I assure you I wouldn't have had a grandfather. Perhaps if I came in here today with a hungry look in my eyes and a straw suitcase, you'd think I was all right, huh? But a wardrobe won't help you to act. In three meals a day, of course, well, it's just a bad habit. Although that's hardly a reason for the girls to dislike me. Jean? Jean? Are you listening? Write it down on a piece of paper. I'll read it in the morning. In a few moments, the curtain will rise on the second act of Stage Door, starting Ginger Rogers, Rosalind Russell, and Adolf Maju. And now, during our intermission, let us listen in on Bill and Betty. They're going to be married in June, and now... Good night, Bill. You really must go now. Oh, gosh, Betty, not just yet. Oh, it's wonderful to hold you close. You're awful nice to look at, you know. But Bill, you must go. All right, I suppose I must. But gee, darling, I could look at you like this forever. Betty's one of those clever girls who uses lux toilet soap regularly and has skin that passes the love test. When a man's in love, his eyes look close and searchingly. Only skin that's soft and smooth can pass the test. If you have one romance and want to hold it, take the screen star's advice. They tell you it's foolish to risk cosmetic skin, dullness, tiny blemishes, and large pores. Use cosmetics all you like. Lux toilet soap's active lather removes stale cosmetics thoroughly. Guards against choked pores. We use this nice white soap regularly. Have you discovered what this soap nine out of ten screen stars can do for your skin? Here's Mr. DeMille. We continue with Stage Door, starring Ginger Rogers, Adolf Mongeau, and Rosalind Russell. Almost a week has gone by. Terry Randall, unable to make friends with the girls at the Footlights Club, pursues the uncertain path to fame alone. Jean Maitland, still out of a job, practices daily at Alex Karofsky's dancing school. With our partner Anne, she's working out a routine in a corner of the room. When through the door comes the famous producer, Linda's friend, Anthony Powell. Hello, Mr. Powell. How are you, Mr. Powell? I'm fine, Alex. How's the new school? Oh, fine, fine. New thinking of putting on a musical? No, I very likely won't produce anything this year, unless I can find an angel. Say, who's a little blonde over there? Oh, just one of the kids you want to meet her? Never mind. I'll introduce myself. Hey, Jean, look who's giving us the ones over. Who is it? Nobody but Anthony Powell. So that's Linda's soulmate. Who's he staring at? I don't know, but I hope it's me. You can have him. Morning. Are your girls racing for the musical? No, we're just getting over the DTs. That's a nice routine you kids have got there. I hear yours isn't so bad either. See you in the dressing room, Anne. What's the matter with your girlfriend? Oh, she's just... just nervous. Meeting such a great man, you know. Do you two girls expect to go on the stage? Oh, well, we're just hoping around, waiting for someone to discover us. Well, you're discovered. Oh, oh. I didn't mean it that way. You see, we thought maybe, you know, we might get into a nightclub like the Grotto. The Grotto? Yeah, you know, someplace like that. You know. Well, excuse me, I guess you're getting me nervous, too. Excuse me, goodbye. Nice little routine those kids have, Mr. Powell. Yes. Say, Alex. Call up Gordon at the Club Grotto. Tell him I said to give the kids a job. And the Grotto? Shwell. That wasn't so bad. It wasn't so good, either. Did you see who was sitting out there? Sure. Our friend, Miss Linda Shaw. And her friend, Mr. Powell. Well, whatever. I heard tonight that Powell owns half-interest in this club. Oh. You know, it did strike me kind of funny, our getting a job here all of a sudden. Nah, don't be a dope. I'm going to collapse. Hello. May I come in? Oh, how do you do, Mr. Powell? I thought you girls were very good tonight. Thank you. We thought so, too. Ha-ha. I had no penetration to her, Mr. Powell. She's slightly balmy. Well, excuse me, Mr. Powell. You don't like me, do you? How could I help liking a man who takes his mother out to a nightclub? That was your mother you were sitting with? No. Your real mother is young, blonde, slim, and generally intriguing. I'll see if I can get you one on Mother's Day. What size? Your size. Well, that wouldn't be so easy. You see, I'm not the stock size. Couldn't we talk the whole thing over to dinner some night? Hmm, not very fun to dinner. Could you send your car around for me? Where could I send it? I'm living at the Foot Lights Club. But the traffic around there is a little heavy. Oh, I see. So maybe you'd better send it around here first. Shall we say, uh, tomorrow night? After the show? Mama will have a lamp in the window. Good night. For Kate they're not using tonight? You're a little early, Jean. I know, but I want to get Alina out this morning. I've got a date for dinner. Carrie Randall's got one. I know. Where is she? Out to lunch. Free, too, a fellow just called for her. Oh, Grandpa? Well, I'd say he was a little young for Grandpa, but I liked his call. Well, that's all. So your decision is final, is it, Terry? Yes, Dad. It's final. I'm sorry, my dear. I thought by now that you would have satisfied this silly whim of yours. You're ready to come back home. If I thought I couldn't achieve something by myself without the aid of the family millions, I'd feel like a pretty sorry specimen. But why must it be the stage, Terry? There are other things to achieve in life. I don't know, Dad. It just happens to appeal to me. What's the family name to consider? Don't worry about the family name. So far as New York is concerned, Terry Randall is just another stage-struck girl from the Middle West. They don't know me from Eve, but they're going to if I have anything to say about it. And if you were to fail, then what? If I'm a failure, I'll be the first to admit it. Then you would come home if you failed? Would you have me? Well, you're pretty stubborn, but you're still my favorite daughter. Let's leave it at that. Oh, what time is it? It's almost three. Oh, Dad, I've got to run. I've got to bet with the girls that I couldn't crash a manager's office. Something tells me you won't lose. Oh, darling, Dad. Mr. Anthony Powell's office. Mr. Powell isn't in. Have you an appointment? Sorry, he can't see you. Hello? Hello? No, no casting. Ms. Winters, I'm Kay Hamilton. May I see Mr. Powell, please? Just a moment. Hello? Are you Kay? Oh, hello, Judy. What was it, Ms. Hamilton? Mr. Powell, please. I'm sorry, but Mr. Powell isn't seeing anyone today. But, but I have an appointment. I was supposed to read that part for him in Enchanted April. I'm sorry. But if I could only see him for five minutes. Not today, Ms. Hamilton. But I've got to see him today. I've just got to... Oh, Ms. Hamilton. Oh, catch her, someone. I'll take care of her. Kay, Kay, are you all right? Somebody get some water. Rub her hands. We'll bring her around. Kay, here's the water. Judy, what happened? Oh, Terry, it's Kay. She fainted. Yeah, Powell broke an appointment with her and when Ms. Winter's told her, she passed out. Yes, she'll be all right. She's coming around now. Kay, are you all right? I feel better now. Just who does this Anthony Powell think he is refusing to see people with appointments? Let me through, please. You can't go in there. No, just watch me. But come back here. I beg your pardon. So you're Anthony Powell. Well, and who might you be? My name is Terry Randall, but that's not important. Why, what right do you break into my office without an independent... What right have you to barricade yourself behind closed doors and refuse to see people? It happens to be none of your business. Do you know that a girl just fainted in your outer office because you broke an appointment with her? I'm sorry, I didn't know. And as long as you keep that door closed, you'll never know. You're a producer and it's your business to see actors. Why, the greatest actress in the world might be sitting out there and you never give her a chance. Are you the greatest actress in the world? Never mind me. I don't need you. But those other girls do. They work and starve and go without decent food and clothes in the hope that someday someone like you will come out of his office and notice them. Really? Now listen, my militant friend, I judge by your attitude that you hold me personally responsible for any possible tragedy in the lives of the girls who come up here. Is that right? No, it isn't. But I do think you owe it to all these people to at least see them. Maybe they've got something. Well, maybe they have. But do you realize that if I try to see all the young girls who want to be actresses that I wouldn't have time to do anything else, there are about 50 girls for every job that's opened. But how do you know you'll get the right ones? You don't even have the courtesy to come out of your office and say no to them. That at least would be some contact with the theatre. Well, you're one that can't complain. I've seen you and you're not the type. You're very smug, Mr. Powell. Very smug. Well, whether or not you're satisfied that I'm not entirely responsible for the woes of the theatrical world, I'd suggest that you run along and leave me here with my conscience. I doubt very much that you have a conscience. Good day, Mr. Powell. How was Kate tonight? Oh, she's all right. What did the doctor say was wrong? Malnutrition, he called it. That's Latin for not eating. Mrs. Orkut, what did the doctor say? She's going to be all right. It was very sweet of you to send in the doctor, Terry. I asked you not to say anything about us. Well, of course, dear. It's not that I'm sentimental. It's just that the whole thing seems unnecessary to me. Certainly, dear. And now that you've paid a rent, there's no reason why she shouldn't say... May I come in, Miss Maitland? Certainly, Miss Shaw. I guess you'll be safe. The exterminators won't be here till tomorrow. How did they miss you on their last visit? I was out in society that day with an old boyfriend of yours. Oh, yes. Speaking of funerals, these flowers just arrived for you. And my little flower girl brought them up to me. Well, if I could find my purse, I'd give you a big five-cent tip. Well, I really came along to give you a tip. Oh, and don't bother to read the note. I can tell you what it says. Eleven roses and the twelfth is you, signed Anthony Powell. You're doing very well up to now. Tell me more. Oh, the routine's the same for all the girls. Quiet little supper in the Powell penthouse with champagne and all the fixings. Oh, and then there's Harcourt. Now, Harcourt's a gem. That's not Harcourt you're wearing, is it? No, my sweet. Harcourt's the butler. A very discreet butler, if you get what I mean, and conveniently deaf. Now, let me see. Tony usually starts off with a tired little boy routine. Oh, but I don't want to spoil it for you. I'll let it all come as a big surprise. Thanks for calling. And if you ever need a good pallbearer, remember I'm at your service. Good night, dear. Oh, hello, Randall. Hello. Have a nice time, Jean. I didn't mean to eavesdrop, but I couldn't help overhearing. You're not really running around with this man Powell, are you? Why not? Why should you play with fire just despite Linda? I can take care of myself. Personally, I think you need a governess. Besides, if I don't go out with him, I'll probably lose my job, and so will Anne. We'll be right back where we were. Now that's a lame excuse. You got along somehow before, didn't you? I'm sick of getting along somehow. Besides, it's none of your business. Sorry. Oh, by the way, that's a beautiful ermine cape you're wearing. Remarkably similar to one of mine. Oh, it is yours. I just wanted to see how I'd feel in one of these things. Do you feel any different? I'll say. Why don't you wear it? Do you mean it? Why not? You may as well go to perdition in ermine. You're sure to come back in rags. Oh, you know, you're funny. In some ways, you're not such a bad egg. Oh, as eggs go, I probably have my points. Gee. Thanks. Good night. Good night. Oh, Bill. Hello, Bill. I've been waiting out here for you. Yeah? Well, when did you get back, Bill? This morning. The show was one of the quicker flops of the year, in spite of my swell publicity campaign. Have a cigarette, Jean? No thanks. I gave them up when I was seven. Right, girl. You busy tonight? Yeah. Well, I couldn't give you much of my time tonight anyhow. But how about dinner tomorrow night? I don't see how I can very well. Why not? Well, since we got this job, I haven't had much time for anything. Well, you haven't given up eating, have you? Why isn't that, Bill? Maybe we hadn't better see each other for a while. Why? I just think it's better. Oh. Why do you say, oh, like that? How would you say it? Well, you make it sound like it meant something else. Well, Ed Ehrman speaks for itself. Whatever I do is my own business. Okay, okay, sure. I'm sorry, Bill, but I've got to live my own life from now on. Well, you understand, don't you, Bill? I guess I do. Song, Bill. This is the Columbia Broadcasting System. We've completed the second act of Stage Door. Ginger Rogers, Rosalind Russell, and Adolf Manjoo bring us Act 3 following this brief intermission, which features our special guest of the evening. And now a word about Lux Toilet Soap, the gentle white soap with active lather the screen stars use. It's because Lux Toilet Soap has active lather that it makes such a wonderful bath soap, too. Carries away perspiration, every trace of dust and dirt, leaves skin smooth and delicately fragrant. Screen stars say men fall for skin that's sweet. A Lux Toilet Soap beauty bath makes you sure. Use this gentle rich lathered soap for your daily beauty bath. Our producer, Mr. DeMille. For our special guest tonight, we asked the Empire Theatre in New York City to lend us their Stage Door Man, because his particular Stage Door is the most glamorous of all. Through it have passed so many great stars, from Sarah Bernhardt to Catherine Cornell. So much a part of the Empire has its doorman become, that the theatre is his middle name. From New York City, we now present the Stage Door Man of the Empire Theatre, Mr. George Empire Pierce. Thank you, Mr. DeMille. I suppose some of you are wondering just what a Stage Door Man does. Well, I'm a combination policeman, secretary, cook, father, confessor and banker. It depends, of course, on who's playing the theatre. Take English actors, for instance. They like their tea on matinee afternoons. Brian O'Hern is a great tea-draker. When he was with Catherine Cornell at the Empire in the Barrette of Wimpole Street, I made tea between acts every matinee day. Ms. Cornell herself likes to eat dinner in her dressing room between matinee and evening performances. Incidentally, when we have a play opening on the theatre in which she does not appear, she sends a wire with best wishes for my opening. With Burgess Meredith in the theatre, you've got to be a banker, because Burgess doesn't carry any money in his pocket. He'll come rushing into the theatre, toss his hat into a fire bucket and have his coat and tie off by the time he gets to the dressing room door. He'll stop quick and come back to where I'm sitting. George, he'll say, I owe you 60 cents, and then he pays me. After the show, he can never find his hat. He grabs the first one he can see, whether it fits or not, and it generally doesn't. Now, of course, the man whose hat Burgess takes picks up somebody else's and that goes on and on and on. Nobody has the right hat. Personally, I always consider it an honor when Burgess grabs my hat off my head as he goes rushing out. Every day in real life, I see a part of the story you're hearing in stage door tonight, and I know how tough it is. I remember one girl who kept coming back to the theatre whenever a new play was casting. She was never good enough to get a job, but that didn't discourage her. One day, she fainted while reading a part. It was the old story, not enough to eat. Well, we took up a collection, sent her back home, some place in Iowa. I never saw her again, but I'm willing to bet that she'll be back someday. And they won't give up the fight, and that makes an old stage door man's life worth living. Thank you, Mr. DeMille, and good luck to the Lux Radio Theatre. We exit from your stage door in New York, Mr. Pierce, and return to our own stage door in Hollywood, where Ginger Rogers, Adolf Mangeau, and Rosalind Russell are ready for act three. Later the same evening, in Anthony Powell's penthouse, high above Broadway, Jean stands by the window, gazing down at the twinkling lights of the great city. The producer stands close to her, smiling indulgently at her wonderment. It's a beautiful view, isn't it? What? Oh, the view. Oh, yes, it's wonderful. It's beautiful. Tell me, did you enjoy the supper? I didn't dare to. Why not? Make it too hard to go back to Lamstew. You don't have to go back to that Lamstew if you don't want to. Do you have suppers like this all the time? Practically all the time. Why? I just wondered. I wish I'd been born lucky instead of beautiful and hungry. Will you have a little more champagne? No thanks. I'm afraid to walk now. Well, perhaps a little coffee. No, I just want to look at the view. Oh, it's a wonderful view, don't you think? Yes, it's a beautiful city, like a fairyland. It's full of color, illusion, glamour, romance. Hey, what happened? What's the matter? I thought something blew out. Oh, I turned down the light. It does improve the view, doesn't it? Oh, it's beautiful. It's beautiful now. But think of how much more beautiful it will be with your name flashing across the horizon. Jean Maitland, in letters four feet high. Eight feet. All right, eight feet. I'll be the sculptor and you the clay. I'll mold you into the greatest dancer Broadway has ever known. I'll be Pygmalion and you will be Galatier. Oh, it sounds like a fairy story. Well, isn't life just a fairy story? After all, aren't grown-up people just little boys and girls at heart? Oh, I know. At the office I'm the gruff Anthony Powell theatrical producer, I suppose. But here, with you, I'm just a tired little boy with a dream. Who were you going to be? You were going to be somebody and I was going to be somebody. Oh, yes, Pygmalion and Galatier. Which one am I? Your Galatier. Who were they? Pygmalion was a sculptor who carved the statue of a woman out of marble. The statue was so beautiful that he fell in love with her and his love was so deep and tender and true that it warmed the statue into life and they lived happily ever after. Oh, did they get married? I don't think so. I don't believe people got married in those days. I think that's terrible. What's terrible? They didn't get married. But she was just a statue. That's what's so terrible about it. You mustn't cry over a statue. The whole thing's a fairy story. But after he'd gone to all that trouble and everything... He didn't go to any trouble. Now you're just getting hysterical. I'm not hysterical. Besides, he couldn't marry her if he wanted to. He should have thought of that in the first place. He was probably minding her own business. Come on, you're getting yourself all excited over nothing. Harcourt! Well, it may be nothing to you, but it was something to her. He can't do that to her. You bet he can't. Harcourt! Well, standing there like that... I'm going to do something about it. The very first thing in the morning. That's the same. Harcourt! Thank you, Harcourt. It's awful. It's terrible. Now, now, now, here's your wrapping. You run along home now. Get some sleep and don't worry about anything. I'll see my lawyer. We'll get the whole thing straightened out. What thing? Now, look, my darling, whatever there is to be straightened out. Harcourt, open the door. There's good old Harcourt. He'll see you to the car. That's a good girl. Ah, you're wonderful. Did anybody ever tell you you're wonderful? You're wonderful, too. And Harcourt's wonderful, and I'm wonderful. And the whole thing's wonderful. You're wonderful, wonderful. Good night. Good night. I'm sorry, Mr. Powell's in conference, Mr. Burke, and he cannot be disturbed. You have a client. A client who's interested in putting a little money into my show in chanted April. Right? Exactly. But he wants to remain, shall I say, incognito. Of course, of course. Now, just how much does your client wish to put up? As much as you need, Mr. Powell. With one stipulation. Well... He wishes to be allowed the choice of the feminine lead. Oh, I see. I don't think you do. His purpose is not merely to make his daughter a present of a leading role, Mr. Powell. He wants to find out, and quickly, if she has any real talent. I see. Are you willing under those terms? Well, fresh money is always welcome. Either way, who's the girl? The name she uses now is Terry Randall. Randall, Randall. Oh, yes, Terry Randall. I expect this to be the greatest play I've ever produced, Miss Randall. Every actress on Broadway has begged to play the part of Jeanette. It's one of the greatest parts ever written. Shall I turn down the lights a little, Miss Randall? It improves the view, makes it more restful. On the contrary, it makes me feel slightly uncomfortable. Are you sure you brought me up here to discuss this play? Why do you ask? I'm a suspicious person. You want to be a star, don't you? Yes, under the proper circumstances. How would you like to see your name blazing across the horizon and letters four feet high? Four feet? Yes, it's got to be a good-sized sign. I'm used to that. So's Jean Maitland. What's she got to do with it? Are you in love with her? No. I thought so. What's Jean Maitland got to do with this discussion? Do you want to play this part, or don't you? I'm really tremendously flattered, but how do you know I can act? You've never seen me on the stage? How do you know that? Because I've never been on the stage. Oh. Well, I saw you perform in my office. I wasn't performing that day. Well, whether you were or not, I know an actress when I see one. You showed fire and emotion, and that's what I need in this part. I'm not an emotional person. You will be when I get through. I'll mold you into one. I don't want to be molded. I believe in acting with my brain. Well, I'll mold you one of those also. Would you like some champagne? No, thank you. Do you mind if I have some, do you? Go right ahead. I beg your pardon, sir. Are you expecting someone? No, get some champagne. I'll answer it. Do you mind if I answer the door? Not at all. Thanks. Well, it's about time. Jean, how did you get up here? Have you got a woman in this apartment? Who wants to know? I do. Now, listen, I'm in a bad humor. Where is she? Oh, so it's you. Hello? Say, what is this? That's what I'm asking. Mr. Powell's just been telling me the plot of the play. So that's how you happen to be sitting on the floor. Come on, get up, Miss Randall. That isn't where I left you. What is this, a frame-up? Tony Darling, control yourself. Now, don't Tony Darling me. Come on, get up out of there. Jean, you go home. Go on. I'll go when you hear what I've got to say. Say it and get it over with. She came up here to sign a contract to do a play. What's she going to sign it with? Champagne? Harcourt. Call the manager. Oh, you needn't call any manager. I thought I was in love with you, but I see my mistake now. I only went out with you in the first place, despite Linda. And as for you, Miss Terry Randall, you'd better hide your face. You double-dealing, double-dive. Darling, I didn't know what I was doing. My own roommate, and you preach ideals. You and your grandfather. Now, look, I've had enough of this nonsense. She preaches ideals so she can chisel when my back is turned. Well, you can take your old Red Fox cape. I'll never borrow another thing from you as long as I live. Don't you try to borrow anything from me, either. I hope you two will be very happy together. You two-faced snakes! Good Lord. What's so funny? Everything. Well, it's not funny at all. What are you supposed she thinks? Exactly what I wanted to think. What? But why? Well, for several reasons. In the first place, I like her. Oh, I see. You're something of a girl's scout, aren't you? This class. And now suppose we get back to the play. All right, take you places on stage, please. We're going to play the scene over again. From the father's line. Go ahead, Walters. Right. Mother, here's Jeanette now. Coming up the garden path. Oh, poor child. Well, uh, uh, uh, mother, uh, cross-center there. Poor child. She's probably broken-hearted. You'd better let me talk to her first. You'd better let me talk to her first. Well, come on, Miss Randall. That's your cue. Oh, I'm sorry, Mr. Powell. I didn't realize we were rehearsing it again. In the theater, Miss Randall, you come in on cue. I'll try it again. But my opening speech still doesn't seem right to me. If you'd read it correctly, that would help. Remember, your husband has just left you and you're broken-hearted. Broken-hearted. Can you understand that? Start over again, Walters. Yes, sir. Mother, here's Jeanette now. Coming up the garden path. Oh, the poor child. She's probably broken-hearted. You'd better let me talk to her first. The Cala Lilies are in bloom again. Such a strange flower, suitable to any occasion. I carried them on my wedding day, and now I place them here in memory of something that has died. That's terrible. Well, if you think I'm so terrible, Mr. Powell, why did you hire me for the park? That's what I'd like to know. Probably temporary insanity. Try it again. Jean, do you think this dress is fancy enough for an opening night? Randall's opening. You ought to wear black. Oh, hush. She was nice enough to give us free tickets. Yeah, she wanted to be sure there was somebody in the audience. It sounded as if you wanted to be a flop. Not exactly, but as long as there's going to be a flop, I want to be there and see it. In bloom again, such a strange flower, suitable for every occasion. Cala Lilies are in bloom again. They're rehearsing again. I thought I told you to this. I can't remember a line, Luther. Not a line. Of course you can't. No one can and are before Clinton. Time on an opening night. When you step out on the stage, they'll all come back to you. But what if they don't? They will. They always do. Kay, the doctor told you to stay in bed. How could you expect me to stay in bed with all this excitement going on? But you mustn't disobey orders, dear. I was going to come up and see you before I left. Keep her cheerful, Kay. She's got first night nerves. You've had them, you know. I'll run along now and get my things. We are due at the theater now. Kay, it's that opening speech. If I could only get through that, I think maybe I'd be all right. Kay, watch me, will you? The calla lilies are in bloom again. Such a strange flower suitable for any occasion. May I make a suggestion? I wish you would. The way you hold the flowers. I always felt that Jeanette would hold them if she were a child. You see, they never had a child. Oh. Oh, I see. Do you suppose that was what the author intended? I'm sure of it. And when she says, in memory of something that has died. Kay, do you know this play? Not a play. It really happened. It happened to someone I know. It happened to me. Okay, darling, don't do that. This isn't just your night. It's my night, too. Oh, Terry, you've got to be a success tonight. You've got to give a great performance. No matter what happens, this is something that matters. No. No, I'm just excited, that's all. Terry, aren't you ready yet? One minute, just a minute. Kay, Kay, you're in. No, I'm not. It's just excitement. Terry, I want you to have this ring. They all gave it to me last year and brought me luck on my opening night. Maybe it will bring luck to you. Oh, darling, you're sweet. I wish you could be there later in the theatre. I will be there, Terry. In spirit. Kay, come now, Terry. Luther, Luther, there's something wrong with Kay. Nonsense, my dear. Didn't you see her face, her eyes? She frightens me. Now, Terry, please, you're all nerves. You've got to calm yourself. Luther, what, what was it? Something happened. Jean, there's no use calling her now. Jean, what is it? She can't hear you now. She's lying downstairs. I'll hold it up on the pavement. No! She jumped out of the window. Little Kay, she's dead. Oh, my God. Oh, my God. Jean, why did you tell her? Terry isn't responsible. She is responsible. It was Kay's part. It was Kay's life. No, it's too late. Please, please. Kay is dead. Kay, you never harmed anyone. And all because she hasn't a heart. Because she's made of ice. Terry, don't listen to her. Jean, get out of this room. Do you hear? I'm leaving. I'm going to the theater. And I'm going to sit out front because Kay asked me to be there. No, no. And every line she reads, I'm going to say that should be Kay's line. And every move she makes, I'm going to say that should be Kay. Kay, who's lying there in the street, all broken and alone. Now I dare you to go on tonight. I dare you. Terry, Terry, dear. Kay, little Kay. Oh, my God. Kayton going up. Kayton going up. Kayton. She couldn't help it. Terry couldn't help it. Mother, here's Jeanette now. Coming up the garden path. Oh, the poor child. She's probably brokenhearted. You'd better let me talk to her first. Jeanette. Jeanette, dear. The calla lilies are in bloom again. Such a strange flower. Suitable to any occasion. I carried them on my wedding day. And now I place them here in memory of something that has died. You poor child. I feel gathered here to mourn or bring me comfort. I've learned something about love that I never knew before. You speak of love when it's too late. Why are we always so helpful to each other? Too late. He's coming to say goodbye today. And one must always listen closely when people say goodbye. Because sometimes, sometimes they're really saying farewell. Oh my darling, you can't stay Jean. We'll take you away. Jean, she's good. Terry's good. This is my home. This is where I come. Jean, don't stay like that. Jean! I should thank you on behalf of the company. And I know that I'm grateful for your applause. But I must tell you that I don't deserve it. I'm not responsible for what happened on this stage tonight. The person you should all be applauding died a few hours ago. A young and brilliant actress who could no longer find a place in the theatre. It was for her, more than for anyone else that I was able to go on. I hope that wherever she is, she knows and understands and forgives. My dear, you'll never know how good you were tonight. You were simply wonderful. That wasn't me out there tonight, Luther. It was someone else. It's only after we've suffered that we can make the audience feel for us. Does someone have to die to create an actress? Is that what the theatre demands? Oh, Jean. Oh, Jean. Terry, please forgive me. You were wonderful, Terry. No, not I. It was Kay, Jean. Wherever she is, I know she understands. Will you take me to her? Please, Jean. Yeah. Yeah, here. Here's your coat. Is it true Terry Randall is the weed king's daughter, Mr. Powell? Give us a break, will you? Please, gentlemen, please, please. I'll give you the whole story. Yes, it's true that Miss Randall is the daughter of Henry Sims, the weed king. How do you discover her, Mr. Powell? Well, that's another story. See me tomorrow. Oh, hey, we'll be there. Good evening, Anthony. Oh, hello, Ellsworth. Do we get a good review from you tomorrow? Well, Terry Randall will. She has a very strange quality. Reminds me very much of that girl you brought out last year. Oh, yes? What was her name? Oh, Hamilton. Yes, yes, Kay Hamilton. What ever happened to her? She's still around. Strange quality. Beautiful. Yes, I'll have to look her up. I think I've got just the part for her. Well, good night. Good night. Put her on here this afternoon. Judy North is leaving. Getting married. Wait a minute. If any of you hands ever come to Seattle, the House of Milkbanks is always open to you. Well, if we do come up to see you, I hope you'll promise to give us woodchuck pie. It's better than land stew. Bye, everybody. I'm actually going. I feel like having a good cry. Oh, you should weep. It's the first job you've had in a year. Goodbye. Goodbye. Well, that's that. Poor kid. Why is she headed to leave a dump like this is a mystery? Oh, I know how she feels. To me, it would be like leaving the house where I was born. Well, at least she'll probably have a couple of kids to keep her company in her old age. And what'll we have? Some broken down memories or an old mangy scrapbook that nobody'll look at. Well, we probably are a different race of people. Maybe. Just now, I feel like sitting in the moonlight having somebody hold my hand. Hey, Gene, Bill's on the phone. Bill? Oh, give it to me. Oh, hello, hello. Bill. Don't be sentimental. Remember, you're a ham at all. Oh, shut up, Terry. Shut up. No, no, Bill. That was a friend of mine. Hey, Bill, how would you like to take an old broken down hag to dinner and maybe for a ride out toward Bronx Park or someplace? Eight o'clock at the greasy spoon? All right, pigeon pie. No backstage for an interview with our stars. Ginger Rogers, Russell and Russell and Adolph Mongeau. Before the play began, Mr. DeMille, you spoke of a theatrical boarding house in New York where we played. We talked about a group called the Footlights Club. And right here in Hollywood, we've become a part of both. Yes. What those places are to the stage, the Hollywood Studio Club, is to the movies. It's one of the finest things that ever hit this town. During the past 23 years, it has provided a home and companionship for about 3,000 girls with great ambitions and slender finances. But unfortunately, living at the Studio Club is no more a guarantee of success than living at the Footlights Club solved the problem of stage door. Of the 3,000 girls Ginger mentioned, only 100 reached any degree of fame. Knowing what odds are against her, I think any girl who still wants to act deserves all the help and encouragement we can give her. Well, Ross, I'm never more embarrassed than when I'm asked for advice because advice is what I can use plenty of myself. But when I am asked, I always put a lot of emphasis on good appearance. Pointing out perhaps such models as that sartorial success story, that paragon of the peak lapel, Adolph Mongeau. Now, I've been kidded about my wardrobe so much that I'm ready to swap everything for one fairly substantial rain barrel. Where were you, Ginger? About to remark that the little article putting on this great big show can be very helpful in the matter of good appearance. I mean Lux soap. A smooth, fresh complexion is a tremendous asset to every girl. Since I happen to use it too, Ginger, I'm delighted to add an enthusiastic detail. And don't forget the job its program is doing in keeping everyone entertained on Monday nights. Good night, sir. Good night, Mr. DeMille. Our stage draw is open to any time. Listen to Mr. DeMille's announcement in just a moment of the playing stars awaiting you here next week. Eve Arden's next film is Warner Brothers' Women in the Wind. Louis Silvers appeared through courtesy of 20th Century Fox Studio where he directed music for wife, husband and friend. And be sure to hear the new Lux radio show, The Life and Love of Dr. Susan, the adventures of a young woman doctor struggling against odds to support her two children. You can hear it on most of these stations in the United States every day Monday through Friday. In the Eastern Time Zone at 2.15, in the Central Time Zone at 1.15, in the Mountain Time Zone at 3.15 and on the Pacific Coast at 2.15. This Daylight Show comes to you in addition to the Lux Radio Theater. Heard in our cast tonight where Miss Florence Lake is Anne, Lorraine Tuttle is Kay Hamilton, Leona Roberts as Mrs. Orcutt, Gloria Gordon as Mrs. Anne Luther, Gerald Cornel as Carmichael, Tyler McVeigh as Bill, Miss Eve, Jeanette McLey as Mary Lou, Margaret Brayton as Judy, Colleen Ward as Susan, Sarah Selby as Operator, Martha Wentworth as Mother, Lou Merrill as Kurovsky, Edward Marr as Usher, James Eagles as Harcourt, David Kerman as Reporter, and Crawford Kent as Henry Sims. Mr. DeMille. Man's Conquest of the Air has provided the screen with some of its finest and most exciting melodrama. Tonight, Ceiling Zero. A vigorous roaring commentary on transport aviation and the men who pioneered with wings. You'll hear Ceiling Zero with the same two stars who flew with it to new heights of popularity. James Cagney and Stuart Irwin. Our sponsors, the makers of Lux Toilet Soap joined me in inviting you to be with us again next Monday night when the Lux Radio Theater presents James Cagney and Stuart Irwin in Ceiling Zero with Boots Mallory and Jean Cagney. This is Cecil B. DeMille saying good night to you from Hollywood. Musical selections heard tonight included Manhattan Serenade by Louis Alders. Thanks for everything from Thanks for Everything and are you in the mood for Mischief from Tailstone? Your announcer has been melted raw. This is the Columbia Broadcasting System.