Peggy-Ann Barnes dreams of a trip on a yacht, a ride in an airplane, marriage to a millionaire. Then she wakes up and philosophically goes back to being a drudge.
Peggy-Ann was a study in the unusual. It violated every musical-comedy tradition, borrowed a few more from other art forms, and then violated them too. There was no opening chorus. In the first 15 minutes there was no singing or dancing at all. The plot was simply one long dream. The eternal musical-comedy love story was kidded. The chorus danced in a sort of planned chaos. The lights misbehaved with a sort of wayward intelligence of their own, the spotlight was never in the right place, and the footlights and borderlights went on and off willfully.
The dancing when it finally arrived, was an abrupt departure from the collection of speedy routines and specialty numbers which is still standard fare in musicals. It was a musical that ended with a whisper and a laugh.
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