165:. A little later, his first major step toward improving his lot is to marry his boss' daughter Evie after getting her pregnant out of wedlock; now saddled with the responsibilities of a family, he is given a job in his father-in-law's factory. He has two daughters, Susan and Jane, but truly longs for a son. He allows his growing dissatisfaction with his existence to lead him into the arms of various women in his business travels—
314:, the show obtained a slight update, but it retained the Nazi-ish Fräulein, the Bolshevik Russian girl, and the Judy-Holliday-ditzy American blonde—all much more distant than in 1961 and thus outside the experience of anyone under 40. It received poor reviews and closed after just 52 performances over five weeks. Newley was very disappointed and bitter about the reviews, as he told the audience after the final curtain.
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terms with his own selfishness while writing his memoirs. As death approaches, he watches his second daughter give birth to a son. When the boy nearly dies, Littlechap intervenes and allows Death to take him instead. In that final moment, Littlechap mimes his own birth, beginning the cycle once again.
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for Best
Adapted Music Scoring. The film deleted the German mistress sequence and substituted a Japanese mistress. It is not clear whether this was the Bergman contribution or if Newley and Bricusse created the new sequence. It is also unclear why this substitution was made. In the film version, the
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said that "there are closeups and attempts at creative editing in this film but these elements aren't nearly enough to make it more than a statically filmed play"; he added that "this is a star vehicle but he can't really make it go. Davis, who can be an overpowering presence on stage, doesn't come
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cabaret singer Ginnie—as he searches for something better than he has. He becomes rich and successful and is elected to public office. Only in his old age does he realize that what he has had all along, the love of his wife, was more than enough to sustain him. But Evie dies. Littlechap comes to
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backdrop, focuses on
Littlechap from the moment of his birth until his death. Each time something unsatisfactory happens, he calls out "Stop the world!" and addresses the audience. His progress through school, like his birth, having been briefly portrayed, he first finds work as an office helper
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features a gaudy set, a few uneasy references to current events, and floppy, ill-fitting costumes on everybody but Mr. Davis, who wears a silky sweater and pants but no jewelry, because he is supposed to start out poor"; she concluded the review by saying that "music, mime and merriment are in
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across vividly and forcefully in this play-movie. It's not totally his fault. His efforts don't add up to much because he has no exceptional material to work with. Putting Davis in this production is like renting a cannon and filling it with blanks." Tom McElfresh of
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said that "the Newley-Bricusse work has been stripped of most of its inherent—albeit marginal—interest and has been redesigned to allow Davis to mug shamelessly and milk the audience for cheap laughs with a multitude of low comedy routines." Edwin Howard of the
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show ends with "What Kind of Fool Am I?" There is no birth of a grandson, nor of
Littlechap choosing to die in his stead and being reborn, as in the original musical play. With the exception of "Typische Deutsche," the original score is transferred complete.
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wrote that "the passage of time painfully emphasizes the show's heavy-handed reliance on national stereotypes and the show, blown up to screen size, is a gassy business. The choppy editing, omitting chunks of action, doesn't help." Greg Tozian of
366:. It was theatrically released in a limited engagement in various American cities on September 21, 1979. As with the prior adaptation, this was neither a critical nor commercial success. Dennis Hunt of the
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short subjects; when you can hear, which is far from all the time, the voices come hollowly from a great distance. It's just good enough to emphasize all the bad notes hit by leading lady Marian Mercer.
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The 103 minutes of film resulting from this ill-advised project are as boring, depressing and irritating an exercise in how not to make a movie as has ever been exhibited for money.
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wrote, "To truly enjoy the film, the viewer must be a Sammy Davis Jr. fan and appreciate the type of musical experience he delivers. Otherwise, when Sammy belts the final song
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called it "merely a dumb show with scenes pointlessly juggled and re-jiggered in the editing. Even cut to an hour and 35 minutes, it seems interminable." Joe
Baltake of the
221:, characteristically impressed by the play's evidently representing a low-cost project requiring minimal sets and costumes and a small cast, decided to stage the show in
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called it "one of the half-dozen most humiliating and embarrassing times any filmgoer can ever hope to spend in a motion picture theater." Robert C. Trussell of
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It's as though 50 years of progress in filmmaking technique had never occurred. You're yanked out of 1979 and right back to the stilted, artificial days of
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abundant supply—all the ingredients of a perfectly nice evening at a dinner theater in a suburb somewhere. Except for the dinner, that is."
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A London revival, directed by Newley, opened on
October 19, 1989, at a venue that was then, and may still today be, called the
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called it "simply a terrible movie," and noted that only four other people were in attendance of the screening that he saw.
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by Owen Hardy, who also called it "a boring, tasteless, offensive display of almost total non-talent."
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released a film adaptation of the play. In 1996, a film version was produced for TV, made for the
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that’s exactly what the paying customer is going to be asking." These sentiments were echoed in
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Knowledge's disambiguation page for "Tea boy" adds some interesting context about the phrase.
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release was little more than a filmed version of a staged production. Directed by
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called it "a vanity film for Davis and his fans," while Ernest
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Sammy Davis Jr. and Marian Mercer reprised their
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to complete its 555-performance run. Newley and Quayle reprised their
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346:. Neither a critical nor commercial success, it was nominated for an
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1436:"Sammy Davis should have stopped this filmed show before it started"
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It's a musical, folks. You're supposed to be able to hear the music.
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playing the multiple roles of Evie and the other women in his life.
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1532:"Stop the World – I Want to Get Off – Broadway Musical – Original"
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A Broadway cast limited-run recording was originally released by
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and opened on July 20, 1961, at what was historically called the
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1554:"Stop the World – I Want to Get Off – Broadway musical – Tour"
1132:"Stop the World, I Want to Get Off (Original Broadway Cast)"
1150:"Stop the World, I Want to Get Off (Broadway Revival Cast)"
272:.) On the national company tour, the show starred Grey and
1088:"Stop the World, I Want to Get Off (Original London Cast)"
268:. (The mainstream version was subsequently released by
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made her West End debut as a member of the chorus. An
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1106:"Playbill Vault's Today in Theatre History: July 20"
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Stop the World – I Want to Get Off (disambiguation)
491:In 1996, a TV movie version was produced starring
16:1961 musical by Leslie Bricusse and Anthony Newley
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1627:Stop the World – I Want to Get Off
1007:Best Performance by a Leading Actor in a Musical
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1239:"Movies clean house, and viewers get the junk"
241:production opened on October 3, 1962, at the
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386:What a waste of Sammy Davis Jr.'s talent!!
358:, a 1978 television adaptation taped at the
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299:. A revival cast recording was released by
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144:, the play's title was derived from a
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1237:Clark, Michael (27 September 1979).
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253:roles. Newley later was replaced by
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1638:Stop the World – I Want to Get Off
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1505:Horowitz, Lisa D. (7 March 1996).
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1713:Tony Award-winning musicals
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610:Original London production
483:said that "this version of
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1051:Levant, Oscar (1969).
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619:1978 Broadway revival
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499:as Evie. Made for the
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622:1989 London revival
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338:. The cast included
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830:Charles Willis Jr.
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576:Welcome to Sunvale
570:Once in a Lifetime
495:as Littlechap and
480:The New York Times
419:Detroit Free Press
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192:West End of London
182:Production history
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968:Best Musical
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888:
843:Julia Howson
840:Dollie Henry
796:Audrey Saxon
781:Karen Hopper
747:Bonnie Brody
744:Rawley Bates
723:Carole Keith
708:Greek Chorus
696:Susan Baker
685:Shelly Burch
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1363:19 November
1334:19 November
1306:19 November
1278:19 November
1250:19 November
1222:19 November
1194:19 November
1027:Anna Quayle
978:Best Author
891:Tony Tanner
876:Rowan Logan
867:Chase Marks
864:Denis Outen
855:Emma Priest
827:Joyce Nolen
765:Mark Hunter
750:Diana Corto
654:Anna Quayle
627:Littlechap
573:Mumbo Jumbo
395:Jesse Lasky
340:Tony Tanner
281:Mel Shapiro
200:Anna Quayle
88:Productions
1673:1966 films
1652:Categories
1356:Daily News
1038:References
1016:Nominated
1001:Nominated
991:Nominated
972:Nominated
963:Tony Award
821:Donna Lowe
775:Mark Month
733:Marti Webb
247:Ambassador
231:Ian Fraser
227:Sean Kenny
204:Marti Webb
188:Manchester
129:. In 1966
117:is a 1961
101:1966 Film
1607:12 August
1582:4 January
1560:4 January
1538:4 January
1516:12 August
1116:12 August
946:Category
908:Joel Grey
849:Kim Ismay
768:Paul Rufo
636:Joel Grey
406:Vitaphone
259:Joel Grey
217:Producer
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949:Nominee
534:Lumbered
239:Broadway
175:American
146:graffito
98:Broadway
93:West End
1630:at the
1511:Variety
1494:. IMDb.
1170:. IMDb.
952:Result
379:wrote:
322:A 1966
257:, then
167:Russian
163:tea boy
119:musical
105:revival
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943:Award
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562:Act II
336:Al Ham
251:London
171:German
158:circus
66:Lyrics
940:Year
607:Role
517:Act I
507:Songs
96:1962
91:1961
52:Music
1643:IMDb
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1059:ISBN
1031:Won
985:and
958:1963
600:Cast
397:'s "
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