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Ginger Rogers

Best known for her dancing partnership with Fred Astaire and for her Oscar winning performance as Kitty Foyle.

Filmography

1930

Young Man of Manhattan
Queen High
The Sap from Syracuse
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

 

1933

42nd Street
Broadway Bad
Gold Diggers of 1933
Professional Sweetheart
A Shriek in the Night
Don’t Bet on Love
Sitting Pretty
Flying Down to Rio
Chance at Heaven
Rafter Romance

 

1934

Finishing School
Twenty Million Sweethearts
Change of Heart
Upperworld
The Gay Divorcee
Romance in Manhattan

 

1935

Roberta
Star of Midnight
Top Hat
In Person

 

1936

Follow the Fleet
Swing Time

 

1937

Shall We Dance
Stage Door

 

1938

Having Wonderful Time
Vivacious Lady
Carefree

 

1939

The Story of Vernon and Irene Castle
Bachelor Mother
Fifth Avenue Girl

 

1940

Primrose Path
Lucky Partners
Kitty Foyle

 

1941

Tom, Dick and Harry

 

1942

Roxie Hart
Tales of Manhattan
The Major and the Minor
Once Upon a Honeymoon

 

1943

Tender Comrade

 

1944

Lady in the Dark
I’ll Be Seeing You

 

1945

Week-End at the Waldorf

 

1946

Heartbeat
Magnificent 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!
Monkey Business
Dreamboat

 

1953

Forever Female

 

1954

Black Widow
Twist of Fate

 

1955

Tight Spot

 

1956

The First Traveling Saleslady
Teenage Rebel

 

1957

Oh, Men! Oh, Women!

 

1964

Quick, Let’s Get Married!

 

1965

Harlow

Awards

She was nominated for and won one Academy Award for Best Actress in a Leading Role for Kitty Foyle (1940)

Part of the joy of dancing is conversation. Trouble is, some men can’t talk and dance at the same time. ~ Ginger Rogers

Ginger Rogers was born Virginia Katherine McMath on July 16, 1911, in her mother’s rented home in Independence, Missouri. She was the only living child of Lela Emogene (née Owens; 1891 – 1977) and William Eddins McMath (1880 – 1925), an electrical engineer. She was of Scottish, Welsh, and English ancestry. Her mother did not want her born in a hospital, having lost a previous child there. Her parents separated shortly after she was born, but her grandparents, Wilma Saphrona (née Ball) and Walter Winfield Owens, lived nearby in Kansas City. After unsuccessfully trying to become a family again, McMath kidnapped his daughter twice. Rogers said that she never saw her natural father again. Her mother divorced her father soon thereafter.

In 1915, Rogers moved in with her grandparents while her mother made a trip to Hollywood in an effort to get an essay she had written made into a film. Lela succeeded and continued to write scripts for Fox Studios. Rogers was to remain close to her grandfather (much later, when she was a star in 1939, she bought him a home in Sherman Oaks, California, so he could be close to her while she was filming at the studios).

 When Ginger was nine years old, her mother remarried, to John Logan Rogers. Ginger took the surname Rogers, although she was never legally adopted. They lived in Fort Worth. Her mother became a theater critic for a local newspaper, the Fort Worth Record. She attended, but did not graduate from, Fort Worth’s Central High School (later renamed R.L. Paschal High School).

As a teenager, Rogers thought of becoming a school teacher, but with her mother’s interest in Hollywood and the theater, her early exposure to the theater increased. Waiting for her mother in the wings of the Majestic Theatre, she began to sing and dance along with the performers on stage.

Rogers’ entertainment career was born one night when the traveling vaudeville act of Eddie Foy came to Fort Worth and needed a quick stand-in. She then entered and won a Charleston dance contest which allowed her to tour for six months, at one point in 1926 performing at an 18-month-old theater called The Craterian in Medford, Oregon.

At 17, Rogers married Jack Culpepper, a singer/dancer/comedian/recording artist of the day who worked under the name Jack Pepper (according to Ginger’s autobiography, she knew Culpepper when she was a child, as her cousin’s boyfriend). They formed a short-lived vaudeville double act known as “Ginger and Pepper”. The marriage was over within months, and she went back to touring with her mother. When the tour got to New York City, she stayed, getting radio singing jobs and then her Broadway debut in the musical Top Speed, which opened on Christmas Day, 1929.

Within two weeks of opening in Top Speed, Rogers was chosen to star on Broadway in Girl Crazy by George Gershwin and Ira Gershwin. Fred Astaire was hired to help the dancers with their choreography. Her appearance in Girl Crazy made her an overnight star at the age of 19.

Rogers’ first movie roles were in a trio of short films made in 1929—Night in the Dormitory, A Day of a Man of Affairs, and Campus Sweethearts. In 1930, she was signed by Paramount Pictures to a seven-year contract.

Ginger Rogers and William Boyd in Carnival Boat (1932)

Rogers soon got herself out of the Paramount contract—under which she had made five feature films at Astoria Studios in Astoria, Queens—and moved with her mother to Hollywood. When she got to California, she signed a three-picture deal with Pathé Exchange. Two of her pictures at Pathé were Suicide Fleet (1931) and Carnival Boat (1932) in which she played opposite future Hopalong Cassidy star, William Boyd. Rogers also made feature films for Warner Bros., Monogram, and Fox in 1932, and was named one of 15 WAMPAS Baby Stars. She then made a significant breakthrough as Anytime Annie in the Warner Bros. film 42nd Street (1933). She went on to make a series of films with Fox, Warner Bros. (Gold Diggers of 1933), Universal, Paramount, and RKO Radio Pictures. Her solo in “We’re In The Money” from “Gold Diggers” included a verse in Pig Latin.

Rogers was known for her partnership with Fred Astaire. Together, from 1933 to 1939, they made nine musical films at RKO: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939). The Barkleys of Broadway (1949) was produced later at MGM. They revolutionized the Hollywood musical, introducing dance routines of unprecedented elegance and virtuosity, set to songs specially composed for them by the greatest popular song composers of the day.

Arlene Croce, Hermes Pan, Hannah Hyam, and John Mueller all consider Rogers to have been Astaire’s finest dance partner, principally because of her ability to combine dancing skills, natural beauty, and exceptional abilities as a dramatic actress and comedian, thus truly complementing Astaire, a peerless dancer who sometimes struggled as an actor and was not considered classically handsome. The resulting song and dance partnership enjoyed a unique credibility in the eyes of audiences.

Of the 33 partnered dances Rogers performed with Astaire, Croce and Mueller have highlighted the infectious spontaneity of her performances in the comic numbers “I’ll Be Hard to Handle” from Roberta, “I’m Putting All My Eggs in One Basket” from Follow the Fleet, and “Pick Yourself Up” from Swing Time. They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as “Smoke Gets in Your Eyes” from Roberta, “Cheek to Cheek” from Top Hat, and “Let’s Face the Music and Dance” from Follow the Fleet.

Although the dance routines were choreographed by Astaire and his collaborator Hermes Pan, both have acknowledged Rogers’ input and have also testified to her consummate professionalism, even during periods of intense strain, as she tried to juggle her many other contractual film commitments with the punishing rehearsal schedules of Astaire, who made at most two films in any one year. In 1986, shortly before his death, Astaire remarked, “All the girls I ever danced with thought they couldn’t do it, but of course they could. So they always cried. All except Ginger. No no, Ginger never cried”.

In her classic 1930s musicals with Astaire, Ginger Rogers, co-billed with him, was paid less than Fred, the creative force behind the dances, who also received 10% of the profits. She was also paid less than many of the supporting “farceurs” billed beneath her, in spite of her much more central role in the films’ great financial successes. This was personally grating to her and had effects upon her relationships at RKO, especially with director Mark Sandrich, whose purported disrespect of Rogers prompted a sharp letter of reprimand from producer Pandro Berman, which she deemed important enough to publish in her autobiography. Rogers fought hard for her contract and salary rights and for better films and scripts.

After 15 months apart and with RKO facing bankruptcy, the studio paired Fred and Ginger for another movie titled Carefree, but it lost money. Next came The Story of Vernon and Irene Castle, but the serious plot and tragic ending resulted in the worst box-office receipts of any of their films. This was driven not by diminished popularity, but by the hard 1930s economic reality. The production costs of musicals, always significantly more costly than regular features, continued to increase at a much faster rate than admissions.

Both before and immediately after her dancing and acting partnership with Fred Astaire ended, Rogers starred in a number of successful nonmusical films. Stage Door (1937) demonstrated her dramatic capacity, as the loquacious yet vulnerable girl next door, a tough-minded, theatrical hopeful, opposite Katharine Hepburn. Successful comedies included Vivacious Lady (1938) with James Stewart, Fifth Avenue Girl (1939), where she played an out-of-work girl sucked into the lives of a wealthy family, and Bachelor Mother (1939), with David Niven, in which she played a shop girl who is falsely thought to have abandoned her baby.

In 1941, Rogers won the Academy Award for Best Actress for her role in 1940’s Kitty Foyle. She enjoyed considerable success during the early 1940s and was RKO’s hottest property during this period. In Roxie Hart (1942), based on the same play which served as the template for the later musical Chicago, Rogers played a wisecracking wife on trial for a murder her husband committed.

In the neorealist Primrose Path (1940), directed by Gregory La Cava, she played a prostitute’s daughter trying to avoid the fate of her mother. Further highlights of this period included Tom, Dick, and Harry, a 1941 comedy in which she dreams of marrying three different men; I’ll Be Seeing You (1944), with Joseph Cotten; and Billy Wilder’s first Hollywood feature film: The Major and the Minor (1942), in which she played a woman who masquerades as a 12-year-old to get a cheap train ticket and finds herself obliged to continue the ruse for an extended period. This film featured a performance by Rogers’ own real mother, Lela, playing her film mother.

After becoming a free agent, Rogers made hugely successful films with other studios in the mid-’40s, including Tender Comrade (1943), Lady in the Dark (1944), and Week-End at the Waldorf (1945), and became the highest-paid performer in Hollywood. However, by the end of the decade, her film career had peaked. Arthur Freed reunited her with Fred Astaire in The Barkleys of Broadway in 1949, when Judy Garland was unable to appear in the role that was to have reunited her with her Easter Parade co-star.

(L to R) Ginger Rogers, Cary Grant, Hugh Marlowe in Monkey Business - Image courtesy mptvimages.com

(L to R) Ginger Rogers, Cary Grant, Hugh Marlowe in Monkey Business – Image courtesy mptvimages.com

Rogers’ film career entered a period of gradual decline in the 1950s, as parts for older actresses became more difficult to obtain, but she still scored with some solid movies. She starred in Storm Warning (1950) with Ronald Reagan and Doris Day, the noir, anti-Ku Klux Klan film by Warner Bros., and in Monkey Business (1952) with Cary Grant and Marilyn Monroe, directed by Howard Hawks. In the same year, she also starred in We’re Not Married! also featuring Marilyn Monroe, and in Dreamboat. She played the female lead in Tight Spot (1955), a mystery thriller, with Edward G. Robinson. After a series of unremarkable films, she scored a great popular success on Broadway in 1965, playing Dolly Levi in the long-running Hello, Dolly!.

In later life, Rogers remained on good terms with Astaire; she presented him with a special Academy Award in 1950, and they were copresenters of individual Academy Awards in 1967, during which they elicited a standing ovation when they came on stage in an impromptu dance. In 1969, she had the lead role in another long-running popular production, Mame, from the book by Jerome Lawrence and Robert Edwin Lee, with music and lyrics by Jerry Herman, at the Theatre Royal Drury Lane in the West End of London, arriving for the role on the liner Queen Elizabeth 2 from New York City. Her docking there occasioned the maximum of pomp and ceremony at Southampton. She became the highest-paid performer in the history of the West End up to that time. The production ran for 14 months and featured a royal command performance for Queen Elizabeth II.

From the 1950s onward, Rogers made occasional appearances on television, even substituting for a vacationing Hal March on The $64,000 Question. In the later years of her career, she made guest appearances in three different series by Aaron Spelling: The Love Boat (1979), Glitter (1984), and Hotel (1987), which was her final screen appearance as an actress. In 1985, Rogers fulfilled a long-standing wish to direct when she directed the musical Babes in Arms off-Broadway in Tarrytown, New York, at 74 years old. It was produced by Michael Lipton and Robert Kennedy of Kennedy Lipton Productions. The production starred Broadway talents Donna Theodore, Carleton Carpenter, James Brennan, Randy Skinner, Karen Ziemba, Dwight Edwards, and Kim Morgan. It is also noted in her autobiography Ginger, My Story.

The Kennedy Center honored Ginger Rogers in December 1992. This event, which was shown on television, was somewhat marred when Astaire’s widow, Robyn Smith, who permitted clips of Astaire dancing with Rogers to be shown for free at the function itself, was unable to come to terms with CBS Television for broadcast rights to the clips (all previous rights-holders having donated broadcast rights gratis).

Rogers, an only child, maintained a close relationship with her mother, Lela Rogers, throughout her life. Lela, a newspaper reporter, scriptwriter, and movie producer, was also one of the first women to enlist in the Marine Corps, was a founder of the successful “Hollywood Playhouse” for aspiring actors and actresses on the RKO set, and a founder of the Motion Picture Alliance for the Preservation of American Ideals. Rogers was a lifelong member of the Republican Party, who campaigned for Thomas Dewey in the 1944 presidential election and was a strong opponent of Franklin Delano Roosevelt speaking out against both him and his New Deal procedures. She was also a member of The Daughters of the American Revolution.

Rogers and her mother also had an extremely close professional relationship. Lela Rogers was credited with many pivotal contributions to her daughter’s early successes in New York and in Hollywood, and gave her much assistance in contract negotiations with RKO.

Lew Ayres, Ginger Rogers, Ben Alexander, and Phyllis Fraser -   Photo by Phil Burchman - © 1938 - Archive Photos - Image courtesy gettyimages.com

Lew Ayres, Ginger Rogers, Ben Alexander, and Phyllis Fraser – Photo by Phil Burchman – © 1938 – Archive Photos – Image courtesy gettyimages.com

On March 29, 1929, Rogers married for the first time at age 17 to her dancing partner Jack Pepper (real name Edward Jackson Culpepper). They divorced in 1931, having separated soon after the wedding. Ginger dated Mervyn LeRoy in 1932, but they ended the relationship and remained friends until his death in 1986. In 1934, she married actor Lew Ayres (1908–96). They divorced seven years later.

In 1943, Rogers married her third husband, Jack Briggs, who was a U.S. Marine. Upon his return from World War II, Briggs showed no interest in continuing his incipient Hollywood career. They divorced in 1949. In 1953, she married Jacques Bergerac, a French actor 16 years her junior, whom she met on a trip to Paris. A lawyer in France, he came to Hollywood with her and became an actor. They divorced in 1957. Her fifth and final husband was director and producer William Marshall. They married in 1961 and divorced in 1971, after his bouts with alcohol and the financial collapse of their joint film production company in Jamaica.

Rogers was lifelong friends with actresses Lucille Ball and Bette Davis. She appeared with Ball in an episode of Here’s Lucy on November 22, 1971, in which Rogers danced the Charleston for the first time in many years. Rogers starred in one of the earliest films co-directed and co-scripted by a woman, Wanda Tuchock’s Finishing School (1934). Rogers maintained a close friendship with her cousin, writer/socialite Phyllis Fraser, wife of Random House publisher Bennett Cerf, but was not Rita Hayworth’s natural cousin, as has been reported. Hayworth’s maternal uncle, Vinton Hayworth, was married to Rogers’ maternal aunt, Jean Owens.

She was raised a Christian Scientist and remained a lifelong adherent. She devoted a great deal of time in her autobiography to the importance of her faith throughout her career.

Rogers’ mother died in 1977. Rogers remained at the 4-Rs (Rogers’ Rogue River Ranch) until 1990, when she sold the property and moved to nearby Medford, Oregon.

The City of Independence, Missouri, designated the birthplace of Ginger Rogers an Historic Landmark Property in 1994. On July 16, 1994, Ginger and her secretary Roberta Olden visited Independence, Missouri to appear at the Ginger Rogers’ Day celebration presented by the city. Ginger was present when mayor Ron Stewart affixed an Historic Landmark Property plaque to the front of the house where she was born on July 16, 1911. She signed over 2,000 autographs at this event. The home is currently being restored and will be open to the public in 2018. An annual Ginger Rogers Day Festival is held in July in Independence. The current owner of the house is Three Trails Cottages, Inc. and the museum director is Marge Padgitt. Plans have begun for a second building to accommodate Ginger Rogers memorabilia.

She made her last public appearance on March 18, 1995, when she received the Women’s International Center (WIC) Living Legacy Award. For many years, Rogers regularly supported, and held in-person presentations, at the Craterian Theater, in Medford, where she had performed in 1926 as a vaudevillian. The theater was comprehensively restored in 1997 and posthumously renamed in her honor as the Craterian Ginger Rogers Theater.

Rogers spent winters in Rancho Mirage and summers in Medford. She continued making public appearances (chiefly at award shows) until suffering a stroke that left her partially paralyzed and dependent on a wheelchair. Despite her stroke, she was a practitioner of Christian Science and never saw a doctor or went to a hospital. Her last husband, William Marshall, would trick Rogers to take insulin since she was diagnosed as a Type 1 Diabetic at age 22. He stated he was injecting vitamins and she took the daily injections and knew it was insulin after the divorce. She lapsed into a diabetic coma and she was hospitalized where she suffered a stroke and complications of lifelong noncompliance with her diabetes. She died at her Rancho Mirage home on April 25, 1995, at the age of 83. An autopsy concluded that the cause of death was a heart attack. She was cremated, and her ashes interred in the Oakwood Memorial Park Cemetery in Chatsworth, California, with her mother’s remains.

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