Colleen (1936) User Reviews

Not that bad

[garyjack5 · 7/10 · 11 July 2004]

Sorry to have to disagree with the "disaster" rating in the previous "user comments". Just for the record, Dick Powell/Ruby Keeler musical comedies aren't supposed to have thick plots.

This film is supposed to be a light hearted musical comedy for the depression-era audience, and that is just what it is. I'll grant you that the musical numbers aren't as memorable as other Powell/Keeler films(by the way, they were never married - Powell married Joan Blondell that year). I'd also say that Paul Draper's tap dancing is a cut below the flowing moves of Fred Astaire.

However, the film has some redeeming comedic value. Hugh Herbert is a gem of a bumbling business executive, and Joan Blondell was in her element as Jack Oakie's conniving sidekick.

Overall, I found this film to be quite acceptable.

Love Among the Millionaires

[lugonian · 7/10 · 30 March 2001]

COLLEEN (Warner Brothers, 1936), directed by Alfred E. Green, reunites the musical team of Dick Powell and Ruby Keeler for the seventh and final time. Powell plays Donald T. Ames, the nephew Cedric Ames (Hugh Herbert), an eccentric millionaire whose wife, Alicia (Louise Fazenda), suspects him of philandering around with other women. He encounters Minnie Hawkins (Joan Blondell), a chocolate dipper working at the Itsey-Ditsey Nut Chewsie, becomes impressed with her, buys a dress shop where she gets to be in charge of the establishment. While investigating the books of the dress shop, Donald meets and becomes infatuated with Colleen Reilly (Ruby Keeler), the bookkeeper. Instead of closing up the shop, Donald agrees to keep it open for as long as Minnie behaves herself, but Minnie, the fortune hunter as she is, pretends to be interested in Cedric (who plans on adopting her as his daughter), and two-times him with Joe Cork (Jack Oakie), Colleen's steady boyfriend. Romance blossoms between Donald and Colleen, but further complications follow before things get under way on board an ocean liner.

A silly comedy that somehow works,COLLEEN brings back Powell and Keeler to familiar surroundings made famous from their earlier collaborations (GOLD DIGGERS OF '33 and DAMES), as a romantic couple surrounded by gold digger(s), an eccentric millionaire with scatterbrained wife, along with plenty of song and dance. It's not the usual backstage story. The production numbers this time just happen on screen with a bright score composed by the then popular Harry Warren and Al Dubin, which happened to be one of those rare cases where they failed to produce a single song hit. The score includes: "I Don't Have to Dream Again" (sung by Dick Powell, followed by singing and dancing models in a musical fashion show hosted by Keeler, highlighted with a tap dancing story by Paul Draper and Keeler); "The Boulvardier From the Bronx" (sung and performed amusingly by Jack Oakie and Joan Blondell as they dine in a Chop-Suey joint); "An Evening With You" (sung by Powell to Keeler as they take a stroll through the park); "You Gotta Know How to Dance" (sung by Keeler/danced by Keeler and Draper, and sung briefly by Powell), followed by a short reprise of "An Evening With You" sung by Powell to Keeler on deck of the ship.

Watching the ten minute finale of "You Gotta Know How to Dance," choreographed by Bobby Connolly, this number at times has the feel to the Fred Astaire and Ginger Rogers production number of "The Continental" from their 1934 hit, "The Gay Divorcée" (RKO), which finds the camera following a group of dancers in long shot range and average shot towards its main focus of Keeler and Draper. Paul Draper, in his movie debut, is an unusual dancer (and bad actor whose participation in the plot is thankfully limited), with a much different style to Astaire's. However, he doesn't have that grace and elegance that made Astaire so popular and likable, which probably explains why Draper's film career was so short-lived. Draper's tapping at times drowns out the Vitaphone Orchestra underscoring in the two production numbers opposite Keeler.

Also seen briefly in a large cast of Warners stock players are Marie Wilson as Mabel (sharing one short scene near the film's opening opposite Herbert); J.M. Kerrigan as Colleen's father; Berton Churchill as Cedric's lawyer; and Luis Alberni as Carlo, the dress designer. As for Joan Blondell, who spends much of the time going about Bink-eyed and speaking in a dead-pan manner, it's Hugh Herbert who nearly walks away with the story since the main focus is on him instead of Colleen.

COLLEEN, an overlooked musical, is quite amusing and entertaining, offering Keeler an opportunity to sing and dance more than she ever did on screen in the past. However, her dancing opposite Draper has become no threat to the song and dance team of Astaire and Rogers. COLLEEN is worth viewing through once whenever presented on Turner Classic Movies.

One final note: Let's hope that someday COLLEEN goes through a restoration process since the audio can be slightly distorted and picture covered with acid spots that's quite noticeable near the conclusion. (***)

Cast =8, Material = 4. A composite 6.

[kj_napier · 6/10 · 20 January 2007]

A fine cast outperforms the material that was given. Two of the dance numbers are worth the price of admission. The major number with Ruby Keeler and Paul Draper leads me to reevaluate Keeler's ability. I have seen a Dick Powell interview in which he stated that Ruby was only an average dancer. She certainly was not an Eleanor Powell or Ann Miller, but "The Stomper" was better than I had thought.

The Joan Blondell/Jack Oakie ballroom type segment was truly enjoyable. In fact, I'll call it delightful. Watched it four times before proceeding with the remainder of the movie.

Two of the reviewers of this movie have each made an incorrect statement. 1.)Dick Powell and Ruby Keeler were not married at the time this movie was made. They never were married to each other. Keeler was married at the time to Al Jolson. The reviewer might have been thinking thinking of Dick's marriage to co-star Joan Blondell. They were wed from September 19,1936 to July 14,1944. 2.)Cast member Hugh Herbert did not co-write the script for "Colleen". F. Hugh Herbert was the co-writer. These were two different persons.

Mildly entertaining, and better for the supporting cast

[gbill-74877 · 6/10 · 29 November 2016]

A passable enough movie but all over the map, and while it was a vehicle for the Dick Powell and Ruby Keeler tandem, I liked it more for their supporting cast, featuring Hugh Herbert as a bumbling millionaire and Joan Blondell as a gold-digger. The musical numbers are mildly entertaining, but tap dancer Paul Draper lacks charisma and Ruby Keeler's singing is flat. I liked "Boulevardier from the Bronx" performed by Blondell and Jack Oakie more, as goofy as he was, and perhaps influenced by Blondells's décolleté. It's not horrible or anything, but you can do better. I suggest trying a movie like Footlight Parade from 1933 instead.

The Fair Colleen

[Noirdame79 · 7/10 · 9 March 2021]

While this film doesn't quite rank with some of the earlier Warner Brothers' musicals, there are many things to enjoy. Dick Powell and Ruby Keeler were always wonderful together and had a special chemistry. However, they didn't get nearly as much screen time as they should have (Keeler played the title character, after all), and that's unfortunate, as this ended up being their final screen teaming (although that was probably not intended). When they are onscreen, they are a delight. Jack Oakie and Joan Blondell provide great comic relief, even if their scenes seem a bit out of place. Paul Draper was an excellent dancer but not much of an actor or screen personality, but he provides his function in the plot well enough. Louise Fazenda is fun to watch and it's too bad she's not fondly remembered as one of the great character actresses.

The biggest gripe is the amount of screen time given to Hugh Herbert, who is amusing in a few scenes in a movie but he just gets far too much here. It hurts the plot to a degree, and this is what I was referring to when I stated that it takes away the focus of the film. It's supposed to be about the romance between Donald Ames (Powell) and Colleen Reilly (Keeler), and while the sub-plot of Herbert "adopting" Minnie (Blondell) is fun for a little while, it becomes tiresome. To Blondell's credit, she does a great job in the wisecracking and silly role. Oakie was a good partner for her.

The songs and musical numbers are pleasant if not particularly special, lacking the Busby Berkley choreography of the earlier films featuring Powell, Keeler and Blondell. Still, it's a nice way to spend an hour and a half.

The DVD from the Warner Archive is watchable but there are quite a few scratches on the print; it could use restoration. Also, Powell and Keeler should have been featured on the cover.

Pleasant if bland final collaboration with Ruby Keeler and Dick Powell

[TheLittleSongbird · 6/10 · 3 November 2016]

Of Ruby Keeler and Dick Powell's collaborations together, 'Colleen' is, along with 'Shipmates Forever', their weakest. This is not in any way saying that it's bad, because it isn't.

It's just that the pair did make much stronger films, that had more memorable songs and much better choreographed dance numbers, especially '42nd Street', 'Footlight Parade' and 'Goldiggers of 1933'. 'Dames' is also great fun, and 'Flirtation Walk' has enough charm and likability to make up for the flawed story.

There are numerous pleasures here. Joan Blondell and Jack Oakie come very close to stealing the film. Blondell is a bundle of joy with a natural screen presence and irresistible charm and Oakie is a lot of fun. Their scene together is a sheer delight and for me the highlight of 'Colleen'.

Keeler and Powell themselves don't disappoint either. Powell sings beautifully and is very likable, and while singing is not a strong suit of hers (and that to be honest is putting it mildly) Keeler fares better at dancing than in a few of her previous films and also has the charm and likability factor. While none of the songs are hits, they are still very pleasant and more than listenable, certainly deserving of better dance direction.

Didn't care for Hugh Herbert personally. He does have some amusing moments, but it just felt too much of The Hugh Herbert Show and, while some parts are entertaining, his broad and effete style of comedy did get tiresome. The script has the odd nice moment, but overall it's pretty feeble. The story is both silly and flimsy, yes even for a musical comedy.

One always says that musicals shouldn't be judged for their stories but it does depend though on how well executed the rest of the elements are, and 'Colleen' was an example of one where some things were done well and others left wanting. Paul Draper is like agreed a minor Fred Astaire without the elegance or grace, and he shows severe limitations as an actor, even in his dance with Keeler Keeler outperforms him by a country mile.

Lastly, the choreography and dance direction were seriously uninspired and leaden, am aware that you can't have Busby Berkeley all the time but the dance direction and how things were choreographed had such a lack of imagination that they were crying out for his involvement.

All in all, pleasant if bland. Watchable, but this should have been a better swansong collaboration overall for Keeler and Powell. 6/10 Bethany Cox

Dick Powell in another collaboration with Ruby Keeler and Joan Blondell...

[Doylenf · 6/10 · 18 January 2007]

Whether this featherweight entertainment is for you or not, depends entirely on whether you fancy the dancing talent of RUBY KEELER (not exactly the world's greatest dancer), DICK POWELL (not exactly the world's best crooner) and JOAN BLONDELL (not exactly the world's greatest musical talent). What they do have is charm, in spades, and aside from their bright personalities and some clowning by JACK OAKIE, there's really not much else here that you haven't seen a dozen times before.

HUGH HERBERT is there for some eccentric laughs as a giddy millionaire that nephew DICK POWELL must save from the clutches of a gold digger (JOAN BLONDELL of course), while falling for office worker RUBY KEELER. Herbert's comic delivery is as broad and screwball as can be and becomes tiresome when so many of the early scenes are consumed by his brand of humor. In other words, a little bit of Hugh Herbert goes a long way.

The screwball plot goes from silly to sillier in no time with most of the complications revolving around Herbert's eccentric ways with running a business. Blondell bats her eyes on cue, Ruby Keller takes a stab at being an unlikely bookkeeper, and Powell treats both of them with boyish charm, occasionally belting out a song without a song cue in sight.

To be charitable, even for fans of Powell and Keeler, this one is pretty hard to take. Even a fashion show production number a half-hour into the film lacks the zip and distinction usually found in these sort of musicals, clumsily choreographed with a dance by Keeler and PAUL DRAPER.

DICK POWELL manages to emerge with reputation intact--but no wonder he tired of these flimsily constructed musicals, this one suffering from low-budget production values and a bad script. Thankfully, he went on to better things in future roles with a switch from musicals to crime drama.

As for RUBY KEELER, what can I say? She's charming and pleasant to look at--but that's about it and JOAN BLONDELL is seen to better advantage in dozens of other films.

Hugh Herbert Gets Away From His Keepers

[bkoganbing · 5/10 · 19 January 2007]

Despite the fact that Dick Powell and Ruby Keeler are the stars in their seventh and final screen pairing, the key character here is Hugh Herbert. That unfortunately is Colleen's problem.

There are times when Hugh Herbert can be extremely funny, but a whole film really shouldn't be built around him. You can overdose on Hugh Herbert.

In the Road to Zanzibar one of the gags, but far from the whole film involved Crosby and Hope getting involved with eccentric millionaire Eric Blore. He goes around just giving the family fortune away and sells them a diamond mine for a nominal cost. Like Herbert in Colleen, Blore has his keepers. But the whole film isn't built around him.

In this film the family business is run by Dick Powell for Herbert who is his uncle and Herbert's sister Louise Fazenda. They've hired a keeper in Berton Churchill who breaks away from his usual stuffy banker type and here is the essentially decent, but eternally put upon keeper.

Herbert gets involved with a couple of sharpies, Jack Oakie and Joan Blondell who take advantage of this nut job to rake in some big bucks. Ruby Keeler is the bookkeeper at a dress shop that Herbert buys for Blondell and the Powell/Fazenda/Herbert family are now guarantors of all the debts owed and accruing.

Harry Warren and Al Dubin wrote some nice songs for the film that did not boast any hits at all. Dick Powell never even bothered to commercially record any of them. The finale had dancer Paul Draper cleverly worked in to partner with Ruby while Powell sang. It was always a problem with them as a team, Ruby's flat singing and the fact you'll notice Powell never danced in any of their films.

Colleen is pleasant enough entertainment, but the Powell/Keeler combination was definitely on the wane here.

good, but didn't need to be a musical.

[ksf-2 · 6/10 · 1 March 2024]

The happy-go- lucky years between the two big wars. A musical, starring 32 year old crooner dick powell, and 27 ish ruby keeler. Industry and intrigue when eccentric uncle cedric starts to meddle in the family businesses. Some of his actions are successful, but most are total disasters! Hugh herbert and jack oakie are in here for laughs. And don't forget the awesome joan blondell (from desk set, millionaire, and so many early oldies!) she's in here as a candy factory worker. All hell breaks loose when cedric buys a dress shop for her to run. Don is a big shot in the family business, and tries to figure out the books, along with colleen (keeler). The fashion show is just an excuse for a song by powell, and of course, a huge synchronized dance bit, which looks like a busby berkeley bit, but I don't see him anywhere in the credits. The tap dancing goes on WAY TOO long! The trivia section tells us they actually cut eleven minutes, but yeegods, they sure didn't take any time from the tap dancing, or the dance in the chop suey joint. The sound and picture are in such great condition, it seems to have been restored. It's mostly really good! Sadly, powell died young at 58. Some fun connections... ruby keeler was married to al jolson for years. Powell married joan blondell, after working with her on this very film! Directed by al green. Story by robert lord. And probably one of the earliest uses of the term "arrested development".

A silly story that just works so-so for this musical comedy

[SimonJack · 5/10 · 1 April 2020]

"Colleen" definitely is a silly story, as other reviewers have noted. Such comedies work as comedy when they are really funny. That usually means clever, witty or outlandish dialog; or great antics or situations; or combinations thereof.

Unfortunately, this film has just a few spurts of comedy, mostly in the dialog. It's musical part is moderately good. The film has a good cast for the period. Dick Powell, Ruby Keeler, Joan Blondell, Hugh Herbert and Jack Oakie.

Ruby Keeler doesn't have a good singing voice at all. She even said that she dreaded it when she had to sing. So, one wonders why Warner Brothers had her sing at all. She was very good as a tap dancer.

Paul Draper does some excellent tap dancing as Paul Gordon. This was his first of just two films he made. Much of his career was on Broadway where he danced and choreographed shows. The fashion dance scene is a bit of an extravaganza but even it couldn't compare to those lavish productions by Busby Berkley at MGM.

Here are the funniest lines in this film.

Cedric Ames, "You know, all my life, I've wanted to have a hat and a cane just like this." Joe Cork, "All my life I've always wanted to have a boss just like you."

Logan, "Anything can happen to Mr. Ames if he's left alone with anyone for some time."

Logan, "I'm afraid your uncle has delusions of becoming a business executive again. We must find something for him to do." Donald Ames, "Well, I'll try to talk him into going around the world as soon as I get back from Chicago." Logan, "Yeah, but it's such a small world."

Logan, "What can we get him to do that would be harmless?" Donald Ames, "Have him cut out paper dolls." Logan, "Ah, he'd cut his fingers off." Donald, "Give him a pair of boxing gloves - no, you better not do that. He might knock himself out."

Minnie, 'Did you girls see anything of that book I was reading this noon?" Lois (uncredited), "What's the name of it, Minnie?" Minnie, "I don't know. It had a yellow back with a picture of a girl stabbin' herself on it."

Mabel, "Oh, please, Mr. Ames, have another one. I work on commission, you know. And everything I get goes toward my tonsils."

Colleen, after a knock on their door, "See who it is, pop." Pop Reilly, "I regret to say I am busy."

Minnie Hawkins, "His biography? Oh, I've always wanted to write one. Can I help?" Joe Cork, "Fair enough. I'll take you to a swell chop suey parlor where they've got a pen." Minnie, "Oh, swell."

Donald Ames, "Minnie, you've never been abroad, have you?" Minnie, "See here." Donald, "Oh, I mean Europe, Paris, London."

Colleen, "What you need is some beefsteak for that eye." Donald, "Oh, that's just propaganda put out by the meat packers so they can sell more beef." Colleen, "Come on, you're not gonna tell a Reilly how to cure a black eye?"

Donald, "Tell the lady he's in a coma. He's been in one for four years."

Breezy entertainment

[MikeMagi · 8/10 · 19 August 2016]

I was surprised to see how many IMDb contributors gave this movie a thumbs down. The story isn't any more substantial than a few dozen other romantic comedies of the time. But it moves along at a merry pace, especially when the cast takes over an ocean liner. And there are enough plot twists to keep it rolling. Dick Powell is his usual easygoing self. Ruby Keeler is surprisingly good --for an actress who had more than her share of detractors. Hugh Herbert dithers amusingly. And even Joan Blondell scores as a woman on the loose. Add some stylish production numbers-- with the usual bevy of toe-tapping chorus girls led by Keeler and Paul Draper -- and you've got a pleasant 90 minutes or so.

Misfires!

[JohnHowardReid · 7/10 · 17 July 2016]

Although Colleen opens most promisingly when the players introduce themselves to the movie audience (why don't all movies do that? It should be the rule, rather than the exception), this musical comedy actually develops into a rather routine offering. In view of all the talent involved, both behind and in front of the camera, this outcome is rather disappointing. The cast list is enormous, and the behind-the-camera talent positively makes this movie an absolute must-see. For all that, it's a somewhat disappointing movie. Where did it go wrong? The photography, the sets and the players led by Dick Powell, Ruby Keeler, Jack Oakie, Joan Blondell and Hugh Herbert are all fine. It's with Bobby Connoly's weak dance direction that the movie really goes wrong. Dancer/choreographer Paul Draper plays himself and it's with his so-called "specialties" that the movie really takes a wrong or at least a very disappointing turn. For audiences weaned on Busby Berkeley, Draper's dance routines are absolutely nothing to write home about. The film's original cut ran 100 minutes, but it was mercifully shortened to 89 after preview audiences overwhelmingly gave the movie a low rating.

Fluff....

[planktonrules · 5/10 · 9 September 2011]

While the film has a few interesting moments, "Colleen" is pure fluff--and the songs aren't particularly distinguished. Musical fans will probably be disappointed and non-musical fans probably won't be won over by the film.

The film begins with the rich eccentric owner (Hugh Herbert) of the Ames Company showing up for work--and that's a bad thing. So, it's up to his nephew (Dick Powell) to follow behind and clean up his messes. One mess involves Herbert's relationship with a wicked gold-digger (Joan Blondell) and her 'friend' (Jack Oakey). And when Powell goes to investigate the dress shop that Herbert bought for her, he meets Blondell's bookkeeper (Ruby Keeler) and falls in love. But, it's too early in the film and naturally some monkey wrench arises that keeps them apart until their ultimate and very expected happy ending.

As I said above, the film has lots of singing and dancing but none of it is particularly distinguished. In addition, Miss Keeler (who was a great dancer) sang too often--and this was a problem since her singing was pretty flat and lifeless. Oddly, when she danced they often had her dancing with a different guy (not Powell)--probably because he had a nice voice but wasn't a dancer. And, she was really a dancer and not a singer--an odd combination.

As for the comedy, I agree with another reviewer who felt that basing an entire film around Herbert wasn't a great idea, as he was very much a one-not performer. He could be good (such as in "The Traveling Saleslady") but he could also become tiresome with his effete manner and shtick. The brightest spots in the film, I think, were Blondell and Oakey, but since it was a musical, this left these two out of much of the film--though their musical number together was pretty decent. All in all, a lot of fluff and a pleasant time-passer at best.

It's best to pretend that this was never made

[1930s_Time_Machine · 3/10 · 15 April 2023]

This will confirm to anyone who loved GOLD DIGGERS OF 33, DAMES etc, their sad realisation that Warner Brothers were incapable of making musicals since 1935. Although BROADWAY GONDOLIER made the year before was actually an exception inasmuch that it was pretty good, the mantle of being the studio who make good musicals was now worn by RKO with their sumptuous, art deco Fred and Ginger pictures.

It's sad to see these same great stars making rubbish like this. It's like discovering that sit-com you used to like is still being made but now on some obscure cable channel that's only ever seen on TVs with the volume off in care homes.

It's not one of the worst post '35 Warner musicals. It's not a horrible picture, it's not a bad picture in fact it's reasonably well made but it's just bland and void of any entertainment. There's no soul, no emotion and is absolutely no fun. It feels like it was part of a company's away day where today's team building exercise is to make a movie.

The story is just stupid, the songs are instantly forgettable and the characters are not even one dimensional. Even Joan Blondell plays a ridiculous unbelievable parody of her earlier role (it must be said however thy she does look absolutely stunning). Hugh Herbert has more screen time than he should have had but isn't quite as irritating as you'd expect. I have to confess that I almost (but not quite) found him quite amusing.

Thank goodness this is the last time we have to endure Ruby Keeler. It was heart-warming to see her in her early films as the talentless sweet girl whom against all the odds becomes a success and gets the guy but by now that act no longer cuts the mustard. Like everyone else, she just goes through the motions in this demeaning third rate copy of their former glory. You just wish they hadn't bothered.

A disaster!

[raskimono · 4/10 · 19 July 2002]

I cannot find much to say about this movie. For a supposedly WB event Dick Powell/Ruby Keeler, it is very cheap looking as if all the money went into extravagant looking Bubsy Berkeley inspired number that is dull. Worse of all, it is not funny and the songwriting fail to deliver one memorable song (they all sound the same; heck they seem as though they were recycled from other Dick powell hits). This was the end of Dick powell, once this movie seriously underperformed. (I don't know if it bombed). The plot - what there is of it - has Uncle Cedric who is pulled in by a golddigger,Joan Blondell and is taken away from the focus of his business, by the golddigger who uses sex -it's implied - to make her a daughter and thus an inheritor. Dick Powell is the one brought in to look over the business and falls for his Uncle's secretary, Ruby Keeler -Dick and Ruby were married at the time - and snoop out the golddiggers. His relationship with this lower class girll who is also an upcoming fashion designer creates a scandal and you can figure out the rest. This film contains a lot of bad crooning and extremely ineffeciently displaying of ugly tap dancing. Dick Powell is much better in Hollywood Hotel. But avoid Cowboy in Brooklyn and Going places. It wouldn't be long before Dickie's contract was not renewed an d he left WB.

Fluff and more fluff

[pensman · 8/10 · 11 December 2019]

Just another musical excuse for Powell and Keeler but also a chance to see the choreography and dancing of Paul Draper. The dance sequence in the dress shop with Draper and Keeler would have well been worth the price of admission. Don't look for any plot of substance as this was just made for entertainment for the masses who would never see a Broadway musical but loved seeing the intricate dance numbers and there are some wonderful dance numbers here. It is too bad that Draper never got the exposure of an Astaire or Kelly as I don't believe there was a finer tap dancer anywhere.

These prewar movies were great and cheap entertainment and in this vehicle there is a nice dance sequence with Jack Oakie and Joan Blondell. Watching Oakie you can see the moves of another rising comedian, Jackie Gleason. If you watch this film on a large screen TV (77-86 inch), you get a better idea of why these fluff films were so popular. TCM runs this film every so often, try to watch or DVR it. I feel it is getting harder for today's audience (2019) to put themselves in the mindset of someone watching this film in 1936.

Maybe the worst musical I've ever seen.

[infelixdido-29761 · 1/10 · 14 December 2018]

I love Dick and Ruby and I think Joan Blondel is always a treat. But I really couldn't make it through this. The first song isn't until about 30 minutes in and the tap dance fashion show ballet is just awful. There is a rare and a bit strange duet called "Boulevardier from the Bronx" that was kind of fun but I had to stop before the last 20 minutes. I'm sure I missed some fabulous production finale but I just couldn't stand it any longer.