Getting Out of Town Lyrics – 42nd Street

Song Overview

Halfway through 42nd Street, the company packs its hopes, hats, and tap boards for the traditional out-of-town try-out. “Getting Out of Town” explodes with vaudeville brass, syncopated hoof-beats, and enough getaway gags to fill a Pullman car. Tammy Grimes, Karen Prunczik, Carole Cook, Joseph Bova, and James Congdon lead the ensemble in a two-minute whirl of suitcases, punch-lines, and pure Depression-era optimism. In the Original Broadway Cast of 42nd Street, the number feels like throwing confetti on a moving train.

Song Credits

• Featured Performers: Tammy Grimes, Karen Prunczik, Carole Cook, Joseph Bova, James Congdon & Ensemble
• Producer: Thomas Z. Shepard
• Composer: Harry Warren
• Lyricists: Al Dubin & Mort Dixon
• Book Writers (musical): Michael Stewart & Mark Bramble
• Orchestrations: Philip J. Lang
• Album: 42nd Street – Original Broadway Cast Recording — Track 6
• Release Date: 1980
• Genre: Broadway / Big-Band Pop
• Length: 1 minute 59 seconds
• Label: RCA Red Seal
• Mood: Effervescent, getaway-glad, suitcase-swinging
• Instruments: Trumpet section, sliding trombones, reed quintet, stride piano, upright bass, kit drums, tap shoes (percussive feature)
• Copyright © 1933, renewed 1961 Warner Chappell Music Inc.

Song Meaning and Annotations

On Broadway, heading “out of town” isn’t vacation—it’s survival. Pre-Broadway try-outs in Philadelphia or Boston let a show iron kinks before Gotham critics pounce. Within 42nd Street, producer Julian Marsh ships the company off to Philly, and this song captures the electric mix of relief and panic that follows. Warren’s melody barrels like a locomotive, horns mimicking steam blasts while cymbal swishes suggest passing scenery.

Lyrically, Dubin and Dixon stuff the verses with 1930s minutiae—ferry-boats, icemen, the Daily News—painting a Manhattan scrambling for a fresh start. The text’s breezy internal rhymes (“I’m footloose and fancy-free / Gettin’ out of town”) mirror dancers corkscrewing through tap breaks. Notice how each mini-monologue hums with personal escape: one character leaves a cat a note; another polishes “trav’lin’ shoes.” It’s community energy, yet every chorus member holds a private ticket to reinvention.

Opening Lines

“I’m grabbin’ my hat and coat / I’m leavin’ the cat a note”

Instant motion. The A-A rhyme mimics quick steps; the mundane “cat” detail humanizes show-folk otherwise painted in footlights.

Girls’ Feature

“We’re linin’ ’em up in file / And givin’ them each a smile”

Grimes and company weaponize charm—goodbye grins both sincere and strategic. Musically, a descending sax riff underscores that smiles sometimes mask nerves.

Main Refrain

“Cares fly by / They’re goin’ bye-bye / And we’re shoutin’ ‘Hoorah!’”

Three quick “bye” punches, then a triumphant shout: Warren’s upward modulation on “Hoorah!” sounds like the train whistle leaving Penn Station.

Similar Songs

1. “Shuffle Off to Buffalo” – Original Broadway Cast of 42nd Street (1980)
   Both numbers celebrate travel as transformation; “Shuffle” swaps trains for honeymoons, but shares jaunty rhythms, tap breaks, and wink-and-grin puns like “A buffalo nickel.” Together they book-end Act I with suitcase symphonies.
2. “We Open in Venice” – Kiss Me, Kate Original Cast (1948)
   Porter’s quippy trio promises European glory; Warren’s ensemble pledges Philly salvation. Each uses geographical buzz to hype a show-within-a-show, with rapid-fire internal rhymes driving comedic momentum.
3. “Another Op’nin’, Another Show” – Kiss Me, Kate
   Cole Porter’s curtain-raiser and “Getting Out of Town” both capture pre-performance jitters—one before opening night, the other before the train departs. Brass fanfares and chorale-style call-and-response wrap nerves in irresistible swing.

Questions and Answers

Where does “Getting Out of Town” sit in the plot?

Mid-Act I, just after rehearsal chaos convinces Julian Marsh to road-test Pretty Lady in Philadelphia. The number marks the troupe’s literal and emotional departure.

Who sings lead on the cast album?

Tammy Grimes (Maggie), Karen Prunczik (Annie), Carole Cook (Maggie’s co-writer), plus Joseph Bova and James Congdon. Their comic interplay turns checklist lyrics into vaudeville patter.

Was the song written for 42nd Street or borrowed?

Borrowed and adapted. Warren and Dubin penned its core melody for the 1934 revue The Laugh Parade (“Gotta Go to Town”); book writers Stewart & Bramble refitted lyrics to fit the backstage tale.

Why so many travel clichés?

Because 1930s audiences idolized mobility—trains symbolized economic hope. The clichés land like inside jokes for show-biz pros who lived from train berth to theatre loft.

How is tap used musically?

Taps double as snare accents. Dancers become percussionists, filling rests with heel-to-toe rhythms that goose the tempo without adding instruments.

Awards and Chart Positions

• 42nd Street won the 1981 Tony Award for Best Musical and Best Choreography.
• The Original Broadway Cast album earned a Platinum certification for U.S. sales (1984) and remains a steady catalogue seller.

Fan and Media Reactions

“The horns sound like they’re wearing fedoras—instant 1933 atmosphere.” —Theatre World review, 1981

“Two minutes that make me want to tap on the Amtrak aisle.” —YouTube commenter @SilverShoes

“Grimes tosses off the line ‘Hey Iceman—don’t need your ice!’ like she’s freezing out the whole Depression.” —Podcast Broadway Deep Cuts

“Our high-school production turned lockers into train cars; this number got the loudest applause.” —Drama teacher tweet, 2023

“Proof that a good key change can pack a suitcase faster than you can say ‘Hotcha!’.” —Tap-dance blogger