Florenz Ziegfeld made an attempt to buy Grant's contract, but Hammerstein sold it to the Shubert Brothers instead. J. J. Shubert cast him in a small role as a Spaniard opposite Jeanette MacDonald in the French risqué comedy Boom-Boom at the Casino Theater on Broadway, which premiered on January 28, 1929, ten days after his 25th birthday. MacDonald later admitted that Grant was "absolutely terrible in the role", but he exhibited a charm which endeared him to people and effectively saved the show from failure. The play ran for 72 shows, and Grant earned $350 a week before moving to Detroit, then to Chicago. To console himself, Grant bought a 1927 Packard sport phaeton. He visited his half-brother Eric in England, and he returned to New York to play the role of Max Grunewald in a Shubert production of A Wonderful Night. It premiered at the Majestic Theatre on October 31, 1929, two days after the Wall Street Crash, and lasted until February 1930 with 125 shows. The play received mixed reviews; one critic criticized his acting, likening it to a "mixture of John Barrymore and cockney", while another announced that he had brought a "breath of elfin Broadway" to the role. Grant still found it difficult forming relationships with women, remarking that he "never seemed able to fully communicate with them" even after many years "surrounded by all sorts of attractive girls" in the theater, on the road, and in New York. In 1930, Grant toured for nine months in a production of the musical The Street Singer. It ended in early 1931, and the Shuberts invited him to spend the summer performing on the stage at The Muny in St. Louis, Missouri; he appeared in 12 different productions, putting on 87 shows. He received praise from local newspapers for these performances, gaining a reputation as a romantic leading man. Significant influences on his acting in this period were Gerald du Maurier, A. E. Matthews, Jack Buchanan, and Ronald Squire. He admitted that he was drawn to acting because of a "great need to be liked and admired". He was eventually fired by the Shuberts at the end of the summer season when he refused to accept a pay cut because of financial difficulties caused by the Depression. His unemployment was short-lived, however; impresario William B. Friedlander offered him the lead romantic part in his musical Nikki, and Grant