Darn Nice Campus" – Joe Taylor "Wildcats" – Ensemble and Joe Taylor "Jennie Reads Letter: A Darn Nice Campus (Reprise)" – Jennie Brinker "Scene of Professors" – Professors, Joe Taylor, Jennie Brinker, and Ensemble "So Far" – Beulah "You Are Never Away" – Joe Taylor and Ensemble "You Are Never Away (Encore)" – Joe Taylor and Ensemble "Poor Joe (Reprise)" – Ensemble "What a Lovely Day for a Wedding" – Ensemble and Mr. Brinker "It May Be a Good Idea for Joe" – Charlie Townsend "Finale Act I: I Know It Can Happen Again/To Have and To Hold/Wish Them Well" – Ensemble Act II "Entr'acte" – Orchestra "Money Isn't Everything" – Jennie Brinker and Other Wives "Dance: Money Isn't Everything" – Orchestra "Poor Joe (Reprise)" – Ensemble "You Are Never Away (Reprise)" – Joe Taylor "A Fellow Needs a Girl (Reprise)" – Majorie Taylor "Ya-ta-ta" – Charlie Townsend and Ensemble "The Gentleman Is a Dope" – Emily "Allegro" – Charlie Townsend, Joe Taylor, Emily and Ensemble "Allegro" Ballet – Orchestra with Ensemble "Come Home" – Marjorie Taylor and Ensemble "Finale Ultimo: Ya-ta-ta/Come Home/One Foot, Other Foot" – Ensemble Production history [[File:Allegro program.jpg|thumb|Program for Allegro'''s US tour, April 1949 (Davidson Theatre, Milwaukee)]] Given the outstanding success of Oklahoma! and Carousel, Allegro was anticipated with close interest by the theatre community and public. The musical attracted $750,000 in advance sales, at a time when the top price ticket for a Broadway musical was $6.Allegro opened on Broadway at the Majestic Theatre on October 10, 1947. It starred John Battles as Joseph Taylor Jr., Annamary Dickey as Majorie Taylor, William Ching as Dr. Joseph Taylor, Roberta Jonay as Jennie Brinker, Lisa Kirk as Emily, and John Conte as Charlie Townsend. A special performance the afternoon of the opening for friends and associates generated wild applause; the audience at the official opening that evening clapped little. As de Mille's husband, Walter Prude, put it, Allegro went over "like a wet firecracker". The mixed reviews prompted ongoing discussions of the play's merit, continuing well after the first night. Some of the news that the show generated had nothing to do with its worth—de Mille had dancer Francis Rainer fired, and Rainer alleged that the dismissal was due to her union activism. After Actors Equity became involved, Rainer was rehired. More bad publicity came when the producers proposed to dismiss several orchestra and chorus members to