Virginia Katherine Rogers (née McMath; July 16, 1911 – April 25,
1995) was an American actress, dancer, and singer. She is widely known
for performing in films and RKO's musical films, partnered with Fred
Astaire. She appeared on stage, as well as on radio and television,
throughout much of the 20th century.
and raised in Kansas City, Rogers and
her family moved to Fort Worth, Texas, when she was nine years old.
After winning a 1925 Charleston dance contest that launched a
successful vaudeville career, she gained recognition as a Broadway
actress for her debut stage role in Girl Crazy. This success led to a
contract with Paramount Pictures, which ended after five films. Rogers
had her first successful film role as a supporting actress in 42nd
Street (1933). Throughout the 1930s, Rogers made 10 films with
Astaire, among which were some of her biggest successes, such as Swing
Time (1936) and
(1935). After two commercial failures with
Astaire, Rogers began to branch out into dramatic films and comedies.
Her acting was well received by critics and audiences, and she became
one of the biggest box-office draws of the 1940s. Her performance in
Kitty Foyle (1940) won her the
for Best Actress.
Rogers remained successful throughout the 1940s and at one point was
Hollywood's highest-paid actress, but her popularity had peaked by the
end of the decade. She reunited with Astaire in 1949 in the
commercially successful The Barkleys of Broadway. After an
unsuccessful period through the 1950s, Rogers made a successful return
to Broadway in 1965, playing the lead role in Hello, Dolly!. More lead
roles on Broadway followed, along with her stage directorial debut in
1985 on an off-Broadway production of Babes in Arms. Rogers also made
television acting appearances until 1987. In 1992, Rogers was
recognized at the Kennedy Center Honors. She died of a heart attack in
1995, at the age of 83.
Rogers is associated with the phrase "backwards and in high heels",
the title of her memoir, attributed to Bob Thaves' Frank and Ernest
cartoon with the caption "Sure he [Astaire] was great, but don't
did everything he did... backwards and in
high heels". A Republican and a devout Christian Scientist, Rogers
was married five times, with all of her marriages ending in divorce;
she had no children. During her long career, Rogers made 73 films, and
her musical films with
are credited with revolutionizing
the genre. Rogers was a major movie star during the Golden Age of
Hollywood, and is often considered an American icon. She ranks number
14 on the
AFI's 100 Years...100 Stars
AFI's 100 Years...100 Stars
list of female stars of classic
1 Early life
Vaudeville and Broadway
2.2 Early film roles
2.3 1933–1939: Astaire and Rogers
2.4 1933–1939: Rogers without Astaire
2.6 Late career
3 Personal life
5 Portrayals of Rogers
7 See also
10 External links
100 W Moore St., Independence, Missouri, birthplace of Ginger Rogers
Rogers was born Virginia Katherine McMath on July 16, 1911, in her
mother's rented home at 100 Moore Street, Independence,
Missouri.:1, 2 She was the only living child of Lela Emogene (née
Owens; 1891 – 1977) and William Eddins McMath (1880 – 1925), an
electrical engineer.:9, 10:16 She was of Scottish, Welsh, and
English ancestry. Her mother did not want her born in a hospital,
having lost a previous child there.:11 Her parents separated
shortly after she was born,:1, 2, 11 but her grandparents, Wilma
Saphrona (née Ball) and Walter Winfield Owens, lived nearby in Kansas
City.:3 After unsuccessfully trying to become a family again,
McMath kidnapped his daughter twice.:7, 15 Rogers said that she
never saw her natural father again.:15 Her mother divorced her
father soon thereafter.
In 1915, Rogers moved in with her grandparents while her mother made a
Hollywood in an effort to get an essay she had written made
into a film.:19 Lela succeeded and continued to write scripts for
Fox Studios.:26–29 Rogers was to remain close to her grandfather
(much later, when she was a star in 1939, she bought him a home at
5115 Greenbush Avenue in Sherman Oaks, California, so he could be
close to her while she was filming at the studios).
One of Rogers' young cousins, Helen, had a hard time pronouncing
"Virginia", shortening it to "Badinda"; the nickname soon became
When "Ginga" 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.
Vaudeville and Broadway
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. This
theater honored her many years later by changing its name to the
Ginger Rogers Theater.
At 17, Rogers married Jack Culpepper, a
singer/dancer/comedian/recording artist of the day who worked under
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
Girl Crazy by
George Gershwin and Ira Gershwin. Fred
Astaire was hired to help the dancers with their choreography. Her
Girl Crazy made her an overnight star at the age of 19.
Early film roles
Ruby Keeler and
Ginger Rogers in 42nd Street (1933)
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
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.
1933–1939: Astaire and Rogers
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
The Gay Divorcee
The Gay Divorcee (1934), Roberta (1935),
Top Hat (1935),
Follow the Fleet
Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937),
Carefree (1938), and
The Story of Vernon and Irene Castle
The Story of Vernon and Irene Castle (1939). The
Barkleys of Broadway (1949) was produced later at MGM. They
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.
Rogers with her frequent co-star
Fred Astaire in the film Roberta
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
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".
John Mueller summed up Rogers' abilities as: "Rogers was outstanding
among Astaire's partners, not because she was superior to others as a
dancer, but, because, as a skilled, intuitive actress, she was cagey
enough to realize that acting did not stop when dancing began ... the
reason so many women have fantasized about dancing with Fred Astaire
Ginger Rogers conveyed the impression that dancing with him is
the most thrilling experience imaginable".
According to Astaire, when they were first teamed together in Flying
Down to Rio, "Ginger had never danced with a partner before. She faked
it an awful lot. She couldn't tap and she couldn't do this and that
... but Ginger had style and talent and improved as she went along.
She got so that after a while everyone else who danced with me looked
wrong." Author Dick Richards, in his book Ginger: Salute to a
Star, quoted Astaire saying to Raymond Rohauer, curator at the New
York Gallery of Modern Art, "Ginger was brilliantly effective. She
made everything work for her. Actually she made things very fine for
both of us and she deserves most of the credit for our success." When
asked who his favorite dancing partner was by British TV interviewer
Michael Parkinson on Parkinson in 1976, Astaire said "Excuse me, I
must say Ginger was certainly the one. You know, the most effective
partner I had. Everyone knows. That was a whole other thing what we
did...I just want to pay a tribute to Ginger because we did so many
pictures together and believe me it was a value to have that
girl...she had it! She was just great!"
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.
1933–1939: Rogers without Astaire
Both before and immediately after her dancing and acting partnership
Fred Astaire ended, Rogers starred in a number of successful
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
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 1934, Rogers sued Sylvia of
Hollywood for $100K for defamation.
Sylvia, Hollywood's fitness guru and radio personality, had claimed
that Rogers was on Sylvia's radio show when, in fact, she was not.
On March 5, 1939, Rogers starred in "Single Party Going East", an
episode of Silver Theater on
In 1941, Rogers won the
Academy Award for Best Actress
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
Hollywood feature film:
The Major and the Minor
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
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
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.
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
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!.
Cary Grant and
Marilyn Monroe in Monkey Business (1952)
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
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 onwards, 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
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
CBS Television for broadcast rights to the clips (all
previous rights-holders having donated broadcast rights gratis).
For her contributions to the motion picture industry, Rogers has a
star on the
Hollywood Walk of Fame at 6772
Jacques Bergerac (1950s)
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 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.
On March 29, 1929, Rogers married for the first time at age 17 to her
Jack Pepper (real name Edward Jackson Culpepper). They
divorced in 1931, having separated soon after the wedding. Ginger
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
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,
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 was a
lifelong member of the Republican Party.
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
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
Ginger Rogers Theater.
Ginger Rogers at Oakwood Memorial Park
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
Oakwood Memorial Park Cemetery in Chatsworth,
California, with her mother's remains.
Portrayals of Rogers
Likenesses of Astaire and Rogers, apparently painted over from the
"Cheek to Cheek" dance in Top Hat, are in the "Lucy in the Sky With
Diamonds" section of
The Beatles film Yellow Submarine (1968).
Rogers' image is one of many famous women's images of the 1930s and
'40s featured on the bedroom wall in the
Anne Frank house in
Amsterdam, a gallery of magazine cuttings pasted on the wall created
by Anne and her sister Margot while hiding from the Nazis. When the
house became a museum, the gallery the Frank sisters created was
preserved under glass.
Ginger The Musical by Robert Kennedy and Paul Becker which Ginger
Rogers approved and was to direct on Broadway the year of her death is
currently in negotiations for the 2016-17 Broadway season. Marshall
Mason directed its first production in 2001 starring Donna McKechnie
and Nili Bassman and was choreographed by Randy Skinner.
A musical about the life of Rogers, entitled Backwards in High Heels,
premiered in Florida in early 2007.
Rogers was the heroine of a novel,
Ginger Rogers and the Riddle of the
Scarlet Cloak (1942, by Lela E. Rogers), in which "the heroine has the
same name and appearance as the famous actress, but has no connection
... it is as though the famous actress has stepped into an alternate
reality in which she is an ordinary person." It is part of a series
known as "Whitman Authorized Editions", 16 books published between
1941–1947 that featured a film actress as heroine.
Dancing House in
Prague (Czech: Tancici dum), sometimes known as
Ginger and Fred, was designed by American architect
Frank Gehry and
inspired by the dancing of Astaire and Rogers.
In the 1981 film Pennies From Heaven,
Bernadette Peters dances with
Steve Martin in a scene which uses Fred and Ginger's "Let's Face the
Music and Dance" sequence (from 1936's Follow the Fleet) as its
Federico Fellini's film
Ginger and Fred
Ginger and Fred centers on two aging Italian
Ginger Rogers and Fred Astaire. Rogers sued the
production and the distributor when the film was released in the U.S.
for misappropriation and infringement of her public personality. Her
claims were dismissed, as according to the judgement, the film only
obliquely related to Astaire and her.
Ginger Rogers filmography
List of actors with
Academy Award nominations
^ a b Oliver, Myrna (April 26, 1995). "From the Archives: Movie Great
Ginger Rogers Dies at 83 – LA Times". latimes.com. Retrieved
^ ReelClassics.com. "
Ginger Rogers at Reel Classics: Article 2:
Backwards and in High Heels". www.reelclassics.com. Retrieved
^ a b c d e f g h i j Rogers, Ginger (1991). Ginger: My Story. New
York: HarperCollins (sic) Publishers. ISBN 9780061564703.
^ Notable American women: a biographical dictionary completing the
twentieth ... By Susan Ware
^ "Family History of Ginger Rogers, A Glamour Girl, Turns to
Missouri". Maryville, MO: The Maryville Daily Forum (newspaper). 19
May 1944. p. 4. Retrieved 27 February 2015 – via
Newspapers.com. (Subscription required (help)). The actress was
kidnapped by her father two times after (their) separation.
Ginger Rogers – Actress and Singer". Retrieved 3 August
^ Crowther, Linnea. "Ginger Never Cried". Retrieved 3 August
^ 1937-, Epstein, Joseph, (2008-01-01). Fred Astaire. Yale University
Press. ISBN 9780300173529. OCLC 613206931.
^ Satchell, Tim (1987). Astaire: The Definitive Biography. Hutchinson.
p. 127. ISBN 9780091737368.
^ Interview Suit Begun By Actress: Screen Player Asks Damages, Los
Angeles Times, March 24, 1934.
^ "Virovai Is Guest". The Nebraska State Journal. March 5, 1939.
p. 36. Retrieved March 31, 2015 – via Newspapers.com.
^ Chapin, Louis (August 25, 1965). "Ginger Rogers' shining Dolly". The
Christian Science Monitor.
^ Wharton, Dennis (1992-12-18). "Astaire footage withheld from
Honors". Variety. Retrieved 2009-04-22.
Ginger Rogers Inducted to the Walk of Fame". walkoffame.com.
Hollywood Chamber of Commerce. February 8, 1960. Retrieved December 7,
^ Kendall, Elizabeth (2002). The Runaway Bride:
Comedy of the 1930s. Cooper Square Press. p. 97.
^ Adherent of
Christian Science Archived 2010-11-24 at the Wayback
Hollywood Remembers" on DECADES channel-
CBS Feb. 6, 2017]
^ "Sold Out Florida Stage Run of
Ginger Rogers Musical Gets Added
Performances". Playbill. Archived from the original on
^ "Backwards In High Heels".
^ "Whitman Authorized Editions for Girls".
Ginger Rogers v Alberto Grimaldi, Mgm/ua Entertainment Co., and
Peaproduzioni Europee Associate, S.r.l., 875 F.2d 994 (2nd Cir. 1989).
Fred Astaire: Steps in Time, 1959, multiple reprints.
Arlene Croce: The
Fred Astaire and
Ginger Rogers Book, Galahad Books
1974, ISBN 0-88365-099-1
Ginger Rogers – a Bio-Bibliography, Greenwood Press,
Connecticut, 1994, ISBN 0-313-29177-2
Hannah Hyam: Fred and Ginger – The Astaire-Rogers Partnership
1934–1938, Pen Press Publications, Brighton, 2007.
John Mueller: Astaire Dancing – The Musical Films of Fred Astaire,
Knopf 1985, ISBN 0-394-51654-0
Ginger Rogers: Ginger My Story, New York: Harper Collins, 1991
Wikimedia Commons has media related to Ginger Rogers.
Wikiquote has quotations related to: Ginger Rogers
Ginger Rogers on IMDb
Ginger Rogers at the TCM Movie Database
Ginger Rogers at the
Internet Broadway Database
Internet Broadway Database
Ginger Rogers – Appreciations
Backwards in High Heels: The Ginger Musical
Ginger Rogers biography from Reel Classics
John Mueller's 1991 New York Times review of Ginger: My Story
Photographs and literature
Ginger Rogers Museum in Independence, Missouri
The Astaire–Rogers film musicals
Flying Down to Rio
Flying Down to Rio (1933)
The Gay Divorcee
The Gay Divorcee (1934)
Top Hat (1935)
Follow the Fleet
Follow the Fleet (1936)
Swing Time (1936)
Shall We Dance (1937)
The Story of Vernon and Irene Castle
The Story of Vernon and Irene Castle (1939)
The Barkleys of Broadway
The Barkleys of Broadway (1949)
Academy Award for Best Actress
Janet Gaynor (1928)
Mary Pickford (1929)
Norma Shearer (1930)
Marie Dressler (1931)
Helen Hayes (1932)
Katharine Hepburn (1933)
Claudette Colbert (1934)
Bette Davis (1935)
Luise Rainer (1936)
Luise Rainer (1937)
Bette Davis (1938)
Vivien Leigh (1939)
Ginger Rogers (1940)
Joan Fontaine (1941)
Greer Garson (1942)
Jennifer Jones (1943)
Ingrid Bergman (1944)
Joan Crawford (1945)
Olivia de Havilland
Olivia de Havilland (1946)
Loretta Young (1947)
Jane Wyman (1948)
Olivia de Havilland
Olivia de Havilland (1949)
Judy Holliday (1950)
Vivien Leigh (1951)
Shirley Booth (1952)
Audrey Hepburn (1953)
Grace Kelly (1954)
Anna Magnani (1955)
Ingrid Bergman (1956)
Joanne Woodward (1957)
Susan Hayward (1958)
Simone Signoret (1959)
Elizabeth Taylor (1960)
Sophia Loren (1961)
Anne Bancroft (1962)
Patricia Neal (1963)
Julie Andrews (1964)
Julie Christie (1965)
Elizabeth Taylor (1966)
Katharine Hepburn (1967)
Katharine Hepburn /
Barbra Streisand (1968)
Maggie Smith (1969)
Glenda Jackson (1970)
Jane Fonda (1971)
Liza Minnelli (1972)
Glenda Jackson (1973)
Ellen Burstyn (1974)
Louise Fletcher (1975)
Faye Dunaway (1976)
Diane Keaton (1977)
Jane Fonda (1978)
Sally Field (1979)
Sissy Spacek (1980)
Katharine Hepburn (1981)
Meryl Streep (1982)
Shirley MacLaine (1983)
Sally Field (1984)
Geraldine Page (1985)
Marlee Matlin (1986)
Jodie Foster (1988)
Jessica Tandy (1989)
Kathy Bates (1990)
Jodie Foster (1991)
Emma Thompson (1992)
Holly Hunter (1993)
Jessica Lange (1994)
Susan Sarandon (1995)
Frances McDormand (1996)
Helen Hunt (1997)
Gwyneth Paltrow (1998)
Hilary Swank (1999)
Julia Roberts (2000)
Halle Berry (2001)
Nicole Kidman (2002)
Charlize Theron (2003)
Hilary Swank (2004)
Reese Witherspoon (2005)
Helen Mirren (2006)
Marion Cotillard (2007)
Kate Winslet (2008)
Sandra Bullock (2009)
Natalie Portman (2010)
Meryl Streep (2011)
Jennifer Lawrence (2012)
Cate Blanchett (2013)
Julianne Moore (2014)
Brie Larson (2015)
Emma Stone (2016)
Frances McDormand (2017)
Kennedy Center Honorees (1990s)
Betty Comden and Adolph Green
Fayard and Harold Nicholas
Paul Newman and Joanne Woodward
Sir Georg Solti
Fred Ebb and John Kander
Shirley Temple Black
ISNI: 0000 0000 8411 3088
BNF: cb124611079 (data)