Tip-Toes  Tip-Toes is a musical with a book by Guy Bolton and Fred Thompson, lyrics by Ira Gershwin, and music by George Gershwin. It centers on a vaudeville act composed of Tip-Toes, her brother and her uncle, who try to pass her off as an aristocrat to snare a millionaire husband. Farcical complications ensue involving Tip-Toes' temporary amnesia and a marital infidelity subplot. The musical was modestly successful on Broadway in 1925 and in London in 1926. It was quickly adapted as a silent film starring Dorothy Gish and Will Rogers. "Tip-Toes" was produced by Alex A. Aarons and Vinton Freedley, to satirise the Florida land boom, which was then at its peak. They reunited the creative team of "Lady, Be Good!", which had been a hit the previous year with Fred and Adele Astaire. The Broadway production opened at the Liberty Theatre on December 28, 1925 and ran for 192 performances. It was directed by John Harwood, and the dance numbers were staged by Sammy Lee and Earl Lindsay. The cast included Queenie Smith as Tip-Toes, Allen Kearns as Steve Burton, Jeanette MacDonald as Sylvia Metcalf, Andrew Tombes as Al, and Harry Watson Jr. as Hen. A West End production featuring Dorothy Dickson, Laddie Cliff, Allan Kearns, John Kirby, Vera Bryer, Peggy Beaty and Evan Thomas opened at the Winter Garden Theatre on August 31, 1926 and ran for 182 performances. An Australian production opened at the Victoria Theatre in Newcastle, New South Wales, on May 4, 1927, before a national tour. Also in 1927, the show was made into one of the last silent films, starring Dorothy Gish as Tip-Toes (spelled "Tiptoes" in the film) and Will Rogers as Hen. In 1982, original orchestra books for the show were among many documents unearthed in a warehouse in Secaucus, New Jersey, and in 1989 two concerts were presented at the Library of Congress to celebrate the discovery. In 1998, Carnegie Hall decided to present the show as part of its two-year Gershwin Centenary program, and a full restoration of the project was undertaken by reconciling original programs and scripts with the existing musical materials. Of this performance, Stephen Holden of the "New York Times" said, "the songs and orchestrations have that irresistible fizz that at its perkiest conveys a compressed frenzy of euphoria."