Most people think they know the musical Meet Me in St. Louis. They picture Judy Garland in a red dress, the clanging of a trolley bell, and the melancholy pull of a Christmas classic. But if you’ve only seen the 1944 MGM film, you’re actually missing a huge chunk of the story. The stage adaptation is a weird, wonderful, and sometimes clunky beast that tries to turn a 113-minute movie into a full-scale theatrical experience.
It's not just the movie on a stage.
When the musical Meet Me in St. Louis finally hit Broadway in 1989 at the Gershwin Theatre, it was basically a massive exercise in nostalgia. But here's the kicker: the movie itself didn't have enough songs to fill a two-act play. To fix that, the original songwriters, Hugh Martin and Ralph Blane, were brought back decades later to write a pile of new material. They added about ten new songs to the seven from the film. Some of them, like "A Day in New York," are great. Others? Well, let's just say they make the show feel a lot longer than the movie ever did.
The Broadway Gamble: What Changed from Screen to Stage?
The stage version is based on Sally Benson’s "The Kensington Stories," just like the film was. But theater demands a different kind of structure. In a movie, you can rely on close-ups of Judy Garland’s face to tell the story of Esther Smith’s pining for John Truitt. On stage, you need a big Act I finale.
The plot still follows the Smith family in 1903. They’re obsessed with the upcoming 1904 World’s Fair. Everything is perfect in their Victorian bubble until Mr. Smith—played by George Hearn in the original Broadway cast—drops a bomb: the family is moving to New York City for his job.
New Songs You Probably Don’t Know
Honestly, the added music changes the vibe. While the film is very focused on Esther (Judy), the stage musical Meet Me in St. Louis spreads the love around.
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- "A Touch of the Irish": This is a big comedy number for Katie the maid. It’s high-energy and usually a crowd-pleaser, but it’s definitely "theatre-y" in a way the film isn't.
- "You'll Hear a Bell": A solo for Mrs. Smith. It’s sweet, but it slows the pace down.
- "Banjos": This is the big dance number for Lon, the brother. In the 1989 production, this was a massive spectacle.
The 1989 production was actually huge. We're talking a cast of about 40 people. It cost a fortune to produce, and even though it snagged Tony nominations for Best Musical and Best Score, it didn't have a massive run. It closed after 252 performances. Why? Some critics felt it was too "saccharine" for the gritty Broadway of the late 80s. They weren't wrong, but for families, it was exactly what they wanted.
Why Do People Keep Performing It?
If the Broadway run was just "okay," why is this show everywhere now?
You’ll see the musical Meet Me in St. Louis at regional theaters like The Muny in St. Louis (fittingly) or the Irish Repertory Theatre in New York almost every few years. The Muny actually has a production scheduled for August 2026.
The reason is simple: it’s safe.
It’s one of those rare G-rated shows that isn't a cartoon. It deals with real family dynamics—sibling rivalry, the fear of moving, first crushes—without being edgy. Community theaters love it because it has a ton of roles for kids (Agnes and Tootie) and older actors (Grandpa Prophater).
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The "Tootie" Factor
Tootie Smith is basically the Wednesday Addams of the 1900s. She’s obsessed with death, buries her dolls in the backyard, and causes absolute chaos on Halloween. In the stage musical, her "Ghosties and Ghoulies" number is a weird, dark highlight that breaks up the "perfect family" aesthetic. If a production gets a bad Tootie, the whole show falls apart. She has to be creepy-cute, not just annoying.
Is it Better Than the Movie?
Kinda. Sorta. No.
Look, you can't beat Vincente Minnelli's direction or Judy Garland’s voice. The film is a masterpiece of Technicolor. The stage musical Meet Me in St. Louis is a different experience. It’s more of a "variety show" about a family.
One thing the stage version does better is the character of John Truitt. In the movie, he’s a bit of a cardboard cutout. On stage, he gets more to do. He gets a real duet with Esther ("You Are for Loving") that makes their romance feel a bit more grounded.
But then there's the "Trolley Song."
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In the movie, it’s a masterclass in editing. On stage, the director has to figure out how to put a literal trolley on a platform without it looking like a high school parade float. When it works, it’s magic. When it doesn’t, you’re just watching people bounce up and down on a wooden box.
What Most People Get Wrong About the Ending
People remember "Have Yourself a Merry Little Christmas" as the end. It’s not.
In the musical Meet Me in St. Louis, that song happens near the climax, but the show actually ends at the World's Fair. The family stays in St. Louis, they go to the fair, and they realize that their home is exactly where they belong. It’s a very "pro-Midwest" ending that hits hard if you've ever been forced to move against your will.
How to Actually See or Perform It
If you’re a theater nerd or a director looking at this show, keep these things in mind:
- Check the Version: There’s the original 1989 book by Hugh Wheeler, but many modern productions use a "revised" version that trims some of the fat.
- The Score is Hard: Don't let the "wholesome" vibe fool you. The vocal arrangements for the Smith family octet are actually pretty complex. You need singers who can handle tight harmonies.
- The Costume Budget: You cannot do this show cheaply. You need Victorian winter wear, Halloween costumes, and those iconic World's Fair dresses. If the costumes look cheap, the nostalgia dies.
If you’re just a fan, keep an eye on your local regional theater’s Christmas schedule. While it’s technically a "four seasons" show, it usually pops up in December because of that one famous song. Just be prepared: it's going to be a lot longer than the movie, and yes, they will probably try to sell you a souvenir trolley bell at intermission.
Actionable Next Steps
If you want to dive deeper into the world of the Smiths, don't just stop at the movie.
- Listen to the 1989 Broadway Cast Recording: It’s the only way to hear the "extra" songs like "A Day in New York" and "Wasn't It Fun."
- Read Sally Benson's Original Stories: They were originally published in The New Yorker. They’re much more episodic and a bit more biting than the musical versions.
- Check Licensing for Community Groups: If you’re looking to produce it, Concord Theatricals holds the rights. Be sure to look at the "Small Cast" vs "Large Cast" versions depending on your budget.
The musical Meet Me in St. Louis remains a staple because it captures a version of America that probably never existed but we all wish did. It’s a world where the biggest problem is a missed long-distance phone call or a move to Manhattan. In 2026, that kind of escape is worth the price of a ticket.