Betty Hutton \nwas an American stage, film, and television actress, comedian, dancer, and singer. With a career spanning six decades, she rose to fame in the 1940s as a contract player for Paramount Pictures, appearing primarily in musicals and becoming one of the studio's most valuable stars. She was noted for her energetic performance style.

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Betty Hutton (born Elizabeth June Thornburg; February 26, 1921 – March 12, 2007)\nwas an American stage, film, and television actress, comedian, dancer, and singer. With a career spanning six decades, she rose to fame in the 1940s as a contract player for Paramount Pictures, appearing primarily in musicals and becoming one of the studio's most valuable stars. She was noted for her energetic performance style.\n

Raised in Detroit during the Great Depression by a single mother who worked as a bootlegger, Hutton began performing as a singer from a young age, entertaining patrons of her mother's speakeasy. While performing in local nightclubs, she was discovered by orchestra leader Vincent Lopez, who hired her as a singer in his band. \n

In 1940, Hutton was cast in the Broadway productions Two for the Show and Panama Hattie, and attracted notice for her raucous and animated live performances. She relocated to Los Angeles in 1941 after being signed by Paramount Pictures, and concurrently recorded numerous singles for Capitol Records. Her breakthrough role came in Preston Sturges's The Miracle of Morgan's Creek (1943), and she went on to receive further notice for her lead role as Annie Oakley in the musical Annie Get Your Gun (1950), and for Cecil B. DeMille's epic The Greatest Show on Earth (1952). She made her final feature film appearance in Spring Reunion (1956).\n

After leaving Paramount, Hutton starred in her own series, The Betty Hutton Show, from 1959 until 1960. She continued to perform in stage productions, though her career faltered following a series of personal struggles, including chronic depression, alcoholism, and prescription drug addiction. Hutton largely abandoned her performing career by the 1970s and found employment in a Rhode Island rectory after becoming nearly destitute. She returned to the stage temporarily, replacing Alice Ghostley in the original Broadway production of Annie in 1980. \n

In her later life, Hutton attended Salve Regina University, where she earned a master's degree in psychology in 1986. After working as an acting instructor at Emerson College, Hutton returned to California in 1999 and resided in Palm Springs, where she died in 2007 at 86.\n

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Early life

Hutton was born Elizabeth June Thornburg on February 26, 1921, in Battle Creek, Michigan, the youngest of two daughters of Percy Thornburg, a railroad brakeman, and Mabel Thornburg (née Lum). When she was two years old, her father abandoned the family. They did not hear of him again until they received a telegram years later, informing them of his suicide. Betty and her older sister, Marion, were raised by their single mother, who was an alcoholic. \n

Hutton's formative years during the Great Depression were marked by poverty, with Hutton's mother supporting herself and her two children by working as an automobile upholsterer and running an illegal speakeasy out of her home in Lansing, Michigan. There, Hutton and her sister regularly performed songs to entertain customers of the speakeasy.\n

Due to her mother's bootlegging of alcohol during prohibition, the family relocated frequently to evade police, eventually settling in Detroit when she was eight years old. Recalling her childhood, Hutton said: \"Mom just ran a joint on a small scale. We'd operate until the cops got wise. Then they'd move in and close us down, and we'd move somewhere else. Marion and I would entertain the customers by dancing and singing. We really lived that way until we were 12 and 14 years old... Things were really tough. At one time we were down to one can of beans.\"\n

Hutton attended Foch Intermediate School in Detroit before dropping out in ninth grade. She sang in several local bands as a teenager and at 15 attempted to find stage work in New York City; her efforts proved unsuccessful, and she returned to Detroit.\n

Career

1938–1940: Music and Broadway

In 1938, Hutton was discovered by orchestra leader Vincent Lopez while she was performing as a singer in local Detroit nightclubs. Lopez recruited her as a member of his band, and she began touring with them as a singer, billed as Betty Jane. During her tenure with the band, Hutton established a distinctive \"whoop and holler\" vocal style. Lopez, an adherent of numerology, used his numerology practice to rebrand her with the stage name Betty Hutton: \"I tried to get a vibration that would make her a lot of money. It was a five-eight vibration. After that she did fine.\" Through her work with Lopez, Hutton was hired to appear in several musical shorts for Warner Bros.: Queens of the Air (1938), Three Kings and a Queen (1939), Public Jitterbug No. 1 (1939), and One for the Book (1940).\n

In 1940, Hutton was cast in the Broadway production Two for the Show, which ran for 124 performances and received rave reviews. Hutton soon became known for her raucous performances onstage, summarized in a 1950 Time magazine article:\n

During the show's run, hardworking, hard-cussing actress Hutton spared her fellow performers no more than she spared herself. She thrashed about so violently that once she catapulted off the stage and onto a drummer in the orchestra pit. In a number that required her to maul Keenan Wynn, she once toed him into a dead faint, forced him to take to protective padding. Among her later victims: Bob Hope, whose teeth caps she sent scattering over a soundstage floor during a bit of jujitsu; Cinemactor Frank Faylen, whom she knocked out with a right to the jaw when the director demanded realism; Eddie Bracken, who, in a saloon scene, caught a Hutton slap on the back that looped him over the bar and into a heap on the other side. \"When they work with me,\" crows Betty, \"they gotta get insurance policies.\"

Two for the Show was produced by Buddy DeSylva, who then cast Hutton in Panama Hattie (1940–1942). This was a major hit, running for 501 performances. It starred Ethel Merman; despite rumors through the years that Merman demanded from envy that Hutton's musical numbers be reduced from the show, more careful reports demonstrate that producer DeSylva chose to cut just one song of three, \"They Ain't Done Right by Our Nell\", due to Hutton's \"always in overdrive\" performance style.\n

1941–1949: Paramount contract and breakthrough

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When DeSylva became a producer at Paramount Pictures, he offered Hutton a contract with the studio, and she relocated to Los Angeles. She was first cast in a featured role in The Fleet's In (1942), starring Paramount's number-one female star Dorothy Lamour, alongside Eddie Bracken and William Holden. The film was popular and Hutton was an instant hit with the moviegoing public.\n

Hutton was one of the many Paramount contract artists who appeared in Star Spangled Rhythm (1942). The same year, she was signed to Capitol Records and recorded several singles over the following years, marking one of the label's earliest recording artists. Meanwhile, Paramount did not immediately promote her to major stardom, but gave the second lead in a Mary Martin film musical, Happy Go Lucky (1943). The response was positive, and Hutton was given co-star billing with Bob Hope in Let's Face It (1943). During that year, she made $1250 per week.\n

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In 1942, writer-director Preston Sturges cast Hutton in The Miracle of Morgan's Creek as a small-town girl who gives local troops a happy send-off and wakes up married and pregnant, but with no memory of who her husband is. The film was delayed by Hays Office objections and Sturges' prolific output. The film was released in the United Kingdom in December, 1943, before being finally released in the United States in January, 1944. The film made Hutton a major star; Sturges was nominated for a Best Writing Oscar, the film was named to the National Film Board's Top Ten films for the year, and the National Board of Review nominated the film for Best Picture of 1944, and awarded Betty Hutton the award for Best Acting for her performance. The New York Times named it as one of the 10 Best Films of 1942–1944.\n

Critic James Agee noted that \"the Hays office must have been raped in its sleep\" to allow the film to be released. And although the Hays Office received many letters protesting the film's subject matter, it was Paramount's highest-grossing film of 1944, playing to standing room-only audiences in some theatres.\n

Hutton was next cast in Paramount's And the Angels Sing (1944) with Fred MacMurray and Dorothy Lamour, and Here Come the Waves (1944) with Bing Crosby. Both were huge hits. DeSylva, one of Capitol's founders, also co-produced her next hit, the musical Incendiary Blonde (1945), where she played Texas Guinan. It was directed by veteran comedy director George Marshall, and Hutton had replaced Lamour as Paramount's top female box-office attraction. Hutton was one of many Paramount stars in Duffy's Tavern (1945), and was top billed in The Stork Club (1945) with Barry Fitzgerald, produced by DeSylva. Hutton went into Cross My Heart (1946) with Sonny Tufts, which she disliked. She did however enjoy the popular The Perils of Pauline (1947), directed by Marshall, where she sang a Frank Loesser song that was nominated for an Oscar: \"I Wish I Didn't Love You So\". The recording sold over a million copies worldwide, and reached number six in the U.S. charts.\n

Hutton's relationship with Paramount began to disintegrate when DeSylva left the studio due to illness (he died in 1950). \"After he left I started doing scripts that I knew weren't good for me.\"\n

The film Romance on the High Seas (1948) directed by Michael Curtiz, was originally intended to be a musical vehicle for Hutton, but Hutton was pregnant with her second child at the time and was unavailable. Instead, Curtiz cast Doris Day in her feature film debut.\n

Hutton starred in Dream Girl (1948) with MacDonald Carey. Directed by Mitchell Leisen, it is based on the popular Broadway play of the same name by Elmer Rice. A drama, it was her second non-musical film. Her performance was largely well received by critics but the film itself received mixed reviews. Hutton later said Dream Girl, \"almost ruined me.\" \n

She did Red, Hot and Blue (1949) with Victor Mature, which she also disliked.\n

1950–1958: Annie Get Your Gun, The Greatest Show on Earth & film career decline

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Hutton starred in the 1950 movie adaption of the 1946 Irving Berlin musical, Annie Get Your Gun, for Metro-Goldwyn-Mayer. Judy Garland, MGM's top female musical attraction, was originally cast in the leading role of Annie Oakley. Garland, who was mentally ill and undergoing electroconvulsive therapy at the time, was fired after repeatedly being late and often not showing up to set at all. After Garland's firing, production on the film came to a halt in May of 1949, as a replacement actress was required. Hutton, Paramount's top female musical attraction, lobbied for the role with both MGM and Paramount. An agreement between the studios was reached through a five-month loan-out deal. Paramount loaned Hutton, while MGM loaned Fred Astaire. In her next film, the 1950 musical Let's Dance, she starred with Fred Astaire and was billed above him. But the film was overshadowed by Annie Get Your Gun, which was the third highest grossing film of 1950. \n

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She was one of several stars in The Greatest Show on Earth (1952), an epic drama directed by Cecil B. DeMille about performers in a circus which won two Academy Awards: Best Picture and Best Story. Hutton portrayed a trapeze artist in the film, and trained extensively for the role for six months, allowing her to perform many of her own stunts. She made an unbilled cameo in Sailor Beware (1952) with Dean Martin and Jerry Lewis, a remake of The Fleet's In, in which she portrayed Dean's girlfriend, Hetty Button.\n

She starred in Somebody Loves Me (1952), a biography of singers and vaudevillans Blossom Seeley & Benny Fields with Ralph Meeker. During filming, Hutton had vocal surgery to have a wart removed in her throat. She extensively trained her voice to fit Seeley's lower pitch.\n

Hutton then clashed with Paramount. The New York Times reported that the dispute resulted from her insistence that her husband at the time, choreographer Charles O'Curran, direct her in a film.\n

In April 1952, Hutton returned to Broadway, performing in Betty Hutton and Her All-Star International Show. In July 1952, she announced that she and her husband would form a production company. She left Paramount in August.\n

In January 1953, Variety named her the second highest-grossing female star of 1952, behind Elizabeth Taylor, and fifth highest-grossing overall with a total gross of $14,200,000.\n

Hutton then transitioned to radio work and appeared in Las Vegas, where she had success performing in live theater productions. She had the rights to a screenplay about Sophie Tucker, but was unable to raise funds. In 1954, TV producer Max Liebman, of comedian Sid Caesar's Your Show of Shows, fashioned his first \"Color Spectacular\" as an original musical written especially for Hutton, Satins and Spurs. Hutton's last completed film was a small one, Spring Reunion (1956). It was a financial disappointment. She also became disillusioned with Capitol's management and moved to RCA Victor. In 1957, she appeared on a Dinah Shore show on NBC that also featured Boris Karloff; the program has been preserved on a kinescope.\n

1959–1964: Television work

Lucille Ball and Desi Arnaz took a chance on Hutton in 1959, with their company Desilu Productions giving her a CBS sitcom, The Betty Hutton Show. Hutton hired the still-blacklisted and future film composer Jerry Fielding to direct her series. They had met over the years in Las Vegas when he was blacklisted from TV and radio and could get no other work, and her Hollywood career was also fading. It was Fielding's first network job since losing his post as musical director of Groucho Marx's You Bet Your Life in 1953 after hostile questioning by the House UnAmerican Activities Committee. The Betty Hutton Show ended after 30 episodes.\n

Hutton continued headlining in Las Vegas and touring across the country. She returned to Broadway briefly in 1964 when she temporarily replaced a hospitalized Carol Burnett in the show Fade Out – Fade In. She guest-starred on shows such as The Greatest Show on Earth, Burke's Law, and Gunsmoke.\n

1965–1979: Personal and financial struggles

By the early 1960s, Hutton's career had declined significantly, attributed to her chronic depression and addiction to alcohol and prescription drugs. Turner Classic Movies described her career downswing as \"one of the grimmest declines in Hollywood history.\" Following the 1962 death of her mother in a house fire, and the collapse of her last marriage, Hutton's depression and substance abuse escalated. She divorced her fourth husband, jazz trumpeter Pete Candoli, when she discovered he had fallen in love with Edie Adams (who would become Candoli's second wife), and attempted suicide, causing her to lose custody of her youngest daughter, Carolyn, then sixteen years old. She declared bankruptcy the same year. \n

In 1967, she was signed to make a comeback starring in two low-budget Westerns for Paramount, but was fired shortly after the projects began. After losing her singing voice in 1970, Hutton had a nervous breakdown and again attempted suicide. She regained control of her life through rehabilitation and the mentorship of a Catholic priest, Father Peter Maguire. Hutton converted to Catholicism and took a job as a cook and housekeeper at a rectory in Portsmouth, Rhode Island. She made national headlines when it was revealed she was practically penniless and working in a rectory. Speaking on her conversion to Catholicism, Hutton stated that she had been fascinated by the religion since childhood, though she was raised irreligious by her mother, who was an atheist.\n

After an aborted comeback in 1974, she was hospitalized with emotional exhaustion. \n

Hutton appeared in an interview with Mike Douglas and made a brief guest appearance in 1975 on Baretta. In September 1978, Hutton was featured on The Phil Donahue Show, where she discussed her life and career. She was then happily employed as hostess at a Newport, Rhode Island, jai alai arena.\n

She also appeared on Good Morning America, which led to a 1978 televised reunion with her two daughters. Hutton began living in a shared home with her divorced daughter and grandchildren in California, but returned to the East Coast for a three-week return to the stage.\n

1980–1983: Return to Broadway and academic endeavors

In 1980, she took over the role of Miss Hannigan during the original Broadway production of Annie while Alice Ghostley was on vacation. Ghostley replaced the original Miss Hannigan actress, Dorothy Loudon (who won a Tony Award for the role).\n

Hutton's rehearsal of the song \"Little Girls\" was featured on Good Morning America. Her Broadway comeback was also included in a profile on CBS News Sunday Morning about her life, her struggle with pills, and her recovery.\n

A ninth-grade dropout, Hutton went back to school and earned a master's degree in psychology from Salve Regina University in 1986. During her time at the university, Hutton became friends with fellow student and singer-songwriter Kristin Hersh, and attended several early concerts of Hersh's band, Throwing Muses. Hersh later wrote the song \"Elizabeth June\" as a tribute to Hutton, and wrote about their relationship in further detail in her memoir, Rat Girl (2010).\n

After completing her master's degree, Hutton worked as a drama instructor at Emerson College in Boston, Massachusetts.\n

Hutton's last known performance, in any medium, was on Jukebox Saturday Night, which aired on PBS in 1983. She became estranged again from her daughters.\n

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Personal life

Marriages and children

Hutton was once engaged to the head of the Warner Bros. makeup department, makeup artist Perc Westmore, in 1942, but broke off the engagement, saying it was because he bored her.\n

Her first marriage was to camera manufacturer Ted Briskin in September 1945. The couple met in a nightclub, and she described their meeting as \"love at first sight.\" The couple had two daughters, Lindsay (b. 1946) and Candice (b. 1948), before their marriage ended in divorce in 1951. \n

Hutton's second marriage in 1952 was to choreographer Charles O'Curran. They divorced in 1955. He died in 1984. \n

She married husband Alan W. Livingston in 1955, weeks after her divorce from O'Curran. They divorced in 1960.\n

Her fourth and final marriage in 1960 was to jazz trumpeter Pete Candoli. They divorced in 1967. Hutton and Candoli had one child, Carolyn (b. 1962).\n

Final years and death

After the death of her mentor, Father Maguire, Hutton returned to California, moving to Palm Springs in 1999, after decades in New England. Hutton hoped to grow closer to her daughters and grandchildren, as she told Robert Osborne on TCM's Private Screenings in April 2000, though her children remained distant. She told Osborne that she understood their hesitancy to accept a now elderly mother. The TCM interview first aired on July 18, 2000. \n

Hutton lived in Palm Springs until her death on March 12, 2007, at the age of 86 from complications of colon cancer. She is buried at Desert Memorial Park in Cathedral City, California.\n

Legacy

For her contribution to the motion picture industry, Betty Hutton was awarded a star on the Hollywood Walk of Fame on 2 August 1960, which is located at 6259 Hollywood Boulevard. Hutton was posthumously awarded a star on the Palm Springs Walk of Stars on what would have been her 92nd birthday on February 26, 2013, which is located at 121 S. Palm Canyon Dr. \n

Hutton was one of 500 Hollywood stars nominated by the American Film Institute for the AFI's 100 Years...100 Stars as one of the greatest female stars. \n

Influence

Debbie Reynolds started her musical career lip syncing to Hutton's recording of the song \"A Square in The Social Circle\" written by Ray Evans. As a young girl, Skeeter Davis was inspired by Hutton and her music, with Davis citing Hutton as one of the people who sparked her love for music.\n

In popular culture

The song \"Peggy The Pin Up Girl\", written by Redd Evans and John Jacob Loeb, and most famously covered by Glenn Miller and his Orchestra, name-drops multiple female Hollywood stars, including Hutton. Hutton is name-dropped in the lyrics \"Peggy's dancing caused a heat wave up in Nome / She has Betty Hutton's vigor / Lana Turner's classy figure.\"\n

Hutton's music has been used in popular media; her recording of \"Hit The Road To Dreamland\" written by Johnny Mercer & Harold Arlend features in the 1997 film L.A. Confidential. \n

Her music has also featured in the post-apocalyptic franchise Fallout, where her songs \"It's a Man\" and \"He's a Demon, He's a Devil, He's a Doll\" appeared in Fallout 4's in-game soundtrack. \"It's a Man\" also appeared in the 2024 Fallout episode \"Target\" along with \"He's a Demon, He's a Devil, He's a Doll\" which appears in the 2025 Fallout second season episode of \"The Demon In The Snow\".\n

Hit songs

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Filmography

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Box-office ranking

For several years, film exhibitors voted Hutton among the leading stars in the country:\n

1944 – 23rd (US)
1945 - 12th (US)
1950 – 15th (US)
1951 – 9th (UK)
1952 – 14th (US), 3rd (UK)

Stage work

Two for the Show (1940)
Panama Hattie (1940)
Betty Hutton and Her All-Star International Show (1952)
Gypsy (1962)
South Pacific (1962)
Annie Get Your Gun (1963)
Gentlemen Prefer Blondes (1964)
Fade Out – Fade In (1964) (replacement for Carol Burnett)
Mary, Mary (1965)
Here Today (1966)
Here Today (1972)
Anything Goes (1973)
Annie (1980) (replacement for Alice Ghostley)

Radio appearances

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Awards and nominations

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Notes

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References

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External links

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Betty Hutton at the Internet Broadway Database
Betty Hutton at IMDb
Betty Hutton at the TCM Movie Database (archived)
BettyHuttonEstate.com
Betty Hutton at Who2 Biographies
Betty Hutton at BroadwayWorld
Betty Hutton at Virtual History

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Early life

Career

1938–1940: Music and Broadway

1941–1949: Paramount contract and breakthrough

1950–1958: Annie Get Your Gun, The Greatest Show on Earth & film career decline

1959–1964: Television work

1965–1979: Personal and financial struggles

1980–1983: Return to Broadway and academic endeavors

Personal life

Marriages and children

Final years and death

Legacy

Influence

In popular culture

Hit songs

Filmography

Box-office ranking

Stage work

Radio appearances

Awards and nominations

Notes

References

Further reading

External links

Betty Hutton

Broadcast History