Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-8448b6f56d-cfpbc Total loading time: 0 Render date: 2024-04-24T23:47:49.274Z Has data issue: false hasContentIssue false

Appendix 3 - Operettas with English Librettos by Composers for the German Stage

Published online by Cambridge University Press:  27 June 2019

Derek B. Scott
Derek B. Scott
Affiliation:
University of Leeds
Type
Chapter
Information
German Operetta on Broadway and in the West End, 1900–1940 , pp. 319 - 323
Publisher: Cambridge University Press
Print publication year: 2019
Creative Commons
Creative Common License - CCCreative Common License - BYCreative Common License - NCCreative Common License - ND
This content is Open Access and distributed under the terms of the Creative Commons Attribution licence CC-BY-NC-ND 4.0 https://creativecommons.org/cclicenses/

Appendix 3 Operettas with English Librettos by Composers for the German Stage

Fall, Leo

  • The Eternal Waltz, Hippodrome, London, 22 Dec. 1911, 100 perfs. Clara Evelyn & Ackerman May (as Feo Lahll). Bk & lyrs: Austen Hurgon (one act); SD: Austen Hurgon; MD: Leo Fall.

  • The Eternal Waltz, Palace Theatre, New York, 24 Mar. 1913 (12 perfs). Opening production at Palace Theatre.

Fall, Richard

  • Arms and the Girl, London Hippodrome, 29 Apr. 1912, 95 perfs. G. P. Huntley, May de Sousa, & Jean Aylwin. Bk & lyrs: Austen Hurgon.

Felix, Hugo

  • The Merveilleuses (later, The Lady Dandies), Daly’s Theatre, London, 27 Oct. 1906, 197 perfs. Robert Evett (Dorlis) & Denise Orme (Illyrine). Bk: Basil Hood (after Victorien Sardou); Lyrs: Adrian Ross; P: George Edwardes; SD: J. A. E. Malone; MD: Barter Johns; DD: Willie Warde.

  • Tantalizing Tommy, Criterion Theatre, New York, 1 Oct. 1912, 31 perfs. Bk: Michael Morton, after Paul Gavault’s play La Petite Chocolatière; Lyrs: Adrian Ross; P: A. H. Woods; SD: George Marion; MD: Hans S. Linne.

  • The Pearl Girl, Shaftesbury Theatre, London, 25 Sep. 1913, 254 perfs. Bk & lyrs: Basil Hood; Music by Hugo Felix & Howard Talbot; P & SD: Robert Courtneidge; MD: Arthur Wood; DD: Willie Warde.

  • Pom-pom, Cohan Theatre, 28 Feb. 1916, 128 perfs. Bk & lyrs: Anne Caldwell; P: Henry W. Savage; SD: George Marion; MD: Max Bendix.

  • Lassie, Nora Bayes Theatre, New York, 6 Apr. 1920, transf. to Casino, 159 perfs. Bk & lyrs: Catherine Chisholm Cushing; P: Lassie, Inc.; SD: Edward Royce; MD: Emo Rapee.

  • Peg-o’-My-Dreams, Jolson Theatre, New York, 5 May 1924, 32 perfs. Bk: J. Hartley Manners (based on his own play); Lyrs: Anne Caldwell; P: Richard Herndon; SD: Hassard Short; MD: Gustave Salzer.

Gilbert, Jean

  • The Girl from Cook’s, Gaiety, London, 1 Nov. 1927, 30 perfs. Bk & lyrs: R. H. Burnside & Greatrex Newman; Add. music: Raymond Hubbell; Mus. arr. Frank Tours; P: Bestown Productions; SD: R. H. Burnside; MD: Leonard Hornsey.

Goetzl, Anselm

  • The Royal Vagabond, Cohan & Harris Theatre, New York, 17 Feb. 1919, 348 perfs. Bk: Stephen Ivor-Szinney & William Carey Duncan; Lyrs: W. C. Duncan; Add. numbers George M. Cohan; P: Cohan & Harris; SD: Julian Mitchell & Sam Forrest. MD: Gustave Salzer.

  • The Rose Girl, Ambassador Theatre, New York, 11 Feb. 1921, 110 perfs. SD: Hassard Short.

Holländer, Victor

  • The Charity Girl, Globe Theatre, New York, 2 Oct. 1912, 21 perfs. Bk & lyrs: Edward Peple; Add. lyrs: Melville Alexander; Add. music: Gene Hodgkins, Ernest Brewer & others; P: & SD: George W. Lederer; MD: Albert Krausse.

Kálmán, Emmerich

  • The Blue House, London Hippodrome, 28 Oct. 1912, 64 perfs. Shirley Kellogg (Cornelia Van Huyt of the USA) & Bert Coote (the Honourable Chippendale St Arch). Bk & lyrs: Austen Hurgon; P: Frank Allen & Edward Moss. [Score lost.]

  • Golden Dawn, Hammerstein’s Theatre, New York, 30 Nov. 1927, 184 perfs. Bk & lyrs: Otto Harbach & Oscar Hammerstein; Add. music: Herbert Stothart; P: Arthur Hammerstein; SD: Reginald Hammerstein; MD: Herbert Stothart; DD: Dave Bennett; Scenic design: Joseph Urban.

Kreisler, Fritz & Viktor Jacobi

  • Apple Blossoms, Globe, New York, 7 Oct. 1919, 256 perfs. Bk & lyrs: William Le Baron; P: Charles Dillingham; SDs: Fred G. Latham & Edward Royce; MD: William Daly.

Künneke, Eduard

  • Lover’s Lane, London 1923.Footnote 1 Bk & lyrs: Arthur Wimperis & Harry M. Vernon.

  • The Love Song, Century Theatre, New York, 13 Jan. 1925, 157 perfs. Allan Pior (Offenbach). Music: Offenbach, arr. Künneke, plus some original music; Bk & lyrs: Harry B. Smith (after German adaptation by James Klein & Carl Bretschneider of Hungarian libretto by Mihály Nador & Jenö Ferago); P: the Shuberts; SD: Fred G. Latham & J. J. Shubert; MD: Alfred Goodman.

  • Mayflowers, Forrest Theatre, New York, 24 Nov. 1925, 81 perfs. Ivy Sawyer (Elsie Dover) & Joseph Santley (Billy Ballard). Bk & lyrs: Clifford Grey (after the play Not So Long Ago by Arthur Richman); Add. music: J. Fred Coots & Frank E. Tours; P: the Shuberts; SD: William J. Wilson & Joseph Santley; MD: Frank Cork; DD: Earl Lindsay.

  • Riki-Tiki, Gaiety Theatre, London, 16 Apr. 1926, 18 perfs. Gladys Moncrieff (Riki-Tiki). Bk & lyrs: Leslie Stiles; SD: A. H. Majilton; MD: Ernest Irving.

Stolz, Robert

  • Rise and Shine, Drury Lane, 7 May 1936, 44 perfs. Bk & lyrs: Harry Graham & Desmond Carter (after Arnold & Gilbert); SD: William Abingdon; MD & musical arranger: Charles Prentice.

Straus, Oscar

  • Love and Laughter, Lyric Theatre, London, 3 Sep. 1913, 67 perfs. Bertram Wallis (Prince Carol) & Yvonne Arnaud (Zara). Bk: Frederick Fenn & Arthur Wimperis; Lyrs: Wimperis; P & SD: Philip Michael Faraday; MD: Jacques Heuvel.

Weill, Kurt

  • Johnny Johnson, 44th Street Theatre, New York, 19 Nov. 1936, 68 perfs. Comedy by Paul Green, incidental music by Weill; P: The Group Theatre; SD: Lee Strasberg; MD: Lehman Engel.

  • The Eternal Road, Manhattan Opera House, 7 Jan. 1937, 153 perfs. Incidental music. Biblical spectacle Der Weg der Verheissung by Frank Werfel, adapted from Ludwig Lewisohn’s translation by William A. Drake; P: Meyer W. Weisgal & Crosby Gaige; SD: Max Reinhardt; MD: Isaac van Grove; Scene, costume, & lighting designer: Norman Bel Geddes.

  • Knickerbocker Holiday, Ethel Barrymore Theatre, New York, 19 Oct. 1938, transfd to 46th Street, 13 Feb. 1939, 168 perfs in all. Bk & lyrs: Maxwell Anderson; P: Playwrights’ Company; SD: Joshua Logan; MD: Maurice Abravanel; DD: Carl Randall & Edwin Denby.

  • Lady in the Dark, Alvin Theatre, New York, 23 Jan. 1941, 162 perfs, returned 2 Sep. 1941 305 perfs. Gertrude Lawrence. Bk: Moss Hart; Lyrs: Ira Gershwin; P: Sam H. Harris; SD: Hassard Short & Moss Hart; MD: Maurice Abravanel; SD: Hassard Short; DD: Albertina Rasch.

  • One Touch of Venus, Imperial Theatre, New York, 7 Oct. 1943, transfd to 46th Street, 26 Jan. 1944, 567 perfs in all. Bk: S. J. Perelman & Ogden Nash; Lyrs: Ogden Nash; P: Cheryl Crawford; SD: Elia Kazan & Agnes De Mille; MD: Maurice Abravanel.

  • The Firebrand of Florence, Alvin Theatre, New York, 22 Mar. 1945, 43 perfs. Bk: Edwin Justus Mayer & Ira Gershwin; Lyrs: Ira Gershwin; P: Max Gordon; SD: John Murray Anderson; MD: Maurice Abravanel; DD: Catherine Littlefield.

  • Street Scene, Adelphi Theatre, New York, 9 Jan. 1947, 148 perfs. Bk: Elmer Rice (based on his play); Lyrs: Langston Hughes; P: Dwight Deere Wiman & the Playwrights’ Company; SD: Charles Friedman & Anna Sokolow; MD: Maurice Abravanel.

  • Love Life, 46th Street, New York, 7 Oct. 1948, 252 perfs. Bk & lyrs: Alan Jay Lerner; Add. music: Irving Schlein; P: Cheryl Crawford; SD: Elia Kazan; MD: Joseph Littau; DD: Michael Kidd.

  • Lost in the Stars, Music Box Theatre, New York, 30 Oct. 1949, 281 perfs. Bk & lyrs: Maxwell Anderson, after Alan Paton’s novel Cry, the Beloved Country.; P: Playwrights’ Company; SD: Rouben Mamoulian; MD: Maurice Levine; DD: La Verne French.

1 Date given in the Künneke article in Die Musik in Geschichte und Gegenwart (MGG) for the London production. I have been unable to trace this performance.

Footnotes

1 Date given in the Künneke article in Die Musik in Geschichte und Gegenwart (MGG) for the London production. I have been unable to trace this performance.

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×