Light Opera of New York

Home , Guy Bolton, Marilyn Miller, Sally (musical), Sunny (musical)

Light Opera of New York presents JEROME KERN’s SSSally Emma Grimsley Alex Corson Bryan Elsesser Adam Cannedy Claire Kuttler Richard Holmes Natalie Ballenger Rachael Braunstein

Gerald Steichen conductor Sally PROGRAM NOTE...... John Ostendorf Music...... Jerome Kern Butterfly Ballet...... Victor Herbert The historical context in which Jerome Kern’s Sally Book...... Guy Bolton was written and presented is fascinating. America’s Lyrics...P.G. Wodehouse, B.G. DeSylva, involvement—and its cost in lives—in the Great War Anne Caldwell, Clifford Grey (WWI) was nothing like that of the European combat- Conductor...... Gerald Steichen tants (17 million dead). But after a half-century of relative Director...... Gary Slavin peace, the United States was still jolted by this global Stage Manager...... Angel Vail event. We lost 100,000. Worse, in terms of fatalities, was Produced for LOONY by Carol Davis and the horrid “Spanish” Flu epidemic of 1918. It accounted David Kelleher-Flight. for more than half the U.S. military deaths in Europe and CAST: Sally...... Emma Grimsley also took another 50,000 lives in this country. Blair...... Alex Corson Post-War America was, on the one hand, emerging Connie...... Bryan Elsesser as a global Super-Power—President Woodrow Wilson was Otis...... Adam Cannedy hailed a hero by the European masses. On the other, our Rosie...... Claire Kuttler people wanted a period of quiet, of “Normalcy,” the Pops...... Richard Holmes slogan which elected little-known Ohio senator Warren Marsha...... Natalie Ballenger Harding to the White House in 1920. Americans turned Mrs. Tenbrock...... Rachel Braunstein their backs on Wilson’s League of Nations and the rest of Europe’s affairs. They were aggravated by the Prohibition of alcohol and by a brief but potent national financial crisis in 1920-21. Corruption in government, even within the President’s own cabinet, was rampant, gangsterism beginning to flourish. The giddy Jazz Age, also called ”The Roaring Twenties,” was the nation’s reaction: a rush to Fun and Flappers, an escape from harsh realities. On Broadway a move away from operetta began, to Playbill for a Vaudeville’s mindless pratfalls, to the exhilaration of jazz. 1921 London production Simply put, the Age of Victor Herbert was giving way to of Sally. that of Jerome Kern. Sally bridges the two—it coinciden- ✧2✧ tally involves both composers. The show boasted a roster of collaborators including the legendary New York producer Florenz Ziegfeld, Jr. (1867-1932). New York-based musicologist and drama- turg Maya Cantu has made a fascinating study of the musicals of this period; her lengthy presentation in 2012 at the New York Public Library’s “Musical of the Month” series offered a good look at Kern’s 1920 Sally. More recent- Sally’s original creative trio (l. to r.) P.G. Wodehouse, Guy ly, Dr. Cantu has published a study—American Bolton and Jerome Kern. Cinderellas on the Broadway Musical Stage—examining the history of the “Rags-to-Riches hero- ine” who inspired composers from Sally’s time down to our Mid-Century. Sally was among the first of her genre. Cantu shines a light on the historical emergence of Women’s Rights as depicted in these early stage works—she links the “Glass Slipper” with the “Glass Ceiling”—and she also provides a source for everything one needs to know about the delightful Kern score we have recorded here. Sally’s history is complicated. Let us begin by stating that Jerome Kern’s show opened at the New Amsterdam Theater on Broadway a few days before Christmas 1920 and played for an astounding 570 packed performances, grossing millions in ticket sales. Like the show’s title character, Sally enjoyed a Cinderella-like evolution from modest small-house musical in its original conception to extravaganza, once Ziegfeld got involved. Jerome Kern (1885-1945) regularly collaborated with British librettist Guy Bolton (1884- 1979)—he supplied the spoken dialogue which moved the musical’s plot along—and Bolton’s countryman, the celebrated P.G. Wodehouse (1881-1975), who contributed the clever song lyrics. This trio originally planned a modest musical work for New York’s intimate Princess Theatre: The Little Thing. Centered around a Downtown orphan girl whose ambitious nature takes her Uptown and beyond, the show didn’t really get off the ground and the three turned to another, Oh Boy, which proved a big hit. A few seasons later, Bolton and Wodehouse encountered Florenz Ziegfeld, Jr. in Florida. The Follies producer was looking for a starring vehicle for one of his dancers whom ✧3✧ Composer Jerome Kern Producer Florenz Ziegfeld Lyricist P.G. Wodehouse Book Author Guy Bolton he’d elevated from the chorus to the spotlight. he used Wodehouse lyrics for two of Sally’s Marilyn Miller (1898-1936) from Evansville, most popular numbers (“Joan of Arc” and “The Indiana, was herself a sort of New York Cin- Church ‘Round the Corner”). Other words in the derella. The writing pair proposed A Little show came from regular Kern lyricists—Anne Thing for Miller, who, though primarily a Caldwell (1867-1936) and the young B.G. De- dancer, also acted and sang. Ziegfeld was Sylva (1895-1950) who supplied “Look for the enthusiastic, but insisted that the show’s waif Silver Lining,” Sally’s most enduring tune. Happily, not only leave behind her dishpans and orphan while almost all the songs were transplanted from doggie Custard, but end up a genuine Zieg- other Kern musicals, somehow they all seem to feld Follies star—a hefty transformation in a work smoothly in this one show. single evening. Kern was soon on board, but Producer Ziegfeld wasn’t interested in the by the time Ziegfeld’s many demands were Princess Theatre: too small. Sally needed to spot- met, multiple re-writes later, Wodehouse, light Miss Miller in a big-time way. And he was opting to concentrate on Jeeves and Bertie the boss. One wonders how composer Kern Wooster, had left the collaboration for Eng- accepted Ziegfeld’s insertion of a ballet score by land. His replacement was Clifford Grey (1887- rival Victor Herbert into Sally. The Act III “Butterfly 1921), who contributed lyrics, notably the Act Ballet” is musically delightful (and has been re- II ”Wild Rose” sequence. Kern borrowed liber- corded here). It involved a huge corps of Follies ally from his own shows for musical numbers: girls, elaborate costumes, sets, lights, as its ✧4✧ Composer Victor Herbert Lyricists: Anne Caldwell B. G. DeSylva Clifford Grey dancing star, Miller, metamorphoses from moth notable. Her fame was short-lived when she to bejewelled butterfly (no mention in Herbert’s died, mysteriously, during a routine medical anatomically-specific score of the caterpillar procedure on her sinuses. While her voice, if stage, but science was hardly the point). In a reports of critics from the day are to be be- further spasm of spectacle, the ballet gives way lieved, was thin and only serviceable, it was her to a quick-change Finale Ultimo at the church dancing and physical beauty that had caught ‘round the corner from New York’s fashionable the attention of Flo Ziegfeld. She was described Madison Square, where Sally trades her toe at the time as “a perfect joy, a perfect talent, shoes for a $10,000 wedding gown (Ziegfeld let a perfect beauty, and perfectly earthy!” everyone know) toted by fifty dazzling Follies Sally was also presented in 1921in London, bridesmaids! to great success. An old-timey recording of Marilyn Miller was a blonde “bombshell” excerpts from that production, while primitive, of considerable talent; she entranced Ziegfeld, gives a feel for Kern’s music, despite a deci- whose personal attentions she may or may not dedly “G&S” approach to the lyrics. A 1929 have welcomed. Nevertheless, under his tutel- film of the show survives, and an unsuccessful age, Miller skyrocketted to fame and wealth— 1948 Broadway revival comprise Sally’s oddly she was one of the highest-paid stars on the sparse history after her spectacular beginnings. Broadway stage for a time—and appeared in a Kern’s show, if indeed he felt it was com- number of musicals, Sally the first and most pletely his, did enjoy that huge 1920 success, ✧5✧ but it was a far cry from the intimate work the composer and his original collaborators intended with The Little Thing. The work proves apt for CD recording. Sally (aside from the visual), however diverse its sources, is charming and has surprisingly consistent musical character. Since a listener must imagine and cannot actually see the extensive dancing, our presenting organization, Light Opera of New York (LOONY), did not have to hire a star ballerina nor a choreographer for the project, but rather could concentrate more on vocal talent. Ziegfeld’s Act III spectacle can easily be imagined when listening, without the cast of thousands at hand. The aim of LOONY officers Carol Davis and David Kelleher-Flight was to remain as true as possible to the Kern-Bolton-Wodehouse smaller-scale, original concept for Sally. To that end, an intimate orchestral ensemble and a tight cast of singer-actors deliver the material. Guy Bolton’s snazzy, pun-filled book is abridged here for recording, but most of Kern’s score is offered by music director Jerry Steichen. He omits some musical repeats, and is faithful to the score’s orchestra parts, reproduced lovingly (for their most recent 1940s performances!) by Tams-Witmark, the New York publisher responsible for the preservation of so many 20th-century American musicals. Our show was semi-staged in May 2016 by Gary Slavin, then recorded for Albany Records downtown at the historic Theatre 80 on St. Mark’s Place located on the Lower East Side—right ‘round the corner from Pops’ Alley Inn—just shy of a century after its uptown premiere.

LOONY DONORS SPECIAL THANKS Annabel Bentley, Phil Bowers, Jean Briggs, Blue Hill Troupe, Jane Brendler Buchi, Corporation Francis Chiappa & Dorene Davis, Tony for Supportive Housing, Sarah Moulton Faux, Cockcroft, Carol Davis, Exxon Mobil, Carol The Players, Pinky Rockhill, Sara Ruderman, Hassert, Matthew Hughes, IBM, Norm Keller, Deborah Thomas Shull, Horizons Foundation, Kaarel Laev, Ann-Marie Meulendyke, Sigourney Laura Gagnon and the owners of Theatre 80. Romaine, Fred Rosoff, Howard Samara, Don Smith, Charles Vaughan, and Nancy Wenzler.

✧6✧ SYNOPSIS tlemen present. Connie, no longer a waiter, but the At Pops’ Alley Inn in Greenwich Village, Mrs. Grand Duke, tells Mrs. Tenbrock and her daughter Ten- brock, wealthy widow and social worker, escorts Marsha about life in his country. Blair is puzzled by a group of foundlings applying for the job of dish- Nockerova's close resemblance to Sally, and feels washer. Pops chooses Sally, who reluctantly agrees, himself falling in love all over again. Pops, Otis and but what she really wants is to become famous like Rosie describe the alluring Nockerova as a modern Joan of Arc. Sally meets Connie, a waiter—in reality Lorelei. With Sally's professional success assured, the exiled Grand Duke Constantine of Czechogo- Otis and Rosie make plans for their own wedding. vinia. She confesses her dreams to him. Connie plans Everything goes wrong when Connie tells to attend a ball in his honor being given by mil- the party that Mme. Nockerova escaped the Old lionaire Richard Farquar. Farquar’s son Blair arrives at Country with the Duke’s royal jewels. This infuriates the Inn and is instantly attracted to Sally. He tries to Blair, who denounces the Guest of Honor. Tearfully, lift her spirits. Connie arranges to have Sally perform Sally admits her deception: she is not Nockerova, at the Inn. Otis, a theatrical agent and his girlfriend only a humble dishwasher. But her dancing has so Rosie are on hand to see Sally dance. When Otis impressed everyone that she earns an engagement learns that his star client Madame Nockerova, a in the Follies. In the revue's Butterfly Ballet, Sally famous European dancer, will be unable to appear emerges a full-fledged Ziegfeld star. At the show’s at the Farquar party, he and Rosie decide to pass finale, Sally and Blair are reconciled, Mrs. Tenbrock Sally off as the ballerina. and Connie somehow unite, and Rosie and Otis do At the ball at the Farquar's Long Island estate, too—a happy ending for all—and then they all get Madame Nockerova appears (it’s Sally in disguise, married at the church just ‘round the corner from faking a Russian accent) and wins over all the gen- nearby Madison Square.

Sally cast with music director Jerry Steichen at the piano (l. to r.): Adam Cannedy, Alex Corson, Claire Kuttler, Richard Holmes, Emma Grimsley, Bryan Elsesser, Nata- lie Ballenger, and Rachael Braunstein.

✧7✧ Dialogue / Duo Track 3 I tell you this burg is slow. We have OTIS (breezes in) moves back home you folks here Sally Ah, glamour-puss, there you are... have never heard of. hello, Rosie. ACT I Pops’ Lower East Side Inn. OTIS, then ROSIE ROSIE In Squantamville, Maine Opening Track 1 I thought you said you'd meet me We’ve jazz on the brain, Song Track 2 here at half past seven. We turn on the family Victrola. MEN, GIRLS OTIS On dancing I’m keen. It’s the night walk Sorry, honeybun! Hey, they have With a beautiful queen, That we love to prowl, music here. Whadda you say? I dance till I loosen each molar. It’s the night hawk Shall we trip a measure in the dance I tremble and thrill to the core That’s the wise old owl. while we're waitin’ for the waiter? Like a jelly that’s dropped on the floor. Bet your life we have to fall. ROSIE On with the dance...! A pleasant time is had by all. O.K. But if you step on my feet... Let me twirl in the whirl tonight. I’ll cling to some beautiful vamp When the lark is singing gaily OTIS (interrupts) As close as the gum to a stamp. And the sun is overhead, What are you saying? Why, I was I’ll slither and slip, I’ll hug and I’ll grip. While the world is working daily, known as the dancing dervish of I must have a night of romance. We love to lie in bed. Squantamville. Honest toil may be a treasure, To some baby in blue, ROSIE Oh boy, what I’ll do at the dance. But it has no charm for us. Maybe ya go big in those huskin' The night is made of leisure. On with the Dance! bees in the barn but in New York City... I’ll show ‘em a step all ginger n’ pep. Let others fume and fuss. OTIS I’m one of the likeliest starters. For simple rustic pleasure There you go: "New York" again. I’ll shimmy and shake We do not care a straw. And I’ll twist like a snake They think it’s great Till I wriggle clean out of my garters. To stay out late at night I’ll find me a maiden so frail, And skate around with Maude. I’ll grab her and tell her the tale. We love the boys and all the noise On with the dance...! And lively plays and cabarets. With some sweet little baby I’ll roam. The nighttime when the lights are bright. We’ll lose ourselves on our way home. It’s the nighttime We’ll cuddle and squeeze When we feel just right. And sag at the knees. Makes a chappy feel so happy. I must have a night of romance. We’re so snappy, we’re full of fight. If your wife I should see, There’s something doing. Rosie (Claire Kuttler) dances with Otis Don’t trust her with me at the dance. It’s the night walk... (Adam Cannedy). On with the dance! ✧8✧ Dialogue Track 4 this floor? They thought her head POPS (the proprietor, enters with SALLY Was made of bone Mrs. Tenbrock, her daughter Marsha No! But she just calmly smiled. and Sally) Good evening, ladies. MRS. TENBROCK They had their troubles at the time MRS. TENBROCK No what, Sally? And everybody knew it. Good evening. I am Mrs. Tenbrock SALLY When kings and dukes and this is my daughter Marsha... No mop! Kept making flukes, and Sally’s here too. I‘ve been doing POPS She said: “Here, let me do it!” settlement work in the neighbor- Look, do you want the job or don’tcha? I wish I could be like Joan of Arc. hood. Now, you wrote to our Matron, SALLY You bet that girl won through. saying you wanted a young girl... I certainly don't... but I guess I'll have They joshed her when she started POPS (looking at Sally) to take it. Other girls have done it. But she never got downhearted, Yeah, to wash dishes. I like this one here. Why, Joan of Arc didn't start any And it shows what a kid can do. Would you like the job, young lady? higher up than I am. She wrote her name SALLY THE OTHERS (variously) On the nation’s Roll of Fame, I would not! Joan of Arc? What? I never heard And it gained her great renown, MARSHA of this Joan of Arc... Tho’ her Pa and Ma, poor fishes, Why, Sally? Tried to keep her washing dishes, SALLY Song Track 5 But you can’t keep a good girl down. What else will I have to do? SALLY The stairs she’d never wash POPS Joan of Arc was on her own With soapsuds and a pail. Do you think you could mop up When she was quite a child. She just cut out domestic bosh And bought a suit of mail. They handed her the icy mitt, But still she was unshaken. She showed the foe some tricks, yea-bo, And soon brought home the bacon. I wish I could be like Joan of Arc. She was “it” right from the start. When the hired girl was busy, Well, it used to make her dizzy, So she said “Here’s where we part.” She loved to fight And when foemen came in sight Sally (Emma Grimsley) with Pops (Richard Holmes), Marsha Tenbrock She would toast ‘em good an’ brown. (Natalie Ballenger) and Mrs. Tenbrock (Rachael Braunstein). She would hand ‘em Dempsey punches ✧9✧ Where they used to keep their lunches, BLAIR For you can’t keep a good girl down. Tell me, young lady: what's your name? Dialogue Track 6 SALLY POPS (to Connie, the waiter, who Sally. What's yours? enters) Your Highness! BLAIR CONNIE Blair. We're going to be friends, you Don't salute. Are you or are you not and I. And I'm going to help you... a loyal supporter of the ducal family if you'll let me. of Czechogovinia? SALLY POPS It's awful good of you! I thought I Haven't I proved my loyalty? When was meeting up with some hard luck you were kicked out of Czechogo- when Pops picked me to wash dishes. vinia and came to New York penniless BLAIR and friendless, didn't I take you in and Things are bound to look up. treat you as one of the family? There's a bright side to everything. CONNIE SALLY Yeah, “family.” So give me next Even to dishpans! Thursday night off! I’ll be able to Connie the Waiter (Bryan Elsesser) accept Mr. Farquar's invitation to Duet Track 7 the ball... to be given in my honor. BLAIR BLAIR POPS He is my father. (There is a sound Please don’t be offended On one condition... that you take me of commotion in the back.) What If I preach to you a while. along to the party too! Shake on it? was that? Tears are out of place (Connie agrees.) Have none of your CONNIE In eyes that were meant to smile. friends found out how it is that you That must be our new dishwasher--- There’s a way to make make your living? escaping. Your very biggest troubles small. CONNIE BLAIR Here’s the happy secret of it all: Of course not. I tell them I must What an awful way to have to make Look for the silver lining withhold my address for political a living! Oh, miss. What do you do Whene’er a cloud appears in the blue. reasons. (Pops goes out.) here... wash the dishes? Remember: somewhere the sun is shining BLAIR (enters, reading a book) SALLY (coming in, out of breath) And so the right thing to do Good evening. I’m Blair Farquar. Say, is it beginning to show on me? Is make it shine for you. CONNIE I've only had the job about fifteen A heart full of joy and gladness You are a relative of the great minutes and the first person that Will always banish sadness and strife. financier Richard Farquar, I believe? sees me spots me for a dish washer. So always look for the silver lining ✧10✧ what do you want out of life, Sally? Thursday at a big ball given by Rich- SALLY ard Farquar, the well-to-do millionaire. I wanna be a singer. ROSIE (goes off) CONNIE Oh! Is that so? Hmm. How would you like to sing OTIS (shouts after her) and dance here? Yeah, I'm her agent. Her New York SALLY representative. In the cabaret, you mean? I'd love it! BLAIR (enters with Mrs. Tenbrock, CONNIE Pops and Connie, all talking) She's I think maybe I can arrange it for you. just a little girl, Mrs. Tenbrock, who I'll speak to Pops, if you like. Then he works here in this restaurant. won't expect me to go on in case MRS. TENBROCK he’s running short of talent. And you want to help her? Blair Farquar (Alex Corson) SALLY BLAIR Does he ever do that? And try to find the sunny side of life. But I don't quite know how. CONNIE SALLY, then BOTH POPS 'Deed he does. As I wash my dishes, You sound in a bad way, Mister. SALLY I’ll be following your plan BLAIR Cheer up. Things will be brighter Till I see brightness in ev’ry pot and pan. Don't be ridiculous. I only met her some day. I am sure your point of view an hour ago. CONNIE Will ease the daily grind, MRS. TENBROCK Not for me. My bright future is all So I’ll keep repeating in my mind: Yes, I know, Blair. But time has behind me. Look for the silver lining... nothing to do with love. SALLY BLAIR Oh Connie. Things aren’t as bad as I guess you're right. They say when Dialogue / Reprise Track 8 they really look: A heart full of joy... you meet the girl, something up CONNIE (comes back in after Blair and says "This is it, Brother." goes) Hello, Sally. I thought you were Dialogue Track 9 running away. ROSIE (enters with Otis) Song / Ensemble Track 10 SALLY Now what's this about some money BLAIR I was thinkin' about it—but now you're gonna make, Otis? There’s someone that I can’t forget I've changed my mind. Say, what's OTIS Wherever I may be. your name? That's right, toots. I'm going to get Though nor of high degree, CONNIE a thousand bucks for booking the She’s all the world to me. Connie. Er... Constantine Alex- famous and notorious Russian A modest rose unknown as yet, andrivich Nicholas Federoff. And just Madame Nockerova to appear next Still wonderful to see. ✧11✧ Emma Grimsley Alex Corson Adam Cannedy Claire Kuttler Sally Blair Farquar Otis Rosie She is the darling of my heart, It matters not how she is dressed, announce an extra cabaret attrac- And I met her in the alley, I want to hold her tight. tion. Miss Sally Green dancing her And on some future day There is no lady in the land “Eccentric Dance.” To her I mean to say: That is half so fair as Sally. Sally’s Eccentric Dance “Dear little girl, I love you...! No matter what her name, Though the dress that you wear I love her just the same. Dear little... Finale Track 12 Is a poor affair, you made me care.” OTIS (comes in again) And I know some day I mean to tell her Dialogue Track 11 So, Rosie, whad’ya think of Sally? All my golden schemes. OTIS (Phone rings.) Isn't she immense? Wait a minute!... We shall find the world of happiness Hello! What's that you say? Madame That gives me an idea. You wait here. Where the sun ever gleams. Nockerova hasn't called? She isn't I'll be right back. And then I’ll take my Sally coming? Oh no. This is terrible. ROSIE Away from the alley (hangs up) Now my whole evening is Nothin’ doing, I'm goin’ go with you. To my wonderful valley of dreams. spoiled. Rosie, this is terrible. BLAIR (enters after they go) MEN (have come in) ROSIE (comes in) Isn't she lovely, Pops? She is the darling of his heart What's the matter? POPS (sarcastic) And he met her in the alley. OTIS Yeah, yeah, she is! Lovely. BLAIR, then ALL After all the trouble I took to book BLAIR She’s somehow different from the rest, that woman, now she isn't coming. Excuse me. I'm going to go con- I can’t describe her quite. Come on, Rosie. gratulate her. She seems to me just right. POPS (enters as they go) POPS (watches him go) She won my heart at sight. Ladies and Gentlemen, I wish to Yeah, she’s lovely all right. Now who ✧12✧ Bryan Elsesser Richard Holmes Natalie Ballenger Rachael Braunstein Connie Pops Marsha Mrs. Tenbrock I gonna get to wash my dishes! Otis? Oh, how I will shine at the dance. SALLY (re-enters hastily with Otis and SALLY (experimenting) ALL (have come in) Rosie) Sorry, Mister, but this job Oh, that! I am Mam'selle Nockerova So on with the dance... you’re offering me I can't accept. ze great dansair. You are a sweet It’s a wonderful big romance. OTIS young man, chéri. I could love you She’ll hit ‘em good and proper, But, you're missing the opportunity vairee much. Not a thing is gonna stop her. of a lifetime. OTIS We’ve only had half a glance. SALLY Ha! You're wonderful, Sally. What a But we are certain I'd love to go and dance for a lot of riot you'll be at the ball. And I'll be Sally knows the way to lead a ballet. society folk and see a real party, but your manager. And Rosie’ll be your She’s bound to make some advance. where would I get the clothes? maid. SALLY OTIS ROSIE I can’t deny I mean to try, Don't worry about that. Madame What...! For I must make the most of my chance. Nockerova ain’t here, but her OTIS, ROSIE OTIS, then ALL trunks are. On with the dance! When the people see you, SALLY Don’t you know it’s your one big chance. Pavlova: na-pooh! at the dance, Yeah, but how’d I look in her clothes? SALLY So on with the dance! OTIS I’ll be a wonderful star. SALLY You'll look slicker than a sink. All you Really, how clever you are! She wrote her name need is a little dolling-up. I’ll be supreme; is this a dream? On the nation’s Roll of Fame, ROSIE Every heart there I mean to entrance. And it gained her great renown... But what about the Russian accent, ‘Twill be simply divine, So always look for the silver.... ✧13✧ ACT II MARSHA SALLY (aside, to Otis) Opening Track 13 If a leader you’d be reckoned, Otis, I'm sunk! ALL (guests at the Farquar Ball at You must never lose a second, OTIS the family’s Long Island estate) But always enter in with something new. Just say oui! To a celebration so remarkable as this, Every day you’ll keep your eye on SALLY Of course, we’re all invited. Any likely social lion, Oui! Such an invitation Find a fresh attraction OTIS We could not afford to miss, Every month or two. Allow me to introduce Mrs. Tenbrock. So we are quite delighted. Say, a rising politician SALLY Everybody who is someone Or musician with ambition, Uh... what name did you say? Who wants to keep in view Or a painter with an ultra-modern style, MRS. TENBROCK Has to call here, so we’re all here. Or a lovely foreign lady Tenbrock. How do you do? Madame We’re very glad to think Who is picturesquely shady, Nockerova, your face looks very That we’re included too She will keep you in the spotlight familiar. For it’s nice to know For a while. SALLY You count in the exclusive few. If you want to play the social game, Really...? You have perhaps seen me Doesn’t she look thin, dear? If you really want to make your name, perform in Europe? How did he get in here? The only thing to do MRS. TENBROCK Have you heard that to the Duke Is show them something new. No... But surely I’ve seen you before. We’re going to be presented? ALL Madame Nockerova, you look as ‘Pon my word, how splendid In society, variety’s the key to notoriety. innocent as a primrose. That his Highness has consented. A duke will bring you lots of fame. They say he’s a refugee He’s a picture in a golden frame, From some romantic place. And we’re all aware a title Is it true? Oh tell us, do, Is particularly vital The gossip of the case. If you want to play the social game... Yes, he’s really a Duke, But it’s disclosed not long ago, Dialogue / Ensemble Track 14 It was his fate to be deposed. OTIS (announcing) Oh, what a shame, who was to blame? Introducing Madame Nockerova! Well, such is fame! SALLY (dressed as Nockerova) Czechogovinia, that’s the name! Oh, what a lovely garden! Charmant! For in that foreign state MRS. TENBROCK (tries out her He made history. French) Good evening, Madame. He is some potentate, full of mystery! Je suis enchantée de faire votre con- Czechogovinia...! naissance, Madame. Sally disguised as Nockerova ✧14✧ SALLY SALLY MARSHA I am just ze opposite of ze primrose: I’m frantic, romantic, excited, Mme Nockerova... the famous singer. there is nozzing "prim" about me. Delighted, it’s thrilling, just killing. CONNIE (All laugh politely.) I’m willing to play my part. You'll oblige me by not mentioning MEN Shall I lose my heart? that lady's name again in my presence! You’ll pardon our intrusion, Well, who can tell? MRS. TENBROCK Our confusion is sublime. It’s a magic spell enchanting. What, Your Highness? Do you We’ve never seen a girl at all like you. MEN, then SALLY know the lady? SALLY You’re charming, alarming, CONNIE I must admit I’m rather unconventional, So slender, so tender, Know her? She's the cause of all my trouble. I fell in love with her. For her A type that must appear as ultra new. Capricious, delicious. I pawned the Crown Jewels and MEN We love you, you’re just complete. You’re like a splendid flower, We are at your feet. bought her a pearl necklace... which Not from our domestic clime, You’re such a wild, wild rose. she ran off with! An orchid that can thrill us with delight. I’m /she’s just a.... MARSHA (delighted) SALLY MAJOR DOMO And now she's here. Here!... in Alas, I’m not a blossom so original, His Highness, the Duke of Czechogovinia. this garden. An “orchid bloom” DUKE (It’s Connie.) CONNIE Will not describe me quite. Ladies and gentlemen, I thank you Really? I want to see her. There are MEN for this wonderful reception. I have several little things I wanna say to her. You’re nothing tame. been waiting... waiting for tonight. MRS. TENBROCK You’re like a burning flame. I had a little difficulty getting here. Was she visiting your court at the We know your name. My Prime Minister objected, but I time of the Revolution? SALLY overruled his objection. CONNIE But all the same... MRS. TENBROCK Yes, she was in the palace when the I’m just a Wild Rose, Good evening, Your Highness. Revolutionists broke in. She seized Not a prim and mild rose. CONNIE that pearl necklace and swam the Tame me if you can. Good evening. Schnitza-Komiski. I’m a rose to suit any man, MARSHA MARSHA Some passion flower. Ah, Mother, I've been looking for The what? This is my hour. you. Have you seen Madame CONNIE Who’ll get me? No one knows. Nockerova? The Schnitza-Komiski: it's our I’m such a wild, wild rose. CONNIE native river. MEN I beg your pardon. What name did MRS. TENBROCK She’s just a wild rose... you say? Oh I see. I never would have guessed it. ✧15✧ CONNIE Made from vitrol and glue You've never heard of the Schnitza- Where the Schnitza... Komiski, Madame Tenbrock? MRS. TENBROCK Dialogue / Duet Track 16 I never have. BLAIR (enters, following Sally, Song Track 15 disguised as Nockerova) Madame CONNIE (as the Duke) Nockerova. There you are. You look I’m a duke from a wonderful clime exactly like a poor little girl who Where I’ve had a remarkable time. washes dishes in a restaurant. My people are splendid, rather unique. SALLY They like revolutions at least once a week. Really! And do you zeenk that I am On Sunday you may be a king, zis poor little girl who washes ze On Monday you won’t mean a thing. deeshes? On the banks of the Schnitza-komiski BLAIR They’re all just as wild as can be. No, no, of course not. Any time without reason or rhyme Connie as the Grand Duke of SALLY Czechogovinia. You may find it far wiser to flee. Zis leettle friend of yours, is she nice? In the night And if landlords oppressive should be, BLAIR They will rouse you and chase you, While the populace cheers, She's charming, just as you are. You And prod you with bayonets, like me, They just lop off their ears know... I never believed in love at first And they’ll cut down in haste While the Schnitza... sight before. But then this isn't first All your Government waste There’s no servant problem out there. sight... not really... because you're Where the Schnitza We’ve housemaids enough and to spare exactly like an older sister of this little Flows down to the sea. The cooks and domestics are also unique girl I’m half in love with already. The telephone there is a joy, They work like the dickens SALLY Not merely a troublesome toy. For five bob a week. Nonsense. Zis is not love. It is just ze A call isn’t simply a matter of chance. To stick in one place is their pride. effect of this beautiful garden and You don’t have to write them Missus Hunt would commit suicide. ze scent of ze flowers... A week in advance. On the banks... BLAIR The girls are so sweet and polite, We haven’t a liquor control. No... It's you! They call round an’ kiss you goodnight. When you dine SALLY On the banks... You can just swim in wine How silly. I wish I could live in a All the rents are as cheap as can be. And at breakfast get clean up the pole. beautiful garden like zis. Plumbers’ mates do not stay out to lunch All the drinks have a wonderful kick, BLAIR From eleven o’clock until three. For they like ‘em as strong as can be. If you really care, you and I could live For a flat there’s no premium there There’s a cute native brew in this garden. ✧16✧ Duet All was still and then the whippoorwill OTIS SALLY Would start his singing. Vamp-proof? Not with that baby. Memory takes me back a way BLAIR, then BOTH She is certainly some siren. To an early childhood day when I stood Trilling while the stars POPS Within a little wood Were filling the sky. Yeah. The good old Lorelei has As day was fading. Whippoorwill... nothing on her. I remember, oh so well Strolling through the dusky dell. Dialogue Track 17 Trio Track 18 I would thrill because the whippoorwill OTIS (comes in with Rosie) POPS Was serenading. Rosie! There you are. I've been I remember reading in an old mythology SALLY, BLAIR looking all over the garden for you. Of the lovely, luring Lorelei. Trilling while stars ROSIE ROSIE Were rapidly filling the sky. Oh, Otis! I know we're not going to In the olden times She was a siren of the sea, Whippoorwill. get away with this. Oh, hello, Pops! POPS (enters) Theda Bara of the days gone by. I used to love to hear you call to me. Good evening. You know the guest POPS Whippoorwill. of honor at this party is the Grand The silver stars were jealous I knew he meant the world n’ all to me, Duke of Czechogovinia? Well, ap- Of her gleaming, golden hair. When the sun had gone to rest, parently, the Duke is the same chap ROSIE I could hear you from your nest. who owned the fancy pearls Mme. She won the heart of every man Whippoorwill. Nockerova is wearing tonight! Who saw her beauty rare. You used to whistle tenderly OTIS OTIS And when the moon would swing What? You... d’you mean to say that She was a chorus lady Across the branches of the trees above, the Duke of Czechogovinia knows With reputation shady. You would sing Madame Nockerova! She dressed like Eve Your plaintive little melodies of love. POPS Without the whatnots Eva used to wear. Now, tho’ you’re no longer near, Knows her? Intimately. Can you ALL THREE In my dreams I still can hear imagine what will happen when the Upon a rock she sat all day, Whippoorwill, ever calling to me. two meet? And she wearing The lovely Lorelei. BLAIR Connie’s... I mean, the Duke’s pearls? No sailorman who sailed her way While the dusky nightbird flew OTIS Could ever pass her by. To the evening rendezvous, Oh yeah, I am imagining it. OTIS In the dell I heard the vesper bell ROSIE If once he heard her calling, So softly ringing. Why, she's even got Blair Farquar For her he’d soon be falling. As its music died away going now. I thought he was ALL And the skies began to gray, vamp-proof. The lovely, luring, lying Lorelei. ✧17✧ believe we’ve met before? MRS. TENBROCK Well, now that I see you're old friends, I'll leave you to your pleasant reminiscences. (goes) CONNIE So, Sally... What are you doing here? You look very lovely, but what’s with the “Nockerova?” Oh... I see. You told me you’ve always wanted to be a singer and here you are! SALLY (in her own voice) Yeah! That's it. Otis, Rosie and Pops sing about the seductive Lorelei. CONNIE POPS OTIS Well, don't worry about me. Nowadays a restful rock She loved to tantalize ‘em I won’t tell. Is very hard to reach, And then she’d soon capsize ‘em. SALLY (going) Sailormen not easy to recruit. ALL THREE Thanks, Connie. You're a dear sweet ROSIE The lovely... Upon a rock... boy and I'll let you wipe the dishes Maidens of today She’d fondle ‘em and pet ‘em for me tomorrow... or something! Can only pose upon a beach, And then the shrimps would get ‘em, BLAIR (enters) In a snappy, one-piece bathing suit. The lovely... (They laugh and leave.) Your Highness. Tell me, who is that POPS Dialogue Track 19 lady that just left here? A British Tar from Portsmouth town MRS. TENBROCK (enters with CONNIE Who sighted her at sea. Connie, finds Sally alone) Oh, Tthat's Madame Nockerova. ROSIE Madame Nockerova. May I present BLAIR Said “I’m no swanker, heave my anchor. you to his Highness, the Duke of I don't believe it. Are you sure? Here’s the lass for me.” Czechogovinia. CONNIE OTIS CONNIE (recognizing her) I'm positive. I ought to know. She “I’m very glad I’ve met you, What did you say this lady’s name was? broke my heart, stole my pearls and But don’t let Epstein get you. MRS. TENBROCK made me lose my throne. He’ll put you as a statue Nockerova, the famous singer BLAIR In his famous gallery.” and dancer. What? So that's Nockerova. And I’m ALL THREE CONNIE (sarcastically) just another name on her list! An- Upon a rock... Oh, I see. “Madame Nockerova.” I other one of her victims. (They go.) ✧18✧ ROSIE (comes in with Otis) OTIS I’ll swear to be tender Otis, did you find Sally? I’m sure I am plucky And if I surrender OTIS And you’re very lucky Will you bring my breakfast to bed? I did. She and the Duke seem real To cop such a bridegroom as me. Let a smart Maison Lewis adorn her, friendly. BOTH My muslin de soir I must wear. ROSIE Dear little church ‘round the corner All the people will think: Ha! really? Then we have nothing Where so many lives have begun, Here’s another poor gink, to worry about. Where folks without money At the church ‘round the corner... OTIS See nothing that’s funny Yeah, and even better: she's gonna In two living cheaper than one. Finale Track 21 sing and dance here tonight, and I Of dull care, of course, I’m a scorner. ALL (gather again, awaiting Nock- know she's going to be a big success; We’re busted, but what do we care? erova’s dance) Our anxious eyes and if she is, I've got a chance of I’ll be dressed all in white. Await this great surprise. getting her a contract with the Follies. I’ll be dying of fright, She is not here, will she appear? ROSIE At the church ‘round the corner. Where is this Wild Rose? The Follies! Say, if you do that, you'll It’s just ‘round the corner... She’s no prim and mild rose. make some heavy commissions. An' Of Madison Square. Tame her if you can. if you do that, I think I'll marry you. ROSIE We are glad we have met her. OTIS To that wonderful church She’s a rose to suit any man. You'll marry me? We will go, you and I. We have all loved her from the start. ROSIE We’ll be quite the happiest pair. Some passion flower, this is her hour. Yeah! OTIS Who’ll get her? Noone knows. My fate I must meet it. Duet Track 20 She’s such a wild, wild rose... ROSIE There’s no time to beat it. BLAIR (enters suddenly) There’s a church round the corner Besides, it’s my duty—so there! Stop, stop the music! Just waitin’ for us. ROSIE MRS. TENBROCK It’s just above Madison Square. I feel so excited, I just wanna die. Blair, are you mad? OTIS I’ll never get left on the shelf. (Sally stops dancing.) Very soon to the altar, OTIS MARSHA My neck in a halter, my love, I’ll look so seraphic Go on, please, Madame, don't stop You’ll be leading me there. I’ll stop all the traffic. your dance. ROSIE They’ll think I am Cupid himself. BLAIR All the bells’ll be ringing, BOTH No! Madame Nockerova ruined the So don’t make a fuss. Dear little... life of our Guest of Honor, the Duke. Just fancy how happy we’ll be. Where couples run off to be wed. Are you all going to entertain the ✧19✧ to escape an unpleasant situation. I'm so happy to have found you! OTIS (to Sally, aside) Everyone, this is Sally... my little Sally, what are you saying? (to them dishwasher. all) Why, of course she's Nockerova. ALL (scandalized) ROSIE A dishwasher ? Yes, certainly she is. CONNIE ALL You're drunk! Get on with the dance. POPS We’ve had but the merest glance. I'm not drunk! And I won't be in- Why is she waiting like this? sulted by you! You! Why, you're a Something is clearly amiss. nobody! You're just one of my waiters! MRS. TENBROCK ALL (variously) Here is the Duke. He recognized A waiter? Madame Nockerova at once! MRS. TENBROCK DUKE (Connie) Blair confronts Mme. Nockerova. Now we know this man is mad! But of course. I am intimately Take him away! woman who did this? acquainted with her. Yes, of course, POPS MRS. TENBROCK this is Nockerova. Blair, please. The Duke is right here. MRS. TENBROCK Take me away! But it's true—he is a I don't want a scene. Then she is Madame Nockerova! waiter! And what's more, he's a BLAIR CONNIE (nostalgic) rotten waiter. Either I leave this house or she does. Oh yes. Oft in fine summer evenings, MRS. TENBROCK SALLY I sat in my garden whilst she sang to Madame Nockerova, I'm extremely Very well. I will go. I'll go at once. me: “On the banks of the.... sorry for all this disturbance. Won't BLAIR My darling, you wandered with me. you continue your song? You had no consideration for my Till the night SALLY poor friend the Duke, so why should When the big shindig started No! we show any consideration for you? We thought it was better to flee.” ALL SALLY (angry now) You recall how they roused us. No? Why? I'll tell you why. Because I'm You fled along my balcony, SALLY not this dreadful woman. I'm not Then you ran through the trees It's no use, I'm not going to pretend Nockerova. In your best B.V.D.s where the... anymore. ALL ALL CONNIE (slowly, to her) Not Nockerova? On the banks... Madame Nockerova. BLAIR POPS (enters) SALLY I don't believe you. You're just trying Sally! (recognizes her) Why, Sally! No! The Duke is trying to save me ✧20✧ from being humiliated, but he knows I'm not really Nockerova. ALL What! SALLY Pops was right. I did wash dishes in his restaurant. And now that you know this... if you want me to go, I will. MRS. TENBROCK I thank you, Sally. I think you had better leave. CONNIE Sally, I'll take you home. Ladies and Marilyn Miller in the 1920 Broadway production of the Butterfly Ballet. Gentlemen, I have the honor to bid ROSIE SALLY you all good night. (He goes off You? What did you have to do with it? Really? (reads) He says after the way with Sally as all murmur about the OTIS he behaved at the party, he hasn't scandal.) Everything. I got her this contract dared to speak to me, but some day ALL with the Follies, didn't I? he hopes I’ll forgive him... Who she is? No one knows. ROSIE CONNIE She’s such a wild, wild rose! Well... yeah! Now you get dressed. I'll go and find END ACT II OTIS him. (motions to Blair—who’s been I'm gonna make a fortune offa Sally. hiding—to come forward) Sally, um... ACT III The Follies. CONNIE, POPS (entering with Sally) supposing I do find Blair. Shall I tell Butterfly Ballet Track 22 Brava, Sally! Three cheers. Hurray! him you forgive him? Backstage. SALLY SALLY (from behind her dressing Dialogue Track 23 You're all of you wonderfully kind screen) No, no, don't do that. I'm Sally’s dressing room after her suc- and I want to thank you. (They go, gonna make him ask me a lotta cess dancing the Butterfly Ballet. talking...) Oh, dear. Blair hasn't even times before I forgive him. Bravos are heard offstage. come to see me. Blair wrote me two CONNIE ROSIE (enters with Otis) letters asking me to forgive him, but I I see. You don't want him to think Wasn't Sally’s ballet wonderful, Otis? wrote back saying I never wanted to you were just waiting for him to OTIS see him again. come around. You bet. And if success was water, CONNIE SALLY I'd be Niagara Falls right about now. I've... brought you a note from him. That's it exactly... and Connie! ✧21✧ (comes out) Why... Blair! BLAIR Sally dear! Have you forgiven me? SALLY I haven't said so. Your feeling for me is only.. it's Nockerova you really love! BLAIR It's you... whatever name you're called. Sally, will you marry me? SALLY Um...Yes! Finale Track 28 Marilyn Miller ALL (gathering round) in Victor Herbert’s Dear little... Look for the silver... Butterfly Ballet. END ACT III

ORCHESTRA Gerald Steichen, conductor/pianist FLUTE Isabel Gleicher VIOLIN OBOE Maestro David Mark, concertmaster Erin Lensing Gerald Bruno Pena CLARINET Steichen Jessica Park Stas Chernyshev Isabel Ong Anton Rist Jennifer Liu HORN VIOLA Trevor Nuckols Arnaud Ghillebaert Elizabeth Martignetti Alexandruina Boyanova PERCUSSION CELLO Brian Shank Vivian Chang BASS CONTRACTOR Stage Director Matt Weber Nikita Morozov Gary Slavin ✧22✧ With a career that ranges from symphony to opera, Broadway to chamber music, Gerald Steichen currently holds the positions of Principal Pops Conductor of the Utah Symphony and Music Director of the Ridgefield Symphony and completed fifteen seasons as Prin- cipal Pops Conductor of the New Haven Symphony. He is a frequent guest conductor for the Boston Pops and the New Jersey Symphony, appeared with New York City Opera for 10 seasons and has led the symphonies of Detroit, Indianapolis, Portland, Cincinnati; Columbus, Oklahoma City, Hartford and the New York Pops. International appearances include the Hong Kong Philharmonic, Tokyo City Symphony and numerous appearances with the Norwegian Radio Symphony. He has also conducted Utah Opera, Virginia Opera, Anchorage Opera, New Jersey Opera Theater and Glimmerglass Opera. He toured nationally as the associate conductor of The Phantom of the Opera, The Secret Garden, and Peter Pan and conducted Cats in New York for two years. Steichen has also spent 18 years with the “Meet the Artist” series at Lincoln Center as conductor, clinician, and pianist. He conducts LOONY’s The Only Girl recording for Albany.

Light Opera of New York, affectionately known as LOONY, was founded in 2006 as a professional not-for-profit copmpany devoted to the performance of staged operettas and operetta concerts. LOONY is now celebrating its 10th year of presenting classic operetta from a 21st century per- spective. Its recent recordings of Victor Herbert’s Orange Blossoms and The Only Girl, recorded by John Ostendorf, have received critical acclaim. www.lightoperaofnewyork.org

✧23✧ JEROME KERN Sally 1 ACT I Opening (1:32) 2 Ensemble: “The Nighttime” (2:09) 3 Dialogue / Duet: “Ah, glamour-puss...” “On with the Dance” (3:32) 4 Dialogue: “Good evening!” (0:54) 5 Song: “Joan of Arc” (2:30) 6 Dialogue: “Your Highness!” (1:39) 7 Duet: “Look for the Silver Lining” (2:41) 8 Dialogue /Reprise: “Hello, Sally...” “Look for the Silver Lining” (1:16) 9 Dialogue: “Now what’s this?” (0:45) 10 Ensemble: “Dear Little Girl” (3:38) 11 Dialogue/ Eccentric Dance: “Hello?” (2:11) 12 ACT I Finale: “So, Rosie” (3:48) 13 ACT II Opening: “To a Celebration” (4:20) 14 Dialogue/Song: “Mme. Nockerova...” “Wild Rose” (5:46) 15 Song: “The Schnitze-Komisski” (3:00) 16 Dialogue/ Duet: “Mme Nockerova...” “Whip-poor-will” (4:23) 17 Dialogue: “Rosie, there you are” (0:57) 18 Trio: “The Lorelei” (3:12) 19 Dialogue: “Pardon me!” (1:55) 20 Duet: “Church ‘Round the Corner” (2:53) 21 ACT II Finale: “Our Anxious Eyes” (5:12) 22 “The Butterfly Ballet” (4:18) Marilyn Miller, 23 ACT III Dialogue: “Wasn’t Sally?” (1:37) Kern’s original Sally 24 ACT III Finale: “Dear Little Church” (1:55) LOONY JEROME KERN LIGHT OPERA OF NEW YORK JEROME KERN Sally bringing light opera out of the dark TROY 1638 SALLY

Emma Grimsley Alex Corson Bryan Elsesser Adam Cannedy Claire Kuttler Richard Holmes Natalie Ballenger Rachael Braunstein Sally Blair Connie Otis Rosie Pops Marsha Mrs. Tenbrock

Jerome Kern’s 1920 Broadway hit, a Rags-to-Riches “Cinderella” musical, created for Ziegfeld Follies star Marilyn Miller, with

book and lyrics by Guy Bolton and P.G. Wodehouse and others, in a CD premiere recording, featuring the cast and ensemble LIGHT OPERA OF NEW YORK of Light Opera of New York’s May 1916 live performances, Gerald Steichen, conductor. John Ostendorf, record producer. LIGHT OPERA OF NEW YORK

SALLY Gerald Steichen Guy Bolton P.G. Wodehouse Marilyn Miller Conductor Librettist Lyricist Kern’s Original Sally

Jerome Presented by arrangement with

Kern Tams-Witmark Music Library, Inc. TROY 1638 TOTAL TIME: 66:26 Albany Records U.S. Recording Producer: John Ostendorf 915 Broadway, Albany, NY 12207 Tel: 518-436-8814 Engineer: Stephen J. Epstein Albany Records U.K. Box 137 Kendal, Cumbria LA80XD Tel: 01539 824008 Photography: Carol Davis, David Kelleher-Flight, Warning: Copyright subsists in all recordings issued under the label. Meche Kroop © 2016 ALBANY RECORDS Made in the USA. albanyrecords.com Recorded May 2016, Theatre 80, New York City JEROME KERN