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‘FAIRY LAND WAS NEVER LIKE THIS!’ FINIAN’S RAINBOW AND THE FANTASTICAL REPRESENTATION OF E.Y. HARBURG’S SOCIO-POLITICAL IDEALS DANIELLE BIRKETT DEPARTMENT OF MUSIC JUNE 2016 THIS DISSERTATION IS SUBMITTED TO THE UNIVERSITY OF SHEFFIELD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY SUMMARY Written to condemn racism and promote a socialist society, Finian’s Rainbow is a thought- provoking presentation of lyricist E.Y. (Yip) Harburg’s worldview. First appearing in 1947 during the Golden Age of Broadway, the piece was warmly received by audiences and ultimately ran for 725 performances. Following this successful opening the hit musical transferred to the West End, but its reception was apathetic. Nevertheless, over the next few years revivals were frequently staged across America and Europe and in 1968 the musical was released as a motion picture starring Fred Astaire and Petula Clark. More recently, however, interest in the show has faded: the unusual narrative, which juxtaposes Irish whimsy with socialism and anti-racism propaganda, has been deemed old-fashioned, and fears of commercial failure have hindered performances of the work. The writers’ contradictory intention to attack racism and capitalism within a commercial vehicle is the fundamental concern of this thesis. Across the study, primary sources (in particular working scripts, musical and lyrical sketches, scores, cut songs, unreleased recordings, productions files, newspaper clippings, lectures and correspondence) are employed to illuminate the creators’ priorities and concerns during the development of the show. As the tension between the subject matter and the requirements of the genre became increasingly apparent, these documents reveal that the team exploited five aesthetic and thematic devices: fantasy, satire, folklore, Stage Irishness and melodrama. By using secondary sources to provide a critical framework for assessing these five themes, this study reveals their importance in overcoming the musical’s foregrounding of what could be at the time considered anti-hegemonic values of anti-capitalism and anti-racism within a commercial musical entity. When the picture [completes], Fred and I intend to write a book about the adventures of Finian’s Rainbow. How it fought for birth on Broadway and on film…1 1 E.Y. Harburg, Letter to Burton Lane, Yip Harburg Papers, Yale University Library, Box 21, Folder 169 (ca. 1967). CONTENTS Acknowledgements I 1. ‘Look to the Rainbow’: An Introduction to Finian’s Rainbow 1 2. ‘Something Sort of Grandish’: The Genesis of Finian’s Rainbow 47 3. ‘Necessity’: Reworking the Script for Commercial Appeal 83 4. Politics in the Score: Racial Discrimination, Capitalism and the Population Boom 129 5. Utopia in the Score: Rainbows, Moons and Leprechauns 167 6. ‘How Are Things in Glocca Morra?’: The Reception and Legacy of Finian’s Rainbow 211 7. ‘Follow the Fellow who Follows a Dream’: Adapting Finian’s Rainbow for the Screen 245 8. Conclusions: Reviewing the Aesthetic and Thematic Priorities of Finian’s Rainbow 299 Appendix 325 Bibliography 331 Discography 361 Filmography 361 ACKNOWLEDGEMENTS To embark on a PhD was never going to be straightforward, and many people have encouraged me through the highs and lows of the last four years. Firstly, I owe a great debt of gratitude to Ernie Harburg, Deena Rosenberg, and all the staff at the Yip Harburg Foundation, whose passion and enthusiasm for Finian’s Rainbow is infectious. Their generosity in providing financial support, their willingness to open up the Harburg archives to my scrutiny and their kind introductions to a wide array of people have made this project possible. Ernie’s detailed comments on early drafts were invaluable, as were the helpful hints he provided about his father along the way. I must also sincerely thank the Foundation Trustees for giving me permission to make photocopies of documents in the Harburg papers; studying in the UK, this made my work immeasurably easier. Special thanks must also go the Foundation’s archivist Nick Markovich. Nick has continually aided my work on Finian’s Rainbow, patiently answering my emails and sending me a wealth of resources. Lynn Lane and her daughter Peggy Kaye have also been tremendously supportive of the project; they have been willing to speak at length on the phone and have provided me with their insight on Finian’s Rainbow. Lynn generously gave me permission to photocopy materials in the Burton Lane collection at the Library of Congress, while Peggy kindly scanned documents that had remained in Lynn’s home since her husband’s death. Fascinating insights on the show also came from Harvey Sabinson, Anthony Saidy and Ann Marie Saidy, who were all generous with their time and correspondence. Throughout the project I have been warmly welcomed by many librarians at archives across America. I owe particular thanks to Mark Eden Horowitz at the Library of Congress; John Calhoun at the New York Public Library; Richard Warren at Yale Music Library, William Daw at the University of Pittsburgh Library; and AnnaLee Pauls and Gabriel Swift at Princeton University Library. Their unfailing kindness in answering my questions and providing me with photocopying services has been very much appreciated; without them this project would have been much more arduous. I must also thank Sargent Aborn and the staff at Tams-Witmark I Music Library for their generosity in mailing copies of the original Finian’s Rainbow wind parts and the conductor’s score. I’m also grateful to the distinguished musical director Rob Berman for sharing his experience on restoring the 2009 revival of Finian’s Rainbow. Many academics and scholars have been incredibly supportive in passing on their wisdom of the theatre world: George Ferencz gave me an insight into Robert Russell Bennett’s involvement with the show; helpful hints about the Finian’s Rainbow animation came from John Canemaker; and many others have offered their guidance at conferences over the past few years. Financial support from many sources has made my PhD possible: special thanks must go to supporters of the Yip Harburg Foundation, the Cameron Mackintosh Foundation, and the University of Sheffield for their generosity. I also extend warmest thanks to friends and staff in the Music Department who have provided valuable opportunities for me to discuss my research and given precious feedback. I owe particular thanks to Hannah Robbins for her friendship and enthusiastic support. My decision to embark on a PhD was very much influenced by the staff at King’s College London, where I studied for four years. As an undergraduate, I started working on musical theatre when I took a module on the Broadway musical taught by Dominic McHugh. Inspired by his rigorous research and enthusiasm for the genre, I was stimulated to commence an undergraduate dissertation on Mary Poppins, co-supervised by Dominic and Cliff Eisen. Since then, both figures have been a continual source of encouragement; I owe a particular debt to them for persuading me to pursue archival research and pointing me in the direction of a PhD. Their guidance has made an important difference and I am grateful for their sound advice. Having now worked under the supervision of Dominic for the past five years, he has made an enormous difference to my research. I can honestly say he has been a constant support, keeping track of my progress and offering help, encouragement and kindly advice along the way. When I have felt disheartened by my research, he has reinvigorated my enthusiasm and raised my spirits immeasurably. He has always being willing to answer my many questions and opened up new alleyways for exploration: without him this thesis would be II much less rigorous. Watching him work on his recent volumes Loverly: The Life and Times of My Fair Lady and Alan Jay Lerner: A Lyricist’s Letters has provided me with invaluable insight into musical theatre research. Dominic has been a wonderful mentor; I feel privileged to have him as my supervisor and I am honoured to count him a close friend. Particular thanks are also due to other good friends: Lucy Brock; Heather Cowan; Heather Dingle; Linden Webster; and members of my family including my brother Adam, my in- laws Simon and Joanna, and my ever-supportive grandparents, aunts and uncles. More than I can express, special thanks are due to my wonderful husband Philip Birkett. He has been a constant pillar of support throughout the process, helping me to keep everything in perspective and encouraging me to persevere. I am so grateful for the confidence he has in me. Finally, I owe everything to my parents who have supported me throughout my education. At the age of 4 my mum gave me the opportunity to perform in her annual college pantomime; on that occasion she opened up a love of drama and music that would shape the rest of my life. Since then my parents have been immensely supportive of my interest in the arts and have encouraged me all the way. I am so appreciative of their generosity, kindness and love. This thesis is dedicated to them. III IV CHAPTER 1 ‘LOOK TO THE RAINBOW’: AN INTRODUCTION TO FINIAN’S RAINBOW Since arriving on Broadway in January 1947, Finian’s Rainbow has become widely regarded as lyricist Yip Harburg’s ‘improbably triumphant masterpiece’.1 Although the juxtaposition of Irish whimsy and American politics presented an unusual subject matter, the show was warmly received by contemporary critics and audiences. Following a much-admired pre-Broadway tryout in Philadelphia, Finian’s Rainbow ran for 725 performances on Broadway, surpassing two other significant musicals of the year: Alan Jay Lerner and Frederick Loewe’s Brigadoon (581 performances) and Richard Rodgers and Oscar Hammerstein’s Allegro (315 performances). Although the show received an apathetic reception when it transferred to the West End in 1948, revivals were frequently staged across America and Europe over the following twenty years.