The Comic Operas of John Philip Sousa
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ABSTRACT Title of Dissertation: (MUSICAL) SALES PITCHES FROM THE “SALESMAN OF AMERICANISM”: THE COMIC OPERAS OF JOHN PHILIP SOUSA Tracey Elaine Chessum, Doctor of Philosophy, 2012 Dissertation Directed By: Professor Heather S. Nathans School of Theatre, Dance and Performance Studies When Americans hear the name John Phillip Sousa, they likely equate him with brass band music and the Fourth of July holiday. Neither theatre scholars nor audiences generally link Sousa with musical theatre; however Sousa saw nine of his comic operas and one musical comedy produced between 1879 and 1913. This dissertation is primarily a work of musical theatre history; however, it argues that Sousa’s comic operas were constructed to play a role in how American identity was manufactured and disseminated at the turn of the twentieth-century by reflecting new definitions of the “American” from the stage and circulating these new definitions nationally and internationally. Sousa constructed himself into an American cultural icon, a “Salesman of Americanism,” during an era renegotiating national identity. His works, therefore, carry the weight of his iconic stature, casting their messages as an ‘American’ point of view. In addition to a comprehensive discussion of each operetta’s form and production history, I argue that Sousa’s comic operas can be cast as cultural ambassadors for social and political ideas; as musical theatre works attempting to re-define American identity in the eyes of audiences on both sides of the Atlantic. While situating Sousa’s comic operas within the framework of musical theatre history, I argue that these cultural ambassadors were powerful agents advocating political and social change, intervening in the major social debates of the period, specifically in dialogues on race, foreign policy, copyright, labor, and suffrage. Because of his status as a great ‘American,’ and as a musical theatre composer rivaling Victor Herbert and George M. Cohan, the use of Sousa’s operettas to sell ideology taught those watching that propaganda could be effectively integrated into musical theatre offerings. The musical theatre production - particularly on tour - served as one of the first forms of mass popular entertainment that could be used for political and social advantage. Sousa’s comic operas, therefore, were a small part of the redefinition of the American musical, pushing its form toward integration, and shifting it from diversion and spectacle to ideological tool. (MUSICAL) SALES PITCHES FROM THE “SALESMAN OF AMERICANISM”: THE COMIC OPERAS OF JOHN PHILIP SOUSA By Tracey Elaine Chessum Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2012 Advisory Committee Professor Heather S. Nathans, Chair Professor Patrick Warfield Professor Franklin J. Hildy Professor Faedra Carpenter Professor Robyn Muncy © Copyright by Tracey Elaine Chessum 2012 For my Grandparents: John Robert Chessum, Jr. and Lucile Josephine Chessum ! ii! ACKNOWLEDGEMENTS John Jr. and Lucile Chessum: For instilling in their sons and grandchildren a thirst for knowledge, for sacrificing their wants so that we could pursue our educations, for being two of my biggest cheerleaders, for not letting me create “Chessum and Granddaughters Painting,” and for their financial support during 10 years of graduate school. George and Nancy Chessum: For believing in me, encouraging me, loving me, and providing me with the support I needed when I desperately wanted to give up on graduate school. Wes and Angela McMichael, Colin and Erin Steele, Amy Chessum Shahbaz, Mike Boynton, Nicole Chessum, and Lauren Chessum McLain. Caroline Brent: For proofreading every chapter and being a sounding board for my ideas, for constantly coming to check on me in the library, for forcibly removing me from the library when necessary, and for being my partner in crime. Those colleagues and conference attendees who read and commented on this work during its development. Paul Bierley. The archivists at the British Library, the Victoria/Albert Museum archives, the City Museum of New York, and the NYPL. Loras Schissel at the Library of Congress, MGySgt D. Michael Ressler and GySgt Kira Wharton at the Marine Band Library Archives, and Scott Schwartz and his graduate assistants at the Center for American Music and Sousa Archives. My dissertation committee: Dr. Frank Hildy, Dr. Faedra Carpenter, Dr. Robyn Muncy, and especially Dr. Patrick Warfield. And, those professors and teachers who I have been privileged to learn from over the course of my education, without whom this would never have been possible: Scot Reese, Dr. Catherine Schuler, Rita Phelps, Dr. Kimasi Browne, Dr. John Sutton, Dr. Duane Funderburk, Dr. Richard Reisen, Sue Lange, Dr. Paul T. Plew, Dr. C.W. Smith, Dr. Taylor Jones, Denise Black, Mike Best, and Dr. David Hughes, who suggested that I not apply for a DMA in conducting until I had ‘gotten this musical theatre business out of my system.’ Dr. Kimberlyn Jones: For being a guide, a cheerleader, a fabulous example of leadership and grace, and a constant source of encouragement since my undergraduate years. Dr. Heather Nathans: For interceding on my behalf during (and after) I got mono in my second year at UMD. For your example of professionalism, your modeling of 360 degree thinking, and your constant over-preparedness; for the anxiety your eyebrows create, and for the energy and excitement you bring to historical research. You are the best teacher that I have ever encountered. I hope that this dissertation shows that I assimilated a small portion of what you poured into me. ! iii! TABLE OF CONTENTS Introduction………………………………………………………………………………..1 Chapter 1: John Philip Sousa: “Salesman of Americanism”…………………………….15 Chapter 2: For They Are American!: Learning to Write an ‘American’ Operetta...…….46 Chapter 3: Creating the ‘American’ Operetta: El Capitan................................................86 Chapter 4: “Hands Across the Sea:” The Charlatan and U.S. Foreign Policy………....114 Chapter 5: Manhattan Cocktails, Chewing Gum, & Cigarettes: Chris and the Wonderful Lamp…………………………………………………………146 Chapter 6: Songs of Salaried Warriors: Copyright, Intellectual Property and The Free Lance……………………...…………..166 Conclusion: The One and Only Union with Gesamtkunstwerk and Suffrage for All! The American Maid and Beyond……………………………………………………….191 Appendix A: Sousa’s Comic Operas, Theatre Music, and Other Dramatic Collaborations…………………………………………………….202 Appendix B: Our Flirtations………………………………………………………..….208 Appendix C: Works for the Theatre After Désirée……………………………………..212 Appendix D: The Bride Elect…………………………………………………………...217 Appendix E: The Charlatan/The Mystical Miss………………………………………..227 Appendix F: General Gamma………………………………………………………..…235 Appendix G: The Free Lance…………………………………………………………..238 Appendix H: The Glassblowers/The American Maid…………………………………..244 Appendix I: Works for the Theatre After The American Maid………………………...251 References………………………………………………………………………………257 ! iv! INTRODUCTION When Americans hear the name John Phillip Sousa (1854-1932), they most likely think of the Fourth of July holiday and little American flags waving to the sounds of a brass band - a fitting association for the self-proclaimed “Salesman of Americanism.”1 Due to Sousa’s canonization as the “March King,” neither theatre scholars nor audiences generally link Sousa with musical theatre; however Sousa saw nine of his comic operas and one musical comedy produced between 1879 and 1913.2 Sousa’s musical theatre works, especially his later comic operas, enjoyed tremendous popularity with audiences as well as a great deal of critical and commercial success. This dissertation is primarily a work of musical theatre history; however, it argues that Sousa’s comic operas were constructed to play a role in how American identity was manufactured and disseminated between 1898 and 1907 by reflecting new definitions of the “American” from the stage and circulating these new definitions nationally and internationally. Through a series of case studies, I argue that Sousa’s comic operas can be cast as cultural ambassadors for social and political ideas, as musical theatre works attempting to re-define American identity in the eyes of audiences on both sides of the Atlantic.3 While situating Sousa’s comic operas within the framework of musical theatre history, I argue that these cultural ambassadors were powerful agents advocating political and social change, intervening in the major debates of the period. Sousa’s comic operas, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Sousa’s title of the “Salesman of Americanism” will be discussed at length in Chapter one. 2 Sousa designated his works “comic operas” rather than operettas (the exception being the “musical comedy” Our Flirtations); however there is no true distinction between these two terms and Sousa used the terms interchangeably in his writings. Therefore, I use the terms comic opera and operetta synonymously throughout this discussion. 3 I will elaborate on my construction of the cultural ambassador in Chapter one. ! 1! therefore, were a small part of the redefinition of the American musical, pushing its form toward integration, and shifting it from diversion and spectacle to ideological tool.4 Sousa was born on November 6, 1854 in Washington, D.C. to Antonio and Elisabeth Sousa. Sousa’s father, Antonio, was born in Spain (though he was of Portuguese