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Herbert and His Creative Teams News From VHSource, LLC Vol 12 December 2011 Herbert and His Creative Teams 20. Algeria (1908) The Annual Step Back, Part Two Frank McKee - producer ast December was the first time we took this Glenn MacDonough - librettist/lyricist Chas. K. Harris - publisher “Step Back” look at Herbert’s creative teams, George Marion - supervisor (stage director) Lfocusing on the artist staffs of Herbert’s first 18 John McGhie - music director works. We will not be concerned herein with actors and The Broadway Theatre stars – only with those men and women who were responsible for getting each production “on its feet” as 21. Little Nemo (1908) we say today. Marcus Klaw/Abe L. Erlanger - producers Harry B. Smith - librettist/lyricist The first “Step Back” began with the year 1894 and Cohan & Harris Publishing Co. - publishers Prince Ananais and ended in 1906 with Dream City Herbert Grisham - director and The Magic Knight. This time around we begin in Max Hirschfeld - music director The New Amsterdam Theatre 1907 with The Tattooed Man and end in 1910 with Sweethearts. Why such arbitrary ranges? It’s as simple as the number of operetta/works – 13 – that this newsletter has covered in 2011. How is that possible you might ask? Remember Algeria and Rose of Algeria? Two operettas were discussed in the same month, because although produced a year apart with different producers, different stage directors, music directors and theatres, in reality the two were the same operetta, simply renamed with slightly edited librettos. You might want to take the time to really read the listings on pages one and two before you begin reading the rest of this article. You will find a grand opera in the list primarily because it is a huge work of great importance, that its inclusion just feels correct. Nemo as drawn by Winsor McCay circa 1905-6 19. The Tattooed Man (1907) Charles B. Dillingham - producer Albert N.C. Fowler/Harry B. Smth - librettist 22. The Prima Donna (1908) Harry B. Smith - lyricist Charles B. Dillingham - producer M. Witmark & Sons - publishers Henry Blossom - librettist/lyricist Julian Mitchell - stage director M. Witmark & Sons - publishers Arthur Weld - music director Fred G. Latham - stage director The Criterion Theatre John Lund - music director The Broadway Theatre 2 News From VHSource, LLC Vol 12 December 2011 23. Rose of Algeria (1909) 28. The Dutchess (1911) Lew Fields - producer The Shubert Theatrical Company - producers Glen MacDonough - librettist/lyricist Joseph Herbert - librettist Chas. K. Harris - publisher Harry B. Smith - lyricist Ned Wayburn - stage director M. Witmark & Sons - publishers Theodore Stearns - music director J.C. Huffman - stage director The Herald Square Theatre John McGhie replaced by Oscar Radin - music director 24. Old Dutch (1909) The Lyric Theatre Lew Fields, Lee & Sam S. Schubert - producers Edgar Smith - librettist 29. The Enchantress (1911) George V. Hobart - lyricist Joseph M. Gaites - producer M. Witmark & Sons - publishers Fred de Gresac/Harry B. Smith - librettists Ned Wayburn - stage director Harry B. Smith - lyricist Louis F. Gottschalk - music director M. Witmark & Sons - publishers The Herald Square Theatre Frederick G. Latham- stage director Dances by F. W. Bishop (a first) 25. Naughty Marietta (1910) Gustave Salzer - music director Arthur Hammerstein - producer The New York Theatre Rida Johnson Young - librettist/lyricist M. Witmark & Sons - publishers 30. The Lady of The Slipper (1912) Jacques Coini - stage director (manager) Charles B. Dillingham - producer Gaetano Merola - music director Anne Caldwell and Laurence McCarty, librettists The New York Theatre James O’Dea, lyricist M. Witmark & Sons - publishers R. H. Burnside - stage director W. E. McQuinn - music director The Globe Theatre 31. Sweethearts (1913) Louis Werba and Mark Luescher - producers Harry B. Smith, Fred de Gresac - librettists Robert B. Smith, Lyricist G. Schirmer - publishers Frederick G. Latham - stage director Charles S. Morgan, Jr. - choreographer John McGhie - music director New Amsterdam Theatre/Liberty Theatre 26. Natoma (1911) - Technically a Grand Opera Chicago Grand Opera - producers Joseph D. Redding - librettist/lyricist G. Schirmer - publishers Fernand Almanz - stage director Cleofonte Campanini - music director The Metropolitan Opera House in Philadelphia 27. When Sweet Sixteen (1911) Ever-Wall Co. - producer George V. Hobart - librettist/lyricist M. Witmark & Sons - publishers George V. Hobart/R.H. Burnside - stage directors Louis F. Gottschalk replaced by Frederick Schwartz - music director Daly’s Theatre 3 News From VHSource, LLC Vol 12 December 2011 Even a cursory examination of the foregoing lists others. That latter is often the maker or breaker of makes one conclusion clearly obvious. These 13 works careers. On top of those extremely economically share almost nothing in common other than Victor positive traits, the single most important aspect of Herbert and quite often Harry B. Smith. From a Herbert, the composer, was the constant delivery of producing standpoint, gone are The Bostonians to be the strongest melodies on Broadway on a regular replaced by companies such as Klaw & Erlanger, The basis year in, year out. Who did audiences on Shubert Theatrical Company, Chicago Grand Broadway wish to hear? Victor Herbert. Audiences Opera Company, Ever-Wall Co. and Werba and flocked to theatres as the stream of Herbert melodies Leuscher. made each producer lots of money with few headaches. Everyone wanted a piece of the band Charles B. Dillingham is still producing single- wagon, and Herbert could now pick and choose at handedly with three Herberts as is Lew Fields. will. However, even Fields went to work for the Shuberts not long after Rose of Algeria (and is only involved in As we look at two works). While any discussion of Florenz Ziegfeld Librettists (those has not yet occurred, he was beginning to challenge writing the script or Dillingham as a single producing entity as early as book), Harry Bache 1907 – a fact, that probably fueled Dillingham’s desire Smith appeared to to “out Ziegfeld, Ziegfeld” with his production of Lady have become the “fall of the Slipper. back, go to” guy when others either didn’t For the most part, Frank McKee, Joseph M. Gaites, rise to the occasion or Ever-Wall Co., and Werba and Leuscher are not needed some names that trigger any sort of major recognition of assistance. The first 18 famed careers. The person who does leap out of this operettas featured the particular group of producers is Arthur Hammerstein. librettos and/or lyrics Arthur was his father’s right hand in all the old man’s of Smith on 9 different grand opera endeavors. Ah, a test – the name of the occasions (fully one- famous dad? Yes, Oscar Hammerstein I – the builder half of the composer’s of Broadway theatres and the opera impresario who output.) In this batch of works, Smith’s position as almost singlehandedly took down the Metropolitan sole librettist falls from 7 to 3 as he appears more and Opera Company between the years 1906 and 1910. If more in the backup position of lyricist and the you are new to VHSource newsletters, you may be occasional co-librettist. Next year we will finally take interested in reading Vol 6 June 11 - still available for a closer look at this creator of 300+ produced free through January 30 at www.vhsource.com. The Broadway librettos and 6000+ lyrics. Harry B. Smith year 1910 destroyed the opera producing career of the began with the composer Reginald De Koven’s father and launched the operetta producing career of Robin Hood in1888, and it was probable that Smith the son. A rather clear career separation - almost. could easily afford to do only that which he wished to do rather than take everything that came along. Herbert appears to have changed creative team members on a rather constant basis which begs the Interestingly enough, Henry Blossom, the librettist question – why? A possible reason lies in the fame of for Mlle Modiste and The Red Mill, combined with the composer. If a producer wanted a guaranteed hit on Herbert for only one production in this batch – The the Broadway stage, that producer wanted Herbert. Prima Donna. This Fritzi Scheff sequel of sorts to Through out those early first 18 works, the composer Mlle Modiste was certainly not the failure that the was establishing himself as a composer who singer’s The Dutchess (aka Mlle Rosita) would orchestrated his own scores (negating need for a become. Perhaps the Shuberts erred a bit in turning to separate orchestrator), created with incredible speed an actor, Joseph Herbert (no relation to Victor), to (often 3-4 shows a season), delivered quality high class pen that particular libretto. However, there is music on time, and, above all else, played well with possibly another answer as to why Blossom 4 News From VHSource, LLC Vol 12 December 2011 disappeared from any relationship with Herbert from credited as co-librettist with Harry B. Smith for the 1911 to 1914. His last work with the composer was on libretto. There’s Harry B. Smith once more serving The Slim Princess in 1911. Again, those of you new as “backup” and lyricist. The two would team again to these pages will not know that Herbert became a for Sweethearts, although this time Robert Bache score doctor for The Slim Princess probably at the Smith (Harry’s younger brother) would supply the request of Blossom. The composer never took any lyrics. It is fascinating to note that only Rida Johnson credit, and there may have been a bit a damage done to Young served as both librettist and lyricist for the Blossom/Herbert relationship. Blossom definitely Naughty Marietta with no help from the Smith continued to work – just not with Herbert. He was brothers. librettist and lyricist for Baron Trenck (1912 - 40 perfs.) for the Whitney Opera Co.
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