Herbert and His Creative Teams

Home , Dream City, John McGlinn, Natoma (opera), Rida Johnson Young, The Magic Knight

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. (Music by Felix Glen MacDonough does deserve a mention this time Albini); The Man From Cook’s (1912 - 32 perfs) for around as he closes out his career as a librettist with Klaw & Erlanger (music by Raymond Hubbell); and Herbert. The librettist for The Gold Bug (1896), All For the Ladies (1912-13 - 112 perfs) for The Babes In Toyland (‘03), It Happened in Nordland Shubert Theatrical Company (music by Alfred G. (‘05) and Wonderland (aka Alice and the Eight Robyn). While researching Blossom’s whereabouts, we Princesses) (‘05), it was not surprising that Herbert discovered another interesting little tidbit – the Fritzi allowed MacDonough such free rein as the two men Scheff Opera Company revived Mlle Modiste starring went first through the creation of Algeria, and then Ms. Scheff in May of 1913 for 24 performances through MacDonough’s determination to make the (5/26/13 - 6/14/13). It’s clear that Ms. Scheff preferred libretto work in the form of Rose of Algeria. removing the memory of that 1911 failure of The However, neither show was even close to a success, Dutchess with a return to the glory days. Fortunately, and that appears to be the end of the Blossom, arguably one of Herbert’s best librettists, MacDonough/Herbert creative connection. It is safe would work again with the composer in several to say that the journey of Algeria/Rose of Algeria stunning ways – we simply must wait until the next severely strained their relationship, although both batch of Herbert operettas. men would be among the seven founders of ASCAP (American Society of Composers, Authors and The biggest step Publishers) in 1914. forward regarding the Herbert librettist was We’ve already mentioned Harry B. Smith’s major the inclusion of participation as a Herbert frequent Lyricist women. At the especially when his major experience was needed to moment Arthur lurk on the fringe as a security blanket. Young, Hammerstein hired Blossom, Hobart, and MacDonald – all acted as Rida Johnson Young their own lyricist. The one other individual we must (seen left) at the not skip over is Joseph D. Redding, the recommendation of librettist/lyricist of the grand opera Natoma. This music publisher was truly Redding’s Waterloo. While he met the Isidor Witmark to challenge – certainly the opportunity of a life time – w r i t e N a u g h t y according to almost every critic who ever wrote Marietta, they created about this opera, the playwright blew that opportunity American operetta history and opened the door for horribly. To say the writer was crucified in print is Fred de Gresac to finally land a credited job with putting it mildly, and for whatever reason, Redding Herbert as a librettist. Again, if you are new to these allowed those negative reviews to destroy his writing pages, you may not know that Fred was indeed career. The writer was not heard from again until Frederique, the lovely talented French woman who had well into the 1920s. first contributed a French scene anonymously to Blossom’s The Red Mill libretto in 1906. In this set of Looking at the Stage Directors, Julian Mitchell, operettas, de Gresac’s own earlier stage play served as who had guided 6 of the earlier Herberts, was on the basis for The Enchantress and the playwright is board only for The Tattooed Man, which was a real 5 News From VHSource, LLC Vol 12 December 2011 throwback to both The Idol’s Eye and the Wizard of K.Harris, Cohan & Harris Publishing Co. and G. the Nile. These shows were all built around Schirmer who managed to land both Natoma and vaudevillians wishing to break onto the Broadway Sweethearts. The choice of G. Schirmer as publisher stage with a little bit more class than their normal of Natoma made perfect sense as that house was a creative experiences. Stars such as Frank Daniels and classically oriented organization. However, it Francis Wilson were the leads in convoluted slapstick remains unclear how G. Schirmer managed to land style humor. Herbert’s involvement in such shows was Sweethearts. We have not run across a reference as primarily for the purpose of elevating the quality of to that publishing oddity. Usually such a choice each musical comedy, and, of course, to pick up a would reflect a connection with the producers – in major commission from the star himself. The this case, Werba and Luescher. composer’s connection to this type of entertainment ended with The Tattooed Man and along with it That leaves only the theatres and here again, it is Herbert’s relationship with Julian Mitchell. The one definitely a hodge podge of houses. Gone entirely is exception appears to be a Ziegfeld connection. From The Knickerbocker, the home to five previous the beginnings in 1907, Ziegfeld had hired Julian Herbert works and clearly a favorite of the composer. Mitchell to stage his Follies production numbers. This was quite possibly because its 38th and Ziegfeld continued to use Mitchell even as the stage Broadway address was now considered too far south director began to lose his hearing. Thus, when Ziegfeld in the theatre district. Gone from the list is the hired Herbert to score the huge Follies production Casino Theatre which had become a Shubert House numbers in 1917, Mitchell and Herbert would once in 1903 and had suffered a major fire in 1905. While again work together. it had been rebuilt, theatrical folks are often rather superstitious. The huge Majestic Theatre on The only other stage director frequently found in this Columbus Circle which had housed Babes in set of Herbert creative teams is Frederick G. Latham, Toyland was renamed the Park Theatre in 1911and who staged The Prima Donna, The Enchantress and was considered a bit far north to attract an audience. Sweethearts – certainly not a shabby resume for anyone’s career – especially when you add those productions to Mlle Modiste and The Red Mill. Through 1913, that would definitely make Latham and Mitchell the premier Herbert stage directors. Everyone else in these 13 productions was pretty much one and gone. However, did you catch the brand new reference to a real choreographer listing under Sweethearts? Charles S. Morgan, Jr. received his only Broadway choreographic credit with this operetta.

The same distribution of jobs held true for Music Directors. There were the Herbert men returning for additional single shows– John Lund, Max Hirschfeld, and Louis F. Gottschalk. John McGhie, was the lone exception who would have ended up with three The 1903 New Amsterdam productions had Ms. Scheff not fired him from The Dutchess before opening night. Then, there were the The Broadway Theatre was chosen for Herbert’s lofty – Gaetano Merola of Naughty Marietta and Algeria and The Prima Donna, while the stunning Cleofonte Campanini who steered Natoma. Each of Broadway crown jewel, The New Amsterdam these elite artists came from the ranks of opera, but still Theatre (fast becoming the major Ziegfeld theatre joined the parade of single production participants. although never owned by him), served as home for Little Nemo and Sweethearts. The New York M. Witmark & Sons was clearly Herbert’s publisher Theatre housed Naughty Marietta and The during this period. The only exceptions were Chas. Enchantress. Others included The Criterion, The 6 News From VHSource, LLC Vol 12 December 2011

Herald Square Theatre, Daly’s Theatre, The Lyric and The Globe. We also should not forget the Spotlight On . . . Metropolitan Opera House of Philadelphia which Sweethearts (1913) was the initial home to the grand opera Natoma in 1911. ictor Herbert celebrated his 54th birthday on February 1, 1913. He was at the top of his Basically, we find lots of new producers hiring lots of Vgame, a household name and America’s most new faces for Herbert’s creative teams while the famous composer. Biographer Edward Waters composer goes happily and not so happily on his way labels the composer a “national institution.” On composing theatrical work after theatrical work. The January 5th the Society of American Dramatists list covers everything from classier musical comedy to and Composers celebrated its own 23rd birthday by the last of the family extravaganzas to American sponsoring a Victor Herbert dinner at the famed operetta masterpieces to American grand opera. This Delmonico’s restaurant. month we have thrown around a lot of names and references to the past. We’d like to remind you that each and every one of these productions along with the 18 from last December’s Step Back have been dealt with individually in great detail on a monthly basis in the previous newsletters beginning with the July issue of 2009. You may find it advantageous to download the VHSource 2009 Newsletter Year Book and the VHSource 2010 Newsletter Year Book from Shop VHSource. While you can purchase each book separately, you can save money by visiting the package page. Each has been indexed making it a searchable e-book as long as it remains on your computer. They will be joined in January by the VHSource 2011 A typical dinner at Delmonico’s in 1906 Newsletter Year Book. We must confess that this entire article was written with the VHSource 2010 Speakers included: Augustus Thomas (1857-1934) Newsletter Year Book constantly open along with a a playwright most famous for the dramatic work huge wish that the VHSource 2011 Newsletter Year Arizona (1899) which featured scenery and Book was finished. There may be those of you who do costuming by American painter Frederic Remington not know that your index for e-books resides in the (the Remington), John Philip Sousa, Marshall P. “Find” window on your Acrobat Reader tool bar and Wilder (1859-1815), the first actor to achieve is an incredible tool as long as the e-book has been celebrity with a disability (dwarfism) and Rachel properly indexed by its creator. Crothers (1878-1958) whose most famous play, Susan and God, was still ahead in 1937. The gist of We are now more than half way through Herbert’s these famous speakers was to laud Herbert for setting major theatrical works as the Spotlight...On Series high standards and maintaining them, bringing true shines on no. 31 Sweethearts this month. By 1913, not artistry to the American musical stage. NOTE: This only had Herbert become a household name in venerable organization was founded in 1891 by Bronson composing wonderful music, he had single-handily Howard, Augustus Thomas, David Belasco, and others to contributed to the launch of all sorts of major theatrical assure authors fair treatment from producers, to set a careers, and still had a significant way to go in his wn standard for royalties, and to fight play and song piracy. career. How could anyone skip lightly over this The group had only small success in dealing with prodigious output? To offer up a couple of paragraphs, producers, but it lobbied effectively in Congress and in state legislatures for better copyright laws. Play piracy or in some cases a sentence or two, with regards to this largely disappeared as a result of its efforts and the new man’s place in the very foundations of the American laws. It was definitely the forerunner of, and eventually musical is to do a huge disservice both to the man’s absorbed into, the brand new Dramatists Guild around achievements and to the history of the Broadway stage. 1919-1920. (www.answers.com) 7 News From VHSource, LLC Vol 12 December 2011

F o l l o w i n g Orchestra,” it is a truly rare occasion to find any quickly on the mention of actual orchestra members for this group. heels of the NOTE: The only Herbert ensemble fully documented as to D e l m o n i c o orchestra personnel is the Pittsburgh Orchestra since it dinner was the was a classical orchestra and thus followed the practice of a r r i va l o n listing their members in all programs. H e r b e r t ’ s doorstep on By July 6, the VHO was back at Willow Grove February 1 Amusement Park for the first time in two years, (his actual arriving just in time to participate in the rather heated birthday) of a discussions regarding allowing liquor to be served succession of on the premises. Herbert, the grand lover of good “politicians, German beer and wine, was a leading proponent for opera singers the exclusion of any intoxicants since it lowered the (led by Enrico Caruso seen above), bankers, billiard artistic listening levels the Park had fostered over the players, amateur card trick experts, librettists, lawyers years. So much for good German beer and wine! and stray musicians – all bearing their heartiest “good wishes” on Herbert’s Day. Why did they come? Herbert arrived at Willow Grove with his next Because, the man had lifted the standard of American operetta project well underway. However, it may light music across the boards, and quite simply, they not be the one you are expecting. The score for the cared. A similar sort of visitation most likely occurs first Herbert operetta of 1913, No. 31, Sweethearts today on Stephen Sondheim’s birthday. (spotlighted this month), produced by Werba and Luescher, was clearly finished as it had already had The Irish got into the celebration for the second year in its first ever performance in Baltimore at the a row by inviting Herbert and the Victor Herbert Academy of Music on March 24th– relatively early Orchestra to play in Carnegie Hall on Easter Sunday in the year for a Herbert work. NOTE: That was the afternoon, March 23rd , at the 35th annual Feis Ceoil day after the Carnegie Hall concert and we know Herbert was on the podium at the out-of-town opening. The Agus Seanachas (Irish Musical and Literary Festival) composer would spend his Willow Grove sojourn of the Gaelic Society. The VHO played the music of working on his second 1913 operetta, The Madcap such Irish composers as William V. Wallace (1812- Duchess, but that’s for January’s exploration. 1865 – composer of 10 operas), Charles Villiers Stanford (1852-1824 – Irish born composer of choral Sweethearts was written by Harry B. Smith and music), Swan Hennesy (1866-1929 – American Fred de Gresac – remember her? If you are new to composer of Irish descent – known primarily as a these newsletters, go back to Vol 10 October 2011 to composer mimicking the styles of other famous the article on female librettists to become better composers, but offering up a premier of an original acquainted with “Fred.” Harry’s younger brother “Clan March” this particular evening) and of course, a Robert B. Smith handled the lyrics, Frederick G. little Herbert in the form of his Irish Rhapsody. For Latham was stage director, John McGhie served as good measure, Miss Idelle Patterson added some Irish music director. One also finds that reference to an songs. It was a great night for the Irish! actual choreographer, Charles S. Morgan, Jr. In early June, Herbert and the VHO gave an afternoon Here is another indication of the rising importance of concert in Saratoga, New York which utilized featured real dance sneaking its way onto the Broadway stage, soloists from the VHO itself, giving us one of the few due in part to the huge participation of the chorus in real mentions of actual musicians of that orchestra: almost every number. The other strong reason for the Fred L. Landau, concertmaster, Horace Britt, cellist addition of a choreographer is Herbert’s extensive and Albert Chiaffarelli, clarinetist. While numerous use of dance rhythms throughout the entire score. inquiries have been made since the launching of the Even in 1913, the large chorus could not simply stand VHSource web site as individuals “try to verify if my grandfather actually played with the Victor Herbert 8 News From VHSource, LLC Vol 12 December 2011 and sing while the orchestra was playing great toe- The cast included Christie MacDonald as Sylvia; tapping music. Thomas Conkey as Franz, the heir presumptive to the throne of Zilania, Edwin Wilson as Lieutenant Arguably, Sweethearts ranks right up there with Karl and Lionel Walsh as the Hon. Percy Algernon Naughty Marietta as both one of the best and most Slingsby. If one thinks back to the June-July beloved Herbert operettas. Yet, when the production discussions of Natoma, MacDonald was the soprano finally moved to Broadway on September 8, 1913 in who had a rather strong public (in the newspapers) the New Amsterdam Theatre on 42nd Street, the disagreement with opera star Mary Garden swirling composer was not on the podium for opening night. around the issue of singing opera in English. This was an extremely rare occurrence. What MacDonald thought it should be a given – Garden happened? thought it not really feasible or necessary. That debate helped fuel interest, and thus box office sales, That first Baltimore audience saw Herbert conduct in in Herbert’s grand opera and certainly got the person and gave the whole production a major ovation, composer’s attention. but when the reviews came out, there was a far different reaction – it was too long, had so-so action When in October of 1912, he had begun and had, what at least one critic felt, a score lacking in considerations for Sweethearts, he remembered “tunefulness.” Not tuneful? Victor Herbert? Everyone MacDonald’s feistiness. The singer was performing on the production team rolled up their sleeves and by in an apparent hit up in Syracuse produced by a new Saturday of the first week had completely reworked the team, Louis Weber and Mark Luescher, so Herbert show and apparently, to all reports, totally fixed the journeyed north to catch her performance in Wilhelm production – it was shorter, quicker, spirited and and Willner’s The Spring Maid with English book delightful – everything you’d want from a week long and lyrics by … who else but Harry B and Robert fix. The group moved on to Philadelphia for five B. Smith, of course. Thomas Conkey just happened weeks, followed by to also be in the production. Herbert liked what he Boston for another saw and heard in both the overall production as well five weeks. Then, as the leading lady and the leading man. He as was standard immediately allowed Werba and Luescher to have practice, it was Sweethearts with the same creative team and leads. time for summer Once again Herbert had the luxury of knowing vacation according exactly the voices he would be writing for in to star Christie Sweethearts – and it showed in the resulting strength M a c D o n a l d , and charm of this 1913 score, written to fit [YouTube link] MacDonald’s pleasant but not quite spectacular voice resulting in late like a glove. August rehearsals for the September The first act takes place in the Laundry of the White 8th opening on Geese in Bruges while Act II moves to the Chateau of B r o a d w a y . Prinz Franz in Zilania. The program itself gave one Anyone who’s been of the most complete play synopses one could ever Christie MacDonald in New York City ask for – all within the actual cast list. We quote during late August directly from what the opening night audience would to early September knows how hot it can be. Theatres, have read: of course, had no air-conditioning in 1913. Perhaps this fact alone contributed to the strange note sent by “The story of the opera is founded on Herbert to his assistant Harold Sanford … “The piece the adventures of Princess Jeanne, went fine [New York Rehearsal] … and they don’t daughter of King Rene of Naples, who need me any more.” With that quick pronouncement, reigned in the fifteenth century. Time Herbert actually skipped the Broadway opening – again has been changed to the present, and the most rare. locale to the ancient city of Bruges, to 9 News From VHSource, LLC Vol 12 December 2011

which the little princess is carried for daughter Ella Bartlett. Beyond that romantic safety in time of war, and is given the offering, the rest of the score is filled to the brim with name of a frothy concoction of comic songs. Sylvia……...... Christie MacDonald. A wonderfully sly little song, “Jeannette and Her As an infant she is found in the tulip Little Wooden Shoes,” tells the story of a local garden one morning by female lothario who is betrayed every night by the sound of her wooden shoes on the pavement. Waters Dame Paula……….Ethel Du Fre Houston pointed out this number is written in a Ländler style. NOTE: The Ländler style is an eastern European style of Who conducts the Laundry of the White couples dance – think your standard arms entwined Geese, and who is known as “Mother couples circle dance and you have Ländler style which Goose.” Sylvia is brought up as the comes right out of Herbert’s childhood in Germany. daughter of Paula, although the latter has six daughters of her own: etc., etc., etc.” In Act I, Lieutenant Karl offers the Herbert signature style piece, “The Game of Love” during which Karl You probably get the picture. To finish the plot a bit explains to the “white geese” the techniques he quicker, Sylvia of course has no idea who she is, Franz utilizes to woo all the different types of girls he has the Zilania heir also doesn’t know who she is either but encountered – thus giving Herbert the chance to serve he does know there’s a missing princess who could up five different styles within the same number. spoil everything. He falls in love, of course, with the presumed common laundress, Sylvia. There is a whole In the middle of these wonderfully comic moments, gaggle (pardon the pun) of shady diplomats – Mikel comes Herbert’s second “Angelus,” [YouTube link] Mikeloviz (Zilanian), Hon. Percy Algernon Slingsby sung by Sylvia, joined eventually, although (British), Petrus Van Tromp (German) and Aristide unbeknownst to her, by Franz singing his main aria Caniche (French) – all looking for the little babe (now (“Every Lover Must Meet His Fate”), creating a grown up) so they can place the Princess directly into hauntingly beautiful duet. The composer’s first Franz’s path to the throne and win his lands for “Angelus” was a wonderful highlight of The themselves. Add to this group a first class lothario, Serenade back in 1897, and in both productions, the Lieutenant Karl who’s engaged to Sylvia, but chasing “Angelus” or prayer thrilled both audiences and Liane, a milliner who aspires to be Sylvia since she critics. appears to attract the best men. It’s just your typical exotic, fantasy where royalty meets commoner, falls in More comic songs grace Act II as Herbert continues love, rejects throne for love only to find in the end that to shun the “reprise” as much as is humanly possible. everyone is royalty and all’s right with the world – as “Pretty As A Picture” is a male commentary on the we said – typical. What raises this one above the fray is skills of women in using makeup to transform as always – the Herbert score. themselves into “pictures.” Even Sylvia, who has disappeared into a convent during intermission and From its opening number “Iron, Iron, Iron” when only newly arrived back, has a delightfully comic aria Mother Goose’s daughters (the “white geese”) perform “In The Convent They Never Taught Me That.” the daily work of the laundry to the hilarious “Pilgrims Of course there is the aforementioned “Pilgrims of of Love,” sung by the four diplomats disguised as Love” warbled by the four disguised monks for reasons known only to themselves, this is diplomats/monks and Slingsby has almost the one of Herbert’s most beloved creations. The singularly most unusual aria in operetta repertoire – “Sweethearts Waltz” is the best known tune which “I Don’t Know How I Do It, But I Do” which has would most likely feel very familiar to many of you. the distinction of having no sung melody. The entire Sung by Sylvia, measures of the main refrain were set of two verses are written above the staff and found by Library of Congress librarians jotted down definitely meant to be spoken instead of sung – a first and then crossed out in a Herbert note book dating in the world of light opera/operetta as far as we have from the 1880-90s and donated to the Library by his been able to ascertain. According to Bruce Pomahac 10 News From VHSource, LLC Vol 12 December 2011 of the Rodgers & Hammerstein Music Library, Jerome part attached to it. The chorus gets such a workout Kern and Oscar Hammerstein II would use the that reviews often commented on that very aspect. technique again in their production of Music In The Air in 1932, and we’re sure many of you will think With regards to those reviews, Herbert had hit so immediately of Rex Harrison in My Fair Lady. many home runs by the time we reach 1913, that However, Herbert appears to have done it first. critics’ expectations were sky high simply walking into the theatre. As had become very typical, they loved the score, liked the performers and ho-hummed the libretto. Regarding the story, they used such phrases as “a twist on the Cinderella story … which failed to remove it from the commonplace,” “comedians were funny, the ‘straight men’ were satisfactory,” and Christie MacDonald’s “singing was adequate.” When it came to the score, The Times reviewer offered

“… it is time to emphasize the fact that Mr. Victor Herbert, as is often his habit, has provided a very well written score in which there are many numbers of excellent quality ...”

The Tribune intoned

“... an operetta to rejoice over, … Victor Herbert has given us one of his best, most melodious and most musicianly works thus far. That he has written it con amore is proved by the delicate care he has bestowed upon his orchestration, which at times rises to the level of grand The last unique aspect of this particular score is the opera …And then the songs! One Grand Finale because it actually is a substantial Finale charming melody succeeds another in during which Mikel and Paula reveal the entire story of rapid succession. To mention them all would be to print the titles of the whole the finding of baby Sylvia through recitative eighteen numbers in the program …” interspersed with copious amounts of choral work. This is a first for Herbert. A composer whose Act I and Such reviews of which dreams are made! Act II finales have always been hailed as close to operatic quality, his Grand Finales are usually a “quick Unfortunately, it was not the smash hit that everyone – let’s go home” 3-4 pages. The Sweethearts No. 19 assumed it would be. The production suffered from Finale begins on page 153 and runs all the way to 172 an ailment which has caused many a production to ending with a reprise of the “Sweethearts Waltz,” to fail to become that “sure hit” – the forced move to send forth the audience humming. another theatre to make way for a new show. Such a “kiss of death” is not infrequent in New York City It should also be noted that this is a CHORUS show. If even today. Producers book a theatre only to find out you are looking for a work where your chorus will another show is looming on the horizon several never complain about not having enough to do – this is months down the road. The choice must then be truly the production for you. There is hardly a number made – (1) choose another theatre [was there another with the exceptions of “Cricket On The Hearth” New Amsterdam – the crown jewel in Times [YouTube link] and the aforementioned “I Don’t Square?] or (2) move in and hope the other Know How I Do It” that doesn’t have a great chorus production fails to materialize [how often did that 11 News From VHSource, LLC Vol 12 December 2011 really happen in 1913 as literally hundreds of shows possible. All of these individuals have done this work opened ] or (3) make the best of it until the move was out of passion and love of Herbert’s work. They forced and pray the audience would be able to find you retain ownership of their files while providing the again. The producers chose to stay nine weeks at the organization requesting the work with a set of hard New Amsterdam and then move down the block to the copy scores and orchestral parts either for purchase Liberty Theatre for another 8 weeks. Even just down or rental. Each of these artists is a “vendor”of Shop the block limited Sweethearts to 136 performances in VHSource and has provided all of the computerized New York City. The company took to the road, moving digital material available on the website. NOTE: to Washington for a solid run before hitting the road VHSource was founded on the twofold goals of 1) making where it managed to remain in production the entire original Herbert performance materials available to rest of the season. orchestras and musicians as quickly as possible all over the world and 2) giving restorationists a vehicle to begin Sweethearts is one of only two Herbert operettas to reaping some monetary support for their labors of love encompassing hundreds, even thousands of hours of have a major Broadway revival as a stand alone extremely painstakingly detailed work. production in the 40s – The Red Mill being the other. Sweethearts opened on January 21, 1947 in the Shubert This month we Theatre with Paula Stone (daughter of Fred Stone) as meet Constantine Sylvia and Bobby Clark as the shady diplomat Mikel Grame who resides Mikeloviz. To the producers’ credit, they changed very in Tarpon Springs, little and the operetta ran for 288 robust performances, Florida with his making its total Broadway performances 424 – very wife, Lauren and respectable even if it took 34 years to accomplish. makes his living as a professional The original piano/vocal, libretto and many of the musician wearing individual songs can be found on Shop VHSource as many hats. When well as the complete original orchestration and the pressed for a title, Victor Herbert Renaissance Project version he is most proud of (narrator, soloists, chorus and orchestra) with matching being President and orchestration (still all original Herbert music). Your Artistic Director of audiences will definitely delight in this wonderful the New Century work. Opera Company of Tarpon Springs. Founded in 2004, this The Spotlight ... On Series launches 2012 with No. 32 production company focuses on standard opera th The Madcap Dutchess. By January 15 the e-book repertoire sung in English and utilizing piano VHSource, LLC 2011 Newsletter Year Book will join accompaniment only – a choice which manages to its cousins 2009 and 2010 for immediate download. avoid any and all orchestral size limitations. They are The wonderful aspect of all three of these research a non-profit adult company with a three opera season. tools is that as long as they remain on your computer, He adds to his financial coffers by serving also as they are searchable. Staff Pianist for Opera Tampa and Music Director of the Gilbert and Sullivan Players in Clearwater. Meet VHS Restorationist To this impressive list add: the hats of a freelance musician, a music director for various community Constantine Grame theatre groups, an accompanist, a church organist and a private instructor; and one finds a very typical resume for today’s professional musician. his month we continue our look at the computer artists who currently work directly with Upon digging a bit deeper one finds even more VHSource and who create computerized, T fascinating details to add to that already impressive readable Herbert materials from existing handwritten resumé: As an piano accompanist, Grame has full scores and/or existing orchestra parts wherever 12 News From VHSource, LLC Vol 12 December 2011 accompanied such distinguished artists as Sherrill School of Music and taught at Yale University. Milnes, Maria Zouves, Stella Zambalis, Carole However, by the time Constantine was growing up, Cook, and Enrico di Giuseppe. He also serves on the his dad had become a bit disenchanted with faculty of the Marcia P. Hoffman Institute for the mainstream academia. Thus, Constantine was home Performing Arts. schooled from the very beginning. Attending college was not a goal to which Grame has ever aspired. Neither is the young man limited to serving solely However, he does hold a fascinating Advanced behind the scene. He has appeared as a tenor soloist in Certificate from the Associated Board of the Royal such works as Il barbiere di siviglia and The Mikado. Schools of Music, London (ABRSM). When As a composer, Grame's own opera, The Spoiler, pressed for an explanation as to exactly what such premiered in Tarpon Springs in 2004 and was revived certification entailed, Grame explained that the there in 2008. Add to those performance credits, a ABRSM, which bills itself as the “world’s leading move toward serving more frequently as both the stage authority on musical assessment,” sponsors an all director and musical director for such works as day examination period in a centrally located site Mefistofele, Die Entführung aus dem Serail, La where students from non-traditional music education serva padrona, Orfeo ed Euridice, all four operas of can be evaluated in their achievements. Grame’s Wagner’s Ring Cycle, Hänsel und Gretel and Babes resulting Advanced Certificate is roughly equivalent In Toyland. Grame’s many hats appear to suit him to an undergraduate degree in music. One applies to very well. the ABRSM, pays a fee and then the Board assigns the applicant a date, location and time for the Before looking further into his Victor Herbert examination. The ABRSM’s representatives came all connections, the educational background of this young the way from London to administer just such an musician is certainly the most intriguing of all our evaluation to Grame who passed with flying colors. restorationists. We have encountered several PhDs amongst our VHS restorationist ranks. Grame is clearly Grame’s relationship with Herbert dates back to his as inverse from those gentlemen as is humanly early teens when his father first cast him in a possible. production of Babes In Toyland. That first exposure piqued his curiosity and sent him on a hunt for the While both parents original libretto and piano/vocal score, which took possessed very him eventually to the Victor Herbert Foundation strong musical which sent him to Alyce Mott and the Victor backgrounds, his Herbert Renaissance Project sometime around father Theodore 1995 or 1996. The contact was made by phone and Grame was the plans were launched over the next couple of years strongest influence for Grame to visit the Library of Congress to on him. Grame examine and photocopy the original Babes scores began his musical and librettos. The trip was planned, tickets bought, life with piano letter of permission to copy written, when a training when he discussion of age happened to arise. When asked how was 4 and can never old he was, Grame’s reply came back “16” which remember a time was truly astonishing. After two years of spending when his goal was long hours discussing the intricacies of Babes with a anything other than very mature, insightful individual, we suddenly to be a professional learned he was only 16 which presented a huge musician. Even difficulty. The Library of Congress has a strict more interestingly, he has never set foot in a regular policy against allowing students of high school age to school classroom in his entire life. utilize its facilities. Fortunately, a great relationship with then LOC librarian Wayne Shirley and a letter The elder Grame had degrees in piano, choral from his parents solved the difficulty and resulted in conducting and musicology from the Manhattan 13 News From VHSource, LLC Vol 12 December 2011 a rare special LOC permission for a high school aged of odds and ends – basically items that he has had to individual to view and utilize the Herbert materials. create for his own use over the years (e.g., the original score to the first musical version of Peter Grame is currently working on restoring the original Pan or the piano/vocal to the Engelbert Humperdinck handwritten Victor Herbert scores for the 1903 Babes opera Royal Children (which debuted at the In Toyland. Finale software is Grame’s tool of choice. Metropolitan Opera House, New York City, 1910). If If this project sounds familiar to you, you may recall a what you are looking for is very obscure, Grame New York Times Article reporting a similar project might just be the person to assist you. His publishing being launched back in 2001 and completed with a offerings are also primarily limited to librettos and recording by the Packard Foundation in connection piano/vocals. with musicologist John McGlinn. Unfortunately, neither those performance materials nor the recording Constantine Grame is truly a remarkable young of the work has never been made available to the musician and VHSource is very proud to have him public. on our roster of restorationists.

Upcoming December Concerts

riday, Dec. 2 at 7 pm, Saturday, Dec. 3 at 2pm and 7pm, and Sunday, Dec. 4 at 2 pm, FChicago Folks Operetta Company, will present Herbert’s Babes in Toyland at The Nineteenth Century Club, Oak Park, IL. Tickets are now on sale.

Saturday, December 3 at 11 am and December 10 at 11 am and 2 pm, Theatre at the Center, Tom, Tom sings the Munster, Indiana will present Herbert’s Babes In “Song of the Poet” Toyland produced by Charlie Misovye. Children - Babes In Toyland remains the single most frequently $7.00 and Adults - $8.50. Get both your tickets and requested performance materials of all of Herbert’s a Study Guide by visiting this organization’s website work and thus, the task is having to be repeated to on the above link. accommodate that need. When one is a volunteer working because of love of the music and still in need Saturday, December 3, 2011 at 2:00 pm and 7:30 pm, Sunday, December 4, 2011 at 2:00 pm, the of paying bills, such a restoration becomes a very slow th process. As more and more of this work becomes Baltimore Actors' Theatre will present its 46 available, you will find it in the Shop VHSource Annual production of Victor Herbert’s Babes In listings. Toyland at Kraushaar Auditorium, Goucher College, Baltimore, Maryland. Admission: $20.00 adults; Grame is also responsible for one of the Shop $12.00 for Children ages 12 and under. Groups of 20 VHSource rarest piano/vocal scores – the Victor or more: $15.00 per adult, $10.00 per child. For Herbert operetta Alice and the Eight Princesses tickets: (410) 337-8519. This production, first which you may remember morphed into the presented in 1965, is highlighted by a cast of 100 with a 20-piece orchestra. composer’s Wonderland. For more information on this operetta, see VHSource Newsletter, Vol 9 Sept 10. December 9, 10, 16, 17, 2011, the Peanut Butter You can reach Grame through his music publishing Players will present Herbert’s Babes In Toyland at web site www.gramemusic.com. When asked what his The Harlequin Center for the Performing Arts, publishing focus was, he quickly replied “lots and lots 990 South Public Road, Lafayette, Colorado. Call 14 News From VHSource, LLC Vol 12 December 2011

(303) 786-8727 for more information or visit the A fascinating phenomenon that occurs on a daily basis organization’s website link above. is our Google alert for “operetta.” It is truly shocking to see the number of hits that the word “operetta” Saturday, December 17, 2011 7 pm, Sunday, gets across the internet. The word is being used on a December 18, 3pm and Monday, December 19, daily basis around the world, particularly by colleges 10am and 11:45 am – the Algonquin Arts Theatre, and secondary schools, to describe every musical featuring the Algonquin Youth Ensemble, will present theatrical offerings in their season. The Europeans Victor Herbert’s Babes In Toyland. Adults $18 - get the genre right in most instances while we Seniors $15 - Children 18 & under $12 (Monday prices Americans have a tendency to call almost any - $8.50). Visit the Algonqnin Youth Ensemble web site production done in school the “operetta.” As we said, for more information. it’s a fascinating phenomenon. We may have to pay some closer attention to the definition of that word in A Look Towards 2012 Events 2012. Hopefully, you did not miss the YouTube links this Thursday, March 1, 2012, 8:00 pm, the Worcester month for Sweethearts. Christie MacDonald is joined Music Festival will present the Nordwest German by Reinald Werrenrath (1883-1953), possibly a Staatskapelle, Eugene Tzigane, Conductor, with Amit replacement for Thomas Conkey (Franz) at some Peled, Cello. The orchestra will feature Victor point during the run of the show. They will give you Herbert's Cello Concerto No. 2. Hebert served as a good idea of the music from this show, but one associate conductor of the Festival from 1889-1892. does wish Ms. MacDonald had paid a bit more The performance will be at Mechanics Hall, 321 Main attention to the English language she championed so Street, Worcester, MA 01608. There will also be a superbly in 1910. Pre-concert Talk at 7 PM. Tickets: $46, $43, students $20 advance/$15 at door. Call for discounts, groups - Looking towards 2012, expect a closer look at Harry Order Tickets B. Smith, M. Witmark & Sons, the first Hammerstein family, Herbert’s one acts and Lambs’ skits, the Alyce's Musings . . . Herbert instrumental compositions, among other topics. t’s been a year of loss and change in the world of the Victor Now as we rush towards the new year, do enjoy your IHerbert revival. New good holiday season, no matter what your definition of friends have been made as well as such is. May the love of great music continue to old friends lost to the march of time. foster a bond between us all, and may this world Fortunately, the overall prevailing grow in peace and prosperity for all its peoples. direction has been forward as more and more inquiries, performances and restoration projects of this fine music continue to appear. This past month VHSource added Denmark to Two places can supply referenced back issues you may like a growing list of countries counted among our to read: The E-Book section of Shop VHSource has the customers including: USA, Canada, Ireland, England, 2009 VHS Year Book and 2010 VHS Year Book (both Germany, France, Australia, Switzerland, and Russia. searchable research tools); or if the issue is a 2011 one, simply login to www.vhsource.com and choose Archived Newsletters in the User Menu. If you are not logged in, you Be sure to come visit Shop VHSource this month as will not see a User Menu. we begin to unveil the next new service. Come exploring around the middle of the month, you will All newsletters are available to registered users of definitely find the beginnings and may enjoy watching www.vhsource.com. Simply follow the link, create a user it grow. Feedback welcomed as always. name and password and enjoy this newsletter delivered to you inbox every month.