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News From VHSource, LLC Vol 10 October 2017

Herbert Creative Teams

Every Team Herbert Worked With

eginning in December of 2010, VHSource began 4. (‘97) a “step back” look at all the works The Bostonians - producers Bwe had discussed to see if we could develop any Harry B. Smith - librettist patterns or formulas of interest. We continued the process E. Schuberth - publishers through the entire body of work over a three year period. W.H. Fitzgerald - director What follows is all those listings and the insights that Samuel L. Studley - music director The Knickerbocker Theatre accompanied them in one place. Here then are the creative teams that placed Victor Herbert’s work in front 5. The Idol’s Eye (‘97) of the New York public. Frank Daniels - producer Harry B. Smith - librettist 1. Prince Ananias (1894) E. Schuberth - publishers The Bostonians - producers Julian Mitchell - stage director Francis Neilson - librettist Frank Palma - music director E. Schuberth - publishers The Henry Clay Barnabee - possible director Samuel L. Studley - music director 6. The Fortune Teller (‘98) The Broadway Theatre The Alice Nielsen Opera Company - producers Harry B. Smith - librettist 2. Wizard of the Nile (‘95) M. Witmark & Sons - publishers Kirke LaSalle/Arthur F. Clark - producers Julian Mitchell - stage director Harry B. Smith - librettist Paul Steindorff - music director E. Schuberth - publishers Wallack’s Theatre Napier Lothian, Jr. - stage manager Frank Palma - music director 7. Cyrano de Bergerac (‘99) The Casino Theatre Francis Wilson - producer Stuart Reed - librettist 3. The Gold Bug (‘96) Harry B. Smith - lyricist Thomas Canary/George W. Lederer - producers M. Witmark & Sons - publishers Glen MacDonough - librettist A. M. Holbrook - stage director E. Schuberth - publishers John McGhie - music director Max Freeman - director The Knickerbocker Theatre Gustave Kerker - music director The Casino Theatre 2 News From VHSource, LLC Vol 10 October 2017

8. The Singing Girl (‘99) 14. (‘05) The Alice Nielsen Opera Company - producers Charles C. Dillingham - producer Stanislaus Stange - librettist Harry B. Smith - librettist Harry B. Smith - lyricist M. Witmark & Sons - publishers M. Witmark & Sons - publishers A. M. Holbrook - stage director Julian Mitchell - stage director Sig. A. De Novellis - music director Paul Steindorff - music director Theatre The Casino Theatre 15. Wonderland (aka Alice and The Eight Princesses) (‘05) 9. The Ameer (‘99) Julian Mitchell - producer Frank Daniels - producer Glen MacDonough - librettist Frederick Ranken/Kirke LaShelle - librettists M. Witmark & Sons - publishers M. Witmark & Sons - publishers Julian Mitchell - stage director John Stapleton - stage director Carl Styx - music director Louis F. Gottschalk - music director The Majestic Theatre Wallack’s Theatre 16. Mlle Modiste (‘05) 10. The Viceroy (‘00) Charles C. Dillingham - producer The Bostonians - producers Henry Blossom - librettist Harry B. Smith - librettist M. Witmark & Sons - publishers M. Witmark & Sons - publishers Fred G. Latham - stage director William H. Fitzgerald - stage director John Lund - music director Samuel L. Studley - music director The Knickerbocker Theatre The Knickerbocker Theatre 17. (‘06) 11. Babes In Toyland (‘03') Charles C. Dillingham - producer Fred L. Hamlin/Julian Mitchell - producers Henry Blossom - librettist Glen MacDonough - librettist M. Witmark & Sons - publishers M. Witmark & Sons - publishers Fred G. Latham - stage director Julian Mitchell - stage director Max Hirschfield - music director Max Hirschfield - music director The Knickerbocker Theatre The Majestic Theatre 18. and (‘06) 12. Babette (‘03) - producer Charles C. Dillingham - producer Edgar Smith - librettist Harry B. Smith - librettist C.K. Harris - publishers M. Witmark & Sons - publishers A. M. Holbrook - stage director Fred G. Latham - stage director Louis F. Gottschalk - music director John Lund - music director Weber’s Theatre The Broadway Theatre This survey now becomes much easier, and one can start 13. It Happened in Nordland (‘04) formulating some observations regarding Herbert’s Fred L. Hamlin/Julian Mitchell/Lew Fields - producers creative teams. Glen MacDonough - librettist M. Witmark & Sons - publishers Julian Mitchell - stage director Producers put the whole production together and are Max Hirschfield - music director therefore the cog that both drives each operetta wheel as Lew Fields Theatre well as creates the wheel in the first place. Charles C. Dillingham is the clear winner in this category with four productions under his supervision beginning with Babette (‘03), Miss Dolly Dollars (‘05), Mlle Modiste (‘05) and 3 News From VHSource, LLC Vol 10 October 2017

The Red Mill (‘06). Glen MacDonough comes in second with 4 works as Please note not only is he librettist: The Gold Bug (1896), Babes In Toyland (‘03), responsible for the most It Happened in Nordland (‘05) and Wonderland (aka but also some very Alice) (‘05). Henry Blossom comes on board very late significant operettas. with Mlle Modiste (‘05) followed immediately by The Second place goes to The Red Mill (‘06), a small but major contribution which will Bostonians with 3 bode very well for future years to come. Four other presentations: Prince individuals were “one and done,” including that fellow Ananias (1894), The named Edgar Smith (no relation to Harry B.). You will Serenade (‘97) and The read more about him in the Spotlight On ... Series later Viceroy (‘00); as well as in this newsletter. to Julian Mitchell who was either a member of The stage director is responsible for the movement of the producing team or actors and in these early years also the dancers. The clear sole producer for 3 leader here is Julian Mitchell (the same fellow who works: Babes in Toyland produced) with six directing projects for Herbert between Charles C. Dillingham (‘03), It Happened in 1897 and 1905: The Idol’s Eye (‘97), The Fortune Teller Nordland (‘05) and (‘98), The Singing Girl (‘99), Babes In Toyland (‘03), It Wonderland (‘05). The Alice Neilsen Opera Company Happened In Nordland (‘04), and Wonderland (aka and Frank Daniels are tied with 2 productions. However, Alice) (‘05). Note: it always helps immensely if you are Frank Daniels has the distinction of commissioning, also the Producer. Tied for second are A.M. Holbrook producing, and starring in both The Idol’s Eye (1897) with 3: Cyrano de Bergerac (‘99), Miss Dolly Dollars and The Ameer (‘99), while The Alice Neilsen Opera (‘05) and Dream City and The Magic Knight (‘06); and Company produced The Fortune Teller (‘98) and The Fred G. Latham with 3: Babette (‘03), Mlle Modiste Singing Girl (‘99) as starring vehicles for Alice Neilsen (‘05) and The Red Mill (‘06). While Mr. Mitchell’s before going out of business when she gave up the output is sterling, one certainly cannot sniff at Mr. theatre. All other producers were pretty much one and Latham’s three classic Herbert works. Everyone else is done. The Bostonians did give Herbert his first ever a one and out, with the exception of William H. production, but it’s interesting to note that it took them 3 Fitzgerald, who worked basically for The Bostonians for years to do a second and six years before they undertook both The Serenade (1897) and The Viceroy (‘00). the third one. The last important person on the creative wheel is the The primary member of any creative team other than the music director, responsible for preparing the singers as producer and the composer is the librettist. The clear well as the orchestra. While Herbert often conducted leader here is Harry B. Smith who amassed 8 important first performances both out-of-town as well as productions as librettist/lyricist: Broadway openings, someone had to prepare everyone (1895), The Idol’s Eye (‘97), The Serenade (‘97), The musically and then conduct every performance. There is Fortune Teller (‘98), Cyrano de Bergerac (‘99 writing no clear winner here. This is a bit surprising as one would as Stuart Reed), The Viceroy (‘00), Babette (‘03), and surmise that Herbert would 1) consider this position most Miss Dolly Dollars (‘05). As if that were not quite important, 2) have a hand in hiring and 3) be fairly loyal enough, Smith served as lyricist on The Singing Girl to a music director. (‘99), making his participation on the “team” a grand total of 9 times between the years 1895 and 1905 or, in In reality, the wealth is spread around fairly evenly with other words, exactly half of Herbert’s 18 production Max Hirschfield tied with Samuel L. Studley with 3 output. No matter what you may think about his work, he operettas each. Hirschfield was on the podium for Babes was the go-to-guy much of the time. In Toyland (‘03), It Happened in Nordland (‘04) and 4 News From VHSource, LLC Vol 10 October 2017

The Red Mill (‘06). Studley worked for The Bostonians, Finally, it’s clear that for the most part Herbert had only and therefore was the man with the baton for Prince two publishers, Edward Schuberth & Co. and M. Ananias (‘94), The Serenade (‘97) and The Viceroy Witmark & Sons. E. Schuberth was and remains a (‘00). Everyone else either guided two productions: German music publisher whose selection would have Palma, Steindorff, Gottschalk, and Lund; or simply been a very logical choice for Herbert, given his long served one and out: Kerker, McGlie, De Novellis and residence and education in Austria and Germany prior to Styx. arriving in America. He simply chose the familiar as he began his operetta composing career. He used E. This gives one a clearer picture of the creative teams that Schuberth from Prince Ananias (1894) through The surrounded Herbert for his first 18 productions. Are there Serenade (‘97). It’s also safe to assume that the main conclusions that can be drawn? It seems clear that offices of E. Schuberth were in Germany with only a Herbert the composer was not terribly involved in putting branch office in New York. creative teams together and was amiable about working with many different talents. There clearly is no nepotism or staffing demands attached to Herbert productions. The larger question may be how many of these artists had their careers affected by their association with Herbert? Clearly, Julian Mitchell and Harry B. Smith benefitted the most with both going on to huge careers on Broadway. Charles C. Dillingham also would appear to have benefitted from his relationship with Herbert. If you recognize a name from amongst all those fine fellows, you would have to say they benefitted as they continued to have significant careers. If you’ve never heard of them, they are probably among the one-and-out group. It certainly was a man’s world ... at least so far.

The only other two areas of real interest are the theatres that housed these productions and Herbert’s music publishers. With regards to theatre choices, that normally ends up being the prerogative of the Producer who is, after all, responsible for raising the money to fund the production. He wants to place his production in the best With regards to M. Witmark & Sons, we need to take a possible venue given the production needs (size of moment to correct an earlier mis-statement regarding this scenery, cast, orchestra, etc.) as well as the number of very important company. Marcus Witmark, while a very seats available to sell. Over the dozen years we are proud papa, never had any position within the firm. His examining, The Knickerbocker is by far the favorite, name was used solely because his five sons were housing five Herbert works: The Serenade (‘97), Cyrano extremely young: Isidore the eldest was 17 when de Bergerac (‘99), The Viceroy (‘00), Mlle Modiste (‘05) M.Witmark & Sons was formally launched with the and The Red Mill (‘06). The next most frequently youngest son being 8. The five boys opened their music utilized theatres were The Casino and The Broadway publishing business formally in 1886, but they had with 3 shows each. It’s interesting that both Weber and actually been in the printing business since Jay (the third Fields, who both produced Herbert operettas separately son) won a toy printing press in a school mathematics after they dissolved their team, each utilized his own contest three years before. At the launching of M. theatre to house the operettas. The Majestic was the Witmark & Sons, the eldest three sons were all veterans largest of all the theatres serving as home to a Herbert of ’s entertainment world, primarily in operetta and therefore, the perfect location for Babes In minstrelsy, music hall and early vaudeville. Toyland (‘03) and Wonderland (‘05). 5 News From VHSource, LLC Vol 10 October 2017

In 1898, Victor Herbert was a household name and Harry B. Smith - librettist/lyricist whoever landed the contract to publish Herbert landed on Cohan & Harris Publishing Co. - publishers the pinnacle of the New York City entertainment world. Herbert Grisham - director The choice for Herbert between the German-based E. Max Hirschfeld - music director Schuberth & Co. and his relatively new and good friend The New Amsterdam Theatre Isidore Witmark was determined partially by the 22. The Prima Donna (‘08) composer’s love for his new country and his admiration Charles B. Dillingham - producer for what the young Witmark had accomplished. It’s Henry Blossom - librettist probably safe to assume that Herbert’s choice to move to M. Witmark & Sons - publishers M. Witmark & Sons sent their stock soaring. Fred G. Latham - stage director John Lund - music director However, when surveying the entire list, the name Chas. The Broadway Theatre K. Harris & Co. suddenly jumps out as publishers of 23. Rose of Algeria (‘09) (primarily same as Algeria ‘08) Dream City and the Magic Knight (‘06). While this out- Lew Fields - producer of-the-blue choice may be the source of an interesting Harry B. Smith - librettist story, more likely, C. K. Harris simply had a contract Chas. K. Harris - publisher with Joe Weber to publish all his work. After we Ned Wayburn - stage director discovered Isidore Witmark’s book regarding the story of Theodore Stearns - music director his business – The Story of The House of M. Witmark The Herald Square Theatre & Sons, From Ragtime to Swingtime, Lee Furman, Inc., New York, 1938 – it’s definitely time to look closer 24. Old Dutch (‘09) at this organization. Lew Fields, Lee & Sam S. Schubert - producers Edgar Smith - librettist George V. Hobart - lyricist This examination has pointed up the fact that Victor M. Witmark & Sons - publishers Herbert rarely did the expected, and he certainly followed Ned Wayburn - stage director no particular path as he moved from creation to creation. Louis F. Gottschalk - music director He simply moved rather elegantly along without the The Herald Square Theatre typical theatrical ego involvement. In December of 2011, we once again listed the shows we had explored 25. Naughty Marietta (‘10) throughout the year and analyzed the results again. Arthur Hammerstein - producer - librettist/lyricist 19. The Tattooed Man (1907) M. Witmark & Sons - publishers Charles B. Dillingham - producer Jacques Coini - stage director (manager) Albert N.C. Fowler/Harry B. Smth - librettist Gaetano Merola - music director Harry B. Smith - lyricist The New York Theatre M. Witmark & Sons - publishers Julian Mitchell - stage director 26. (‘11) - Technically a Grand Opera Arthur Weld - music director Chicago Grand Opera - producers The Criterion Theatre Joseph D. Redding - librettist/lyricist G. Schirmer - publishers 20. Algeria (‘08) Fernand Almanz - stage director Frank McKee - producer Cleofonte Campanini - music director Glenn MacDonough - librettist/lyricist The Metropolitan Opera House in Philadelphia Chas. K. Harris - publisher George Marion - stage manager 27. When Sweet Sixteen (‘11) John McGhie - music director Ever-Wall Co. - producer The Broadway Theatre George V. Hobart - librettist/lyricist M. Witmark & Sons - publishers 21. Little Nemo (‘08) George V. Hobart/R.H. Burnside - stage directors Marcus Klaw/Abe L. Erlanger - producers Louis F. Gottschalk replaced by Frederick Schwartz - 6 News From VHSource, LLC Vol 10 October 2017

music director Charles B. Dillingham is still producing single-handedly Daly’s Theatre with three Herberts as is Lew Fields. However, even Fields went to work for the Shuberts not long after Rose 28. The Dutchess (‘11) of Algeria (‘09) and is only involved in two works. The Shubert Theatrical Company - producers While any discussion of Florenz Ziegfeld has not yet Joseph Herbert - librettist Harry B. Smith - lyricist occurred, he was beginning to challenge Dillingham as M. Witmark & Sons - publishers a single producing entity as early as 1907 – a fact, that J.C. Huffman - stage director probably fueled Dillingham’s desire to “out Ziegfeld, John McGhie replaced by Oscar Radin - Ziegfeld” with his production of Lady of the Slipper music director (‘12). The Lyric Theatre For the most part, 29. The Enchantress (‘11) Frank McKee, Joseph Joseph M. Gaites - producer M. Gaites, Ever-Wall Fred de Gresac/Harry B. Smith - librettists Harry B. Smith - lyricist Co., and Werba and M. Witmark & Sons - publishers Leuscher are not Frederick G. Latham- stage director names that trigger any Dances by F. W. Bishop (a first) sort of major Gustave Salzer - music director recognition of famed The New York Theatre careers. The person who does leap out of 30. The Lady of The Slipper (‘12) this particular group of Charles B. Dillingham - producer producers is Arthur and Laurence McCarty, librettists James O’Dea, lyricist Hammerstein. Arthur M. Witmark & Sons - publishers was his father’s right R. H. Burnside - stage director hand in all the old Arthur Hammerstein in later years W. E. McQuinn - music director man’s grand opera The Globe Theatre endeavors. Ah, a test – the name of the famous dad? Yes, – the builder of Broadway theatres 31. (‘13) and the opera impresario who almost singlehandedly took Louis Werba and Mark Luescher - producers down the Metropolitan Opera Company between the Harry B. Smith, Fred de Gresac - librettists years 1906 and 1910 (the “Opera Wars”). If you are new Robert B. Smith, Lyricist to VHSource newsletters, you may be interested in G. Schirmer - publishers Frederick G. Latham - stage director reading Vol 6 June 11 - now available in Full Charles S. Morgan, Jr. - choreographer Foundations at www.vhsource.com. The year 1910 John McGhie - music director destroyed the opera producing career of the father and New Amsterdam Theatre/Liberty Theatre launched the operetta producing career of the son. A rather clear career separation – almost.

Even a cursory examination of the foregoing list makes Herbert appears to have changed creative team members one conclusion clearly obvious. These 13 works share on a rather constant basis which begs the question – why? almost nothing in common other than Victor Herbert and A possible reason lies in the fame of the composer. If a quite often Harry B. Smith. From a producing standpoint, producer wanted a guaranteed hit on the Broadway stage, gone are The Bostonians to be replaced by companies that producer wanted Herbert. Through out those early such as Klaw & Erlanger, The Shubert Theatrical first 18 works, the composer was establishing himself as Company, Chicago Grand Opera Company, Ever- a composer who orchestrated his own scores (negating Wall Co. and Werba and Leuscher. need for a separate orchestrator), created with incredible speed (often 3-4 shows a season), delivered quality high 7 News From VHSource, LLC Vol 10 October 2017 class music on time, and, above all else, played well with doctor for The Slim Princess (‘11) probably at the others. That latter is often the maker or breaker of request of Blossom. The composer never took any credit, careers. On top of those extremely economically positive and there may have been a bit a damage done to the traits, the single most important aspect of Herbert, the Blossom/Herbert relationship. Blossom definitely composer, was the constant delivery of the strongest continued to work – just not with Herbert. He was melodies on Broadway on a regular basis year in, year librettist and lyricist for Baron Trenck (‘12 – 40 perfs.) out. Who did audiences on Broadway wish to hear? for the Whitney Opera Co. (Music by Felix Albini); Victor Herbert. Audiences flocked to theatres as the The Man From Cook’s (‘12 - 32 perfs) for Klaw & stream of Herbert melodies made each producer lots of Erlanger (music by Raymond Hubbell); and All For the money with few headaches. Everyone wanted a piece of Ladies (‘12-‘13 - 112 perfs) for The Shubert Theatrical the band wagon, and Herbert could now pick and choose Company (music by Alfred G. Robyn). While at will. researching Blossom’s whereabouts, we discovered another interesting little tidbit – the Fritzi Scheff Opera As we look at Librettists (those writing the script or Company revived Mlle Modiste starring Ms. Scheff in book), Harry Bache Smith appeared to have become the May of 1913 for 24 performances (5/26/13 - 6/14/13). It’s “fall back, go to” guy when others either didn’t rise to clear that Ms. Scheff preferred removing the memory of the occasion or needed some assistance. The first 18 that 1911 failure of The Dutchess with a return to her operettas featured the librettos and/or lyrics of Smith on glory days. Fortunately, Blossom, arguably one of 9 different occasions (fully one-half of the composer’s Herbert’s best librettists, would work again with the output.) In this batch of works, Smith’s position as sole composer in several stunning ways – we simply must wait librettist falls from 8 to 3 as he appears more and more in until the next batch of Herbert operettas. the backup position of lyricist and the occasional co- librettist. In 2016 we finally took a closer look at this The biggest step forward creator of 300+ produced Broadway librettos and 6000+ regarding the Herbert lyrics. Harry B. Smith began with the composer Reginald librettist was the inclusion of De Koven’s Robin Hood in1891, and it was probable women. At the moment that Smith could easily afford to do only that which he Arthur Hammerstein hired wished to do rather than take everything that came along. Rida Johnson Young at the recommendation of music Interestingly enough, Henry publisher Isidor Witmark Blossom, the librettist for Mlle to write Naughty Marietta, Modiste and The Red Mill, she and Herbert would combined with Herbert for only create American operetta one production in this batch – Rida Johnson Young history and opened the door The Prima Donna. This Fritzi for Fred de Gresac to Scheff sequel of sorts to Mlle finally land a credited job with Herbert as a librettist. Modiste was certainly not the Again, if you are new to these pages, you may not know failure that the singer’s The that Fred was indeed Frederique, the lovely talented Dutchess (aka Mlle Rosita) French woman who had first contributed a French scene would become. Perhaps the anonymously to Blossom’s The Red Mill libretto in Henry Blossom Shuberts erred a bit in turning to 1906. In this set of operettas, de Gresac’s own earlier an actor, Joseph Herbert (no stage play served as the basis for The Enchantress and relation to Victor), to pen that particular libretto. the playwright is credited as co-librettist with Harry B. However, there is possibly another answer as to why Smith for the libretto. There’s Harry B. Smith once more Blossom disappeared from any relationship with Herbert serving as “backup” and lyricist. The two would team from 1911 to 1914. His last work with the composer was again for Sweethearts, although this time Robert Bache on The Slim Princess in 1911. Again, those of you new Smith (Harry’s younger brother) would supply the lyrics. to these pages will not know that Herbert became a score It is fascinating to note that only Rida Johnson Young 8 News From VHSource, LLC Vol 10 October 2017 served as both librettist and lyricist for Naughty Marietta for The Tattooed Man (‘07), which was a real throwback with no help from the Smith brothers. to both The Idol’s Eye (‘97") and the Wizard of the Nile (‘95). These shows were all built around vaudevillians Glen MacDonough does deserves a mention this time wishing to break onto the Broadway stage with a little bit around as he closes out his career as a librettist with more class than their normal creative experiences. Stars Herbert. The librettist for The Gold Bug (1896), Babes such as Frank Daniels and Francis Wilson were the In Toyland (‘03), It Happened in Nordland (‘05) and leads in convoluted slapstick style humor. Herbert’s Wonderland (aka Alice and the Eight Princesses) (‘05), involvement in such shows was primarily for the purpose it was not surprising that Herbert allowed MacDonough of elevating the quality of each musical comedy, and, of such free rein as the two men went first through the course, to pick up a major commission from the star creation of Algeria (‘08), and then through himself. The composer’s connection to this type of MacDonough’s determination to make the libretto work entertainment ended with The Tattooed Man and along in the form of Rose of Algeria (‘09). However, neither with it Herbert’s relationship with Julian Mitchell. The show was even close to a success, and that appears to be one exception appears to be a Ziegfeld connection. From the end of the MacDonough/Herbert creative connection. the beginnings in 1907, Ziegfeld had hired Julian It is safe to say that the journey of Algeria/Rose of Mitchell to stage his Follies production numbers. Algeria severely strained their relationship, although Ziegfeld continued to use Mitchell even as the stage both men would be among the seven founders of ASCAP director began to lose his hearing. Thus, when Ziegfeld (American Society of Composers, Authors and hired Herbert to score the huge Follies production Publishers) in 1914. numbers in 1917, Mitchell and Herbert would once again work together. We’ve already mentioned Harry B. Smith’s major The only other stage director frequently found in this set participation as a Herbert of Herbert creative teams is Frederick G. Latham, who frequent Lyricist especially staged The Prima Donna (‘08), The Enchantress (‘11) when his major experience and Sweethearts (‘13) – certainly not a shabby resume for was needed to lurk on the anyone’s career – especially when you add those fringe as a security blanket. productions to Mlle Modiste (‘05) and The Red Young, Blossom, Hobart, Mill(‘06). Through 1913, that would definitely make and MacDonald all acted as Latham and Mitchell the premier Herbert stage directors. their own lyricist. The one Everyone else in these 13 productions was pretty much other individual we must not one and gone. However, did you catch the brand new skip over is Joseph D. reference to a real choreographer listing under Redding, the librettist/lyricist Sweethearts? Charles S. Morgan, Jr. received his only of the grand opera Natoma. Broadway choreographic credit with this operetta. This was truly Redding’s Waterloo. While he met the The same distribution of jobs held true for Music challenge – certainly the Directors. There were the Herbert men returning for Joseph D. Redding opportunity of a life time – additional single shows– John Lund, Max Hirschfeld, according to almost every critic who ever wrote about and Louis F. Gottschalk. John McGhie, was the lone this opera, the playwright blew that opportunity horribly. exception who would have ended up with three To say the writer was crucified in print is putting it productions had Ms. Scheff not fired him from The mildly, and for whatever reason, Redding allowed those Dutchess (‘11) before opening night. Then, there were negative reviews to destroy his writing career. The writer the lofty – Gaetano Merola of Naughty Marietta (‘10) was not heard from again until well into the 1920s. Cleofonte Campanini who steered Natoma (‘11). Each of these elite artists came from the ranks of opera, but Looking at the Stage Directors, Julian Mitchell, who still joined the parade of single production participants. had guided 6 of the earlier Herberts, was on board only 9 News From VHSource, LLC Vol 10 October 2017

M. Witmark & Sons was clearly Herbert’s publisher stunning Broadway crown jewel, The New Amsterdam during this period. The only exceptions were Chas. Theatre (fast becoming the major Ziegfeld theatre K.Harris, Cohan & Harris Publishing Co. and G. although never owned by him), served as home for Little Schirmer who managed to land both Natoma and Nemo (‘08) and Sweethearts (‘13). The New York Sweethearts. The choice of G. Schirmer as publisher of Theatre housed Naughty Marietta (‘10) and The Natoma made perfect sense as that house was a Enchantress (‘11).Others included The Criterion, The classically oriented organization. However, it remains Herald Square Theatre, Daly’s Theatre, The Lyric and unclear how G. Schirmer managed to land Sweethearts. The Globe. We also should not forget the Metropolitan We have not run across a reference as to that publishing Opera House of Philadelphia which was the initial oddity. Usually such a choice would reflect a connection home to the grand opera Natoma (“11). with the producers – in this case, Werba and Luescher. Basically, we find lots of new producers hiring lots of That leaves only the theatres and here again, it is new faces for Herbert’s creative teams while the definitely a hodge podge of houses. Gone entirely is The composer goes happily and not so happily on his way Knickerbocker, the home to five previous Herbert works composing theatrical work after theatrical work. The list and clearly a favorite of the composer. This was quite covers everything from classier musical comedy to the possibly because its 38th and Broadway address was now last of the family extravaganzas to American operetta considered too far south in the theatre district. Gone from masterpieces to American grand opera. Each and every the list is the Casino Theatre which had become a one of these productions along with the 18 from last Shubert House in 1903 and had suffered a major fire in December’s Step Back have been dealt with individually 1905. While it had been rebuilt, theatrical folks are often in great detail on a monthly basis in the previous rather superstitious. The huge Majestic Theatre on newsletters beginning with the July issue of 2009. You Columbus Circle which had housed Babes in Toyland may find it advantageous to download the VHSource was renamed the Park Theatre in 1911 and was Full Foundation from Shop VHSource. The beauty of considered a bit far north to attract an audience. this e-book is that it is indexed making it a searchable e- book as long as it remains on your computer. There may be those of you who do not know that your index for e- books resides in the “Find” window on your Acrobat Reader tool bar and is an incredible tool as long as the e- book has been properly indexed by its creator.

Once again in 2012 we found time for our annual “Step Back” to look solely at the creative teams formed around composer Victor Herbert for the fourteen remaining productions we’ve covered in 2012 and the beginning of 2013.

Once again this examination deals only with producers, librettist/lyricists, publishers, stage directors, music directors and theatres in New York. As all of these works are tending more and more towards being true dance shows, we will also add that relatively new category – choreographer to the mix. In short we examine those men and women who were responsible for getting each The 1903 New Amsterdam production “on its feet.” Instead of concentrating on the folks in front of the stage lights, these are the folks who The Broadway Theatre was chosen for Herbert’s work from day one to bring the whole production Algeria (‘08) and The Prima Donna (‘08), while the together. You might want to take the time to really read 10 News From VHSource, LLC Vol 10 October 2017 these listings before you begin the rest of this article as 37. (‘17) we will constantly be referring back to this list. Joe Weber - producer Henry Blossom - librettist/lyricist 32. The Madcap Duchess (1913) M. Witmark & Sons - publishers Harry H. Frazee - producer Fred G. Latham - stage director David Stevens and Justin Huntly McCarthy George Marion - choreographer - librettists/lyricists Arthur Kautzenbach - music director G. Schirmer & Co. - publishers The Shubert Theatre Fred G. Latham - stage director Max Hirschfeld, replaced before NYC opening by 38. Her Regiment (‘17) Robert Hood Bowers - music director Joseph Weber - producer Gilbert Clayton - choreographer William Le Baron - librettist/lyricist The Globe Theatre Harms - publishers Fred G. Latham - stage director (manager) 33. The Only Girl (‘14) Adolph Bolm - choreographer Joe Weber - producer Fritz Stahlberg - music director Henry Blossom - librettist/lyricist The Broadhurst Theatre M. Witmark & Sons - publisher Fred G. Latham - stage director 39. The Velvet Lady (‘19) Joseph C. Smith - choreographer Klaw and Erlacher - producers Robert Hood Bowers - music director Henry Blossom - librettist/lyricist The Knickerbocker Theatre M. Witmark & Sons - publishers Edgar MacGregor - stage director 34. The Debutante (‘14) Julian Mitchell - choreographer John C. Fisher - producer Fredric Stahlberg - music director Harry B. Smith - librettist The New Amsterdam Theatre Robert B. Smith - lyricist G. Schirmer & Co. - publishers George Marion - director Carlo Edward - music director Allen K. Foster - choreographer The Knickerbocker Theatre

35. (‘15) John Cort - producer Henry Blossom - librettist/lyricist M. Witmark & Sons - publishers Fred G. Latham - stage director Bena Hoffman - choreographer Gustave Salzer - music director The Cort Theatre

36. The Century Girl (‘16), a revue 40. Angel Face (‘19) Florenz Ziegfeld, Jr. & T.B. Harms & Francis Day & Hunger - producers Charles B. Dillingham - producers George W. Lederer - final producer Irving Berlin - additional Composer/lyrcist Harry B. Smith - librettist Henry Blossom - lyricist Robert B. Smith - lyricist T.B. Harms & Francis Day & Hunter - publishers Harms - publishers Ned Wayburn - director/choreographer George W. Lederer - stage director Edward Royce - director/choreographer Harold Vicars - music director Louis F. Gotschalk - music director Julian Alfred - choreographer The Century Theatre The Knickerbocker Theatre 11 News From VHSource, LLC Vol 10 October 2017

41. My Golden Girl (‘20) This final “Step Back” is a glimpse into Herbert’s career Harry Wardell - producer as it shifted into its later years at the same time he also Frederick A. Kummer - librettist/lyricist began moving away from his primary composing focus – Harms - publishers - never published operetta. You will not find a plethora of famous Herbert J. Clifford Brooke - stage director milestones within this list. In fact, you most likely have Julian Alfred - choreographer Philip James - music director never heard of the majority of these titles except as you The Nora Bayes Theatre/The Casino Theatre encountered them each month in these pages. There also are not a huge number of famous Herbert tunes springing 42. Oui Madame (‘20) forth. The four most important operettas are The Only Alfred E. Aarons - producer Girl (‘14), The Princess Pat (‘15), Eileen (‘17), and G. M. Wright (Mrs. Robert B. Smith) - librettist Orange Blossoms (‘22). Each contributed at least one Robert B. Smith - lyricist famous Herbert melody: “Neapolitan Love Song” from Harms - publishers - never published Princess Pat; “When You’re Away” from The Only Herbert Gresham - stage director Girl; “Thine Alone” from Eileen and “Kiss In The Dark” Julian Alfred - choreographer from Orange Blossoms.. Even if you might not be Max Steiner - music director The Philadelphia Theatre (Never prod in NYC) familiar with the titles, you would definitely know the tune of each of these songs. If you are reading this on 43. The Girl In The Spotlight (‘20) your computer, go back to the titles and click on each to George W. Lederer - producer hear a YouTube rendition. Given the huge and constant Richard Bruce (aka Harry B. Smith) number of famous melodies regularly flowing from - librettist/lyricist Herbert’s pen over the prior decades, this group would Harms - publishers - never published easily qualify as a bit skimpy. George W. Lederer - stage director Julian Alfred - choreographer While Herbert continued composing his annual one or Harold Vicars - music director The Knickerbocker Theatre two operetta scores a year, given the weakness of many of these works, it would be easy to assume that his talent 44. Orange Blossoms (‘22) might well be waning. That would truly be a wrong Edward Royce- producer assumption. It was far more a case of the composer being Fred de Gresac - librettist pulled in many brand new ways at the same time his tried Buddy De Sylva - lyricist and true producers were themselves moving in new Harms - publishers directions. Edward Royce - stage director Gustav Salzer - music director A primary factor in the quality of any stage production is Norman Bel Geddes - set dsigner (his first Bway prd.) the quality of the librettist/lyricist. While the composer The FultonTheatre could make recommendations, he was never solely 45. Dream Girl (‘24) responsible for choosing his librettists and lyricists. That Lee and J.J. Shubert and task fell primarily to the Producer. Herbert had a winning Richard Atteridge- producers collaboration with Henry Blossom, but unfortunately, he Rida Johnson Young and Richard Atteridge would lose Blossom to pneumonia in March of 1919, - co/librettist throwing his own creative flow into significant disarray. Rida Johnson Young - /lyricist There was a steady stream of new producers hoping to Harms - publishers - never published pin their own careers onto the next big Herbert operetta. J.C, Huffman and Laura Hope Crews - co/stage directors This latest crop of producers on the whole were not that David Bennet - choreographer hugely successful in putting together strong experienced Oscar Bradly - music director The Ambassador Theatre creative teams. One of the few exceptions to this observation was Florenz Ziegfeld (1867-1932) in partnership surprisingly 12 News From VHSource, LLC Vol 10 October 2017

with Charles B. number of non-repeating staff members, it is interesting Dillingham (1868- that there are only 7 librettists/lyricists. Normally that 1934). This was a would indicate stability, however, in this case that small unique joint venture number would become a primary contributing factor in between two huge the weaker quality of this group of Herbert operettas. Broadway rivals which produced a major As far as Producers go, we are far removed from those revue, The Century early years of The Bostonians and Charles B. Girl (‘16) and also Dillingham serving as the regular producers. However, allowed Ziegfeld to while the middle years that we surveyed had very work directly with recognizable names such as Klaw and Erlacher, Joe Herbert for the first Webber, Lew Fields and the Shuberts, the producers time. Ziegfeld, amassed in the years 1913 through 1924 are of much Dillingham and Herbert lesser known name recognition. Only Joe Webber would continue (1867-1942) remains a frequent player with three working together for productions, his last one being Her Regiment (‘17). the very successful George W. Lederer (1862-1938), both a producer and Florenz Ziegfeld revue, Miss 1917. his own stage director, was the only other producer to More importantly, from 1916 on, Herbert would work on have more than one go with Herbert, and those two fall an annual basis for Ziegfeld. One might even say that near the end of the list in 1919 and 1920. The remainder Ziegfeld became not only Herbert’s primary producer, but of these one-and-done producers were primarily a group also one of those strong pulls away from operetta. of men who either went on to completely different careers as in Harry H. Frazee (1880-1929), who bought the Herbert would contribute to every Ziegfeld Follies from Boston Red Sox and promptly sold star player Babe 1917 to 1924, the year of his passing. Ziegfeld loved the Ruth to the Yankees, or those for whom Broadway way Herbert wrote pictorially and hired him primarily to credits would be fairly few and relatively weak. The lone paint gorgeous production scenes for his “Ziegfeld girls” recognizable exception to the one-and-done group was in orchestral music – again and again and again. During the old team of Klaw and Erlacher with The Velvet this time period in New York City, when Flo Ziegfeld Lady (‘19). It would be the Shuberts who steered wanted your talents, he got your talents. The producer Herbert’s last work Dream Girl composed in 1919 with even went so far as to hire Herbert as an additional Rida Johnson Young, but delayed until 1924. Already in composer on the operetta, Sally (starring production by April of 1924, it became the perfect show Marilyn Miller) to get the “right” feel for the grand finale to honor Victor Herbert posthumously after his sudden which recreated a “Ziegfeld moment.” The Herbert work passing in May. A solid conclusion one might draw from “Butterfly Ballet” was thus the center piece of the grand looking at all these new Herbert producers is that for the finale to Sally. There are sadly few if any recordings of most part, they were not seasoned savvy veterans. Herbert’s work for Ziegfeld. Fortunately, most of those scores created by the composer still exist and would make With regards to stage directors, Herbert champion and a wonderful project for restoration to allow those very veteran Fred G. Latham (1853-1943) again led the way visual musical compositions to stir the imagination once with five productions while Lederer, serving as his own again. This was clearly the most significant new pull for stage director, had the next highest number with his two Herbert’s attention. productions. The remaining eight were one-and- done directors with only Ned Wayburn (1874-1942) being a Looking at the rest of the creative team members, we find truly experienced professional at the time. Wayburn was almost constant turnover in personnel when compared to known primarily as a Ziegfeld choreographer and thus his previous decades. There are no less than 11 different sole directing stint came in the Ziegfeld-Dillingham producers, 9 stage directors, 12 music directors, 9 production of The Century Girl (‘16). We should also choreographers and 12 theatres. With such a large note that the first woman director to make an appearance 13 News From VHSource, LLC Vol 10 October 2017 on a Victor Herbert operetta was Laura Hope Crews Ned Wayburn, Edward Royce, and Julian Mitchell. (1879-1942) who worked on the final production The Julian Alfred, another major operetta and musical Dream Girl (‘24). Primarily known as a performer, this comedy choreographer, would do work on four appears to be Crews’ only stage direction credit. productions. A rather exotic lure for ticket sales purposes could be found with the hiring of the Russian ballet The musical direction position was a truly round robin defector Adolph Bolm who contributed and danced the situation with major names participating but not more choreography for Her Regiment. (‘17) than once with the exception of Robert Hood Bowers (1877-1941), Fritz Stahlberg (1877-1937), and Harold That brings us to the most important overall factor in this Vicars, who each worked twice. Bowers wielded the year’s survey – the librettist/lyricist position. Here is baton in The Madcap Duchess (‘13) and The Only Girl probably the real key to the lessening of quality in these (‘14); while Stahlberg worked in both Her Regiment twelve Herbert works. The year 1914 began well with (‘17) and The Velvet Lady (‘19). Vicars worked both Henry Blossom (1866-1919) and Herbert working Angel Face (‘19) and The Girl In The Spotlight. (‘20) together to produce The Only Girl (‘14), The Princess Also Gustav Salzar was a familiar face for Orange Pat (‘15), The Century Girl (‘16), Miss 1917 (revue) and Blossoms (‘22). Even this early in the life of , The Velvet Lady (‘19). The first two are major plot several of the music directors on the list would be lured moves by Herbert and Blossom into the modern everyday out west and make major names for themselves in film. world of America after 1910 and had excellent success. Max Steiner and Fritz Stahlberg would both become The revue The Century Girl attracted Ziegfeld to major film composers. Herbert’s composing skills and changed everything in many ways. The two shows immediately before each of Theatres also did not factor into the equation with any the aforementioned two are The Madcap Duchess (‘13) regularity with the exception of one of Herbert’s regular and The Debutante(‘14). Both of these operettas were homes over the years – The Knickerbocker Theatre, less than successful returns to an older operetta style and located at 1396 Broadway (West 38th Street). Four were written by Harry B. Smith. Herbert productions landed in the Knickerbocker while 11 other theatres saw Herbert works. If the math doesn’t The turning point and the downward slippage really quite add up, it’s because My Golden Girl (‘20) ended up began in early 1919 with the already mentioned in two different theatres. The unexpected passing of Henry Blossom. The relatively other interesting twist regarding inexperienced group of producers promptly hired the theatres is the fact that one entire Smith family in one way or another to guide their theatre is out-of-town – The books. The only exceptions were the works My Golden Philadelphia Theatre in Girl (‘20), Orange Blossoms (‘22) and Dream Girl (‘24). Philadelphia. We count that Thus one finds Harry B. Smith, his wife G. M. Wright theatre since Oui Madame (‘20) and his brother Robert B. Smith figuring in four of the was a major Herbert production most poorly reviewed Herbert works on this entire list. which simply never made it into Reputation should have boded well – no single writer was New York City. responsible for more produced Broadway librettos and lyrics than Harry B. Smith. He was such a huge figure in The major sign of the times was Broadway history that we would finally take a much the number of choreographers closer look at him in 2016, although he was never a hired by the producers. For the “game changer.” You’ll find that article in Vol 8 August Ned Wayburn first time every operetta 2016. No, unfortunately, it’s not in Full Foundations. surveyed had a choreographer However, for the purposes of this examination, given as part of its creative team with the single exception of reviewers’ comments, it becomes very clear that Harry B. Orange Blossoms (‘22). The Century Girl (‘16) actually and his family were not coming gracefully into the utilized two director/choreographers. The Ziegfeld modern era of story telling. Reviewers constantly connection lent at least three choreographers, including mentioned “old fashioned plots” and/or such thin plots as 14 News From VHSource, LLC Vol 10 October 2017 to be non-contributing to any success of the work. We showcase for his girl friend, actress Marion Davies return again to the old lament – “if only Herbert had (1897-1961). This contract would lead to several Herbert- found a Gilbert.” Unfortunately, Smith and his relatives composed overtures for major new film releases. Finally, were never a Gilbert. The lone really bright spot fell to there was the constant waging of war against the latest Orange Blossoms (‘22) which again joined Fred De encroachments by the recording industry into the rights of Gresac with Herbert to create a sound libretto and score. composers regarding their compositions. Herbert Rida Johnson Young also returned to work with Herbert remained a terrifically busy composer, and the primary on The Dream Girl (‘24). The show’s creation in 1919 spokesman of musical America. and the subsequent abandonment until 1924 diluted Ms. Young’s work with the addition of Richard Atteridge. It is always amazing what insight one can glean simply by looking at the juxtapositioning of all these creative teams There is also a major shift in the publishing world with in a common listing. Indeed, there are many observations T.B. Harms & Francis Day & Hunter (Harms) that would simply not have been possible without suddenly becoming a major player, listed as the publisher complete survey. of seven Herbert scores (at least five of which were never actually released). This phenomenon can most likely be tied directly to the producers. It is safe to assume that Upcoming Herbert Events while Herbert had a long standing personal contract with M. Witmark & Sons, the actual producer of a Tuesday, Wednesday, production had the final say in who published the scores. November 14, 15, 2017, 8pm th Thus, we find G. Schirmer & Co. as well as Harms VHRP LIVE! launches its 4 publishing 10 of the 14 scores. It is also fascinating that Season, entitled “Americans five of the productions under the jurisdiction of Harms – Abroad,” with a production of The Century Girl (‘16), My Golden Girl (‘20), Oui Victor Herbert’s 1906 musical Madame (‘20), The Girl In The Spotlight (‘20) and The comedy, The Red Mill, new Dream Girl (‘24) were never published. One doubts if libretto by Alyce Mott. Hear M. Witmark & Sons would have ever allowed such a again “Moonbeams,” “Streets thing to occur. of New York,” and “Ladies Day Is Everyday With Me.” Performances will again take place at Christ & St. th This final list contains fourteen different Herbert works Stephens Church, 120 W. 69 Street, New York, NY. with a carousel of creative teams and relatively bad Tickets are now officially on sale at the VHRP LIVE Box reviews far too often. It is hardly surprising that other Office. For more information visit the VHRP LIVE! interests began demanding more and more of Herbert’s Website. time. We’ve already mentioned the constant Ziegfeld contracts, but there was also the lure of the recording February 27, 28, 2018, 8 pm. industry once the US Copyright Law of 1909 passed. Continuing its exploration of Both Herbert personally and his Victor Herbert Americans Abroad, VHRP Orchestra (“VHO”) were highly in demand in this LIVE! will produce a concert emerging industry. Herbert also found himself a great entitled Ladies First, favorite as a guest conductor all over the country as big showcasing Victor Herbert movie theatres in major cities hired their own orchestras songs for or about strong to play before and during the ever increasing numbers of women from various films. operettas/musical comedies which contain Americans either The newspaper publisher William Randolph Hearst traveling or living in Europe. VHRP LIVE! is confident (1863-1951) would soon (1923) hire Herbert and the you’ll enjoy “If I Were on the Stage,” “American VHO to be resident in Hearst’s new Cosmopolitan Movie Serenade,” and “Way Out West in Jersey.” (Can you Theatre, Columbus Circle, New York, primarily a name the production each song comes from?) The 15 News From VHSource, LLC Vol 10 October 2017 organization will present 21 Herbert songs they’ve never way, while this example is a great one, there is also a done in concert before. Performances will take place at wonderful band arrangement by the US Marine Band. Christ & St. Stephens Church, 120 W. 69th Street, New What happened to the Irish Rhapsody? The work suffered York, NY. Tickets are on sale now at the VHRP LIVE from over programming – a fate often befalling favorite Box Office. For more information visit the VHRP LIVE! concert pieces. To see it rising up again on concert Website. programs makes VHSource very happy.

Tuesday, Wednesday, April As I write these musings, I’m listening to the various 24, 25, 2018, 8 pm, VHRP renditions of the Irish Rhapsody on Youtube and LIVE! will conclude its 4th luxuriating in the rich tonalities of Herbert’s season with Herbert’s 1911 orchestrations. It also amazes me to think how neglected The Enchantress, featuring this composer’s work has been. Whenever one gets a the New Victor Herbert chance to hear either a whole work such as the Rhapsody Orchestra and the famous or Herbert’s theatrical orchestrations mixed in with other “Art Is Calling For Me.” The composers’ work as we were lucky enough to do this scores and orchestra parts are summer at Ohio Light Opera, or just working on multiple being restored specifically for VHRP LIVE! by Bruce Herbert works at the same time, I am always struck by the Herman of Mountain View, CA. Performances will be sheer genius flowing forth from this one man. Perhaps it held at Christ & St. Stephens Church, 120 W. 69th Street, is his ties to the European world of romance. Perhaps it New York, NY. Tickets are now on sale at the VHRP is the wealth of styles he was able to command. Or his LIVE Box Office. For more information visit the VHRP determination to find an American sound. His music LIVE! Website. always fills my heart with beauty and amazement. I am simply overcome by beauty and richness. Ah, but I wax Alyce's Musings . . . poetic. As I was searching for my article on Harry Bache Smith ack to the old huge to reference this month, I suddenly realized it was taking newsletter – just for this far too long. There was nothing to search except Bmonth. It seemed like a scattered newsletters. Ooops. It’s perhaps time to work good time to pull all the analyses on a volume two of Full Foundations. At 800+ pages, its of Herbert’s creative teams into definitely too long to add on to and it will be two full the same document for easier years since that e-book content was completed. That’s survey. I hope you found this as another 24 newsletters, none of which are easily interesting as I did the second time searchable. Hmmm, another project looms. around. I must say that pulling three different articles from three different years together May your Fall be filled with lovely music making as we into the same single article proved an fascinating move into new creativity. September for us has been formatting job. filled with the reworking of The Enchantress libretto as well as hearing computerized versions of the restoration There seems to be a major rival underway of Herbert’s of the Enchantress scores and orchestra parts flowing out Irish Rhapsody. We have noted at least 4 listings of this of California. All of which keeps our creative juices work across the country for this Fall. If you have never flowing and the excitement level for this new season at heard the Irish Rhapsody, you are missing one of Herbert fever pitch. major works. Written in April of 1892 for the Gaelic Society in New York for their annual Feis Ceoil agus See you next month! Seanachus (Music Festival and Storytelling), this work quickly became a public favorite. You can hear the Ulster Orchestra’s rendition of the work HERE. By the