#1
Posted: 2/1/09 at 11:00am
On Feb 1, 1859 composer Victor Herbert was born in Dublin.
Some of the people here whose knowledge of musicals only extends as far back as RENT might be mystified, but Herbert was one of the earliest composers to focus on writing for the Broadway stage. His operettas and extravaganzas were huge hits in a day when a 10-week run was considered extraordinary. (In those days shows toured to the different boroughs on what was later dubbed “the subway circuit.”)
Although born in Dublin, Herbert came to North America as a cellist to accompany his wife, the internationally acclaimed soprano Therese Forster, as she made her debut with the Metropolitan opera, later winning praise as the first AIDA (Verdi) on the Met Stage.
Herbert was soon in demand as a cellist and composer. His two Cello Concertos are well worth investigating and the operetta THE FORTUNE TELLER was a hit in 1898. He also became a conductor of the Pittsburgh Symphony Orchestra from 1898 to 1904, and he later conducted his own orchestra in recordings some of his pieces for Edison Cylinders. (There can still be found in some compilations. Though the sound is quite dismal, the brisk precision of his conducting shines through.)
In 1903 he was asked to write the score for a show the producers hoped would be a successful follow up to THE WIZRD OF OZ. The new show was called BABES IN TOYLAND and after a summer try-out in Chicago it arrived at the old Majestic Theatre on Columbus Circle (long gone) in October 1903 and played for 192 performances. Although the book wasn’t as coherent as OZ, at least with TOYLAND the score yielded several pop hits and two standards that are still heard every Christmas: March of the Toys and Toyland.
On Christmas night 1905 Herbert opened MLLE. MODISTE starring Fritzi Scheff. (Oh I know, the name doesn’t mean much now – think of her as the Kristen Chenoweth of her day.) Another huge hit.
Herbert wrote two dozen shows in all. Not all were as successful but two of his biggest hits were THE RED MILL (1906) and NAUGHTY MARIETTA (1910.)
Herbert died in 1924, but within a decade film versions were made of BABES IN TOYALND (with Laurel and Hardy as a pair of bumbling toymakers) and NAUGHTY MARIETTA (with Jeanette MacDonald and Nelson Eddy who made “Ah, Sweet Mystery of Life” a hit all over again.
Herbert was also one of the first Broadway composers to have his life story told in a film: THE GREAT VICTOR HERBERT came out in 1939 and included many of his hits.
In the 1940s and 50s his biggest shows were still being revived. Decca recorded BABES IN TOYLAND and THE RED MILL. Victor offered albums of SWEETHEARTS and NAUGHTY MARIETTA.
Then gradually Herbert’s shows faded from view. Sometimes Light Opera Companies will revive them – Ohio Light Opera has kept several in active repertoire – but in general you don’t often see even the big hits today. The books are often clumsy, and some of the lyrics sit awkwardly on the notes…but the melodies Herbert wrote are still magical.
A recent CD from a label called Anteater Records reissues selections from THE RED MILL and NAUGHTY MARIETTA (from two Capitol 10-inch Lp’s done by Gordon MacRae and company based on his popular Railroad Hour broadcasts) and a 1947 album of highlights from SWEETHEARTS featuring the Al Goodman Orchestra and Chorus. Even with the sometimes annoying “easy lis6tening orchestrations, the songs still sparkle.
The man who started it all was born 150 years ago today.
(Date corrected to 1859)
Some of the people here whose knowledge of musicals only extends as far back as RENT might be mystified, but Herbert was one of the earliest composers to focus on writing for the Broadway stage. His operettas and extravaganzas were huge hits in a day when a 10-week run was considered extraordinary. (In those days shows toured to the different boroughs on what was later dubbed “the subway circuit.”)
Although born in Dublin, Herbert came to North America as a cellist to accompany his wife, the internationally acclaimed soprano Therese Forster, as she made her debut with the Metropolitan opera, later winning praise as the first AIDA (Verdi) on the Met Stage.
Herbert was soon in demand as a cellist and composer. His two Cello Concertos are well worth investigating and the operetta THE FORTUNE TELLER was a hit in 1898. He also became a conductor of the Pittsburgh Symphony Orchestra from 1898 to 1904, and he later conducted his own orchestra in recordings some of his pieces for Edison Cylinders. (There can still be found in some compilations. Though the sound is quite dismal, the brisk precision of his conducting shines through.)
In 1903 he was asked to write the score for a show the producers hoped would be a successful follow up to THE WIZRD OF OZ. The new show was called BABES IN TOYLAND and after a summer try-out in Chicago it arrived at the old Majestic Theatre on Columbus Circle (long gone) in October 1903 and played for 192 performances. Although the book wasn’t as coherent as OZ, at least with TOYLAND the score yielded several pop hits and two standards that are still heard every Christmas: March of the Toys and Toyland.
On Christmas night 1905 Herbert opened MLLE. MODISTE starring Fritzi Scheff. (Oh I know, the name doesn’t mean much now – think of her as the Kristen Chenoweth of her day.) Another huge hit.
Herbert wrote two dozen shows in all. Not all were as successful but two of his biggest hits were THE RED MILL (1906) and NAUGHTY MARIETTA (1910.)
Herbert died in 1924, but within a decade film versions were made of BABES IN TOYALND (with Laurel and Hardy as a pair of bumbling toymakers) and NAUGHTY MARIETTA (with Jeanette MacDonald and Nelson Eddy who made “Ah, Sweet Mystery of Life” a hit all over again.
Herbert was also one of the first Broadway composers to have his life story told in a film: THE GREAT VICTOR HERBERT came out in 1939 and included many of his hits.
In the 1940s and 50s his biggest shows were still being revived. Decca recorded BABES IN TOYLAND and THE RED MILL. Victor offered albums of SWEETHEARTS and NAUGHTY MARIETTA.
Then gradually Herbert’s shows faded from view. Sometimes Light Opera Companies will revive them – Ohio Light Opera has kept several in active repertoire – but in general you don’t often see even the big hits today. The books are often clumsy, and some of the lyrics sit awkwardly on the notes…but the melodies Herbert wrote are still magical.
A recent CD from a label called Anteater Records reissues selections from THE RED MILL and NAUGHTY MARIETTA (from two Capitol 10-inch Lp’s done by Gordon MacRae and company based on his popular Railroad Hour broadcasts) and a 1947 album of highlights from SWEETHEARTS featuring the Al Goodman Orchestra and Chorus. Even with the sometimes annoying “easy lis6tening orchestrations, the songs still sparkle.
The man who started it all was born 150 years ago today.
(Date corrected to 1859)
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
Updated On: 2/2/09 at 11:00 AM
