Prohibition was in full swing, so that made "The Drinking Song" from The Student Prince a particular favorite in 1924. Another song that was auspiciously published that year and proved to be even more enduring was "Happy Birthday." In honor of that, Scott Siegel, the host-writer-creator of this invaluable series, asked if anyone in the audience was celebrating a birthday. A few shouted out "yes," and the Ross Patterson Little Big Band played it backed up by a chorus of 1500 voices. Never before has the audience at one of these concerts (that celebrate Broadway produced musicals from different years), contributed so mightily and enthusiastically to the entertainment. Beginning its ninth season, this latest edition reflects its continuing ability to charm and disarm.
Aside from American Indians being given full citizen status and film studios Metro, Goldwyn and Mayer forming a corporate alliance, the big news on Broadway was the resounding popularity of the Sigmund Romberg-Dorothy Donnelly collaboration, The Student Prince. But even this beloved operetta paled in the shadow of Rose Marie, the Otto Harbach, Oscar Hammerstein, Rudolf Friml & Herbert Stothart collaboration revered as the first all-American-inspired operetta.
Aside from the considerably jazzier Ira & George Gershwin opus, Lady Be Good, The Student Prince and Rose Marie deservedly got the lion's share of attention. The evening's director/choreographer, Jeffry Denman, not only kept a nice balance between the snappier and more solemn musical numbers but embellished the concert with some hefty and happy dance segments. The multi-talented Denman and his lovely dancing wife Erin paired for a couple of delightful turns: "I'd Rather Charleston" and, as part of a larger dancing ensemble, in a nearly show-stopping "Fascinatin' Rhythm" (both songs from Lady Be Good). Humor propelled "The Drinking Song," as principal drinker Marc Kudisch tried his best to keep one of his more inebriated drinking buddies on his feet.
If unbridled comedy comes naturally to Kudisch, so does spinning a softly modulated ballad like "Somebody Loves Me," from George White's Scandals of 1924. Jason Graae, was, however, awarded with the top banana spot and had the audience howling through "Tulip Time in Sing Sing" (from the Jerome KernP.G. Wodehouse tuner Sitting Pretty and "Don't Send Me Back to Petrograd" (Irving Berlin's Music Box Revue 1924). Like the Scandals, the revues in 1924 were the dominating musical entries and would remain so through the 1930s. What fun it was to hear the vivacious red-head Kerry O'Malley remind us how naughty a ditty is "I Don't Know," from Charlot's Revue of 1924. Also from that revue was an ultra-cool interpretation of "The Limehouse Blues," by the sensational Howard Fishman Quartet (buy me their CD quick). These wonderful musicians Howard Fishman, on guitar and vocals; Mazz Swift on violin; Andrae Murchison on trombone; Nathan Peck on bass had already won us over with a swinging "Don't Take Your Troubles to Bed," from the long-forgotten show Plain Jane.
Cole Porter was beginning to create a stir with "Make Ev'ry Day a Holiday," the tune he wrote for this year's Greenwich Village Follies. This song provided the beguiling fresh-faced Melinda Sullivan and Kevin Worley a charming showcase for their singing and dancing prowess. Blessed with one of the most beautiful and expressive baritone voices, James Barbour also put an unmistakably melancholy resonance into his arias, "What'll I Do" (Music Box Revue) and "Serenade" (The Student Prince). Jane McMahon's ravishing soprano took our breath away in waltz time ("The Door of My Dream" from Rose Marie) and during the "Indian Love Call" (Rose Marie), as sung winningly with Kudisch and with no apologies to Jeannette Macdonald and Nelson Eddy).
Good-looking tenor Ryan Silverman had the privilege to re-introduce us to the lost-and-found gem, "Weeping Willow Tree," (from the Kern & Howard Dietz show, Dear Sir), as well as show off his wonderful voice in the title song from Rose Marie. Even as the entire company joined to remind us of those "Golden Days" (The Student Prince) of 1924, my mind is already thinking of all the gems that are to be sung and danced in the next BBTY on March 30, 2009, when the shows of 1931 are to be celebrated.
