The Cabaret Girl (1922)

The Cabaret Girl (1922)

Music by Jerome Kern
Lyrics by P.G. Wodehouse
Book by George Grossmith and P.G. Wodehouse

Directed by Greg MacKellan
Musical Direction by Dave Dobrusky
Choreography by Jayne Zaban

Playbill Notes

In 1914, Charles Frohman hired Jerome Kern to contribute a few new songs to his Broadway production of the British hit The Girl From Utah. He didn't know he was setting in motion a revolution that would end the dominance of the European "waltz operetta" in musical theatre. One of Kern's songs, "They Didn't Beleive Me" made him the hottest new composer on Broadway. Musical theatre-in fact, all popular music-would never be the same.

The best of Kern's early songs captured a timeless and distinctly American sound that redefined the Broadway showtune. His most memorable shows from this period were the innovative "Princess Theatre" musicals, written with Guy Bolton and P.G. Wodehouse. The heyday of the Princess Theatre was 1916-1918, but Kern and Wodehouse reunited for two show in the Princess mode in London in 1922-24.

The first of these, The Cabaret Girl, was inspired by the woman who lit up Kern and Wodehouse's Sally in 1920: Marilyn Miller. Originally spelling her name Marilynn (the second "n" disappeared during the run of Sally,) Miller was a favorite of Florenz Zigfield who shone brightly in his Follies revues before conquering Broadway, singing "Look for the Silver Lining" in Sally. Zigfield's wife, Billie Burke, gave a keenly witty, though hardly objective, description of Miller's stage magic: "She can dance all right, but she's not much of a singer or actress, a Lord knows there are far more beautiful girls. But when Marilyn comes onstage, a delightful thing happens." Miller's dazzling smile and stage persona kept Broadway enchanted through the 1920's.

There was no possiblity of Miller being available for a London production of Sally, so Kern and Wodehouse instead cast the American actress Dorothy Dickson who created the same kind of sensation in London that Miller had in New York. Producer George Grossmith asked Kern and Wodehouse to write a new show especially for her, and The Cabaret Girl was born. The leading character was named "Marilynn" in honor of their New York star, and the script poked gentle fun at the music and theatre businesses. Opening in late 1922, the show was an even bigger hit than Sally had been. The songs "Dancing Time," and "Journey's End" were huge hits, while "Ka-Lu-A" capitalized on the then-current Hawaiian craze.

So great was Dickson's popularity that plans for an Americanized version of The Cabaret Girl were shelved so Kern and Wodehouse could write her another London hit, The Beauty Girl. By the time her commitment to the latter show was over, Dorothy Dickson was firmly settled in England, and any thought of an American production of The Cabaret Girl was forgotten. Kern reused some of the song in his Broadway shows Dear Sir, The City Chap, and Sitting Pretty.

We are greatful to Andrew Boose, attorney for Kern and Wodehouse estates, for making it possible for us to give the long-lost Cabaret Girl her American premiere. The script is the equal of the clever Princess Theatres hows, and songs like "Journey's End" presage Kern's later, more arioso work. We hope you enjoy this trip back to 1922 London, when "all the lads and lasses were gramaphoning" and The Cabaret Girl was the biggest hit in the West End.

Plot Summary

The hero, James ("Jim") Paradene is the nephew of the Marchioness of Harrogate. He has been left a small fortune by his father, on condition that he must marry a lady who meets with the approval of the Marchioness and her son, the Marquis of Harrogate.

Unfortunately, Jim wishes to marry Marilynn Morgan, but his trustees disapprove of her because she is a chorus girl.

Act 1: The Showroom of Messrs Gripps & Gravvins, Music Publishers, Bond Street

Jim comes to the offices of Gripps and Gravins looking for a song to sing at his local village concert. When Marilynn also arrives, to audition for a cabaret that Gripps and Gravvins are producing, Jim tries to persuade her to give up her career and settle with him in the country, but she refuses and suggests that they should part. Jim, however, has an idea: if he and Marilynn pretend to be married, his trustees will no longer be able to withhold their approval. Gravvins has "a little place in the country", "The Pergola" at Woollam Chersey, Hertfordshire, and invites the young couple to visit it.

Act 2: "The Pergola", Woollam Chersey

Jim and Marilynn arrive at "The Pergola" in the guise of a honeymoon couple. The plan is that Gravvins will invite the local aristocracy to a garden party, to meet the honeymoon couple, with the intention that the Marchioness will be impressed with Marilynn's social standing. But all the notables of the district are away on holiday, so the members of the Gripps & Gravvins cabaret troupe are enlisted to impersonate them. Gravvins himself takes the part of the local vicar, but the plot is unmasked when the real vicar appears. Marilynn, thoroughly embarrassed, admits her part in the deception and announces that she will have nothing more to do with Mr James Parradine, before fleeing the scene.

Act 3: All Night Follies at The Cabaret

Marilynn is performing in the Gripps & Gravvins production, All Night Follies, at The Cabaret, where Jim comes looking for her. He has realised that he cannot expect Marilynn to give up the bright city lights and is prepared to go along with her wishes if she will agree to marry him. The curtain falls before the Marchioness and her son have given their approval, but as she has expressed admiration for Marilynn and he has fallen for the charms of Lily de Jigger, another member of the cast, a happy ending seems probable.

(wikipedia)