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WE’LL HAVE
MANHATTAN
 THE BROADWAY LEGACIES SERIES
Geoffrey Block, Series Editor

Series Board
Stephen Banfield Jeffrey Magee
Tim Carter Carol J. Oja
Kim Kowalke Larry Starr

“South Pacific”: Paradise Rewritten

Jim Lovensheimer

Pick Yourself Up: Dorothy Fields and the American Musical

Charlotte Greenspan

To Broadway, to Life! The Musical Theater of Bock and Harnick

Philip Lambert

Irving Berlin’s American Musical Theater

Jeffrey Magee

Loverly: The Life and Times of “My Fair Lady”

Dominic McHugh

“Show Boat”: Performing Race in an American Musical

Todd Decker

Bernstein Meets Broadway: Collaborative Art in a Time of War

Carol J. Oja

We’ll Have Manhattan: The Early Work of Rodgers and Hart

Dominic Symonds
WE’L L HAVE
M A N H AT TAN
The Early Work
of Rodgers and Hart
DOMINIC SYMONDS

1
 1
Oxford University Press is a department of the
University of Oxford. It furthers the University’s objective
of excellence in research, scholarship, and education
by publishing worldwide.

Oxford New York

Auckland Cape Town Dar es Salaam Hong Kong Karachi
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Oxford is a registered trade mark of Oxford University Press

in the UK and certain other countries.

Published in the United States of America by

Oxford University Press
198 Madison Avenue, New York, NY 10016

© Oxford University Press 2015

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press,
or as expressly permitted by law, by license, or under terms agreed with
the appropriate reproduction rights organization. Inquiries concerning
reproduction outside the scope of the above should be sent to the
Rights Department, Oxford University Press, at the address above.

Complete credits for musical examples and song lyrics may be found on pages 315–319.

You must not circulate this work in any other form,

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-in-Publication Data

Symonds, Dominic, author.
We’ll have Manhattan: the early work of Rodgers and Hart, 1919–1931
/Dominic Symonds.
pages cm.—(The Broadway legacies series)
ISBN 978-0-19-992948-1 (hardback)
1. Rodgers, Richard, 1902–1979—Criticism and interpretation.
2. Hart, Lorenz, 1895–1943—Criticism and interpretation.
3. Musicals—United States–20th century—History and criticism. I. Title.
ML410.R6315S96 2015
782.1'40922—dc23   2014016376

1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
For karen, verité, evelyn, and max, with love
(And because there’s a song about everything)
 CONTENTS
●  ●  ●

List of Illustrations ix
Foreword by Geoffrey Block xiii
Acknowledgmentsxvii

Introduction: “We’ll Have Manhattan” 3

1. The Summer Camps and Varsity Shows 28
2. The Breakthrough in Revue: The Garrick Gaieties
(1925, 1926) and Fifth Avenue Follies (1926) 64
3. The Rodgers and Hart Revolution: Dearest Enemy (1925) 87
4. Pleasing the Producers: Herbert Fields, Lew Fields,
and The Girl Friend (1926) 109
5. A London Odyssey: Lido Lady (1926), One Dam
Thing after Another (1927), Ever Green (1930) 124
6. Big Fish: Peggy-Ann (1926), Ziegfeld, and a Flop
Called Betsy (1926) 167
7. A Commercial Success: A Connecticut Yankee (1927) 185
8. Castration and Integration: Chee-Chee (1928) 210
9. Coping with the Crash 238
Epilogue: The End of an Era 264

Notes267
Bibliography307
Credits315
Index321
 ILLUSTRATIONS
●  ●  ●

Figure T.1 Timeline of new Rodgers and Hart shows

opening in New York and London, 1925–1931. xxi
Figure I.1 Larry Sobel’s likeness of Rodgers and Hart in
the Morning Telegraph, June 12, 1927. 8
Figure 1.1 Similarities between the opening lines of
“Any Old Place with You” (1919) and
“Manhattan” (1923). 31
Figure 1.2 The cast of The Peace Pirates (1916), showing
Oscar Hammerstein II in blackface (far left),
and next to him, Lorenz Hart in drag. 41
Figure 1.3 Rodgers’s chromaticism in “Inspiration,” from
Fly with Me (1920). 43
Figure 1.4 Motivic material in the verse to “Lady Raffles
Behave,” creating a nervy, dialogic quality. 47
Figure 1.5 Running order of songs in Poor Little Ritz Girl
before (left) and after the Rodgers and Hart
material was culled. 49
Figure 1.6 “Herbert Richard Lorenz”: Herbert Fields,
Richard Rodgers and Lorenz Hart (1927). 57
Figure 1.7 Timeline of Rodgers and Hart’s amateur
and professional engagements, 1919–1925. 63
Figure 2.1 Words following music in “Gilding the Guild”
from the Garrick Gaieties (1925). 70
Figure 2.2 Program cover to the Garrick Gaieties (1925). 76
Figure 2.3 Program cover to Fifth Avenue Follies (1926). 77
Figure 2.4 Intertextual references in the pastiche “It May
Rain,” from the “Rose of Arizona” section of the
Garrick Gaieties (1926). In this section, spot
Jerome Kern’s “Till the Clouds Roll By” and Louis
Silvers’s “April Showers.” 84
Figure 3.1 Promotional flyer for Dearest Enemy, showing Helen
Ford in her risqué opening costume: nothing but a barrel. 96
Figure 3.2 References to Gilbert and Sullivan’s Patience in
“Full Blown Roses.” 99
Figure 3.3 Rodgers’s characteristic scalar motifs in
Dearest Enemy.100
Figure 3.4 Arpeggios and scalar passages in “Bye and Bye,”
measures 25–32 and 49–56. 101
Figure 3.5 The cascading “Here in My Arms” motif, demonstrating
the quintessentially American “gapped scale.” 102
Figure 3.6 The “Here in My Arms” motif throughout the
score of Dearest Enemy.102
Figure 4.1 Herbert Fields, cartoon by Joseph Margulies
in the Jewish Tribune, October 28, 1927. 113
Figure 4.2 Lew Fields as Henkel, with Sammy White in
The Melody Man (1924). 116
Figure 4.3 Rodgers, Hart, Lew Fields, and Herb as the muses,
cartoon in the Morning Telegraph, April 2, 1928. 119
Figure 4.4 Zits cartoon of events in The Girl Friend.120
Figure 5.1 Recurring melodic features of the Lido Lady score. 133
Figure 5.2 Motivic connections between Rodgers’s “A Tiny
Little Flat in Soho” and Gershwin’s “I’ll Have a
House in Berkeley Square.” 134
Figure 5.3 Motivic connections between Rodgers’s
“Try Again To-morrow” and Gershwin’s
“Fascinating Rhythm.” 135
Figure 5.4 Motivic connections between Rodgers’s “The Girl
Friend” and Gershwin’s “I’d Rather Charleston.” 135
Figure 5.5 Jessie Matthews in a publicity still for the title song
of One Dam Thing after Another.144
Figure 5.6 An early draft of “My Heart Stood Still,” calling into
question the authenticity of popular promotional
anecdotes about this song. 147
Figure 5.7 Recurring use of dropped phrasing to emphasize
comedy in Rodgers’s score to Ever Green.151
Figure 5.8 Use of cross-rhythm to dramatic effect in
“The Color of Her Eyes.” 160
Figure 5.9 Timeline of Rodgers and Hart shows produced
in London, 1925–1931. 165
Figure 6.1 Helen Ford and Patrick Rafferty in the Fifth
Avenue scene from Peggy-Ann.172
Figure 6.2 Belle Baker as the title character of Betsy with
Borrah Minnevitch, leader of the Harmonica
Symphony Orchestra. 179
x | Illustrations
Figure 6.3 Drawing in the New York Times on January 9,
1927, of the cast of Betsy. Notice the pigeon trainer
Archie’s dynamic position. 182
Figure 7.1 Photo of the ensemble in A Connecticut Yankee.
Busby Berkeley’s influence is evident. 195
Figure 7.2 Four incarnations of A Connecticut Yankee:
Stamford, Philadelphia, Broadway, London.  203
Figures 8.1 Two of Steele Savage’s salacious illustrations
and 8.2 from The Son of the Grand Eunuch (1927). 218
Figure 8.3 Robert Kimball’s list of musical passages from
Chee-Chee, with the six published songs in bold type. 221
Figure 8.4 An indication of the musical structure of
Chee-Chee, compiled from material reconstructed
by Musicals Tonight! (2002). 223
Figures 8.5 Descending chromatic chord clusters, a feature
and 8.6 of the Chee-Chee score indiscriminately assigned
to various characters. 226
Figure 8.7 The triple time motif of the Grand Eunuch’s music. 227
Figure 8.8 Passages from “In a Great Big Way,” set in the Grand
Eunuch’s palace, and “Monastery Opening,” set in
the Bonze’s Monastery of the Celestial Clouds.
Note how very similar patterns conflate the
two locations. 227
Figure 8.9 The repeated use of the “fanfare motif” throughout
the score of Chee-Chee.229
Figure 8.10 The “Chti and Tchou motif,” as used throughout
the score of Chee-Chee.230
Figure 8.11 The B section of “I Must Love You,” showing the
descending diatonic scale. 230
Figure 8.12 Further uses of the descending motif. 231
Figure 8.13 The Eunuch/Concubine motif, a repeated pattern
followed by an extended fifth. The repeated pattern
and interval of a minor third is also used in “Moon
of My Delight.” 233
Figure 9.1 Rodgers’s use of the mixolydian mode in
America’s Sweetheart.261
Figure 10.1 Fields, Rodgers, and Hart, ca.1927. 265

Illustrations | xi
 FOREWORD
●  ●  ●

A 1938 Time magazine cover story boldly proclaimed that “nobody ever fused
words and music more effectively than Rodgers and Hart.” The twenty-six
Broadway shows the pair created between their first meeting in 1919 and
Hart’s death in 1943 contain a vast legacy of timeless songs, at least one or
two in each show (see the accompanying footnote for a representative list
of fine songs first appearing in the shows that are explored in the present
volume).* But while the songs are glorious and rightfully revered, the shows
that introduced them are far less well known and less appreciated. This is
a shame. From the beginning of their career, the “boys from Columbia [i.e.,
Columbia University]” worked hard to use songs to tell stories in new ways
and often achieved this goal. The result was a succession of innovative musi-
cals that broke new dramatic ground and a long list of swell and witty, sweet
and grand, and often wicked, beautifully crafted, sophisticated, memorable,
and seldom formulaic songs.
Despite their relatively low profile—with some exceptions later in their
career such as On Your Toes (1936), Babes in Arms (1937), The Boys from Syra-
cuse (1938), and the widely acclaimed pioneering classic Pal Joey (1940)—the
Rodgers and Hart shows, especially those from the early years, deserve to be
better known and understood. This is where the author of We’ll Have Manhat-
tan: The Early Work of Rodgers and Hart, 1919–1943 comes to the rescue. Sy-
monds, Reader in Drama at the University of Lincoln, author of the forthcoming
Broadway Rhythm: Imaging the City in Song (University of Michigan Press),
co-editor (with George Burrows) of the journal Studies in Musical Theatre, and
co-founder of the international conference Song, Stage and Screen, has metic-
ulously but engagingly examined the early work of Rodgers and Hart with
special attention to the two Garrick Gaieties (1925 and 1926), Dearest Enemy

* “Manhattan” (Garrick Gaieties, 1925); “Here in My Arms” (Dearest Enemy, 1925); “Moun-
tain Greenery” (Garrick Gaieties, 1926); “Blue Room” and “The Girl Friend” (The Girl Friend,
1926); “A Tree in the Park” and “Where’s That Rainbow?” (Peggy-Ann, 1926); “My Heart
Stood Still,” “Thou Swell,” and “On a Desert Isle with Thee” (A Connecticut Yankee, 1927);
“You Took Advantage of Me” (Present Arms, 1928); “Yours Sincerely” and “With a Song in
My Heart” (Spring Is Here, 1929); “A Ship without a Sail” (Heads Up!, 1929); “Ten Cents a
Dance” (Simple Simon, 1930); “Dancing on the Ceiling” (Ever Green, 1930); “I’ve Got Five
Dollars” (America’s Sweetheart, 1931).
(1925), The Girl Friend and Peggy-Ann (1926), A Connecticut Yankee (1927),
Chee-Chee (1928), and the three shows the team wrote for the London stage,
Lido Lady (1926), One Dam Thing after Another (1927), and Ever Green (1930, on
which the 1934 film Evergreen is based). Symonds also offers a chapter on the
team’s frustrating, mostly amateur years between 1919 and 1925, during which
they struggled to find a place in the commercial marketplace. They finally
took Manhattan by storm with the song “Manhattan” in the Theatre Guild fund-
raiser, the Garrick Gaieties of 1925. Another chapter, on their less successful
Broadway efforts that followed the stock market crash of 1929, illuminates a
series of lesser successes that prompted the pair to seek their fortune in Hol-
lywood (a story to be continued in Symonds’s second volume).
In his introduction, Symonds reveals “three main influences that weave
through each of the chapters”: (1) “Rodgers and Hart’s continued exploration
of how song works dramatically within a narrative”; (2) “how the business
of theater, guided by influences from the media, audiences, economics, and
technologies, affected their aesthetic and creative output”: and (3) “the signif-
icance of identity.” In “We’ll Have Manhattan,” readers will learn more about
the impressive but largely unrecognized work by this innovative team and in
the bargain also gain a new appreciation for a largely unsung collaborator,
their talented librettist Herbert Fields. Fields contributed well-crafted and
stylish (and sometimes blue) books for nearly all the Rodgers and Hart suc-
cesses in the 1920s and was conspicuously absent for some of the less suc-
cessful shows of this period.
Symonds’s story of Chee-Chee stands out as particularly gripping. Although
their greatest disappointment at thirty-one performances, this musical
about “castration,” as Rodgers characterized the show in his autobiography
Musical Stages (1975), was especially daring artistically as well as in subject
matter. Rodgers wrote that Chee-Chee was the first musical that gave the pair
the opportunity to put into practice their theories on how to achieve their
desired goal of “unity of song and story,” and he described their use in it
of song fragments rather than longer, traditional (i.e., 32-bar) song forms.
In fact, despite an unusually abundant score, only six full-length songs are
given in most song lists for the show. Rodgers includes the program note
that explains why this is the case: “The musical numbers, some of them very
short, are so interwoven with the story, that it would be confusing for the au-
dience to peruse a complete list.” It is clear from interviews and letters that
Rodgers and Hart took great pride in this innovative show. Its also clear in
retrospect that the show’s painful failure was a turning point in their career,
especially evident in the artistic retrenchment in the shows that followed, a
move that arguably postponed their next wave of dramatic innovation until
xiv | Foreword
their return to Broadway in the late 1930s after their Hollywood diaspora. In
his generous chapter on this show in “We’ll Have Manhattan,” Symonds is the
first to give the historically important and invariably overlooked Chee-Chee
its due.
I don’t think it is an exaggeration to assert that Rodgers and Hart were the
most significant composer and lyricist musical theater team from the 1920s
to the early 1940s. Although their songs have eclipsed their shows, the boys
from Columbia arguably created the most impressive body of musical theater
teamwork between Gilbert and Sullivan in the late nineteenth century and
Rodgers (with Hammerstein) in the 1940s and 1950s. In this volume (and its
projected sequel in Broadway Legacies) Dominic Symonds gives the boys the
royal treatment they so richly deserve.

Geoffrey Block
Series Editor, Broadway Legacies

Foreword | xv
 ACKNOWLEDGMENTS
●  ●  ●

Writing a book on a subject about which you are passionate is a labor of love.
It has been a joy to immerse myself in this material, written almost a hundred
years ago, yet still bursting with life: images, rhythms, witticisms, and per-
sonalities spring out of the pages of dusty manuscripts and forgotten shows.
Unexpectedly, so much of this has been accessible—it’s not always been or-
ganized or ordered, and it has sometimes required piecing together, but at
least most of it has been there to be explored, carefully warded by some won-
derful guardians.
In limiting the scope of this book to the first twelve years of Rodgers and
Hart’s collaboration, I am able to give significant attention to most of the major
shows of this period: nineteen in all. Even so, the book cannot be exhaustive.
The pair were so prolific and their work so widely adapted in different con-
texts that it has not been possible to cover everything. In particular, the work
of their varsity days is given a general overview, but I dwell on only some of
the more important output from this six-year period. That this leaves out a
wealth of their early work is regrettable but is one of the necessary exigencies
of compiling a manageable book. Also regrettable is that different versions,
rewrites, and touring adaptations of their work have had to be sidelined in
favor of giving sufficient coverage to what might be seen as the “main” pro-
ductions (see figure T.1 for a snapshot of these). Of course, such editorial
decisions are part of an inevitable canonizing process, raising the profile of
certain shows that may not warrant such attention, while labeling others the
“also-rans.” The later part of the collaboration, with a similar level of crea-
tive output, a flirtation with Hollywood, and a series of classic successes on
Broadway, is also left out—the rich seam of a future project, The Boys from
Columbia: Rodgers and Hart, 1932–1943.
It is a fascinating area of exploration. For much of this period, recording tech-
nology was in its infancy, and a general attitude toward musical theater was that
it was ephemeral, its shows of passing value, and its materials only working docu-
ments. One of the reasons these shows have remained in the shadow for so long
is that they have no current record that is accessible or available. Original cast
recordings—at least in the manner we know them today—do not exist, though a
variety of period recordings, revivals, and “revisiteds” offer us a tantalizing aural
glimpse into the sound of the 1920s. Likewise, scripts and scores of material have
not been published and were never publicly available, though theater programs
are a valuable source of structural knowledge about a show and how it may have
changed throughout the production process. That key practitioners—not least
Rodgers himself—retained documents, working notes, and memorabilia from
the shows has been fortuitous rather than by design, but has enabled an archive
of the original creative work to be gathered together in diverse institutions across
the globe. My research has been facilitated by archives in the United States and
the United Kingdom, and by the support of archivists and curators who have
been generous and knowledgeable in their assistance. In particular, the Library
of Congress, the New York Library of the Performing Arts, the British Library,
the Victoria and Albert Museum, the Rodgers and Hammerstein Organization,
and archives at Columbia University and Yale University have been of invaluable
help in sourcing and allowing access to materials, and I am also grateful for the
generous grants awarded by the University of Portsmouth and the University of
Lincoln to enable me to visit these archives and reproduce some of the materials
within these pages. Such materials provide wonderful insight into the working
practices of Rodgers, Hart, and their collaborators, though by no means do they
provide an exhaustive archive of their shows.
I have also benefited from the prior work of other scholars, not least
Geoffrey Block, whose careful research into Richard Rodgers provides a real
backbone for this book. Likewise, I am indebted to the carefully researched
theses of a number of other projects. The work of Graham Wood, which in
part focuses on Dearest Enemy and A Connecticut Yankee, offers a key meth-
odological tool for further research into this area; dissertations by several
scholars, notably Jason Rubin, have proved equally invaluable. Finally, there
are models for this sort of in-depth study of a practitioner’s output: Charles
Hamm’s work on Irving Berlin’s early years (1997), Stephen Banfield’s study
of Sondheim’s Broadway Musicals (1994), and Jeffrey Magee’s recent focus on
Irving Berlin’s American Musical Theater (2012) are exemplars of the type of
book We’ll Have Manhattan aims to be.
There are times in the writing process when the road seems endless and the
journey solitary. At those times the company of folk I have met along the road
has sustained my resolve: Dick, Larry, and Herb have been great companions
along the way, of course, and others we have encountered en route have of-
fered energy, dynamism, and brilliance: Oscar Hammerstein, Lew Fields, Helen
Ford, Cicely Courtneidge, Jack Hulbert, C. B. Cochran . . . These are figures I will
not forget, and I hope that in these pages they come to life as vividly as they
have done for me as I have leafed through the ephemera they left behind.
But writing a book is not always a solitary pursuit; part of the delight has
been to share this journey with others who have offered help, expertise, and
advice along the way. Many of these have been the archivists and curators of
xviii | Acknowledgments
collections I have explored: Mark Eden Horowitz, Walter Zvonchenko, Alice
Birney, and Dan Walshaw at the Library of Congress, Jeremy Megraw at the
New York Public Library for the Performing Arts, Jocelyn Wilk at the Colum-
bia University Library. Not only have they shared with me the documents in
their collections but also the stories that come with those documents—the
anecdotes and oddities that have been passed down orally, the creative links
between documents I would not have connected, and the tantalizing new di-
rections their embodied knowledge of the archives gives them. To all of these
custodians—and others who remain unnamed—I am immensely grateful.
I am also grateful to everyone who has put up with me fixating on this proj-
ect: to my kids who have patiently listened to 1920s music on the way to gym
every Saturday; to Karen who has held the fort during all my research jollies
to the States; to my colleagues at the Universities of Portsmouth and Lincoln,
who have been tirelessly supportive. In particular, Colin and Maricar Jagger,
George Burrows, and Karen Savage have listened patiently to my late night
ramblings, always with enthusiasm, expertise, and gently barbed putdowns.
There are plenty of others who have assisted through conversation: though
they may not be aware, little things that have been said or intimated have
unlocked thoughts or details and led to important insights. Thanks to Stuart
Olesker, Laurie Ede, Sue Harper, Justin Smith, and Searle Kochberg; to Bill
Everett, David Savran, Stacy Wolf, Jeffrey Magee, Jim Lovensheimer, Laura
MacDonald, and Ben Macpherson; to Larry Starr, to Mark Wilde, and by
email Scott Willis.
Thanks too to delegates at the “Song, Stage and Screen / Music in Gotham”
conference at City University of New York in 2008 where I first presented re-
search on Chee-Chee; and to delegates at the same conference at the University
of Missouri, Kansas City, in 2011 where I presented on Lido Lady; to audiences
at the Chichester Festival Theatre and the University of Bristol, with whom
I shared further thoughts during this journey. Testing the water like this is
an invaluable opportunity, and I am indebted to John Graziano, Bill Everett,
Stephen Banfield, and the staff at Chichester for making that possible.
Finally, a few special thanks to those people without whom . . .
First to Geoffrey Block. I suppose it shows some front to propose a book
on Rodgers and Hart to a series editor who is an international expert; but
Geoffrey has been gracious in his support, and of course his own publications
have been instrumental in showing me where to begin.
Next, Norm Hirschy and his colleagues at Oxford University Press. Many
will know Norm and recognize his dedication, encouragement, and enthu-
siasm for scholarship in this area. It has been my privilege to work with Norm
and to benefit from his guidance, support, and constant goodwill.
Acknowledgments | xix
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