A Forgotten George Gershwin Musical Just Made Its American Debut

Getty
Getty

In 1982, dozens of crates containing handwritten musical manuscripts—inked with the scribbles of Cole Porter, Richard Rodgers, and George Gershwin—were discovered in a warehouse in Secaucus, New Jersey. Many of the scores contained lost or unpublished songs that had not been performed in decades, if ever. In an interview with The New York Times, Miles Kreuger, the president and founder of the Institute of the American Musical, called it "one of the monumental discoveries in the history of American musical theater."

Included in the crates were about 70 Gershwin tunes, including an autograph score to his largely forgotten 1924 musical, Primrose.

George Gershwin was one of the most popular, and important, American composers of the 20th century. His music, prized for being equally adventurous and accessible, was chameleonic. It seemed to fit in everywhere, comfortably toggling the jazz, theatrical, and symphonic worlds. In the theater, Gershwin helped establish a musical idiom that dominated for decades. (Fun fact: His Of Thee I Sing was the first musical to win a Pulitzer Prize for Drama.) In basement jazz clubs, much of his work became the bedrock of the Great American Songbook, the launching pad for generations of jazz musicians. In the classical concert hall, his symphonic work remains wildly popular—the pillar of Pops concerts.

But Gershwin’s reputation as the "All-American" composer belies the fact that a significant number of early staged scores remain missing. Some of Gershwin's Broadway music has not been heard in nearly a century. In the case of Primrose, it's been 92 years.

That's not unusual. During Gershwin's heyday, most showtunes vanished the moment the final curtain closed. "Musicals back then were like comic books," Michael D. Miller, founder and president of the Operetta Foundation, tells Mental Floss. "People waited and waited for the next one, and when it came out, the public devoured it. And when it was all said and done, they threw it out."

Take Gershwin’s other early Broadway shows: Many parts to the scores of Dangerous Maid (1921), Our Nell (1922), The Rainbow (1923), and Half Past Eight (1918) have disappeared. "If they didn't make it into one of the warehouses that belonged to companies that rented out scores, the scores might have just been destroyed," says Michael Owen, Consulting Archivist to the Ira and Leonore Gershwin Trusts. The practice has left behind a trail of musical breadcrumbs. "That's the case with Gershwin's pre-1924 shows," Owen said. "There might be one fully-orchestrated song from a musical that still exists. Or there might be half a show that exists, but only as a piano with vocals. Or there might be some lyrics without piano, or piano without lyrics."

The same goes for recordings. The truth is, despite Gershwin's popularity, you can't listen to much of his work as it originally sounded. According to Miller, even recordings of tunes that Gershwin wrote at the height of his popularity, like those in Treasure Girl and Show Girl, are AWOL. Owen estimates that 25 percent of both George and his brother Ira Gershwin's oeuvre has not been recorded. "If you're talking 1923 and earlier, it gets very skimpy."

Primrose is lucky in that regard. A complete piano-vocal score was published when the show debuted in London, and cast recordings were sold. The musical simply slipped into obscurity, and the score plunged with it. It has never been performed in America—until now.


At its heart, Primrose is a tale of unwanted relationships—and a tribute to the lengths people will go to find happiness. In it, the novelist Hilary Vane uses his imaginative talents to cook up real-life schemes to unchain a web of unhappy characters from undesired paramours, freeing them to run off with their true loves. (Along the way, there are some cheerful Arthur Sullivan-esque songs, including one about the headless Mary, Queen of Scots.)

The play, which debuted on London's West End, brought Gershwin to Britain in 1924. He sailed the Atlantic with seven polished tunes already stuffed in his suitcase, many of which were attempts to write in the style of classic Edwardian romps. "I have inserted several numbers in 6/8 time, because the English are a 6/8 nation," he told the London Standard. "The Americans are a 4/4 nation and their music is essentially the fox-trot. But the English, who are used to good lyrics, like the 6/8 rhythm, which approaches most closely to ordinary speech."

The result—a unique fusion of brassy across-the-pond blue notes and British patter song—was distinctly different from anything playing on either side of the Atlantic. The English playwright Noël Coward was gobsmacked. He called the score's variety "extraordinary."

The great significance of Primrose, however, is that Gershwin not only wrote the music—he also orchestrated three tunes himself. Gershwin's orchestration skills have long been a point of controversy. Classical critics, in a fit of anti-showbiz snobbery, griped that he lacked the knowledge to write for large ensembles. Indeed, Gershwin's first stab at opera, Blue Monday, and his famed Rhapsody in Blue were orchestrated by other musicians.

It's here, on Primrose, that Gershwin cut his teeth writing for large ensembles. "These orchestrations are considered to settle a scholarly controversy—when did George learn orchestration?" writes theater expert James Ross Moore in the The George Gershwin Reader. These newly honed orchestration skills would make history, helping Gershwin write pieces that eventually cemented his place on the Mount Rushmore of American composers: his "Concerto in F," American in Paris, and all of Porgy and Bess.

Primrose saw 255 performances on the West End and even hopped to Melbourne and Sydney, Australia. But the Great American Composer's show never appeared in the United States. After premiering down under in 1925, Primrose was forgotten—interest wasn't rekindled until the handwritten scores popped up in that Secaucus warehouse 57 years later.

In 1987, the Library of Congress dusted off the recently discovered score and hosted a performance of Primrose. The play itself, however, was not staged: The dialogue-rich script was cut. Conversely, in 2003, Musicals Tonight!—a New York City group dedicated to reviving classic musicals—performed the musical, but, this time, the orchestrations were cut in favor of a lonely piano. Michael Feingold, a theater critic for the Village Voice, wrote that, "Enough comes across to make you see what the work could be, in the hands of knowing professionals, as part of a living tradition."

Well, pros have finally gotten their hands on it. Michael Miller and his colleagues spent days sifting through the Gershwin archives at the Library of Congress and reassembled the entire original score.

Now, for the first time in 92 years—and the first time in the United States—the curtain has finally opened on a fully-orchestrated, fully-staged production of Primrose, revived under the care of the Ohio Light Opera. Based in Wooster, Ohio (about an hour’s drive south of Cleveland, and a shorter jaunt from Cuyahoga National Park), the Ohio Light Opera will put on seven more performances between now and August 11. I had the privilege of taking in a dress rehearsal, and I can verify that it's a hoot.

As for the sea of other incomplete Gershwin works, there is hope. Scholars are currently working to bring them—all of them—back. At the University of Michigan, folks leading The Gershwin Initiative are working to publish critical editions (including full scores) to all of George and Ira Gershwin's works—including their embryonic stage pieces. (Perhaps they will resurrect the missing score to The Rainbow, which now stands alone as the only Gershwin musical to never enjoy an American premiere.)

In the meantime, Gershwin fans and music history buffs looking to take a road trip should look no further than Ohio: Click here for dates and tickets.

This Gorgeous Vintage Edition of Clue Sets the Perfect Mood for a Murder Mystery

WS Game Company
WS Game Company

Everyone should have a few good board games lying around the house for official game nights with family and friends and to kill some time on the occasional rainy day. But if your collection leaves a lot to be desired, you can class-up your selection with this great deal on the Vintage Bookshelf Edition of Clue for $40.

A brief history of Clue

'Clue' Vintage Bookshelf Edition.
WS Game Company.

Originally titled Murder!, Clue was created by a musician named Anthony Pratt in Birmingham, England, in 1943, and he filed a patent for it in 1944. He sold the game to Waddington's in the UK a few years later, and they changed the name to Cluedo in 1949 (that name was a mix between the words clue and Ludo, which was a 19th-century game.) That same year, the game was licensed to Parker Brothers in the United States, where it was published as Clue. Since then, there have been numerous special editions and spinoffs of the original game, not to mention books and a television series based on it. Most notably, though, was the cult classic 1985 film Clue, which featured Eileen Brennan, Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, and Lesley Ann Warren.

As you probably know, every game of Clue begins with the revelation of a murder. The object of the game is to be the first person to deduce who did it, with what weapon, and where. To achieve that end, each player assumes the role of one of the suspects and moves strategically around the board collecting clues.

With its emphasis on logic and critical thinking—in addition to some old-fashioned luck—Clue is a masterpiece that has stood the test of time and evolved with each decade, with special versions of the game hitting shelves recently based on The Office, Rick and Morty, and Star Wars.

Clue Vintage Bookshelf Edition

'Clue' Vintage Library Edition.
WS Game Company

The Vintage Bookshelf Edition of Clue is the work of the WS Game Company, a licensee of Hasbro, and all the design elements are inspired by the aesthetic of the 1949 original. The game features a vintage-looking game board, cards, wood movers, die-cast weapons, six pencils, an ivory-colored die, an envelope, and a pad of “detective notes.” And, of course, everything folds up and stores inside a beautiful cloth-bound book box that you can store right on the shelf in your living room.

Clue Vintage Bookshelf Edition is a limited-release item, and right now you can get it for $40.

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This 10-Year-Old Is Sending Art Supplies to Hundreds of Kids in Homeless Shelters and Foster Homes

Evgeniia Siiankovskaia/iStock via Getty Images
Evgeniia Siiankovskaia/iStock via Getty Images

She may be stuck at home, but Chelsea Phaire has found a way to connect with hundreds of kids during the COVID-19 pandemic. As CNN reports, the 10-year-old from Danbury, Connecticut, has used her time in isolation to send 1500 art project packs to kids in foster homes and homeless shelters.

Phaire had been interested in starting a charity from a young age, and on her birthday in August 2019, she launched Chelsea's Charity with help from her parents. Instead of birthday gifts, Chelsea asked for art supplies, and all the items she received went to a homeless shelter in New York. The Phaires have since set up a wishlist on Amazon, so anyone can donate supplies for the art kits. One pack includes crayons, paper, markers, gel pens, coloring books, and colored pencils.

In recent months, Phaire's mission to provide resources to underserved kids has become more vital than ever. Schools around the country have closed to stop the spread of the novel coronavirus, which means kids have less access to art supplies than they did before. Young people may also be dealing with increased stress and boredom from being isolated inside. By sharing art kits, Phaire hopes to give them a healthy outlet for their struggles.

Chelsea's Charity has donated more than 1500 kits to schools, shelters, and foster homes since stay-at-home orders rolled out in March, which is more than was donated in the initiative's first five months. COVID-19 has forced Phaire to do some things differently: While she would normally get to meet many of the people she helps in person, she now sends all her donations by mail. Until it's safe to travel again, she's staying connected to kids through social media, as you can see in the video below.

[h/t CNN]