The New School of American Music

A way with words. The art of negotiation and collaboration in the age of the new woman on broadway as seen through the careers of Anne Caldwell, Dorothy Donnelly and Rida Johnson Young 1906-1928

“…Extant literature regarding the operetta (Stagg, 1968;Ewen, 1970;McLean, 1999;Hirsch, 2000;Peck, 2009) alludes to creative differences between the producers, Donnelly and Romberg regarding the overall development of both the storyline and the music; that the Shuberts were particularly against Donnelly's poignant finale (although this follows the original Meyer-Förster storyline) and Romberg's insistence on writing for a large male chorus to reflect university life (Drinking Song; Come Boys, Let's All Be Gay, Boys; Serenade; Guadeamus Igitur) . However, William A.…”

“…Everett asserts that 'these claims are likely overstated' (Everett, 2007, p. 127) and analysis of extant literature suggests the evidence regarding the trials and tribulations associated with this production is largely from anecdotal, unsubstantiated accounts published between 1968-2000 (Stagg, 1968;Ewen, 1970;Hirsch, 2000), including a series of interviews conducted between playwright and biographer, Howard Teichmann, and J.J.'s son, John Shubert, from 1959-1960(Hirsch, 2000. To put these interviews in context, John Shubert would have been approximately 15 years old when The Student Prince opened in 1924, serving to reinforce Everett's conclusion that the claims were likely overstated especially when one considers Hirsch's biographical narrative that 'J.J.…”