secondary schools; works as diverse as Gluck’s Alceste and My Fair Lady have been performed with enthusiasm and understanding, while Weill’s Threepenny Opera is more popular in English and American schools than Der Jasager. Children’s operas do not transpose readily from one environment to another. Even Copland’s brilliant and individual The Second Hurricane is so American in spirit and in the language of its libretto as to be almost unperformable in Britain, though Jonathan Elkus is among those who have had success on both sides of the Atlantic. Yet the composers
Thomas S. Hischak
to libretto and lyric writing that influenced all the major theatre songwriters of the postwar American theatre, and his works, particularly Show Boat and those with Rodgers, remain in the popular musical theatre repertory. Works ( selective list ) composers in parentheses; dates those of the first New York performance unless otherwise stated Stage Wildflower (V. Youmans, H. Stothart), Casino, 7 Feb 1923 Rose-Marie (R. Friml), Imperial, 2 Sept 1924 [incl. Indian Love Call, Rose-Marie; films, 1936, 1954] Sunny (J. Kern), New Amsterdam, 22 Sept 1925 [incl.
revised by William A. Everett and Deane L. Root
publishers: Boston, Famous, Harms, Robbins, G. Schirmer Bibliography S. Green : The World of Musical Comedy (New York, 1960, rev. and enlarged 4/1980) D. Ewen : Composers for the American Musical Theater (New York, 1968) Record of the Works of Rudolf Friml (New York, c 1968) [list of works] G. Bordman : American Operetta from H.M.S. Pinafore to Sweeney Todd (New York, 1981) R. Traubner : Operetta: a Theatrical History (Garden City, NY, 1983)