| The Most Happy Fella | |
|---|---|
 London studio cast recording | |
| Music | Frank Loesser |
| Lyrics | Frank Loesser |
| Book | Frank Loesser |
| Basis | They Knew What They Wanted bySidney Howard |
| Productions | 1956Broadway 1959 Broadwayrevival 1960West End 1979 Broadway revival 1980 US television 1991Goodspeed Opera House 1991Ahmanson Theatre 1992 Broadway revival 2006New York City Opera |
The Most Happy Fella is a 1956musical with a book, music, and lyrics byFrank Loesser. The story, about a romance between an older man and younger woman, is based on the 1924 playThey Knew What They Wanted bySidney Howard. The show is described by some theatre historians and critics as operatic. The originalBroadway production ran for 14 months and it has enjoyed several revivals, including one staged by theNew York City Opera.
It was broadcast in a live telecast ofThe Ed Sullivan Show on Sunday, October 28, 1956, the night ofElvis Presley's second appearance on that show. That broadcast was seen in some 168 stations inNorth America and garnered a 34.6 rating, a 57% share, with an estimated audience of 56.5 million viewers.[1]
A friend ofFrank Loesser's recommended the Howard playThey Knew What They Wanted as material for a musical in 1952. After he read it, Loesser agreed it had musical potential, but decided to omit the political, labor, and religious material. It took him four years to complete the musical.[2]
The Most Happy Fella frequently has been described as anopera, but some have qualified the term.[2][3][4] In his bookThe World of Musical Comedy,Stanley Green noted that the musical is "one of the most ambitiously operatic works ever written for the Broadway theatre ... Loesser said 'I may give the impression this show has operatic tendencies. If people feel that way – fine. Actually all it has is a great frequency of songs. It's a musical with music.' "[2] In an article in thePlaybill Magazine for the original Broadway production, Loesser wrote, "What was left seemed to me to be a very warm simple love story, happy ending and all, and dying to be sung and danced."[5]Brooks Atkinson, theatre critic (The New York Times), called it a "music drama", noting Loesser "has now come about as close to opera as the rules of Broadway permit."[6] Composer, conductor, and musical theatre teacherLehman Engel and critic/author Howard Kissel called it a "fresh musical (perhaps opera)".[7] Music Theatre International describes the show: "Filled with sweeping ballads, intense dramatic arias and tuneful, splashy Broadway-style numbers, this ambitious "Broadway opera" has found a home on opera and musical-theatre stages alike."[8]
A film version was planned in 1962, to be produced byWarner Bros. withShirley Jones andFred Astaire set to star. However, Jones was busy makingThe Music Man for Warner Bros., so she was dropped andNatalie Wood was brought in. Wood was also busy though, makingGypsy for Warner Bros.. Astaire downright refused to participate in the project, but came back to the studio to makeFinian's Rainbow. The film never came to fruition. A revival of the film was discussed in the 1980s, but never got anywhere.[citation needed]
In the Golden Gate Restaurant inSan Francisco in 1927, tired and harassed young waitress Cleo commiserates with her friend. Cleo's feet hurt ("Ooh My Feet") and her friend has had to fend off the cashier's advances ("I Know How It Is"). As they clean up ("Seven Million Crumbs"), Cleo's friend finds a jeweled tie pin and a note addressed to the friend as "Rosabella", written in odd broken English ("I Don't Know (The Letter)"). She decides to answer, thinking of the possibilities ("Somebody, Somewhere").
InNapa, the mailman has a letter for Tony Esposito, who has been enjoying a "mail order love affair" for the past four months. Tony, a large and hearty older Italian immigrant and a successful grape farmer, happily shows the crowd the picture of his "girlfriend" ("The Most Happy Fella"). Meek farmhand Herman expresses admiration of his boss's initiative in pursuing Rosabella ("Standing on the Corner"). But as Tony prepares to send his own picture in return, his sister Marie points out that he is too old and unattractive for a beautiful young woman like Rosabella, and he accepts that she is probably right. At that moment Joe, the young, handsome and nomadic farm foreman, arrives to tell Tony that he plans to leave town and travel somewhere else ("Joey, Joey, Joey"). Tony sees his opportunity and asks Joe for a photograph as a memento, then sends it as his own to his beloved ("Rosabella").
Several weeks later, Rosabella has agreed to come to Napa and marry Tony ("Abbondanza"), but as he prepares to leave for the bus station to collect her, imagining their future together ("Plenty Bambini"), he discovers to his horror that Joe has remained in town longer than planned to attend the wedding ("Spozalizio"). Rosabella arrives at the farm with the postman ("Special Delivery," "Benvenuta") and meets Joe ("Aren't You Glad?"), only to discover that he is not Tony. Upset at the subterfuge, she starts to leave. However, Tony has been injured in a truck accident en route to the bus station, and he pleads with Rosabella to stay and marry him immediately in case he does not live. She relents ("No Home, No Job") and they marry. Joe, who now must stay to run the ranch during Tony's convalescence, is upset but tries to comfort her ("Don't Cry"), and in a moment of mutual weakness they embrace.
A week later ("Fresno Beauties"), Joe and Rosabella regret their indiscretion ("Cold and Dead"), and at the encouragement of Tony's doctor ("Love and Kindness"), the newlywed couple makes a fresh start ("Happy to Make Your Acquaintance"). Cleo arrives in Napa, revealing that Tony has sent for her and offered her a job to keep Rosabella company, and she immediately takes a dislike to Marie ("I Don't Like This Dame") but hits it off with fellow Texan Herman ("Big D"). As time passes, Tony and Rosabella grow closer, Marie feels increasingly lonely, and Joe longs to travel again ("How Beautiful the Days"). Marie tries to convince Tony that the age difference between him and Rosabella is too great ("Young People"), and he believes her even though Rosabella herself indicates otherwise ("Warm All Over"). Cleo and Herman also grow closer, though she is frustrated by his passive, compliant nature ("I Like Everybody"). She urges Rosabella to tell Tony of her feelings, as Tony is treating her like a child rather than a wife ("I Love Him/I Know How it Is"). Tony, overjoyed by Rosabella's expression of love ("Like a Woman Loves a Man"), discards his cane ("My Heart Is So Full of You"). Later Rosabella collapses at a party ("Hoedown"), and the doctor tells her she is pregnant (with Joe's child). She is upset by this news, and Cleo rushes her away before she can tell the still-overjoyed Tony ("Mamma, Mamma").
In Tony's barn a short time later, Cleo hints to Herman that she may be leaving ("Goodbye, Darlin'") but he remains unbelievingly cheerful, to her frustration. As the preparations for the wedding party are taking place, the doctor asks the community to leave the couple alone for a little while ("Song of a Summer Night"). Rosabella tells Tony she is pregnant ("Please Let Me Tell You"). Tony rejects her in a rage when she reveals that Joe is the father. She and Cleo leave to return to San Francisco, but when Tony learns that Joe is leaving as well, he concludes that they are leaving together and rushes to the bus station with a gun to confront them. When he discovers that Joe has already left ("Tell Tony and Rosabella Goodbye for Me"), however, he resolves to forgive her ("She Gonna Come Home Wit' Me"). Marie begs her brother to let her go ("Nobody's Ever Gonna Love You") and snatches away his cane to prevent him from leaving, but Cleo attacks her and grabs it back. Brutish farmhand Pasquale intervenes in the struggle, and Herman finally finds the nerve to stand up for her by striking Pasquale ("I Made a Fist"). Tony convinces Rosabella to return to their home, where they will tell their friends and the townspeople Tony is the father. Reunited with Rosabella and soon to be a father, Tony affirms that he truly is "the most happy fella." ("Finale").
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The try-out ofThe Most Happy Fella opened in Boston on Tuesday, March 13, 1956, at the Shubert Theatre to good reviews.[9] The show then moved to Philadelphia for a try-out at theShubert Theatre, opening on Tuesday, April 10, 1956, also to good notices.[10]
Directed byJoseph Anthony and choreographed byDania Krupska, the originalBroadway production was produced byKermit Bloomgarden andLynn Loesser and opened on May 3, 1956 at theImperial Theatre, transferred to theBroadway Theatre on October 21, 1957 and closed on December 14, 1957 after 676 performances.[11] The cast includedRobert Weede as Tony,Jo Sullivan as Rosabella,Art Lund as Joey,Susan Johnson as Cleo, Shorty Long – the country and not the soul singer[12] – as Herman and Mona Paulee as Marie. The future dancer and actressZina Bethune appeared as Tessie, one of the children in the ensemble. The scenic and lighting design was byJo Mielziner.
The original production was partially bankrolled byLucille Ball andDesi Arnaz. (See "In Popular Culture", below.)
TheNew York City Center staged a limited run of 16 performances from February 10 through February 22, 1959. The cast included Norman Atkins as Tony,Paula Stewart as Rosabella,Libi Staiger as Cleo,Art Lund as Joe,Jack DeLeon as Herman, Muriel Birkhead as Marie, andBernadette Peters as Tessie.
TheWest End production, directed by Jerome Eskow, opened at theLondon Coliseum on April 21, 1960, and ran for 288 performances. The cast includedInia Te Wiata as Tony, Helena Scott as Rosabella, Art Lund as Joey, Libi Staiger as Cleo, Jack De Leon as Herman, and Nina Verushka as Marie. Inia Te Wiata also starred in the Australian production, which played thePrincess Theatre, Melbourne and thePalace Theatre, Sydney in 1961.[13]
A Broadway revival began previews at theMajestic Theatre on September 20, 1979, officially opened on October 11, and closed on November 25, 1979, after 53 performances and 23 previews. Directed byJack O'Brien, set design by Douglas W. Schmidt, costumes by Nancy Potts, lighting byGilbert Vaughn Hemsley Jr., orchestrations byDon Walker, and choreographed byGraciela Daniele, it starredGiorgio Tozzi as Tony, Frederick Burchinal as Tony (Wed. and Sat. matinees), Sharon Daniels as Rosabella, Linda Michelle as Rosabella (Wed. and Sat. matinees), Adrienne Leonetti as Marie, Steven Alex-Cole as Max, Dennis Warning as Herman, Dean Badolato as Clem, David Miles as Jake, Kevin Wilson as Al, Stephen Dubov as Sheriff, Gene Varrone as Giuseppe, Darren Nimnicht as Pasquale,Tim Flavin as Busboy, Dan O'Sullivan as Postman, Franco Spoto as Ciccio,Richard White as Neighbor, Joe McGrath as Doctor, Lawrence Asher as Priest, Michael Capes as Bus Driver, Bill Hastings as Cashier/brakeman, Louisa Flaningam as Cleo, andRichard Muenz as Joe. The production was filmed and later broadcast byPBS'Great Performances in 1980. A 2-DVD set of this PBS performance was released in the 2000s.[14]
ANew York City Opera production ran from September 4 through October 18, 1991. Directed by Arthur Alan Seidelman, it starredLouis Quilico as Tony, Elizabeth Walsh as Rosabella, andKaren Ziemba as Cleo.[15]
TheGoodspeed Opera House presented the musical, directed byGerald Gutierrez, in May and June 1991. This production had two pianos instead of a full orchestra, using a Loesser-approved piano arrangement by Robert Page.[16] The production was then staged by theCenter Theatre Group at theAhmanson Theatre inLos Angeles for ten weeks starting in October 1991. In exchange for mounting the show, the Center Theatre Group shared in potential Broadway profits.[17]
Based on the Goodspeed production, with most of the cast and creative team intact, a Broadway revival, produced byLincoln Center Theater, began previews at theBooth Theatre on January 24, 1992, officially opened on February 13, and closed on August 30 after 229 performances. Again directed by Gerald Gutierrez, the cast includedSpiro Malas as Tony,Sophie Hayden as Rosabella, Charles Pistone as Joe, Claudia Catania as Marie, Liz Larsen as Cleo, andScott Waara as Herman.
TheRavinia Festival inChicago presented a concert version withGeorge Hearn as Tony andRod Gilfry as Joe on July 20, 2007.[18]
TheNew York City Opera presented a limited engagement withPaul Sorvino as Tony andLisa Vroman as Rosabella between March 7–25, 2006.[19][20]
In February 2013,Tulsa Opera presented a production directed by Dorothy Danner and conducted by Kostis Protopapas, featuring Chaim Joseph as Tony, Latrine Thurman as Rosabella, and Christopher Foeum as Joe.
In April 2014,New York City CenterEncores! presented a well-received production directed byCasey Nicholaw and starringShuler Hensley,Laura Benanti,Cheyenne Jackson,Heidi Blickenstaff,Jay Armstrong Johnson &Jessica Molaskey.[21][22]
The original Broadway cast recording was produced byGoddard Lieberson forColumbia Records. The recording featured virtually the entire show, including all but a few lines of the dialogue, which was unusual for the time. Because the score was so extensive, the cast album had to be released as a three LP record set.[23] Columbia also released a more conventional album of excerpted highlights. The original cast album was re-released on November 15, 1991 bySony (ASIN: B0000027TC). The 1992 Broadway revival cast album was produced byRCA Victor Broadway (ASIN: B000003FBK) and released on June 9, 1992. Jay Records released a "complete" studio recording (CDJAY2 1306), including material that had been cut, on July 11, 2000. The recording was conducted byJohn Owen Edwards and featured Loesser's daughter Emily as Rosabella and Louis Quilico as Tony.[24]
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1957 | Tony Award[25] | Best Musical | Nominated | |
| Best Performance by a Leading Actor in a Musical | Robert Weede | Nominated | ||
| Best Performance by a Featured Actress in a Musical | Jo Sullivan | Nominated | ||
| Best Direction of a Musical | Joseph Anthony | Nominated | ||
| Best Choreography | Dania Krupska | Nominated | ||
| Best Conductor and Musical Director | Herbert Greene | Nominated | ||
| Theatre World Award | Susan Johnson | Won | ||
| New York Drama Critics' Circle Awards[26] | Best Musical | Frank Loesser | Won | |
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1980 | Tony Award | Best Performance by a Leading Actor in a Musical | Giorgio Tozzi | Nominated |
| Drama Desk Award | Outstanding Actor in a Musical | Nominated |
John Sterling, radio announcer for theNew York Yankees, refers to this musical in his "home run call" whenever Yankees third basemanGio Urshela hits a home run. As Urshela circles the bases, Sterling says "Gio Urshela... a most happy fella!"[27]
In 1957 on the television showI Love Lucy (Season 6, episode 22 titled "Lucy’s Night In Town"), the Ricardos and Mertzes travel toNew York City from their new country home inConnecticut to attend a sold-out evening performance ofThe Most Happy Fella. During dinner they discover Lucy had mistakenly purchased tickets for the matinee.Desi Arnaz andLucille Ball'sDesilu Productions owned a large portion of the show, and was cross-promoting it in the episode. Three songs from the show are heard in scenes showing the characters sitting in the theater. At one point,Fred Mertz is inspired by the title to remark, "The guy is not married."
