What a delight, SK.         Of course, it is totally beyond redemption and could only be sent-up rotten. The plot (?) was always a third carbon copy of 'The Scarlet Pimpernel'.     Indeed, I saw John Hanson in the Palace Theatre revival, staged after the scenic dock storage of the previous 50 years had been ransacked.    Impressario, Jack Hylton.    "Ee, 'orace, look at this cut-out for the Red Shadow's hideout which we used in 1926.  'ere, 'arry, give it another slap of paint."       

In fact, I came across a John Hanson CD of 'hits from the musicals' some weeks ago.   A pleasant voice but the stage presence of a totem pole.   I used to go out to the Bromley Theatre where he'd stage revivals of 'The Student Prince', clarted with Leichner no 9 to gain the tan, if not the looks of a young man.   Even in the 1960's. it was all over, except for packed matinees, full of pensioners (no such thing a senior citizen then) and camp followers.

However, the musical scores for these musicals still have great charm and we used to hear them, regularly, on R2, Friday Night is Music Night.  Today, it seems to be ALW or 'Les Mis'.   

Recently, I played a CD (transferred from vinyl) of "Rose Marie" with Julie Andrews, Giorgio Tozzi and Frederick Harvey; all in fine voice and the three concerted finale sections are a joy in themselves.  The recording, alas, is lumbered with the croony Mike Sammes Singers.

                          "The party's over,
                           it's time to call it a day...."

Never seen it, but it was he was still on tour with it in 1975: they followed us into the Birmingham Alex in midsummer, and I remember the Box Office staff talking about 'Punch a Pensioner' week, and asking them "Why?". Back came the heavily accented response "Yow troi tellin' several thousand pensioners that only two of them can have Wednesday Matinee Front Row Centre Aisle seats ...."

Yes, Reiner, it was Sigmund Romberg.    Three hugely popular operettas;  The Student Prince (1924), The Desert Song (1926) and New Moon (1928). 

I've collected several recordings of each, over the years.   In the case of 'The Desert Song', I'd recommend the splendid HMV selection in 1959.  Edmund Hockridge a heroic baritone as the Red Shadow and June Bronhill shines as Margot and the recording is worth acquiring to hear Inia te Wiata using the basso end of his voice in 'Love Let Go'.   A classy recording.

A couple of film versions with a dull technicolour film, circa 1953, sinking in the studio sands.  Gordon McRae and Kathryn Grayson in good voice and the score is a natural survivor.       

I'd say the merits of the piece are that its shamelessly overblown, overpowering schmaltz and hokum.....none of the preceding words are negatives in my lexicon! 

I was 'introduced' to it by its mention in the Joe Orton diaries: Joe attended the Palace Theatre production shortly before he died and his thoughts on it chime with my own. 

Romberg was, I think, a great composer of operetta....I hear a lot of Romberg in Korngold, and vice versa.

And here, dug out of the archives, is the cover to the piano selection



I note in the bottom right corner, that whereas the vocal score is 8/- (ie 40p), individual songs cost 2/- (ie 10p).  The proportion does not seem right.

I do love that film, Stanley.  First saw it in the 70s, when I was all of (about) 9 years old.  I remember being very taken by the music; when I last saw it on tv in 1999, it was Jose Ferrer's superb performance as yer man that made the most impression on me.  Now, there was a great actor (and a sadly underrated one).