Ort der Handlung ist das Hotel Weißes Rössl in St. Wolfgang im Salzkammergut in Österreich. According to musical theatre authority Kurt Gänzl, the White Horse Inn was at one time quoted as the world’s most often played musical by amateurs. In Ihrem stilvollen Zimmer im Weissen RÃ¶ssl haben Sie die Gelegenheit, noch weitere Weisse RÃ¶ssl-Momente zu genieÃen. Reading “The Cambridge Companion To Operetta” In Times Of Self-Isolation, Body Shaming In The Operetta World: Or The Cry For Help From Soprano Kathryn Lewek. Perhaps the lack of stars in the leading roles was the reason. Otto Siedler, the dapper city lawyer for whom our heroine Josepha pines, became Valentine Sutton; it is he who suggests the commercial marriage “union” between Ottiline and Sigismund, thereby cornering the “underwear market of the world.”, For its London debut, Charell and Stoll chose stalwart and proven musical comedy/operetta talents, none of whom could compete with the spectacle of the show itself. Josepha Vogelhuber, Wirtin zum «Weissen Rössl»: Frauke Schäfer Leopold Brandmeyer, Oberkellner: Roman Martin Wilhelm Giesecke, Berliner Fabrikant: Uwe Schönbeck Ottilie Giesecke, seine Tochter: Stefanie Frei Dr. Otto Siedler, Rechtsanwalt: Peter Bernhard Sigismund Sülzheimer, Sohn Gieseckes Konkurrenten: Javier Hagen Jack Barty, cast as John Ebenezer Ginkle, was first a music hall comedian and Variety artist, appearing in Christmas pantomimes such as The Sleeping Beauty and The Queen of Hearts. By his own admission a neophyte, he presented Marc Connelly’s black biblical parable The Green Pastures in 1930. A. Heute zählt das Werk zu den meistgespielten Stücken des leichten Repertoires, was nicht zuletzt den nostalgischen Ohrwürmern und der bestechenden Komik geschuldet ist. With the possible exception of Billy Rose’s Jumbo which capsized the preceding season at the Hippodrome, White Horse Inn was unquestionably the most lavish and eagerly awaited musical theatre premier of the New York season. A. Januar 2020 sich der Vorhang öffnen zu unserer neuen Spielsaison. So…Prosit. August 2019 / besuchte Vorstellung: 12. Warner Brothers provided $150,000, Stebbins $75,000, Charell and his pool of investors $30,000, Rockefeller Center interests $10,000 in house renovations. George Ross, “So This Is Broadway,” in: New York World-Telegram, 14 July 1936. (o. BRETTSPIEL Im Weissen Rössl Hier war der Kaiser Gast, hier ist der Gast König Taucht ein in die Welt des traditionsreichen Hotels und fühlt den Zauber der Saison. Macy’s further agreed to promote White Horse Inn with store window displays and in newspaper print ads.. It’s unlikely that anyone would have thought her as wicked or naughty as Camilla Spira or Lea Seidl though. Dieses wurde im Jahre 1878 erbaut. Operette: «Im weissen Rössl» kommt 2022 nach Sirnach. Here was a unique opportunity to shed Graham’s operetta conventions for a faster, modern White Horse Inn. Clifford Mollison, cast as Leopold, worked first as a dramatic actor in the West End before appearing as Adolar von Sprintz in London’s The Blue Mazurka (Lehár’s Der blaue Mazur) in 1927, after which he committed to musicals almost exclusively: Rodgers & Hart’s The Girl Friend , Lucky Girl, Here Comes the Bride, Nippy. A flurry of proposals and counter-proposals for Warner Brothers to withdraw, for Rockefeller to take over the production, and for salary cuts were made, and then rejected. ), “[White Horse] Inn, with a cast of 130, will be second $250,000 show in Center,” in: Variety, 5 August 1936. David Freedman obituary, in: Variety, 9 December 1936. Solisten und Sprechrollen. Sending roses anonymously every day to Frau Josepha – it’s madness. (o. Theatre historian Felix Barker in his volume The House That Stoll Built: The Story of the Coliseum Theatre, outlined the strategic £40,000 risk that Stoll undertook to change the theatre’s performance policy. ), “White Horse Inn reaching $40,000 gross weekly at Coliseum, London,” in: Variety, 13 May 1931. (o. Everybody must see and hear. Charell’s advantage: Where cinema could offer only black & white, White Horse Inn had brilliant color on stage and sets in 3-D! No American popular recordings whatsoever of any songs in White Horse Inn’s score were made during the New York run, inexplicable for the time. Cantor would undoubtedly have made an outstanding Leopold, even if he required the role be augmented to sole star status. Im Jahr 1960 wurde die Operette unter dem Titel Im weißen Rößl von Werner Jacobs erneut verfilmt. ), Newspaper clipping dated 6 February 1937. At the time Charell was unavailable, under contract first to Ufa to produce films (Der Kongress tanzt, also with Robert Gilbert lyrics, but music by Werner Richard Heymann), and then subsequently Fox Pictures, for whom he directed Caravan in Hollywood. Stebbins was vacationing in Florida at the time, and his general manager Charles Stewart, saw no reason to cut salaries when the production had posted no losing weeks. Lea Seidl, as noted above, also originated Lehár’s Friederike in London in September 1930. „Im weißen Rössl am Wolfgangsee, da steht das Glück vor der Tür“, so heißt es im Titellied der Operette. Once again, the Center Theatre in Rockefeller Center, which had turned legit with The Great Waltz in October 1934, then lapsed back into films in September 1935, was chosen as the premier venue. A. (o. McGonigle’s daughter Ottilie/Ottoline was renamed Natalie for American audiences. Whether this legal action might have influenced Cantor not to appear in White Horse Inn is unknown. She had been the famous “Marie von der Haller Revue,” and was thus the star of Charell’s greatest competitor in the field of revue – Herman Haller. Finally, Charell returned from the West Coast for one last look at White Horse Inn before returning to Paris.  (o.A. Die Operette „Im weißen Rössl“ hat massig Ohrwürmer und heiteren Charme (…). Giorgio Madia’s Two New Strauss Productions. Er hat den Roman im Jahre 1896 während eines Aufenthaltes im Hotel "Weißes Rössl" in Sankt Wolfgang, in Österreich, geschrieben.  Al Jolson – the actor know for his portrayal of The Jazz Singer – reportedly brought the project to the attention of Warner Brothers, and on 12 July 1936, he announced his intention of returning to the legitimate stage, presumably as Leopold. Souvenir broschure for the London production starring Lea Seidl. Burleycue in Ohio: “The Bandbox Revue” Of 1922. „Im weissen Rössl“ bietet Situationskomik, halsbrecherische Story-Wendungen und ein einmaliges Revuefeuerwerk. With Charell absent and no firm plans to tour, the production sets ($53,000) were burned, its costumes ($65,000) dispersed for $1500, its orchestrations lost. Ernst Stern’s fantasy costumes for the girl dancers. Not only did Giesecke feel superior by speaking Berlin dialect, he also calls Sülzheimer a “Shylock,” a term of open disparagement which makes their ultimate reconciliation only funnier. This new version adhered more closely to the original Berlin score, shedding the later interpolations by Richard Fall, Jára Benes, Gerald Marks, Vivian Ellis and Eric Coates. Immers, “Im “Weißen Rössl am Wolfgangsee, dort steht das Glück vor der Tür”. Donita Ferguson, “White Horse Inn, the Showpiece of 1936-37,” in: New York Woman, 23 September 1936. Der Hotel-TV-Kanal spielt zu bestimmten Zeiten die Verfilmung der Operette âIm Weissen RÃ¶ssl am Wolfgangseeâ sowie zahlreiche andere legendÃ¤re Filme rund um Ihr Hotel im Salzkammergut. The song’s charming music suggests it may have been the only new interpolation compatible with appeal of the original score. David Freedman was ultimately contracted to prepare the new American libretto; at the time of his signing, Freedman was the “most prolific and best known of radio script writers” especially for his work for Eddie Cantor. Women will be the ruin of us chaps.  G.W.B., “White Horse Inn”, in: The Era, 15. His expertise may have been questionable, when with regard to producing White Horse Inn, he confessed: “I am the only person in my family who’s never seen it.” Warner Brothers was interested in White Horse Inn primarily as a film property, and agreed to co-finance the stage production with the intent of filming the show in 1937. Warner Brothers never did make any film of White Horse Inn; perhaps international political tensions made the jolly denizens of St. Wolfgang a dubious prospect for film success. The “Tiroler Gruppe” as Charell originally used them in “Für Dich” 1925. The Emperor Scene: Kitty Carlisle and William Gaxton. And to chew the new-mown hay; full of photographs of the 1932 production. Wines that cheer and steins that with beer overflow, Its generic music and lyrics are totally unrelated to the characters and plot, and would comfortably fit into any dozen musical comedies. Ihre Tänze sind das fließende Band, das die Handlung aufrollt, heranträgt, in Takte und Akte teilt. Why is it Sigismund shines out in any room? ), “News of the Stage,” in: New York Times, 12 October 1935. Herbert Drake, “Producers and Plays,” in: New York Herald-Tribune, 30 July 1933. ), “White Horse Inn is projected here: Spectacular play, with cast of 250, would turn theatre into village—London backing,” in: New York Times, 22 July 1933. C. Hooper Trask, “But the Germans Like It,” in: New York Times, 4 November 1928; “More Musical Musketeers,” in: New York Times, 13 October 1929; “Mainly Erik Charell: Turning to a Native Form of German Music, He Achieves Success,” in: New York Times, 28 December 1930. The dirndls for the chorus, designed by Ernst Stern. Josepha Vogelhuber, Wirtin Leopold Brandmeyer, Zahlkellner Dr. Otto Siedler, Rechtsanwalt Wilhelm Giesecke, Berliner Fabrikant Ottilie, seine Tochter Sigismund Sülzheimer, Sohn des Konkurrenten Gieseckes Prof. Dr. Hinzelmann, Urlauber Klärchen, seine Tochter Kaiser Franz Joseph Der Piccolo Der Reiseführer Only three recognizable hit tunes (“The White Horse Inn,” “Blue Eyes,” and “I Cannot Live Without Your Love”) were retained, but with new and unfamiliar lyrics! Why is it he’s the one—and none before or since? The present-day home to the English National Opera (ENO). Savo’s agent Sam Lyons charged the producers with breach of contract before Actor’s Equity, and Savo finally agreed to accept 55% of his agreed weekly salary until 1 June 1937, or else the show’s closing. Jolson would make an implausible Leopold. ), “May Get White Horse Inn: Earl Carroll hopes to bring successful play here,” in: the New York Times, 23 April 1932. The central romantic duo, Josepha Voglhuber (sic) and Leopold Brandmayer, remained for the most part unchanged. A. In late 1930, shortly after the Berlin premiere of Im weißen Rössl, English impresario Sir Oswald Stoll, Managing Director of the London Coliseum, was seeking a musical spectacle capable of filling this spacious 2200-seat house located just north of Trafalgar Square, in an altogether new policy, a reprieve from the house’s previous diet of variety. Nearly 50 years later, Spialek’s orchestrations for the 1936 Rodgers & Hart musical On Your Toes were restored for its 1983 revival, creating a sensation, and launching a vogue for recovering and recording historic musical theatre scores with their original orchestrations intact. Oral sex was obviously not something to sing about in Great Britain 1931. Choosing Seidl for his production meant casting a decidedly naughty, frivolous woman as the Rössl proprietress, a representative of Berlin’s Roaring Twenties, a reckless “Sally Bowles” of operetta. ), “News of the Stage,” in: New York Times, 19 January 1937. There’s grape on the vine, Perhaps now American audiences will be free discover the joys and humors of Im weißen Rössl in a translation closer to the original intended by Hans Müller, Ralph Benatzky, Robert Gilbert and Erik Charell? According to the New York Times, the production had posted a profit in 25 out of 28 weeks of its run, and the cast applied to Actors Equity to continue on a cooperative basis, which Equity refused. A classically-trained singer, Carlisle had an easy soprano voice, personal beauty and charm to spare, and a gracious humor about herself. A. You can have your favorite wine, ), “Big Specs’ Coin Troubles,” in: Variety, 20 January 1937. White Horse Inn (or The White Horse Inn), (German title: Im weißen Rößl), is an operetta or musical comedy by Ralph Benatzky and Robert Stolz in collaboration with a number of other composers and writers, set in the picturesque Salzkammergut region of Upper Austria. Days later, the English syndicate terminated its negotiations for the Hippodrome and abandoned the White Horse Inn project altogether.