Isabel's a Jezebel
Recently Updated
Introduction to "Isabel's a Jezebel"
"Isabel's a Jezebel" premiered in London’s West End at the Duchess Theatre on December 15, 1970, running for a mere 61 performances before closing in February 1971. With music by Galt MacDermot fresh off "Hair"’s success and book and lyrics by William Dumaresq, this British musical loosely adapts a Grimm’s fairy tale into a surreal, aquatic love story. Directed by Michael Wearing and Julie Arenal, who also choreographed, it starred Carole Hayman as Isabel and Peter Farrell as her deep-sea lover. Though ambitious, its short run reflected high expectations unmet, making it a curious footnote in West End lore.
The Creative Team Behind the Show
Galt MacDermot composed the score, blending his signature eclectic style with jazzy, experimental tones, while William Dumaresq penned the book and lyrics, crafting a provocative narrative. Co-directors Michael Wearing and Julie Arenal brought a dynamic vision, with Arenal’s choreography adding fluidity to the underwater theme. The cast featured Frank Aiello, Sharon Campbell, Helen Chappelle, and others, with last-minute changes like Hayman’s late addition shaking up rehearsals. Following "Hair," MacDermot’s team aimed to replicate that magic, but the shift to a niche fairy tale proved a gamble that didn’t fully pay off.
A Submerged Tale of Love and Conflict
The story centers on Isabel and her deep-sea lover, a couple locked in a cycle of passion and disputes beneath the waves. Their arguments hinge on whether to bring children into a world they see as doomed, a dark twist on fairy tale whimsy. Songs like "Isabel’s a Jezebel," "Down by the Ocean," and "More Than Earth, More Than Air" weave their tempestuous bond, with the plot unfolding in abstract, dreamlike vignettes. It’s less a traditional musical than a poetic meditation on love, life, and existential dread, ending ambiguously as their underwater saga drifts unresolved.
Performance and Reception
Opening amid "Hair"’s afterglow, "Isabel's a Jezebel" drew intrigue but faltered fast. Critics found it “baffling” and “overly esoteric,” with The Stage noting MacDermot’s score as a highlight amid a muddled story. Audiences, expecting another counterculture hit, were split some embraced its oddity, others left confused. Its 61-performance run, despite a talented cast and a 1972 cast recording by Kilmarnock, marked it a commercial misstep. Last-minute cast swaps and a late start after out-of-town tryouts didn’t help, sealing its fate as a brief, bold experiment.
Legacy in West End Theatre
"Isabel's a Jezebel" holds a quirky place in West End history, a daring follow-up to "Hair" that didn’t catch fire. Its 61-show stint pales beside longer-running peers, yet its cast album and MacDermot’s cult status keep it alive for musical theatre buffs. Unlike "Hair," it hasn’t seen major revivals, but its blend of fairy tale and avant-garde echoes in fringe works. A product of 1970s theatrical risk-taking, it’s less a triumph than a testament to ambition, a submerged relic of a West End willing to dive into the strange.