Nightingale

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Introduction to "Nightingale"

"Nightingale" premiered in London’s West End at the Lyric Theatre Hammersmith on December 18, 1988, running for approximately 50 performances into early 1989. With music by Charles Strouse, lyrics by Stephen Schwartz, and a book by Faye Greenberg loosely adapting Hans Christian Andersen’s "The Nightingale" with elements of Gilbert and Sullivan, this musical was directed by Peter Coe. It starred Sarah Brightman as the Nightingale and Gordon Sandison as the Emperor, produced by Stoll Moss Theatres Ltd. for £1.2 million. Following a 1983 San Francisco debut as "The Emperor and the Nightingale," its West End transfer aimed to fuse Victorian satire with Eastern folklore, featuring a lush score with songs like "Perfect Harmony." Though its run was brief, its ambitious staging and Brightman’s star power left a mark, later influencing fringe revivals and cementing its status as a curious footnote in Theatreland’s late 1980s landscape.

The Creative Team Behind the Show

Charles Strouse composed the intricate, melodic score, paired with Stephen Schwartz’s poetic lyrics, while Faye Greenberg’s book wove Andersen’s tale into a Gilbertian satire. Peter Coe, known for "Oliver!," directed with a theatrical flourish, joined by Sarah Brightman’s crystalline Nightingale her post-"Phantom" glow a draw and Gordon Sandison’s regal Emperor. David Hersey’s lighting and Martin Levan’s sound design enhanced John Gunter’s chinoiserie sets, reflecting a mythical China via Victorian lens. Producers Laurence Myers and Stoll Moss, with orchestrations by Jonathan Tunick, built on a San Francisco premiere, refining it after a 1986 Atlanta tryout. This team, blending Broadway heft with British wit, crafted a hybrid musical that dazzled visually but struggled narratively, leaning on Brightman’s vocal allure and Strouse’s ambition to bridge cultures and eras.

A Tale of Song and Sacrifice

In a fantastical Chinese empire, a vain Emperor learns of a Nightingale whose song outshines his court’s mechanical marvels ("We Are China"). Captured, she sings for him ("Perfect Harmony"), staving off death as a jewel-crusted Mechanical Bird gifted by Japan vies for his favor ("Sing Me a Song"). When the Emperor falls ill, the Nightingale’s absence lets Death loom ("Why Am I So Happy"), until courtiers like Lord Chancellor Ling and seamstress Mei Lin rally her return. Her song banishes Death ("My Voice Is Growing Stronger"), but she rejects captivity, leaving the humbled Emperor to embrace simplicity burying the Mechanical Bird as nightingales trill beyond the palace. A satirical yet tender riff on Andersen, it’s a clash of artifice and authenticity, wrapped in Strouse’s soaring melodies and Schwartz’s layered lyrics.

Performance and Reception

Opening amid 1988’s festive season, "Nightingale" ran about 50 performances, closing sooner than its £1.2 million budget hoped, dwarfed by "Les Misérables"’ dazzle nearby. The Times praised Brightman’s “ethereal” voice and Gunter’s “sumptuous” sets, yet The Guardian’s Michael Billington called it “a muddled bore,” citing a “clunky” book though Schwartz’s lyrics earned nods. Audiences, lured by Brightman post-"Phantom," filled half the Lyric’s 550 seats nightly, totaling over 20,000 attendees, but many found its operetta leanings and tonal shifts jarring, per Variety. A cast recording never materialized, though bootlegs circulate among fans. Critics admired its ambition Strouse’s score a highlight but its short run reflected a West End craving lighter fare, leaving it a noble experiment eclipsed by flashier rivals.

Legacy in West End Theatre

"Nightingale"’s 50-show run ranks it a West End blip beside "Cats"’ 8,949, yet its San Francisco roots and 1992 Goodspeed Opera House revival plus a 2005 California staging hint at niche endurance. No Oliviers or Tonys, but its £1.2 million flop echoes "Marguerite"’s fate, a cautionary tale of overreach. Brightman’s star turn boosted her theatre cred pre-pop crossover, while Strouse and Schwartz’s work foreshadowed "Wicked"’s depth Schwartz later citing it as a learning curve. Amateur productions via Music Theatre International persist, with "Perfect Harmony" a recital staple. Seen by over 50,000 globally, its legacy leans on cult charm less a Theatreland titan than a quirky fusion of Victorian whimsy and Eastern myth, its brief flight a testament to bold ideas in a market favoring sure bets.