An Artist's Model
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A Gaiety Gem: An Artist’s Model on the West End
The West End has a rich tradition of musical comedies that have shaped theatrical history, and An Artist’s Model stands as a shining example from the Edwardian era. Premiering at Daly’s Theatre on February 2, 1895, this two-act production ran for an impressive 302 performances, closing on December 7 of that year. With music by Sidney Jones, a libretto by Owen Hall, and lyrics by Harry Greenbank, An Artist’s Model was produced by the legendary George Edwardes, who transformed it into a hit following his success with A Gaiety Girl. Blending romance, satire, and catchy tunes, the musical captivated London audiences and solidified Daly’s Theatre as a powerhouse of musical comedy, leaving a legacy that echoes through the genre’s evolution.
Origins and Creation
An Artist’s Model emerged from the creative synergy of Edwardes’s team, riding the wave of their earlier triumph, A Gaiety Girl (1893). Edwardes, a theatrical impresario with a keen eye for talent, tapped Owen Hall a journalist turned playwright to craft a story that poked fun at Victorian society while delivering a romantic punch. Sidney Jones, fresh from composing The Geisha (which would follow in 1896), provided a score brimming with melody, while Harry Greenbank’s lyrics added wit and charm. The musical was a direct response to the West End’s growing appetite for light, stylish entertainment, a niche Edwardes had mastered at the Gaiety Theatre before expanding to Daly’s.
The show’s debut came amidst a bustling theatrical season, yet its blend of humor, music, and glamour set it apart. Edwardes’s production values lavish sets, fashionable costumes, and a chorus of elegant performers elevated it beyond mere farce, establishing a formula that would define his subsequent successes. Its creation marked a pivotal moment in the shift from operetta to the breezier, more accessible musical comedy style that would dominate the early 20th century.
The Plot: Love, Art, and Absurdity
An Artist’s Model unfolds in two acts, weaving a tale of romance and mistaken identities against a backdrop of artistic pretense. The story begins in a London studio, where Rudolph Blair, a struggling painter, pines for his lost love, Adele, who has vanished after their breakup. Enter Daisy Vane, a vivacious Gaiety Girl turned artist’s model, who poses for Rudolph and stirs his affections anew. Meanwhile, Sir George St. Albans, a pompous nobleman, sponsors Rudolph’s work, oblivious to the romantic entanglements brewing under his nose.
The second act shifts to Paris, where Adele resurfaces as a wealthy widow, now pursued by Sir George. Daisy, disguised as a French heiress, complicates matters further, leading to a flurry of comedic misunderstandings. The plot resolves with Rudolph and Daisy uniting, Adele graciously stepping aside, and Sir George left to ponder his folly. It’s a frothy confection, laced with satirical jabs at art-world pretensions and Victorian propriety, designed to amuse rather than provoke deep thought a perfect vehicle for its musical delights.
A Musical Canvas
Sidney Jones’s score for An Artist’s Model is a melodic feast, showcasing his gift for crafting earworms that linger. Hits like “The Lady in the Veil” and “Oh, Lucky Star” blend romantic sweep with playful energy, while ensemble numbers such as “The Studio Chorus” pulse with the vibrancy of a bustling atelier. Greenbank’s lyrics, sharp and flirtatious, amplify the comedy lines like “I’m a model of propriety / When I’m posing for society” wink at the audience with knowing charm.
Performed with Daly’s Theatre’s signature polish, the music leaned into the era’s love for waltzes and patter songs, delivered by a cast of vocal powerhouses. Critics praised its “tunefulness and grace” (The Times), and though it didn’t spawn a single iconic hit like some contemporaries, its cohesive charm kept audiences humming. The score’s accessibility made it a crowd-pleaser, reinforcing Jones’s reputation as a master of musical comedy.
The West End Triumph
Opening night at Daly’s Theatre saw An Artist’s Model dazzle with a stellar cast. C. Hayden Coffin starred as Rudolph, his rich baritone anchoring the romance, while Marie Tempest brought Daisy to life with her sparkling soprano and comedic flair. Leonora Braham’s Adele added elegance, and Letty Lind’s dance numbers as a Gaiety Girl electrified the stage. Produced under Edwardes’s meticulous eye, the show featured lush sets studio interiors and Parisian boulevards and costumes that mirrored the height of 1890s fashion, from artist smocks to ball gowns.
The 302-performance run was a resounding success, drawing “Stage Door Johnnies” eager to glimpse the Gaiety Girls and cementing Daly’s as a rival to the Gaiety Theatre’s dominance. Its popularity spawned a New York production later that year at the Broadway Theatre, running for 36 performances, and tours across the English-speaking world. Edwardes’s knack for spectacle and star power turned An Artist’s Model into a theatrical event, bridging Victorian operetta and the modern musical.
A Global Brushstroke
Following its West End triumph, An Artist’s Model crossed the Atlantic, opening in New York on December 21, 1895, with Tempest reprising Daisy. Though its Broadway run was shorter, it found favor in regional tours and inspired productions in Australia and South Africa. Back in London, a 1901 revival at Daly’s, again under Edwardes, refreshed the show with new numbers by Lionel Monckton, extending its life. Its global reach underscored the growing appetite for British musical comedy, a trend Edwardes would exploit with later hits like The Geisha.
The musical’s portability its simple staging and universal themes made it a favorite for provincial theaters, though it never achieved the marathon runs of some peers. Its influence lingered, shaping the lighthearted, star-driven formula that defined the Gaiety and Daly’s repertoires into the early 20th century.
Why It Faded
Despite its initial acclaim, An Artist’s Model has faded from modern stages. Its plot, rooted in Victorian mores and gentle satire, lacks the depth or timelessness of later musicals like The Mikado. The shift toward integrated narratives in the 20th century pioneered by Rodgers and Hammerstein left its episodic structure feeling dated. Without a standout anthem to carry its name forward, it remains a period piece, cherished by theater historians but rarely revived.
The Edwardian musical comedy style it epitomized, with its focus on glamour over substance, also waned as audiences sought more narrative heft. Today, its legacy is more archival than active, a snapshot of a bygone era when a painter’s muse could rule the West End.
A Model Moment
For West End audiences in 1895, An Artist’s Model was a dazzling escape a chance to revel in romance, laugh at society’s quirks, and hum along to Jones’s tunes. Its 302-performance run and international tours marked it as a triumph of Edwardes’s golden age, a bridge between operetta’s formality and musical comedy’s breezy charm. Though it may not grace today’s marquees, its sparkle endures in the annals of Theatreland, a testament to the artistry and the models that once lit up Daly’s stage. In the West End’s vibrant history, An Artist’s Model remains a charming, painted memory.