Princess Caprice
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Unveiling "Princess Caprice" on the West End
"Princess Caprice" is a spirited musical comedy that delighted West End audiences with its premiere at the Shaftesbury Theatre on May 11, 1912. Described as a "comedy with music" in three acts, it features a score by Leo Fall, with a book adapted by Alexander M. Thompson from Fall’s operetta Der liebe Augustin. Lyrics were penned by A. Scott-Craven, Harry Beswick, and Percy Greenbank. Running for 265 performances until January 1913, this Edwardian romp produced by Robert Courtneidge offered a blend of mistaken identities, farcical finance, and romantic resolutions, all wrapped in a tuneful package tailored for London’s stage.
A Royal Romp in Thessaly
Set in the fictional kingdom of Thessaly, the story follows Princess Helen, a free-spirited sovereign who chafes at courtly constraints, unlike her etiquette-obsessed maid, Anna, daughter of Chief Steward Jasomir. Helen’s uncle, the bibulous Prince Regent Bogumil, has squandered the treasury, prompting Prime Minister Gjuro to push for her marriage to the wealthy Prince Nicola of Micholics. Amid this chaos, a bailiff is mistaken for a banker, and Helen pines for her music teacher, Augustin, while Anna eyes Nicola. A twist from an old monastery book reveals Helen and Anna were switched at birth, unraveling identities and pairing the lovers Helen with Augustin, Anna with Nicola by curtain’s fall.
A Collaborative Creation
Leo Fall reworked much of his Der liebe Augustin score, adding four new numbers with Scott-Craven’s lyrics to suit British tastes. Thompson’s adaptation sharpened the farce, while Greenbank and Beswick’s contributions lent lyrical finesse. Directed by Courtneidge, the cast shone with Courtice Pounds as Jasomir, Frank Wyatt Jr. as Captain Mirko, and a comedic standout in George Graves as Bogumil. Leslie Stuart’s musical direction ensured the melodies flowed, though some critics found them decorously tame. The production’s charm lay in its polished absurdity, a hallmark of early 20th-century West End flair.
The Shaftesbury Spotlight
Opening at the Shaftesbury Theatre, "Princess Caprice" capitalized on the venue’s reputation for musical comedy. Its 265-performance run marked a solid success, followed by a UK tour that spread its mirth to cities like Leeds and Bristol. Critics were divided The Times sighed for catchier tunes and felt Pounds was underused, while The Manchester Guardian praised the music’s reach. The show’s eight-month stint reflected its appeal, buoyed by Graves’s and Courtneidge’s daughter Cicely’s comedic turns, making it a crowd-pleaser despite its genteel leanings.
Musical Moments to Savor
The score sparkles with numbers like “Take Your Time,” Augustin’s philosophical ditty, and the romantic duet “A Music-Master Once I Knew” for Helen and Augustin. “As the Course of True Love” highlights Helen’s resolve, while Jasomir’s “Many, Many Years Ago” adds nostalgic whimsy. Gjuro’s “There Are All Sorts of People” and Anna’s “I Was Born to Rule” inject humor and pluck. Though not chart-toppers, these songs, rooted in Fall’s operetta style, charmed audiences with their elegance and wit, preserved in a 1912 Chappell & Co. vocal score.
A Fleeting Legacy
"Princess Caprice" didn’t achieve lasting fame beyond its initial run and tour, overshadowed by flashier contemporaries. Its roots in Der liebe Augustin tied it to European operetta traditions, but its West End polish gave it a distinct British flavor. Rarely revived, it lingers as an Edwardian curiosity its script and score surfaced in The Playgoer and Society Illustrated offering a glimpse into a time when musical comedy reigned. Its influence is subtle, a stepping stone in the genre’s evolution rather than a cornerstone.
Why "Princess Caprice" Charms
This musical enchants with its playful take on royalty and romance, a confection of farce and melody that suited 1912’s West End palate. Its 265-performance run showcased a knack for blending continental roots with local humor, appealing to audiences craving lighthearted escape. For theatre historians, it’s a window into an era of lavish yet refined entertainment, where a princess’s caprice could unravel a kingdom and still leave everyone smiling.