Songbook
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Uncovering "Songbook" on the West End
"Songbook" is a lesser-known musical that graced London’s West End at the Strand Theatre (now Novello Theatre) with its premiere on July 31, 1976, running for a modest 26 performances before closing in August 1976. Conceived by Monty Norman, known for the James Bond theme, with lyrics by Norman and Julian More, and additional material by Don Black, it weaves a narrative through a revue-style collection of songs inspired by the Great American Songbook. Directed by Jonathan Lynn and produced by Bernard Delfont, the show starred Jean Simmons as Vicky, David Kernan as David, and featured Gemma Craven and Peter Duncan in a cast of eight. Despite its brief run, "Songbook" offered a nostalgic nod to classic songwriting, though it struggled to find its footing amid the West End’s competitive landscape.
A Melody-Driven Tale
The plot centers on Vicky and David, a songwriting duo whose partnership and romance unravel across decades, framed by a loose anthology of tunes. Act One introduces their early collaboration in the 1930s, crafting hits that echo Gershwin and Porter, while Act Two jumps to the 1970s, where their once-harmonious bond frays amid changing musical tastes. Interspersed are vignettes of fictional singers and lovers played by the ensemble performing their songs, from jazzy ballads to upbeat swing. It’s less a traditional musical than a showcase of Norman’s compositions, tied by a thread of love, rivalry, and the evolution of popular music, culminating in a bittersweet reflection on their legacy.
A Creative Harmony
Monty Norman, fresh off Bond fame, teamed with Julian More to craft a score that mimicked the American standards of Berlin and Kern, while Don Black added lyrical polish. Jonathan Lynn, then emerging as a comedic force, directed with a light touch, aiming for revue charm over dramatic depth. The production leaned on David Kernan’s revue expertise he’d later conceive Side by Side by Sondheim and Simmons’s star power, with choreography by Gillian Gregory and musical direction by Ray Cook. Delfont’s backing promised polish, but the show’s hybrid nature part narrative, part concert left it straddling styles without a clear audience hook.
A Short West End Stint
Opening at the Strand Theatre, "Songbook" followed a spring tryout at Richmond Theatre, buoyed by Simmons’s draw she’d won a Golden Globe for Guys and Dolls. Critics were lukewarm: The Stage praised its “tuneful nostalgia” but found the story “thin,” while its brevity 26 shows reflected a clash with splashier West End fare like A Chorus Line. Touted as a sophisticated night out, it nabbed the 1977 SWET Award for Best Musical (later Oliviers), a surprise given its quick fade. The run’s end tied to tepid buzz and a crowded summer season, though its cast album preserved Norman’s melodies for posterity.
Songs of a Bygone Era
The score is a love letter to mid-century standards: “Songbook” sets the tone with a jazzy lilt, “Something to Do with Love” drips with romance, and “Sunny Side Up” swings with optimism. “Only a Dream Away” offers a wistful duet, while “Rags to Riches” channels Tin Pan Alley flair. Performed live with a small orchestra, the songs recorded on a 1976 LP echo the polished ease of Cole Porter, though none broke out as standalone hits. Norman’s Bond-esque flair peeks through, but the focus remains on evoking a golden age, a strength that couldn’t fully carry the thin plot.
A Fading Footnote
"Songbook" didn’t spark a West End dynasty, closing after its brief Strand run with no Broadway transfer unlike Norman’s earlier Irma La Douce. Its SWET win nods to its craft, but it’s overshadowed by flashier contemporaries. A U.S. tour was mooted but never materialized, and while its album endures among musical buffs, revivals are rare Richmond’s 1976 tryout remains its most robust outing beyond London. It’s a curio in Norman’s catalog, a bridge between his spy-thriller fame and musical theatre roots, cherished by those who caught its fleeting charm.
Why "Songbook" Lingers
"Songbook" enchants with its retro glow a snapshot of songwriting’s golden age stitched into a fragile love story. Its West End moment in 1976 was short-lived, but it offered a classy detour from disco-drenched trends, banking on Simmons’s allure and Norman’s melodic knack. For London audiences, it was a nostalgic whisper amid louder hits, a revue that sang of simpler times. Though it didn’t soar, its gentle tunes and SWET nod keep it a quiet treasure a musical footnote that hums with the past’s sweet echo.