Summer Song
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Summer Song: A Melodic West End Rarity
Summer Song, a musical with a book by Eric Maschwitz and Hy Kraft, music inspired by Antonín Dvořák, and lyrics by Maschwitz, premiered in London’s West End at the Princes Theatre (now the Shaftesbury Theatre) on February 13, 1956. Running for 148 performances until June 23, this little-known gem wove a fictional tale around the Czech composer’s real-life American sojourn in 1892-1895. Directed by Charles Hickman and produced by George and Alfred Black, it starred David Hughes and offered a blend of classical adaptation and original melodies, capturing a fleeting moment in West End history with its gentle charm and immigrant narrative.
Origins and Inspiration
The musical sprang from an idea by Bernard Grun to adapt Dvořák’s works particularly his “New World Symphony” into a theatrical piece. Maschwitz and Kraft crafted a story set in Spillville, Iowa, where Dvořák spent a summer, blending fact with fiction. Grun arranged the composer’s melodies, including “Humoresque” and “Songs My Mother Taught Me,” while Maschwitz added lyrics and new songs. After a tryout in Northampton, Summer Song arrived in the West End, buoyed by the star power of Welsh tenor David Hughes, fresh from radio fame, and a supporting cast including Sally Ann Howes and Shani Wallis, all under Peter Gellhorn’s musical direction.
The Plot: A Transatlantic Tale
Summer Song follows Karolka, a young Czech immigrant in 1890s America, who works at a carnival and pines for her homeland. She meets Abe, an ambitious Irishman, sparking a romance that mirrors her cultural dislocation. Enter a fictionalized Dvořák, who arrives in Spillville seeking inspiration for his “New World Symphony.” As Karolka sings Czech folk tunes, they stir Dvořák’s creativity, weaving her story into his music. The plot unfolds with tender moments and comedic interludes, culminating in a celebration of identity and artistic legacy, all framed by the carnival’s vibrant bustle.
Performances and Staging
David Hughes shone as Abe, his rich tenor lifting songs like “New Worlds to Conquer,” while Sally Ann Howes brought Karolka’s wistful grace to life. Laurence Baskcomb played Dvořák with scholarly warmth, supported by Shani Wallis’ spirited carnival turn. The production’s carnival setting, designed by Loudon Sainthill, dazzled with color, though critics noted its simplicity compared to flashier contemporaries. Hickman’s direction leaned on tableau-like scenes, and Gellhorn’s orchestra deftly fused Dvořák’s classics with new compositions, creating a sound both nostalgic and fresh for 1950s audiences.
Musical Score and Reception
The score married Dvořák’s adapted works like the lilting “Summer Song” and robust “Planting Rice” with Maschwitz’s originals, such as “One Boy, One Girl.” Critics praised the “haunting quality” of the music but found the book “slight” and overly sentimental, with The Times calling it “pleasant but unremarkable.” Audiences warmed to its sincerity, though its 148-performance run paled beside juggernauts like *My Fair Lady*, which debuted months later. The lack of a cast recording has since dimmed its echo, leaving it a quiet footnote in West End lore.
A Modest West End Legacy
Summer Song closed after five months, overshadowed by the era’s blockbuster musicals. Its brief life yielded no major revivals, though a 1956 Australian tour with June Bronhill as Karolka kept it alive briefly. The show’s blend of classical inspiration and immigrant optimism prefigured later works like *Fiddler on the Roof*, but its gentle pace and niche appeal limited its staying power. Today, it survives in theatre archives and memories of those who caught its fleeting run, a curiosity from a time when the West End briefly turned its gaze across the Atlantic.
Why Summer Song Endures
Though not a household name, Summer Song charms with its earnest heart and Dvořák’s timeless melodies. Its focus on cultural fusion and the artist’s muse offers a quiet counterpoint to the West End’s brasher hits. For fans of musical obscurity, it’s a hidden treasure proof that even short-lived shows can weave a spell, evoking a summer long past where a Czech maestro and a carnival girl found harmony in an unexpected corner of the world.