The Blue Moon

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The Blue Moon: An Edwardian Musical Gem in the West End

The Blue Moon, an Edwardian musical comedy with music by Howard Talbot and Paul Rubens, lyrics by Percy Greenbank and Rubens, and a book by Harold Ellis revised by Alexander M. Thompson, premiered at London’s Lyric Theatre in the West End on August 28, 1905. Produced by Robert Courtneidge, it ran for 182 performances, closing in February 1906. Set in colonial India, this lighthearted tale starred Courtice Pounds as Captain Jack Ormsby and Billie Burke as Lady Chandra, weaving romance and satire amid the British Raj. With its lilting score and lavish staging, *The Blue Moon* offered a charming escape, reflecting the West End’s early 20th-century flair for exotic whimsy and musical delight.

Origins and West End Premiere

The Blue Moon debuted in Northampton on February 29, 1904, with Ellis’s original book, before Ellis’s death prompted Thompson’s revisions for London. Courtneidge, a theatrical powerhouse, brought it to the Lyric Theatre, capitalizing on Talbot’s operetta success and Rubens’s rising star. The cast featured Pounds fresh from *The Earl and the Girl* and Burke, soon to dazzle Broadway, alongside Evie Greene as the fiery Moolraj. Its August 1905 opening drew a “specially hearty welcome” (*The Observer*), signaling its appeal amid a bustling West End season, though its run was shorter than contemporaries like *The Catch of the Season*.

The Plot: Love Under a Raj Moon

In Mandipur, India, Captain Jack Ormsby rescues Lady Chandra Das from a runaway elephant, igniting a forbidden romance she’s betrothed to Prince Moolraj. Jack’s pursuit leads to his capture by bandits, whom Chandra bribes with her jewels to free him. Disguised as a native singer, she wins Moolraj’s favor, only for Jack to duel the prince and claim her hand. A subplot sees Private Jimmy Brown wooing dancing girl Blue Moon, adding comic flair. This blend of adventure and mistaken identities unfolds with Raj opulence, ending in a moonlit triumph of love over duty, a classic Edwardian trope.

Standout Performances and Staging

Courtice Pounds’s Jack Ormsby dazzled with his lyrical tenor, notably in “The Burmah Girl,” which *The Daily Mail* praised as “irresistible.” Billie Burke’s Chandra brought ethereal grace, her stage presence hinting at her future fame, while Evie Greene’s Moolraj simmered with dramatic fire. Walter Passmore’s comedic chops shone as the Maharajah. Courtneidge’s production boasted vibrant costumes and “lovely” scenery (*The Daily Mail*), evoking India’s mystique. The Lyric’s orchestra, under Talbot’s baton, amplified the score’s charm, though *The Times* teased its plot as barely cohesive a revue in musical disguise.

Musical Score and Reception

Talbot and Rubens’s score sparkled with hits like “The Burmah Girl” and “Fairy Moon,” Greenbank’s lyrics adding playful zest. “Blue Moon” and “Oh! What a Change in the Weather” captured the era’s penchant for catchy refrains, later echoed in recordings. Critics split: *The Observer* saw it “dying hard” with “mirth and applause,” while *The Times* mocked its narrative flimsiness. Audiences, however, relished its “neat lyrics” and “pretty love-scenes” (*The Daily Mail*), ensuring a solid 182-performance run respectable, if not a blockbuster like *The Arcadians*. Its melodies lingered, a testament to its tuneful appeal.

Legacy Beyond the West End

After closing, *The Blue Moon* toured the UK provinces, hit Broadway in 1906 for 81 performances, and reached Australia. A 1905 cast recording preserved its songs, though it never rivaled longer-running Edwardian hits. Its Raj setting and romantic twists influenced later works, yet revivals remain rare its script and score now archival relics. Courtneidge’s daughter, Cicely, debuted in its chorus, a footnote to its legacy. While overshadowed by giants like *Chu Chin Chow*, it remains a charming artifact of a West End enamored with exotic locales and light operetta, a moonlit memory of 1905’s theatrical glow.

Why The Blue Moon Shines On

*The Blue Moon* endures as a snapshot of Edwardian escapism, its Raj romance and sprightly tunes offering a window into a West End craving spectacle and sentiment. Pounds and Burke’s star turns, paired with Talbot’s melodic craft, lift it beyond its modest run. Its satire of colonial pomp and triumph of love over tradition echo timeless themes, even if its plot leans thin. A product of its age, it reflects a theatre bridging Victorian grandeur and modern musical comedy proof that even a fleeting moon can cast a lasting light on London’s storied stage.