The Girl from Utah

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The Girl from Utah: A West End Adventure

"The Girl from Utah" premiered at London’s Adelphi Theatre on October 18, 1913, under the production of Charles Frohman, delivering an Edwardian musical comedy that ran for 195 performances. With a book by James T. Tanner, music primarily by Paul Rubens and Sidney Jones, and lyrics by Adrian Ross and Percy Greenbank, the show offered a light-hearted escape. Its American debut followed on August 24, 1914, at the Knickerbocker Theatre in New York, where young Jerome Kern contributed five new songs, boosting its 140-performance run. The musical’s blend of romance, humor, and an exotic twist captivated audiences on both sides of the Atlantic.

A Flight from Polygamy

The story follows Una Trance, a spirited American fleeing Salt Lake City to avoid being "sealed" to a polygamous Mormon elder. Arriving in London, she finds allies in Lord Amesham, his fiancée Dora Manners, and actor Sandy Blair. The plot thickens as the persistent Mormon tracks her to Brixton, luring Una and half the Folly Theatre chorus into his clutches. Meanwhile, a bumbling shopkeeper, Trimmit, and Dora’s maid, Clancy, add comic confusion especially when Trimmit accidentally dons the Mormon’s hat, leading police astray. Love triumphs as Sandy rescues Una, delivering a classic happy ending.

A Transatlantic Cast

In London, Phyllis Dare starred as Dora Manners, with supporting roles filled by talents like Valerie Richards as Hon. Miss St. Aubyn. The New York production featured Ina Claire as Una and Joseph Coyne as Sandy Blair, whose chemistry anchored the show. Donald Brian and Julia Sanderson later joined, enhancing its Broadway appeal. The ensemble, including actresses from the Folly Theatre chorus, brought vibrancy to the stage. These performers, blending West End polish with Broadway flair, ensured the musical’s characters leapt to life with charm and wit.

Melodies That Bridged an Ocean

Paul Rubens and Sidney Jones crafted the original score, with numbers like “She’s a girl from Utah, in the U.S.A.” setting a jaunty tone. For Broadway, Jerome Kern’s additions notably “They Didn’t Believe Me,” with lyrics by Herbert Reynolds introduced a modern 4/4 rhythm, a departure from waltz-heavy norms. Other Kern gems, like “Same Sort of Girl” and “You Never Can Tell” with Harry B. Smith, added sparkle. These songs, alongside Rubens’s choruses, gave the show a transatlantic sound, foreshadowing Kern’s later Broadway dominance.

From London to Broadway Success

After its solid Adelphi run, "The Girl from Utah" crossed to New York, where Frohman’s tweaks and Kern’s songs elevated its appeal. The Knickerbocker run ended December 5, 1914, followed by brief Broadway revivals in 1915. Its American success outshone its British roots, with Kern’s contributions marking an early milestone in his career. Though it didn’t achieve the longevity of later musicals, its dual-market triumph showcased Edwardian theatre’s global reach, leaving a legacy as a bridge between West End and Broadway styles.

An Edwardian Time Capsule

Debuting amid the West End’s pre-war boom, "The Girl from Utah" reflected the era’s taste for romantic farce and exotic escapism. The Adelphi Theatre’s grand staging, paired with Frohman’s vision, made it a spectacle of its time. While its Mormon subplot feels dated today, the show’s humor and Kern’s innovative touch hint at musical theatre’s evolving future. A recording by the Comic Opera Guild preserves its charm, offering a glimpse into an age when London and New York shared a theatrical spotlight.