Das Dreimäderlhaus

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Lilac Time: Das Dreimäderlhaus on the West End

"Lilac Time," the English adaptation of the Viennese operetta "Das Dreimäderlhaus," premiered at the Lyric Theatre in London’s West End on December 22, 1922. With music by Franz Schubert, arranged by George H. Clutsam, and an adapted libretto by Adrian Ross, the musical ran for 626 performances, closing in 1924. Directed by Dion Boucicault, it spun a fictionalized romance around Schubert’s life, set in 1820s Vienna, where the shy composer pines for Hannerl, one of three sisters in the titular “House of Three Girls.” A hit in its time, this pastiche of Schubert’s melodies offered West End audiences a blend of nostalgia, charm, and operatic flair, marking a significant chapter in early 20th-century musical theater.

Origins and Transformation

"Das Dreimäderlhaus" debuted in Vienna’s Raimundtheater on January 15, 1916, crafted by Heinrich Berté with a libretto by Alfred Maria Willner and Heinz Reichert, based on Rudolf Hans Bartsch’s novel "Schwammerl." Berté’s original score was replaced with a pastiche of Schubert’s works at producers’ insistence, creating a sentimental operetta that ran over 650 performances. Its success spurred international versions: Sigmund Romberg’s "Blossom Time" hit Broadway in 1921, while Clutsam and Ross tailored "Lilac Time" for London, softening Berté’s edges to suit British tastes. This West End incarnation leaned on Schubert’s familiar tunes, like "Ungeduld," to weave a lighter, more accessible tale.

The West End Production

Opening under Boucicault’s direction, "Lilac Time" starred Clara Butterworth as Hannerl, Vernon Wood as Franz Schubert, and Courtice Pounds as Schober, with Clarence Raybould conducting. The plot follows Schubert’s unrequited love for Hannerl amid her family’s matchmaking and his friend Schober’s rival affections, culminating in a bittersweet resolution at a Prater outing. The Lyric Theatre’s 626-performance run reflected its appeal, bolstered by lavish Biedermeier-era costumes and a focus on Schubert’s melodies over dramatic depth. Launched amid post-war recovery, it offered escapism, drawing audiences with its romantic glow and musical pedigree.

Musical and Theatrical Highlights

Clutsam’s arrangements spotlighted Schubert’s classics: "Hark, Hark, the Lark" became a quartet for Schubert’s friends, while the A-major waltz turned into the duet “What Lovelier Sight Than a Viennese Night.” "Ungeduld" underscored Schubert’s longing, and "Geh, Alte, schau" offered a tender moment for Hannerl’s parents. The score’s operetta style, paired with Ross’s breezy lyrics, leaned on charm rather than complexity, contrasting Romberg’s brasher Broadway take. The production’s modest staging amplified the music’s intimacy, with choreography and ensemble numbers evoking a Viennese springtime, delighting audiences night after night.

Revivals and Global Echoes

"Lilac Time" returned to the West End multiple times: Daly’s Theatre in 1928 with Evelyn Laye, the Lyric again in 1930, and the Globe in 1932. A 1933 German-language staging at the Aldwych with Richard Tauber preceded another English run at the Alhambra. Wartime saw it at the Stoll Theatre in 1942, and its final West End sighting came in 1949 at His Majesty’s Theatre with Bruce Trent. Beyond London, it toured extensively, while "Blossom Time" thrived in America. A 1959 HMV recording with June Bronhill and Thomas Round preserved its sound, though its popularity waned by the 1950s as tastes shifted.

Legacy and Cultural Impact

"Lilac Time" rode the crest of operetta’s golden age, its 1922 West End run a triumph of Schubert’s enduring appeal and Clutsam’s deft touch. Outpacing "Chu Chin Chow"’s wartime record, it became one of the era’s longest-running musicals, reflecting a hunger for light romance amid recovery. While its sentimental lens on Schubert’s life lacks historical grit, its success paved the way for pastiche musicals blending classical roots with theatrical flair. As of March 2025, it remains a nostalgic relic revived sparingly but cherished for its melodic grace and the West End’s knack for turning Viennese dreams into London realities.