Divorce Me, Darling!

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Divorce Me, Darling!: A West End Sequel with a Twist

"Divorce Me, Darling!" premiered at the Globe Theatre in London’s West End on February 1, 1965, after a debut at The Players’ Theatre on December 9, 1964. Written by Sandy Wilson as a sequel to his hit "The Boy Friend," this musical comedy ran for 91 performances, closing in April 1965. Set a decade after the earlier show’s romantic pairings, it revisits Polly and her finishing-school friends, now married and facing the itch of disillusionment on the French Riviera. Packed with 1930s pastiche, tap-dancing flair, and Wilson’s signature whimsy, it offered a nostalgic escape, though its short run hinted at a cooler reception than its predecessor.

Origins and Creative Spark

Sandy Wilson, riding the wave of "The Boy Friend"’s success a 1920s spoof that launched Julie Andrews penned "Divorce Me, Darling!" to imagine the characters ten years on. Conceived as a tribute to 1930s musicals, it swapped the Charleston for Cole Porter-esque sophistication, reflecting the Great Depression’s impact. Wilson wrote the book, music, and lyrics, crafting a plot where the once-blissful couples from Nice reunite at the Hotel du Paradis, only to stumble into misunderstandings involving lipstick smears, health nuts, and a South American assassination plot. First tested at The Players’ Theatre, its West End transfer aimed to recapture the original’s magic with a sharper, deco edge.

The West End Production

Directed by Vidal Peter, the Globe Theatre staging starred Patricia Michael as Polly (with Jenny Wren stepping in for recordings due to Michael’s indisposition), Joan Savage as Maisie, and Kevin Colson as Percival Browne. The plot unfolds as the wives, seeking a break from marriage, cross paths with their husbands, who’ve secretly done the same. Madame Dubonnet, now cabaret singer Madame K, and her long-lost husband Percy disguised as a Monomanian president resolve the chaos, averting divorces with surprise pregnancies. Launched amid a snowy London winter, its 91-performance run drew modest crowds, overshadowed by the era’s bigger hits like "Oliver!" and "Half a Sixpence."

Musical and Theatrical Highlights

Wilson’s score gleams with 1930s flair: "Here We Are in Nice Again" opens with Riviera zest, while "Lights! Music!" channels Madame K’s cabaret grit. "Someone to Dance With" echoes "The Boy Friend"’s dance fever, and "You’re Absolutely Me" nods to Porter’s jaunty duets. The title song, "Divorce Me, Darling!," flips from marital spats to a reconciliatory reprise, paired with tap-heavy choreography that dazzled on the Globe’s stage. "Swing Time Is Here to Stay" brought sailor-clad ensembles to life, though the thin plot leaned heavily on these numbers. The original cast recording captures this frothy energy, despite a forward-mixed orchestra occasionally drowning lyrics.

Revivals and Beyond

Post-West End, "Divorce Me, Darling!" found a US premiere in Houston’s Arena Theatre in 1984, followed by a celebrated 1997 Chichester Festival Theatre revival with Ruthie Henshall as Polly and Liliane Montevecchi as Madame Dubonnet. The Chichester version, recorded by JAY Records, refined Wilson’s 1979 rewrite, adding "Back to Nature" and cementing its modern staging. Often paired with "The Boy Friend" in repertory, it’s a staple for amateur groups, with songs available via Music Theatre International. While it never hit Broadway, its global footprint spanning Texas to Chichester shows a quiet staying power, buoyed by fans of Wilson’s melodic wit.

Legacy and Cultural Footprint

"Divorce Me, Darling!" didn’t match "The Boy Friend"’s 2,078-performance triumph, its 91-show run a flicker beside West End giants. Yet, its 1930s homage crafted as musical theater sequels like "Annie 2" faltered offered a rare follow-up to a beloved classic. Critics found it “mild” compared to its predecessor, but its charm endures in recordings and revivals, reflecting Wilson’s knack for period pastiche. As of March 2025, it’s a niche treasure, its tap shoes and tangled romances a light-hearted echo of a bygone era, proving sequels can delight, even if they don’t always dominate the marquee.