Do Re Mi
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Do Re Mi: A Jukebox Journey on the West End
"Do Re Mi," a musical comedy with music by Jule Styne, lyrics by Betty Comden and Adolph Green, and a book by Garson Kanin, premiered at London’s Prince of Wales Theatre in the West End on October 12, 1961. Running for 169 performances, it closed in early 1962, bringing a slice of American hustle to British audiences. The show follows Hubie Cram, a small-time conman turned jukebox entrepreneur, as he navigates love, ambition, and shady deals in 1960s New York. Starring Max Bygraves as Hubie and Maggie Fitzgibbon as his steadfast wife Kay, this West End outing offered a fast-paced blend of humor and heart, spotlighting songs like "Make Someone Happy" and "Cry Like the Wind" in a production that echoed the era’s pop-art flair.
Origins and Broadway Roots
The musical debuted on Broadway at the St. James Theatre on December 26, 1960, running for 400 performances with Phil Silvers and Nancy Walker leading the cast. Inspired by Kanin’s 1955 novella, the story morphed into a theatrical romp under his direction, with Styne, Comden, and Green infusing it with a vibrant score. Its elaborate set a pop-art jukebox wonderland by Boris Aronson set a bold tone, catching David Merrick’s eye for a West End transfer. Tailored slightly for London, the production swapped Silvers’ brash comedy for Bygraves’ warmer charm, aiming to charm a new audience with its tale of get-rich-quick schemes and unexpected romance.
The West End Production
At the Prince of Wales Theatre, "Do Re Mi" opened with Max Bygraves as Hubie, Maggie Fitzgibbon as Kay, and Jan Waters as the ingénue Tilda Mullen, under Lehman Engel’s musical direction. The plot tracks Hubie’s pivot from petty scams to the jukebox trade, roping in pals Fatso, Brains, and Skin played by Steve Arlen, Eric Flynn, and Bernard Spear only to tangle with record mogul John Henry Wheeler (Terence Cooper). A Senate probe and a star-making turn for Tilda cap the chaos, with Kay’s loyalty grounding Hubie’s wild ride. The show’s 169-performance run leaned on its lively pacing and Bygraves’ appeal, though it didn’t match Broadway’s longevity, closing amid a crowded West End season.
Musical and Theatrical Highlights
Styne’s score, with Comden and Green’s sprightly lyrics, delivered earworms like "Make Someone Happy," a tender Wheeler-Tilda duet that became a standard, and "Cry Like the Wind," Tilda’s folk-tinged lament. "It’s Legitimate" spoofed Hubie’s gangster crew with tongue-in-cheek glee, while "Adventure" showcased Kay’s wry patience. The West End staging retained Aronson’s jukebox motif its stained-glass curtain a visual hook though scaled back some Broadway excesses. Marc Breaux and Dee Dee Wood’s choreography added zip, notably in "Fireworks," where black light sparked a dazzling love scene, blending 1960s flair with theatrical innovation.
Revivals and Global Echoes
Post-West End, "Do Re Mi" saw a 1999 Encores! concert in New York with Nathan Lane and Brian Stokes Mitchell, spotlighting its mid-century charm. San Francisco’s 42nd Street Moon staged it in 2001, and Chicago’s Porchlight Music Theatre revisited it in 2018. The J2 Spotlight Musical Theatre Company revived it Off-Broadway in April 2024, trimming the cast to a lean ensemble. While it never returned to the West End, its songs especially "Make Someone Happy," covered by Perry Como and Judy Garland kept it alive in cabaret and regional theaters, with the 1961 London cast recording a rare artifact of its UK stint.
Legacy and Cultural Footprint
"Do Re Mi" carved a niche in West End history as a spirited import, its 1961 run a snapshot of transatlantic musical exchange. Critics found it “fast, loud, and occasionally funny,” per The New York Times’ Broadway take, a vibe that carried to London. Though it didn’t spawn awards or a long legacy like "Guys and Dolls," its jukebox satire and Styne’s melodies resonated with fans of Golden Age musicals. As of March 2025, it remains a quirky classic lesser-seen but fondly recalled for its pluck and the enduring glow of "Make Someone Happy," a tune that outlasted Hubie’s schemes on both sides of the pond.