Ever Green

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Ever Green: A Rodgers and Hart Triumph on the West End

"Ever Green" premiered at the Adelphi Theatre in London’s West End on December 3, 1930, running for 254 performances until June 1931. With music by Richard Rodgers, lyrics by Lorenz Hart, and a book by Benn Levy, this musical marked the duo’s third and final London collaboration. Produced by Charles B. Cochran and directed by Frank Collins, it starred Jessie Matthews as both Harriet Green, an Edwardian music hall star, and her daughter Harriet Hawkes, alongside Sonnie Hale as Tommy Thompson. Famous for its innovative use of London’s first revolving stage in the showstopping "Dancing on the Ceiling," the production blended romance, deception, and theatrical spectacle, captivating audiences with its lavish design and Rodgers and Hart’s unforgettable melodies.

Origins and Creative Vision

The musical’s roots trace to a story by Benn Levy, adapted into a dazzling stage vehicle for Matthews, a rising star known for her dance and charm. Rodgers and Hart, fresh from Broadway successes like "A Connecticut Yankee," crafted their score in London, tailoring it to the West End’s taste for operetta-infused flair. Cochran, a theatrical impresario, spared no expense, enlisting Buddy Bradley and Billy Pierce for choreography and introducing a revolving stage a technical marvel costing a fortune in 1930s terms. The plot follows Harriet Green, who flees to South Africa after an out-of-wedlock birth, only for her daughter to return years later, posing as her youthful mother in a publicity stunt orchestrated by Tommy, sparking a whirlwind of mistaken identities and romance.

The West End Production

Opening at the newly renovated Adelphi Theatre, "Ever Green" featured Matthews in dual roles, her dance prowess shining alongside Hale, her future husband, as the scheming Tommy. The cast included Joyce Barbour as Mrs. Puffin, Jean Cadell as Lady Bygot, and Albert Burdon as Albert, under Collins’ direction. The revolving stage dazzled in "Dancing on the Ceiling," where Matthews and Hale twirled around a giant chandelier flipped upright, simulating a ceiling dance a scene so iconic Matthews made it her signature tune. Launched amid the Great Depression, its 254-performance run drew crowds craving escapism, cementing its status as a box-office hit despite a shorter life than some contemporaries like "Chu Chin Chow."

Musical and Theatrical Highlights

Rodgers and Hart’s score sparkled with gems like "Dancing on the Ceiling" (also known as "He Dances Overhead"), a dreamy waltz that became Matthews’ calling card, and "Dear, Dear," a playful ensemble number. "If I Give In To You" and "The Colour of Her Eyes" added romantic depth, while "Harlemania" injected jazz-age pep. The revolving stage, a Cochran innovation, stole the show, its mechanics a marvel as dancers spun above the audience. Matthews’ balletic grace and Hale’s comedic timing, paired with opulent sets and costumes, crafted a visual and aural feast, though some critics noted the plot leaned heavily on its gimmick over substance.

Film Adaptation and Legacy

The musical’s success spawned a 1934 Gaumont British film, "Evergreen," again starring Matthews, directed by Victor Saville with a script by Emlyn Williams. Adding four Harry M. Woods songs and trimming some Rodgers and Hart numbers, it shifted the tone slightly but retained the dual-identity hook. Fred Astaire, keen to pair with Matthews after his London stage stint, was blocked by RKO, a missed chance rued by critics. The film cemented Matthews’ fame, though the stage version saw no major West End revivals, its legacy tied to its initial run and recordings like the 1930 cast snippets preserved in archives.

Cultural Impact and Lasting Echoes

"Ever Green" rode the wave of 1930s musical comedy, its 254 performances a testament to Rodgers and Hart’s transatlantic pull and Cochran’s showmanship. Outdone by longer-running epics, it still marked a technical leap with its revolving stage, influencing later spectacle-driven shows. Matthews’ star turn bridged stage and screen, her "Dancing on the Ceiling" a timeless echo of the era’s glamour. As of March 2025, its charm lingers in theater lore less revived than "The Boys from Syracuse" but cherished for its innovation and the fleeting magic of a Depression-era West End hit, where a chandelier flipped the script on musical staging.