The unabashedly old-fashioned, nostalgic operetta Song of Norway opened on Broadway in 1944 a year and half after Rodgers and Hammerstein revolutionized the American musical with Oklahoma! The show was the brainchild of Edwin Lester who first produced it at his Los Angeles Civic Light Opera. Song of Norway told the fictionalized life story of composer Edvard Grieg, with Robert Wright and George Forrest adapting the long dead composers’ themes into songs. With direction by Charles K. Freeman and choreography from George Balachine, the show was a smash running 860 performances. It would become the first American musical to open in London after the Second World War and became a staple in stock and local productions. There is also the notorious 1970 film version starring Florence Henderson. I’ve never had the privilege, but I am curious because I’m told it’s even worse than I could imagine.
I’ve only recently encountered the score. The original Decca cast album didn’t hold my attention very much, it was recorded for 78s and the only thing that stood out to me was Kitty Carlisle (who was filling in for floperetta queen Irra Petina – in her only hit, who couldn’t be on the Decca album due to her contract with Columbia). I also listened to the complete 1989 studio cast album, which was actually chore to sit through. I have to confess – as someone who does enjoy legit singing and operetta – I just don’t care for the show. Overall it’s rather dull, treacly and uninteresting (and in reality, Grieg’s life was rather mundane). Lester, Wright & Forrest re-teamed for Kismet in 1953, which while that one’s not a particularly strong show it’s infinitely far more fun and entertaining. The music is lovely, but we owe that more to Grieg than Wright & Forrest. I’d rather see a revival of Anya than Song of Norway.
There was one recording of the score that escaped me until now: the 1959 Jones Beach Marine Theatre revival cast recording. It sounds a bit obscure, but it turns out that this was the first one in stereo (and is even a revival of a revival cast album). Of course, I never knew that any of the Jones Beach musicals were ever recorded. The theatre there used to be a popular location for summer revivals of musicals turned into extravaganzas by producer and musical director Guy Lombardo. The outdoor venue is famed for its location on the water – the stage was built in Zachs Bay. This album is the latest rarity from Masterworks Broadway and it features John Reardon, William Olvis, Helena Scott and in the Irra Pettina role, Brenda Lewis, who sung the title role on the recently released Regina. Sig Arno recreates his original Broadway role of Count Peppi La Loup. The orchestra is conducted by Lehman Engel, with Stan Freeman (composer for I Had a Ball and Lovely Ladies, Kind Gentlemen) on piano for the climactic concerto.
The plot is as follows: Grieg, his best friend and sweetheart trill gaily through Scandinavia while the composer dreams of creating great Norwegian music. Enter Italian diva who charms Grieg and whisks him off to Italy for the high life. However, the composer finds himself unfulfilled and on learning of his friend’s death returns to Norway and his true love, culminating in the composition of his incredibly famous Piano Concerto in A Minor. Gag me with a spoon.
While I can’t say much to recommend the show itself, I will readily confess it’s never sounded better to me than it does here. I could listen to Reardon’s exceptional baritone all day long; he’s also on the 1960 studio album of On the Town as well as the original Broadway cast of Do Re Mi. Lewis is recent discovery, thanks to the aforementioned Regina. The singer first appeared in its original Broadway production as Birdie (and if you can track down the piano-only recording of “Lionnet” it’ll be worth your while) then moved into the title role for NYCO. In Norway, she’s a lot of fun as the diva, livening things up with a spirited rendition of “Now.” Helena Scott has a lovely lyric soprano, and sparkles in “Hill of Dreams” and the show’s big hit “Strange Music” (which still strikes me as a bizarre song title). Arno revels in the lively act two opener “Bon Vivant.” If there’s a recording of the show to be heard, this is the one. All in all, it makes for a pleasant listen, but it’s also one of the rare times I hope a new release doesn’t inspire a revival.
The new release is available as a digital download from Masterworks Broadway or Amazon, and in CD-R format from ArkivMusic.