Of Thee I Sing

Of Thee I Sing
Name	Of Thee I Sing
Music	George Gershwin
Lyrics	Ira Gershwin
Book	George S. Kaufman and Morrie Ryskind
Premiere	December 26, 1931
Place	Music Box Theatre, New York City
Basis	Original satire
Awards	Pulitzer Prize for Drama (1932)

Of Thee I Sing

Of Thee I Sing is a 1931 American satirical musical with music by George Gershwin, lyrics by Ira Gershwin, and a book by George S. Kaufman and Morrie Ryskind. The piece premiered in New York City at the Music Box Theatre and won the Pulitzer Prize for Drama in 1932, marking a rare distinction for a musical and connecting to contemporary political debates in the era of the Great Depression, Herbert Hoover, and the rise of Franklin D. Roosevelt. The work lampoons high office, electoral politics, and celebrity culture relevant to audiences familiar with figures like Calvin Coolidge, Warren G. Harding, and institutions such as the United States Senate and the White House.

Background and Development

Development involved collaborations among leading Broadway and Hollywood figures of the late 1920s and early 1930s, including producers like Alexandre Woollcott associates and impresarios of the Theatre Guild. George and Ira Gershwin, who had established reputations from works associated with Broadway and the Tin Pan Alley milieu, composed the score while playwrights Kaufman and Ryskind wrote a topical book drawing on precedents from satirists such as Mark Twain and stage traditions exemplified by Gilbert and Sullivan. The creative process intersected with theatrical institutions such as the Shubert Organization and the dramaturgy of figures like Florence Ziegfeld; casting choices drew on performers linked to Ziegfeld Follies and the emerging film-star crossover with studios like Metro-Goldwyn-Mayer and RKO Pictures.

Plot

The plot centers on a presidential campaign and marriage of convenience, invoking settings including the White House and the United States Capitol Building; it follows a protagonist elected because he is deemed the most "electable" who then faces scandals, romantic entanglements, and constitutional dilemmas involving impeachment and public opinion. Themes echo scandals of the Teapot Dome scandal era and mimic press coverage styles from outlets like The New York Times, The Chicago Tribune, and wire services such as the Associated Press. Scenes reference parliamentary procedures from the House of Representatives and legal maneuvers akin to those adjudicated in the Supreme Court of the United States.

Characters

Principal characters include a charismatic candidate and his love interest, advisors, a First Lady figure, and caricatured representatives of the press and political factions—roles that recall archetypes found in works by Noël Coward and Oscar Wilde. Secondary characters echo public personae such as newspaper magnates akin to William Randolph Hearst and foreign dignitaries reminiscent of diplomats to the League of Nations; ensemble roles mirror performers associated with the New Amsterdam Theatre and the stock company traditions of the Barrymore family.

Musical Score and Songs

The score by George Gershwin integrates jazz-inflected orchestration and Broadway revue sensibilities tied to contemporary composers like Cole Porter, Jerome Kern, and Richard Rodgers. Songs include numbers that function as political satires and character pieces, structured with lyric wit reminiscent of Lorenz Hart and harmonic language paralleling concert works performed at venues such as Carnegie Hall and the Metropolitan Opera House. Orchestral arrangements reflect trends from conductors like Paul Whiteman and pianistic virtuosity associated with performers such as Fats Waller.

Productions and Performance History

The original 1931 Broadway production at the Music Box Theatre featured staging influences traceable to directors who worked at the Earl Carroll Theatre and choreography traditions akin to those of Busby Berkeley. Subsequent revivals and international productions have appeared in theaters across London, Chicago, and festivals connected to institutions like the American Conservatory Theater and the Vienna State Opera company when adapted for concert staging. Touring companies and revivals often engaged directors and musical directors hailing from conservatories such as Juilliard School and the Royal Academy of Dramatic Art.

Reception and Impact

Critics from publications including The New York Times, The Times (London), and The Saturday Evening Post responded to the piece’s timely satire; its receipt of the Pulitzer Prize for Drama prompted debate within circles encompassing the Pulitzer Prize Board and cultural commentators like Alexander Woollcott and Heywood Broun. The show's blending of popular music and political critique influenced later musicals with civic themes, informing creators in the lineages of Stephen Sondheim, Kander and Ebb, and the contemporary satirical impulses found in works associated with Tom Lehrer and SNL writers connected to NBC.

Recordings and Adaptations

Recordings of the score have been produced by labels associated with the recording industry such as Columbia Records, RCA Victor, and Decca Records; notable performers who have recorded selections include singers from the eras of Ella Fitzgerald, Frank Sinatra, and revival casts featuring artists trained at the Curtis Institute of Music. Radio and television adaptations were broadcast on networks like NBC and CBS, while later concert performances have been presented by ensembles tied to institutions such as the New York Philharmonic and chamber orchestras affiliated with the Lincoln Center complex.

Category:Broadway musicals Category:Works by George Gershwin Category:Pulitzer Prize for Drama winners