Words Without Music - George and Ira Gershwin

PARK AVENUE FINDS ITS WAY TO LONDON
More than 60 years after it closed
on Broadway, Park Avenue made
it across the pond for a short
run this past spring as the opening
production of the 2008 season of Ian
Marshall Fisher’s Lost Musicals organization.
The cast of the London performances
at the Lilian Baylis Theatre included
Elizabeth Counsell, David Firth, John
Rawnsley, Valerie Cutko and Nuala Willis.
The production was “put across with great
élan,” according to Michael Billington in
The Guardian, who deemed it “an occasion
for curio-collectors.” Billington also noted
that “Ira Gershwin’s lyrics [in “There’s
Nothing Like Marriage for People”] uncannily
anticipate Sondheim’s ‘The Little Things You Do Together’
from Company,” a point also made by Michael Darvell in his review
at www.classicalsource.com. Prior to the London staging, the only
production of Park Avenue since the original closed in January 1947
was a short run at New York’s Theater Ten Ten in 1999.
Coming off the unsuccessful Firebrand of Florence with Kurt
Weill, Ira was approached by George S. Kaufman in late 1945;
as he wrote to future Gershwin biographer, Edward Jablonski:
“Am giving up the [motion] picture propositions to do a show
with G.S. Kaufman and Nunnally Johnson – A. Schwartz to do
the music.” Kaufman assured Ira “that [Park Avenue] will give
you plenty of opportunity ...” and Arthur Schwartz, in a letter
to Ira from the Waldorf-Astoria in January 1946, said he was
“never so confident of a wonderful result.”
Bringing together the talents of Kaufman, Johnson,
Schwartz and Ira, this “smart” musical about a group of rich
Long Islanders who switch marital partners too readily, seemed
to have the elements for a success, but by the time Ira wrote to
Jablonski on October 16, 1946 from the Warwick Hotel in
Philadelphia (where he was staying during the show’s out of
town run), the outlook wasn’t so rosy: “We’re still working hard
trying to get it in first rate shape ... There’s a chance we’ll get by
when we open in New York.”
But that chance dimmed with the generally negative reviews
that greeted Park Avenue after it opened on November 7, 1946,
at New York’s Shubert Theatre. The show couldn’t overcome
the critical brickbats (“singularly unimposing” – wrote Brooks
Atkinson in The New York Times) and shut its doors after 72
performances. Park Avenue’s backers, Ira
being one of them, suffered a loss of nearly
$200,000. Unfortunately, as Ira put it in his
book, Lyrics on Several Occasions, “… charm
wasn’t enough … [and] divorce is a ticklish
subject to be funny about for an entire
show.” It seemed that jokes about
divorce were particularly unfunny to families
reuniting after the Second World War
and at a time when shows such as Oklahoma!
and Carousel had caught the imagination
of the play-going public. Ira wrote,
“Arthur Schwartz told me that a friend of
his ... cried through most of it. She had recently
been divorced and just couldn’t
take it.” Schwartz conceded to Ira that
“we didn’t deliver a show good enough to please the critics and
the customers.”
Though George S. Kaufman, among others, asked him in
later years to write for the stage again, Park Avenue was Ira
Gershwin’s last show on Broadway; as he expressed it to
Edward Jablonski, “I can’t afford to do any more flops – two in a
row is about six too many.” Ira’s lyrics would not find their way to
Broadway again until 1983, when the Tony award-winning My One
and Only opened three-and-a-half months before his death.
Mary Wickes, Ruth Matteson, Arthur Margetson, Leonora Corbett and Wilson
Smith in the original 1946 Broadway production
The Ira Gershwin Newsletter 5