Little Mary Sunshine
Little Mary Sunshine is a musical that parodies old-fashioned operettas and musicals. The book, music, and lyrics are by Rick Besoyan. The original Off-Broadway production premiered November 18, 1959 at the Orpheum Theatre in New York City's East Village. Staying in the neighborhood, it moved to the Player's Theatre on June 21, 1961, then, finally, to the Cherry Lane Theatre on March 21, 1962. Closing was Sept. 2, 1962. Combined run was 1,143 performances. It was seen briefly in a West End production in 1962 and has become a popular show for amateur and semi-professional groups in the United States and elsewhere.
Not to be confused with the 1916 silent film.Little Mary Sunshine
Background[edit]
Little Mary Sunshine was conceived and staged as an affectionate sendup of operettas and old-fashioned musicals, the genre of Victor Herbert, Rudolf Friml, and Sigmund Romberg. It also has allusions to Gilbert and Sullivan, Irving Berlin, Jerome Kern, Noël Coward, Rodgers and Hammerstein, and other musical theatre composers and lyricists. Its "Indians" and "forest rangers" (thinly disguised Mounties) allude to Friml's Rose-Marie, as does the song "Colorado Love Call". Numerous other, less obvious details point, in a humorous and lighthearted manner, to other operettas and musicals — sometimes specifically, sometimes in terms of general categories of songs or characters.
The 1954 Marc Blitzstein adaptation of The Threepenny Opera, which ran for six years, showed that musicals could be profitable off-Broadway in a small-scale, small orchestra format. This was confirmed in 1959 when a revival of Jerome Kern and P. G. Wodehouse's Leave It to Jane ran for more than two years. The 1959–1960 Off-Broadway season included a dozen musicals and revues including Little Mary Sunshine, The Fantasticks, which ran for over 40 years, and Ernest in Love, a musicalization of Oscar Wilde's 1895 hit The Importance of Being Earnest.[1]
Productions[edit]
The original Off-Broadway production opened on November 18, 1959, at the Orpheum Theatre in New York City's East Village and was directed and choreographed by Ray Harrison and featured Eileen Brennan in the title role, with William Graham as Captain Warington, and John McMartin as Corporal Jester. It closed in September 1962[2] after a run of 1,143 performances. Two pianos supplied the musical accompaniment. The musical acquired orchestral accompaniment when Capitol Records chose to feature it as that firm's first original cast recording of an off-Broadway show.
London's original West End production of the show — in some respects the first full stage presentation — was directed by Paddy Stone and starred Patricia Routledge, Terence Cooper, Bernard Cribbins and Ed Bishop. It opened on May 17, 1962 at the Comedy Theatre but was compared unfavourably with The Boy Friend and closed after only 42 performances.[3]
Critics of this musical have objected that it stereotypes and demeans Native Americans.[4][5][6][7]
The songs in Little Mary Sunshine allude to earlier shows, their songs, and their characters.[8]
Critical reaction[edit]
The New York Times called the musical "a merry and sprightly spoof of an era when 'justice always triumphed'... Little Mary Sunshine is an affectionate jab at the type of operetta that Rudolf Friml... made popular in the early Nineteen Twenties.... It is expertly performed by a group of young persons with felicitous voices and with good comic sense."[9] Writing for the same paper, Brooks Atkinson wrote : "There are echos of both Gilbert and Sullivan in his dainty caricature of the old-fashioned operetta and musical comedy. But there are also echos of Strauss, Herbert, Kern, Romberg, Youmans, Friml, and anybody else who brought romantic lovers together in a triumphant last scene... it is seldom that a subtle satiric idea is brought off so adroitly in both the writing and the performing."[10]
On the London production, The New York Times London correspondent wrote: "Even Little Mary Sunshine which arrived from Off-Broadway with a big reputation, seemed to us forced and its humors underscored, especially in comparison with The Boyfriend. It is one of those shows that succeed by becoming a cult, and it doesn't look as if that is happening here."[11]