TALES OF THE ILL-FATED VICAR
by Charles A. Hooey
Liza Lehmann's opera The Vicar Of Wakefield sprang
to life in London at the Prince of Wales Theatre just prior
to Christmas in 1906. From its early tryout in Manchester to
the final curtain, it lived a mere nine weeks.
Lehmann first delighted music-lovers in 1896
with a charming and unique song cycle, In A Persian Garden,
following with In Memoriam for bass voice and piano
in 1899 and The Daisy Chain in 1900, both fine successes;
then she set her sights on creating a comic opera based on
Oliver Goldsmith's immortal tale. But fate would intervene.
Operas
and musicals try and fail on a regular basis so why is the Vicar so
special? The answer: the music, which was universally acclaimed.
The work's demise stemmed
from a series of miscues as is apparent from the writings of
three participants: composer Lehmann, David Bispham (pictured
as the Vicar), who sang the Vicar, and Edith Clegg, his younger
daughter, Sophia.
Why did Liza choose this story? Goldsmith penned
it in 1764 for his own amusement after toiling during the day
as proof-reader of others' writings. His doodlings were taken
up by Dr. Johnson and converted into 60 pounds, a princely
sum that freed Goldsmith from penury. The VICAR proved an instant
hit, the author's whimsical treatment placing him instantly
amongst his nation's leading humourists. Basing her opera on
such a popular tale seemed a wise move indeed.
In her book, she recalled those heady days, "When
I first conceived the idea of a musical version of The Vicar
Of Wakefield, Mr. Arthur Boosey, to whom I intended to
offer the music for publication, at once commissioned Mr. Housman
to write the book and lyrics." Bispham, who also acted as producer,
added, "It was intrusted to Laurence Housman, to whom and to
his sister had been traced the authorship of the beautiful
anonymous work, 'An Englishwoman's Love Letters', which added
a luster to a name already made famous by their brother, Alfred
Edward Housman, author of "The Shropshire Lad."' Laurence it
seems was a gifted wordsmith.
The music was duly composed and the dialogue
created and deemed excellent, but too lengthy. "At the first
rehearsals," Liza noted, "it had become apparent that there
were far too many long dialogues without music. My original
intention had been "opéra comique" as given in Paris
- that is, almost continuous music with very little spoken
dialogue. Our author had apparently not understood this, and,
as his long drawn conversations naturally destroyed the musical
continuity, he was asked to reduce them. Mr. Housman was away
in the country, and wrote back that he could not personally
undertake any excisions or revisions, but gave us carte blanche
to do anything that was found necessary, and said he would
attend the dress rehearsal as a spectator."
There was a casting problem as Bispham described: "I
had trouble in finding a tenor for the part of Squire Thornhill
and was about to engage Walter Hyde when Madame Lehmann begged
me first to hear a young man whose voice had been brought to
her attention. Accordingly, one Sunday afternoon in September
1906, I went with my conductor, the late Hamish MacCunn, and
my manager, Bram Stoker, so long Sir Henry Irving's right-hand
man, to Madame Lehmann's house at Wimbledon... After he had
sung, my dear Liza took me into the next room and enthusiastically
said, `David, if you don't engage him you're a fool. He has
an angel's voice.' `True,' said I, `but he has an Irishman's
brogue.' `He can get over that,' said she fervently."
Liza soon had ruefully to agree, "He proved,
however, to be so inexperienced as regards the stage, and his
Irish brogue was at that time so unquenchable and out of the
character of the young squire, that after a few rehearsals
it was mutually agreed the part did not suit him."
Edith Clegg worded the scene best: "His first
sentence in the play was his undoing. Phwoi! Phwat's the matter-r-r?'
was felt to be out of keeping in the ultra-English Squire Thornleigh,
and despite his lovely voice, after a few rehearsals it was
found necessary to engage another artist."
Squire Thornhill (or "Thornleigh" to Edith),
had to be English so re-enter Walter Hyde, a young tenor from
Birmingham who had scored mightily in the musical My Lady
Molly. Edith again: "I had the pleasure of working for
this first time with my old friend Walter Hyde who took up
the part and had a great personal success with it."
Bispham saw the others as ideal, "Mr. Richard
Temple was admirable as Mr. Burchell and Mr. Lander played
the part of the rascally Jenkinson, which fitted like a glove,
Mrs. Primrose, the vicar's wife, was played to perfection by
that most sympathetic of comediennes, Mrs Theodore Wright;
the daughter Sophia and the boys Moses, Dick and Bill were
performed as if Goldsmith's characters had come to life; while
in the charming Miss Isabel Jay I had the one woman on the
London stage who filled the eye as well as the ear in her rendering
of the part of the wayward but captivating Olivia."
However the Vicar was the star. "How charming
he was," Edith said, "especially when he gave up wearing the
false nose. The strain of keeping that nose in position was
dreadful, and many a time during a performance did he inquire
in his best canonical whisper, `Sophy, is my nose straight?'"
At the dress rehearsal, as promised, Housman
turned up but soon became severely agitated. Liza wrote "with
considerable flow of eloquence (he) told Mr. Bispham that he
could not recognize his play, and that it was utterly ruined." He
threatened to sue, and to force an injunction to restrain performance. "This
was a horrible position for all of us at the eleventh hour,
and under the circumstances we could not see that Mr. Housman
had any earthly right to take such action. In an atmosphere
of threats and counter-threats, the work enjoyed considerable
success during its preliminary tour of two or three weeks in
provincial theatres."
Edith's memories were vivid: "We opened in
December at the Prince's Theatre, Manchester. How well I remember
that day! (It was 12 November) It began with a thick fog -
a regular pea-souper, and I was staying in rooms - my first
experience of `theatrical digs.' My sister rang for matches
to light the gas and after repeated peals, punctuated by long
waits, a very dirty little maid with a bad attack of adenoids
came panting into the room to say - `The Bissis says you boosn't
rig the bell so booch. I'mb cleadig the step and I can't coob!'
Poor child! I am afraid I was a little hard on her. It is difficult
enough to keep clean in Manchester at any time, and the atmosphere
that day was appalling." Soprano Violet Londa sang Olivia at
this stage.
Presumably with every wrinkle ironed out, the
production arrived in London and opened on the 12th to
a packed and expectant house. Housman, ensconced in his complimentary
box seat, "laughed derisively" during a moment of sentiment
in the first act, causing the theatre manager to rise up and
hurry to quell the disturbance. At first he failed to recognize
him, but after a loud exchange, Housman was ejected. The next
day The Daily Chronicle screamed: DISOWNED OPERA - Author
Ejected From The Theatre - `First Night' scenes. The controversy
thus created continued to boil while at the theatre, audiences
went on applauding wildly. Alas, the negative publicity proved
devastating and after a few weeks, the Vicar closed.
Summing up, Liza lamented: "Apart from the
length of the dialogue, which, even after the offending liberties
had been taken with the text, still needed an active pruning
knife, we had chosen the wrong time of year for this type of
entertainment. It was just before Christmas; the winter was
a particularly severe one, and the snow was piled up in the
streets, making them almost impassible. And then the Pantomines
burst forth, and the receipts at the box office, which had
started splendidly, began to languish. By the time the poor
Vicar was to make his parting bow, `business' had already begun
to recover, and the whole company offered to continue playing
at half-salaries, as they believed in ultimate victory." But
theatre management had other plans, deeming a comedy by Paul
Rubens a far safer card, and no other suitable theatre was
available.
And yet press reaction was universally favourable,
The Daily Telegraph view being typical, "Oliver Goldsmith's
simple but fascinating story has been turned to musical account
by Madame Liza Lehmann, and the result of her efforts is altogether
delicious. Number follows number, each more pleasing than the
other, while the orchestration (which she attributed to her
husband Herbert Bedford) is of a particularly delicate yet
rich description."
To Edith Clegg it had a weakness: "The music
was charming, but the book lacked humour, and being `light'
not `grand' opera, a funny man was essential to its financial
success. The humour we did get was sometimes unintentional.
I had a delightful little song to a blackbird. A real bird
was tried at first, but the poor thing was terrified by the
lights and a stuffed one was substituted. One night, just before
I had to bring the cage down to the footlights, one of the
men in the orchestra called up, `Sophy! Your blackbird's hanging
on his perch!' I just had time to put him right side up before
my cue for the song." Possibly she was right but Liza likely
rejected any outright comic touches, thinking both situation
and music were comic enough.
Clearly the main problem was the inadequacy
of the dialogue; it lacked the flow of good opera. One wonders
why Housman was chosen as his writing credentials seemed unsuited
to opera, or as Liza felt, he failed to understand his purpose.
And why did he choose to absent himself during the work's crucial
formative stage?
Housman possessed a somewhat different view,
for according to Kurt Gänzl in the Encyclopedia of the
Musical Theatre, he "flounced angrily out when his overlong
book was cut to make room for the vast amount of music his
composer had supplied." Whatever was true vis-à-vis
libretto vs music, Liza must share some blame in that her lack
of operatic expertise meant that she was unable to spot potential
trouble soon enough nor able to resolve it in time.
The cast seems to have done well. Although
Walter Hyde presented a squire to the manor born, one wonders
if the other Irish tenor's splendid voice would have tipped
the scales favourably, presuming his brogue was sufficiently
tamed. Probably not. Most will have guessed he was none other
than John McCormack.
Was Liza really an operatic composer? No one
now can really say but Steuart Bedford, her grandson, affirms "I
do have a score of the piece and it contains many charming
numbers. Dick's song, `It was a lover and his lass' is particularly
characteristic." So, to conclude on a positive note, in fact,
it is possible for the Vicar to be reawakened. © Charles
A Hooey
Sources: The Life Of Liza Lehmann by
herself, published by T. Fisher Unwin, London, in 1919; A
Quaker Singer's Recollections by David Bispham, published
by the MacMillan Company, New York, in 1920; "As It Was
In My Beginning," an article by Edith Clegg in Opera Vol.
1, No 11, November, 1923. Also thanks to Jim McPherson for
providing Mr Gänzl's report.