In 1928, the American musical scene eagerly anticipated the Broadway premiere of "Treasure Girl," a new production featuring music by the renowned George Gershwin and lyrics by his equally talented brother, Ira Gershwin. With a book penned by Fred Thompson and Vincent Lawrence, and a cast led by Gertrude Lawrence, Clifton Webb, and Mary Hay, the show seemed poised for success. However, despite the star power and musical pedigree, "Treasure Girl" faced
a challenging reception, ultimately running for a modest 68 performances at the Alvin Theatre before closing on January 5, 1929. Its journey from initial tryouts to its Broadway run was marked by critical assessments that highlighted both its strengths and significant weaknesses.
From Tryouts to Broadway: The Production's Journey
The musical, initially considered under the titles "Tally Ho" and "Run Across," underwent tryouts at the Shubert Theatre in Philadelphia, commencing on October 15, 1928. This period of out-of-town performances is crucial for refining a show before its official Broadway opening. Following these tryouts, "Treasure Girl" made its Broadway debut on November 8, 1928, at the Alvin Theatre. The production boasted a notable creative team, with Bertram Harrison directing the book, Bobby Connelly handling choreography, Kiviette designing the costumes, and Joseph Urban creating the set designs. The ensemble was further enhanced by the presence of Paul Frawley and Walter Catlett alongside the leading trio.
Despite the collective talent involved, the show's run was relatively brief, concluding just under two months after its premiere. This short run often indicates a struggle to connect with audiences or critics, or both. The specific details of the production's journey, from its early titles to its Philadelphia tryouts and eventual Broadway opening, paint a picture of a show that, despite its promising elements, did not achieve the sustained success often associated with the Gershwin name.
A Mixed Bag of Critical Responses
The critical reception for "Treasure Girl" was largely dismal, according to Howard Pollack's characterization. While critics acknowledged certain positive aspects, these were often overshadowed by severe critiques of the show's narrative. For instance, the sets and costumes were frequently praised for their colorful nature, the chorus was described as vivacious, and Ira Gershwin's lyrics were noted for being catchy. Joseph Urban's "delectable settings" and Kiviette's "often entrancing" costumes were specifically highlighted by Arthur Pollock in The Brooklyn Daily Eagle, who also found the show "always beautiful, dainty, and unobtrusively charming" despite its duller moments.
However, the book, written by Fred Thompson and Vincent Lawrence, bore the brunt of the negative reviews. Billboard famously described it as "vapid, humorless and absolutely inane," while The New Yorker found the dialogue "hopelessly, remorselessly dull." Arthur Pollock echoed these sentiments, stating that the book had "less sense than is customary in musical comedies, even in those of which the Marx brothers are the stars." This consistent criticism of the book's quality suggests a fundamental flaw that even strong musical numbers and visual appeal could not overcome.
The Unsung Gems: Gershwin's Music and Lyrics Amidst the Wreckage
Gerald Bordman lamented that "The failure of the show dragged down with it some of Ira's best lyrics and some of George's most vivacious music." He pointed to Ira's clever and telling rhymes, such as "A B C" and "incompatibility" in the song "I Don't Think I'll Fall In Love Today," as examples of the lyrical brilliance that was lost in the show's overall failure. Similarly, George Gershwin's "striking melody" for "Feeling I'm Falling" also suffered a similar fate, getting "lost in the wreckage."
Despite the general disappointment, some critics recognized the quality of the score. Brooks Atkinson and Francis Bellamy considered George Gershwin's music among his best, although Atkinson felt that much of the cast, with the exception of Gertrude Lawrence and Paul Frawley, did not seem "up to the task of singing appreciatively in the vein that suits Mr. Gershwin's music best." Rowland Field, writing in The Brooklyn Daily Times, noted that the "score sparklers [sic] with songs of high quality" and that the music was "Gershwin at his best." He observed that these "tuneful numbers" performed "yeoman service in breaking up the monotony of a dull book in which there is an alarming paucity of humor." Field also commented that Clifton Webb, a "capable comic gentleman on occasions," was underserved by the material, except for his dance numbers with Mary Hay. Ultimately, while Field predicted success for the show due to Lawrence, the music, and the dancing, he also acknowledged that "it is a musical play that should have been infinitely better. As it stands, it is a production that is smart in every detail except its story and its humor." This highlights the paradox of "Treasure Girl": a show with undeniable musical and visual strengths, yet ultimately undermined by its weak narrative core.
