Good morning, all! I am felling better today than yesterday, but I slept quite badly with an ongoing nightmare about trying to produce a musical for PBS. Oy!
Today, I am indeed back to Toyland: there are several things I need to learn, such as whether or not conductor Max Hirschfeld had a possible space of time during his Broadway career to return to Germany and conduct Spielland, the Berlin adaptation of BABES IN TOYLAND. Yesterday, on eBay I tracked down the 2-volume set of supernatural stories by Fitz-James O'Brien, whose 1859 story "The Wondersmith" was a primary source for the BABES IN TOYLAND libretto. O'Brien was an Irish-American writer who died in the Civil War in 1862, but I was amazed to learn yesterday how much he's been anthologized in horror and macabre collections.
I've been reading Neil Gould's forthcoming biography of Victor Herbert, which is enormous (700+ pages) but I'm running into things I know are inaccurate and that worries me since it colors everything I'm reading. The book is quite well-researched, but some of his undocumented comments, such as that on the size of Herbert's theatre orchestras on Broadway and tour, are so off base. Now, while it's possible that Herbert wanted 50 musicians for NAUGHTY MARIETTA, which was written for Oscar Hammerstein's opera company, I have the documentation that the Broadway orchestras for IT HAPPENED IN NORDLAND (1904) and THE LADY OF THE SLIPPER (1912) had no more than 30 players. According to the press releases for the 1905 second-class tour of BABES IN TOYLAND, the orchestra was around 20 players. Mr Gould claims that Herbert's contracts required 34 musicians for the tours. Well, maybe the first-class ones.