Musical (1942)

Musique: Richard Rodgers
Paroles: Lorenz M. Hart
Livret: Lorenz M. Hart • Richard Rodgers
Production à la création:

Basé sur la pièce de 1932, The Warrior’s Husband, By Jupiter n’était en fait qu’une énorme blague. Se déroulat dans la Grèce antique, les femmes sont des guerrières endurcies et leurs maris un peu sordides restent à la maison et cuisinent le souper. Mais dans les mains expertes des créateurs de musicals, le thème du renversement des sexes a donné lieu à une joyeuse aventure avec des chansons romantiques et comiques de Richard Rodgers et Lorenz Hart, un livret très émouvant (également de Rodgers et Hart) qui comprenait un correspondant de guerre nommé Homer
Personne ne le savait à l’époque, mais By Jupiter serait malheureusement le dernier musical du duo Rodgers et Hart (l’année suivante, ils s'associeront encore pour un revival de leur succès de 1927 A Connecticut Yankee (), rajoutant quelques nouvelles chansons pour la production). Mais By Jupiter termina leur collaboration sur une note positive, et elle devint leur musical ayant eu le plus gros succès à la création avec 427 représentations (les productions originales de A Connecticut Yankee () et Pal Joey ()étaient finalistes avec 421 et 374 performances respectives).

Au pays des Amazones, les femmes gouvernent et se battent tandis que les hommes restent à la maison, s'occupent des enfants et achètent de nouveaux chapeaux.
Une armée de soldats grecs, dirigée par Thésée et Hercule, arrive à la recherche de la ceinture sacrée de Diane, actuellement entre les mains de la reine régnante Hippolyta. Ils sont accompagnés du correspondant de guerre Homère, auteur d'un best-seller récent intitulé L'Iliade. Les guerriers grecs sont capturés par les Amazones et la romance s'épanouit entre Thésée et Antiope, le chef guerrier des Amazones. Une intrigue secondaire implique le mari d'Hippolyta, Sapiens, imposé par sa riche mère, en échange du financement de la guerre contre les Grecs, qui emploie ses "ruses non traditionnellement masculines" pour se frayer un chemin avec le sexe opposé.

Acte I
The Greeks are encamped near Pontus, where Hippolyta, Queen of the Amazon Warrior-Women, reigns. They have a ticklish assignment: as one of the Twelve Labours, Jupiter has ordered Hercules to acquire the sacred girdle of Diana from around Hippolyta's waist, and it looks like being quite a fight.
At the Palace, the women soldiers are squabbling, using the usual epithets, but with a feminine slant! Three Councillors discuss Palace politics; Pomposia needs Caustica and Heroica's support to promote her son at Court with a good prospect of marriage, but first has to explain what marriage is - a strange Greek system, at which the others laugh. When Hippolyta arrives, she leads the company in a celebration of their country. Pomposia presents her son Sapiens, who instantly takes Hippolyta's fancy and flirts wickedly with her: A heavy clinch is interrupted by a herald, who announces the landing of two foreigners. Hippolyta leaves to deal with this and when she returns, she is with her huntress sister Antiope and proudly introduces Sapiens to her, saying that one of them should marry him - then quickly hustles him offstage for herself! Antiope pretends not to mind.
Theseus and Homer, the foreigners, are announced. They are effusive to Hippolyta, and Theseus sings a number that Homer has written for him which develops into a huge swing dance routine. The men demand the girdle: Hippolyta refuses and throws them out, but Theseus manages to steal back to flirt with Antiope. Another out-of breath messenger announces that an army of Greeks - MEN! - is a week's march away: Hippolyta has to marry Sapiens to get from his ambitious mother the army equipment she needs, so a marriage is hastily arranged, delayed only by Sapiens fussing over his cape and veil! Hippolyta and the army then dash off to fight and Sapiens, like all wartime spouses, starts knitting furiously.

Acte II
In the Greek camp, we meet Hercules, who may be massive, but is a frightened wimp. Theseus broods on Antiope and in the Amazon camp, the sergeant broods on "The Boy I Left Behind Me". Sapiens arrives to claim his honeymoon, but even flirting and foot-stamping don't move Hippolyta. A Greek delegation enters, bringing a personal challenge from Hercules to Hippolyta; everyone drinks to the battle, Hippolyta trades girdles with Antiope so Hercules cannot grab the sacred one, and leaves. Sapiens shows Antiope how really to defeat a man - by kissing him - and she learns very quickly!
Theseus and Hercules arrive: Hercules is terrified by Antiope and takes refuge in Sapiens' tent, while Antiope and Theseus fight, until she defeats him in the special way she just learned and he happily carries her off, not knowing she is wearing the girdle! When Hippolyta returns and realises that the girdle is gone, Sapiens promises to lead the fight to get it back, as he knows how to deal with men .....
In the Greek camp, the girdle gets mislaid by Antiope in a big love scene with Theseus, and is found and tried by four nubile Greek camp-followers. When Sapiens meets them, his is electrified by their femininity and un-Amazon looks (not to speak of their behaviour). After a lot of horseplay, in which the girdle mysteriously disappears and Sapiens celebrates his new discoveries, it turns out that Antiope is off to Greece with Theseus, all the Greeks and Amazons are fraternising like anything, and Sapiens shows he has got - and is wearing - the girdle, which as King of the Amazons he presents to Hercules, though "You may have to have it let out a little!"

1 By Jupiter peut-être considéré comme un Top musical

Basé surstrong> The Warrior's Husband de Julian F. Thompson

All's Fair (pre-Broadway title)
The Warrior's Husband (source material)

Acte I
“For Jupiter and Greece” (Bob Douglas, Mark Dawson, Greek Warriors)
“Jupiter Forbid” (Benay Venuta, Martha Burnett, Rose Inghram, Kay Kimber, Monica Moore; danced by Marjorie Moore and Amazon Warriors; and by Robert and Lewis Hightower, Flower Hyjer, Ensemble)
“Life with Father” (Ray Bolger)
“Nobody’s Heart Belongs to Me” (Constance Moore)
“The Gateway of the Temple of Minerva” (Ronald Graham, Ensemble)
“Life with Father” (reprise) (Bertha Belmore, Ray Bolger)
“Here’s a Hand” (Ronald Graham, Constance Moore)
“No, Mother, No” (Ray Bolger, Ensemble)

Acte II
“The Boy I Left Behind Me” (Jayne Manners, Ensemble)
“Nobody’s Heart Belongs to Me” (reprise) (Ray Bolger)
“Ev’ry- thing I’ve Got (Belongs to You)” (Ray Bolger, Benay Venuta)
“Bottoms Up” (Mark Dawson, Benay Venuta, Constance Moore, Berni Gould, Bob Douglas, Vera-Ellen, Flower Hujer, Robert and Lewis Hightower, Ensemble)
“Careless Rhapsody” (Con- stance Moore, Ronald Graham)
Finaletto (aka “The Greeks Have Got the Girdle”) (Ray Bolger, Benay Venuta, Bertha Bel- more, Ensemble)
“Ev’rything I’ve Got” (reprise) (Benay Venuta)
“Now That I’ve Got My Strength” (Ray Bolger, Irene Corlett, Vera-Ellen, Ensemble)
Finale (Entire Company)

THESEUS : He is strong, handsome and masterful, but not the silver-tongued negotiator that Homer is. His winning of Antiope is in the best Errol Flynn tradition - and she loves it.
HOMER : Shown as a war correspondent with a quick line in terrible verse - but he complains the source material is no good! Like all journalists (so they say), he never refuses a drink. However, he is daring enough to demand the belt outright for Hippolyta.
HERCULES : All brawn and no brain - and certainly no bravery, either: he lets Theseus and the army do all the belt-hunting, even though it's one of his Twelve Labours.
SAPIENS : A personable young man, eager to experience all the joys of marriage; although very masculine in his inclinations, he is an adapt gender-bender when it comes to using what we consider feminine wiles" to get his own way. The prospect of being King is delightful, too.
HIPPOLYTA : Marriage starts as a way to close an armaments deal, but she quickly gets the taste for it. However, her husband's demands are a distraction from her main activity - fighting!
ANTIOPE : More susceptible than her sister Hippolyta to the idea of making love rather than war, even if she is a formidable huntress and the Commander-in-Chief. An outdoors girl with a highly-developed sense of fun, and quite cut out for being abducted over Theseus' shoulder.
POMPOSIA : Ambitious, manipulative and domineering. She is a mother hen to Sapiens, but a business powerhouse to everyone else.
CAUSTICA & HEROICA : Councillors loyal to Hippolyta; a little empty between the ears, but quick enough with their tongues.
BURIA : An officious Captain of the Guard, with a soft spot for the boy she left behind her.
PENELOPE : The arch-courtesan camp follower, with one eye on the available soldiery and the other on her investment portfolio.

Aucun dossier informatif complémentaire concernant By Jupiter

Aucun dossier informatif complémentaire concernant By Jupiter

Version 1

By Jupiter (1942-06-Shubert Theatre-Broadway)

Type de série: Original
Théâtre: Shubert Theatre (Broadway - Etats-Unis)
Durée : 1 an 1 semaine
Nombre : 421 représentations
Première Preview : Inconnu
Première: 02 June 1942
Dernière: 12 June 1943
Mise en scène : Joshua Logan
Chorégraphie : Robert Alton
Producteur :
Star(s) :
Avec: Bob Douglas (Achilles), Mark Dawson (A Herald), Robert Hightower (Agamemnon, Slave), Jayne Manners (Buria), Rose Inghram (First Sentry), Martha Burnett (Second Sentry), Kay Kimber (Third Sentry), Monica Moore (Sergeant), Maidel Turner (Caustica), Margaret Bannerman (Heroica), Bertha Belmore (Pomposia), Don Liberto (First Boy), Tony Matthews (Second Boy), William Vaux (Third Boy), Benay Venuta (Hippolyta), Ray Bolger (Sapiens), Constance Moore (Antiope), Helen Bennett (A Huntress, Third Camp Follower), Flower Hujer (An Amazon Dancer), Ronald Graham (Theseus), Berni Gould (Homer), Vera-Ellen (Minerva, First Camp Follower), Lewis Hightower (Slave), Wana Wenerholm (Amazon Runner), Ralph Dumke (Hercules), Irene Corlett (Penelope), Ruth Brady (Second Camp Follower), Joyce Ring (Fourth Camp Follower), Rosemary Sankey (Fifth Camp Follower); Girls of the Ensemble: Helen Bennett, Ruth Brady, Betty Jo Creager, June Graham, Babs (Barbara) Heath, Janet Lavis, Virginia Meyer, Marjorie Moore, Mary Virginia Morris, Beth Nichols, Dorothy Poplar, Bobby Priest, Joyce Ring, Rosemary Sankey, Toni Stuart, Olga Suarez, Wana Wenerholm; Boys of the Ensemble: Ray Koby, Don Liberto, Michael Mann, Tony Matthews, George Schwable, William Silvers, Ken Whelan, Robert Wilson, William Vaux

Version 2

By Jupiter (1944-07-Palace Theatre-Manchester)

Type de série: Pre-London Try Out
Théâtre: Palace Theatre (Manchester - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première: 24 July 1944
Dernière: Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Star(s) :

Version 3

By Jupiter (1967-01-Theatre Four-Off-Broadway)

Type de série: Revival
Théâtre: Theatre Four (Broadway (Off) - Etats-Unis)
Durée : 3 mois 1 semaine
Nombre : 118 représentations
Première Preview : 19 January 1967
Première: 19 January 1967
Dernière: 30 April 1967
Mise en scène : Christopher Hewett
Chorégraphie :
Producteur :
Star(s) :
Avec: Jackie Alloway (Hippolyta); Emory Bass (Homer); Irene Byatt (Pomposia); Ronnie Cunningham (Caustica); Hamp Dickens (Amazon/ Greek); Bob Dishy (Sapiens); Norma Doggett (Heroica); Ronn Forella (Amazon/ Greek); Ben Gerard (Achilles); Ben Gerard (Amazon/ Greek); Alice Glenn (2nd Sentry/ Messenger/ Huntress); Alice Glenn (Amazon/ Greek); Rosemarie Heyer (Buria); Robert R. Kaye (Theseus); Violetta Landek (Amazon/ Greek); Fayn Le Veille (1st Sentry); Fayn Le Veille (Amazon/ Greek); Debra Lyman (Trumpeter/ Runner); Debra Lyman (Amazon/ Greek); Joyce Maret (3rd Sentry/ Trumpeter); Joyce Maret (Amazon/ Greek); Richard Marshall (Herald); Richard Natkowski (Amazon/ Greek); Charles Rydell (Hercules); Sheila Sullivan (Antiope); Renata Vaselle (Sergeant/ Penelope); Renata Vaselle (Amazon/ Greek);

Version 4

By Jupiter (1992-05-Barbican Theatre-London) Lost Musicals Concert

Type de série: Concert
Théâtre: Barbican (Londres - Angleterre)
Salle : Theatre
Durée : 3 semaines
Nombre : 5 représentations
Première Preview : Inconnu
Première: 01 May 1992
Dernière: 24 May 1992
Mise en scène :
Chorégraphie :
Producteur :
Star(s) :
Commentaires : Lost Musicals Concert

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