A phone call from George Abbott always held promise of excitement. Late in 1952, I (Betty) got a phone call and it was George Abbott asking if we could write the lyrics for a show based on My Sister Eileen to star Rosalind Russell. (Adolph) was in Paris and got a call from me (Betty) telling about it, which caused him to rush home at once. It seems they had a partial score they were unsure of. George asked if we could write a score in four weeks because after that they would lose Miss Russell to other commitments, and wanted to know what composer we could suggest. We thought of Leonard Bernstein, knowing he had just returned from his honeymoon with Felicia, and mentioned him dubiously to George. George said: “Go over and ask him right away!” We did, although we were very doubtful if Lenny would be interested. Among other things he had promised his mentor Serge Koussevitsky that after On the Town he would get down to serious business and never, never write another show. We had no sooner entered Lenny’s apartment and were blurting out the facts about the show when the phone rang. It was George, never one to waste time, barking at us impatiently, and “Well is it yes or no?” To our surprise, with no hesitation Lenny said “Yes” He always like deadlines, and four weeks to write a score was an irresistible challenge.
The play by Joseph Fields and Jerome Chodorov written in the 1940’s had been based on stories by Ruth McKenney about two girls from Columbus, Ohio, who came to New York in the mid-1930’s to seek fame and fortune. We resisted all pressure to update it to the 1950’s, and knew we were on our way when Lenny exuberantly banged out on the piano the Eddie Duchin vamp, a characteristic musical sound of the 1930’s. We were creatively on our way to Greenwich Village and adventure in the “Big City”, and were able to complete the score in the prescribed four weeks.

            This score celebrates New York as the magnet for young people from all fields of endeavour who, like Ruth and Eileen, still come to fulfil their aspirations in this Wonderful Town.

 — Betty Comden and Adolph Green

 

Newcastle Festival Opera would like to express their gratitude to Professor Richard Vella, Head of School—School of Drama, Fine Art and Music at The University of Newcastle for his support for Wonderful Town. This production has been a partnership between the two organisations in presenting to the Newcastle community a collaboration of musical resources in allowing this extraordinary music to be performed. Many of the performers you are hearing tonight are staff members, graduates and undergraduates from this fine tertiary music institution. Newcastle Festival Opera provides opportunities for these singers and instrumentalists to work in a professional environment. NFO would also like to thank Dr Philip Matthias and the members of The University of Newcastle Chamber Choir. The contribution from this fabulous ensemble has made this performance very special and we thank you all very much.