Around the World | |
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![]() The Playbill for the Adelphi Theatre (May 31, 1946) | |
Music | Cole Porter |
Lyrics | Cole Porter |
Book | Orson Welles |
Basis | Around the World in Eighty Days by Jules Verne |
Productions | 1946 Broadway |
Around the World is a musical based on the 1873 Jules Verne novel Around the World in Eighty Days , with a book by Orson Welles and music and lyrics by Cole Porter. It involves an around-the-world adventure by Phileas Fogg. The expensive musical extravaganza opened on Broadway in May 1946 but closed after 75 performances.
As he did with his unsuccessful 1938 stage production of Too Much Johnson , Welles shot film sequences that were integrated into Around the World. This footage is lost.
After he finished shooting his 1946 film The Stranger , Welles decided to make a musical out of one of his favorite childhood books, Around the World in Eighty Days . He visualized an entire circus on stage, a train running through the West, and other extravagant production ideas. He raised money from Mike Todd, producer William Goetz, and Alexander Korda, who held the title's European rights. However, he had no money left for a star cast and used performers who were not well known. Also, according to critical Welles biographer Charles Higham, "Porter wrote the songs far too quickly and badly". [1] : 228–29, 232
The show had a cast of 70 and included four mechanical elephants and 54 stage hands. When Mike Todd pulled out, Welles put up his own money. He also borrowed from Columbia Pictures president Harry Cohn, on a promise to write, produce, direct and star in a film for Cohn for no fee. The result was the 1947 film The Lady from Shanghai . [2]
Playwright John van Druten described the musical as "enormous fun" and Joshua Logan said it was "fresh, witty, magical, exciting". However, with no story and unclear relationships between the characters, the show closed quickly, with Welles losing his savings, and the investors losing "large sums". [1]
Phileas Fogg bets that he can circumnavigate the world in 80 days, and sets out on the journey with his assistant, "Pat" Passepartout. They are pursued by the persistent but incompetent police officer Inspector Fix, who believes Fogg possesses stolen money.
Around the World was a play production by Orson Welles's Mercury Productions. It began pre-Broadway tryouts at the Boston Opera House, Boston on April 28, 1946; moved to the Shubert Theatre, New Haven on May 7; then transferred to the Shubert Theatre, Philadelphia on May 14.
It premiered on Broadway at the Adelphi Theatre on May 31, 1946, and closed on August 3, 1946 after 75 performances. [3]
It was produced and directed by Welles with circus sequences created by Barbette, choreography by Nelson Barclift, costumes by Alvin Colt, set design by Robert Davison, and lighting by Peggy Clark. There were 38 sets, which Welles asked to be designed in the style of the films of Georges Méliès. [4] : 111
"Some of the more spectacular scenes included a giant eagle snatching an actor from the stage, an authentic Japanese circus troupe, a live elephant, a train crossing the rocky mountains, and a troop of Marines", wrote Welles scholar Bret Wood. "Motion picture footage was shot and integrated into the play to heighten its mad, vaudevillian qualities." [5] : 61
Technical problems were largely resolved before the New York opening. Welles performed various roles through the play's run, and once was required to play the lead: [5] : 62 On the last night of the Boston run, when Arthur Margetson lost his voice, Welles read the part of Fogg and an understudy sang the songs. "The audience felt blessed," wrote biographer David Thomson. "It was a spellbinding night, with Welles talking everyone—audience included—through their parts." [6] : 270–271
Although audiences reportedly loved Around the World, its precarious finances—and the theatre's inadequate air conditioning—could not sustain it through the summer, and Welles was forced to close it. He personally lost an estimated $320,000 (equivalent to $4,800,000in 2022) [7] on the production. Due to bad legal advice, he was unable to claim the loss on his taxes, and it took him many years to pay the debt. [4] : 395–396
After the show's failure, Welles was keen to stage it in London, where Alexander Korda predicted it would be a great success, but British trade union rules forbade the elaborate props and sets built for the American production, and they had to be destroyed. They proved too expensive to reconstruct, and the show never again received a full-scale staging. [4] : 109
This is the order of the program as it appears in The Playbill for the Adelphi Theatre production beginning Friday, May 31, 1946 (pp. 17–19):
ACT I.
| ACT II.
|
Due to the size and scope of the production, the play ran approximately three hours with one intermission. [5] : 61
Around the World was a stage-and-screen hybrid. Five scenes in the production were motion pictures shot and edited by Orson Welles, in silent-movie style with title cards, and alternated with live action. The film is lost. [4] : 395
"These sequences are virtually forgotten in discussions of Welles' cinema," wrote Welles scholar Bret Wood. "The motion picture segments of Around the World, probably long since destroyed, would provide cineastes with an important piece of Wellesian history."
As was the Too Much Johnson footage, the Around the World film was black and white without sound in homage to the breathless chases and adventures of the silent era. Viewing the latter footage would be of great interest because by this time Welles had considerable experience in filmmaking and had acquired a definite cinematic style, drawn largely from other films. [5] : 205–206
The "Movies" scenes provided a silent introduction (with orchestral accompaniment) to each act of the play. Other sequences included a scene inside the bank and the rescue on the S.S. Tankadere, filmed in one day at the Edison Studios; and a chase through San Francisco. The chase was filmed in Boston and, like that in Too Much Johnson, featured actual locations. [5] : 206
The edited film sequences comprised about 30 minutes of projection time in the play. [8] : 387
These actors were featured in the "Who's who in the cast" section of The Playbill for the Adelphi Theatre production beginning Friday, May 31, 1946 (pp. 26–32):
This is the musical program as it appears in The Playbill for the Adelphi Theatre production beginning Friday, May 31, 1946 (pp. 21–23):
ACT I.
| ACT II.
|
Critic Lewis Nichols of The New York Times calling the musical "only fitfully amusing", noted that the production "has spared no expense in gadgets and effects. There are movies of the flicker era, a miniature train crossing a bridge ... and desperate men and bold clinging to the rails of pounding ships at sea. In other words, Around the World has the making for an hilarious evening. It does not come off because it lacks unity. There are too many styles fighting among themselves ... the dances generally are miles removed from Mr. Welles' burlesque. Finally, Cole Porter has written an inferior score, the songs being on the usual musical comedy subjects and delivered without the zest brought to the show by its mainstay. … Perhaps the best part of the show is a circus, with acrobats, a rope walker and with Mr. Welles, himself, as the magician." [9]
Life magazine called the show "the most overstuffed conglomeration of circus, magic, movies, old-fashioned spectacle and penny peep shows that Broadway has seen since the days of Barnum's Museum. … For part of the time Around the World is wonderful, noisy fun. But, handicapped by Cole Porter's disappointing music and a slapdash production, it ends up like a Victorian whatnot more cluttered with junk than gems." [10]
After New York drama critic Robert Garland wrote disdainfully that the show had "everything but the kitchen sink", Welles had a kitchen sink brought to him onstage during his curtain speech. [4] : 395 [6] : 271
During the show's run, Bertolt Brecht went to see it, and went to congratulate Welles backstage after the show, declaring it to be "the greatest American theatre he had ever seen". [4] : 112
After Welles's death in 1985, critic Stanley Kaufmann recalled seeing Around the World, "his exuberant 1945 Broadway production … The show flopped, but sometimes I meet someone who saw it. Immediately we start to bore everyone else in the room by reminiscing about it." [11]
George Orson Welles was an American actor, director, screenwriter, and producer who is remembered for his innovative work in film, radio, and theatre. He is considered to be among the greatest and most influential filmmakers of all time.
Around the World in Eighty Days is an adventure novel by the French writer Jules Verne, first published in French in 1872. In the story, Phileas Fogg of London and his newly employed French valet Passepartout attempt to circumnavigate the world in 80 days on a wager of £20,000 set by his friends at the Reform Club. It is one of Verne's most acclaimed works.
John Houseman was a Romanian-born British-American actor and producer of theatre, film, and television. He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay. He won the Academy Award for Best Supporting Actor for his portrayal of Professor Charles W. Kingsfield in the 1973 film The Paper Chase. He reprised the role of Kingsfield in the 1978 television series adaptation.
Cradle Will Rock is a 1999 American historical drama film written, produced and directed by Tim Robbins. The story fictionalizes the true events that surrounded the development of the 1937 musical The Cradle Will Rock by Marc Blitzstein; it adapts history to create an account of the original production, bringing in other stories of the time to produce a social commentary on the role of art and power in the 1930s, particularly amidst the struggles of the labor movement at the time and the corresponding appeal of socialism and communism among many intellectuals, artists and working-class people in the same period.
Around the World in 80 Days is a 2004 American action adventure comedy film based on Jules Verne's 1873 novel of the same name and remake of the movie of the same name of 1956. It stars Jackie Chan, Steve Coogan and Cécile de France. The film is set in the nineteenth century and centers on Phileas Fogg (Coogan), here reimagined as an eccentric inventor, and his efforts to circumnavigate the globe in 80 days. During the trip, he is accompanied by his Chinese valet, Passepartout (Chan). For comedic reasons, the film intentionally deviated wildly from the novel and included a number of anachronistic elements. With production costs of about $110 million and estimated marketing costs of $30 million, it earned $24 million at the U.S. box office and $48 million worldwide, making it a box office failure. It also received generally unfavorable reviews from critics, mainly for lacking similarities of the original book.
Phileas Fogg is the protagonist in the 1872 Jules Verne novel Around the World in Eighty Days. Inspirations for the character were the American entrepreneur George Francis Train and American writer and adventurer William Perry Fogg.
The Mercury Theatre was an independent repertory theatre company founded in New York City in 1937 by Orson Welles and producer John Houseman. The company produced theatrical presentations, radio programs and motion pictures. The Mercury also released promptbooks and phonographic recordings of four Shakespeare works for use in schools.
Around the World in 80 Days is a 1956 American epic adventure-comedy film starring David Niven, Cantinflas, Robert Newton and Shirley MacLaine, produced by the Michael Todd Company and released by United Artists.
Too Much Johnson is a 1938 American silent comedy film written and directed by Orson Welles. An unfinished film component of a stage production, it was made three years before Welles directed Citizen Kane, but it was never publicly screened. It was shot to be integrated into Welles's Mercury Theatre stage presentation of William Gillette's 1894 comedy, but the film sequences could not be shown due to the absence of projection facilities at the venue, the Stony Creek Theatre in Connecticut. The resulting plot confusion reportedly contributed to the stage production's failure.
Paris is a musical with the book by Martin Brown, and music and lyrics by Cole Porter, as well as Walter Kollo and Louis Alter (music) and E. Ray Goetz and Roy Turk (lyrics). The musical, which premiered on Broadway in 1928, was Porter's first Broadway hit. The musical introduced the song "Let's Do It, Let's Fall in Love" sung by the show's star, Irene Bordoni. The story involves a young man from a very proper family in Newton, Massachusetts whose mother is horrified by his intention to wed a French actress.
Moby Dick is a two-act drama by Orson Welles. The play was staged June 16–July 9, 1955, at the Duke of York's Theatre in London, in a production directed by Welles. The original cast included Welles, Christopher Lee, Kenneth Williams, Joan Plowright, Patrick McGoohan, Gordon Jackson, Peter Sallis, and Wensley Pithey. The play was published by Samuel French in 1965.
Jean Passepartout is a fictional character in Jules Verne's novel Around the World in Eighty Days, published in 1873. He is the French valet of the novel's English main character, Phileas Fogg. His surname translates literally to "goes everywhere", but “passepartout” is also an idiom meaning "skeleton key" in French. It can also be understood as a play on the English word passport—or its French equivalent passeport.
Stefan Artur Schnabel was a German-born American actor who worked in theatre, radio, films and television. After moving to the United States in 1937 he became one of the original members of Orson Welles's Mercury Theatre repertory company. He portrayed Dr. Stephen Jackson on the CBS daytime TV series, The Guiding Light, for 17 years.
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Around the World in 80 Days is an Australian 48-minute direct-to-video animated film from Burbank Films Australia. It was originally released in 1988. The film is based on Jules Verne's classic French novel, Around the World in 80 Days, first published in 1873, and was adapted by Leonard Lee.
Robert Edwin Clark, known as Bobby Clark, was a minstrel, vaudevillian, performer on stage, film, television and the circus. Known for his painted-on eyeglasses, he was part of a comedy team with Paul McCullough for 36 years.
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Howard Irving Smith was an American character actor with a 50-year career in vaudeville, theatre, radio, films and television. In 1938, he performed in Orson Welles's short-lived stage production and once-lost film, Too Much Johnson, and in the celebrated radio production, "The War of the Worlds". He portrayed Charley in the original Broadway production of Death of a Salesman and recreated the role in the 1951 film version. On television, Smith portrayed the gruff Harvey Griffin in the situation comedy, Hazel.
David Anthony Stuart Atkinson was a Canadian baritone and New York Broadway actor/singer. Most of his career was spent performing in musicals and operettas in New York City from the late 1940s through the early 1970s, although he did appear in some operas and made a few television appearances. In 1952 he created the role of Sam in the world premiere of Leonard Bernstein's Trouble in Tahiti. From 1956-1962 he was a leading performer at the New York City Opera where he starred in several musicals and appeared in the world premieres of several English language operas. His greatest success on the stage came late in his career: the role of Cervantes in Man of La Mancha which he portrayed in the original Broadway production, the 1968 national tour, and in the 1972 Broadway revival.
This is a comprehensive listing of the theatre work of Orson Welles.
There isn't one person, I suppose, in a million, who knows that I was ever in the theatre.