The Princess Theatre was a joint venture between the Shubert Brothers, producer Ray Comstock, theatrical agent Elisabeth Marbury and actor-director Holbrook Blinn. Built on a narrow slice of land located at 104–106 West 39th Street, just off Sixth Avenue in New York City, and seating just 299 people, it was one of the smallest Broadway theatres when it opened in early 1913. The architect was William A. Swasey, who designed the Winter Garden Theatre two years earlier.
Though small, the theatre had a profound effect on the development of American musical theatre. After producing a series of plays, the theatre hosted a famous series of sophisticated musicals by the team of Jerome Kern, Guy Bolton and P. G. Wodehouse, between 1915 and 1918 that were believable, humorous and musically innovative, and integrated their songs with their stories. These were considered an artistic step forward for American musical theatre, inspiring the next generation of writers and composers. Afterwards, the theatre hosted more plays and later served as a movie theatre and a recreation center. It was torn down in 1955.
Theatre building
Though fairly drab on the outside, looking like a six-story office building, except for its marquees and gaudy electric sign over the main entrance, the Princess was elegant inside. A blend of Georgian and French Renaissance styles, the auditorium contained fourteen rows of seats and twelve boxes off the proscenium arch and was hailed for its excellent acoustics and sight-lines. The decor included neoclassical inspired plasterwork and antique French tapestries hung from the side walls.
1910s
Originally planned as a venue for short dramatic plays, the early shows at the Princess failed to attract an audience. Even so, some of these plays found success elsewhere. For example, Hobson's Choice (1915) played well in London the following year and became a success on film. Theatre agent Elisabeth Marbury was tasked with booking the theatre to improve its fortunes and approached young Jerome Kern, who suggested a collaboration with Guy Bolton, to write a series of musicals specifically tailored to its smaller setting, with an intimate style and modest budgets. She and Comstock asked for meaningful, modern, sophisticated pieces that would provide an alternative to the star-studded revues and extravaganzas of Ziegfeld and others or the thinly-plotted, slapdash, gaudy Edwardian musical comedies and operetta imports from Europe.
Kern and Bolton's first "Princess Theatre musical" was Nobody Home (1915), an adaptation of a 1905 London show by Paul Rubens called Mr. Popple (of Ippleton). The show was notable for Bolton's realistic take on courtship complications and Kern's song "The Magic Melody", the first Broadway showtune with a basic jazz progression. Their second show, with Philip Bartholomae and lyrics by Schuyler Green, was an original musical called Very Good Eddie (1915). The little show ran for 341 performances on a modest budget then toured into the 1918–19 season.
British humorist and lyricist/playwright P. G. Wodehouse had supplied some lyrics for Very Good Eddie but now joined the team and collaborated with Kern and Bolton at the theatre for Oh, Boy! (1917), which ran for 463 performances and was one of the first American musicals to have a successful London run. According to Bloom and Vlastnik, Oh, Boy! represents "the transition from the haphazard musicals of the past to the newer, more methodical modern musical comedy ... the libretto is remarkably pun-free and the plot is natural and unforced. Charm was uppermost in the creators' minds ... the audience could relax, have a few laughs, feel slightly superior to the silly undertakings on stage, and smile along with the simple, melodic, lyrically witty but undemanding songs". Next, the team wrote Oh, Lady! Lady!! (1918). Two other shows, Leave It to Jane and Have a Heart, were written by the three in 1917 for the Princess but presented elsewhere. They also wrote several musicals for other theatres, such as Miss 1917.
The Princess Theatre shows featured modern American settings and simple scene changes (one set for each act) to more aptly suit the small theatre, eschewing operetta traditions of foreign locales and elaborate scenery. According to historian Gerald Bordman, writing in The Musical Times,
The collaboration among Kern, Bolton and Wodehouse was much praised. An anonymous admirer (believed by some critics to be the young Lorenz Hart), wrote a verse in praise of the trio that begins: This is the trio of musical fame, Bolton and Wodehouse and Kern. Better than anyone else you can name Bolton and Wodehouse and Kern.
In February 1918, Dorothy Parker wrote in Vanity Fair: