Bitter Sweet

This was the most successful of Noël's musical plays. Completed in 1929 the theatrical entrepreneur Charles B. Cochran took the show to the Palace Theatre, Manchester for a 2 week try-out. Subsequently it moved to its first London home, His Majesty's Theatre in London where it stayed for 697 performances before moving on to a short London tour hat ended at the Lyceum Theatre April 1931. In the US following a trial-run in Boston it delivered 159 performances at the Ziegfeld Theater in New York moving in May 1934 to the Shuberts at 44th Street. An interesting fact uncovered by Dominic Vlasto is that if you type' Zigeuner' into iTunes you get some 25 versions or more of the song recorded by artist as diverse as Zoltan & His Gypsy Ensemble, Artie Shaw (one album consists entirely of different takes of Zigeuner), Tony Martin, Meredith d'Ambrosia(a wonderfully soft sensual version this), a rhythmic piano version from Memoir Recorsd - Hinge and Bracket take the song out for a comedic spin whilst Valerie Masterson, Noël Coward and Peggy Wood provide more traditional renditions. Goodness knows what other hidden recorded delights await iTune searchers . . .!


Synopsis

The Marchioness of Shayne is giving a dance at her London house. When the guests break off for dinner, a young engaged couple are left alone, except for the pianist Vincent. The girl (Dolly) doesn't seem to be particularly convinced of their future happiness. They discuss their sp[irited elderly hostess, whom Dolly really admires and a row ensues, which ends with her fiance leaving.

Seeing Dolly alone, Vincent declares his hopeless love for her. As he takes her in his arms, Lady Shayne enters. When the situation is explained to her, she asks Dolly what she intends to do and is exasperated when Dolly doesn't know. As the rest of the guests return, she lectures them on their superficiality. It was not always so. As she speaks, the lights dim and her voice grows younger.

We now find the young Lady Shayne - Sarah Millick - in 1875 as a girl of sixteen, rehearsing for her music teacher, Carl Linden. As the scene progresses, it is clear that he is in love with her. He tells her that he cannot play at her forthcoming wedding; he must go away. Her fiancé, Hugh, enters with her mother, putting an end to the singing lesson. Carl says his goodbyes and leaves. Sarah falls weeping into her mother's arms, much to her fiancé's puzzlement.

Mrs. Millick is giving a ball in which Carl is conducting the orchestra. Evelyone notices that Sarah is behaving strangely, almost hysterically - much to Hugh's irritation. When the rest of the guests have gone, Sarah and her girl friends begin to play childish games. In Blind Man's Buff, with Sarah as "it," she bumps into the departing Car!. Unable to restrain himself, he kisses her. When she realises what has happened, she admits her own love for him. With the connivance of the other girls, the two lovers steal away into the night.

We are now in Schlick's cafe in Vienna five years later. Carl is in charge of the café orchestra and Sari (as she is now called) is a dance hostess. They receive a visit from Captain Lutte, who complains to the proprietor, Herr Schlick, that Sari is offhand with him. If Schlick values his custom and that of his men, he will order the girl to dine privately with him that evening. Hearing of this, Sari begs Carl to leave the cafe. Something bad is about to happen, she knows. He persuades her that they must stay just a little longer. Soon they will have the money to open their own little café.

That evening the café is crowded. Lutte and his men are drinking heavily. Inevitably, the Captain asks Sari to dance and she refuses. Lutte complains to Schlick, who reminds Sari that she is engaged as a dancing partner. She must dance with whoever asks her or be fired. Later, when Lutte claims his dance, he becomes increasingly amorous. Carl, who has been watching all this from the stage, leaps down and strikes the Captain. There is a duel in which Carl is mortally wounded. He dies in Sari's arms.

Fifteen years have passed. The elderly Lord Shayne is giving a party in London. The guests include Sarah's young girl friends, now respected society matrons. All of them are agog to meet the famous European singer, Sari Linden, Lord Shayne's special guest. Sari enters and is immediately recognised as Sarah, whom they all supposed to be dead. As the evening ends, Lord Shayne proposes to her - not, it seems, for the first time. This time she promises to think it over.

As Sari/Sarah entertalins the guests with the song that she and Carl shared ("I'll See You Again"), the lights fade once more.

We are now back in the first scene with Sari (Lady Shayne) as an old woman. Convinced by what she has heard, Dolly goes off with Vincent, just as the young Sarah did. Left alone with her memories, Sari sings:

Though my world has gone awry, Though the end is drawing nigh, I shall love you till I die, Goodbye! (Courtesy of Barry Day 'Coward on Film')

Musical Numbers

That Wonderful Melody
The Call of Life
If You Could Only Come with Me (If You Could Only Come With Me sung by Graham Payn Listen →)
I'll See You Again
Polka
Tell Me, What is Love
The Last Dance
Finale (Act One)

Act Two
Life in the Morning
Ladies of the Town
If Love Were All (If Love Were All sung by Daryl Sherman Listen →)
Dear Little Café
Officers' Chorus
Tokay
Bonne Nuit, Merci
Kiss Me

Act Three
Ta Ra Ra Boom De Ay
Alas the Time is Past
Green Carnations
Zigeuner (Zigeuner sung by Victoria Campbell Listen →)
Finale (Act Three)

Filmed Adaptations

Two film versions of Bitter Sweet were produced. The first made in 1933 by British and Dominion Films and directed by Herbert Wilcox with his wife Anna Neagle in the starring role of Sari/Sarah. The second in 1940 - an MGM disaster featuring the bankable singing stars Jeanette MacDonald and Nelson Eddy.

Noël writes to his secretary Lorn Loraine:

'I spent one night in Hollywood but I utilized it by sitting in a projection room and seeing the film . . . No human tongue could describe what Mr. Victor Saville, Miss Jeanette MacDonald and Mr. Nelson Eddy have done to it between them. It is, on all counts, far and away the worst picture I have ever seen. MacDonald and Eddy sing relentlessly from beginning to end looking like a rawhide suitcase and a rocking horse respectively. Sari never gets old or even middle aged. 'Zigeuner' is a rip snorting production number with millions of Hungarian dancers. There is no Manon at all. Miss M elects to sing 'Ladies of the Town' and both Manon songs. She also dances a Can-Can! . . . At one point in Old Vienna she offers Carl a cocktail! . . . It is the vulgarist, dullest vilest muck that i haver ever seen in my life. It is in Technicolor and Miss M's hair gets redder and redder until you want to scream. Oh dear, money or no money, i wish we'd hung on to that veto.'

(Courtesy of Barry Day 'Coward on Film')

Here is Nelson Eddy singing I'll See You Again:

Recordings

The Original Cast Recording (OCR) in 'The Songs of Noël Coward' is by Ivy St Helier as Manon - a definitive rendition of If Love Were All: Listen →

Amongst Other Notable Recordings (ONR) is The New Sadler's Wells Opera production with Valerie Masterson. Here we hear Rosemary Ashe as Manon singing Bonne Nuit, Merci: Listen →

Among the Recordings by Noël Coward (NCR) is one where Coward redefines himself in his version of I'll See You Again with Wally Stott and Orchestra that took place just before he left for his cabaret season at Las Vegas: Listen →