My choice for today’s “Forgotten Musicals Friday” is a musical that, for no obvious reason, captured my imagination: The Yearling. It has no commercial recording and even though Barbra Streisand was a champion of the score in the early years of her career, one doesn’t really read much about the show in general. Nonetheless, The Yearling is a musical that pops into my head every now and then, so I thought it was time to dedicate a column to it.
Based on The Yearling by Marjorie Kennan Rawlings, the show had a book and lyrics by Herbert Martin and music by Michael Leonard. Martin shared credit for the book with show’s producer, Lore Noto. The original Broadway production of The Yearling opened on 10 December 1965, with the show’s closing for it’s 3-performance run already having been announced. It was directed by Lloyd Richards, with choreography by Ralph Beaumont. Some think that perhaps with a better director, the show itself will have been better; others tell tales of how the show ran out of money and couldn’t afford to run long enough to catch on with audiences. Both stories seem like reasonably valid options.
At the heart of The Yearling is a a twelve-year old boy named Jody, who lives with his struggling family. His parents, Penny and Ora, face their hardships as best they can, even though at the top of the show things are looking particularly difficult for them with a a bear having killed their sow. Jody longs for a pet deer and circumstances eventually line up so that he is able to raise a motherless fawn. A year later, when the fawn eats the family’s new crops, Jody is fold to kill the yearling, an order that brings about the climax of the show.
When asked, people who saw the show will tell you they liked the score, which I’ve heard described as both lovely, pleasant and even well-crafted. Some complain that the score doesn’t reflect its rural 1870s setting well, but many musicals evoking milieu by filtering songs in popular contemporary forms through arrangements and orchestrations. Maybe, if The Yearling were ever staged in a high profile production again, that might be a fixable problem. A score that features a song that Stephen Sondheim listed as a song he wishes he had written can’t be all bad. If you’re keen to have a listen to that little gem from this score, scroll down to the YouTube playlist at the end of this post, where you can hear it performed in versions by Streisand and, in an even jazzier version, by Greta Matassa. Neither arrangement really reflects the setting of the show, but as neither is being presented in the context of the show itself, I suppose we can’t be too concerned by that here.
My favourite song from the score is one that has become something of a standard, “Why Did I Choose You?”. Although some might try and direct you to Barbara Cook’s performance of the song in concert, for me it doesn’t get better than Streisand singing the song in her first television special. (Both, as well as several other versions of the song are featured in the YouTube playlist below.)
Although there have been rumours flying around the Internet for some time about a full recording of the show being made, the only easy way to hear these songs is in versions recorded by artists who were moved enough by the material to interpret them on their own recordings. Every now and then, a song also turns up on a compilation album like Unsung Musicals II (which includes “Everything in the World I Love”). While there is a live recording done by the producers for a private LP pressing as well as a recording of several songs from the show done for a radio show, these aren’t readily available for ordinary folk like me to hear.
Getting back to the show, those same people who praise the score will also tell you that the book was flawed, even dull, and that, perhaps, the material was not suitable for (what they think should be a good premise for) a musical. I’m more likely to give credence to that former point than to the latter; the musical is such a versatile medium, even more so these days than in the past. Maybe in a post-War Horse world, there’s merit in seeing if the show can be done without a live deer, as in the original production. It might be the key to telling the story in an evocative, contemporary manner that makes the piece compelling in a way that perhaps it wasn’t in 1965.
Keen to share any thoughts or memories about The Yearling? Head to the comment box below. I’d love to hear them!
I was a cast member of both the original Broadway production and the iteration that was done in Atlanta starring John Cullum. Yes, the book had problems, but the score was so wonderful. It remains one of my favorite shows to have participated in.
Because you were a member of the original cast, perhaps you could fill me in about the roles of a few people who I believe were involved in the show: 1. Milton Setzer, a conductor with whom I shared an apartment for a summer (he had a pirated tape of that production); 2. Vernon Lusby, a choreographer, who hired me for the original cast of Celebration, told me that he was involved with the show and that Carmen Mathews created problems when they needed to cut her part down; 3. David Baker, composer and dance arranger. Thanks for any insights.
There is a recording of the live production from1985 with John Cullum that can be seen on the Internet. It’s not the best recording but it’s the whole show and the end of the first act when you see the boy with the fawn is quite moving..
Its great to hear that there is another recording of the 1985 production online. I would like to see how it compares to the one I bought. Maybe it is the same recording? Where is it? Do you have the link to share so that we can watch it too? Thanks for your help
I saw the production in it’s pre-Broadway run Philadelphia.I was enamored by it but then again I was a 12-year-old who loved all things musical. I remember being disappointed when I heard that it closed after only three days on Broadway.
I was nick named “Jody” Given name Judith. My siblings were to call me Judy. But my Mom changed all that. By having a family night watching the movie on television. My Mom wanted to see the production because she loved the book so much. I always wanted to know why I was called Jody, and spelled the same. As my were on hospice care 2003 my Dad , 2012 my Mom. I asked them why and were it came from. Both were not sure but my Mom mentioned that it might have been the “The Yearling Movie”. She was dying and could not remember exactly. So just tonight I saw the Yearling Movies was about to play on TMC!! I finally really watched it!! I LOVED it!! I feel connected to the story, and now I will read the Book. What a wonderful night for me. If someone was to do a production, I would definitely go see it!
What a moving story!
” I’m All Smiles” has to be one of the hippest show tunes ever written! Who ever heard of a show tune with that many beautiful chord changes in it? Used mainly as a jazz waltz vehicle for jazz singers, I like Steisand’s version, but the best version I’ve heard is from Michelle Amato ( check it out on YouTube-fantastic )