Step right up, music lovers, as we delve into the vibrant world of Sigmund Romberg’s timeless operettas! Today, in 1914, Broadway welcomed a musical sensation that would set the stage for Romberg’s illustrious 40-year career: The Whirl of the World. With its infectious tunes and fluffy romantic narrative, this debut marked the beginning of a musical journey that would see Romberg enchant audiences with classics like Maytime, The Desert Song, The New Moon and The Student Prince, among others. Born in Hungary but finding his true home in the heart of the American musical theatre scene, Romberg’s shows remind us of days gone by. His significant role in bringing Viennese-style operetta to American audiences and shifting the form into an American style and idiom earned him a place in musical theatre history. Join us as we embark on a melodic adventure – yes, this is your invitation to crank up those cast recordings – to rank the five longest-running musicals by Sigmund Romberg and his many collaborators. Every note is a testament to his enduring legacy. Let the overture begin!

5. Up in Central Park

Up in Central Park opened in 1945. Even back then, its strongest feature was the nostalgic ambience it created for a bygone era, something that was very much a trademark of Romberg’s most successful musicals. The show transported audiences to the Boss Tweed era of 1870s New York City. John Matthews, a reporter, is investigating Boss Tweed and the accusations of corruption that surround his role in Central Park’s construction. Things become complicated when John falls in love with the daughter of one of Boss Tweed’s ward campaigners. The plot, as set out in Herbert and Dorothy Fields’s book, feels somewhat formulaic, and the production design was the real star of the show. The visual splendour of Up in Central Park, with settings and costumes reminiscent of Currier and Ives lithographs, easily stole the spotlight from the kind of narrative that had gone out of style a decade or so earlier. Insofar as the score is concerned, Romberg’s traditional style, though straining against the evolving trends of 1940s musical theatre, shines through in romantic songs like “Close as Pages in a Book” and the poignant “April Snow.” Dorothy Fields injects contemporary wit and humour into her lyrics, particularly shining in songs like “The Fireman’s Bride” (which sounds like the kind of novelty song my grandmother used to sing to my sister and me when we were children) and “Currier and Ives.” Up in Central Park premiered in the same year as groundbreaking productions like Carousel, which from today’s perspective, makes it feel even older than it is. Old-fashioned charm only gets you so far.

4. Maytime

Maytime is a rather sweet 1917 operetta based on a 1913 German piece, Wie Einst im Mai. Broadway producers extraordinaire, the Shubert brothers, took a show that had any hopes of an international legacy dashed by World War I and had it transformed into an American-set and styled operetta that was one of the greatest hits of its time. Peggy Wood and Charles Purcell illuminated the stage as the stars of this romantic saga, which unfolds across generations, as the star-crossed lovers Ottillie and Richard navigate the obstacles of wealth, family and circumstance. Rida Johnson Young’s book and lyrics, with additional lyrics by Cyrus Wood, played out the melodramatic sequence of events to heartrending effect. While Romberg’s score initially takes its moment to find its way, it bursts to life with the catchy “It’s a Windy Day at the Battery.” Of course, the timeless classic “Will You Remember?” (also known as “Sweetheart”) remains the standout, alongside gems like “The Road to Paradise” and “Dancing Will Keep You Young.” In a savvy 2005 revision by Julie Wright and Steven Gaigle, updates like the adaptation of “Jump Jim Crow” into the more socially sensitive “Do-Si-Do” brought a refreshing touch to the production. Admittedly, Maytime may seem a tad sentimental by modern standards, but its blend of heartwarming romance and wry humour ensures its enduring appeal. It’s the kind of show that – in its revised version – could still find a welcome home in the repertoire of a light opera company.

3. The Desert Song

The Desert Song, which debuted in 1926, is a captivating blend of romance and adventure, courtesy of Sigmund Romberg’s enchanting melodies and the lyrical prowess of Otto Harbach, who wrote the libretto in collaboration with Oscar Hammerstein II and Frank Mandel. Inspired by the historical uprising of the Riffs against French colonial rule in Morocco and the legendary true-life tales of Lawrence of Arabia, the operetta transports audiences to the exotic landscapes of Saharan North Africa. Yet, while the allure of daring heroics and forbidden love still captivates audiences, the show’s romanticised portrayal of colonial politics and Moroccan culture presents challenges for contemporary productions. Nonetheless, the timeless appeal of a masked hero continues to resonate and one wonders how this show could be handled were a “revisal” to be produced. After all, one of the film adaptations had The Red Shadow, renamed El Khobar, fighting the Nazis – so why not?! Romberg’s score, featuring infectious tunes like “The Riff Song” and the haunting “The Desert Song,” has served as a gateway into the world of operetta for many, including myself. I first encountered these songs in a revue at the tender age of twenty. Still, as much as The Desert Song holds a place in the annals of theatrical history, one can’t help but question its relevance in today’s cultural landscape despite its boldly romantic tale and unforgettable melodies.

2. The Student Prince

1924’s The Student Prince heralds another triumph in the world of operetta for Romberg, with Dorothy Donnelly’s book and lyrics weaving a tale of star-crossed love versus patriotic duty. Based on Wilhelm Meyer-Förster’s play Old Heidelberg, the operetta follows Prince Karl Franz’s journey as he grapples with the weight of his royal obligations and the pull of true love. The romance between the prince and Kathie, a humble barmaid, tugs at the heartstrings, particularly as duty ultimately prevails over passion. Romberg’s score enchants with its blend of sentimentality and exuberance, featuring unforgettable tunes like “Golden Days” and “Deep in My Heart, Dear” and the spirited “Drink! Drink! Drink!” and “Come Boys, Let’s All Be Gay, Boys.” Yet, while the first act brims with tuneful charm, the subsequent acts can feel a little repetitive with the number of songs that are reprised. Even so, The Student Prince was actually a breakthrough show for me, the one that made me appreciate everything that operetta has to offer. Personally, I find the film adaptation even more captivating, with the addition of “I’ll Walk with God” taking the operetta’s emotional resonance to new heights. Nevertheless, be it on stage or screen, The Student Prince remains a marvel, captivating audiences with its timeless tale of love and sacrifice.

1. The New Moon 

The New Moon emerges as a sparkling gem in the crown of Sigmund Romberg’s repertoire, with Oscar Hammerstein II’s lyrics adding the perfect touch of romanticism and wit to this 1928 operetta. This show had a somewhat tumultuous journey to Broadway, with its tryout run in Philadelphia being a complete flop. Following many revisions, the final libretto, set against the backdrop of the French Revolution, offers up a saga that is as captivating as it is adventurous. Young French aristocrat Robert’s clandestine escape to New Orleans, his forbidden love for Marianne, and the daring mutiny aboard the New Moon all transport audiences to a world of intrigue and passion. Romberg’s score is a treasure trove of musical delights, from the yearning strains of “Softly, as in a Morning Sunrise” to the spirited melodies of “Marianne” and “The Girl on the Prow” – and let’s not forget the classic “Lover, Come Back to Me.” Hammerstein’s lyrics sparkle with romantic imagery in the ballads and playful banter in the up-tempo songs, especially in more complex set pieces like “An Interrupted Love Song” and “Funny Little Sailor Man,” infusing the production with an irresistible charm. While perhaps not achieving the status of something like The Student Prince, The New Moon has stood the test of time, finding success in revivals and adaptations on both stage and screen. The City Center Encores! revival in 2003 breathed new life into this classic, demonstrating its enduring appeal to modern audiences. For those new to operetta, the Encores! cast recording serves as a delightful introduction to the form, offering a fresh perspective that resonates with contemporary sensibilities and opening up a world of shows and scores that are part of the great legacy of musical theatre.

And with that, dear operetta enthusiasts, we draw the curtain on our delightful journey through the enchanting world of Sigmund Romberg’s timeless melodies. From the romantic allure of Maytime to the swashbuckling adventures of The Desert Song, each show we’ve explored has left an indelible mark on the annals of musical theatre history. As we bid adieu after this celebration of Romberg’s work, let us not only revel in his melodies, which have captivated audiences for generations, but also salute the creative brilliance of Romberg’s collaborators. These shows still have the power to transport us to worlds of romance, intrigue and adventure, reminding us of the enduring power of music to stir the soul.