Frank Loesser’s legacy in musical theatre is nothing short of monumental, his creations being a testament to the power of wit, melody and drama. On what would have been his birthday, we celebrate the Broadway works that solidified his place among the pantheon of musical theatre giants. From whimsical misfires to groundbreaking triumphs, Loesser’s Broadway journey is a kaleidoscope of innovation and influence. As we toast the man behind some of the most memorable scores ever to grace this best of all possible theatre districts, let’s rank his five Broadway shows. Which of these productions truly encapsulates Loesser’s genius and continues to enchant audiences today? Well, let’s buckle up for a dive into the work of Frank Loesser on Broadway and see!

5. Where’s Charley? is a whirlwind mixture of courtship, farce and show tunes.

Where’s Charley? wasn’t just Loesser’s first full-scale Broadway musical; it’s a cocktail of bold choices and classic farce. Adapted from Brandon Thomas’s Charley’s Aunt, the play follows the troubles of two Oxonians, Jack and Charley, who cook up a scheme in which Charley will dress up as his aunt, Donna Lucia D’Alvadorez, so that they can avoid the scandal of meeting with their girlfriends without a chaperone.

George Abbott’s book threw caution to the wind by merging two characters (Charley and his aunt’s impersonator) into one, giving Ray Bolger a starring role that let him shine brighter than a Broadway marquee and win a Tony Award for his efforts.

The songs, perhaps more decorative than narrative, hit some high notes. “My Darling, My Darling” and “Lovelier Than Ever” reveal tender portraits of love across generations, while songs like “Better Get Out of Here” and “Make a Miracle” foreshadow Loesser’s later genius in Guys and Dolls. In that latter song, Amy gives us a bouncy prelude to Miss Adelaide as a musical theatre heroine who turns to books when romantic problems arise. The real showstopper is “Once in Love with Amy,” a song so infectious that Bolger’s encores turned the show into an impromptu singalong. Loesser’s attempt at an English period pastiche is mostly charming, even if songs like “The New Ashmolean Marching Society And Students’ Conservatory Band” feel like they escaped from the score of something like The Music Man.

Modern critics might call Where’s Charley? pleasant but not dazzling, yet its 792-performance run on Broadway, its subsequent success in London and 1952 film adaptation tell a different story: in its day, it was the cat’s pyjamas of musical comedy.

4. Greenwillow‘s misplaced whimsy still has a score worth revisiting.

Greenwillow was Loesser’s penultimate Broadway effort, a peculiar and whimsical musical that didn’t quite find its footing. With a book by Lesser Samuels built around Loesser’s music and lyrics, it spins a yarn about the magical eponymous town, where the eldest Briggs men are compelled to obey a “call to wander,” leaving behind their wives, who tend their homes and raise their children, all the while hoping for a reunion with their husbands. The eldest Briggs boy of the current generation is Gideon, who is desperate to settle down with his love, Dorrie, and break this cycle.

Although it premiered in 1960, Greenwillow feels oddly displaced, as if it belongs to the 1940s. It attempts to capture the whimsical charm of Alan Jay Lerner and Frederick Loewe’s Brigadoon and E. Y. Harburg, Fred Saidy and Burton Lane’s Finian’s Rainbow but lacks the stakes and satire that respectively make those shows successful and relevant. The problems must largely have originated in Samuels’s book, as Loesser’s folksy score hit some high notes. Songs like “Could’ve Been a Ring” and “Gideon Briggs, I Love You” bring playful humour to the proceedings, while “Summertime Love” is filled with a delicious sense of yearning. The standout hit, “Never Will I Marry,” which went on to be recorded by icons like Barbra Streisand and Judy Garland, takes on a profound subtext for us today when we hear it sung by its originator, Anthony Perkins, resonating as an LGBTQ-themed torch song just as the gay rights movement gained momentum toward Stonewall.

Greenwillow might just be ripe for a revisal. As it stands, it’s a bit twee, but with a score dotted with fantastic gems, it has the potential to be a grand affair. Perhaps a modern reinterpretation could uncover its latent brilliance.

3. How to Succeed in Business Without Really Trying is a sharp satire with timeless tunes.

How to Succeed in Business Without Really Trying is a zany workplace satire with a book by Abe Burrows, Jack Weinstock and Willie Gilbert, and a score that showcases Loesser’s undeniable wit. Following the ambitious J. Pierrepont Finch, who skyrockets from window washer to chairman of the World Wide Wicket Company, the musical skewers corporate culture with biting humour. Its acclaim is well-deserved, having nabbed the Tony Award for Best Musical and the prestigious Pulitzer Prize for Drama, also sweeping the Tonys with seven wins out of eight nominations, including Best Author and Best Score.

This show resonated with the social politics of its time and continues to captivate audiences, as evidenced by the gender-fluid revival in London in 2023. Songs like “Paris Original” and “I Believe in You” drip with wit, while “Brotherhood of Man” delivers a rousing, show-stopping 11 o’clock number. The original 1961 production was a smash hit, running for 1 417 performances, and has since seen two Broadway revivals, as well as film and TV adaptations.

How to Succeed in Business Without Really Trying has proven a stellar vehicle for stars like Robert Morse, Matthew Broderick, Ralph Macchio, Daniel Radcliffe, Nick Jonas and Darren Criss. Even the casting of the book’s voice has featured notable names like Walter Cronkite, Anderson Cooper and Michelle Visage. This timeless musical remains a brilliant commentary on ambition and corporate shenanigans, with a score that keeps audiences laughing and tapping their toes.

2. The Most Happy Fella is Tony-snubbed but remains an epic Loesser legacy.

The Most Happy Fella might have been the biggest loser at the 11th Tony Awards, overshadowed by the juggernaut My Fair Lady, but in hindsight, it’s clear which show was the lesser of the two. Sorry, not sorry: it wasn’t the Loesser show. Loesser’s ambitious opus, with book, lyrics, and music all penned by him, makes Lerner and Loewe’s efforts look like child’s play. Viewed through the 20/20 lens of hindsight, The Most Happy Fella is a monumental influence on American musical theatre, building on the foundations laid by Show Boat, which were further developed by Richard Rodgers and Oscar Hammerstein II, and paving the way for the sophisticated works of Stephen Sondheim and the lush, mature soundscapes of Craig Lucas and Adam Guettel’s The Light in the Piazza.

Based on Sidney Howard’s They Knew What They Wanted, the musical centres on the romance between Tony, an older Italian-American grape farmer, and Rosabella (whose real name is – spoiler alert – Amy), a San Francisco waitress. Their relationship, sparked by a tip in the form of an amethyst tie-pin and sustained through heartfelt letters, takes a dramatic turn when Amy discovers Tony has sent her a photo of his foreman, Joe, instead of himself – after she has travelled to Napa to marry him. The ensuing drama, which follows Tony’s life-threatening injury on their wedding night and Amy’s tryst with Joe, which leaves her pregnant, unfolds against the vast, mythical backdrop of 1950s America, evoking the grandeur of Edna Ferber’s Giant and the way that the movies viewed the United States in the decade following World War II. The full power of the show culminates in its final scenes, with Tony and Amy standing before each other, sure for the first time of who they are to themselves and each other.

Some people say The Most Happy Fella is more an opera than a musical. They’re wrong. Loesser’s score is an expansive, dramatic tapestry firmly rooted in the musical theatre tradition; Loesser himself accurately described the show as ‘a musical with (a lot of) music.’ The show’s takeaway songs, the whimsical “Standing on the Corner” and the rousing “Big D,” are just the tip of the iceberg when it comes to this gorgeous score. The title tune, “The Most Happy Fella,” is ebullient as is “I Like Everybody,” while “My Heart Is So Full of You” delivers raw emotion and “Somebody, Somewhere” gives us a dreamy ‘I Want’ song for the ages.

Despite being snubbed at the Tony Awards, The Most Happy Fella is a superb drama that deserves full-scale revivals. It’s a testament to Loesser’s genius, a richly woven narrative that we should celebrate and revisit in today’s theatrical landscape.

1. Guys and Dolls is a jackpot of Broadway brilliance and high-stakes romance.

Guys and Dolls is the Broadway musical equivalent of a high-stakes poker game where every hand is a royal flush. Loesser’s second Broadway outing, based on Damon Runyon’s colourful tales, hit the jackpot with a book by Abe Burrows that turned Jo Swerling’s unusable draft into pure gold.

The story follows Nathan Detroit, a man juggling a floating crap game and his exasperated fiancée, Miss Adelaide, and his bet with Sky Masterson that he can’t woo the pious Sarah Brown. Spoiler: Sky wins more than just the bet. This show is a masterclass in musical integration; every song is a gem with the narrative seamlessly woven into the score. From the infectiously catchy “Fugue for Tinhorns” to the tender “I’ll Know” (an exemplary variation on the conditional love song in the Rodgers and Hammerstein tradition) and the joyous “If I Were a Bell,” Loesser’s score is unparalleled. Miss Adelaide’s Hot Box numbers (“A Bushel and a Peck” and “Take Back Your Mink”) are comedic gold, while “Sit Down You’re Rocking the Boat” practically brings down the house. “Luck Be a Lady” brims with tension and drama, proving this score has it all. The characters are vivid and relatable, balancing humour with heart. It’s no wonder the original production ran for 1 200 performances and scooped five Tony Awards.

Personal nostalgia aside — I performed in this show in high school and later choreographed a production — I think it’s difficult to mount a bad production of Guys and Dolls. It’s that foolproof. That said, the 2009 Broadway revival managed to do what seemed impossible and flopped, folding after 113 performances. Nonetheless, Guys and Dolls remains the golden standard for Golden Age musical comedies, a timeless triumph that continues to captivate today’s audiences, something the 2023 London revival of the show does in spades.

Final Thoughts

Loesser’s indelible mark on Broadway is etched into history with phenomenal musicals that continue to resonate with audiences. While we can only imagine what might have been had Pleasures and Palaces been reworked and made it to Broadway instead of folding out of town, we still have an abundance of his genius to celebrate. From the high-flying antics of J. Pierrepont Finch to the heartwarming romance between Tony and his Rosabella, Amy, in Napa Valley, Loesser’s works are a testament to his extraordinary talent and vision. As we commemorate his birthday, let’s toast to the timeless melodies, the sharp wit, and the unforgettable characters he brought to life. Here’s to Frank Loesser, whose legacy will keep audiences singing and smiling for generations to come.