The Red Petticoat
Shows · The Red Petticoat
The Red Petticoat is a musical comedy in 3 acts with music by Jerome Kern and a book and lyrics by Rida Johnson Young and Paul West. The Western-genre musical starred Helen Lowell as tough lady barber Sophie Brush in a fictional rough silver-mining town in Nevada, who gets her man.
- Opened
- 1912
- Performances
- 61
- Type
- Musical
- Era
- Early
Productions1 on Broadway
| 1912 | Daly's Theatre Original. November 13, 1912 · Joseph W. Herbert | 61 performances |
Every Broadway staging held in broadway-data, sourced to IBDB. West End runs are not yet held.
Licensing not confirmed
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7 passages naming The Red Petticoat, found by keyword across 178 books. It's where this show turns up in the literature, not curated trivia about it.
Kern finally had his first full score commissioned for The Red Petticoat (11/13/12; 61 performances). book:broadway-its-history-people-and-places-an-encyclopedia-bloom-ken-1949-2nd-ed-new#p298
Kern’s second complete score—again for the Shuberts—was more successful than THE RED PETTICOAT [November 13, 1912], if not particularly special. book:show-tunes-1905-1985-the-songs-shows-and-careers-of-steven-suskin-1st-ed-new-yor#p50
His score for the first Western musical comedy, The Red Petticoat (1912), suffered no interpolations by other composers, an extraordinary occurrence for the higgledy-piggledy approach of the times. book:musical-a-grand-tour-the-rise-glory-and-fall-of-an-flinn-denny-martin-new-york-l#p160
The Red Petticoat, The, 140, 225 book:musical-a-grand-tour-the-rise-glory-and-fall-of-an-flinn-denny-martin-new-york-l#p568
Musicals include: The Red Petticoat (12); The Girl from Utah (13); 90 in the Shade (14); Nobody Home (15); Tonight's the Night (15); Very Good, Eddie (15); Miss Springtime (16); Theodore & Co (16); Have a Heart (17); Hoop-la (17); Leave It to Jane (17); Love o’ Mike (17); Miss 1917 (17): Oh, Boy! (17): Head Over Heels… book:the-best-musicals-from-show-boat-to-a-chorus-line-by-arthur-jackson-foreword-by-#p148
The Shuberts deliberately avoided the term musical comedy and billed it as a “music comedy” [sic ] and a “musical play” because the show had a “real plot.”','confidence':1.0},{ book:irving-berlin-s-american-musical-theater-broadway-legacies-jeffrey-magee#p73
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