Musical
Original Broadway

12) Die Dubarry (Original Broadway)

Joué durant  2 mois 2 semaines

Nb de représentations: 87 représentations

Première preview: 22 November 1932
Première: 22 November 1932
Dernière: 04 February 1933

Compositeur: Karl Millöcker •  
Parolier: Paul Knepler •  
Libettiste: Paul Knepler • Rowland Leigh •  

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Metteur en scène: Morris Green •  
Chorégraphe: Dorothea Berke •  

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Avec: Charles Angelo (Baron Chamard), Jeanne Audree (Suzanne), Fenton Barrett Prince de Soubise, Ethel Britton (Maid to Madame DuBarry), Nana Bryant (Marechale de Luxenbourg), John Clarke (Comte Lammond), Patricia Clarke (Ninon), Joyce Coles (La Camargo) 

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11) Cat and the Fiddle (The) ()

Joué durant  4 mois

Nb de représentations: 395 représentations

Première preview: Inconnu
Première: 24 May 1932
Dernière: 24 September 1932

Compositeur: Jerome Kern •  
Parolier: Otto Harbach •  
Libettiste: Otto Harbach •  

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Metteur en scène: José Ruben •  
Chorégraphe: Albertina Rasch •  

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Avec: Margaret Adams (Constance Carrington), Doris Carson (Angie Sheridan), Peter Chambers (Jean Colbert), Eddie Foy, Jr. (Alexander Sheridan), Lawrence GrossmithLisa Guigon (Albertina Rasch Dancer), Bettina Hall (Shirley Sheridan), George Kirk (Book Vendor), Dorothy Lane (Albertina Rasch Dancer), Flora Le Breton (Maizie Gripps), George Magis (A Waiter), George Meader (Pompineau), Georges Metaxa (Victor Florescu), Odette Myrtil (Odette), Georgianna Orr (Albertina Rasch Dancer), José Ruben (Clement Daudet), Karl Theman (Jean Colbert), Lucette Valsy (Mme. Abajoue, Claudine), Fred Walton (Chester Biddlesby), Frances Wise (Albertina Rasch Dancer) 

Commentaire: Globe Theatre : 15 Oct 1931 - 21 May 1932
George M. Cohan's Theatre : 24 May 1932 - 24 Sep 1932  (plus) 

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Revue
Original

10) Shoot the Works (Original)

Joué durant  2 mois 2 semaines

Nb de représentations: 87 représentations

Première preview: Inconnu
Première: 21 July 1931
Dernière: 03 October 1931

Compositeur: *** Divers • Irving Berlin •  
Parolier: *** Divers • Irving Berlin •  
Libettiste: *** Divers •  

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Musical
Original

9) Queen O' Hearts (Original)

Joué durant  1 mois

Nb de représentations: 39 représentations

Première preview: 10 October 1922
Première: 10 October 1922
Dernière: 11 November 1952

Compositeur: Dudley Wilkinson • Lewis E. Gensler •  
Parolier: Oscar Hammerstein II •  
Libettiste: Frank Mandel • Oscar Hammerstein II •  

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Metteur en scène: Ira Hards •  
Chorégraphe:  

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Avec: Max Hoffman Jr. (Tom), Norma Terriss (later, Terris) (Grace), Florence Morrison (Isabella Budd), Franker Woods (Ferdinand Budd), Gladys Dore (Miss Swanson), Georgie Brown (Alabama, aka Al, Smith), Nora Bayes (Elizabeth Bennett), Harry Richman (Henry Rivers), Edna Hibbard (Myra, aka Mike), Dudley Wilkinson (Dudley), Lorin Raker (Alfred Armstrong), Arthur Uttry (William Armstrong), Sidney Book (Policeman), Laura Alberta (Aunt Abigail), Eva Taylor (Georgia), Thomas Bradley (Butler); Ladies of the Ensemble: Janet Megrew, Con- suelo Flowerton, Elza Peterson, Cecille Ann Stevens, Lillian McKenie, Muriel Harrison, Betty Hill, Loretta Morgan, Gladys Dore, Irene Enright 

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Théâtre
Original

8) Tavern (The) (Original)

Joué durant  7 mois

Nb de représentations: 252 représentations

Première preview: 27 September 1920
Première: 27 September 1920
Dernière: May 1921

Compositeur:  
Parolier:  
Libettiste: Cora Dick Gantt • George M. Cohan •  

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Metteur en scène: John Meehan •  
Chorégraphe:  

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Avec: Arnold Daly (The Vagabond), Alberta Burton (The Governor's Daughter), Wanda Carlyle (The Hired Girl), Spencer Charters (The Hired Man), William GauntJoseph Guthrie (The Sheriff's Man), Joseph M. Holicky (The Attendant), William Jeffrey (The Fiance), Dodson Mitchell (The Tavern Keeper), Lucia Moore (The Governor's Wife), Elsie Rizer (The Woman), Lee Sterret (The Sheriff), Phillips Tead (The Tavern Keeper's Son), Morgan Wallace (The Governor) 

Commentaire:   

Presse: "There can no longer be any doubt that George M. Cohan is the greatest man in the world. Anyone who can write "The Tavern" and produce it as "The Tavern" is produced places himself automatically in the class with the gods who sit on Olympus and emit Jovian (or is it Shavian) laughter at the tiny tots below on earth. In fact, George M. Cohan's laughter is much more intelligent than that of any god I ever heard of...
Every line and situation in it can be either serious or burlesque, according to the individual powers of discernment of the listener. In the second act even the most naive of the newspaper writers felt the force of the burlesque and commented on it indulgently.
The only gesture on hearing these comments is to raise clenched fists to the sky, and the only reply is to shriek through the teeth. Of course Arnold Daly would not be young enough for the part if it were a serious part, but for the part of a mature madman who thinks he is Francois Villon, there is probably no one in the world (one has to be extravagant in speaking of "The Tavern;" it is an extravagant event) - there is no one in the world who could have brought the delightful and subtle burlesque romanticism into the play that Arnold Daly brings. Of course he was injudiciously dressed. No two characters in the play were of exactly the same period.
...the biggest night in (my) theatergoing career, for it marked the birth of something new on the stage, a gorgeous insanity from which it is to be hoped the drama as an institution will never recover. And if George M. Cohan will run for President, this department will be dedicated to his service."
Robert Benchly - Life Magazine - 1920

"There is nothing left but to mutter sullenly that one may not know anything about art, but one knows what is perfectly great...an evening to look back on for the remainder of a lifetime. One, or at least, this one, which is what is usually meant by the person employing the word - has long dreamed non-Freudian dreams of a burlesque, built of a situation and speeches from all the particularly hair-raising productions that have gone before; Mr. Cohan has built his burlesque of these and has done immeasurably more by adding those mastering touches which no other living playwright could add...
No there is no use trying to report it. The typewriter's touch is too heavy. All one can do is to throw awe of the newspapers recklessly aside, and proclaim that here is an entertainment sent from heaven, via Mr. Cohan. See it for yourself. See the whole company...show how to take a joke. And if "The Tavern" is not running by the time this comes out, write to your congressman and demand its immediate revival."
Dorothy Parker, Ainslee's Magazine, December 1920

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Théâtre
Original

7) Genius and the Crowd (Original)

Joué durant  12 mois

Nb de représentations: 24 représentations

Première preview: 06 September 1920
Première: 06 September 1920
Dernière: September 1920

Compositeur:  
Parolier:  
Libettiste: Francis Hill • John T. McIntyre •  

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Metteur en scène: George M. Cohan •  
Chorégraphe:  

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Avec: Charlet Bartlett (Luigi Baccigalupo), Constance Beaumar (Vera Cleeve), Howard Boulden (Salvatore Venneto), Ralph Brainard (Tenor Soloist), Dorothy ClayH. Cooper Cliffe (Harrison Lloyd), Marion Coakley (Mira Van Ness), Marie Cummings (Miss Westerveldt), Max Froelich (Giovanni Sataro), Frank Hollins (Dickson), Wright Kramer (Edouard Barna), Viola Leach (Madame Trava), Adele Leroy (Miss Arlingham), Oretta Lewis (Miss De Puyster), Dorothy Loraine (Miss Bellamy), Helen Lovett (Miss Van Orden), Kay MacCausland (Mrs. Brooks-Vinton), Marion Warring Manley (Miss Buck), Fuller Mellish (Gasparo Tagliani), Vera Fuller Mellish (Rosamond Lanham), Leonora Ottinger (Mrs. Lanham), Frank Otto (Robert G. Burr), Marie Pecheur (Louise Gribert), Dorothea Quigley (Mrs. Mc-Duff-Powell), Georges Renavent (Philippe Trava), Rita Romilly (Bessie), Frank Ross (Parker), Helene Shaw (Miss Leffings), Adelaide Starr (Mrs. Boyd-Jones), Katherine Stewart (Madame Serafina Loriola), Rubi Trelease (Mrs. Berners) 

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Théâtre
Original

6) A Prince There Was (Original)

Joué durant  4 mois 1 semaine

Nb de représentations: 159 représentations

Première preview: 24 December 1918
Première: 24 December 1918
Dernière: May 1919

Compositeur:  
Parolier:  
Libettiste: George M. Cohan •  

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Avec: A. G. Andrews, Walter Brown, Wanda Carlyle, George M. Cohan, Ruth Donnelly, Elizabeth Dunne, Phoebe Hunt, LeRoy Johnson, George Parsons, Jessie Ralph, Ralph Sipperly, Ernest Stallard, Marie Vernon 

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Théâtre
Original

5) King (The) (Original)

Joué durant  3 mois 1 semaine

Nb de représentations: 127 représentations

Première preview: 20 November 1917
Première: 20 November 1917
Dernière: March 1918

Compositeur:  
Parolier:  
Libettiste: C.A. Caillavet • Emmanuel Arene • Robert de Flers •  

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Avec: A. G. Andrews, John Bedouin, Leo Ditrichstein, Jennie Fuld, Walter Howe, Ben Johnson, Ruth Kuerth, Almiro Leone, Harry Manners, Robert McWade, Gaston Pollari, William H. Powell, William Ricciardi, Henry Richel, Phillips Tead, Arthur Vincent, Fritz Williams 

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Théâtre
Original

4) It Pays to Advertise (Original)

Joué durant  11 mois

Nb de représentations: 399 représentations

Première preview: 14 September 1914
Première: 14 September 1914
Dernière: August 1915

Compositeur:  
Parolier:  
Libettiste: Roi Cooper Megrue • Walter Hackett •  

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Avec: W.J. Brady (Donald McChesney), Cecile Breton (Marie), John W. Cope (Cyrus Martin), Will Deming (Ambrose Peel), Louise DrewHarry Driscole (William Smith), Kenneth Hill (Ellery Clark), Grant Mitchell (Rodney Martin), Vivian Rogers (Miss Burke), George Schaeffer (Johnson), Sydney Seaward (George Bronson), Ruth Shepley (Mary Grayson) 

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Théâtre
Original

3) Broadway Jones (Original)

Joué durant  4 mois 1 semaine

Nb de représentations: 176 représentations

Première preview: 23 September 1912
Première: 23 September 1912
Dernière: February 1913

Compositeur:  
Parolier:  
Libettiste: George M. Cohan •  

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Metteur en scène: Joe Kaufman •  
Chorégraphe:  

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Avec: George M. Cohan (Jackson "Broadway" Jones), Helen F. Cohan (Mrs. Spotswood), Jerry J. Cohan (Judge Spotswood), John Fenton (Higgins), Ada GilmanJack Klendon (Dave), Mary Murphy (Clara Spotswood), George Parsons (Robert Wallace), Russell Pincus (Sam Spotswood), M. J. Sullivan (Rankin), Myrtle Tannehill (Josie Richards), William Walcot (Peter Pembroke) 

Commentaire:   

Presse: "The popularity of Mr. Cohan was never better exemplified locally than was the case last evening. Every seat in the theater was occupied and standing room was in demand. The enthusiasm which manifested itself at the outcome increased until the climax was reached at the end of the third act, when the uproar reached such proportions as to drown out the efforts of the orchestra, and compelled the author-actor to respond to the applause with a brief but strictly Cohanesque acknowledgment of the reception accorded."
(Len G. Shaw, The Detroit Free Press)

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Musical
Revival

2) Forty-five Minutes from Broadway (Revival)

Joué durant  1 mois

Nb de représentations: 36 représentations

Première preview: 14 March 1912
Première: 14 March 1912
Dernière: 13 April 1912

Compositeur: George M. Cohan •  
Parolier: George M. Cohan •  
Libettiste: George M. Cohan •  

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Metteur en scène: George M. Cohan •  
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Musical
Original

1) Little Millionaire (The) (Original)

Joué durant  5 mois 2 semaines

Nb de représentations: 192 représentations

Première preview: 25 September 1911
Première: 25 September 1911
Dernière: 09 March 1912

Compositeur: George M. Cohan •  
Parolier: George M. Cohan •  
Libettiste: George M. Cohan •  

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Metteur en scène: George M. Cohan • James Corman •  
Chorégraphe:  

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Avec: Maud Allen (Miss Primper), Earl Benham (Danny Wheeler), George M. Cohan (Robert Spooner), Helen F. Cohan (Mrs. Prescott), Jerry J. CohanDonald Crisp (Edward Plumber (Rudolph)), William Ford (Starter at the "Beaux Arts"), Sydney Jarvis (Roscoe Handover), Jack Klendon (Reverend H. Henry Dodge), Tom Lewis (Bill Costigan), Amy Mortimer (Mary), George Parsons (George Russell), Julia Ralph (Berdina Busby), Lila Rhodes (Goldie Gray), Dore Rogers (Policeman), Charles W. Weil (Page Boy), Josephine Whittell (Bertha Burnham) 

Commentaire:   

Presse: "Again George M. Cohan has dared and won. An inveterate perpetrator of dramatic tricks and surprises, in "The Little Millionaire" he has so far disdained the traditions of musical comedy as to present an entire act without a note of music or without a suggestion of the chorus-the old reliable life saver of so many a piece of its class. He has done more; he has, so far as opportunities go, made not himself but Tom Lewis the star. And what was still more daring, in the new piece he gives the best ballad, a serious love duet, to the two villains of the play. And as served to the audience at the Cohan last evening these startling innovations please, tickled and incited the audience to thunderous applause. No one but George Cohan would have dared these violations of the conventions and doubtless no one but Cohan would have made them acceptable." (Rennold Wolf, The Morning Telegraph)
"The success of such an entertainment as "The Little Millionaire" - and of course its success is no doubt - is due to the fact that Mr. Cohan knows his little book from the first page to the last and, as he might say, then some, maybe." (The New York Times)
"One must concede that George M. Cohan has talent. He has nimble legs, and he writes neat jingles of the popular kind. He also knows how to sing his ditties in a way that sends his numerous followers into ecstasies of admiration. This granted, Mr. Cohan has received about all the credit coming to him. No - we forgot - he is also a specialist in the art of rolling up his eyes and talking through his nose, talents which have earned for him the title "Yankee-doodle Comedian" (whatever that may mean), a distinction shrewdly helped along by the adoption of the United States flag as the trade mark of this particular actor.
All these peculiarities and characteristics have endeared George M. Cohan to his special public. For there is a Cohan public just as there is a John Drew public and a Maude Adams public, only it is not quite so select. The Cohanites are not exacting in their demands. They'll applaud anything, accept anything, so long as it bears the Cohan stamp. Plenty of noise, wild waving of the stars and stripes, a slim comedian full of impudent self-assurance, his eyes half clos ed, hopping about the stage, and they'll yell themselves hoarse. Otherwise, how explain the vogue of "The Little Millionaire," which some enthusiastic scribes have declared the best thing George has ever done? It is not. If Cohan's reputation rested on this piece, he would never have come to own his own theater on Broadway. It is the usual Cohan musical salad, only with a little less dressing than usual. To recount the plot were to waste the reader's time. It is hackneyed nonsense, with scenes thrown together in the crudest manner. The chorus is unattractive, and has little to do. Interest is lacking from the start, and the auditor yawns long before the end is reached. When the star himself holds the center of the stage the piece moves along. A human dynamo of nervous energy, Cohan keeps things hustling in his own characteristic style, but what of it? What does all the fooling, the stereotyped scenes and commonplace dialogue amount to if the play has, so to speak, not a leg to stand upon? The best part in the piece, that of the fat man who stumbles into everybody's way, is capitally acted by Tom Lewis, who has practically all the second act to himself. Lila Rhodes, a graceful and pleasing young lady, is Mr. Cohan's dancing partner." (Theater Magazine - November 1911)

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