Odyssey Opera and Boston Modern Orchestra Project Will Perform Two Political Satire Musicals By The Gershwin Brothers

Odyssey Opera, in partnership with the Boston Modern Orchestra Project (BMOP), will present a rare Boston showing of the Gershwin brothers' two political musicals at New England Conservatory's Jordan Hall, Saturday, October 12, 2024, at 7:30 p.m. With scores by George Gershwin, libretti by Ira Gershwin, and books by George S. Kaufman and Morrie Ryskind, the stories of Of Thee I Sing (1931) and Let 'Em Eat Cake (1933) are both centered on American politics: the former being a politically correct Pulitzer Prize-winning musical; the latter, a politically incorrect flop. Reimagined as a live concert experience, conductor Gil Rose leads a formidable ensemble of established singers including Heather Buck, Aaron Engebreth, Neal Ferreira, and more, accompanied by the Odyssey Opera chorus and the acclaimed BMOP orchestra.

"What better time to bring political satires to the stage than at the height of a Presidential Election. Politics, captivating music, humor, and eerie foreboding reminds us why the Gershwins remain as relevant today as they ever did," says Gil Rose, multi-Grammy Award-winning conductor and artistic director of both Odyssey Opera and BMOP. "It is astonishing that their librettos, written almost 100 years ago, are not only not dated but resonate more with modern-day audiences."

When it was first performed on Broadway, Of Thee I Sing was a hit with over 440 performances. It won the Pulitzer Prize in 1932 in Drama, the first musical to win that prestigious award. The Prize Committee said: "Of Thee I Sing is not only coherent and well-knit enough to class as a play, but it is a biting and true satire on American politics and the public attitude towards them."

The Gershwins teamed up again with Kaufman and Ryskind for their second and final collaboration, the 1933 sequel Let 'Em Eat Cake. The show ran just 89 performances and is largely forgotten about today. Let 'Em Eat Cake concerns the actions of a rogue President who lost re-election, fires the Supreme Court, stages a military coup, and paints the White House blue. "Concertgoers might assume we updated the libretto, adding contemporary references," says Rose. "The resemblance to current day politics is purely coincidental and uncanny!" Gershwin said that this show was a favorite work of his and that it "was the composer's claim to legitimacy."

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