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Ionicus was the pen name of illustrator Joshua Armitage, whose work featured in Punch, and almost 400 books, in the course of a long career. He is perhaps best known as the illustrator of 58 Penguin paperback editions of P.G. Wodehouse’s work. Although Ionicus and Wodehouse never met, his drawings show a genuine affinity for the Wodehouse material.
The excellent ‘Ionicus and the Art of Wodehouse’ blog delves into the Ionicus Wodehouse editions in more detail. The most recent piece looks at the covers of ‘Eggs, Beans and Crumpets’ and ‘Cocktail Time’ – both are classics. If you are particularly partial to the Ionicus editions (like me) it’s a blog I heartily recommend reading.
Last weekend, the 2017 British Silent Film Festival featured three silent film adaptations of Wodehouse stories as part of the programme. Regrettably I wasn’t there, but a kindly blogger (I thank you Arthur) has written about it in ‘Oooh, Betty!! A Sister of Six (1927) with Neil Brand, British Silent Film Festival Day Four.’
I suppose I had known, in a dim sort of way, that Wodehouse had been adapted for film from an early age, but the information that British film company Stoll Pictures made a Clicking of Cuthbert series of six short films in 1924 was news to me.
The films produced were:
- The Clicking of Cuthbert
- The Magic Plus Fours
- The Long Hole
- Rodney Fails to Qualify
- Ordeal by Golf
- Chester Forgets Himself
The films are not available online, but lucky guests at the British Silent Film Festival were shown three of them: Rodney Fails to Qualify, The Clicking of Cuthbert, and Chester Forgets Himself.
The Clicking of Cuthbert is one of Wodehouse’s best loved short stories, for good reason. The 1924 silent film adaptation starred Peter Haddon as Cuthbert, Helena Pickard as Adeline, and Moore Marriott as Vladimir Brusiloff. Harry Beasley appeared as a caddy in all six films.
What a treat it must have been to see Moore Marriott (pictured right), a well-known comic actor of the time, as Vladimir Brusiloff.
Doubtless with the best motives, Vladimir Brusiloff had permitted his face to become almost entirely concealed behind a dense zareba of hair, but his eyes were visible through the undergrowth, and it seemed to Cuthbert that there was an expression in them not unlike that of a cat in a strange backyard surrounded by small boys.
The Clicking of Cuthbert (1921)
The films are not strict adaptations of the original stories. Stoll Pictures introduced new characters such as the caddy, and new scenes to incorporate visual gags involving trick golf balls and the like. The stories have also been substantially modified. For example, The Clicking of Cuthbert includes a flashback scene involving bearded midgets on a snowy Siberian golf course, and a shooting.*
The following review of the series appeared in Kinematograph Weekly*
’The P.G. Wodehouse Series’ are certainly the most amusing two-reel comedies that Stoll’s has Trade shown, each one being based on golf but not limited to the golfer in their humorous appeal . . . Andrew P. Wilson has directed them fairly well. If at times they become mild and a little thin as regards humour, this is partly due to the rather uncreative adaptations, but they should entertain, especially in high class halls.
The British Silent Film Festival programme included a reading of another Wodehouse golfing story ‘A Woman is Only a Woman’. The title is borrowed from a line in Kipling’s humourous poem The Betrothed about a man whose fiancé asks him to choose between her and smoking cigars –he chooses the cigars.
Open the old cigar-box—let me consider anew—
Old friends, and who is Maggie that I should abandon you?
A million surplus Maggies are willing to bear the yoke;
And a woman is only a woman, but a good Cigar is a Smoke.
Light me another Cuba—I hold to my first-sworn vows.
If Maggie will have no rival, I’ll have no Maggie for Spouse!
(from: The Betrothed by Rudyard Kipling)
In Wodehouse’s A Woman is Only a Woman’, golf partners Peter Willard and James Todd fall in love with the same woman, putting a temporary strain on their friendship until each realises the object of their affection holds regrettable views on the subject of golf.
Miss Forrester swung her tennis racket irritably.
“Golf,” she said, “bores me pallid. I think it is the silliest game ever invented!”
The trouble about telling a story is that words are so feeble a means of depicting the supreme moments of life. That is where the artist has the advantage over the historian. Were I an artist, I should show James at this point falling backwards with his feet together and his eyes shut, with a semi-circular dotted line marking the progress of his flight and a few stars above his head to indicate moral collapse. There are no words that can adequately describe the sheer, black horror that froze the blood in his veins as this frightful speech smote his ears.
From: A Woman is Only a Woman (1919)
It’s easy to imagine an artist of the dramatic silent film genre doing justice to this scene.
The Clicking of Cuthbert film series is not readily available to Wodehouse fans online, but we can console ourselves with an excellent Wodehouse Playhouse television adaptation of Rodney Fails to Qualify (John Alderton and Pauline Collins never fail to please in this series).
We’re also fortunate that many silent films are available to view online and my “research” (cough, cough) for this piece involved viewing a substantial number of them. It’s easy to understand their appeal to festival goers. In lieu of a Wodehousian example to share, I’d like to recommend a favourite from my own country.
Australia had an outstanding early film industry and The Sentimental Bloke (1919) is one of its best-known examples. This film adaptation of South Australian poet C.J. Dennis’s verse novel The Songs of a Sentimental Bloke was the collaboration of two great figures of the Australian silent film era — Raymond Longford and Lottie Lyell. ‘Do yourself a favour’ as the saying goes, and have a peek.
If you’re interested to know more about Longford, Lyell and early Australian cinema, have a look at this piece by William M. Drew.
And if you’re unacquainted with P.G. Wodehouse’s golf stories, The Clicking of Cuthbert is a fine place to start.
Somebody met him in New York, just off a cattle-ship. Somebody else saw him in Buenos Ayres. Somebody, again, spoke sadly of having been pounced on by him at Monte Carlo and touched for a fiver. It was not until I settled down in London that he came back into my life. We met in Piccadilly one day, and resumed our relations where they had broken off. Old associations are strong, and the fact that he was about my build and so could wear my socks and shirts drew us very close together.
(‘Ukridge’s Dog College’ in Ukridge)
Back in June, you may recall, I gave my father a copy of P.G. Wodehouse’s Ukridge. Previous attempts to introduce Dad to the joys of Wodehouse had been unsuccessful – both The Little Nugget and a Jeeves novel had failed to click. But after a decent interval of about a decade, and a good deal of musing on the Psychology of the Individual, I bunged a copy of Ukridge in the post.
I felt supremely confident in my choice. Reading Ukridge always gives me a warm inner glow, and much of my early reading was influenced by my Father’s tastes. How could it fail? But as soon as the parcel left my clutches I began to waiver, because Ukridge is Wodehouse’s most divisive character. Some fans don’t enjoy these stories at all.
A look at Goodreads reviews for the book help to explain why.
JASON: Early Wodehouse work that didn’t quite meet the mark.’ And ‘…the fact of the matter is, the titular character, Ukridge, is a jerk. Maybe that’s a bit harsh, but I just can’t warm to him the way I did with Bertie Wooster.’
SPIROS: Chalk this one down to the axiom that artists and writers are notoriously unreliable judges of their own work: I remember reading somewhere that Ukridge was Wodehouse’s favorite of all the characters he created. I don’t see it, myself. He has none of the flair of Uncle Fred or Galahad Threepwood, none of the lyricism of Psmith, none of the muddleheaded chivalry of Bertie Wooster. Basically, he is a slightly more resourceful, boorish version of Bingo Little, Bertie’s chum who Jeeves was constantly extricating from the soup in the early Jeeves & Wooster stories…
RACHEL: This is the first of Wodehouse’s books that i’ve read that didn’t involve Jeeves. I can’t say I was overly enamoured. The book is set out in 10 shorter stories, many of which refer back to previous episodes, and are based around Ukridge trying to make money and in most case failing miserably. The stories were quite short and I found myself reading quickly just to get to the end of them. They do not have the same kind of humour that other Wodehouse novels do. Quite disappointing and not the place to start with Wodehouse. So many better novels have been written.
Ukridge is not a novel, but a collection of short stories. Partly, it’s the central character of Stanley Featherstonehaugh Ukridge that some readers dislike. Ukridge takes brazen advantage of the bonds of family and friendship to support his money-making schemes, and Corky the narrator is repeatedly put upon in this way. No sensible reader would want a person like Ukridge in their life, and some object to him on the page too. It’s a pity, because he’s a tremendous character.
Ukridge is also sometimes dismissed on the grounds of being an ‘early’ character, having first appeared in 1906 in Love Among The Chickens (which Wodehouse later rewrote). It’s not a view I happen to share. Much of Wodehouse’s early work is outstanding (I read the school stories often) and by the time Ukridge was published in 1924, Wodehouse had classics including Something Fresh (1915), Leave it to Psmith (1923) and The Inimitable Jeeves (1923) under his belt. Most of my own favourites were written during this period.
But I suspect the main cause of disappointment for Ukridge readers is that he is not Bertie Wooster. So often, the modern reader works their way through the Jeeves and Bertie stories without exploring the wider Wodehouse world until the supply of B. and J. has given out. The poor reader, familiar with these stories and expecting more of the same, finds a chap like Ukridge a bit of a jolt.
Indeed, Corky felt much the same way whenever Ukridge made an appearance in his life.
‘I was to give you this letter, sir.’
I took it and opened the envelope with a sigh. I had recognised the handwriting of Ukridge, and for the hundredth time in our close acquaintance there smote me like a blow the sad suspicion that this man had once more gone and wished upon me some frightful thing.
MY DEAR OLD HORSE,
It’s not often I ask you to do anything for me…
I laughed hollowly.
(‘The Return of Battling Billson’ in Ukridge)
My poor Father might well have had a similar response to the book shaped package that appeared on his doorstep in June, but his review, when it came via email from the antipodes, was a good one:
DAD: I was a little hesitant about starting it, because Wooster was not one of my favourite characters, but I became hooked and had to ration myself to two stories per night otherwise I would have still been reading at midnight!
The plots were deceiving – they seemed simple but became ever more complex. I liked the way it all came together in the last few paragraphs – leaving me somewhat stunned at the Wodehouse ingenuity. Although I doubt that the moral message of the Ukridge person would sit well with today’s “correctness” in all things.
However the cover of the modern edition was a bit off the mark. It depicts Ukridge as a John Lennon look-a-like – dapper and suave – with the tattered yellow mackintosh looking more like a tailored double-breasted overcoat!
I liked Stephen Fry’s evaluation on the back cover: “You don’t analyse such sunlit perfection, you just bask in its warmth and splendour.”
I’m delighted that the old boy, now in his 70th year, and Wodehouse have finally clicked. I’ve sent him Blandings Castle and Elsewhere by return post.
P.G. Wodehouse offers us so much as readers, but he’s an inspiration for writers too. I asked Auriel Roe, author of A Blindfellows Chronicle, about Wodehouse’s influence on her writing.
How did you discover Wodehouse? Probably the Richard Briers and Michael Hordern radio version of Jeeves and Wooster. Dickens always intended his work to be read aloud and Wodehouse has just the right rhythms for this too, so that led me to read Wodehouse. Coming from a background in drama, I could tell instantly that Wodehouse’s characters and scenarios were theatrical.
Do you have a favourite Wodehouse novel or story? Probably Right Ho, Jeeves as it contains that supreme episode of the humour of embarrassment that Wodehouse does so well with Fink-Nottle presiding over a school prize giving ceremony. I’ve sat through a number of similar cringe-making efforts at these end-of-year offerings, one in which the guest speaker hadn’t prepared a speech and intoned “You’re all so lucky” probably about every thirty seconds; (she was quite famous too and we suspected she’d been at the juice).
Which character from Wodehouse’s world would you most like to be (or most identity with) and why ? I’m torn between wanting to be Wooster who takes such delight in the simple things in life such as a cooked breakfast and Jeeves who has a solution to every mishap, however unlikely it is to succeed.
How long have you been writing? In a proper sense, for the last two years, but it fits around a full time job, which is an asset to a writer as being in solitude for me would mean no ideas, and no little jottings in the writer’s notebook when you overhear something quirky or witness something bizarre. Writing for me all happened by accident a couple of summers ago when I had a peculiar little notion that swelled into a novel… What if a man in his sixties suddenly has his first crush? This became my novel A Blindefellows Chronicle which has recently been published.
How has Wodehouse influenced your work? I think my main character Sedgewick is something of a Jeeves/Wooster hybrid actually – Sedgewick is an awkward chap who often finds outlandish solutions to the predicaments that arise. Like Wooster, Sedgewick avoids romantic entanglements, and is most downhearted when a possible marriage looms. My novel is composite, the same set of characters in thirteen chronological stories, a structure Wodehouse favoured, each chapter/story able to stand alone.
Some people claim Wodehouse’s writing is too much a product ‘of his time ‘ to appeal to a modern audience. What do you think Wodehouse has to offer the 21st Century reader? Wodehouse continues to make people laugh so perhaps this humour contributes to making it timeless, but perhaps it’s only a brand of humour that the British have a feel for. Having said that, Wodehouse has never gone out of vogue in India; it’s sold next to the best sellers in airports and there was outrage when it was dramatized into Hindi. For years, the actor Martin Jarvis has held packed houses mesmerized with his readings of Wodehouse, which demonstrates an enduring appeal. As for what Wodehouse offers us today well, there’s just not enough comic literary fiction today. Comedy is not often written skilfully and Wodehouse is an example of how to do it which I’ve learned from.
I’m passionate about supporting writers who’ve been influenced by Wodehouse — please tell me about your book. Regarding style, I feel like I’ve written the novel I always wanted to read, which pays homage to my favourite writing… Wodehouse, Wind in the Willows, Cold Comfort Farm to name a few. Regarding content, I am a head of art and I wanted to base my story in a school which is probably what I know best. My first job was in a somewhat archaic boarding school so little aspects of those years have been used, albeit manipulated to almost unrecognisable proportions. Here’s the blurb to pop it into a nutshell…
“It was midday on 31 August and the new History master had arrived at Blindefellows, former charity school for poor, blind boys, now a second division private school for anyone who could pay.”– Thus commences the unlikely friendship between Sedgewick, the naive newcomer, and the rumbustious, Japes, Master of Physics, his worldly-wise mentor.
A Blindefellows Chronicle follows the adventures of a handful of unmarried faculty at an obscure West Country boarding school in a series of interlinked tales characterized by absurd, chortle-out-loud humour, punctuated by moments of unexpected poignancy.
Thanks Auriel and best of luck with your book. I’m looking forward to reading it
Unlike the male codfish which, suddenly finding itself the parent of three million five hundred thousand little codfish, cheerfully resolves to love them all, the British aristocracy is apt to look with a somewhat jaundiced eye on its younger sons.
from: Blandings Castle and Elsewhere (1935)
So too, my own father has looked with a somewhat jaundiced eye on my enthusiasm for Wodehouse. For I made the mistake, many years ago, of introducing him to Wodehouse without first taking the time to consider what Jeeves refers to as the ‘Psychology of the individual’. I simply grabbed a book from my shelf at random and shoved it at him with hearty confidence.
The book in question was The Little Nugget (1913). It’s one of Wodehouse’s earlier novels and few people would rank it among his best, but I’m fond of it and had no inkling that it would fail to grip dear old Pa. But grip it didn’t. To the best of my knowledge, he hasn’t touched Wodehouse again, but with this experience now in the distant past, I feel the time is ripe to try again.
With well over 100 books by or about Wodehouse to choose from, if you’re looking for a Father’s Day gift for your Dad, whether he’s new to Wodehouse or already a fan, there’s plenty to choose from.
Here are five suggestions to get you started.
1. The Clicking of Cuthbert
Sporting gifts for Dad is one of the commercialised world’s biggest clichés, but if your sports-loving Dad has a sense of humour, this collection of golf stories is a terrific choice. Wodehouse enjoyed golf and his affection for the game shines through in these stories, which are among the best he ever wrote. No understanding of golf is required.
George Perkins, as he addressed the ball for the vital stroke, manifestly wobbled. He was scared to the depths of his craven soul. He tried to pray, but all he could remember was the hymn for those in peril on the deep, into which category, he feared, his ball would shortly fall. Breathing a few bars of this, he swung.
From: The Rough Stuff in The Clicking of Cuthbert (1922)
2. The Inimitable Jeeves
The Inimitable Jeeves makes a great introduction to Wodehouse and the Jeeves and Wooster stories. It’s a collection of connected stories rather than a traditional novel, making it a good choice for busy Dads, or those with a short attention span. I particularly recommend the short stories to commuters – they’re an ideal length and will put a spring your step for the rest of the day.
I’m not much of a ladies’ man, but on this particular morning it seemed to me that what I really wanted was some charming girl to buzz up and ask me to save her from assassins or something. So that it was a bit of an anti-climax when I merely ran into young Bingo Little, looking perfectly foul in a crimson satin tie decorated with horseshoes.
From: The Inimitable Jeeves (1923)
3. Uncle Fred in the Springtime
If your Dad is a genial old soul who enjoys reminiscing about his youth with a twinkle in his eye, try a dash of Uncle Fred. But be warned, Pongo Twistleton’s Uncle Fred doesn’t just reminisce. He acts on his impulses, especially when Pongo’s Aunt Jane isn’t looking. In Uncle Fred in the Springtime, he and his long-suffering nephew visit Blandings Castle as imposters (there are wheels within wheels). And while being Frederick Altamont Cornwallis Twistleton, 5th Earl of Ickenham, might save our hero from prosecution if his identity is revealed, it won’t save him from Aunt Jane.
‘Don’t blame me, Pongo,’ said Lord Ickenham, ‘if Lady Constance takes her lorgnette to you. God bless my soul, though, you can’t compare the lorgnettes of to-day with the ones I used to know as a boy. I remember walking one day in Grosvenor Square with my aunt Brenda and her pug dog Jabberwocky, and a policeman came up and said the latter ought to be wearing a muzzle. My aunt made no verbal reply. She merely whipped her lorgnette from its holster and looked at the man, who gave one choking gasp and fell back against the railings, without a mark on him but with an awful look of horror in his staring eyes, as if he had seen some dreadful sight. A doctor was sent for, and they managed to bring him round, but he was never the same again. He had to leave the Force, and eventually drifted into the grocery business. And that is how Sir Thomas Lipton got his start.
From: Uncle Fred in the Springtime (1939)
4. Bring on the Girls
If your Dad enjoys Wodehouse’s fiction, I strongly recommend this biographical volume by Wodehouse and Guy Bolton, Bring on the Girls: The Improbable Story of Our Life in Musical Comedy, with Pictures to Prove it. The Broadway musicals of Wodehouse, Bolton and Jerome Kern were enormously successful (2017 marks the centenary of Wodehouse having five original productions on Broadway) and Wodehouse and Bolton became lifelong friends. Bring on the Girls is a highly entertaining account of their career, written with the same panache you’d expect of any Wodehouse work.
At the outset it would have seemed that conditions for an early meeting were just right. Wodehouse was born in Guildford, Surrey, England, and almost simultaneously Bolton was added to the strength of Broxbourne, Herts. As the crow flies, Guildford and Broxbourne are not much more than twenty miles apart, and it is quite possible that the two infants, destined to collaborate for forty years, may often have seen the same crow engaged in checking the distance.
From: Bring On The Girls (1953)
For my own Dad, I’ve selected Ukridge. It’s a controversial choice perhaps, as Ukridge is one of Wodehouse’s most divisive characters. He is certainly a scoundrel who abuses the bonds of family and friendship, but he goes about his business with a hearty, almost infectious optimism – the big, broad, flexible outlook, he calls it. And Wodehouse’s joyous narration may appeal to anyone who has been repeatedly ‘touched for a fiver’ by an acquaintance lacking in both shame and moral compass. Wodehouse knew the feeling I suspect (Ukridge was inspired by a real person). He presumably made good on his ‘investment’ in the creation of Ukridge.
If the leading incidents of S.F. Ukridge’s disreputable career are to be given to the public – and not, as some might suggest, decently hushed up – I suppose I am the man to write them.
Finally, for the Wodehouse-loving Father who has almost everything, the Wodehouse expert and collector Tony Ring has recently parted with some rare gems from his collection, and these are available for sale from Noel Pearson’s Rare Books.
These are a few of my suggestions. What about yours?
Dads — please tell us what’s on your Wodehouse wish-list.
Happy reading and cheers to all Fathers, including my own!
The next convention of The Wodehouse Society (US) is being held in Washington D.C on the 19th-22nd of October 2017.
It is difficult to imagine a more genial occasion than one which brings together fans of an author once described by Stephen Fry (in his introduction to the anthology What Ho!) as:
‘…the finest and funniest writer the past century ever knew’
In 2015, some of you may recall, I had great pleasure in attending my first convention, Psmith in PSeattle. These fabulous binges occur just once every two years, and in 2017 the event is being held in Washington D.C. on 19-22 October.
Regular convention goers enjoy these events as an opportunity to connect with old friends and make new ones through a shared love of Wodehouse.
Young Tuppy had the unmistakable air of a man who has recently been round to the Jug and Bottle. A few cheery cries of welcome, presumably from some of his backgammon-playing pals who felt that blood was thicker than water , had the effect of causing the genial smile on his face to widen till it nearly met at the back. He was plainly feeling about as good as a man can feel and still remain on his feet.
(from ‘Jeeves and the Song of Songs’ in Very Good Jeeves)
The 2017 convention, arranged by The Wodehouse Society’s Washington Chapter, offers an array of Wodehouse-related entertainments –from ‘serious-minded’ talks to music and theatrical performances. The keynote speaker is Pulitzer Prize winning journalist Michael Dirda and the programme will include music performed by Maria Jette & Dan Chouinard. Maria and Dan have performed at previous conventions, featuring songs with lyrics by Wodehouse, as well as songs referenced in Wodehouse’s writing.
The Wodehouse Society conventions attract attendees from all over the world, and offer a welcoming haven for like-minded souls to meet and forge friendships.
As Stephen Fry goes on to say:
Without Wodehouse I am not sure that I would be a tenth of what I am today – whatever that may be. In my teenage years the writings of P.G. Wodehouse awoke me to the possibilities of language. His rhythms, tropes, tricks and mannerisms are deep within me. But more than that he taught me something about good nature. It is enough to be benign, to be gentle, to be funny, to be kind. He mocked himself sometimes because he knew that a great proportion of his readers came from prisons and hospitals. At the risk of being sententious, isn’t it true that we are all of us, for a great part of our lives, sick or imprisoned, all of us in need of this remarkable healing spirit, this balm for hurt minds?
Many of us have been similarly restored and improved by reading Wodehouse –and if you are thinking of attending your first convention this year, you are assured of a warm welcome.
Visit the Wodehouse Society website for more details, including a programme and registration form.
And if you see me, say hello! I’ll be in the lobby of the Crown Plaza Hamilton Hotel, wearing their best armchair fashionably tight about the hips. If you approach with a pink chrysanthemum in your buttonhole and start rambling about rain in Northumberland, I shall know what to do about it.
The name Tony Ring is familiar to many P.G. Wodehouse enthusiasts — it pops up often and in an surprising variety of places: from journal articles and forewords of new editions, to theatre programmes. Tony’s books on Wodehouse’s life and work line many of our shelves, and his sparkling presence has enlivened Wodehouse society events around the world. It is an honour and a pleasure to add Plumtopia to his long list of appearances.
Another Centenary to Celebrate
The Sunday Times Magazine for 9 April this year included a four-page article saluting Andrew Lloyd Webber’s extraordinary achievement in having four shows in performance simultaneously on Broadway, though two of them are revivals. It suggests he shares this record with Rodgers and Hammerstein, and states that it hasn’t been done for 60 years.
Well, Rodgers, like Lloyd Webber, was a composer. Hammerstein was a lyricist. The paper overlooked Lloyd Webber’s one-time lyricist Tim Rice, who wrote this in his Introduction to the booklet contained in the 2001 CD The Land Where the Good Songs Go:
I am, I hope, a fairly modest cove, but I must admit I felt fairly gruntled when, in 2000, I could briefly brag about having my lyrics on Broadway in no less than four shows at the same time [including one revival]. Surely this must be a record, I reckoned – certainly for a British lyricist.
So the errors the Sunday Times made are stacking up. First, as they refer to Hammerstein as one of the previous record-holders, they clearly mean to include lyricists. Therefore, Lloyd Webber’s achievement, though amazing, also only equals that of Tim Rice. And when earlier this year his fourth show opened, it was only 17 years since Tim Rice’s achievement, not 60.
But that is not all. Tim Rice went on to add in his remarks that he had mentioned his achievement only because of its relevance to the CD – which was full of songs by one of his literary heroes, P G Wodehouse.
For in 1917 the mighty Plum, lyricist and British to boot, had five shows running simultaneously on Broadway. That achievement reaches its Centenary on November 7, this year.
It is only fair to admit that some of the shows were far less successful than the typical Lloyd Webber and Rice offerings, and that in one in particular he was not the only lyricist. Nevertheless, it is an achievement which should not be overlooked.
In all, Wodehouse contributed lyrics to 25 musicals in one or both of the UK and the USA, and the changes in style and approach which he and Jerome Kern in particular brought to the format of musical comedies smoothed the way for the next major revolution, with the production of such shows as Show Boat. Along with Guy Bolton, who was generally responsible for the first drafts at least of the libretti, they introduced the idea of simpler plots relating to subjects more in keeping with the experience of theatre-goers.
Whereas one of their earliest efforts, Miss Springtime, paid lip-service to the earlier traditions of comic opera, the setting for their first 1917 hit, Have a Heart, was the life of a salesgirl in a retail clothing store. This was followed by Oh, Boy!, which encompassed a modern take on romance, with newlyweds, misunderstandings and a lecherous old judge; and Leave It To Jane, based around American football.Wodehouse absorbed this policy in future collaborations with other composers – the 1926 show Oh, Kay!, written with the Gershwins, had the theme of bootlegging during the prohibition era; while Anything Goes, Cole Porter’s 1934 perpetually popular show, featured escaped criminals. Porter, who had written the lyrics for all the songs in the Broadway production, invited Wodehouse to anglicise a couple of them for London, and he pulled no punches in satirising the greed of certain classes even in times of economic difficulty.
Do the following examples sound like Wodehouse? They were.
The Duke who owns a moated castle
Takes lodgers and makes a parcel
Because he knows
It’s grab and smash today
We want cash today
Get rich quick today
That’s the trick today
And the Great today
Don’t hesitate today
But keep right on their toes
And lend their names, if paid to do it
To anyone’s soap or suet
Or baby clo’s
If you enjoy Wodehouse but have not heard – knowingly – any of his lyrics (the one EVERYBODY has heard without realising it is Bill, originally written for Oh, Lady! Lady!! in 1918, dropped from that show but added, with a little tweaking by Oscar Hammerstein II, to Show Boat in 1926, where it has resided ever since), I recommend that you try to get one of the three CD’s, each with a variety of his lyrics, recorded since 2000.
The Land Where the Good Songs Go
Singers: Hal Cazalet, Sylvia McNair, Lara Cazalet; Pianist: Steven Blier
2001 Harbinger Records HCD 1901
In Our Little Paradise
Singer: Maria Jette; Pianist: Dan Chouinard
2011 Woleseley Recordings
The Siren’s Song
Singer: Maria Jette; Pianist: Dan Chouinard
2004 Woleseley Recordings
For a relatively modern recording of a complete show, try Sitting Pretty (1926), recorded on a double CD in 1990 under the direction of John McGlinn. It was published by New World Records (80387-2).
But let your mind wander a little further. You may not have been aware that Wodehouse was quite such an important lyricist. Perhaps you have not realised that he was an accomplished playwright, as well. He never reached quite the same prominence as with his other activities but, while mentioning impressive achievements, we should not overlook that in December 1928 he had three new plays on the West End stage simultaneously – and that is something not many of even our greatest playwrights can boast.
Perhaps you could suggest some names of those who have matched this achievement – either on the West End or on Broadway?
Lord Emsworth breathed heavily. He had not supposed that in these degenerate days a family like this existed. The sister copped Angus McAllister on the shin with stones, the brother bit Constance in the leg . . . It was like listening to some grand saga of the exploits of heroes and demigods.
‘Lord Emsworth and the Girl Friend’
This piece is the third in a series of guides for readers wanting to discover the joys of P.G. Wodehouse — from the popular Jeeves and Wooster stories, and the Blandings series, to the wider world of Wodehouse ‘hidden gems’. Previous instalments in the series offered:
- an overview of Wodehouse’s work, with suggestions for new readers, and
- a reading list for the Bertie and Jeeves stories.
A reading list for the Blandings saga is offered below, followed by notes on the series.
A Blandings Reading List
- Something Fresh (1915; US title Something New)
- Leave it to Psmith (1923)
- Blandings Castle (1935)*
- Summer Lightning (1929; US title Fish Preferred)
- Heavy Weather (1933)
- Uncle Fred in the Springtime (1939) featuring Uncle Fred
- Full Moon (1947)
- Pigs Have Wings (1952)
- Service with a Smile (1961) featuring Uncle Fred
- Galahad at Blandings (1965; US title: The Brinkmanship of Galahad Threepwood)
- A Pelican at Blandings (1969; US title: No Nudes is Good Nudes)
- Sunset at Blandings (1977)
The evolution of Blandings
Blandings Castle has joined Narnia, Brideshead and 221B Baker Street as a hallowed setting of English literature. Every enthusiast knows its rose garden, the terraces overlooking the lake, the steps down to the lawn where Gally sips a thoughtful whiskey, the gardens presided over by McAllister, the cottage in the West Wood suitable for concealing diamond necklaces or Berkshire pigs, and the hamlet of Blandings Parva which adjoins the estate.
N.T.P Murphy: The P.G. Wodehouse Miscellany
The much loved Blandings series features the absent-minded Lord Emsworth, his prize-winning pig the Empress of Blandings, and a changing cast of relations, staff, guests and imposters. The first Blandings novel Something Fresh, written in 1915, is one of my favourites and a great place to start. Wodehouse continued to write about Blandings for another 60 years (he was working on Sunset at Blandings when he died).
The early novels have a different atmosphere to the Blandings that emerges in Blandings Castle, in which Lord Emsworth’s prize-winning pig, the Empress of Blandings is introduced.
Blandings Castle is a short-story collection containing several classic Blandings stories, mostly written before Summer Lightning. Blandings Castle should be read before Summer Lightning to avoid spoilers. The stories are among Wodehouse’s best, and include:
- The Custody of the Pumpkin (1929)
- Lord Emsworth Acts for the Best (1926)
- Pig-Hoo-o-o-o-ey (1927)
- Company for Gertrude (1928)
- Lord Emsworth and the Girl Friend (1928)
- The Go-getter (1931)
The volume also includes some fine non-Blandings short stories.
The tranquillity of Lord Emsworth’s life at Blandings is constantly under threat throughout the series: from oily villains (like Smooth Lizzie and Eddie Cootes); regrettable relatives (such as Lady Constance Keeble and younger son Freddie Threepwood); supercilious staff (Rupert Baxter); and invited guests (the revolting Duke of Dunstable).
At an earlier point in this chronicle, we have compared the aspect of Rupert Baxter, when burning with resentment, to a thunder-cloud, and it is possible that the reader may have formed a mental picture of just an ordinary thunder-cloud, the kind that rumbles a bit but does not really amount to anything very much. It was not this kind of cloud that the secretary resembled now, but one of those which burst over cities in the Tropics, inundating countrysides while thousands flee.
‘The Crime Wave at Blandings’ in Lord Emsworth and Others
Happily for Lord Emsworth, Blandings’ extended cast of heroes and heroines are equal to the challenges presented to them.
Lord Emsworth’s younger brother, the Hon. Galahad Threepwood, makes his first appearance in Summer Lightning. He and Uncle Fred (Frederick Twistleton, 5th Earl of Ickenham) put a debonair spring-in-the-step of the later novels, much as Psmith had done in the earlier Leave it to Psmith.
The final novel Sunset at Blandings was completed after Wodehouse’s death, from his draft manuscript and notes, by Richard Usborne.
When you’ve completed the novels, you may also wish to track down the remaining short stories, which can found in the following collections:
- ‘The Crime Wave at Blandings’ in Lord Emsworth and Others (1937)
- ‘Birth of a Salesman’ in Nothing Serious (1950)
- ‘Sticky Wicket at Blandings’ in Plum Pie (1966)
On 28 January, the British Library celebrated their recent acquisition of the Wodehouse archives with P.G. Wodehouse: A musical celebration. As the title suggests, the event celebrated Wodehouse’s lesser known but important contribution as a musical theatre lyricist, working in collaboration with Guy Bolton, Jerome Kern and others (including George and Ira Gershwin).
I felt privileged to be among those present as singer Hal Cazalet and actress Lara Cazalet (Wodehouse’s great grandchildren) and pianist Stephen Higgins performed songs from the Wodehouse songbook, including: ‘Put Me in My Little Cell’, ‘You Never Knew About Me’, ‘The Enchanted Train’, ‘Oh Gee Oh Joy’, ‘Bill’, and ‘Anything Goes’.
Hal Cazalet also provided a rapt audience with some professional insights into his grandfather’s methods as a lyricist, and his influence on later developments in musical theatre. Hal put forward a convincing argument that Wodehouse’s work as a lyricist not only influenced, but improved Wodehouse’s writing.
A highlight of the day was listening to Sir Edward Cazalet, one of the few people living today who knew ‘Plum’ and Ethel Wodehouse well. Edward’s reminiscences about his grandfather were affectionate and deeply moving – and fans will be touched to learn that Edward still has the pencil his grandfather was holding when he died.
The proceedings were further enhanced by observations from assembled experts, including Wodehouse’s biographer Robert McCrum (Wodehouse: A Life), Sophie Ratcliffe (who edited PG Wodehouse: A Life in Letters) and Tony Ring, whose extensive research and numerous works on Wodehouse include the multi-volume Wodehouse Concordances.
After the formal proceedings, came the infinite pleasures of meeting other Wodehouse lovers – both old friends and new ones. It was wonderful to meet members of the Dutch P.G. Wodehouse Society, who had travelled to London especially for the event, online friends from the Facebook Fans of P.G. Wodehouse group, U.K. Society members, and even a few celebrities. A socially inclined gaggle of us, reluctant for the festivities to end, moved on to a local hostelry where the feast of reason and flow of soul continued long into a splendid Winter evening.
I recommend that you also read Mike Swaddling’s account of the event at the UK Wodehouse Society website (with pictures by Dutch Wodehouse Society President Peter Nieuwenhuizen) via British Library Celebrates Plum the Lyricist (Wodehouse Society report)