Later Music Directors

British Musica Theatre Photo of Frank Tours, Broadway Music Director

Frank Tours

Frank Tours, in addition to his duties as an orchestrator, worked as a music director on Jerome Kern’s Love O’ Mike (1917.02) and then on Sigmund Romberg’s hit Maytime (1917.15), before working with Irving Berlin on a Marx Brothers vehicle The Cocoanuts (1925.45) and as co-music director with Maurice DePackh on Berlin’s Face the Music (1932.05).  He worked with Vincent Youmans on Smiles in 1930 and then with Cole Porter on both Jubilee (1935.14) and Red, Hot and Blue (1936.26).

Al Goodman started with operettas in the early 1920’s, then worked as the music director on three Ray Henderson shows:  Good News (1927.41), Follow Thru (1929.03) and Flying High (1930.11).

Photo from LA times of Al Goodman, Broadway and Hollywood Music Director

Al Goodman

He was music director on Romberg’s The New Moon (1928.29), then on Porter’s The New Yorkers (1930.40), before teaming up with Richard Rodgers on America’s Sweetheart (1931.04) and Higher and Higher (1940.06).  In the pre-1943 era, he ended up working on Burton Lane’s Hold Onto Your Hats (1940.10).  

Victor Baravalle worked on ten Kern shows, including The Night Boat (1920.04), Good Morning, Dearie (1921.36), The Bunch and Judy Show (1922.45), Stepping Stones (1923.40), The City Chap (1925.38), Criss Cross (1926.32), Show Boat (1927.67), The Cat and the Fiddle (1931.37), Music in the Air (1932.23) and Roberta (1933.26).  He also worked with Rodgers on Betsy (1926.51) and with Arthur Schwartz on Revenge with Music (1934.38).

Gene Salzer worked on four shows with Rodgers (She’s My Baby, 1928.02; On Your Toes, 1936.05; Babes in Arms, 1937.05; and I Married an Angel, 1938.05) and on four shows with Porter (Fifty Million Frenchmen, 1929.45; Gay Divorce, 1932.27; DuBarry Was a Lady, 1939.30; and Panama Hattie, 1940.19).

Paul Lannin worked as music director on George Gershwin’s Lady, Be Good! (1924.43), as co-music director on Youmans’ Hit the Deck (1927.16) and as music director on Youmans’ Great Day (1929.37).

Ernest Cutting worked on Rodger’s The Girl Friend (1926.07), while Roy Webb, who also orchestrated, worked on four of Rodgers’ shows, including Peggy-Ann (1926.50), A Connecticut Yankee (1927.56), Present Arms (1928.16) and Chee-Chee (1928.30).

Photo of Max Steiner, Broadway Orchestrator and Hollywood Composer

Max Steiner

Before leaving for an illustrious career in Hollywood, Max Steiner worked as music director on Kern’s Sitting Pretty (1924.08), Gershwin’s Tell Me More (1925.15) and Youman’s The Rainbow (1928.44).

Before he left for Hollywood, Alfred Newman worked on two Gershwin shows, Funny Face (1927.59) and Treasure Girl (1928.43), and on two, minor Rodgers shows in 1929.  

Nicholas Kempner concentrated on Youmans, providing musical direction on No, No, Nanette (1925.30) and working with Paul Lannin as co-music director on Great Day (1929.37).

Max Meth worked as music director on Henderson’s Say When (1934.35), on Vernon Duke’s Cabin in the Sky (1940.17) and on Porter’s Let Face It (1941.08).  

Earl Busby worked on two Gershwin shows, Girl Crazy (1930.31) and Pardon My English (1933.01) and on Porter’s Anything Goes (1934.36), Porter’s best show until Kiss Me Kate.

Macklin Marrow worked as music director on Kurt Weill’s Three-Penny Opera (1933.07).

Maurice de Abravanel worked as music director on Weill’s Knickerbocker Holiday (1938.11) and Lady in the Dark (1941.04).

Harry Levant, Oscar’s brother, worked on three Rodgers shows, The Boys from Syracuse (1938.14), Too Many Girls (1939.27) and Pal Joey (1940.22).

Johnny Green worked on Rodgers’ By Jupiter (1942.15) before returning to Hollywood.