Gustave Kerker - Theater Credits

Theater Credits

  • 1879 - The Cadets
  • 1888 - Pearl of Pekin (libretto by Charles Alfred Byrne)
  • 1890 - Castles in the Air (libretto by Byrne)
  • 1893 - Little Christopher Columbus, with Ivan Caryll, libretto by George Robert Sims and Cecil Raleigh
  • 1894 - Prince Kam or A Trip to Venus (libretto by Byrne and Louis Harrison)
  • 1895 - Kismet or Two Tangled Turks (libretto by Richard F. Carroll)
  • 1896
    • In Gay New York (musical revue; libretto by Hugh Morton
    • The Lady Slavey (libretto by George Dance; lyrics by Morton)
    • An American Beauty (libretto by Morton)
  • 1897
    • The Whirl of the Town (musical revue; libretto by Morton)
    • The Belle of New York (libretto by Morton)
  • 1898
    • My Estelle (libretto by Morton)
    • Yankee Doodle Dandy (libretto by Morton)
    • The Telephone Girl (libretto by Morton)
  • 1899 – The Man in the Moon (with Ludwig Engländer and Reginald De Koven)
  • 1901 - The Girl from Up There (libretto by Morton)
  • 1902 - The Billionaire (libretto by Harry B. Smith)
  • 1903
    • "The Lobster Song (I Was Walking 'Round the Ocean)" in The Wizard of Oz (libretto by Morton)
    • Winsome Winnie (contributor; libretto by Edward Jakobowski; most of the music by Harry Paulton)
  • 1904
    • Burning to Sing, or Singing to Burn. A 'Very' Grand Opera (libretto by R. H. Burnside)
  • 1906
    • The Social Whirl (libretto by Charles Doty and Joseph Herbert; lyrics by Herbert)
    • The Tourists (libretto by R. H. Burnside)
  • 1907
    • The White Hen (libretto by Roderic C. Penfield; lyrics by Penfield and Paul West)
    • Fascinating Flora (libretto by Burnside and Herbert)
  • 1909
    • Die oberen Zehntausend (libretto by Julius Freund)
  • 1912 – Two Little Brides (libretto by Arthur Anderson and Harold R. Atteridge)
  • 1921 – The Whirl of New York, based on The Belle of New York (libretto by Morton and Edgar Smith.

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    I want to give the audience a hint of a scene. No more than that. Give them too much and they won’t contribute anything themselves. Give them just a suggestion and you get them working with you. That’s what gives the theater meaning: when it becomes a social act.
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