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Adrian Ross

May 06, 2023

For the NFL player, see Adrian Ross (American football).

Arthur Reed Ropes (23 December 1859 – 11 September 1933), better known under the pseudonym Adrian Ross, was a prolific writer of lyrics, contributing songs to more than sixty British musical comedies in the late 19th and early 20th centuries. He was the most important lyricist of the British stage during a career that spanned five decades. At a time when few shows had long runs, nineteen of his West End shows ran for over 400 performances.

Ross in 1904

Starting out in the late 1880s, Ross wrote the lyrics for the earliest British musical theatre hits, including In Town (1892), The Shop Girl (1894) and The Circus Girl (1896). Ross next wrote the lyrics for a string of hit musicals, beginning with A Greek Slave (1898), San Toy (1899), The Messenger Boy (1900) and The Toreador (1901) and continuing without a break through World War I. He also wrote the English lyrics for a series of hit adaptations of European operettas beginning with The Merry Widow in 1907.

During World War I, Ross was one of the founders of the Performing Rights Society. He continued writing until 1930, producing several more successes after the war. He also wrote the popular novel The Hole of the Pit and a number of short stories.

Life and career

Ross was born in Lewisham, London. He was the youngest son and fourth child of Ellen Harriet Ropes née Hall, of Scarborough, and William Hooper Ropes, a Russia merchant. Ross's parents lived in Normandy, France, but sent him to school in London at Priory House School in Clapton, Mill Hill School, and the City of London School. He later attended King's College, Cambridge, where, in 1881, he won the Chancellor's Medal for English verse for his poem "Temple Bar", and also won the Members' Prize for the English essay. In 1883 he graduated with a first-class degree, winning the Lightfoot scholarship for history and a Whewell scholarship for international law. He was elected a fellow of the College.[1][2]

He was a Cambridge University graduate and don, teaching history and poetry from 1884 to 1890 and writing serious and comic verse of his own, the first volume of which was published in 1884. In 1889, he published "A Sketch of the History of Europe". He was also a translator of French and German literature under his own name.[2] He created the fictitious name "Adrian Ross" due to a concern that writing musicals would compromise his academic career.[3]

Early career

 
A. C. Seymour and Letty Lind in Morocco Bound

During a brief illness in 1883 after catching cold at the University Boat Race, Ross used the lonely time in bed to write the libretto of an entertainment entitled A Double Event. This was produced at St. George's Hall, London in 1884 with music by Arthur Law, and Ross used the name "Arthur Reed". His next work for the stage, also as Arthur Reed, was the book and lyrics for a musical burlesque, Faddimir (1889 at the Opera Comique), with music by fellow Cambridge graduate, F. Osmond Carr.[2]

The piece earned enough praise so that the impresario George Edwardes commissioned the two to write another burlesque, together with the comic actor John Lloyd Shine, called Joan of Arc. Songs from the piece included "I Went to Find Emin", "Round the Town", and "Jack the Dandy-O". Joan of Arc opened in 1891 at the Opera Comique starring Arthur Roberts and Marion Hood; he wrote under the pseudonym Adrian Ross, which he used for the rest of his career. The piece was a hit, lasting for almost eight hundred performances, and Ross resigned from Cambridge. To supplement his income from theatre writing, Ross became a contributor to such journals as Punch, Sketch, Sphere and The World, and he joined the staff of Ariel in 1891–1892. He wrote in The Tatler under the pseudonym Bran Pie and in 1893 published an edition of Lady Mary Wortley Montague's Letters. He also published numerous French texts for the Pitt Press series.[2]

Ross and Carr's next work, in collaboration with James T. Tanner, was In Town (1892), a smart, contemporary tale of backstage and society goings-on. This left behind the earlier Gaiety burlesques and helped set the new fashion for the series of modern-dress Gaiety Theatre shows that quickly spread to other theatres and dominated British musical theatre. For his next piece, Morocco Bound (1893, with the song "Marguerite from Monte Carlo"), Ross concentrated on writing lyrics, leaving the "book" mostly to Arthur Branscombe. This proved to be his most successful model through most of his career.[4] The position of "lyricist" was relatively new, as previously the writers of libretti would invariably write the lyrics themselves. As the new Edwardes-produced "musical comedies" took the place of burlesque, comic opera and operetta on the stage, Ross and Harry Greenbank established the usefulness of a separate lyricist.

 
Souvenir – 1st anniversary of the opening

Gaiety and Daly Theatre musicals

Ross contributed lyrics to almost all of the Gaiety Theatre's shows, beginning with The Shop Girl (1894, with his song "Brown of Colorado") and Go-Bang in 1895. He wrote over two thousand lyrics and produced lyrics for over sixty musicals thereafter, including most of the hit musicals through World War I. In 1896, he contributed to the Gaiety Theatre hit, The Circus Girl. He also wrote lyrics for the one-act comic opera, Weather or No (1896), which played as a companion piece to The Mikado at the Savoy Theatre, as well as several other Savoy operas, such as Mirette (1894), His Majesty, or The Court of Vignolia (1897), The Grand Duchess of Gerolstein (1897) and The Lucky Star (1899).[2]

Ross also wrote lyrics for the shows at Daly's Theatre. His lyrics to additional numbers for An Artist's Model (1895) and The Geisha (1896) were successful enough so that Edwardes asked him for major contributions to the rest, beginning with A Greek Slave (1898), especially after the death of the theatre's early chief lyricist, Harry Greenbank. These included a series of enormous successes, including San Toy (1899), The Messenger Boy (1900), Kitty Grey (1901), The Toreador (1901), A Country Girl (1902), The Girl from Kays (1903), The Orchid (1903), The Cingalee (1904), The Spring Chicken (1905) and The Girls of Gottenberg (1907). In 1901, Ross married Ethel Wood, an actress, and the couple produced a son and two daughters. The family resided in Church Street, Kensington.[1] Also in 1901, he collaborated with his sister Mary Emily Ropes on the children's story, On Peter's Island.[2][5]

When Edwardes found success, beginning in 1907, in mounting English-language versions of the new generation of continental European operettas to the London stage, Ross wrote the English lyrics for the adaptations, often with libretti by Basil Hood. His words to the songs in The Merry Widow (1907) became the standard English version of that piece, performed throughout the world for many decades. Other Continental musicals that Ross anglicised included A Waltz Dream (1908), The Dollar Princess (1909), The Girl in the Train (1910), The Count of Luxembourg (1911), The Girl on the Film (1913) and The Marriage Market (1913), most of which had enduring success throughout the English-speaking world.[3] Other successes from this period were the musicals King of Cadonia (1908), Havana (1908), Our Miss Gibbs (1909), The Quaker Girl (1911), and Betty in 1915. In addition, many of Ross's most successful pieces had additional successes on tour in Britain, in America and elsewhere. His biggest hits on Broadway included The Girl from Kays (1903), The Merry Widow (1907 and many revivals), Havana (1909), Madame Sherry (1911) and The Quaker Girl (1911).

Later career

 
Sheet music from Lilac Time

In 1914, Ross was one of the founders of the Performing Rights Society.[1] Ross continued, after Edwardes's death, to write lyrics for numerous shows at the Gaiety, Daly's, the Adelphi Theatre, and other London theatres. During World War I, he continued to produce hits, writing the lyrics for the musical adaptation of a French comedy, Theodore & Co (1916), the operetta Arlette (1917), the musical The Boy (1917), André Messager's adaptation of Booth Tarkington's Monsieur Beaucaire (1919, "Philomel") and contributed to A Southern Maid (1920). He also worked on the revues Three Cheers (1917) with Herman Darewski, Airs and Graces with Lionel Monckton, and, years later, Sky High for the Palladium Theatre, but these were only diversions from his chief focus of writing lyrics for musicals and operetta adaptations.[4] In 1922, he wrote both the book and the lyrics for the popular English version of Das Dreimäderlhaus, the international hit based on Franz Schubert's music and life, produced in Britain as Lilac Time. In 1927, Ross and Dudley Glass, an Australian composer, collaborated on a musical based on The Beloved Vagabond by W. J. Locke. His last works were produced in 1930: the English adaptation of the operetta Friederike for the Palace Theatre,[6] and a musical based on The Toymaker of Nuremberg by Austin Strong, which was produced as a Kingsway Theatre Christmas entertainment.[4]

Ross collaborated extensively with the foremost British-based composers of musical theatre active during his productive period, including Carr, Ivan Caryll, Monckton, Leslie Stuart and Sidney Jones, and later Paul Rubens, Harold Fraser-Simson, Howard Talbot and Messager. Sixteen of his musicals ran for more than 400 performances.[3] Ross tailored each song to fit the style required by the producer – songs for the Gaiety were different from those for Daly's. Many of his most popular shows, songs (both for the theatre and beyond it) and adaptations are still performed today.[4]

Fiction and last years

Ross also wrote the popular horror novel The Hole of the Pit and a number of short stories. Set in 1645 during the English Civil War, the novel tells of a loathsome entity that inhabits a flooded pit amid the marshes surrounding a castle. The book is notable for its depth of characterisation – especially of the compassionate young narrator, a Puritan scholar who has refused to join Oliver Cromwell's army because of his objections to religious violence and who sees the good in everyone – and for its subtle depiction of the creature in the hole, which is never completely seen even as it overwhelms the castle. The novel was published in 1914 by Edward Arnold and never reprinted until Ramsey Campbell collected it in his 1992 anthology Uncanny Banquet. Brian Stableford called it "a minor classic of the genre".[7] Ross also wrote Short History of Europe, edited Lady Mary Wortley-Montagu's Letters (Selection and Life), and was a contributor to Punch magazine.[1]

Ross died of heart failure at his home in Kensington, London on 11 September 1933 at the age of 73.[2][8]

List of stage works

Ross contributed lyrics to the following musicals and comic operas, often in collaboration with other lyricists:

  • Faddimir, or The Triumph of Orthodoxy (1889)
  • Joan of Arc (1891) (400+ performances in total)
  • Don Juan (1892, starring Roberts)
  • The Young Recruit (1892)
  • In Town (1892) (292 performances)
  • Morocco Bound (1893) (295 performances)
  • Go-Bang (1894) (129 performances)
  • The Shop Girl (1894) (546 performances)
  • Mirette revised English version (1894) (total of 102 performances in both versions)
  • Bobbo (1895)
  • Biarritz (1896) (71 performances)
  • My Girl (1896) (183 performances)
  • Weather or No (1896) (209 performances)
  • The Circus Girl (1896) (497 performances)
  • His Majesty, or The Court of Vignolia (1897) (61 performances)
  • The Ballet Girl (1897)
  • The Grand Duchess (1897) (104 performances)
 
Scene from The Orchid
 
Cover of the Vocal Score
 
The Count of Luxembourg
 
Sheet music from A Southern Maid

Notes

  1. ^ a b c d "Ropes, Arthur Reed (RPS878AR)". A Cambridge Alumni Database. University of Cambridge.
  2. ^ a b c d e f g Parker, J., rev. Katharine Chubbuck. "Ropes, Arthur Reed (1859–1933)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 14 October 2008
  3. ^ a b c Kenrick, John. "Who's Who in Musicals: Ross, Adrian", Musicals101.com: The Cyber Encyclopedia of Musical Theatre, TV and Film (2005)
  4. ^ a b c d "Adrian Ross" profile 6 September 2006 at the Wayback Machine at the British Musical Theatre site of The Gilbert and Sullivan Archive, 7 October 2004
  5. ^ Dalby, Richard (2013). Preface. The Hole of the Pit: And by One, by Two and by Three. By Ross, Adrian. The Oleander Press. p. 10. ISBN 978-0-900891-86-1.
  6. ^ "Frederica", The Guide to Musical Theatre (NODA)
  7. ^ Stableford, Brian. "Ross, Adrian", in David Pringle (ed.), St. James Guide to Horror, Ghost & Gothic Writers. London: St. James Press, 1998, p. 486, ISBN 978-1-55862-206-7
  8. ^ "Arthur R. Ropes, Famous Writer of Lyrics, Dies". Chicago Tribune. 12 September 1933. Retrieved 8 October 2010. (subscription required)
  9. ^ Dangerfield, Fred. "See-See" feature in The Play Pictorial, vol 8, pp. 85–88, Greening & Co., Ltd. (1906), accessed 21 April 2010
  10. ^ "Der Vetter aus Dingsda" at Musical Theatre Guide

References

  • Hyman, Alan (1978). Sullivan and His Satellites. London: Chappell.
  • Nicoll, A. English drama, 1900–1930 (1973)
  • Parker, J. (ed.) Who's who in the theatre (1912)
  • Reeves, Ken: "The Life and Work of Adrian Ross" in The Gaiety Annual (2002) pp. 3–14
  • The Times obituary, 12 September 1933

External links

May 06, 2023
adrian, ross, player, american, football, arthur, reed, ropes, december, 1859, september, 1933, better, known, under, pseudonym, prolific, writer, lyrics, contributing, songs, more, than, sixty, british, musical, comedies, late, 19th, early, 20th, centuries, m. For the NFL player see Adrian Ross American football Arthur Reed Ropes 23 December 1859 11 September 1933 better known under the pseudonym Adrian Ross was a prolific writer of lyrics contributing songs to more than sixty British musical comedies in the late 19th and early 20th centuries He was the most important lyricist of the British stage during a career that spanned five decades At a time when few shows had long runs nineteen of his West End shows ran for over 400 performances Ross in 1904 Starting out in the late 1880s Ross wrote the lyrics for the earliest British musical theatre hits including In Town 1892 The Shop Girl 1894 and The Circus Girl 1896 Ross next wrote the lyrics for a string of hit musicals beginning with A Greek Slave 1898 San Toy 1899 The Messenger Boy 1900 and The Toreador 1901 and continuing without a break through World War I He also wrote the English lyrics for a series of hit adaptations of European operettas beginning with The Merry Widow in 1907 During World War I Ross was one of the founders of the Performing Rights Society He continued writing until 1930 producing several more successes after the war He also wrote the popular novel The Hole of the Pit and a number of short stories Contents 1 Life and career 1 1 Early career 1 2 Gaiety and Daly Theatre musicals 1 3 Later career 1 4 Fiction and last years 1 5 List of stage works 2 Notes 3 References 4 External linksLife and career EditRoss was born in Lewisham London He was the youngest son and fourth child of Ellen Harriet Ropes nee Hall of Scarborough and William Hooper Ropes a Russia merchant Ross s parents lived in Normandy France but sent him to school in London at Priory House School in Clapton Mill Hill School and the City of London School He later attended King s College Cambridge where in 1881 he won the Chancellor s Medal for English verse for his poem Temple Bar and also won the Members Prize for the English essay In 1883 he graduated with a first class degree winning the Lightfoot scholarship for history and a Whewell scholarship for international law He was elected a fellow of the College 1 2 He was a Cambridge University graduate and don teaching history and poetry from 1884 to 1890 and writing serious and comic verse of his own the first volume of which was published in 1884 In 1889 he published A Sketch of the History of Europe He was also a translator of French and German literature under his own name 2 He created the fictitious name Adrian Ross due to a concern that writing musicals would compromise his academic career 3 Early career Edit A C Seymour and Letty Lind in Morocco Bound During a brief illness in 1883 after catching cold at the University Boat Race Ross used the lonely time in bed to write the libretto of an entertainment entitled A Double Event This was produced at St George s Hall London in 1884 with music by Arthur Law and Ross used the name Arthur Reed His next work for the stage also as Arthur Reed was the book and lyrics for a musical burlesque Faddimir 1889 at the Opera Comique with music by fellow Cambridge graduate F Osmond Carr 2 The piece earned enough praise so that the impresario George Edwardes commissioned the two to write another burlesque together with the comic actor John Lloyd Shine called Joan of Arc Songs from the piece included I Went to Find Emin Round the Town and Jack the Dandy O Joan of Arc opened in 1891 at the Opera Comique starring Arthur Roberts and Marion Hood he wrote under the pseudonym Adrian Ross which he used for the rest of his career The piece was a hit lasting for almost eight hundred performances and Ross resigned from Cambridge To supplement his income from theatre writing Ross became a contributor to such journals as Punch Sketch Sphere and The World and he joined the staff of Ariel in 1891 1892 He wrote in The Tatler under the pseudonym Bran Pie and in 1893 published an edition of Lady Mary Wortley Montague s Letters He also published numerous French texts for the Pitt Press series 2 Ross and Carr s next work in collaboration with James T Tanner was In Town 1892 a smart contemporary tale of backstage and society goings on This left behind the earlier Gaiety burlesques and helped set the new fashion for the series of modern dress Gaiety Theatre shows that quickly spread to other theatres and dominated British musical theatre For his next piece Morocco Bound 1893 with the song Marguerite from Monte Carlo Ross concentrated on writing lyrics leaving the book mostly to Arthur Branscombe This proved to be his most successful model through most of his career 4 The position of lyricist was relatively new as previously the writers of libretti would invariably write the lyrics themselves As the new Edwardes produced musical comedies took the place of burlesque comic opera and operetta on the stage Ross and Harry Greenbank established the usefulness of a separate lyricist Souvenir 1st anniversary of the opening Gaiety and Daly Theatre musicals Edit Ross contributed lyrics to almost all of the Gaiety Theatre s shows beginning with The Shop Girl 1894 with his song Brown of Colorado and Go Bang in 1895 He wrote over two thousand lyrics and produced lyrics for over sixty musicals thereafter including most of the hit musicals through World War I In 1896 he contributed to the Gaiety Theatre hit The Circus Girl He also wrote lyrics for the one act comic opera Weather or No 1896 which played as a companion piece to The Mikado at the Savoy Theatre as well as several other Savoy operas such as Mirette 1894 His Majesty or The Court of Vignolia 1897 The Grand Duchess of Gerolstein 1897 and The Lucky Star 1899 2 Lily Elsie in The Dollar Princess Ross also wrote lyrics for the shows at Daly s Theatre His lyrics to additional numbers for An Artist s Model 1895 and The Geisha 1896 were successful enough so that Edwardes asked him for major contributions to the rest beginning with A Greek Slave 1898 especially after the death of the theatre s early chief lyricist Harry Greenbank These included a series of enormous successes including San Toy 1899 The Messenger Boy 1900 Kitty Grey 1901 The Toreador 1901 A Country Girl 1902 The Girl from Kays 1903 The Orchid 1903 The Cingalee 1904 The Spring Chicken 1905 and The Girls of Gottenberg 1907 In 1901 Ross married Ethel Wood an actress and the couple produced a son and two daughters The family resided in Church Street Kensington 1 Also in 1901 he collaborated with his sister Mary Emily Ropes on the children s story On Peter s Island 2 5 When Edwardes found success beginning in 1907 in mounting English language versions of the new generation of continental European operettas to the London stage Ross wrote the English lyrics for the adaptations often with libretti by Basil Hood His words to the songs in The Merry Widow 1907 became the standard English version of that piece performed throughout the world for many decades Other Continental musicals that Ross anglicised included A Waltz Dream 1908 The Dollar Princess 1909 The Girl in the Train 1910 The Count of Luxembourg 1911 The Girl on the Film 1913 and The Marriage Market 1913 most of which had enduring success throughout the English speaking world 3 Other successes from this period were the musicals King of Cadonia 1908 Havana 1908 Our Miss Gibbs 1909 The Quaker Girl 1911 and Betty in 1915 In addition many of Ross s most successful pieces had additional successes on tour in Britain in America and elsewhere His biggest hits on Broadway included The Girl from Kays 1903 The Merry Widow 1907 and many revivals Havana 1909 Madame Sherry 1911 and The Quaker Girl 1911 Later career Edit Sheet music from Lilac Time In 1914 Ross was one of the founders of the Performing Rights Society 1 Ross continued after Edwardes s death to write lyrics for numerous shows at the Gaiety Daly s the Adelphi Theatre and other London theatres During World War I he continued to produce hits writing the lyrics for the musical adaptation of a French comedy Theodore amp Co 1916 the operetta Arlette 1917 the musical The Boy 1917 Andre Messager s adaptation of Booth Tarkington s Monsieur Beaucaire 1919 Philomel and contributed to A Southern Maid 1920 He also worked on the revues Three Cheers 1917 with Herman Darewski Airs and Graces with Lionel Monckton and years later Sky High for the Palladium Theatre but these were only diversions from his chief focus of writing lyrics for musicals and operetta adaptations 4 In 1922 he wrote both the book and the lyrics for the popular English version of Das Dreimaderlhaus the international hit based on Franz Schubert s music and life produced in Britain as Lilac Time In 1927 Ross and Dudley Glass an Australian composer collaborated on a musical based on The Beloved Vagabond by W J Locke His last works were produced in 1930 the English adaptation of the operetta Friederike for the Palace Theatre 6 and a musical based on The Toymaker of Nuremberg by Austin Strong which was produced as a Kingsway Theatre Christmas entertainment 4 Ross collaborated extensively with the foremost British based composers of musical theatre active during his productive period including Carr Ivan Caryll Monckton Leslie Stuart and Sidney Jones and later Paul Rubens Harold Fraser Simson Howard Talbot and Messager Sixteen of his musicals ran for more than 400 performances 3 Ross tailored each song to fit the style required by the producer songs for the Gaiety were different from those for Daly s Many of his most popular shows songs both for the theatre and beyond it and adaptations are still performed today 4 Fiction and last years Edit Ross also wrote the popular horror novel The Hole of the Pit and a number of short stories Set in 1645 during the English Civil War the novel tells of a loathsome entity that inhabits a flooded pit amid the marshes surrounding a castle The book is notable for its depth of characterisation especially of the compassionate young narrator a Puritan scholar who has refused to join Oliver Cromwell s army because of his objections to religious violence and who sees the good in everyone and for its subtle depiction of the creature in the hole which is never completely seen even as it overwhelms the castle The novel was published in 1914 by Edward Arnold and never reprinted until Ramsey Campbell collected it in his 1992 anthology Uncanny Banquet Brian Stableford called it a minor classic of the genre 7 Ross also wrote Short History of Europe edited Lady Mary Wortley Montagu s Letters Selection and Life and was a contributor to Punch magazine 1 Ross died of heart failure at his home in Kensington London on 11 September 1933 at the age of 73 2 8 List of stage works Edit Ross contributed lyrics to the following musicals and comic operas often in collaboration with other lyricists Ellaline Terriss in The Circus Girl Faddimir or The Triumph of Orthodoxy 1889 Joan of Arc 1891 400 performances in total Don Juan 1892 starring Roberts The Young Recruit 1892 In Town 1892 292 performances Morocco Bound 1893 295 performances Go Bang 1894 129 performances The Shop Girl 1894 546 performances Mirette revised English version 1894 total of 102 performances in both versions Bobbo 1895 Biarritz 1896 71 performances My Girl 1896 183 performances Weather or No 1896 209 performances The Circus Girl 1896 497 performances His Majesty or The Court of Vignolia 1897 61 performances The Ballet Girl 1897 The Grand Duchess 1897 104 performances Scene from The Orchid The Transit of Venus 1898 Billy 1898 A Greek Slave 1898 349 performances Milord Sir Smith 1898 82 performances The Lucky Star 1899 143 performances San Toy 1899 768 performances The Messenger Boy 1900 429 performances The Toreador 1901 675 performances Kitty Grey 1901 220 performances A Country Girl 1902 729 performances The Girl from Kays 1903 432 performances 236 performances on Broadway The Orchid 1903 559 performances The Cingalee 1904 365 performances The Spring Chicken 1905 401 performances The Little Cherub 1906 114 performances Naughty Nero 1906 Millar and Evett in A Waltz Dream Cover of the Vocal Score The Count of Luxembourg Sheet music from A Southern Maid The New Aladdin 1906 203 performances See See 1906 152 performances 9 Les Merveilleuses 1906 196 performances The Girls of Gottenberg 1907 303 performances The Merry Widow 1907 778 performances 416 performances on Broadway and many revivals A Waltz Dream 1908 146 performances Havana 1908 221 performances 231 performances on Broadway King of Cadonia 1908 333 performances The Dollar Princess 1909 428 performances The Antelope 1909 Our Miss Gibbs 1909 636 performances The Dashing Little Duke 1909 101 performances The Arcadians 1910 809 performances Broadway production 201 performances Captain Kidd 1910 The Girl in the Train 1910 340 performances The Quaker Girl 1911 536 performances 248 performances on Broadway Madame Sherry 1911 231 performances on Broadway Castles in the Air Frau Luna 1911 The Count of Luxembourg 1911 240 performances Gipsy Love 1912 299 performances The Wedding Morning 1912 Tantalising Tommy 1912 The Dancing Mistress 1912 241 performances The Girl on the Film Filmzauber 1913 232 performances The Marriage Market Lednyedsdr 1913 The Girl from Utah 1913 195 performances The Belle of Bond Street revised version of The Girl from Kays 1914 Betty 1915 391 performances The Light Blues 1915 The Happy Day 1916 241 performances Theodore amp Co 1916 503 performances Oh Caesar 1916 toured only The Happy Family 1916 Arlette 1917 The Boy 1917 801 performances Three Cheers 1917 revue Monsieur Beaucaire 1919 400 performances The Kiss Call 1919 Maggie 1919 The Eclipse 1919 Medorah 1920 A Southern Maid 1920 306 performances The Love Flower 1920 The Naughty Princess 1920 280 performances at the Adelphi Theatre Faust on Toast 1921 Love s Awakening 1921 Lilac Time 1922 626 performances The Cousin from Nowhere 1922 Der Vetter aus Dingsda 1921 composed by Eduard Kunneke 105 performances 10 Head Over Heels 1923 The Beloved Vagabond 1927 107 performances Frederica Friederike 1930 music by Franz Lehar The Toymaker of Nuremberg 1930 32 performances Notes Edit a b c d Ropes Arthur Reed RPS878AR A Cambridge Alumni Database University of Cambridge a b c d e f g Parker J rev Katharine Chubbuck Ropes Arthur Reed 1859 1933 Oxford Dictionary of National Biography Oxford University Press 2004 accessed 14 October 2008 a b c Kenrick John Who s Who in Musicals Ross Adrian Musicals101 com The Cyber Encyclopedia of Musical Theatre TV and Film 2005 a b c d Adrian Ross profile Archived 6 September 2006 at the Wayback Machine at the British Musical Theatre site of The Gilbert and Sullivan Archive 7 October 2004 Dalby Richard 2013 Preface The Hole of the Pit And by One by Two and by Three By Ross Adrian The Oleander Press p 10 ISBN 978 0 900891 86 1 Frederica The Guide to Musical Theatre NODA Stableford Brian Ross Adrian in David Pringle ed St James Guide to Horror Ghost amp Gothic Writers London St James Press 1998 p 486 ISBN 978 1 55862 206 7 Arthur R Ropes Famous Writer of Lyrics Dies Chicago Tribune 12 September 1933 Retrieved 8 October 2010 subscription required Dangerfield Fred See See feature in The Play Pictorial vol 8 pp 85 88 Greening amp Co Ltd 1906 accessed 21 April 2010 Der Vetter aus Dingsda at Musical Theatre GuideReferences EditHyman Alan 1978 Sullivan and His Satellites London Chappell Nicoll A English drama 1900 1930 1973 Parker J ed Who s who in the theatre 1912 Reeves Ken The Life and Work of Adrian Ross in The Gaiety Annual 2002 pp 3 14 The Times obituary 12 September 1933External links EditListing of English musicals with links Adrian Ross at the Internet Broadway Database Links to poems by Ross Sheet music covers for Ross songs Adrian Ross at Library of Congress with 41 library catalogue records Retrieved from https en wikipedia org w index php title Adrian Ross amp oldid 1144995184, wikipedia, wiki, book, books, library,

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