The Gershwin brothers play a large role in music/musical theatre history. The two wrote almost exclusively together and really helped shape the direction of musical theatre in the jazz age. So with that said, here is a list of the classic George and Ira Gershwin musicals, sorted chronologically. Please note: This post contains affiliate links.
In another recent biography, “George Gershwin: An Intimate Portrait,” Walter Rimler notes that the brothers spent not only their childhood but nearly all their adult lives together as housemates in New York and Los Angeles or, at most, across-the-street neighbors. The arrangement enabled them to run song ideas by each other when inspiration struck.
In 1932, Ira was awarded the Pulitzer Prize in drama for his lyrics to the musical “Of Thee I Sing,” along with librettists George S. Kaufman and Morrie Ryskind. George Gershwin, who wrote the music, was snubbed by the Pulitzers, and older brother Ira wanted to boycott the ceremony in protest -- until George forced him to go.
Nice Work If You Can Get It is another musical featuring popular songs by George and Ira Gershwin. The show had a long run on Broadway and received 10 Tony Award nominations.
On one side is Ira’s nephew Strunsky, who controls royalties from his uncle’s work that primarily benefit the Library of Congress -- repository of George and Ira Gershwin’s papers -- and a Jewish charity in the Bay Area. On the other are George’s five heirs, the children of the songwriters’ younger brother and sister.
The arrangement enabled them to run song ideas by each other when inspiration struck. Ira’s creative output dwindled after his brother’s death; Pollack’s book cites Michael Feinstein’s account of discovering, upon being hired by Ira in the late 1970s, that “Ira’s home had become a veritable shrine to his brother’s memory, ...
Songwriters, or their estates, earn royalties from each recording of their work that’s sold; they also collect on live performances, radio or Web broadcasts, sales of sheet music and use of a song in films, television and advertising.
The team that helped define American popular song may be writing a posthumous, albeit discordant new chapter in law because of the copyright issues raised by the longevity of their songbook, and the nearly half-century between their deaths.
The contentiousness in court stands in contrast to one of the most harmonious creative partnerships imaginable, notes Howard Pollack, author of “George Gershwin: His Life and Work.” The Gershwin brothers “worked very well together and were extremely close and support ive,” the University of Houston music professor said. “I don’t recall any instance of friction over [money] or anything else” -- apart from a single illuminating spat. In 1932, Ira was awarded the Pulitzer Prize in drama for his lyrics to the musical “Of Thee I Sing,” along with librettists George S. Kaufman and Morrie Ryskind. George Gershwin, who wrote the music, was snubbed by the Pulitzers, and older brother Ira wanted to boycott the ceremony in protest -- until George forced him to go.
There’s no evidence that the Gershwin legacy has been a chronic family battleground, say biographers Pollack and Walter Rimler. “We’ve been able to conduct business over the years pretty reasonably,” said Robert Kimball, artistic advisor to Ira Gershwin’s estate since 1982. He declined to comment further.
In the United States, where they share jointly in the proceeds of their teamwork, there’s no dispute; both George and Ira’s estates will divide American earnings until the songs gradually enter the public domain, with the last copyrights due to expire in 2032.
The Gershwin Musicals – A Full List of Major Works. The Gershwin brothers play a large role in music/musical theatre history. The two wrote almost exclusively together and really helped shape the direction of musical theatre in the jazz age.
Of Thee I Sing (1931) Music: George Gershwin Lyrics: Ira Gershwin Book: George S. Kaufman, Morrie Ryskind. Another great success of the Gershwin brothers, Of Thee I Sing ran for 441 performances on Broadway and was the first musical to receive the Pulitzer Prize for drama! Musical Info ➝.
Pardon My English (1933) Music: George Gershwin Lyrics: Ira Gershwin Book: Herbert Fields, Morrie Ryskind. After two Broadway hits came Pardon My English, which opened on Broadway in 1933. This show however, was not much of a success and closed soon after it opened. Musical Info ➝.
Strike Up the Band (1930) Music: George Gershwin Lyrics: Ira Gershwin Book: Morrie Ryskind. Strike Up the Band did not have the most successful start, but the show did end up opening on Broadway in 1930 after a book revisal. Musical Info ➝.
Treasure Girl (1928) Music: George Gershwin Lyrics: Ira Gershwin Book: Fred Thompson, Vincent Lawrence. Although Treasure Girl had a pretty short run on Broadway and did not turn into a hit, one popular song (“ I’ve Got a Crush on You “) did emerge from the show. Musical Info ➝.
Tip-Toes (1925) Music: George Gershwin Lyrics: Ira Gershwin Book: Guy Bolton, Fred Thompson. For the Gershwin brothers’ second collaboration, Tip-Toes did relatively well on Broadway and premiered in 1924. It was also made into a silent film in 1927. Musical Info ➝.
An American in Paris (2014) Music: George Gershwin Lyrics: Ira Gershwin Book: Craig Lucas. Based on the 1951 film of the same name, An American in Paris incorporated songs from the Gershwin Brothers and was nominated for 11 Tony Awards in 2015! Musical Info ➝. Don’t miss out!
On one side is Ira’s nephew Strunsky, who controls royalties from his uncle’s work that primarily benefit the Library of Congress -- repository of George and Ira Gershwin’s papers -- and a Jewish charity in the Bay Area. On the other are George’s five heirs, the children of the songwriters’ younger brother and sister.
The arrangement enabled them to run song ideas by each other when inspiration struck. Ira’s creative output dwindled after his brother’s death; Pollack’s book cites Michael Feinstein’s account of discovering, upon being hired by Ira in the late 1970s, that “Ira’s home had become a veritable shrine to his brother’s memory, ...
Songwriters, or their estates, earn royalties from each recording of their work that’s sold; they also collect on live performances, radio or Web broadcasts, sales of sheet music and use of a song in films, television and advertising.
The team that helped define American popular song may be writing a posthumous, albeit discordant new chapter in law because of the copyright issues raised by the longevity of their songbook, and the nearly half-century between their deaths.
The contentiousness in court stands in contrast to one of the most harmonious creative partnerships imaginable, notes Howard Pollack, author of “George Gershwin: His Life and Work.” The Gershwin brothers “worked very well together and were extremely close and support ive,” the University of Houston music professor said. “I don’t recall any instance of friction over [money] or anything else” -- apart from a single illuminating spat. In 1932, Ira was awarded the Pulitzer Prize in drama for his lyrics to the musical “Of Thee I Sing,” along with librettists George S. Kaufman and Morrie Ryskind. George Gershwin, who wrote the music, was snubbed by the Pulitzers, and older brother Ira wanted to boycott the ceremony in protest -- until George forced him to go.
There’s no evidence that the Gershwin legacy has been a chronic family battleground, say biographers Pollack and Walter Rimler. “We’ve been able to conduct business over the years pretty reasonably,” said Robert Kimball, artistic advisor to Ira Gershwin’s estate since 1982. He declined to comment further.
In the United States, where they share jointly in the proceeds of their teamwork, there’s no dispute; both George and Ira’s estates will divide American earnings until the songs gradually enter the public domain, with the last copyrights due to expire in 2032.