In American music, the name Sousa is synonymous with John Philip Sousa’s marches that fill the air every summer. Sousa, though, desired to become a theatrical composer to rival Gilbert and Sullivan. El Capitan and Chris and the Wonderful Lamp are probably his most known stage works, but today we take a look at one of the lesser known works, The American Maid, also known as The Glass Blowers.

The last of Sousa’s stage works, which premiered on Broadway in 1913, shows itself as a cross between the popular operetta styles of Arthur Sullivan and the march styles of Sousa. Sousa even pulled themes from the opera to use as marches elsewhere, such as From Maine to Oregon.

As often seen in the operetta genre, romantic entanglements and intertwined relationships set the backdrop for the work. In 1898, we meet the wealthy New Yorker Colonel Vandeveer and his daughter, Annabelle, who has more liberal political tenancies. At a party honoring an Englishman, the Duke of Branford, Annabelle is proposed to by a wealthy young man, Jack Bartlett, but declines his advances.

To prove his own liberal leanings, Bartlett convinces Silas Pompton, the owner of Consolidated Glass Works, to hire Bartlett as a common laborer at his glass factory. In the interim, Annabelle finds herself accidentally entangled with the Duke of Branford - even though Pompton was pursuing Branford as a suitor for his daughter. In an angry moment, Bartlett becomes engaged to Pompton’s daughter.

Through all of this romantic backdrop, we find the Vandeveer, who held significant investments in Cuba, has had his fortune wiped out in a plot secretly arranged by Pompton. Annabelle thus convinces Pompton to hire her at his glass factory as well in a bid to help her father.

As we proceed into the second Act, Bartlett finds himself slowly winning the heart of Annabelle as he works to improve the conditions of the workers in Pompton’s factory. The liberal leanings, however have angered Pompton, who fires both Annabelle and Bartlett. Before the laborers can riot, however, it is announced that volunteers are needed to fight in the new war against Spain. The entire force quickly volunteers to fight in Cuba - and the act closes with the march From Maine to Oregon (which reappears at the opening of Act 3).

The final act finds us in Cuba, where we witness a lyrical song of Annabelle and the red cross nurses as they prepare to support the soldiers. A bass drum beat introduces a battle scene, where Bartlett leads the charge to capture Santiago, Cuba, and the heroic soldiers return home. Pompton’s scheme is revealed and Bartlett outwits him to return Colonel Vandeveer’s fortune. At long last, the couples are righted as the operetta ends.

This work was lost for many years - after short tours of the U.S. following the Broadway run, the operetta was not performed again until 2000, when Glimmerglass Opera revived the production, followed by the New York City Opera presenting the Glimmerglass staging in 2001.

Recordings of this lively operetta are limited to the march and a few arrangements for wind band, unfortunately, though the new availability of orchestral parts will hopefully allow for more recordings in the years to come!