他们的第一场公主剧院作品为改编自《Mr. Popple (of Ippleton)》的《Nobody Home》(1915)[3],共演出135场[2]。此后,原创作品《Very Good Eddie》(1915)大获成功,演出341场[2],《Oh Boy!》演出463场[13][14]。
在《Oh, Lady! Lady!!》(1918)成功后,两人因收入分配不均分道扬镳[15]。他只为公主剧院系列最后一部音乐剧《Oh, My Dear!》(1918)写了一首歌,作品反响一般[12]。
1920年代初
1920年代,科恩每年至少创作一部作品,其中第一部是《夜船》(Night Boat) [2]。同年晚些时候,科恩为《莎莉》(Sally)配乐,《莎莉》演出了 570 场,他的配乐《寻找一线希望》(Look for the Silver Lining) 捧红了玛丽莲·米勒。但期间也有失败作品如《The Bunch and Judy》,剧中科恩和弗雷德·阿斯泰爾第一次合作[2]。
科恩喜欢埃德娜·费伯的小说《演艺船》[1],说服汉默斯坦做编剧、齐格菲尔德做制作人。故事涉及种族主义、婚姻冲突和酗酒,这在音乐喜剧中闻所未闻。尽管心存疑虑,很欣赏他的齐格菲尔德还是同意了。戏剧大受好评,也极其卖座[19]。科恩为其制作的配乐包括《Ol'Man River》《Can't Help Lovin' Dat Man》《Make Believe》《You Are Love》等等[20]。该剧在百老汇上演了572场,在伦敦也取得了成功[19][21]。
转向好莱坞
科恩在1920代的最后一场百老汇作品是《Sweet Adeline》(1929),剧本在大萧条前上映,好评如潮[22]。
1929年,科恩进军好莱坞,监制1929年电影版的《莎莉》[2],在尝试了几部电影后,他重返舞台[2],制作了百老汇音乐剧《猫与小提琴》(The Cat and the Fiddle,1931),演出了395场,在大萧条时期取得了巨大成功[23]。
科恩的《三姐妹》(Three Sisters,1934)是他在西区的最后一场演出,剧本由汉默斯坦创作。这部音乐剧失败了,只演出了两个月[24][25],一些英国评论家很反感美国作家撰写英国故事[26],尽管科恩和汉默斯坦都是亲英派[27]。科恩的最后一场百老汇演出(复排除外)是《五月的温暖》(Very Warm for May, 1939),但也失败了,尽管配乐包括其经典作品《All The Things You Are》[17]。
1935年,音乐电影在巴斯比·伯克利的推动下再次流行起来时[28],科恩回到了好莱坞,1937年在好莱坞定居[29] 。1939年心脏病发作后,他遵循医生的建议只从事压力较小的电影配乐,后者不像百老汇那样需要作曲家深入参与。科恩好莱坞取得了巨大的艺术和商业成功。期间参与的作品包括《空中音乐》 (Music in the Air,1934年)、《甜美的艾德琳》 (Sweet Adeline,1935年)、《罗贝尔塔》(1935)等[30]。
1945年秋天,科恩回到纽约,监督新版《演艺船》的试镜,并为音乐剧《飞燕金枪》配乐。1945年11月5日,60岁的他走到公园大道和57街的拐角处突发脑溢血[38],经过一次转院,抢救无效身亡,去世时汉默斯坦陪在他身边,为他哼唱了《I've Told Ev'ry Little Star》[39]。《飞燕金枪》配乐任务随后转给歐文·柏林[3]。
^ 2.02.12.22.32.42.52.62.72.8Slonimsky, Nicholas and Laura Kuhn (ed). Kern, Jerome (David)" (页面存档备份,存于互联网档案馆). Baker's Biographical Dictionary of Musicians, Volume 3 (Schirmer Reference, New York, 2001), accessed May 10, 2010 (requires subscription)
^Bordman, Gerald and Thomas Hischak, eds. "Kern, Jerome (David)". The Oxford Companion to American Theatre, third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)
^The London production overcame a tepid review in The Times (May 4, 1928, p. 14) which praised the scenery at the expense of everything else, and barely mentioned Kern's music.
^Banfield comments in this context, "Hammerstein had, after all, spent far more time in and around London than he ever did in Oklahoma": Banfield, p. 224
^Hischak, Thomas. "Roberta". The Oxford Companion to the American Musical, Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010 (requires subscription)
^Hischak, Thomas "You Were Never Lovelier", The Oxford Companion to the American Musical, Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010 (requires subscription)
^Hischak, Thomas. "Can't Help Singing". The Oxford Companion to the American Musical, Oxford University Press 2009. Oxford Reference Online, accessed May 15, 2010 (requires subscription)
^Hischak, Thomas. "Centennial Summer". The Oxford Companion to the American Musical, Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010 (requires subscription)
^Banfield, pp. 13-14; Blackman, p. 10; and Official website (页面存档备份,存于互联网档案馆). The Swan at Walton-on-Thames, History, accessed May 12, 2010.
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