As Cohan's and Herbert's creative output waned, new creative talent on Broadway included composer Jerome Kern, who began by revising British musicals to suit American audiences, adding songs that "have a timeless, distinctly American sound that redefined the Broadway showtune.

[3] Kern and Bolton's first Princess Theatre musical was Nobody Home (1915), an adaptation of a London show called Mr. Popple of Ippleton.

[1] British humorist and lyricist/playwright P. G. Wodehouse had supplied some lyrics for Very Good Eddie and joined the team at the Princess for Oh, Boy!, which opened in February 1917, becoming a hit.

Charm was uppermost in the creators' minds ... the audience could relax, have a few laughs, feel slightly superior to the silly undertakings on stage, and smile along with the simple, melodic, lyrically witty but undemanding songs".

[1][2] Like the Princess Theatre shows, it featured modern American settings, eschewing operetta traditions of foreign locales and elaborate scenery.

[7] In 1918, Dorothy Parker described in Vanity Fair how the team's shows integrated story and music: "Bolton and Wodehouse and Kern are my favorite indoor sport.

"[8] Leave It to Jane ran for a modestly successful 167 performances, directed by Edward Royce and choreographed by David Bennett.

Her father, the President of Atwater, gets a visit from his old friend Hiram Bolton, a chief donor to the rival Bingham College.

Bessie asks Jane to help lure Billy Bolton to Atwater with promises of academic and athletic success and possible romance.

At the ball that evening, Jane uses all of her seductive powers on Billy, who eventually agrees to stay at Atwater and change his name to Elmer Staples.

Senator Hicks is appalled to find that his son, Bub, has become quite a "sport" at college ("The Days of Chivalry", a/k/a Sir Galahad).

When he accuses Jane of using her feminine wiles to ensnare his son, she pretends to swoon into Billy's arms, instructing the boys and Stub to get rid of Bolton until after the game.

"[16] In The New York Evening World, Charles Darnton praised "Mr. Kern's sprightly tunes and ... verses that added to the joy of song.

"[16] The New York Times praised the cast generally, but the paper was most impressed by Georgia O'Ramey in the comedy role of Flora.

[10] Excerpts from the musical are featured in the 1946 MGM Jerome Kern tribute Till the Clouds Roll By, in which June Allyson plays Jane and sings the title song and "Cleopatterer".