Chapters 2 , 3 , 4 , 5 , and 6 are case studies, each centered on one of the five Princess musicals. This chapter is an analysis of the first “Princess musical” and the ways in which it realizes the ideals of Little Theatre Movement practitioners. I begin with a historical recounting of Nobody Home’s creation. A historical account reveals the impetus leading to the creation of a new subgenre of musical theater: the “intimate musical comedy,” to borrow producer and agent Bessie Marbury’s phrase, which in turn became the standard descriptor for Princess shows. A mix of aesthetic, commercial, and practical exigencies shaped the first Princess musical, and recognition of these exigencies allows us to more fully understand the artistic product. I subsequently turn to analyzing Nobody Home—with a focus on Kern’s score—to highlight the innovative nature of this musical. I argue that Nobody Home provides sharp commentary on urban, popular culture, particularly youth culture. While Nobody Home contains a sizeable amount of numbers whose ostensible purpose is divertissement, the edits, omissions, and substitutions made during tryouts demonstrate the emergence of a new aesthetic ideal in musical theater. This new ideal, that of the intimate musical comedy, begins a trend toward emotional realism, psychological depth, and incisive social critique.