Rodgers and Hammerstein

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Rodgers (left) and Hammerstein (right) watching auditions at the St. James Theatre on Broadway in 1948

Rodgers and Hammerstein was a theater-writing team of composer Richard Rodgers (1902–1979) and lyricist-dramatist Oscar Hammerstein II (1895–1960), who together created a series of innovative and influential American musicals. Their musical theater writing partnership has been called the greatest of the 20th century.[1]

Their popular

Grammy Awards
.

Previous work and partnerships

Fly With Me
, 1920

At

Fly With Me. The songs for the show were originally written by Rodgers (a freshman) and Lorenz Hart. Hammerstein, who was on the judging committee, added two songs in the revising stage. The three men collaborated again on the 1921 Varsity Show, You'll Never Know, with Hammerstein as "Director of Production".[4] Although Rodgers did not work with Hammerstein again until Oklahoma!, they achieved success independently from each other. Rodgers continued to collaborate for more than two decades with Hart. Among their many Broadway hits were the shows A Connecticut Yankee (1927), Babes in Arms (1937), The Boys from Syracuse (1938), Pal Joey (1940), and By Jupiter (1942), as well as many successful film projects.[5]

Hammerstein, a co-writer of the popular Rudolf Friml 1924 operetta Rose-Marie, and Sigmund Romberg operettas The Desert Song (1926) and The New Moon (1928), began a successful collaboration with composer Jerome Kern on Sunny (1925), which was a hit. Their 1927 musical Show Boat is considered to be one of the masterpieces of the American musical theater.[6] Other Hammerstein/Kern collaborations include Sweet Adeline (1929) and Very Warm for May (1939). Although the last of these was panned by critics, it contains one of Kern and Hammerstein's best-loved songs, "All the Things You Are".[7]

By the early 1940s, Hart had sunk deeper into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.[8]

Early work

Oklahoma!

Main article: Oklahoma!

Independently of each other, Rodgers and Hammerstein had been attracted to making a musical based on Lynn Riggs' stage play Green Grow the Lilacs. When Jerome Kern declined Hammerstein's offer to work on such a project and Hart refused Rodgers' offer to do the same, Rodgers and Hammerstein began their first collaboration. The result, Oklahoma! (1943), marked a revolution in musical drama. Although not the first musical to tell a story of emotional depth and psychological complexity, Oklahoma! introduced a number of new storytelling elements and techniques. These included its use of song and dance to convey and advance both plot and character, rather than act as a diversion from the story, and the firm integration of every song into the plot-line.

Oklahoma! was originally called Away We Go! and opened at the Shubert Theatre in

New Haven in March 1943. Only a few changes were made before it opened on Broadway, but three would prove significant: the addition of a show-stopping number, "Oklahoma!"; the deletion of the musical number "Boys and Girls Like You and Me", which would soon after be replaced with a reprise of "People Will Say We're in Love
"; and the decision to re-title the musical after the song.

The original Broadway production opened on March 31, 1943, at the

Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Will Parker) and Joseph Bulloff (Ali Hakim). Marc Platt danced the role of "Dream Curly", and Katharine Sergava danced the part of "Dream Laurey". In Oklahoma!, the story and the songs were considered more important than sheer star power. Nevertheless, the production ran for a then-unprecedented 2,212 performances, finally closing on May 29, 1948. Many enduring musical standards come from this show, among them "Oh, What a Beautiful Mornin'", "The Surrey with the Fringe on Top", "I Cain't Say No", the aforementioned "People Will Say We're in Love", and "Oklahoma!". The popularity of these songs prompted Decca Records to have the original cast record the music from the show with the original orchestrations. This became the first musical to have an original cast recording, which is now a standard practice.[9]

In 1955 it was made into an Academy Award-winning musical film, the first feature shot with the Todd-AO 70 mm widescreen process. The film starred Gordon MacRae and Shirley Jones, and its soundtrack was No. 1 on the 1956 album charts.[10][11]

After their initial success with Oklahoma!, the pair took a break from working together and Hammerstein concentrated on the musical

Carmen with the characters changed to African Americans in the contemporary South, for which he wrote the book and lyrics. The musical was adapted to the screen in 1954, and scored a Best Actress Oscar nomination for leading lady Dorothy Dandridge. Rodgers and Hammerstein also received a special Pulitzer Prize in 1944 for Oklahoma!.[12]

Carousel

Main article: Carousel (musical)
"What's the Use of Wond'rin' " from Carousel (1947)

The original production of Carousel was directed by Rouben Mamoulian and opened at Broadway's Majestic Theatre on April 19, 1945, running for 890 performances and closing on May 24, 1947. The cast included John Raitt, Jan Clayton, Jean Darling, Christine Johnson and Bambi Linn. From this show came the hit musical numbers "The Carousel Waltz" (an instrumental), "If I Loved You", "June Is Bustin' Out All Over", and "You'll Never Walk Alone".

CinemaScope 55
, again starred Gordon MacRae and Shirley Jones, the same leads as the film version of Oklahoma!

Carousel is also unique among the Rodgers and Hammerstein musicals for not having an overture; both the stage and film versions began with the familiar Carousel Waltz. This music was included in

New York Philharmonic Orchestra.[14]

State Fair

Main article: State Fair (1945 film)

In 1945, a

Oscar together, for the song "It Might as Well Be Spring",[15] but it was also unadventurous material for them, compared with several of their Broadway shows. In 1962, an unsuccessful remake
of the musical film was released.

In 1969, the

Ozzie and Harriet Nelson.[16] The production was directed by James Hammerstein, supervised by Richard Rodgers and choreographed by Tommy Tune. State Fair finally arrived on Broadway on March 27, 1996, with Donna McKechnie and Andrea McArdle, produced by David Merrick
, and received five Tony Award nominations.

South Pacific and important subsequent works

South Pacific

Main article: South Pacific (musical)
Emile and Nellie grasp hands as Emile's two children look on.
The final tableau in South Pacific (1949)

South Pacific opened on Broadway on April 7, 1949, and ran for over five years. Its songs "

Some Enchanted Evening" have become standards. The play is based upon two short stories by James A. Michener from his book Tales of the South Pacific, which itself was the winner of the Pulitzer Prize for Fiction in 1948. For their adaptation, Rodgers and Hammerstein, along with co-writer Joshua Logan, won the Pulitzer Prize for Drama in 1950. The song "You've Got to Be Carefully Taught" was controversial due to its support of interracial marriage. Rodgers and Hammerstein refused to remove it from the show, even if it meant the show failing. When the show was touring in Atlanta, Georgia, it offended some Georgian lawmakers, who proposed a bill to outlaw any entertainment they deemed to be inspired by Moscow.[17]

In the original production, Mary Martin starred as the heroine Nellie Forbush, and opera star Ezio Pinza starred as Emile de Becque, the French plantation owner. Also in the cast were Juanita Hall, Myron McCormick and Betta St. John. The 1958 film version, also directed by Logan, starred Mitzi Gaynor, Rossano Brazzi, John Kerr, Ray Walston, and Juanita Hall. Brazzi, Kerr, and Hall had their singing dubbed by others.

The King and I

Main article: The King and I

Based on

Anna and the King of Siam—the story of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s—Rodgers and Hammerstein's musical The King and I opened at the St. James Theatre on Broadway on March 29, 1951, starring Gertrude Lawrence as Anna and the mostly unknown Yul Brynner as the king. This musical featured the hit songs "I Whistle a Happy Tune", "Hello, Young Lovers", "Getting to Know You", "We Kiss in a Shadow", "Something Wonderful", "I Have Dreamed", and "Shall We Dance?"

The King and I was followed by Me and Juliet, which opened at the Majestic Theatre on May 28, 1953. When Oklahoma! returned to Broadway on August 31, 1953, with The King and I, Me and Juliet and South Pacific all still playing, Rodgers and Hammerstein had four shows appearing on Broadway at once.[18]

The King and I was adapted for film in 1956 with Brynner re-creating his role opposite Deborah Kerr (whose singing was largely dubbed by Marni Nixon). Brynner won an Oscar as Best Actor for his portrayal, and Kerr was nominated as Best Actress. Brynner reprised the role twice on Broadway in 1977 and 1985 and in a short-lived TV sitcom in 1972, Anna and the King.

Cinderella

Main article: Cinderella
Stuart Damon, as the Prince, and Lesley Ann Warren, as Cinderella.

Based on the fairytale character and story of

Brandy, Whitney Houston, Bernadette Peters, and Whoopi Goldberg. Stage versions were also presented in London and elsewhere, and the musical finally was given a Broadway production, with a revised book by Douglas Carter Beane
, and incorporating four songs from the Rodgers and Hammerstein catalog, in 2013.

Flower Drum Song

Main article: Flower Drum Song

Based on a 1957 novel by

Universal Studios.[22] A Broadway revival in 2002 starring Lea Salonga had a rewritten plot by playwright David Henry Hwang
but retained the inter-generational and immigrant themes as well as most of the original songs.

The Sound of Music

Main article: The Sound of Music
Mary Martin and children in a publicity photo (1959)

The Sound of Music, Rodgers and Hammerstein's last work together, is based on the story of the Austrian

I Have Confidence" and "Something Good"), he wrote the lyrics as well as the music.[23] The Sound of Music contains more hit songs than any other Rodgers and Hammerstein musical, and the film version was the most financially successful film adaptation of a Broadway musical ever made. The most enduring of these include the title song, "Do-Re-Mi", "My Favorite Things", "Climb Ev'ry Mountain", "So Long, Farewell" and "Sixteen Going on Seventeen". "Edelweiss" was the last song that Rodgers and Hammerstein wrote together.[24]

Legacy

Rodgers and Hammerstein re-worked the musical theater genre. Early 20th-century musicals, except for the

Princess Theatre musicals and a few important examples like Hammerstein and Jerome Kern's Show Boat, were usually whimsical or farcical, and typically built around a star. Because the efforts of Rodgers and Hammerstein were so successful, many musicals that followed contained thought-provoking plots with mature themes, and in which all the aspects of the play, dance, song, and drama, were combined in an integrated whole. Stephen Sondheim has cited Rodgers and Hammerstein as having had a crucial influence on his work.[25]

Rodgers and Hammerstein also use the technique of what some call the "formula musical". While some hail this approach, others criticize it for its predictability. The term "formula musical" may refer to a musical with a predictable plot, but it also refers to the casting requirements of Rodgers & Hammerstein characters. Typically, any musical from this team will have the casting of a strong baritone lead, a dainty and light soprano lead, a supporting lead tenor, and a supporting alto lead. Although there are exceptions to this generalization, it simplifies the audition process and gives audiences an idea of what to expect vocally from a Rodgers and Hammerstein musical. However, this formula had been used in Viennese operetta, such as The Merry Widow.

William A. Everett and Paul R. Laird wrote that Oklahoma!, "like Show Boat, became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to Oklahoma!"[26] In The Complete Book of Light Opera, Mark Lubbock adds, "After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as Carousel, The King and I and South Pacific. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own."[1]

In 1950, the team of Rodgers and Hammerstein received

the Proms concerts in London's Royal Albert Hall by the John Wilson Orchestra.[28]

On television and film

Rodgers and Hammerstein appeared on live telecasts several times. They were guests on the very first broadcast of Toast of the Town, the original name of

What's My Line, which first aired on February 19, 1956; blindfolded panelist Arlene Francis was able to correctly identify them.[29]

The pair made a rare feature film appearance in MGM's 1953 production Main Street to Broadway, in which Rodgers played the piano and Hammerstein sang a song they had written.[30] They also appeared in the trailer for the film version of South Pacific in 1958.[citation needed]

Social issues

While Rodgers and Hammerstein's work contains cheerful and often uplifting songs, they departed from the comic and sentimental tone of early 20th century musicals by seriously addressing issues such as

classism in many of their works.[31][32] For example, Carousel concerns domestic violence,[33] while South Pacific addresses racism.[34] Based on the true story of the von Trapp family, The Sound of Music explores the views of Austrians on the takeover of Austria by Nazi Germany.[35]

Work

See also

  • Rodgers and Hart
  • Concord Music
    , owner of the Rodgers and Hammerstein copyrights
  • List of songwriter tandems

References

  1. ^ a b Lubbock, Mark. "American Musical Theatre: An Introduction", theatrehistory.com, republished from The Complete Book of Light Opera. New York: Appleton-Century-Crofts, 1962, pp. 753–56, accessed December 3, 2008
  2. ^ Gordon, John Steele. Oklahoma! Archived August 4, 2010, at the Wayback Machine. Retrieved June 13, 2010
  3. ^ Rodgers and Hammerstein began writing together before the era of the Tonys. Oklahoma! opened in 1943 and Carousel in 1945, but the first Tonys were not awarded until 1947.
  4. ^ "Sing a Song of Morningside". The Varsity Show. Retrieved August 28, 2021.
  5. ^ Rodgers and Hart Biography Guide to Musical Theatre, accessed April 5, 2009
  6. ^ "Show Boat", theatrehistory.com, excerpted from The Complete Book of Light Opera. Lubbock, Mark. New York: Appleton-Century-Crofts, 1962. pp. 807–08.
  7. ^ Wilson, Jeremy. "All the Things You Are (1939)". jazzstandards.com, accessed March 15, 2010
  8. ^ Layne, Joslyn. Lorenz Hart Biography at Allmusic, accessed September 23, 2009
  9. ^ Gross, Terry (April 9, 2018). "How Rodgers and Hammerstein Revolutionized Broadway". NPR.org. Retrieved February 11, 2022.
  10. AllMusic
  11. RKO a year after the Todd-AO version and is the one that most audiences have seen.[citation needed
    ]
  12. ^ "Richard Rodgers and Oscar Hammerstein II for Oklahoma!", Pulitzer.org, 1944, accessed November 16, 2019
  13. ^ Hyland, p. 158
  14. ^ "Richard Rodgers Conducts Richard Rodgers, Columbia Odyssey, ASIN B000WZKCLA amazon.com, accessed December 20, 2012
  15. ^ "Oscar Hammerstein II", Search Results – Academy Awards Database, accessed April 29, 2019
  16. ^ "Dorothy Manners" Toledo Blade, June 5, 1969
  17. S2CID 153722364
    .
  18. ^ "R&H's Alltime Mark With 4-Show B'way Takeover; Some Famed Precedents". Variety. August 26, 1953. p. 1. Retrieved March 12, 2024 – via Internet Archive.
  19. ^ Gans, Andrew. "Lost Cinderella Footage On View at NYC's Museum of TV & Radio" Archived February 1, 2014, at the Wayback Machine, Playbill.com, June 20, 2002, accessed December 22, 2012
  20. ^ Julie Andrews: Awards & Nominees, Emmys.com, accessed December 22, 2012
  21. ^ The Nielsen TV rating for the program was 18,864,000 "homes reached during an average minute" of the broadcast. "Ratings", Broadcasting-Telecasting, May 6, 1957, p. 51
  22. ISBN 978-0-7864-2246-3
    .
  23. ^ Hischak, p. 170
  24. ^ "Oscar Hammerstein II", rnh.com, Rodgers & Hammerstein Organization, accessed October 28, 2014
  25. ^ Hammerstein biography on PBS, pbs.org, accessed November 29, 2008
  26. ^ Everett, p. 124
  27. ^ Miller, Matthew. "Top-Earning Dead Celebrities", Forbes.com, October 27, 2009
  28. ^ :Proms 2010: Prom 49: A celebration of Rodgers and Hammerstein, review", The Telegraph, October 27, 2016
  29. ^ "Episode #298", What's My Line, season 7, episode 25, TV.com, February 19, 1956, accessed August 23, 2017
  30. ^ "Main Street to Broadway - Trailer - Showtimes - Cast - Movies - New York Times". November 18, 2007. Archived from the original on November 18, 2007.
  31. ^ Hischak, p. 54
  32. ^ Rousuck, J. Wynn. "Rodgers and Hammerstein remembered for their art and their emotional impact: The Sound of Their Music", Baltimore Sun, December 18, 1994, accessed August 15, 2015
  33. ISSN 0261-3077
    . Retrieved August 21, 2023.
  34. ^ Rockwell, John. "Music: A new South Pacific by the City Opera", The New York Times, March 2, 1987, accessed June 5, 2013
  35. ^ Gearin, Joan. "Movie vs. Reality: The Real Story of the von Trapp Family", Prologue magazine, National Archives and Records Administration, Winter 2005, Vol. 37, Issue No. 4, accessed April 2, 2008

Sources

Further reading

External links
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