Oklahoma By Oscar Hammerstein II And Richard Rodgers

Oklahoma By Oscar Hammerstein II And Richard Rodgers
Oklahoma! Is the first musical that was written by both Oscar Hammerstein II and Richard Rodgers, or commonly known as the pair "Rodgers and
Hammerstein". Written in 1906 and produced in 1943 on Broadway; the pair wrote this musical revolving around the love stories of various people
living in Oklahoma territory when there was a very firm grip on gender roles, especially the presence of male domination. Oklahoma! Supplies the
audience with heavy acts of male domination in various dance numbers like "The Farmer and the Cowman" songs; such as "Poor Jud is Dea",
"Oh What a Beautiful Mornin" and even disputes between cowboys and farmers. Oklahoma's patriotic love story seems as if it was made to be
viewed by people as an act of recreation, but also for people who want to explore the time of frontier America where male dominance was heavily
present. Set in the Frontier of Oklahoma in the early 1900s, this musical tells the story of two pairs of lovers. Laurey, is a farmer's daughter and
Curly is a cowboy. Both of them are in a love/hate relationship with each other and have a secret passion towards one another but won't admit it.
Judd, who was hired by Laurey to be a helper, tries to come between them. Meanwhile, Ado Annie is torn between Will, a cowboy who very much
loves her, and Ali Hakim, a peddler who 's a ladies man and does not like commitment. During this time, the Box Social was almost near. The Box
social was this huge fundraising
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Richard Rogers Research Paper
Richard Rogers
Richard Charles Rodgers was a great composer. He learned to play the piano as a toddler. Rodgers inherited his love of the theater from his family.
He composed his first melody at summer camp. By the age of 15, he had chosen musical theater as his profession. In 1918 Rodgers was thrilled to be
accepted to Columbia University, where he would write for the school's famous Varsity Show, an annual production. Richard Rogers's elder brother,
Mortimer, with whom he had rivaled as a kid, ended up being the conduit for the famed partnerships of Richard's future career. At an early Varsity
Show, Mortimer introduced the young Richard to Oscar Hammerstein II. Richard Rogers was a great composer.
Oscar Hammerstein
Oscar Hammerstein II was an amazing songwriter. His family worked in the theater. Hammerstein's father managed a vaudeville theater, and his
grandfather was a famed opera singer. At the age of nine he began his piano... Show more content on Helpwriting.net ...
Their collaboration began in 1942. Their partnership would last until Hammerstein's death in 1960. Hammerstein was the writer and lyricist and Rogers
was in charge of the music. In 1943 Rodgers and Hammerstein had a hit right out of the starting gate with Oklahoma!, the musical was so great that
it won a Pulitzer Prize. In 1950, the duo scored a second Pulitzer with the musical South Pacific. Rodgers and Hammerstein were a powerhouse,
transforming Broadway and musical theater by basing shows on plays and novels, using original dialogue and creating seamless storytelling, from
formats of speech to song. The duo had musicals that won Tony Awards and Best Musical Score. During the 1940s and '50s the duo created some of
the most enduring musicals of all time, including Carousel, The King and I, The Sound of Music and South Pacific, which won the Pulitzer Prize for
Drama. After Oscar Hammerstein death, it was never the same. The two will always be

How To Write An Essay On Oscar Hammerstein's Plays
In 1919, Hammerstein wrote his own play, called The Light, and his uncle produced it. Despite the play's relative failure, Hammerstein forged ahead
with his writing. In 1920, he collaborated with a Columbia undergraduate named Richard Rodgers in writing a Varsity Show called Fly with Me. Not
long after, Hammerstein dropped out of grad school at Columbia to concentrate his efforts entirely on musical theater.
Lorenz Hart was 7 years older than Richard Rodgers, who was only 16 when they began their musical collaboration, with Rodgers acting as the
composer and Hart as the lyricist. Manhattan was their 1925 breakthrough hit, and scores of other songs yielded many of today's standards, including
Blue Moon, My Funny Valentine, Isn't It Romantic? and Bewitched, Bothered and Bewildered. Together, Rodgers and Hart wrote themusic and ...
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After a year at Columbia Law School, he went on to fame as a librettist for operettas
пїј
пїјcomposed by Rudolph Firml, Sigmund Romberg, and George Gershwin. Oscar Hammerstein had a successful career before beginning his
partnership with Rodgers. He collaborated with Jerome Kern on eight musicals, most notably Show Boat, and wrote the book and lyrics for Carmen
Jones, which was the 1943 all–black version of Georges Bizet's opera Carmen.
After Hammerstein's death in 1960, Rodgers wrote the music and lyrics for No Strings, for which he earned two Tony awards. He then composed
the music for Do I Hear A Waltz?, Two by Two, Rex, and I Remember Mama. Rodgers's centenary in 2002 was celebrated around the world with
books, performances, new recordings of his music, and a Broadway revival of Oklahoma! Rodgers left behind a legacy of more than 900 published
songs, forty musicals, and numerous works for film and television.
While still in his professional prime, Oscar Hammerstein II lost his battle

How Did Rodgers And Hammerstein Create A Revolution In...
Rodgers and Hammerstein:
Richard Rodgers was only 16 when he began his musical collaboration with Lorenz Hart. Rodgers was acting as composer and Hart as lyricist.
Manhattan was their first breakthrough in 1925 and other songs including jazz standards such as "Blue moon" (1934) and "My funny valentine"
(1937), "Isn't It Romantic?" (1932) and "Bewitched, Bothered and Bewildered" (1940). Together, Rodgers and Hart wrote the music and lyrics for 26
Broadway musicals. Which includes: On your toes (1936), Babes in Arms (1937) and their last collaboration, A Connecticut Yankee (1943).In 1943
their collaboration ended due to artistic differences and Hart's declining health. Thus the revolution within Musical theatre started.
Change Slide:
Hammerstein wrote his own play, called The Light (1919) and was produced by his uncle. In 1920, he collaborated with Rodgers and Hart in
writing a Varsity show called Fly with Me.Short after he dropped out of Grad school to pursue a full time career in Musical theatre. Hammerstein's
first success as a librettist was with Wildflower, a collaboration with Otto Harbach produced in 1923. He achieved more success with 1924's Rose
Marie, which he created in collaboration with Harbach as well as Herbert Stothart and Rudolf Friml. ... Show more content on Helpwriting.net ...
The musical gained so much success that it put Hammerstein on the map as a writer and lyricist. Hammerstein continued to collaborate with Kern on
several musicals including Sweet Adeline (1929), Music in the Air (1932), Three Sisters (1934), and Very Warm for May (1939). In 1943, he wrote
the lyrics and book for Carmen Jones, an updated version of George Bizet's Carmen set during World War II and featuring an African
–American cast.
The musical was adapted into a 1954 film, starring Harry Belafonte and Dorothy

The Musical Replaced Broadway, By Oscar Rodgers
. Broadway which was the king of entertainment for such along time became replaced by the musical once the country became settled and well
appointed after the war. Musicals became part of the American culture and also increased its boundary lines past the Theatre District. Technology
also had a major impact on the musical, because it made it easier for folks to see their favorite Broadway performers right from their own living
rooms. One of the reasons why I think the musical replaced Broadway is because shows before were focused on the musical comedy, but then all of a
sudden musical comedy was dropped which then allowed for their to be a focus on the character development.
2. In 1943, Rodgers couldn't convince his partner Hart to start ... Show more content on Helpwriting.net ...
Hammerstein and Rodgers agreed that Hammerstein would write the lyrics to the play and that Rodgers would set the lyrics into the music. Before the
play even started Rodgers and Hammerstein were faced with a serious question which was, how they could evoke a pioneer spirit of the
turn–of–the–century Oklahoma. The play Oklahoma is about a pair of lovers who are named Curly and Laurey, the lovers can't figure out how to tell
each other that they love each other. There is turmoil in the story because there is a character named Jud, who is a worker at Laurey home. Judd also
confesses that he has feeling for Laurey. Oklahoma was able to resonate with the audience because, it was a personal story that was centered around its
characters.
4. Some of the theatrical breakthroughs that made Oklahoma so special was the use of dance as a means to advance the story, which was one of the
things that distinguished them from other musicals.
5. Oklahoma was very important during the war effort, fighting men who were shipping out of New York city had trouble getting a ticket to see
Oklahoma. Oklahoma made people feel prouder that they were American and that they could go through anything including the war. For many
soldiers it was the last play that they saw before they departed for war. It gave soldiers a sense of security that they were going to be alright during
there hard times, just like the settlers who settled into the west.
6. The follow–up musical to Oklahoma for Rogers

Why Do Rodgers And Hammerstein Collaborations?
Rodgers and Hammerstein Collaborations
Oklahoma! The first collaboration of Rodgers and Hammerstein was entitled Oklahoma! The idea of the musical came from a play called Green Grow
the Lilacs, written by Lynn Riggs in 1931. This story is about the state of Oklahoma at the turn of the century, when the IndianTerritory joined the
United States. It is the story of a girl named Laurey Williams and her (sort of) love triangle with two boys by the names of Curley McClain and Jud
Fry. Laurey is in love with Curley, but she attends a dance with Jud instead. At the dance, Curley surprised Laurey by bidding an enormous amount on
the basket of food she has prepared. They soon marry, and after the wedding, Jud starts a fight with Curley, but he... Show more content on
Helpwriting.net ...
It ran for 890 performances. It was decided to make this a movie as well.
On February 16, 1956 the film version of Carousel was released. It stared two actors were not strangers to Rodgers and Hammerstein. They were the
stars of their previous movie, Oklahoma! Shirley Jones played Julie Jordan and Gordon MacRea was Billy Bigelow. Many of the same songs were
included in the movie, such as "If I Loved You," and "You'll Never Walk Alone."
State Fair The first musical created by Rodgers and Hammerstein that was made especially for the screen was State Fair. The source came from the
novel of the same name by Phil Stong. The release date was August 20, 1945.
This was a story of a trip made to the Iowa State Fair by the Frake family. The entire family went in hopes of something. Abel Frake wanted to sell
his prize pig. Melissa Frake wanted to win a blue ribbon for her mincemeat pie. Both children, Wayne and Margy Frake, wanted to find love, which
they did. Margy fell in love to a man named Pat Gilbert while Wayne fell for Emily Edwards, a singer. The show included many songs, including "It's a
Grand Night For Singing," and "All I Owe Iowa."
On June 2, 1969 State Fair was revived on the stage. Ozzie Nelson played Abel Frake, and Harriet Nelson played his wife Melissa.
The film was remade again in

Carmen Jones: The Representation Of African-American Culture
In the beginning stages of production, Carmen Jones garnered negative reception first by using a black actress in the staring role. While a box office
hit, the film was criticized for adhering to a logic of segregation that situates black representations within idealized often–rural landscapes and/or of any
larger social context. In the 1940s, Hollywood was under pressure by the NAACP (National Association for the Advancement of Colored People) to
cast a black woman in a non–stereotypical role in hopes of assimilating black culture into mainstream fields. Up to that time, a fair number of
African–American actresses were offered roles where they were portrayed in subservient positions as mammies, maids, and whores or as exotic
/primitive examples of sexual desire in... Show more content on Helpwriting.net ...
Hammerstein (1895–1960) was an avid liberal who challenged cultural norms and along with his partner Richard Rodgers (1902–79), used the theatre
to tackle issues of racism and cultural bias. Preminger, sharing views similar to Hammerstein, directed films that challenged Hollywood's production
codes and the system's stigmas about societal taboos and controversies surrounding race and representation (fig 12). This notion of respectable blacks
"emulating white middle–class values" versus blacks that "rebel" in the film represented the broader issues of race in Hollywood and in America. The
film premiered the same year as the ruling verdict of Brown vs. Board of Education in which the judicial system ruled that segregation in schools was
unconstitutional. The release also coincided with the emergence of the civil rights movement, which outraged several members as they felt the film
reinforced the fashioning of black women as a "sexual wanton". To avoid further controversy, 20th Century Fox (who produced the film) donated
proceeds to the

Who Is Rodgers And Hammerstein: The Unstoppable Musical...
Rodgers and Hammerstein: The Unstoppable Musical Theatre Duo
When most people think of people that have had the most impact on musical theater a few names come to mind like Andrew Lloyd Webber, Jerome
Kern, and of course, Rodgers and Hammerstein. This duo put on some of the greatest and most memorable musical theater pieces of all time. Their
techniques and composition skills are still taken seriously to this day and used on a regular basis by composers. When Mark Lubbock speaks of
Rodgers and Hammerstein in American Musical Theatre: An Introduction, he says "The examples they set in creating vital plats, often rich with social
thought, provided the necessary encouragement for other gifted writes to create musical plays their own." Through the individual influences and
techniques of Rodgers and Hammerstein, this legendary duo paved the foundation of musical theater that is still prominent today. ... Show more content
on Helpwriting.net ...
They were able to revolutionize musicals by putting together such great works that are considered to be classics today. Some of their most famous
works include Oklahoma!, Cinderella, Carousel, and The King and I. Rodgers and Hammerstein worked well together because Rodgers could take
care of composing the music and Hammerstein writing the lyrics. Their strengths complemented each other's weaknesses and become the one of most
influential duos in history. Not everyone believes in what Rodgers and Hammerstein do which is called the musical formula. Some people believe that
it can be too predictable at times. They soon went from just being writers to becoming full time

Richard Rodgers And Oscar Hammerstein's Impact On American...
Essay 2: Richard Rodgers and Oscar Hammerstein's impact on American Musical is unfathomable. Their methods are still praised to this day, and
idealized when creating a musical today. Their formula for musicals was that the song was the servant of the play. They would create the music to a
play first, then let the plot follow. They did not need to capture crowds like other musicals by getting a known star to be on their show. Their shows
were a mixture plots with mature themes, and all aspects of the play, dance, song, and drama were combined into a whole. What was very important
bout the duo, is they sincerely believed in what they wrote. They liked to embrace life's simple truths as their themes. This is seen in all of their
musicals like

Cultural Characteristics Of Musical Theater
Richard Kihm
10/16/17
MUTH 130
Professor Kolb
What is Musical Theater?
It is not Shakespeare, nor is it Opera. It has been called Minstrel Show, Burlesque, Vaudeville, Extravaganza, Operetta, Musical Comedy, Musical
Revue, Musical Theatre and it has been described in a variety of terms including "Low Brow" and "Middle Brow" but never "High Brow." It had also
been praised and condemned for its broad cultural connections and appeal. Although Musical Theatre is not a Shakespearean or Operatic subcategory. It
was highly inspired by many Operas and theatrical iambic pentameter and phrases of the great Shakespeare himself. For example, Rent was inspired
by La Boheme and Miss Saigon was inspired by Madame Butterfly. As a result, They sparked the beginning of the amazing cultural phenomenon of
Musical Theater. Vaudeville is a type of show and entertainment that was very popular within the United states during the early 20th century, that had a
mixture of special acts such as burlesque comedy and song and dance. Burlesque is a comical work that is usually something highly embellished, or a
pastiche of some kind. It is often found that many Burlesque works usually had a striptease of some sort. In the beginning– showing legs was
considered profane and highly scandalous yet was highly entertaining for many people. Minstrel shows were a shameful form of entertainment that had
begun to rise in the 1840's. With this came the creation of "Black Face." Black face is when white men would

Carousel Analysis
The Poor Will Have Their Music
"Won't we have any music? Not one blasted note." This conversation between our anti–protagonist, Billy Bigelow and the delinquent Jigger Craigin
describes the class divide between the rich and poor. According to Jigger, even in heaven the rich get the prosperity and the poor still suffer just as
they always have. The penniless have historically been at the bottom of the social order, struggling to provide for their family and looked down upon
by the upper echelon of society. In almost all of Rodgers and Hammerstein's works the duo explore and promote the tolerance and acceptance of
differences such as race differences and class differences. Their musical, Carousel is no exception. In Carousel, Rodgers and ... Show more content on
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Mullin. She attempts to persuades him with her wealth and the promise of her "ruby ring" to leave Julie so that he can come back to her carousel and
be a barker. Although Billy refuses, she still uses his lack of wealth and social standing in order to manipulate him. Moreover, these two are unsavory
examples of the abuses of power and wealth against even the stereotypical, unlikeable Billy.
In addition, within the soliloquy, Billy becomes more dynamic though his motivations. Billy doesn't like being the stereotype, for he wishes more
for his unborn child than to be a "bum" like him. In fact, the motivation behind the robbery is so that his child may have a better life, and the "best
that money can buy." Being poor erks Billy, but he accepts it as he said "money think I'm dead." However, when it comes to his child, Billy wants,
he or she to have a better life since he understands the difficulties of living without the luxuries and status that come with wealth. Moreover, the
motivation behind the robbery isn't for personal wealth, but prosperity for his child. If he wanted personal wealth he could have taken Mullin's offer
or agree to the robbery with Jigger when the offer was first made. But no, it is only after he knows Julie is pregnant that he accepts. Rodgers and
Hammerstein craft his soliloquy with expert care in order to make the despicable Bill, a round anti protagonist that the audience can support and find

Richard Rodgers's Life And Accomplishments
Richard Rodgers' journey began June 28, 1902, when he was born in Queens, New York. His first copyrighted song was The Auto Show Girl
which he wrote when he was 14, the year of 1916, and by the age of 15 he had already chosen his profession as theater. His first partnership in
music was with a man by the name of Lorenz Hart. This partnership began when Rodgers was only at the age of 16. Rodgers began a career that
would take off after he wrote his first breakthrough hit, Manhattan in 1925. Years later he came out with many more amazing hits that included Blue
Moon (1932), Isn't It Romantic? (1932), Bewitched, Bothered and Bewildered (1940), and My Funny Valentine (1937). These were only some of
his works, by the end of his career, he had written 40 Broadway musicals, one Broadway play, three London musicals, 10 original movie musicals,
two television musicals, the scores for two television documentaries, a ballet, and one nightclub revue. He also survived cancer of the jaw and a
laryngectomy, his life had to come to an end. The great Richard Rodgers died at the age of 77 in 1979, and even though he has passed on, it is said ...
Oscar Hammerstein II was born July, 1895. He went to Columbia University and wrote his own play called The Light which was produced by his
uncle. This play was not very popular but later he would write better works that would make him the great librettist he is known for. He found
success with Wildflower which was produced in 1923. He even more success with Rose Marie in 1924 and later wrote Show Boat in the year of 1925.
Countless of his musicals were shown
пїјon Broadway, on tours, and in professional, academic, and in amateur theaters around the world. He divorced Myra Finn in 1929 and remarried
Dorothy Blanchard Jacobson. Later in his life, Hammerstein sadly died of stomach cancer in the city of , on August 23, 1960 in Doylestown,

Sound Of Music Analysis
The Sound of Music debuted in 1965 thanks to the music of Richard Rodgers, lyrics by Oscar Hammerstein II, and direction of Robert Wise. The
Sound of Music originally premiered on Broadway in 1959, but Robert Wise produced and directed the 1965 film version. The lyrics featured in the
1965 version are hardly changed from the original. The popularity of the 1965 film allowed for the soundtrack to live a life of its own with many of
the songs being released as singles. Even the song "Sixteen Going on Seventeen" has recently been remixed for a State Farm commercial. On the
surface, the song seems to be a typical love song. Unfortunately, the song has lyrics that covertly portray women in a negative light. These negative
aspects were not uncommon thoughts during the 1960s. In the 20th century, women were still seen as inferior to men. This idea is accentuated by the
way the male character treats his female love interest in the song. Oscar Hammerstein's lyrics and Robert Wise's stage direction in "Sixteen Going on
Seventeen" purposefully echo the subconscious thought people had that women should have a lower status than men in the workplace.
The Sound of Music is set in Salzburg, Austria in 1938, just prior to World War II. After the War, there were women who were able to break into new
careers. For the first time in history, there were women who became commercial airline pilots and even a female tugboat captain. Despite the
tremendous opportunities afforded to women after the

Analysis Of The Broadway Play: The King And I
The decade I chose was the 1950's and I will be mainly focusing on the broadway play called "The King and I". I chose this play because it was one of
the most iconic plays in this era and is still running on broadway. Based on a 1944 novel by Margaret Landon, "Anna and the King Siam", "The King
and I" was directed by John Van Druten and has about 1,200 performances and it's the longest running Broadway Musical. It's written and produced by
Richard Rodgers and Oscar Hammerstein II. Rodgers was also the composer and Hammerstein was the lyricist. The opening night was in March 29,
1951 in St. James Theatre.
In 1951, it was nominated for the best musical by the New York Drama Critics' Circle and later in 1952, it won many Tony Awards. For example,

Essay on Oklahoma
Show: Oklahoma Date: 1930's (Movie 1950's)
Music by: Richard Rodgers Book by: Oscar Hammerstein II
Lyrics by: Oscar Hammerstein II Choreography by: Agnes de Mille
Location and time of story: 1930's Oklahoma
Principal Characters:
Curly – tenor
Laurey – Soprano
Ali Hakim – Speaking part
Jud Fry – ... Show more content on Helpwriting.net ...
; Curly, Laurey, andAunt Eller
"Kansas City" Will Parker (song/dance)
"I Cain't Say No" Ado Annie Carnes
"I Cain't Say No" Will Parker and Ado Annie Carnes
"Oh, What a Beautiful Mornin'" Reprise with group
"People Will Say We're in Love" Curly and Laurey
"Poor Jud is Daid" Curly and Jud Fry
"Out of My Dreams/Ballet" Laurey (song/dance)
"All er

Racial Segregation Research Paper
Racial segregation in the United States continued even after the Civil War, in the form of laws requiring separation of people by race and in the form
of ubiquitous discrimination and widespread social resistance to integration. But even during the height of racial segregation and discrimination, people
in the performing arts pushed their audiences to reconsider their prejudices and assumptions regarding classification and disparate treatment of people
based on race. Broadway's and Hollywood's most famous musical theater writing team, Richard Rodgers and Oscar Hammerstein Jr., both reflected and
powerfully commented upon these racial tensions in two of their most famous musicals: The King and I and South Pacific. These musicals reached
immense ... Show more content on Helpwriting.net ...
In a time immediately after World War II, this show, set in Vanuatu during the war, was the answer to American citizens' question, "How should we
rebuild our country Socially aside from economically?" This show differed from the King and I in many ways, including the fact that the first
couple shown in the show traveled to Vanuatu together instead of meeting there. South Pacific was considered by many to be Rodgers and
Hammerstien's greatest show, winning a Pulitzer Prize for drama in 1950 as well as 10 Tony awards (The Broadway League), (Broadway Across
America). This Show, thanks to its immense popularity in the 1950's and 60's, had two revivals, including one starring TV stars Kelli O'Hara and
Matthew Morrison. Hammerstien stated that South Pacific is inspired by James A. Michener's Tales of the South Pacific, and tells the story of Nellie
Forbush and Emile de Becque visiting the war–torn Vanuatu(Ewen). Even though this musical includes unforgettable songs like "Some Enchanted
Evening", "Bali Ha'i", and "Younger than Springtime" (which was named #224 on TIME's Songs of the Century List), there is a very controversial
song about racism called "You've Got to Be Carefully Taught". In this song, Lt. Joseph Cable tells Nellie, Emile, and the Audience (at that time) to be
afraid of minorities. As the song

Musical Theatre As A Theatrical Performance
Musical Theatre is a theatrical performance when the story is told through dialogue, song, and dance. Back then, people didn't Snap Chat, Face Time or
watch TV for entertainment; they would go to the Theatre for a night out, first date, etc. To give a more definitive description of how musicals evolved,
affected, and influenced throughout history, a time line of major musicals that defined certain stages ofMusical Theatre will probably help people
understand what makes it so unique.
Now a quick history lesson, Musical Theatre technically was created in 5th Century BCE Ancient Greece, when staged comedies and tragedies would
be told with a bit music and dance...but Musicals didn't fully emerge into the world until the early 20th Century when the art form went to London,
England, and then to America, which formed the famous theatre district, Broadway. Now that the basics are covered of where Musical Theatre came
from, this paper is more about how Broadway Musicals evolved into what they are in present day, how people have reacted to such performances, and
how musical theatre has impacted not only America, but also the world.
The first era of Musical Theatre actually started in the 1920's–1930's during the Great Depression. This was a the first time there were musicals other
than the fun, young, and enjoyable shows, the first example of this would be the musical Show Boat, which premiered in December 1927, the music
was by Jerome Kern, book and lyrics by Oscar Hammerstein II,

Julie Andrews Accomplishments
Actress, author, singer, child star, award–winning, Disney Legend, Dame Julie Andrews has captured the hearts of individuals for seventy years. With
her phenomenal talent discovered as a 10 year old, Julie Andrews has gone on to perform on Broadway, television, in films, and has won over thirty
awards. Many people know Julie Andrews for her roles in the films Mary Poppins and The Sound of Music, and along with starring on Broadway, she
has written over thirty books. Even with all of these achievements, Julie Andrews has done an impressive job staying genuine, classy, and respectable
through all the popularity. This child star gone on to succeed on Broadway and thrive in the film industry, influences people every day. People
discovered Julie Andrews' talent as a young child and began performing for large audiences at the age of 10. Although Julie's mother performed on
stage, her stepfather ... Show more content on Helpwriting.net ...
Describing her voice as "extremely high and thin," she felt she lacked "the necessary guts and weight for opera." Producers on Broadway soon
saw her talent and recruited her during her late teen years. From her Broadway career, people remember her for her performances in The Boy
Friend, My Fair Lady, and Camelot. Growing to be well known in the Broadway community, Rodgers and Hammerstein invited Julie Andrews to
perform in their Broadway musical Pipe Dream and their television musical Cinderella. Rodgers and Hammerstein later cast her in The Sound of
Music. Unfortunately, she resigned from her singing career due to an unsuccessful surgery in 1997. Her surgery, supposedly harmless, removed vocal
nodules from her vocal chords, but left her unable to sing and with a raspy speaking voice. She underwent four surgeries in 2000, which only
improved her speaking voice. Julie Andrews' career on Broadway opened many doors to legendary opportunities in the film

Annie Get Your Gun Research Paper
"There's no business like show business, like no business I know." This a key lyric from the popular musical Annie Get Your Gun. The musical
brings the story of Annie Oakley and her time in Buffalo Bill's Wild West shows to the stage. Oakley, the Wild West show, and the stage musical
were all important aspects of 19th Century theater and continue to be important to this day. In order to truly understand the importance of Annie
Oakley and how Annie Get Your Gun was written, first a background of the Wild West shows that brought her fame is needed. William F. "Buffalo
Bill" Cody was born on February 26th, 1846 in Iowa. He earned his nickname "Buffalo Bill" after he killed more than 4,000 buffalo in a span of eight
months. Cody first got introduced to theater when he performed in Ned Buntline's play called The Scouts of the Prairie. Cody... Show more content on
Helpwriting.net ...
Although Cody had a good relationship with Sioux warrior and chief Sitting Bull who was also part of the show, portraying Native Americans as
aggressive warriors wasn't exactly the best idea in the dangerous time period they lived in. The Wild West show was very popular across the United
States. According to Paul Fees, the former curator of the Buffalo Bill Museum "In 1899, Buffalo Bill's Wild West covered over 11,000 miles in 200
days giving 341 performances in 132 cities and towns across the United States. In most places, there would be a parade and two two–hour
performances." (Center of the West). Cody could also be considered a pioneer of equal rights so to speak. It is said that while there weren't as
many women in the show as men, they were all payed equally. The shows ran for 30 years and according to Paul Fees, "Although occasional revivals
and adaptations are staged in the United States and abroad, the era of the Wild West can conveniently be said to have died in 1917 along

Oscar Hammerstein Research Paper
There are many well–known lyricists and composers, but none of them have left a mark on the theatre world like Rodgers and Hammerstein. The duo
produced eleven musicals during their partnership and made an extensive change in musical comedy. They set a new standard that are still followed to
this day in musical history. Before they became the Rodgers and Hammerstein, they were Oscar Hammerstein II and Richard Rodgers, both of New
York City. Oscar Hammerstein II was born on July 12, 1895. He was brought up in a theatrical family. His grandfather, Oscar Hammerstein I, was a
famed opera impresario. His father William managed a vaudeville theater, and Uncle Arthur was a successful producer of Broadway musicals. While
Hammerstein was ... Show more content on Helpwriting.net ...
They produced plays, musicals, concerts and revivals. The first collaboration of Rodgers and Hammerstein was entitled Oklahoma! in 1943. They
began writing together under the mentors of the Theatre Guild. They were assigned to make a musical out of the Guilds play Green Grow the
Lilacs by Lynn Riggs. They were making on the score for what would become Oklahoma!. Rodgers had a bold business notion. He told
Hammerstein that it would be foolish if they did not publish their musicals it. They were seeking to set a system in place that would protect their
works and those of others for decades to come. This musical opened at St. James Theatre and ran for 2,212 performances. The duo wanted to
collaborate on another piece. They knew that anything they created next would be compared to Oklahoma!, and most likely be unfavorable. They
reached out to MolnГЎr to seek the rights to Liliom. MolnГЎr had refused permission for the work to be adapted. After acquiring the rights, the team
created a work with lengthy sequences of music and made it into a bigger hit. On April 19, 1945, Carousel opened up on Broadway, and it was an
immediate hit with both critics and audiences. It ran for 890 performances and duplicated its success in the West End, but it never achieved as much
commercial success as Oklahoma!. After the success of their first two musicals, they released their the most unpopular

Oklahoma ! Analysis
In 1943, the musical Oklahoma!, by Richard Rodgers and Oscar Hammerstein, influenced the artistic style of American musical theatre. The
integration of music, book, dance, and design provided a new foundation for the future of Broadway. The musical illustrates the 1940s lifestyle by
capturing the essence of rural America during World War II. Americans were at their rock bottom, as the Great Depression wiped them of all things
good. Additionally, some of the most vivid and abrupt changes in the history of American civilization occurred, reshaping society forever. America at
war and eight million Americans unemployed in the continuing depression, feared for safety of loved ones abroad fighting for freedom. These things
affected American life intensely in 1940s. (Brinkley, 1994). Fortunately, Oklahoma! gave people the opportunity to escape from the real world for the
duration of the show.
Escaping current events might be found in the company of neighbors, but for New York theatre audiences, witnessing Oklahoma! put its viewers into a
far removed realm for the time being. One might question if the events and activities the musical replicated for American society were intentional or
not; however, given that musical theatre has the ability to convey relatable circumstances between the characters and the audience, it would not be a
reach to assume the musical did this intentionally. Oklahoma! helped the American people grasp onto serenity, and even a bit of nostalgia, if only for

Musical Analysis: Oklahoma !
'Oklahoma!' is an American musical that can trace its roots back to the 1940's. It is a creation developed by Richard Rodgers and Oscar
Hammerstein II. The musical is based on the 1931 play, 'Green Grow the Lilacs'. In 1943, Richard Rodgers invited Oscar Hammerstein II to
collaborate on adapting Lynn Riggs' play into a musical. The original play was considered a simple tale but with Rodgers and Hammerstein and their
collaborators, 'Oklahoma!' claims an important part of American musical history (Cook, 2009).
This musical marked the first collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein II. Their dramatic and compositional
approach in 'Oklahoma!' altered forever the path of American musical theater. Before this,... Show more content on Helpwriting.net ...
The musical was centered on the relationship and conflict between the farmer and the rancher. In a larger sense, this represented the relationship
between American fragmentation and community. The people of America were divided during World War II in that there were those who supported
the war, those that were against it, and those who believed the country was coerced into it. When 'Oklahoma!' debuted, a solution presented itself to the
American people during these wartime tensions. The message that came across was for the American people to bond together during these times of
hardship and war in order to maintain American values and to fight the enemy. The musical created a middle–class blissful life where liberals and
conservatives become unified (Kirle,

I Attended Ucla 's First Production Of Carousel On A...
I attended UCLA's May 11th production of Carousel on a Wednesday night at the Freud Playhouse. Jeremy Mann and Dan Belzer directed the
production. The musical opened on April 19th, 1945 (Hauser). Oscar Hammerstein II wrote the book and lyrics, while Richard Rodgers wrote the
music in collaboration. In this paper I will expound on the history of Carousel's writers, it's historical significance in the world of American theater,
as well as the plot of the play and it's implications on the evolution of theater history. The musical was a collaborative effort by the two talents of
Rodgers and Hammerstein. Prior to Carousel, the two had found success in various shows independently including shows like The Boys From
Syracuse, Pal Joey, and Show Boat. After a falling out between Rodgers and his previous writing partner Hart due to alcoholism, Rodgers approached
Hammerstein for opportunity to create new work together (Columbia). On March 31st 1943 Rodgers and Hammerstein found major success with the
hit musical, Oklahoma! (Hauser). The musical was the duo's first step in a direction of evolution in response to resistance to their vision for musical
theater. The two had wanted to produce a musical that told more complex stories and substantial character arcs and psychologies, but found resistance
in their older partners (Columbia). It was not until the two had met up to work together that they began their journey into their own artistic vision.
Naturally after the success of

Sound Of Music, Oklahoma !, The King And I, Carousel And...
Many people have probably heard of a musical by Rodgers and Hammerstein. They wrote the music and lyrics for many theatre classics, including The
Sound of Music, Oklahoma!, The King and I, Carousel and South Pacific. Since their collaboration in the 1940's and 1950's, their musicals have been
viewed by many, and their songs have become classics. Although they were not the only innovators inmusical theatre, Rodgers and Hammerstein wrote
many popular musicals,used new techniques, and won many awards; therefore, they left a lasting imprint on the theatrical world. The successful
collaboration of Richard Rodgers and Oscar Hammerstein II began when their relationships with other composers and lyricists began to fail. In 1920,
the two met ... Show more content on Helpwriting.net ...
The first musical they wrote together was Oklahoma. Though Walter Winchell said "No gags, no girls, no chance," Rodgers and Hammerstein
knew that Oklahoma would be a hit. Rodgers' wife left him a note on his pillow one day after rehearsal that said: "Darling, this is the best musical
show I've ever seen." Oklahoma premiered on Broadway on March 31, 1943, and it ran 2,212 performances over five years. After its time on
Broadway, Oklahoma went on an 11–year national tour. In 1955, Oklahoma was made into a film. The most famous songs from this show are "Oh,
What a Beautiful Mornin'", "People Will Say We're in Love", "Surrey With the Fringe on Top", and "Oklahoma!" After the astounding success of
Oklahoma, Rodgers and Hammerstein wrote the musical Carousel. Carousel was based on Ferenc MolnГЎr's play Liliom. It is about the separate yet
connected love plots of Billy Bigelow and Julie Jordan and Carrie Pipperidge and Enoch Snow, and it includes hits such as "You'll Never Walk Alone",
"If I Loved You", and "June is Bustin' Out All Over." Carousel opened on Broadway on April 19, 1945. It ran for 890 performances and closed on May
24, 1947. In 1956, a film version was made; it starred Gordon MacRae and Shirley Jones, the same stars as the film version of Oklahoma. Next, the
musical State Fair was written. It premiered as a film in 1945. This was

Rodgers And Hammerstein Interpretation
In Rodgers & Hammerstein's The King & I, the use of the word "libertine" on "Shall I Tell You What I Think Of You" really strikes out as Anna's way
to reject the difference. The Merriam–Webster defines "libertine" as "a person (especially a man) who leads an immoral life and is mainly interested
in sexual pleasure", an accusation that Anna lands onto The King based on his practice of polygamy.
"Because I'm a woman, you think, like every woman,
I have to be a slave or concubine.
You conceited, self–indulgent libertine!" (Rodgers & Hammerstein 1951)
The word became a strong element in the song that Hammerstein used to condemn the act of having female as an object of sexual pleasure for men.
This becomes more interesting as the original production of The King & I (1951) ... Show more content on Helpwriting.net ...
A little contradictory note that is visible as, perhaps, Hammerstein's way to present Anna's uncertainty about whether or not she should leave Siam
after all. The King & I started by enforcing the strong idea of feminism. Anna, a Welsh widow braving the wilderness of the East to teach a whole
kingdom to be "civilized", is often seen as a proto–feminist character in the show. The way Anna continuously denies The King's beliefs and practices
is defining the western feminism that she brought to Siam. This projects an idea that Anna has no sense of devotion or loyalty, unlike the other women
in the show, to The King because of these differences in act one. This concept of feminism is then changed in the story by Anna's interaction with Lady
Thiang. After her expressive song, Lady Thiang approaches Anna to ask her to see The King because he was troubled by the argument that they had.
As Anna objects with an idea to apologize to The King, Lady Thiang expressed her reason through the song "Something

The Wiz Play Analysis
In December, I watched the televised play of The Wiz, that aired on NBC. While I have mixed emotions about this play, itself, I have a better
appreciation and understanding about how a play should be presented now that I have researched the history of american musical theatre, and that is
unity of the story being told, thru song, dance, and performance.
American Musical Theatre is a form of art that tells a story through songs, dialogue, acting and dance. The different types of musicals includes ballad
opera, operetta, musical comedy, straight musical, rock musical, vaudeville, and burlesque.
Opera is a type of drama that was entirely sung. Madame Butterfly is an example of an opera. An Operetta, like an opera also incorporates frivolous ...
The Brook is considered the first work that accomplished bringing all of these elements together, separating the musical from the musical comedy. The
two major branches of the american musical theatre are the musical play and musical comedy. Rodgers and Hammerstein, creators of Oklahoma,
became the most important contributors to the musical play form. They produced more plays that had social thought that led the way for others to
follow. Rodgers and Hammerstein recognized the struggle in America and elsewhere for minorities civil rights had grown, they and many other
creators used the musicals to try and normalize social toleration and urged racial harmony with works like Finian's Rainbow and South Pacific. As a
theme, tolerance, has continued to be an important aspect for

The King And I Codes And Conventions
The King and I came out in 1956 during the Golden Age of Musicals in the United States. This film tells the story of a widowed British woman who
goes to Siam to teach the king's children. This musical movie was created by the infamous Rodgers & Hammerstein, and it became a national hit in the
movie theaters and on Broadway (Manos, "The King and I (Film)"). This film shows that the musical film genre is versatile yet traditional because the
plot, moviemaking process, and storytelling tools utilize conventions and innovation to create an amazing film. After opening with an overture, the film
introduces Anna Leonowens and her son, Louis, arriving to Siam on a boat. They are brought to the palace to meet the king of Siam and his wives and
children.... Show more content on Helpwriting.net ...
As the genre would suggest, The King and I contains several unforgettable musical numbers like "I Whistle a Happy Tune" and "Hello, Young
Lovers." Rogers and Hammerstein did a spectacular job at making the songs flow seamlessly throughout. These various songs also heavily
contributed to the storyline and are responsible for some of the film's greatest moments. The song "Hello, Young Lovers" tells the backstory to Anna's
past and gives the audiences a better understanding of this British woman. "A Puzzlement" is a moving and revealing song about the king. In his solo
rendition, the king agonizes over the fact that he may never discover the truth about life and the world even though he has been desperately searching
for it. One of the most iconic moments of the film is "Shall We Dance." In this song, the king and Anna dance to celebrate the banquet's success and
their unlikely friendship. The music not only adds to this film; the songs are the very essence of The King and

Richard Rodgers And Hammerstein: The Most Famous Composers
So famous are the classic musicals he created as part of not one but two of America's most celebrated songwriting duos, that his name is rarely heard
or seen alone. More commonly it's linked to the name of one of his lyricist–partners, either Lorenz "Larry" Hart or Oscar Hammerstein, because it's as
the musical half of both Rodgers & Hart as well as Rodgers & Hammerstein that Richard Rodgers is best known. Without him, the Broadway
musical as we know it would have been something else entirely; his work forever changed its course. It's a body of work that is astounding for its
greatness and lasting power and also for the sheer volume of it, an output unrivaled by any other Broadway composer: some 40 Broadway musicals (26
with Hart and nine with Hammerstein), one Broadway play, three London musicals (all with Hart), 10 original movie musicals (nine with Hart, one
with Hammerstein), two television... Show more content on Helpwriting.net ...
One of the first songs they wrote, and the first one to be published, was "Any Old Place With You," which was used in the 1919 show A Lonely
Romeo. All of their first songs were written for various Broadway revues which were more vaudevillian than dramatic; loosely–linked presentations of
songs, dances and comic routines. But in 1925, Rodgers & Hart created their own show Dearest Enemy that instead of being a revue was a "musical
play," a show with a narrative progression in which the songs fit and furthered the plot. The subject was a serious one: the American Revolution. It
was the first of many successful musicals the team would create. Next came Garrick Gaieties, also in 1925, followed by A Connecticut Yankee and
Evergreen. Rodgers & Hart were then lured West to write for films and spent four years in Hollywood writing songs which were featured in such
movies as Love Me Tonight, with Jeanette MacDonald and Maurice Chevalier; Hallelujah, I'm a Bum!, with Al Jolson; and The Phantom President,
starring George M.

Heroism In Oklahoma Play
Heroism In addition to promoting gender–roles, Oklahoma! helped to further shape American identity through its portrayal of Curly McLain as an
American Hero. Curly is portrayed as a hardworking, persistent cowboy who is willing to sacrifice all that he owns to win the girl that he loves.
Despite his admirable qualities, Curly is far from perfect and simultaneously portrays aggressive and violent behavior. At the end of the play, in an
attempt to protect Laurey, Curly commits murder, but gets his actions excused by the judge. This scene is often paralleled to the Allied powers in
World War II who were still considered "good" despite some of their terrible actions against others. On the other hand, many scholars parallel Jud Fry to
the... Show more content on Helpwriting.net ...
opened on March 31st, 1943 and received an overwhelming amount of support. The show was well known and well–loved for its simplicity, its
beautiful music, and for its unique American identity. Joan Roberts, the original Laurey, once said "The applause was so deafening, and it continued
and continued. We repeated two encores, and we stood there, until they stopped applauding." Before the show opened, however, many doubted the
success of a musical that strayed so far from the norms of the time. One of the shows own producers reportedly left one of their preview nights saying,
"no legs, no jokes, no chance." At the time, the standard for a Broadway show included flashy numbers, risky dancing, and dirty jokes. Oklahoma!
contained the exact opposite of these things: simple melodies, folk dancing, and an emphasis on purity. Nevertheless, the show was a big success,
captivating the hearts of Americans both at home and abroad. While they were not the Broadway norm for the time, these ideals of purity and
simplicity aligned with the American identity of the time, the identify that America was striving to

1940s Theatre History
Theater is alive because of one simple word: adaptation, the act of making something suitable for a new use or purpose (Dictionary). Theater is
continuously adapting to the present culture to provide plays and musicals that the audiences are thrilled to see. Whether people are delighted to see
Oklahoma! or Hamilton, there are aspects of every show that draw audiences toward them. Many playwrights, of both the 1940s and today, have
figured out ways to draw attention to theater, whether the purpose is to distract or entertain. During the 1940s, theater was used as a distraction from
World War II, so people could get away from the world for three hours. Now, people see shows to enjoy themselves or to have a relaxing time after a
stressful... Show more content on Helpwriting.net ...
In 1940s it was inspirational, that is why it is known as the golden age. The golden age in theater brought uplifting shows that the audiences were
excited to see, one of those being Oklahoma! by Rodgers and Hammerstein. Audiences were expecting exciting shows, they "...sought musicals and
spectacles–escape, not drama. Dramatic theater, in fact, was...entering a period of decline," (Drama Downsizes). Theater was expected to raise
spirits of people, an escape from life. Musical theater brought the world joy, which is why musical theater became so popular. The shows were
always comedic or romantic. People enjoyed these shows because there was always a happy ending to look forward to. Theater during this time
period was used to divert people from what was going on around them. Theater today is a means of entertainment. People go to see shows to enjoy a
couple hours with whoever they are going to see a show with. Although plays these days do not always have a happy ending, people are constantly
excited by new twists in shows. The show Into the Woods, a musical instilled with a plot twist, is enjoyed around America because it ends the

Compare And Contrast The American Musical Theatre In The...
Compare and contrast the American musical theatre in the 1920s with that of the 1930s. How did each reflect and absorb its era? What forms &
styles were dominant, what was the same, what was different and why? Do we see elements from these decades in shows today? Use examples from
specific musicals. In the 1920's, musical theater was "roaring" just like the economic situation in the United States. Florenz Ziegfeld was at his peak,
buying shows and catapulting them to the forefront of pop culture. The most popular songs on the radio were songs that were written and performed in
broadway shows. The subway station had just opened in times square and people came rushing to the theaters. Rag–time was the popular genre at the
time and Jazz musicians were working on their own genre just blocks away. Prohibition caused the rise of the speakeasy and as a result, people of
different social classes were interacting. People were looking for entertainment that matched the change in people's sensibilities. During this period,
musicals (which were labeled "musical comedies" at the time) were in the form of acceptable of guilty pleasures – the appeal of women and their
sexuality, silly characters that made fools of themselves, or the goofy country girl dancing through the chores of the day. Ziegfeld's Follies, Marx
brother shows, and Al Jolson playing his character in blackface are great examples of these shows that focused on showing off the stars and gave little
care to the

Oscar Greeley Cladenning Hammerstein II: Theatre
Oscar Greeley Cladenning Hammerstein II was born in New York City to Alice and William, a Jewish family, on July 12 of 1985. Though William
Hammerstein worked at a theater he did not want his son to having anything to do with theater. Hammerstein attended Columbia University from 1912
until 1916, and then went to Columbia Law School for a year. While at school Hammerstein's father died of Bright's Disease in June of 1914. Later
Hammerstein quiet law school and began to purse the theatre. In 1920 Hammerstein, and his associate Herbach, opened their first play, Always You.
He teamed up with Jerome Kern to create Forty Years. Then in 1927 Hammerstein's very popular Show Boat hit the theatre. Hammerstein's teamed up
with all different people like

South Pacific Thesis
Halli Herring Herring 1
Mrs. McCasland
Pre–AP English II
25 April 2017 South Pacific "South Pacific was a highly popular Broadway musical and hit movie. " "The story for Rodgers and Hammerstein's 1949
musical South Pacific, is drawn from a Pulitzer–prize– winning novel by James A. Michener, entitled Tales of the South Pacific, which dealt largely
with the issue of racism" (Kurtus). It is also considered by many people to be among the greatest musicals of the twentieth century (Kurtus). The
Broadway production won ten Tony Awards, including four acting awards, and many of its songs went to have a life of their own outside of the
musical (Kurtus). The musical inspired a 1958 film adaption and has enjoyed many successful ... Show more content on Helpwriting.net ...
Even though it hasn't been seen on Broadway since the first run closed, South Pacific has been produced worldwide and made into two great films
(Costa).
Herring 5
"The hunger for optimism is never in short supply these days. Walnut Street Theatre brings life to an American classic in their current production of
South Pacific under the direction of Charles Abbott, with choreography by Michelle Gaudette" (Diehl). This great taste of paradise has more to offer
than escapism (Diehl). "The music was by Richard Rodgers and the lyrics were by Oscar Hammerstein II, South Pacific begins unflinchingly as a
parade of some of America's favorite show tunes" (Diehl).
Lightening the mood is full of handsome Seabees helmed by the mischievous Fran Prisco (Luther Billis). A very strong ensemble with a loud booming
sound under the direction of John Daniels, they delight in antagonizing local merchant Bloody Mary (Lori Ton Chinn) when they are not aging the
female nurses (Diehl). "While not a highly demanding ensemble show, everyone stationed on the island brings a welcomed bit of uniqueness to the
group making the landscape feel all the more genuine"

Oklahoma Pop Culture
Oklahoma! the musical, released in 1943, proved to be one of the most successful musicals of its time, holding nearly 2,212 performances before
closing fifteen years after its opening. Despite its folk culture and overall simplicity, the classic love–triangle story between Curly McLain, Laurey
Williams, and Jud Fry proved to be just what America wanted and needed. An analysis of the historical time period during which Oklahoma! the
musical was created reveals a direct link between the show's music and American culture. Using 1940s American ideals as a lens through which to
view society, I will examine the role of family, gender–roles, and heroism in helping to shape American identity during War War II. The Need for an
American Opera During World War II, America strived to differentiate itself from the "evil" European Axis powers and present itself to the world as
a democratic superpower. This desire to create a national identity and culture was reflected not just in politics, but also in art and in music. Up until
this point, American music, and specifically opera, was largely influenced by European ideals and was regarded as a purely European art form.
Composer Virgil Thomson once received a letter from a... Show more content on Helpwriting.net ...
The New York Times once quoted Rodgers saying that Oklahoma was "neither an opera nor an operetta." Rodgers' believed that the music strayed too
far from traditional opera to be considered opera, and yet the show was more than just a musical because of its integrated storytelling. Prior to the
release of Oklahoma!, American storytelling through art was fairly segregated. For example, operas at the Metropolitan Opera house showcased music
and acting, while American ballets showcased music and dance. Oklahoma!, however, was one of the first musicals to integrate elements of all three:
music, acting, and

The Rebirth Of American Musical Theatre Essay
Two great writers of American musical theatre, Richard Rodgers and Oscar Hammerstein II, had one idea in common. They wanted to present to the
American public a new and revolutionary musical that would stand out above the rest. They wanted to make an impact on the societies of the era. They
wanted to be creative and do something that was considered rebellious. When they finally combined their ideas together they created an American
masterpiece in musical theatre: Oklahoma!. It was the first Rodgers and Hammerstein collaboration, starting the most successful creative partnership in
the history of American musical theatre.
According to Joseph Swain in his book The Broadway Musical: A Critical and Musical Survey, there are a number of... Show more content on
Helpwriting.net ...
has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in
American Musical Theatre. There was no opening chorus line, no chorus until midway through the first act, in fact. There was rather a serious ballet
and other serious overtones, including a killing in act two. The story, which was so simple, seemed to engage the audience in more than mere evening
diversion. (248) These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre.
He continued to say that with their first collaboration, Rodgers and Hammerstein ushered in a new era for the musical theatre. This beautiful folk play
realized fully that which the earlier Rodgers and Hart musicals had been striving to obtain: a synchronization of all the elements of the musical theatre
into a single entity. At best Oklahoma! could lay legitimate claim to have carefully woven a new element, dance, into the artful fabric of the modern
musical. No longer would singers sing and then go into their dance, a purely decorative dance at that. (248)
Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that the writer or
director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat

Flower Drum Song By O. Y. Lee
Carlo Castaneda
Professor Clark
American Studies
23 November 2015
In Flower Drum Song
Flower Drum Song was based on the 1957 novel, The Flower Drum Song, by Chinese–American author C. Y. Lee. It was the eighth stage musical by
the team of Richard Rodgers and Oscar Hammerstein II. The piece opened in 1958 on Broadway and was subsequently made into a 1961 musical
film. The team hired Gene Kelly (famous for Singin' in the Rain) to make his debut as a stage director with the musical and scoured the country for
their cast. With the exception of Juanita Hall (who also starred in Rodgers & Hammerstein's South Pacific), the main cast is mostly Asian. Anna May
Wong was actually set to return to Hollywood with the role of Auntie Liang in Flower... Show more content on Helpwriting.net ...
This dichotomy reinforces the orientalist notion of the West as male and the East as the female.
But, despite these differences, they both share a crucial value: preserving the patriarchal system, even if it results in their own commodification. When
analyzed in the barest of terms, both of these women want to get married, and their actions steer them towards that objective. Incidentally, in striving
toward that goal, they become things, not people. Mei Li allows herself to be inspected like an animal or manufactured product, and Linda's song "I
Enjoy Being a Girl" places the utmost importance on her appearance, not her personality or intellect.
Race Representation and the Generation Gap
One way that representation of race manifests itself in Flower Drum Song is through a generation gap: the older versus newer generation. If we
compare Ta to his father, there is a clear distinction in both their dress and their speech. Ta wears American suits and ties while Master Wang wears
stereotypical Chinese garb. He even "accidentally" burns his suit when he is forced to wear one. Wang also holds on to a more traditional way of
doing things. He is hesitant to put his money in the bank, and when his sister in–law finally convinces him to do so, he is unaware of how to behave in
such a contemporary western setting and sets off the alarm, momentarily creating a frenzy. His scenes with his younger son are

Comparison Of Richard Rodgers And Hammerstein
Richard Rodgers, composer and Oscar Hammerstein II librettist/lyricist joined forces in 1943 to create the most consistently productive and successful
partnership in the American musical theatre. Oklahoma!, the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play,
blending Rodgers' sophisticated style of musical comedy with Hammerstein's innovations in operetta. A milestone in the development of the American
musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by Carousel, Allegro, South
Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song and The Sound of Music (Rodgers). Within Rodgers and Hammerstein's show,
South Pacific it has an underlying theme dealing with race. Rodgers and Hammerstein instilled a social change dealing with racism through, insistence
on including a message about racial tolerance within South Pacific and how it is directly dealing with miscegenation and its tragic after–effects in the
20th century South.
When South Pacific first opened in the spring of 1949, the war was still fresh in the memory of all who saw it. Since its opening in 1949, Rodgers and
Hammerstein's Pulitzer Prize winning musical South Pacific ... Show more content on Helpwriting.net ...
Rodgers and Hammerstein's insistence on including a message about racial tolerance in a commercial Broadway play a number of years before the
civil rights movement. South Pacific marks a moment when musical theatre was striving to distance itself from its commercial roots and to redefine
itself instead as art (Most). As the quintessential example of what mid–century critics called "middle–of–the–road" culture, South Pacific sits
uncomfortably between the "low" culture of Tin Pan Alley and the "high" culture of legitimate theatre and

The Song Ten Minutes Ago, Is From Rodgers And Hammerstein...
The song "Ten Minutes Ago" is from Rodgers and Hammerstein's Cinderella. A musical adaption of the classic fairytale by the same name, it
became a musical sensation when Richard Rodgers and Oscar Hammerstein transformed it into a live musical television broadcast in 1957.
Starring Julie Andrews, it retold the fairytale of a young girl living a miserable life under the roof of her evil stepmother and her three equally
vicious stepsisters. With the Prince's Ball nearing, the four women in her family were planning to go, leaving Cinderella at home on the night of
the ball. When all hope seemed lost, Cinderella's Fairy Godmother appears, granting her wishes by transforming her from rags to riches, and
giving her a pair of glass slippers. Cinderella was able to go to the ball unrecognized, under the condition to be home by midnight, when the spell
wore off. At the ball, she meets the prince and there is immediately chemistry, but she rushes to leave before the clock strikes twelve, in fear of the
prince seeing her for who she really was and being disgusted by her true self. As she escapes the castle, she loses one of her glass shoes on the steps
of the castle. Leaving it behind, she makes it home without being seen by anyone, and resumes her life as a poor girl being abused by her family. The
next day, the prince announces a search for Cinderella, not knowing her name or remembering her face. He went around town and asked women to try
on the glass shoe, believing that he would

The Dynamic Partnership Of Richard Rodgers And Oscar...
The dynamic partnership of Richard Rodgers and Oscar Hammerstein are often considered to have fathered of the "golden age" of musical theater; a
distinct and radical departure in musical story telling that had not previously been conceived. Their first venture, Oklahoma!, was inspired by the
1931 stage play, Green Grow the Lilacs, by Cherokee author, poet, and playwright, Rollie Lynn Riggs. Despite the success of this musical adaptation,
one must consider Oklahoma! in relation to its source material; although Rodgers and Hammerstein proved to redefine the genre, the eventual product
was radically different from the play on which it was based. The changes made by the duo induce an entirely different tone, presenting the audience
with a whitewashed display, rather than Rigg's childhood observations of the social, legal and cultural changes that took place in the midst of
Oklahoma's impending statehood. Richard Charles Rodgers was born on June 28th, 1902 in Queens, New York to respected physician Dr. William
Abrahams Rodgers and wife Mamie (nГ©e Levy). In his autobiography, Musical Stages, he confesses that, despite being born into a German–Jewish
household, the death of his grandmother marked the "end of orthodox Judaism" in his family (pg. 4). He continues, "From that time on, my parents,
my brother, and I were Jewish for socioethnic reasons rather than because of any deep religious conviction" (pg. 4). Though Rodgers formal training of
the piano began at age six, his

Oklahoma By Oscar Hammerstein II And Richard Rodgers

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