Hillsong Church Research Paper

Hillsong Church Research Paper
This discussion forum is difficult for me to answer because currently, I do not attend a physical place of worship and I am not really familiar with
one. My place of worship is within my Jeep as I drive to and from, while I listen to the JOYfm or it occurs while I sit at my desk in the morning
watching the video on Vimeo of Sunday's service at a church that I have never attended, that a friend goes to. This service is held in a school
cafeteria and the church that I attended before I moved to the Tampa Bay area was also located in a cafeteria of a school. In looking at all of this I
realize a place of worship can be anywhere you make it, whether it is a magnificent cathedral, a cafeteria, or from the comfort of your own couch.
However, that is not the basis of this DF, so with research, I have found a... Show more content on Helpwriting.net ...
Hillsong Church is a worldwide phenomenon that originated in Australia and has grown across the world. It is heard on the radio through their band
Hillsong United whose worship songs are sung in churches worldwide. Hillsong Church is considered a mega church and it's location in New York
currently, resides at the Manhattan Center in the Hammerstein Ballroom. The Manhattan Center formerly known as the Manhattan Opera House was
constructed in 1906 by Oscar Hammerstein ("Hammerstein Ballroom," 2015). The Hammerstein Ballroom is an absolutely beautiful room that has 3
balconies, opera boxes, seating space for 3500 individuals, and a dome–shaped ceiling with a completely restored
... Get more on HelpWriting.net ...

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

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

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

Essay on History of Broadway
There have been many debates on whether or not Broadway musicals are considered "serious" art forms. People feel that a musical can never be
taken seriously if the character is always singing sporadically, which is very unusual in real life. However, musicals have been around for quite some
time now, many musicals are being adapted into major motion pictures, many children are raised on the famous Disney musical cartoons and
everybody( whether they'll admit it or not) has seen at least one musical in their lifetime and are able to sing some of the songs from it. It seems that
musicals have made an impact on society but yet are still not taken seriously. The history of musicals dates back to the Greeks. It is a common known
fact that... Show more content on Helpwriting.net ...
Burlesque soon took on comedy routines and would make fun of the current issues that the middle and lower class were dealing with. However in the
1920's there began a raid and the police felt the need to shut down all of the Burlesque shows which was a major hit to the Manhattan society where
most of the theatres were at the time. While the Burlesque scene was popular musical comedies were beginning to rise without the help of the nudity
factor. The musical comedy was born on Broadway between the years 1878–1884 by the famous producers Edward (Ned) Harrigan and Tony Hart.
Harrigan would write the lyrics and songs with some of the music he had taken from his father and add them to plays that would feature characters
and situations that the everyday lives of New York's lower class. They had one particularly famous bit entitled "Mulligan Guard's March" which
started in San Francisco and was quickly spread all across the country and reached New York where it ran for over a year in the most popular
theatres. With the success of their short bit they expanded into a 40 minute performance which was greatly accepted and kept playing for a month
which was considered a good run for that time. Their show became so popular that it started a seven year run of different shows with Harrigan
directing, producing,

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"

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 ...
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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,

Show Boat Sparknotes
Show Boat Changes Its "Wicked Stage" On the night of December 27, 1927 the musical Show Boat opens (Laufe 475). The show ends in silence; no
applause or a standing ovation. There was not even a curtain call. (Sheed 120) Producer Florenz Ziegfeld thought that the show had failed. (Sheed 120)
What he did not know that night was that Show Boat was to go on to be one of the most influential shows in American musical theatre. Show Boat
revolutionized American musical theatre by changing the setting of the average musical theatre work to America to make the show inherently
American, by changing and challenging what topics could be discussed, and by making the songs an integrated part of the musical that emphasize
the themes, express the emotions of the characters, and move the story along. Show Boat tells the story of a river boat named the Cotton Blossom
that travels up and down the Mississippi River and the lives of the people on and surrounding the Cotton Blossom. The Cotton Blossom is run by
Captain Andy who has a daughter named Magnolia Hawkes. Magnolia befriends Julie LaVerne, a performer on the ship. Upon stopping in one of
the towns Julie is found out to be part black and is arrested on the charge of miscegenation and is forced to leave the ship. Magnolia also falls in love
with a man from the same town named Gaylord Ravenal, and she ultimately leaves the boat with him and starts a new life. Eventually Magnolia and
Gaylord's marriage breaks up. Magnolia then returns to

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

Effects Of Sondheim's Nonconformity On Musical Theatre
Sondheim's Nonconformity and Its Effect on Musical Theatre
Musical theatre performance, which presents fictional plots and impresses audiences with show–stopping dance and song, unites dramatic works
across the globe. American musical theatre, specifically, draws inspiration from European straight plays, burlesques, and operas, while dramatizing
American topics. Nineteenth–century musical comedies use entertaining situations, rather than plot, to frame performances involving song, dance, and
humor. For example, George M. Cohan's works, although inspired by European musical theatre, fail to please audiences as its unified music and book
neglect the plot. By the twentieth century, however, pioneers such asOscar Hammerstein II create musical ... Show more content on Helpwriting.net ...
In contrast to early American musical comedies, whose songs separate the characters from the action, Sondheim carefully crafts his songs, with every
word serving both the actor and the audience. When writing a musical, he thinks as the character, attempting and usually succeeding at portraying his
situation. As Arthur Laurents, one of his collaborators, said, "Steve...is the only lyricist who almost always writes songs for the characters they are
written for" (Michener 384). Since he writes the songs for the characters, each word has a specific purpose, but he still puts a twist on established
devices of musical theatre. Musical theatre often contains rhyme, but Sondheim's rhymes provide emphasis because all rhymes "draw attention to the
rhymed word" (Sondheim, Finishing the Hat, xxvii). Since the songs' words signify a profound amount of meaning, Sondheim makes sure that the
lyrics and rhythms work for the character and the actor. "Getting Married Today" in Company demonstrates this particularity. On Amy's wedding day,
she experiences doubt in marrying Paul, expressed through a fast–paced frenzy of thoughts and emotions. So that this whirl of emotions does not
become too chaotic, Sondheim's word choice allows the actress playing Amy to capitalize on every word, as he calculates the song "to alternate
vowel and consonant sounds in such a way as to make them easy for the tongue, teeth, and breath to articulate" (184). Thus, every word in "Getting
Married Today" has a specific purpose, unlike the lyrics of other musicals without such a careful word choice. While the audience needs to use the
lyrics to understand the plot, Sondheim's intelligence and wit leaves the audience "marveling at what clever things he does with words" (Banfield
113). In his songs, Sondheim wants to show off his literary skills while staying true to the

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

Fresh Off The Boat Stereotypes
Fresh Off the Boat is an ABC comedy, based on Eddie Huang's best–selling memoir of the same name, that has resonated with audiences perhaps in
part thanks to its grounding in real experiences. Set in the 1990's, it tells the story of a young Eddie, played by newcommer, Hudson Yang, and his
experience moving from Washington DC's Chinatown to suburban Orlando, Florida. Fresh Prince of Bel–Air starred Will Smith as a fictionalized
version of himself, who is sent to live in an upper–class Bel–Air neighborhood from the streets of Philadelphia to live with his wealthy uncle and aunt
as a result of a fight. Both sitcoms, Fresh Off the Boat and the Fresh Prince of Bel–Air highlights the lives of two young men adapting in unfamiliar
territory as they... Show more content on Helpwriting.net ...
The theory suggests that the mass media could influence a very large group of people directly and uniformly by 'shooting' or 'injecting' them with
appropriate messages designed to trigger a desired response. Stereotypes can be found in both sitcoms; although both shows find away to have
viewers look the other way. For example, asians have a long history of being made fun of because of their thick accents. In Fresh Off the Boat, Eddie
and his siblings speak like every other American kid. In fact, asian names are a common joke as well, but the show's characters have typical names.
Media is an important source of information about a culture and media portrayals contribute to public perception (Hodan, 2015). Fresh Prince of
Bel–Air is used as a medium at which stereotypes are presented through the show. In the beginning years, Will is shown as an outcast who brings
embarrassment to his Bel–Air family being conveyed as how the average young black man is seen in society. However, in an episode where Will's
uncle is utterly embarrassed by his actions during a gathering at their home full of wealthy upper–class patrons, Uncle Phil himself is proved wrong of
his misconceptions after hearing Will play "FГјr Elise" by Beethoven. Prior to the Fresh Prince of Bel–Air, black families were portrayed as poor,
uneducated or broken. The show's attempt to screen out stereotypes and create a more positive image with references that expand the cultural context
is represented in the show in a brighter

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 !: Musical Analysis
In 1941 Rodgers was approached by the Theatre Guild to write a musical version of a show they had previously commissioned, Green Grow the
Lilacs by Lynn Riggs. Rodgers took the show to Oscar Hammerstein II after his previous partner Lorenz Hart turned the project down. They hired
Agnes De Mille to choreograph this dance heavy show, with seventeen to twenty minute ballet and they were off to the races. Oklahoma! Premiered
in 1943 and changed the face of musicals forever. After Oklahoma! composers and lyricists were no longer seen as just songwriters, but as
contributors to the dramatic action. Each song they wrote now was integral to developing characters. Oklahoma! opened to rave reviews and is still a
gem in the world of musical theatre. It ... Show more content on Helpwriting.net ...
With set design, I really liked the sense of a fish eye lense created by the swirls and circles in the scene painting. It added to the vast feeling of the
territory. I did think the upstage peaks of the, I guess the term would be dunes, were a bit too high in the skyline. They ended up looking more like
mountains, which I'm quite certain aren't prevalent in Oklahoma. I did however; appreciate the convention of the turntable as it allowed some
seamless transitioning from scene to scene. Oklahoma! is a very long show and you don't really want to add length in scene changes. The sets
were also a nice mix of rustic, bare bone pieces with some fully realized pieces to show the struggle of the people on the frontier but made them
still seemed like civilized settlers, not nomads. I can also appreciate trying to distract the audience from a set change with the toy train that ran
across the front of the stage, but I did not find that it served the design concept. I thought it was really cute, but it confused me as it didn't seem to fit
the realism the balance of realism and stage convention I had seen up to that point. I thought the set design and props did a good job representing the
resourcefulness of the people in the town. After seeing the corn field, we saw corn husks in wedding bouquets and pop up as decorations all over the
place. I think what I struggled with the most

Popular Broadway Musicals In The 1920's
In the 1920's they started experimenting with musical theater by taking popular vaudeville songs and connecting them into one story. When Showboat
opened in December 1927, it was unlike anything Broadway had ever seen. Showboat featured dramatic themes and the first–ever completely integrated
book and score. In 1935, the Gershwin brothers debuted Porgy and Bess featuring an all African–American cast, which was quite controversial at the
time. While considered a masterpiece by many, it has also been criticized for its racist portrayal of African–Americans. Golden Age In 1943, Rodgers
and Hammerstein's first show, Oklahoma, was produced. The duo would go on to write some of the most beloved Broadway Musicals in history,
including Carousel,... Show more content on Helpwriting.net ...
In 1964 Fiddler on the Roof opened on Broadway and became one of the most popular and produced musicals of all time. new era Produced in the
midst of the politically troubled 1960s, Hair was quite a departure from the musicals with its counter–culture themes and rock–inspired score. With high
energy and a sparse use of costumes and sets, it opened the door for a more aggressive, nontraditional form of musical, compared with the more
elaborate song–and–dance shows from the previous decades. In the 1970's we saw the birth of Rock Opera, a musical style bringing the sound and
beats of rock music to the musical style. Andrew Lloyd Webber was the on the forefront with shows like Jesus Christ Superstar and Evita popularizing
this new style. He would later write Phantom of the Opera, the longest–running show on Broadway. 1990's and beyond In recent years, the trend on
Broadway has been to adapt films and books into musical productions. Mel Brooks found huge success with a musical version of his comedy, The
Producers. Off–Broadway plays have also found mainstream success, led by Jonathan Larson's hit show,

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

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

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

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,

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

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

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

Trevor Nunn's Oklahoma !
Oklahoma! by Trevor Nunn is a romantic musical that revolves around two characters, Curly (played by Hugh Jackman) and Laurey (played by
Josefina Gabrielle), who are not as expressive about their love for one another as they should be. The setting of Oklahoma! occurs during the
development of the west in the state of Oklahoma. Furthermore, as the story progresses, both Curly and Laurey remain distant from one another and
try to provoke jealousy, in order to make the other admit their love. However, both Laurey and Curly indirectly cause harm to many individuals
around, by provoking jealousy. One specific character, Jud (played by Shuler Hensley), ends up entangled in both Curly and Laurey's mess, since
Laurey wishes to make Curly jealous by... Show more content on Helpwriting.net ...
The theme revolves around the idea that if one does not express their true feelings and remain true to themselves, consequences could ensue that
may involve others who had nothing to do with their issues in the first place. This theme could be derived from the inciting incident, the rising
action and the climax. The inciting incident occurs due to the fact that Laurey chooses Jud over Curley in order to see how he would react. This
example remains true to the theme since jealousy is the main force driving Laurey to commit to her actions, all the while remaining in denial of
actually liking Jud. Moreover, Curley, being jealous of Jud, decides to pay him a visit which causes a commotion and a worsens the relationship
between the two characters. Furthermore, this theme is at its peak relevancy when Laurey has her dream sequence. In Laurey's dream sequence,
it is obvious that she has feelings for Curley, however, since she chooses to remain in denial and pursues the act of making Curley jealous, her
dream sequence takes a turn for the worst. As her [Laurey] dream sequence progresses, she starts having visions of being raped and begins to see
Curley being hurt by Jud, thus show her how her childish acts have hurt others and herself included. By leading Jud to believe that she has feelings
for him, he begins to develop great feelings for her, therefore, at the climax of the play, Jud returns for Curley and Laurey's wedding in order to kill
Curley, however, it is Jud that dies in the end. The consequences of Laurey remaining in denial and being jealous, led to her almost being raped and
the death of Jud. One could also argue that it was Jud's jealousy of Curley that led to his

Showboat
This paper is a critique of a production of Show Boat, a musical classic with compositions by Jerome Kern and lyrics by Oscar Hammerstein II, which
was performed and produced by NETworks Presentations LLC at Emens Auditorium on the 14th of February 2001. Clayton Phillips, the director of the
production, attempted to test the waters of racial discrimination by exploring controversial themes such as prejudice and interracial relationships. Show
Boat takes an enlightened approach to ethnic controversy by using both music and drama to express the feelings and hopes of the characters to the
audience. Even though I enjoyed the production, I felt that it was lacking in terms of its plot and may have overused its melodic reprises. However,
Show ... Show more content on Helpwriting.net ...
The scenes and props complimented the attire of the performers, blending together create a magnificent display. The scenery was realistic enough to
afford the viewer an escape into depths of the show. The setting was beautiful and the structures almost lifelike, excepting the absence of a front screen
door. It seems that almost all plays and television shows I have viewed neglect this detail. The stage lighting played a key role in the show by setting
the mood of the performance during soulful, pensive songs. In contrast, the lighting proved to be a detriment by overbearing the performance of the
artists, in that one's attention was drawn to the glare of extreme quantities of makeup rather than the actions of the characters. This was most notable
during the final portions of the production.
The entertainers gave their characters genuine life through their gestures, attitude and charm. Even the way the voices led one to believe that the
characters were actually presenting their own thoughts and ideas, not those of fictional characters. During the play, the voices of the performers were
quite audible, excepting certain musical presentations when the lyrics of the songs were at points nearly indiscernible. Even with consideration given
to this technical glitch, the sound quality was quite agreeable and the songs enjoyable. The voices of the performers were strong

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

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

Richard Rogers Research Paper
Richard Rogers was born June 28, 1902 in Long Island, New York. His father was a successful physician and his mother was an amateur musician.
In Roger's childhood, he heard music most everyday and was regularly taken to the theatre. When Roger's was six he could play the piano by ear. He
enjoyed listening to small operas, which are also known as operettas. Later, Rogers was inspired by Jerome Kern's musicals.
Rogers attended secondary schools in New York. When he was fourteen he had already written two popular songs. In 1919 he entered into
Columbia University, but before that he met Lorenz Hart who he spent the next 24 years of his career with. Their first published song was "Any
Old Place with You." But, in 1943 Hart died and was more successful than ever before working with Oscar Hammerstein II. Rogers later died on
December 30, 1979. Rogers died at the age of 77.
Oscar Hammerstein II was born July 12, ,1895 in New York, New York. Oscar'sfamily was a great theatrical family. His father was an opera promoter
and his uncle was a well–known producer. Oscar could play the piano at the age of nine. When he was fifteen his mother died, and when it came time
for career choices, Oscar's father pushed him away from theater and into law at Columbia University. He joined a performance class at Columbia
University where he ... Show more content on Helpwriting.net ...
After college, they both went their own way until Lorenz Hart died. Rogers had interest in doing a play with Hammerstein and he agreed to doing the
play with Roger's. From there they had great success. They wrote ten musicals together and five out of the ten were some of the longest running shows
created for Broadway. These five musicals where Oklahoma!, Carousel, South Pacific, The King and I, and The Sound ofMusic. There still was basic
and had simplicity. They had a lot of folklike and romantic music in the musicals they created. They also created many popular songs in their

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

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

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

Film Analysis: Oklahoma
The Film I have chosen to evaluate and interpret is the 1955 film: Oklahoma. The composers of the music played in Oklahoma are the very talented
and famous Rodgers (Richards) and Hammerstein II (Oscar). The Film was originally a musical, performed on the Broadway stage beginning in
1943, and was then later adapted into a screenplay in 1955. Oklahoma is a true romantic story about two men, with two very different intentions,
chasing the same woman. Curly is a cowboy who unquestionably sells all of his belongings; horse saddle, beloved horse and gun, just so that he can
show his undying love for the main character and love interest, Laurey. Jud Fry, on the other hand, is considered farm hands on Aunt Eller's farm and
purposefully goes against... Show more content on Helpwriting.net ...
There is one main character that conducts order at the social, and that character is Aunt Eller. With such a song, there is bound to be violence among
the men of opposite professions. Aunt Eller takes charge when fights break out and restores the order immediately. The camera is used much like the
camera in The Best Years of Our lives because there is an abundant use of single–camera continuity shots. All of the action during this scene is done in
front of the camera. People come in and out of the frame but it is evident that the camera never moves. Something that draws immediate attention is
that the camera is always focusing on the person or persons singing which involves those people to move forward into the camera. The action is
constantly unfolding in front of the camera. Once the fights begin to break out the camera zooms in on the specific argument to focus our attention. As
soon as Aunt Eller walks into the frame to restore the order, the camera is immediately zoomed out into perspective and the laughter and dancing begins

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

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

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

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

Fresh Off The Boat Analysis
Fresh off the boat was created by Nahnatchka Khan. It is a comedy series starring Ranall Park, Constance Wu, and Hidson Yang. This show is the first
Asian–American family Television show. There are a total of 30 episodes which is 2 seasons. The show was a huge hit that it got nominated as
Young Artist Award and won. In the first episode "Fresh off the boat" we were introduced to a Chinese family that moves to suburban Orlando. It
centers on the father who is obsessed with all things American, a mother who is bewildered by a "white culture" and a hip–hop–loving son (Eddie). In
the beginning we get a glimpse of how the family feels about moving to Orlando. The mother is completely against it and the children are worried
about fitting in. The father on the other hand is excited about opening his American Restaurant; that is the reason they moved in the first place. In the
few days the family moved,... Show more content on Helpwriting.net ...
The mother had to fit in with the "white women" in her neighborhood and had to be engaged with their daily routines. Eddie had problems of his
own; the kids at his school did not understand why Eddie ate a "nasty lunch" and that caused Eddie to beg his mom to buy him American food so
he can take it to lunch. The only one in the family who did not have troubles was the younger son who found a girlfriend on his first day at school.
The show is something new I have not seen. It makes me realize of how different an American culture is to other foreigners. We are custom to this
culture we do not see how other people have to struggle. The first episode in my opinion felt discrimination towards the Chinese family, because of
how they had to change the way they lived just to fit in. Sometimes we are not aware of how other people that just moved to America have to go
through and we expect them to already learn, and change their way just so we can be pleased. Overall the show was funny and

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

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,

Rogers And Hammerstein's South Pacific Essay
Rogers and Hammerstein's South Pacific
Works Cited Not Included
In Rogers and Hammerstein's South Pacific, the main theme is racial prejudices. The two main characters, Emile de Becque and Nellie Forbush are
faced with these problems as they attempt a relationship. Two other minor characters, Lt. Joe Cable and Liat, are faced with the same dilemma. Both
Nellie and Joe Cable have a hard time coping with their own racial prejudices;
Joe loves Liat, yet cannot marry her because she is Tonkinese ; Nellie loves
Emile, but cannot marry him because of his former Polynesian wife. It is these prejudices that set the state for what might be the most significant scene
in the production. In act 2, scene 3, Nellie reveals her ... Show more content on Helpwriting.net ...
The words that Joe sing tell the audience that he realizes that prejudices aren't born within someone, but taught to them.
You've got to be taught to be afraid
Of people who's eyes are oddly made,
And people who's skin is a different shade ?
You've got to be carefully taught!
?To HATE all the people your relatives hate ?
You've got to be carefully taught! (II,iii)
Joe realizes that there would be no prejudices in the world if it nobody were to teach it to the children. He sees that if nobody had even spoken
against other races or people that were different, he would have no problem with marrying Liat. He realizes that he actually does not feel these things
at all and the ideas that have been planted in his head can be as easily uprooted as they were planted. Joe, feeling better, sits down and listens to Emile
begin to speak. Emile tells Joe that it was prejudice that he had been running away from and it was prejudice that had found him again. He finishes
"Carefully Taught".
He sings of being cheated in the past and being cheated out of love again. He sings that it is the fault of "a MEAN little world of MEAN little men
(II,iii)."
He sings that he will hold on to this island "and be free ? and alone(II,iii)."
It is this part of the song that offers a perfect segue into Emile's next song,

"This Nearly Was Mine." Joe alludes to the fact that he will probably marry Liat after all by saying that all he cares

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