The Lives and Accomplishments of Rodgers & Hammerstein Richard Rodgers and Oscar Hammerstein were both writers and producers in the theatre, but, their collaborative venture in the 1940’s introduced a new era of musical theatre. First, they wrote the first musical in which every element: music, lyrics, narrative, and even dance contributed to telling the story, each part blending and woven into the whole. Their new idea was a huge sensation with audiences, and brought with it, new recordings of shows with albums and records to follow and revival productions around the world. The duo changed the fate of musical theatre practically overnight, but, it couldn’t have been done without the projects, big or small, that got them there, their …show more content…
Born on June 28, 1902, Richard Rodgers grew up in Queens, NY and was brought in a theatre-loving household. His parents loved the musicals on Broadway and his grandparents were Opera fans. Despite having hypochondria, his mother would have sheet music from the Broadway shows and would sing them for Richard and that’s how he began to learn to play the piano (Biography.com). Just a few blocks away from that spot, Oscar Hammerstein was born on July 12, 1895 into a true theatre family. His father managed a vaudeville theatre, his grandfather was an opera producer, and his uncle was a Broadway producer. Hammerstein, at the time, was studying law at Columbia University when he met Rodgers. After falling in love with the theatre, he was employed by his uncle as an assistant stage manager. (Biography.com) The rest, as they say, is history. But, while the names Rodgers and Hammerstein may sound perfect and remind you of the music you love, it wasn’t always Rodgers and Hammerstein. Both Rodgers and Hammerstein worked with other collaborative partners before pairing up. Richard Rodgers was known for working with Lorenz Hart first. They wrote 26 Broadway musicals together and wrote many classic songs, such as: "Blue Moon" (1934), "My Funny Valentine" (1937), "Isn't It Romantic?" (1932) and "Bewitched,
If you don't think this is romantic, consider that Jonathan Larson's sensational musical is inspired by Puccini's opera "La Boheme," in which the lovers Mimi and Rodolfo are tragically separated by her death from tuberculosis. Different age, different plague. Larson has updated Puccini's end-of-19th-century Left Bank bohemians to end-of-20th-century struggling artists in New York's East Village. His rousing, moving, scathingly funny show, performed by a cast of youthful unknowns with explosive talent and staggering energy, has brought a shocking jolt of creative juice to Broadway.
The partnership of Richard Rodgers and Oscar Hammerstein was made possible by Richard Rodgers’ partner, Hart, becoming increasingly difficult to get back to work. Rodgers wished to adapt the play Green Grow the Lilacs into a musical, but Hart wasn’t interested in the show. So, Rodgers took Oscar Hammerstein up on his offer to collaborate on a project. That project turned out to be the successful musical Oklahoma!
... John, Fred Ebb, and Greg Lawrence. "Chicago on Broadway." Colored Lights: Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz. New York: Faber and Faber, 2003. 119-40. Google Books. Web. 1 May 2014.
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. Written by Leonard Bernstein and Stephen Sondheim, ‘West Side Story’ is a classic American musical based on William Shakespeare’s ‘Romeo and Juliet’. The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. This essay will be exploring the music and how effective the score is in realising the world and characters of the musical. Furthermore, it will discuss how Bernstein and Sondheim relate characters’ diverse ethnicities to particular musical ideas and motifs.
Oscar Hammerstein II, born July 12, 1895, came from a family of theater people. His grandfather, Oscar Hammerstein I, built theatres and loved opera. Following him, would be a generation of theatre managers and Vaudeville presenters. But the true love of theatrical storytelling was in Hammerstein II. From an earlier age, Hammerstein was a quick worker and very productive when it came to his work. Unlike all lyricists at the time, he wrote the libretto to most of the musicals for which he contributed the lyrics. Therefore, the scenes in which his lyrics are place stemmed from the same creative mind. Much of his early career was with many different composers like Herbert Stothart, Otto Harbach, and Jerome Kern. Yet, his name was often
Israel Isidore Baline was born in the Russian village of Tyumen on May 11th, 1888. His family left in the mid 1890s to escape the persecution of the Jewish community and settled in New York City (biography.com). Israel dropped out of school at age thirteen (Kenrick 143). Baline was a street singer as a teen and in 1906 he got a job as a singing waiter in Chinatown (biography.com). The first song he ever had published was called “Marie From Sunny Italy” (biography.com). He wrote it in 1907 with Nick Nicholson writing the music. Baline’s name was misspelled on the sheet music as “I. Berlin” (biography.com). He decided to keep it and changed his name to Irving Berlin (biography.com) . It was in this way that the legend was born.
Aaron Copland and George Gershwin held multiple similarities throughout their pre-composing lives. The two were born around the same time, Gershwin being born September 26th of 1898 and Copland November 14th of 1900 both in Brooklyn New York. Both of the composers came from Russian Jewish immigrant families, and both developed into musical prodigies through piano teachers from the neighborhood which they both rapidly outgrew. It wasn’t until both men began their musical careers that stark differences arose between the two, mainly through their musical education and how immersion in American society versus European society affected their styles. Both artists are still considered to be the most widely celebrated and most successful modern American
The period between early 1940s to mid-1960s or so, alternatively, the period between when the musical Oklahoma! (1943) was produced till the time when Hair (1968) was produced, is usually referred to as the Golden Age of the American musical (Kantor, 2010). It is during this period, that most of the noted titles such as “Carousel”, “South Pacific” etc. were produced. 1940s and early 1950s were dominated thoroughly by MGM musicals, while the late 1950s and 1960s belonged to Broadway. Initially, the musicals of this era had simple plots, unchallenging themes, with romantic or comedic characters and lots of singing and dancing. But towards the end of it, the plots were sophisticated, serious with singing, dancing as well as dialogue. In this paper, I choose to elaborate more on the musical – Arthur Laurents’s West Side Story. In the first part of this paper, I discuss the plot, songs and other aspects of the musical such as the awards etc. Later on, I explain how this musical revolutionized the theatre and the cultural effects it had on Americans. Finally, I conclude in the end the historical importance of this musical piece.
Andrew Lloyd Webber was born on the 22nd of March 1948 in Kensington, London and the son of William Lloyd Webber and Jean Hermione Johnstone. Webber was born into a musical family since his father was a composer and organist and his mother was a violinist and pianist. His younger brother, Julian Lloyd Webber, is a famous solo cellist. Andrew was an innate prodigy, he played learned to play the piano and the French horn at age 3, and the age of 6 he began writing his own music. He would out up his own productions with his bother Julian and his Aunt Viola in a toy theater that he built himself. His aunt was an actress and she influenced his interest in theater because she would take him to see a lot of her shows.
Rodgers and Hammerstein first began working together in 1943 and are known for several other musicals like Carousel (1945), South Pacific (1949), and The King and I (1951). Howard Lindsay and Russel Crouse’s first collaboration was writing the book for Anything Goes and went on to write a non-musical play, Life with Father (1939), which starred Lindsay and his wife.
thesis of how the musical brought our inner child out to realize our true struggles in life.
George Gershwin was one of America's most well-known composers and respected pianists that introduced the sounds of Broadway and Hollywood together. He coordinated the elements of classical music style and the robust sounds of American jazz; Gershwin created a musical style that made the music of jazz acceptable to the classical listeners, and brought in American music into the mix. “Gershwin wrote mainly for the Broadway musical theatre.” He blended, in different variations, techniques and forms of classical music with the stylistic hints and techniques of popular music and jazz.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
The Lion King musical is a well-known musical that has taken the stages of Broadway, West End and the rest of the world by storm (The Lion King, 1997). Regarding the process of the musical, Artistic Director Julie Taymor’s first thoughts for choosing the Lion King as the next big thing on stage, was classed as ‘impossible’ due to the film’s lack of theatrical material (The Lion King, 1997). Therefore, staging this particular work contained a great deal of uncertainty and the need for taking huge risks. Taymor (1997) suggests how ‘the Lion King was the worst idea possible to create a stage show.’ It has become evident that a number of significant barriers had to be overcome to secure the practicality of the production. In view of this controversy, this dissertation will critically analyse the success of the Lion King by exploring two significant aspects that have helped to make the musical a success. Firstly, the essential components that make up this theatrical production will be explored and secondly, the roles of each producer within the Lion King and their combined and individual influences they have had from the production will be evaluated. By analysing these two central themes, this paper will show how and why this musical has developed and achieved its phenomenal success.
Neher, Erick. "Movie Music At The Philharmonic." Hudson Review 64.4 (2012): 668-674. Academic Search Complete. Web. 3 Dec. 2013.