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what are the lyrics to oscar and hammersteins merry month of may from camelot

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20th-century American songwriting team

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

Rodgers and Hammerstein was a theatre-writing team of composer Richard Rodgers (1902–1979) and lyricist-dramatist Oscar Hammerstein II (1895–1960), who together created a serial of innovative and influential American musicals. Their popular Broadway productions in the 1940s and 1950s initiated what is considered the "aureate age" of musical theatre.[1] 5 of their Broadway shows, Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes, every bit was the television set broadcast of Cinderella (1957). Of the other iv shows that the team produced on Broadway during their lifetimes, Flower Drum Song was well-received, and none was an outright flop. Most of their shows take received frequent revivals effectually the globe, both professional and amateur. Among the many accolades their shows (and motion picture versions) garnered were thirty-4 Tony Awards,[ii] fifteen Academy Awards, two Pulitzer Prizes (for Oklahoma!, 1944, and Due south Pacific, 1950) and 2 Grammy Awards.

Their musical theatre writing partnership has been chosen the greatest of the 20th century.[three]

Previous work and partnerships [edit]

The poster for Wing With Me, 1920

At Columbia University, Rodgers and Hammerstein collaborated on the 1920 Varsity Testify, Wing With Me. The songs for the prove were originally written by Rodgers (a freshman) and Lorenz Hart. Hammerstein, who was on the judging committee, added 2 songs in the revising phase.[four] Although Rodgers did non piece of work with Hammerstein once again until Oklahoma!, they achieved success independently from each other. Rodgers continued to collaborate for more than than two decades with Hart. Among their many Broadway hits were the shows A Connecticut Yankee (1927), Babes in Arms (1937), The Boys from Syracuse (1938), Pal Joey (1940), and By Jupiter (1942), likewise as many successful pic projects.[5]

Hammerstein, a co-author of the pop Rudolf Friml 1924 operetta Rose-Marie, and Sigmund Romberg operettas The Desert Song (1926) and The New Moon (1928), began a successful collaboration with composer Jerome Kern on Sunny (1925), which was a hitting. Their 1927 musical Show Gunkhole is considered to be one of the masterpieces of the American musical theatre.[6] Other Hammerstein/Kern collaborations include Sweetness Adeline (1929) and Very Warm for May (1939). Although the last of these was panned by critics, information technology contains ane of Kern and Hammerstein'due south all-time-loved songs, "All the Things You Are".[7]

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

Early work [edit]

Oklahoma! [edit]

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

Oklahoma! was originally chosen Away Nosotros Go! and opened at the Shubert Theatre in New Haven in March 1943. Only a few changes were made before it opened on Broadway, but three would prove meaning: the add-on of a show-stopping number, "Oklahoma!"; the deletion of the musical number "Boys and Girls Like You lot and Me", which would soon after be replaced with a reprise of "People Will Say We're in Love"; and the determination to re-title the musical after the song.

The original Broadway production opened on March 31, 1943, at the St. James Theatre. Although the typical musical of the fourth dimension was usually written around the talents of a specific performer, such as Ethel Merman or Fred Astaire, no stars were used in the production. Ultimately the original cast included Alfred Drake (Curly), Joan Roberts (Laurey), Celeste Holm (Ado Annie), Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Volition Parker) and Joseph Bulloff (Ali Hakim). Marc Platt danced the role of "Dream Curly", and Katharine Sergava danced the function of "Dream Laurey". In Oklahoma!, the story and the songs were considered more of import than sheer star power. Yet, the production ran for a then-unprecedented ii,212 performances, finally closing on May 29, 1948. Many enduring musical standards come from this evidence, amid them "Oh, What a Beautiful Mornin'", "The Surrey with the Fringe on Top", "I Cain't Say No", the aforementioned "People Will Say Nosotros're in Love", and "Oklahoma!". The popularity of these songs prompted Decca Records to have the original cast tape the music from the show with the original orchestrations. This became the showtime musical to accept an original cast recording, which is at present a standard practice.[ix]

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

Subsequently their initial success with Oklahoma!, the pair took a interruption from working together and Hammerstein concentrated on the musical Carmen Jones, a Broadway version of Bizet'due south Carmen with the characters changed to African Americans in the contemporary S, for which he wrote the book and lyrics. The musical was adapted to the screen in 1954, and scored a All-time Actress Oscar nomination for leading lady Dorothy Dandridge. Rodgers and Hammerstein besides received a special Pulitzer Prize in 1944 for Oklahoma!.[12]

Carousel [edit]

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

Carousel was also revolutionary for its fourth dimension – adapted from Ferenc Molnár'south play Liliom, it was i of the starting time musicals to contain a tragic plot well-nigh an antihero;[13] it too contained an extended ballet that was crucial to the plot, and several extended musical scenes containing both sung and spoken cloth, as well equally trip the light fantastic toe. The 1956 moving-picture show version of Carousel, made in CinemaScope 55, once more starred Gordon MacRae and Shirley Jones, the same leads as the film version of Oklahoma!

Carousel is too unique among the Rodgers and Hammerstein musicals for not having an overture; both the stage and film versions began with the familiar Carousel Flit. This music was included in John Mauceri's Philips Records CD of the complete overtures of Rodgers and Hammerstein with the Hollywood Basin Orchestra. It was also included in Rodgers' rare 1954 album for Columbia Records with the composer conducting the New York Philharmonic Orchestra.[14]

State Fair [edit]

In 1945, a Technicolor musical motion-picture show version of Phil Stong's novel State Fair, with songs and script by Rodgers and Hammerstein, was released. The film, a remake of a 1933 non-musical Will Rogers picture show of the aforementioned proper name, starred Jeanne Crain, Dana Andrews, Dick Haymes, and Vivian Blaine. This was the merely time the pair ever wrote a score directly for film. It was a great success, winning Rodgers and Hammerstein their lone Oscar together, for the song "It Might equally Well Be Spring",[15] merely it was also unadventurous cloth for them, compared with several of their Broadway shows. In 1962, an unsuccessful remake of the musical motion-picture show was released.

In 1969, the St. Louis Municipal Opera presented the world stage premiere of Country Fair starring Ozzie and Harriet Nelson.[16] The production was directed by James Hammerstein, supervised by Richard Rodgers and choreographed past Tommy Tune. State Fair finally arrived on Broadway on March 27, 1996, with Donna McKechnie and Andrea McArdle, produced by David Merrick, and received five Tony Award nominations.

South Pacific and important subsequent works [edit]

South Pacific [edit]

Southward Pacific opened on Broadway on April 7, 1949, and ran for over five years. Its songs "Bali Ha'i", "Younger Than Springtime", and "Some Enchanted Evening" have become standards. The play is based upon ii short stories by James A. Michener from his book Tales of the South Pacific, which itself was the winner of the Pulitzer Prize for Fiction in 1948. For their adaptation, Rodgers and Hammerstein, along with co-writer Joshua Logan, won the Pulitzer Prize for Drama in 1950. The song "Yous've Got to Be Carefully Taught" was controversial due to its back up of interracial marriage. Rogers and Hammerstein refused to remove information technology from the show, even if it meant the show declining. When the show was touring in Atlanta, Georgia, information technology offended some Georgian lawmakers, who proposed a bill to outlaw any entertainment they deemed to be inspired past Moscow.[17]

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

The King and I [edit]

Based on Margaret Landon's Anna and the King of Siam—the story of Anna Leonowens, governess to the children of Rex Mongkut of Siam in the early 1860s—Rodgers and Hammerstein's musical The King and I opened on Broadway on March 29, 1951, starring Gertrude Lawrence as Anna and the mostly unknown Yul Brynner every bit the rex. This musical featured the hit songs "I Whistle a Happy Tune", "Hello, Immature Lovers", "Getting to Know You lot", "Nosotros Kiss in a Shadow", "Something Wonderful", "I Have Dreamed", and "Shall Nosotros Trip the light fantastic toe?"

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

Cinderella [edit]

Based on the fairytale character and story of Cinderella, Rodgers and Hammerstein created their only collaborative effort written for television. Cinderella aired on March 31, 1957, on CBS. More than 107 1000000 viewers saw the broadcast, and Julie Andrews was nominated for an Emmy Award for her performance in the title function.[eighteen] [xix] [twenty] Rodgers and Hammerstein originally signed to work with NBC, but CBS approached them, offering the take a chance to piece of work with Julie Andrews, and the ii rapidly agreed. Rodgers stated, "What won us over was the chance to piece of work with Julie." Andrews played Cinderella, with Edith Adams equally the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Joy and Portia, and Jon Cypher as Prince Christopher. Though it was circulate in color, and the major networks all had the new (B&Westward) videotape recorders from Ampex, a black and white kinescope is all that remains. It featured songs still treasured today, "In My Own Little Corner", "Ten Minutes Ago" and "Impossible: It'due south Possible." Afterward the success of the 1957 production, some other version was presented in 1965 and shown annually on CBS, starring Lesley Ann Warren, Celeste Holm and Walter Pidgeon, and yet some other television version in 1997 on ABC, produced by Walt Disney Tv, starring Brandy, Whitney Houston, Bernadette Peters, and Whoopi Goldberg. Stage versions were also presented in London and elsewhere, and the musical finally was given a Broadway product, with a revised book past Douglas Carter Beane, and incorporating iv songs from the Rodgers and Hammerstein catalogue, in 2013.

Flower Drum Song [edit]

Based on a 1957 novel by C. Y. Lee, Blossom Drum Vocal takes place in San Francisco's Chinatown in the late 1950s. The original 1958 production was directed by dancer/singer/role player Factor Kelly. The story deals with a young Chinese woman who illegally comes to America in hopes of marrying a wealthy young Chinese-American human being, who is already in dear with a Chinatown nightclub dancer. The young man'south parents are traditional Chinese and want him to marry the new Chinese immigrant, just he is hesitant until he falls in love with her. Though this musical did not achieve the popularity of the squad'southward 5 most famous musicals, it was still a success and broke new footing by using a mostly Asian cast. The 1961 moving picture adaptation was a lavish, merely much criticized, Ross Hunter product released by Universal Studios.[21] A Broadway revival in 2002 starring Lea Salonga had a rewritten plot by playwright David Henry Hwang only retained the inter-generational and immigrant themes besides as most of the original songs.

The Sound of Music [edit]

The Sound of Music, Rodgers and Hammerstein'southward terminal work together, is based on the story of the Austrian Von Trapp Family. Starring Mary Martin as Maria and Theodore Bikel as Captain von Trapp, information technology opened on Broadway at the Lunt-Fontanne Theatre on November sixteen, 1959, garnering much praise and numerous awards. It has been frequently revived ever since. The evidence was fabricated into a picture show in 1965 starring Julie Andrews equally Maria and Christopher Plummer as the Captain. It won five Oscars, including All-time Moving-picture show and All-time Director, Robert Wise. Hammerstein died in Baronial 1960, before the film was made, and then when Rodgers was asked to create two new songs for the picture ("I Have Confidence" and "Something Good"), he wrote the lyrics every bit well equally the music.[22] The Sound of Music contains more hit songs than whatever other Rodgers and Hammerstein musical, and the picture show version was the most financially successful film adaptation of a Broadway musical ever made. The near enduring of these include the title vocal, "Practise-Re-Mi", "My Favorite Things", "Climb Ev'ry Mount", "So Long, Farewell" and "Sixteen Going on Seventeen". "Edelweiss" was the last song that Rodgers and Hammerstein wrote together.[23]

Legacy [edit]

Rodgers and Hammerstein re-worked the musical theatre genre. Early 20th-century musicals, except for the Princess Theatre musicals and a few important examples similar Hammerstein and Jerome Kern's Show Boat, were usually whimsical or farcical, and typically built around a star. Because the efforts of Rodgers and Hammerstein were so successful, many musicals that followed contained thought-provoking plots with mature themes, and in which all the aspects of the play, dance, song, and drama, were combined in an integrated whole. Stephen Sondheim has cited Rodgers and Hammerstein as having had a crucial influence on his piece of work.[24]

Rodgers and Hammerstein besides utilise the technique of what some phone call the "formula musical". While some hail this approach, others criticize it for its predictability. The term "formula musical" may refer to a musical with a predictable plot, but it also refers to the casting requirements of Rodgers & Hammerstein characters. Typically, any musical from this squad will accept the casting of a potent baritone lead, a prissy and low-cal soprano lead, a supporting lead tenor, and a supporting alto lead. Although there are exceptions to this generalization, it simplifies the audience process and gives audiences an idea of what to await vocally from a Rodgers and Hammerstein musical. Still, this formula had been used in Viennese operetta, such as The Merry Widow.

William A. Everett and Paul R. Laird wrote that Oklahoma!, "like Show Boat, became a milestone, and so that afterward historians writing near important moments in twentieth-century theatre would brainstorm to identify eras according to their relationship to Oklahoma!"[25] In The Complete Volume of Light Opera, Mark Lubbock adds, "After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play class – with such masterworks as Carousel, The Rex and I and South Pacific. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their ain."[3]

In 1950, the team of Rodgers and Hammerstein received The Hundred Year Association of New York'due south Gilded Medal Award "in recognition of outstanding contributions to the City of New York."[ citation needed ] They were as well honored in 1999 with a United States Postal Service postage commemorating their partnership.[ citation needed ] The Richard Rodgers Theatre in New York City is named after Rodgers. Forbes named Rodgers and Hammerstein second on its list of top-earning dead celebrities in 2009 at $235 one thousand thousand.[26] In 2010, the original pic arrangements of the team's music were restored and performed at the Proms concerts in London's Royal Albert Hall by the John Wilson Orchestra.[27]

On television receiver and flick [edit]

Rodgers and Hammerstein appeared on alive telecasts several times. They were guests on the very offset broadcast of Toast of the Town, the original name of The Ed Sullivan Show, when it debuted on CBS in June 1948.[ commendation needed ] In 1954, they appeared on a memorable Television receiver musical special, Full general Foods 25th Anniversary Prove: A Salute to Rodgers and Hammerstein.[ citation needed ] They were the mystery guests on episode number 298 of What'due south My Line, which commencement aired on February nineteen, 1956; blindfolded panelist Arlene Francis was able to correctly identify them.[28]

The pair made a rare feature pic appearance in MGM'southward 1953 production Primary Street to Broadway, in which Rodgers played the piano and Hammerstein sang a song they had written.[29] They also appeared in the trailer for the film version of S Pacific in 1958.[ citation needed ]

[edit]

While Rodgers and Hammerstein'southward work contains cheerful and ofttimes uplifting songs, they departed from the comic and sentimental tone of early 20th century musicals by seriously addressing issues such equally racism, sexism and classism in many of their works.[30] [31] For example, Carousel concerns domestic violence,[32] while South Pacific addresses racism.[33] Based on the true story of the von Trapp family, The Sound of Music explores the views of Austrians on the takeover of Republic of austria by Nazi Deutschland.[34]

Work [edit]

See also [edit]

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

References [edit]

  1. ^ Gordon, John Steele. Oklahoma'!' Archived August 4, 2010, at the Wayback Car. Retrieved June xiii, 2010
  2. ^ Rodgers and Hammerstein began writing together earlier the era of the Tonys. Oklahoma! opened in 1943 and Carousel in 1945, but the first Tonys were not awarded until 1947.
  3. ^ a b Lubbock, Marker. "American Musical Theatre: An Introduction", theatrehistory.com, republished from The Complete Book of Light Opera. New York: Appleton-Century-Crofts, 1962, pp. 753–56, accessed December 3, 2008
  4. ^ "Sing a Song of Morningside". The Varsity Show . Retrieved August 28, 2021.
  5. ^ Rodgers and Hart Biography Guide to Musical Theatre, accessed April five, 2009
  6. ^ "Show Gunkhole", theatrehistory.com, excerpted from The Complete Book of Light Opera. Lubbock, Mark. New York: Appleton-Century-Crofts, 1962. pp. 807–08.
  7. ^ Wilson, Jeremy. "All the Things You Are (1939)". jazzstandards.com, accessed March 15, 2010
  8. ^ Layne, Joslyn. Lorenz Hart Biography at Allmusic, accessed September 23, 2009
  9. ^ Gross, Terry (April 9, 2018). "How Rodgers and Hammerstein Revolutionized Broadway". NPR.org . Retrieved February eleven, 2022.
  10. ^ Oklahoma! (MCA/Capitol) at AllMusic
  11. ^ The film was shot in two versions, the Todd-AO one, distributed by Mike Todd'due south Magna productions, and a Cinemascope version for theatres that were not, at that time, able to handle Todd-AO. The Cinemascope version was released by RKO a yr after the Todd-AO version and is the one that near audiences have seen.[ citation needed ]
  12. ^ "Richard Rodgers and Oscar Hammerstein Ii for Oklahoma!", Pulitzer.org, 1944, accessed Nov 16, 2019
  13. ^ Hyland, p. 158
  14. ^ "Richard Rodgers Conducts Richard Rodgers, Columbia Odyssey, ASIN B000WZKCLA amazon.com, accessed December twenty, 2012
  15. ^ "Oscar Hammerstein II", Search Results – Academy Awards Database, accessed Apr 29, 2019
  16. ^ "Dorothy Manners" Toledo Blade, June 5, 1969
  17. ^ Most, Andrea (2000). ""You've Got to Exist Carefully Taught": The Politics of Race in Rodgers and Hammerstein's "South Pacific"". Theatre Journal. 52 (3): 307–337. doi:ten.1353/tj.2000.0091. ISSN 0192-2882. JSTOR 25068808. S2CID 153722364.
  18. ^ Gans, Andrew. "Lost Cinderella Footage On View at NYC's Museum of TV & Radio" Archived February 1, 2014, at the Wayback Automobile, Playbill.com, June 20, 2002, accessed December 22, 2012
  19. ^ Julie Andrews: Awards & Nominees, Emmys.com, accessed December 22, 2012
  20. ^ The Nielsen Idiot box rating for the program was 18,864,000 "homes reached during an average infinitesimal" of the circulate. "Ratings", Dissemination-Telecasting, May half dozen, 1957, p. 51
  21. ^ Lewis, David (2006). Flower Drum Songs: The Story of Two Musicals (illustrated ed.). Jefferson, Northward.C.: McFarland and Co. pp. 208–209. ISBN978-0-7864-2246-3.
  22. ^ Hischak, p. 170
  23. ^ "Oscar Hammerstein Two", rnh.com, Rodgers & Hammerstein Organization, accessed October 28, 2014
  24. ^ Hammerstein biography on PBS, pbs.org, accessed November 29, 2008
  25. ^ Everett, p. 124
  26. ^ Miller, Matthew. "Top-Earning Dead Celebrities", Forbes.com, October 27, 2009
  27. ^ :Proms 2010: Prom 49: A commemoration of Rodgers and Hammerstein, review", The Telegraph, October 27, 2016
  28. ^ "Episode #298", What'southward My Line, season 7, episode 25, TV.com, February xix, 1956, accessed August 23, 2017
  29. ^ Main Street to Broadway overview
  30. ^ Hischak, p. 54
  31. ^ Rousuck, J. Wynn. "Rodgers and Hammerstein remembered for their art and their emotional impact: The Sound of Their Music", Baltimore Sun, December eighteen, 1994, accessed August 15, 2015
  32. ^ Billington, Michael. [url=https://world wide web.theguardian.com/stage/2012/aug/21/carousel-musical-review "Carousel – review"], The Guardian, August 21, 2012, accessed Baronial v, 2015
  33. ^ Rockwell, John. "Music: A new South Pacific by the City Opera", The New York Times, March 2, 1987, accessed June 5, 2013
  34. ^ Gearin, Joan. "Movie vs. Reality: The Existent Story of the von Trapp Family", Prologue mag, National Archives and Records Assistants, Winter 2005, Vol. 37, Issue No. 4, accessed April 2, 2008

Sources [edit]

  • Everett, William A.; Laird, Paul (2002). The Cambridge Companion to the Musical . Cambridge University Printing. ISBN0-521-79639-3.
  • Hischak, Thomas (2007). The Rodgers and Hammerstein Encyclopedia. Greenwood Publishing Grouping. ISBN978-0-313-34140-three.
  • Hyland, William M. (1998). Richard Rodgers . New Oasis, Conn.: Yale University Press. ISBN978-0-300-07115-3.

Further reading [edit]

  • Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers and Hammerstein. Applause Books. ISBN1-55783-473-iii.
  • Purdum, Todd (2018). Something Wonderful: Rodgers and Hammerstein's Broadway Revolution. New York: Henry Holt and Company. ISBN9781627798341. OCLC 985072859.

External links [edit]

  • Rodgers and Hammerstein
  • Rodgers and Hammerstein Discography at Discogs
  • Rodgers and Hammerstein Fourth dimension mag's "100 most influential artists"
  • Rodgers and Hammerstein Columbia University Encyclopedia
  • Theodore S. Chapin, of the Rodgers and Hammerstein Organization, discusses their copyright license philosophy at Jacob's Pillow PillowTalk, August 29, 2009

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Source: https://en.wikipedia.org/wiki/Rodgers_and_Hammerstein

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