Lis 627 Bibliography- r&h

7/31/2019 Lis 627 Bibliography- r&h

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RICHARD

RODGERS

Mastering the musical

Kyle Butler

LIS 627


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SCOPE

This paper and bibliography spotlights the life and works of American composer

Richard Rodgers. Throughout a career that spanned over five decades, Rodgers wrote

the music for many of Broadways most popular shows, producing some of the most

memorable melodies ever performed on the Great White Way. His professional

partnerships with lyricists Lorenz Hart and Oscar Hammerstein II resulted in a stream

of successful productions. Many of Rodgers songs became even more popular once the

musicals he developed with Hammerstein were adapted for Hollywoods motion

picture industry.

While a large number of people who hear the names of Rodgers and

Hammerstein instantly think of hit musicals like Oklahoma!, The King and I,

South Pacific, and The Sound of Music, many may not be aware of Rodgers

contributions outside of his famed

partnership with Hammerstein.

Rodgers had already been a

thriving songwriter for nearly

twenty years prior to teaming with

Hammerstein, and some critics

would argue that his finest work came Rodgers shows off his conductors skills ata rehearsal for South Pacific.


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during his partnership with Hart in the 1920s and 1930s. In addition, the list of his

accomplishments is nothing short of extraordinary. Rodgers is one of only thirteen

members of the EGOT club, individuals who have won Emmy, Grammy, Oscar, and

Tony awards.

This paper is divided into four main sections. The first section focuses on young

Richards early years growing up in New York, and the inspirations and experiences

which led him to a career in musical theatre. The second section introduces Rodgers

rise to success as a result of his partnership with Lorenz Hart, which lasted throughout

the 1920s and 1930s. In section three, Rodgers, along with new partner Oscar

Hammerstein, revolutionizes the musical and helps usher in Broadways golden age in

the 1940s. Finally, the last section touches on Rodgers later years, which regrettably

were marred by ill health and disappointing collaborations.

RODGERS: BORN TO COMPOSE

I dont know exactly how old I was when I first tried to play the piano, but I

gather that I had to be lifted onto the piano stool. Richard Rodgers

Richard Rodgers was born on June 28, 1902 on the East Side of Manhattan in

New York City, and was raised in a house with his parents, grandparents, great uncle,

and older brother Mortimer. The Rodgers family, like many households on the East

Side, was Jewish. Over time, the family shifted from Orthodox to Reform Judaism,


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though as Rodgers admitted years later, he was Jewish for socioethnic reasons rather

than any deep religious conviction.

Soon after their marriage, Richards mother and father were forced to live with

her parents out of financial necessity. His father did not see eye-to-eye with his in-laws,

and the fact that the three of them all exhibited strong, opinionated personalities led to

frequent clashes within the household. Richard recalled years later that the atmosphere

around the dinner table was sheer hell, and he was often witness to one prolonged

fight after another. Looking for an escape from the disagreeable atmosphere, young

Richard gravitated to the one place in the house where he could find some measure of

peace, the living room. Most evenings, his mother would play the piano and sing the

latest Broadway scores. Both Richards parents

were musically talented, a genetic trait that wasnt

lost on their son. Rodgers had a natural ear for

music. By the age of nine, Richard found that he

could devise his own bits of melody, an ability all

the more remarkable considering the fact that he

could not read music! As Rodgers explained,

Why waste time reading notes when I could play

just about anything I heard simply by listening? Portrait of the Rodgers family taken in1908. Richard is seated on the right.


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Though Richards parents were not always good at showing affection for their

son, they were always quite aware of his musical abilities, and provided unwavering

support during his early years. In addition, Rodgers grandparents were fond of opera

and the musical theatre, and frequently took him along to see shows at the Metropolitan

Opera House. Young Richard was transfixed by shows on the stage and, while he

enjoyed taking part in outdoor games with the neighborhood kids, he preferred

spending his spare time at the piano concocting his own melodies.

By the time he was fifteen, Richard Rodgers had already decided that the musical

theatre would be his profession. This was in large part due to his introduction to the

music written by composer Jerome Kern. Kern, who would later produce enormously

popular songs such as Ol Man River and Smoke Gets in Your Eyes, was

collaborating with writer P.G. Wodehouse for a series of musicals that ran at

Broadways Princess Theatre. Rodgers attended many of Kerns shows during the

World War I era, and was immediately inspired by the uniqueness of Kerns work.

Kerns musicals were simple, yet had a sophistication about them that separated them

from other productions from the era. His shows didnt resort to slapstick and one-liners,

but rather featured coherent plots and effectively incorporated the musical score with

the action on stage. Though still a teenager, Rodgers was aware that he was witness to a

changing of the guard in musical theatre, and he wanted desperately to be a part of it.


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His subsequent decision to enroll at Columbia University would allow him to do just

that.

RODGERS AND HART: TURNING MANHATTAN INTO AN ISLE OF JOY

Larry and I never had any kind of agreement, either written or verbal. We

simply knew that as long as we both could do the work we did, we would always

remain partners. Richard Rodgers

When Richard Rodgers enrolled at Columbia University in 1919, he quickly

found himself mixed in with a group of talented young men, including musicians,

directors, and actors. His brother Mortimer was in the same fraternity as an aspiring

actor and lyricist named Oscar Hammerstein II. However, the main acquaintance

Rodgers made during that time was a previous Columbia student, a lyricist named

Lorenz Hart. Hart possessed strong writing skills along

with a great sense of humor, and, most importantly,

shared Rodgers love for music and the theatre. Rodgers

and Hart immediately hit it off, and despite Mortimers

warnings about Harts unreliability and poor work ethic,

the two men teamed up with grand ideas of bringing new

artistic value and imagination to the musical theatre. Richard Rodgers and Lorenz Hart


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Unfortunately for Rodgers and Hart, big ideas did not translate into big

successes throughout the early 1920s. Though a few of the duos songs did appear in a

Broadway show entitled Poor Little Ritz Girl in 1920, Rodgers and Hart spent the

next several years relegated to writing songs for amateur productions. During this time,

though Rodgers continued to collaborate with Hart, he left Columbia and enrolled in

the Institute of Musical Art. Again, while he was able to work with a number of talented

writers and musicians, the bright lights of Broadway remained dimmed to Rodgers and

Hart. By 1925, a discouraged Rodgers even considered taking a job in the infant clothing

industry and dismissing songwriting altogether.

Looking back, the idea of Rodgers spending his life selling clothes is almost

impossible to imagine. Had it not been for an unexpected offer to assist with a benefit

show for the Theatre Guild, it very likely could have happened. The production was

called The Garrick Gaieties. Among the numbers composed by Rodgers and Hart was

a melody which described the everyday sights and sounds of New York City, a theme

that naturally resonated with Broadway audiences. The song, entitled Manhattan, was

an instant hit, and continued to gain in popularity throughout the shows run. With the

success of Manhattan, suddenly Rodgers and Hart were on their way.

Rodgers and Hart were products of the Roaring Twenties, and their music and

lyrics, witty and lively, showed it. At the same time, their partnership was a rather


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strange combination of differing personalities. Rodgers was businesslike, focused, and

enjoyed work. Hart was at times undisciplined, unreliable, and more interested in being

the life of the party. Despite their differences, Rodgers talent for creating bright

melodies supported Harts sense of humor and rhyming ability. The partnership

worked.

While the 1930s brought hardship for most people due to the Great Depression,

Rodgers actually flourished during the decade. In 1930, he married his wife Dorothy

and had two daughters, Mary and Linda. Additionally, Rodgers and Hart, whose early

efforts had alternated between hits and misses, became one of the most successful

writing teams in musical theatre, rivaling the likes of Jerome Kern, George Gershwin,

and Irving Berlin. Rodgers and Hart issued a steady stream of songs that became

standards. Songs including Blue Moon (1935), as well

as The Lady is a Tramp and My Funny Valentine

from the 1937 production of Babes in Arms were

enormously popular with the general public.

One notable show during this period was the

1939 production of Pal Joey. The musical broke the

mold by featuring a gritty and unpleasant storyline.

The main character was an unsavory, disreputable Pal Joey (1939)


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nightclub emcee willing to do anything to get ahead. The songs featured questionable

lyrics and were accompanied by burlesque style dancers. Though the initial response

from critics was negative and audiences were indifferent, the show was eventually

recognized as innovative and daring. Pal Joey proved that after twenty years of

working together, Rodgers and Hart remained determined to expand the boundaries of

the musical theatre.

Unfortunately, the incredible triumphs Rodgers and Hart shared were nearing a

conclusion. Mortimer Rodgers warnings about Harts unreliability and poor work ethic

were finally coming to fruition. Hart, who for years suffered with depression and

alcoholism, was drinking heavily and prone to disappearances for days at a time.

Increasingly frustrated with Harts erratic behavior, Rodgers began considering a future

career without his longtime writing partner, and the breaking point was soon to come.

By 1942, a 40-year old Rodgers was determined to develop a musical version of a play

entitled Green Grow the Lilacs. Hart argued that the play would never effectively

translate to a musical format. This disagreement, along with Harts deteriorating

condition, led to a disappointing but necessary decision for Rodgers. After two decades,

the partnership of Rodgers and Hart was over. Sad, but determined to press forward

with a new lyricist, Rodgers wasted no time in contacting another old associate from his

days at Columbia. Their subsequent partnership would revolutionize the Broadway

musical as never before.


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IV: RODGERS & HAMMERSTEIN: OH WHAT A BEAUTIFUL MORNING

I think you ought to keep working with Larry just so long as he is able to keep

working with you. But if the time ever comes when he cannot function, call me. Ill be

there. Oscar Hammerstein II

By World War II, Oscar Hammersteins career was at a crossroads. The lyricists

career had taken off in 1927 when he collaborated with Jerome Kern to create Show

Boat, a sensational success. Hammerstein had continued to work with Kern, as well as

other well-known composers of the era.

However, lean years in the late 1930s led

many to wonder if Hammersteins best days

were behind him. That didnt deter Richard

Rodgers, who had been well aware of

Hammersteins talents since their meeting at

Columbia University nearly 25 years earlier.

Working with Hammerstein was a breath of fresh air for Rodgers. Unlike Hart,

Hammerstein didnt disappear for long stretches, and turned his work in on time. Also,

Hammerstein felt that Green Grow the Lilacs would make a fine musical. In fact,

Hammerstein had unsuccessfully pitched the idea to Kern one year prior to teaming up

with Rodgers. The new partnership between Rodgers and Hammerstein did mean a

Rodgers and Hammerstein


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switch in the way each song was conceived. While Rodgers had often written the music

prior to Harts addition of the lyrics, Hammerstein proposed writing the lyrics first.

Rodgers was able to adapt to this arrangement rather easily. Hammerstein spent three

weeks working on the shows introductory song, entitled Oh What a Beautiful

Morning. Upon its completion, he brought the lyrics to Rodgers, who glanced at the

sheet, sat down at the piano, and wrote the melody in ten minutes. As songwriter Jule

Styne commented: No one ever wrote a piece of music to already written words better

than Rodgers.

Hammerstein called his new adaptation Oklahoma! and the show opened in

March of 1943. Without question, Oklahoma revolutionized American musical

theatre. The production integrated all the facets of the theatre at that time, interweaving

music, lyrics, dancing, and staging. Even Lorenz Hart attended opening night and

congratulated Rodgers backstage. Tragically, Harts condition rapidly worsened. He

died seven months later, though not before

seeing yet another massive shift in the style of

Broadway musicals.

Oklahoma! maintained its run on

Broadway for over five years, setting a record

for that time. Songs like Oh What a Beautiful

Oklahoma cast album, a first for a

Broadway musical


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Morning, People Will Say Were In Love, and the title song became colossal hits.

Oklahoma! also was the first musical to feature an original-cast album, produced by

Decca Records, which became standard practice for all Broadway musicals. Even now,

on any given day, there are at least two productions of Oklahoma! taking place in the

United States. Nearly 70 years after its debut, Oklahoma! continues to have an impact

on stages everywhere.

Oklahoma may have been the first, but certainly wasnt the last Rodgers and

Hammerstein collaboration to light up Broadway stages. Over the next decade, the duo

would be responsible for several successful productions. Carousel, the story of an

unfortunate romance between an unsavory carnival barker and a working-class girl,

was accepted quite well by audiences, to the point that Rodgers and Hammerstein were

pocketing twenty thousand dollars per year from royalties ten years after the shows

opening. The musicals closing song, Youll Never Walk Alone, may be the most

popular song ever composed by Rodgers. It has been recorded by a diverse group of

artists, including Frank Sinatra, Elvis Presley, Judy Garland and Bob Dylan.

Additionally, thousands of Liverpool soccer fans belt out the song at every home game,

and comedian Jerry Lewis always closed his Muscular Dystrophy Association telethon

with an emotional rendition of the song.


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Rodgers and Hammerstein also struck a chord with audiences with two other

musicals: South Pacific and The King and I. South Pacific, based off a collection

of short stories by James Michener, was possibly the most controversial musical at that

point in history. It featured an interracial romance between an American officer and a

Polynesian native girl. The song Youve Got To Be Carefully Taught, is a particularly

powerful number. The lyrics suggest that racial prejudice isnt inborn, but passed down

from others. Youve got to be taught to be afraid, of people whose eyes are oddly made, and

people whose skin is a different shade, youve got to be carefully taught. Some demanded that

the song be removed from the production, but Rodgers and Hammerstein refused,

pointing out that racial relations were a central theme of the plot. The King and I also

dwelled on a clash between cultures, in this case, the volatile relationship between a

proper British governess and the savage King of Siam. The King and I was praised by

audiences and critics alike,

capturing five Tony Awards and

featuring an unforgettable

performance by actor Yul Brynner

as the King. It should be pointed

out that in the mid-1950s, when

Hollywood began filming many of

Actor Yul Brynner portrays the King of Siam in The

King and I. Brynner won the Academy Award for

Best Actor.


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Rodgers and Hammersteins musicals for the big screen, The King and I was the only

adaptation of his work that Richard Rodgers enjoyed.

Certainly, Rodgers and Hammerstein did not always succeed with their

endeavors. There were notable missteps along the way. State Fair was only mildly

acclaimed. Others, namely Allegro and Me and Juliet were not well received by

audiences or critics. But, by and large, Rodgers and Hammerstein achieved a degree of

success that was unparalleled in the history of musical theatre. Regrettably, their

remarkable musical run was nearing its coda.

In 1959, Hammerstein was diagnosed with stomach cancer, and though an

operation was deemed successful, it was not. Yet he and Rodgers pressed on with a

story about a singing nun who marries a widower with seven children before their

happy life is threatened by World War II and the Nazis. Many critics panned the

production for being overly sentimental. The general public disagreed, and The Sound

of Music became arguably the most popular musical of all time. The 1965 feature film

shattered box office records for

musicals, and when adjusted

for inflation, ranks 3rd on the all-

time list of highest grossing

films, trailing only Star Wars Cast of the 1965 film The Sound of Music.


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and Gone With The Wind. Songs like Do-Re-Mi, My Favorite Things, and

Edelweiss are among the most recognizable songs in Broadway musical history. The

latter song, a short and simple patriotic melody, turned out to be the last song Rodgers

and Hammerstein ever wrote together. Nine months after The Sound of Music

debuted on Broadway, Hammerstein died. It was the end of a remarkable and

unprecedented run.

V: REVIVALS AND REGRETS

For all his days, Oscar sang with a clear voice about everything that was good

and decent and enjoyable. Its still a clear voice, but now we must do his singing for

him.Richard Rodgers

The death of Oscar Hammerstein put Richard Rodgers in an unfamiliar position.

For the first time since his college days, Rodgers was partner-less. Determined to press

on, he decided to replace Hammerstein withRichard Rodgers. Hopeful that he could,

if not duplicate, at least approach the lyrical genius of Hart and Hammerstein, Rodgers

decided to write the lyrics along with the music for a production entitled No Strings.

According to Rodgers, there was at least one major benefit to writing his own lyrics: I

was always there when I wanted me. In addition to taking total control of the musical

score, Rodgers incorporated many innovations for No Strings, including placing

members of the orchestra on the stage itself and having the dancers move scenery in full


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view of the audience. Though it wasnt enormously popular, No Strings did run for

over a year, and gave Rodgers a feeling of satisfaction that he could write both music

and lyrics if necessary.

Still, Rodgers missed working as a team, and in the years that followed,

attempted several collaborations with lyricists, which unfortunately did not produce

grand results. There was a much-publicized partnership with Alan Jay Lerner, who had

written the lyrics to My Fair Lady and Camelot with composer Frederick Loewe.

The idea of a Rodgers-Lerner production had Broadway critics abuzz about a potential

dream team. Regrettably, Rodgers discovered working with Lerner was much like

working with Hart in his later days. He found Lerner to be unreliable with a personality

completely incompatible with his own, and their partnership ended in less than two

years. Rodgers later teamed up with a promising new face in the musical theatre world:

Stephen Sondheim. Sondheim was a protg of Hammerstein. In fact, shortly before his

death, Hammerstein had suggested

to Sondheim that he team up with

Rodgers. Their lone effort, Do I

Hear a Waltz? started off on a

promising note. Unfortunately, it

was difficult for Rodgers and

Stephen Sondheim and Rodgers at rehearsal.


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Sondheim to see eye to eye on any facets of production, and Sondheim had always felt

more at ease writing both the music and the lyrics. Rodgers became resigned to the fact

that he would be unable to find the type of working relationship he had enjoyed with

Hart and later Hammerstein. As a result, he chose to mostly limit his work to revivals of

old productions and supervising the Rodgers and Hammerstein Organization, which

consisted of a library of scripts and orchestrations that were available to be rented by

anyone wishing to perform one of their musicals.

VI: SO LONG, FAREWELL, AUF WIEDERSEHEN, GOODNIGHT

I am often asked where I think the musical theatre is heading. Its one question

I always try to dodge because I dont think its heading anywhere until its already

been there. Richard Rodgers

During the 1970s, years of ill health began to take their toll on Rodgers. He had

survived two bouts of cancer, a stroke, and a heart attack. While these ailments slowed

Rodgers down considerably, they never stopped him completely. He continued to work

on revivals of his old musicals, and even launched a new musical adaptation of the play

I Remember Mama in 1979. That December, a new revival of Oklahoma! opened,

thrilling audiences once again. Fittingly, 36 years after its original debut on Broadway,

this version was directed by William Hammerstein, Oscars son.


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On December 30, 1979, Richard Rodgers died at his home at the age of 77. His

work captivated musical theatre audiences for over 50 years, and still does every time

someone witnesses one of his wonderful productions on stage or on the screen. Truly,

in words one could imagine the King of Siam uttering, Richard Rodgers impact will be

felt for years and years, et cetera, et cetera, et cetera!!


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Asch, Amy. The Complete Lyrics of Oscar Hammerstein II. New York: Alfred A. Knopf,

2008.

While this source certainly focuses on Oscar Hammerstein rather than Richard

Rodgers, it is nonetheless a remarkable compilation for anyone interested in

supplemental reading. As the title indicates, every single lyric penned by Hammerstein

is listed here, a collection spanning over 40 years and featuring literally hundreds of

songs. Even readers who are much more interested in Rodgers will find this to be a

useful resource, as the collection contains songs from Rodgers and Hammerstein shows

that failed to make the final cut on stage and screen.

Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheimand Lloyd Webber. New York: Oxford University Press, 2009.

Taking its title from one of Rodgers and Hammersteins hit songs from South

Pacific, this book provides a behind-the-scenes look at some of Broadways most

popular musicals. Block covers over eighty years of shows from not only Rodgers and

Hammerstein, but George Gershwin, Jerome Kern, Cole Porter, Alan Jay Lerner and

Frederick Loewe, Leonard Bernstein, and Andrew Lloyd Webber. With so much to

cover, Rodgers doesnt get an enormous amount of attention, but the books main value

is an outstanding bibliography with well over 200 sources that help lead musical lovers

anywhere they wish to continue their research.

Broadway, the American musical. VHS. Directed by Michael Kantor. 2004; Hollywood,

CA: Paramount Home Entertainment, 2004.

A three-part miniseries that aired on PBS back in 2004, this video chronicles the

history of the Broadway musical and its impact on American culture over the years.

Narrated by Julie Andrews, Broadway features rare photos and videos of old

musicals, as well as clips from the many successful Hollywood adaptations of musicalssuch as On the Town, Kiss Me Kate, and Guys and Dolls. The miniseries features

a large number of clips and interviews focusing on Richard Rodgers partnerships with

both Lorenz Hart and Oscar Hammerstein II, including some recollections on Rodgers

from writers and actors not found in any of the other sources. Full segments are

devoted to Oklahoma, Carousel, South Pacific, and The Sound of Music,


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showing the clear impact that each musical had on audiences and the theatre as a

whole.

Green, Stanley. Encyclopaedia of the Musical Film. New York: Oxford University Press,

1981.

For anyone interested in musical films beyond the realm of Richard Rodgers, this

source is an effective one. While the organization of the encyclopedia is rather awkward

(entries are alphabetical but not arranged by category) the information that is present is

plentiful. In addition to the many actors, directors, composers, and singers listed, the

names of the films themselves are present, along with a synopsis, cast members, and

crew information.

Hirschhorn, Clive. The Hollywood Musical. New York: Crown Publishers, Inc., 1981.

This all-encompassing reference book provides a complete history of the

Hollywood musical from 1927-1980, or perhaps more appropriately, from The Jazz

Singer to All that Jazz. Even thirty years after its publication, this remains a valuable

source, as it covers the beginnings of the musical film, through the golden age of the

1950s and 60s, and finally concludes with more modern musicals such as Grease and

Hair. Remarkably, every film listed includes a photograph from the production next

to the individual synopsis. Found amidst the hundreds of film adaptations are many

films that included either scores or songs by Rodgers. This resource certainly doesntfeature an in-depth examination of Rodgers, but remains useful as supplemental

reading for anyone interested in film musicals.

Hyland, William B. Richard Rodgers. New Haven and London: Yale University Press,

1998.

This in-depth biography of Richard Rodgers provides many revelations about

the famed composer. Rodgers comes across as a rather complicated figure, likable in his

early years, rather difficult to deal with as a middle aged man, then prone to periods ofdepression and illness in his later years. Through it all, Hylands work describes the

musical genius of Rodgers, and his amazing ability to compose timeless songs in a

matter of minutes. Every one of Rodgers Broadway shows is covered in this book, from

his successful smash hits to his lesser-known failures. Additionally, this biography


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provides a starting point for anyone interested in learning more about Rodgers, and

includes a bibliography that leads to many other informative sources.

Lax, Roger. The Great Song Thesaurus. New York: Oxford University Press, 1984.

Laxs work is a resource that is only being included for supplemental reading

purposes, but one which frankly stands out as the most fascinating work on this list.

The reference compiles over 10,000 songs, stretching as far back as the 16th century up

through the late 1970s. Songs are classified in several sections, including by year, title,

artist/composer, musical, and by subject and keyword. Essentially every popular song

from the English-speaking world is catalogued in this book, including a large number of

politically incorrect (and potentially highly offensive) works around the turn of the 20 th

century. At some point, I plan on looking up some of the listed songs with fascinating

titles such as Would You Rather Be a Colonel with an Eagle on Your Shoulder, Or aPrivate with a Chicken on Your Knee?or All the Quakers are Shoulder Shakers down

in Quaker Town. But thats another project for another time.

Mason, Keith. Richard Rodgers: The Man and his Music. Music Educators Journal 88.6

(2002) 17-25.

http:// libproxy.uncg.edu/ehost/results?sid=98553a06-664c-4562-9387-

6319d4c8b12d%40sessionmgr110&vid=2&hid=124&bquery=%28JN+%26quot%3bMusic+

Educators+Journal%26quot%3b+AND+DT+20020501%29&bdata=JmRiPWFwaCZ0eXBl

PTEmc2l0ZT1laG9zdC1saXZl (accessed November 9, 2011)

This article, written in recognition of the centennial anniversary of Rodgers

birth, covers the composers life and the reasons for his successful collaborations with

Lorenz Hart and Oscar Hammerstein II. The article argues that modern day musical

instructors should expose all their students to Rodgers work, in order to expand

students knowledge and understanding of twentieth century musical theatre. Not as

detailed as some of the other sources on this list, but still a nice retrospective of this

talented mans career.

Mordden, Ethan. Beautiful Mornin: The Broadway Musical in the 1940s. New York:

Oxford University Press, 1999.

Taking its title from the opening song to Oklahoma!, Mordden discusses the

beginning of the golden age of musicals that took place in the 1940s. While he does not


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center this entire book on the works of Rodgers and Hammerstein (this is accomplished

in Morddens work Rodgers and Hammerstein) they nevertheless play a large role in

his efforts to describe the era. In addition, composers such as Irving Berlin and the team

of Lerner & Loewe are profiled here. Mordden attempts to explain the importance of

the musical to that particular WWII and post-war era, and why works like Oklahoma

and Carousel were so popular with audiences. Without question, an interesting look

at an era that has never been seen on Broadway since.

Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.

As the title would suggest, this book focuses on the remarkable partnership

between Rodgers and Hammerstein. Each of their Broadway shows gets its own chapter

here, starting with Oklahoma! and concluding with The Sound of Music. While

Mordden does briefly touch on the Hollywood versions of The King and I, SouthPacific, and many more, the main focus in this book centers around the Broadway

performances. Though the bibliography is rather weakly put together, this book is still a

solid resource. There are a countless number of pictures from the Broadway and

Hollywood casts, and several behind-the-scenes stories about Rodgers and

Hammerstein that dont appear in most of the other sources on this topic.

Most, Andrea. Youve Got to be Carefully Taught: The Politics of Race in Rodgers and

Hammersteins South Pacific Theatre Journal, 52.3, (2000) p. 307-337

http://muse.jhu.edu.libproxy.uncg.edu/journals/theatre_journal/v052/52.3most.html

(accessed November 6, 2011)

Mosts article focuses on the controversial elements present in Rodgers and

Hammersteins musical South Pacific. The issue of interracial relationships is a main

plotline of the musical. A young lieutenant falls in love with a native Polynesian girl,

but realizes that he cannot take her back to America, and the song Youve Got To Be

Carefully Taught describes the impact of racial prejudice. This prompted calls from

critics to drop the theme altogether, but to his credit, Hammerstein refused. Its aninteresting piece, arguing that while Rodgers and Hammerstein were strongly against

prejudice, some stereotypical elements of Asians were included in the musical,

especially involving the character of Bloody Mary. The source was helpful in

detailing the overall reaction to the song and the reasoning for its inclusion in the first

place.
http://muse.jhu.edu.libproxy.uncg.edu/journals/theatre_journal/v052/52.3most.htmlhttp://muse.jhu.edu.libproxy.uncg.edu/journals/theatre_journal/v052/52.3most.htmlhttp://muse.jhu.edu.libproxy.uncg.edu/journals/theatre_journal/v052/52.3most.html


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Rodgers, Richard.Musical Stages: An Autobiography. New York: Random House, 1975.

Naturally, this is an important source about Richard Rodgers, as it was written

by Rodgers himself! This autobiography, published four years prior to his death, covers

five decades of Rodgers involvement in musical theatre. Certainly, autobiographies arenot exactly objective works. However, they can be invaluable sources for filling in

particular details and as a means of discovering someones own personal observations.

Rodgers book is rich in detail, providing sharp memories of his life, and in particular,

his recollections of every Broadway musical he had a hand in writing, composing, or

producing. While the autobiography does not reveal much about Rodgers personal life,

especially in regard to his relationships with contemporaries or his family, it does

establish an overall sense of the person Richard Rodgers was: a man totally devoted to

and consumed by his work.

Suskin, Steven. Berlin, Kern, Rodgers, Hart, and Hammerstein: A Complete Song Catalogue.

Jefferson, NC: McFarland & Company Publishers, 1990.

The five men listed in the title were responsible for countless hit tunes, and this

book not only catalogues the hits, but every single song that these composers and

lyricists were responsible for. Not surprisingly, this amounts to several thousand songs,

and theyre all here. This is not a source for people seeking the lesser known stories

about these men, or anything resembling in-depth analysis. However, anyone actually

curious about how many songs Richard Rodgers worked on with Lorenz Hart and

Oscar Hammerstein II will find their answer in this source. (On a side note, it was

interesting to see a non-Chicago Cubs related source from McFarland & Company Publishers!)

Wilk, Max. Overture and Finale: Rodgers & Hammerstein and the Creation of Their Two

Greatest Hits. New York: Back Stage Books, 1999.

Rodgers and Hammerstein collaborated to create many popular musicals, but

according to many scholars, their two greatest achievements were the first and last

shows of their partnership. This book focuses on these two hits: Oklahoma and The

Sound of Music. Wilk provides interviews with many cast and crew members from

these two productions and really delivers a fascinating glance into the thought

processes of the various individuals involved with both shows. There were a great

number of anecdotes and details that I did not run across in any of my other sources,

making this an enjoyable and informative read.

Documents

Lis 627 Bibliography- r&h