Sound Of Music, Oklahoma !, The King And I, Carousel And South Pacific

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

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 Indian Territory 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

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

This famous Broadway musical was made into a film in 1972. The title of the film is 1776.

They first collaboration was “Oklahoma!” in 1943. Both Rodger and Oscar was attracted to making musicals based on Lynn Riggs’ play Green Grow the Lilacs. When both of them got rejected to be working of the Green Grow Project … Thats when they did the Oklahoma! project.

The film version of Oklahoma utilizes the song and movements similarly to the stage performance. Much of the Oh What a Beautiful mornin' number was done by Curly riding his horse on his way to Aunt Eller's farm. However he continues to sing upon his arrival. Thus luring Laurey out of the house.

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.

Many fans of “Honeymoon in Vegas” or “Bridges of Madison County” don’t know that these movie based musicals are by Jason Robert Brown. Jason Robert Brown is a composer, playwright, and lyricist. He has written and composed show such as “13 The Musical,” “The Last Five Years”, “Songs For a New World” and a myriad more. Brown was announced “one of Broadway’s smartest and most sophisticated songwriters since Stephen Sondheim.” (Philadelphia Inquirer) Jason Robert Brown turns life experiences of others and himself into heart wrenching musicals that can have anyone laughing, crying, and singing along with just one of his fantastic masterpieces. (Jason Robert Brown, about)

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.

It was the first of many successful musicals the team would create. Next came Garrick Gaieties, also in 1925, followed by A Connecticut Yankee and Evergreen. Rodgers & Hart were then lured West to write for films and spent four years in Hollywood writing songs which were featured in such movies as Love Me Tonight, with Jeanette MacDonald and Maurice Chevalier; Hallelujah, I’m a Bum!, with Al Jolson; and The Phantom President, starring George M.

Porter reintroduced himself in 1928 with the musical Paris. This musical contained what is considered to be one of his best list songs, “Let’s Do It (Let’s Fall In Love”. For the next few years, Porter was constantly writing for huge shows and revues and was finally regaining his credibility as a writer. His peak of this time would come in 1934 with the timeless musical Anything Goes. Anything Goes is considered by many to be the greatest score of this period (and many people would say it is Porter’s greatest ever as well). The original Off-Broadway incarceration would go on to be revived several times on Broadway, winning many awards in the process.

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.

Originally, Rogers and Hammerstein wanted Rex Harrison to play the king, but Harrison had other engagements at that time (Nolan 169). Eventually, Rogers and Hammerstein found Yul Brynner to play the king, but their problems did not cease there. Oscar Hammerstein, the songwriter of the duo, had a terrible time writing the song “Hello, Young Lovers” (Nolan 173). He went through seven different songs before writing the perfect one. He thought this was one of the greatest things he had ever written, but Rogers was not that impressed. In a phone call between Hammerstein and Rogers, Rogers said that the song was, “okay” and “worked just fine” (Nolan 173). Needless to say, Hammerstein was crushed, but the film went on despite these struggles. The making of The King and I was not an easy conventional road, yet without these hardships, the film would have never gained Yul Brynner or some of the most unforgettable songs in musical film

(1973), which also came out as a made for TV movie in 1976 (Schreiber 49).

The first piece of the Shake, Rattle and Roll concert was Overture to West Side Story. It is a short piece heard before the musical. It is also a modern day adaption of a classic named Romeo and Juliet that was made by William Shakespeare. This piece was written by Leonard Bernstein, he is known worldwide as the greatest musical talent to ever go on stage. Leonard is mostly known for his presence on the conductor’s podium.