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 at a 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 in 1908. 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.

Rodgers and Hammerstein

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
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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 alltime 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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BIBLIOGRAPHY
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 Sondheim and 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 musicals such 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 doesnt feature 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 of depression 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 20th 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 a Private 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-4562-93876319d4c8b12d%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, South Pacific, 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 an interesting 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.
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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 are not 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.
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