One of his friends led to the meeting of him and Richard Rodgers. The Rodgers and Hammerstein team quickly produced in a smash hit. After long and highly distinguished careers with other people, Richard Rodgers and Oscar Hammerstein ll joined forces in 1943 to create the most fruitful and successful partnership in the American musical theatre. OKLAHOMA!, the first Rodgers and Hammerstein musical, was also the first of a new genre, the musical play, blending Rodgers’ sophisticated style of musical comedy with Hammerstein’s innovations in operetta.
In 1943, Richard Rodgers and Oscar Hammerstein’s first collaborative musical production, Oklahoma! grabbed the audience’s attention from its first premiere, making the front page of PM Newspaper: “New Musical Plays Up Homespun U.S.A.” In lieu of World War I and the Depression, the theater-writing team of Rodgers and Hammerstein believed it was the perfect time to revitalize American morale through song, dance, and an entertaining plot. How did Rodgers and Hammerstein’s collaboration on their first musical, Oklahoma!, influence musical theater and entertainment in America? While reviving the American spirit, Rodgers and Hammerstien broke from the traditions of past musical creations and created a new musical comedy communicating American ideals
It seems like it may be years, if at all that there will ever be such an influential couple of men such as Rodgers and Hammerstein that ever have such an impact on musical theater. Their names are synonymous with musical theater and that will never change. Without them, many Broadway stars may not have gotten their time to shine including Ezio Pinza and Mary Martin. It is fascinating how the two never thought that they would ever have a career together and then once paired they would make history from their first piece of work all the way up until their last with infinite fame coming from their many years of hard work. These men still get recognition to this day because many that are trying to fill their shoes and write new pieces of work
Since the choreography is viewed from a wide angle, it’s important for all dancers to embody the vision for the piece, without the aesthics that camera work can provide. Regardless of their differences, whether they are working for the camera or for the stage, dancers must strive to communicate the aesthetic, or director’s vision of a
Gypsy Carousel. South Pacific. The Sound of Music. Oklahoma!. Each of these now well-known musicals would not exist today if not for the partnership of Richard Rodgers and Oscar Hammerstein II.
The Wizard of Oz and Wicked are both very successful and well-known broadway musicals. Both of these musicals are based off of the same story, but each give a slightly different meaning to it. While they are both based on a similar tale, these two broadway musicals have many characteristics that are similar and differ from each other. This paper will compare and contrast the characters, theme, and plot.
In my personal analysis, while she shows the emotionally damaging aspect of competitive dancing, she struggles to capture the audience emotionally. An opposing individual of this audience may be able to emotionally connect with the audience to convey a different opinion. Others with different backgrounds such as being an experienced dance parent may be swayed against this article because of personal experience and emotional disconnection. The audience may expect a more emotional view, through true experiences rather than scientific
Rodgers and Hammerstein not only contributed to the mass of musical theatre genre but they completely reworded it and made it completely different to what it was known as before the 1943. When Oklahoma! came on the scene in 1943 it as the first of its kind, combining Rodgers sophisticated comedy within the musical and Hammerstein’s lyrics. The Broadway show was unique and the first of its genre, it involved an incredible and deep story line along with amazing talents showcased throughout the musical. Rodgers and Hammerstein Introduced story telling in a different way, even though every musical included songs they never quite make a shift or difference in the story line.
Gerald starts to lose confidence and feels sad that he cannot dance. However, his friends encouragement help him get back up to try and regain confidence in himself. They even tell Gerald to teach them how he dances thus showing that dance is free and it is not necessary to always dance to specific dance steps. In addition “physical activity is heavily affected by the social environment, where children can learn behaviors
A dance film, on the other hand, employs dance as a main character with a more pivotal role in the transformation of the protagonist. Thus, in Shall We Dansu?, because it is an active force in the narrative with human-like characteristics, such as being shrouded in shame, ballroom dance becomes an initiator of intimacy. In Salsa and DanceSport, McMains explains Mexican-American Giselle Fernandez’s need for a creation of an alter ego despite already being
Broadway musicals were a major part of American popular culture in the 1950s. Every season, new musicals of the 1950s sent songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway alive hopping. In the 1950s Richard Rodgers and Oscar Hammerstein remained the musical theater’s most potent creative team. At one time they had four musicals running simultaneously on Broadway and film versions of their musicals Oklahoma, Carousel and South Pacific grossed millions of dollars worldwide.
“Artworks have ‘aboutness’ and demand interpretation” (Barrett 71). This statement creates a foundation for writing, specifically about dance, as each dance piece is always about something, no matter how simple it appears to be. As I began to write about dance I knew not only to provide a description of the piece, but utilize the description as evidence as I develop a possible meaning. Additionally he explains, “There can be different, competing, and contradictory interpretations of the same artwork” (Barrett 73). When I would begin to develop an explanation from the description I provided, I had to remind myself that my interpretation was only one view of the dance and I should not try to provide one comprehensive interpretation for the
Painful stories that “force people to confront their most dangerous internalized philosophies” (Weakland). Without the production of West Side Story, other shows like Urinetown and Assassins probably wouldn’t have been produced. Because of Jerome Robbins and West Side Story, musicals could show the ugly side of human nature and plots could be
This would cause “a scene of superiority over foolishness” (CITE). When all the actors are in the dancing place or
Introduction Roger’s and Hammerstein’s The Sound of Music is arguably one of the most well known films that many can admit to watching at least once in their lifetime. People all around the world have found this musical inspiring, as it documents growth and hope amidst the horrors of World War II. This incredibly well written film is based on the story of the Von Trapp family who escaped Austria when the Nazis invaded it during the war. Part of what made this movie so interesting on so many different accounts was the music that accompanied the vivid and exciting scenes. Without music, many could agree that our world would be a sad, quiet, dull and depressing place.
