Rodgers and Hammerstein's Carousel:
Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (directo...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2017]
|
| Schriftenreihe: | Oxford keynotes
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xii, 147 Seiten Illstrationen, Notenbeispiele |
| ISBN: | 9780190693435 9780190693442 |
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| 520 | |a Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve. | ||
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Datensatz im Suchindex
| _version_ | 1804177924134273024 |
|---|---|
| adam_text | CONTENTS
ABOUT THE COMPANION WEBSITE vili
ACKNOWLEDGMENTS IX
ARCHIVES AND SOURCES XI
1 Carousel in Context i
2 Molnar’s Liliom: From Budapest to Broadway
(and Beyond) 9
3 Creating Carousel 25
4 A Duet, a Soliloquy, and a Ballet 49
5 The Problems of an Ending 79
6 From Stage to Screen (and Back) 97
appendix: hammerstein’s scenario for
CAROUSEL US
ADDITIONAL SOURCES FOR READING, LISTENING,
AND VIEWING 125
NOTES 129
INDEX 139
|
| any_adam_object | 1 |
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| era | Geschichte 1945 gnd |
| era_facet | Geschichte 1945 |
| format | Book |
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| spelling | Carter, Tim 1954- Verfasser (DE-588)133206491 aut Rodgers and Hammerstein's Carousel Tim Carter New York, NY Oxford University Press [2017] © 2017 xii, 147 Seiten Illstrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Oxford keynotes Includes bibliographical references and index Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve. Rodgers, Richard 1902-1979 Hammerstein, Oscar II 1895-1960 Rodgers, Richard 1902-1979 Carousel (DE-588)1031637303 gnd rswk-swf Geschichte 1945 gnd rswk-swf Musical (DE-588)4040801-2 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Rodgers, Richard 1902-1979 Carousel (DE-588)1031637303 u DE-604 USA (DE-588)4078704-7 g Musical (DE-588)4040801-2 s Geschichte 1945 z Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029954983&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Rodgers and Hammerstein's Carousel |
| title_auth | Rodgers and Hammerstein's Carousel |
| title_exact_search | Rodgers and Hammerstein's Carousel |
| title_full | Rodgers and Hammerstein's Carousel Tim Carter |
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| title_short | Rodgers and Hammerstein's Carousel |
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