Word: hammersteins
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DIED. Richard Rodgers, 77, composer whose collaborations with Lyricists Lorenz Hart, Oscar Hammerstein II and others roused Broadway with The Sound of Music, Carousel, Pal Joey and three dozen other shows for six decades; in New York City (see MUSIC...
...work exclusively in the styles of former masters. There can be only one Picasso; if, say, a whole new generation of artists were to work in his style, it would hardly guarantee better paintings. Likewise, Pippin and the other "concept musicals" of the '70s proved that the Rodgers and Hammerstein storybook musical is a creature of the past, an observation symbolically confirmed by Richard Rodgers' recent death. Experimentation must proceed, but it must always be with an eye toward quality. Fortunately, the '70s provided us with two prime examples of art forms able to meet this difficult balance. Dance flourished...
...appropriate. When these two are onstage, the audience is inside the skulls and the sensibilities of Weill and his most potent collaborator, Bertolt Brecht. One immediate impression is that the lyricist always has an enormous impact on the composer. Rodgers and Hart is light-years away from Rodgers and Hammerstein. In like fashion, Pirate Jenny of Brecht's Threepenny Opera dwells in a totally different realm from The Saga of Jenny of Lady in the Dark with lyrics by Ira Gershwin ("Jenny made her mind up when she was three/ She, herself, was going to trim the Christmas tree...
...Hammerstein...
...Neill or Williams, the great writers of the U.S. stage have not been playwrights but composers and lyricists: Irving Berlin, Cole Porter, Jerome Kern, Richard Rodgers, George Gershwin, Frank Loesser, Leonard Bernstein, Stephen Sondheim, to name but a few. Beginning with the first modern musical, Kern and Oscar Hammerstein II's Show Boat (1927), these writers have created a durable and increasingly versatile native art form. Broadway musicals at their best fuse music, dance, drama and plain old show biz into total theater...