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comforting presence of his mother, the presence of another figure, who does not smell as nice, and who always leaves as soon as he picks up his black bag. Joe is seen as a baby and then not again as a child; the audience takes his perspective. Joe's grandma notices him trying to walk, calls for
Marjorie to witness the first steps, and once he takes them, as the chorus states, "the world belongs to Joe" ("One Foot, Other Foot"). Joe grows to school age, and loses his beloved Grandma. He is comforted by Jennie Brinker, a businessman's daughter. The two grow to high school age and date, though Joe lacks the nerve to kiss her, to Jennie's frustration. As Joe prepares to leave for college, Dr. Taylor hopes that his son will help him in his medical practice, and he and Marjorie wonder if Joe will marry Jennie ("A Fellow Needs a Girl").
433:. Joe makes a bare living as assistant to his father. Mr. Brinker's business has failed, and he lives with the couple, who are experiencing poverty for the first time in their lives. The poverty affects Jennie more than Joe—the new Mrs. Taylor dislikes life as an impoverished housewife ("Money Isn't Everything"). When she learns that Joe turned down a lucrative offer from a prominent Chicago physician, who is Charlie's uncle, Jennie at first rages. When she finds that is not effective, she gets him to change his mind through guilt—if he accepts Dr. Denby's offer, he can earn the money to start the small hospital of which his father dreams and they will have the money to bring up a child properly.
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Joe himself is becoming careless due to the distractions; one mistake is caught by his nurse, Emily, who thinks Joe is too careless, but is in love with him nonetheless ("The
Gentleman Is a Dope"). Denby congratulates Joe on his skills, both medical and social. The elder doctor has less time for a nurse, Carrie Middleton, who has worked at his hospital for thirty years and once dated him, but who is involved in a labor protest—Denby orders her fired at the request of Lansdale, an influential trustee and soap manufacturer. Charlie, Joe and Emily comment on the frenetic pace of the Chicago world in which they live ("Allegro").
413:") but walks away in disgust when Joe, who is unable to keep thoughts of Jennie from his mind, falls asleep after a passionate kiss. Jennie breaks up with the boy that Joe was afraid would marry her, and she is waiting for Joe when he returns home ("You Are Never Away"). Marjorie Taylor is convinced that Jennie is the wrong girl for Joe, and after a confrontation with Jennie when she tells her this, Marjorie dies of a heart attack. Despite the disapproval of both families ("What a Lovely Day for a Wedding"), Joe and Jennie marry, a wedding observed by the unhappy ghosts of Marjorie and Grandma ("Wish Them Well").
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Home"). Joe has been offered the position of physician-in-chief at the
Chicago hospital, replacing Denby, who is taking an executive position, or as the elder doctor terms it, being "kicked upstairs". At a dedication of a new pavilion at the hospital, Joe has a revelation and shifts the path of his life; as he does so, Grandma appears and calls for Marjorie to come watch, an echo of the scene in which he learned to walk. Joe refuses the position, and will return to his small town to assist his father, accompanied by Emily and Charlie, but not by Jennie (Finale: "One Foot, Other Foot" (reprise)).
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first experience of bad behavior in the theatre." However, Rufus Smith, who played the minor role of the football coach, stated, "Never again in my life will I experience what it is like to stop a show cold, by doing exactly what she taught me". The immense job of directing the play finally proved too big for de Mille, who stated "I can't do the new dances and the new songs and the new book," and
Hammerstein stepped in to direct the dialogue. According to Rodgers biographer Meryle Secrest, at this point the cast was up in arms over de Mille's treatment of them.
217:) on Broadway, and success as producers of musicals others had written. In March, Hammerstein approached Rodgers with the idea for a play with two men as the central characters, rather than the usual "boy and girl" format. Over the following weeks, the two discussed it, and the concept evolved into a musical about one man, a doctor's son, which appealed to Rodgers, the son and brother of doctors. By September, the general theme for the story had been established: the struggle of the main character to avoid compromising his principles as he progresses in life.
1109:, Hammerstein stated, "I intended Dick to write music for it but we wound up reciting the chorus instead ... I'm not blaming anyone, because we all accepted it, we all collaborated ... but it was a mistake." Rodgers later stated that the show was "too preachy, which was the one fault that Oscar had, if any," and "othing to be ashamed of, certainly". Rodgers further defended the play, "The comments we made on the compromises demanded by success, as well as some of the satiric side issues—hypochondria, the empty cocktail party—still hold."
300:, designing ballets which disclosed the characters' psychological states to the audience. She had been concerned about the cohesion of the script as she received it from Hammerstein. When a few days before rehearsals began, she asked Hammerstein what the show was about, the lyricist replied, "It's about a man not being allowed to do his own work because of worldly pressures." De Mille answered, "That's not the play you've written. You haven't written your second act." Hammerstein replied, "But we're already committed to the theatre in New York."
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show. During the dances, Joe learns to walk, falls in love, goes astray, and then gets back on the proper track. De Mille used adults in children's clothes for the dances when Joe is a child; since there were no actual children on stage to provide scale, the illusion worked. The dance which accompanied "One Foot, Other Foot" was based on de Mille's own experiences in watching her own son
Jonathan learn to walk.
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338:, did not go to plan. During the first act, William Ching, playing Joseph Taylor Sr., was singing "A Fellow Needs a Girl" when the scenery wall began to collapse, forcing him to hold it up until the stagehands noticed. Dancer Ray Harrison caught his tap in a track in the stage, tore the ligaments in his knee and was carried from the stage, screaming.
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is filled with music, the music is fragmented, as the characters often break into song briefly. The character of Joe was unusual for a male lead of the time in having relatively little to sing; Joe has only one solo number ("A Darn Nice Campus"). Important songs are given to minor characters, such as
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became involved, Rainer was rehired. More bad publicity came when the producers proposed to dismiss several orchestra and chorus members to cut costs so the show might continue through the summer of 1948, and the fired performers also alleged dismissal for union involvement. The show closed July 11,
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he mailed
Rodgers part of the remainder. On receiving the packet, Rodgers, who generally did not compose until Hammerstein supplied him with a lyric, immediately sat down and composed three songs. Hammerstein put a good deal of his own experiences into the play. According to his son, William, "Most
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It is a law of our civilization, that as soon as a man proves he can contribute to the well-being of the world, there be created an immediate conspiracy to destroy his usefulness, a conspiracy in which he is usually a willing collaborator. Sometimes he awakens to his danger and does something about
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The
Astoria Performing Arts Center in cooperation with Actors' Equity mounted a production from May 1–17, 2014 in Astoria, Queens, New York, Tom Wojtunik director. APAC has offices in the historic Kaufman Astoria Studios; APAC's performance space is located within the Good Shepherd United Methodist
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Joe accepts the job, and sadly leaves his father. He soon finds himself ministering to hypochondriacs; he is required to spend time at cocktail parties marked by useless conversation ("Yatata, Yatata, Yatata"). Charlie is also part of the practice, but the former football star has turned to drink.
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At the freshman mixer ("Freshman Dance"), the audience finally sees Joe onstage. He marvels at his new world, in which he is a loner ("A Darn Nice Campus"). Joe serves ineffectively as a cheerleader ("The Purple and the Brown"), rooting for the
Wildcats, whose star player is Joe's freshman classmate
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While Joe is at college, Jennie remains at home, and her wealthy father, Ned
Brinker, who disapproves of Joe for spending so many years in school before earning a living, encourages her to find other boyfriends. Jennie does not bother to conceal these romances in her letters; Joe is finally fed up,
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Rehearsals took place in three New York locations, for principals, singers, and dancers. The production contained 41 principals and over a hundred dancers. De Mille also choreographed the dances, which were both extremely complicated and provided the framework for the scenes which made up the
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Rodgers's music is more subtle than in his previous musicals, and his melodies more muted. The key changes are less dramatic than in other musicals of that time. Rodgers did not intend for the songs to become hits; instead they were designed to draw the audience into the action, as onstage events
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The mixed reviews prompted ongoing discussions of the play's merit, continuing well after the first night. Some of the news that the show generated had nothing to do with its worth—de Mille had dancer
Francis Rainer fired, and Rainer alleged that the dismissal was due to her union activism. After
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Joe has become increasingly disillusioned by his life in the city, and worries about his former patients in his home town. He learns that Jennie is having an affair with Lansdale. As Joe sits, head in hands, his late mother and a chorus of the friends he left behind appeal to him to return ("Come
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Sondheim later expressed his view of de Mille's directing, calling her "a horror. She treated the actors and singers like dirt and treated the dancers like gods ... I think, an extremely insensitive woman, an excellent writer, and a terrible director, in terms of morale, anyway. That was my
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De Mille faced an immense task. Instead of conventional sets, locations were suggested by platforms, images projected onto backdrops, and lighting—there were 500 lighting cues, at the time a Broadway record. There were forty stagehands, needed to shift sixty partial sets, with objects moved
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The play opens with Marjorie Taylor in bed, in 1905. Wife of small-town doctor Joseph Taylor, she has just had a son. The people of the town predict great things for Joseph Taylor Jr., or Joe as he will come to be called (Musical number: "Joseph Taylor, Jr."). Joe learns what a baby learns: the
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only partially tarnished the reputation of Rodgers and Hammerstein; after all, it was a very respectable flop. Yet the long-term repercussions were more serious. Never again would R&H experiment so boldly and risk losing their audience. They would continue to come up with surprising and
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Hammerstein was embittered by audience and critical reaction to his book, and felt they misunderstood it. Public perception was that Hammerstein had implied that small-town folk were good while their big-city cousins were neurotic and venal. The lyricist objected, pointing out that the worst
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took place in 2004, staged by the Toronto Civic Light-Opera Company. With full orchestra and a cast of 30, the production was designed and directed by Joe Cascone, and became one of the inspirations for the all-star 2009 recording. It was attended by Ted Chapin, Bruce Pomahac and
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The disasters of the New Haven opener concluded during "Come Home", a song near the end of the play—the quiet urgings of the chorus and Joe's mother to entice him to return to his small town. A false fire alarm went off, and the audience began to push towards the exit.
176:, the choreographer of Rodgers and Hammerstein's previous Broadway productions, both directed and choreographed the work. The show was viewed as too moralistic, and the Broadway run ended after nine months; it was followed by a short national tour. It had no
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character in the musical was a small-town girl, but according to Hammerstein biographer Hugh Fordin, "he knew it was his fault that the message was not clear." In a preface to the published script, issued in 1948, Hammerstein tried again to make his point:
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Years later, in talking over the show with Oscar—I don't think I recognized it at the time—I realized he was trying to tell the story of his life ... Oscar meant it as a metaphor for what had happened to him. He had become so successful with
367:, who was in attendance, loudly ordered the crowd to sit down, which it did. One of the Boston tryouts that followed New Haven was marked by boisterous behavior by conventioneers, until Hammerstein yelled, "Shut up!" and the audience subsided.
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De Mille's direction and choreography were reviewed generally positively; Cecil Smith applauded her for the "ease and flawless design with which Miss de Mille brings mobility to these non-dancing ... no previous musical has approached
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Hammerstein spent a year writing and polishing the first act, taking infinite pains over the wording. The second act was more rushed; under a deadline, Hammerstein completed it only a week before rehearsals began. Hammerstein's protegee
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as Charlie Townsend. A special performance the afternoon of the opening for friends and associates generated wild applause; the audience at the official opening that evening clapped little. As de Mille's husband, Walter Prude, put it,
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Charlie Townsend. Both are pre-medical students and soon become close friends. The friendship helps both; Joe gains entrance to Charlie's fraternity and social circles, while Charlie is allowed to copy Joe's conscientious schoolwork.
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An original cast recording was released in 1947, heavily abridged. According to Hischak, only Lisa Kirk as Emily shines on the recording, which he calls "sad evidences of a very ambitious undertaking". Originally issued by
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Oscar Hammerstein II had always wanted to write a serious drama, one which would address the problems of life confronting ordinary people. By early 1946, three years after his partnership with Richard Rodgers commenced,
761:, respectively, CEO of the Rodgers & Hammerstein organization, director of music for R&H, and Hammerstein's daughter-in-law. The production was a major success, both artistically and financially for the company.
1085:'s main fault seems to have been that it was ahead of its time, the integration of story and music far too advanced even for audiences now becoming accustomed to musicals which actually had stories." Sondheim noted, "
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of the first act was based on his own memories of his own childhood. He had always been intrigued by it, you know; his mother died when he was twelve. I always felt his songs came out of his feelings about her."
331:, one of the dancers in the production, later stated that de Mille was better at directing dancers than actors, as actors come to the stage with preconceived notions about how to play a part, and dancers do not.
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was an attempt to use epic theatre in contemporary musical theatre. It used a Greek chorus, and tried to tell the story of a life, not through events but through generalities. This is now what would be called a
342:, the first Emily, fell into the orchestra while singing "The Gentleman Is a Dope". She was catapulted back onto the stage with no pause in her singing, to great applause by the audience. Sondheim remembered,
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was conceived as taking place in an open space, using props and projections to convey scenery to the audience. In addition to the usual singing chorus, there would be a speaking chorus, in the manner of a
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is perfection", and added that it was "a stunning blending of beauty, integrity, intelligence, imagination, taste and skill ... it lends new stature to the American musical stage". Ward Morehouse of
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on October 10, 1947, the musical centers on the life of Joseph Taylor Jr., who follows in the footsteps of his father as a doctor, but is tempted by fortune and fame at a big-city hospital.
354:, of all people was saying, "A star is born." Next night she comes back, came to the same point in the song, and starts to fall, and the entire audience gasps because they'd all read the
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s premiere, after learning of his terminal cancer, Hammerstein returned to the musical, hoping to correct its flaws, but he did not complete the project. While recording an
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in January 2004. This version cut the musical in size and scale. The cast was cut with some characters being combined; the original, lavish orchestrations were simplified.
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The show was popular in the 1950s among amateur drama societies, because of the large cast with no star and the bare stage. It has rarely been revived professionally: the
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that he was suddenly in demand all over the place. What he was talking about was the trappings, not so much of success, but of losing sight of what your goal is.
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358:. She recovers quickly, they all sigh, and she gets another ovation. Oscar came backstage at the end and said, "You do that a third time and you're fired."
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Hammerstein had thought of writing a play about a man, from birth to death. However, having just killed his leading male character, Billy Bigelow, onstage in
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1130:. Those fellows were so mad I was fairly certain that they could make a great musical out of the Bronx telephone directory." That project would become
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384:"Joseph Taylor, Jr.": the townsfolk assemble to celebrate Joe's birth. From the original Broadway production; William Ching as Dr. Taylor, with
224:, he was reluctant to kill off another. In the end, he took his protagonist from birth to age 35. He envisioned a simply staged work like
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wonderful things, but the days of radical and foolhardy innovation were over. From then on they would stick to the tried and true.
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to direct—a move between two theatre functions which was unusual at the time. De Mille had been the choreographer for the dances in
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1948 after 315 performances, and in the fall, a national tour began. The national tour ran eight months, much shorter than that of
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calls Rodgers's technique "the deconstruction of theatre music, to match the show's deconstruction of traditional theatre design".
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onto the stage by a semicircular track hidden by an elaborate series of curtains. According to de Mille biographer Carol Easton, "
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and goes on a double date with Charlie and two girls. Beulah, Joe's date, is initially enthusiastic about the budding romance ("
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opined that Rodgers and Hammerstein had "just missed the final splendor of a perfect work of art". Robert Coleman of the
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As background research about the medical profession, Hammerstein interviewed his own doctor. He wrote a few pages of the
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has definitely made history" for de Mille's giving "form and substance to material with little of either".
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praised her for creating "the illusion of space and depth far beyond the confines of the proscenium".
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succeeded ... Joseph Taylor, Jr.'s life has little or nothing to tell us about our own lives."
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before embarking with his wife for Australia to visit his mother-in-law; when his ship arrived in
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was anticipated with close interest by the theatre community and public. The musical attracted
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750,000 in advance sales, at a time when the top price ticket for a Broadway musical was $ 6.
172:, the musical opened on Broadway to a large advance sale of tickets, and very mixed reviews.
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A studio recording of the complete score was made in 2008, with an all-star cast featuring
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809:"So Far", given to Beulah, who only appears on the one date with Joe. Author and composer
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2197:"Complete Allegro Recording, with McDonald, Gunn and Wilson, to Arrive In Stores Feb. 3"
530:"Finale Act I: I Know It Can Happen Again/To Have and To Hold/Wish Them Well" – Ensemble
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in consistency of movement, expertness of timing and shapeliness of visual patterns.
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2145:(illustrated ed.). Cambridge, Massachusetts: Applause Theatre and Cinema Books.
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According to Frederick Nolan, in his book about the pair's music, "Reexamined today,
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took 'A Fellow Needs a Girl' to Number 24 in 1947. Another song from the musical, '
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and, through archival audio recordings, Oscar Hammerstein. The album, produced by
2119:(reprint ed.). Cambridge, Massachusetts: Applause Theatre and Cinema Books.
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into a musical. "They were inwardly burning because of the reception accorded to
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As the disagreement continued past the opening night, Wayne Abrams wrote in the
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recalled his meeting with the duo over the possibility of converting his book
691:, the show made a small profit; other sources state that the show lost money.
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was a leviathan of a show, on a scale exceeding the grasp of any individual."
1000:"acceptable only as an exercise in stagecraft, not as a work of art ...
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one, and various other elements hardly rivaling the daisy in freshness". In
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In March 1994 a staged concert version was presented by New York City Center
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The show received its European première in a revival that took place at the
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505:"Scene of Professors" – Professors, Joe Taylor, Jennie Brinker, and Ensemble
478:"Grandmother's Death: I Know It Can Happen Again (Reprise)" – Grandma Taylor
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881:, was released on February 3, 2009. According to musical theatre author
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2001:(illustrated ed.). New York: Black Dog & Leventhal Publishers.
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called the musical "a shocking disappointment". Robert Garland, in the
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578:"Finale Ultimo: Ya-ta-ta/Come Home/One Foot, Other Foot" – Ensemble
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presented it in Connecticut in 1968. An abridged version was presented
687:. No London production was mounted. According to Thomas Hischak in his
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which after its initial run would lend itself to college productions.
134:(book and lyrics), their third collaboration for the stage. Opening on
2022:(illustrated ed.). Westport, Conn.: Greenwood Publishing Group.
2262:"Torrent of CD releases showcases Broadway classics and obscurities"
502:"Jennie Reads Letter: A Darn Nice Campus (Reprise)" – Jennie Brinker
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production and has rarely been revived. There are two recordings of
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was "distinguished and tumultuous. It takes its place alongside of
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184:, the original cast album and a studio recording released in 2009.
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as Grandma and Annamary Dickey as Marjorie (in bed), all at right.
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2048:(illustrated ed.). New Haven, Conn.: Yale University Press.
1978:(reprint, illustrated ed.). Jefferson, N.C.: Da Capo Press.
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The musical received mixed reviews following its opening night.
569:"Allegro" – Charlie Townsend, Joe Taylor, Emily and Ensemble
524:"What a Lovely Day for a Wedding" – Ensemble and Mr. Brinker
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reinforced the team's determination to have another hit. Author
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as a theatrical piece of taste, imagination, and showmanship."
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The Sound of Their Music: The Story of Rodgers and Hammerstein
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548:"Money Isn't Everything" – Jennie Brinker and Other Wives
1590:"Allegro Broadway @ Majestic Theatre - Tickets and Discounts"
493:"Dance: Freshmen Get Together" – Orchestra with Ensemble
490:"A Fellow Needs a Girl" – Dr. Taylor and Marjorie Taylor
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Rodgers (nearest to camera) and others at a rehearsal for
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Broadway Babies: The People Who Made the American Musical
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Getting to Know Him: A Biography of Oscar Hammerstein II
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The Sound of Music: Music from the NBC Television Event
2095:(reprint ed.). New York: Oxford University Press.
527:"It May Be a Good Idea for Joe" – Charlie Townsend
518:"You Are Never Away (Encore)" – Joe Taylor and Ensemble
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had a pop hit with 'The Gentleman Is a Dope' in 1947.
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suggested that Rodgers and Hammerstein "had confused
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2074:(illustrated ed.). New York: Harry N. Abrams.
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515:"You Are Never Away" – Joe Taylor and Ensemble
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1775:"Frank Sinatra Singles List : Original Issue"
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729:was the narrator, and the concert was directed by
560:"A Fellow Needs a Girl (Reprise)" – Majorie Taylor
466:"I Know It Can Happen Again" – Grandma Taylor
2222:"Allegro; Revival of a Famous Pair's First Flop"
2141:Somewhere for Me: A Biography of Richard Rodgers
1957:(illustrated, reprint ed.). Da Capo Press.
988:movie, a college number dittoed from an earlier
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575:"Come Home" – Marjorie Taylor and Ensemble
563:"Ya-ta-ta" – Charlie Townsend and Ensemble
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141:After the immense successes of the first two
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1954:No Intermissions: The Life of Agnes de Mille
475:"Children's Dance" – Orchestra with Children
557:"You Are Never Away (Reprise)" – Joe Taylor
551:"Dance: Money Isn't Everything" – Orchestra
2841:I'm Gonna Wash That Man Right Outa My Hair
2374:
2360:
2352:
1997:The Hammersteins: A Musical Theatre Family
1156:marked the end of the R&H revolution.
1016:called the show "an out-and-out failure."
572:"Allegro" Ballet – Orchestra with Ensemble
18:
2336:plot summary & character descriptions
603:s US tour, April 1949 (Davidson Theatre,
499:"Wildcats" – Ensemble and Joe Taylor
2019:The Rodgers and Hammerstein Encyclopedia
1211:
1192:
1169:
902:', was the B-Side of the 78 rpm record.
869:as Charlie, with special appearances by
689:The Rodgers and Hammerstein Encyclopedia
1409:
1310:
1243:
768:A 90-minute edited version directed by
747:Signature Theatre (Arlington, Virginia)
566:"The Gentleman Is a Dope" – Emily
496:"A Darn Nice Campus" – Joe Taylor
472:"One Foot, Other Foot" – Ensemble
2288:Toscano, Michael (January 13, 2004).
817:were described subjectively in song.
7:
1543:
670:went over "like a wet firecracker".
463:"Joseph Taylor, Jr." – Ensemble
3074:Musicals by Rodgers and Hammerstein
2260:Metcalf, Steve (February 7, 1993).
1934:
1922:
1761:
1737:
1672:
1636:
1487:
1436:
1367:
1298:
1267:
776:in New York City in November 2014.
741:, who was a protege of Oscar's son
706:in 1978 by Equity Library Theatre.
1993:Hammerstein, Oscar Andrew (2010).
1910:
1898:
1854:
1842:
1830:
1813:
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1660:
1648:
1472:
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1279:
1255:
16:Musical by Rodgers and Hammerstein
14:
2869:You've Got to Be Carefully Taught
2701:The Surrey with the Fringe on Top
1871:
1455:
1355:
1322:
1143:to a change in the pair's style:
611:Given the outstanding success of
2848:I'm in Love with a Wonderful Guy
2220:Holden, Steven (March 5, 1994).
641:on October 10, 1947. It starred
31:
2729:It's a Scandal! It's a Outrage!
554:"Poor Joe (Reprise)" – Ensemble
521:"Poor Joe (Reprise)" – Ensemble
37:Original Broadway poster (1947)
2201:playbill.com, February 3, 2009
1067:Rodgers (left) and Hammerstein
259:, who served as a $ 25-a-week
1:
2736:People Will Say We're in Love
2195:Hetrick, Adam; Gans, Andrew.
400:William Ching as Joe's father
164:After a disastrous tryout in
2827:There Is Nothing Like a Dame
2694:Oh, What a Beautiful Mornin'
2268:. p. G1. Archived from
1166:Original Broadway production
1139:Hischak ties the failure of
980:, in a special piece in the
713:, with a cast that included
2330:info page on StageAgent.com
2016:Hischak, Thomas S. (2007).
1051:, "Nobody is neutral about
263:on the production, stated,
3090:
2967:Sixteen Going on Seventeen
2792:It Might as Well Be Spring
2629:The King and I (1999 film)
2593:The King and I (1956 film)
2322:Internet Broadway Database
1123:Tales of the South Pacific
481:"Winters Go By" – Ensemble
101:for Best Book of a Musical
2750:The Farmer and the Cowman
2479:A Grand Night for Singing
2389:
2340:1946 radio adaptation on
2070:Rodgers & Hammerstein
1886:Rodgers & Hammerstein
1801:Rodgers & Hammerstein
1690:Rodgers & Hammerstein
1615:Rodgers & Hammerstein
1576:Rodgers & Hammerstein
1561:Rodgers & Hammerstein
1528:Rodgers & Hammerstein
1502:Rodgers & Hammerstein
1203:
1195:
1184:
1181:
1178:
1175:
1136:and be a tremendous hit.
965:New York Journal American
879:Sony Masterworks Broadway
752:The Canadian premiere of
696:St. Louis Municipal Opera
30:
2669:The Sound of Music Live!
2342:Theater Guild on the Air
2174:"The New Play In Review"
2089:Mordden, Ethan (1988) .
1187:
1172:
1112:The relative failure of
733:. A revised version of
2855:Younger Than Springtime
2785:You'll Never Walk Alone
2676:The Sound of Music Live
2383:Rodgers and Hammerstein
2283:(subscription required)
1951:Easton, Carol (2000) .
1201:Best Book of a Musical
545:"Entr'acte" – Orchestra
469:"Pudgy Legs" – Ensemble
425:Roberta Jonay as Jennie
348:New York Herald Tribune
143:Rodgers and Hammerstein
2876:I Whistle a Happy Tune
2820:Some Enchanted Evening
1972:Fordin, Hugh (1995) .
1161:Awards and nominations
1158:
1079:
1068:
801:
745:, was produced at the
698:presented it in 1955;
653:as Dr. Joseph Taylor,
645:as Joseph Taylor Jr.,
608:
460:"Overture" – Orchestra
426:
401:
389:
360:
336:New Haven, Connecticut
323:
281:Rehearsals and tryouts
278:
197:
2806:A Fellow Needs a Girl
2317:Allegro
1066:
996:, Cecil Smith called
923:New York Daily Mirror
799:
774:Classic Stage Company
772:was presented by the
717:(Joseph Taylor Jr.),
598:
484:"Poor Joe" – Ensemble
424:
399:
383:
334:The first tryout, in
318:
195:
2981:Climb Ev'ry Mountain
2932:I Enjoy Being a Girl
2399:Oscar Hammerstein II
2172:(October 11, 1947).
1205:Oscar Hammerstein II
787:Music and recordings
487:"Diploma" – Ensemble
196:Oscar Hammerstein II
132:Oscar Hammerstein II
69:Oscar Hammerstein II
57:Oscar Hammerstein II
2974:The Lonely Goatherd
2904:Something Wonderful
2897:We Kiss in a Shadow
2890:Getting to Know You
2883:Hello, Young Lovers
2207:on October 19, 2012
1925:, pp. 262–263.
1857:, pp. 171–172.
1845:, pp. 270–271.
1358:, pp. 171–172.
1107:Columbia University
781:Southwark Playhouse
657:as Jennie Brinker,
649:as Majorie Taylor,
3027:The Sound of Music
2953:My Favorite Things
2939:The Sound of Music
2622:The Sound of Music
2518:Annie Get Your Gun
2472:The Sound of Music
2272:on January 4, 2013
2226:The New York Times
2179:The New York Times
2038:Hyland, William G.
1804:, pp. 99–100.
1750:Hetrick & Gans
1069:
1010:Louis Kronenberger
978:George Jean Nathan
913:The New York Times
906:Critical reception
828:RCA Victor Records
802:
700:Goodspeed Musicals
609:
591:Production history
427:
402:
390:
324:
198:
3069:Original musicals
3064:Broadway musicals
3044:
3043:
3029:(1965 soundtrack)
2995:No Way to Stop It
2988:So Long, Farewell
2290:"Allegro: Review"
2242:"CD Reviews 2009"
2152:978-1-55783-581-9
2126:978-1-55783-473-7
2102:978-0-19-505425-5
2081:978-0-8109-1567-1
2055:978-0-300-07115-3
2029:978-0-313-34140-3
2008:978-1-57912-846-3
1985:978-0-306-80668-1
1964:978-0-306-80975-0
1779:sinatrafamily.com
1236:
1235:
1048:Chicago Sun-Times
792:Musical treatment
743:James Hammerstein
731:Susan H. Schulman
727:Christopher Reeve
587:
586:
115:
114:
3081:
3012:Related articles
2607:Flower Drum Song
2465:Flower Drum Song
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2347:Internet Archive
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2294:TheatreMania.com
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2170:Atkinson, Brooks
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982:Journal American
871:Stephen Sondheim
867:Norbert Leo Butz
849:as his parents,
759:Dena Hammerstein
737:, re-written by
715:Stephen Bogardus
704:Off-Off-Broadway
639:Majestic Theatre
450:
346:Next day in the
257:Stephen Sondheim
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2918:Shall We Dance?
2715:I Cain't Say No
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2532:John Loves Mary
2511:I Remember Mama
2498:
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2394:Richard Rodgers
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2240:Kenrick, John.
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2044:Richard Rodgers
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1490:, pp. 6–7.
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1228:Richard Rodgers
1197:Donaldson Award
1176:Award Ceremony
1168:
1163:
1147:The failure of
1097:A decade after
1061:
918:Brooks Atkinson
908:
875:Schuyler Chapin
823:
800:Richard Rodgers
794:
789:
723:Jonathan Hadary
647:Annamary Dickey
593:
588:
534:
512:" – Beulah
447:
445:Musical numbers
419:
386:Muriel O'Malley
378:
373:
283:
190:
128:Richard Rodgers
111:for Best Lyrics
109:Donaldson Award
107:
104:Donaldson Award
102:
99:Donaldson Award
90:
47:Richard Rodgers
38:
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3020:Something Good
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2911:I Have Dreamed
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2771:If I Loved You
2767:
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2757:All Er Nuthin'
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2722:Many a New Day
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2553:Burning Bright
2549:
2546:The Happy Time
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2525:Happy Birthday
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2444:The King and I
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2408:Stage musicals
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2310:External links
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2162:Online sources
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2064:Mordden, Ethan
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2013:
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1939:
1937:, p. 331.
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1039:Dance Magazine
959:The New Yorker
907:
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847:Audra McDonald
839:Patrick Wilson
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676:Actors' Equity
661:as Emily, and
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356:Herald Tribune
329:James Mitchell
290:Agnes de Mille
285:The duo hired
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205:had two hits (
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174:Agnes de Mille
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990:George Abbott
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896:Frank Sinatra
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855:Laura Benanti
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2316:
2297:. Retrieved
2293:
2274:. Retrieved
2270:the original
2265:
2249:. Retrieved
2245:
2229:. Retrieved
2225:
2209:. Retrieved
2205:the original
2200:
2184:. Retrieved
2182:. p. 10
2177:
2161:
2160:
2140:
2115:
2091:
2069:
2043:
2018:
1996:
1974:
1953:
1944:Bibliography
1930:
1918:
1906:
1894:
1885:
1879:
1850:
1838:
1809:
1800:
1794:
1782:. Retrieved
1778:
1769:
1757:
1745:
1733:
1721:
1715:
1689:
1668:
1656:
1644:
1639:, p. 7.
1614:
1608:
1597:. Retrieved
1593:
1584:
1575:
1569:
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1527:
1501:
1495:
1432:
1405:
1363:
1351:
1318:
1306:
1301:, p. 6.
1275:
1263:
1216:Best Lyrics
1153:
1148:
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1138:
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1111:
1103:oral history
1098:
1096:
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1075:
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1046:
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1005:
1004:fails where
1001:
997:
994:Theatre Arts
993:
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946:
942:
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887:
883:John Kenrick
859:Liz Callaway
853:as Grandma,
836:
824:
815:
805:
803:
778:
767:
763:
753:
751:
739:Joe DiPietro
734:
719:Karen Ziemba
708:
693:
688:
684:
680:
672:
667:
643:John Battles
630:
629:
620:
616:
612:
610:
600:
599:Program for
581:
539:
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454:
453:
439:
435:
428:
407:
403:
391:
365:Joshua Logan
361:
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310:
305:
302:
297:
293:
284:
273:
269:
266:
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237:Greek chorus
231:
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206:
199:
181:
163:
159:Greek chorus
152:
146:
140:
130:(music) and
118:
117:
116:
87:1948 US Tour
22:
2743:Lonely Room
2708:Kansas City
2503:Productions
2299:January 21,
2276:January 30,
2251:January 21,
2231:January 21,
2211:January 26,
2186:January 21,
1410:Hammerstein
1311:Hammerstein
1224:Best Score
1094:approach."
1030:John Martin
986:Noël Coward
972:with, say,
937:wrote that
890:Jo Stafford
865:as Beulah,
857:as Jennie,
851:Marni Nixon
843:Nathan Gunn
170:Connecticut
75:Productions
3053:Categories
2862:Happy Talk
2661:Cinderella
2647:Cinderella
2639:Television
2614:State Fair
2571:State Fair
2493:Cinderella
2486:State Fair
2458:Pipe Dream
1784:14 January
1725:, p.
1599:2020-03-24
1239:References
861:as Emily,
821:Recordings
770:John Doyle
663:John Conte
633:opened on
352:Billy Rose
350: ...
188:Conception
145:musicals,
3002:Edelweiss
2834:Bali Ha'i
2778:Soliloquy
2579:Oklahoma!
2539:Show Boat
2416:Oklahoma!
2113:(2002) .
1884:Mordden,
1799:Mordden,
1720:Mordden,
1688:Mordden,
1613:Mordden,
1574:Mordden,
1559:Mordden,
1526:Mordden,
1500:Mordden,
1179:Category
1105:tape for
1092:Brechtian
1059:Aftermath
1032:stated, "
952:However,
943:Oklahoma!
888:Vocalist
863:Judy Kuhn
804:Although
681:Oklahoma!
659:Lisa Kirk
613:Oklahoma!
605:Milwaukee
340:Lisa Kirk
294:Oklahoma!
270:Oklahoma!
208:Oklahoma!
166:New Haven
148:Oklahoma!
2960:Do-Re-Mi
2764:Oklahoma
2654:Carousel
2586:Carousel
2423:Carousel
2332: –
2137:(2001).
2066:(1992).
2040:(1998).
1594:Playbill
1544:Atkinson
1182:Nominee
1099:Allegro'
1006:Our Town
947:Carousel
841:as Joe,
830:on five
765:Church.
711:Encores!
685:Carousel
635:Broadway
617:Carousel
601:Allegro'
371:Synopsis
298:Carousel
274:Carousel
248:Brisbane
227:Our Town
222:Carousel
214:Carousel
178:West End
154:Carousel
136:Broadway
83:Broadway
2430:Allegro
2334:Allegro
2328:Allegro
2320:at the
1935:Hischak
1923:Hischak
1762:Kenrick
1738:Metcalf
1673:Toscano
1637:Hischak
1488:Hischak
1437:Secrest
1368:Hischak
1299:Hischak
1268:Secrest
1185:Result
1154:Allegro
1149:Allegro
1141:Allegro
1128:Allegro
1114:Allegro
1087:Allegro
1083:Allegro
1053:Allegro
1034:Allegro
1022:Allegro
1002:Allegro
998:Allegro
970:allegro
939:Allegro
934:The Sun
928:Allegro
916:critic
806:Allegro
754:Allegro
735:Allegro
668:Allegro
637:at the
631:Allegro
621:Allegro
321:Allegro
306:Allegro
232:Allegro
203:the duo
182:Allegro
124:musical
119:Allegro
24:Allegro
2813:So Far
2663:(1997)
2616:(1962)
2573:(1945)
2149:
2123:
2099:
2078:
2052:
2026:
2005:
1982:
1961:
1911:Hyland
1899:Fordin
1855:Hyland
1843:Easton
1831:Easton
1814:Easton
1708:Fordin
1661:Holden
1649:Hyland
1473:Fordin
1425:Easton
1398:Easton
1383:Easton
1344:Fordin
1280:Fordin
1256:Hyland
900:So Far
582:
540:Act II
510:So Far
429:It is
411:So Far
95:Awards
53:Lyrics
2946:Maria
2686:Songs
2563:Films
1872:Nolan
1456:Nolan
1356:Nolan
1323:Nolan
1193:1947
1173:Year
1026:Times
974:lento
455:Act I
417:Act 2
376:Act 1
261:gofer
122:is a
81:1947
43:Music
2301:2011
2278:2011
2253:2011
2233:2011
2213:2011
2188:2011
2147:ISBN
2121:ISBN
2097:ISBN
2076:ISBN
2050:ISBN
2024:ISBN
2003:ISBN
1980:ISBN
1959:ISBN
1786:2018
1232:Won
1219:Won
1209:Won
1188:Ref
1077:it.
945:and
845:and
721:and
615:and
296:and
272:and
244:book
211:and
151:and
64:Book
2345:at
1727:288
1012:of
956:of
832:78s
725:.
683:or
126:by
3055::
2292:.
2264:.
2244:.
2224:.
2199:.
2176:.
1862:^
1821:^
1777:.
1698:^
1680:^
1623:^
1592:.
1551:^
1536:^
1510:^
1480:^
1463:^
1444:^
1417:^
1390:^
1375:^
1330:^
1287:^
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873:,
625:$
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2375:e
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2280:.
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2235:.
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2190:.
2155:.
2129:.
2105:.
2084:.
2058:.
2032:.
2011:.
1988:.
1967:.
1788:.
1764:.
1752:.
1740:.
1675:.
1663:.
1602:.
1546:.
607:)
508:"
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