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Hammerstein and said
She also said that Rodgers and Hammerstein listened to all her suggestions and she worked extremely well with them.
" William Hawkins of the New York World-Telegram said that Merman was " bright as a whip, sure as her shooting, and generously the foremost lady clown of her time " and asserted that the show itself was comparable to those of Rodgers and Hammerstein, proclaiming, " For verve and buoyancy, unslackening, there has seldom if ever been a show like it ... the girls in Annie have the beauty and character of looks one associates with a Rodgers and Hammerstein show.
He said Oscar Hammerstein had done that for him and he wanted to do that for me.
When Hammerstein and Schleicher met later on the evening of January 29 to discuss what Hitler had said, they dispatched Werner von Alvensleben to meet Hitler, who was having dinner at the apartment of Joseph Goebbels, to seek further assurances that Schleicher could serve in a Hitler government.
" The New York Herald Tribune said that Oscar Hammerstein II " must be considered one of the greatest librettists of our day " and that Carmen Jones was " a masterly tour de force ".
Comparing the work of Rodgers and Hammerstein to that of Lloyd Webber, Paige has said that she finds Rodgers and Hammerstein songs more difficult to sing, and described them as challenging.
In an interview with Time Magazine, Hammerstein said that " It took me seven months to write the book and lyrics for Cinderella ".

Hammerstein and was
Oscar Greeley Clendenning Hammerstein II (; July 12, 1895 – August 23, 1960 ) was an American librettist, theatrical producer, and ( usually uncredited ) theatre director of musicals for almost forty years.
Hammerstein was the lyricist and playwright in his partnerships ; his collaborators wrote the music.
Hammerstein collaborated with composers Jerome Kern, Vincent Youmans, Rudolf Friml and Sigmund Romberg ; but his most famous collaboration, by far, was with Richard Rodgers.
Hammerstein was born Oscar Greeley Clendenning Hammerstein in New York City, the son of Alice ( née Nimmo ) and William Hammerstein.
His grandfather was German-born Jewish theater impresario Oscar Hammerstein I, and his mother was the daughter of Scottish and English parents.
Hammerstein was raised an Episcopalian.
He was survived by his second wife Dorothy ( Blanchard ) Jacobson ( m. May 13, 1929 ) and his three children, William Hammerstein and Alice Hammerstein Mathias by first wife Myra Finn, and James Hammerstein by Blanchard.
Hammerstein was probably the best " book writer " in Broadway history – he made the story, not the songs or the stars, central to the musical and brought musical theater to full maturity as an art form.
As recent revivals of Show Boat, Oklahoma !, Carousel, and The King and I in London and New York show, Hammerstein was one of the more tough-minded and socially conscious American musical theater artists.
According to The Rodgers and Hammerstein Story by Stanley Green, " For three minutes, on the night of September first, the entire Times Square area in New York City was blacked out in honor of the man who had done so much to light up that particular part of the world.
The Oscar Hammerstein II Center for Theater Studies at Columbia University was established in 1981 with a $ 1-million gift from his family.
It was at the opening of South Pacific, the musical Hammerstein wrote with Richard Rodgers, that Sondheim met Harold Prince, who would later direct many of Sondheim's shows.
It was a major success among his peers, and it considerably buoyed the young songwriter's ego ; he took it to Hammerstein, and asked him to evaluate it as though he had no knowledge of its author.
Initially he resisted, because he was determined to write the full score for his next project ( Saturday Night had been aborted ), but Oscar Hammerstein convinced him that he would benefit from the experience, and he accepted.
With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move " One Hand, One Heart ", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a result " Tonight " was written to replace it.
It was not until Kern explained that he and Oscar Hammerstein II wanted to create a different type of musical that Ferber granted him the rights.
It was Oscar Hammerstein II ( pp. 58 – 59 ).
She was twenty-one years old and the stepdaughter of Oscar Hammerstein II.
Much of Rodgers's work with both Hart and Hammerstein was orchestrated by Robert Russell Bennett.

Hammerstein and had
Arthur Schwartz and Howard Dietz first tried, and then Richard Rodgers and Oscar Hammerstein II attempted, but gave up and Hammerstein told Lerner " Pygmalion had no subplot ".
In 1927, Kern and Hammerstein had their biggest hit, Show Boat, which is often revived and is still considered one of the masterpieces of the American musical theatre.
The elder Hammerstein became Sondheim's surrogate father, and had a profound influence on him, especially in developing a love for musical theatre.
His partnership with Hart having problems because of the lyricist's unreliability and declining health, Rodgers began working with Oscar Hammerstein II, with whom he had previously written a number of songs ( before ever working with Lorenz Hart ).
After Hart's death, Rodgers collaborated with Oscar Hammerstein, with whom earlier that year he had created the hit musical Oklahoma !.
There was a song that Rodgers and Hammerstein had written, called Boys and Girls Like You and I, that Judy did wonderfully, but it slowed up the picture and it was cut out.
In a reversal of the usual situation, in which American Decca had released original Broadway cast albums of three Rodgers and Hammerstein shows, this was the only film soundtrack album of a Rodgers and Hammerstein show ever released by Decca, while the Broadway cast album had been released by Columbia Masterworks.
However, Sherman had trouble in getting permission to record for profit from some of the well-known composers and lyricists, who did not tolerate parodies or satires of their melodies and lyrics, including Irving Berlin, Richard Rodgers, George and Ira Gershwin, Alan Jay Lerner, and Frederick Loewe, as well as the estates of Lorenz Hart, Oscar Hammerstein, Kurt Weill, and Bertolt Brecht, which prevented him from releasing parodies or satires of their songs.
At the time, Jones had never heard of Rodgers and Hammerstein.
Though it had never been a full critical success relative to other Rodgers and Hammerstein productions such as South Pacific and The King and I, it inspired another generation of Asian Americans to re-imagine the musical.
" When the show was revived in 1952, audiences had learned to accept darker material ( thanks in large part to Rodgers ' work with Oscar Hammerstein II ).
Prior to their partnership, both Rodgers and Hammerstein had enjoyed success independently.
By the early 1940s, Hart had sunk deeper into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.
Independently of each other, Rodgers and Hammerstein had been attracted to making a musical based on Lynn Riggs ' stage play Green Grow the Lilacs.
Stephen Sondheim has cited Rodgers and Hammerstein as having had a crucial influence on his work.
The pair made a rare feature film appearance in MGM's 1953 production Main Street to Broadway, in which Rodgers played the piano and Hammerstein sang a song they had written.
After the success of their first musical collaboration, Oklahoma !, Rodgers and Hammerstein had decided to become producers of both their own theatrical ventures and those by other authors.

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