By Alex Rendon
By Monica McGivern
By Michele Eve Sandberg
By Alex Rendon
By Monica McGivern
By Ian Witlen
By Christina Mendenhall
By Michele Eve Sandberg
Okay, maybe she's a little biased. After all she is composer Richard Rodgers' daughter, but she's also a composer in her own right, having written the music for 1959's Once Upon a Mattress, which returned to Broadway last year.
James Hammerstein, Oscar's son, has a similarly glowing opinion about R&H. "They represent an optimism that is totally American," explains the younger Hammerstein, whose directorial credits include numerous productions of his lyricist father's musicals, notably the 1996 Broadway premiere of State Fair, which is based on the 1945 movie musical of the same name, made when James was a teenager. Also speaking over the phone from New York, Hammerstein recalls his involvement with the recent stage version, set in 1946: "This was the first time I ever did a period piece that was my period. I saw [State Fair] as an idealization of what we would like to have gone through in the America of 1946 -- idealized but very American."
American enough to endure countless passing fads and remain remarkably popular, not unlike the rest of R&H's oeuvre. Since 1993 there have been four R&H musicals -- Carousel, The King and I, State Fair, and the revue A Grand Night for Singing -- on Broadway, with a fifth, The Sound of Music, slated to open in March. This season two post-Broadway tours featuring Rodgers' unforgettable music and Hammerstein's stirring lyrics -- plus a Hammerstein collaboration with Jerome Kern -- are headed to South Florida.
Arriving first: State Fair, which was cobbled together from the duo's movie score (which copped a Best Song Oscar for "It Might as Well Be Spring") and other R&H sources. State Fair begins a six-day run this week at the Jackie Gleason Theater in Miami Beach, with John Davidson reprising his Broadway role as the Iowa farmer who bets $5 that his pig will win the blue ribbon. Later: the 1996 Tony Award-winning revival of the 1951 blockbuster The King and I opens March 17 for a weeklong stint at West Palm Beach's Kravis Center for the Performing Arts; it stars Hayley Mills as the visiting English governess who rules the King of Siam's household. Finally: Hammerstein and Kern's 1927 Show Boat steams into Fort Lauderdale's Broward Center for the Performing Arts on March 28 for a monthlong engagement; director Hal Prince's 1995 revival took home several Tony Awards.
At the same time they dominate area theater schedules, R&H continue to be a force on the national entertainment scene, with their works rediscovered over and over again. For example their made-for-TV Cinderella was seen by 107 million people when it premiered with Julie Andrews in 1957, while a 1965 remake starring Lesley Ann Warren drew countless more viewers. Last month yet another version, this one with Whitney Houston and Brandy, made its successful television debut.
Meanwhile, sales from videos of R&H movies, cast recordings, and tribute albums continue to generate a fair amount of dough-re-mi. And the pair has even cracked the Internet with its own Website: http://www.rnh.com. Over the years R&H musicals have raked in thirty-four Tony Awards, fifteen Academy Awards, two Pulitzer Prizes, and two Grammy Awards. Not bad for two guys who have been dead for nearly twenty years.
Ironically the men who redefined American musical comedy and glorified the nation's pioneer spirit in their first collaboration, Oklahoma! (1943), were both city slickers from New York. The grandson of a well-to-do merchant, Richard Rodgers (19021979) was only fourteen years old when he met Oscar Hammerstein (18951960), who was born into an established theatrical family. In his autobiography, Musical Stages, Rodgers recalled his brother taking him backstage at Columbia University's 1917 annual varsity show, for which Hammerstein had written lyrics and in which the pre-law student also acted. "No deathless words were exchanged at that first meeting," Rodgers wrote, "but it was an occasion that years later prompted an extended disagreement between us. Oscar insisted that I wore short pants that day while I, with equal certainty, stoutly maintained that I had already graduated to 'longies.'"
Each decided to pursue a career in the theater, establishing his own legacy over the next 25 years: Hammerstein worked with various partners to produce Rose-Marie, Desert Song, Show Boat, and Carmen Jones, while Rodgers became a Broadway and sheet music legend with lyricist Lorenz Hart, turning out Babes in Arms, On Your Toes, Pal Joey, and The Boys From Syracuse.
Despite their reputations, when Rodgers teamed with Hammerstein following Hart's death, the early buzz on the new pairing was decidedly bad. One wag who witnessed the out-of-town tryout for Oklahoma! wired newspaper columnist Walter Winchell a terse review that read, "NO GIRLS, NO LEGS, NO JOKES, NO CHANCE." And yet Oklahoma! lasted on Broadway for five years, and R&H's partnership continued right up until Hammerstein's death in 1960. Although his doctors hid the truth from him, Hammerstein was diagnosed with terminal cancer during rehearsals for 1959's The Sound of Music, and that show's wistfully nostalgic "Edelweiss" was the last song he wrote with Rodgers. After his partner's death, Rodgers helped to create five additional musicals (writing the lyrics himself or partnering with lyricists Stephen Sondheim, Sheldon Harnick, and Martin Charnin), none of which became a smash on Broadway.