Rodgers and Hammerstein: Difference between revisions
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Composer/songwriter [[Richard Rodgers]] (1902-1979) and writer/lyricist/librettist [[Oscar Hammerstein II]] ( | Composer/songwriter [[Richard Rodgers]] (1902-1979) and writer/lyricist/librettist [[Oscar Hammerstein II]] (1895 - 1960) had such a successful collaboration in the creation of [[musical theatre|musicals]] that they are recognized by last name alone and usually called simply '''Rodgers and Hammerstein'''. | ||
Both writers had achieved respectable careers before teaming up, particularly Rodgers, who had already created a name for himself in partnership with [[Lorenz Hart]]. But the duo of Rodgers and Hammerstein achieved monumental status; they revolutionized the Broadway musical theatre. | Both writers had achieved respectable careers before teaming up, particularly Rodgers, who had already created a name for himself in partnership with [[Lorenz Hart]]. But the duo of Rodgers and Hammerstein achieved monumental status; they revolutionized the Broadway musical theatre. | ||
Revision as of 22:08, 4 September 2007
Composer/songwriter Richard Rodgers (1902-1979) and writer/lyricist/librettist Oscar Hammerstein II (1895 - 1960) had such a successful collaboration in the creation of musicals that they are recognized by last name alone and usually called simply Rodgers and Hammerstein.
Both writers had achieved respectable careers before teaming up, particularly Rodgers, who had already created a name for himself in partnership with Lorenz Hart. But the duo of Rodgers and Hammerstein achieved monumental status; they revolutionized the Broadway musical theatre.
Among their innovations was the perfecting of a style in which musicals were full-fledged dramatic musical plays, in which music, singing and dance were integral, rather than ancillary to the story. Prior to the Rodgers and Hammerstein era, the vast majority of musicals had been a collection of skits, dances, and comic turns, with musical interludes. With the Rodgers and Hammerstein musical, music, singing and even dancing helped drive the plot. Their first production, Oklahoma!, introduced recurring musical themes and motifs, a device that has been successfully employed ever since, in everything from Star Wars to Phantom of the Opera.
The duo was awarded a formidable number of Tony Awards, an accomplishment made all the more remarkable by the fact that they began writing and producing before the advent of the Tony Awards.
The teams list of hit songs is likewise enviable, and runs the gamut from pop songs and international standards, to the musical education repertory and the repertoire of marching bands.