Rodgers & Hammerstein Encore!

OLLI Summer Term 2020 • Alan Teasley, Instructor

Class 4 • South Pacific (1949)

Today’s Opening Number

[5:59]

(Count & Identify the Songs)

Ted Sperling

Today’s Opening Number

“Bali Ha’i” “There is Nothing Like a Dame” “I’m in Love with a Wonderful Guy” “Some Enchanted Evening”

Ted Sperling

Feedback: What you valued last time . . .

Instructor responding to questions from previous week Previewing next week’s agenda Acknowledgment of “stark sugar-coating” of abuse of women and children “Leaving us on an upbeat note” Diversity of topics covered: dance, performances from years ago and now Links to various resources

Suggested Improvements (“What would make it even better?”)

None offered.

Several commented about Carousel’s depiction of Billy’s violence to Julie:

“The play's acceptance of violence against women—even by the women—makes this musical problematic.” “I have always struggled with the show being celebrated when it seems to make violence against women okay.” “I think it actually was progressive for that time to include a clear depiction of domestic violence and the way women and children were acculturated to accept it. At that time it was . . . largely ignored and hidden. By putting it in our faces, maybe the hope was that people would see how wrong it actually was, and the damaging consequences that go down the generations.”

Questions from Class 3

Were Julie and Billy really married? (yes) Is there history to “You’ll Never Walk Alone” beyond the year it was written? (NYT article) How do I feel about high schools changing the end of the show to omit the issue of violence? Say something about the orchestrations. (Later)

Update on the burning question: “hold chin” or “keep head” [up high]?

According to the Rodgers & Hammerstein organization:

Hey Alan! This is a note from the complete lyric book of Oscar Hammerstein II: “The original sheet music gives this line as ‘Hold your head up high.’ It may be that Hammerstein authorized the change. A tantalizing clue is a March 1952 letter from Albert Sirmay, music editor at Chappell & Co: ‘Dear Oscar, for the sake of security, please just glance at the first page of “You’ll Never Walk Alone” on which you changed two words.’ The letter’s attachment has been lost.”

—via Facebook messenger, 6/9/20

Goals of the Course

You will: Be familiar with five Rodgers and Hammerstein stage musicals (and be able to hum at least one song from each!)

Know about the careers of these men before and after their partnership

Understand the innovations that made this team’s shows revolutionary in the 1940s and 1950s

Enjoy Rodgers and Hammerstein’s many contributions to the Great American Songbook

• Integrated song, story, and dance “as never before” (Purdum)

• Owned their own publishing house and the rights to all their shows

• Built an extensive casting and producing organization

• Pioneered recording of original cast albums (details on NEXT SLIDE)

Innovations

The Business of Rodgers & Hammerstein

• Hired a “brilliant and meticulous” lawyer: Howard Reinheimer • Whenever possible, they owned the rights to their creations • Created an “interlocking empire of nested partnerships and

corporations” (Purdum) to reduce income tax liability • Established their own sheet music publishing company thereby

owning their copyrighted songs • Made favorable cast recording contracts • Produced works by others (like I Remember Mama &

Annie Get Your Gun)

The Rules in Ethan Mordden’s “R&H Handbook”*

1. Develop each story’s community background, culture, mores. 2. Write about people whose lives have meaning. 3. Start uniquely. 4. Anchor the score with character traction. 5. Change your genre from show to show. 6. [Don’t have rules.] 7. The second act should last half as long as the first act with

twice as much action.*Anything Goes: A History of American Musical Theatre (2013)

Today’s Focus

You will have: Increased knowledge of and appreciation for South Pacific.

You will understand: How South Pacific continued to develop the idea of the “integrated musical.” Why South Pacific was considered controversial in the 1940s and ‘50s.

Together we will reflect on: Why South Pacific won the Pulitzer Prize for Drama.

Who owns (at least) one recording of South Pacific?

Broadway From Carousel to South

Pacific

Broadway: The American Musical (PBS, 2004)

from Episode 4: “Oh, What a Beautiful Mornin’” (1943-1960)”

[13:06]

South Pacific (1949)

Produced by: Rodgers & Hammerstein Music: Richard Rodgers Lyrics: Oscar Hammerstein II Book: Oscar Hammerstein II & Joshua Logan Adapted from: Tales of the South Pacific by James A. Michener Book & Musical Numbers Staged by: Joshua Logan Scenery and Lighting: Jo Mielziner Costumes: Motley Orchestrations: Robert Russell Bennett Cast: Mary Martin, Ezio Pinza, Juanita Hall, Myron McCormick, William Tabbert

Using the Participant or Reaction button at the bottom of your screen, raise your hand or put a “thumbs up” if you watched South Pacific.

Carnegie Hall Concert 2005

Film Adaptation 1958

Broadway Revival 2008

South Pacific (1949): 10 Tony Awards

Best Musical Producer (Musical): Rodgers & Hammerstein Original Score: Richard Rodgers Libretto: Oscar Hammerstein II & Joshua Logan Director: Joshua Logan Scenic Design: Jo Mielziner 4 Actors: Mary Martin & Ezio Pinza (leads), Juanita Hall & Myron McCormick (featured)

South Pacific: 1950 Pulitzer Prize for Drama

Usually goes to playwright & lyricist, in this case:

Oscar Hammerstein II Joshua Logan (added later)

First time it was also awarded to a composer, in recognition of music’s integral role in the theatrical experience:

Richard Rodgers

South Pacific: 1950 Pulitzer Prize for Drama

“For a distinguished play by an American playwright, preferably original in its source and dealing with American life.” Is South Pacific deserving of this honor?

South Pacific (2008): 7 Tony Awards*

Best Revival of a Musical Best Actor (Musical): Paulo Szot Direction (Musical): Bartlett Sher Scenic Design: Michael Yeargin Costume Design: Catherine Zuber Lighting Design: Donald Holder Sound Design: Scott Lehrer

*of 11 nominations

Focus on South Pacific

• Source: Michener’s Tales of the South Pacific

• Overture & opening scene

• Mary Martin & Ezio Pinza as Nellie & Emile

• Lt. Cable, Liat & Bloody Mary

• “You’ve Got to Be Carefully Taught”/“This Nearly Was Mine”

Source: James A. Michener’s Tales of the South Pacific

• Published 1947 • Pulitzer Prize for fiction 1948 • Based on Michener’s war

experiences in the South Pacific • Collection of loosely related short

stories (the main challenge to adaptation)

• Hammerstein shared libretto credit with Joshua Logan

1907-1997

The Overture

Orchestration: Robert Russell Bennett

Ted Sperling

Robert Russell Bennett

• Awarded Special Tony Award in 1950 for South Pacific

• Awarded a 2nd Special Tony Award in 2008 “in recognition of his historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein’s South Pacific.”

• RRB also scored Oklahoma!, Victory at Sea, Carmen Jones, Allegro, The King and I, Pipe Dream, Cinderella, Flower Drum Song, & The Sound of Music

1894-1981

The Opening Scene

“As the curtain rises, two Eurasian children, NGANA, a girl about 11, and JEROME, a boy about eight, are, with humorous dignity, dancing an impromptu minuet. . . . NGANA climbs up on a table and poses on it as if it were a stage. JEROME lifts his hands and solemnly conducts her as she sings: “Dites-moi/Pourquoi/La vie est belle . . .”

Look Carefully at the Billing: Act I, Scene 1, Songs

• “Dites-Moi” (Ngana, Jerome) • "A Cockeyed Optimist”

(Nellie) • “Twin Soliloquies”

(Nellie, Emile) • “Some Enchanted Evening”

(Emile)Mary Martin & Ezio Pinza

South Pacific Opening Scene

Paulo Szot as Emile & Kelli O’Hara as Nellie, 2008 Revival

Act I, Scene 2, Songs

• “Bloody Mary Is the Girl I Love” (Seabees)

• “There is Nothing Like a Dame” (Billis, Seabees)

• “Bali Ha’i” (Mary)

Loretta Able Sayres, 2008

South Pacific’s Other Couple

Matthew Morrison & Li Jun Li as Cable & Liat, 2008

Pause for Questions

Act I, Scenes 3-11, Songs

• “My Girl Back Home” (Cable, Nellie) • “I’m Gonna Wash That Man Right

Outa My Hair” (Nellie, Nurses) • Reprise: “Some Enchanted

Evening” (Emile, Nellie) • “I’m in Love with a Wonderful

Guy” (Nellie, Nurses) • “Younger Than Springtime” (Cable)

Scene 7Mary Martin

Act I, Scene 7: On Television in 1954

Mary Martin & Ezio Pinza [9:30]

Act II Songs

• “Happy Talk” (Mary, Liat) • “Honey Bun” (Nellie, Billis) • “You’ve Got To Be Carefully

Taught” (Cable) • “This Nearly Was Mine” (Emile) • “Reprise: Some Enchanted

Evening” (Nellie)

Mary Martin & Myron McCormick

Act II Songs

• “Happy Talk” (Mary, Liat) • “Honey Bun” (Nellie, Billis) • “You’ve Got To Be Carefully

Taught” (Cable) • “This Nearly Was Mine” (Emile) • “Reprise: Some Enchanted

Evening” (Nellie) • “Finale”

Scene 4

Act II, Scene 4 (2008)

Kelli O’Hara, Paulo Szot, & Andrew Samonsky [9:30]

CABLE: It’s not born in you! It happens after you’re born.

You've got to be taught to hate and fear,You've got to be taught from year to year!It's got to be drummed in your dear little ear—You've got to be carefully taught!

You've got to be taught to be afraidOf people whose eyes are oddly made,And people whose skin is a different shade—You've got to be carefully taught.

You've got to be taught before it's too late,Before you are six or seven or eight,To hate all the people your relatives hate—You've got to be carefully taught!You've got to be carefully taught!

“You’ve Got to Be Carefully Taught”

“Finale” The Rules in Ethan Mordden’s “R&H Handbook”*

1. Develop each story’s community background, culture, mores. 2. Write about people whose lives have meaning. 3. Start uniquely. 4. Anchor the score with character traction. 5. Change your genre from show to show. 6. The second act should last half as long as the first act with

twice as much action. 7. [Don’t have rules.]

*Anything Goes: A History of American Musical Theatre (2013)

Course Web Site: www.musicals-101.com

Preferred email address for questions: alanteasley@yahoo.com

Recommended Reading

Link on Course Website

Next Class: The King and I (1951)

• 1956 Film with Yul Brynner & Deborah Kerr

• Available now on Amazon Prime (rental or purchase)

• Also available on DVD

Next Class: The King and I (1951)

• 2015 Revival starring Kelli O’Hara, Ken Watanabe, & Ruthie Ann Miles

• Filmed in London 2018 • Available now on Amazon Prime

(with Broadway HD

Which Song(s) from South Pacific Will Make It Into Your “Top 20” Project?

By the final class, compile a list of (at most) 20 Rodgers and Hammerstein songs you would include on your own “Essential R&H” playlist, album, concert, or revue

Use the Chat feature to share your feedback on today’s class

What worked for you as a learner? What would make it even better?

To play us out . . .

Reba McIntyre & Alec Baldwin, 2005 Carnegie Hall Concert