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Let 'Em Eat Cake

2021-03-05T19:16:09Z

JohnAnkerBow:

{{For|the ''[[Arrested Development (TV series)|Arrested Development]]'' episode|Let 'Em Eat Cake (Arrested Development episode)}}
{{Infobox Musical
|name= Let 'Em Eat Cake
|subtitle=
|image= Let 'Em Eat Cake Musical.gif
|image_size=220px
|caption= Official Logo
|music= [[George Gershwin]]
|lyrics= [[Ira Gershwin]]
|book= [[George S. Kaufman]]
|basis= Sequel to ''[[Of Thee I Sing]]''
|productions= 1933 [[Broadway theatre|Broadway]] 1994 [[BBC]] concert 2009 Opera North

|awards=
}}
'''''Let 'Em Eat Cake''''' is a [[Broadway theatre|Broadway]] musical with music by [[George Gershwin]], lyrics by [[Ira Gershwin]], and book by [[George S. Kaufman]] and [[Morrie Ryskind]]. It is the sequel to the Pulitzer prize-winning ''[[Of Thee I Sing]]'' and had the same producer, writers, and stars. However, the tone of ''Let 'Em Eat Cake'' was much darker and the issues more complex: President Wintergreen is defeated for reelection, and he and his former Vice President, Alexander Throttlebottom, form an incipient Fascist movement to take over the government.

==Productions==
The original Broadway production of ''Let 'Em Eat Cake'' opened October 21, 1933 at the [[Imperial Theatre (Broadway)|Imperial Theatre]], [[New York City]], USA and ran for 89 performances. The cast included [[William Gaxton]] as J.P. Wintergreen, [[Victor Moore]] as Alexander Throttlebottom, [[Philip Loeb]] as Kruger, and [[Lois Moran]] as Mary Wintergreen. The no longer extant orchestrations were by [[Edward B. Powell]].

The show carried a message that audiences did not want to hear and it was a failure. However, it did have one song: "[[Mine (Gershwin song)|Mine]]". Several musical themes from ''Of Thee I Sing'' are reused in ''Let 'Em Eat Cake'', including the Supreme Court Judges' song and the campaign song "Wintergreen for President", which includes parts of folk and patriotic songs such as Sousa's "[[Stars and Stripes Forever]]", and "[[Hail, Hail, the Gang's All Here]]."

A concert version of the show was performed on BBC Radio in 1994 (with a cast that included: [[Denis Quilley]], [[Kim Criswell]], [[Joss Ackland]], [[Henry Goodman]], and [[Louise Gold]]), and [[Opera North]] staged the show, along with a revival of ''Of Thee I Sing'', during its 2008–9 season. The Opera North production was broadcast by [[BBC Radio 3]] on Saturday, 26 September 2009, as part of its Opera on 3 series.

==Plot==

===Act I===

President Wintergreen is up for reelection, but due to the continuing [[Great Depression]], loses in a landslide to John P. Tweedledee. Wintergreen makes an unsuccessful appeal to the [[Supreme Court of the United States|Supreme Court]] to overturn the election results. It is also revealed that Diana Deveraux divorced Throttlebottom to marry the French Ambassador. After the end of his term, Wintergreen, Throttlebottom, and their associates start a business selling his wife Mary's blue shirts on "Union Square." At Union Square, Kruger, an agitator, is proclaiming his doctrine "Down with Everything That's Up." After talking with Kruger, Wintergreen decides that to increase shirt sales they should promise a revolution or their money back, citing the European [[Brown Shirts]] and [[Black Shirts]]. With business now booming ("Shirts by Millions"), Mary appeals to the women to join the New Blue [[D.A.R.]] ("Climb up the Social Ladder") to increase female shirt sales. Wintergreen now needs the support of the Union League Club, because General Snookfield is a member. Throttlebottom persuades them by saying that the British are attacking Bunker Hill ("Comes the Revolution Reprise"). Having secured the Union League Club support, The Blue Shirts meet with Snookfield to plan the overthrow of the government ("On and On and On"). At nine o'clock on July 4, when the Blue Shirts arrive, Snookfield will give the signal for his soldiers to seize Tweedledee. On the Fourth, at the [[White House]] grounds, Tweedledee is giving a speech, when Snookfield leaves with Trixie for a party. The Blue Shirts arrive only to find the general is missing and the soldiers don't know what to do. Tweedledee promises the army a "dollar a day which (he) may not pay." Wintergreen promises the army the war debts owed by the [[League of Nations]], which the soldiers accept. Tweedledee is deposed, and Wintergreen declares that "the land of freedom is free once more" ("Let 'Em Eat Cake").

===Act II===

The White House is being painted "Blue, Blue, Blue." The Supreme Court, now in chains, are brought before Wintergreen. He decides to show leniency because the Court officiated his marriage ceremony. The Court is reorganized into a baseball team. When the League of Nations arrives to discuss repayment of the war debts, they "No Comprenez, No Capish, No Versteh" when the issue is raised; only Finland repays their debt. Kruger, now head of the army following Snookfield's disgrace, is also putting pressure on Wintergreen to remember his promise. Wintergreen offers a solution where the debts will be settled by a baseball game for double or nothing. If the League loses, they will have another conference to discuss it. Kruger accepts the League's offer of [[Finland]]'s money as a side bet. Throttlebottom hesitatingly accepts an offer to be the game's umpire. On the date of the ballgame the Supreme Ball Players, the League, and Kruger's army try to influence Throttlebottom to bend the rules their way.

The United States loses the game after a controversial call by umpire Throttlebottom. The soldiers want someone to be held to account for the loss, over Wintergreen and his associates' objections ("Oyez, Oyez, Oyez"). In the "Trial of Throttlebottom" a military tribunal is underway. Kruger, the Army, and the Ball Players call for Throttlebottom's execution claiming he conspired with the enemy. Wintergreen and his associates object, until the army levels the guns at them. Kruger and the army want to know when they are going be paid ("A Hell of a Hole"). After Wintergreen offers them a share of the shirt business, the army is going to take it all (Down With Everything That's Up—Reprise). Despite pleading he tried his best to get the money ("It Isn't What You Did"), Kruger sentences Wintergreen and his cronies to death by beheading. Mary and the condemned's wives enter and proclaim they are pregnant. Kruger says this may have worked four years ago during Wintergreen's impeachment hearings, but it doesn't work with the army. Trixie, who controls the Navy, arrives and joins forces with Kruger ("First Lady and First Gent"). Kruger proclaims "Let 'em Eat Caviar."

Execution day arrives, and in their jail cell Wintergreen, Throttlebotton, and the Committee discuss how they ended up in this situation. Next, the crowds gather to watch the executions ("Hanging Throttlebottom in the Morning"). A guillotine bought from France is unveiled, and Snookfield is shown to be the executioner. Since Throttlebottom is not married, he will be executed first. After a series of mishaps with the guillotine, Mary interrupts the proceedings. She presents a "Fashion Show" with dresses that arrived on the boat that brought the guillotine. After being reminded that the color of the revolution is blue, and they cannot wear the new fashions, the women revolt. Kruger objects, but the soldiers seize him after Trixie reminds them of an upcoming party.

Wintergreen tells the soldiers to shoot Kruger. When Kruger reveals he used to be in the dress making business, Wintergreen decides to go into business with him. Wintergreen decides to leave the revolution business and restores the republic and the Supreme Court. Tweedledee shows up and Wintergreen gives his vice-president, Throttlebottom, to him, since he can't remember his. Tweedledee declines the Presidency, since he is going to be [[President of Cuba]]. Throttlebottom is now the President. After Wintergreen promised the people cake and Kruger promised them caviar, Throttlebottom promises them pistache ice cream, which he formerly detested.

==Songs==
{{col-begin}}
{{col-2}}

===Act I===
* Overture - Orchestra
* Opening Act 1
** Wintergreen for President - Ensemble
** Tweedledee for President - Ensemble
* Union Square Scene
** Union Square - Ensemble
** Down With Everyone Who's Up - Kruger and Agitators
* Store Scene
** Shirts by Millions - Wives and Ensemble
** Comes the Revolution - Alexander Throttlebottom and Ensemble
** Mine - John P. Wintergreen, Mary Wintergreen and Ensemble
* Climb Up the Social Ladder - Mary Wintergreen, Wives and Ensemble
* Cloistered from the Noisy City (The Union League) - President of the Union League Club and Club Members
* Comes the Revolution (Reprise) - Union League Club
* On and On and On - John P. Wintergreen, John P. Wintergreen, Mary Wintergreen, Mary Wintergreen, Company and Company
* Finale Act 1
** I've Brushed My Teeth - Gen. Adam Snookfield, U.S.A. and Dignitaries
** On and On and On (Reprise) - Blue Shirts
** The General's Gone to a Party - John P. Tweedledee, John P. Wintergreen, Lieutenant and Men
** All the Mothers of the Nation - Mary Wintergreen, Wives and Girls
** Yes, He's a Bachelor - John P. Wintergreen, Blue Shirts and Lieutenant
** There's Something We're Worried About - Lieutenant, Army, Women, John P. Tweedledee and Kruger
** What's the Proletariat? - Mary Wintergreen, Wives, Committee, Army and All
** Let 'Em Eat Cake - John P. Wintergreen and Company
{{col-break}}

===Act II===
* Opening Act 2
** Blue, Blue, Blue - Wives and Ensemble
** Who's the Greatest? - John P. Wintergreen and Ensemble
* The League of Nations
** No Comprenez, No Capish - League of Nations, John P. Wintergreen, Mary Wintergreen and Ensemble
** Who's the Greatest? (Reprise) - John P. Wintergreen and Ensemble
* Ball Park Scene
** Play Ball - Girls
** When the Judges Doff the Ermine - President of the Union League Club and Blue Shirts
** Up and at 'em - Ensemble
* Oyez, Oyez, Oyez - Soldiers and Spectators
* Trial of Throttlebottom
** That's What He Did - Alexander Throttlebottom, Kruger and Ensemble
** I Know a Foul Ball - Alexander Throttlebottom
** Throttle Throttlebottom - Kruger and Ensemble
* Trial of Wintergreen
** A Hell of a Hole (A Hell of a Fix) - John P. Wintergreen, Kruger and Soldiers
** Down With Everyone Who's Up (Reprise) - Kruger and Ensemble
** It Isn't What You Did - John P. Wintergreen and Ensemble
** Mine (Reprise) - John P. Wintergreen, Mary Wintergreen and Ensemble
* Let 'Em Eat Caviar - Kruger and Ensemble (music missing)
* First Lady and First Gent - cut - replaces Caviar in modern performances
* Hang Throttlebottom in the Morning - Lieutenant and Ensemble
* Fashion Show - Ensemble
* Finale (Reprise of either Let 'Em Eat Cake or Of Thee I Sing) - Ensemble
{{col-end}}

==External links==
* {{ibdb show|5343|title=Let 'Em Eat Cake}}
* [http://www.ovrtur.com/show/120110 ''Let 'Em Eat Cake''] at Ovrtur.com
* [http://www.mtishows.com/show_detail.asp?showid=000162 ''Let 'Em Eat Cake''] at the Music Theatre International website
{{Gershwins}}
{{George Kaufman}}
{{Authority control}}

[[Category:1933 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals about the Great Depression]]
[[Category:Musicals by George Gershwin]]
[[Category:Plays by George S. Kaufman]]
[[Category:Sequel plays]]

Hickam's dictum

2020-09-09T00:46:48Z

JohnAnkerBow:

'''Hickam's dictum''' is a counterargument to the use of [[Occam's razor]] in the medical profession.<ref>See, e.g., "Hickam's Dictum versus Occam's Razor: A Case for Occam."
W. Bradley Fields, MD, University of Michigan Health System, Ann Arbor, MI (2005) ([http://www.hospitalmedicine.org/AM/Template.cfm?Section=Home&TEMPLATE=/CM/HTMLDisplay.cfm&CONTENTID=5342#Clinical_Vignettes] )</ref> While Occam's razor suggests that the simplest explanation is the most likely, implying in medicine that diagnosticians should assume a single cause for multiple symptoms, one form of Hickam's dictum states: "A man can have as many diseases as he damn well pleases."<ref>Wallace T. Miller, [http://www.seminarsinroentgenology.com/article/S0037-198X(98)80001-1/pdf "Letter From the Editor: Occam Versus Hickam"], ''Seminars in Roentenology'', vol. 33 (3), 1998-07, page 213, attributed to "an apocryphal physician named Hickam"</ref> The principle is attributed to John Hickam, MD.{{cn|date=December 2017}} When he began saying this is uncertain. In 1946 he was a housestaff member in medicine at [[Grady Memorial Hospital]] in Atlanta. Hickam was a faculty member at [[Duke University]] in the 1950s, and was later chairman of medicine at [[Indiana University]] from 1958 to 1970.<ref>Journal of Neuro-Ophthalmology: September 2002 - Volume 22 - Issue 3 - pp 240-246 ([http://www.jneuro-ophthalmology.com/pt/re/jneuroophth/fulltext.00041327-200209000-00009.htm] )</ref> He died at age 55 in 1970. <ref> ([https://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSln=hickam&GSfn=john&GSmn=b&GSbyrel=all&GSdy=1970&GSdyrel=in&GSob=n&GRid=45945708&df=all&])</ref>

==See also==
*[[Zebra (medicine)]]
*[[Occam's razor]]

==External Links==
{{Spoken Wikipedia|Hickam's_dictum.ogg|2020-9-8}}

==Notes==
{{reflist}}

[[Category:Medical terminology]]
[[Category:Philosophy of medicine]]

Hickam's dictum

2020-09-09T00:46:21Z

JohnAnkerBow: Spoken article added

'''Hickam's dictum''' is a counterargument to the use of [[Occam's razor]] in the medical profession.<ref>See, e.g., "Hickam's Dictum versus Occam's Razor: A Case for Occam."
W. Bradley Fields, MD, University of Michigan Health System, Ann Arbor, MI (2005) ([http://www.hospitalmedicine.org/AM/Template.cfm?Section=Home&TEMPLATE=/CM/HTMLDisplay.cfm&CONTENTID=5342#Clinical_Vignettes] )</ref> While Occam's razor suggests that the simplest explanation is the most likely, implying in medicine that diagnosticians should assume a single cause for multiple symptoms, one form of Hickam's dictum states: "A man can have as many diseases as he damn well pleases."<ref>Wallace T. Miller, [http://www.seminarsinroentgenology.com/article/S0037-198X(98)80001-1/pdf "Letter From the Editor: Occam Versus Hickam"], ''Seminars in Roentenology'', vol. 33 (3), 1998-07, page 213, attributed to "an apocryphal physician named Hickam"</ref> The principle is attributed to John Hickam, MD.{{cn|date=December 2017}} When he began saying this is uncertain. In 1946 he was a housestaff member in medicine at [[Grady Memorial Hospital]] in Atlanta. Hickam was a faculty member at [[Duke University]] in the 1950s, and was later chairman of medicine at [[Indiana University]] from 1958 to 1970.<ref>Journal of Neuro-Ophthalmology: September 2002 - Volume 22 - Issue 3 - pp 240-246 ([http://www.jneuro-ophthalmology.com/pt/re/jneuroophth/fulltext.00041327-200209000-00009.htm] )</ref> He died at age 55 in 1970. <ref> ([https://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSln=hickam&GSfn=john&GSmn=b&GSbyrel=all&GSdy=1970&GSdyrel=in&GSob=n&GRid=45945708&df=all&])</ref>

==See also==
*[[Zebra (medicine)]]
*[[Occam's razor]]

==External Links==
[[File:Hickam's dictum.ogg|thumb|Audio recording of article: "Hickam's dictum"]]
{{Spoken Wikipedia|Hickam's_dictum.ogg|2020-9-8}}

==Notes==
{{reflist}}

[[Category:Medical terminology]]
[[Category:Philosophy of medicine]]

Oscar Hammerstein II

2020-09-05T19:52:41Z

JohnAnkerBow:

{{For|his collaborative work with Richard Rodgers|Rodgers and Hammerstein}}
{{Use mdy dates|date=May 2020}}
{{Infobox musical artist
| name = Oscar Hammerstein II
| image = Oscar Hammerstein - portrait.jpg
| caption = Hammerstein circa 1940
| background = non_performing_personnel
| birth_name = Oscar Greeley Clendenning Hammerstein II
| birth_date = {{birth date|1895|7|12|}}
| birth_place = New York City, U.S.
| death_date = {{death date and age|1960|8|23|1895|7|12}}
| death_place = {{nowrap|[[Doylestown, Pennsylvania]], U.S.}}
| genre = {{flatlist|
*[[Musical theater]]
*[[Popular music|popular]]
}}
| occupation = {{flatlist|
*[[Librettist]]
*[[Theatrical producer|producer]]
*[[Theatre director|director]]
}}
}}

'''Oscar Greeley Clendenning Hammerstein II''' ({{IPAc-en|ˈ|h|æ|m|ər|s|t|aɪ|n}}; July 12, 1895 – August 23, 1960) was an American lyricist, [[librettist]], theatrical producer, and (usually uncredited) director in the musical theater for almost 40 years. He won eight [[Tony Award]]s and two [[Academy Award for Best Original Song|Academy Awards for Best Original Song]]. Many of his songs are standard repertoire for vocalists and [[jazz music]]ians. He co-wrote 850 songs.

He is best known for his collaborations with composer [[Richard Rodgers]], as the duo [[Rodgers and Hammerstein]], whose musicals include ''[[Oklahoma!]]'', ''[[Carousel (musical)|Carousel]]'', ''[[South Pacific (musical)|South Pacific]]'', ''[[The King and I]]'', and ''[[The Sound of Music]]''. Described by [[Stephen Sondheim]] as an "experimental playwright,"<ref>{{Cite web|url=https://www.ft.com/content/c9cdf7ea-d7e0-11df-b044-00144feabdc0|title=Lunch with the FT: Stephen Sondheim|last=Hunter-Tilney|first=Ludovic|date=October 15, 2010|website=The Financial Times|access-date=December 27, 2019}}</ref> Hammerstein helped bring the American musical to new maturity by popularizing musicals that focused on stories and character rather than the lighthearted entertainment that the musical had been known for beforehand.

He also collaborated with [[Jerome Kern]] (with whom he wrote ''[[Show Boat]]''), [[Vincent Youmans]], [[Rudolf Friml]], [[Richard A. Whiting]], and [[Sigmund Romberg]].

==Early life==
Oscar Greeley Clendenning Hammerstein II was born in New York City, the son of Alice Hammerstein (née Nimmo) and theatrical manager [[Willie Hammerstein|William Hammerstein]].<ref>{{cite news| url=https://query.nytimes.com/gst/abstract.html?res=9C0DE1DD143AE633A2575AC1A9609C946596D6CF | work=The New York Times | title="MOVIES" FOR "NEWSIES."; Summer Camp for Street Merahants [sic] to be Aided by Films | date=June 19, 1914}}</ref> His grandfather was the [[German people|German]] theater [[impresario]] [[Oscar Hammerstein I]]. His father was from a [[Jewish]] family, and his mother was the daughter of British parents.<ref>{{harvnb|Fordin|1995|p=11}}</ref> He attended the Church of the Divine Paternity, now the [[Fourth Universalist Society in the City of New York]].<ref>{{cite web |url=https://research-repository.st-andrews.ac.uk/handle/10023/3552 |title=The liberal Protestant influence on the musical plays of Oscar Hammerstein II circa 1943-1959 |last1=Bradley |first1=Kathryn A. |date=25 June 2013 |publisher=[[University of St Andrews]] [Divinity PhD Thesis] |accessdate=22 August 2020 |language=en}}</ref>

Although Hammerstein's father managed the Victoria Theatre and was a producer of [[vaudeville]] shows, he was opposed to his son's desire to participate in the arts.<ref>{{harvnb|Hischak|2007|p=xxix}}</ref>

Hammerstein attended [[Columbia University]] (1912–1916) and studied at [[Columbia Law School]] until 1917.<ref>{{harvnb|Hischak|2007|p=9}}</ref> As a student, he maintained high grades and engaged in numerous extracurricular activities. These included playing first base on the baseball team, performing in the [[Varsity Show]] and becoming an active member of [[Pi Lambda Phi]], a mostly Jewish fraternity.<ref name="Fordin 1995 26">{{harvnb|Fordin|1995|p=26}}</ref>

After his father's death, in June 1914, when he was 19, he participated in his first play with the [[Varsity Show]], entitled ''On Your Way''. Throughout the rest of his college career, Hammerstein wrote and performed in several Varsity Shows.<ref>{{harvnb|Hischak|2007|p=9}}</ref><ref name="PBS-broadway/stars">{{cite web |title=The Stars : COMPOSERS, LYRICISTS & WRITERS : Oscar Hammerstein II |url=https://www.pbs.org/wnet/broadway/stars/oscar-hammerstein-ii/ |website=Broadway: The American Musical |publisher=PBS |quote=Oscar went to Columbia University in preparation for a career in law. It was at Columbia, however, that Oscar’s career in theater actually began when, at age 19, he joined the Columbia University Players as a performer in the 1915 Varsity review “On Your Way.” He participated heavily in the Varsity shows for several years, first as a performer and later as a writer. .... In 1929 Oscar divorced his wife of 12 years, Myra Finn, and married Dorothy Blanchard Jacobson. |accessdate=22 August 2020 }}</ref>

==Early career==
After quitting law school to pursue [[musical theater|theater]], Hammerstein began his first professional collaboration, with [[Herbert Stothart]], [[Otto Harbach]] and Frank Mandel.<ref>{{harvnb|Fordin|1995|p=47}}</ref> He began as an apprentice and went on to form a 20-year collaboration with Harbach. Out of this collaboration came his first musical, ''Always You'', for which he wrote the book and lyrics. It opened on [[Broadway theatre|Broadway]] in 1920.<ref>[https://timesmachine.nytimes.com/timesmachine/1920/01/06/102732695.pdf "''Always You'' Is Amusing"], ''The New York Times'', January 6, 1920</ref> In 1921 Hammerstein joined [[The Lambs]] club.<ref>{{Cite web|url=http://www.THe-Lambs.org|title=The Lambs ®, established 1874|website=www.the-lambs.org|language=en-US|access-date=August 18, 2018}}</ref>

Throughout the next forty years, Hammerstein teamed up with many other composers, including [[Jerome Kern]], with whom Hammerstein enjoyed a highly successful collaboration. In 1927, Kern and Hammerstein wrote their biggest hit based on Edna Ferber's bestselling eponymous novel, ''[[Show Boat]]'', which is often revived, as it is considered one of the masterpieces of American musical theater. "Here we come to a completely new genre — the musical play as distinguished from musical comedy. Now ... the play was the thing, and everything else was subservient to that play. Now ... came complete integration of song, humor and production numbers into a single and inextricable artistic entity." Many years later, Hammerstein's wife [[Dorothy Hammerstein|Dorothy]] bristled when she overheard someone remark that Jerome Kern had written "[[Ol' Man River]]". "Indeed not," she retorted. "Jerome Kern wrote 'dum, dum, dum-dum'. My husband wrote 'Ol' Man River'."<ref>Jones, Dylan, the Biographical Dictionary of Popular Music, Picador Press, 2012, pg. 99</ref>

Other Kern-Hammerstein musicals include ''[[Sweet Adeline (musical)|Sweet Adeline]]'', ''[[Music in the Air]]'', ''[[Three Sisters (musical)|Three Sisters]]'', and ''[[Very Warm for May]]''. Hammerstein also collaborated with [[Vincent Youmans]] (''[[Wildflower (musical)|Wildflower]]''), [[Rudolf Friml]] (''[[Rose-Marie]]''), and [[Sigmund Romberg]] (''[[The Desert Song]]'' and ''[[The New Moon]]'').<ref>[https://www.songhall.org/profile/Oscar_Hammerstein Biography, Songwriters Hall of Fame] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }} songwritershalloffame.org</ref>

==Rodgers and Hammerstein==
{{main|Rodgers and Hammerstein}}
[[File:Hammerstein.jpg|thumb|left|Hammerstein watching an audition at the [[St. James Theatre]]]]
Hammerstein's most successful and sustained collaboration began when he teamed up with [[Richard Rodgers]] to write a musical adaptation of the play ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''.<ref>{{harvnb|Fordin|1995|p=184}}</ref> Rodgers' first partner, [[Lorenz Hart]], originally planned to collaborate with Rodgers on this piece, but his alcoholism had spiraled out of control, rendering him incapacitated.<ref name=":0">{{Cite book|last=Castleden|first=Rodney|url=https://books.google.com/books?id=cefwDwAAQBAJ&pg=PT99|title=Creative Encounters: That Changed the World|date=2020-07-01|publisher=Canary Press eBooks|isbn=978-1-908698-43-8|pages=99|language=en}}</ref> Hart was also not certain that the idea had much merit, and the two therefore separated.<ref>{{Cite book|last=Carter|first=Tim|url=https://books.google.com/books?id=5RP0DwAAQBAJ&pg=PA40|title=Oklahoma!: The Making of an American Musical, Revised and Expanded Edition|date=2020-07-31|publisher=Oxford University Press|isbn=978-0-19-066522-7|pages=39|language=en}}</ref> The adaptation became the first Rodgers and Hammerstein collaboration, entitled ''[[Oklahoma!]]'', which opened on Broadway in 1943.<ref name=":0" /> It furthered the revolution begun by ''[[Show Boat]]'', by thoroughly integrating all the aspects of musical theater, with the songs and dances arising out of and further developing the plot and characters.<ref name="history" />

William A. Everett and Paul R. Laird wrote that this was a "show, that, like ''Show Boat'', became a milestone, such that that subsequent historians writing about important moments in twentieth-century theater began to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, William A. and Laird, Paul R. (2002), ''The Cambridge Companion to the Musical'', Cambridge University Press, p. 124, {{ISBN|0-521-79639-3}}</ref> After ''Oklahoma!'', Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as ''[[Carousel (musical)|Carousel]]'', ''[[The King and I]]'' and ''[[South Pacific (musical)|South Pacific]]''. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref name=history>[http://www.theatrehistory.com/american/musical030.html "American Musical Theatre: An Introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }}, theatrehistory.com, republished from ''The Complete Book of Light Opera''. Mark Lubbock. New York: Appleton-Century-Crofts, 1962. pp. 753–56, accessed December 3, 2008</ref>

The partnership went on to produce not only the aforementioned, but also other Broadway musicals such as ''[[Allegro (musical)|Allegro]]'', ''[[Me and Juliet]]'', ''[[Pipe Dream (musical)|Pipe Dream]]'', ''[[Flower Drum Song]]'', and ''[[The Sound of Music]]'', as well as the musical film ''[[State Fair (1945 film)|State Fair]]'' (and its [[State Fair (musical)|stage adaptation of the same name]]), and the television musical ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'', all featured in the [[revue]] ''[[A Grand Night for Singing]]''. Hammerstein also wrote the book and lyrics for ''[[Carmen Jones]]'', an adaptation of [[Georges Bizet]]'s opera ''[[Carmen]]'', with an all-black cast that became a 1943 Broadway musical and [[Carmen Jones (film)|a 1954 film]], starring [[Dorothy Dandridge]].<ref>{{cite web |last1=Camara |first1=Jorge |title=GOLDEN GLOBE WINNERS OF YESTERYEAR – CARMEN JONES |url=https://www.goldenglobes.com/articles/golden-globe-winners-yesteryear-%E2%80%93-carmen-jones |website=GoldenGlobes.com |publisher=[[Hollywood Foreign Press Association]] |date=20 April 2011 |quote=The winner of the Golden Globe for the Best Comedy/Musical Picture of 1954 was Carmen Jones. The film, an adaptation of the Broadway musical of the same name, which in turn was an adaptation of Georges Bizet’s famous opera “Carmen,” respected the music, but used a script and new English lyrics by Oscar Hammerstein of Rodgers & Hammerstein musical fame.|accessdate=22 August 2020}}</ref>

==Advocacy==
An active advocate for writers' rights within the [[Theater in the United States|theater industry]], Hammerstein was a member of the [[Dramatists Guild of America]]. In 1956, he was elected as the eleventh president of the [[nonprofit organization]].<ref>{{cite web |last1=Hillshafer |first1=Linda |title=Stories of Standards—All the Things You Are |url=https://www.kuvo.org/stories-of-standards-all-the-things-you-are-2/ |website=KUVO |accessdate=22 August 2020 |date=1 June 2020 |quote=Hammerstein was a member of the Dramatists’ Guild of America and was elected its eleventh president in 1956. He died of stomach cancer in 1960.}}</ref> He continued his presidency at the Guild until 1960; he was succeeded by [[Alan Jay Lerner]].<ref>{{cite book |last1=McHugh |first1=Dominic |title=Alan Jay Lerner: A Lyricist's Letters |date=2014 |publisher=Oxford University Press |isbn=978-0-19-994928-1 |page=124 |url=https://books.google.ca/books?id=jWzrAwAAQBAJ&pg=PA124&dq=replacing+Oscar+Hammerstein+August+23+Lerner+was+elected+president+Dramatists+Guild+of+America&hl=en&sa=X&ved=2ahUKEwiRi-Sv6a7rAhVm1lkKHQhfDuoQ6AEwAHoECAUQAg#v=onepage&q=replacing%20Oscar%20Hammerstein%20August%2023%20Lerner%20was%20elected%20president%20Dramatists%20Guild%20of%20America&f=false |accessdate=22 August 2020 |language=en | quote= ... Lerner was elected president of the Dramatists Guild on February 18, replacing Oscar Hammerstein. .... The reason for Hammerstein's need to stand down as president, however, was sad: he was suffering from cancer....}}</ref>

==Death==
[[File:Oscar hammerstein wife.jpg|thumb|Hammerstein with his first wife, Myra Finn, photographed aboard a ship]]
Hammerstein died of [[stomach cancer]] on August 23, 1960, at his home [[Oscar Hammerstein II Farm|Highland Farm]] in [[Doylestown, Pennsylvania]], aged 65,<ref>"Oscar Hammerstein II Is Dead", ''The New York Times'', p. 1, August 23, 1960</ref> nine months after the opening of ''[[The Sound of Music]]'' on Broadway.<ref name=TimeCorliss>{{cite journal |last1=Corliss |first1=Richard |title=Can Even a Cranky Guy Fall for 'The Sound of Music'? |journal=Time |date=2 March 2015 |url=https://time.com/3717463/sound-of-music-50-review/ |quote=The Academy of Motion Picture Arts and Sciences loved the movie big time, festooning it with 10 nominations and five Oscars, including Best Picture and Best Director, at the 1966 ceremony. ..... Though Hammerstein died at 65 in 1960, nine months into The Sound of Music’s Broadway run, the movie has proved how lasting that heritage would be. .....|accessdate=22 August 2020}}</ref> The final song he wrote was "[[Edelweiss (song)|Edelweiss]]", which was added near the end of the second act during rehearsal.<ref>Maslon, Lawrence. ''The Sound of Music Companion'' (2007), p. 177, Simon and Schuster, {{ISBN|1-4165-4954-4}}</ref><ref>[http://www.rnh.com/bio/154/Hammerstein-II-Oscar "Oscar Hammerstein II"] {{Webarchive|url=https://web.archive.org/web/20110424160819/http://www.rnh.com/bio/154/Hammerstein-II-Oscar |date=April 24, 2011 }} rnh.com, accessed November 2011</ref> After Hammerstein's death, ''The Sound of Music'' was adapted as [[The Sound of Music (film)|a 1965 film]], which won the [[38th Academy Awards|Academy Award]] for Best Picture.<ref name=TimeCorliss/><ref>{{cite web |title=The 38th Academy Awards (1966) |url=https://www.oscars.org/oscars/ceremonies/1966 |website=Oscars.org |publisher=Academy of Motion Picture Arts and Sciences |accessdate=22 August 2020 |language=en}}</ref>

The lights of [[Times Square]] were turned off for one minute,<ref>{{cite news| title=Blackout on Broadway to Honor Hammerstein| url=https://www.nytimes.com/1960/09/01/archives/blackout-on-broadway-to-honor-hammerstein.html| newspaper=The New York Times| page=52| date=September 1, 1960|url-access=subscription }}</ref> and London's [[West End of London|West End]]<ref>{{cite news| title=London Honors Hammerstein| url=https://www.nytimes.com/1960/08/26/archives/london-honors-hammerstein.html| newspaper=The New York Times| page=14| date=August 26, 1960|url-access=subscription }}</ref> lights were dimmed in recognition of his contribution to the musical. He was cremated, and his ashes were buried at the [[Ferncliff Cemetery]] in [[Hartsdale, New York]].<ref>{{cite news| title=Rites for Hammerstein| url=https://www.nytimes.com/1960/08/25/archives/rites-for-hammerstein-ashes-of-lyricist-are-buried-ulondon-plans.html| newspaper=The New York Times| page=29| date=August 25, 1960|url-access=subscription }}</ref> A memorial plaque was unveiled at [[Southwark Cathedral]], England, on May 24, 1961.<ref>{{cite news| title=Hammerstein Honored| url=https://www.nytimes.com/1961/05/25/archives/hammerstein-honored-widow-unveils-plaque-to-his-memory-in-london.html| newspaper=The New York Times| page=32| date=May 24, 1961| quote=Mrs. Oscar Hammerstein 2nd, widow of the lyricist, unveiled a plaque today to his memory in Southwark Cathedral .... Mr. Hammerstein's will provided £2000 to support two choir-boys at Southwark Cathedral.|url-access=subscription }}</ref> He was survived by his second wife, [[Dorothy Hammerstein|Dorothy]], his three children, and two stepchildren.{{cn|date=August 2020}}

==Personal life==
Hammerstein married his first wife, Myra Finn, in 1917; the couple divorced in 1929.<ref name="PBS-broadway/stars"/><ref>{{cite book |last1=Hamersly |first1=Lewis Randolph |last2=Leonard |first2=John William |last3=Mohr |first3=William Frederick |last4=Knox |first4=Herman Warren |last5=Holmes |first5=Frank R. |title=Who's who in New York City and State |date=1947 |publisher=L.R. Hamersly Company |page=444 |url=https://books.google.ca/books?id=wU11767XjtoC&q=Myra+Finn+1917+1929&dq=Myra+Finn+1917+1929&hl=en&sa=X&ved=2ahUKEwiG0byx7K_rAhVyQt8KHelQDmkQ6AEwAHoECAEQAg |accessdate=22 August 2020 |language=en |quote=... m. Myra Finn, Aug. 22. 1917, N. Y. C. (div. May 13, 1929); (2) May 14, 1929, Dorothy Blanchard in Baltimore: ch.: William, Alice, James. ...}}</ref> He married his second wife, the Australian-born [[Dorothy Hammerstein|Dorothy (Blanchard) Jacobson]] (1899-1987), in 1929.<ref name="JoanCookNYTimes">{{cite news |last1=Cook |first1=Joan |title=Dorothy Hammerstein Dies; Designer Was Lyricist's Wife |url=https://www.nytimes.com/1987/08/04/obituaries/dorothy-hammerstein-dies-designer-was-lyricist-s-wife.html |accessdate=22 August 2020 |work=The New York Times |date=4 August 1987 |url-access=subscription }}</ref> He had three children: William Hammerstein (1918–2001)<ref>{{cite web |last1=Jones |first1=Kenneth |title=William Hammerstein, Director and Son of Oscar Hammerstein II, Dead at 82 |url=https://www.playbill.com/article/william-hammerstein-director-and-son-of-oscar-hammerstein-ii-dead-at-82-com-95431 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=11 March 2001}}</ref> and Alice Hammerstein Mathias<ref>{{cite web |last1=Asch |first1=Amy |title=Getting to Know Her: Meet Alice Hammerstein Mathias, Oscar's Daughter |url=https://www.playbill.com/article/getting-to-know-her-meet-alice-hammerstein-mathias-oscars-daughter-com-182717 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=19 September 2011}}</ref> by his first wife, and [[James Hammerstein]] (1931-1999)<ref>{{cite web |last1=Jones |first1=Kenneth |title=Producer-director James Hammerstein, Son of Oscar Hammerstein II, Dead at 67 |url=https://www.playbill.com/article/producer-director-james-hammerstein-son-of-oscar-hammerstein-ii-dead-at-67-com-79338 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=7 January 1999}}</ref> by his second wife, with whom he also had a stepson, Henry Jacobson, and a stepdaughter, [[Susan Blanchard (socialite)|Susan Blanchard]].<ref name="JoanCookNYTimes"/>

==Reputation==
Hammerstein was one of the most important "book writers" 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.<ref name=pbs>{{cite episode| transcript=Oscar Hammerstein II| transcript-url=https://www.pbs.org/wnet/broadway/stars/oscar-hammerstein-ii/| title=Oh, What a Beautiful Mornin': 1943–1960| network=[[PBS]]| airdate=October 20, 2004| series=Broadway: The American Musical| accessdate=August 23, 2018| quote=...perhaps the most influential lyricist and librettist of the American theater.}}</ref><ref>{{cite web|url=http://www.achievement.org/autodoc/printmember/son0int-1|title=Interview: Stephen Sondheim|publisher=Academy of Achievement|accessdate=May 8, 2010|quote=People underestimate what [Hammerstein] did in the way of musical theater. He was primarily an experimental writer, and what he was doing was marrying the traditions of opera and American musical comedy, using songs to tell a story that was worth telling. The first real instance of that is Show Boat, which is a watershed show in the history of musical theater, and Oklahoma!, which is innovative in different ways ... Now, because of the success of Oklahoma!, and subsequent shows, most musical theater now tells stories through songs. But that was not true prior to 1943, the year of Oklahoma!|url-status=dead|archiveurl=https://web.archive.org/web/20101212152133/http://achievement.org/autodoc/printmember/son0int-1|archivedate=December 12, 2010}}</ref> According to [[Stephen Sondheim]], "What few people understand is that Oscar's big contribution to the theater was as a theoretician, as a [[Peter Brook]], as an innovator. People don't understand how experimental ''Show Boat'' and ''Oklahoma!'' felt at the time they were done. Oscar is not about the 'lark that is learning to pray' – that's easy to make fun of. He's about ''[[Allegro (musical)|Allegro]]''," Hammerstein's most experimental musical.<ref>{{cite news| last=Rich| first=Frank| title=Conversations with Sondheim| url=https://www.nytimes.com/2000/03/12/magazine/conversations-with-sondheim.html| newspaper=The New York Times Magazine| pages=38–ff| date=March 12, 2000|url-access=subscription }}</ref>

His reputation for being sentimental is based largely on the movie versions of the musicals, especially ''The Sound of Music'', in which a song sung by those in favor of reaching an accommodation with the Nazis, "[[No Way to Stop It]]", was cut. 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 Richard Kislan, "The shows of Rodgers and Hammerstein were the product of sincerity. In the light of criticism directed against them and their universe of sweetness and light, it is important to understand that they believed sincerely in what they wrote."<ref>{{harv|Kislan|1995|p=141}}</ref> According to Marc Bauch, "The Rodgers and Hammerstein musicals are romantic musical plays. Love is important."<ref>{{harvnb|Bauch|2003|p=155}}</ref>

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. From 8:57 to 9:00 p.m., every neon sign and every light bulb was turned off and all traffic was halted between 42nd Street and 53rd Street, and between 8th Ave and the Avenue of the Americas. A crowd of 5,000 people, many with heads bowed, assembled at the base of the statue of Father Duffy on Times Square where two trumpeters blew taps. It was the most complete blackout on Broadway since World War II, and the greatest tribute of its kind ever paid to one man."<ref>{{cite book| last=Green| first=Stanley| title=The Rodgers and Hammerstein Story| url=https://books.google.com/?id=zSoIAQAAMAAJ&q=%22For+three+minutes%2C+on+the+night+of+September+first%2C+the+entire+Times+Square+area+in+New+York+City+was+blacked+out%22| accessdate=August 21, 2018| year=1963| publisher=J. Day Co.| page=12}}</ref>

==Songs==
According to ''The Complete Lyrics of Oscar Hammerstein II'', edited by Amy Asch, Hammerstein contributed the lyrics to 850 songs,<ref>{{cite news| last=Jones| first=Kenneth| url=http://www.playbill.com/article/complete-lyrics-of-hammerstein-in-stores-now-required-climbing-evry-mountain-com-155606| title=Complete Lyrics" of Hammerstein, in Stores Now, Required Climbing Ev'ry Mountain| archive-url=https://web.archive.org/web/20081204122853/http://www.playbill.com/news/article/123774.html| archive-date=December 4, 2008| journal=[[Playbill]]| date=December 1, 2008}}</ref> including "[[Ol' Man River]]", "[[Can't Help Lovin' Dat Man|Can't Help Lovin' That Man]]" and "[[Make Believe (Jerome Kern song)|Make Believe]]" from ''Show Boat'';<ref>{{Cite book|last=Brideson|first=Cynthia|url=https://books.google.com/books?id=D1LzCAAAQBAJ&pg=PA457|title=Ziegfeld and His Follies: A Biography of Broadway's Greatest Producer|last2=Brideson|first2=Sara|date=2015-06-23|publisher=University Press of Kentucky|isbn=978-0-8131-6090-0|pages=457|language=en}}</ref> "[[Indian Love Call]]" from ''Rose-Marie'';<ref>{{Cite book|last=Tyler|first=Don|url=https://books.google.com/books?id=hSCfBQAAQBAJ&pg=PA139|title=Hit Songs, 1900-1955: American Popular Music of the Pre-Rock Era|date=2007-04-02|publisher=McFarland|isbn=978-0-7864-2946-2|pages=139|language=en}}</ref> "[[People Will Say We're in Love]]"{{cn|date=August 2020}} and "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" (which has been the official state song of Oklahoma since 1953) from ''Oklahoma!'';<ref>{{Cite book|last=Capace|first=Nancy|url=https://books.google.com/books?id=-EbRP8o6LGMC&pg=PA9|title=Encyclopedia of Oklahoma|date=1999-01-01|publisher=Somerset Publishers, Inc.|isbn=978-0-403-09837-8|pages=9|language=en}}</ref> "[[Some Enchanted Evening]]", from ''South Pacific''; "[[Getting to Know You (song)|Getting to Know You]]"<ref>{{Cite book|last=Hammerstein|first=Oscar, II|url=https://books.google.com/books?id=TQIYt3kBqVAC&pg=PA349|title=The Complete Lyrics of Oscar Hammerstein II|date=2008|publisher=Knopf|isbn=978-0-375-41358-2|pages=349|language=en}}</ref> and "[[The King and I|Shall We Dance]]" from ''The King and I''; and [[The Sound of Music (song)|the title song]] as well as "[[Climb Ev'ry Mountain]]" from ''[[The Sound of Music]]''.{{cn|date=August 2020}}

Several albums of Hammerstein's musicals were named to the "[[Songs of the Century]]" list as compiled by the [[Recording Industry Association of America]] (RIAA), the [[National Endowment for the Arts]], and [[Scholastic Corporation]]:<ref>{{cite web |title=Entertainment - Songs of the Century |url=https://edition.cnn.com/2001/SHOWBIZ/Music/03/07/list.top.365.songs/ |website=edition.cnn.com |publisher=CNN |accessdate=22 August 2020 |date=March 7, 2001}}</ref>
*''The Sound of Music'' — # 36
*''Oklahoma!'' — # 66
*''South Pacific'' — # 224
*''The King and I'' — # 249
*''Show Boat'' — # 312

==Awards and nominations==
Hammerstein won two Oscars for best original song—in 1941 for "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]" in the film ''[[Lady Be Good (1941 film)|Lady Be Good]]'', and in 1945 for "[[It Might as Well Be Spring]]" in ''[[State Fair (1945 film)|State Fair]].'' In 1950, the team of Rodgers and Hammerstein received [[The Hundred Year Association of New York]]'s Gold Medal Award "in recognition of outstanding contributions to the City of New York."<ref>{{cite web |title=Richard A. Cook Gold Medal Award |url=https://100yearassociation.com/awards/richard-a-cook-gold-medal-award/ |website=The Hundred Year Association |accessdate=23 August 2020}}</ref>

Hammerstein won eight [[Tony Award]]s, six for lyrics or book, and two as producer of the Best Musical (''South Pacific'' and ''The Sound of Music''). Rodgers and Hammerstein began writing together before the era of the Tonys: ''Oklahoma!'' opened in 1943 and ''Carousel'' in 1945, and the Tony Awards were not awarded until 1947. They won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] in 1944 for ''Oklahoma!''<ref>[http://www.pulitzer.org/bycat/Special-Awards-and-Citations "Special Awards and Citations"]. The Pulitzer Prizes. Retrieved December 1, 2008.</ref> and, with [[Joshua Logan]], the annual [[Pulitzer Prize for Drama]] in 1950 for ''South Pacific''.<ref>[http://www.pulitzer.org/bycat/Drama "Drama"]. The Pulitzer Prizes. Retrieved December 3, 2013.</ref> The Oscar Hammerstein II Center for Theater Studies at Columbia University was established in 1981 with a $1-million gift from his family.<ref>[https://query.nytimes.com/gst/fullpage.html?res=950DE5D6143BF930A25751C0A965948260 "Columbia Names Stein To Theater Post"], ''The New York Times'', February 13, 1983</ref>

{| class="wikitable"
|-
!Year
!Award
!Category
!Title
!Results
!Ref.
|-
|[[11th Academy Awards|1938]] || rowspan=5|[[Academy Award]] || rowspan=5|[[Academy Award for Best Original Song|Best Original Song]] || ''"A Mist over the Moon"'', [[The Lady Objects]] || {{nom}} || rowspan=5|<ref>{{cite web|url=https://www.imdb.com/name/nm0358564/awards?ref_=nm_awd|title= Oscar Hammerstein II – Awards|website= [[Internet Movie Database]]|accessdate= April 25, 2020}}</ref>
|-
|[[14th Academy Awards|1941]] || ''"[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]"'', [[Lady Be Good (1941 film)|Lady Be Good]] || {{won}}
|-
|[[18th Academy Awards|1945]] || ''"[[It Might as Well Be Spring]]"'', [[State Fair (1945 film)|State Fair]] || {{won}}
|-
|[[19th Academy Awards|1946]] || ''"All Through the Day"'', [[Centennial Summer]] || {{nom}}
|-
|[[24th Academy Awards|1951]] || ''"[[A Kiss to Build a Dream On]]"'', [[The Strip (1951 film)|The Strip]] || {{nom}}
|-
|rowspan=3|[[4th Tony Awards|1950]] || rowspan=6|[[Tony Award]] || [[Tony Award for Best Musical|Best Musical]] || rowspan=3|''[[South Pacific (musical)|South Pacific]]'' || {{won}} || rowspan=6|<ref>{{cite web|url= https://www.broadwayworld.com/tonyawardspersoninfo.php?nomname=Oscar%20Hammerstein%20II|title= Oscar Hammerstein II Tony Awards|website= Broadwayworld.com|accessdate= April 25, 2020}}</ref>
|-
|[[Tony Award for Best Book of a Musical|Best Book of a Musical]] || {{won}}
|-
|[[4th Tony Awards|Best Producer of a Musical]] || {{won}}
|-
|[[6th Tony Awards|1952]] || rowspan=2|[[Tony Award for Best Musical|Best Musical]] || ''[[The King and I]]'' || {{won}}
|-
|[[10th Tony Awards|1956]] || ''[[Pipe Dream (musical)|Pipe Dream]]'' || {{nom}}
|-
|[[50th Tony Awards|1996]] || [[Tony Award for Best Original Score|Best Original Score]] || ''[[State Fair (musical)|State Fair]]'' || {{nom}}
|-
|[[3rd Annual Grammy Awards|1961]] || rowspan=2|[[Grammy Awards]] || rowspan=2|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]] || ''[[The Sound of Music]]'' || {{won}} || <ref>{{cite web|url=https://www.grammy.com/grammys/artists/oscar-hammerstein-ii|title= Oscar Hammerstein II – Artist|website= Grammys.com|accessdate= April 25, 2020}}</ref>
|-
|}

== Legacy ==
His advice and work influenced [[Stephen Sondheim]], a friend of the Hammerstein family from childhood. Sondheim has attributed his success in theater, and especially as a lyricist, directly to Hammerstein's influence and guidance.<ref name=pbs/>

The [[Oscar Hammerstein Award]] for Lifetime Achievement in Musical Theater is presented annually. The York Theatre Company of New York City is the administrator of the award.<ref>[https://web.archive.org/web/20021126014739/http://www.yorktheatre.org/History.htm York Theatre history] yorktheatre.org, accessed December 8, 2008</ref> Past awardees are composers such as [[Stephen Sondheim]] and performers such as [[Carol Channing]].<ref>Gans, Andrew.[https://archive.today/20130201022259/http://www.playbill.com/news/article/93232-Rivera_Vereen_Hirsch_Huffman_and_More_to_Salute_Walton_June_6 "Rivera, Vereen, Hirsch, Huffman and More to Salute Walton June 6"] ''Playbill'', May 31, 2005</ref>

Oscar Hammerstein was a member of the [[American Theater Hall of Fame]].<ref>{{cite web|url=http://www.theaterhalloffame.org/members.html|title=Theater Hall of Fame members|website=Theaterhalloffame.org|accessdate=February 9, 2014}}</ref>

==References==
{{Reflist}}

==Further reading==
*{{cite book| last=Lovensheimer| first=Jim| date=August 25, 2010| title=South Pacific: Paradise Revisited| url=https://books.google.com/?id=v5-2rpCzHHEC&printsec=frontcover&dq=South+Pacific:+Paradise+Revisited#v=onepage&q&f=false| publisher=Oxford University Press| isbn=978-0-19-537702-6}}
*{{cite book| last=Bauch| first=Marc| year=2003 |title=The American Musical| url=https://books.google.com/?id=UeaHSVd7jQAC&printsec=frontcover&dq=bauch+the+american+musical#v=onepage&q&f=false| publisher=Tectum Verlag DE| isbn=978-3828884588| ref=harv}}
*{{cite book| last=Fordin |first=Hugh |year=1995 |title=Getting to Know Him:A Biography of Oscar Hammerstein II| url=https://books.google.com/?id=Ef8V7iG5CGkC&dq=editions%3AQg2_UeyP2P4C&q=taps| publisher=Da Capo Press| isbn= 978-0306806681| ref=harv|url-access=subscription }}
*{{cite book| last=Hischak| first=Thomas S.| year=2007| title=The Rodgers and Hammerstein Encyclopedia| url=https://books.google.com/?id=CsbEP_Mu50EC&printsec=frontcover&dq=The+Rodgers+and+Hammerstein+Encyclopedia#v=onepage&q=columbia%20law%20&f=false| publisher=ABC-CLIO| isbn=978-0313341403| ref=harv}}
*{{cite book| last=Kislan |first=Richard |year=1995 |title=The Musical: A Look at the American Musical Theater| url=https://books.google.com/?id=KBmxpzpQQngC&printsec=frontcover&dq=The+Musical:+A+Look+at+the+American+Musical+Theater#v=onepage&q=sweetness%20and%20light&f=false| publisher=Hal Leonard Corporation| isbn=978-1557832177| ref=harv}}

==External links==
{{Spoken Wikipedia|Oscar_Hammerstein_II.ogg|2020-9-5}}
{{Portal|Biography}}
{{Commons category}}
{{Wikiquote}}
*{{IBDB name}}
*{{IMDb name|358564}}
*
*[https://web.archive.org/web/20051230152641/http://www.sbgmusic.com/html/teacher/reference/composers/rodg-hamm.html Musicals by Rodgers and Hammerstein]
*[https://web.archive.org/web/20110424160819/http://www.rnh.com/bio/154/Hammerstein-II-Oscar Biography of Oscar Hammerstein II at RNH Official Site]
*[https://web.archive.org/web/20100413161401/http://www.hrc.utexas.edu/multimedia/video/2008/wallace/hammerstein_oscar.html Oscar Hammerstein II] interviewed by [[Mike Wallace]] on ''The Mike Wallace Interview'' March 15, 1958
*[https://hdl.loc.gov/loc.music/eadmus.mu018003 Oscar Hammerstein II Collection] at the [[Library of Congress]]
* {{LCAuth|n50020012|Oscar Hammerstein|487|}}

{{Rodgers and Hammerstein}}
{{Navboxes
| title = Awards for Oscar Hammerstein II
| list =
{{AcademyAwardBestOriginalSong 1941–1950}}
{{PulitzerPrize DramaAuthors 1926–1950}}
{{PulitzerPrize SpecialCitations Arts}}
{{TonyAward MusicalBook 1950–1975}}
}}
{{Oklahoma!}}

{{Authority control}}

{{DEFAULTSORT:Hammerstein, Oscar, Ii}}
[[Category:Oscar Hammerstein II| ]]
[[Category:20th-century American dramatists and playwrights]]
[[Category:American musical theatre lyricists]]
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[[Category:American theatre managers and producers]]
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[[Category:Best Original Song Academy Award-winning songwriters]]
[[Category:Burials at Ferncliff Cemetery]]
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[[Category:Columbia Law School alumni]]
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[[Category:American people of English descent]]
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[[Category:Hammerstein family (show business)]]
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Oscar Hammerstein II

2020-09-05T19:52:10Z

JohnAnkerBow:

{{For|his collaborative work with Richard Rodgers|Rodgers and Hammerstein}}
{{Use mdy dates|date=May 2020}}
{{Infobox musical artist
| name = Oscar Hammerstein II
| image = Oscar Hammerstein - portrait.jpg
| caption = Hammerstein circa 1940
| background = non_performing_personnel
| birth_name = Oscar Greeley Clendenning Hammerstein II
| birth_date = {{birth date|1895|7|12|}}
| birth_place = New York City, U.S.
| death_date = {{death date and age|1960|8|23|1895|7|12}}
| death_place = {{nowrap|[[Doylestown, Pennsylvania]], U.S.}}
| genre = {{flatlist|
*[[Musical theater]]
*[[Popular music|popular]]
}}
| occupation = {{flatlist|
*[[Librettist]]
*[[Theatrical producer|producer]]
*[[Theatre director|director]]
}}
}}

'''Oscar Greeley Clendenning Hammerstein II''' ({{IPAc-en|ˈ|h|æ|m|ər|s|t|aɪ|n}}; July 12, 1895 – August 23, 1960) was an American lyricist, [[librettist]], theatrical producer, and (usually uncredited) director in the musical theater for almost 40 years. He won eight [[Tony Award]]s and two [[Academy Award for Best Original Song|Academy Awards for Best Original Song]]. Many of his songs are standard repertoire for vocalists and [[jazz music]]ians. He co-wrote 850 songs.

He is best known for his collaborations with composer [[Richard Rodgers]], as the duo [[Rodgers and Hammerstein]], whose musicals include ''[[Oklahoma!]]'', ''[[Carousel (musical)|Carousel]]'', ''[[South Pacific (musical)|South Pacific]]'', ''[[The King and I]]'', and ''[[The Sound of Music]]''. Described by [[Stephen Sondheim]] as an "experimental playwright,"<ref>{{Cite web|url=https://www.ft.com/content/c9cdf7ea-d7e0-11df-b044-00144feabdc0|title=Lunch with the FT: Stephen Sondheim|last=Hunter-Tilney|first=Ludovic|date=October 15, 2010|website=The Financial Times|access-date=December 27, 2019}}</ref> Hammerstein helped bring the American musical to new maturity by popularizing musicals that focused on stories and character rather than the lighthearted entertainment that the musical had been known for beforehand.

He also collaborated with [[Jerome Kern]] (with whom he wrote ''[[Show Boat]]''), [[Vincent Youmans]], [[Rudolf Friml]], [[Richard A. Whiting]], and [[Sigmund Romberg]].

==Early life==
Oscar Greeley Clendenning Hammerstein II was born in New York City, the son of Alice Hammerstein (née Nimmo) and theatrical manager [[Willie Hammerstein|William Hammerstein]].<ref>{{cite news| url=https://query.nytimes.com/gst/abstract.html?res=9C0DE1DD143AE633A2575AC1A9609C946596D6CF | work=The New York Times | title="MOVIES" FOR "NEWSIES."; Summer Camp for Street Merahants [sic] to be Aided by Films | date=June 19, 1914}}</ref> His grandfather was the [[German people|German]] theater [[impresario]] [[Oscar Hammerstein I]]. His father was from a [[Jewish]] family, and his mother was the daughter of British parents.<ref>{{harvnb|Fordin|1995|p=11}}</ref> He attended the Church of the Divine Paternity, now the [[Fourth Universalist Society in the City of New York]].<ref>{{cite web |url=https://research-repository.st-andrews.ac.uk/handle/10023/3552 |title=The liberal Protestant influence on the musical plays of Oscar Hammerstein II circa 1943-1959 |last1=Bradley |first1=Kathryn A. |date=25 June 2013 |publisher=[[University of St Andrews]] [Divinity PhD Thesis] |accessdate=22 August 2020 |language=en}}</ref>

Although Hammerstein's father managed the Victoria Theatre and was a producer of [[vaudeville]] shows, he was opposed to his son's desire to participate in the arts.<ref>{{harvnb|Hischak|2007|p=xxix}}</ref>

Hammerstein attended [[Columbia University]] (1912–1916) and studied at [[Columbia Law School]] until 1917.<ref>{{harvnb|Hischak|2007|p=9}}</ref> As a student, he maintained high grades and engaged in numerous extracurricular activities. These included playing first base on the baseball team, performing in the [[Varsity Show]] and becoming an active member of [[Pi Lambda Phi]], a mostly Jewish fraternity.<ref name="Fordin 1995 26">{{harvnb|Fordin|1995|p=26}}</ref>

After his father's death, in June 1914, when he was 19, he participated in his first play with the [[Varsity Show]], entitled ''On Your Way''. Throughout the rest of his college career, Hammerstein wrote and performed in several Varsity Shows.<ref>{{harvnb|Hischak|2007|p=9}}</ref><ref name="PBS-broadway/stars">{{cite web |title=The Stars : COMPOSERS, LYRICISTS & WRITERS : Oscar Hammerstein II |url=https://www.pbs.org/wnet/broadway/stars/oscar-hammerstein-ii/ |website=Broadway: The American Musical |publisher=PBS |quote=Oscar went to Columbia University in preparation for a career in law. It was at Columbia, however, that Oscar’s career in theater actually began when, at age 19, he joined the Columbia University Players as a performer in the 1915 Varsity review “On Your Way.” He participated heavily in the Varsity shows for several years, first as a performer and later as a writer. .... In 1929 Oscar divorced his wife of 12 years, Myra Finn, and married Dorothy Blanchard Jacobson. |accessdate=22 August 2020 }}</ref>

==Early career==
After quitting law school to pursue [[musical theater|theater]], Hammerstein began his first professional collaboration, with [[Herbert Stothart]], [[Otto Harbach]] and Frank Mandel.<ref>{{harvnb|Fordin|1995|p=47}}</ref> He began as an apprentice and went on to form a 20-year collaboration with Harbach. Out of this collaboration came his first musical, ''Always You'', for which he wrote the book and lyrics. It opened on [[Broadway theatre|Broadway]] in 1920.<ref>[https://timesmachine.nytimes.com/timesmachine/1920/01/06/102732695.pdf "''Always You'' Is Amusing"], ''The New York Times'', January 6, 1920</ref> In 1921 Hammerstein joined [[The Lambs]] club.<ref>{{Cite web|url=http://www.THe-Lambs.org|title=The Lambs ®, established 1874|website=www.the-lambs.org|language=en-US|access-date=August 18, 2018}}</ref>

Throughout the next forty years, Hammerstein teamed up with many other composers, including [[Jerome Kern]], with whom Hammerstein enjoyed a highly successful collaboration. In 1927, Kern and Hammerstein wrote their biggest hit based on Edna Ferber's bestselling eponymous novel, ''[[Show Boat]]'', which is often revived, as it is considered one of the masterpieces of American musical theater. "Here we come to a completely new genre — the musical play as distinguished from musical comedy. Now ... the play was the thing, and everything else was subservient to that play. Now ... came complete integration of song, humor and production numbers into a single and inextricable artistic entity." Many years later, Hammerstein's wife [[Dorothy Hammerstein|Dorothy]] bristled when she overheard someone remark that Jerome Kern had written "[[Ol' Man River]]". "Indeed not," she retorted. "Jerome Kern wrote 'dum, dum, dum-dum'. My husband wrote 'Ol' Man River'."<ref>Jones, Dylan, the Biographical Dictionary of Popular Music, Picador Press, 2012, pg. 99</ref>

Other Kern-Hammerstein musicals include ''[[Sweet Adeline (musical)|Sweet Adeline]]'', ''[[Music in the Air]]'', ''[[Three Sisters (musical)|Three Sisters]]'', and ''[[Very Warm for May]]''. Hammerstein also collaborated with [[Vincent Youmans]] (''[[Wildflower (musical)|Wildflower]]''), [[Rudolf Friml]] (''[[Rose-Marie]]''), and [[Sigmund Romberg]] (''[[The Desert Song]]'' and ''[[The New Moon]]'').<ref>[https://www.songhall.org/profile/Oscar_Hammerstein Biography, Songwriters Hall of Fame] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }} songwritershalloffame.org</ref>

==Rodgers and Hammerstein==
{{main|Rodgers and Hammerstein}}
[[File:Hammerstein.jpg|thumb|left|Hammerstein watching an audition at the [[St. James Theatre]]]]
Hammerstein's most successful and sustained collaboration began when he teamed up with [[Richard Rodgers]] to write a musical adaptation of the play ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''.<ref>{{harvnb|Fordin|1995|p=184}}</ref> Rodgers' first partner, [[Lorenz Hart]], originally planned to collaborate with Rodgers on this piece, but his alcoholism had spiraled out of control, rendering him incapacitated.<ref name=":0">{{Cite book|last=Castleden|first=Rodney|url=https://books.google.com/books?id=cefwDwAAQBAJ&pg=PT99|title=Creative Encounters: That Changed the World|date=2020-07-01|publisher=Canary Press eBooks|isbn=978-1-908698-43-8|pages=99|language=en}}</ref> Hart was also not certain that the idea had much merit, and the two therefore separated.<ref>{{Cite book|last=Carter|first=Tim|url=https://books.google.com/books?id=5RP0DwAAQBAJ&pg=PA40|title=Oklahoma!: The Making of an American Musical, Revised and Expanded Edition|date=2020-07-31|publisher=Oxford University Press|isbn=978-0-19-066522-7|pages=39|language=en}}</ref> The adaptation became the first Rodgers and Hammerstein collaboration, entitled ''[[Oklahoma!]]'', which opened on Broadway in 1943.<ref name=":0" /> It furthered the revolution begun by ''[[Show Boat]]'', by thoroughly integrating all the aspects of musical theater, with the songs and dances arising out of and further developing the plot and characters.<ref name="history" />

William A. Everett and Paul R. Laird wrote that this was a "show, that, like ''Show Boat'', became a milestone, such that that subsequent historians writing about important moments in twentieth-century theater began to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, William A. and Laird, Paul R. (2002), ''The Cambridge Companion to the Musical'', Cambridge University Press, p. 124, {{ISBN|0-521-79639-3}}</ref> After ''Oklahoma!'', Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as ''[[Carousel (musical)|Carousel]]'', ''[[The King and I]]'' and ''[[South Pacific (musical)|South Pacific]]''. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref name=history>[http://www.theatrehistory.com/american/musical030.html "American Musical Theatre: An Introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }}, theatrehistory.com, republished from ''The Complete Book of Light Opera''. Mark Lubbock. New York: Appleton-Century-Crofts, 1962. pp. 753–56, accessed December 3, 2008</ref>

The partnership went on to produce not only the aforementioned, but also other Broadway musicals such as ''[[Allegro (musical)|Allegro]]'', ''[[Me and Juliet]]'', ''[[Pipe Dream (musical)|Pipe Dream]]'', ''[[Flower Drum Song]]'', and ''[[The Sound of Music]]'', as well as the musical film ''[[State Fair (1945 film)|State Fair]]'' (and its [[State Fair (musical)|stage adaptation of the same name]]), and the television musical ''[[Cinderella (Rodgers and Hammerstein musical)|Cinderella]]'', all featured in the [[revue]] ''[[A Grand Night for Singing]]''. Hammerstein also wrote the book and lyrics for ''[[Carmen Jones]]'', an adaptation of [[Georges Bizet]]'s opera ''[[Carmen]]'', with an all-black cast that became a 1943 Broadway musical and [[Carmen Jones (film)|a 1954 film]], starring [[Dorothy Dandridge]].<ref>{{cite web |last1=Camara |first1=Jorge |title=GOLDEN GLOBE WINNERS OF YESTERYEAR – CARMEN JONES |url=https://www.goldenglobes.com/articles/golden-globe-winners-yesteryear-%E2%80%93-carmen-jones |website=GoldenGlobes.com |publisher=[[Hollywood Foreign Press Association]] |date=20 April 2011 |quote=The winner of the Golden Globe for the Best Comedy/Musical Picture of 1954 was Carmen Jones. The film, an adaptation of the Broadway musical of the same name, which in turn was an adaptation of Georges Bizet’s famous opera “Carmen,” respected the music, but used a script and new English lyrics by Oscar Hammerstein of Rodgers & Hammerstein musical fame.|accessdate=22 August 2020}}</ref>

==Advocacy==
An active advocate for writers' rights within the [[Theater in the United States|theater industry]], Hammerstein was a member of the [[Dramatists Guild of America]]. In 1956, he was elected as the eleventh president of the [[nonprofit organization]].<ref>{{cite web |last1=Hillshafer |first1=Linda |title=Stories of Standards—All the Things You Are |url=https://www.kuvo.org/stories-of-standards-all-the-things-you-are-2/ |website=KUVO |accessdate=22 August 2020 |date=1 June 2020 |quote=Hammerstein was a member of the Dramatists’ Guild of America and was elected its eleventh president in 1956. He died of stomach cancer in 1960.}}</ref> He continued his presidency at the Guild until 1960; he was succeeded by [[Alan Jay Lerner]].<ref>{{cite book |last1=McHugh |first1=Dominic |title=Alan Jay Lerner: A Lyricist's Letters |date=2014 |publisher=Oxford University Press |isbn=978-0-19-994928-1 |page=124 |url=https://books.google.ca/books?id=jWzrAwAAQBAJ&pg=PA124&dq=replacing+Oscar+Hammerstein+August+23+Lerner+was+elected+president+Dramatists+Guild+of+America&hl=en&sa=X&ved=2ahUKEwiRi-Sv6a7rAhVm1lkKHQhfDuoQ6AEwAHoECAUQAg#v=onepage&q=replacing%20Oscar%20Hammerstein%20August%2023%20Lerner%20was%20elected%20president%20Dramatists%20Guild%20of%20America&f=false |accessdate=22 August 2020 |language=en | quote= ... Lerner was elected president of the Dramatists Guild on February 18, replacing Oscar Hammerstein. .... The reason for Hammerstein's need to stand down as president, however, was sad: he was suffering from cancer....}}</ref>

==Death==
[[File:Oscar hammerstein wife.jpg|thumb|Hammerstein with his first wife, Myra Finn, photographed aboard a ship]]
Hammerstein died of [[stomach cancer]] on August 23, 1960, at his home [[Oscar Hammerstein II Farm|Highland Farm]] in [[Doylestown, Pennsylvania]], aged 65,<ref>"Oscar Hammerstein II Is Dead", ''The New York Times'', p. 1, August 23, 1960</ref> nine months after the opening of ''[[The Sound of Music]]'' on Broadway.<ref name=TimeCorliss>{{cite journal |last1=Corliss |first1=Richard |title=Can Even a Cranky Guy Fall for 'The Sound of Music'? |journal=Time |date=2 March 2015 |url=https://time.com/3717463/sound-of-music-50-review/ |quote=The Academy of Motion Picture Arts and Sciences loved the movie big time, festooning it with 10 nominations and five Oscars, including Best Picture and Best Director, at the 1966 ceremony. ..... Though Hammerstein died at 65 in 1960, nine months into The Sound of Music’s Broadway run, the movie has proved how lasting that heritage would be. .....|accessdate=22 August 2020}}</ref> The final song he wrote was "[[Edelweiss (song)|Edelweiss]]", which was added near the end of the second act during rehearsal.<ref>Maslon, Lawrence. ''The Sound of Music Companion'' (2007), p. 177, Simon and Schuster, {{ISBN|1-4165-4954-4}}</ref><ref>[http://www.rnh.com/bio/154/Hammerstein-II-Oscar "Oscar Hammerstein II"] {{Webarchive|url=https://web.archive.org/web/20110424160819/http://www.rnh.com/bio/154/Hammerstein-II-Oscar |date=April 24, 2011 }} rnh.com, accessed November 2011</ref> After Hammerstein's death, ''The Sound of Music'' was adapted as [[The Sound of Music (film)|a 1965 film]], which won the [[38th Academy Awards|Academy Award]] for Best Picture.<ref name=TimeCorliss/><ref>{{cite web |title=The 38th Academy Awards (1966) |url=https://www.oscars.org/oscars/ceremonies/1966 |website=Oscars.org |publisher=Academy of Motion Picture Arts and Sciences |accessdate=22 August 2020 |language=en}}</ref>

The lights of [[Times Square]] were turned off for one minute,<ref>{{cite news| title=Blackout on Broadway to Honor Hammerstein| url=https://www.nytimes.com/1960/09/01/archives/blackout-on-broadway-to-honor-hammerstein.html| newspaper=The New York Times| page=52| date=September 1, 1960|url-access=subscription }}</ref> and London's [[West End of London|West End]]<ref>{{cite news| title=London Honors Hammerstein| url=https://www.nytimes.com/1960/08/26/archives/london-honors-hammerstein.html| newspaper=The New York Times| page=14| date=August 26, 1960|url-access=subscription }}</ref> lights were dimmed in recognition of his contribution to the musical. He was cremated, and his ashes were buried at the [[Ferncliff Cemetery]] in [[Hartsdale, New York]].<ref>{{cite news| title=Rites for Hammerstein| url=https://www.nytimes.com/1960/08/25/archives/rites-for-hammerstein-ashes-of-lyricist-are-buried-ulondon-plans.html| newspaper=The New York Times| page=29| date=August 25, 1960|url-access=subscription }}</ref> A memorial plaque was unveiled at [[Southwark Cathedral]], England, on May 24, 1961.<ref>{{cite news| title=Hammerstein Honored| url=https://www.nytimes.com/1961/05/25/archives/hammerstein-honored-widow-unveils-plaque-to-his-memory-in-london.html| newspaper=The New York Times| page=32| date=May 24, 1961| quote=Mrs. Oscar Hammerstein 2nd, widow of the lyricist, unveiled a plaque today to his memory in Southwark Cathedral .... Mr. Hammerstein's will provided £2000 to support two choir-boys at Southwark Cathedral.|url-access=subscription }}</ref> He was survived by his second wife, [[Dorothy Hammerstein|Dorothy]], his three children, and two stepchildren.{{cn|date=August 2020}}

==Personal life==
Hammerstein married his first wife, Myra Finn, in 1917; the couple divorced in 1929.<ref name="PBS-broadway/stars"/><ref>{{cite book |last1=Hamersly |first1=Lewis Randolph |last2=Leonard |first2=John William |last3=Mohr |first3=William Frederick |last4=Knox |first4=Herman Warren |last5=Holmes |first5=Frank R. |title=Who's who in New York City and State |date=1947 |publisher=L.R. Hamersly Company |page=444 |url=https://books.google.ca/books?id=wU11767XjtoC&q=Myra+Finn+1917+1929&dq=Myra+Finn+1917+1929&hl=en&sa=X&ved=2ahUKEwiG0byx7K_rAhVyQt8KHelQDmkQ6AEwAHoECAEQAg |accessdate=22 August 2020 |language=en |quote=... m. Myra Finn, Aug. 22. 1917, N. Y. C. (div. May 13, 1929); (2) May 14, 1929, Dorothy Blanchard in Baltimore: ch.: William, Alice, James. ...}}</ref> He married his second wife, the Australian-born [[Dorothy Hammerstein|Dorothy (Blanchard) Jacobson]] (1899-1987), in 1929.<ref name="JoanCookNYTimes">{{cite news |last1=Cook |first1=Joan |title=Dorothy Hammerstein Dies; Designer Was Lyricist's Wife |url=https://www.nytimes.com/1987/08/04/obituaries/dorothy-hammerstein-dies-designer-was-lyricist-s-wife.html |accessdate=22 August 2020 |work=The New York Times |date=4 August 1987 |url-access=subscription }}</ref> He had three children: William Hammerstein (1918–2001)<ref>{{cite web |last1=Jones |first1=Kenneth |title=William Hammerstein, Director and Son of Oscar Hammerstein II, Dead at 82 |url=https://www.playbill.com/article/william-hammerstein-director-and-son-of-oscar-hammerstein-ii-dead-at-82-com-95431 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=11 March 2001}}</ref> and Alice Hammerstein Mathias<ref>{{cite web |last1=Asch |first1=Amy |title=Getting to Know Her: Meet Alice Hammerstein Mathias, Oscar's Daughter |url=https://www.playbill.com/article/getting-to-know-her-meet-alice-hammerstein-mathias-oscars-daughter-com-182717 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=19 September 2011}}</ref> by his first wife, and [[James Hammerstein]] (1931-1999)<ref>{{cite web |last1=Jones |first1=Kenneth |title=Producer-director James Hammerstein, Son of Oscar Hammerstein II, Dead at 67 |url=https://www.playbill.com/article/producer-director-james-hammerstein-son-of-oscar-hammerstein-ii-dead-at-67-com-79338 |publisher=[[Playbill]] |accessdate=22 August 2020 |language=en |date=7 January 1999}}</ref> by his second wife, with whom he also had a stepson, Henry Jacobson, and a stepdaughter, [[Susan Blanchard (socialite)|Susan Blanchard]].<ref name="JoanCookNYTimes"/>

==Reputation==
Hammerstein was one of the most important "book writers" 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.<ref name=pbs>{{cite episode| transcript=Oscar Hammerstein II| transcript-url=https://www.pbs.org/wnet/broadway/stars/oscar-hammerstein-ii/| title=Oh, What a Beautiful Mornin': 1943–1960| network=[[PBS]]| airdate=October 20, 2004| series=Broadway: The American Musical| accessdate=August 23, 2018| quote=...perhaps the most influential lyricist and librettist of the American theater.}}</ref><ref>{{cite web|url=http://www.achievement.org/autodoc/printmember/son0int-1|title=Interview: Stephen Sondheim|publisher=Academy of Achievement|accessdate=May 8, 2010|quote=People underestimate what [Hammerstein] did in the way of musical theater. He was primarily an experimental writer, and what he was doing was marrying the traditions of opera and American musical comedy, using songs to tell a story that was worth telling. The first real instance of that is Show Boat, which is a watershed show in the history of musical theater, and Oklahoma!, which is innovative in different ways ... Now, because of the success of Oklahoma!, and subsequent shows, most musical theater now tells stories through songs. But that was not true prior to 1943, the year of Oklahoma!|url-status=dead|archiveurl=https://web.archive.org/web/20101212152133/http://achievement.org/autodoc/printmember/son0int-1|archivedate=December 12, 2010}}</ref> According to [[Stephen Sondheim]], "What few people understand is that Oscar's big contribution to the theater was as a theoretician, as a [[Peter Brook]], as an innovator. People don't understand how experimental ''Show Boat'' and ''Oklahoma!'' felt at the time they were done. Oscar is not about the 'lark that is learning to pray' – that's easy to make fun of. He's about ''[[Allegro (musical)|Allegro]]''," Hammerstein's most experimental musical.<ref>{{cite news| last=Rich| first=Frank| title=Conversations with Sondheim| url=https://www.nytimes.com/2000/03/12/magazine/conversations-with-sondheim.html| newspaper=The New York Times Magazine| pages=38–ff| date=March 12, 2000|url-access=subscription }}</ref>

His reputation for being sentimental is based largely on the movie versions of the musicals, especially ''The Sound of Music'', in which a song sung by those in favor of reaching an accommodation with the Nazis, "[[No Way to Stop It]]", was cut. 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 Richard Kislan, "The shows of Rodgers and Hammerstein were the product of sincerity. In the light of criticism directed against them and their universe of sweetness and light, it is important to understand that they believed sincerely in what they wrote."<ref>{{harv|Kislan|1995|p=141}}</ref> According to Marc Bauch, "The Rodgers and Hammerstein musicals are romantic musical plays. Love is important."<ref>{{harvnb|Bauch|2003|p=155}}</ref>

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. From 8:57 to 9:00 p.m., every neon sign and every light bulb was turned off and all traffic was halted between 42nd Street and 53rd Street, and between 8th Ave and the Avenue of the Americas. A crowd of 5,000 people, many with heads bowed, assembled at the base of the statue of Father Duffy on Times Square where two trumpeters blew taps. It was the most complete blackout on Broadway since World War II, and the greatest tribute of its kind ever paid to one man."<ref>{{cite book| last=Green| first=Stanley| title=The Rodgers and Hammerstein Story| url=https://books.google.com/?id=zSoIAQAAMAAJ&q=%22For+three+minutes%2C+on+the+night+of+September+first%2C+the+entire+Times+Square+area+in+New+York+City+was+blacked+out%22| accessdate=August 21, 2018| year=1963| publisher=J. Day Co.| page=12}}</ref>

==Songs==
According to ''The Complete Lyrics of Oscar Hammerstein II'', edited by Amy Asch, Hammerstein contributed the lyrics to 850 songs,<ref>{{cite news| last=Jones| first=Kenneth| url=http://www.playbill.com/article/complete-lyrics-of-hammerstein-in-stores-now-required-climbing-evry-mountain-com-155606| title=Complete Lyrics" of Hammerstein, in Stores Now, Required Climbing Ev'ry Mountain| archive-url=https://web.archive.org/web/20081204122853/http://www.playbill.com/news/article/123774.html| archive-date=December 4, 2008| journal=[[Playbill]]| date=December 1, 2008}}</ref> including "[[Ol' Man River]]", "[[Can't Help Lovin' Dat Man|Can't Help Lovin' That Man]]" and "[[Make Believe (Jerome Kern song)|Make Believe]]" from ''Show Boat'';<ref>{{Cite book|last=Brideson|first=Cynthia|url=https://books.google.com/books?id=D1LzCAAAQBAJ&pg=PA457|title=Ziegfeld and His Follies: A Biography of Broadway's Greatest Producer|last2=Brideson|first2=Sara|date=2015-06-23|publisher=University Press of Kentucky|isbn=978-0-8131-6090-0|pages=457|language=en}}</ref> "[[Indian Love Call]]" from ''Rose-Marie'';<ref>{{Cite book|last=Tyler|first=Don|url=https://books.google.com/books?id=hSCfBQAAQBAJ&pg=PA139|title=Hit Songs, 1900-1955: American Popular Music of the Pre-Rock Era|date=2007-04-02|publisher=McFarland|isbn=978-0-7864-2946-2|pages=139|language=en}}</ref> "[[People Will Say We're in Love]]"{{cn|date=August 2020}} and "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" (which has been the official state song of Oklahoma since 1953) from ''Oklahoma!'';<ref>{{Cite book|last=Capace|first=Nancy|url=https://books.google.com/books?id=-EbRP8o6LGMC&pg=PA9|title=Encyclopedia of Oklahoma|date=1999-01-01|publisher=Somerset Publishers, Inc.|isbn=978-0-403-09837-8|pages=9|language=en}}</ref> "[[Some Enchanted Evening]]", from ''South Pacific''; "[[Getting to Know You (song)|Getting to Know You]]"<ref>{{Cite book|last=Hammerstein|first=Oscar, II|url=https://books.google.com/books?id=TQIYt3kBqVAC&pg=PA349|title=The Complete Lyrics of Oscar Hammerstein II|date=2008|publisher=Knopf|isbn=978-0-375-41358-2|pages=349|language=en}}</ref> and "[[The King and I|Shall We Dance]]" from ''The King and I''; and [[The Sound of Music (song)|the title song]] as well as "[[Climb Ev'ry Mountain]]" from ''[[The Sound of Music]]''.{{cn|date=August 2020}}

Several albums of Hammerstein's musicals were named to the "[[Songs of the Century]]" list as compiled by the [[Recording Industry Association of America]] (RIAA), the [[National Endowment for the Arts]], and [[Scholastic Corporation]]:<ref>{{cite web |title=Entertainment - Songs of the Century |url=https://edition.cnn.com/2001/SHOWBIZ/Music/03/07/list.top.365.songs/ |website=edition.cnn.com |publisher=CNN |accessdate=22 August 2020 |date=March 7, 2001}}</ref>
*''The Sound of Music'' — # 36
*''Oklahoma!'' — # 66
*''South Pacific'' — # 224
*''The King and I'' — # 249
*''Show Boat'' — # 312

==Awards and nominations==
Hammerstein won two Oscars for best original song—in 1941 for "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]" in the film ''[[Lady Be Good (1941 film)|Lady Be Good]]'', and in 1945 for "[[It Might as Well Be Spring]]" in ''[[State Fair (1945 film)|State Fair]].'' In 1950, the team of Rodgers and Hammerstein received [[The Hundred Year Association of New York]]'s Gold Medal Award "in recognition of outstanding contributions to the City of New York."<ref>{{cite web |title=Richard A. Cook Gold Medal Award |url=https://100yearassociation.com/awards/richard-a-cook-gold-medal-award/ |website=The Hundred Year Association |accessdate=23 August 2020}}</ref>

Hammerstein won eight [[Tony Award]]s, six for lyrics or book, and two as producer of the Best Musical (''South Pacific'' and ''The Sound of Music''). Rodgers and Hammerstein began writing together before the era of the Tonys: ''Oklahoma!'' opened in 1943 and ''Carousel'' in 1945, and the Tony Awards were not awarded until 1947. They won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] in 1944 for ''Oklahoma!''<ref>[http://www.pulitzer.org/bycat/Special-Awards-and-Citations "Special Awards and Citations"]. The Pulitzer Prizes. Retrieved December 1, 2008.</ref> and, with [[Joshua Logan]], the annual [[Pulitzer Prize for Drama]] in 1950 for ''South Pacific''.<ref>[http://www.pulitzer.org/bycat/Drama "Drama"]. The Pulitzer Prizes. Retrieved December 3, 2013.</ref> The Oscar Hammerstein II Center for Theater Studies at Columbia University was established in 1981 with a $1-million gift from his family.<ref>[https://query.nytimes.com/gst/fullpage.html?res=950DE5D6143BF930A25751C0A965948260 "Columbia Names Stein To Theater Post"], ''The New York Times'', February 13, 1983</ref>

{| class="wikitable"
|-
!Year
!Award
!Category
!Title
!Results
!Ref.
|-
|[[11th Academy Awards|1938]] || rowspan=5|[[Academy Award]] || rowspan=5|[[Academy Award for Best Original Song|Best Original Song]] || ''"A Mist over the Moon"'', [[The Lady Objects]] || {{nom}} || rowspan=5|<ref>{{cite web|url=https://www.imdb.com/name/nm0358564/awards?ref_=nm_awd|title= Oscar Hammerstein II – Awards|website= [[Internet Movie Database]]|accessdate= April 25, 2020}}</ref>
|-
|[[14th Academy Awards|1941]] || ''"[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]"'', [[Lady Be Good (1941 film)|Lady Be Good]] || {{won}}
|-
|[[18th Academy Awards|1945]] || ''"[[It Might as Well Be Spring]]"'', [[State Fair (1945 film)|State Fair]] || {{won}}
|-
|[[19th Academy Awards|1946]] || ''"All Through the Day"'', [[Centennial Summer]] || {{nom}}
|-
|[[24th Academy Awards|1951]] || ''"[[A Kiss to Build a Dream On]]"'', [[The Strip (1951 film)|The Strip]] || {{nom}}
|-
|rowspan=3|[[4th Tony Awards|1950]] || rowspan=6|[[Tony Award]] || [[Tony Award for Best Musical|Best Musical]] || rowspan=3|''[[South Pacific (musical)|South Pacific]]'' || {{won}} || rowspan=6|<ref>{{cite web|url= https://www.broadwayworld.com/tonyawardspersoninfo.php?nomname=Oscar%20Hammerstein%20II|title= Oscar Hammerstein II Tony Awards|website= Broadwayworld.com|accessdate= April 25, 2020}}</ref>
|-
|[[Tony Award for Best Book of a Musical|Best Book of a Musical]] || {{won}}
|-
|[[4th Tony Awards|Best Producer of a Musical]] || {{won}}
|-
|[[6th Tony Awards|1952]] || rowspan=2|[[Tony Award for Best Musical|Best Musical]] || ''[[The King and I]]'' || {{won}}
|-
|[[10th Tony Awards|1956]] || ''[[Pipe Dream (musical)|Pipe Dream]]'' || {{nom}}
|-
|[[50th Tony Awards|1996]] || [[Tony Award for Best Original Score|Best Original Score]] || ''[[State Fair (musical)|State Fair]]'' || {{nom}}
|-
|[[3rd Annual Grammy Awards|1961]] || rowspan=2|[[Grammy Awards]] || rowspan=2|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]] || ''[[The Sound of Music]]'' || {{won}} || <ref>{{cite web|url=https://www.grammy.com/grammys/artists/oscar-hammerstein-ii|title= Oscar Hammerstein II – Artist|website= Grammys.com|accessdate= April 25, 2020}}</ref>
|-
|}

== Legacy ==
His advice and work influenced [[Stephen Sondheim]], a friend of the Hammerstein family from childhood. Sondheim has attributed his success in theater, and especially as a lyricist, directly to Hammerstein's influence and guidance.<ref name=pbs/>

The [[Oscar Hammerstein Award]] for Lifetime Achievement in Musical Theater is presented annually. The York Theatre Company of New York City is the administrator of the award.<ref>[https://web.archive.org/web/20021126014739/http://www.yorktheatre.org/History.htm York Theatre history] yorktheatre.org, accessed December 8, 2008</ref> Past awardees are composers such as [[Stephen Sondheim]] and performers such as [[Carol Channing]].<ref>Gans, Andrew.[https://archive.today/20130201022259/http://www.playbill.com/news/article/93232-Rivera_Vereen_Hirsch_Huffman_and_More_to_Salute_Walton_June_6 "Rivera, Vereen, Hirsch, Huffman and More to Salute Walton June 6"] ''Playbill'', May 31, 2005</ref>

Oscar Hammerstein was a member of the [[American Theater Hall of Fame]].<ref>{{cite web|url=http://www.theaterhalloffame.org/members.html|title=Theater Hall of Fame members|website=Theaterhalloffame.org|accessdate=February 9, 2014}}</ref>

==References==
{{Reflist}}

==Further reading==
*{{cite book| last=Lovensheimer| first=Jim| date=August 25, 2010| title=South Pacific: Paradise Revisited| url=https://books.google.com/?id=v5-2rpCzHHEC&printsec=frontcover&dq=South+Pacific:+Paradise+Revisited#v=onepage&q&f=false| publisher=Oxford University Press| isbn=978-0-19-537702-6}}
*{{cite book| last=Bauch| first=Marc| year=2003 |title=The American Musical| url=https://books.google.com/?id=UeaHSVd7jQAC&printsec=frontcover&dq=bauch+the+american+musical#v=onepage&q&f=false| publisher=Tectum Verlag DE| isbn=978-3828884588| ref=harv}}
*{{cite book| last=Fordin |first=Hugh |year=1995 |title=Getting to Know Him:A Biography of Oscar Hammerstein II| url=https://books.google.com/?id=Ef8V7iG5CGkC&dq=editions%3AQg2_UeyP2P4C&q=taps| publisher=Da Capo Press| isbn= 978-0306806681| ref=harv|url-access=subscription }}
*{{cite book| last=Hischak| first=Thomas S.| year=2007| title=The Rodgers and Hammerstein Encyclopedia| url=https://books.google.com/?id=CsbEP_Mu50EC&printsec=frontcover&dq=The+Rodgers+and+Hammerstein+Encyclopedia#v=onepage&q=columbia%20law%20&f=false| publisher=ABC-CLIO| isbn=978-0313341403| ref=harv}}
*{{cite book| last=Kislan |first=Richard |year=1995 |title=The Musical: A Look at the American Musical Theater| url=https://books.google.com/?id=KBmxpzpQQngC&printsec=frontcover&dq=The+Musical:+A+Look+at+the+American+Musical+Theater#v=onepage&q=sweetness%20and%20light&f=false| publisher=Hal Leonard Corporation| isbn=978-1557832177| ref=harv}}

==External links==
{{Spoken Wikipedia|Oscar_Hammerstein_II.ogg|2020-9-5}}
[[File:Oscar Hammerstein II.ogg|thumb|Audio recording of article: "Oscar Hammerstein II"]]
{{Portal|Biography}}
{{Commons category}}
{{Wikiquote}}
*{{IBDB name}}
*{{IMDb name|358564}}
*
*[https://web.archive.org/web/20051230152641/http://www.sbgmusic.com/html/teacher/reference/composers/rodg-hamm.html Musicals by Rodgers and Hammerstein]
*[https://web.archive.org/web/20110424160819/http://www.rnh.com/bio/154/Hammerstein-II-Oscar Biography of Oscar Hammerstein II at RNH Official Site]
*[https://web.archive.org/web/20100413161401/http://www.hrc.utexas.edu/multimedia/video/2008/wallace/hammerstein_oscar.html Oscar Hammerstein II] interviewed by [[Mike Wallace]] on ''The Mike Wallace Interview'' March 15, 1958
*[https://hdl.loc.gov/loc.music/eadmus.mu018003 Oscar Hammerstein II Collection] at the [[Library of Congress]]
* {{LCAuth|n50020012|Oscar Hammerstein|487|}}

{{Rodgers and Hammerstein}}
{{Navboxes
| title = Awards for Oscar Hammerstein II
| list =
{{AcademyAwardBestOriginalSong 1941–1950}}
{{PulitzerPrize DramaAuthors 1926–1950}}
{{PulitzerPrize SpecialCitations Arts}}
{{TonyAward MusicalBook 1950–1975}}
}}
{{Oklahoma!}}

{{Authority control}}

{{DEFAULTSORT:Hammerstein, Oscar, Ii}}
[[Category:Oscar Hammerstein II| ]]
[[Category:20th-century American dramatists and playwrights]]
[[Category:American musical theatre lyricists]]
[[Category:American musical theatre librettists]]
[[Category:American theatre managers and producers]]
[[Category:Broadway composers and lyricists]]
[[Category:Broadway theatre producers]]
[[Category:Best Original Song Academy Award-winning songwriters]]
[[Category:Burials at Ferncliff Cemetery]]
[[Category:Deaths from cancer in Pennsylvania]]
[[Category:Columbia Law School alumni]]
[[Category:Deaths from stomach cancer]]
[[Category:American people of English descent]]
[[Category:American people of German-Jewish descent]]
[[Category:Grammy Award winners]]
[[Category:Hammerstein family (show business)]]
[[Category:Pulitzer Prize for Drama winners]]
[[Category:Pulitzer Prize winners]]
[[Category:Tony Award winners]]
[[Category:American people of Scottish descent]]
[[Category:Songwriters from New York (state)]]
[[Category:Jewish American songwriters]]
[[Category:American Episcopalians]]
[[Category:World federalists]]
[[Category:1895 births]]
[[Category:1960 deaths]]

Oscar Hammerstein II

2020-09-05T19:49:25Z

JohnAnkerBow: Spoken article added

Fallacy of division

2020-09-05T16:43:47Z

JohnAnkerBow:

{{more footnotes|date=January 2015}}
A '''fallacy of division''' is the error in [[logic]] that occurs when one reasons that something that is true for a whole must also be true of all or some of its parts.

An example:

# The second grade in Jefferson elementary eats a lot of ice cream
# Carlos is a second-grader in Jefferson elementary
# Therefore, Carlos eats a lot of ice cream

The converse of this [[fallacy]] is called [[fallacy of composition]], which arises when one fallaciously attributes a property of some part of a thing to the thing as a whole.

If a system as a whole has some property that none of its constituents has (or perhaps, it has it but not as a ''result'' of some constituent having that property), this is sometimes called an ''[[Emergence|emergent]]'' property of the system.

The term ''mereological fallacy'' refers to approximately the same incorrect inference that properties of a whole are also properties of its parts.<ref>M. R. Bennett; P. M. S. Hacker. 2003. ''Philosophical Foundations of Neuroscience''. [http://info.sjc.ox.ac.uk/scr/hacker/docs/contents_PhiloFndtns_Neurosci.pdf Table of contents].</ref><ref>Rom Harré. [https://www.cambridge.org/core/journals/philosophy/article/behind-the-mereological-fallacy1/44615986E9F6FF6BD30A354FA22E58D3 Behind the Mereological Fallacy]. ''Philosophy'' 87:3, July 2012, pp. 329-352. https://doi.org/10.1017/S0031819112000241</ref><ref>P.M.S. Hacker. 2013. [https://www.cambridge.org/core/journals/philosophy/article/before-the-mereological-fallacy-a-rejoinder-to-rom-harre/BA5F9C392BEE94903F7BAC00686B1F91 Before the Mereological Fallacy: A Rejoinder to Rom Harré]. ''Philosophy'', 88(1), 141-148. doi:10.1017/S003181911200054X</ref>

== History ==
Both the fallacy of division and the [[fallacy of composition]] were addressed by [[Aristotle]] in ''[[Sophistical Refutations]]''.

In the philosophy of the ancient Greek [[Anaxagoras]], as claimed by the Roman [[atomist]] [[Lucretius]],<ref>{{cite book|title=Intellectual Property Protection of Fact-based Works: Copyright and Its Alternatives|page=110|first=Robert|last=Brauneis|publisher=Edward Elgar Publishing|year=2009}}</ref> it was assumed that the atoms constituting a substance must themselves have the salient observed properties of that substance: so atoms of water would be wet, atoms of iron would be hard, atoms of wool would be soft, etc. This doctrine is called ''[[homoeomeria (philosophy)|homoeomeria]]'', and it depends on the fallacy of division.

==Examples in statistics==

In [[statistics]] an [[ecological fallacy]] is a logical fallacy in the interpretation of statistical data where inferences about the nature of individuals are deduced from inference for the group to which those individuals belong. The four common statistical ecological fallacies are: confusion between ecological correlations and individual correlations, confusion between group average and total average, [[Simpson's paradox]], and other statistical methods.<ref>{{cite book|title=Logic: A Modern Introduction to Deductive Reasoning|url=https://archive.org/details/logicmodernintro0000terr|url-access=registration|pages=[https://archive.org/details/logicmodernintro0000terr/page/160 160–163]|first=Dailey|last=Burnham Terrell|year=1967|publisher=Holt, Rinehart and Winston}}</ref>

==See also==
* [[Ecological fallacy]]
* [[Fallacy of composition]]
* [[Synecdoche]], the figure of speech of two forms:
** ''[[Pars pro toto]]'' using the word for a part by way of referring to the whole
** ''[[Totum pro parte]]'' using the word for the whole by way of referring to a part

==References==
{{reflist}}

==Further reading==
*{{cite book|title=Parallel Problem Solving from Nature - PPSN IV: International Conference on Evolutionary Computation. The 4th International Conference on Parallel Problem Solving from Nature Berlin, Germany, September 22–26, 1996. Proceedings, Volume 114|pages=170–173|publisher=Springer Science & Business Media|author1=Werner Ebeling|author2=Hans-Michael Voigt}}
*{{cite book|title=Social Work Research and Evaluation: Foundations of Evidence-Based Practice|pages=393–394|author1=Richard M. Grinnell|author2=Jr., Yvonne A. Unrau|publisher=Oxford University Press}}

==External links==
{{Spoken Wikipedia|Fallacy_of_division.ogg|2020-9-5}}
*{{cite web|url=http://www.fallacyfiles.org/division.html|title=Division|publisher=The Fallacy Files}}

{{Fallacies}}

[[Category:Verbal fallacies|Division]]
[[Category:Relevance fallacies]]
[[Category:Emergence]]

{{logic-stub}}

Fallacy of division

2020-09-05T16:43:04Z

JohnAnkerBow: Spoken article added

{{more footnotes|date=January 2015}}
A '''fallacy of division''' is the error in [[logic]] that occurs when one reasons that something that is true for a whole must also be true of all or some of its parts.

An example:

# The second grade in Jefferson elementary eats a lot of ice cream
# Carlos is a second-grader in Jefferson elementary
# Therefore, Carlos eats a lot of ice cream

The converse of this [[fallacy]] is called [[fallacy of composition]], which arises when one fallaciously attributes a property of some part of a thing to the thing as a whole.

If a system as a whole has some property that none of its constituents has (or perhaps, it has it but not as a ''result'' of some constituent having that property), this is sometimes called an ''[[Emergence|emergent]]'' property of the system.

The term ''mereological fallacy'' refers to approximately the same incorrect inference that properties of a whole are also properties of its parts.<ref>M. R. Bennett; P. M. S. Hacker. 2003. ''Philosophical Foundations of Neuroscience''. [http://info.sjc.ox.ac.uk/scr/hacker/docs/contents_PhiloFndtns_Neurosci.pdf Table of contents].</ref><ref>Rom Harré. [https://www.cambridge.org/core/journals/philosophy/article/behind-the-mereological-fallacy1/44615986E9F6FF6BD30A354FA22E58D3 Behind the Mereological Fallacy]. ''Philosophy'' 87:3, July 2012, pp. 329-352. https://doi.org/10.1017/S0031819112000241</ref><ref>P.M.S. Hacker. 2013. [https://www.cambridge.org/core/journals/philosophy/article/before-the-mereological-fallacy-a-rejoinder-to-rom-harre/BA5F9C392BEE94903F7BAC00686B1F91 Before the Mereological Fallacy: A Rejoinder to Rom Harré]. ''Philosophy'', 88(1), 141-148. doi:10.1017/S003181911200054X</ref>

== History ==
Both the fallacy of division and the [[fallacy of composition]] were addressed by [[Aristotle]] in ''[[Sophistical Refutations]]''.

In the philosophy of the ancient Greek [[Anaxagoras]], as claimed by the Roman [[atomist]] [[Lucretius]],<ref>{{cite book|title=Intellectual Property Protection of Fact-based Works: Copyright and Its Alternatives|page=110|first=Robert|last=Brauneis|publisher=Edward Elgar Publishing|year=2009}}</ref> it was assumed that the atoms constituting a substance must themselves have the salient observed properties of that substance: so atoms of water would be wet, atoms of iron would be hard, atoms of wool would be soft, etc. This doctrine is called ''[[homoeomeria (philosophy)|homoeomeria]]'', and it depends on the fallacy of division.

==Examples in statistics==

In [[statistics]] an [[ecological fallacy]] is a logical fallacy in the interpretation of statistical data where inferences about the nature of individuals are deduced from inference for the group to which those individuals belong. The four common statistical ecological fallacies are: confusion between ecological correlations and individual correlations, confusion between group average and total average, [[Simpson's paradox]], and other statistical methods.<ref>{{cite book|title=Logic: A Modern Introduction to Deductive Reasoning|url=https://archive.org/details/logicmodernintro0000terr|url-access=registration|pages=[https://archive.org/details/logicmodernintro0000terr/page/160 160–163]|first=Dailey|last=Burnham Terrell|year=1967|publisher=Holt, Rinehart and Winston}}</ref>

==See also==
* [[Ecological fallacy]]
* [[Fallacy of composition]]
* [[Synecdoche]], the figure of speech of two forms:
** ''[[Pars pro toto]]'' using the word for a part by way of referring to the whole
** ''[[Totum pro parte]]'' using the word for the whole by way of referring to a part

==References==
{{reflist}}

==Further reading==
*{{cite book|title=Parallel Problem Solving from Nature - PPSN IV: International Conference on Evolutionary Computation. The 4th International Conference on Parallel Problem Solving from Nature Berlin, Germany, September 22–26, 1996. Proceedings, Volume 114|pages=170–173|publisher=Springer Science & Business Media|author1=Werner Ebeling|author2=Hans-Michael Voigt}}
*{{cite book|title=Social Work Research and Evaluation: Foundations of Evidence-Based Practice|pages=393–394|author1=Richard M. Grinnell|author2=Jr., Yvonne A. Unrau|publisher=Oxford University Press}}

==External links==
{{Spoken Wikipedia|Fallacy_of_Division.ogg|2020-9-5}}
*{{cite web|url=http://www.fallacyfiles.org/division.html|title=Division|publisher=The Fallacy Files}}

{{Fallacies}}

[[Category:Verbal fallacies|Division]]
[[Category:Relevance fallacies]]
[[Category:Emergence]]

{{logic-stub}}

Fallacy of division

2020-09-05T16:39:46Z

JohnAnkerBow: Unnecessary edit undone to reflect audio recording of article.

{{more footnotes|date=January 2015}}
A '''fallacy of division''' is the error in [[logic]] that occurs when one reasons that something that is true for a whole must also be true of all or some of its parts.

An example:

# The second grade in Jefferson elementary eats a lot of ice cream
# Carlos is a second-grader in Jefferson elementary
# Therefore, Carlos eats a lot of ice cream

The converse of this [[fallacy]] is called [[fallacy of composition]], which arises when one fallaciously attributes a property of some part of a thing to the thing as a whole.

If a system as a whole has some property that none of its constituents has (or perhaps, it has it but not as a ''result'' of some constituent having that property), this is sometimes called an ''[[Emergence|emergent]]'' property of the system.

The term ''mereological fallacy'' refers to approximately the same incorrect inference that properties of a whole are also properties of its parts.<ref>M. R. Bennett; P. M. S. Hacker. 2003. ''Philosophical Foundations of Neuroscience''. [http://info.sjc.ox.ac.uk/scr/hacker/docs/contents_PhiloFndtns_Neurosci.pdf Table of contents].</ref><ref>Rom Harré. [https://www.cambridge.org/core/journals/philosophy/article/behind-the-mereological-fallacy1/44615986E9F6FF6BD30A354FA22E58D3 Behind the Mereological Fallacy]. ''Philosophy'' 87:3, July 2012, pp. 329-352. https://doi.org/10.1017/S0031819112000241</ref><ref>P.M.S. Hacker. 2013. [https://www.cambridge.org/core/journals/philosophy/article/before-the-mereological-fallacy-a-rejoinder-to-rom-harre/BA5F9C392BEE94903F7BAC00686B1F91 Before the Mereological Fallacy: A Rejoinder to Rom Harré]. ''Philosophy'', 88(1), 141-148. doi:10.1017/S003181911200054X</ref>

== History ==
Both the fallacy of division and the [[fallacy of composition]] were addressed by [[Aristotle]] in ''[[Sophistical Refutations]]''.

In the philosophy of the ancient Greek [[Anaxagoras]], as claimed by the Roman [[atomist]] [[Lucretius]],<ref>{{cite book|title=Intellectual Property Protection of Fact-based Works: Copyright and Its Alternatives|page=110|first=Robert|last=Brauneis|publisher=Edward Elgar Publishing|year=2009}}</ref> it was assumed that the atoms constituting a substance must themselves have the salient observed properties of that substance: so atoms of water would be wet, atoms of iron would be hard, atoms of wool would be soft, etc. This doctrine is called ''[[homoeomeria (philosophy)|homoeomeria]]'', and it depends on the fallacy of division.

==Examples in statistics==

In [[statistics]] an [[ecological fallacy]] is a logical fallacy in the interpretation of statistical data where inferences about the nature of individuals are deduced from inference for the group to which those individuals belong. The four common statistical ecological fallacies are: confusion between ecological correlations and individual correlations, confusion between group average and total average, [[Simpson's paradox]], and other statistical methods.<ref>{{cite book|title=Logic: A Modern Introduction to Deductive Reasoning|url=https://archive.org/details/logicmodernintro0000terr|url-access=registration|pages=[https://archive.org/details/logicmodernintro0000terr/page/160 160–163]|first=Dailey|last=Burnham Terrell|year=1967|publisher=Holt, Rinehart and Winston}}</ref>

==See also==
* [[Ecological fallacy]]
* [[Fallacy of composition]]
* [[Synecdoche]], the figure of speech of two forms:
** ''[[Pars pro toto]]'' using the word for a part by way of referring to the whole
** ''[[Totum pro parte]]'' using the word for the whole by way of referring to a part

==References==
{{reflist}}

==Further reading==
*{{cite book|title=Parallel Problem Solving from Nature - PPSN IV: International Conference on Evolutionary Computation. The 4th International Conference on Parallel Problem Solving from Nature Berlin, Germany, September 22–26, 1996. Proceedings, Volume 114|pages=170–173|publisher=Springer Science & Business Media|author1=Werner Ebeling|author2=Hans-Michael Voigt}}
*{{cite book|title=Social Work Research and Evaluation: Foundations of Evidence-Based Practice|pages=393–394|author1=Richard M. Grinnell|author2=Jr., Yvonne A. Unrau|publisher=Oxford University Press}}

==External links==
*{{cite web|url=http://www.fallacyfiles.org/division.html|title=Division|publisher=The Fallacy Files}}

{{Fallacies}}

[[Category:Verbal fallacies|Division]]
[[Category:Relevance fallacies]]
[[Category:Emergence]]

{{logic-stub}}

Speak Easily

2020-09-03T21:32:31Z

JohnAnkerBow: Spoken Article Added

{{short description|1932 film by Edward Sedgwick}}
{{Infobox film
| name = Speak Easily
| image = [[File:Pressbook herald Speak Easily 1932 Buster Keaton Jimmy Durante Thelma Todd.jpg|frameless|upright=1.2]]
| caption = Film pressbook for screenings in [[Capitol Cinema (Mumbai)]]
| director = [[Edward Sedgwick]]
| producer = [[Buster Keaton]]
| starring = [[Buster Keaton]] [[Jimmy Durante]] [[Thelma Todd]]
| cinematography = [[Harold Wenstrom]]
| editing = [[William LeVanway]]
| distributor = [[Metro-Goldwyn-Mayer]]
| released = {{Film date|August 13, 1932}}
| runtime = 80 minutes
| country = United States
| language = English
| budget =
}}

'''''Speak Easily''''' is a 1932 American [[Pre-Code Hollywood|pre-Code]] [[comedy film]] starring [[Buster Keaton]], [[Jimmy Durante]], and [[Thelma Todd]], and directed by [[Edward Sedgwick]]. The studio also paired Keaton and Durante as a comedy team during this period in ''[[The Passionate Plumber]]'' and ''[[What! No Beer?]]'' Keaton later used many of the physical gags he created for this film when he wrote (uncredited) gags for the [[Marx Brothers]]' ''[[A Night at the Opera (film)|A Night At The Opera]]''.

The film is in the [[public domain]], as the copyright was not renewed.

==Plot==
Prof. Post ([[Buster Keaton]]) is a shy [[Classics]] professor at Potts College, who has lived a sheltered life and has little experience of life outside of academia. Feeling that the professor should see more of the real world, his assistant tricks the professor into thinking that he has inherited $750,000, allowing the professor to leave academia and see the world.

[[File:Speak Easily (1932) 1.jpg|thumb|left|[[Buster Keaton]], [[Thelma Todd]], and [[Jimmy Durante]] in ''Speak Easily'' (1932)]]

Boarding a train bound for [[New York City]], Prof. Post encounters James ([[Jimmy Durante]]), the manager of a dancing troupe that has an engagement in the backwater town of Fish's Switch. The professor becomes infatuated with one of the dancers, Pansy Peets ([[Ruth Selwyn]]), and accidentally alights at Fish's Switch when attempting to learn her name. He attends a performance by the dancing troupe at the local theatre, and is impressed by their act.

Feeling that the troupe should continue their act, the professor finances the troupe and takes them to perform on [[Broadway theatre|Broadway]], but only after James insists that the act be improved to a higher standard. Post's suggestions of using inspiration from [[Ancient Greece]] are taken on board, with some minor alterations, and the show is turned into a grandiose musical revue. Although Post wishes that Pansy be the leading lady, the show is quickly turned into a star-vehicle for spoiled actress Eleanor Espere ([[Thelma Todd]]), who attempts to win over the professor in order to take total control over both the show and the money it is expected to earn at its debut. Pansy attempts to warn the professor of Eleanor's bad influence, with mixed results.

On the night of the show's debut, James discovers that Prof. Post does not really have the $750,000 he believes to possess and attempts to keep him away from the production for fear of ruining it. The professor stumbles on-stage at several points, amusing the audience who think it to be part of the act, and ensuring the success of the show. However, his antics cause Eleanor to throw a tantrum, and Prof. Post is finally able to admit his love to Pansy.

==Cast (in credits order)==
[[File:Speak Easily (1932).webm|thumb|thumbtime=1|upright=1.5|''Speak Easily'']]
*[[Buster Keaton]] as Professor Post
*[[Jimmy Durante]] as James
*Ruth Selwyn as Pansy Peets
*[[Thelma Todd]] as Eleanor Espere
*[[Hedda Hopper]] as Mrs Peets
*William Pawley as Griffo
*[[Sidney Toler]] as Stage Director
*[[Lawrence Grant]] as Dr Bolton
*[[Henry Armetta]] as Tony
*[[Edward Brophy]] as Reno

==Production==
A myth persists that the Keaton talkies were critical and popular failures that virtually ended Keaton's career. Most of them were solid moneymakers. In reality, it was Keaton's increasingly vocal discontent with the studio, the exhausting workload and his increasing drinking problem that led to his dismissal by MGM.

==DVD release==
''Speak Easily'' exists in several versions on US DVD: from Alpha Video in 2004, from Synergy Ent. in 2007, from Reel Classics in 2007 and 2008, and in a double-bill with ''[[Steamboat Bill, Jr.]]'' from East West Entertainment. The first ever DVD release in the UK is from Powis Square Pictures in January 2009.

==External links==
{{Spoken Wikipedia|Speak_Easily.ogg|2020-9-3}}
* {{IMDb title|id=0023498}}
* {{Internet Archive film | SpeakEasilyVideoQualityUpgrade | Speak Easily }}
* [http://www.busterkeaton.com/Films/D07_Speak_Easily.html ''Speak Easily''] at the [[International Buster Keaton Society]]
* [http://www.myreviewer.com/default.asp?a=111601 David Beckett review at MyReviewer]

{{Edward Sedgwick}}

[[Category:1932 films]]
[[Category:1932 comedy films]]
[[Category:American films]]
[[Category:American comedy films]]
[[Category:American black-and-white films]]
[[Category:English-language films]]
[[Category:Films directed by Edward Sedgwick]]
[[Category:Metro-Goldwyn-Mayer films]]
[[Category:Articles containing video clips]]
[[Category:Films made before the MPAA Production Code]]

Speak Easily

2020-09-03T21:24:26Z

JohnAnkerBow: Repeated word removed

{{short description|1932 film by Edward Sedgwick}}
{{Infobox film
| name = Speak Easily
| image = [[File:Pressbook herald Speak Easily 1932 Buster Keaton Jimmy Durante Thelma Todd.jpg|frameless|upright=1.2]]
| caption = Film pressbook for screenings in [[Capitol Cinema (Mumbai)]]
| director = [[Edward Sedgwick]]
| producer = [[Buster Keaton]]
| starring = [[Buster Keaton]] [[Jimmy Durante]] [[Thelma Todd]]
| cinematography = [[Harold Wenstrom]]
| editing = [[William LeVanway]]
| distributor = [[Metro-Goldwyn-Mayer]]
| released = {{Film date|August 13, 1932}}
| runtime = 80 minutes
| country = United States
| language = English
| budget =
}}

'''''Speak Easily''''' is a 1932 American [[Pre-Code Hollywood|pre-Code]] [[comedy film]] starring [[Buster Keaton]], [[Jimmy Durante]], and [[Thelma Todd]], and directed by [[Edward Sedgwick]]. The studio also paired Keaton and Durante as a comedy team during this period in ''[[The Passionate Plumber]]'' and ''[[What! No Beer?]]'' Keaton later used many of the physical gags he created for this film when he wrote (uncredited) gags for the [[Marx Brothers]]' ''[[A Night at the Opera (film)|A Night At The Opera]]''.

The film is in the [[public domain]], as the copyright was not renewed.

==Plot==
Prof. Post ([[Buster Keaton]]) is a shy [[Classics]] professor at Potts College, who has lived a sheltered life and has little experience of life outside of academia. Feeling that the professor should see more of the real world, his assistant tricks the professor into thinking that he has inherited $750,000, allowing the professor to leave academia and see the world.

[[File:Speak Easily (1932) 1.jpg|thumb|left|[[Buster Keaton]], [[Thelma Todd]], and [[Jimmy Durante]] in ''Speak Easily'' (1932)]]

Boarding a train bound for [[New York City]], Prof. Post encounters James ([[Jimmy Durante]]), the manager of a dancing troupe that has an engagement in the backwater town of Fish's Switch. The professor becomes infatuated with one of the dancers, Pansy Peets ([[Ruth Selwyn]]), and accidentally alights at Fish's Switch when attempting to learn her name. He attends a performance by the dancing troupe at the local theatre, and is impressed by their act.

Feeling that the troupe should continue their act, the professor finances the troupe and takes them to perform on [[Broadway theatre|Broadway]], but only after James insists that the act be improved to a higher standard. Post's suggestions of using inspiration from [[Ancient Greece]] are taken on board, with some minor alterations, and the show is turned into a grandiose musical revue. Although Post wishes that Pansy be the leading lady, the show is quickly turned into a star-vehicle for spoiled actress Eleanor Espere ([[Thelma Todd]]), who attempts to win over the professor in order to take total control over both the show and the money it is expected to earn at its debut. Pansy attempts to warn the professor of Eleanor's bad influence, with mixed results.

On the night of the show's debut, James discovers that Prof. Post does not really have the $750,000 he believes to possess and attempts to keep him away from the production for fear of ruining it. The professor stumbles on-stage at several points, amusing the audience who think it to be part of the act, and ensuring the success of the show. However, his antics cause Eleanor to throw a tantrum, and Prof. Post is finally able to admit his love to Pansy.

==Cast (in credits order)==
[[File:Speak Easily (1932).webm|thumb|thumbtime=1|upright=1.5|''Speak Easily'']]
*[[Buster Keaton]] as Professor Post
*[[Jimmy Durante]] as James
*Ruth Selwyn as Pansy Peets
*[[Thelma Todd]] as Eleanor Espere
*[[Hedda Hopper]] as Mrs Peets
*William Pawley as Griffo
*[[Sidney Toler]] as Stage Director
*[[Lawrence Grant]] as Dr Bolton
*[[Henry Armetta]] as Tony
*[[Edward Brophy]] as Reno

==Production==
A myth persists that the Keaton talkies were critical and popular failures that virtually ended Keaton's career. Most of them were solid moneymakers. In reality, it was Keaton's increasingly vocal discontent with the studio, the exhausting workload and his increasing drinking problem that led to his dismissal by MGM.

==DVD release==
''Speak Easily'' exists in several versions on US DVD: from Alpha Video in 2004, from Synergy Ent. in 2007, from Reel Classics in 2007 and 2008, and in a double-bill with ''[[Steamboat Bill, Jr.]]'' from East West Entertainment. The first ever DVD release in the UK is from Powis Square Pictures in January 2009.

==External links==
* {{IMDb title|id=0023498}}
* {{Internet Archive film | SpeakEasilyVideoQualityUpgrade | Speak Easily }}
* [http://www.busterkeaton.com/Films/D07_Speak_Easily.html ''Speak Easily''] at the [[International Buster Keaton Society]]
* [http://www.myreviewer.com/default.asp?a=111601 David Beckett review at MyReviewer]

{{Edward Sedgwick}}

[[Category:1932 films]]
[[Category:1932 comedy films]]
[[Category:American films]]
[[Category:American comedy films]]
[[Category:American black-and-white films]]
[[Category:English-language films]]
[[Category:Films directed by Edward Sedgwick]]
[[Category:Metro-Goldwyn-Mayer films]]
[[Category:Articles containing video clips]]
[[Category:Films made before the MPAA Production Code]]

Tarnished Lady

2020-09-03T15:03:30Z

JohnAnkerBow:

{{short description|1931 film by George Cukor}}
{{Infobox film
| name = Tarnished Lady
| image = Tarnished Lady (1931) lobby card 1.jpg
| image_size =
| caption = [[Lobby card]]
| director = [[George Cukor]]
| producer = [[Walter Wanger]]
| writer = [[Donald Ogden Stewart]]
| starring = [[Tallulah Bankhead]] [[Clive Brook]]
| music = [[Vernon Duke]]
| cinematography = Larry Williams
| editing = [[Barney Rogan]]
| distributor = [[Paramount Pictures]]
| released = {{Film date|1931|05|02}}
| runtime = 83 minutes
| country = United States
| language = English}}

'''''Tarnished Lady''''' is a 1931 American [[Pre-Code Hollywood|pre-Code]] [[drama film]] directed by [[George Cukor]] and starring [[Tallulah Bankhead]] and [[Clive Brook]]. The screenplay by [[Donald Ogden Stewart]] is based on his [[short story]], ''A Story of a New York Lady''.

==Plot==
[[File:TarnishedLady.JPG|thumb|right|upright|[[Tallulah Bankhead]] in ''Tarnished Lady'']]
Nancy Courtney, a once wealthy socialite, has had to struggle to maintain a facade of prosperity ever since her father's death. Although she loves writer DeWitt Taylor, who is indifferent to amassing a fortune, her mother urges her to marry [[stockbroker]] Norman Cravath instead. Nancy acquiesces to her mother's wishes but, despite the fact her new husband does everything he can to please her, she is miserable in her marriage.

Meanwhile, DeWitt has begun romancing Norman's former girl friend Germaine Prentiss, Nancy's long-time rival. She realizes DeWitt's relationship with Germaine is changing him into a social climber. Unaware Norman's firm has just been barred from the [[stock market]] and he is facing financial ruin, Nancy tells her husband she is leaving him. She learns of Norman's bankruptcy in the newspaper and, together with her friend Ben Sterner, she goes to a [[speakeasy]] where she proceeds to get drunk. She and Ben bring some of the bar patrons to his home, where they encounter Norman, who is waiting there to discuss a business transaction with Ben. Seeing his wife in such a disreputable state, he tells her he never wants to see her again.

Nancy tries to live on her own but, lacking any skills, she is unable to find employment and becomes destitute. When she discovers she is pregnant, Ben offers her a place to live and, after the birth of her child, he hires her to work in his department store. Norman and Germaine come in to purchase a fur coat, and Norman is stunned to find Nancy in a menial position. Germaine tries to warn Nancy away, but realizing her husband still loves her, Nancy asks him for another chance. Germaine bows out and leaves Norman with his forgiven wife and infant son.

==Cast==
*[[Tallulah Bankhead]] as Nancy Courtney
*[[Clive Brook]] as Norman Cravath
*[[Phoebe Foster]] as Germaine Prentiss
*[[Alexander Kirkland]] as DeWitt Taylor
*[[Osgood Perkins]] as Ben Sterner
*[[Elizabeth Patterson (actress)|Elizabeth Patterson]] as Mrs. Courtney
*Beatrice Ames as Minor Role (uncredited)
*[[Eric Blore]] as Jewelry Counter Clerk (uncredited)
*[[Berton Churchill]] as Stock Speculator (uncredited)
*[[Edward Gargan]] as Al, a Man in Bar (uncredited)
*[[Dewey Robinson]] as Tony the Waiter (uncredited)
*[[Cora Witherspoon]] as Saleslady (uncredited)

==Critical reception==
Mordaunt Hall of ''[[The New York Times]]'' observed, "Miss Bankhead acquits herself with considerable distinction, but the vehicle to which she lends her talent is no masterpiece. In fact, only in a few spots is the author's fine hand discernible."<ref>[https://movies.nytimes.com/movie/review?res=9A01E7DA1F3AE433A25753C3A9629C946094D6CF ''New York Times'' review]</ref>

''[[Variety (magazine)|Variety]]'' called it a "weepy and ragged [[melodrama]] [that] has little outside its cast to be recommended . . . Cast, as a whole, deports in a manner suggesting they were under orders to give way before Bankhead. Clive Brook suffers the most. Ordinarily a fine actor, he slumps here in trying to get over some of the silly dialog."<ref>[https://www.variety.com/review/VE1117795459.html?categoryid=31&cs=1&p=0 ''Variety'' review]</ref>

==References==
{{reflist}}

==External links==
{{Spoken Wikipedia|Tarnished_Lady.ogg|2020-9-3}}
*{{IMDb title|id=0022463|title=Tarnished Lady}}
*{{allmovie|112710|Synopsis}}
*[http://tallulahbankhead.weebly.com/tarnished-lady.html Stills] at Tallulah Bankhead website

{{George Cukor}}
{{Walter Wanger}}

[[Category:1931 films]]
[[Category:American drama films]]
[[Category:1931 drama films]]
[[Category:Films set in the 1930s]]
[[Category:American black-and-white films]]
[[Category:Films directed by George Cukor]]
[[Category:Paramount Pictures films]]
[[Category:Films produced by Walter Wanger]]
[[Category:Films with screenplays by Donald Ogden Stewart]]
[[Category:American films]]
[[Category:Films made before the MPAA Production Code]]

Tarnished Lady

2020-09-03T15:02:55Z

JohnAnkerBow: Spoken Article Added

{{short description|1931 film by George Cukor}}
{{Infobox film
| name = Tarnished Lady
| image = Tarnished Lady (1931) lobby card 1.jpg
| image_size =
| caption = [[Lobby card]]
| director = [[George Cukor]]
| producer = [[Walter Wanger]]
| writer = [[Donald Ogden Stewart]]
| starring = [[Tallulah Bankhead]] [[Clive Brook]]
| music = [[Vernon Duke]]
| cinematography = Larry Williams
| editing = [[Barney Rogan]]
| distributor = [[Paramount Pictures]]
| released = {{Film date|1931|05|02}}
| runtime = 83 minutes
| country = United States
| language = English}}

'''''Tarnished Lady''''' is a 1931 American [[Pre-Code Hollywood|pre-Code]] [[drama film]] directed by [[George Cukor]] and starring [[Tallulah Bankhead]] and [[Clive Brook]]. The screenplay by [[Donald Ogden Stewart]] is based on his [[short story]], ''A Story of a New York Lady''.

==Plot==
[[File:TarnishedLady.JPG|thumb|right|upright|[[Tallulah Bankhead]] in ''Tarnished Lady'']]
Nancy Courtney, a once wealthy socialite, has had to struggle to maintain a facade of prosperity ever since her father's death. Although she loves writer DeWitt Taylor, who is indifferent to amassing a fortune, her mother urges her to marry [[stockbroker]] Norman Cravath instead. Nancy acquiesces to her mother's wishes but, despite the fact her new husband does everything he can to please her, she is miserable in her marriage.

Meanwhile, DeWitt has begun romancing Norman's former girl friend Germaine Prentiss, Nancy's long-time rival. She realizes DeWitt's relationship with Germaine is changing him into a social climber. Unaware Norman's firm has just been barred from the [[stock market]] and he is facing financial ruin, Nancy tells her husband she is leaving him. She learns of Norman's bankruptcy in the newspaper and, together with her friend Ben Sterner, she goes to a [[speakeasy]] where she proceeds to get drunk. She and Ben bring some of the bar patrons to his home, where they encounter Norman, who is waiting there to discuss a business transaction with Ben. Seeing his wife in such a disreputable state, he tells her he never wants to see her again.

Nancy tries to live on her own but, lacking any skills, she is unable to find employment and becomes destitute. When she discovers she is pregnant, Ben offers her a place to live and, after the birth of her child, he hires her to work in his department store. Norman and Germaine come in to purchase a fur coat, and Norman is stunned to find Nancy in a menial position. Germaine tries to warn Nancy away, but realizing her husband still loves her, Nancy asks him for another chance. Germaine bows out and leaves Norman with his forgiven wife and infant son.

==Cast==
*[[Tallulah Bankhead]] as Nancy Courtney
*[[Clive Brook]] as Norman Cravath
*[[Phoebe Foster]] as Germaine Prentiss
*[[Alexander Kirkland]] as DeWitt Taylor
*[[Osgood Perkins]] as Ben Sterner
*[[Elizabeth Patterson (actress)|Elizabeth Patterson]] as Mrs. Courtney
*Beatrice Ames as Minor Role (uncredited)
*[[Eric Blore]] as Jewelry Counter Clerk (uncredited)
*[[Berton Churchill]] as Stock Speculator (uncredited)
*[[Edward Gargan]] as Al, a Man in Bar (uncredited)
*[[Dewey Robinson]] as Tony the Waiter (uncredited)
*[[Cora Witherspoon]] as Saleslady (uncredited)

==Critical reception==
Mordaunt Hall of ''[[The New York Times]]'' observed, "Miss Bankhead acquits herself with considerable distinction, but the vehicle to which she lends her talent is no masterpiece. In fact, only in a few spots is the author's fine hand discernible."<ref>[https://movies.nytimes.com/movie/review?res=9A01E7DA1F3AE433A25753C3A9629C946094D6CF ''New York Times'' review]</ref>

''[[Variety (magazine)|Variety]]'' called it a "weepy and ragged [[melodrama]] [that] has little outside its cast to be recommended . . . Cast, as a whole, deports in a manner suggesting they were under orders to give way before Bankhead. Clive Brook suffers the most. Ordinarily a fine actor, he slumps here in trying to get over some of the silly dialog."<ref>[https://www.variety.com/review/VE1117795459.html?categoryid=31&cs=1&p=0 ''Variety'' review]</ref>

==References==
{{reflist}}

==External links==
{{SpokenWikipedia|Tarnished_Lady.ogg|2020-9-3}}
*{{IMDb title|id=0022463|title=Tarnished Lady}}
*{{allmovie|112710|Synopsis}}
*[http://tallulahbankhead.weebly.com/tarnished-lady.html Stills] at Tallulah Bankhead website

{{George Cukor}}
{{Walter Wanger}}

[[Category:1931 films]]
[[Category:American drama films]]
[[Category:1931 drama films]]
[[Category:Films set in the 1930s]]
[[Category:American black-and-white films]]
[[Category:Films directed by George Cukor]]
[[Category:Paramount Pictures films]]
[[Category:Films produced by Walter Wanger]]
[[Category:Films with screenplays by Donald Ogden Stewart]]
[[Category:American films]]
[[Category:Films made before the MPAA Production Code]]

Second Battle of Kulm

2020-08-29T20:55:42Z

JohnAnkerBow: Spoken Article Added / Syntax Correction

The '''Second Battle of Kulm''' or the '''Battle of Teplitz''' was fought on 17 September 1813 upon the heights immediately above the town of [[Chlumec (Ústí nad Labem District)|Kulm]] (Chlumec) in northern [[Bohemia]], by a [[sixth Coalition|Coalition army]] commanded by the Austrian field marshal, [[Karl Philipp, Prince of Schwarzenberg|Prince of Schwarzenberg]], and a French army under the command of the Emperor [[Napoleon]]. It resulted in an Austrian victory.<ref>Also known under the alternative spelling of the '''Battle of Toeplitz'''</ref>
{{Campaignbox German campaign}}
{{Campaignbox Sixth Coalition}}

==Prelude==
Seventeen days after the French lost the [[First Battle of Kulm]], another engagement took place, on nearly the same ground, between the Prince of Schwarzenberg and Napoleon in person, who was marching on [[Teplitz]] after his [[Battle of Dresden|victory at Dresden]] (26–27 August).{{sfn|Turnbull|1840|p=17}}

==Battle==
The battle was fought on 17 September, upon the heights immediately above Kulm; and its results compelled the French to abandon their advance, and retreat to [[Leipzig]], where they sustained another defeat ([[Battle of Leipzig]], 16–19 October 1813).{{sfn|Turnbull|1840|p=17}}

==Notes==
{{reflist}}

==References==
;Attribution
* {{source-attribution |{{Citation |last=Turnbull |first=Peter Evan |year=1840 |title=Austria |location=London |publisher=J. Murray |page=[https://archive.org/stream/austria01turngoog#page/n45/mode/1up 17]}} }}

==External links==
{{Spoken Wikipedia|Second_Battle_of_Kulm.ogg|2020-8-30}}
* {{citation |editor-first=Robert |date=9 August 2011 |editor-last=Burnham |url=http://www.napoleon-series.org/cgi-bin/forum/archive2011_config.pl?md=read;id=126218 |title=Archive 2011: formum thread: Battle of Kulm-Arbesau-Kninitz 17/18 Sept 1813 |publisher=[http://www.napoleon-series The Napoleon Series]}} A thread discussing sources for this battle.
* {{citation |year=2011 |url=http://www.theblitz.org/scenarios/Black-Powder/M15-Bonus-9.-Second-Battle-of-Kulm-Teplitz/action=scenario_details&sid=1090&ladder=7|title=Second Battle of Kulm-Teplitz}} Some more details of the battle 

{{Napoleonic Wars}}
{{coord missing|Czech Republic}}

{{DEFAULTSORT:Kulm, Second Battle of}}
[[Category:Conflicts in 1813]]
[[Category:Battles of the Napoleonic Wars]]
[[Category:Battles involving Austria]]
[[Category:Battles involving France]]
[[Category:Battles of the War of the Sixth Coalition]]
[[Category:1813 in the Austrian Empire]]
[[Category:1813 in France]]
[[Category:1813 in Bavaria]]
[[Category:September 1813 events]]
[[Category:Austrian Empire–France relations]]

{{Austria-battle-stub}}

Greenwich Village (film)

2020-08-28T19:36:08Z

JohnAnkerBow: Spoken Article Edited

{{Infobox film
| name = Greenwich Village
| image = Poster - Greenwich Village (1944).jpg
| image_size = 200px
| caption = Original teatral movie poster
| director = [[Walter Lang]]
| producer = [[William LeBaron]]
| screenplay = [[Earl Baldwin]] [[Walter Bullock]]
| story = [[Frederick Hazlitt Brennan]] '''adaptation:''' Michael Fessier [[Ernest Pagano]]
| narrator =
| starring = [[Carmen Miranda]] [[Don Ameche]] [[William Bendix]] [[Vivian Blaine]]
| music =
| cinematography = [[Leon Shamroy]]
| editing = [[Robert L. Simpson (film editor)|Robert Simpson]]
| studio =
| distributor = [[20th Century Fox]]
| released = September 27, 1944
| runtime = 82 minutes
| country = United States
| language = English
| budget =
| gross = $1,850,000<ref>[https://books.google.com.au/books?id=WIZwZOz8LHsC&pg=PA212&lpg=PA212&dq=aubrey+solomon+20th+century+fox&source=bl&ots=FKmAn2szCi&sig=b7skIRQNZ1P88Dic6zd6VYPfHFU&hl=en&sa=X&ved=0ahUKEwjUmaSf4t3NAhVRxWMKHb_lAFUQ6AEINDAF#v=onepage&q=aubrey%20solomon%2020th%20century%20fox&f=false Aubrey Solomon, ''Twentieth Century-Fox: A Corporate and Financial History'' Rowman & Littlefield, 2002 p 220]</ref>
| preceded_by =
| followed_by =
| website =
| amg_id =
}}
'''''Greenwich Village''''' is a 1944 American film from [[Twentieth Century Fox]] directed by [[Walter Lang]]. It stars [[Carmen Miranda]] and [[Don Ameche]].<ref>{{cite news|url=http://allmovie.com/work/greenwich-village-93907|title=Greenwich Village (1944)|date=|work=|page=[[Allmovie]]|accessdate=March 8, 2014}}</ref>

==Plot==
In 1922, aspiring composer Kenneth Harvey ([[Don Ameche]]) travels from the Midwest to Greenwich Village, New York, where he hopes to interest famed composer Kavosky in his concerto. Kenneth wanders into a speakeasy owned by the brash Danny O'Hare ([[William Bendix]]), who wants to put on a musical extravaganza showcasing his singing sweetheart, Bonnie Watson ([[Vivian Blaine]]). Danny hopes that the show will make Bonnie a star and make up for the fact that he cost her an opportunity of playing a leading role for Ziegfeld. Danny's other main entertainer, Princess Querida ([[Carmen Miranda]]), mistakenly assumes that Kenneth is rich, although the few hundred-dollar bills he innocently flashes are the extent of his traveling money. Danny immediately targets Kenneth as a chump and begins to get friendly with him, but Bonnie disapproves and allows Kenneth to escort her home. At her apartment, Bonnie confesses that when she came to Greenwich Village, she had aspirations to become a poet, and advises Kenneth to be more careful about displaying his money. Danny, jealous of Kenneth and Bonnie's obvious attraction to each other, brings the gang up to Bonnie's apartment for a party, and Kenneth plays some of his concerto for them.

The next morning, Danny arranges for Kenneth to move to the top floor apartment and begin writing songs for their show, although Bonnie stipulates that music from Kenneth's concerto must be withdrawn from the show if Kavosky likes it. Meanwhile, Hofer, a former violinist with Kavosky's orchestra, persuades the maestro to hear Kenneth play, which Kavosky reluctantly does to get rid of Hofer. Hofer then lies to Kenneth, telling him that Kavosky wants to perform his concerto at Carnegie Hall, and that they should begin the orchestrations immediately. Kenneth works hard on his music, which he withdraws from Danny's show, even though Bonnie has already written the lyrics. Danny is infuriated, especially when he sees Bonnie and Kenneth kiss, but Bonnie is thrilled by Kenneth's seeming good fortune. Unknown to Bonnie, Danny, who continues to rehearse the numbers using Kenneth's music, is aware of the situation when Hofer swindles Danny out of his life savings, which Hofer ([[Felix Bressart]]) says is the down payment on the musicians' wages for the Carnegie Hall performance. Hofer disappears with the money, and Kenneth discovers his treachery after speaking to the surprised Kavosky.

The heartbroken Kenneth is on his way home when he sees Hofer returning the money to Danny, who has realized that Bonnie is truly in love with Kenneth. The young composer misunderstands the situation and assumes that Danny and Bonnie were in on the swindle. While Kenneth is angrily packing, Querida questions him and learns of his misapprehension. She then gets him arrested by giving him some bootleg liquor to carry, and while Kenneth languishes in jail, Danny, Bonnie and the others step up their rehearsals and prepare to open the show. On opening night, Danny's right-hand man, Brophy, bails Kenneth out of jail, and the irate composer rushes over to the theater to confront Danny. As he watches from the audience, Kenneth is amazed to see Kavosky conduct his concerto, which has been turned into an elaborate number featuring Querida and Bonnie. Kenneth rushes backstage, where Danny reveals that Kavosky volunteered his services after learning of the swindle perpetrated by Hofer. Danny also advises Kenneth to make up with Bonnie, and after her final number, Kenneth embraces her in the wings.

==Production==
[[File:Carmen Miranda in Greenwich Village (1944).jpg|thumb|230px|Carmen Miranda in ''Greenwich Village''.]]
Information in the Twentieth Century-Fox Produced Scripts Collection, located at the [[University of California|UCLA Arts]], indicates that Robert Ellis, Helen Logan and Valentine Davies worked on early versions of the screenplay for this picture. Their contribution to the completed film is doubtful, however.

According to news published by ''[[The Hollywood Reporter]]'' in 29 October 1942, [[Alice Faye]] and [[Phil Regan (actor)|Phil Regan]] were originally scheduled to star in the picture. Other actors announced by ''The Hollywood Reporter'' as having been cast included Ronald Graham, [[Jack Oakie]] (who was to play "Danny O'Mara" according to studio records), [[Phil Baker (comedian)|Phil Baker]] and [[Perry Como]] (who was to make his debut in the picture).

In July 1943, ''The Hollywood Reporter'' also reported that [[Lillian Porter]] had been cast in the film, but her appearance in the completed picture has not been confirmed. Although the onscreen credits introduce actress [[Vivian Blaine]] "in Her First Featured Role," Blaine had appeared in several previous productions for [[Twentieth Century-Fox]], including a starring role in the 1943 film ''[[Jitterbugs]]''. According to an item published by ''[[The Hollywood Reporter]]'' on 2 November 1943, the studio placed Blaine into ''Greenwich Village'' after showing two theater audiences a test reel of Technicolor footage of Blaine, [[Gale Robbins]], [[Faye Marlowe]], [[Lois Andrews]] and [[Doris Merrick]], then asking the audiences to choose their favorite.

The picture marked the screen debut of The Revuers, a cabaret group featuring [[Judy Holliday]] (who is billed as Judith Tuvim on the CBCS), Betty Comden, Adolph Green and Alvin Hammer. Although news published by ''[[The Hollywood Reporter]]'' indicated that The Revuers' "satiric sketch of a Shubert operetta" had been purchased by the studio for their debut, their sequence was cut from the finished picture, and modern sources note that the group appears only in the party scene at "Bonnie Watson's" apartment. After the group broke up, Holliday became a well-known Broadway and motion picture comedian and won an [[Academy Award for Best Actress]] for ''[[Born Yesterday (1950 film)|Born Yesterday]]''. Comden and Green became a popular songwriting team whose films included ''[[On the Town (film)|On the Town]]''. Actor [[Felix Bressart]] was borrowed from [[MGM]] for the production.

According to information in the film's file in the [[Motion Picture Production Code|MPAA/PCA Collection]] at the [[Academy of Motion Picture Arts and Sciences|AMPAS]] Library, the [[Production Code Administration]] initially rejected the screenplay due to "sustained scenes of excessive and unnecessary drinking and drunkenness." A news published by ''[[The Hollywood Reporter]]'' in November 1942 noted that songwriter [[Leo Robin]] was teamed with Nacio Herb Brown to compose the film's songs after Robin's longtime collaborator, Ralph Rainger, died in a plane crash on 23 October 1942.

In a 27 October 1943 ''The Hollywood Reporter'' news item listing songs that were to be included in the film, the Robin and Brown songs "I'm Down to My Last Dream," "You Make Me Mad," "Oh, Brother," "Never Before," "That Thing They Sing About," "I've Been Smiling in My Sleep" and "I Have to See You Privately" were mentioned, but none of these titles were in the completed picture. [[Carmen Miranda]]'s rendition of "Give Me a Band and a Bandana" includes excerpts from "[[O Que É Que A Baiana Tem?|O Que e que a baiana tem?]]" by [[Dorival Caymmi]] and "Quando eu penso na baia" by [[Ary Barroso]].<ref>{{cite news|url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=1385|title=American Film Institute Catalog: GREENWICH VILLAGE|date=|work=|page=American Film Institute Catalog|accessdate=March 8, 2014}}</ref>

==Cast==
*[[Carmen Miranda]] as Princess Quereda O'Toole
*[[Don Ameche]] as Kenneth Harvey
*[[William Bendix]] as Danny O'Mara
*[[Vivian Blaine]] as Bonnie Watson
*[[Felix Bressart]] as Hofer
*[[The Four Step Brothers]] as Themselves

==Critical reception==
[[File:Carmen Miranda (1944).jpg|thumb|180px|[[Carmen Miranda]] in a publicity photo for the movie.]]
"Technicolor is the picture's chief asset," said ''[[The New York Times]]'' of Greenwich Village, a Fox musical from a decidedly lesser tier than the studio's great "A" productions, but still worth a look for the presence of Carmen Miranda and, yes, Leon Shamroy's Technicolor cinematography.<ref>{{cite news|url=https://www.nytimes.com/movie/review?res=9A03E7D6113CE03ABC4051DFBF66838F659EDE|title=Greenwich Village (1944)' Greenwich Village,' With Carmen Miranda, Comes to Roxy -- Film From Paris at the 55th St.|date=|work=|page=[[The New York Times]]|accessdate=March 7, 2014}}</ref>

Peggy Simmonds wrote in a review for ''[[The Miami News]]'', "Fortunately for ''Greenwich Village,'' the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice (...) the overall effect is disappointing (...) but still she sparkles the picture whenever she appears."<ref>{{cite news|url=https://news.google.com/newspapers?nid=2206&dat=19440908&id=IChVAAAAIBAJ&sjid=Xz0NAAAAIBAJ&pg=6153,1697071&hl=pt-BR|title=Color and Carmen Abound In Film About Greenwich Village; Review|date=September 8, 1944|work=Peggy Simmonds|page=[[The Miami News]]|accessdate=June 15, 2015}}</ref>

''[[Time (magazine)|Time]]'''s review complained that the cast was hardly formidable enough to sustain a movie with such thin plot and characters, and while that may be true, it's still interesting to see how Fox tried to launch Vivian Blaine as a big new star, and it's unique (to say the least!) to see William Bendix sing and dance. Bendix had recently become a star supporting player and had already perfected a screen persona of a lovable doofus. Time magazine's review of Greenwich Village marveled at how the persona was just that; in real life, apparently, Bendix was cultivated and mannered. "Bendix is probably the world's highest-paid professional ignoramus," said ''Time''. "As such he now rates star billing at his studio and makes more money than the President of the U.S."

[[Vivian Blaine]] was touted as a newcomer by the Fox publicity machine, but in truth she had already been credited in four previous films, including ''[[Jitterbugs]]'' (1943), in which she played a significant role opposite Laurel and Hardy. She went on to do more movies and television but she never became a movie star. She will instead best be remembered for her stage work, especially as the original '''"Miss Adelaide"'' in the stage and screen versions of ''[[Guys and Dolls]]'' (1950 stage, 1955 film).

Carmen Miranda, on the other hand, who here sings ''"Give Me a Band and a Bandana,"'' was still at the peak of her popularity, with Greenwich Village coming hot on the heels of her best and most famous film, ''[[The Gang's All Here (1943 film)|The Gang's All Here]]'' (1943). Film historian Jeanine Basinger has written astutely that the Brazilian bombshell "wasn't a real movie star, but someone who did star turns in movies...She was an important escape fantasy of [[World War II]]." (from The Star Machine, Knopf) Known for her insanely over-the-top costumes, elaborate, fruit-laden headpieces, and hugely energetic singing and dancing, Carmen Miranda was always exaggerated to a delightful level.<ref>{{cite news|url=http://www.tcm.com/this-month/article/235303%7C0/Greenwich-Village.html|title=GREENWICH VILLAGE|date=|work=TCM Turner Classic Movies|page=|accessdate=March 7, 2014}}</ref>

== DVD release ==
The film was released on DVD in June 2008 as part of Fox's "The Carmen Miranda Collection."<ref>{{cite news|url=https://www.nytimes.com/2008/06/17/movies/homevideo/17dvds.html?scp=1&sq=the%20carmen%20miranda%20collection&st=cse|title=New York Times online - New DVDs: "The Carmen Miranda Collection"|date=17 June 2008|work=DAVE KEHR|page=[[The New York Times]]|accessdate=March 10, 2014}}</ref>

==See also==
*[[List of American films of 1944]]

==References==
{{reflist}}

==External links==
{{Spoken Wikipedia|Greenwich_Village_(film)_REVISED.ogg|2020-8-28}}
{{commons category|Greenwich Village (film)}}
*{{AFI film|1385|Greenwich Village}}
*{{IMDb title|id=0036881|title=Greenwich Village}}

{{Walter Lang}}

[[Category:1944 films]]
[[Category:1944 musical comedy films]]
[[Category:20th Century Fox films]]
[[Category:American films]]
[[Category:American musical comedy films]]
[[Category:English-language films]]
[[Category:Films directed by Walter Lang]]
[[Category:Films set in New York City]]
[[Category:Films about composers]]
[[Category:1944 comedy films]]

Via Galactica

2020-08-28T16:43:01Z

JohnAnkerBow: Spoken Article Added

{{for|the galaxy|Milky Way}}
{{Infobox Musical
|name= Via Galactica
|subtitle=
|image =Via Galactica.jpg
|image_size = 220px
|caption =1972 Broadway Playbill
|music= [[Galt MacDermot]]
|lyrics= [[Christopher Gore]]
|book= [[Christopher Gore]] [[Judith Ross]]
|basis=
|productions= 1972 [[Broadway theatre|Broadway]]

|awards=
}}

'''''Via Galactica''''' is a [[rock musical]] with a book by [[Christopher Gore (writer)|Christopher Gore]] and Judith Ross, lyrics by Gore, and music by [[Galt MacDermot]]. It marked the Broadway debut of actor [[Mark Baker (actor)|Mark Baker]].<ref name="who">{{cite encyclopedia | title = BAKER, Mark | encyclopedia = Who's Who in the Theatre | volume = 1 | page = 37 | publisher = Gale Research Company | year = 1981 | issn=0083-9833 | editor = Ian Herbert}}</ref>

Originally entitled ''Up!'', it offers a futuristic story of social outcasts living on an [[asteroid]] in the year 2972. Among them is Gabriel Finn, a space sanitation man who collects trash in a clamshell-shaped garbage ship called the [[Helen of Troy]].

The storyline was so incomprehensible that at the last moment producers decided to insert a plot synopsis in the ''[[Playbill]]'', but audiences were still baffled by what they were witnessing unfold on stage. [[Pyrotechnic]] displays and other [[special effects]] did little to enhance the project.

After fifteen previews, the [[Broadway theatre|Broadway]] production, directed by [[Peter Hall (theatre director)|Peter Hall]], produced by [[George W. George]] and [[choreographed]] by [[George Faison]], opened on November 28, 1972, the first production at the brand new [[George Gershwin Theatre|Uris Theatre]] where, unable to withstand a universal assault by the critics, it ran for only seven performances. The cast included [[Raul Julia]], [[Irene Cara]], [[Keene Curtis]], [[Chuck Cissel]], [[Ralph Carter]], [[Melanie Chartoff]], and [[Virginia Vestoff]].

''Via Galactica'', one of the first Broadway shows to lose more than $1 million, was MacDermot's second flop of the season. His ''[[Dude (musical)|Dude]]'' had closed after 16 performances a mere five weeks earlier.

==Songs==
Song | Performer(s)

ACT ONE

"Via Galactica" | Storyteller

"We Are One" | Blue People

"Helen of Troy" | Gabriel Finn

"Oysters" | Hels and April

"The Other Side of the Sky" | Hels

"Children of the Sun" | Omaha

"Different" | April and Company

"Take Your Hat Off" | Omaha and Company

"Ilmar's Tomb" | Omaha

"Shall We Friend?" | Gabriel Finn

"The Lady Isn't Looking" | Omaha

"Hush" | Gabriel Finn

"Cross on Over" | Dr. Isaacs, Omaha and Company

"The Gospel of Gabriel Finn"| Gabriel Finn

ACT TWO

"Terre Haute High" |April

"Life Wins" | Omaha

"The Worm Germ" | Provo

"Isaacs' Equation" | Dr. Isaacs

"Dance the Dark Away!" | Storyteller and Company

"Four Hundred Girls Ago" | Gabriel Finn

"All My Good Mornings" | Omaha

"Isaacs' Equation (Reprise)" | Dr. Isaacs

"Children of the Sun (Reprise)" | Omaha and Gabriel Finn

"New Jerusalem" | Company

==References==
{{reflist}}
*''Broadway Musicals: A Hundred Year History'' by David H. Lewis, published by McFarland & Company (2002), pages 104-105 ({{ISBN|0-786-41269-0}})
*''Not Since Carrie: Forty Years of Broadway Musical Flops'' by [[Ken Mandelbaum]], published by [[St. Martin's Press]] (1998), pages 23–24 ({{ISBN|0-312-08273-8}})

==External links==
{{Spoken Wikipedia|Via_Galactica.ogg|2020-8-28}}
* [http://www.ibdb.com/production.asp?ID=3155 Internet Broadway Database link]
* Jennifer George, [https://www.nytimes.com/2011/01/02/opinion/02george.html "My Family's Flop"], ''[[The New York Times]]'', January 2, 2011.
* BroadwayEdition.org host Paul Leary's Exclusive interview about Via Galactica with Rick Gore: http://www.paulleary.org/web/Home/Entries/2011/1/7_Exclusive_interview_about_Via_Galactica.html

{{Galt MacDermot}}

[[Category:1972 musicals]]
[[Category:Broadway musicals]]
[[Category:Original musicals]]
[[Category:Musicals by Galt MacDermot]]
[[Category:Science fiction music]]
[[Category:Science fiction musicals]]
[[Category:Science fiction theatre]]

John Van Arsdale

2020-08-26T22:52:41Z

JohnAnkerBow:

[[File:Evacuation_of_New_York_by_the_British_crop.jpg|thumb|[[Evacuation Day (New York)|Evacuation Day]] print from 1883 centennial illustrating the flag-raising legend associated with Van Arsdale.]]
'''John Jacob Van Arsdale''' (1756-1836) was an [[American Revolutionary War]] soldier, noted for his legendary participation in the [[Evacuation Day (New York)|Evacuation Day]] flag-raising in 1783. From [[Cornwall, New York]], he participated in the [[Benedict Arnold's expedition to Quebec]] and the unsuccessful [[Battle of Quebec (1775)|Battle of Quebec]] in 1775. He was later captured in the defensive [[Battle of Forts Clinton and Montgomery]] in 1777, and was detained by the British for nine and one-half months, including two months in the [[Sugar house prisons in New York City|sugar house prisons]], before being released in a prisoner exchange.

On November 25, 1783, later known as [[Evacuation Day (New York)|Evacuation Day]], he is said to have gamely climbed a [[Greasy pole|greasy flagpole]] left by the British at [[Fort Amsterdam|Fort George]] as they departed the city, to remove their standard and replace it with the American flag. The flag-raising story only appears after the fact though, and many accounts that include a climber describe a man a decade younger than Van Arsdale actually was at that point. He and his descendants, such as [[John Lafayette Riker]], are associated with later annual commemorations.<ref>{{Cite book|url=https://archive.org/details/ldpd_5684804_000|title="Evacuation Day", 1783: Its Many Stirring Events: with Recollections of Capt. John Van Arsdale, of the Veteran Corps of Artillery, by Whose Efforts on that Day the Enemy Were Circumvented, and the American Flag Successfully Raised on the Battery|last=Riker|first=James|date=1883|publisher=author|language=en}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=HsVXAAAAYAAJ&pg=PA3520|title=The City Record|date=1895|language=en}}</ref>

==References==
{{reflist}}

{{DEFAULTSORT:Van Arsdale, John}}
[[Category:1756 births]]
[[Category:1836 deaths]]
[[Category:Continental Army officers from New York (state)]]
[[Category:People from Cornwall, New York]]

==External Links==
{{Spoken Wikipedia|John_Van_Arsdale.ogg|2020-8-25}}

John Van Arsdale

2020-08-26T21:50:17Z

JohnAnkerBow: Spoken Article Added

[[File:Evacuation_of_New_York_by_the_British_crop.jpg|thumb|[[Evacuation Day (New York)|Evacuation Day]] print from 1883 centennial illustrating the flag-raising legend associated with Van Arsdale.]]
'''John Jacob Van Arsdale''' (1756-1836) was an [[American Revolutionary War]] soldier, noted for his legendary participation in the [[Evacuation Day (New York)|Evacuation Day]] flag-raising in 1783. From [[Cornwall, New York]], he participated in the [[Benedict Arnold's expedition to Quebec]] and the unsuccessful [[Battle of Quebec (1775)|Battle of Quebec]] in 1775. He was later captured in the defensive [[Battle of Forts Clinton and Montgomery]] in 1777, and was detained by the British for nine and one-half months, including two months in the [[Sugar house prisons in New York City|sugar house prisons]], before being released in a prisoner exchange.

On November 25, 1783, later known as [[Evacuation Day (New York)|Evacuation Day]], he is said to have gamely climbed a [[Greasy pole|greasy flagpole]] left by the British at [[Fort Amsterdam|Fort George]] as they departed the city, to remove their standard and replace it with the American flag. The flag-raising story only appears after the fact though, and many accounts that include a climber describe a man a decade younger than Van Arsdale actually was at that point. He and his descendants, such as [[John Lafayette Riker]], are associated with later annual commemorations.<ref>{{Cite book|url=https://archive.org/details/ldpd_5684804_000|title="Evacuation Day", 1783: Its Many Stirring Events: with Recollections of Capt. John Van Arsdale, of the Veteran Corps of Artillery, by Whose Efforts on that Day the Enemy Were Circumvented, and the American Flag Successfully Raised on the Battery|last=Riker|first=James|date=1883|publisher=author|language=en}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=HsVXAAAAYAAJ&pg=PA3520|title=The City Record|date=1895|language=en}}</ref>

==References==
{{reflist}}

{{DEFAULTSORT:Van Arsdale, John}}
[[Category:1756 births]]
[[Category:1836 deaths]]
[[Category:Continental Army officers from New York (state)]]
[[Category:People from Cornwall, New York]]

==External Links==
[[File:John Van Arsdale.ogg|thumb|Audio recording of article: John Van Arsdale]]
{{Spoken Wikipedia|John_Van_Arsdale.ogg|2020-8-25}}

John Van Arsdale

2020-08-26T21:43:00Z

JohnAnkerBow: Spoken Article Added

[[File:Evacuation_of_New_York_by_the_British_crop.jpg|thumb|[[Evacuation Day (New York)|Evacuation Day]] print from 1883 centennial illustrating the flag-raising legend associated with Van Arsdale.]]
'''John Jacob Van Arsdale''' (1756-1836) was an [[American Revolutionary War]] soldier, noted for his legendary participation in the [[Evacuation Day (New York)|Evacuation Day]] flag-raising in 1783. From [[Cornwall, New York]], he participated in the [[Benedict Arnold's expedition to Quebec]] and the unsuccessful [[Battle of Quebec (1775)|Battle of Quebec]] in 1775. He was later captured in the defensive [[Battle of Forts Clinton and Montgomery]] in 1777, and was detained by the British for nine and one-half months, including two months in the [[Sugar house prisons in New York City|sugar house prisons]], before being released in a prisoner exchange.

On November 25, 1783, later known as [[Evacuation Day (New York)|Evacuation Day]], he is said to have gamely climbed a [[Greasy pole|greasy flagpole]] left by the British at [[Fort Amsterdam|Fort George]] as they departed the city, to remove their standard and replace it with the American flag. The flag-raising story only appears after the fact though, and many accounts that include a climber describe a man a decade younger than Van Arsdale actually was at that point. He and his descendants, such as [[John Lafayette Riker]], are associated with later annual commemorations.<ref>{{Cite book|url=https://archive.org/details/ldpd_5684804_000|title="Evacuation Day", 1783: Its Many Stirring Events: with Recollections of Capt. John Van Arsdale, of the Veteran Corps of Artillery, by Whose Efforts on that Day the Enemy Were Circumvented, and the American Flag Successfully Raised on the Battery|last=Riker|first=James|date=1883|publisher=author|language=en}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=HsVXAAAAYAAJ&pg=PA3520|title=The City Record|date=1895|language=en}}</ref>

==References==
{{reflist}}

{{DEFAULTSORT:Van Arsdale, John}}
[[Category:1756 births]]
[[Category:1836 deaths]]
[[Category:Continental Army officers from New York (state)]]
[[Category:People from Cornwall, New York]]

==External Links==
[[File:John Van Arsdale.ogg|thumb|Audio recording of article: John Van Arsdale]]

User talk:JohnAnkerBow

2020-04-04T20:24:58Z

JohnAnkerBow:

==Spoken article box==
Please don't put spoken article boxes at the very top of articles. It pushes the infoboxes downa nd doesn't look good. Find a place for them elswhere - directly under the infobox is usually good. Thanks. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 08:28, 13 November 2018 (UTC)
:They're also often put in the "External links" section. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 08:41, 13 November 2018 (UTC)
::Also "Spoken Article" does not seem to be an existing template. Please check your edits after you make them. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 08:50, 13 November 2018 (UTC)
{{Spoken Wikipedia|Wikipedia Audio - Fraunces Tavern.wav|2018-10-22}}
:::{{re|Beyond My Ken|JohnAnkerBow}} I just noticed this too. The template is {{tl|Spoken Wikipedia}} and it should be put in the "External Links" section. This creates a link to the audio recording right at the top of the article (on the far right side of the title line), as well as a "Listen to this page" box at the bottom of the article. For instance, this is the box for the [[Fraunces Tavern]] article. [[User:Epicgenius|epicgenius]] ([[User talk:Epicgenius|talk]]) 14:49, 13 November 2018 (UTC)
::::{{ping|Epicgenius}} Thank you for this information, which I was unaware of. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 18:19, 13 November 2018 (UTC)
::::{{ping|JohnAnkerBow}} You should correct the edits that you made in line with the information that Epicgenius has provided. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 00:16, 14 November 2018 (UTC)
:::::{{ping|Epicgenius|Beyond My Ken}} Thank you both for the help! I'm starting to catch on! - John
*HI, I'm glad to see that you're following Epicgenius' advice and putting the spoken article template in the "External links" section. One further thing: if there are already other boxes in the EL section, like boxes for Commons, or Wikiquotes, etc., please put the spoken article template '''''under''''' the existing template, not over them. They tend to get visually lost otherwise. Thanks. [[User:Beyond My Ken|Beyond My Ken]] ([[User talk:Beyond My Ken|talk]]) 03:19, 27 November 2018 (UTC)

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==Musicals "instrumentation" sections==
Please do not add these sections to musicals. There is a fairly standard pit orchestra for most musicals of the golden age, and it adds nothing of encyclopedic importance to the articles to recite it in gory detail in each and every article. If a musical has a very non-standard ensemble, it should be mentioned, together with a source that *states* that it is non-standard, but it certainly doesn't need its own level two section -- just a sentence in the music or musical numbers section. If you disagree, you could raise the issue at the [https://en.wikipedia.org/wiki/Wikipedia_talk:WikiProject_Musical_Theatre Musical theatre project talk page]. Thanks. -- [[User:Ssilvers|Ssilvers]] ([[User talk:Ssilvers|talk]]) 05:20, 4 April 2020 (UTC)

:::::{{ping|Ssilvers}} Instrumentation breakdown can be found in many musical theatre articles. What is different about these articles? --John

Gory detail?
[[Special:Contributions/24.90.157.51|24.90.157.51]] ([[User talk:24.90.157.51|talk]]) 07:02, 4 April 2020 (UTC)

Mack and Mabel

2020-04-04T04:32:38Z

JohnAnkerBow: /* Instrumentation */

{{Infobox Musical
|name=Mack and Mabel
|image=Mack_1974.jpg
|caption=Original Broadway Recording
|music= [[Jerry Herman]]
|lyrics= [[Jerry Herman]]
|book= [[Michael Stewart (playwright)|Michael Stewart]]
|basis=
|productions= 1974 [[Broadway theatre|Broadway]] 1995 [[West End theatre|West End]] 2006 [[West End theatre|West End]] [[revival (theatre)|revival]]

|awards=
}}
'''''Mack and Mabel''''' is a [[musical theatre|musical]] with a book by [[Michael Stewart (playwright)|Michael Stewart]] and music and lyrics by [[Jerry Herman]]. The plot involves the tumultuous romantic relationship between [[Hollywood]] director [[Mack Sennett]] and [[Mabel Normand]] (transformed from an artist's model to a waitress from [[Flatbush, Brooklyn|Flatbush]], [[Brooklyn]] for the musical), who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of [[Keystone Studios]] from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the [[Keystone Cops]] to Mabel's death from [[tuberculosis]] in 1930.

The original 1974 [[Broadway theatre|Broadway]] production produced by David Merrick starred [[Robert Preston (actor)|Robert Preston]] and [[Bernadette Peters]]. It received eight [[Tony Award]] nominations, including Best Musical, but did not win any. There was no nomination for Jerry Herman's score. Although the original production closed after only eight weeks, the songs were praised, and subsequent productions, especially in Britain, have had success.

==Background and productions==
Ed Lester, the director of the [[Los Angeles Civic Light Opera]], suggested the project to [[Jerry Herman]], who then involved [[Michael Stewart (playwright)|Michael Stewart]]. [[David Merrick]] agreed to produce, and [[Gower Champion]] was engaged to direct and choreograph. Although Champion had initially declined the offer, he eventually accepted, especially when it was decided to hold the pre-Broadway tryouts in [[California]]. [[Robert Preston (actor)|Robert Preston]] was hired as Mack. For the role of Mabel, several actresses were engaged and then let go, including [[Marcia Rodd]] and [[Kelly Garrett (actress)|Kelly Garrett]], before the young [[Bernadette Peters]] finally joined the cast.<ref name=nymag>Stock, Ellen. [https://books.google.com/books?id=k-gCAAAAMBAJ&pg=PA49&dq=%22Jerry+Herman%22+%22Mack+%26+Mabel%22+San+OR+Diego&hl=en&ei=M7QsTLKzAcP_lgftq6iSCQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDAQ6AEwAA#v=onepage&q=%22Jerry%20Herman%22%20%22Mack%20%26%20Mabel%22%20San%20OR%20Diego&f=false "Mack and Mabel"]. ''New York Magazine'', October 7, 1974</ref>

===Pre-Broadway tryouts===
''Mack and Mabel'' opened in pre-Broadway tryouts in [[San Diego]] on June 17, 1974<ref name="Gilvey, p. 250">Gilvey, p. 250</ref> and then [[Los Angeles]], with brisk box office sales in both cities. According to ''[[The New York Times]]'', " 'Mack and Mabel' has been doing rather better than its probable guarantee [in Los Angeles] – up to $150,000 in its final seven-day period."<ref>Kerr, Walter. "Broadway, the Exhibition Center", ''The New York Times'', September 1, 1974, p. 87</ref> The musical received reviews that ranged "from fair to phenomenal in San Diego, Los Angeles, and St. Louis".<ref name=nymag/> The Los Angeles reviews were "encouraging but guarded", and warned "of the excessive comic sequences, uneven book, and, most especially, the dark ending."<ref name="Gilvey, p. 250"/> Buoyed by the critical response and initial public enthusiasm for the show, Herman and company ignored a number of warning signs. Neither Sennett nor Normand was a particularly lovable character, and their story was darker than that usually found in a musical. Preston (as Sennett) was too old for Peters (Mabel), and their characters lacked chemistry.<ref>Long, Robert Emmet. ''Broadway, the Golden Years: Jerome Robbins and the Great Choreographers'' (2003), Continuum International Publishing Group, {{ISBN|0-8264-1347-1}}, p. 211</ref> Champion devised a number of eye-catching visual effects and spectacular dance sequences set to [[Philip J. Lang]]'s orchestrations, but their brightness proved to be too great a contrast with the somber mood of the piece. His concept of setting the action in the corner of a huge studio soundstage created problems with the set and limited the staging to the extent that it was seen as static and boring.<ref>Citron, p. 198</ref> Audiences "were not ready for a down-beat saga about a cocaine-sniffing movie queen."<ref>Goers, Peter. "Jerry Herman In Tune With Broadway", ''The Advertiser'', January 30, 1988 (no page number)</ref>

Efforts were made to resolve the problems at [[The Muny]] in [[St. Louis, Missouri|St. Louis]], where the musical ran for one week starting August 19, 1974,<ref>Thompson, Howard. "News of the Stage", ''The New York Times'', August 18, 1974, p. 40</ref> but this venue was a "terrible mistake". Because The Muny was so large, the performers overplayed and pulled the show out of shape. By the Washington, D.C. [[Kennedy Center]] engagement, "nothing was working", and Champion changed the staging of scenes that had previously worked.<ref>Citron, p. 200</ref> Richard Coe in his ''[[The Washington Post]]'' review stated that it had landed at the Kennedy Center "with all the zip of a wet, very dead flounder."<ref name=nymag/>

===Broadway===
The musical opened at the [[Majestic Theatre (Broadway)|Majestic Theatre]] on [[Broadway theatre|Broadway]] on October 6, 1974, and closed on November 30, 1974 after 66 performances and 6 previews. Scenic design was by [[Robin Wagner (designer)|Robin Wagner]], costume design by [[Patricia Zipprodt]], and lighting design by [[Tharon Musser]]. In addition to Preston and Peters, the cast featured [[Lisa Kirk]] as Lottie Ames and [[James Mitchell (actor)|James Mitchell]] as William Desmond Taylor.<ref>[http://www.ibdb.com/production.php?id=3473 "Internet Broadway Database listing, 'Mack and Mabel', Majestic Theatre, 1974"] Internet Broadway Database Listing, retrieved December 16, 2010</ref><ref name=kerr>Kerr, Walter. "'Mack and Mabel' Makes Gloomy Stage Music", ''The New York Times'', October 13, 1974, p.155</ref><ref>Hischak, Thomas S.[https://books.google.com/books?id=XbBz3C4Gr0EC&lpg=PA460&dq=Preston%20%22Mack%20and%20Mabel%22&pg=PA460#v=onepage&q=Preston%20%22Mack%20and%20Mabel%22&f=false "'Mack and Mabel'", ''The Oxford Companion to the American Musical'' (2008), Oxford University Press US], {{ISBN|0-19-533533-3}}, p. 460(books.google)''The Oxford Companion to the American Musical'' (2008). Retrieved December 16, 2010</ref><ref>Citron, Chapter 10 (pp 183-205). Retrieved December 16, 2010</ref><ref>Kissel, Howard.[https://books.google.com/books?id=mM8mHC1DEJQC&lpg=PA538&dq=Preston%20%22Mack%20and%20Mabel%22&pg=PA538#v=onepage&q=Preston%20%22Mack%20and%20Mabel%22&f=false ''David Merrick, The Abominable Showman:the Unauthorized Biography'' (1993), p. 538](google.books) ''David Merrick, The Abominable Showman:the Unauthorized Biography'' (1993), Hal Leonard Corporation. {{ISBN|1-55783-172-6}}. p. 538. Retrieved December 16, 2010</ref>

Despite only fair reviews<ref name=Fairreviews/> and the short run, the show received eight [[Tony Award]] nominations: for Best Musical, the book, direction, choreography, lead actor, lead actress and designs but did not win any. Herman, whose melodic score had received the best notices, was not nominated. He was deeply disappointed, since the project had been one of his favorites (and remained until the end of his life), and he felt producer David Merrick had done little to promote it, saying "He never invested in advertising. He never came to the theatre."<ref name="Fairreviews"/> Despite its failure, the show has developed a cult following.<ref>Citron, p. 202</ref>

===Subsequent productions===

''Mack and Mabel'' was first produced in England in 1981 at the [[Nottingham Playhouse]]. The production starred [[Denis Quilley]] as Mack and [[Imelda Staunton]] as Mabel; it had a successful run but failed to transfer to the West End.<ref>[http://www.dmtc.co.uk/mackandmabel_history.htm "'Mack and Mabel' History"] Durham Musical Theatre Company,accessed January 29, 2011</ref><ref>[http://www.broadwayworld.com/shows/backstage.php?showid=10509 " 'Mack & Mabel' listing, Nottingham Playhouse, 1981"] broadwayworld.com, accessed January 29, 2011</ref> Soon afterward, British ice-skating team [[Torvill and Dean]], who were based in Nottingham, searched the music library at the local radio station for suitable material for their routines and discovered a recording of the original cast album. When they won the [[gold medal]] for ice dance in the [[World Figure Skating Championships]] in 1982, they performed to the Mack & Mabel overture. Later the routine was broadcast by [[BBC Television]] during the 1984 Olympics, with the British public demand so great that the album was re-released in the UK, where it reached #6 on the charts.<ref>Gilvey, p. 252</ref>

In February 1988, a one-time concert, featuring [[George Hearn]], [[Georgia Brown (English singer)|Georgia Brown]], [[Denis Quilley]] and [[Tommy Tune]] was staged for charity at the [[Theatre Royal, Drury Lane]], London. A cast recording was released.<ref>[http://www.dresscircle.co.uk/product.asp?StockID=4234 " 'Mack and Mabel In Concert' listing] {{Webarchive|url=https://web.archive.org/web/20050830023644/http://www.dresscircle.co.uk/product.asp?StockID=4234 |date=2005-08-30 }} dresscircle.co.uk, retrieved July 2, 2010</ref><ref>[http://www.answers.com/topic/mack-mabel-in-concert-album-by-various-artists "'Mack and Mabel in Concert' recording review by William Ruhlmann, All Music Guide"] answers.com, retrieved July 2, 2010</ref>

;1995 West End
On November 7, 1995, a full-scale production opened at the [[Piccadilly Theatre]] in London, and ran for 270 performances. The book had been dramatically revised, including a happy ending, with Mabel back in Mack's arms at the final curtain. The show was directed by Paul Kerryson and choreographed by [[Michael Smuin]], and the cast included [[Howard McGillin]] as Mack and [[Caroline O'Connor (actress)|Caroline O'Connor]] as Mabel, Kathryn Evans, and Alan Mosley.<ref>Wolf, Matt.[http://www.variety.com/review/VE1117910446.html?categoryid=31&cs=1 ''Variety'' review of 1995 London production]''Variety'', November 13, 1995</ref>

;2005-2006 Watermill and West End
The show was revived at the [[Watermill Theatre]], in [[Newbury, Berkshire|Newbury]], England. [[David Soul]] starred alongside [[Anna-Jane Casey]] (replaced by [[Janie Dee]] in the West End production) in the small-scale production (only eleven performers), which ran for a limited season between March and June 2005.<ref>[http://www.newburytheatre.co.uk/archive/200505a.htm Newbury Theatre reviews, 2005]. Newburytheatre.co.uk</ref> The show then toured the UK from January 2006 prior to a [[West End of London|West End]] transfer, where it played at the [[Criterion Theatre]] from April 10, 2006 until July 1, 2006. It featured the trademark style of director [[John Doyle (director)|John Doyle]], with the cast members, except for Soul, playing musical instruments as well as acting and singing.<ref>Loveridge, Charlotte.[http://www.curtainup.com/mackandmabellond.html "Curtain Up review, Criterion Theatre"] curtainup.com, April 11, 2006</ref>

;2007 and 2008 productions
The show was produced at the [[Shaw Festival]] Theatre in [[Niagara-on-the-Lake, Ontario]] in 2007. Directed by [[Molly Smith]], this production eliminated the use of projected film as called for in the script. Instead, monochromatic costumes and special lighting were used to produce the effect of silent film while using live actors on stage. The result was a seamless blend between silent film scenes, and full color. Shaw's presentation was the first full production in Canada and was in repertory at the Festival Theatre until October 28, 2007.<ref>Ouzounian, Richard.[http://www.variety.com/review/VE1117933639.html?categoryid=33&cs=1 "Review of Shaw Festival production"]''Variety'', May 15, 2007</ref>

The Broadway Theatre, [[Catford, London]], UK, produced the musical from November 2008 through December 2008, starring [[Karl Clarkson]] (Mack), [[Gemma Boaden]] (Mabel) and [[Sean Pol McGreevy]] (Frank), directed by Artistic Director Thom Southerland.<ref>[http://www.whatsonstage.com/index.php?pg=206&action=details&show=l617172726 "'Mack & Mabel' listing, 2008"]. Whatsonstage.com, retrieved May 23, 2010</ref><ref>Green, James.[http://www.thestage.co.uk/reviews/review.php/22480/mack-and-mabel "Review: 'Mack and Mabel', Broadway Studio, London"] thestage.co.uk, 21 November 2008</ref> Southerland had assisted [[John Doyle (director)|John Doyle]] with the 2005-2006 production.<ref>[http://www.thomsoutherland.co.uk/# /] Thom Southerland (personal website)</ref>

;2011
The Company Music Theatre produced a short run of the show in August 2011 at Greenwich Theatre, London, directed by Ben Occhpinti, choreographed by Lee Crowley, with Musical Director Dan Swana.<ref>[http://www.whatsonstage.com/news/theatre/northwest/E8831303046728/The+Company+Take+Mack+and+Mabel+to+Greenwich.html "'Mack and Mabel'"] whatsonstage.com</ref>

;2012
It was revived in July at [[Southwark Playhouse]], under the direction of Thom Southerland with choreography by Lee Proud. The title roles were played by Norman Bowman and [[Laura Pitt-Pulford]] with Jessica Martin as Lottie and [[Stuart Matthew Price]] as Frank Capra.

;2013
Musical Theatre West in [[Long Beach, California|Long Beach]], California performed a concert version at the Carpenter Performing Arts Center on May 20, starring [[Davis Gaines]], as [[Mack Sennett]], with direction by [[Larry Carpenter]], choreography by Karl Warden and musical direction by John McDaniel.
Eldorado Productions performed Mack & Mabel at the Bob Hope Theatre in Eltham 9–12 October 2013 with Neil Whitaker as Mack and Jo-jo Butler starring as Mabel, directed by Jeanette Wallis - this production included the original ending.

;2015
[[Chichester Festival Theatre]] in West Sussex, UK presented a new production from July 13, 2015 - September 5, 2014 with a following UK tour (October 1, 2015 - December 6, 2015). The musical stars [[Michael Ball (singer)|Michael Ball]] as [[Mack Sennett]] and Rebecca LaChance, with direction by [[Jonathan Church]], choreography by [[Stephen Mear]] and design by Robert Jones.<ref>[http://www.playbill.com/news/article/michael-ball-to-star-in-new-production-of-jerry-hermans-mack-and-mabel-340663 "'Mack and Mabel'"] playbill.com</ref><ref>Brennan, Claire. [https://www.theguardian.com/stage/2015/jul/26/mack-mabel-chichester-festival-theatre-review-michael-ball#nav-allsections "Review"]''The Guardian'', 26 July 2015</ref>

[[Porchlight Music Theatre]], Chicago, Illinois, presented ''Mack and Mabel'' in May 2015, as a part of "Porchlight Revisits" in which they stage three forgotten musicals per year. It was directed by Michael Weber and music directed by Beckie Menzie.<ref>{{Cite news|url=https://www.broadwayworld.com/chicago/article/Photo-Flash-First-Look-at-Porchlight-Revisits-MACK-AND-MABEL-Continuing-Tonight-20150513|title=Photo Flash: First Look at Porchlight Revisits... MACK AND MABEL, Continuing Tonight|last=Desk|first=BWW News|work=BroadwayWorld.com|access-date=2018-05-15|language=en}}</ref>

;2018
[[Shaftesbury]] Arts Centre in North Dorset, UK presented an amateur production from 12-30 July 2018, directed by Sophie Lester with musical director David Grierson.

;2020
[[New York City Center]] [[Encores!]] staged concert production runs from February 19 to 23, 2020. It is directed and choreographed by Josh Rhodes and dedicated to the memory of Jerry Herman. [[Douglas Sills]] and Alexandra Socha star.<ref>Gans, Andrew and McPhee, Ryan. [http://www.playbill.com/article/encores-mack-mabel-starring-douglas-sills-and-alexandra-socha-begins-february-19# "Encores! 'Mack & Mabe'l, Starring Douglas Sills and Alexandra Socha, Begins February 19"] Playbill, February 19, 2020.</ref>

==Synopsis==
;Act I
[[Silent movie]] director Mack Sennett returns to his old film studio in Brooklyn in 1938. Things have changed considerably since he was last there—he sees a group of actors shooting a scene for a [[Sound film|talkie]]. Mack reminisces about "when he ran the show", the glorious era of silent movies, thinking of his Bathing Beauties and [[Keystone Cops]] ("Movies Were Movies").

In a flashback, it is 1911. When Mabel, a delicatessen worker, delivers a sandwich to Lottie, the actress that Mack is filming, Lottie is unable to pay, and Mabel reacts violently. Mabel's dramatic behaviour catches Mack's eye, and he thinks she has potential as an actress. He offers her a part in his next film. She initially refuses, but when she looks back on the offer, she is dazzled by the career prospects ("Look What Happened To Mabel").

Mabel is very successful and becomes a major star. Later, along with Mack's two accountants, Kleiman and Fox, who are helping to finance his projects, the film company moves to a new, larger studio, in California. Lottie and the rest of Mack's film crew, who include the comedian [[Roscoe Arbuckle|Fatty Arbuckle]], eagerly fantasize about moving up in the world, ("Big Time"). Meanwhile, Mabel has become attracted to Mack. While she is reciting an improvised poem, Mabel invites him into her train compartment for a meal. Things escalate, and Mabel persuades a very reluctant Mack to take part in a mock wedding ceremony. But Mack has no time for romance ("I Won't Send Roses"). He and Mabel sleep together, but Mack wakes up horrified and leaves in a hurry. Mabel, now in love with Mack, resolves to do things her way ("I Won't Send Roses" (Reprise)).

Eventually, Mabel wants to move on from comedy and star in serious dramas. But Mack is only interested in comedy ("I Wanna Make The World Laugh") and tries to discourage her. Mabel meets another movie director, the smooth-talking [[William Desmond Taylor]], who is instantly attracted to her, and agrees to feature her in serious films - he invites her to dinner to discuss arrangements. Mack tries in vain to discourage her. After an argument, Mabel dresses in her best clothes and puts on make-up, then goes off not only for her appointment with Taylor, but for good, as she never wants to see Mack again ("Wherever He Ain't"). Mack is confident that he can manage without Mabel: he made a star out of one ordinary girl, and he can make a star out of another. With this in mind, he immediately comes up with the concept of the Bathing Beauties ("Hundreds of Girls").

;Act II
Mabel eventually returns to Mack of her own accord and is welcomed with open arms by the entire film company ("When Mabel Comes In The Room"). Mack is so glad to have her back that he agrees to film Mabel's new, serious drama, "Molly", at his studio. But he can't help himself - comedy is his nature. He attempts to jazz it up with a new comic creation, The Keystone Cops ("My Heart Leaps Up"), and Mabel returns to Taylor. Later, Mack sees Mabel again as she is preparing to embark on a ship with Taylor. Taylor shows up and Mack leaves. Taylor, sensing that Mabel might still have feelings for Mack, persuades Mabel, who is complaining of tiredness, to take heroin, saying it is a pick-me-up, which works with the magic words, "Bye, Mack!". Mabel is heartbroken by everything Mack has done to her, but is confident that she will eventually forget him ("Time Heals Everything").

Back at the studio, a happy Mack has realized the potential of sound in his movies, with singing and dancing. Lottie Ames, another actress in Mack's company, has become a star, but Mabel has become a full-time drug addict ("Tap Your Troubles Away"), and her reputation is ruined. To add further to the tragedy, her lover, William Desmond Taylor, is murdered, and she is the prime suspect. By the time Mack is willing to try to patch things up between him and Mabel, it is too late - she has died. But musicals must end happily, so Mack imagines a happier ending to their story ("I Promise You A Happy Ending").

==Song list==
{{col-begin}}
{{col-2}}
; Act I
* Overture – Orchestra
* "Movies Were Movies" – Mack
* "Look What Happened to Mabel" – Mabel and Company
* "Big Time" – Lottie Ames and Company
* "I Won't Send Roses" – Mack
* "I Wanna Make the World Laugh" – Mack and Company
* "Wherever He Ain't" – Mabel
* "Hundreds of Girls" – Mack and Bathing Beauties

{{col-2}}
; Act II
* "When Mabel Comes in the Room" – Company
* "My Heart Leaps Up" / "Hit 'em on the Head" – Mack
* "Time Heals Everything" – Mabel
* "Tap Your Troubles Away" – Lottie and Company
* "I Promise You a Happy Ending" – Mack
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Mack and Mabel |url=https://www.concordtheatricals.com/p/6712/mack-mabel|website=Concord Theatricals|publisher=Concord Theatricals |accessdate=4 April 2020}}</ref>

* Reed I (Piccolo, Flute, Alto Sax, Clarinet)
* Reed II (Flute, Alto Sax, Clarinet)
* Reed III (Soprano Sax, Tenor Sax, Clarinet)
* Reed IV (Flute, Baritone Sax, Clarinet, Bass Clarinet)
* Horn, Trumpets I, II & III & Trombones I & II
* Violins A, B & C, Violas, Cello & Bass
* Guitar/Banjo
* Drums/Percussion

==Characters==
* [[Mack Sennett]] — An obsessively hard-working movie director
* [[Mabel Normand]] — A deli delivery girl who becomes a movie star. Sennett reluctantly becomes romantically involved with her.
* [[William Desmond Taylor]] — A "serious" director, and rival for both Normand's acting talents and her affections
* Kleiman — An accountant
* Fox — Kleiman's partner
* Frank Wyman — An actor/writer, and later a director
* Lottie Ames — A silent movie star

Subsequent revisions of the show have changed some character names to their real life counterparts from the era.
* Frank Wyman - [[Frank Capra]]
* Fatty - [[Roscoe Arbuckle|Roscoe "Fatty" Arbuckle]]
* Kleiman - Adam Kessell
* Fox - [[Charles O. Baumann]]

==Critical response==
The Broadway reviews were only fair.<ref name=Fairreviews>Gilvey, p. 253</ref> [[Walter Kerr]], in his review for ''[[The New York Times]]'' wrote, "I have rarely seen so much talent so dispirited as the creative souls peering through the gloom at the Majestic ... librettist Michael Stewart ... has chosen to lean on the myth of Mack and Mabel, let the mysteries stand, invented no emotional line." He wrote of Gower Champion, "A choreographer ought to be able to do something with bodies. ... Mr. Champion doesn't set about his task that way ... [he] has not only avoided dance as a means of intimating a difficult kind of comedy, he has been stingy and even sluggish with the footwork that does crop up to decorate the songs. ... Production values everywhere are minimal." He noted that "Robert Preston's personal dynamism isn't diminished, it's just restively lying in wait for the solid meat he could handle if only there were a good provider around" and that "Miss Peters ... is close to touching in her quiet reminder that what Mr. Preston started in 1911 may be over and done with in 1923."<ref name=kerr/>

According to [[Ken Bloom|Kenneth Bloom]], ''Mack & Mabel'' was "The saddest failure of Jerry Herman's career". It was a "victim of its time, an era when rock musicals were preferred over traditional musical comedy scores. Deep at its core was a simple love story and an exceptionally appropriate score. The urge to turn what could have been a bittersweet drama into a huge musical comedy was fatal."<ref>Herman, Jerry and Bloom, Kenneth.[https://books.google.com/books?id=LpjZ9LvtRPMC&pg=PA153&dq=%22Jerry+Herman%22+%22Michael+Stewart%22&hl=en#v=onepage&q=%22Jerry%20Herman%22%20%22Michael%20Stewart%22&f=false ''Mack & Mabel'']''Jerry Herman: The Lyrics: A Celebration'', Psychology Press, 2003, {{ISBN|0-415-96768-6}}, p.153</ref>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="12" align="center"| 1975
| rowspan="8"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{nom}}
|-
| [[Tony Award for Best Book of a Musical|Best Book of a Musical]]
| [[Michael Stewart (playwright)|Michael Stewart]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Robert Preston (actor)|Robert Preston]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Bernadette Peters]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Robin Wagner (designer)|Robin Wagner]]
| {{nom}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Patricia Zipprodt]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| rowspan="2"| [[Gower Champion]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| {{nom}}
|-
| rowspan="4"| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Robert Preston (actor)|Robert Preston]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bernadette Peters]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Music|Outstanding Music]]
| rowspan="2"| [[Jerry Herman]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lyrics|Outstanding Lyrics]]
| {{nom}}
|}

===Original London production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1996
| rowspan="2"| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best New Musical|Best New Musical]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Caroline O'Connor (actress)|Caroline O'Connor]]
| {{nom}}
|}

==Notes==
{{Reflist|2}}

==References==
*Citron, Stephen. ''Jerry Herman: Poet of the Showtune'' (2004). Yale University Press. {{ISBN|0-300-10082-5}}
*Gilvey, John Anthony. ''Before the Parade Passes By: Gower Champion and the Glorious American Musical'' (2005). St. Martin's Press. {{ISBN|0-312-33776-0}}
*Herman, Jerry, with Marilyn Stasio. ''Showtune: A Memoir by Jerry Herman'' (1996). Donald I. Fine Books (an imprint of [[Penguin Books]]). {{ISBN|1-55611-502-4}}
*[http://www.musicalheaven.com/m/mack__mabel.shtml Information from the Musical Heaven website]
*[http://www.stageagent.com/shows.php?id=1084 Profile of the show]
*[http://www.dmtc.co.uk/mackandmabel_synopsis.htm Detailed plot synopsis]

==External links==
* {{ibdb show|id=5683}}
* [https://web.archive.org/web/20080817143825/http://www.shawfest.com/web/content.asp?docid=1_3_2_1 Mack and Mabel at the Shaw Festival]
* 2014 City Center [https://web.archive.org/web/20170627182502/http://www.nycitycenter.org/Home/Blog/October-2014/Angela-Lansbury%E2%80%99s-Dream-Encores!-Show-Mack-Mabel?fullsite=true interview] with [[Angela Lansbury]] about ''Mack and Mabel''
* [http://www.shaftesburyartscentre.org.uk Shaftesbury Arts Centre]

{{Jerry Herman}}

{{DEFAULTSORT:Mack and Mabel}}
[[Category:1974 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals by Jerry Herman]]
[[Category:Musicals by Michael Stewart (playwright)]]
[[Category:Musicals inspired by real-life events]]

Mack and Mabel

2020-04-04T04:31:56Z

JohnAnkerBow: Instrumentation Added

{{Infobox Musical
|name=Mack and Mabel
|image=Mack_1974.jpg
|caption=Original Broadway Recording
|music= [[Jerry Herman]]
|lyrics= [[Jerry Herman]]
|book= [[Michael Stewart (playwright)|Michael Stewart]]
|basis=
|productions= 1974 [[Broadway theatre|Broadway]] 1995 [[West End theatre|West End]] 2006 [[West End theatre|West End]] [[revival (theatre)|revival]]

|awards=
}}
'''''Mack and Mabel''''' is a [[musical theatre|musical]] with a book by [[Michael Stewart (playwright)|Michael Stewart]] and music and lyrics by [[Jerry Herman]]. The plot involves the tumultuous romantic relationship between [[Hollywood]] director [[Mack Sennett]] and [[Mabel Normand]] (transformed from an artist's model to a waitress from [[Flatbush, Brooklyn|Flatbush]], [[Brooklyn]] for the musical), who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of [[Keystone Studios]] from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the [[Keystone Cops]] to Mabel's death from [[tuberculosis]] in 1930.

The original 1974 [[Broadway theatre|Broadway]] production produced by David Merrick starred [[Robert Preston (actor)|Robert Preston]] and [[Bernadette Peters]]. It received eight [[Tony Award]] nominations, including Best Musical, but did not win any. There was no nomination for Jerry Herman's score. Although the original production closed after only eight weeks, the songs were praised, and subsequent productions, especially in Britain, have had success.

==Background and productions==
Ed Lester, the director of the [[Los Angeles Civic Light Opera]], suggested the project to [[Jerry Herman]], who then involved [[Michael Stewart (playwright)|Michael Stewart]]. [[David Merrick]] agreed to produce, and [[Gower Champion]] was engaged to direct and choreograph. Although Champion had initially declined the offer, he eventually accepted, especially when it was decided to hold the pre-Broadway tryouts in [[California]]. [[Robert Preston (actor)|Robert Preston]] was hired as Mack. For the role of Mabel, several actresses were engaged and then let go, including [[Marcia Rodd]] and [[Kelly Garrett (actress)|Kelly Garrett]], before the young [[Bernadette Peters]] finally joined the cast.<ref name=nymag>Stock, Ellen. [https://books.google.com/books?id=k-gCAAAAMBAJ&pg=PA49&dq=%22Jerry+Herman%22+%22Mack+%26+Mabel%22+San+OR+Diego&hl=en&ei=M7QsTLKzAcP_lgftq6iSCQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDAQ6AEwAA#v=onepage&q=%22Jerry%20Herman%22%20%22Mack%20%26%20Mabel%22%20San%20OR%20Diego&f=false "Mack and Mabel"]. ''New York Magazine'', October 7, 1974</ref>

===Pre-Broadway tryouts===
''Mack and Mabel'' opened in pre-Broadway tryouts in [[San Diego]] on June 17, 1974<ref name="Gilvey, p. 250">Gilvey, p. 250</ref> and then [[Los Angeles]], with brisk box office sales in both cities. According to ''[[The New York Times]]'', " 'Mack and Mabel' has been doing rather better than its probable guarantee [in Los Angeles] – up to $150,000 in its final seven-day period."<ref>Kerr, Walter. "Broadway, the Exhibition Center", ''The New York Times'', September 1, 1974, p. 87</ref> The musical received reviews that ranged "from fair to phenomenal in San Diego, Los Angeles, and St. Louis".<ref name=nymag/> The Los Angeles reviews were "encouraging but guarded", and warned "of the excessive comic sequences, uneven book, and, most especially, the dark ending."<ref name="Gilvey, p. 250"/> Buoyed by the critical response and initial public enthusiasm for the show, Herman and company ignored a number of warning signs. Neither Sennett nor Normand was a particularly lovable character, and their story was darker than that usually found in a musical. Preston (as Sennett) was too old for Peters (Mabel), and their characters lacked chemistry.<ref>Long, Robert Emmet. ''Broadway, the Golden Years: Jerome Robbins and the Great Choreographers'' (2003), Continuum International Publishing Group, {{ISBN|0-8264-1347-1}}, p. 211</ref> Champion devised a number of eye-catching visual effects and spectacular dance sequences set to [[Philip J. Lang]]'s orchestrations, but their brightness proved to be too great a contrast with the somber mood of the piece. His concept of setting the action in the corner of a huge studio soundstage created problems with the set and limited the staging to the extent that it was seen as static and boring.<ref>Citron, p. 198</ref> Audiences "were not ready for a down-beat saga about a cocaine-sniffing movie queen."<ref>Goers, Peter. "Jerry Herman In Tune With Broadway", ''The Advertiser'', January 30, 1988 (no page number)</ref>

Efforts were made to resolve the problems at [[The Muny]] in [[St. Louis, Missouri|St. Louis]], where the musical ran for one week starting August 19, 1974,<ref>Thompson, Howard. "News of the Stage", ''The New York Times'', August 18, 1974, p. 40</ref> but this venue was a "terrible mistake". Because The Muny was so large, the performers overplayed and pulled the show out of shape. By the Washington, D.C. [[Kennedy Center]] engagement, "nothing was working", and Champion changed the staging of scenes that had previously worked.<ref>Citron, p. 200</ref> Richard Coe in his ''[[The Washington Post]]'' review stated that it had landed at the Kennedy Center "with all the zip of a wet, very dead flounder."<ref name=nymag/>

===Broadway===
The musical opened at the [[Majestic Theatre (Broadway)|Majestic Theatre]] on [[Broadway theatre|Broadway]] on October 6, 1974, and closed on November 30, 1974 after 66 performances and 6 previews. Scenic design was by [[Robin Wagner (designer)|Robin Wagner]], costume design by [[Patricia Zipprodt]], and lighting design by [[Tharon Musser]]. In addition to Preston and Peters, the cast featured [[Lisa Kirk]] as Lottie Ames and [[James Mitchell (actor)|James Mitchell]] as William Desmond Taylor.<ref>[http://www.ibdb.com/production.php?id=3473 "Internet Broadway Database listing, 'Mack and Mabel', Majestic Theatre, 1974"] Internet Broadway Database Listing, retrieved December 16, 2010</ref><ref name=kerr>Kerr, Walter. "'Mack and Mabel' Makes Gloomy Stage Music", ''The New York Times'', October 13, 1974, p.155</ref><ref>Hischak, Thomas S.[https://books.google.com/books?id=XbBz3C4Gr0EC&lpg=PA460&dq=Preston%20%22Mack%20and%20Mabel%22&pg=PA460#v=onepage&q=Preston%20%22Mack%20and%20Mabel%22&f=false "'Mack and Mabel'", ''The Oxford Companion to the American Musical'' (2008), Oxford University Press US], {{ISBN|0-19-533533-3}}, p. 460(books.google)''The Oxford Companion to the American Musical'' (2008). Retrieved December 16, 2010</ref><ref>Citron, Chapter 10 (pp 183-205). Retrieved December 16, 2010</ref><ref>Kissel, Howard.[https://books.google.com/books?id=mM8mHC1DEJQC&lpg=PA538&dq=Preston%20%22Mack%20and%20Mabel%22&pg=PA538#v=onepage&q=Preston%20%22Mack%20and%20Mabel%22&f=false ''David Merrick, The Abominable Showman:the Unauthorized Biography'' (1993), p. 538](google.books) ''David Merrick, The Abominable Showman:the Unauthorized Biography'' (1993), Hal Leonard Corporation. {{ISBN|1-55783-172-6}}. p. 538. Retrieved December 16, 2010</ref>

Despite only fair reviews<ref name=Fairreviews/> and the short run, the show received eight [[Tony Award]] nominations: for Best Musical, the book, direction, choreography, lead actor, lead actress and designs but did not win any. Herman, whose melodic score had received the best notices, was not nominated. He was deeply disappointed, since the project had been one of his favorites (and remained until the end of his life), and he felt producer David Merrick had done little to promote it, saying "He never invested in advertising. He never came to the theatre."<ref name="Fairreviews"/> Despite its failure, the show has developed a cult following.<ref>Citron, p. 202</ref>

===Subsequent productions===

''Mack and Mabel'' was first produced in England in 1981 at the [[Nottingham Playhouse]]. The production starred [[Denis Quilley]] as Mack and [[Imelda Staunton]] as Mabel; it had a successful run but failed to transfer to the West End.<ref>[http://www.dmtc.co.uk/mackandmabel_history.htm "'Mack and Mabel' History"] Durham Musical Theatre Company,accessed January 29, 2011</ref><ref>[http://www.broadwayworld.com/shows/backstage.php?showid=10509 " 'Mack & Mabel' listing, Nottingham Playhouse, 1981"] broadwayworld.com, accessed January 29, 2011</ref> Soon afterward, British ice-skating team [[Torvill and Dean]], who were based in Nottingham, searched the music library at the local radio station for suitable material for their routines and discovered a recording of the original cast album. When they won the [[gold medal]] for ice dance in the [[World Figure Skating Championships]] in 1982, they performed to the Mack & Mabel overture. Later the routine was broadcast by [[BBC Television]] during the 1984 Olympics, with the British public demand so great that the album was re-released in the UK, where it reached #6 on the charts.<ref>Gilvey, p. 252</ref>

In February 1988, a one-time concert, featuring [[George Hearn]], [[Georgia Brown (English singer)|Georgia Brown]], [[Denis Quilley]] and [[Tommy Tune]] was staged for charity at the [[Theatre Royal, Drury Lane]], London. A cast recording was released.<ref>[http://www.dresscircle.co.uk/product.asp?StockID=4234 " 'Mack and Mabel In Concert' listing] {{Webarchive|url=https://web.archive.org/web/20050830023644/http://www.dresscircle.co.uk/product.asp?StockID=4234 |date=2005-08-30 }} dresscircle.co.uk, retrieved July 2, 2010</ref><ref>[http://www.answers.com/topic/mack-mabel-in-concert-album-by-various-artists "'Mack and Mabel in Concert' recording review by William Ruhlmann, All Music Guide"] answers.com, retrieved July 2, 2010</ref>

;1995 West End
On November 7, 1995, a full-scale production opened at the [[Piccadilly Theatre]] in London, and ran for 270 performances. The book had been dramatically revised, including a happy ending, with Mabel back in Mack's arms at the final curtain. The show was directed by Paul Kerryson and choreographed by [[Michael Smuin]], and the cast included [[Howard McGillin]] as Mack and [[Caroline O'Connor (actress)|Caroline O'Connor]] as Mabel, Kathryn Evans, and Alan Mosley.<ref>Wolf, Matt.[http://www.variety.com/review/VE1117910446.html?categoryid=31&cs=1 ''Variety'' review of 1995 London production]''Variety'', November 13, 1995</ref>

;2005-2006 Watermill and West End
The show was revived at the [[Watermill Theatre]], in [[Newbury, Berkshire|Newbury]], England. [[David Soul]] starred alongside [[Anna-Jane Casey]] (replaced by [[Janie Dee]] in the West End production) in the small-scale production (only eleven performers), which ran for a limited season between March and June 2005.<ref>[http://www.newburytheatre.co.uk/archive/200505a.htm Newbury Theatre reviews, 2005]. Newburytheatre.co.uk</ref> The show then toured the UK from January 2006 prior to a [[West End of London|West End]] transfer, where it played at the [[Criterion Theatre]] from April 10, 2006 until July 1, 2006. It featured the trademark style of director [[John Doyle (director)|John Doyle]], with the cast members, except for Soul, playing musical instruments as well as acting and singing.<ref>Loveridge, Charlotte.[http://www.curtainup.com/mackandmabellond.html "Curtain Up review, Criterion Theatre"] curtainup.com, April 11, 2006</ref>

;2007 and 2008 productions
The show was produced at the [[Shaw Festival]] Theatre in [[Niagara-on-the-Lake, Ontario]] in 2007. Directed by [[Molly Smith]], this production eliminated the use of projected film as called for in the script. Instead, monochromatic costumes and special lighting were used to produce the effect of silent film while using live actors on stage. The result was a seamless blend between silent film scenes, and full color. Shaw's presentation was the first full production in Canada and was in repertory at the Festival Theatre until October 28, 2007.<ref>Ouzounian, Richard.[http://www.variety.com/review/VE1117933639.html?categoryid=33&cs=1 "Review of Shaw Festival production"]''Variety'', May 15, 2007</ref>

The Broadway Theatre, [[Catford, London]], UK, produced the musical from November 2008 through December 2008, starring [[Karl Clarkson]] (Mack), [[Gemma Boaden]] (Mabel) and [[Sean Pol McGreevy]] (Frank), directed by Artistic Director Thom Southerland.<ref>[http://www.whatsonstage.com/index.php?pg=206&action=details&show=l617172726 "'Mack & Mabel' listing, 2008"]. Whatsonstage.com, retrieved May 23, 2010</ref><ref>Green, James.[http://www.thestage.co.uk/reviews/review.php/22480/mack-and-mabel "Review: 'Mack and Mabel', Broadway Studio, London"] thestage.co.uk, 21 November 2008</ref> Southerland had assisted [[John Doyle (director)|John Doyle]] with the 2005-2006 production.<ref>[http://www.thomsoutherland.co.uk/# /] Thom Southerland (personal website)</ref>

;2011
The Company Music Theatre produced a short run of the show in August 2011 at Greenwich Theatre, London, directed by Ben Occhpinti, choreographed by Lee Crowley, with Musical Director Dan Swana.<ref>[http://www.whatsonstage.com/news/theatre/northwest/E8831303046728/The+Company+Take+Mack+and+Mabel+to+Greenwich.html "'Mack and Mabel'"] whatsonstage.com</ref>

;2012
It was revived in July at [[Southwark Playhouse]], under the direction of Thom Southerland with choreography by Lee Proud. The title roles were played by Norman Bowman and [[Laura Pitt-Pulford]] with Jessica Martin as Lottie and [[Stuart Matthew Price]] as Frank Capra.

;2013
Musical Theatre West in [[Long Beach, California|Long Beach]], California performed a concert version at the Carpenter Performing Arts Center on May 20, starring [[Davis Gaines]], as [[Mack Sennett]], with direction by [[Larry Carpenter]], choreography by Karl Warden and musical direction by John McDaniel.
Eldorado Productions performed Mack & Mabel at the Bob Hope Theatre in Eltham 9–12 October 2013 with Neil Whitaker as Mack and Jo-jo Butler starring as Mabel, directed by Jeanette Wallis - this production included the original ending.

;2015
[[Chichester Festival Theatre]] in West Sussex, UK presented a new production from July 13, 2015 - September 5, 2014 with a following UK tour (October 1, 2015 - December 6, 2015). The musical stars [[Michael Ball (singer)|Michael Ball]] as [[Mack Sennett]] and Rebecca LaChance, with direction by [[Jonathan Church]], choreography by [[Stephen Mear]] and design by Robert Jones.<ref>[http://www.playbill.com/news/article/michael-ball-to-star-in-new-production-of-jerry-hermans-mack-and-mabel-340663 "'Mack and Mabel'"] playbill.com</ref><ref>Brennan, Claire. [https://www.theguardian.com/stage/2015/jul/26/mack-mabel-chichester-festival-theatre-review-michael-ball#nav-allsections "Review"]''The Guardian'', 26 July 2015</ref>

[[Porchlight Music Theatre]], Chicago, Illinois, presented ''Mack and Mabel'' in May 2015, as a part of "Porchlight Revisits" in which they stage three forgotten musicals per year. It was directed by Michael Weber and music directed by Beckie Menzie.<ref>{{Cite news|url=https://www.broadwayworld.com/chicago/article/Photo-Flash-First-Look-at-Porchlight-Revisits-MACK-AND-MABEL-Continuing-Tonight-20150513|title=Photo Flash: First Look at Porchlight Revisits... MACK AND MABEL, Continuing Tonight|last=Desk|first=BWW News|work=BroadwayWorld.com|access-date=2018-05-15|language=en}}</ref>

;2018
[[Shaftesbury]] Arts Centre in North Dorset, UK presented an amateur production from 12-30 July 2018, directed by Sophie Lester with musical director David Grierson.

;2020
[[New York City Center]] [[Encores!]] staged concert production runs from February 19 to 23, 2020. It is directed and choreographed by Josh Rhodes and dedicated to the memory of Jerry Herman. [[Douglas Sills]] and Alexandra Socha star.<ref>Gans, Andrew and McPhee, Ryan. [http://www.playbill.com/article/encores-mack-mabel-starring-douglas-sills-and-alexandra-socha-begins-february-19# "Encores! 'Mack & Mabe'l, Starring Douglas Sills and Alexandra Socha, Begins February 19"] Playbill, February 19, 2020.</ref>

==Synopsis==
;Act I
[[Silent movie]] director Mack Sennett returns to his old film studio in Brooklyn in 1938. Things have changed considerably since he was last there—he sees a group of actors shooting a scene for a [[Sound film|talkie]]. Mack reminisces about "when he ran the show", the glorious era of silent movies, thinking of his Bathing Beauties and [[Keystone Cops]] ("Movies Were Movies").

In a flashback, it is 1911. When Mabel, a delicatessen worker, delivers a sandwich to Lottie, the actress that Mack is filming, Lottie is unable to pay, and Mabel reacts violently. Mabel's dramatic behaviour catches Mack's eye, and he thinks she has potential as an actress. He offers her a part in his next film. She initially refuses, but when she looks back on the offer, she is dazzled by the career prospects ("Look What Happened To Mabel").

Mabel is very successful and becomes a major star. Later, along with Mack's two accountants, Kleiman and Fox, who are helping to finance his projects, the film company moves to a new, larger studio, in California. Lottie and the rest of Mack's film crew, who include the comedian [[Roscoe Arbuckle|Fatty Arbuckle]], eagerly fantasize about moving up in the world, ("Big Time"). Meanwhile, Mabel has become attracted to Mack. While she is reciting an improvised poem, Mabel invites him into her train compartment for a meal. Things escalate, and Mabel persuades a very reluctant Mack to take part in a mock wedding ceremony. But Mack has no time for romance ("I Won't Send Roses"). He and Mabel sleep together, but Mack wakes up horrified and leaves in a hurry. Mabel, now in love with Mack, resolves to do things her way ("I Won't Send Roses" (Reprise)).

Eventually, Mabel wants to move on from comedy and star in serious dramas. But Mack is only interested in comedy ("I Wanna Make The World Laugh") and tries to discourage her. Mabel meets another movie director, the smooth-talking [[William Desmond Taylor]], who is instantly attracted to her, and agrees to feature her in serious films - he invites her to dinner to discuss arrangements. Mack tries in vain to discourage her. After an argument, Mabel dresses in her best clothes and puts on make-up, then goes off not only for her appointment with Taylor, but for good, as she never wants to see Mack again ("Wherever He Ain't"). Mack is confident that he can manage without Mabel: he made a star out of one ordinary girl, and he can make a star out of another. With this in mind, he immediately comes up with the concept of the Bathing Beauties ("Hundreds of Girls").

;Act II
Mabel eventually returns to Mack of her own accord and is welcomed with open arms by the entire film company ("When Mabel Comes In The Room"). Mack is so glad to have her back that he agrees to film Mabel's new, serious drama, "Molly", at his studio. But he can't help himself - comedy is his nature. He attempts to jazz it up with a new comic creation, The Keystone Cops ("My Heart Leaps Up"), and Mabel returns to Taylor. Later, Mack sees Mabel again as she is preparing to embark on a ship with Taylor. Taylor shows up and Mack leaves. Taylor, sensing that Mabel might still have feelings for Mack, persuades Mabel, who is complaining of tiredness, to take heroin, saying it is a pick-me-up, which works with the magic words, "Bye, Mack!". Mabel is heartbroken by everything Mack has done to her, but is confident that she will eventually forget him ("Time Heals Everything").

Back at the studio, a happy Mack has realized the potential of sound in his movies, with singing and dancing. Lottie Ames, another actress in Mack's company, has become a star, but Mabel has become a full-time drug addict ("Tap Your Troubles Away"), and her reputation is ruined. To add further to the tragedy, her lover, William Desmond Taylor, is murdered, and she is the prime suspect. By the time Mack is willing to try to patch things up between him and Mabel, it is too late - she has died. But musicals must end happily, so Mack imagines a happier ending to their story ("I Promise You A Happy Ending").

==Song list==
{{col-begin}}
{{col-2}}
; Act I
* Overture – Orchestra
* "Movies Were Movies" – Mack
* "Look What Happened to Mabel" – Mabel and Company
* "Big Time" – Lottie Ames and Company
* "I Won't Send Roses" – Mack
* "I Wanna Make the World Laugh" – Mack and Company
* "Wherever He Ain't" – Mabel
* "Hundreds of Girls" – Mack and Bathing Beauties

{{col-2}}
; Act II
* "When Mabel Comes in the Room" – Company
* "My Heart Leaps Up" / "Hit 'em on the Head" – Mack
* "Time Heals Everything" – Mabel
* "Tap Your Troubles Away" – Lottie and Company
* "I Promise You a Happy Ending" – Mack
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Mack and Mabel |url=https://www.concordtheatricals.com/p/6712/mack-mabel|website=Concord Theatricals|publisher=Concord Theatricals |accessdate=4 April 2020}}</ref>

* Reed I (Piccolo, Flute, Alto Sax, Clarinet)
* Reed II (Flute, Alto Sax, Clarinet)
* Reed III (Soprano Sax, Tenor Sax, Clarinet)
* Reed IV (Flute, Baritone Sax, Clarinet, Bass Clarinet
* Horn, Trumpets I, II & III & Trombone I & II
* Violins A, B & C, Violas, Cello & Bass
* Guitar/Banjo
* Drums/Percussion

==Characters==
* [[Mack Sennett]] — An obsessively hard-working movie director
* [[Mabel Normand]] — A deli delivery girl who becomes a movie star. Sennett reluctantly becomes romantically involved with her.
* [[William Desmond Taylor]] — A "serious" director, and rival for both Normand's acting talents and her affections
* Kleiman — An accountant
* Fox — Kleiman's partner
* Frank Wyman — An actor/writer, and later a director
* Lottie Ames — A silent movie star

Subsequent revisions of the show have changed some character names to their real life counterparts from the era.
* Frank Wyman - [[Frank Capra]]
* Fatty - [[Roscoe Arbuckle|Roscoe "Fatty" Arbuckle]]
* Kleiman - Adam Kessell
* Fox - [[Charles O. Baumann]]

==Critical response==
The Broadway reviews were only fair.<ref name=Fairreviews>Gilvey, p. 253</ref> [[Walter Kerr]], in his review for ''[[The New York Times]]'' wrote, "I have rarely seen so much talent so dispirited as the creative souls peering through the gloom at the Majestic ... librettist Michael Stewart ... has chosen to lean on the myth of Mack and Mabel, let the mysteries stand, invented no emotional line." He wrote of Gower Champion, "A choreographer ought to be able to do something with bodies. ... Mr. Champion doesn't set about his task that way ... [he] has not only avoided dance as a means of intimating a difficult kind of comedy, he has been stingy and even sluggish with the footwork that does crop up to decorate the songs. ... Production values everywhere are minimal." He noted that "Robert Preston's personal dynamism isn't diminished, it's just restively lying in wait for the solid meat he could handle if only there were a good provider around" and that "Miss Peters ... is close to touching in her quiet reminder that what Mr. Preston started in 1911 may be over and done with in 1923."<ref name=kerr/>

According to [[Ken Bloom|Kenneth Bloom]], ''Mack & Mabel'' was "The saddest failure of Jerry Herman's career". It was a "victim of its time, an era when rock musicals were preferred over traditional musical comedy scores. Deep at its core was a simple love story and an exceptionally appropriate score. The urge to turn what could have been a bittersweet drama into a huge musical comedy was fatal."<ref>Herman, Jerry and Bloom, Kenneth.[https://books.google.com/books?id=LpjZ9LvtRPMC&pg=PA153&dq=%22Jerry+Herman%22+%22Michael+Stewart%22&hl=en#v=onepage&q=%22Jerry%20Herman%22%20%22Michael%20Stewart%22&f=false ''Mack & Mabel'']''Jerry Herman: The Lyrics: A Celebration'', Psychology Press, 2003, {{ISBN|0-415-96768-6}}, p.153</ref>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="12" align="center"| 1975
| rowspan="8"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{nom}}
|-
| [[Tony Award for Best Book of a Musical|Best Book of a Musical]]
| [[Michael Stewart (playwright)|Michael Stewart]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Robert Preston (actor)|Robert Preston]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Bernadette Peters]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Robin Wagner (designer)|Robin Wagner]]
| {{nom}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Patricia Zipprodt]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| rowspan="2"| [[Gower Champion]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| {{nom}}
|-
| rowspan="4"| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Robert Preston (actor)|Robert Preston]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bernadette Peters]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Music|Outstanding Music]]
| rowspan="2"| [[Jerry Herman]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lyrics|Outstanding Lyrics]]
| {{nom}}
|}

===Original London production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1996
| rowspan="2"| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best New Musical|Best New Musical]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Caroline O'Connor (actress)|Caroline O'Connor]]
| {{nom}}
|}

==Notes==
{{Reflist|2}}

==References==
*Citron, Stephen. ''Jerry Herman: Poet of the Showtune'' (2004). Yale University Press. {{ISBN|0-300-10082-5}}
*Gilvey, John Anthony. ''Before the Parade Passes By: Gower Champion and the Glorious American Musical'' (2005). St. Martin's Press. {{ISBN|0-312-33776-0}}
*Herman, Jerry, with Marilyn Stasio. ''Showtune: A Memoir by Jerry Herman'' (1996). Donald I. Fine Books (an imprint of [[Penguin Books]]). {{ISBN|1-55611-502-4}}
*[http://www.musicalheaven.com/m/mack__mabel.shtml Information from the Musical Heaven website]
*[http://www.stageagent.com/shows.php?id=1084 Profile of the show]
*[http://www.dmtc.co.uk/mackandmabel_synopsis.htm Detailed plot synopsis]

==External links==
* {{ibdb show|id=5683}}
* [https://web.archive.org/web/20080817143825/http://www.shawfest.com/web/content.asp?docid=1_3_2_1 Mack and Mabel at the Shaw Festival]
* 2014 City Center [https://web.archive.org/web/20170627182502/http://www.nycitycenter.org/Home/Blog/October-2014/Angela-Lansbury%E2%80%99s-Dream-Encores!-Show-Mack-Mabel?fullsite=true interview] with [[Angela Lansbury]] about ''Mack and Mabel''
* [http://www.shaftesburyartscentre.org.uk Shaftesbury Arts Centre]

{{Jerry Herman}}

{{DEFAULTSORT:Mack and Mabel}}
[[Category:1974 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals by Jerry Herman]]
[[Category:Musicals by Michael Stewart (playwright)]]
[[Category:Musicals inspired by real-life events]]

Annie Get Your Gun (musical)

2020-04-04T03:46:27Z

JohnAnkerBow: /* 1999 orchestration */

{{Infobox musical
| name = Annie Get Your Gun
| image = Annie_Merman.jpg
| caption = [[Broadway theatre|Broadway]] 1946 Original Cast Album
| music = [[Irving Berlin]]
| lyrics = [[Irving Berlin]]
| book = {{unbulleted list| [[Dorothy Fields]]| [[Herbert Fields]] }}
| basis =
| productions = {{unbulleted list| 1946 [[Broadway theatre|Broadway]]| 1947 [[West End theatre|West End]]| 1947 U.S. Tour| 1947 [[Australia]]| 1950 [[Annie Get Your Gun (film)|Film]]| 1966 Broadway [[revival (theatre)|revival]]| 1975 [[México]]| 1986 [[United Kingdom|UK]] tour and London revival| 1992 West End revival| 1999 Broadway revival| 2000 U.S. Tour| 2009 London revival| 2014 UK Tour }}
| awards = 1999 [[Tony Award for Best Revival of a Musical|Tony Award for Best Revival]]
}}

'''''Annie Get Your Gun''''' is a [[musical theater|musical]] with lyrics and music by [[Irving Berlin]] and a book by [[Dorothy Fields]] and her brother [[Herbert Fields]]. The story is a fictionalized version of the life of [[Annie Oakley]] (1860–1926), a [[sharpshooter]] who starred in [[Buffalo Bill#Buffalo Bill's Wild West|Buffalo Bill's Wild West]], and her romance with sharpshooter [[Frank E. Butler]] (1847–1926).<ref>A number of Internet sources claim that the musical is based on [[Walter Havighurst]]'s book ''Annie Oakley of the Wild West'', but the book was written in 1954, eight years after the musical was first produced.</ref>

The 1946 [[Broadway theatre|Broadway]] production was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, [[Annie Get Your Gun (film)|a 1950 film version]] and television versions. Songs that became hits include "[[There's No Business Like Show Business]]", "[[Doin' What Comes Natur'lly]]", "[[You Can't Get a Man with a Gun]]", "[[They Say It's Wonderful]]", and "[[Anything You Can Do (I Can Do Better)]]."

==History and background==
Dorothy Fields had the idea for a musical about Annie Oakley, to star her friend, [[Ethel Merman]]. Producer [[Mike Todd]] turned the project down, so Fields approached a new producing team, [[Richard Rodgers]] and [[Oscar Hammerstein II]]. 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.<ref name=BV13>Bloom and Vlastnik, p.13</ref> They agreed to produce the musical and asked [[Jerome Kern]] to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book.<ref name=BV13/> Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945 to begin work on the score to ''Annie Get Your Gun'', but three days later, he collapsed on the street due to a cerebral hemorrhage.<ref>Nolan, pp.164-65</ref> Kern was hospitalized, and he died on November 11, 1945.<ref>Kern, p. 165</ref> The producers and Fields then asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs.<ref name=KM223>Kantor and Maslon, p.223</ref> Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show." <ref name=KM223/> Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Can't Get a Man With a Gun", and "There's No Business Like Show Business".<ref name=Nolan166>Nolan, p.166</ref> Berlin's songs suited the story and Ethel Merman's abilities, and he readily composed the rest of the score to ''Annie Get Your Gun''.<ref name=KM223/><ref>Nolan, pp.166-67</ref> The show's eventual hit song, "There's No Business Like Show Business," was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it.<ref>''The World of Musical Comedy:The Story of the American Musical'' (1984), Stanley Green, pp. 79-80, Da Capo Press, {{ISBN|0-306-80207-4}}</ref> In imitation of the structure of ''Oklahoma!'' a secondary romance between two of the members of the Wild West Show was added to the musical during its development.<ref name=BV14>Bloom and Vlastnik, p.14</ref>

According to some sources, the role of Annie was originally offered to [[Mary Martin]], who turned it down. On opening night, she was represented by her husband, Richard Halliday. Upon his return home following the premiere, he informed her, "You're going to kill yourself!" When time came to send out the post-Broadway national tour and Merman was unwilling to do it, Martin jumped at the chance, going on the road for approximately two years and belting out the songs, which had the effect of lowering her voice from its normal lyric-coloratura range to mezzo-soprano-alto.

For the 1999 revival, [[Peter Stone]] revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs "Colonel Buffalo Bill" and "I'm An Indian Too".<ref>Brantley, Ben. "Everything the Traffic Will Allow". ''The New York Times'', March 4, 1999, p.E1</ref> Stone said, "The big challenge is taking a book that was wonderfully crafted for its time and make it wonderfully crafted for our time... It was terribly insensitive...to Indians.... But it had to be dealt with in a way that was heartfelt and not obvious... In this case, it was with the permission of the heirs. They're terribly pleased with it."<ref>[[Simonson, Robert]]. [https://archive.is/20120908200332/http://www.playbill.com/celebritybuzz/article/65862-PLAYBILL-ON-LINES-BRIEF-ENCOUNTER-with-Peter-Stone "Playbill On-Line's Brief Encounter with Peter Stone"] Playbill.com, March 2, 1999</ref> Stone also altered the structure of the musical, beginning it with "There's No Business Like Show Business" and presenting the musical as a "show within a show".<ref name=BV14/>

==Plot summary==
[[Image:Miss-Annie-Oakley-peerless-wing-shot.jpg|thumb|right|1880s poster]]

===Act I===
When the traveling [[Bill Cody|Buffalo Bill's]] [[Wild West]] show visits [[Cincinnati, Ohio]] ("Colonel Buffalo Bill"), [[Frank E. Butler|Frank Butler]], the show's handsome, womanizing star ("I'm a Bad, Bad, Man"), challenges anyone in town to a shooting match. Foster Wilson, a local hotel owner, doesn't appreciate the Wild West show taking over his hotel, so Frank gives him a side bet of one hundred dollars on the match. Annie Oakley enters and shoots a bird off Dolly Tate's hat, and then explains her simple backwoods ways to Wilson with the help of her siblings ("Doin' What Comes Natur'lly"). When Wilson learns she's a brilliant shot, he enters her in the shooting match against Frank Butler.

While waiting for the match to start, Annie meets Frank Butler and is instantly smitten with him, not knowing he will be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants will "wear satin... and smell of cologne" ("The Girl That I Marry"). The rough and naive Annie comically laments that "You Can't Get a Man with a Gun." At the shooting match, Annie finds out that Frank is the "big swollen-headed stiff" from the Wild West show. She wins the contest, and Buffalo Bill and Charlie Davenport, the show's manager, invite Annie to join the Wild West Show. Annie agrees because she loves Frank even though she has no idea what "show business" is. Frank, Charlie, and Buffalo Bill explain that "There's No Business Like Show Business."

Over the course of working together, Frank becomes enamored of the plain-spoken, honest, tomboyish Annie and, as they travel to [[Minneapolis, Minnesota]] on a train, he explains to her what "love" is ("They Say It's Wonderful"). Buffalo Bill and Charlie discover that their rival, [[Pawnee Bill]]'s Far East Show, will be playing in [[Saint Paul, Minnesota]] while the Wild West show plays in nearby Minneapolis. They ask Annie to do a special shooting stunt on a motorcycle to draw Pawnee Bill's business away. Annie agrees because the trick will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby."

As Annie and Frank prepare for the show, Frank plans to propose to Annie after the show and then ruefully admits that "My Defenses Are Down". When Annie performs her trick and becomes a star, Chief [[Sitting Bull]] adopts her into the [[Sioux]] tribe ("I'm An Indian Too"). Hurt and angry, Frank walks out on Annie and the show, joining the competing Pawnee Bill's show.

===Act II===
Returning to [[New York City|New York]] from a tour of Europe with the Buffalo Bill show, Annie learns that the show has gone broke. Sitting Bull, Charlie, and Buffalo Bill plot to merge Buffalo Bill's show with Pawnee Bill's as they believe that show is doing well financially. Annie, now well-dressed and more refined and worldly, still longs for Frank ("I Got Lost in His Arms").

At a grand reception for Buffalo Bill's troupe at the Hotel Brevoort, Pawnee Bill, Dolly, and Frank also plot a merger of the two companies, assuming Buffalo Bill's show made a fortune touring Europe. When they all meet, they soon discover both shows are broke. Annie, however, has received sharpshooting medals from all the rulers of Europe worth one hundred thousand dollars, and she decides to sell the medals to finance the merger, rejoicing in the simple things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their love and decide to marry, although with comically different ideas: Frank wants "some little chapel," while Annie wants "A wedding in a big church with bridesmaids and flower girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Old-Fashioned Wedding"o). When Annie shows Frank her medals, Frank again has his pride hurt. They call off the merger and the wedding, but challenge each other to one last shooting match to decide who is the best shot.

On the ferry to the [[Governors Island]] match site, Dolly attempts to ruin Annie's chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. However, they then decide to follow through with Dolly's plan so that Annie will lose the match, knowing that would soothe Frank's ego allowing the two to reconcile and the merger to take place.

As the match is ready to begin, Annie and Frank's egos come out again with each claiming they are better than the other ("Anything You Can Do"). Sitting Bull convinces Annie to deliberately lose the match to Frank, reminding her that she "can't get a man with a gun." That done, Frank and Annie finally reconcile, deciding to marry and merge the shows.

''Notes'':
*This description is based on the 1966 revised book.
*In the 1999 book, Frank also deliberately misses his shots in the final match, which ends in a tie.
*o written for 1966 revision and included in 1999 Broadway Revival; not in the original production
*§ omitted from the 1999 Broadway Revival

==Characters==
*[[Annie Oakley]]—a sharpshooter in the Wild West show
*[[Frank E. Butler|Frank Butler]]—the Wild West show's star
*Dolly Tate—Frank's flamboyant assistant; Winnie's sister (Charlie's sister in the 1966 version)
*[[Buffalo Bill]]—owner of the Wild West show
*Chief [[Sitting Bull]]—Sioux chief and holy man; Annie's protector
*Tommy Keeler§—knife-thrower in the Wild West show; Winnie's boyfriend; part Native American (not in the '66 version)
*Charlie Davenport—manager of the Wild West show
*Winnie Tate§—Dolly's sister; Tommy's girlfriend and his assistant in the knife-throwing act (not in the '66 version)
*[[Pawnee Bill]]—owner of a competing western show
*Foster Wilson—hotel owner
*Annie's brothers and sisters: Jessie, Nellie, Little Jake, and Minnie (Minnie was written out of the 1999 revival<ref>In the 1999 revival, Annie had three siblings rather than four.</ref>)

''Notes''
*§Tommy and Winnie and their songs were written out of the film & 1966 revision. The 1999 revival restored their characters and songs.

==Musical numbers==

===Original 1946 production===
{{col-begin}}
{{col-2}}
;Act I
* Overture — Orchestra
*"Colonel Buffalo Bill" — Charlie Davenport, Dolly Tate, and ensemble
*"I'm a Bad, Bad Man" — Frank Butler
*"[[Doin' What Comes Natur'lly]]" — Annie Oakley and her siblings
*"[[The Girl That I Marry]]" — Frank and Annie
*"[[You Can't Get a Man with a Gun]]" — Annie
*"[[There's No Business Like Show Business]]" — Frank, Buffalo Bill, Charlie, Annie, and ensemble
*"[[They Say It's Wonderful]]" — Annie and Frank
*"[[Moonshine Lullaby]]" § — Annie and siblings
*"I'll Share It All With You" — Winnie Tate and Tommy Keeler
*"Ballyhoo" — Riding Mistress and Show People
*"There's No Business Like Show Business" (Reprise) — Annie
*"[[My Defenses Are Down]]" — Frank and ensemble
*"Wild Horse Ceremonial Dance" — Wild Horse, Indian Braves and Maidens
*"[[I'm an Indian, Too]]" — Annie and ensemble
*Adoption Dance — Annie, Wild Horse and Braves
{{col-break}}
;Act II
* Entr'acte — Orchestra
*"[[I Got Lost In His Arms]]" § — Annie
*"[[Who Do You Love, I Hope?]]" — Winnie and Tommy
*"[[I Got the Sun in the Mornin' (and the Moon at Night)|I Got the Sun in the Morning]]" — Annie and ensemble
*"They Say It's Wonderful" (Reprise) — Annie and Frank
*"The Girl That I Marry" (Reprise) — Frank
*"[[Anything You Can Do (song)|Anything You Can Do]]" — Annie and Frank
*"There's No Business Like Show Business" (Reprise) — Ensemble
{{col-end}}
;''Notes''

*§: omitted from the 1950 film version
*"Let's Go West Again" was written by Berlin for the 1950 film but was not used. However, there are recordings by both [[Betty Hutton]] and [[Judy Garland]].
*"Take It in Your Stride" was a solo for Annie written for the original production. It was replaced by a reprise of "There's No Business Like Show Business" when Merman found the number too difficult. It was recorded by [[Liz Larsen]] for the album ''Lost in Boston''.

===1999 revival===
{{col-begin}}
{{col-2}}
;Act I
*"[[There's No Business Like Show Business]]" - Frank, Dolly, Winnie and Company
*"[[Doin' What Comes Natur'lly]]" — Annie, Kids and Foster Wilson
*"[[The Girl That I Marry]]" — Frank and Annie
*"[[You Can't Get a Man with a Gun]]" — Annie
*"[[There's No Business Like Show Business]]" (Reprise) — Frank, Buffalo Bill, Charlie and Annie
*"I'll Share It All With You" — Tommy, Winnie and Company
*"[[Moonshine Lullaby]]" — Annie, Kids, Ensemble Trio
*"There's No Business Like Show Business" (Reprise) — Annie
*"[[They Say It's Wonderful]]" — Annie and Frank
*"[[My Defenses Are Down]]" — Frank and Young Men
* Finale: "You Can't Get a Man with a Gun (Reprise)" - Annie
{{col-break}}
;Act II
*Entr'acte: The European Tour — Annie and Company
*"[[I Got Lost In His Arms]]" — Annie
*"Who Do You Love, I Hope" — Tommy, Winnie and Company
*"[[I Got the Sun in the Mornin' (and the Moon at Night)|I Got the Sun in the Morning]]" — Annie and Company
*"An Old-Fashioned Wedding" - Annie and Frank
*"The Girl That I Marry" (Reprise) — Frank
*"[[Anything You Can Do (song)|Anything You Can Do]]" — Annie and Frank
*"They Say It's Wonderful" (Reprise) — Annie, Frank and Company
{{col-end}}

''"An Old-Fashioned Wedding" was written by Berlin for the 1966 revision, sung by Annie and Frank, and was also included in the 1999 revival''

==Instrumentation==

===Original 1946 orchestration===
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Annie Get Your Gun |url=https://www.concordtheatricals.com/p/44769/annie-get-your-gun |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Piano
* Flute I & II (both doubling Piccolo)
* Oboe (optional doubling English Horn)
* Clarinet I & Clarinet II/Bass Clarinet
* Bassoon
* Horn, Trumpets I, II & III & Trombone I, II & III
* Violins A, B, C & D (divisi), Viola (divisi), Cello (divisi) & Bass
* Harp
* Guitar
* Percussion [Trap Set (Snare & Bass Drums), Timpani, Cymbals, Triangle, Vibraphone, Xylophone, Bells, Temple Blocks, Tambourine, Wood Blocks, Field Drum, Maracas & Tom-Tom]

===1999 orchestration===

* Reed I (Flute/Piccolo)
* Reed II (Oboe, English Horn, Clarinet)
* Reed III (Clarinet, Alto Sax, Flute)
* Reed IV (Clarinet/Alto Sax)
* Reed V (Clarinet, Bass Clarinet, Tenor Sax)
* Horn, Trumpets I, II & III & Trombone I & II
* Violins A, B & C (divisi), Viola (divisi), Cello (divisi) & Bass
* Harp
* Piano, Keyboard-Synth, Guitar & Drums (Trap Set)
* Auxiliary Percussion [Bells, 2 Timpani, Triangle, Vibes, Xylophone, Ratchet, Chimes (C & G), Marimba, [[Piatti]], Tambourine, Bell Tree, Temple Blocks, Slide Whistle, Suspended Cymbal, Sleigh Bells & [[Jew's Harp]].]

==Productions==

===Original productions===
''Annie Get Your Gun'' premiered on Broadway at the [[Imperial Theatre (Broadway)|Imperial Theatre]] on May 16, 1946 and ran for 1,147 performances. Directed by [[Joshua Logan]], the show starred [[Ethel Merman]] as Annie, [[Ray Middleton (actor)|Ray Middleton]] as Frank Butler, [[Lea Penman]] as Dolly Tate, Art Bernett as Foster Wilson, [[Harry Bellaver]] as Chief Sitting Bull, Kenneth Bowers as Tommy Keeler, [[Marty May]] as Charlie Davenport and William O'Neal as Buffalo Bill.

The musical toured the U.S. from October 3, 1947, starting in [[Dallas, Texas]] with [[Mary Martin]] as Annie. This tour also played Chicago and Los Angeles. Martin stayed with the tour until mid-1948.

The show had its West End premiere on June 7, 1947 at the [[London Coliseum]] where it ran for 1,304 performances. [[Dolores Gray]] played Annie with Bill Johnson as Frank.

The first Australian production opened at [[Her Majesty's Theatre, Melbourne|His Majesty's Theatre]] in Melbourne on July 19, 1947. It starred [[Evie Hayes]] as Annie with Webb Tilton as Frank.

A French version, ''[[Annie du Far-West]]'', starring [[Marcel Merkes]] and [[Lily Fayol]], began production at the [[Théâtre du Châtelet]] in Paris on 19 February 1950 and ran for over a year.

===1966 Broadway revival===
The show had its first Broadway revival in 1966 at the Music Theater of [[Lincoln Center]]. This production opened on May 31, 1966 and ran until July 9, followed by a short 10-week U.S. Tour. It returned to Broadway at [[the Broadway Theatre]] on September 21 for 78 performances. [[Ethel Merman]] reprised her original role as Annie with [[Bruce Yarnell]] as Frank, [[Benay Venuta]] as Dolly, and [[Jerry Orbach]] as Charles Davenport. The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With You" and "Who Do You Love, I Hope?", and the song "An Old-Fashioned Wedding" was specially written for the revival and added to the second act. This version of the show is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version by [[NBC]] on March 19, 1967 and is the only musical revived at Lincoln Center during the 1960s to be telecast.<ref>[https://www.imdb.com/title/tt0185157/trivia Internet Movie database trivia] imdb.com</ref>

===1973 Shady Grove Music Fair production===
Jay Harnick directed a revival at the Shady Grove Music Fair starring [[Barbara Eden]], [[John Bennett Perry]] and [[Sandra Peabody]] that ran from 1973 to 1974.<ref>{{cite book|title=Annie Get Your Gun (1973)|oclc=327706994}}</ref>

=== 1976 Mexican production ===
In 1976 a Spanish-language version was produced in [[Mexico City]] with the name of ''Annie es un tiro''. It was directed by José Luis Ibáñez and starred by Mexican film star [[Silvia Pinal]]. The production was represented at the Teatro Hidalgo and was co starred by the actor and singer [[Manuel López Ochoa]]. The success of the production produced the first Spanish-language version of the musical's soundtrack.<ref>[http://www.redteatral.net/versiones-musicales-annie-es-un-tiro-2897&id_generos= ''RedTeatral.net: Annie Get Your Gun (Mexican version)'']</ref>

===1977 Los Angeles Civic Light Opera production===
In 1977, [[Gower Champion]] directed a revival for the [[Los Angeles Civic Light Opera]] starring [[Debbie Reynolds]] as Annie.<ref>[https://movies.yahoo.com/movie/contributor/1800024280/bio "Debbie Reynolds biography"] {{webarchive |url=https://web.archive.org/web/20100514160027/http://movies.yahoo.com/movie/contributor/1800024280/bio |date=May 14, 2010 }} movies.yahoo.com, retrieved May 30, 2010</ref> The Assistant Director was [[James Mitchell (actor)|James Mitchell]]. [[Harve Presnell]], Reynolds's former co-star in the 1964 film ''[[The Unsinkable Molly Brown (film)|The Unsinkable Molly Brown]]'', played Frank Butler. The cast featured [[Art Lund]] as Buffalo Bill, Bibi Osterwald as Dolly Tate, [[Gavin MacLeod]] as Charlie Davenport,<ref>Gilvey, John Anthony. ''Before the Parade Passes By'', Macmillan, 2005, {{ISBN|0-312-33776-0}}, pp. 264-265</ref>
Peter Bruni as Foster Wilson, Don Potter as Pawnee Bill, and Manu Tupou as Sitting Bull.<ref>[http://www.broadwayla.org/info/civic.light.asp "Los Angeles Civic Light Opera Show Archive, see 1977"] {{webarchive|url=https://web.archive.org/web/20091021085602/http://www.broadwayla.org/info/civic.light.asp |date=2009-10-21 }} broadwayla.org, retrieved May 31, 2010</ref><ref>[http://www.debbiereynoldsonline.com/anniegetyourgun.htm "'Annie Get Your Gun' listing at Reynolds site"] {{Webarchive|url=https://web.archive.org/web/20110709005348/http://www.debbiereynoldsonline.com/anniegetyourgun.htm |date=2011-07-09 }} debbiereynoldsonline.com, retrieved May 31, 2010</ref> The cast also included Trey Wilson and Debbie Shapiro. The production later toured various North American cities, but never ran on Broadway, its planned destination.

===1986 UK tour and London revival===
In 1986, a David Gilmore [[Chichester Festival Theatre]] production, with American rock star [[Suzi Quatro]] as Annie and [[Eric Flynn]] as Frank, opened at the Chichester Festival Theatre.<ref>
{{cite web
|title=1986, Chichester Festival Theatre
|work=www.cft.org.uk
|publisher=[[Chichester Festival Theatre]]
|location=Chichester, United Kingdom
|url=http://www.cft.org.uk/1986
|archive-url=https://archive.is/20121224214907/http://www.cft.org.uk/1986
|url-status=dead
|archive-date=December 24, 2012
|accessdate=May 17, 2012
}}</ref><ref name=timeline>
{{cite web
|title=Suzi Quatro Timeline
|work=www.thecoverzone.com
|publisher=Suzi Quatro Rocks - Rock and Roll Hall of Fame Mission
|location=Bristol, USA
|url=http://www.thecoverzone.com/RNR/timeline.html
|accessdate=May 17, 2012
|url-status=dead
|archiveurl=https://web.archive.org/web/20091105051916/http://www.thecoverzone.com/RNR/timeline.html
|archivedate=November 5, 2009
}}</ref> It moved to the [[Theatre Royal, Plymouth]],<ref name=timeline /> and then to the [[Aldwych Theatre]] in London's West End where it played from July 29 to October 4.<ref>
{{cite web
| title = Chronology of London Shows, The Guide to Musical Theatre, 1986
| work = www.guidetomusicaltheatre.com
| publisher = The Guide to Musical Theatre
| location = Accrington, United Kingdom
| url = http://www.guidetomusicaltheatre.com/london_shows_chronology/1986.htm
| accessdate = May 17, 2012
}}</ref> The cast recorded an album, [[Annie Get Your Gun - 1986 London Cast]]<ref name=GramophoneReview>
{{cite web
|title = Gramophone magazine, December 1986 issue, page 138, Stage and Screen section
|work = [[Gramophone (magazine)|Gramophone magazine]]
|publisher = [[Haymarket Media Group]]
|location = London, United Kingdom
|url = http://www.gramophone.net/Issue/Page/December%201986/138/857876/Stage+and+Screen
|accessdate = May 17, 2012
}}{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> and Quatro's songs "I Got Lost in His Arms"/"You Can't Get a Man with a Gun" were released as a single.<ref name=timeline /> Since then "I Got Lost in His Arms" has also been included in the compilation albums ''The Divas Collection'' (2003)<ref>
{{cite web
| title = The Divas Collection - Patti LuPone, AllMusic, Overview
| work = www.allmusic.com
| publisher = [[Rovi Corporation]]
| location = Ann Arbor, USA
| url = http://www.allmusic.com/album/the-divas-collection-w110315
| accessdate = May 17, 2012
}}</ref> and ''Songs from the Greatest Musicals'' (2008).<ref>
{{cite web
| title = Songs from the Greatest Musicals - Various Artists, AllMusic, Overview
| work = www.allmusic.com
| publisher = [[Rovi Corporation]]
| location = Ann Arbor, USA
| url = http://www.allmusic.com/album/songs-from-the-greatest-musicals-r1292676
| accessdate = May 17, 2012
}}</ref>

===1992 London revival===
A short-lived London production ran at the Prince of Wales Theatre in the West End, starring Kim Criswell as Annie.<ref>[http://www.floormic.com/production/2882395 "'Annie Get Your Gun' Listing, 1992"] {{webarchive |url=https://web.archive.org/web/20111012233032/http://www.floormic.com/production/2882395 |date=October 12, 2011 }} floormic.com, accessed July 1, 2011</ref> Criswell's studio cast recording of the show - made with [[Thomas Hampson (baritone)|Thomas Hampson]] and conductor John McGlinn<ref>Ruhlmann, William.[http://www.allmusic.com/album/annie-get-your-gun-1990-studio-cast-w118808/review "Review, 'Annie Get Your Gun', 1990 Studio Cast"] allmusic.com, accessed July 1, 2011</ref> - provided the impetus for the production. [[Pippa Ailion]] was the Casting Director for this production.

===1999 Broadway revival===
In 1999, a new production had its pre-Broadway engagement at the [[Kennedy Center]], Washington, D.C., from December 29, 1998 to January 24, 1999. Previews began on [[Broadway theatre|Broadway]] on February 2, 1999 at the [[Marquis Theatre]], with an official opening on March 4, 1999, and closed on September 1, 2001 after 35 previews and 1,045 performances.

This revival starred [[Bernadette Peters]] as Annie and [[Tom Wopat]] as Frank, and [[Ron Holgate]] as Buffalo Bill, with direction by [[Graciela Daniele]], choreography by [[Jeff Calhoun (director)|Jeff Calhoun]], and music arrangements by [[John McDaniel (musician)|John McDaniel]]. Peters won the 1999 [[Tony Award]] for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.

This production had a revised book by [[Peter Stone]] and new orchestrations, and was structured as a "show-within-a-show", set as a Big Top travelling [[circus]]. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "There's No Business Like Show Business", which is reprised when "Annie" agrees to join the traveling Wild West show. The production dropped several songs (including "Colonel Buffalo Bill", "I'm A Bad, Bad Man", and "I'm an Indian Too"), but included "An Old-Fashioned Wedding". There were several major dance numbers added, including a ballroom scene.<ref>Sommer, Elyse and Davidson, Susan.[http://www.curtainup.com/anniegny.html "Review:Annie Get Your Gun"], Curtain Up, January 10, 1999 and March 9, 1999</ref> A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was also included. In the 1946 production, Winnie was Dolly's daughter, but the 1966 &1999 productions she is Dolly's younger sister. In this version, the final shooting match between Annie and Frank ends in a tie.<ref>Kissel, Howard.[http://www.nydailynews.com/archives/entertainment/1999/02/28/1999-02-28__annie_s__high-caliber_star_.html "Annie’s’ High-Caliber Star Bernadette Peters Is Back On B’way To Get Her ‘Gun’ And Her Guy",] ''New York Daily News'', February 28, 1999</ref>

====Notable replacements====
While Peters was on vacation, ''[[All My Children]]'' star [[Susan Lucci]] made her Broadway debut as Annie from December 27, 1999 until Jan. 16, 2000. Peters and Wopat left the show on September 2, 2000. Former ''[[Charlie's Angels]]'' star [[Cheryl Ladd]] made her Broadway debut as Annie on September 6, 2000, with [[Patrick Cassidy (actor)|Patrick Cassidy]] as Frank Butler. Country music superstar [[Reba McEntire]] made her Broadway debut as Annie from January 26, 2001 to June 22, 2001 opposite [[Brent Barrett]] as Frank.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/60922.html Reba, a New Force of Nature, Blows Out of Annie Get Your Gun June 22"] {{webarchive |url=https://web.archive.org/web/20081202091050/http://www.playbill.com/news/article/60922.html |date=December 2, 2008 }}, playbill.com, June 22, 2001</ref> On June 23, 2001, [[Crystal Bernard]], who had been playing Annie in the national tour of ''Annie Get Your Gun'', assumed the role of Annie in the Broadway production.<ref>Jones, Kenneth.[http://www.playbill.com/news/article/60936.html "Crystal Bernard Wings Her Way Into Bway's Annie Get Your Gun June 23"] {{webarchive |url=https://web.archive.org/web/20081202091055/http://www.playbill.com/news/article/60936.html |date=December 2, 2008 }}, playbill.com, June 23, 2001</ref>

===2000 U.S. tour===
The 1999 Broadway production, in a "slightly revised version", toured in a U.S. national tour starting in [[Dallas]], Texas on July 25, 2000 with [[Marilu Henner]] and [[Rex Smith]]. Tom Wopat joined the tour in late October 2000, replacing Smith.<ref>[http://www.playbill.com/news/article/54368.html Article on 2000 tour "Henner, Smith Begin Revised Annie Get Your Gun Tour in Dallas July 25"] {{webarchive |url=https://web.archive.org/web/20070930181638/http://www.playbill.com/news/article/54368.html |date=September 30, 2007 }} playbill.com, July 25, 2000</ref>

===2006 Prince Music Theater production===
In 2006, the [[Prince Music Theater]] of Philadelphia, Pennsylvania, revived the 1966 Lincoln Center Theater version for one month. This production starred [[Andrea McArdle]] (the original Annie of the 1977 Broadway musical ''[[Annie (musical)|Annie]]''), Jeffrey Coon as Frank Butler, John Scherer as Charlie Davenport, Chris Councill as Buffalo Bill, Mary Martello as Dolly Tate, and Arthur Ryan as Sitting Bull. The production was well received by critics.<ref>Dunleavey, Tim.[http://www.talkinbroadway.com/regional/philly/phil44.html "Review"] talkinbroadway.com, December 12, 2006</ref> The production was directed by Richard M. Parison, Jr. and choreographed by Mercedes Ellington.<ref>[http://www.playbill.com/news/article/103883.html 2006 article on McArdle] {{webarchive |url=https://web.archive.org/web/20070927191108/http://www.playbill.com/news/article/103883.html |date=September 27, 2007 }} playbill.com</ref>

===2009 London revival===

[[Jane Horrocks]], [[Julian Ovenden]] and director [[Richard Jones (director)|Richard Jones]] mounted a major London revival at the [[Young Vic]], Waterloo. The show opened at the [[off west end]] venue on 16 October 2009, initially booking until 2 January 2010 but with an extra week added due to popular demand. The production featured new arrangements by Jason Carr for a band consisting four pianos.<ref>Shenton, Mark.[https://archive.is/20120907220115/http://www.playbill.com/news/article/129925 Horrocks and Ovenden to Star in Young Vic Revival of Annie Get Your Gun] playbill.com, June 5, 2009</ref> London's Guardian newspaper awarded the show 5 stars, claiming that "Richard Jones's brilliant production offers the wittiest musical staging London has seen in years." <ref>Billington, Michael [https://www.theguardian.com/stage/2009/oct/18/annie-get-your-gun-review Annie Get Your Gun review] guardian.co.uk, October 18, 2009</ref>

===2010 Ravinia Festival concert===
A concert staging of the original version of ''Annie Get Your Gun'' took place at the [[Ravinia Festival]], Chicago from August 13–15, 2010 to celebrate the 150th anniversary of Annie Oakley's birth. Directed by [[Lonny Price]], the concert starred [[Patti LuPone]] as Annie, [[Patrick Cassidy (actor)|Patrick Cassidy]] as Frank and [[George Hearn]] as Buffalo Bill.<ref>Gans, Andrew.[http://www.playbill.com/news/article/142023-They-Say-Its-Wonderful-Patti-LuPone-Stars-in-Annie-Get-Your-Gun-at-the-Ravinia-Festival "'They Say It's Wonderful': Patti LuPone Stars in 'Annie Get Your Gun' at the Ravinia Festival"] {{Webarchive|url=https://web.archive.org/web/20100818075409/http://www.playbill.com/news/article/142023-They-Say-Its-Wonderful-Patti-LuPone-Stars-in-Annie-Get-Your-Gun-at-the-Ravinia-Festival |date=2010-08-18 }} playbill.com, August 13, 2010</ref> The concert received unanimously strong reviews, notably for LuPone and Price's direction.

===Other major productions===
[[Lucie Arnaz]] starred in a production in the summer of 1978 with [[Harve Presnell]] at the [[Jones Beach Theater]] in [[Nassau County, New York]].<ref>[http://www.jonesbeachtheater.us/home/theater-history "Theater History"] {{webarchive |url=https://web.archive.org/web/20110315072441/http://www.jonesbeachtheater.us/home/theater-history |date=March 15, 2011 }} jonesbeachtheater.us, accessed April 16, 2011</ref> This was the first major production of the musical done in the New York area after the 1966 revival.

The [[Paper Mill Playhouse]] produced a well-reviewed production in June 1987 starring [[Judy Kaye]] as Annie and Richard White as Frank.<ref>Klein, Alvin.[https://www.nytimes.com/1987/05/31/nyregion/theater-a-rip-roaring-annie-get-your-gun.html "Theater; A Rip-Roaring 'Annie Get Your Gun'" ] ''The New York Times'', May 31, 1987</ref>

In 2004, [[Marina Prior]] and Scott Irwin starred in an Australian production of the 1999 Broadway rewrite of the show.

In 2014 Carter Calvert and David Weitzer starred in a production that opened the Algonquin Arts Theatre's 2014-2015 Broadway Season. It was also the first show to be performed after the Algonquin underwent the task of installing new seating which had not been done since 1938.

In October 2015, a two night concert version was presented at the [[New York City Center]] Gala starring [[Megan Hilty]] (Annie Oakley) and [[Andy Karl]] (Frank Butler). The concerts are directed by [[John Rando]], and the cast features Judy Kaye (Dolly Tate), [[Ron Raines]] (Buffalo Bill), [[Brad Oscar]] (Charlie) and [[Chuck Cooper (actor)|Chuck Cooper]] (Pawnee Bill).<ref>[http://www.nycitycenter.org/events/ Events] nycitycenter.org, accessed October 27, 2015</ref><ref>Viagas, Ribert. [http://www.playbill.com/news/article/megan-hilty-shows-theres-still-no-business-like-show-business-in-city-centers-annie-get-your-gun-tonight-368899# "Megan Hilty Shows There's Still "No Business Like Show Business" in City Center's 'Annie Get Your Gun' Tonight!"] Playbill, October 27, 2015</ref>

==Film and television versions==
In 1950, [[Metro Goldwyn Mayer]] made a well-received [[Annie Get Your Gun (film)|movie version of the musical]]. Although MGM purchased the rights to the film version with an announced intention of starring legendary singer-actress [[Judy Garland]] as Annie, early work on the film was plagued with difficulties, some attributed to Garland's health. Garland was fired and replaced by the brassier, blonde [[Betty Hutton]].

In 1957, a production starring [[Mary Martin]] as Annie and [[John Raitt]] as Frank Butler was broadcast on [[NBC]]. In 1967, the Lincoln Center production described above, starring Ethel Merman and Bruce Yarnell, was broadcast on NBC. The Mary Martin version has been re-broadcast sporadically over the years, but the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio clip of "[[I Got the Sun in the Mornin' (and the Moon at Night)]]" is known to exist,<ref>[https://www.youtube.com/watch?v=rhOTMf84gFo Ethel Merman in ''Annie Get Your Gun'' (1967)] on Youtube</ref> as does an audio-only recording of the entire 90-minute show.<ref>[http://www.entertainmentoutpost.com/apps/webstore/products/show/7329339 ''Annie Get Your Gun'' (1967 TV production)] at entertainmentoutpost.com</ref>

==Recordings==
There are several recordings of the ''Annie Get Your Gun'' score, including:
*1946 Original Broadway Cast: an original cast recording was released by [[Decca Records]] in [[1946 in music|1946]], featuring the cast of the original 1946 Broadway production. The principal stars were [[Ethel Merman]] and [[Ray Middleton (actor)|Ray Middleton]]. The album was added to the [[Grammy Hall of Fame]] in [[1998 in music|1998]].
*1957 TV Cast: a recording based on the TV version shown in 1957, with [[Mary Martin]] and [[John Raitt]].
*1963 [[Annie Get Your Gun (Doris Day and Robert Goulet album)|Studio Cast featuring Doris Day and Robert Goulet]]: not based on a theatre production.
*1966 Broadway Revival Cast
*1976 Spanish-language version with Mexican cast.
*1986 [[Annie Get Your Gun - 1986 London Cast|1986 London Cast]]<ref name=GramophoneReview />
*1991 Studio Cast
*1999 Broadway Revival Cast ([[Grammy Award]])

Conductor John Owen Edwards along with JAY Records recorded the first-ever complete recording, with all musical numbers, scene change music and incidental music, of the show's score in the 1990s with [[Judy Kaye]] and [[Barry Bostwick]]. [[Christopher Lee]] had the role of Sitting Bull.<ref>[https://archive.is/20120905140658/http://www.gramophone.net/Issue/Page/December%201996/143/791032/Berlin+Annie+Get+Your+Gun.+Judy+Kaye+Annie+Barry+Bostwick+Frank+Teri+Ralston+DollyMrs+Adams+Richard+Lyndon+Buffalo+Bill+Christo+pher+Lee+Sitting+Bull+Nicolas+Colicos+Pawnee+BillMr+Adams+David+Green+Charlie+DavenportMac+Simon+Masterson+Smith+Foster+Wilson+Simon+Bright+Little+Jake+Sarah+French+Nellie+Danielle+NelsonElizabeth+Eaton+Jessie+Rosalind+James+Minnie+chorus+National+Sym+phony+Orchestra++John+Owen+Edwards. " 'Annie Get Your Gun' Review"] gramophone.net, December 1996, p. 143</ref>

==Reception==
The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and book were not particularly distinguished. [[John Arthur Chapman|John Chapman]] of the ''[[Daily News (New York)|Daily News]]'' declared that the production had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time show" but pronounced Merman the best part of the show, stating "She is a better comedienne than she ever was before", stating that "''Annie'' is a good, standard, lavish, big musical and I'm sure it will be a huge success--but it isn't the greatest show in the world".<ref name=Suskin>Suskin, 53-57</ref> [[Louis Kronenberger]] of ''[[PM (newspaper)|PM]]'' stated that the show was 'in many ways routine", but greatly praised Merman's performance, opining, "For me, ''Annie'' is mainly Miss Merman's show, though the rest of it is competent enough of its kind...Irving Berlin's score is musically not exciting--of the real songs, only one or two are tuneful".<ref name=Suskin/>
[[Ward Morehouse]] of ''[[The New York Sun]]'' declared, "The big news about ''Annie Get Your Gun'' is that it reveals Ethel Merman in her best form since ''Anything Goes''...She shouts the Berlin music with good effect. She often comes to the aid of a sagging book".<ref name=Suskin/> He stated, "Irving Berlin's score is not a notable one, but his tunes are singable and pleasant and his lyrics are particularly good. The book? It's on the flimsy side, definitely. And rather witless too".<ref name=Suskin/> Lewis Nichols of ''[[The New York Times]]'' said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to roll her eyes and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn't get anywhere in particular".<ref name=Suskin/>

However, the show itself was greatly lauded by some critics: Vernon Rice of the ''[[New York Post]]'' proclaimed, "Irving Berlin has outdone himself this time. No use trying to pick a hit tune, for all the tunes are hits...Ethel Merman is at her lusty, free and easy best...She is now able to develop a consistent characterization and stay with it to the show's end. And when she opens her mouth to sing, she sings!"<ref name=Suskin/> 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. And the production has in every way the distinction that has become their hallmark".<ref name=Suskin/>

Historians have viewed the show as inaccurate, citing among other reasons its portrayal of Annie as a loud, boisterous character, when in reality she had a quiet personality and did needlepoint in her spare time.

== Redface ==

Native Americans have criticized the shows portrayal of Redface and promotion of cultural stereotypes. Particularly in the song "[[I'm an Indian Too]]" sung by Annie after Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest outside the New York theatre, {{when|date=April 2015}} as well as movie theaters, holding picket signs stating: "Don't See "Annie Get Your Gun". As a result of this reaction, many contemporary productions have omitted the song from their revivals, and the protests stopped.<ref>Lahr, John (1 April 2002). [https://books.google.com/books?id=eU5dQKfpcpEC&pg=PA154#v=onepage&q&f=false Show and Tell: New Yorker Profiles]. University of California Press. p. 154. {{ISBN|978-0-520-23377-5}}.</ref>

==Awards and nominations==
*Mary Martin received a [[Special Tony Award]] in 1948 for "Spreading Theatre to the Country While the Originals Perform in New York" (1947-48 US Tour)<ref>[http://sanfrancisco.broadwayworld.com/tonyawardsyear.cfm?year=1948 "1948 Tony Award Winners"] broadwayworld.com, accessed June 26, 2011</ref>

===1966 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1966
| rowspan="2"| [[Tony Award]]
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| Jack Sydow
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Danny Daniels]]
| {{nom}}
|}

===1999 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7" align="center"| 1999
| rowspan="3"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Tom Wopat]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Bernadette Peters]]
| {{won}}
|-
| rowspan="3"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Tom Wopat]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bernadette Peters]]
| {{won}}
|-
| [[Grammy Award]]
| colspan="2"| [[Grammy Award for Best Musical Show Album|Best Musical Show Album]]
| {{won}}
|-
| rowspan="2" align="center"| 2001
| [[Drama Desk Award]]
| [[Drama Desk Special Award|Special Award]]
| rowspan="2"| [[Reba McEntire]]
| {{won}}
|-
| colspan="2"| [[Theatre World Award]]
| {{won}}
|}

===2009 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 2009
| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{nom}}
|}

==Notes==
{{reflist|2}}

==References==
*Bloom, Ken and Vlastnik, Frank (2004). ''Broadway Musicals: The 101 Greatest Shows of all Time.'' New York: Black Dog & Leventhal Publishers. {{ISBN|1-57912-390-2}}
*Kantor, Michael, and Maslon, Laurence (2004). ''Broadway: The American Musical''. New York: Bullfinch Press. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick (2002). [https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein]. Cambridge, Mass.: Applause Theatre and Cinema Books. {{ISBN|978-1-55783-473-7}}.
*Suskin, Stephen (1990). ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre''. New York: Schrimmer Books. {{ISBN|0-02-872625-1}}.
* [https://web.archive.org/web/20080122081610/http://stageagent.com/Shows/View/731 Annie Get Your Gun plot summary & character descriptions] from [http://www.stageagent.com StageAgent.com]
* [https://web.archive.org/web/20070526220752/http://www.thejudyroom.com/discography/soundtracks/annie.html The Judy Garland Online Discography "Annie Get Your Gun" pages.]
* [http://www.rnh.com/show/5/Annie-Get-Your-Gun Listing at the RNH site]
*[http://www.rnh.com/news/578/Bulls-Eye-Annie-Get-Your-Gun-Hits-Broadway 1999 Revival at RNH]
*[http://www.guidetomusicaltheatre.com/shows_a/anniegetyourgun.htm 'Annie Get Your Gun' Story, Cast, Scenes and Settings at guidetomusicaltheatre.com]

== External links ==
{{Wikiquote}}
{{Commons category|Annie Get Your Gun}}
* {{ibdb show|1615|Annie Get Your Gun}}
* {{IMDb title|0182719|Annie Get Your Gun (1957) (TV)}} (Mary Martin)
* {{IMDb title|0185157|Annie Get Your Gun (1967) (TV)}} (Ethel Merman)
*[http://www.curtainup.com/anniegny.html Curtain Up reviews from 2/8/01 and 3/9/99]

{{Annie Get Your Gun}}
{{Navboxes
|title = Awards for ''Annie Get Your Gun''
|list =
{{Grammy Award for Best Musical Theater Album}}
{{TonyAward MusicalRevival 1994–2000}}
}}
{{Irving Berlin}}
{{Herbert Fields}}
{{Dorothy Fields}}

{{Authority control}}

[[Category:1946 musicals]]
[[Category:1950s American television specials]]
[[Category:1957 in American television]]
[[Category:1957 television films]]
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[[Category:1967 in American television]]
[[Category:1967 television films]]
[[Category:American television films]]
[[Category:American films]]
[[Category:Broadway musicals]]
[[Category:Cultural depictions of Annie Oakley]]
[[Category:Cultural depictions of Buffalo Bill]]
[[Category:Cultural depictions of Sitting Bull]]
[[Category:Musicals by Herbert Fields]]
[[Category:Musicals by Irving Berlin]]
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[[Category:Musical television films]]
[[Category:Plays set in the 19th century]]
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Annie Get Your Gun (musical)

2020-04-04T03:39:05Z

JohnAnkerBow: Instrumentation Added

{{Infobox musical
| name = Annie Get Your Gun
| image = Annie_Merman.jpg
| caption = [[Broadway theatre|Broadway]] 1946 Original Cast Album
| music = [[Irving Berlin]]
| lyrics = [[Irving Berlin]]
| book = {{unbulleted list| [[Dorothy Fields]]| [[Herbert Fields]] }}
| basis =
| productions = {{unbulleted list| 1946 [[Broadway theatre|Broadway]]| 1947 [[West End theatre|West End]]| 1947 U.S. Tour| 1947 [[Australia]]| 1950 [[Annie Get Your Gun (film)|Film]]| 1966 Broadway [[revival (theatre)|revival]]| 1975 [[México]]| 1986 [[United Kingdom|UK]] tour and London revival| 1992 West End revival| 1999 Broadway revival| 2000 U.S. Tour| 2009 London revival| 2014 UK Tour }}
| awards = 1999 [[Tony Award for Best Revival of a Musical|Tony Award for Best Revival]]
}}

'''''Annie Get Your Gun''''' is a [[musical theater|musical]] with lyrics and music by [[Irving Berlin]] and a book by [[Dorothy Fields]] and her brother [[Herbert Fields]]. The story is a fictionalized version of the life of [[Annie Oakley]] (1860–1926), a [[sharpshooter]] who starred in [[Buffalo Bill#Buffalo Bill's Wild West|Buffalo Bill's Wild West]], and her romance with sharpshooter [[Frank E. Butler]] (1847–1926).<ref>A number of Internet sources claim that the musical is based on [[Walter Havighurst]]'s book ''Annie Oakley of the Wild West'', but the book was written in 1954, eight years after the musical was first produced.</ref>

The 1946 [[Broadway theatre|Broadway]] production was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, [[Annie Get Your Gun (film)|a 1950 film version]] and television versions. Songs that became hits include "[[There's No Business Like Show Business]]", "[[Doin' What Comes Natur'lly]]", "[[You Can't Get a Man with a Gun]]", "[[They Say It's Wonderful]]", and "[[Anything You Can Do (I Can Do Better)]]."

==History and background==
Dorothy Fields had the idea for a musical about Annie Oakley, to star her friend, [[Ethel Merman]]. Producer [[Mike Todd]] turned the project down, so Fields approached a new producing team, [[Richard Rodgers]] and [[Oscar Hammerstein II]]. 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.<ref name=BV13>Bloom and Vlastnik, p.13</ref> They agreed to produce the musical and asked [[Jerome Kern]] to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book.<ref name=BV13/> Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945 to begin work on the score to ''Annie Get Your Gun'', but three days later, he collapsed on the street due to a cerebral hemorrhage.<ref>Nolan, pp.164-65</ref> Kern was hospitalized, and he died on November 11, 1945.<ref>Kern, p. 165</ref> The producers and Fields then asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs.<ref name=KM223>Kantor and Maslon, p.223</ref> Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show." <ref name=KM223/> Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Can't Get a Man With a Gun", and "There's No Business Like Show Business".<ref name=Nolan166>Nolan, p.166</ref> Berlin's songs suited the story and Ethel Merman's abilities, and he readily composed the rest of the score to ''Annie Get Your Gun''.<ref name=KM223/><ref>Nolan, pp.166-67</ref> The show's eventual hit song, "There's No Business Like Show Business," was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it.<ref>''The World of Musical Comedy:The Story of the American Musical'' (1984), Stanley Green, pp. 79-80, Da Capo Press, {{ISBN|0-306-80207-4}}</ref> In imitation of the structure of ''Oklahoma!'' a secondary romance between two of the members of the Wild West Show was added to the musical during its development.<ref name=BV14>Bloom and Vlastnik, p.14</ref>

According to some sources, the role of Annie was originally offered to [[Mary Martin]], who turned it down. On opening night, she was represented by her husband, Richard Halliday. Upon his return home following the premiere, he informed her, "You're going to kill yourself!" When time came to send out the post-Broadway national tour and Merman was unwilling to do it, Martin jumped at the chance, going on the road for approximately two years and belting out the songs, which had the effect of lowering her voice from its normal lyric-coloratura range to mezzo-soprano-alto.

For the 1999 revival, [[Peter Stone]] revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs "Colonel Buffalo Bill" and "I'm An Indian Too".<ref>Brantley, Ben. "Everything the Traffic Will Allow". ''The New York Times'', March 4, 1999, p.E1</ref> Stone said, "The big challenge is taking a book that was wonderfully crafted for its time and make it wonderfully crafted for our time... It was terribly insensitive...to Indians.... But it had to be dealt with in a way that was heartfelt and not obvious... In this case, it was with the permission of the heirs. They're terribly pleased with it."<ref>[[Simonson, Robert]]. [https://archive.is/20120908200332/http://www.playbill.com/celebritybuzz/article/65862-PLAYBILL-ON-LINES-BRIEF-ENCOUNTER-with-Peter-Stone "Playbill On-Line's Brief Encounter with Peter Stone"] Playbill.com, March 2, 1999</ref> Stone also altered the structure of the musical, beginning it with "There's No Business Like Show Business" and presenting the musical as a "show within a show".<ref name=BV14/>

==Plot summary==
[[Image:Miss-Annie-Oakley-peerless-wing-shot.jpg|thumb|right|1880s poster]]

===Act I===
When the traveling [[Bill Cody|Buffalo Bill's]] [[Wild West]] show visits [[Cincinnati, Ohio]] ("Colonel Buffalo Bill"), [[Frank E. Butler|Frank Butler]], the show's handsome, womanizing star ("I'm a Bad, Bad, Man"), challenges anyone in town to a shooting match. Foster Wilson, a local hotel owner, doesn't appreciate the Wild West show taking over his hotel, so Frank gives him a side bet of one hundred dollars on the match. Annie Oakley enters and shoots a bird off Dolly Tate's hat, and then explains her simple backwoods ways to Wilson with the help of her siblings ("Doin' What Comes Natur'lly"). When Wilson learns she's a brilliant shot, he enters her in the shooting match against Frank Butler.

While waiting for the match to start, Annie meets Frank Butler and is instantly smitten with him, not knowing he will be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants will "wear satin... and smell of cologne" ("The Girl That I Marry"). The rough and naive Annie comically laments that "You Can't Get a Man with a Gun." At the shooting match, Annie finds out that Frank is the "big swollen-headed stiff" from the Wild West show. She wins the contest, and Buffalo Bill and Charlie Davenport, the show's manager, invite Annie to join the Wild West Show. Annie agrees because she loves Frank even though she has no idea what "show business" is. Frank, Charlie, and Buffalo Bill explain that "There's No Business Like Show Business."

Over the course of working together, Frank becomes enamored of the plain-spoken, honest, tomboyish Annie and, as they travel to [[Minneapolis, Minnesota]] on a train, he explains to her what "love" is ("They Say It's Wonderful"). Buffalo Bill and Charlie discover that their rival, [[Pawnee Bill]]'s Far East Show, will be playing in [[Saint Paul, Minnesota]] while the Wild West show plays in nearby Minneapolis. They ask Annie to do a special shooting stunt on a motorcycle to draw Pawnee Bill's business away. Annie agrees because the trick will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby."

As Annie and Frank prepare for the show, Frank plans to propose to Annie after the show and then ruefully admits that "My Defenses Are Down". When Annie performs her trick and becomes a star, Chief [[Sitting Bull]] adopts her into the [[Sioux]] tribe ("I'm An Indian Too"). Hurt and angry, Frank walks out on Annie and the show, joining the competing Pawnee Bill's show.

===Act II===
Returning to [[New York City|New York]] from a tour of Europe with the Buffalo Bill show, Annie learns that the show has gone broke. Sitting Bull, Charlie, and Buffalo Bill plot to merge Buffalo Bill's show with Pawnee Bill's as they believe that show is doing well financially. Annie, now well-dressed and more refined and worldly, still longs for Frank ("I Got Lost in His Arms").

At a grand reception for Buffalo Bill's troupe at the Hotel Brevoort, Pawnee Bill, Dolly, and Frank also plot a merger of the two companies, assuming Buffalo Bill's show made a fortune touring Europe. When they all meet, they soon discover both shows are broke. Annie, however, has received sharpshooting medals from all the rulers of Europe worth one hundred thousand dollars, and she decides to sell the medals to finance the merger, rejoicing in the simple things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their love and decide to marry, although with comically different ideas: Frank wants "some little chapel," while Annie wants "A wedding in a big church with bridesmaids and flower girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Old-Fashioned Wedding"o). When Annie shows Frank her medals, Frank again has his pride hurt. They call off the merger and the wedding, but challenge each other to one last shooting match to decide who is the best shot.

On the ferry to the [[Governors Island]] match site, Dolly attempts to ruin Annie's chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. However, they then decide to follow through with Dolly's plan so that Annie will lose the match, knowing that would soothe Frank's ego allowing the two to reconcile and the merger to take place.

As the match is ready to begin, Annie and Frank's egos come out again with each claiming they are better than the other ("Anything You Can Do"). Sitting Bull convinces Annie to deliberately lose the match to Frank, reminding her that she "can't get a man with a gun." That done, Frank and Annie finally reconcile, deciding to marry and merge the shows.

''Notes'':
*This description is based on the 1966 revised book.
*In the 1999 book, Frank also deliberately misses his shots in the final match, which ends in a tie.
*o written for 1966 revision and included in 1999 Broadway Revival; not in the original production
*§ omitted from the 1999 Broadway Revival

==Characters==
*[[Annie Oakley]]—a sharpshooter in the Wild West show
*[[Frank E. Butler|Frank Butler]]—the Wild West show's star
*Dolly Tate—Frank's flamboyant assistant; Winnie's sister (Charlie's sister in the 1966 version)
*[[Buffalo Bill]]—owner of the Wild West show
*Chief [[Sitting Bull]]—Sioux chief and holy man; Annie's protector
*Tommy Keeler§—knife-thrower in the Wild West show; Winnie's boyfriend; part Native American (not in the '66 version)
*Charlie Davenport—manager of the Wild West show
*Winnie Tate§—Dolly's sister; Tommy's girlfriend and his assistant in the knife-throwing act (not in the '66 version)
*[[Pawnee Bill]]—owner of a competing western show
*Foster Wilson—hotel owner
*Annie's brothers and sisters: Jessie, Nellie, Little Jake, and Minnie (Minnie was written out of the 1999 revival<ref>In the 1999 revival, Annie had three siblings rather than four.</ref>)

''Notes''
*§Tommy and Winnie and their songs were written out of the film & 1966 revision. The 1999 revival restored their characters and songs.

==Musical numbers==

===Original 1946 production===
{{col-begin}}
{{col-2}}
;Act I
* Overture — Orchestra
*"Colonel Buffalo Bill" — Charlie Davenport, Dolly Tate, and ensemble
*"I'm a Bad, Bad Man" — Frank Butler
*"[[Doin' What Comes Natur'lly]]" — Annie Oakley and her siblings
*"[[The Girl That I Marry]]" — Frank and Annie
*"[[You Can't Get a Man with a Gun]]" — Annie
*"[[There's No Business Like Show Business]]" — Frank, Buffalo Bill, Charlie, Annie, and ensemble
*"[[They Say It's Wonderful]]" — Annie and Frank
*"[[Moonshine Lullaby]]" § — Annie and siblings
*"I'll Share It All With You" — Winnie Tate and Tommy Keeler
*"Ballyhoo" — Riding Mistress and Show People
*"There's No Business Like Show Business" (Reprise) — Annie
*"[[My Defenses Are Down]]" — Frank and ensemble
*"Wild Horse Ceremonial Dance" — Wild Horse, Indian Braves and Maidens
*"[[I'm an Indian, Too]]" — Annie and ensemble
*Adoption Dance — Annie, Wild Horse and Braves
{{col-break}}
;Act II
* Entr'acte — Orchestra
*"[[I Got Lost In His Arms]]" § — Annie
*"[[Who Do You Love, I Hope?]]" — Winnie and Tommy
*"[[I Got the Sun in the Mornin' (and the Moon at Night)|I Got the Sun in the Morning]]" — Annie and ensemble
*"They Say It's Wonderful" (Reprise) — Annie and Frank
*"The Girl That I Marry" (Reprise) — Frank
*"[[Anything You Can Do (song)|Anything You Can Do]]" — Annie and Frank
*"There's No Business Like Show Business" (Reprise) — Ensemble
{{col-end}}
;''Notes''

*§: omitted from the 1950 film version
*"Let's Go West Again" was written by Berlin for the 1950 film but was not used. However, there are recordings by both [[Betty Hutton]] and [[Judy Garland]].
*"Take It in Your Stride" was a solo for Annie written for the original production. It was replaced by a reprise of "There's No Business Like Show Business" when Merman found the number too difficult. It was recorded by [[Liz Larsen]] for the album ''Lost in Boston''.

===1999 revival===
{{col-begin}}
{{col-2}}
;Act I
*"[[There's No Business Like Show Business]]" - Frank, Dolly, Winnie and Company
*"[[Doin' What Comes Natur'lly]]" — Annie, Kids and Foster Wilson
*"[[The Girl That I Marry]]" — Frank and Annie
*"[[You Can't Get a Man with a Gun]]" — Annie
*"[[There's No Business Like Show Business]]" (Reprise) — Frank, Buffalo Bill, Charlie and Annie
*"I'll Share It All With You" — Tommy, Winnie and Company
*"[[Moonshine Lullaby]]" — Annie, Kids, Ensemble Trio
*"There's No Business Like Show Business" (Reprise) — Annie
*"[[They Say It's Wonderful]]" — Annie and Frank
*"[[My Defenses Are Down]]" — Frank and Young Men
* Finale: "You Can't Get a Man with a Gun (Reprise)" - Annie
{{col-break}}
;Act II
*Entr'acte: The European Tour — Annie and Company
*"[[I Got Lost In His Arms]]" — Annie
*"Who Do You Love, I Hope" — Tommy, Winnie and Company
*"[[I Got the Sun in the Mornin' (and the Moon at Night)|I Got the Sun in the Morning]]" — Annie and Company
*"An Old-Fashioned Wedding" - Annie and Frank
*"The Girl That I Marry" (Reprise) — Frank
*"[[Anything You Can Do (song)|Anything You Can Do]]" — Annie and Frank
*"They Say It's Wonderful" (Reprise) — Annie, Frank and Company
{{col-end}}

''"An Old-Fashioned Wedding" was written by Berlin for the 1966 revision, sung by Annie and Frank, and was also included in the 1999 revival''

==Instrumentation==

===Original 1946 orchestration===
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Annie Get Your Gun |url=https://www.concordtheatricals.com/p/44769/annie-get-your-gun |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Piano
* Flute I & II (both doubling Piccolo)
* Oboe (optional doubling English Horn)
* Clarinet I & Clarinet II/Bass Clarinet
* Bassoon
* Horn, Trumpets I, II & III & Trombone I, II & III
* Violins A, B, C & D (divisi), Viola (divisi), Cello (divisi) & Bass
* Harp
* Guitar
* Percussion [Trap Set (Snare & Bass Drums), Timpani, Cymbals, Triangle, Vibraphone, Xylophone, Bells, Temple Blocks, Tambourine, Wood Blocks, Field Drum, Maracas & Tom-Tom]

===1999 orchestration===

* Piano
* Keyboard-Synth
* Reed I (Flute/Piccolo)
* Reed II (Oboe, English Horn, Clarinet)
* Reed III (Clarinet, Alto Sax, Flute)
* Reed IV (Clarinet/Alto Sax)
* Reed V (Clarinet, Bass Clarinet, Tenor Sax)
* Horn, Trumpets I, II & III & Trombone I & II
* Violins A, B & C (divisi), Viola (divisi), Cello (divisi) & Bass
* Harp
* Guitar
* Drums (Trap Set)
* Percussion [Bells, 2 Timpani, Triangle, Vibes, Xylophone, Ratchet, Chimes (C & G), Marimba, [[Piatti]], Tambourine, Bell Tree, Temple Blocks, Slide Whistle, Suspended Cymbal, Sleigh Bells & [[Jew's Harp]].]

==Productions==

===Original productions===
''Annie Get Your Gun'' premiered on Broadway at the [[Imperial Theatre (Broadway)|Imperial Theatre]] on May 16, 1946 and ran for 1,147 performances. Directed by [[Joshua Logan]], the show starred [[Ethel Merman]] as Annie, [[Ray Middleton (actor)|Ray Middleton]] as Frank Butler, [[Lea Penman]] as Dolly Tate, Art Bernett as Foster Wilson, [[Harry Bellaver]] as Chief Sitting Bull, Kenneth Bowers as Tommy Keeler, [[Marty May]] as Charlie Davenport and William O'Neal as Buffalo Bill.

The musical toured the U.S. from October 3, 1947, starting in [[Dallas, Texas]] with [[Mary Martin]] as Annie. This tour also played Chicago and Los Angeles. Martin stayed with the tour until mid-1948.

The show had its West End premiere on June 7, 1947 at the [[London Coliseum]] where it ran for 1,304 performances. [[Dolores Gray]] played Annie with Bill Johnson as Frank.

The first Australian production opened at [[Her Majesty's Theatre, Melbourne|His Majesty's Theatre]] in Melbourne on July 19, 1947. It starred [[Evie Hayes]] as Annie with Webb Tilton as Frank.

A French version, ''[[Annie du Far-West]]'', starring [[Marcel Merkes]] and [[Lily Fayol]], began production at the [[Théâtre du Châtelet]] in Paris on 19 February 1950 and ran for over a year.

===1966 Broadway revival===
The show had its first Broadway revival in 1966 at the Music Theater of [[Lincoln Center]]. This production opened on May 31, 1966 and ran until July 9, followed by a short 10-week U.S. Tour. It returned to Broadway at [[the Broadway Theatre]] on September 21 for 78 performances. [[Ethel Merman]] reprised her original role as Annie with [[Bruce Yarnell]] as Frank, [[Benay Venuta]] as Dolly, and [[Jerry Orbach]] as Charles Davenport. The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With You" and "Who Do You Love, I Hope?", and the song "An Old-Fashioned Wedding" was specially written for the revival and added to the second act. This version of the show is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version by [[NBC]] on March 19, 1967 and is the only musical revived at Lincoln Center during the 1960s to be telecast.<ref>[https://www.imdb.com/title/tt0185157/trivia Internet Movie database trivia] imdb.com</ref>

===1973 Shady Grove Music Fair production===
Jay Harnick directed a revival at the Shady Grove Music Fair starring [[Barbara Eden]], [[John Bennett Perry]] and [[Sandra Peabody]] that ran from 1973 to 1974.<ref>{{cite book|title=Annie Get Your Gun (1973)|oclc=327706994}}</ref>

=== 1976 Mexican production ===
In 1976 a Spanish-language version was produced in [[Mexico City]] with the name of ''Annie es un tiro''. It was directed by José Luis Ibáñez and starred by Mexican film star [[Silvia Pinal]]. The production was represented at the Teatro Hidalgo and was co starred by the actor and singer [[Manuel López Ochoa]]. The success of the production produced the first Spanish-language version of the musical's soundtrack.<ref>[http://www.redteatral.net/versiones-musicales-annie-es-un-tiro-2897&id_generos= ''RedTeatral.net: Annie Get Your Gun (Mexican version)'']</ref>

===1977 Los Angeles Civic Light Opera production===
In 1977, [[Gower Champion]] directed a revival for the [[Los Angeles Civic Light Opera]] starring [[Debbie Reynolds]] as Annie.<ref>[https://movies.yahoo.com/movie/contributor/1800024280/bio "Debbie Reynolds biography"] {{webarchive |url=https://web.archive.org/web/20100514160027/http://movies.yahoo.com/movie/contributor/1800024280/bio |date=May 14, 2010 }} movies.yahoo.com, retrieved May 30, 2010</ref> The Assistant Director was [[James Mitchell (actor)|James Mitchell]]. [[Harve Presnell]], Reynolds's former co-star in the 1964 film ''[[The Unsinkable Molly Brown (film)|The Unsinkable Molly Brown]]'', played Frank Butler. The cast featured [[Art Lund]] as Buffalo Bill, Bibi Osterwald as Dolly Tate, [[Gavin MacLeod]] as Charlie Davenport,<ref>Gilvey, John Anthony. ''Before the Parade Passes By'', Macmillan, 2005, {{ISBN|0-312-33776-0}}, pp. 264-265</ref>
Peter Bruni as Foster Wilson, Don Potter as Pawnee Bill, and Manu Tupou as Sitting Bull.<ref>[http://www.broadwayla.org/info/civic.light.asp "Los Angeles Civic Light Opera Show Archive, see 1977"] {{webarchive|url=https://web.archive.org/web/20091021085602/http://www.broadwayla.org/info/civic.light.asp |date=2009-10-21 }} broadwayla.org, retrieved May 31, 2010</ref><ref>[http://www.debbiereynoldsonline.com/anniegetyourgun.htm "'Annie Get Your Gun' listing at Reynolds site"] {{Webarchive|url=https://web.archive.org/web/20110709005348/http://www.debbiereynoldsonline.com/anniegetyourgun.htm |date=2011-07-09 }} debbiereynoldsonline.com, retrieved May 31, 2010</ref> The cast also included Trey Wilson and Debbie Shapiro. The production later toured various North American cities, but never ran on Broadway, its planned destination.

===1986 UK tour and London revival===
In 1986, a David Gilmore [[Chichester Festival Theatre]] production, with American rock star [[Suzi Quatro]] as Annie and [[Eric Flynn]] as Frank, opened at the Chichester Festival Theatre.<ref>
{{cite web
|title=1986, Chichester Festival Theatre
|work=www.cft.org.uk
|publisher=[[Chichester Festival Theatre]]
|location=Chichester, United Kingdom
|url=http://www.cft.org.uk/1986
|archive-url=https://archive.is/20121224214907/http://www.cft.org.uk/1986
|url-status=dead
|archive-date=December 24, 2012
|accessdate=May 17, 2012
}}</ref><ref name=timeline>
{{cite web
|title=Suzi Quatro Timeline
|work=www.thecoverzone.com
|publisher=Suzi Quatro Rocks - Rock and Roll Hall of Fame Mission
|location=Bristol, USA
|url=http://www.thecoverzone.com/RNR/timeline.html
|accessdate=May 17, 2012
|url-status=dead
|archiveurl=https://web.archive.org/web/20091105051916/http://www.thecoverzone.com/RNR/timeline.html
|archivedate=November 5, 2009
}}</ref> It moved to the [[Theatre Royal, Plymouth]],<ref name=timeline /> and then to the [[Aldwych Theatre]] in London's West End where it played from July 29 to October 4.<ref>
{{cite web
| title = Chronology of London Shows, The Guide to Musical Theatre, 1986
| work = www.guidetomusicaltheatre.com
| publisher = The Guide to Musical Theatre
| location = Accrington, United Kingdom
| url = http://www.guidetomusicaltheatre.com/london_shows_chronology/1986.htm
| accessdate = May 17, 2012
}}</ref> The cast recorded an album, [[Annie Get Your Gun - 1986 London Cast]]<ref name=GramophoneReview>
{{cite web
|title = Gramophone magazine, December 1986 issue, page 138, Stage and Screen section
|work = [[Gramophone (magazine)|Gramophone magazine]]
|publisher = [[Haymarket Media Group]]
|location = London, United Kingdom
|url = http://www.gramophone.net/Issue/Page/December%201986/138/857876/Stage+and+Screen
|accessdate = May 17, 2012
}}{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> and Quatro's songs "I Got Lost in His Arms"/"You Can't Get a Man with a Gun" were released as a single.<ref name=timeline /> Since then "I Got Lost in His Arms" has also been included in the compilation albums ''The Divas Collection'' (2003)<ref>
{{cite web
| title = The Divas Collection - Patti LuPone, AllMusic, Overview
| work = www.allmusic.com
| publisher = [[Rovi Corporation]]
| location = Ann Arbor, USA
| url = http://www.allmusic.com/album/the-divas-collection-w110315
| accessdate = May 17, 2012
}}</ref> and ''Songs from the Greatest Musicals'' (2008).<ref>
{{cite web
| title = Songs from the Greatest Musicals - Various Artists, AllMusic, Overview
| work = www.allmusic.com
| publisher = [[Rovi Corporation]]
| location = Ann Arbor, USA
| url = http://www.allmusic.com/album/songs-from-the-greatest-musicals-r1292676
| accessdate = May 17, 2012
}}</ref>

===1992 London revival===
A short-lived London production ran at the Prince of Wales Theatre in the West End, starring Kim Criswell as Annie.<ref>[http://www.floormic.com/production/2882395 "'Annie Get Your Gun' Listing, 1992"] {{webarchive |url=https://web.archive.org/web/20111012233032/http://www.floormic.com/production/2882395 |date=October 12, 2011 }} floormic.com, accessed July 1, 2011</ref> Criswell's studio cast recording of the show - made with [[Thomas Hampson (baritone)|Thomas Hampson]] and conductor John McGlinn<ref>Ruhlmann, William.[http://www.allmusic.com/album/annie-get-your-gun-1990-studio-cast-w118808/review "Review, 'Annie Get Your Gun', 1990 Studio Cast"] allmusic.com, accessed July 1, 2011</ref> - provided the impetus for the production. [[Pippa Ailion]] was the Casting Director for this production.

===1999 Broadway revival===
In 1999, a new production had its pre-Broadway engagement at the [[Kennedy Center]], Washington, D.C., from December 29, 1998 to January 24, 1999. Previews began on [[Broadway theatre|Broadway]] on February 2, 1999 at the [[Marquis Theatre]], with an official opening on March 4, 1999, and closed on September 1, 2001 after 35 previews and 1,045 performances.

This revival starred [[Bernadette Peters]] as Annie and [[Tom Wopat]] as Frank, and [[Ron Holgate]] as Buffalo Bill, with direction by [[Graciela Daniele]], choreography by [[Jeff Calhoun (director)|Jeff Calhoun]], and music arrangements by [[John McDaniel (musician)|John McDaniel]]. Peters won the 1999 [[Tony Award]] for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.

This production had a revised book by [[Peter Stone]] and new orchestrations, and was structured as a "show-within-a-show", set as a Big Top travelling [[circus]]. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "There's No Business Like Show Business", which is reprised when "Annie" agrees to join the traveling Wild West show. The production dropped several songs (including "Colonel Buffalo Bill", "I'm A Bad, Bad Man", and "I'm an Indian Too"), but included "An Old-Fashioned Wedding". There were several major dance numbers added, including a ballroom scene.<ref>Sommer, Elyse and Davidson, Susan.[http://www.curtainup.com/anniegny.html "Review:Annie Get Your Gun"], Curtain Up, January 10, 1999 and March 9, 1999</ref> A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was also included. In the 1946 production, Winnie was Dolly's daughter, but the 1966 &1999 productions she is Dolly's younger sister. In this version, the final shooting match between Annie and Frank ends in a tie.<ref>Kissel, Howard.[http://www.nydailynews.com/archives/entertainment/1999/02/28/1999-02-28__annie_s__high-caliber_star_.html "Annie’s’ High-Caliber Star Bernadette Peters Is Back On B’way To Get Her ‘Gun’ And Her Guy",] ''New York Daily News'', February 28, 1999</ref>

====Notable replacements====
While Peters was on vacation, ''[[All My Children]]'' star [[Susan Lucci]] made her Broadway debut as Annie from December 27, 1999 until Jan. 16, 2000. Peters and Wopat left the show on September 2, 2000. Former ''[[Charlie's Angels]]'' star [[Cheryl Ladd]] made her Broadway debut as Annie on September 6, 2000, with [[Patrick Cassidy (actor)|Patrick Cassidy]] as Frank Butler. Country music superstar [[Reba McEntire]] made her Broadway debut as Annie from January 26, 2001 to June 22, 2001 opposite [[Brent Barrett]] as Frank.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/60922.html Reba, a New Force of Nature, Blows Out of Annie Get Your Gun June 22"] {{webarchive |url=https://web.archive.org/web/20081202091050/http://www.playbill.com/news/article/60922.html |date=December 2, 2008 }}, playbill.com, June 22, 2001</ref> On June 23, 2001, [[Crystal Bernard]], who had been playing Annie in the national tour of ''Annie Get Your Gun'', assumed the role of Annie in the Broadway production.<ref>Jones, Kenneth.[http://www.playbill.com/news/article/60936.html "Crystal Bernard Wings Her Way Into Bway's Annie Get Your Gun June 23"] {{webarchive |url=https://web.archive.org/web/20081202091055/http://www.playbill.com/news/article/60936.html |date=December 2, 2008 }}, playbill.com, June 23, 2001</ref>

===2000 U.S. tour===
The 1999 Broadway production, in a "slightly revised version", toured in a U.S. national tour starting in [[Dallas]], Texas on July 25, 2000 with [[Marilu Henner]] and [[Rex Smith]]. Tom Wopat joined the tour in late October 2000, replacing Smith.<ref>[http://www.playbill.com/news/article/54368.html Article on 2000 tour "Henner, Smith Begin Revised Annie Get Your Gun Tour in Dallas July 25"] {{webarchive |url=https://web.archive.org/web/20070930181638/http://www.playbill.com/news/article/54368.html |date=September 30, 2007 }} playbill.com, July 25, 2000</ref>

===2006 Prince Music Theater production===
In 2006, the [[Prince Music Theater]] of Philadelphia, Pennsylvania, revived the 1966 Lincoln Center Theater version for one month. This production starred [[Andrea McArdle]] (the original Annie of the 1977 Broadway musical ''[[Annie (musical)|Annie]]''), Jeffrey Coon as Frank Butler, John Scherer as Charlie Davenport, Chris Councill as Buffalo Bill, Mary Martello as Dolly Tate, and Arthur Ryan as Sitting Bull. The production was well received by critics.<ref>Dunleavey, Tim.[http://www.talkinbroadway.com/regional/philly/phil44.html "Review"] talkinbroadway.com, December 12, 2006</ref> The production was directed by Richard M. Parison, Jr. and choreographed by Mercedes Ellington.<ref>[http://www.playbill.com/news/article/103883.html 2006 article on McArdle] {{webarchive |url=https://web.archive.org/web/20070927191108/http://www.playbill.com/news/article/103883.html |date=September 27, 2007 }} playbill.com</ref>

===2009 London revival===

[[Jane Horrocks]], [[Julian Ovenden]] and director [[Richard Jones (director)|Richard Jones]] mounted a major London revival at the [[Young Vic]], Waterloo. The show opened at the [[off west end]] venue on 16 October 2009, initially booking until 2 January 2010 but with an extra week added due to popular demand. The production featured new arrangements by Jason Carr for a band consisting four pianos.<ref>Shenton, Mark.[https://archive.is/20120907220115/http://www.playbill.com/news/article/129925 Horrocks and Ovenden to Star in Young Vic Revival of Annie Get Your Gun] playbill.com, June 5, 2009</ref> London's Guardian newspaper awarded the show 5 stars, claiming that "Richard Jones's brilliant production offers the wittiest musical staging London has seen in years." <ref>Billington, Michael [https://www.theguardian.com/stage/2009/oct/18/annie-get-your-gun-review Annie Get Your Gun review] guardian.co.uk, October 18, 2009</ref>

===2010 Ravinia Festival concert===
A concert staging of the original version of ''Annie Get Your Gun'' took place at the [[Ravinia Festival]], Chicago from August 13–15, 2010 to celebrate the 150th anniversary of Annie Oakley's birth. Directed by [[Lonny Price]], the concert starred [[Patti LuPone]] as Annie, [[Patrick Cassidy (actor)|Patrick Cassidy]] as Frank and [[George Hearn]] as Buffalo Bill.<ref>Gans, Andrew.[http://www.playbill.com/news/article/142023-They-Say-Its-Wonderful-Patti-LuPone-Stars-in-Annie-Get-Your-Gun-at-the-Ravinia-Festival "'They Say It's Wonderful': Patti LuPone Stars in 'Annie Get Your Gun' at the Ravinia Festival"] {{Webarchive|url=https://web.archive.org/web/20100818075409/http://www.playbill.com/news/article/142023-They-Say-Its-Wonderful-Patti-LuPone-Stars-in-Annie-Get-Your-Gun-at-the-Ravinia-Festival |date=2010-08-18 }} playbill.com, August 13, 2010</ref> The concert received unanimously strong reviews, notably for LuPone and Price's direction.

===Other major productions===
[[Lucie Arnaz]] starred in a production in the summer of 1978 with [[Harve Presnell]] at the [[Jones Beach Theater]] in [[Nassau County, New York]].<ref>[http://www.jonesbeachtheater.us/home/theater-history "Theater History"] {{webarchive |url=https://web.archive.org/web/20110315072441/http://www.jonesbeachtheater.us/home/theater-history |date=March 15, 2011 }} jonesbeachtheater.us, accessed April 16, 2011</ref> This was the first major production of the musical done in the New York area after the 1966 revival.

The [[Paper Mill Playhouse]] produced a well-reviewed production in June 1987 starring [[Judy Kaye]] as Annie and Richard White as Frank.<ref>Klein, Alvin.[https://www.nytimes.com/1987/05/31/nyregion/theater-a-rip-roaring-annie-get-your-gun.html "Theater; A Rip-Roaring 'Annie Get Your Gun'" ] ''The New York Times'', May 31, 1987</ref>

In 2004, [[Marina Prior]] and Scott Irwin starred in an Australian production of the 1999 Broadway rewrite of the show.

In 2014 Carter Calvert and David Weitzer starred in a production that opened the Algonquin Arts Theatre's 2014-2015 Broadway Season. It was also the first show to be performed after the Algonquin underwent the task of installing new seating which had not been done since 1938.

In October 2015, a two night concert version was presented at the [[New York City Center]] Gala starring [[Megan Hilty]] (Annie Oakley) and [[Andy Karl]] (Frank Butler). The concerts are directed by [[John Rando]], and the cast features Judy Kaye (Dolly Tate), [[Ron Raines]] (Buffalo Bill), [[Brad Oscar]] (Charlie) and [[Chuck Cooper (actor)|Chuck Cooper]] (Pawnee Bill).<ref>[http://www.nycitycenter.org/events/ Events] nycitycenter.org, accessed October 27, 2015</ref><ref>Viagas, Ribert. [http://www.playbill.com/news/article/megan-hilty-shows-theres-still-no-business-like-show-business-in-city-centers-annie-get-your-gun-tonight-368899# "Megan Hilty Shows There's Still "No Business Like Show Business" in City Center's 'Annie Get Your Gun' Tonight!"] Playbill, October 27, 2015</ref>

==Film and television versions==
In 1950, [[Metro Goldwyn Mayer]] made a well-received [[Annie Get Your Gun (film)|movie version of the musical]]. Although MGM purchased the rights to the film version with an announced intention of starring legendary singer-actress [[Judy Garland]] as Annie, early work on the film was plagued with difficulties, some attributed to Garland's health. Garland was fired and replaced by the brassier, blonde [[Betty Hutton]].

In 1957, a production starring [[Mary Martin]] as Annie and [[John Raitt]] as Frank Butler was broadcast on [[NBC]]. In 1967, the Lincoln Center production described above, starring Ethel Merman and Bruce Yarnell, was broadcast on NBC. The Mary Martin version has been re-broadcast sporadically over the years, but the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio clip of "[[I Got the Sun in the Mornin' (and the Moon at Night)]]" is known to exist,<ref>[https://www.youtube.com/watch?v=rhOTMf84gFo Ethel Merman in ''Annie Get Your Gun'' (1967)] on Youtube</ref> as does an audio-only recording of the entire 90-minute show.<ref>[http://www.entertainmentoutpost.com/apps/webstore/products/show/7329339 ''Annie Get Your Gun'' (1967 TV production)] at entertainmentoutpost.com</ref>

==Recordings==
There are several recordings of the ''Annie Get Your Gun'' score, including:
*1946 Original Broadway Cast: an original cast recording was released by [[Decca Records]] in [[1946 in music|1946]], featuring the cast of the original 1946 Broadway production. The principal stars were [[Ethel Merman]] and [[Ray Middleton (actor)|Ray Middleton]]. The album was added to the [[Grammy Hall of Fame]] in [[1998 in music|1998]].
*1957 TV Cast: a recording based on the TV version shown in 1957, with [[Mary Martin]] and [[John Raitt]].
*1963 [[Annie Get Your Gun (Doris Day and Robert Goulet album)|Studio Cast featuring Doris Day and Robert Goulet]]: not based on a theatre production.
*1966 Broadway Revival Cast
*1976 Spanish-language version with Mexican cast.
*1986 [[Annie Get Your Gun - 1986 London Cast|1986 London Cast]]<ref name=GramophoneReview />
*1991 Studio Cast
*1999 Broadway Revival Cast ([[Grammy Award]])

Conductor John Owen Edwards along with JAY Records recorded the first-ever complete recording, with all musical numbers, scene change music and incidental music, of the show's score in the 1990s with [[Judy Kaye]] and [[Barry Bostwick]]. [[Christopher Lee]] had the role of Sitting Bull.<ref>[https://archive.is/20120905140658/http://www.gramophone.net/Issue/Page/December%201996/143/791032/Berlin+Annie+Get+Your+Gun.+Judy+Kaye+Annie+Barry+Bostwick+Frank+Teri+Ralston+DollyMrs+Adams+Richard+Lyndon+Buffalo+Bill+Christo+pher+Lee+Sitting+Bull+Nicolas+Colicos+Pawnee+BillMr+Adams+David+Green+Charlie+DavenportMac+Simon+Masterson+Smith+Foster+Wilson+Simon+Bright+Little+Jake+Sarah+French+Nellie+Danielle+NelsonElizabeth+Eaton+Jessie+Rosalind+James+Minnie+chorus+National+Sym+phony+Orchestra++John+Owen+Edwards. " 'Annie Get Your Gun' Review"] gramophone.net, December 1996, p. 143</ref>

==Reception==
The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and book were not particularly distinguished. [[John Arthur Chapman|John Chapman]] of the ''[[Daily News (New York)|Daily News]]'' declared that the production had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time show" but pronounced Merman the best part of the show, stating "She is a better comedienne than she ever was before", stating that "''Annie'' is a good, standard, lavish, big musical and I'm sure it will be a huge success--but it isn't the greatest show in the world".<ref name=Suskin>Suskin, 53-57</ref> [[Louis Kronenberger]] of ''[[PM (newspaper)|PM]]'' stated that the show was 'in many ways routine", but greatly praised Merman's performance, opining, "For me, ''Annie'' is mainly Miss Merman's show, though the rest of it is competent enough of its kind...Irving Berlin's score is musically not exciting--of the real songs, only one or two are tuneful".<ref name=Suskin/>
[[Ward Morehouse]] of ''[[The New York Sun]]'' declared, "The big news about ''Annie Get Your Gun'' is that it reveals Ethel Merman in her best form since ''Anything Goes''...She shouts the Berlin music with good effect. She often comes to the aid of a sagging book".<ref name=Suskin/> He stated, "Irving Berlin's score is not a notable one, but his tunes are singable and pleasant and his lyrics are particularly good. The book? It's on the flimsy side, definitely. And rather witless too".<ref name=Suskin/> Lewis Nichols of ''[[The New York Times]]'' said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to roll her eyes and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn't get anywhere in particular".<ref name=Suskin/>

However, the show itself was greatly lauded by some critics: Vernon Rice of the ''[[New York Post]]'' proclaimed, "Irving Berlin has outdone himself this time. No use trying to pick a hit tune, for all the tunes are hits...Ethel Merman is at her lusty, free and easy best...She is now able to develop a consistent characterization and stay with it to the show's end. And when she opens her mouth to sing, she sings!"<ref name=Suskin/> 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. And the production has in every way the distinction that has become their hallmark".<ref name=Suskin/>

Historians have viewed the show as inaccurate, citing among other reasons its portrayal of Annie as a loud, boisterous character, when in reality she had a quiet personality and did needlepoint in her spare time.

== Redface ==

Native Americans have criticized the shows portrayal of Redface and promotion of cultural stereotypes. Particularly in the song "[[I'm an Indian Too]]" sung by Annie after Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest outside the New York theatre, {{when|date=April 2015}} as well as movie theaters, holding picket signs stating: "Don't See "Annie Get Your Gun". As a result of this reaction, many contemporary productions have omitted the song from their revivals, and the protests stopped.<ref>Lahr, John (1 April 2002). [https://books.google.com/books?id=eU5dQKfpcpEC&pg=PA154#v=onepage&q&f=false Show and Tell: New Yorker Profiles]. University of California Press. p. 154. {{ISBN|978-0-520-23377-5}}.</ref>

==Awards and nominations==
*Mary Martin received a [[Special Tony Award]] in 1948 for "Spreading Theatre to the Country While the Originals Perform in New York" (1947-48 US Tour)<ref>[http://sanfrancisco.broadwayworld.com/tonyawardsyear.cfm?year=1948 "1948 Tony Award Winners"] broadwayworld.com, accessed June 26, 2011</ref>

===1966 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1966
| rowspan="2"| [[Tony Award]]
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| Jack Sydow
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Danny Daniels]]
| {{nom}}
|}

===1999 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7" align="center"| 1999
| rowspan="3"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Tom Wopat]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Bernadette Peters]]
| {{won}}
|-
| rowspan="3"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Tom Wopat]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bernadette Peters]]
| {{won}}
|-
| [[Grammy Award]]
| colspan="2"| [[Grammy Award for Best Musical Show Album|Best Musical Show Album]]
| {{won}}
|-
| rowspan="2" align="center"| 2001
| [[Drama Desk Award]]
| [[Drama Desk Special Award|Special Award]]
| rowspan="2"| [[Reba McEntire]]
| {{won}}
|-
| colspan="2"| [[Theatre World Award]]
| {{won}}
|}

===2009 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award Ceremony
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 2009
| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{nom}}
|}

==Notes==
{{reflist|2}}

==References==
*Bloom, Ken and Vlastnik, Frank (2004). ''Broadway Musicals: The 101 Greatest Shows of all Time.'' New York: Black Dog & Leventhal Publishers. {{ISBN|1-57912-390-2}}
*Kantor, Michael, and Maslon, Laurence (2004). ''Broadway: The American Musical''. New York: Bullfinch Press. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick (2002). [https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein]. Cambridge, Mass.: Applause Theatre and Cinema Books. {{ISBN|978-1-55783-473-7}}.
*Suskin, Stephen (1990). ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre''. New York: Schrimmer Books. {{ISBN|0-02-872625-1}}.
* [https://web.archive.org/web/20080122081610/http://stageagent.com/Shows/View/731 Annie Get Your Gun plot summary & character descriptions] from [http://www.stageagent.com StageAgent.com]
* [https://web.archive.org/web/20070526220752/http://www.thejudyroom.com/discography/soundtracks/annie.html The Judy Garland Online Discography "Annie Get Your Gun" pages.]
* [http://www.rnh.com/show/5/Annie-Get-Your-Gun Listing at the RNH site]
*[http://www.rnh.com/news/578/Bulls-Eye-Annie-Get-Your-Gun-Hits-Broadway 1999 Revival at RNH]
*[http://www.guidetomusicaltheatre.com/shows_a/anniegetyourgun.htm 'Annie Get Your Gun' Story, Cast, Scenes and Settings at guidetomusicaltheatre.com]

== External links ==
{{Wikiquote}}
{{Commons category|Annie Get Your Gun}}
* {{ibdb show|1615|Annie Get Your Gun}}
* {{IMDb title|0182719|Annie Get Your Gun (1957) (TV)}} (Mary Martin)
* {{IMDb title|0185157|Annie Get Your Gun (1967) (TV)}} (Ethel Merman)
*[http://www.curtainup.com/anniegny.html Curtain Up reviews from 2/8/01 and 3/9/99]

{{Annie Get Your Gun}}
{{Navboxes
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{{Dorothy Fields}}

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Pal Joey (musical)

2020-04-04T03:17:16Z

JohnAnkerBow:

{{About|the stage musical|the film adaptation starring Frank Sinatra|Pal Joey (film)}}

{{Infobox Musical
| name = Pal Joey
| image = Pal_joey_1950.jpg
| caption = Studio cast album 1950
| music = [[Richard Rodgers]]
| lyrics = [[Lorenz Hart]]
| book = [[John O'Hara]]
| basis = [[John O'Hara]]'s novel ''[[Pal Joey (novel)|Pal Joey]]''
| productions = 1940 [[Broadway theatre|Broadway]] 1952 Broadway [[revival (theatre)|revival]] 1954 [[West End theatre|West End]] 1957 [[Pal Joey (film)|Film]] 1963 [[Broadway (theatre)|Broadway]]<ref name=IBDB63/> 1976 Broadway revival 1978 Civic Light Opera 1980 West End revival 1995 [[Encores!]] 2008 Broadway revival

| awards =
}}

'''''Pal Joey''''' is a [[musical theatre|musical]] with a book by [[John O'Hara]] and music and lyrics by [[Richard Rodgers]] and [[Lorenz Hart]]. The musical is based on a character and situations O'Hara created in a [[Pal Joey (novel)|series of short stories]] published in ''[[The New Yorker]]'', which he later published in novel form. The title character, Joey Evans, is a manipulative small-time nightclub performer whose ambitions lead him into an affair with the wealthy, middle-aged and married Vera Simpson. It includes two songs that have become [[standard (music)|standards]]: "[[I Could Write a Book]]" and "[[Bewitched, Bothered and Bewildered]]".

The original 1940 [[Broadway theatre|Broadway]] production was directed by [[George Abbott]] and starred [[Vivienne Segal]] and [[Gene Kelly]]. Though it received mixed reviews, the show ran for 10 months, the third-longest run of any Rodgers and Hart musical. There have been several revivals since, including a 2008–09 Broadway run, and a [[Pal Joey (film)|1957 film adaptation]] starring [[Frank Sinatra]], [[Rita Hayworth]] and [[Kim Novak]].

==Background==
Author [[John O'Hara]] offered his stories of ''Pal Joey'' to Rodgers and Hart for adaptation as a new musical.<ref name=KM180>Kantor and Maslon, p.180</ref> Title character Joey Evans, an unsympathetic but charming [[antihero]], was a striking departure from the usual musical comedy formula.<ref name=Rodgers1951>Rodgers, Richard. "'Pal Joey': History of a 'Heel'", ''New York Times'', December 30, 1951, pp.X1,X3.</ref> Joey was amoral, but he was not presented as a villain, nor did his character change for the better.<ref name=Hischak564>Hischak, 564</ref> [[Richard Rodgers]] said: "Joey was not disreputable because he was mean, but because he had too much imagination to behave himself, and because he was a little weak."<ref name=Rodgers1951/> Rodgers and Hart maintained a cynical, dark tone throughout the work and employed two distinct musical styles in the show: the deliberately tacky nightclub numbers contrasted with the more elegant songs the characters sang to express their emotions, though these expressions were more ironic than sincere.<ref name=KM180/><ref name=Hischak564/><ref>Nolan, pp. 138-39</ref> Hart's lyrics frankly described Joey and Vera's affair; "Bewitched, Bothered, and Bewildered" included (among others) the lyrics, "Horizontally speaking, he's at his very best" and "Vexed again, Perplexed again, Thank God I can be oversexed again", while "In Our Little Den (of Iniquity)" included, "We're very proper folks you know, We've separate bedrooms ''comme il faut''. There's one for play and one for show".<ref name=KM180/><ref name=KM181>Kantor and Maslon, p.181</ref>

As they cast the musical, Rodgers, Hart and O'Hara knew that they wanted Joey to be primarily a dancer, not a singer, and the actor who played Joey would have to be likeable in spite of Joey's unpleasant character.<ref name=Nolan138>Nolan, 138</ref> They chose [[Gene Kelly]], who was at the time playing a dancing role, Harry the Hoofer, in the play ''[[The Time of Your Life]]''.<ref name=Nolan138/> Kelly had made his Broadway debut in 1938 in the chorus of [[Cole Porter]]'s ''[[Leave It to Me!]]''; Pal Joey would be his first lead role.<ref>Hischak, p.391</ref> Rodgers and Hart wanted [[Vivienne Segal]], who had previously starred in their 1938 musical ''[[I Married an Angel]]'', to play the older woman with whom Joey has an affair; though O'Hara had initially considered other actresses, he was won over when he met Segal.<ref name=Nolan138/> Segal, who would be 43 when the show opened on Broadway, appreciated the opportunity to play a worldly, mature character, unlike the ingenues she had played for most of her career.<ref>Peck, Seymour. "A Long Time Pal of Joey", ''The New York Times'', November 23, 1952, p.X3</ref> Using Segal's initials, O'Hara gave her character the name "Vera Simpson".<ref name=Nolan138/> O'Hara was not present during the out-of-town tryouts, and director [[George Abbott]] took over the rewriting. When the show opened in New York, the critics were divided. Richard Watts (''New York Herald Tribune'') called it "brilliant", but other critics and members of the theatre-going public disliked the subject matter. Nonetheless, it became the longest running Rodgers-Hart show up to that time.<ref>{{cite book|last=Hyland|first=William|title=Richard Rodgers|publisher=Yale University Press|year=1998|pages=[https://archive.org/details/richardrodgers00hyla/page/126 126–31]|isbn=0-300-07115-9|url=https://archive.org/details/richardrodgers00hyla/page/126}}</ref>

==Synopsis==
''Based on original 1940 book''
;Act I
In [[Chicago]] in the late 1930s, singer/dancer Joey Evans, a charming "heel" with big plans, schemes to get his own nightclub. He auditions for an emcee job at a second-rate nightclub ("You Mustn't Kick It Around"). Joey gets the job and begins rehearsals with the chorus girls and club singer Gladys Bumps. Joey meets young and naïve Linda English outside a pet shop, and he impresses her with grandiose lies about his career. Linda innocently falls for Joey's line ("[[I Could Write a Book]]"). As the chorus girls are doing a song-and-dance number at the club that night ("Chicago"), Linda arrives with a date. Wealthy married socialite Vera Simpson arrives at the club and shows a definite interest in Joey. Joey plays hard-to-get and insults Vera, who walks out. Mike, the club owner, fires Joey, but Joey, believing Vera will be back, strikes a deal: if Vera doesn't come back within the next few days, Joey will leave without pay. The chorus girls continue with the show ("That Terrific Rainbow"); Linda, having witnessed Joey's caddish behavior, has left the club. Vera doesn't return, so Joey is fired. When Linda refuses to answer his calls, Joey calls Vera ("What is a Man"). After Joey's last night as emcee, Vera picks him up from the club and they start an affair ("Happy Hunting Horn"). Vera is glowing in the romance and sets Joey up with an apartment and expensive clothes ("[[Bewitched, Bothered and Bewildered]]"). While shopping for clothes for Joey, Vera and he run into Linda, leaving Vera jealous and Linda distraught. Vera gives Joey his own nightclub, "Chez Joey," and Joey looks forward to rising to the top ("Pal Joey"/"Joey Looks to the Future" ballet).

;Act II
The chorus girls and singers from the old club have relocated to "Chez Joey," where they rehearse for the opening performance ("The Flower Garden of My Heart"). Melba, an ambitious reporter, interviews Joey, recalling her interviews with various celebrities, including [[Gypsy Rose Lee]] ("Zip") [In the 2008 revival, Gladys plays a "reporter" in a skit during the floor show at Chez Joey, performing "Zip" as a striptease]. Ludlow Lowell, Gladys' old flame, introduces himself as an agent with papers that Joey unthinkingly signs as the rehearsal continues ("Plant You Now, Dig You Later"). In Joey's apartment the next morning, Joey and Vera reflect on the pleasures of their affair ("In Our Little Den"). Linda overhears Gladys and Lowell plotting to use the papers Joey signed to blackmail Vera. [In the 2008 revival, Joey fires Gladys, and to get back at him, she conspires with Mike, the club manager, to blackmail Vera. Mike is forced into the scheme because Gladys threatens to have him fired because he is gay.] Linda calls Vera, who initially distrusts Linda; Vera confronts Joey, asking what his relationship is with Linda, and Joey responds defensively ("Do It the Hard Way"). Linda comes to the apartment to convince Vera, and Vera, seeing Linda's sincerity, now believes her. Vera and Linda agree that Joey is not worth the trouble ("Take Him"). Vera calls her friend the police commissioner, who arrests Gladys and Lowell. Vera throws Joey out and closes "Chez Joey" ("Bewitched, Bothered, and Bewildered" reprise). Joey, now penniless, runs into Linda again outside the pet shop, and she invites him to dinner with her family. He joins for a meal and then they part as friends, with him claiming to have been cast in a nonexistent show in New York. In the 1952 revival, he was shown to have a change of heart, turning just before the curtain falls to follow her.

===Principal roles and notable performers===
{|class="wikitable"
! width="100"| Character
! width="200"| Description
! width="200"| Notable performers
|-
! Joey Evans
| A small-time womanizing MC and dancer/singer who has dreams of opening his own night club
| [[Gene Kelly]]; [[Frank Sinatra]]; [[Harold Lang]]; [[Bob Fosse]]; [[Denis Lawson]]; [[Christopher Chadman]]; [[Clifton Davis]]; [[Joel Grey]]
|-
! Vera Simpson
| A bored rich socialite
| [[Vivienne Segal]]; [[Rita Hayworth]]; [[Siân Phillips]]; [[Viveca Lindfors]]; [[Joan Copeland]]; [[Lena Horne]]; [[Donna Murphy]]; [[Patti LuPone]]; [[Stockard Channing]]; [[Christine Andreas]]; [[Jane Russell]]
|-
! Linda English
| A naive stenographer (in the 2008 revival, a clerk in a men's clothing store)
| Leila Ernst; [[Kim Novak]]; Daisy Prince
|-
! Gladys Bumps
| A chorus girl who takes an instant dislike to Joey (in the 2008 revival, they have history)
| [[June Havoc]]; Helen Gallagher; [[Vicki Lewis]]; [[Martha Plimpton]] Barbara Nichols
|-
! Melba Snyder
| An ambitious reporter (does not appear in the 2008 revival)
| [[Elaine Stritch]]; [[Kay Medford]]; [[Josephine Premice]]; [[Dixie Carter]]; [[Bebe Neuwirth]]; [[Ann Reinking]]
|-
! Ludlow Lowell
| A crooked "artists representative"
| Jack Durant; [[Lionel Stander]]; [[Ned Eisenberg]]; [[Ron Perlman]]
|}

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* "You Mustn't Kick It Around" – Joey Evans, Gladys Bumps, Agnes, The Kid, Chorus Girls and Waiters
* "[[I Could Write a Book]]" – Joey and Linda English
* "Chicago" – Dancer and Chorus Girls
* "That Terrific Rainbow" – Gladys, Victor and Girls
* "What is a Man?" – Vera Simpson
* "Happy Hunting Horn" – Joey, Terry, Chorus Girls and Boy Friends
* "[[Bewitched, Bothered and Bewildered]]" – Vera Simpson
* "Pal Joey (What Do I Care For A Dame?)" – Joey
{{col-break}}

;Act II
* "The Flower Garden of My Heart" – Gladys, The Tenor, Specialty Dancer and Ensemble
* "Zip" † – Melba Snyder
* "Plant You Now, Dig You Later" – Ludlow Lowell, Gladys and Ensemble
* "In Our Little Den (of Iniquity)" – Vera and Joey
* "Do It The Hard Way" – Ludlow, Gladys, Dancer and Ensemble
* "I Still Believe In You" † – Linda
* "Take Him" – Vera, Linda and Joey
* "Bewitched, Bothered, Bewildered" (Reprise) – Vera
* "I Still Believe In You" (Reprise) † – Linda
* "I'm Talkin' to My Pal" † – Joey
* "I Could Write A Book" (Reprise) – Joey
{{col-end}}

† 2008 revival: "Zip" is sung by Gladys; cut songs restored; Linda's reprise added

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Pal Joey |url=https://www.concordtheatricals.com/p/44878/pal-joey |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Reed I (Clarinet, Alto Sax, Flute, Piccolo)
* Reed II (Oboe, English Horn, Alto Sax, Clarinet)
* Reed III (Clarinet, Bass Clarinet, Basset Horn, Tenor Sax)
* Reed IV (Clarinet, Flute, Piccolo, Tenor Sax)
* Reed V (Clarinet, Tenor Sax, Bassoon)
* Horn, Trumpet I & II & Trombone
* Violin A, B & C (divisi), Cello & Bass
* Percussion [Trap Set, Timpani, Bells, Gong, Ratchet, Wood Blocks, Cow Bell, Temple Blocks & Xylophone]

This orchestration reflects the original 1940 arrangements by [[Hans Spialek]].

==Productions==
===Original Broadway production===
''Pal Joey'' premiered on [[Broadway theatre|Broadway]] on December 25, 1940, at the [[Ethel Barrymore Theatre]] and ran for 374 performances. Directed by [[George Abbott]] with choreography by [[Robert Alton]], the opening-night cast included [[Gene Kelly]] as Joey, [[Vivienne Segal]] as Vera, and [[June Havoc]] as Gladys. [[Van Johnson]] and [[Stanley Donen]] were also in the cast.

===1952 Broadway revival===
''Pal Joey'' achieved wider acclaim in the decades after its initial production. Throughout much of the 1940s, the songs from ''Pal Joey'' were banned from radio play by [[American Society of Composers, Authors and Publishers|ASCAP]], preventing them from becoming popular standards; the ban was lifted in the late 1940s.<ref>Bloom and Vlastnik, p. 257</ref> In 1950, the song "[[Bewitched, Bothered and Bewildered]]" became popular and was recorded by various bands and pop singers, including [[Mel Torme]], [[Doris Day]], and [[Gordon Jenkins]] and [[The Harmonicats]].<ref name=Deutsch>{{cite AV media notes|last=Deutsch|first=Dieder C.|title=Pal Joey|type=CD|publisher=Columbia Records|id=971113| date=July 1988 |page=9}}</ref> Prompted by the song's success, [[Goddard Lieberson]], the producer of [[Columbia Records]], decided to produce a studio cast [[LP album|album]] of ''Pal Joey'' featuring [[Harold Lang]] as Joey and Vivienne Segal reprising her role as Vera. Because of the popularity of that recording, composer-producer [[Jule Styne]] produced the 1952 revival, in which Lang and Segal starred.<ref name=lorenzhart.org>[http://www.lorenzhart.org/joey.htm Lorenz Hart.com, Pal Joey]</ref><ref>Marmorstein, Gary. ''The Label: The Story of Columbia Records.'' New York: Thunder's Mouth Press, 2007, p. 263</ref>

The 1952 revival met with greater success than the original production. It opened on January 3, 1952, and closed on April 18, 1953, after 540 performances. Lang and Segal starred, with [[Helen Gallagher]] as Gladys (for which Ms. Gallagher won the Tony Award for best featured actress that year), future Broadway star [[Elaine Stritch]] as Melba, and [[Bob Fosse]] as the [[understudy]] for Joey. Dances and musical numbers were again staged by [[Robert Alton]], and the production was directed by David Alexander. This production had the longest run of any revival of a musical in the history of the Broadway theatre at the time. It won the [[New York Drama Critics' Circle Award]] for Best Musical and became the first musical ever to receive eleven [[Donaldson Awards]].<ref>[http://www.theatrehistory.com/american/musical023.html theatrehistory.com]</ref><ref>[http://www.infoplease.com/ipa/A0153612.html Infoplease.com listing, Drama Critics Circle Award]</ref> Elaine Stritch was signed as an understudy to [[Ethel Merman]] in ''[[Call Me Madam]]'' at the time; she describes the difficulties of holding both jobs after the previews unexpectedly moved to New Haven in a monologue framed by "Zip" in her one-woman show ''[[Elaine Stritch at Liberty]]''.

===London===
There have been two productions in London's [[West End theatre|West End]]. The first was in March 1954 at the [[Princes Theatre]], starring [[Harold Lang]], [[Carol Bruce]] and Sally Bazely. The second was at the [[Noël Coward Theatre]], from September 1980 until September 1981, starring [[Siân Phillips]], Danielle Carson, and [[Denis Lawson]].<ref>[http://www.broadwayworld.com/bwidb/productions/Pal_Joey_6509/ broadwayworld.com listing, 1980]</ref>

===1976 Broadway Revival===
In [[1976 in music|1976]], a revival on Broadway opened on June 27, 1976, at the [[Circle in the Square Theatre]] and closed on August 29, 1976. The show was directed by [[Theodore Mann]]; choreography by [[Margo Sappington]]; musical direction/additional dance arrangements by Scott Oakley; scenery John J. Moore; costumes Arthur Boccia; lighting Ron Wallace; principal orchestrator [[Michael Gibson (musician)|Michael Gibson]]; production stage manager Randall Brooks; stage manager James Bernardi; and press by Merle Debusky and Susan L. Shulman.

The opening-night cast featured [[Christopher Chadman]] (Joey); Harold Gary (Mike); [[Terri Treas]] (Kid); [[Janie Sell]] (Gladys); Gail Benedict (Gail); Murphy Cross (Murphy); Rosamond Lynn (Rosamond); [[Marilu Henner]] (Marilu); [[Deborah Geffner]] (Debbie); Boni Enton (Linda); [[David Hodo]] (Gent); Austin Colyer (Ernest); [[Denny Martin Flinn]] (Waldo the Waiter); Michael Leeds (Victor); Kenn Scalice (Delivery Boy); Adam Petroski (Louis); Joe Sirola (Ludlow Lowell); Ralph Farnworth (O'Brien); [[Dixie Carter]] (Melba); and [[Joan Copeland]] (Vera). It ran for 73 performances.<ref name=Jones/>

===Other productions, 1960s to 2000s===
[[File:Bob Fosse and Viveca Lindfors 1963.jpg|thumb|<center>[[Bob Fosse]] and [[Viveca Lindfors]] in the 1963 Broadway revival of ''Pal Joey''.</center>]]
''Pal Joey'' had another [[Broadway (theatre)|Broadway]] revival in [[1963 in music|1963]] (15 performances) at [[New York City Center|City Center]] and starred [[Bob Fosse]] as Joey, [[Viveca Lindfors]] as Vera, and [[Kay Medford]] as Melba.<ref name=IBDB63>{{IBDB title|13525|Pal Joey {{noitalic|(1963 revival)}}}}</ref> A 1978 revival titled 'Pal Joey '78' starring [[Clifton Davis]] as Joey, [[Lena Horne]] as Vera, and Josephine Premice as Melba was scrapped due to low ticket sales and critical pans during its tryout tour. The Huntington Theatre in [[Boston]] presented a revised version, adapted by [[Richard Greenberg]] and director David Warren, from September to October 1992. The cast featured [[Donna Murphy]] as Vera.<ref>[http://www.thecrimson.com/article.aspx?ref=117505 ''The Crimson'' review, September 24, 1992]</ref> A staged concert in the [[New York City Center]] ''[[Encores!]]'' series in May 1995 starred [[Peter Gallagher]] and [[Patti LuPone]].<ref name=canby>{{Cite news|last=Canby|first=Vincent|title=Adventures And Song In Chicago|newspaper=The New York Times|pages = 13|date=1995-05-06}}</ref> In 2002, there was a [[Prince Music Theater]] production in Philadelphia which starred [[Christine Andreas]]. The following year Andreas won the [[Barrymore Awards for Excellence in Theater|Barrymore Award]] for Outstanding Leading Actress in a Musical for her performance as Vera Simpson.

===2008 Broadway revival===
Producer [[Marc E. Platt]], along with Richard Greenberg (who had written the 1992 Boston adaptation) and director [[Joe Mantello]] planned a revival for fall 2007,<ref>''www.jewishjournal.com'', February 17, 2007, & ''The Syracuse Post Standard'', February 28, 2007</ref> which was postponed.<ref>Gans, Andrew.[http://www.playbill.com/news/article/109938.html "Pal Joey Revival, with Jersey Boys Star Hoff, Postponed"] {{webarchive|url=https://web.archive.org/web/20070930184435/http://www.playbill.com/news/article/109938.html |date=2007-09-30 }}, playbill.com, July 31, 2007</ref> The [[Roundabout Theatre Company]] and Platt presented a limited engagement, with previews beginning on November 14, 2008, officially opening on December 18, 2008, and closing on March 1, 2009.<ref>Jones, Kenneth.[http://www.playbill.com/news/article/124912.html "Offering More Chances to Bewitch, Broadway's Pal Joey Extends"] {{webarchive|url=https://web.archive.org/web/20090210090829/http://www.playbill.com/news/article/124912.html |date=2009-02-10 }}, playbill.com, January 6, 2009</ref> The original book by [[John O'Hara]] had undergone substantial "adaptation" by Greenberg, eliminating characters and reassigning songs.<ref name=blog>Haimes, Todd.[http://www.myroundaboutblog.com/?tag=todd-haimes "Haimes blog,"] {{webarchive|url=https://web.archive.org/web/20110714143801/http://www.myroundaboutblog.com/?tag=todd-haimes |date=2011-07-14 }}''Roundabout Theatre'', November 14, 2008</ref> This new production also included a song for Joey that was cut prior to the 1940 Broadway premiere, "I'm Talking to My Pal", and also interpolated two Rodgers & Hart songs, which were sung by Joey and Linda: "Are You My Love?" (from the 1936 film ''[[Dancing Pirate]]'') and "I Still Believe in You" (from the 1930 musical ''[[Simple Simon (musical)|Simple Simon]]'').<ref>Jones, Kenneth {{cite web |url=http://www.playbill.com/news/article/124427-Beguiled-Again-Fresh-Adaptation-of-Pal-Joey-Opens-on-Broadway |title=Archived copy |accessdate=2010-07-29 |url-status=dead |archiveurl=https://web.archive.org/web/20120315182116/http://www.playbill.com/news/article/124427-Beguiled-Again-Fresh-Adaptation-of-Pal-Joey-Opens-on-Broadway |archivedate=2012-03-15 }}, playbill.com, December 18, 2008</ref> Mantello directed, with choreography by [[Graciela Daniele]].<ref>Gans, Andrew.[http://www.playbill.com/news/article/115682.html "Mantello to Direct and Daniele to Choreograph Roundabout's Fall Revival of Pal Joey"] {{webarchive|url=https://web.archive.org/web/20080312005602/http://www.playbill.com/news/article/115682.html |date=2008-03-12 }}, playbill.com, March 6, 2008</ref> The production starred [[Stockard Channing]] as Vera, [[Martha Plimpton]] as Gladys, Matthew Risch as Joey, Jenny Fellner as Linda, and [[Robert Clohessy]] as Mike. The set designer was [[Scott Pask]], with costumes by [[William Ivey Long]] and lighting by [[Paul Gallo]].<ref name=Jones>Jones, Kenneth. [http://www.playbill.com/news/article/118843.html "Hoff Is Broadway's New Pal Joey, With Stockard Channing and Martha Plimpton, at Studio 54"] {{webarchive|url=https://web.archive.org/web/20080622144331/http://www.playbill.com/news/article/118843.html |date=2008-06-22 }}, playbill.com, June 19, 2008</ref><ref>[http://www.paljoeyonbroadway.com/index.htm Roundabout Theatre Pal Joey information]</ref> Advance publicity for the show included a full page spread in the November issue of ''[[Vogue (magazine)|Vogue]]'', featuring [[Christian Hoff]] in costume as Joey.<ref>[http://paljoeyblog.com/archives/488 "Christian Hoff in Vogue"] {{webarchive|url=https://web.archive.org/web/20081026120312/http://paljoeyblog.com/archives/488 |date=2008-10-26 }} paljoeyblog.com, October 22, 2008</ref> Hoff began previews as Joey, but when he was forced to leave the production on November 22, 2008, due to an injury, his understudy, Matthew Risch, took over the part. Risch had previously appeared on Broadway in featured roles in ''[[Chicago (musical)|Chicago]]'' and ''[[Legally Blonde (musical)|Legally Blonde]]''.<ref>Jones, Kenneth and Gans, Andrew. [http://www.playbill.com/news/article/123636.html "A Bewitching Switch: Understudy Matthew Risch Is New Pal Joey, Opening Is Now Dec. 18"] {{webarchive|url=https://web.archive.org/web/20081216012136/http://www.playbill.com/news/article/123636.html |date=2008-12-16 }}, playbill.com, November 24, 2008</ref>

==Critical response==

===Original and subsequent productions===
In 1940 ''New York Times'' review, [[Brooks Atkinson]] wrote
<blockquote>
If it is possible to make an entertaining musical comedy out of an odious story, ''Pal Joey'' is it. [[John O'Hara]] has written a joyless book about a sulky assignation. Under [[George Abbott]]'s direction some of the best workmen on Broadway have fitted it out with smart embellishments. ''Pal Joey'' offers everything but a good time, whether Joey is a punk or a heel is something worth more careful thinking than time permits. Although ''Pal Joey'' is expertly done, can you draw sweet water from a foul well?<ref>Atkinson, Brooks. [http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=PAL%20JOEY%20(PLAY)&pdate=19401226&byline=By%20BROOKS%20ATKINSON&id=1077011431082 "Pal Joey",] ''[[The New York Times]]'', December 26, 1940</ref>
</blockquote>

When he reviewed the 1952 revival, Atkinson called the production "brilliant", writing:
<blockquote>
There is no sign of age in the brisk performance that [[Robert Alton]] has expertly staged; and the acting is sharp and original... Miss Segal presides over the sordid affairs of an astringent tale with humor, reserve, and charm. It would be hard to improve upon [[Harold Lang]]'s performance as the heel.<ref>{{Cite news|last=Atkinson|first=Brooks|title=At The Theatre|newspaper=The New York Times|pages=17|date=1952-01-04}}</ref>
</blockquote>

In reviewing the 1995 ''Encores!'' concert, [[Vincent Canby]] noted:
<blockquote>
Here was a show in which cynicism, sophistication, bogus sentimentality and high spirits were as much the content as the form of an otherwise traditional Broadway musical. The first production [1940] shocked a lot of critics and many theatergoers. There was no question about the quality of the [[Richard Rodgers]] score and [[Lorenz Hart]] lyrics. The disturbance was caused by [[John O'Hara]]'s corrosive book: the sordid adventures of a Chicago nightclub singer and M.C. named Joey Evans. It wasn't until the 1952 revival that Joey was recognized as literature's latest darling, the antihero. In 1995, ''Pal Joey'' is a treasure.<ref name=canby/>
</blockquote>

===2008 production===
''[[The New York Times]]'' panned the 2008 production, describing it as "in mourning for its own lifelessness", having "no detectable pulse".<ref>Brantley, Ben. [http://theater2.nytimes.com/2008/12/19/theater/reviews/19joey.html?em "The Cad! (Dames Could Write a Book)",] ''The New York Times'', December 19, 2008</ref> Todd Haimes, the Artistic Director of the Roundabout Theatre, commented on the "new book by Richard Greenberg that, in my opinion, does a stunning job of enhancing O'Hara's original by more fully integrating the songs with the book and giving even more of a full life to each of his characters."<ref name=blog/> ''[[The Times]]'' quoted Haimes as saying that he thought
<blockquote>
the Greenberg adaptation transformed the original "flawed book" by enriching the dialogue and sharpening the characters of not only Joey but the women in his life, like the damaged society wife Vera Simpson... and the wronged chanteuse Gladys Bumps.... In other words, there would be a stronger story that might match the well-known songs.<ref>Healy, Patrick. [https://www.nytimes.com/2008/11/21/theater/21hoff.html?scp=1&sq=%22Richard+Greenberg%22&st=nyt "A Jersey Boy's Moment as Broadway's New Pal",] ''The New York Times'', November 20, 2008</ref>
</blockquote>
According to ''[[New York (magazine)|New York Magazine]]'',
<blockquote>
Greenberg... simplified the story and removed much of the old script's gangster gothic.... He made it smarter and sexier, and bleak. Where the movie ended with Novak and Sinatra walking off into the California sunshine, this ends with Joey alone on a dark street corner, wondering—like so many right now — what the hell to do."<ref>Oxfeld, Jesse. [http://nymag.com/arts/theater/reviews/53135/ "Pal Joey",] ''New York Magazine'', December 19, 2008</ref>
</blockquote>
''[[Variety (magazine)|Variety]]'' wrote:
<blockquote>
The Rodgers and Hart songs...are certainly easy on the ear, but what makes the Roundabout revival of their 1940 show so compelling is Richard Greenberg's trenchant adaptation of the original book by [[John O'Hara]]. Erasing the sanitizing stamp of musical-theater coyness, Greenberg brings a fascinating melancholy grubbiness to this cynical story of sordid emotional transactions and opportunistic behavior in late-1930s Chicago. It's a dark show for desperate times...The major discovery is [Martha] Plimpton's heretofore-hidden musicality...even half-talking her songs, [Stockard Channing] puts across the rueful resignation of "What Is a Man?" with elegance... and pours enough bruising self-deprecation into "[[Bewitched, Bothered and Bewildered]]" to make it work.<ref>Rooney, David. [http://www.variety.com/review/VE1117939247.html?categoryid=33&cs=1 Review: Pal Joey,] ''Variety'', December 18, 2008</ref>
</blockquote>
''[[The New York Post]]'' ("a flawed revival") gave the production 2½ stars.<ref>Scheck, Frank. [http://www.nypost.com/seven/12192008/entertainment/theater/not_bewitched_by_joey_144823.htm "Not Bewitched by 'Joey'",] ''The New York Post'', December 19, 2008</ref>

The Associated Press wrote:
<blockquote>
Richard Greenberg... has given John O'Hara's original book... a new sheen without changing the general outline of the story: punkish song-and-dance man scores big, gets his comeuppance but soldiers on. Greenberg's rewrite is crisp and to the point. There is a hard-boiled briskness to his work, a film-noir sensibility in its punchy dialogue that ricochets lickety-split across the stage. Channing gets across this number [Bewitched], one of the most famous in the Rodgers and Hart canon, in what can be described as her best Rex Harrison ''[[My Fair Lady]]'' manner. It's half-sung, half-spoken but acted to the fullest, a consummate bit of musical-theater performing.... Plimpton is quite a revelation in the role.<ref>Kuchwara, Michael. [https://news.yahoo.com/s/ap/20081219/ap_en_re/theater_review_pal_joey_1 "The cad is back: 'Pal Joey' returns to Broadway"], yahoo.com, December 18, 2008</ref>
</blockquote>
[[Variety (magazine)|Variety]], praising the production and specifically Risch, wrote a follow up response to the mixed reviews stating
<blockquote>
it's bizarre to see Mantello's staging pejoratively described as "ruthless," "joyless" and "unhappy" — as if such qualities don't compute in musical theater. One of the controversies of this "Joey" is that its leading man, newcomer Matthew Risch, the understudy who replaced Christian Hoff in the eleventh hour, fails to deliver the requisite dollop of charm to his catting around. Reviewers have compared him with actors they never saw in the role, namely Gene Kelly, or men who have never essayed Joey onstage, including Hugh Jackman, Harry Connick Jr. and, yes, Frank Sinatra, who insisted, among other woeful ideas, that he sing "The Lady Is a Tramp" in the misconceived (and far happier) 1957 film version. A big, toothy movie star might have assured theatergoers that this cad really wasn't what he is — a cad. Risch, to his credit, offers a tough, uncompromising portrait that allows only two brief moments of moral conscience — both of which lead Joey to shield his girlfriend Jenny from, well, Joey.<ref name="Hofler, Robert">[http://www.variety.com/article/VR1117998274?refCatId=1019 Hofler, Robert]</ref>
</blockquote>
adding
<blockquote>
Coincidence or not, Risch's Joey is a younger brother of Erwin Schrott's Don Giovanni, seen at the Met Opera earlier this season. When these guys smile, it's the devil's work at play with any woman's affections. If the show offers a pessimistic view of female sexuality, then so be it. Joey and Giovanni, not the women, are the ones going straight to hell.<ref name="Hofler, Robert"/>
</blockquote>
and "In the end, Mantello and Risch's Joey is an easy antihero to understand, if not love." <ref name="Hofler, Robert"/>

===Legacy===
Looking retrospectively, musical theatre historian Ethan Mordden pronounced ''Pal Joey'''s book is a "breakthrough in character writing". He stated that "the two leads and Linda are extremely well-drawn", and that though "''Pal Joey'' is tough, its script true to its characters". He also believed that the show "finds Rodgers and Hart at their best".<ref>{{cite book|last=Mordden|first=Ethan|title=Beautiful Mornin': The Broadway Musical in the 1940s|publisher=Oxford University Press US|year=1999|isbn=0-19-512851-6|page=[https://archive.org/details/beautifulmorninb00mord/page/53 53]|url=https://archive.org/details/beautifulmorninb00mord/page/53}}</ref> Historians Everett and Laird wrote that ''Pal Joey'' is the "most important work produced by Rodgers and Hart", and is the "most integrated of their musicals".<ref>{{cite book|last=Everett|first=William A.|author2=Paul R. Laird|title=The Cambridge Companion to the Musical|publisher=Cambridge University Press|year=2002|isbn=0-521-79639-3|page=[https://archive.org/details/cambridgecompani0000unse_w4b7/page/121 121]|url=https://archive.org/details/cambridgecompani0000unse_w4b7/page/121}}</ref>

==Awards and nominations==

===1952 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="15" align="center"| 1952
| rowspan="11"| [[Donaldson Award]]
| colspan="2"| Best Musical
| {{won}}
|-
| Best Book of a Musical
| [[John O'Hara]]
| {{won}}
|-
| Best Leading Performance by an Actress
| [[Vivienne Segal]]
| {{won}}
|-
| Best Supporting Performance by an Actress
| [[Helen Gallagher]]
| {{won}}
|-
| Best Dancer in a Musical
| [[Harold Lang]]
| {{won}}
|-
| Best Director of a Musical
| David Alexander
| {{won}}
|-
| Best Dance Direction
| [[Robert Alton]]
| {{won}}
|-
| Best Original Score
| [[Richard Rodgers]]
| {{won}}
|-
| Best Lyrics
| [[Lorenz Hart]]
| {{won}}
|-
| Best Scenic Design
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| Best Costume Design
| [[Miles White]]
| {{won}}
|-
| [[New York Drama Critics' Circle Award]]
| colspan="2"| Best Musical
| {{won}}
|-
| rowspan="3"| [[Tony Award]]
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Helen Gallagher]]
| {{won}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Robert Alton]]
| {{won}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| [[Max Meth]]
| {{won}}
|}

===1963 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 1964
| [[Tony Award]]
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Bob Fosse]]
| {{nom}}
|}

===1977 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 1977
| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Joan Copeland]]
| {{nom}}
|}

===1980 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1980
| rowspan="2"| [[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Denis Lawson]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Siân Phillips]]
| {{nom}}
|}

===2002 Philadelphia production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 2003
| [[Barrymore Awards for Excellence in Theater|Barrymore Award]]
| Outstanding Leading Actress in a Musical
| [[Christine Andreas]]
| {{won}}
|}

===2008 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2009
| rowspan="3"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Stockard Channing]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Martha Plimpton]]
| {{nom}}
|-
| rowspan="2"| [[Outer Critics Circle Award]]
| colspan="2"| Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| [[Martha Plimpton]]
| {{nom}}
|-
| rowspan="4"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Stockard Channing]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Martha Plimpton]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Scott Pask]]
| {{nom}}
|}

==Recordings==
The 1950 studio cast recording starring Vivienne Segal and [[Harold Lang]] was released by Columbia on February 12, 1951.

A partial cast recording of the 1952 Broadway revival was released in January 1952 by Capitol Records. It featured Helen Gallagher, Elaine Stritch and others from the revival cast, but starred non-cast members [[Jane Froman]] and Dick Beavers as Vera and Joey, in place of Segal and Lang.

A 1980 London Revival Cast recording was released on the TER Label/JAY Records, starring [[Denis Lawson]] and [[Siân Phillips]].

A cast recording of the 1995 concert, starring [[Patti LuPone]] and [[Peter Gallagher]], was released October 12, 1995 by DRG (ASIN: B000000PL1).<ref>[https://www.amazon.com/s?url=search-alias%3Dpopular&field-keywords=%22Pal+Joey%22&x=15&y=17] amazon.com listing</ref>

==Notes==
{{reflist|2}}

==References==
*Bloom, Ken and Vlastnik, Frank (2004). Broadway Musicals: The 101 Greatest Shows of all Time. New York:Black Dog & Leventhal Publishers. {{ISBN|1-57912-390-2}}
*Hischak, Thomas (2008). The Oxford Companion to the American Musical. New York: Oxford University Press. {{ISBN|978-0-19-533533-0}}
*Kantor, Michael and Maslon, Laurence (2004). Broadway: The American Musical. New York:Bullfinch Press. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers & Hammerstein. Applause Theatre & Cinema Books, New York. {{ISBN|1-55783-473-3}}

== External links ==
{{Commons category|Pal Joey (musical)}}
* {{IBDB show|6906|Pal Joey}}
* [http://www.rnh.com/show/83/Pal-Joey ''Pal Joey''] at The Rodgers & Hammerstein Organization
* {{AllMusic|class=composition|id=mc0002431186|label=''Pal Joey''}}

{{Rodgers and Hart}}

{{DEFAULTSORT:Pal Joey (Musical)}}
[[Category:1940 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals based on short fiction]]
[[Category:Musicals by Rodgers and Hart]]
[[Category:West End musicals]]
[[Category:Tony Award-winning musicals]]

Pal Joey (musical)

2020-04-04T03:13:50Z

JohnAnkerBow: Instrumentation Added

{{About|the stage musical|the film adaptation starring Frank Sinatra|Pal Joey (film)}}

{{Infobox Musical
| name = Pal Joey
| image = Pal_joey_1950.jpg
| caption = Studio cast album 1950
| music = [[Richard Rodgers]]
| lyrics = [[Lorenz Hart]]
| book = [[John O'Hara]]
| basis = [[John O'Hara]]'s novel ''[[Pal Joey (novel)|Pal Joey]]''
| productions = 1940 [[Broadway theatre|Broadway]] 1952 Broadway [[revival (theatre)|revival]] 1954 [[West End theatre|West End]] 1957 [[Pal Joey (film)|Film]] 1963 [[Broadway (theatre)|Broadway]]<ref name=IBDB63/> 1976 Broadway revival 1978 Civic Light Opera 1980 West End revival 1995 [[Encores!]] 2008 Broadway revival

| awards =
}}

'''''Pal Joey''''' is a [[musical theatre|musical]] with a book by [[John O'Hara]] and music and lyrics by [[Richard Rodgers]] and [[Lorenz Hart]]. The musical is based on a character and situations O'Hara created in a [[Pal Joey (novel)|series of short stories]] published in ''[[The New Yorker]]'', which he later published in novel form. The title character, Joey Evans, is a manipulative small-time nightclub performer whose ambitions lead him into an affair with the wealthy, middle-aged and married Vera Simpson. It includes two songs that have become [[standard (music)|standards]]: "[[I Could Write a Book]]" and "[[Bewitched, Bothered and Bewildered]]".

The original 1940 [[Broadway theatre|Broadway]] production was directed by [[George Abbott]] and starred [[Vivienne Segal]] and [[Gene Kelly]]. Though it received mixed reviews, the show ran for 10 months, the third-longest run of any Rodgers and Hart musical. There have been several revivals since, including a 2008–09 Broadway run, and a [[Pal Joey (film)|1957 film adaptation]] starring [[Frank Sinatra]], [[Rita Hayworth]] and [[Kim Novak]].

==Background==
Author [[John O'Hara]] offered his stories of ''Pal Joey'' to Rodgers and Hart for adaptation as a new musical.<ref name=KM180>Kantor and Maslon, p.180</ref> Title character Joey Evans, an unsympathetic but charming [[antihero]], was a striking departure from the usual musical comedy formula.<ref name=Rodgers1951>Rodgers, Richard. "'Pal Joey': History of a 'Heel'", ''New York Times'', December 30, 1951, pp.X1,X3.</ref> Joey was amoral, but he was not presented as a villain, nor did his character change for the better.<ref name=Hischak564>Hischak, 564</ref> [[Richard Rodgers]] said: "Joey was not disreputable because he was mean, but because he had too much imagination to behave himself, and because he was a little weak."<ref name=Rodgers1951/> Rodgers and Hart maintained a cynical, dark tone throughout the work and employed two distinct musical styles in the show: the deliberately tacky nightclub numbers contrasted with the more elegant songs the characters sang to express their emotions, though these expressions were more ironic than sincere.<ref name=KM180/><ref name=Hischak564/><ref>Nolan, pp. 138-39</ref> Hart's lyrics frankly described Joey and Vera's affair; "Bewitched, Bothered, and Bewildered" included (among others) the lyrics, "Horizontally speaking, he's at his very best" and "Vexed again, Perplexed again, Thank God I can be oversexed again", while "In Our Little Den (of Iniquity)" included, "We're very proper folks you know, We've separate bedrooms ''comme il faut''. There's one for play and one for show".<ref name=KM180/><ref name=KM181>Kantor and Maslon, p.181</ref>

As they cast the musical, Rodgers, Hart and O'Hara knew that they wanted Joey to be primarily a dancer, not a singer, and the actor who played Joey would have to be likeable in spite of Joey's unpleasant character.<ref name=Nolan138>Nolan, 138</ref> They chose [[Gene Kelly]], who was at the time playing a dancing role, Harry the Hoofer, in the play ''[[The Time of Your Life]]''.<ref name=Nolan138/> Kelly had made his Broadway debut in 1938 in the chorus of [[Cole Porter]]'s ''[[Leave It to Me!]]''; Pal Joey would be his first lead role.<ref>Hischak, p.391</ref> Rodgers and Hart wanted [[Vivienne Segal]], who had previously starred in their 1938 musical ''[[I Married an Angel]]'', to play the older woman with whom Joey has an affair; though O'Hara had initially considered other actresses, he was won over when he met Segal.<ref name=Nolan138/> Segal, who would be 43 when the show opened on Broadway, appreciated the opportunity to play a worldly, mature character, unlike the ingenues she had played for most of her career.<ref>Peck, Seymour. "A Long Time Pal of Joey", ''The New York Times'', November 23, 1952, p.X3</ref> Using Segal's initials, O'Hara gave her character the name "Vera Simpson".<ref name=Nolan138/> O'Hara was not present during the out-of-town tryouts, and director [[George Abbott]] took over the rewriting. When the show opened in New York, the critics were divided. Richard Watts (''New York Herald Tribune'') called it "brilliant", but other critics and members of the theatre-going public disliked the subject matter. Nonetheless, it became the longest running Rodgers-Hart show up to that time.<ref>{{cite book|last=Hyland|first=William|title=Richard Rodgers|publisher=Yale University Press|year=1998|pages=[https://archive.org/details/richardrodgers00hyla/page/126 126–31]|isbn=0-300-07115-9|url=https://archive.org/details/richardrodgers00hyla/page/126}}</ref>

==Synopsis==
''Based on original 1940 book''
;Act I
In [[Chicago]] in the late 1930s, singer/dancer Joey Evans, a charming "heel" with big plans, schemes to get his own nightclub. He auditions for an emcee job at a second-rate nightclub ("You Mustn't Kick It Around"). Joey gets the job and begins rehearsals with the chorus girls and club singer Gladys Bumps. Joey meets young and naïve Linda English outside a pet shop, and he impresses her with grandiose lies about his career. Linda innocently falls for Joey's line ("[[I Could Write a Book]]"). As the chorus girls are doing a song-and-dance number at the club that night ("Chicago"), Linda arrives with a date. Wealthy married socialite Vera Simpson arrives at the club and shows a definite interest in Joey. Joey plays hard-to-get and insults Vera, who walks out. Mike, the club owner, fires Joey, but Joey, believing Vera will be back, strikes a deal: if Vera doesn't come back within the next few days, Joey will leave without pay. The chorus girls continue with the show ("That Terrific Rainbow"); Linda, having witnessed Joey's caddish behavior, has left the club. Vera doesn't return, so Joey is fired. When Linda refuses to answer his calls, Joey calls Vera ("What is a Man"). After Joey's last night as emcee, Vera picks him up from the club and they start an affair ("Happy Hunting Horn"). Vera is glowing in the romance and sets Joey up with an apartment and expensive clothes ("[[Bewitched, Bothered and Bewildered]]"). While shopping for clothes for Joey, Vera and he run into Linda, leaving Vera jealous and Linda distraught. Vera gives Joey his own nightclub, "Chez Joey," and Joey looks forward to rising to the top ("Pal Joey"/"Joey Looks to the Future" ballet).

;Act II
The chorus girls and singers from the old club have relocated to "Chez Joey," where they rehearse for the opening performance ("The Flower Garden of My Heart"). Melba, an ambitious reporter, interviews Joey, recalling her interviews with various celebrities, including [[Gypsy Rose Lee]] ("Zip") [In the 2008 revival, Gladys plays a "reporter" in a skit during the floor show at Chez Joey, performing "Zip" as a striptease]. Ludlow Lowell, Gladys' old flame, introduces himself as an agent with papers that Joey unthinkingly signs as the rehearsal continues ("Plant You Now, Dig You Later"). In Joey's apartment the next morning, Joey and Vera reflect on the pleasures of their affair ("In Our Little Den"). Linda overhears Gladys and Lowell plotting to use the papers Joey signed to blackmail Vera. [In the 2008 revival, Joey fires Gladys, and to get back at him, she conspires with Mike, the club manager, to blackmail Vera. Mike is forced into the scheme because Gladys threatens to have him fired because he is gay.] Linda calls Vera, who initially distrusts Linda; Vera confronts Joey, asking what his relationship is with Linda, and Joey responds defensively ("Do It the Hard Way"). Linda comes to the apartment to convince Vera, and Vera, seeing Linda's sincerity, now believes her. Vera and Linda agree that Joey is not worth the trouble ("Take Him"). Vera calls her friend the police commissioner, who arrests Gladys and Lowell. Vera throws Joey out and closes "Chez Joey" ("Bewitched, Bothered, and Bewildered" reprise). Joey, now penniless, runs into Linda again outside the pet shop, and she invites him to dinner with her family. He joins for a meal and then they part as friends, with him claiming to have been cast in a nonexistent show in New York. In the 1952 revival, he was shown to have a change of heart, turning just before the curtain falls to follow her.

===Principal roles and notable performers===
{|class="wikitable"
! width="100"| Character
! width="200"| Description
! width="200"| Notable performers
|-
! Joey Evans
| A small-time womanizing MC and dancer/singer who has dreams of opening his own night club
| [[Gene Kelly]]; [[Frank Sinatra]]; [[Harold Lang]]; [[Bob Fosse]]; [[Denis Lawson]]; [[Christopher Chadman]]; [[Clifton Davis]]; [[Joel Grey]]
|-
! Vera Simpson
| A bored rich socialite
| [[Vivienne Segal]]; [[Rita Hayworth]]; [[Siân Phillips]]; [[Viveca Lindfors]]; [[Joan Copeland]]; [[Lena Horne]]; [[Donna Murphy]]; [[Patti LuPone]]; [[Stockard Channing]]; [[Christine Andreas]]; [[Jane Russell]]
|-
! Linda English
| A naive stenographer (in the 2008 revival, a clerk in a men's clothing store)
| Leila Ernst; [[Kim Novak]]; Daisy Prince
|-
! Gladys Bumps
| A chorus girl who takes an instant dislike to Joey (in the 2008 revival, they have history)
| [[June Havoc]]; Helen Gallagher; [[Vicki Lewis]]; [[Martha Plimpton]] Barbara Nichols
|-
! Melba Snyder
| An ambitious reporter (does not appear in the 2008 revival)
| [[Elaine Stritch]]; [[Kay Medford]]; [[Josephine Premice]]; [[Dixie Carter]]; [[Bebe Neuwirth]]; [[Ann Reinking]]
|-
! Ludlow Lowell
| A crooked "artists representative"
| Jack Durant; [[Lionel Stander]]; [[Ned Eisenberg]]; [[Ron Perlman]]
|}

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* "You Mustn't Kick It Around" – Joey Evans, Gladys Bumps, Agnes, The Kid, Chorus Girls and Waiters
* "[[I Could Write a Book]]" – Joey and Linda English
* "Chicago" – Dancer and Chorus Girls
* "That Terrific Rainbow" – Gladys, Victor and Girls
* "What is a Man?" – Vera Simpson
* "Happy Hunting Horn" – Joey, Terry, Chorus Girls and Boy Friends
* "[[Bewitched, Bothered and Bewildered]]" – Vera Simpson
* "Pal Joey (What Do I Care For A Dame?)" – Joey
{{col-break}}

;Act II
* "The Flower Garden of My Heart" – Gladys, The Tenor, Specialty Dancer and Ensemble
* "Zip" † – Melba Snyder
* "Plant You Now, Dig You Later" – Ludlow Lowell, Gladys and Ensemble
* "In Our Little Den (of Iniquity)" – Vera and Joey
* "Do It The Hard Way" – Ludlow, Gladys, Dancer and Ensemble
* "I Still Believe In You" † – Linda
* "Take Him" – Vera, Linda and Joey
* "Bewitched, Bothered, Bewildered" (Reprise) – Vera
* "I Still Believe In You" (Reprise) † – Linda
* "I'm Talkin' to My Pal" † – Joey
* "I Could Write A Book" (Reprise) – Joey
{{col-end}}

† 2008 revival: "Zip" is sung by Gladys; cut songs restored; Linda's reprise added

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Pal Joey |url=https://www.concordtheatricals.com/p/44878/pal-joey |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Reed I (Clarinet, Alto Sax, Flute, Piccolo)
* Reed II (Oboe, English Horn, Alto Sax, Clarinet)
* Reed III (Clarinet, Bass Clarinet, Basset Horn, Tenor Sax)
* Reed IV (Clarinet, Flute, Piccolo, Tenor Sax)
* Reed V (Clarinet, Tenor Sax, Bassoon)
* Horn, Trumpet I & II & Trombone
* Violin A, B & C (divisi), Cello & Bass
* Percussion [Trap Set, Timpani, Bells, Gong, Ratchet, Wood Blocks, Cow Bell, Temple Blocks & Xylophone]

These orchestral materials reflect the original 1940 orchestration by [[Hans Spialek]].

==Productions==
===Original Broadway production===
''Pal Joey'' premiered on [[Broadway theatre|Broadway]] on December 25, 1940, at the [[Ethel Barrymore Theatre]] and ran for 374 performances. Directed by [[George Abbott]] with choreography by [[Robert Alton]], the opening-night cast included [[Gene Kelly]] as Joey, [[Vivienne Segal]] as Vera, and [[June Havoc]] as Gladys. [[Van Johnson]] and [[Stanley Donen]] were also in the cast.

===1952 Broadway revival===
''Pal Joey'' achieved wider acclaim in the decades after its initial production. Throughout much of the 1940s, the songs from ''Pal Joey'' were banned from radio play by [[American Society of Composers, Authors and Publishers|ASCAP]], preventing them from becoming popular standards; the ban was lifted in the late 1940s.<ref>Bloom and Vlastnik, p. 257</ref> In 1950, the song "[[Bewitched, Bothered and Bewildered]]" became popular and was recorded by various bands and pop singers, including [[Mel Torme]], [[Doris Day]], and [[Gordon Jenkins]] and [[The Harmonicats]].<ref name=Deutsch>{{cite AV media notes|last=Deutsch|first=Dieder C.|title=Pal Joey|type=CD|publisher=Columbia Records|id=971113| date=July 1988 |page=9}}</ref> Prompted by the song's success, [[Goddard Lieberson]], the producer of [[Columbia Records]], decided to produce a studio cast [[LP album|album]] of ''Pal Joey'' featuring [[Harold Lang]] as Joey and Vivienne Segal reprising her role as Vera. Because of the popularity of that recording, composer-producer [[Jule Styne]] produced the 1952 revival, in which Lang and Segal starred.<ref name=lorenzhart.org>[http://www.lorenzhart.org/joey.htm Lorenz Hart.com, Pal Joey]</ref><ref>Marmorstein, Gary. ''The Label: The Story of Columbia Records.'' New York: Thunder's Mouth Press, 2007, p. 263</ref>

The 1952 revival met with greater success than the original production. It opened on January 3, 1952, and closed on April 18, 1953, after 540 performances. Lang and Segal starred, with [[Helen Gallagher]] as Gladys (for which Ms. Gallagher won the Tony Award for best featured actress that year), future Broadway star [[Elaine Stritch]] as Melba, and [[Bob Fosse]] as the [[understudy]] for Joey. Dances and musical numbers were again staged by [[Robert Alton]], and the production was directed by David Alexander. This production had the longest run of any revival of a musical in the history of the Broadway theatre at the time. It won the [[New York Drama Critics' Circle Award]] for Best Musical and became the first musical ever to receive eleven [[Donaldson Awards]].<ref>[http://www.theatrehistory.com/american/musical023.html theatrehistory.com]</ref><ref>[http://www.infoplease.com/ipa/A0153612.html Infoplease.com listing, Drama Critics Circle Award]</ref> Elaine Stritch was signed as an understudy to [[Ethel Merman]] in ''[[Call Me Madam]]'' at the time; she describes the difficulties of holding both jobs after the previews unexpectedly moved to New Haven in a monologue framed by "Zip" in her one-woman show ''[[Elaine Stritch at Liberty]]''.

===London===
There have been two productions in London's [[West End theatre|West End]]. The first was in March 1954 at the [[Princes Theatre]], starring [[Harold Lang]], [[Carol Bruce]] and Sally Bazely. The second was at the [[Noël Coward Theatre]], from September 1980 until September 1981, starring [[Siân Phillips]], Danielle Carson, and [[Denis Lawson]].<ref>[http://www.broadwayworld.com/bwidb/productions/Pal_Joey_6509/ broadwayworld.com listing, 1980]</ref>

===1976 Broadway Revival===
In [[1976 in music|1976]], a revival on Broadway opened on June 27, 1976, at the [[Circle in the Square Theatre]] and closed on August 29, 1976. The show was directed by [[Theodore Mann]]; choreography by [[Margo Sappington]]; musical direction/additional dance arrangements by Scott Oakley; scenery John J. Moore; costumes Arthur Boccia; lighting Ron Wallace; principal orchestrator [[Michael Gibson (musician)|Michael Gibson]]; production stage manager Randall Brooks; stage manager James Bernardi; and press by Merle Debusky and Susan L. Shulman.

The opening-night cast featured [[Christopher Chadman]] (Joey); Harold Gary (Mike); [[Terri Treas]] (Kid); [[Janie Sell]] (Gladys); Gail Benedict (Gail); Murphy Cross (Murphy); Rosamond Lynn (Rosamond); [[Marilu Henner]] (Marilu); [[Deborah Geffner]] (Debbie); Boni Enton (Linda); [[David Hodo]] (Gent); Austin Colyer (Ernest); [[Denny Martin Flinn]] (Waldo the Waiter); Michael Leeds (Victor); Kenn Scalice (Delivery Boy); Adam Petroski (Louis); Joe Sirola (Ludlow Lowell); Ralph Farnworth (O'Brien); [[Dixie Carter]] (Melba); and [[Joan Copeland]] (Vera). It ran for 73 performances.<ref name=Jones/>

===Other productions, 1960s to 2000s===
[[File:Bob Fosse and Viveca Lindfors 1963.jpg|thumb|<center>[[Bob Fosse]] and [[Viveca Lindfors]] in the 1963 Broadway revival of ''Pal Joey''.</center>]]
''Pal Joey'' had another [[Broadway (theatre)|Broadway]] revival in [[1963 in music|1963]] (15 performances) at [[New York City Center|City Center]] and starred [[Bob Fosse]] as Joey, [[Viveca Lindfors]] as Vera, and [[Kay Medford]] as Melba.<ref name=IBDB63>{{IBDB title|13525|Pal Joey {{noitalic|(1963 revival)}}}}</ref> A 1978 revival titled 'Pal Joey '78' starring [[Clifton Davis]] as Joey, [[Lena Horne]] as Vera, and Josephine Premice as Melba was scrapped due to low ticket sales and critical pans during its tryout tour. The Huntington Theatre in [[Boston]] presented a revised version, adapted by [[Richard Greenberg]] and director David Warren, from September to October 1992. The cast featured [[Donna Murphy]] as Vera.<ref>[http://www.thecrimson.com/article.aspx?ref=117505 ''The Crimson'' review, September 24, 1992]</ref> A staged concert in the [[New York City Center]] ''[[Encores!]]'' series in May 1995 starred [[Peter Gallagher]] and [[Patti LuPone]].<ref name=canby>{{Cite news|last=Canby|first=Vincent|title=Adventures And Song In Chicago|newspaper=The New York Times|pages = 13|date=1995-05-06}}</ref> In 2002, there was a [[Prince Music Theater]] production in Philadelphia which starred [[Christine Andreas]]. The following year Andreas won the [[Barrymore Awards for Excellence in Theater|Barrymore Award]] for Outstanding Leading Actress in a Musical for her performance as Vera Simpson.

===2008 Broadway revival===
Producer [[Marc E. Platt]], along with Richard Greenberg (who had written the 1992 Boston adaptation) and director [[Joe Mantello]] planned a revival for fall 2007,<ref>''www.jewishjournal.com'', February 17, 2007, & ''The Syracuse Post Standard'', February 28, 2007</ref> which was postponed.<ref>Gans, Andrew.[http://www.playbill.com/news/article/109938.html "Pal Joey Revival, with Jersey Boys Star Hoff, Postponed"] {{webarchive|url=https://web.archive.org/web/20070930184435/http://www.playbill.com/news/article/109938.html |date=2007-09-30 }}, playbill.com, July 31, 2007</ref> The [[Roundabout Theatre Company]] and Platt presented a limited engagement, with previews beginning on November 14, 2008, officially opening on December 18, 2008, and closing on March 1, 2009.<ref>Jones, Kenneth.[http://www.playbill.com/news/article/124912.html "Offering More Chances to Bewitch, Broadway's Pal Joey Extends"] {{webarchive|url=https://web.archive.org/web/20090210090829/http://www.playbill.com/news/article/124912.html |date=2009-02-10 }}, playbill.com, January 6, 2009</ref> The original book by [[John O'Hara]] had undergone substantial "adaptation" by Greenberg, eliminating characters and reassigning songs.<ref name=blog>Haimes, Todd.[http://www.myroundaboutblog.com/?tag=todd-haimes "Haimes blog,"] {{webarchive|url=https://web.archive.org/web/20110714143801/http://www.myroundaboutblog.com/?tag=todd-haimes |date=2011-07-14 }}''Roundabout Theatre'', November 14, 2008</ref> This new production also included a song for Joey that was cut prior to the 1940 Broadway premiere, "I'm Talking to My Pal", and also interpolated two Rodgers & Hart songs, which were sung by Joey and Linda: "Are You My Love?" (from the 1936 film ''[[Dancing Pirate]]'') and "I Still Believe in You" (from the 1930 musical ''[[Simple Simon (musical)|Simple Simon]]'').<ref>Jones, Kenneth {{cite web |url=http://www.playbill.com/news/article/124427-Beguiled-Again-Fresh-Adaptation-of-Pal-Joey-Opens-on-Broadway |title=Archived copy |accessdate=2010-07-29 |url-status=dead |archiveurl=https://web.archive.org/web/20120315182116/http://www.playbill.com/news/article/124427-Beguiled-Again-Fresh-Adaptation-of-Pal-Joey-Opens-on-Broadway |archivedate=2012-03-15 }}, playbill.com, December 18, 2008</ref> Mantello directed, with choreography by [[Graciela Daniele]].<ref>Gans, Andrew.[http://www.playbill.com/news/article/115682.html "Mantello to Direct and Daniele to Choreograph Roundabout's Fall Revival of Pal Joey"] {{webarchive|url=https://web.archive.org/web/20080312005602/http://www.playbill.com/news/article/115682.html |date=2008-03-12 }}, playbill.com, March 6, 2008</ref> The production starred [[Stockard Channing]] as Vera, [[Martha Plimpton]] as Gladys, Matthew Risch as Joey, Jenny Fellner as Linda, and [[Robert Clohessy]] as Mike. The set designer was [[Scott Pask]], with costumes by [[William Ivey Long]] and lighting by [[Paul Gallo]].<ref name=Jones>Jones, Kenneth. [http://www.playbill.com/news/article/118843.html "Hoff Is Broadway's New Pal Joey, With Stockard Channing and Martha Plimpton, at Studio 54"] {{webarchive|url=https://web.archive.org/web/20080622144331/http://www.playbill.com/news/article/118843.html |date=2008-06-22 }}, playbill.com, June 19, 2008</ref><ref>[http://www.paljoeyonbroadway.com/index.htm Roundabout Theatre Pal Joey information]</ref> Advance publicity for the show included a full page spread in the November issue of ''[[Vogue (magazine)|Vogue]]'', featuring [[Christian Hoff]] in costume as Joey.<ref>[http://paljoeyblog.com/archives/488 "Christian Hoff in Vogue"] {{webarchive|url=https://web.archive.org/web/20081026120312/http://paljoeyblog.com/archives/488 |date=2008-10-26 }} paljoeyblog.com, October 22, 2008</ref> Hoff began previews as Joey, but when he was forced to leave the production on November 22, 2008, due to an injury, his understudy, Matthew Risch, took over the part. Risch had previously appeared on Broadway in featured roles in ''[[Chicago (musical)|Chicago]]'' and ''[[Legally Blonde (musical)|Legally Blonde]]''.<ref>Jones, Kenneth and Gans, Andrew. [http://www.playbill.com/news/article/123636.html "A Bewitching Switch: Understudy Matthew Risch Is New Pal Joey, Opening Is Now Dec. 18"] {{webarchive|url=https://web.archive.org/web/20081216012136/http://www.playbill.com/news/article/123636.html |date=2008-12-16 }}, playbill.com, November 24, 2008</ref>

==Critical response==

===Original and subsequent productions===
In 1940 ''New York Times'' review, [[Brooks Atkinson]] wrote
<blockquote>
If it is possible to make an entertaining musical comedy out of an odious story, ''Pal Joey'' is it. [[John O'Hara]] has written a joyless book about a sulky assignation. Under [[George Abbott]]'s direction some of the best workmen on Broadway have fitted it out with smart embellishments. ''Pal Joey'' offers everything but a good time, whether Joey is a punk or a heel is something worth more careful thinking than time permits. Although ''Pal Joey'' is expertly done, can you draw sweet water from a foul well?<ref>Atkinson, Brooks. [http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=PAL%20JOEY%20(PLAY)&pdate=19401226&byline=By%20BROOKS%20ATKINSON&id=1077011431082 "Pal Joey",] ''[[The New York Times]]'', December 26, 1940</ref>
</blockquote>

When he reviewed the 1952 revival, Atkinson called the production "brilliant", writing:
<blockquote>
There is no sign of age in the brisk performance that [[Robert Alton]] has expertly staged; and the acting is sharp and original... Miss Segal presides over the sordid affairs of an astringent tale with humor, reserve, and charm. It would be hard to improve upon [[Harold Lang]]'s performance as the heel.<ref>{{Cite news|last=Atkinson|first=Brooks|title=At The Theatre|newspaper=The New York Times|pages=17|date=1952-01-04}}</ref>
</blockquote>

In reviewing the 1995 ''Encores!'' concert, [[Vincent Canby]] noted:
<blockquote>
Here was a show in which cynicism, sophistication, bogus sentimentality and high spirits were as much the content as the form of an otherwise traditional Broadway musical. The first production [1940] shocked a lot of critics and many theatergoers. There was no question about the quality of the [[Richard Rodgers]] score and [[Lorenz Hart]] lyrics. The disturbance was caused by [[John O'Hara]]'s corrosive book: the sordid adventures of a Chicago nightclub singer and M.C. named Joey Evans. It wasn't until the 1952 revival that Joey was recognized as literature's latest darling, the antihero. In 1995, ''Pal Joey'' is a treasure.<ref name=canby/>
</blockquote>

===2008 production===
''[[The New York Times]]'' panned the 2008 production, describing it as "in mourning for its own lifelessness", having "no detectable pulse".<ref>Brantley, Ben. [http://theater2.nytimes.com/2008/12/19/theater/reviews/19joey.html?em "The Cad! (Dames Could Write a Book)",] ''The New York Times'', December 19, 2008</ref> Todd Haimes, the Artistic Director of the Roundabout Theatre, commented on the "new book by Richard Greenberg that, in my opinion, does a stunning job of enhancing O'Hara's original by more fully integrating the songs with the book and giving even more of a full life to each of his characters."<ref name=blog/> ''[[The Times]]'' quoted Haimes as saying that he thought
<blockquote>
the Greenberg adaptation transformed the original "flawed book" by enriching the dialogue and sharpening the characters of not only Joey but the women in his life, like the damaged society wife Vera Simpson... and the wronged chanteuse Gladys Bumps.... In other words, there would be a stronger story that might match the well-known songs.<ref>Healy, Patrick. [https://www.nytimes.com/2008/11/21/theater/21hoff.html?scp=1&sq=%22Richard+Greenberg%22&st=nyt "A Jersey Boy's Moment as Broadway's New Pal",] ''The New York Times'', November 20, 2008</ref>
</blockquote>
According to ''[[New York (magazine)|New York Magazine]]'',
<blockquote>
Greenberg... simplified the story and removed much of the old script's gangster gothic.... He made it smarter and sexier, and bleak. Where the movie ended with Novak and Sinatra walking off into the California sunshine, this ends with Joey alone on a dark street corner, wondering—like so many right now — what the hell to do."<ref>Oxfeld, Jesse. [http://nymag.com/arts/theater/reviews/53135/ "Pal Joey",] ''New York Magazine'', December 19, 2008</ref>
</blockquote>
''[[Variety (magazine)|Variety]]'' wrote:
<blockquote>
The Rodgers and Hart songs...are certainly easy on the ear, but what makes the Roundabout revival of their 1940 show so compelling is Richard Greenberg's trenchant adaptation of the original book by [[John O'Hara]]. Erasing the sanitizing stamp of musical-theater coyness, Greenberg brings a fascinating melancholy grubbiness to this cynical story of sordid emotional transactions and opportunistic behavior in late-1930s Chicago. It's a dark show for desperate times...The major discovery is [Martha] Plimpton's heretofore-hidden musicality...even half-talking her songs, [Stockard Channing] puts across the rueful resignation of "What Is a Man?" with elegance... and pours enough bruising self-deprecation into "[[Bewitched, Bothered and Bewildered]]" to make it work.<ref>Rooney, David. [http://www.variety.com/review/VE1117939247.html?categoryid=33&cs=1 Review: Pal Joey,] ''Variety'', December 18, 2008</ref>
</blockquote>
''[[The New York Post]]'' ("a flawed revival") gave the production 2½ stars.<ref>Scheck, Frank. [http://www.nypost.com/seven/12192008/entertainment/theater/not_bewitched_by_joey_144823.htm "Not Bewitched by 'Joey'",] ''The New York Post'', December 19, 2008</ref>

The Associated Press wrote:
<blockquote>
Richard Greenberg... has given John O'Hara's original book... a new sheen without changing the general outline of the story: punkish song-and-dance man scores big, gets his comeuppance but soldiers on. Greenberg's rewrite is crisp and to the point. There is a hard-boiled briskness to his work, a film-noir sensibility in its punchy dialogue that ricochets lickety-split across the stage. Channing gets across this number [Bewitched], one of the most famous in the Rodgers and Hart canon, in what can be described as her best Rex Harrison ''[[My Fair Lady]]'' manner. It's half-sung, half-spoken but acted to the fullest, a consummate bit of musical-theater performing.... Plimpton is quite a revelation in the role.<ref>Kuchwara, Michael. [https://news.yahoo.com/s/ap/20081219/ap_en_re/theater_review_pal_joey_1 "The cad is back: 'Pal Joey' returns to Broadway"], yahoo.com, December 18, 2008</ref>
</blockquote>
[[Variety (magazine)|Variety]], praising the production and specifically Risch, wrote a follow up response to the mixed reviews stating
<blockquote>
it's bizarre to see Mantello's staging pejoratively described as "ruthless," "joyless" and "unhappy" — as if such qualities don't compute in musical theater. One of the controversies of this "Joey" is that its leading man, newcomer Matthew Risch, the understudy who replaced Christian Hoff in the eleventh hour, fails to deliver the requisite dollop of charm to his catting around. Reviewers have compared him with actors they never saw in the role, namely Gene Kelly, or men who have never essayed Joey onstage, including Hugh Jackman, Harry Connick Jr. and, yes, Frank Sinatra, who insisted, among other woeful ideas, that he sing "The Lady Is a Tramp" in the misconceived (and far happier) 1957 film version. A big, toothy movie star might have assured theatergoers that this cad really wasn't what he is — a cad. Risch, to his credit, offers a tough, uncompromising portrait that allows only two brief moments of moral conscience — both of which lead Joey to shield his girlfriend Jenny from, well, Joey.<ref name="Hofler, Robert">[http://www.variety.com/article/VR1117998274?refCatId=1019 Hofler, Robert]</ref>
</blockquote>
adding
<blockquote>
Coincidence or not, Risch's Joey is a younger brother of Erwin Schrott's Don Giovanni, seen at the Met Opera earlier this season. When these guys smile, it's the devil's work at play with any woman's affections. If the show offers a pessimistic view of female sexuality, then so be it. Joey and Giovanni, not the women, are the ones going straight to hell.<ref name="Hofler, Robert"/>
</blockquote>
and "In the end, Mantello and Risch's Joey is an easy antihero to understand, if not love." <ref name="Hofler, Robert"/>

===Legacy===
Looking retrospectively, musical theatre historian Ethan Mordden pronounced ''Pal Joey'''s book is a "breakthrough in character writing". He stated that "the two leads and Linda are extremely well-drawn", and that though "''Pal Joey'' is tough, its script true to its characters". He also believed that the show "finds Rodgers and Hart at their best".<ref>{{cite book|last=Mordden|first=Ethan|title=Beautiful Mornin': The Broadway Musical in the 1940s|publisher=Oxford University Press US|year=1999|isbn=0-19-512851-6|page=[https://archive.org/details/beautifulmorninb00mord/page/53 53]|url=https://archive.org/details/beautifulmorninb00mord/page/53}}</ref> Historians Everett and Laird wrote that ''Pal Joey'' is the "most important work produced by Rodgers and Hart", and is the "most integrated of their musicals".<ref>{{cite book|last=Everett|first=William A.|author2=Paul R. Laird|title=The Cambridge Companion to the Musical|publisher=Cambridge University Press|year=2002|isbn=0-521-79639-3|page=[https://archive.org/details/cambridgecompani0000unse_w4b7/page/121 121]|url=https://archive.org/details/cambridgecompani0000unse_w4b7/page/121}}</ref>

==Awards and nominations==

===1952 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="15" align="center"| 1952
| rowspan="11"| [[Donaldson Award]]
| colspan="2"| Best Musical
| {{won}}
|-
| Best Book of a Musical
| [[John O'Hara]]
| {{won}}
|-
| Best Leading Performance by an Actress
| [[Vivienne Segal]]
| {{won}}
|-
| Best Supporting Performance by an Actress
| [[Helen Gallagher]]
| {{won}}
|-
| Best Dancer in a Musical
| [[Harold Lang]]
| {{won}}
|-
| Best Director of a Musical
| David Alexander
| {{won}}
|-
| Best Dance Direction
| [[Robert Alton]]
| {{won}}
|-
| Best Original Score
| [[Richard Rodgers]]
| {{won}}
|-
| Best Lyrics
| [[Lorenz Hart]]
| {{won}}
|-
| Best Scenic Design
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| Best Costume Design
| [[Miles White]]
| {{won}}
|-
| [[New York Drama Critics' Circle Award]]
| colspan="2"| Best Musical
| {{won}}
|-
| rowspan="3"| [[Tony Award]]
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Helen Gallagher]]
| {{won}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Robert Alton]]
| {{won}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| [[Max Meth]]
| {{won}}
|}

===1963 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 1964
| [[Tony Award]]
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Bob Fosse]]
| {{nom}}
|}

===1977 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 1977
| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Joan Copeland]]
| {{nom}}
|}

===1980 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="2" align="center"| 1980
| rowspan="2"| [[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Denis Lawson]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Siân Phillips]]
| {{nom}}
|}

===2002 Philadelphia production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"| 2003
| [[Barrymore Awards for Excellence in Theater|Barrymore Award]]
| Outstanding Leading Actress in a Musical
| [[Christine Andreas]]
| {{won}}
|}

===2008 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award Ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2009
| rowspan="3"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Stockard Channing]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Martha Plimpton]]
| {{nom}}
|-
| rowspan="2"| [[Outer Critics Circle Award]]
| colspan="2"| Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| [[Martha Plimpton]]
| {{nom}}
|-
| rowspan="4"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Stockard Channing]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Martha Plimpton]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Scott Pask]]
| {{nom}}
|}

==Recordings==
The 1950 studio cast recording starring Vivienne Segal and [[Harold Lang]] was released by Columbia on February 12, 1951.

A partial cast recording of the 1952 Broadway revival was released in January 1952 by Capitol Records. It featured Helen Gallagher, Elaine Stritch and others from the revival cast, but starred non-cast members [[Jane Froman]] and Dick Beavers as Vera and Joey, in place of Segal and Lang.

A 1980 London Revival Cast recording was released on the TER Label/JAY Records, starring [[Denis Lawson]] and [[Siân Phillips]].

A cast recording of the 1995 concert, starring [[Patti LuPone]] and [[Peter Gallagher]], was released October 12, 1995 by DRG (ASIN: B000000PL1).<ref>[https://www.amazon.com/s?url=search-alias%3Dpopular&field-keywords=%22Pal+Joey%22&x=15&y=17] amazon.com listing</ref>

==Notes==
{{reflist|2}}

==References==
*Bloom, Ken and Vlastnik, Frank (2004). Broadway Musicals: The 101 Greatest Shows of all Time. New York:Black Dog & Leventhal Publishers. {{ISBN|1-57912-390-2}}
*Hischak, Thomas (2008). The Oxford Companion to the American Musical. New York: Oxford University Press. {{ISBN|978-0-19-533533-0}}
*Kantor, Michael and Maslon, Laurence (2004). Broadway: The American Musical. New York:Bullfinch Press. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers & Hammerstein. Applause Theatre & Cinema Books, New York. {{ISBN|1-55783-473-3}}

== External links ==
{{Commons category|Pal Joey (musical)}}
* {{IBDB show|6906|Pal Joey}}
* [http://www.rnh.com/show/83/Pal-Joey ''Pal Joey''] at The Rodgers & Hammerstein Organization
* {{AllMusic|class=composition|id=mc0002431186|label=''Pal Joey''}}

{{Rodgers and Hart}}

{{DEFAULTSORT:Pal Joey (Musical)}}
[[Category:1940 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals based on short fiction]]
[[Category:Musicals by Rodgers and Hart]]
[[Category:West End musicals]]
[[Category:Tony Award-winning musicals]]

Sweet Charity

2020-04-03T22:56:56Z

JohnAnkerBow: /* Instrumentation */

{{About|the musical|the 1969 film|Sweet Charity (film)}}
{{Infobox musical
|name= Sweet Charity
|image= Sweet_charity_1966_a.JPG
|caption= Original Broadway Cast Recording Cover (1966)
|music= [[Cy Coleman]]
|lyrics= [[Dorothy Fields]]
|book = [[Neil Simon]]
|basis= ''[[Nights of Cabiria]]'' by [[Federico Fellini]] [[Ennio Flaiano]] [[Tullio Pinelli]] [[Pier Paolo Pasolini]]
|productions= 1966 [[Broadway theatre|Broadway]] 1967 [[West End theatre|West End]] 1967 Australia 1969 [[Sweet Charity (film)|film]] 1986 Broadway [[Revival (play)|revival]] 1993 Rio de Janeiro 1997 Melbourne 2005 Broadway revival 2006 US tour 2006 [[São Paulo]] 2008 [[Mexico City]] 2009 West End revival 2011 Toronto 2014 [[Sydney]] 2015 Australian tour 2016 [[Belgrade]] 2016 [[Off-Broadway]] revival

|awards= 1986 [[Tony Award for Best Revival]]
}}

'''''Sweet Charity''''' is a [[Musical theater|musical]] with music by [[Cy Coleman]], lyrics by [[Dorothy Fields]] and book by [[Neil Simon]]. It was directed and choreographed for Broadway by [[Bob Fosse]] starring his wife and muse [[Gwen Verdon]] alongside [[John McMartin]]. It is based on the screenplay for the Italian film ''[[Nights of Cabiria]]''. However, whereas [[Federico Fellini]]'s black-and-white film concerns the romantic ups-and-downs of an ever-hopeful prostitute, in the musical the central character is a dancer-for-hire at a [[Times Square]] [[dance hall]]. The musical premiered on [[Broadway theatre|Broadway]] in 1966, where it was nominated for nine [[Tony Award]]s, winning the [[Tony Award for Best Choreography]]. The production also ran in the [[West End theatre|West End]] as well as having revivals and international productions.

The musical was adapted for the screen in 1969 with [[Shirley MacLaine]] as Charity and [[John McMartin]] recreating his Broadway role as Oscar Lindquist. For [[Bob Fosse]], who directed and choreographed, the [[Sweet Charity (film)|film]] was his feature-film directorial debut.

==Plot==

===Act I===
The young woman '''Charity Hope Valentine''' is a [[taxi dancer]] at a [[taxi dance hall|dance hall]] called the Fandango Ballroom in [[New York City]]. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in [[Central Park]]. While Charlie silently preens himself, Charity speaks the [[pick-up line]]s she imagines him saying, and tells him how handsome he is ("You Should See Yourself"). Charlie then steals her handbag and pushes her into the lake (usually the [[orchestra pit]]) before running off. Passers-by discuss the apparent drowning but do nothing, until a young Spaniard finally rescues her. In the Hostess Room of the Fandango Ballroom, Charity tries to convince both herself and the other skeptical taxi dancers that Charlie tried to save her. Nickie, a fellow dancer, tells Charity that her problem is "you run your heart like a hotel — you've always got people checking in and checking out". The manager, Herman, arrives to tell them it is time for work. The hostess dancers proposition the audience in the front room of the Fandango Ballroom ("[[Big Spender]]"). Helene and Nickie try to comfort Charity about Charlie's absence ("Charity's Soliloquy").

On the street, after work, Charity gives to every beggar who approaches her until she realizes she has no money. Just then, film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula. Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead. Inside the Pompeii Club, the dancers are dancing the latest craze, The Rich Man's Frug. To everyone's astonishment, the famous Vittorio is accompanied by the unknown Charity. She tries to steer him away from the subject of Ursula. Finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be "laid down". Vittorio asks "where?", and Charity recovers enough to prompt Vittorio with "your apartment!".

Lying down on Vittorio's bed, Charity claims she is no longer hungry. She admits she is a dance hall hostess, putting it down to "the fickle finger of fate" (a favorite expression of hers). Vittorio is struck by her humor and honesty. Starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity remarks on her good fortune ("If My Friends Could See Me Now"). Ursula arrives to apologize for her jealousy; Charity is swiftly bundled into a closet before Vittorio opens the door to Ursula. ("Too Many Tomorrows") While Charity watches from the closet, Vittorio and Ursula make love inside his four-poster bed. The following morning, Charity is escorted from the room by a mortified Vittorio. In the Hostess Room, the girls are disappointed that Charity failed to get more out of Vittorio. Nickie announces she is not going to remain at this job for the rest of her life, prompting the girls to speculate on alternative careers ("There's Gotta Be Something Better Than This"), but Herman brings them back down to earth. Charity decides to seek some cultural enlightenment at the [[92nd Street Y]], where she gets stuck in a broken elevator with shy tax accountant Oscar Lindquist. While trying to calm him down, Charity learns that he is not married. She declares, "Oh Oscar... You're gonna be all right." After helping Oscar overcome his [[claustrophobia]] ("I'm the Bravest Individual"), the pair are plunged into new panic when the lights stop working.

===Act II===
After being trapped in a broken elevator, Oscar and Charity are finally rescued when it starts working again. Oscar invites Charity to go to church with him, to which she hesitantly agrees. As they walk under the [[Manhattan Bridge]] to the church, the faint cries of the next person to be stuck in the elevator are heard. The Rhythm of Life Church turns out to be a thin veneer on [[hippie]] culture ("The Rhythm of Life"). A police raid breaks up the meeting. Traveling home on the subway, Oscar proposes another date and tries to guess Charity's job, deciding that she works in a bank. Charity lies, saying she works for [[First National City Bank|First National City]], [[Williamsburg, Brooklyn|Williamsburg]] Branch. As they part, Oscar kisses her hand, and dubs her Sweet Charity ("Sweet Charity").

After two weeks, Oscar and Charity have continued dating, and she still has not confessed what she actually does for a living. At [[Coney Island]] Amusement Park they become trapped again when the [[Parachute Jump]] ride breaks. This time, Oscar is the calm one while Charity is scared — scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him what her real job is. As the crowd looks on, the couple kisses. On a slow night at the Fandango, Charity loses the opportunity to snare one of the few customers to a new co-worker, Rosie. Disgusted by the whole business, she quits. However, in [[Times Square]], she wonders what the alternative is ("Where Am I Going?"). Sending a [[telegram]] to Oscar, she asks to meet him at Barney's Chile Hacienda. She admits that she is a dance hall hostess; he admits he already knows, having followed her one night and watched her dancing. He says he does not care and wants to marry her. Relieved and elated, Charity leaves ("I'm A Brass Band") and packs a suitcase on which is printed 'Almost Married'.

After a farewell party at the Ballroom ("I Love to Cry at Weddings"), Charity and Oscar walk in the park, whereupon Oscar announces that he cannot go through with the wedding, saying he is unable to stop thinking about the "other men". Eventually, he pushes her into the lake and runs off. Emerging from the lake, Charity, speaking directly to the audience, asks "Did you ever have one of ''those'' days?". Realizing that unlike Charlie, Oscar has not stolen her bag, she shrugs and reprises her opening dance.

The stage blacks out onto three [[neon sign]]s, reading "And so she lived … ''hopefully'' … ever after".

== Musical numbers ==
{{col-begin}}
{{col-2}}
;Act I
*"Overture"
*"You Should See Yourself" – Charity
*"[[Big Spender]]" – Nickie, Helene and Girls
*"Charity's Soliloquy" – Charity
*"Rich Man's Frug" – Ensemble
*"[[If My Friends Could See Me Now]]" – Charity
*"Too Many Tomorrows" – Vittorio
*"There's Gotta Be Something Better Than This" – Nickie, Helene and Charity
*"I'm The Bravest Individual" – Charity and Oscar

{{col-break}}
;Act II
*"The Rhythm Of Life" – Daddy Brubeck and Ensemble
*"Baby, Dream Your Dream" – Nickie and Helene
*"Sweet Charity" – Oscar
*"Where Am I Going?" – Charity
*"I'm A Brass Band" – Charity and Ensemble
*"I Love To Cry At Weddings" – Herman, Rosie, Nickie, Helene and Ensemble
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Sweet Charity |url=https://www.concordtheatricals.com/p/44690/sweet-charity |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Reed I (Piccolo, Flute, Alto Flute, Clarinet, Alto Sax)
* Reed II (Piccolo, Flute, Alto Flute, Clarinet, Alto Sax)
* Reed III (Oboe, Clarinet, Tenor Sax)
* Reed IV (Flute, Clarinet, Bass Clarinet, Tenor Sax)
* Reed V (Clarinet, Bass Clarinet, Bassoon, Baritone Sax)
* Trumpet I & II (doubling Flugelhorns)
* Trumpet III & IV
* Trombones I, II & III
* Violin I, Violin II, Cello, Bass
* Cordovox
* Guitar I (Guitar, Electric Guitar, Hand Cymbals)
* Guitar II (Bass Guitar, Guitar, Electric Guitar)
* Percussion I & II [Timpani (2 Drums), Snare Drum, Military Snare, Timbales, Tom-Tom, Bongo Drums, Conga Drum, Cymbals (Suspended, Hi-Hat, Hand, Finger & Choke), Xylophone, Bells, Vibraphone (optional), Chimes, Whip Snap, Siren Whistle, Siren, Cow Bell, Ratchet, Wood Blocks, Tambourine, Bell Tree, Triangle, Sand Blocks, Claves, Castanets (stick & finger) & Anvil]

==Characters==
*'''Charity Hope Valentine''', the girl who wanted to be loved.
*'''Oscar Lindquist''', a man whom Charity befriends and eventually falls in love with.
*'''Charlie''', Charity's boyfriend in the opening of the show, and the name on her tattoo
*'''Nickie''' and '''Helene''', Charity's closest friends who are taxi dancers at the Fandango Ballroom.
*'''Herman''', the authoritarian owner of the Fandango Ballroom; Charity's boss.
*'''Vittorio Vidal''', a famous Italian movie star.
*'''Ursula March''', Vittorio's girlfriend
*'''Manfred''', Vittorio's butler
*'''Daddy Johann Sebastian Brubeck''', the enigmatic leader of the Rhythm of Life Church.
*'''Carmen''', a dancer at the Fandango Ballroom who is friends with Nickie, Helene, and Charity
*'''Rosie''', the new dancer at the Fandango Ballroom.
*'''Suzanne''', '''Frenchie''', '''Betsy''', and '''Elaine''', dancers at the Fandango Ballroom

==Productions==

===Original productions===
After a tryout at Detroit's [[Fisher Theatre]], the musical premiered on Broadway at the [[Palace Theatre (Broadway)|Palace Theatre]] on January 29, 1966 and closed on July 15, 1967 after 608 performances and 10 previews. It was conceived, directed and choreographed by [[Bob Fosse]] and starred [[Gwen Verdon]], [[John McMartin]], [[Helen Gallagher]], Thelma Oliver, James Luisi, Arnold Soboloff, Sharon Ritchie, and [[Barbara Sharma]]. Scenic and lighting design were by Robert Randolph and costume design was by [[Irene Sharaff]]. The production was nominated for 9 Tony Awards, winning for Fosse's choreography.

An Australian production commenced on 21 January 1967 at [[Her Majesty's Theatre, Sydney|Her Majesty's Theatre]] in Sydney, featuring [[Nancye Hayes]].<ref>{{Cite web|url=https://www.ausstage.edu.au/pages/event/109555|title=AusStage – Sweet Charity|website=www.ausstage.edu.au|access-date=2017-09-21}}</ref>

The musical opened in the [[West End theatre|West End]] at the [[Prince of Wales Theatre]] in October 1967, running for 476 performances. [[Juliet Prowse]] starred, and was succeeded by [[Gretchen Wyler]].<ref>Vallance, Tom.[https://www.independent.co.uk/news/people/obituary-juliet-prowse-1363611.html "Obituary: Juliet Prowse"] ''The Independent'', 16 September 1996</ref><ref>Green, Stanley. ''Encyclopedia of the Musical Theatre'', Da Capo Press, 1980, {{ISBN|0-306-80113-2}}, p. 409</ref>

===1986 Broadway revival===
A [[Revival (theatre)|revival]] opened on Broadway at the [[Minskoff Theatre]] on April 27, 1986 and closed on March 15, 1987, running for 369 performances and 15 previews. Again directed and choreographed by Fosse, [[Debbie Allen]] starred as Charity with [[Bebe Neuwirth]] as Nickie, Allison Williams as Helene and [[Michael Rupert]] as Oscar. Fosse's wife Gwen Verdon (the original Charity from 1966), remounted the choreography with Fosse, and taught much of the ensemble numbers to the female chorus. The production won four [[Tony Award]]s including the Tony Award, Best Reproduction (Play or Musical). When Allen left the show [[Ann Reinking]] took over as Charity.

===1998 benefit concert===
On June 15, 1998, [[Broadway Cares/Equity Fights AIDS]] presented an all-star fully staged one-night-only concert at Avery Fisher Hall in [[Lincoln Center]]. It starred [[Chita Rivera]], [[Bebe Neuwirth]], [[Donna McKechnie]], [[Debbie Allen]] and in her last public stage appearance, Gwen Verdon, all in the shared role of Charity.<ref>Willis, John. ''Theatre World 1998–1999 (Vol. 55)'', Hal Leonard Corporation, 2002, {{ISBN|1-55783-432-6}}, p.6</ref>

===1998 London revival===
A [[West End revival]] opened on 19 May 1998 and closed on 15 August 1998 at the [[Victoria Palace Theatre]], choreographed by [[Stephen Mear]] and starring [[Bonnie Langford]].<ref>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=Sweet%20Charity "Sweet Charity' listing, 1998"] ''Albemarle of London'', retrieved 1 July 2010</ref>

===2005 Broadway revival===
[[Christina Applegate]] starred in another [[Revival (theatre)|revival]] of the show, opening on Broadway at the [[Al Hirschfeld Theatre]] on May 4, 2005, after a troubled three-city preview tour. The show went into production beginning January 25, 2005, at the [[Orpheum Theatre (Minneapolis, Minnesota)|Historic Orpheum Theatre]] in [[Minneapolis]]. Audience-attended previews began February 8,<ref>[[Simonson, Robert]]. [http://www.playbill.com/news/article/91058 "''Sweet Charity'' Begins Its Run at Broadway With Feb. 8–20 Minneapolis Tryout"] Playbill.com, February 8, 2005</ref> with the Opening Night performance held February 17, 2005. The Minneapolis engagement closed on February 20.<ref>Simonson, Robert. [http://www.playbill.com/news/article/91285 " ''Sweet Charity'' Cast Frugs Its Last in Minneapolis Feb. 20; Chicago Next Stop"] Playbill.com, February 8, 2005</ref> Applegate broke her foot in [[Chicago]], the second stop on the tour, and was replaced by her understudy, [[Charlotte d'Amboise]]. Then, after the final leg of the tour in [[Boston]], the producers announced that the production would not be continuing to Broadway due to lack of interest. However, two days later, the Broadway engagement was on after Applegate convinced the producers to continue. A week into previews, Applegate rejoined the cast, which also included [[Denis O'Hare]] and [[Ernie Sabella]].<ref>Simonson, Robert. [http://www.playbill.com/news/article/92400 "Christina Applegate Debuts as Charity in Broadway's ''Sweet Charity'' April 18"] Playbill.com, April 18, 2005</ref> The show was nominated for three Tony Awards including Best Revival of a Musical and Best Actress in a Musical for Applegate. Reportedly, pop icon [[Britney Spears]] was asked to replace Applegate when her contract expired, but declined the offer.<ref>Simonson, Robert. [http://www.playbill.com/news/article/96451 Will a Spears-Starring ''Sweet Charity'' Move to Hilton Theatre?] Playbill.com, November 23, 2005</ref> The musical ended its Broadway run on December 31, 2005, after 279 performances.

A national tour of the 2005 Broadway revival began in September 2006 and ended in August 2007. It starred [[Molly Ringwald]] and later [[Paige Davis]] as Charity.<ref>Pincus-Roth, Zachary. [http://www.playbill.com/news/article/106450 "Paige Davis to Replace Ringwald in ''Sweet Charity'' Tour"] Playbill.com, March 12, 2007</ref>

===2009 London revival===
A [[Revival (theatre)|revival]] of the show opened for a limited engagement at London's [[Menier Chocolate Factory]] on 21 November 2009 and closed on 7 March 2010. It starred [[Tamzin Outhwaite]] as Charity.<ref name=play1>Shenton, Mark [http://www.playbill.com/news/article/137069-Menier-Revival-of-Sweet-Charity-to-Transfer-to-West-Ends-Theatre-Royal-Haymarket "Menier Revival of 'Sweet Charity' to Transfer to West End's Theatre Royal, Haymarket"] Playbill.com, 19 February 2010</ref> Outhwaite reprised the title role in the West End transfer of the successful Chocolate Factory production of the show. Playing at the [[Theatre Royal, Haymarket]] the show opened officially on 4 May 2010 after previews began on 23 April.<ref name=play1/> This was the first major production to have the same actor ([[Mark Umbers]]) play all three of Charity's love interests: Charlie, Vittorio, and Oscar. Similarly, [[Josefina Gabrielle]] played both Nickie and Ursula while Tiffany Graves played Helene. The production closed at the Theatre Royal Haymarket on 6 November 2010 despite being scheduled to run until January 2011.<ref>''[https://officiallondontheatre.com/news/sweet-charity-announces-west-end-closure-112269/ Sweet Charity announces West End closure]'' OfficialLondonTheatre.com</ref> The 2011 [[Olivier Award]] nominations were announced on Monday 7 January 2011, and this production received three nominations: Best Revival of a Musical, Best Theatre Choreography for [[Stephen Mear]] and Best Supporting Actress in a Musical for [[Josefina Gabrielle]].

===2014 Sydney and 2015 Australian tour===
The show was the first production of the new [[Hayes Theatre Co]] in [[Potts Point]], [[Sydney, Australia]]. Directed by [[Dean Bryant]], and choreographed by [[Andrew Hallsworth]], it starred [[Verity Hunt-Ballard]] as Charity, and [[Martin Crewes]] as Charlie, Vittorio and Oscar.<ref>[http://www.smh.com.au/entertainment/musicals/sweet-charity-does-the-fandango-20140131-31q7h.html] smh.com.au</ref><ref>[http://www.hayestheatre.com.au/what-s-on/sweet-charity-cast-crew.html]</ref><ref>[http://www.dailytelegraph.com.au/entertainment/sydney-confidential/musical-theatre-gets-a-new-stage-with-the-hayes-theatre-co-opening-in-potts-point/story-fni0cvc9-1226822908066] ''Daily Telegraph''</ref>

Verity Hunt-Ballard won the 2014 [[Helpmann Award for Best Female Actor in a Musical]], while Dean Bryant and Andrew Hallsworth won the Helpmanns for [[Helpmann Award for Best Direction of a Musical|Best Direction]] and [[Helpmann Award for Best Direction of a Musical|Best Choreography]], respectively. Martin Crewes was nominated for [[Helpmann Award for Best Male Actor in a Musical|Best Male Actor]], and Debora Krizak was nominated for [[Helpmann Award for Best Female Actor in a Supporting Role in a Musical|Best Supporting Female]]. The show was nominated for [[Helpmann Award for Best Musical|Best Musical]], and Andrew Worboys and Jessica James-Moody were nominated for [[Helpmann Award for Best Music Direction|Best Musical Direction]] and [[Helpmann Award for Best Sound Design|Best Sound Design]], respectively.<ref>[http://www.helpmannawards.com.au/2014/nominees-and-winners/ "Nominees and Winners] helpmannawards.com.au</ref> It also won several [[Sydney Theatre Awards]] for Best Production of a Musical, Best Performance by an Actress in a Leading Role in a Musical (Verity Hunt-Ballard) and Best Performance by an Actress in a Supporting Role in a Musical (Debora Krizak).<ref name="sydneytheatreawards.com">[http://www.sydneytheatreawards.com/history/2014] sydneytheatreawards.com</ref>

The critically acclaimed production transferred to Playhouse in the [[Sydney Opera House]] from 15 January 2015 to 8 February 2015.<ref>[http://www.smh.com.au/entertainment/musicals/sweet-charity-review-hayes-production-loses-no-sweetness-in-move-to-bigger-stage-20150117-12sa08.html ''Sweet Charity''] smh.com.au</ref><ref>[http://jolitson.com/2015/01/18/sweet-charity-remount/] jolitson.com, January 18, 2015</ref><ref>Hook, Chris.[http://m.dailytelegraph.com.au/entertainment/arts/sweet-charity-shines-in-return-season-move-to-opera-house/story-fniv7r7y-1227189760100 " 'Sweet Charity' shines in return season move to Opera House"] ''The Daily Telegraph'', January 22, 2015</ref>

It then toured to the Canberra Theatre Centre, [[Arts Centre Melbourne]] Playhouse and the Illawarra Performing Arts Centre in Wollongong.

===2015 London concert performances===
In August 2015 [[Denise Van Outen]] performs the title role in concert performances of the musical at [[Cadogan Hall]],<ref>[http://www.cadoganhall.com/event/sweet-charity/ ''Sweet Charity''] Cadogan Hall.com</ref> with actor/singer [[Michael Xavier]], ex-[[Girls Aloud]] band member [[Kimberley Walsh]], West End star [[Kerry Ellis]], and actors/singers [[Michael Simkins]] and Rodney Earl Clarke.

===2016 Off-Broadway===
The musical was presented [[Off-Broadway]] by The New Group at the Pershing Square Signature Center, opening on November 20, 2016. Directed by [[Leigh Silverman]] with choreography by Joshua Bergasse, the cast stars [[Sutton Foster]] as Charity Hope Valentine, Asmeret Ghebremichael (Nickie), [[Shuler Hensley]] (Oscar), [[Emily Padgett]] (Helene), and Joel Perez.<ref>Viagas, Robert. [http://www.playbill.com/article/see-how-the-critics-reviewed-sutton-foster-in-sweet-charity# "See How the Critics Reviewed Sutton Foster in' Sweet Charity'"] Playbill, November 20, 2016</ref><ref>Stasio, Marilyn. [https://variety.com/2016/legit/reviews/sweet-charity-review-sutton-foster-1201923296/ "Off Broadway Review: Sutton Foster in ‘Sweet Charity’"] ''Variety'' November 20, 2016</ref>

===2019 Off-West End===
In April 2019 The [[Donmar Warehouse]] revived the production for a limited run from 6 April 2019 to 8 June 2019. The production starred [[Anne-Marie Duff|Anne Marie-Duff]] as Charity, [[Arthur Darvill]] as Oscar and a variety of guest actors to play Daddy Brubeck including [[Adrian Lester|Adrien Lester]] and [[Beverley Knight|Beverly Knight]]. This was [[Josie Rourke]]'s last production as artistic director at The Donmar.

 

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 1966
| rowspan="9"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{nom}}
|-
| [[Tony Award for Best Original Score|Best Composer and Lyricist]]
| [[Cy Coleman]] and [[Dorothy Fields]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Gwen Verdon]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[John McMartin]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Helen Gallagher]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| rowspan="2"| [[Bob Fosse]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| {{won}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| Robert Randolph
| {{nom}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Irene Sharaff]]
| {{nom}}
|}

===1986 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="10" align="center"| 1986
| rowspan="5"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival|Best Revival]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Debbie Allen]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Michael Rupert]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Bebe Neuwirth]]
| {{won}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Patricia Zipprodt]]
| {{won}}
|-
| rowspan="5"| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Debbie Allen]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Michael Rupert]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Bebe Neuwirth]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Bob Fosse]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
| [[Ralph Burns]]
| {{nom}}
|}

===2005 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7" align="center"| 2005
| rowspan="3"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christina Applegate]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Wayne Cilento]]
| {{nom}}
|-
| rowspan="4"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Christina Applegate]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Denis O'Hare]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Scott Pask]]
| {{nom}}
|}

===2009 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="3" align="center"| 2011
| rowspan="3"| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Performance in a Supporting Role in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Stephen Mear]]
| {{nom}}
|}

===2014 Sydney revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2014
|-
| rowspan="8"| [[Helpmann Awards]]<ref>[http://www.helpmannawards.com.au/2014/nominees-and-winners]</ref>
| colspan="2"| Best Musical
| {{nom}}
|-
| colspan="1"| Best Direction of a Musical
| [[Dean Bryant]]
| {{won}}
|-
| colspan="1"| Best Choreography of a Musical
| [[Andrew Hallsworth]]
| {{won}}
|-
| colspan="1"| Best Female Actor in a Musical
| [[Verity Hunt-Ballard]]
| {{won}}
|-
| colspan="1"| Best Male Actor in a Musical
| [[Martin Crewes]]
| {{nom}}
|-
| colspan="1"| Best Supporting Female Actor in a Musical
| [[Debora Krizak]]
| {{nom}}
|-
| colspan="1"| Best Musical Direction
| [[Andrew Worboys]]
| {{nom}}
|-
| colspan="1"| Best Sound Design
| [[Jessica James-Moody]]
| {{nom}}
|}

===2016 Off-Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2017
| rowspan="2"| [[Drama Desk Awards]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Leading Actress in a Musical]]
| [[Sutton Foster]]
| {{nom}}
|-
| rowspan="6"| [[Lucille Lortel Awards]]
| colspan="2"| Outstanding Revival
| {{nominated}}
|-
| Outstanding Lead Actor in a Musical
| [[Shuler Hensley]]
| {{nominated}}
|-
| Outstanding Lead Actress in a Musical
| [[Sutton Foster]]
| {{nominated}}
|-
| Outstanding Featured Actor in a Musical
| [[Joel Perez]]
| {{won}}
|-
| Outstanding Featured Actress in a Musical
| [[Asmeret Ghebremichael]]
| {{nominated}}
|-
| Outstanding Choreographer
| Joshua Bergasse
| {{nominated}}
|-
| [[Outer Critics Circle Awards]]
| Outstanding Featured Actor in a Musical
| [[Shuler Hensley]]
| {{nominated}}
|-
|}

==Recordings==
There are numerous [[Sound recording and reproduction|recording]]s of the show's [[Sheet music|score]] available including:
* 1966 Original [[Broadway theatre|Broadway]] [[cast recording]]
* Film [[soundtrack]] recording
* 1986 [[Broadway theatre|Broadway]] [[cast recording]] with [[Debbie Allen]] and [[Bebe Neuwirth]]
* First Complete Recording of the show conducted by [[Martin Yates]]. This version includes the complete score with bonus tracks from the film's score
* 2005 [[Broadway theatre|Broadway]] [[cast recording]] starring [[Christina Applegate]] and Denis O'Hare

== References ==
{{Reflist | 2}}

==External links==
{{commonscat|Sweet Charity}}
*{{IBDB show|8457}}
*[http://www.stageagent.com/Shows/View/742 Sweet Charity Synopsis and Character Descriptions] Stage Agent
*[http://www.broadwaymusicalhome.com/shows/sweetcharity.htm ''Sweet Charity''] The Broadway Musical Home – musical information
*[http://www.tuts.com/Images/SeasonShowDocs/SweetCharity_study.pdf Sweet Charity Educational Study Guide] Theatre Under the Stars

{{Neil Simon}}
{{Dorothy Fields}}
{{Cy Coleman}}
{{Bob Fosse}}
{{TonyAward Revival}}

{{Authority control}}

[[Category:1966 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals based on films]]
[[Category:Musicals choreographed by Bob Fosse]]
[[Category:Musicals by Cy Coleman]]
[[Category:Tony Award-winning musicals]]

Sweet Charity

2020-04-03T22:55:53Z

JohnAnkerBow: Instrumentation Added

{{About|the musical|the 1969 film|Sweet Charity (film)}}
{{Infobox musical
|name= Sweet Charity
|image= Sweet_charity_1966_a.JPG
|caption= Original Broadway Cast Recording Cover (1966)
|music= [[Cy Coleman]]
|lyrics= [[Dorothy Fields]]
|book = [[Neil Simon]]
|basis= ''[[Nights of Cabiria]]'' by [[Federico Fellini]] [[Ennio Flaiano]] [[Tullio Pinelli]] [[Pier Paolo Pasolini]]
|productions= 1966 [[Broadway theatre|Broadway]] 1967 [[West End theatre|West End]] 1967 Australia 1969 [[Sweet Charity (film)|film]] 1986 Broadway [[Revival (play)|revival]] 1993 Rio de Janeiro 1997 Melbourne 2005 Broadway revival 2006 US tour 2006 [[São Paulo]] 2008 [[Mexico City]] 2009 West End revival 2011 Toronto 2014 [[Sydney]] 2015 Australian tour 2016 [[Belgrade]] 2016 [[Off-Broadway]] revival

|awards= 1986 [[Tony Award for Best Revival]]
}}

'''''Sweet Charity''''' is a [[Musical theater|musical]] with music by [[Cy Coleman]], lyrics by [[Dorothy Fields]] and book by [[Neil Simon]]. It was directed and choreographed for Broadway by [[Bob Fosse]] starring his wife and muse [[Gwen Verdon]] alongside [[John McMartin]]. It is based on the screenplay for the Italian film ''[[Nights of Cabiria]]''. However, whereas [[Federico Fellini]]'s black-and-white film concerns the romantic ups-and-downs of an ever-hopeful prostitute, in the musical the central character is a dancer-for-hire at a [[Times Square]] [[dance hall]]. The musical premiered on [[Broadway theatre|Broadway]] in 1966, where it was nominated for nine [[Tony Award]]s, winning the [[Tony Award for Best Choreography]]. The production also ran in the [[West End theatre|West End]] as well as having revivals and international productions.

The musical was adapted for the screen in 1969 with [[Shirley MacLaine]] as Charity and [[John McMartin]] recreating his Broadway role as Oscar Lindquist. For [[Bob Fosse]], who directed and choreographed, the [[Sweet Charity (film)|film]] was his feature-film directorial debut.

==Plot==

===Act I===
The young woman '''Charity Hope Valentine''' is a [[taxi dancer]] at a [[taxi dance hall|dance hall]] called the Fandango Ballroom in [[New York City]]. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in [[Central Park]]. While Charlie silently preens himself, Charity speaks the [[pick-up line]]s she imagines him saying, and tells him how handsome he is ("You Should See Yourself"). Charlie then steals her handbag and pushes her into the lake (usually the [[orchestra pit]]) before running off. Passers-by discuss the apparent drowning but do nothing, until a young Spaniard finally rescues her. In the Hostess Room of the Fandango Ballroom, Charity tries to convince both herself and the other skeptical taxi dancers that Charlie tried to save her. Nickie, a fellow dancer, tells Charity that her problem is "you run your heart like a hotel — you've always got people checking in and checking out". The manager, Herman, arrives to tell them it is time for work. The hostess dancers proposition the audience in the front room of the Fandango Ballroom ("[[Big Spender]]"). Helene and Nickie try to comfort Charity about Charlie's absence ("Charity's Soliloquy").

On the street, after work, Charity gives to every beggar who approaches her until she realizes she has no money. Just then, film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula. Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead. Inside the Pompeii Club, the dancers are dancing the latest craze, The Rich Man's Frug. To everyone's astonishment, the famous Vittorio is accompanied by the unknown Charity. She tries to steer him away from the subject of Ursula. Finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be "laid down". Vittorio asks "where?", and Charity recovers enough to prompt Vittorio with "your apartment!".

Lying down on Vittorio's bed, Charity claims she is no longer hungry. She admits she is a dance hall hostess, putting it down to "the fickle finger of fate" (a favorite expression of hers). Vittorio is struck by her humor and honesty. Starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity remarks on her good fortune ("If My Friends Could See Me Now"). Ursula arrives to apologize for her jealousy; Charity is swiftly bundled into a closet before Vittorio opens the door to Ursula. ("Too Many Tomorrows") While Charity watches from the closet, Vittorio and Ursula make love inside his four-poster bed. The following morning, Charity is escorted from the room by a mortified Vittorio. In the Hostess Room, the girls are disappointed that Charity failed to get more out of Vittorio. Nickie announces she is not going to remain at this job for the rest of her life, prompting the girls to speculate on alternative careers ("There's Gotta Be Something Better Than This"), but Herman brings them back down to earth. Charity decides to seek some cultural enlightenment at the [[92nd Street Y]], where she gets stuck in a broken elevator with shy tax accountant Oscar Lindquist. While trying to calm him down, Charity learns that he is not married. She declares, "Oh Oscar... You're gonna be all right." After helping Oscar overcome his [[claustrophobia]] ("I'm the Bravest Individual"), the pair are plunged into new panic when the lights stop working.

===Act II===
After being trapped in a broken elevator, Oscar and Charity are finally rescued when it starts working again. Oscar invites Charity to go to church with him, to which she hesitantly agrees. As they walk under the [[Manhattan Bridge]] to the church, the faint cries of the next person to be stuck in the elevator are heard. The Rhythm of Life Church turns out to be a thin veneer on [[hippie]] culture ("The Rhythm of Life"). A police raid breaks up the meeting. Traveling home on the subway, Oscar proposes another date and tries to guess Charity's job, deciding that she works in a bank. Charity lies, saying she works for [[First National City Bank|First National City]], [[Williamsburg, Brooklyn|Williamsburg]] Branch. As they part, Oscar kisses her hand, and dubs her Sweet Charity ("Sweet Charity").

After two weeks, Oscar and Charity have continued dating, and she still has not confessed what she actually does for a living. At [[Coney Island]] Amusement Park they become trapped again when the [[Parachute Jump]] ride breaks. This time, Oscar is the calm one while Charity is scared — scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him what her real job is. As the crowd looks on, the couple kisses. On a slow night at the Fandango, Charity loses the opportunity to snare one of the few customers to a new co-worker, Rosie. Disgusted by the whole business, she quits. However, in [[Times Square]], she wonders what the alternative is ("Where Am I Going?"). Sending a [[telegram]] to Oscar, she asks to meet him at Barney's Chile Hacienda. She admits that she is a dance hall hostess; he admits he already knows, having followed her one night and watched her dancing. He says he does not care and wants to marry her. Relieved and elated, Charity leaves ("I'm A Brass Band") and packs a suitcase on which is printed 'Almost Married'.

After a farewell party at the Ballroom ("I Love to Cry at Weddings"), Charity and Oscar walk in the park, whereupon Oscar announces that he cannot go through with the wedding, saying he is unable to stop thinking about the "other men". Eventually, he pushes her into the lake and runs off. Emerging from the lake, Charity, speaking directly to the audience, asks "Did you ever have one of ''those'' days?". Realizing that unlike Charlie, Oscar has not stolen her bag, she shrugs and reprises her opening dance.

The stage blacks out onto three [[neon sign]]s, reading "And so she lived … ''hopefully'' … ever after".

== Musical numbers ==
{{col-begin}}
{{col-2}}
;Act I
*"Overture"
*"You Should See Yourself" – Charity
*"[[Big Spender]]" – Nickie, Helene and Girls
*"Charity's Soliloquy" – Charity
*"Rich Man's Frug" – Ensemble
*"[[If My Friends Could See Me Now]]" – Charity
*"Too Many Tomorrows" – Vittorio
*"There's Gotta Be Something Better Than This" – Nickie, Helene and Charity
*"I'm The Bravest Individual" – Charity and Oscar

{{col-break}}
;Act II
*"The Rhythm Of Life" – Daddy Brubeck and Ensemble
*"Baby, Dream Your Dream" – Nickie and Helene
*"Sweet Charity" – Oscar
*"Where Am I Going?" – Charity
*"I'm A Brass Band" – Charity and Ensemble
*"I Love To Cry At Weddings" – Herman, Rosie, Nickie, Helene and Ensemble
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Sweet Charity |url=https://www.concordtheatricals.com/p/44690/sweet-charity |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Reed I (Piccolo, Flute, Alto Flute, Clarinet, Alto Sax)
Reed II (Piccolo, Flute, Alto Flute, Clarinet, Alto Sax)
Reed III (Oboe, Clarinet, Tenor Sax)
Reed IV (Flute, Clarinet, Bass Clarinet, Tenor Sax)
Reed V (Clarinet, Bass Clarinet, Bassoon, Baritone Sax)
Trumpet I & II (doubling Flugelhorns)
Trumpet III & IV
Trombones I, II & III
Violin I, Violin II, Cello, Bass
Cordovox
Guitar I (Guitar, Electric Guitar, Hand Cymbals)
Guitar II (Bass Guitar, Guitar, Electric Guitar)
Percussion I & II [Timpani (2 Drums), Snare Drum, Military Snare, Timbales, Tom-Tom, Bongo Drums, Conga Drum, Cymbals (Suspended, Hi-Hat, Hand, Finger & Choke), Xylophone, Bells, Vibraphone (optional), Chimes, Whip Snap, Siren Whistle, Siren, Cow Bell, Ratchet, Wood Blocks, Tambourine, Bell Tree, Triangle, Sand Blocks, Claves, Castanets (stick & finger) & Anvil]

==Characters==
*'''Charity Hope Valentine''', the girl who wanted to be loved.
*'''Oscar Lindquist''', a man whom Charity befriends and eventually falls in love with.
*'''Charlie''', Charity's boyfriend in the opening of the show, and the name on her tattoo
*'''Nickie''' and '''Helene''', Charity's closest friends who are taxi dancers at the Fandango Ballroom.
*'''Herman''', the authoritarian owner of the Fandango Ballroom; Charity's boss.
*'''Vittorio Vidal''', a famous Italian movie star.
*'''Ursula March''', Vittorio's girlfriend
*'''Manfred''', Vittorio's butler
*'''Daddy Johann Sebastian Brubeck''', the enigmatic leader of the Rhythm of Life Church.
*'''Carmen''', a dancer at the Fandango Ballroom who is friends with Nickie, Helene, and Charity
*'''Rosie''', the new dancer at the Fandango Ballroom.
*'''Suzanne''', '''Frenchie''', '''Betsy''', and '''Elaine''', dancers at the Fandango Ballroom

==Productions==

===Original productions===
After a tryout at Detroit's [[Fisher Theatre]], the musical premiered on Broadway at the [[Palace Theatre (Broadway)|Palace Theatre]] on January 29, 1966 and closed on July 15, 1967 after 608 performances and 10 previews. It was conceived, directed and choreographed by [[Bob Fosse]] and starred [[Gwen Verdon]], [[John McMartin]], [[Helen Gallagher]], Thelma Oliver, James Luisi, Arnold Soboloff, Sharon Ritchie, and [[Barbara Sharma]]. Scenic and lighting design were by Robert Randolph and costume design was by [[Irene Sharaff]]. The production was nominated for 9 Tony Awards, winning for Fosse's choreography.

An Australian production commenced on 21 January 1967 at [[Her Majesty's Theatre, Sydney|Her Majesty's Theatre]] in Sydney, featuring [[Nancye Hayes]].<ref>{{Cite web|url=https://www.ausstage.edu.au/pages/event/109555|title=AusStage – Sweet Charity|website=www.ausstage.edu.au|access-date=2017-09-21}}</ref>

The musical opened in the [[West End theatre|West End]] at the [[Prince of Wales Theatre]] in October 1967, running for 476 performances. [[Juliet Prowse]] starred, and was succeeded by [[Gretchen Wyler]].<ref>Vallance, Tom.[https://www.independent.co.uk/news/people/obituary-juliet-prowse-1363611.html "Obituary: Juliet Prowse"] ''The Independent'', 16 September 1996</ref><ref>Green, Stanley. ''Encyclopedia of the Musical Theatre'', Da Capo Press, 1980, {{ISBN|0-306-80113-2}}, p. 409</ref>

===1986 Broadway revival===
A [[Revival (theatre)|revival]] opened on Broadway at the [[Minskoff Theatre]] on April 27, 1986 and closed on March 15, 1987, running for 369 performances and 15 previews. Again directed and choreographed by Fosse, [[Debbie Allen]] starred as Charity with [[Bebe Neuwirth]] as Nickie, Allison Williams as Helene and [[Michael Rupert]] as Oscar. Fosse's wife Gwen Verdon (the original Charity from 1966), remounted the choreography with Fosse, and taught much of the ensemble numbers to the female chorus. The production won four [[Tony Award]]s including the Tony Award, Best Reproduction (Play or Musical). When Allen left the show [[Ann Reinking]] took over as Charity.

===1998 benefit concert===
On June 15, 1998, [[Broadway Cares/Equity Fights AIDS]] presented an all-star fully staged one-night-only concert at Avery Fisher Hall in [[Lincoln Center]]. It starred [[Chita Rivera]], [[Bebe Neuwirth]], [[Donna McKechnie]], [[Debbie Allen]] and in her last public stage appearance, Gwen Verdon, all in the shared role of Charity.<ref>Willis, John. ''Theatre World 1998–1999 (Vol. 55)'', Hal Leonard Corporation, 2002, {{ISBN|1-55783-432-6}}, p.6</ref>

===1998 London revival===
A [[West End revival]] opened on 19 May 1998 and closed on 15 August 1998 at the [[Victoria Palace Theatre]], choreographed by [[Stephen Mear]] and starring [[Bonnie Langford]].<ref>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=Sweet%20Charity "Sweet Charity' listing, 1998"] ''Albemarle of London'', retrieved 1 July 2010</ref>

===2005 Broadway revival===
[[Christina Applegate]] starred in another [[Revival (theatre)|revival]] of the show, opening on Broadway at the [[Al Hirschfeld Theatre]] on May 4, 2005, after a troubled three-city preview tour. The show went into production beginning January 25, 2005, at the [[Orpheum Theatre (Minneapolis, Minnesota)|Historic Orpheum Theatre]] in [[Minneapolis]]. Audience-attended previews began February 8,<ref>[[Simonson, Robert]]. [http://www.playbill.com/news/article/91058 "''Sweet Charity'' Begins Its Run at Broadway With Feb. 8–20 Minneapolis Tryout"] Playbill.com, February 8, 2005</ref> with the Opening Night performance held February 17, 2005. The Minneapolis engagement closed on February 20.<ref>Simonson, Robert. [http://www.playbill.com/news/article/91285 " ''Sweet Charity'' Cast Frugs Its Last in Minneapolis Feb. 20; Chicago Next Stop"] Playbill.com, February 8, 2005</ref> Applegate broke her foot in [[Chicago]], the second stop on the tour, and was replaced by her understudy, [[Charlotte d'Amboise]]. Then, after the final leg of the tour in [[Boston]], the producers announced that the production would not be continuing to Broadway due to lack of interest. However, two days later, the Broadway engagement was on after Applegate convinced the producers to continue. A week into previews, Applegate rejoined the cast, which also included [[Denis O'Hare]] and [[Ernie Sabella]].<ref>Simonson, Robert. [http://www.playbill.com/news/article/92400 "Christina Applegate Debuts as Charity in Broadway's ''Sweet Charity'' April 18"] Playbill.com, April 18, 2005</ref> The show was nominated for three Tony Awards including Best Revival of a Musical and Best Actress in a Musical for Applegate. Reportedly, pop icon [[Britney Spears]] was asked to replace Applegate when her contract expired, but declined the offer.<ref>Simonson, Robert. [http://www.playbill.com/news/article/96451 Will a Spears-Starring ''Sweet Charity'' Move to Hilton Theatre?] Playbill.com, November 23, 2005</ref> The musical ended its Broadway run on December 31, 2005, after 279 performances.

A national tour of the 2005 Broadway revival began in September 2006 and ended in August 2007. It starred [[Molly Ringwald]] and later [[Paige Davis]] as Charity.<ref>Pincus-Roth, Zachary. [http://www.playbill.com/news/article/106450 "Paige Davis to Replace Ringwald in ''Sweet Charity'' Tour"] Playbill.com, March 12, 2007</ref>

===2009 London revival===
A [[Revival (theatre)|revival]] of the show opened for a limited engagement at London's [[Menier Chocolate Factory]] on 21 November 2009 and closed on 7 March 2010. It starred [[Tamzin Outhwaite]] as Charity.<ref name=play1>Shenton, Mark [http://www.playbill.com/news/article/137069-Menier-Revival-of-Sweet-Charity-to-Transfer-to-West-Ends-Theatre-Royal-Haymarket "Menier Revival of 'Sweet Charity' to Transfer to West End's Theatre Royal, Haymarket"] Playbill.com, 19 February 2010</ref> Outhwaite reprised the title role in the West End transfer of the successful Chocolate Factory production of the show. Playing at the [[Theatre Royal, Haymarket]] the show opened officially on 4 May 2010 after previews began on 23 April.<ref name=play1/> This was the first major production to have the same actor ([[Mark Umbers]]) play all three of Charity's love interests: Charlie, Vittorio, and Oscar. Similarly, [[Josefina Gabrielle]] played both Nickie and Ursula while Tiffany Graves played Helene. The production closed at the Theatre Royal Haymarket on 6 November 2010 despite being scheduled to run until January 2011.<ref>''[https://officiallondontheatre.com/news/sweet-charity-announces-west-end-closure-112269/ Sweet Charity announces West End closure]'' OfficialLondonTheatre.com</ref> The 2011 [[Olivier Award]] nominations were announced on Monday 7 January 2011, and this production received three nominations: Best Revival of a Musical, Best Theatre Choreography for [[Stephen Mear]] and Best Supporting Actress in a Musical for [[Josefina Gabrielle]].

===2014 Sydney and 2015 Australian tour===
The show was the first production of the new [[Hayes Theatre Co]] in [[Potts Point]], [[Sydney, Australia]]. Directed by [[Dean Bryant]], and choreographed by [[Andrew Hallsworth]], it starred [[Verity Hunt-Ballard]] as Charity, and [[Martin Crewes]] as Charlie, Vittorio and Oscar.<ref>[http://www.smh.com.au/entertainment/musicals/sweet-charity-does-the-fandango-20140131-31q7h.html] smh.com.au</ref><ref>[http://www.hayestheatre.com.au/what-s-on/sweet-charity-cast-crew.html]</ref><ref>[http://www.dailytelegraph.com.au/entertainment/sydney-confidential/musical-theatre-gets-a-new-stage-with-the-hayes-theatre-co-opening-in-potts-point/story-fni0cvc9-1226822908066] ''Daily Telegraph''</ref>

Verity Hunt-Ballard won the 2014 [[Helpmann Award for Best Female Actor in a Musical]], while Dean Bryant and Andrew Hallsworth won the Helpmanns for [[Helpmann Award for Best Direction of a Musical|Best Direction]] and [[Helpmann Award for Best Direction of a Musical|Best Choreography]], respectively. Martin Crewes was nominated for [[Helpmann Award for Best Male Actor in a Musical|Best Male Actor]], and Debora Krizak was nominated for [[Helpmann Award for Best Female Actor in a Supporting Role in a Musical|Best Supporting Female]]. The show was nominated for [[Helpmann Award for Best Musical|Best Musical]], and Andrew Worboys and Jessica James-Moody were nominated for [[Helpmann Award for Best Music Direction|Best Musical Direction]] and [[Helpmann Award for Best Sound Design|Best Sound Design]], respectively.<ref>[http://www.helpmannawards.com.au/2014/nominees-and-winners/ "Nominees and Winners] helpmannawards.com.au</ref> It also won several [[Sydney Theatre Awards]] for Best Production of a Musical, Best Performance by an Actress in a Leading Role in a Musical (Verity Hunt-Ballard) and Best Performance by an Actress in a Supporting Role in a Musical (Debora Krizak).<ref name="sydneytheatreawards.com">[http://www.sydneytheatreawards.com/history/2014] sydneytheatreawards.com</ref>

The critically acclaimed production transferred to Playhouse in the [[Sydney Opera House]] from 15 January 2015 to 8 February 2015.<ref>[http://www.smh.com.au/entertainment/musicals/sweet-charity-review-hayes-production-loses-no-sweetness-in-move-to-bigger-stage-20150117-12sa08.html ''Sweet Charity''] smh.com.au</ref><ref>[http://jolitson.com/2015/01/18/sweet-charity-remount/] jolitson.com, January 18, 2015</ref><ref>Hook, Chris.[http://m.dailytelegraph.com.au/entertainment/arts/sweet-charity-shines-in-return-season-move-to-opera-house/story-fniv7r7y-1227189760100 " 'Sweet Charity' shines in return season move to Opera House"] ''The Daily Telegraph'', January 22, 2015</ref>

It then toured to the Canberra Theatre Centre, [[Arts Centre Melbourne]] Playhouse and the Illawarra Performing Arts Centre in Wollongong.

===2015 London concert performances===
In August 2015 [[Denise Van Outen]] performs the title role in concert performances of the musical at [[Cadogan Hall]],<ref>[http://www.cadoganhall.com/event/sweet-charity/ ''Sweet Charity''] Cadogan Hall.com</ref> with actor/singer [[Michael Xavier]], ex-[[Girls Aloud]] band member [[Kimberley Walsh]], West End star [[Kerry Ellis]], and actors/singers [[Michael Simkins]] and Rodney Earl Clarke.

===2016 Off-Broadway===
The musical was presented [[Off-Broadway]] by The New Group at the Pershing Square Signature Center, opening on November 20, 2016. Directed by [[Leigh Silverman]] with choreography by Joshua Bergasse, the cast stars [[Sutton Foster]] as Charity Hope Valentine, Asmeret Ghebremichael (Nickie), [[Shuler Hensley]] (Oscar), [[Emily Padgett]] (Helene), and Joel Perez.<ref>Viagas, Robert. [http://www.playbill.com/article/see-how-the-critics-reviewed-sutton-foster-in-sweet-charity# "See How the Critics Reviewed Sutton Foster in' Sweet Charity'"] Playbill, November 20, 2016</ref><ref>Stasio, Marilyn. [https://variety.com/2016/legit/reviews/sweet-charity-review-sutton-foster-1201923296/ "Off Broadway Review: Sutton Foster in ‘Sweet Charity’"] ''Variety'' November 20, 2016</ref>

===2019 Off-West End===
In April 2019 The [[Donmar Warehouse]] revived the production for a limited run from 6 April 2019 to 8 June 2019. The production starred [[Anne-Marie Duff|Anne Marie-Duff]] as Charity, [[Arthur Darvill]] as Oscar and a variety of guest actors to play Daddy Brubeck including [[Adrian Lester|Adrien Lester]] and [[Beverley Knight|Beverly Knight]]. This was [[Josie Rourke]]'s last production as artistic director at The Donmar.

 

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 1966
| rowspan="9"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{nom}}
|-
| [[Tony Award for Best Original Score|Best Composer and Lyricist]]
| [[Cy Coleman]] and [[Dorothy Fields]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Gwen Verdon]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[John McMartin]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Helen Gallagher]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| rowspan="2"| [[Bob Fosse]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| {{won}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| Robert Randolph
| {{nom}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Irene Sharaff]]
| {{nom}}
|}

===1986 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="10" align="center"| 1986
| rowspan="5"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival|Best Revival]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Debbie Allen]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Michael Rupert]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Bebe Neuwirth]]
| {{won}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Patricia Zipprodt]]
| {{won}}
|-
| rowspan="5"| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Debbie Allen]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Michael Rupert]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Bebe Neuwirth]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Bob Fosse]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
| [[Ralph Burns]]
| {{nom}}
|}

===2005 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7" align="center"| 2005
| rowspan="3"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christina Applegate]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Wayne Cilento]]
| {{nom}}
|-
| rowspan="4"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Christina Applegate]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Denis O'Hare]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Scott Pask]]
| {{nom}}
|}

===2009 London revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="3" align="center"| 2011
| rowspan="3"| [[Laurence Olivier Award]]
| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Performance in a Supporting Role in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Stephen Mear]]
| {{nom}}
|}

===2014 Sydney revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="20%"| Award
! width="45%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2014
|-
| rowspan="8"| [[Helpmann Awards]]<ref>[http://www.helpmannawards.com.au/2014/nominees-and-winners]</ref>
| colspan="2"| Best Musical
| {{nom}}
|-
| colspan="1"| Best Direction of a Musical
| [[Dean Bryant]]
| {{won}}
|-
| colspan="1"| Best Choreography of a Musical
| [[Andrew Hallsworth]]
| {{won}}
|-
| colspan="1"| Best Female Actor in a Musical
| [[Verity Hunt-Ballard]]
| {{won}}
|-
| colspan="1"| Best Male Actor in a Musical
| [[Martin Crewes]]
| {{nom}}
|-
| colspan="1"| Best Supporting Female Actor in a Musical
| [[Debora Krizak]]
| {{nom}}
|-
| colspan="1"| Best Musical Direction
| [[Andrew Worboys]]
| {{nom}}
|-
| colspan="1"| Best Sound Design
| [[Jessica James-Moody]]
| {{nom}}
|}

===2016 Off-Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="9" align="center"| 2017
| rowspan="2"| [[Drama Desk Awards]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Leading Actress in a Musical]]
| [[Sutton Foster]]
| {{nom}}
|-
| rowspan="6"| [[Lucille Lortel Awards]]
| colspan="2"| Outstanding Revival
| {{nominated}}
|-
| Outstanding Lead Actor in a Musical
| [[Shuler Hensley]]
| {{nominated}}
|-
| Outstanding Lead Actress in a Musical
| [[Sutton Foster]]
| {{nominated}}
|-
| Outstanding Featured Actor in a Musical
| [[Joel Perez]]
| {{won}}
|-
| Outstanding Featured Actress in a Musical
| [[Asmeret Ghebremichael]]
| {{nominated}}
|-
| Outstanding Choreographer
| Joshua Bergasse
| {{nominated}}
|-
| [[Outer Critics Circle Awards]]
| Outstanding Featured Actor in a Musical
| [[Shuler Hensley]]
| {{nominated}}
|-
|}

==Recordings==
There are numerous [[Sound recording and reproduction|recording]]s of the show's [[Sheet music|score]] available including:
* 1966 Original [[Broadway theatre|Broadway]] [[cast recording]]
* Film [[soundtrack]] recording
* 1986 [[Broadway theatre|Broadway]] [[cast recording]] with [[Debbie Allen]] and [[Bebe Neuwirth]]
* First Complete Recording of the show conducted by [[Martin Yates]]. This version includes the complete score with bonus tracks from the film's score
* 2005 [[Broadway theatre|Broadway]] [[cast recording]] starring [[Christina Applegate]] and Denis O'Hare

== References ==
{{Reflist | 2}}

==External links==
{{commonscat|Sweet Charity}}
*{{IBDB show|8457}}
*[http://www.stageagent.com/Shows/View/742 Sweet Charity Synopsis and Character Descriptions] Stage Agent
*[http://www.broadwaymusicalhome.com/shows/sweetcharity.htm ''Sweet Charity''] The Broadway Musical Home – musical information
*[http://www.tuts.com/Images/SeasonShowDocs/SweetCharity_study.pdf Sweet Charity Educational Study Guide] Theatre Under the Stars

{{Neil Simon}}
{{Dorothy Fields}}
{{Cy Coleman}}
{{Bob Fosse}}
{{TonyAward Revival}}

{{Authority control}}

[[Category:1966 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals based on films]]
[[Category:Musicals choreographed by Bob Fosse]]
[[Category:Musicals by Cy Coleman]]
[[Category:Tony Award-winning musicals]]

State Fair (musical)

2020-04-03T22:48:12Z

JohnAnkerBow: Instrumentation Added

{{other uses|State Fair (disambiguation)}}
{{Infobox Musical
|name= State Fair
|image = Musical1996-StateFair-OriginalPoster.jpg
|image_size = 250px
|caption = Original Broadway poster (1996)
|music= [[Richard Rodgers]]
|lyrics= [[Oscar Hammerstein II]]
|book= Tom Briggs Louis Mattioli
|basis= ''[[State Fair (1976 film)|State Fair]]'' by Richard Fielder ''[[State Fair (1962 film)|State Fair]]'' by Richard L. Breen Oscar Hammerstein II [[Sonya Levien]] [[Paul Green (playwright)|Paul Green]] ''[[State Fair (1945 film)|State Fair]]'' by Oscar Hammerstein II Sonya Levien Paul Green ''[[State Fair (1933 film)|State Fair]]'' by Sonya Levien Paul Green ''[[State Fair (novel)|State Fair]]'' by [[Phil Stong]]
|productions= 1996 [[Broadway theatre|Broadway]]

}}
'''''State Fair''''' is a [[musical theatre|musical]] with a book by Tom Briggs and Louis Mattioli, lyrics by [[Oscar Hammerstein II]], and music by [[Richard Rodgers]].

[[Phil Stong]]'s original novel, ''[[State Fair (novel)|State Fair]]'', was first [[State Fair (1933 film)|adapted for film in 1933]] in a production starring [[Will Rogers]]. In 1945, the film was remade [[State Fair (1945 film)|as a musical]] with original songs by [[Rodgers and Hammerstein]]. This was subsequently [[State Fair (1962 film)|remade in 1962]] as well as [[State Fair (1976 film)|adapted into a made-for-television movie in 1976]]. The stage production closely follows the plot of its predecessors, providing a glimpse into the life of a farming family, the Frakes, and their three-day adventure at the [[Iowa State Fair]] in [[Des Moines]] in 1946. While parents Abel and Melissa are hoping to win a few [[blue ribbon]]s, siblings Margy and Wayne are more interested in finding romance on the midway.

==Production history==
In 1969, [[The Muny]] in St. Louis presented the world stage premiere of ''State Fair'' starring [[Ozzie and Harriet]] Nelson with [[Ron Husmann]], Jerry Lanning, Bonnie Schon, Carol Richards, Jack Goode, [[Tom Pedi]], [[Tommy Tune]] and [[Lawrence Leritz]] (stage debut) in the children's chorus. The production was directed by [[James Hammerstein]], supervised by [[Richard Rodgers]] and also choreographed by [[Tommy Tune]]. Additional songs included in this production were three from "[[Me & Juliet]]"; "It's Me!", "Keep It Gay" and "Marriage Type Love" and a new one, "Away From Home."

In 1992 a new stage adaptation, by Tom Briggs and Louis Mattioli, was produced as part of the Broadway Preview Series at [[University of North Carolina School of the Arts|the North Carolina School of the Arts]], and was directed and choreographed by [[Randy Skinner]]. The show played at the [[Stevens Center]] in Winston-Salem from July 17 – August 16, 1992.<ref>[http://www.rnh.com/photos.html?img=1267&gallery=168&gpg=9&ipg=1 ''Playbill Front Cover for STATE FAIR at The Stevens Center at The North Carolina School of the Arts, July 17 – August 16 1992.''] rnh.com</ref> From North Carolina, the show moved to Long Beach Civic Light Opera in October 1992.<ref>[http://www.deseretnews.com/article/243466/GORGEOUS-SCHMALTZY-STATE-FAIR-IS-SO-GOOD-BROADWAY-MAY-WANT-IT.html "Gorgeous, Schmaltzy 'State Fair' Is So Good, Broadway May Want It"] ''Deseret News'', Salt Lake City, August 22, 1992</ref> A re-staging of the 1992 version received a lengthy national tour, opening at the 1995 Iowa State Fair at the Civic Center of Greater [[Des Moines]] on August 12.<ref>Hurley, Joseph. ''Variety'', "Legit: Broadway & The Road", October 9, 1995 – October 15, 1995</ref><ref name=history/>

The [[Broadway theatre|Broadway]] production, co-directed by [[James Hammerstein]] (Oscar's son) and [[Randy Skinner]] and choreographed by Skinner opened on March 27, 1996 at the [[Music Box Theatre]], where it ran for 110 performances and eight previews. It was the final show produced by the legendary [[David Merrick]]. The cast included, as the Frake family [[John Davidson (entertainer)|John Davidson]] as Abel, [[Kathryn Crosby]] as Melissa, [[Andrea McArdle]] as Margy, and [[Ben Wright (American actor)|Ben Wright]] as Wayne, with [[Donna McKechnie]] (Emily) and [[Scott Wise]] (Pat) as the love interests. [[Susan Egan]] took over the role of Margy part way through the run when McArdle broke her ankle in June 1996.<ref>Viagas, Robert. [http://www.playbill.com/news/article/33407-John-Davidson-To-Star-in-State-Fair-Tour "John Davidson To Star in 'State Fair' Tour"] playbill.com, March 14, 1997</ref><ref>[http://www.ibdb.com/person.asp?ID=39325 "Susan Egan credits, Broadway"] ibdb.com</ref> The set design was by James Leonard Joy, the costume design by Michael Bottari and Ronald Case, and the lighting design was by [[Natasha Katz]]. The production received 1996 Tony Award nominations for Best Score and Best Featured Actor in a Musical for Scott Wise. It also received three Drama Desk nominations for Best Featured Actor in a Musical for Scott Wise and Ben Wright and Best Featured Actress in a Musical for Donna McKechnie.

On August 3, 2010, the Finborough Theatre production opened at London's [[West End theatre|West End]] Trafalgar Studios 2, directed by [[Thom Southerland]] and starring Philip Rham, Karl Clarkson, Laura Main and Susan Travers, in a transfer from the 2009 Finborough production.<ref>[https://www.finboroughtheatre.co.uk/transition-archive/2009/statefair.php " ''State Fair'' 2010"] finboroughtheatre.co.uk, retrieved June 10, 2019</ref> The show opened to generally positive reviews with ''The Guardian'' quoting "It's a great night out, and as exhilarating as a hoedown". Due to demand the run was extended two weeks to September 11, 2010. The musical had initially opened at the Finborough Theatre in August 2009, with Magnus Gilljam as musical director and pianist. ''The Guardian'' reviewer wrote of the 2009 production: "It may not be one of the great musicals, but, in its melodic paean to middle America, I found this infinitely more enjoyable than some of Rodgers and Hammerstein's later, tendentious excursions into east-west politics."<ref>Billington, Michael. [https://www.theguardian.com/stage/2009/aug/18/state-fair-review " 'State Fair' Review] ''The Gusrdian'', 18 August 2009</ref>

==Plot==
'''Act I'''

It is summer 1946 on the Frake family farm in Brunswick, Iowa. The Frakes are preparing to leave for the Iowa State Fair. Father, Abel Frake, is hoping that his prize boar, Blue Boy, will win the livestock sweepstakes. Abel's wife, Melissa, has her heart set on ribbons for her mincemeat and sour pickles (“Opening”). Abel's wife, Melissa, is confident that she will win a blue ribbon for her mincemeat. Their son, Wayne, is practicing, hoping to win prizes from the midway games, however is suddenly saddened when he learns that his girlfriend, Eleanor, was accepted to college, and she cannot go to the fair. Local shopkeeper, Dave Miller, is skeptical about the family’s hopes. He makes a $5 bet that something is bound to go wrong for Blue Boy or the family. Abel accepts. Meanwhile, daughter, Margy, is feeling down and doesn't understand why. Her beau, Harry, presses her for an answer to a marriage proposal; she agrees to give him an answer when she returns home (“It Might as Well Be Spring”). That night, the family leaves for the fair, awaiting the surprises that lie ahead. (“Driving at Night/Our State Fair”)

After arriving at the fair, Wayne heads straight for the midway. He is hustled by a barker at the Hoop-La. A beautiful mysterious woman defends on Wayne's behalf. He is head over heels before he even knows her name (“That’s For Me”). At the beer tent, Abel and his farmer buddies sit around trading stories about their prized pigs (“More Than Just a Friend”). Meanwhile, a former war reporter, Pat Gilbert, arrives with a photographer, Charlie, to cover the Fair. He runs into Margy, whom he repeatedly tries to court (“Isn’t It Kinda Fun?”), she remains forbidding until he begins to win her over (“Isn’t it Kinda Fun? (Reprise)”). Wayne heads to the Starlight Dance Meadow in time to watch the nightly show (“You Never Had it So Good”). The performer is a singer named Emily Arden, who happens to be the woman he met earlier in the day. They buy drinks, and she tells Wayne that her dream is to become a Broadway star. He charmingly asks her out. She agrees, but cautiously.

The next morning, Margy complains about Harry to Melissa (“It Might as Well Be Spring (Reprise)”). Abel walks in, overjoyed at the joy of victory and winning, and he proposes an evening of fun and dancing with his family (“When I Go out Walking with My Baby”).

At the Exhibit Hall that afternoon the pickles and mincemeat are being judged. Melissa's mincemeat was spiked with a whole bottle of brandy, sending the judges into a drunken time of giggles and tipsiness. Melissa wins the blue ribbon and a special plaque. Pat and Charlie capture the euphoric moment. From a quiet hill, Wayne and Emily watch the midway below. He has fallen head over heels in love, but she remains unsettled (“So Far”). At the Starlight Dance Meadow that night, fairgoers gather for a dreamy waltz. Abel and Melissa dance romantically, Wayne and Emily arrive with a distinctive glow, as Pat and Margy share a passionate kiss when, to Margy’s shock, Harry arrives at the fair (“A Grand Night for Singing”).

'''Act II'''

Despite Harry's presence, Pat and Margy are growing closer and more in love. Pat's notice that he is no longer his old self, proclaiming that he is a changed man because he has found real love (“Man I Used to Be”). Blue Boy is declared the winner of the livestock sweepstakes, and Abel celebrates with his family and friends (“All I Owe Ioway”). Pat learns from Charlie that he has landed a Chicago job interview, but it means catching the first train out of Iowa (“Man I Used to Be (Reprise)”). Reluctant to leave Margy in the high point, he leaves just as she arrives for their night out.

The scene shifts to the Starlight Dance Meadow for the closing performance of the fair, headlined by Emily (“That’s the Way It Happens”). Wayne proclaims his love for Emily that night, but she breaks it off, revealing that she has tried to fall in love, as she is married. Back at the campsite, Abel and Melissa are watching the stars together. Melissa is concerned about the children growing up too fast, but Abel proclaims that they have always had each other (“Boys and Girls Like You and Me”). The fair is over, and is being dismantled. On the dark former midway, Margy is waiting for Pat, remembering that he said he wouldn’t break it off, he just wouldn’t be around (“The Next Time it Happens”). Harry enters, pleading to Margy for marriage. However he realizes, that she just doesn’t love him.

Upon returning to the farm, there is a spread in the local newspaper detailing word-by-word their experience at the Fair, with extra emphasis on Margy, secretly written by Pat. Dave Miller returns, Abel pleads for him to cough up the money, but Miller reminds Abel that the bet was not about victory, but happiness. He emphasizes to Abel that he won’t pay up until he is certain that everyone enjoyed themselves at the fair. Wayne and Eleanor have become engaged. Margy, however, has come in moping, saying that she has outgrown the fair. Shockingly, Pat has arrived at the Frake house, apologizing to Margy about leaving early, he reveals that he has been hired for the job in Chicago and he wants to leave with Margy. He gets down on one knee and proposes, Margy accepts. Dave Miller hands over the $5 to Abel, and the two walk inside the house.

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Opening – Abel Frake, Melissa Frake and Wayne Frake
* [[It Might as Well Be Spring]]* – Margy Frake
* Driving at Night/Our State Fair* – Abel Frake, Melissa Frake, Wayne Frake, Margy Frake and Company
* [[That's for Me]]* – Wayne Frake
* More Than Just a Friend* – Abel Frake, Hank Munson, Lem, and Clay
* Isn't It Kinda Fun?* – Pat Gilbert and Margy Frake
* Isn't It Kinda Fun?* (Reprise) – Margy Frake
* You Never Had It So Good (cut from ''[[Me and Juliet]]'') – Emily Arden and Fairtones
* It Might as Well Be Spring (Reprise) – Margy Frake
* When I Go Out Walking With My Baby (cut from ''[[Oklahoma!]]'') – Abel Frake and Melissa Frake
* So Far (from ''[[Allegro (musical)|Allegro]]'') – Wayne Frake and Emily Arden
* It's a Grand Night for Singing* – Company
{{col-break}}
;Act II
* Man I Used to Be (from ''[[Pipe Dream (musical)|Pipe Dream]]'') – Pat Gilbert, Vivian, and Jeanne
* All I Owe Ioway* – Abel Frake and Company
* Man I Used to Be (Reprise) – Pat Gilbert
* That's the Way It Happens (from ''[[Me and Juliet]]'') – Emily Arden and Fairtones
* Boys and Girls Like You and Me (cut from ''[[Oklahoma!]]''<ref name=history>[http://www.rnh.com/show/92 "Rodgers and Hammerstein listing, History"] rnh.com, accessed May 17, 2013</ref> and included in some productions of ''[[Cinderella (musical)|Cinderella]]'', though not the original) – Abel Frake and Melissa Frake
* Next Time It Happens (from ''[[Pipe Dream (musical)|Pipe Dream]]'') – Margy Frake
* Finale Ultimo – Company
{{col-end}}

;Notes on the music
The six songs from the original 1945 film score were supplemented by others that were either featured in, or cut from, other Rodgers and Hammerstein shows. One, "More Than Just a Friend," was written by Rodgers for the 1962 film remake after Hammerstein's death. "Driving at Night" was created by co-director James Hammerstein and the production's orchestrator, Bruce Pomahac, with music from a song that had been cut from ''Allegro'' entitled "Two Short Years".<ref>''New York Times'', Vincent Canby, March 28, 1996</ref><ref name=history/>

The starred songs (above) were in the original 1945 or 1962 films.

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=State Fair |url=https://www.concordtheatricals.com/p/65871/state-fair |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Piano, Reed I (Flute, Piccolo, Alto Sax), Reed II (Oboe, English Horn, Alto Sax), Reed III (Clarinet, Tenor Sax), Reed IV (Bassoon, Bass Clarinet, Tenor Sax), Horn I, Horn II, Trumpet I, Trumpet II, Trumpet III, Tuba, Harp, Keyboard, Violin I, Violin II, Viola, Cello, Bass & Percussion [2 Timpani, Orchestra Bells, Xylophone, Chinese Bell Tree, Woodblock, Mark Tree, Fight Bell, Vibes, Sandpaper Blocks, Temple Blocks (4 pitches), Cowbell, Gran Casa, Suspended Cymbal & Crash Cymbal]

== Cast ==
{| class="wikitable"
!Character
!Original Broadway Cast
|-
!Abel Frake
|[[John Davidson (entertainer)|John Davidson]]
|-
!Melissa Frake
|[[Kathryn Crosby]]
|-
!Margy Frake
|[[Andrea McArdle]]
|-
!Wayne Frake
|[[Ben Wright (American actor)|Ben Wright]]
|-
!Emily Arden
|[[Donna McKechnie]]
|-
!Pat Gilbert
|[[Scott Wise]]
|-
!Dave Miller
|Charles Goff
|-
!Harry
|Peter Benson
|-
!Eleanor
|Susan Haefner
|-
!Lem
|John Wilkerson
|-
!Clay
|J. Lee Flynn
|-
!Hank Munson
|Newton R. Gilchrist
|-
!Charlie
|Darrian C. Ford
|-
!Vivian
|Tina Johnson
|-
!Jeanne
|Leslie Bell
|}

==Recording==
The 1996 Original Broadway Cast recording is on DRG Records 94765 (CD/CS).

==Accolades==
 
{| class="wikitable" width="95%"
! width="5%" |Year
! width="20%" |Award
! width="40%" |Category
! width="25%" |Nominee
!Result
|-
| rowspan="5" |1996
| rowspan="2" |[[Tony Award]]
|[[Tony Award for Best Original Score|Best Original Score]]
|[[Richard Rodgers]] and [[Oscar Hammerstein II]]
| {{nom}}
|-
|[[Tony Award for Best Featured Actor in a Musical|Best Featured Actor in a Musical]]
| rowspan="2" |[[Scott Wise]]
| {{nom}}
|-
| rowspan="3" |[[Drama Desk Award]]
| rowspan="2" |[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| {{nom}}
|-
|[[Ben Wright (American actor)|Ben Wright]]
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|[[Donna McKechnie]]
| {{nom}}
|}

==References==
<references/>

==External links==
*[http://www.ibdb.com/production.asp?ID=4270 Internet Broadway database listing]
*[http://www.rnh.com/show/92 RNH Theatricals Listing, 'State Fair']
*[http://guidetomusicaltheatre.com/shows_s/state_fair.htm Detailed plot synopsis, production details, guidetomusicaltheatre.com]

{{Rodgers and Hammerstein}}
{{State Fair}}

[[Category:1996 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals by Rodgers and Hammerstein]]
[[Category:Musicals based on films]]
[[Category:Musicals based on novels]]
[[Category:State Fair (franchise)]]
[[Category:Fiction set in 1946]]

South Pacific (musical)

2020-04-03T22:42:06Z

JohnAnkerBow: Instrumentation Added

{{About|the 1949 Broadway musical|the 1958 film|South Pacific (1958 film)|the 2001 film|South Pacific (2001 film)}}
{{short description|1949 Broadway musical}}
{{featured article}}
{{Infobox musical
| name = South Pacific
| image = Musical1949-SouthPacific-OriginalPoster.jpg
| image_size = 250px
| caption = Original Broadway poster (1949)
| music = [[Richard Rodgers]]
| lyrics = [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II [[Joshua Logan]]
| basis = ''[[Tales of the South Pacific]]'' by [[James A. Michener]]
| productions = 1949 [[Broadway theatre|Broadway]] 1950 U.S. tour 1951 [[West End theatre|West End]] 1988 West End [[revival (theatre)|revival]] 2001 West End revival 2007 U.K. tour 2008 Broadway revival 2009 U.S. tour
| awards = 1950 [[Pulitzer Prize for Drama]] 1950 [[Tony Award for Best Musical]] {{nowrap|[[Tony Award for Best Original Score]]}} 1950 [[Tony Award for Best Author]] 2008 [[Tony Award for Best Revival of a Musical]]
}}

'''''South Pacific''''' is a [[musical theatre|musical]] composed by [[Richard Rodgers]], with lyrics by [[Oscar Hammerstein II]] and [[Book (musical theatre)|book]] by Hammerstein and [[Joshua Logan]]. The work premiered in 1949 on [[Broadway theatre|Broadway]] and was an immediate hit, running for 1,925 performances. The plot is based on [[James A. Michener]]'s [[Pulitzer Prize for Fiction|Pulitzer Prize-winning]] 1947 book ''[[Tales of the South Pacific]]'' and combines elements of several of those stories. [[Rodgers and Hammerstein]] believed they could write a musical based on Michener's work that would be financially successful and, at the same time, send a strong progressive message on racism.

The plot centers on an American nurse stationed on a South Pacific island during World War II, who falls in love with a middle-aged expatriate French plantation owner but struggles to accept his mixed-race children. A secondary romance, between a U.S. lieutenant and a young [[Tonkin]]ese woman, explores his fears of the social consequences should he marry his Asian sweetheart. The issue of racial prejudice is candidly explored throughout the musical, most controversially in the lieutenant's song, "[[You've Got to Be Carefully Taught]]". Supporting characters, including a comic [[petty officer#United States|petty officer]] and the Tonkinese girl's mother, help to tie the stories together. Because he lacked military knowledge, Hammerstein had difficulty writing that part of the script; the director of the original production, Logan, assisted him and received credit as co-writer of the book.

The original Broadway production enjoyed immense critical and box-office success, became [[List of the longest-running Broadway shows|the second-longest running Broadway musical]] to that point (behind Rodgers and Hammerstein's earlier ''[[Oklahoma!]]'' (1943)), and has remained popular ever since. After they signed [[Ezio Pinza]] and [[Mary Martin]] as the leads, Rodgers and Hammerstein wrote several of the songs with the particular talents of their stars in mind. The piece won the [[Pulitzer Prize for Drama]] in 1950. Especially in the Southern U.S., its racial theme provoked controversy, for which its authors were unapologetic. Several of its songs, including "[[Bali Ha'i]]", "[[I'm Gonna Wash That Man Right Outa My Hair]]", "[[Some Enchanted Evening]]", "[[There Is Nothing Like a Dame]]", "[[Happy Talk (song)|Happy Talk]]", "[[Younger Than Springtime]]", and "[[I'm in Love with a Wonderful Guy]]", have become popular standards.

The production won ten [[Tony Award]]s, including Best Musical, Best Score, and Best Libretto, and it is the only musical production to win Tony Awards in all four acting categories. Its original cast album was the bestselling record of the 1940s, and other recordings of the show have also been popular. The show has enjoyed many successful revivals and tours, spawning a [[South Pacific (1958 film)|1958 film]] and television adaptations. The 2008 Broadway revival, a critical success, ran for 996 performances and won seven Tonys, including Best Musical Revival.

== Background ==
{{main|Tales of the South Pacific}}
Although book editor and university instructor [[James Michener]] could have avoided military service in World War II as a birthright [[Quaker]], he enlisted in the U.S. Navy in October 1942. He was not sent to [[Asiatic-Pacific Theater|the South Pacific theater]] until April 1944, when he was assigned to write a history of the Navy in the Pacific and was allowed to travel widely. He survived a plane crash in [[New Caledonia]]; the near-death experience motivated him to write fiction, and he began listening to the stories told by soldiers. One journey took him to the [[Treasury Islands]], where he discovered an unpleasant village, called Bali-ha'i, populated by "scrawny residents and only one pig".<ref>Lovensheimer, pp. 35–39</ref> Struck by the name, Michener wrote it down and soon began to record, on a battered typewriter, his version of the tales.<ref name = "L39" /> On a plantation on the island of [[Espiritu Santo]], he met a woman named Bloody Mary; she was small, almost toothless, her face stained with red [[betel nut|betel juice]]. Punctuated with profanity learned from [[G.I. (military)|GIs]], she complained endlessly to Michener about the French colonial government, which refused to allow her and other [[Tonkin]]ese to return to their native Vietnam, lest the plantations be depopulated. She told him also of her plans to oppose colonialism in [[French Indochina]].{{#tag:ref|Michener later reflected, "I would often think of her ... when American troops were fighting their fruitless battles in Vietnam, and I wondered if our leaders realized that the enemy they were fighting consisted of millions of determined people like Bloody Mary." See May, p. 20|group= n}} These stories, collected into ''[[Tales of the South Pacific]]'', won Michener the [[1948 Pulitzer Prize]] for fiction.<ref name = "L39">Lovensheimer, p. 39</ref>

''Tales of the South Pacific'' comprises nineteen stories. Each stands independently but revolves around the preparation for an American military operation to dislodge the Japanese from a nearby island. This operation, dubbed ''Alligator'', occurs in the penultimate story, "The Landing at Kuralei". Many of the characters die in that battle, and the last story is titled "The Cemetery at Huga Point". The stories are thematically linked in pairs: the first and final stories are reflective, the second and eighteenth involve battle, the third and seventeenth involve preparation for battle, and so on. The tenth story, at the center, however, is not paired with any other. This story, "Fo' Dolla' ", was one of only four of his many works that Michener later admitted to holding in high regard. It was the one that attracted [[Rodgers and Hammerstein]]'s attention for its potential to be converted into a stage work.<ref>Lovensheimer, pp. 39, 191</ref>

"Fo' Dolla' ", set in part on the island of Bali-ha'i, focuses on the romance between a young Tonkinese woman, Liat, and one of the Americans, Marine Lieutenant Joe Cable, a [[Princeton University|Princeton]] graduate and scion of a wealthy [[Philadelphia Main Line|Main Line]] family. Pressed to marry Liat by her mother, Bloody Mary, Cable reluctantly declines, realizing that the Asian girl would never be accepted by his family or Philadelphia society. He leaves for battle (where he will die) as Bloody Mary proceeds with her backup plan, to affiance Liat to a wealthy French planter on the islands. Cable struggles, during the story, with his own racism: he is able to overcome it sufficiently to love Liat, but not enough to take her home.<ref>Lovensheimer, pp. 39–40</ref>

Another source of the musical is the eighth story, "Our Heroine", which is thematically paired with the 12th, "A Boar's Tooth", as both involve American encounters with local cultures. "Our Heroine" tells of the romance between Navy nurse Nellie Forbush, from rural Arkansas, and a wealthy, sophisticated planter, Frenchman Emile De Becque.{{#tag:ref|The "De" was changed to lower case for the musical. See Maslon, p. 115.|group= n}} After falling in love with Emile, Nellie (who is introduced briefly in story No. 4, "An Officer and a Gentleman") learns that Emile has eight daughters, out of wedlock, with several local women. Michener tells us that "any person ... who was not white or yellow was a nigger" to Nellie, and while she is willing to accept two of the children (of French-Asian descent) who remain in Emile's household, she is taken aback by the other two girls who live there, evidence that the planter had cohabited with a darker Polynesian woman. To her great relief, she learns that this woman is dead, but Nellie endangers her relationship with Emile when she is initially unable to accept Emile's "nigger children."<ref>Michener 1967, pp. 126–127</ref> Nellie overcomes her feelings and returns to spend her life with her plantation owner.<ref>Lovensheimer, pp. 43–44, 191</ref>

Additional elements of ''South Pacific'' had their genesis in others of Michener's 19 tales. One introduces the character of Bloody Mary; another tells of a British spy hidden on the Japanese-controlled island who relays information about Japanese movements to [[Allies of World War II|Allied forces]] by radio. Michener based the spy, dubbed "the Remittance Man", on Captain [[Martin Clemens]], a Scot, who unlike his fictional counterpart, survived the war. The stories also tell of the seemingly endless waiting that precedes battle, and the efforts of the Americans to repel boredom, which would inspire the song "[[There Is Nothing Like a Dame]]".<ref>Lovensheimer, pp. 49–50; and May, pp. 24–25</ref> Several of the stories involve the [[Seabee]], Luther Billis, who in the musical would be used both for comic relief and to tie together episodes involving otherwise unconnected characters.<ref>Lovensheimer, pp. 52–53</ref> A 2001 article in ''Islands Magazine'' states that Michener renamed [[Ambae Island|Aoba Island]] Bali-ha'i. The author interviewed the proprietor of a resort on [[Espiritu Santo]], who claimed that Emile was modeled on his father and that the "real Bloody Mary" lived on Espiritu Santo for many years after the war and lived to the age of 102.<ref>Gibbs, Tony. [https://books.google.com/books?id=Fyg0LmVMZlAC&pg=PA84 "A Tale of the South Pacific"], ''Islands Magazine'', Islands Media, [[Carpinteria, California|Carpenteria]], California, Vol. 21, No. 1, Jan/Feb 2001, pp. 88–89</ref>

== Creation ==

=== Inception ===
In the early 1940s, composer [[Richard Rodgers]] and lyricist [[Oscar Hammerstein II]], each a longtime Broadway veteran, joined forces and began their collaboration by writing two musicals that became massive hits, ''[[Oklahoma!]]'' (1943) and ''[[Carousel (musical)|Carousel]]'' (1945).<ref>Hyland, p. 167</ref> An innovation for its time in integrating song, dialogue and dance, ''Oklahoma!'' would serve as "the model for Broadway shows for decades".<ref>Hischak, p. 202</ref> In 1999, ''[[Time (magazine)|Time]]'' magazine named ''Carousel'' the best musical of the century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical".<ref>[http://www.time.com/time/magazine/article/0,9171,993039-2,00.html "The best of the century"], ''Time'', December 31, 1999, accessed December 21, 2010</ref> Their next effort, ''[[Allegro (musical)|Allegro]]'' (1947), was a comparative disappointment, running for less than a year, although it turned a small profit.<ref>Hischak, pp. 5–7</ref> After this, the two were determined to achieve another hit.<ref name = "N173">Nolan, p. 173</ref>

According to director [[Joshua Logan]], a friend of both theatre men, he and [[Leland Hayward]] mentioned Michener's best-selling book to Rodgers as a possible basis for the duo's next play,<ref name="Lovensheimer 46">Lovensheimer, p. 46</ref> but the composer took no action. Logan recalled that he then pointed it out to Hammerstein, who read Michener's book and spoke to Rodgers; the two agreed to do the project so long as they had majority control, to which Hayward grudgingly agreed.<ref>Fordin, pp. 259–260; and Logan, pp. 266–267</ref> Michener, in his 1992 memoirs, however, wrote that the stories were first pitched as a movie concept to [[MGM]] by [[Kenneth MacKenna]], head of the studio's literary department. MacKenna's half brother was [[Jo Mielziner]], who had designed the sets for ''Carousel'' and ''Allegro''. Michener states that Mielziner learned of the work from MacKenna and brought it to the attention of Hammerstein and Rodgers, pledging to create the sets if they took on the project.<ref>Lovensheimer, p. 47</ref>

Hayward attempted to buy the rights from Michener outright, offering $500; Michener declined. Although playwright [[Lynn Riggs]] had received 1.5% of the box office grosses for the right to adapt ''[[Green Grow the Lilacs]]'' into ''Oklahoma!'', Michener never regretted accepting one percent of the gross receipts from ''South Pacific''. As Rodgers and Hammerstein began their work on the adaptation, Michener worked mostly with the lyricist, but Rodgers was concerned about the implications of the setting, fearing that he would have to include ukuleles and guitars, which he disliked. Michener assured him that the only instrument he had ever heard the natives play was an emptied barrel of gasoline, drummed upon with clubs.<ref>May, p. 80</ref>

=== Composition ===
[[File:R and H.jpg|thumb|right|alt=Two men in business suits sit in theatre seats amiably discussing what they are watching|Rodgers (left) and Hammerstein]]
Soon after their purchase of the rights, Rodgers and Hammerstein decided not to include a ballet, as in their earlier works, feeling that the realism of the setting would not support one. Concerned that an adaptation too focused on "Fo' Dolla' ", the story of the encounter between Cable and Liat, would be too similar to ''[[Madama Butterfly]]'', Hammerstein spent months studying the other stories and focused his attention on "Our Heroine", the tale of the romance between Nellie and Emile. The team decided to include both romances in the musical play. It was conventional at the time that if one love story in a musical was serious, the other would be more comedic, but in this case both were serious and focused on racial prejudice. They decided to increase the role played by Luther Billis in the stories, merging experiences and elements of several other characters into him. Billis's wheeling and dealing would provide comic relief.<ref>Fordin, pp. 261–262</ref> They also shortened the title to ''South Pacific'' – Rodgers related that the producers tired of people making risqué puns on the word "tales".<ref>Maslon, p. 117</ref>

In early drafts of the musical, Hammerstein gave significant parts to two characters who eventually came to have only minor roles, Bill Harbison and Dinah Culbert. Harbison is one of the major characters in ''Tales of the South Pacific''; a model officer at the start, he gradually degenerates to the point where, with battle imminent, he requests his influential father-in-law to procure for him a transfer to a post in the United States. Hammerstein conceived of him as a rival to Emile for Nellie's affections, and gave him a song, "The Bright Young Executive of Today". As redrafts focused the play on the two couples, Harbison became less essential, and he was relegated to a small role as the executive officer to the commander of the island, Captain Brackett. Dinah, a nurse and friend of Nellie, is also a major character in Michener's work, and was seen as a possible love interest for Billis, though any actual romance was limited by Navy regulations forbidding fraternization between officers (all American nurses in World War II were commissioned officers) and enlisted men. "[[I'm Gonna Wash That Man Right Outa My Hair]]" originated as a duet for Dinah and Nellie, with Dinah beginning the song and developing its theme.<ref>Lovensheimer, pp. 58–67</ref> According to Lovensheimer, Nellie's and Dinah's "friendship became increasingly incidental to the plot as the writing continued. Hammerstein eventually realized that the decision to wash Emile out of her hair had to be Nellie's. Only then did the scene have the dramatic potential for Nellie's emotional transition" as she realizes her love for Emile. In the final version, Dinah retains one solo line in the song.<ref>Rodgers and Hammerstein, pp. 310–313</ref>

Joshua Logan, in his memoirs, stated that after months of effort in the first half of 1948, Hammerstein had written only the first scene, an outline, and some lyrics. Hammerstein was having trouble due to lack of knowledge of the military, a matter with which Logan, a veteran of the armed forces, was able to help. The dialogue was written in consultation between the two of them, and eventually Logan asked to be credited for his work. Rodgers and Hammerstein decided that while Logan would receive co-writing credit on the book, he would receive no author's royalties. Logan stated that a contract putting these changes into force was sent over to his lawyer with instructions that unless it was signed within two hours, Logan need not show up for rehearsals as director.<ref>Logan, pp. 273–281; and May, pp. 98–103</ref> Logan signed, although his lawyer did not then tell him about the ultimatum.<ref name = "H179">Hyland, p. 179</ref> Through the decades that followed, Logan brought the matter up from time to time, demanding compensation, but when he included his version of the events in his 1976 memoirs, it was disputed by Rodgers (Hammerstein had died in 1960).<ref name = "H179"/> Rodgers biographer Meryle Secrest suggests that Logan was compensated when [[South Pacific (1958 film)|''South Pacific'' was filmed in 1958]], as Logan received a substantial share of the profits as director.{{#tag:ref|Jim Lovensheimer, in his book on the genesis of ''South Pacific'', questions Logan's account: "in his autobiography, at least, Logan is the star of every show he mentions".<ref name="Lovensheimer 46"/>|group= n}}<ref>Secrest, p. 290</ref> According to Michener biographer Stephen J. May, "it is difficult to assess just how much of the final book Josh Logan was responsible for. Some estimates say 30 to 40 percent. But that percentage is not as critical perhaps as his knowledge of military lore and directing for the theatre, without which the creation of ''South Pacific'' would have collapsed during that summer of 1948."<ref>May, p. 100</ref>

Rodgers composed the music once he received the lyrics from Hammerstein. A number of stories are told of the speed with which he wrote the music for ''South Pacific'' 's numbers. "[[Happy Talk (song)|Happy Talk]]" was said to have been composed in about twenty minutes; when Hammerstein, who had sent the lyrics by messenger, called to check whether Rodgers had received them, his partner informed him that he had both lyrics and music. Legend has it he composed "[[Bali Ha'i]]" in ten minutes over coffee in Logan's apartment; what he did create in that time frame was the three-note motif which begins both song and musical. Hammerstein's lyrics for "Bali Ha'i" were inspired by the stage backdrop which designer [[Jo Mielziner]] had painted. Feeling that the island of Bali Ha'i did not appear mysterious enough, Mielziner painted some mist near the summit of its volcano. When Hammerstein saw this he immediately thought of the lyric, "my head sticking up from a low-flying cloud" and the rest of the song followed easily from that.<ref>Nolan, pp. 184–186</ref>

=== Casting and out-of-town previews ===
[[File:Ezio Pinza SP.jpg|thumb|upright|alt=Publicity portrait of a man in his mid-fifties with curly hair (Pinza)|Ezio Pinza]]
In May 1948, Rodgers received a telephone call from [[Edwin Lester]] of the [[Los Angeles Civic Light Opera]]. Lester had signed former [[Metropolitan Opera]] star [[Ezio Pinza]] for $25,000 to star in a new show, ''Mr. Ambassador''. The show had not been written, and it never would be.<ref>Maslon, p. 111</ref> Lester hoped that Rodgers would take over Pinza's contract. Pinza had become bored as the Met's leading lyric [[Bass (voice type)|bass]], and having played the great opera houses, sought other worlds to conquer. Rodgers immediately saw Pinza as perfect for the role of Emile.<ref>Nolan, p. 178</ref> Lester carefully broached the subject to Pinza and his wife/business manager and provided them with a copy of ''Tales of the South Pacific''. When Pinza read the book, he told Lester, "Sell me right away!"<ref name = "M112">Maslon, p. 112</ref> Pinza's contract for ''South Pacific'' included a clause limiting his singing to 15 minutes per performance.<ref name = "M112" /> With Pinza's signing, Rodgers and Hammerstein decided to make his the lead male role, subordinating the story of the pair of young lovers. It was unusual on Broadway for the romantic lead to be an older male.<ref name = "F262">Fordin, p. 262</ref>

[[File:Mary Martin 1.jpg|thumb|left|upright|alt=Portrait of a woman in her mid-thirties, with long curly hair and wearing an old-fashioned blouse with string tie|[[Mary Martin]]]]
For the role of Nellie, Rodgers sought [[Mary Martin]], who had nearly been cast to originate the role of Laurey in ''Oklahoma!''<ref name = "F262" /> Martin was playing the title role in the touring company of ''[[Annie Get Your Gun (musical)|Annie Get Your Gun]]''. After Hammerstein and Rodgers saw her play in Los Angeles in mid-1948, they asked her to consider the part. Martin was reluctant to sing opposite Pinza's powerful voice; Rodgers assured her he would see to it the two never sang at the same time,<ref>Davis, p. 123</ref> a promise he mostly kept.<ref name = "H180">Hyland, p. 180</ref> Rodgers and Martin lived near each other in Connecticut, and after her tour Rodgers invited Martin and her husband, Richard Halliday, to his home to hear the three songs for the musical that he had completed, none of them for Nellie.<ref>Davis, p. 125</ref> "[[Some Enchanted Evening]]" especially struck Martin, and although disappointed the song was not for her, she agreed to do the part.<ref name = "H180" /> Although Nellie and Emile were already fully developed characters in Michener's stories, during the creation of ''South Pacific'', Rodgers, Hammerstein and Logan began to adapt the roles specifically to the talents of Martin and Pinza and to tailor the music for their voices.<ref>[http://www.rnh.com/show/97/South-Pacific#shows-history "''South Pacific'': History], Rodgers & Hammerstein Organization, accessed August 29, 2012</ref>

Martin influenced several of her songs. While showering one day during rehearsals, she came up with the idea for a scene in which she would shampoo her hair onstage. This gave rise to "I'm Gonna Wash That Man Right Outa My Hair".<ref>Hammerstein, p. 199</ref> Built around a primitive shower that Logan remembered from his time in the military, the song became one of the most talked-about in ''South Pacific''.<ref>Maslon, p. 93</ref> To introduce another of Martin's numbers to her, Rodgers called her over to his apartment, where he and Hammerstein played "[[I'm in Love with a Wonderful Guy]]" for her. When Martin essayed it for herself, she sang the final 26 words, as intended, with a single breath, and fell off her piano bench. Rodgers gazed down at her, "That's exactly what I want. Never do it differently. We must feel you couldn't squeeze out another sound."<ref>Nolan, p. 185</ref>

The producers held extensive auditions to fill the other roles.<ref name = "F267">Fordin, p. 267</ref> [[Myron McCormick]] was cast as Billis; according to Logan, no one else was seriously considered. The two roles which gave the most trouble were those of Cable and Bloody Mary.<ref name = "L283" /> They tried to get Harold Keel for the role of Cable (he had played Curly in the West End production of ''Oklahoma!'') only to find that he had signed a contract with MGM under the name [[Howard Keel]].<ref name = "N182">Nolan, p. 182</ref> [[William Tabbert]] was eventually cast as Cable, though Logan instructed him to lose {{convert|20|lb}}. African-American singer [[Juanita Hall]] was cast as Bloody Mary; Logan recalled that at her audition, she took a squatting pose which proclaimed, "I am Bloody Mary and don't you dare cast anyone else!"<ref name = "L283">Logan, p. 283</ref> [[Betta St. John]], who under the name Betty Striegler had replaced [[Bambi Linn]] as Louise in ''Carousel'', took the role of Liat.<ref name = "N182" /> Logan directed (he and Hayward co-produced with Rodgers and Hammerstein), Mielziner did the stage design, [[Trude Rittmann]] and [[Robert Russell Bennett]] prepared the orchestration, and [[Elizabeth Montgomery Wilmot|Elizabeth Montgomery]] of [[Motley Theatre Design Group]] designed the costumes.<ref name = "F267" /> [[Salvatore Dell'Isola]] served as music director.<ref>Maslon, p. 124</ref>

===Original production===
[[File:South Pacific Playbill.jpg| thumb|upright| alt = Cover of the Playbill for the original production at the Majestic Theatre. It bears a photograph of a man in his 50s (Pinza) beside a somewhat younger woman (Martin). Both are formally dressed and look upwards and to the left with their mouths open, as if singing together. |Playbill cover]]
Rehearsals began at Broadway's [[Belasco Theatre]] on February 2, 1949. There was no formal chorus; each of the nurses and [[Seabees in World War II|Seabees]] was given a name, and, in the case of the men, $50 to equip themselves with what clothing they felt their characters would wear from the military surplus shops which lined West 42nd Street. [[Don Fellows]], the first Lt. Buzz Adams, drew on his wartime experience as a Marine to purchase a non-regulation baseball cap and black ankle boots.<ref>Maslon, pp. 124–125</ref> Martin and Pinza had not known each other, but they soon formed a strong friendship.<ref name="Davis, p. 130">Davis, p. 130</ref> Of the mood backstage, "everyone agreed: throughout the rehearsals Logan was fiery, demanding, and brilliantly inventive."<ref name = "N186">Nolan, p. 186</ref> He implemented lap changes (pioneered by Rodgers and Hammerstein in ''Allegro''), whereby the actors coming on next would already be on a darkened part of the stage as one scene concluded. This allowed the musical to continue without interruption by scene changes, making the action almost seamless. He soon had the Seabees pacing back and forth like caged animals during "There Is Nothing Like a Dame", a staging so effective it was never changed during the run of the show.<ref name = "N186" /> One Logan innovation that Rodgers and Hammerstein reluctantly accepted was to have Cable remove his shirt during the blackout after he and Liat passionately embrace on first meeting, his partial nakedness symbolizing their lovemaking.<ref name = "M121">Maslon, p. 121</ref> As originally planned, Martin was supposed to conclude "I'm in Love with a Wonderful Guy" with an exuberant cartwheel across the stage. This was eliminated after she vaulted into the orchestra pit, knocking out Rittman.<ref>Logan, p. 289</ref>

There were no major difficulties during the four weeks of rehearsal in New York; Martin later remembered that the "gypsy run-through" for friends and professional associates on a bare stage was met with some of the most enthusiastic applause she could remember. One of the few people having trouble was Pinza, who had difficulty adjusting to the constant alterations in the show – he was used to the operatic world, where a role rarely changed once learned. Pinza's mispronunciations of English exasperated Logan, and driving to [[New Haven, Connecticut]] for the first week of previews, Pinza discussed with his wife the possibility of a return to the Met, where he knew audiences would welcome him. She told him to let ''South Pacific'' 's attendees decide for themselves. When the tryouts began in New Haven on March 7, the play was an immediate hit; the ''[[New Haven Register]]'' wrote, "''South Pacific'' should make history".<ref>Maslon, pp. 126, 129</ref>

Nevertheless, a number of changes were made in New Haven and in the subsequent two weeks of previews in Boston. The show was running long; Logan persuaded his friend, playwright [[Emlyn Williams]], to go over the script and cut extraneous dialogue.<ref name = "M129">Maslon, p. 129</ref> There were wide expectations of a hit; producer [[Mike Todd]] came backstage and advised that the show not be taken to New York "because it's too damned good for them".<ref>Nolan, p. 191</ref> The show moved to Boston, where it was so successful that playwright [[George S. Kaufman]] joked that people lining up there at the [[Shubert Theatre (Boston)|Shubert Theatre]] "don't actually want anything ... They just want to push money under the doors."<ref name=Nolan190>Nolan, pp. 190–195</ref>

[[File:South Pacific rehearsal.jpg|thumb|left|alt=Four middle-aged men are gathered around to listen to a woman sing from a book|From left: Logan, Rodgers, Hammerstein, Martin and Michener]]
''South Pacific'' opened on [[Broadway theatre|Broadway]] on April 7, 1949, at the [[Majestic Theatre (Broadway)|Majestic Theatre]].<ref>Hischak, p. 261</ref> The advance sale was $400,000, and an additional $700,000 in sales was made soon after the opening. The first night audience was packed with important Broadway, business, and arts leaders. The audience repeatedly stopped the show with extended applause, which was sustained at length at the final curtain. Rodgers and Hammerstein had preferred, in the past, not to sponsor an afterparty, but they rented the [[St. Regis Hotel]]'s roof and ordered 200 copies of ''[[The New York Times]]'' in the anticipation of a hit. ''Times'' critic [[Brooks Atkinson]] gave the show a rave review.<ref>Fordin, p. 281</ref>

Three days after the opening, Pinza signed a contract with MGM to star in films once his obligation to appear in the show expired. He left the show June 1, 1950, replaced by [[Ray Middleton (actor)|Ray Middleton]], though Pinza missed a number of shows due to illness before that. Martin recalled that, unused to performing eight shows a week, the former opera star would sing full out early in the week, leaving himself little voice towards the end, and would have his understudy go on.<ref>Davis, p. 145</ref><ref name = "M154">Maslon, p. 154</ref> Nevertheless, during the year he was in the show, and although aged 58, he was acclaimed as a sex symbol; [[George Jean Nathan]] wrote that "Pinza has taken the place of Hot Springs, Saratoga, and hormone injections for all the other old boys".<ref name = "M154" />

A national tour began in [[Cleveland]], Ohio, in April 1950; it ran for five years and starred [[Richard Eastham]] as Emile, [[Janet Blair]] as Nellie and [[Ray Walston]] as Billis, a role Walston would reprise in London and in the 1958 film. For the 48,000 tickets available in Cleveland, 250,000 requests were submitted, causing the box office to close for three weeks to process them.<ref>Maslon, pp. 153–154</ref> [[Jeanne Bal]] and [[Iva Withers]] were later Nellies on this tour.<ref>Green, p. 399</ref> A scaled-down version toured military bases in Korea in 1951; by the request of Hammerstein and Rodgers, officers and enlisted soldiers sat together to view it.<ref name = "M154" />

Martin left the Broadway production in 1951 to appear in the original London [[West End theatre|West End]] production; [[Martha Wright (actress)|Martha Wright]] replaced her. Despite the departure of both original stars, the show remained a huge attraction in New York.<ref>Davis, p. 147</ref> [[Cloris Leachman]] also played Nellie during the New York run; [[George Britton (musician)|George Britton]] was among the later Emiles.<ref>Mordden 1999, p. 265</ref> The London production ran from November 1, 1951 for 802 performances at the [[Theatre Royal, Drury Lane]]. Logan directed; Martin and [[Wilbur Evans]] starred, with Walston as Billis, [[Muriel Smith (singer)|Muriel Smith]] as Bloody Mary and [[Ivor Emmanuel]] in the small role of Sgt. Johnson.<ref>Green, p. 398</ref><ref>Hischak, p. 263</ref> [[Sean Connery]] and Martin's son [[Larry Hagman]], both at the start of their careers, played Seabees in the London production;<ref name = "M156">Maslon, p. 156</ref> [[Julie Wilson]] eventually replaced Martin.<ref>Gould, Mark R. [http://atyourlibrary.org/culture/revival-south-pacific "Revival of ''South Pacific''"], American Library Association, 2012, accessed May 23, 2013</ref> On January 31, 1952, King [[George VI]] attended the production with his daughter [[Elizabeth II|Princess Elizabeth]] and other members of the Royal Family.<ref>[https://news.google.com/newspapers?id=S8JVAAAAIBAJ&sjid=tr0DAAAAIBAJ&dq=king%20south%20pacific&pg=4033%2C2957444 "King enjoys ''South Pacific''"], ''[[The Age]]'', February 1, 1952, p. 1, accessed June 5, 2013</ref> He died less than a week later.<ref>Fox, Jack V. [https://news.google.com/newspapers?id=geUdAAAAIBAJ&sjid=Lk4EAAAAIBAJ&dq=south%20pacific%20london&pg=6089%2C1939776 "King George VI dies"], UPI via ''[[Pittsburgh Press]]'', February 6, 1952, p. 1, accessed June 5, 2013</ref>

The Broadway production transferred to the [[Broadway Theatre (53rd Street)|Broadway Theatre]] in June 1953 to accommodate Rodgers and Hammerstein's new show, ''[[Me and Juliet]]'', although ''South Pacific'' had to be moved to Boston for five weeks because of schedule conflicts.<ref>Nolan, p. 119</ref> When it closed on January 16, 1954, after 1,925 performances, it was the [[List of the longest-running Broadway shows|second-longest-running musical]] in Broadway history, after ''Oklahoma!''. At the final performance, Myron McCormick, the only cast member remaining from the opening, led the performers and audience in "[[Auld Lang Syne]]"; the curtain did not fall but remained raised as the audience left the theatre.<ref>Fordin, p. 282</ref>

==Synopsis==

===Act I{{anchor|Synopsis-Act I}}===
[[File:South Pacific scene.jpg|thumb|right|alt=refer to caption|Billis (Myron McCormick) and Bloody Mary (Juanita Hall) haggle over grass skirts as Bali Ha'i looms in the background]]
On a South Pacific island during World War II, two half-[[Polynesians|Polynesian]] children,{{#tag:ref|Although Hammerstein's script for the play calls them half-Polynesian, some productions, including the 2008 Broadway production, cast the children as half-[[Black people|black]]. This is consistent with Michener's novel, which takes place in the [[New Hebrides]] ([[Vanuatu]]). As part of [[Melanesia]], its native inhabitants are black-skinned, and Michener repeatedly refers to the island natives as "black".|group= n}} Ngana and Jerome, happily sing as they play together ("Dites-Moi"). Ensign Nellie Forbush, a naïve [[United States Navy|U.S. Navy]] nurse from [[Little Rock, Arkansas]], has fallen in love with Emile de Becque, a middle-aged French plantation owner, though she has known him only briefly. Even though everyone else is worried about the outcome of the war, Nellie tells Emile that she is sure everything will turn out all right ("A Cockeyed Optimist"). Emile also loves Nellie, and each wonders if the other reciprocates those feelings ("Twin Soliloquies"). Emile expresses his love for Nellie, recalling how they met at the officers' club dance and instantly were attracted to each other ("[[Some Enchanted Evening]]"). Nellie, promising to think about their relationship, returns to the hospital. Emile calls Ngana and Jerome to him, revealing to the audience that they are his children, unbeknownst to Nellie.

Meanwhile, the restless American [[Seabees in World War II|Seabees]], led by crafty Luther Billis, lament the absence of available women – Navy nurses are commissioned officers and off-limits to enlisted men. There is one civilian woman on the island, nicknamed "Bloody Mary", a sassy middle-aged [[Tonkin]]ese vendor of grass skirts, who engages the sailors in sarcastic, flirtatious banter as she tries to sell them her wares ("Bloody Mary"). Billis yearns to visit the nearby island of Bali Ha'i – which is off-limits to all but officers – supposedly to witness a Boar's Tooth Ceremony (at which he can get an unusual native artifact); the other sailors josh him, saying that his real motivation is to see the young French women there. Billis and the sailors further lament their lack of feminine companionship ("[[There Is Nothing Like a Dame]]").

[[File:Hall as Bloody Mary.jpg|thumb|left|x300px|alt=A smiling woman with a topknot and strings of shells around her neck|Juanita Hall as Bloody Mary in the original Broadway production]]
[[United States Marine Corps|U.S. Marine]] [[Lieutenant#Marine rank|Lieutenant]] Cable arrives on the island from [[Guadalcanal]], having been sent to take part in a dangerous spy mission whose success could turn the tide of the war against Japan. Bloody Mary tries to persuade Cable to visit "[[Bali Ha'i]]", mysteriously telling him that it is ''his'' special island. Billis, seeing an opportunity, urges Cable to go. Cable meets with his commanding officers, [[Captain (naval)|Captain]] George Brackett and [[Commander (United States)#Naval rank|Commander]] William Harbison, who plan to ask Emile to help with the mission because he used to live on the island where the mission will take place. They ask Nellie to help them find out more about Emile's background, for example, his politics and why he left France. They have heard, for instance, that Emile committed a murder, and this might make him less than desirable for such a mission.

After thinking a bit more about Emile and deciding she has become attracted on the basis of little knowledge of him, Nellie tells the other nurses that she intends to end her relationship with him ("[[I'm Gonna Wash That Man Right Outa My Hair]]"). But when he arrives unexpectedly and invites Nellie to a party where he will introduce her to his friends, she accepts. Emile declares his love for Nellie and asks her to marry him. When she mentions politics, he speaks of universal freedom, and describes fleeing France after standing up against a bully, who died accidentally as the two fought. After hearing this, Nellie agrees to marry Emile. After he exits, Nellie joyously gives voice to her feelings ("[[I'm in Love with a Wonderful Guy]]").

[[File:Pinza decides.jpg|thumb|right|alt=In a "war room", three military men watch a worried man in civilian dress|Emile (Pinza) decides whether to go with Cable (William Tabbert) and place his hoped-for life with Nellie at risk]]
Cable's mission is to land on a Japanese-held island and report on Japanese ship movements. The Navy officers ask Emile to be Cable's guide, but he refuses their request because of his hopes for a new life with Nellie. Commander Harbison, the executive officer, tells Cable to go on leave until the mission can take place, and Billis obtains a boat and takes Cable to Bali Ha'i. There, Billis participates in the native ceremony, while Bloody Mary introduces Cable to her beautiful daughter, Liat, with whom he must communicate haltingly in French. Believing that Liat's only chance at a better life is to marry an American officer, Mary leaves Liat alone with Cable. The two are instantly attracted to each other and make love ("[[Younger Than Springtime]]"). Billis and the rest of the crew are ready to leave the island, yet must wait for Cable who, unbeknownst to them, is with Liat ("Bali Ha'i" (reprise)). Bloody Mary proudly tells Billis that Cable is going to be her son-in-law.

Meanwhile, after Emile's party, Nellie and he reflect on how happy they are to be in love (Reprises of "I'm in Love with a Wonderful Guy", "Twin Soliloquies", "Cockeyed Optimist" and "I'm Gonna Wash That Man Right Outa My Hair"). Emile introduces Nellie to Jerome and Ngana. Though she finds them charming, she is shocked when Emile reveals that they are his children by his first wife, a dark-skinned Polynesian woman, now deceased. Nellie is unable to overcome her deep-seated racial prejudices and tearfully leaves Emile, after which he reflects sadly on what might have been ("Some Enchanted Evening" (reprise)).

===Act II {{anchor|Synopsis-Act II}}===
[[File:Thanksgiving Follies.jpg|thumb|200px|alt=Three women and three men on stage in a chorus number|The "Thanksgiving Follies", from the original production.]]
It is [[Thanksgiving (United States)|Thanksgiving Day]]. The GIs and nurses dance in a holiday revue titled "Thanksgiving Follies". In the past week, an epidemic of [[malaria]] has hit the island of Bali Ha'i. Having visited Bali Ha'i often to be with Liat, Cable is also ill, but escapes from the hospital to be with Liat. As Liat and Cable spend more time together, Bloody Mary is delighted. She encourages them to continue their carefree life on the island ("[[Happy Talk (song)|Happy Talk]]") and urges them to marry. Cable, aware of his family's prejudices, says he cannot marry a Tonkinese girl. Bloody Mary furiously drags her distraught daughter away, telling Cable that Liat must now marry a much older French plantation owner instead. Cable laments his loss. ("Younger Than Springtime" (reprise)).

For the final number of the Thanksgiving Follies, Nellie performs a comedy burlesque dressed as a sailor singing the praises of "his" sweetheart ("Honey Bun"). Billis plays Honey Bun, dressed in a blond wig, grass skirt and coconut-shell bra. After the show, Emile asks Nellie to reconsider. She insists that she cannot feel the same way about him since she knows about his children's Polynesian mother. Frustrated and uncomprehending, Emile asks Cable why he and Nellie have such prejudices. Cable, filled with self-loathing, replies that "it's not something you're born with", yet it is an ingrained part of their upbringing ("[[You've Got to Be Carefully Taught]]"). He also vows that if he gets out of the war alive, he won't go home to the United States; everything he wants is on these islands. Emile imagines what might have been ("This Nearly Was Mine"). Dejected and feeling that he has nothing to lose, he agrees to join Cable on his dangerous mission.

[[File:Final scene South Pacific.jpg|thumb|left|200px|alt=Emile and Nellie grasp hands as Emile's two children look on.|The final tableau from the original production]]
The mission begins with plenty of air support. Offstage, Billis stows away on the plane, falls out when the plane is hit by anti-aircraft fire, and ends up in the ocean waiting to be rescued; the massive rescue operation inadvertently becomes a diversion that allows Emile and Cable to land on the other side of the island undetected. The two send back reports on Japanese ships' movements in the "Slot", a strategic strait; American aircraft intercept and destroy the Japanese ships. When the Japanese [[Mitsubishi A6M|Zeros]] strafe the Americans' position, Emile narrowly escapes, but Cable is killed.

Nellie learns of Cable's death and that Emile is missing. She realizes that she was foolish to reject Emile because of the race of his children's mother. Bloody Mary and Liat come to Nellie asking where Cable is; Mary explains that Liat refuses to marry anyone but him. Nellie comforts Liat. Cable and Emile's espionage work has made it possible for a major offensive, Operation ''Alligator'', to begin. The previously idle fighting men, including Billis, go off to battle.

Nellie spends time with Jerome and Ngana and soon comes to love them. While the children are teaching her to sing "Dites-Moi," suddenly Emile's voice joins them. Emile has returned to discover that Nellie has overcome her prejudices and has fallen in love with his children. Emile, Nellie and the children rejoice ("Dites-Moi" (reprise)).
{{clear}}
{{clear}}

== Principal roles and notable performers ==

{| class="wikitable"
! width="120" | Character
! width="180" | Description
! width="120" | Original Broadway cast<ref>Rodgers & Hammerstein, p. 269 (roles and original cast only)</ref>
! width="400" | Notable subsequent performers in noteworthy productions
|-
| Nellie Forbush||A young U.S. Navy nurse ||[[Mary Martin]]|| [[Janet Blair]], [[Martha Wright (actress)|Martha Wright]], [[Julie Wilson]], [[Cloris Leachman]], [[Mindy Carson]], [[Florence Henderson]], [[Iva Withers]], [[Gemma Craven]], [[Lauren Kennedy]], [[Helena Blackman]], [[Kelli O'Hara]], [[Laura Osnes]], [[Reba McEntire]], [[Carmen Cusack]], [[Samantha Womack]], [[Lisa McCune]]
|-
| Emile de Becque ||A middle-aged expatriate French planter ||[[Ezio Pinza]]|| [[Ray Middleton (actor)|Ray Middleton]], [[Richard Eastham]], [[Wilbur Evans]], [[George Britton (musician)|George Britton]], [[William Chapman (baritone)|William Chapman]], [[Giorgio Tozzi]], [[Robert Goulet]], [[Justino Díaz]], [[Philip Quast]], [[Dave Willetts]], [[Brian Stokes Mitchell]], [[Paulo Szot]], [[Teddy Tahu Rhodes]], [[Rod Gilfry]]
|-
| Lt. Joseph Cable, [[United States Marine Corps|USMC]] ||A young Marine officer ||[[William Tabbert]]|| [[Matthew Morrison]], [[Jason Danieley]], [[David Carroll (actor)|David Carroll]]
|-
| Liat ||A young Tonkinese woman ||[[Betta St. John]]|| [[Carol Lawrence]], [[Eleanor Calbes]], [[Lia Chang]]
|-
| Bloody Mary || Liat's mother; an island wheeler-dealer ||[[Juanita Hall]]|| [[Muriel Smith (singer)|Muriel Smith]], [[Sylvia Syms (singer)|Sylvia Syms]], [[Bertice Reading]], [[Loretta Ables Sayre]], [[Lillias White]], [[Kate Ceberano]], [[Armelia McQueen]], [[Christine Anu]]
|-
| Seabee Luther Billis || An entrepreneurial sailor ||[[Myron McCormick]]|| [[Ray Walston]], [[Danny Burstein]], [[Alec Baldwin]], [[Alex Ferns]], [[Eddie Perfect]]
|-
| Ngana ||Emile's daughter ||[[BarBara Luna]]||
|-
| Jerome ||Emile's son|| Michael De Leon Noel De Leon||
|-
| Capt. George Brackett, [[United States Navy|USN]] ||Military commander of the island ||Martin Wolfson||
|-
| Cmdr. William Harbison, [[United States Navy|USN]] ||Brackett's executive officer|| [[Harvey Stephens]]||
|}


==Songs==
{{col-begin}}
{{col-2}}

;Act I
* Overture – Orchestra
* "Dites-Moi" – Ngana and Jerome
* "A Cockeyed Optimist" – Nellie
* "Twin Soliloquies" – Nellie and Emile
* "[[Some Enchanted Evening]]" – Emile
* "Bloody Mary" – Sailors, Seabees and Marines
* "[[There Is Nothing Like a Dame]]" – Sailors, Seabees and Marines
* "[[Bali Ha'i]]" – Bloody Mary, Billis and Cable
* "[[I'm Gonna Wash That Man Right Outa My Hair]]" – Nellie and Nurses
* "[[I'm in Love with a Wonderful Guy]]" – Nellie and Nurses
* "[[Younger Than Springtime]]" – Cable
* Finale: Act I ("Some Enchanted Evening") – Emile
{{col-break}}

;Act II
* Entr'acte – Orchestra
* Soft Shoe Dance – Nurses and Seabees
* "[[Happy Talk (song)|Happy Talk]]" – Bloody Mary
* "Honey Bun" – Nellie and Girls
* "[[You've Got to Be Carefully Taught]]" – Cable
* "Honey Bun" (reprise) – Billis
* "This Nearly Was Mine" – Emile
* "Some Enchanted Evening" (reprise) – Nellie
* Finale ("Dites-Moi") – Nellie, Ngana, Jerome and Emile
{{col-end}}

=== Additional songs ===
[[File:Martin Middleton South Pacific.jpg|thumb|alt=A man about fifty and a younger woman (Martin), in formal dress, hold each other closely as they look upwards and to the right. They are seated on a divan or loveseat|right|[[Ray Middleton (actor)|Ray Middleton]] and [[Mary Martin]] as Emile and Nellie in the original production (1950)]]
A number of songs were extensively modified or omitted in the weeks leading up to the initial Broadway opening. They are listed in the order of their one-time placement within the show:
* "Bright Canary Yellow", a short song for Nellie and Emile, was placed just before "A Cockeyed Optimist", of which the opening line, "When the sky is a bright canary yellow" was intended to play off of the earlier song.<ref>Block, pp. 139–140</ref>
* "Now Is the Time" (Emile) was placed in the beach scene (Act I, Scene 7) just after Emile tells Nellie why he killed the man in France. It was to be reprised after "[[You've Got to Be Carefully Taught]]", but it was felt that for Emile to remain on stage while singing of immediate action was self-contradictory. It was replaced in Act I by a reprise of "Some Enchanted Evening"; in Act II it was initially replaced by "Will You Marry Me?" (later repurposed for ''[[Pipe Dream (musical)|Pipe Dream]]'') on March 24, 1949, and then by "This Nearly Was Mine" on March 29, just over a week before the Broadway opening on April 7.<ref>Block, pp. 140–145</ref>
* "Loneliness of Evening" (Emile) was cut before the Broadway opening. It was to occur in the first backstage scene (Act II, Scene 2) prior to "Happy Talk" and was sung to the same melody as "Bright Canary Yellow". Its melody can be heard in the 1958 film as Emile reads aloud the card with the flowers he has brought backstage for Nellie to the Thanksgiving show; the second stanza was repurposed and sung by the Prince in the 1965 TV production of ''[[Cinderella (musical)|Cinderella]]''.<ref>Block, pp. 139, 142–143</ref>
* A reprise of "Younger Than Springtime" that follows Cable's rejection of Liat, was added after January 1949.<ref name = "B142" /> It followed two separate attempts at songs for Cable. One song, designated as "My Friend" was a duet for Cable and Liat, included such lyrics as "My friend, my friend, is coming around the bend" and was rejected by Logan as one of the worst he'd ever heard. Rodgers and Hammerstein's second attempt to place a song there, "Suddenly Lovely", was considered by Logan too lightweight and was later repurposed for ''[[The King and I]]'' as "[[Getting to Know You (song)|Getting to Know You]]".<ref>Block, pp. 142, 145–146</ref> The melody for "Younger than Springtime" was from a song, "My Wife", intended for ''Allegro'' but not used.<ref>Nolan, p. 190</ref>
* "Honey Bun" was not included in the January 1949 libretto (a note marks that the lyrics will be supplied later).<ref name = "B142">Block, p. 142</ref>
* "My Girl Back Home" (Cable) preceded "You've Got to be Carefully Taught" in the original score but was cut before the first Broadway production. It appears in the movie version as a duet for Nellie and Cable. It was reinstated for the 2002 London revival, for Cable.<ref name = "B142146" />
* "You've Got to be Carefully Taught" originally had several singing lines for Emile following the conclusion of the lyrics for Cable.<ref name ="B142146">Block, pp. 142, 146</ref>

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=South Pacific |url=https://www.concordtheatricals.com/p/44853/south-pacific |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute/Piccolo, Oboe/English Horn, Bassoon, Clarinet I, Clarinet II, Horn I, Horn II, Trumpet I, Trumpet II, Trumpet III, Trombone I, Trombone II, Tuba, Violin I, Violin II, Viola, Cello, Bass, String Synth (optional) & Percussion [Trap Set, Timpani, Bells, Marimba, Xylophone, Vibraphone & Oriental Tom-Tom]

==Subsequent productions==

===20th century===
[[File:Florence Henderson 1967.jpg|thumb|left|upright|alt=A woman in her thirties with short, parted hair in a black-and-white portrait shot. She wears a khaki shirt. |[[Florence Henderson]] as Nellie, 1967]]
The first Australian production opened in September 1952 at [[Her Majesty's Theatre, Melbourne|His Majesty's Theatre]] in Melbourne, playing for 10 months and 333 performances. It then played seasons in Sydney, Brisbane and Adelaide until late 1954, before returning to Melbourne for a further season.<ref>Murphy, Frank. [http://nla.gov.au/nla.news-article172527047 "Theatre: Music"], ''[[The Advocate (Melbourne)|The Advocate]]'', Victoria, Australia, vol. LXXXV, issue=5069, p. 18, September 18, 1952, accessed March 12, 2018, via National Library of Australia; and [http://nla.gov.au/nla.news-article100381763 "''South Pacific'': Vic. Records"], ''[[Goulburn Evening Post]]'', p. 6, New South Wales, Australia, July 15, 1953, accessed March 12, 2018, via National Library of Australia</ref>

A limited run of ''South Pacific'' by the New York City Center Light Opera Company opened at [[New York City Center]] on May 4, 1955, closing on May 15, 1955. It was directed by Charles Atkin, and had costumes by Motley and sets by Mielziner. The cast included Richard Collett as Emile, Sandra Deel as Nellie, [[Carol Lawrence]] as Liat, [[Sylvia Syms (singer)|Sylvia Syms]] as Bloody Mary and [[Gene Saks]] as the Professor.<ref>Funke, Lewis. "Theatre: Back to Bali Ha'i", ''The New York Times'', May 5, 1955, p. 39</ref> A second limited run of the same production with a different cast opened at City Center on April 24, 1957, closing on May 12, 1957. It was directed by [[Jean Dalrymple]], and the cast included Robert Wright as Emile, [[Mindy Carson]] as Nellie and Hall reprising the role of Bloody Mary.<ref>[http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1895680&imageID=1801934&total=8&num=0&sel_part_id=463&word=&s=&notword=&d=&c=&f=&k=0&sScope=&sLevel=&sLabel=&lword=&lfield=&imgs=20&pos=1&e=r&cdonum=0 "South Pacific (1957 City Center Revival)"], NYPL Digital Gallery, accessed December 7, 2011</ref> That production was given again in 1961, this time with Ann McLerie and [[William Chapman (baritone)|William Chapman]] in the lead roles.<ref name = "H264">Hischak, p. 264</ref>

There have been many stock or summer revivals of ''South Pacific''. One, in 1957 at Long Island's [[Westbury Music Fair]], occurred at the same time that Arkansas Governor [[Orval Faubus]] was resisting the integration of [[Little Rock Central High School|Central High School]] by the [[Little Rock Nine]]. Nellie's pronouncement that she was from Little Rock was initially met with boos. Logan refused to allow Nellie's hometown to be changed, so a speech was made before each performance asking for the audience's forbearance, which was forthcoming.<ref>Maslon, p. 158</ref>

There were two revivals at [[Lincoln Center]]. Richard Rodgers produced the 1967 revival, which starred [[Florence Henderson]] and [[Giorgio Tozzi]], who had been [[Rossano Brazzi]]'s singing voice in the 1958 film.<ref name=florence>[http://www.allmusic.com/album/south-pacific-music-theater-of-lincoln-center-recording-mw0000583831 "Review, ''South Pacific'' (Music Theater of Lincoln Center Recording)"], Allmusic.com, accessed April 20, 2011</ref> [[Joe Layton]] was the director; [[Eleanor Calbes]]'s casting as Liat led to the addition of a reprise of "Bali Ha'i" for her.<ref name="H264"/><ref>Stewart, John. [https://www.mississauga.com/whatson-story/4079876-bit-part-turns-into-long-career-for-calbes "Bit part turns into long career for Calbes"], Mississauga.com, September 15, 2013, accessed May 7, 2019</ref> The cast album was issued on [[LP record|LP]] and later on CD.<ref name=florence/><ref>
Suskin, Steven. [http://www.playbill.com/news/article/102078-ON-THE-RECORD-1960s-revivals-of-South-Pacific-and-The-King-and-I "On The Record: 1960's revivals of ''South Pacific'' and ''The King and I''"] {{Webarchive|url=https://web.archive.org/web/20121020222425/http://www.playbill.com/news/article/102078-ON-THE-RECORD-1960s-revivals-of-South-Pacific-and-The-King-and-I |date=2012-10-20 }} , Playbill.com, September 17, 2006</ref> The musical toured North America from 1986 to 1988, headlined by [[Robert Goulet]] and [[Barbara Eden]], with [[David Carroll (actor)|David Carroll]] as Cable, [[Armelia McQueen]] as Bloody Mary and [[Lia Chang]] as Liat, first directed by [[Geraldine Fitzgerald]] and then [[Ron Field]].<ref>Nelson, Nels. [http://articles.philly.com/1986-07-09/entertainment/26097627_1_words-and-music-nellie-forbush-nurse "''South Pacific'' at Valley Forge Music Fair"], ''Philadelphia Daily News'', Philly.com, July 9, 1986, p. 44, accessed May 7, 2019; [http://www.liachang.lifeyo.com/bio-reel/ "Lia Chang"] {{Webarchive|url=https://web.archive.org/web/20130929112309/http://www.liachang.lifeyo.com/bio-reel/ |date=2013-09-29 }}, Bio & Reel, Lifeyo.com, accessed September 25, 2013; Smith, Sid. [http://articles.sun-sentinel.com/1988-11-13/features/8803060569_1_becque-musical-comedy-american-musical-comedy "Some Enchanted Musical with Robert Goulet in the Role of Emile De Becque, A Revived ''South Pacific'' Is Again a Hit."], ''Chicago Tribune'', November 13, 1988, accessed September 25, 2013</ref> A [[New York City Opera]] production in 1987 featured alternating performers [[Justino Díaz]] and Stanley Wexler as Emile, and Susan Bigelow and Marcia Mitzman as Nellie.<ref>Hischak, Thomas S. [https://books.google.com/books?id=XbBz3C4Gr0EC&pg=PA700#v=onepage&q&f=false "'South Pacific'"], ''The Oxford Companion to the American Musical: Theatre, Film, and Television'', Oxford University Press US, 2008, {{ISBN|0-19-533533-3}}, p. 700</ref>

A 1988 West End revival starred [[Gemma Craven]] and [[Emile Belcourt]], supported by [[Bertice Reading]], among others, and was directed by Roger Redfern. It ran at the [[Prince of Wales Theatre]] from January 20, 1988 to January 14, 1989.<ref>[http://broadwayworld.com/shows/theatre.php?theatre_id=5183 "Prince of Wales Theatre"], Broadwayworld.com, accessed August 29, 2012</ref>

=== 21st century ===
A new production with slight revisions to the book and score was produced by the [[Royal National Theatre]] at the company's Olivier Theatre in London for a limited run from December 2001 through April 2002, timed to celebrate the centenary of Richard Rodgers' birth. [[Trevor Nunn]] directed, with musical staging by [[Matthew Bourne]] and designs by [[John Napier (designer)|John Napier]]. [[Lauren Kennedy]] was Nellie, and Australian actor [[Philip Quast]] played Emile,<ref>[http://www.rnh.com/news/702/Musical-Notes "Musical Notes"], Rodgers & Hammerstein Organization, January 1, 2002, accessed May 27, 2013</ref> Borrowing from the 1958 film, this production placed the first Emile-Nellie scene after the introduction of Cable, Billis and Bloody Mary.<ref>Maslon, p. 182</ref>

A British touring production of ''South Pacific'' opened at the [[Blackpool Grand Theatre]] on August 28, 2007. The tour ended at the [[New Theatre (Cardiff)|Cardiff New Theatre]] on July 19, 2008.<ref>
[http://www.thisistheatre.com/regional/south-pacific.html "'South Pacific' UK Tour"] {{Webarchive|url=https://web.archive.org/web/20110608190450/http://www.thisistheatre.com/regional/south-pacific.html |date=2011-06-08 }} , thisistheatre.com, accessed April 23, 2011
</ref> It starred [[Helena Blackman]] as Nellie and [[Dave Willetts]] as Emile.<ref>{{cite news|last1=Jones|first1=Alison|title=Willetts still on song|url=https://www.birminghampost.co.uk/whats-on/theatre/willetts-still-on-song-3967134|accessdate=24 March 2018|work=Birmingham Post|date=31 May 2013}}</ref> [[Julian Woolford]] directed, with choreography by Chris Hocking. This production was most noted for its staging of the overture, which charted Nellie's journey from [[Little Rock, Arkansas]], to the South Pacific. On entering the theatre, the audience first saw a map of the U.S., not the theater of war.<ref>Somensky, Amy. [http://www.monstersandcritics.com/arts/news/article_1343914.php/U.K_tour_of_South_Pacific_opens_today "U.K. tour of South Pacific opens today"] {{webarchive|url=https://web.archive.org/web/20090111033930/http://www.monstersandcritics.com/arts/news/article_1343914.php/U.K_tour_of_South_Pacific_opens_today |date=2009-01-11 }}, Monstersandcritics.com, August 24, 2007, accessed May 25, 2013</ref>

A Broadway revival of ''South Pacific'' opened on April 3, 2008 at [[Lincoln Center for the Performing Arts|Lincoln Center's]] [[Vivian Beaumont Theater]]. [[Bartlett Sher]] directed, with musical staging by [[Christopher Gattelli]] and associate choreographer [[Joe Langworth]]. The opening cast starred [[Kelli O'Hara]] as Nellie, [[Paulo Szot]] as Emile and [[Matthew Morrison]] as Lt. Cable, with [[Danny Burstein]] as Billis and [[Loretta Ables Sayre]] as Bloody Mary.<ref>
Hetrick, Adam. [http://www.playbill.com/news/article/115728.html "Sher to Discuss South Pacific at Vivian Beaumont March 26"] {{Webarchive|url=https://web.archive.org/web/20090114035212/http://www.playbill.com/news/article/115728.html |date=2009-01-14 }} , Playbill.com, March 7, 2008
</ref> [[Laura Osnes]] replaced O'Hara during her seven-month maternity leave, beginning in March 2009,<ref>
Hetrick, Adam.
[http://www.playbill.com/news/article/133765-Kelli-OHara-Rejoins-South-Pacific-Cast-Oct-13 "Kelli O'Hara Rejoins ''South Pacific'' Cast Oct. 13"] {{Webarchive|url=https://web.archive.org/web/20121020232315/http://www.playbill.com/news/article/133765-Kelli-OHara-Rejoins-South-Pacific-Cast-Oct-13 |date=2012-10-20 }} , Playbill.com, October 13, 2009
</ref> and also between January and August 2010.<ref>
Hetrick, Adam. [http://www.playbill.com/news/article/135379-Osnes-Will-Return-to-Broadways-South-Pacific-OHara-to-Depart-Jan-3-2010 "Osnes Will Return to Broadway's ''South Pacific''; O'Hara to Depart Jan. 3, 2010"] {{Webarchive|url=https://web.archive.org/web/20100408081441/http://www.playbill.com/news/article/135379-Osnes-Will-Return-to-Broadways-South-Pacific-OHara-to-Depart-Jan-3-2010 |date=2010-04-08 }} , Playbill.com, December 17, 2009
</ref><ref>
Hetrick, Adam. [http://www.playbill.com/news/article/141923-Kelli-OHara-Returns-to-South-Pacific-for-Musicals-Final-Weeks-Aug-10 "Kelli O'Hara Returns to ''South Pacific'' for Musical's Final Weeks Aug. 10"] {{Webarchive|url=https://web.archive.org/web/20140523011504/http://www.playbill.com/news/article/141923-Kelli-OHara-Returns-to-South-Pacific-for-Musicals-Final-Weeks-Aug-10 |date=2014-05-23 }} , Playbill.com, August 10, 2010
</ref> Szot alternated with David Pittsinger as Emile.<ref>[http://www.broadway.com/buzz/146942/south-pacific-to-end-record-breaking-run-at-lincoln-center-on-august-22-2010/ "South Pacific to End Record-Breaking Run at Lincoln Center on August 22, 2010"], Broadway.com, February 18, 2010, accessed May 4, 2010</ref> The production closed on August 22, 2010, after 37 previews and 996 regular performances.<ref>
[http://www.playbillvault.com/Show/Detail/11212/South-Pacific ''South Pacific''] {{Webarchive|url=https://web.archive.org/web/20120630021550/http://www.playbillvault.com/Show/Detail/11212/South-Pacific |date=2012-06-30 }} , Playbill.com, accessed June 18, 2012
</ref>

With a few exceptions, the production received rave reviews.<ref>Fick, David. [http://musicalcyberspace.wordpress.com/2008/04/14/south-pacific-review-roundup/ "''South Pacific'' Review Roundup"], Musical Cyberspace, February 6, 2010</ref> [[Ben Brantley]] wrote in ''[[The New York Times]]'':
{{quote|I know we're not supposed to expect perfection in this imperfect world, but I'm darned if I can find one serious flaw in this production. (Yes, the second act remains weaker than the first, but Mr. Sher almost makes you forget that.) All of the supporting performances, including those of the ensemble, feel precisely individualized, right down to how they wear Catherine Zuber's carefully researched period costumes.<ref>Brantley, Ben. [http://theater2.nytimes.com/2008/04/04/theater/reviews/04paci.html?pagewanted=2 "Optimist Awash in the Tropics"], ''The New York Times'', April 4, 2008, accessed May 25, 2013</ref>}}

The production, with most of the original principals, was taped and broadcast live in [[High-definition television|HD]] on August 18, 2010 on the [[PBS]] television show ''[[Live from Lincoln Center]]''.<ref>Hinckley, David. [http://www.nydailynews.com/entertainment/tv-movies/lincoln-center-tv-production-south-pacific-miss-article-1.204750 "It's not the same as being in Lincoln Center, but TV production of ''South Pacific'' is a can't-miss"], ''New York Daily News'', August 18, 2010, accessed May 25, 2013</ref>

A production based on the 2008 Broadway revival opened at the [[Barbican Theatre]] in London on August 15, 2011 and closed on October 1, 2011.<ref>
[http://www.barbican.org.uk/news/artformnews/theatredance/south-pacific "Samantha Womack and Paulo Szot to star in the most acclaimed production ever of Rodgers and Hammerstein's ''South Pacific''"] {{Webarchive|url=https://web.archive.org/web/20110827232000/http://www.barbican.org.uk/news/artformnews/theatredance/south-pacific |date=2011-08-27 }} , barbican.org.uk, accessed June 11, 2012
</ref> Sher again directed, with the same creative team from the Broadway revival. Szot and [[Welsh National Opera]] singer Jason Howard alternated in the role of Emile, with [[Samantha Womack]] as Nellie, Ables Sayre as Bloody Mary and [[Alex Ferns]] as Billis. The production received mostly positive reviews.<ref>Spencer, Charles. [https://www.telegraph.co.uk/culture/theatre/theatre-reviews/8718860/South-Pacific-Barbican-review.html "''South Pacific'' Barbican, review"], ''The Telegraph'', August 24, 2011</ref> A U.K tour followed, with Womack, Ables Sayre and Ferns.<ref>
[http://artswrap.co.uk/article/south-pacific-most-successful-two-week-run-milton-keynes-theatre "''South Pacific'' Is Most Successful Two Week Run at Milton Keynes Theatre"] {{Webarchive|url=https://web.archive.org/web/20150911204743/http://artswrap.co.uk/article/south-pacific-most-successful-two-week-run-milton-keynes-theatre |date=2015-09-11 }} , Artswrap, October 31, 2011, accessed January 28, 2012
</ref>

A U.S. national tour based on the 2008 revival began in [[San Francisco]] at the [[Golden Gate Theatre]] on September 18, 2009. Sher directed, and the cast starred [[Rod Gilfry]] (Emile) and [[Carmen Cusack]] (Nellie).<ref>Hetrick, Adam. [https://archive.today/20120910090426/http://www.playbill.com/news/article/133085-_South_Pacific_Tour_to_Play_Chicago%20Itinerary_Revised "''South Pacific'' Tour to Play Chicago; Itinerary Revised"], Playbill.com, September 21, 2009</ref> The Sher production was also produced by [[Opera Australia]] at the [[Sydney Opera House]] from August to September 2012 and then at [[Princess Theatre, Melbourne]] through October 2012. It starred [[Teddy Tahu Rhodes]] as Emile, [[Lisa McCune]] as Nellie, [[Kate Ceberano]] as Bloody Mary and [[Eddie Perfect]] as Billis.<ref>
[http://southpacificmusical.com.au/2012/04/ "''South Pacific'': Monthly Archives, April, 2012, Stellar Cast"] {{Webarchive|url=https://web.archive.org/web/20140214041431/http://southpacificmusical.com.au/2012/04/ |date=2014-02-14 }} , Opera Australia, April 29, 2012, accessed May 26, 2013
</ref> The production then played in [[Brisbane]] for the 2012 holiday season, with [[Christine Anu]] as Bloody Mary,<ref>
[http://southpacificmusical.com.au/2012/11/christine-anu-and-gyton-grantley-score-key-roles-for-brisbane/ "Christine Anu and Gyton Grantley score key roles for Brisbane"] {{Webarchive|url=https://web.archive.org/web/20130424013230/http://southpacificmusical.com.au/2012/11/christine-anu-and-gyton-grantley-score-key-roles-for-brisbane/ |date=2013-04-24 }} , Opera Australia, November 30, 2012, accessed May 26, 2013
</ref> and resumed touring in Australia in September 2013.<ref>
''[http://www.showbiz.com.au/south-pacific/?gclid=CLPewoTD4LsCFcUipQod3ywAdQ Showbiz: South Pacific] {{Webarchive|url=https://web.archive.org/web/20140103084028/http://www.showbiz.com.au/south-pacific/?gclid=CLPewoTD4LsCFcUipQod3ywAdQ |date=2014-01-03 }} '' 2014
</ref><ref>
[http://southpacificmusical.com.au/2013/04/south-pacific-to-go-coast-to-coast/ "''South Pacific'' to go Coast-to-Coast"] {{Webarchive|url=https://web.archive.org/web/20130424205556/http://southpacificmusical.com.au/2013/04/south-pacific-to-go-coast-to-coast/ |date=2013-04-24 }} , Opera Australia, April 8, 2013, accessed May 26, 2013
</ref>

==Reception and success==

===Critical reception===
Reviewers gave the original production uniformly glowing reviews; one critic called it "South Terrific".<ref>Nolan, p. 194</ref> The ''[[New York Herald Tribune]]'' wrote:
{{quote|The new and much-heralded musical, ''South Pacific'', is a show of rare enchantment. It is novel in texture and treatment, rich in dramatic substance, and eloquent in song, a musical play to be cherished. Under Logan's superb direction, the action shifts with constant fluency. ... [He] has kept the book cumulatively arresting and tremendously satisfying. The occasional dances appear to be magical improvisations. It is a long and prodigal entertainment, but it seems all too short. The Rodgers music is not his finest, but it fits the mood and pace of ''South Pacific'' so felicitously that one does not miss a series of hit tunes. In the same way the lyrics are part and parcel of a captivating musical unity.<ref name=Suskin>Suskin, Steven. ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre'', pp. 639–643. Schirmer Books, New York, 1990. {{ISBN|0-02-872625-1}}</ref>}}

The ''[[New York Daily Mirror]]'' critic wrote, "Programmed as a musical play, ''South Pacific'' is just that. It boasts no ballets and no hot hoofing. It has no chorus in the conventional sense. Every one in it plays a part. It is likely to establish a new trend in musicals." The review continued: "Every number is so outstanding that it is difficult to decide which will be the most popular."<ref name=Suskin/> The review in ''[[New York World-Telegram]]'' found the show to be "the ultimate modern blending of music and popular theatre to date, with the finest kind of balance between story and song, and hilarity and heartbreak."<ref name=Suskin/> [[Brooks Atkinson]] of ''[[The New York Times]]'' especially praised Pinza's performance: "Mr. Pinza's bass voice is the most beautiful that has been heard on a Broadway stage for an eon or two. He sings ... with infinite delicacy of feeling and loveliness of tone." He declared that "Some Enchanted Evening", sung by Pinza, "ought to become reasonably immortal."<ref name=Suskin/> [[Richard Watts, Jr.]] of the ''[[New York Post]]'' focused on Mary Martin's performance, writing, "nothing I have ever seen her do prepared me for the loveliness, humor, gift for joyous characterization, and sheer lovableness of her portrayal of Nellie Forbush ... who is so shocked to find her early racial prejudices cropping up. Hers is a completely irresistible performance."<ref name=Suskin/>

When ''South Pacific'' opened in London in November 1951, the reviews were mixed. London's ''[[Daily Express]]'' praised the music but disliked other elements of that show, writing, "We got a 42nd Street ''Madame Butterfly'', the weakest of all the Hammerstein-Rodgers musicals.<ref name = "M156" /><ref>"Alas, some not entirely enchanted evening", ''[[Daily Express]]'', November 2, 1951, p. 3</ref> The ''[[Daily Mail]]'' suggested, "The play moved so slowly between its songs that it seemed more like ''South Soporific''."<ref name="M156"/> ''[[The Times]]'' applauded the songs but indicated that "before the end the singing and the dancing have dwindled to almost nothing, while the rather sad little tale is slowly and conventionally wound up."<ref>"Drury Lane Theatre: ''South Pacific''. ''[[The Times]]'', November 2, 1951, p. 7</ref> ''[[The Guardian|The Manchester Guardian]]'', however, noted the anticipation in advance of the opening and concluded that "there was no disappointment ... the show bounces the audience and well deserves the cheers."<ref>"South Pacific", ''[[The Guardian|The Manchester Guardian]]'', November 2, 1951, p. 5</ref> Drama critic [[Kenneth Tynan]] of ''[[The Spectator]]'' wrote that ''South Pacific'' was "the first musical romance which was seriously involved in an adult subject ... I have nothing to do but thank Logan, Rodgers and Hammerstein and climb up from my knees, a little cramped from the effort of typing in such an unusual position."<ref name = "M156" />

A 2006 review asserted: "Many are the knowledgeable and discriminating people for whom Rodgers and Hammerstein's ''South Pacific'', brilliantly co-written and staged by Joshua Logan, was the greatest musical of all."<ref>[http://www.broadway.com/buzz/5882/rodger-hammersteins-south-pacific-in-concert-from-carnegie-hall/ "Rodger & Hammerstein's ''South Pacific'' – In Concert from Carnegie Hall"], Broadway.com, July 5, 2006, accessed June 5, 2013</ref> In 1987, however, [[John Rockwell]] of ''The New York Times'' reviewed the City Opera production, commenting that while ''South Pacific'' had been innovative for 1949, "[[Stephen Sondheim|Sondheim]] has long since transcended its formal innovations, and the constant reprises of the big tunes sound mechanical. In 1949, ''South Pacific'' epitomized the concerns of the day – America's responsibilities in the world and the dangers of racism. ... At its 1967 State Theater revival, the show struck many as dated. It still seems that way, with ''M*A*S*H'' having contemporized this same setting".<ref>Rockwell, John. [https://www.nytimes.com/1987/03/02/arts/music-a-new-south-pacific-by-the-city-opera.html "Music: A new ''South Pacific'' by the City Opera"], ''The New York Times'', March 2, 1987, accessed June 5, 2013</ref> A 2008 ''[[Huffington Post]]'' review criticized the play as having an Orientalist and Western-centric storyline in which stereotypical natives take on "exotic background roles" in relation to Americans, and it characterized the relationship between Cable and Liat as underage prostitution, charging that she "speaks not a word in the whole musical, only smiles and takes the Yankee to bed."<ref>Ayers, Rick. [http://www.huffingtonpost.com/rick-ayers-/emsouth-pacificem----musi_b_99550.html "''South Pacific'' – Musical Orientalism"], ''[[Huffington Post]]'', May 1, 2008</ref> ''South Pacific'' is the only major American musical set in World War II,<ref name = "b3">Butler, p. 3</ref> but former Marine [[Robert Leckie (author)|Robert Leckie]] wrote his memoir of that conflict, ''[[Helmet for My Pillow]]'', after he walked out of a performance: "I have to tell the story of how it really was. I have to let people know the war wasn't a musical."<ref>Di Ionno, Mark. [http://blog.nj.com/njv_mark_diionno/2010/02/hbo_series_shines_light_on_nj.html "HBO series illuminates N.J. Marine's book on World War II experience"], NJ.com, February 21, 2010</ref>

===Box office and awards===
{{Main|List of awards and nominations for the musical South Pacific}}
''South Pacific'' opened on Broadway with $400,000 in advance sales. People were so eager to obtain tickets that the press wrote about the lengths people had gone to in getting them. Because "house seats" were being sold by [[ticket resale|scalpers]] for $200 or more, the attorney general's office threatened to close the show. The parties who provided the scalpers with the tickets were never identified, and the show ran without interference. The production had a $50,600 weekly gross, and ran for 1,925 performances. The national tour began in 1950 and grossed $3,000,000 in the first year, making $1,500,000 in profit. The [[Cast recording|original cast album]], priced at $4.85, sold more than a million copies.<ref>Nolan, p. 195</ref>

The original production of ''South Pacific'' won ten Tony Awards, including Best Musical, Best Male Performer (Pinza), Best Female Performer (Martin), Best Supporting Male Performer (McCormick), Best Supporting Female Performer (Hall), Best Director (Logan), Best Book and Best Score.<ref name=Tonys1950>[https://www.tonyawards.com/winners/year/1950/category/any/show/any/ Winners 1950], Tony Awards official website, accessed May 23, 2019</ref> As of 2016, it is the only show to win Tonys in all four acting categories.<ref>Haun, Harry. [http://www.playbill.com/article/quiz-oscar-has-tony-ties-challenge-your-awards-knowledge-com-342229 "Quiz: Oscar Has Tony Ties, Challenge Your Awards Knowledge!"], ''Playbill'', June 15, 2016</ref> In 1950, the musical won the [[Pulitzer Prize for Drama]], the second musical to do so after ''[[Of Thee I Sing]]'', which won in 1932. Rodgers became the first composer of musical comedy to win the Pulitzer, as composer [[George Gershwin]] had not been recognized for ''Of Thee I Sing''.<ref name = "M153">Maslon, p. 153</ref> The Pulitzer Prize was initially given only to Rodgers and Hammerstein; Logan was later recognized in an amended announcement, much to his annoyance.<ref name=Nolan190/>

The 2001 London revival garnered a [[Laurence Olivier Award]] for [[Philip Quast]] (Emile).<ref>
[http://www.olivierawards.com/about/previous-winners/view/item98540/olivier-winners-2002/ "Olivier Winners 2002"] {{Webarchive|url=https://web.archive.org/web/20131016131843/http://www.olivierawards.com/about/previous-winners/view/item98540/Olivier-Winners-2002 |date=2013-10-16 }} , Olivier Awards official website, accessed April 7, 2012
</ref> The 2008 revival won seven Tony Awards, including Best Revival (Sher and Szot also won, and the show won in all four design categories), and five [[Drama Desk Award]]s, including Outstanding Musical Revival. The late [[Robert Russell Bennett]] was also honored that season for "his historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers and Hammerstein's ''South Pacific''."<ref>[http://www.tonyawards.com/en_US/history/pastwinners/index.html Search page for Tony Awards (search year "2008" and show ''South Pacific'')], Tony Awards official website, accessed June 11, 2013</ref><ref>[http://livedesignonline.com/theatre/20072008-drama-desk-awards-winners-honored 2007–2008 Drama Desk Awards Winners Honored], Livedesign.com, accessed June 11, 2013.</ref> As of 2016, this was the musical revival with the most Tony Awards.<ref>[http://www.tonyawards.com/en_US/history/facts/index.html "Quick Facts"], Tony Awards official website, accessed August 5, 2016</ref> The 2011 London production received three [[Olivier Award]] nominations, including Best Musical Revival, but won none.<ref>Singh, Anita. [https://www.telegraph.co.uk/culture/theatre/theatre-news/9146000/Olivier-Awards-full-list-of-nominations.html Olivier Awards: Full list of nominations], ''[[The Daily Telegraph|The Telegraph]]'', March 15, 2012, accessed June 11, 2013</ref><ref>Singh, Anita. [https://www.telegraph.co.uk/culture/culturenews/9205615/Young-stars-steal-the-show-as-Matilda-sets-Olivier-records.html Young stars steal the show as ''Matilda'' sets Olivier records], ''[[The Daily Telegraph|The Telegraph]]'', April 15, 2012, accessed June 11, 2013</ref>

== Themes and cultural effect ==

=== Race ===
Part of the reason why ''South Pacific'' is considered a classic is its confrontation of racism. According to professor [[Philip Beidler]], "Rodgers and Hammerstein's attempt to use the Broadway theater to make a courageous statement against racial bigotry in general and institutional racism in the postwar United States in particular" forms part of ''South Pacific'' 's legend.<ref>Beidler, p. 213</ref> Although ''Tales of the South Pacific'' treats the question of racism, it does not give it the central place that it takes in the musical. Andrea Most, writing on the "politics of race" in ''South Pacific'', suggests that in the late 1940s, American liberals, such as Rodgers and Hammerstein, turned to the fight for racial equality as a practical means of advancing their progressive views without risking being deemed communists.<ref>Most, pp. 308–309</ref> [[Trevor Nunn]], director of the 2001 West End production, notes the importance of the fact that Nellie, a southerner, ends the play about to be the mother in an interracial family: "It's being performed in America in 1949. That's the resonance."<ref name = "b8" />

From the early drafts, Hammerstein and Logan made the issue of racial prejudice central to the story. Hammerstein repeatedly rewrote the Act II backstage scene where Emile, Nellie and Cable confront the question of the Americans' racism.<ref name = "racial" /> As critic Robert Butler pointed out in his educational companion to the 2001 London production, "if one young person has a prejudice, it might be a character flaw; if two young people share a prejudice, it tells us something about the society in which they grew up".<ref name = "b3" /> In one draft, Emile advises that the Americans are no better than the Axis Powers, in their prejudice, and suggests they go home to sing songs about how all are created free and equal. Lovensheimer states that a postwar American audience would have found such onstage sentiments to be offensive. In the staged version, Emile's expressions are limited to two lines arguing that prejudice is not inborn.<ref name = "racial">Lovensheimer, pp. 97–98</ref>

[[File:Happy Talk.jpg|thumb|alt=A crouching man in military uniform watches a young woman and a middle-aged one make hand gestures to him|right|"[[Happy Talk (song)|Happy Talk]]": Cable ([[William Tabbert]]) watches Liat ([[Betta St. John]]) and Bloody Mary ([[Juanita Hall|Hall]]).]]
At the heart of this scene is Cable's song "[[You've Got to Be Carefully Taught]]", in which Cable realizes the sources of his own racism. Its frank lyrics made it perhaps the most controversial element of the show.<ref>Most, p. 307</ref> Michener recalled in his memoirs that a delegation of New Englanders had approached him after a New Haven tryout and urged him to recommend the song's removal to Rodgers and Hammerstein. When Michener told Hammerstein, he laughed and replied, "That's what the show is about!"<ref>Michener 1992, pp. 294–295</ref> Boston drama critic Elliot Norton, after seeing the show in tryouts, strongly recommended its removal, or at least that Cable sing it less "briskly", as there was much bigotry in Boston; Logan replied that that was all the more reason for leaving it unaltered.<ref name="M162">Maslon, p. 162</ref> Several New York reviewers expressed discomfort with the song; [[Wolcott Gibbs]] wrote of "something called 'You've Got to Be Taught', a poem in praise of tolerance that somehow I found a little embarrassing" while [[John Mason Brown]] opined that he was "somewhat distressed by the dragged-in didacticism of such a plea for tolerance as 'You've Got to Be Taught'".<ref>Lovensheimer, pp. 85–86</ref> After the Broadway opening, Hammerstein received a large number of letters concerning "You've Got to Be Carefully Taught". Judging by the letters that remain among his papers in the [[Library of Congress]], the reaction was mixed. One correspondent wrote "What can I say to a man who writes, 'You've got to be taught to hate and fear?' ... Now that I know you, I feel that my informants didn't praise you enough."<ref name="L104">Lovensheimer, p. 104</ref> Nevertheless, another wrote, "I feel the inclusion of the song particularly in the album and to some extent in the show itself is not helpful to the cause of brotherhood, your intent to the contrary notwithstanding".<ref name = "L104" />

When the tour of the show reached a racially segregated theatre in [[Wilmington, Delaware]], Rodgers and Hammerstein threatened to cancel the performances there unless seating was integrated, which it was.<ref name = "M163" /> In 1953, with the tour in Atlanta, there was controversy over "You've Got to Be Carefully Taught". Two Georgia state legislators, Senator John D. Shepard and Representative David C. Jones, objected to the song, stating that though ''South Pacific'' was a fine piece of entertainment, that song "contained an underlying philosophy inspired by Moscow", and explained, "Intermarriage produces half-breeds. And half-breeds are not conducive to the higher type of society. ... In the South, we have pure blood lines and we intend to keep it that way." They stated that they planned to introduce legislation to outlaw such communist-inspired works. The Northern press had a field day; Hammerstein, when asked for comment, responded that he did not think the legislators were representing their constituents very well, and that he was surprised at the suggestion that anything kind and decent must necessarily originate in Moscow.<ref name ="M163">Maslon, p. 163</ref><ref>"[https://timesmachine.nytimes.com/timesmachine/1953/03/01/93397165.pdf Georgia legislators score ''South Pacific''; see Red philosophy in song against bias]", ''[[The New York Times]]'', March 1, 1953, accessed March 12, 2013 (subscription required)</ref> In part because of the song, touring companies of ''South Pacific'' had difficulty getting bookings in the Deep South.<ref>Hischak, p. 324</ref>

[[File:Pinza with kids.jpg|thumb|left|alt=Pinza, in a white suit, walks along holding a mixed-race boy, about 7 or 8 years old, while listening to a slightly older girl who walks next to him.|upright|Emile (Pinza) with his children.]]
In the final scene of Act I, Nellie rejects Emile because of his part-Polynesian children. In so doing, Nellie fails to live up to the American ideal that "all men are created equal", which Emile had earlier affirmed.<ref name = "b8">Butler, p. 8</ref> This scene was also toned down by Hammerstein; in early drafts, Nellie, initially unable to force out a word to describe Emile's first wife, after he supplies the word "Polynesian", responds with "colored". This pronouncement, which makes Nellie less sympathetic as a character, was restored for the 2008 Lincoln Center production. As [[Frank Rich]] of ''[[The New York Times]]'' commented, "it's upsetting because Nellie isn't some cracker stereotype – she's lovable ... But how can we love a racist?"<ref name = "love">Lovensheimer, pp. 90–92</ref> Most argues that even Emile is tainted by racism, as his lifestyle is dependent on the maintenance of a system whereby he benefits from underpaid native labor – Bloody Mary is able to attract workers to make grass skirts for sale to GIs because, as she puts it, "French planters stingy bastards!"<ref>Most, pp. 330–331</ref>

=== Sex and gender roles ===
Nellie Forbush, in her journey from Little Rock, Arkansas, to serving as a Navy nurse and on to the domesticity of the final scene of ''South Pacific'', parallels the experience of many American women of the period. They entered the workforce during the war, only to find afterwards a societal expectation that they give up their jobs to men, with their best route to financial security being marriage and becoming a housewife. One means of securing audience acceptance of Nellie's choices was the sanitization of her sexual past from her counterpart in the Michener work – that character had a [[4-F (US Military)|4-F]] boyfriend back in Arkansas and a liaison with Bill Harbison while on the island.<ref>Lovensheimer, pp. 108–109</ref><ref>Michener 1967, p. 106</ref>

[[File:Billis and Nellie laundry.jpg|thumb|right|alt=A military scene. A woman dressed as a nurse holds a skirt she has just received from an enlisted man; she is pleased while he appears self-deprecating. Other enlisted men, many bare-chested, watch.|Nellie (Martin) praises the laundry skills of Billis (McCormick) as his friends look on.]]
The male characters in ''South Pacific'' are intended to appear conventionally masculine. In the aftermath of World War II, the masculinity of the American soldier was beyond public question. Cable's virility with Liat is made evident to the audience. Although Billis operates a laundry – Nellie particularly praises his pleats – and appears in a grass skirt in the "Thanksgiving Follies", these acts are consistent with his desire for money and are clearly intended to be comic. His interest in the young women on Bali H'ai establishes his masculinity. Lovensheimer writes that Billis is more defined by class than by sexuality, evidenced by the Seabee's assumption, on learning that Cable went to college in New Jersey, that it was [[Rutgers University|Rutgers]] (the state's flagship public university), rather than [[Ivy League]] Princeton, and by his delight on learning that the rescue operation for him had cost $600,000 when his uncle had told him he would never be worth a dime.<ref>Rodgers and Hammerstein, pp. 290, 353</ref><ref>Lovensheimer, pp. 109–111, 142–143</ref>

Meryle Secrest, in her biography of Rodgers, theorizes that ''South Pacific'' marks a transition for the pair "between heroes and heroines who are more or less evenly matched in age and stories about powerful older men and the younger women who are attracted to them".<ref>Secrest, p. 294</ref> Lovensheimer, however, points out that this pattern really only holds for two of their five subsequent musicals, ''The King and I'' and ''[[The Sound of Music]]'', and in the former, the love between Anna and the King is not expressed in words. He believes a different transition took place: that their plots, beginning with ''South Pacific'', involve a woman needing to enter and accept her love interest's world to be successful and accepted herself. He notes that both ''Oklahoma!'' and ''Carousel'' involve a man entering his wife's world, Curly in ''Oklahoma!'' about to become a farmer with expectations of success, whereas Billy Bigelow in ''Carousel'' fails to find work after leaving his place as a barker. Lovensheimer deems ''Allegro'' to be a transition, where the attempts of the lead female character to alter her husband Joe's world to suit her ambition lead to the breakup of their marriage. He argues that the nurse Emily, who goes with Joe in his return to the small town where he was happy, is a forerunner of Nellie, uprooting her life in Chicago for Joe.<ref>Lovensheimer, pp. 111–115</ref>

Secrest notes that much is overlooked in the rush to have love conquer all in ''South Pacific'', "questions of the long-term survival of a marriage between a sophisticate who read Proust at bedtime and a girl who liked Dinah Shore and did not read anything were raised by Nellie Forbush only to be brushed aside. As for the interracial complexities of raising two Polynesian children, all such issues were subsumed in the general euphoria of true love."<ref>Secrest, p. 293</ref> Lovensheimer too wonders how Nellie will fare as the second Madame de Becque, "little Nellie Forbush from Arkansas ends up in a tropical paradise, far from her previous world, with a husband, a servant, and two children who speak a language she does not understand".<ref>Lovensheimer, p. 115</ref>

=== Cultural effect ===
[[File:Wash man from hair.jpg|thumb|alt=Martin, wearing a swimsuit, stands in an improvised shower stall as water pours down on her.|right|[[Mary Martin]] washed her hair onstage eight times a week.]]
A mammoth hit, ''South Pacific'' sparked huge media and public attention. ''South Pacific'' was one of the first shows for which a variety of souvenirs were available: fans could buy ''South Pacific'' neckties, or for women, lipstick and scarves. Fake ticket stubs could be purchased for use as status symbols.<ref name="M153" /> There were ''South Pacific'' music boxes, dolls, fashion accessories, and even hairbrushes for use after washing men from hair.<ref>Hammerstein, p. 200</ref> Martin's on-stage shower prompted an immediate fashion craze for short hair that could be managed through once-a-day washing at home, rather than in a beauty salon, and for the products which would allow for such care.<ref>Beidler, pp. 116–117</ref> The songs of ''South Pacific'' could be heard on the radio, and they were popular among dance bands and in piano lounges.<ref name="M153" /> Mordden comments that ''South Pacific'' contained nothing but hit songs; Rodgers and Hammerstein's other successful works always included at least one song which did not become popular.<ref>Mordden 1992, p. 120</ref>

The cast album, recorded ten days after the show's opening, was an immediate hit. Released by [[Columbia Records]], it spent 69 weeks at No. 1 on Billboard and a total of 400 weeks on the charts, becoming the best-selling record of the 1940s.<ref name="M153" /> It was one of the early [[LP record]]s, with a turntable speed of 33{{frac|1|3}} rpm, and helped to popularize that technology – previously, show albums and operas had been issued on sets of 78 rpm records, with high prices and much less music on a single disc. In the years to come, the LP would become the medium of choice for the "longhair" music niche of show, opera and classical performances.<ref>Beidler, p. 117</ref>

An indirect effect of the success of the show was the career of James Michener. His one percent of the show as author of the source material, plus the income from a share which the duo allowed him to buy on credit, made him financially independent and allowed him to quit his job as an editor at Macmillan and to become a full-time writer.<ref>Michener 1992, p. 294</ref><ref>May, pp. 112–125</ref> Over the next five decades, his lengthy, detailed novels centering on different places would dominate the bestseller lists.<ref>May, pp. ix–x</ref>

== Music and recordings ==

=== Musical treatment ===
The role of Nellie Forbush was the first time with Hammerstein that Rodgers made the leading female role a [[belt (music)|belter]], rather than a [[lyric soprano]] like Laurey in ''Oklahoma!'' and Julie in ''Carousel''.{{#tag:ref|The female lead in ''Allegro'', Jenny, is principally a dancing role; the performer playing her does not sing by herself.|group= n}} According to Mordden, "Nellie was something new in R&H, carrying a goodly share of the score on a 'Broadway' voice".<ref>Mordden 1992, p. 108</ref>

Nellie does not sing together with Emile, because Rodgers promised Martin that she would not have to compete vocally with Pinza,{{#tag:ref|They do sing together at the start of the final scene of Act I, but their characters are supposed to have been drinking.|group= n}} but the composer sought to unite them in the underlying music. A [[tetrachord]], heard before we see either lead, is played during the instrumental introduction to "''Dites-Moi'' ", the show's first song. Considered as pitch classes, that is, as pitches without characterization by octave or register, the motif is C-B-A-G. It will be heard repeatedly in Nellie's music, or in the music (such as "Twin Soliloquies") that she shares with Emile, and even in the bridge of "Some Enchanted Evening". Lovensheimer argues that this symbolizes what Nellie is trying to say with her Act II line "We're the same sort of people fundamentally – you and me".<ref>Lovensheimer, pp. 124–132</ref>

Originally, "Twin Soliloquies" came to an end shortly after the vocal part finishes. Logan found this unsatisfying and worked with Trude Rittmann to find a better ending to the song. This piece of music, dubbed "Unspoken Thoughts", continues the music as Nellie and Emile sip brandy together, and is called by Lovensheimer "the one truly operatic moment of the score".<ref>Lovensheimer, pp. 129–130</ref> "This Nearly Was Mine" is a big bass solo for Emile in waltz time, deemed by Rodgers biographer William G. Hyland as "one of his finest efforts".<ref name ="WGH183">Hyland, p. 183</ref> Only five notes are used in the first four bars, a phrase which is then repeated with a slight variation in the following four bars. The song ends an octave higher than where it began, making it perfect for Pinza's voice.<ref name = "WGH183" />

Two songs, "I'm Gonna Wash That Man Right Outa My Hair" and "Honey Bun" are intended to imitate American popular songs of the 1940s. In the former, the triple recitation of the song title at intervals suggests a [[big band]] arrangement of the wartime era, while in the bridge, the final eight bars (repeating the lyrics from the bridge's first eight bars) gives a suggestion of [[swing music|swing]]. The sections beginning "If the man don't understand you" and "If you laugh at different comics" have a [[blues]] style. Lovensheimer deems the song "Nellie's spontaneous and improvisatory expression of her feelings through the vocabulary of popular song".<ref>Lovensheimer, pp. 133–135</ref> Mordden suggests that "I'm in Love with a Wonderful Guy" with its "take no prisoners bounce", might well be the center of the score, with the typical American girl defending her love by spouting clichés, many of which, such as "corny as Kansas in August" Hammerstein made up, and "sure enough, over the years they have become clichés".<ref>Mordden 1992, p. 121</ref>

=== Recordings ===
[[File:South pacific bway 1949.jpg|thumb|Cover of original cast album]]
[[Columbia Records]] recorded the overture and most of the songs from the original production in 1949, using members of the cast including [[Ezio Pinza]] and [[Mary Martin]]. Drawing from the original [[Acetate disc|lacquer disc]] masters, Columbia released the album in both the new LP format and on 78-rpm discs. Soon after Sony acquired Columbia in 1988, a CD was released from the previously unused magnetic tape recording from the same 1949 sessions in New York City. The CD includes the bonus tracks "Loneliness of Evening" (recorded in 1949 by Mary Martin), "My Girl Back Home" (Martin), "Bali Ha'i" (Pinza) and Symphonic Scenario for Concert Orchestra (original orchestrations by Robert Russell Bennett). According to critic [[John Kenrick (theatre writer)|John Kenrick]], the original cast recording "is the rare stuff that lasting legends are made of", an essential classic.<ref name=KenrickRecordings>Kenrick, John. [http://www.musicals101.com/cdcomps5.htm#South "Comparative CD Reviews, Part V], 2003, accessed May 26, 2003</ref> The original cast album was added to the [[National Recording Registry]] in the [[Library of Congress]] on March 21, 2013 for long-term preservation.<ref>Zongker, Brett. [https://web.archive.org/web/20130324014021/http://music.yahoo.com/news/simon-garfunkel-song-among-those-preserved-095353585.html "Simon & Garfunkel song among those to be preserved"], AP via Yahoo! Music, March 21, 2013, accessed June 11, 2013</ref> The film soundtrack was released on the [[RCA Records|RCA Victor]] label in March 1958.<ref>[http://www.allmusic.com/album/south-pacific-original-soundtrack-mw0000721870 "''South Pacific'' (Original Soundtrack")], Allmusic.com, accessed May 26, 2013</ref> Kenrick calls the recording "mixed up" and does not recommend it.<ref name=KenrickRecordings/>

Masterworks Broadway released a recording of the 1967 Lincoln Center production starring [[Florence Henderson]] as Nellie, [[Giorgio Tozzi]] as Emile, Justin McDonough as Cable and Irene Byatt as Bloody Mary. The recording includes a version of "Bali Ha'i", sung in French by [[Eleanor Calbes]], the Liat. According to Kenrick, "Every track of this 1967 Lincoln Center cast recording is such a winner that you can't help wondering why it took so long for this winner to make its way to CD."<ref name = "Ken2006">Kenrick, John. [http://www.musicals101.com/cd2006.htm#South "CD Reviews –2006]. Musicals101.com, accessed March 15, 2013</ref> Kenrick notes that the album is a more complete alternative to the original cast album.<ref name=florence/><ref name=KenrickRecordings/>

In 1986 [[José Carreras]] and [[Kiri Te Kanawa]] made a studio recording of ''South Pacific'', the sessions of which were filmed as a documentary, similar in style to [[Leonard Bernstein]]'s successful ''[[West Side Story (musical)|West Side Story]]'' documentary a year earlier that featured the same stars. Emile's music was transposed to fit Carreras's tenor voice. The recording also featured [[Sarah Vaughan]] as Bloody Mary and [[Mandy Patinkin]] as Cable. Stephen Holden reviewed the album in ''The New York Times'', "the star of this ''South Pacific'' isn't any individual, but rather the score itself".<ref name = "M181">Maslon, p. 181</ref> Kenrick calls the recording badly miscast "pretentious trash."<ref name=KenrickRecordings/> Kenrick gives mixed praise to the 1988 London revival cast album.<ref name=KenrickRecordings/>

The 2001 Royal National Theatre's revival cast album was recorded in 2002 on First Night Records with [[Philip Quast]] as Emile, [[Lauren Kennedy]] as Nellie, [[Edward Baker-Duly]] as Cable, Sheila Francisco as Bloody Mary and [[Nick Holder]] as Billis. The album includes the cut song, "Now Is the Time". While Kenrick allows that most critics like the recording, he finds it a waste of money.<ref name=KenrickRecordings/> The 2005 [[Carnegie Hall]] concert version was released on April 18, 2006 by [[Decca Records|Decca]] Broadway with [[Reba McEntire]] as Nellie, [[Brian Stokes Mitchell]] as Emile, [[Lillias White]] as Bloody Mary, [[Jason Danieley]] as Cable and [[Alec Baldwin]] as Billis. Kenrick describes this recording as "one of the most ravishing that this glorious Rodgers & Hammerstein classic has ever received"<ref name = "Ken2006" /> and "a show tune lover's dream come true."<ref name=KenrickRecordings/> The 2008 Broadway revival cast album was released on May 27, 2008 by Masterworks Broadway.<ref>
Gans, Andrew and Hetrick, Adam. [http://www.playbill.com/news/article/116718.html "'South Pacific' Company Records CD April 14; Recording Due in May"] {{Webarchive|url=https://web.archive.org/web/20081201153457/http://www.playbill.com/news/article/116718.html |date=2008-12-01 }} , playbill.com, April 14, 2008, accessed March 15, 2013
</ref> Kenrick finds it "very satisfying".<ref name=KenrickRecordings/>

==Film and television versions==
{{main|South Pacific (1958 film)|South Pacific (2001 film)}}
''South Pacific'' was made into a [[South Pacific (1958 film)|film of the same name]] in 1958, and it topped the box office that year. [[Joshua Logan]] directed the film, which starred [[Rossano Brazzi]], [[Mitzi Gaynor]], [[John Kerr (actor)|John Kerr]], [[Ray Walston]] and [[Juanita Hall]]; all of their singing voices except Gaynor's and Walston's were dubbed. [[Thurl Ravenscroft]], later television's [[Tony the Tiger]], sang the [[basso profundo]] notes in "There Is Nothing Like a Dame". The film opened with Cable's flight to the island in a [[PBY]], followed by the Seabees' beach scene, and added Billis' rescue and scenes from the mission to spy on the Japanese. The film won the [[Academy Award for Best Sound]]. It was also nominated for the Oscar for [[Academy Award for Best Original Score|Best Scoring of a Musical Picture]] (Alfred Newman and Ken Darby), and the 65 mm [[Todd-AO]] cinematography by [[Leon Shamroy]] was also nominated. The film was widely criticized for its use of color to indicate mood, with actors changing color as they began to sing. The film includes the song "My Girl Back Home", sung by Cable, which was cut from the stage musical. The movie was the third-highest-grossing film in the U.S. of the 1950s; its UK revenues were the highest ever, a record it kept until ''[[Goldfinger (film)|Goldfinger]]'' in 1963.<ref name = "HFilms">Hischak, pp. 264–265, 339</ref><ref>Maslon, pp. 170, 173</ref> Although reviewers have criticized the film – [[Time (magazine)|''Time'' magazine]] stated that it was "almost impossible to make a bad movie out of it – but the moviemakers appear to have tried" – it has added success on television, videotape and DVD to its box office laurels.<ref name = "HFilms" />

A [[South Pacific (2001 film)|made-for-television film]], directed by [[Richard Pearce (director)|Richard Pearce]], was produced and televised in 2001, starring [[Glenn Close]] as Nellie, [[Harry Connick, Jr.]] as Cable and [[Rade Sherbedgia]] as Emile. This version changed the order of the musical's songs (the film opens with "There Is Nothing Like a Dame") and omits "Happy Talk". "My Girl Back Home" was filmed but not included in the broadcast due to time constraints; it was restored for the DVD, issued in 2001. The last half-hour of the film features scenes of war, including shots of segregated troops.<ref>
Jones, Kenneth. [http://www.playbill.com/news/article/61897-Glenn-Close-TV-Movie-of-South-Pacific-Gets-DVD-and-Video-Release Glenn Close TV Movie of 'South Pacific' Gets DVD and Video Release] {{Webarchive|url=https://web.archive.org/web/20121020232050/http://www.playbill.com/news/article/61897-Glenn-Close-TV-Movie-of-South-Pacific-Gets-DVD-and-Video-Release |date=2012-10-20 }} , Playbill.com, August 29, 2001, accessed March 15, 2013
</ref> Lovensheimer states that the film returned to the Michener original in one particular: "Harry Connick Jr.'s Joe Cable is a fascinating combination of sensitive leading man and believable Leatherneck".<ref>Lovensheimer, p. 184</ref>

[[File:South pac reba 2005.jpg|thumb|right|alt=A DVD cover showing a woman with long reddish hair is flanked by two men wearing formal dress|200px|[[Alec Baldwin|Baldwin]], [[Reba McEntire|McEntire]] and [[Brian Stokes Mitchell|Mitchell]], 2005 concert DVD cover]]
The movie and Close were praised by ''[[The New York Times]]'': "Ms. Close, lean and more mature, hints that a touch of desperation lies in Nellie's cockeyed optimism." The review also commented that the movie "is beautifully produced, better than the stagy 1958 film" and praised the singing.<ref>Salamon, Julie. [https://www.nytimes.com/2001/03/26/arts/television-review-being-corny-as-kansas-isn-t-so-simple-anymore.html "Being Corny as Kansas Isn't So Simple Anymore"], ''The New York Times'', March 26, 2001, p. 8, Section E</ref> Kenrick, however, dislikes the adaptation: "You certainly won't ever want to put this disaster in your player, unless you want to hear the sound of Rodgers and Hammerstein whirling in their graves. Glenn Close is up to the material, but her supporting cast is uniformly disastrous. A pointless and offensive waste of money, time and talent."<ref name = "KenDVD">Kenrick, John. [http://www.musicals101.com/dvd8.htm#South1 "Musicals on DVD 8"], Musicals101.com, accessed March 15, 2013</ref>

A 2005 concert version of the musical, edited down to two hours, but including all of the songs and the full musical score, was presented at [[Carnegie Hall]]. It starred [[Reba McEntire]] as Nellie, [[Brian Stokes Mitchell]] as Emile, [[Alec Baldwin]] as Billis and [[Lillias White]] as Bloody Mary. The production used [[Robert Russell Bennett]]'s original orchestrations and the [[Orchestra of St. Luke's]] directed by [[Paul Gemignani]]. It was taped and telecast by [[PBS]] in 2006 and released the same year on DVD. ''The New York Times'' critic [[Ben Brantley]] wrote, "Open-voiced and open-faced, Reba McEntire was born to play Nellie"; the production was received "in a state of nearly unconditional rapture. It was one of those nights when cynicism didn't stand a chance."<ref>Brantley, Ben. [http://theater.nytimes.com/2005/06/11/theater/reviews/11paci.html '"Sultry City Night Is Transformed Into an Enchanted Bali Ha'i"], ''The New York Times'', June 11, 2005, accessed March 15, 2013</ref> Kenrick especially likes Mitchell's "This Nearly Was Mine", and praises the concert generally: "this excellent performance helped restore the reputation of this classic".<ref name = "KenDVD" />

== Notes and references ==

'''Notes'''
{{Reflist|group=n|colwidth=34em}}

'''References'''
{{Reflist|colwidth=25em}}

=== Bibliography ===
{{refbegin}}
* Beidler, Philip D. "''South Pacific'' and American remembering: Or, 'Josh, we're going to buy this son of a bitch' ". ''Journal of American Studies'', Vol. 27, Number 2 (August, 1993), pp. 207–222. JSTOR [https://www.jstor.org/stable/pdfplus/40467260.pdf 40467260.]
* Block, Geoffrey (ed.) [https://books.google.com/books?id=QLxEdG6HJ9sC&dq=carousel+rodgers&source=gbs_navlinks_s ''The Richard Rodgers Reader''.] New York: Oxford University Press (US), 2006. {{ISBN|978-0-19-531343-7}}.
* Butler, Robert. [https://web.archive.org/web/20140203211208/http://www.nationaltheatre.org.uk/sites/all/libraries/files/documents/south_pacific.pdf NT Education Workpack: ''South Pacific''.] London: [[Royal National Theatre]], 2001.
* Davis, Ronald L. ''Mary Martin: Broadway Legend.'' Norman, Okla.: University of Oklahoma Press, 2008. {{ISBN|978-0-8061-3905-0}}.
* Fordin, Hugh. ''Getting to Know Him: A Biography of Oscar Hammerstein II''. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. {{ISBN|978-0-306-80668-1}}.
* Green, Stanley. ''[https://books.google.com/books?id=ZWIRAljCR7oC&pg=PA232 Encyclopedia of the Musical Theatre.]'' Jefferson, N.C.: Da Capo Press, 1980. {{ISBN|978-0-306-80113-6}}.
* Hischak, Thomas S. [https://books.google.com/books?id=CsbEP_Mu50EC&pg=PA150 ''The Rodgers and Hammerstein Encyclopedia''.] Westport, Conn.: Greenwood Publishing Group, 2007. {{ISBN|978-0-313-34140-3}}.
* Hyland, William G. ''Richard Rodgers''. New Haven, Conn.: Yale University Press, 1998. {{ISBN|978-0-300-07115-3}}.
* Logan, Joshua. ''Josh: My Up and Down, In and Out Life''. New York: Delacorte Press, 1976. {{ISBN|0-440-04235-6}}.
* Lovensheimer, Jim. South Pacific: ''Paradise Rewritten''. Oxford: Oxford University Press, 2010. {{ISBN|978-0-19-537702-6}}.
* Maslon, Laurence. ''The'' South Pacific ''Companion''. New York: Simon & Schuster, 2008. {{ISBN|978-1-4165-7313-5}}.
* May, Stephen J. ''Michener's South Pacific''. Gainesville, Fla.: University Press of Florida, 2011. {{ISBN|978-0-8130-3557-4}}.
* Michener, James A. ''Tales of the South Pacific''. New York: Bantam Books, 1967 paperback edition of 1947 publication. {{ISBN|0-449-20652-1}}.
* Michener, James A. ''The World is My Home: A Memoir''. New York: Random House, 1992. {{ISBN|0-679-40134-2}}.
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992. {{ISBN|978-0-8109-1567-1}}.
* Mordden, Ethan. ''Beautiful Mornin': The Broadway Musical in the 1940s''. New York: Oxford University Press, 1999. {{ISBN|0-19-512851-6}}.
* Most, Andrea. " 'You've Got to Be Carefully Taught': The politics of race in Rodgers and Hammerstein's ''South Pacific''". ''Theatre Journal'', Vol. 52, Number 3 (October, 2000), pp. 307–337. JSTOR [https://www.jstor.org/stable/pdfplus/25068808.pdf 25068808.]
* Nolan, Frederick. ''[https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein.]'' Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. {{ISBN|978-1-55783-473-7}}.
* Rodgers, Richard and Hammerstein, Oscar. ''Six Plays by Rodgers and Hammerstein.'' New York: Random House, undated.
* Secrest, Meryle. ''Somewhere for Me: A Biography of Richard Rodgers''. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. {{ISBN|978-1-55783-581-9}}.
{{refend}}

==Further reading==
* Bauch, Marc (2001) [https://web.archive.org/web/20080504052448/http://www.tectum-verlag.de/9783828811416.html ''Themes and Topics of the American Musical after World War II''], Tectum Verlag, Marburg, Germany, {{ISBN|3-8288-1141-8}}
* Bauch, Marc (2003) [https://web.archive.org/web/20080504052436/http://www.tectum-verlag.de/8458_Marc_Bauch_The_American_Musical_with_References_to_Selected_American_Musicals_by_Richard_Rodgers_Oscar_Hammerstein_II_Arthur_Laurents_Leonard_Bernstein_Stephen_Sondheim_and_James_Lapine.html ''The American Musical''], Tectum Verlag, Marburg, Germany, {{ISBN|3-8288-8458-X}}
* Bloom, Ken and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of All Time''. New York: Black Dog & Leventhal Publishers, 2004. {{ISBN|978-1-57912-390-1}}.
* Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
* Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
* Martin, Mary. ''My Hearts Belongs'' (Autobiography). New York: William Morrow & Co., Inc., 1976.

== External links ==
{{Commons category|South Pacific (musical)}}
* {{ibdb show|8197|title=South Pacific}}
* [http://www.rnh.com/show/97/South-Pacific ''South Pacific''] at the Rodgers and Hammerstein Organization
* [http://www.guidetomusicaltheatre.com/shows_s/south_pacific.htm ''South Pacific''] at the Guide to Musical Theatre
* [https://web.archive.org/web/20110521101908/http://stageagent.com/Shows/View/749 ''South Pacific''] at StageAgent.com

{{Tales of the South Pacific}}
{{Rodgers and Hammerstein}}
{{Navboxes
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{{TonyAward MusicalScore 1947-1975}}
}}
{{Authority control}}

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The Sound of Music

2020-04-03T22:37:42Z

JohnAnkerBow: /* Instrumentation */

{{About|the stage musical|the film|The Sound of Music (film)|other uses}}
{{Use mdy dates|date=August 2012}}
{{Infobox Musical
|name= The Sound of Music
|image = Musical1959-SoundOfMusic-OriginalPoster.png|
|image_size = 250px
|caption = Original Broadway poster (1959)
|music= [[Richard Rodgers]]
|lyrics= [[Oscar Hammerstein II]]
|book= [[Howard Lindsay]] [[Russel Crouse]]
|basis= 1956 German film ''[[The Trapp Family|Die Trapp-Familie]]'' and [[Maria von Trapp]]'s autobiography ''[[The Story of the Trapp Family Singers]]''
|productions= {{Plain list|
* 1959 [[Broadway theatre|Broadway]]
* 1961 [[West End theatre|West End]]
* 1965 [[The Sound of Music (film)|Film]]
* International productions
* 1981 West End [[revival (theatre)|revival]]
* 1998 Broadway [[revival (theatre)|revival]]
* 2006 West End [[revival (theatre)|revival]]
* 2009–11 [[United Kingdom|UK]] Tour
* 2013 [[The Sound of Music Live!|US television]]
* 2015 [[The Sound of Music Live (2015)|UK television]]
* 2015–16 US Tour
* 2015–16 UK Tour

}}
|awards = [[Tony Award for Best Musical]]
}}

'''''The Sound of Music''''' is a [[musical theatre|musical]] with music by [[Richard Rodgers]], lyrics by [[Oscar Hammerstein II]], and a book by [[Howard Lindsay]] and [[Russel Crouse]]. It is based on the memoir of [[Maria von Trapp]], ''[[The Story of the Trapp Family Singers]]''. Set in Austria on the eve of the ''[[Anschluss]]'' in 1938, the musical tells the story of Maria, who takes a job as governess to a large family while she decides whether to become a nun. She falls in love with the children, and eventually their widowed father, [[Georg von Trapp|Captain von Trapp]]. He is ordered to accept a commission in the German navy, but he opposes the Nazis. He and Maria decide on a plan to flee Austria with the children. Many songs from the musical have become [[Standard (music)|standards]], such as "[[Edelweiss (song)|Edelweiss]]", "[[My Favorite Things (song)|My Favorite Things]]", "[[Climb Ev'ry Mountain]]", "[[Do-Re-Mi]]", and the title song "[[The Sound of Music (song)|The Sound of Music]]".

The original [[Broadway theatre|Broadway]] production, starring [[Mary Martin]] and [[Theodore Bikel]], opened in 1959<ref name="Soundof">{{cite web|url= http://www.life.com/image/first/in-gallery/51671/sound-of-music-the-forgotten-maria|title= Sound of Music: The Forgotten Maria|publisher= LIFE.com}}</ref> and won five [[Tony Award]]s, including Best Musical, out of nine nominations. The first London production opened at the [[Palace Theatre, London|Palace Theatre]] in 1961. The show has enjoyed numerous productions and revivals since then. It was adapted as a [[The Sound of Music (film)|1965 film musical]] starring [[Julie Andrews]] and [[Christopher Plummer]], which won five [[Academy Awards]]. ''The Sound of Music'' was the last musical written by [[Rodgers and Hammerstein]]; Oscar Hammerstein died of stomach cancer nine months after the Broadway premiere.

==History==
After viewing ''[[The Trapp Family]]'', a 1956 [[West German]] film about the [[von Trapp family]], and its 1958 sequel (''[[:de:Die Trapp-Familie in Amerika|Die Trapp-Familie in Amerika]]''), stage director [[Vincent J. Donehue]] thought that the project would be perfect for his friend [[Mary Martin]]; Broadway producers [[Leland Hayward]] and Richard Halliday (Martin's husband) agreed.<ref>Nolan, 244</ref> The producers originally envisioned a non-musical play that would be written by [[Lindsay and Crouse]] and that would feature songs from the repertoire of the Trapp Family Singers. Then they decided to add an original song or two, perhaps by [[Rodgers and Hammerstein]]. But it was soon agreed that the project should feature all new songs and be a musical rather than a play.<ref name="Rodgers">{{cite web|url= http://www.rnh.com/show/95/The-Sound-of-Music|accessdate= May 19, 2011|title= The Sound of Music :: Rodgers & Hammerstein Organization :: Show Details|publisher= The Rodgers & Hammerstein Organization|url-status= live|archiveurl= https://web.archive.org/web/20110521083954/http://www.rnh.com/show/95/The-Sound-of-Music|archivedate= May 21, 2011|df= mdy-all}} (Show History section)</ref>

Details of the history of the von Trapp family were altered for the musical. The real [[Georg von Trapp]] did live with his family in a villa in [[Aigen (Salzburg city district)|Aigen]], a suburb of [[Salzburg]]. He wrote to the [[Nonnberg Abbey]] in 1926 asking for a nun to help tutor his sick daughter, and the [[Virgilia, Mother Abbess|Mother Abbess]] sent [[Maria von Trapp|Maria]]. His wife had died in 1922. The real Maria and Georg married at the Nonnberg Abbey in 1927. Lindsay and Crouse altered the story so that Maria was governess to all of the children, whose names and ages were changed, as was Maria's original surname (the show used "Rainer" instead of "Kutschera"). The von Trapps spent some years in Austria after Maria and the Captain married and he was offered a commission in [[kriegsmarine|Germany's navy]]. Since von Trapp opposed the Nazis by that time, the family left Austria after the ''[[Anschluss]]'', going by train to [[Italy]] and then traveling on to London and the United States.<ref name="nara">Gearin, Joan. [https://www.archives.gov/publications/prologue/2005/winter/von-trapps.html ''Movie vs. Reality: The Real Story of the von Trapp Family''], ''[[Prologue (magazine)|Prologue]]'' magazine, Winter 2005, Vol. 37, No. 4, [[National Archives and Records Administration]]</ref> To make the story more dramatic, Lindsay and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to Switzerland on foot.

==Synopsis==

===Act I===
In [[Salzburg, Austria]], just before [[World War II]], nuns from [[Nonnberg Abbey]] sing the ''[[Psalm 110|Dixit Dominus]]''. One of the [[postulant]]s, Maria Rainer, is on the nearby mountainside, regretting leaving the beautiful hills ("[[The Sound of Music (song)|The Sound of Music]]"). She returns late to the abbey where the Mother [[Abbess]] and the other nuns have been considering what to do about the free-spirit ("[[Maria (1959 song)|Maria]]"). Maria explains her lateness, saying she was raised on that mountain, and apologizes for singing in the garden without permission. The Mother Abbess joins her in song ("[[My Favorite Things (song)|My Favorite Things]]").<ref>{{cite web |url=http://www.soundofmusiclondon.com/show/musicalnumbers.php |title=Welcome to the Official Sound of Music London Web Site |publisher=Soundofmusiclondon.com |accessdate=August 29, 2012 |url-status=dead |archiveurl=https://web.archive.org/web/20090205053459/http://www.soundofmusiclondon.com/show/musicalnumbers.php |archivedate=February 5, 2009 |df=mdy-all }}</ref> The Mother Abbess tells her that she should spend some time outside the [[abbey]] to decide whether she is suited for the [[monastic]] life. She will act as the [[governess]] to the seven children of a [[widower]], [[Austro-Hungarian Navy]] submarine Captain [[Georg von Trapp]].

Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children with a [[boatswain's call]]. They march in, clad in uniforms. He teaches her their individual signals on the call, but she openly disapproves of this militaristic approach. Alone with them, she breaks through their wariness and teaches them the basics of music ("[[Do-Re-Mi]]").

Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the villa. He claims he knows what is right for her because he is a year older than she ("[[Sixteen Going on Seventeen]]"). They kiss, and he runs off, leaving her squealing with joy. Meanwhile, the housekeeper, Frau Schmidt, gives Maria material to make new clothes, as Maria had given all her possessions to the poor. Maria sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her secret. The other children are frightened by the storm. Maria sings "[[The Lonely Goatherd]]" to distract them.

Captain von Trapp arrives a month later from [[Vienna]] with Baroness Elsa Schräder and Max Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only poor people have the time for great romances ("How Can Love Survive"). Rolf enters, looking for Liesl, and greets them with "[[Nazi salute|Heil]]". The Captain orders him away, saying that he is Austrian, not German. Maria and the children [[leapfrog]] in, wearing play-clothes that she made from the old drapes in her room. Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he angrily orders her back to the abbey. As she apologizes, they hear the children singing "The Sound of Music", which she had taught them, to welcome Elsa Schräder. He joins in and embraces them. Alone with Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her until she explains that she will be returning to the abbey in September.

The Captain gives a party to introduce Elsa, and guests argue over the Nazi German ''[[Anschluss]]'' (annexation) of Austria. Kurt asks Maria to teach him to dance the [[Ländler]]. When he fails to negotiate a complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face; and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa asks the Captain to allow the children to say goodnight to the guests with a song, "So Long, Farewell". Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests leave for the dining room, and Maria slips out the front door with her luggage.

At the abbey, Maria says that she is ready to take her [[monastic vows]]; but the Mother Abbess realizes that she is running away from her feelings. She tells her to face the Captain and discover if they love each other, and tells her to search for and find the life she was meant to live ("[[Climb Ev'ry Mountain]]").

===Act II===
Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer themselves up by singing "My Favorite Things" but are unsuccessful until they hear Maria singing on her way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange for another governess. Max and Elsa argue with the Captain about the imminent ''[[Anschluss]]'', trying to convince him that it is inevitable ("[[No Way to Stop It]]"). When he refuses to compromise on his opposition to it, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only to be "An Ordinary Couple". As they marry, the nuns reprise "Maria" against the wedding processional.

While Maria and the Captain are on their honeymoon, Max prepares the children to perform at the Kaltzberg Festival. Herr Zeller, the ''[[Gauleiter]]'' of the region, demands to know why they are not flying the flag of the [[Third Reich]] now that the ''Anschluss'' has occurred. The Captain and Maria return early from their honeymoon before the Festival. In view of the Nazi German occupation, the Captain decides the children should not sing at the event. Max argues that they would sing for Austria, but the Captain points out that it no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be married ("Sixteen Going on Seventeen (Reprise)"). Rolf enters with a telegram that offers the Captain a commission in the [[Kriegsmarine|German Navy]], and Liesl is upset to discover that Rolf is now a committed [[Nazi]]. The Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber arrives to find out why Captain von Trapp has not answered the telegram. He explains that the German Navy holds him in high regard, offers him the commission, and tells him to report immediately to [[Bremerhaven]] to assume command. Maria says that he cannot leave immediately, as they are all singing in the Festival concert; and the Admiral agrees to wait.

At the concert, after the von Trapps sing an elaborate reprise of "Do-Re-Mi", Max brings out the Captain's guitar. Captain von Trapp sings "[[Edelweiss (song)|Edelweiss]]", as a goodbye to his homeland, while using [[Leontopodium alpinum#Names|Austria's national flower]] as a symbol to declare his loyalty to the country. Max asks for an encore and announces that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the Captain to his new command. While the judges decide on the prizes, the von Trapps sing "So Long, Farewell", leaving the stage in small groups. Max then announces the runners-up, stalling as much as possible. When he announces that the first prize goes to the von Trapps and they do not appear, the [[Nazis]] start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been closed. Rolf comes upon them and calls his lieutenant, but after seeing Liesl he changes his mind and tells him they aren't there. The Nazis leave, and the von Trapps flee over the [[Alps]] as the nuns reprise "Climb Ev'ry Mountain".

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* "Preludium" – Mother Abbess with Nuns
* "[[The Sound of Music (song)|The Sound of Music]]" – Maria
* "[[Maria (1959 song)|Maria]]" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
* "[[My Favorite Things (song)|My Favorite Things]]" – Maria and the Mother Abbess
* "My Favorite Things" (reprise 1) – Maria
* "[[Do-Re-Mi]]" – Maria and the children
* "[[Sixteen Going on Seventeen]]" – Rolf and Liesl
* "[[The Lonely Goatherd]]" – Maria and the children
* "The Lonely Goatherd" (reprise) – Gretl
* "How Can Love Survive" – Max and Elsa
* "The Sound of Music" (reprise) – Maria, the Captain and the children
* "[[Ländler]]" (instrumental)
* "[[So Long, Farewell]]" – The children
* "Morning Hymn" – Nuns
* "[[Climb Ev'ry Mountain]]" – Mother Abbess

{{col-break}}
;Act II
* "My Favorite Things" (reprise 2) – Maria and the children
* "[[No Way to Stop It]]" – Elsa, Max and the Captain
* "An Ordinary Couple" – Maria and the Captain †
* "Gaudeamus Domino" – Nuns
* "Maria" (reprise) – Nuns
* "Confitemini Domino" – Nuns
* "Sixteen Going on Seventeen" (reprise) – Maria and Liesl
* "Do-Re-Mi" (reprise) – Maria, the Captain, and the children ‡
* "[[Edelweiss (song)|Edelweiss]]" – The Captain
* "So Long, Farewell" (reprise) – Maria, the Captain, and the children
* "Finale Ultimo" (reprise of "Climb Every Mountain") – Nuns
{{col-end}}

;Notes
* ''The musical numbers listed appeared in the original production unless otherwise noted.''
* † Sometimes replaced by "Something Good", which was written for the film version.
* ‡ Replaced by "The Lonely Goatherd" in the 1998 revival.
* In some productions, "My Favorite Things" follows "Sixteen Going on Seventeen" in the thunderstorm scene, while "The Lonely Goatherd" is shifted to the concert scene.
* Many stage revivals have also included "I Have Confidence" and "Something Good", which were written by Richard Rodgers for the film version (since the film was made after original lyricist Oscar Hammerstein's death).
* Although many people believe that "[[Edelweiss (song)|Edelweiss]]" is a traditional Austrian song, it was written for the musical and did not become known in Austria until after the film's success.<ref>{{cite web |url=https://www.bbc.co.uk/pressoffice/pressreleases/stories/2006/07_july/11/maria_facts.shtml |title=Information from the BBC website |publisher=Bbc.co.uk |date=November 16, 1959 |accessdate=August 29, 2012 |url-status=live |archiveurl=https://web.archive.org/web/20140427083144/http://www.bbc.co.uk/pressoffice/pressreleases/stories/2006/07_july/11/maria_facts.shtml |archivedate=April 27, 2014 |df=mdy-all }}</ref>
* The [[Ländler]] dance performed by Maria and the Captain during the party is only loosely based on the traditional Austrian dance of the same name.<ref>[http://www.earthlydelights.com.au/other2.htm Information from Earthlydelights.com] {{webarchive |url=https://web.archive.org/web/20120210005230/http://www.earthlydelights.com.au/other2.htm |date=February 10, 2012 }}</ref>

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=The Sound of Music |url=https://www.concordtheatricals.com/p/57263/the-sound-of-music |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute I, Flute II (doubling Piccolo), Oboe (doubling English Horn), Clarinet I, Clarinet II, Bassoon, Horn I, Horn II, Horn III, Trumpet I, Trumpet II, Trumpet III, Trombone I, Trombone II, Tuba, Percussion, Guitar/Mandolin, Harp, Violin I (divisi), Violin II (divisi), Viola (divisi), Cello (divisi), Bass, Piano (optional) & Percussion [Trap Set (Snare, Tenor, Bass Drum, Hi-Hat & Suspended Cymbal), Chime (E), Orchestra Bells, 2 Timpani, Temple Block, Woodblock & Triangle]

There is also a 2 piano version available.

==Characters==
Sources: IBDB and Guidetomusicaltheatre.com<ref>{{cite web | title=''The Sound of Music'' | work=Guidetomusicaltheatre.com | url=http://www.guidetomusicaltheatre.com/shows_s/soundofmusic.htm | accessdate=July 26, 2017}}</ref>
* [[Maria von Trapp|Maria Rainer]], a [[postulant]] at Nonnberg Abbey
* Captain [[Georg von Trapp]]
* Max Detweiler, Captain von Trapp's friend, a music agent and producer
* The Mother Abbess, the head of [[Nonnberg Abbey]]
* Baroness Elsa Schräder<ref name="RodgersHammerstein1960">{{cite book|last1=Rodgers|first1=Richard|authorlink1=Richard Rodgers|last2=Hammerstein|first2=Oscar|authorlink2=Oscar Hammerstein II|title=The Sound of Music|url=https://books.google.com/books?id=4CgMcRb8fJ0C&pg=PA2|accessdate=July 9, 2012|year=1960|publisher=Hal Leonard Corporation|isbn=978-0-88188-050-2|page=2|url-status=live|archiveurl=https://web.archive.org/web/20140103024359/http://books.google.com/books?id=4CgMcRb8fJ0C&pg=PA2|archivedate=January 3, 2014|df=mdy-all}}</ref> "wealthy and sophisticated" and Captain von Trapp's would-be fiancée
* Rolf Gruber, the 17-year-old Nazi delivery boy who is in love with Liesl
* Sister Bertha, the Mistress of Novices
* Sister Margareta, the Mistress of Postulants
* Sister Sophia, a sister at the Abbey
* Herr Zeller, the [[Gauleiter]]
* Franz, Captain von Trapp's butler
* Frau Schmidt, Captain von Trapp's housekeeper
* The Children:
** Liesl von Trapp, age 16
** Friedrich von Trapp, age 14
** Louisa von Trapp, age 13
** Kurt von Trapp, age 11
** Brigitta von Trapp, age 10
** Marta von Trapp, age 7
** Gretl von Trapp, age 5
* Ensemble includes nuns, high-society neighbors of Captain von Trapp who attend the ball thrown in Elsa's honor, Nazi soldiers and contestants in the festival concert

==Productions==

===Original productions===
[[File:Mary_Martin_in_The_Sound_of_Music_by_Toni_Frissell.jpg|thumb|350px|[[Mary Martin]] and children in a publicity photo, 1959]]
''The Sound of Music'' premiered at New Haven's [[Shubert Theatre (New Haven)|Shubert Theatre]] where it played an eight-performance tryout in October and November 1959 before another short tryout in Boston.<ref>Minor, E. Kyle. [https://www.nhregister.com/entertainment/article/Sound-of-Music-returns-to-its-origins-at-12330595.php "''Sound of Music'' returns to its origins at New Haven's Shubert Theatre"], ''[[New Haven Register]]'', November 3, 2017, accessed June 24, 2018</ref> The musical then opened on [[Broadway theatre|Broadway]] at the [[Lunt-Fontanne Theatre]] on November 16, 1959, moved to the [[Mark Hellinger Theatre]] on November 6, 1962, and closed on June 15, 1963, after 1,443 performances. The director was [[Vincent J. Donehue]], and the choreographer was [[Joe Layton]]. The original cast included [[Mary Martin]] as Maria, [[Theodore Bikel]] as Captain Georg von Trapp, [[Patricia Neway]] as Mother Abbess, [[Kurt Kasznar]] as Max Detweiler, [[Marion Marlowe]] as Elsa Schräder, Brian Davies as Rolf and [[Lauri Peters]] as Liesl. [[Patricia Brooks]], [[June Card]] and [[Tatiana Troyanos]] were ensemble members in the original production. The show tied for the [[Tony Award]] for Best Musical with ''[[Fiorello!]]''. Other awards included Martin for Best Actress in a Musical, Neway for Best Featured Actress, Best Scenic Design ([[Oliver Smith (designer)|Oliver Smith]]) and Best Conductor And Musical Director (Frederick Dvonch). Bikel and Kasznar were nominated for acting awards, and Donehue was nominated for his direction. The entire children's cast was nominated for Best Featured Actress category as a single nominee, even though two of the children were boys.<ref>[http://www.playbill.com/production/the-sound-of-music-lunt-fontanne-theatre-vault-0000005082# "''The Sound of Music'' Awards"], Playbill (vault), retrieved November 14, 2017</ref>

[[Martha Wright (actress)|Martha Wright]] replaced Martin in the role of Maria on Broadway in October 1961, followed by Karen Gantz in July 1962, Jeannie Carson in August 1962<ref>August 1962 PLAYBILL from the Lunt-Fontanne Theatre</ref> and [[Nancy Dussault]] in September 1962. [[Jon Voight]], who eventually married co-star Lauri Peters, was a replacement for Rolf. The national tour starred [[Florence Henderson]] as Maria and [[Beatrice Krebs]] as Mother Abbess. It opened at the [[Grand Riviera Theater]], Detroit, on February 27, 1961, and closed November 23, 1963, at the [[O'Keefe Centre]], Toronto. Henderson was succeeded by Barbara Meister in June 1962. Theodore Bikel was not satisfied playing the role of the Captain, because of the role's limited singing, {{Citation needed|date=July 2010}} and Bikel did not like to play the same role over and over again. In his autobiography, he writes: "I promised myself then that if I could afford it, I would never do a run as long as that again."<ref>Bikel, Theodore. ''Theo: The Autobiography of Theodore Bikel'', Univ of Wisconsin Press, 2002, {{ISBN|0-299-18284-3}}, p. Z-17</ref> The original Broadway [[cast album]] sold three million copies.

The musical premiered in London's [[West End theatre|West End]] at the [[Palace Theatre, London|Palace Theatre]] on May 18, 1961, and ran for 2,385 performances. It was directed by Jerome Whyte and used the original New York choreography, supervised by Joe Layton, and the original sets designed by Oliver Smith. The cast included Jean Bayless as Maria, followed by Sonia Rees, Roger Dann as Captain von Trapp, [[Constance Shacklock]] as Mother Abbess, [[Eunice Gayson]] as Elsa Schrader, Harold Kasket as Max Detweiler, Barbara Brown as Liesl, Nicholas Bennett as Rolf and [[Olive Gilbert]] as Sister Margaretta.<ref>Green, ''Encyclopedia'', p. 396</ref>

===1981 London revival===
In 1981, at producer Ross Taylor's urging, [[Petula Clark]] agreed to star in a revival of the show at the [[Apollo Victoria Theatre]] in [[London]]'s [[West End of London|West End]]. [[Michael Jayston]] played Captain von Trapp, [[Honor Blackman]] was the Baroness and June Bronhill the Mother Abbess. Other notable cast members included [[Helen Anker]], [[John Bennett (actor)|John Bennett]] and [[Martina Grant]].<ref>{{cite web |url=http://broadwayworld.com/shows/cast.php?showid=7268 |title=Cast list at Broadway World |publisher=Broadwayworld.com |accessdate=August 21, 2012 |url-status=live |archiveurl=https://web.archive.org/web/20131219164646/http://www.broadwayworld.com/shows/cast.php?showid=7268 |archivedate=December 19, 2013 |df=mdy-all }}</ref> Despite her misgivings that, at age 49, she was too old to play the role convincingly, Clark opened to unanimous rave reviews and the largest advance sale in the history of British theatre at that time. Maria von Trapp, who attended the opening night performance, described Clark as "the best" Maria ever. Clark extended her initial six-month contract to thirteen months. Playing to 101 percent of [[seating capacity]], the show set the highest attendance figure for a single week (October 26–31, 1981) of any British musical production in history (as recorded in ''The Guinness Book of Theatre'').<ref>Maslon, p. 150</ref> It was the first stage production to incorporate the two additional songs ("Something Good" and "I Have Confidence") that Richard Rodgers composed for the film version.<ref name="Hischak, p. 259">Hischak, p. 259</ref> "My Favorite Things" had a similar context to the film version, while the short verse "A Bell is No Bell" was extended into a full-length song for Maria and the Mother Abbess. "The Lonely Goatherd" was set in a new scene at a village fair.

The cast recording of this production was the first to be recorded digitally. It was released on CD for the first time in 2010 by the UK label Pet Sounds and included two bonus tracks from the original single issued by [[Epic Records|Epic]] to promote the production.

===1998 Broadway revival===
Director [[Susan H. Schulman]] staged the first Broadway revival of ''The Sound of Music'', with [[Rebecca Luker]] as Maria and [[Michael Siberry]] as Captain von Trapp. It also featured [[Patti Cohenour]] as Mother Abbess, [[Jan Maxwell]] as Elsa Schrader, [[Fred Applegate (actor)|Fred Applegate]] as Max Detweiler, [[Dashiell Eaves]] as Rolf, [[Patricia Conolly]] as Frau Schmidt and [[Laura Benanti]], in her Broadway debut, as Luker's [[understudy]]. Later, Luker and Siberry were replaced by [[Richard Chamberlain (actor)|Richard Chamberlain]] as the Captain and Benanti as Maria. [[Lou Taylor Pucci]] made his Broadway debut as the understudy for Kurt von Trapp. The production opened on March 12, 1998, at the [[Martin Beck Theatre]], and closed on June 20, 1999, after 533 performances. This production was nominated for a [[Tony Award]] for Best Revival of a Musical.<ref>[http://www.playbillvault.com/Show/Detail/8210/The-Sound-of-Music " 'The Sound of Music' Boadway 1998"] {{webarchive|url=https://web.archive.org/web/20151005224709/http://www.playbillvault.com/Show/Detail/8210/The-Sound-of-Music |date=October 5, 2015 }} playbillvault.com, accessed October 15, 2015</ref> It then toured in North America.

===2006 London revival===
An [[Andrew Lloyd Webber]] production opened on November 15, 2006, at the [[London Palladium]] and ran until February 2009, produced by Live Nation's [[David Ian]] and [[Jeremy Sams]]. Following failed negotiations with Hollywood star [[Scarlett Johansson]],<ref>[http://www.contactmusic.com/news.nsf/story/johansson-snubs-sound-of-music_1003667 Scarlett Johansson – Johansson Snubs Sound Of Music] contactmusic.com, July 27, 2006</ref> the role of Maria was cast through a UK talent search reality TV show called ''[[How Do You Solve a Problem like Maria?]]'' The talent show was produced by (and starred) Andrew Lloyd Webber and featured presenter/comedian [[Graham Norton]] and a judging panel of [[David Ian]], [[John Barrowman]] and [[Zoe Tyler]].

[[Connie Fisher]] was selected by public voting as the winner of the show. In early 2007, Fisher suffered from a heavy cold that prevented her from performing for two weeks. To prevent further disruptions, an alternate Maria, [[Aoife Mulholland]], a fellow contestant on ''How Do You Solve a Problem like Maria?'', played Maria on Monday evenings and Wednesday matinee performances. [[Simon Shepherd]] was originally cast as Captain von Trapp, but after two preview performances he was withdrawn from the production, and [[Alexander Hanson (actor)|Alexander Hanson]] moved into the role in time for the official opening date along with [[Lesley Garrett]] as the Mother Abbess. After Garrett left, [[Margaret Preece]] took the role. The cast also featured [[Lauren Ward]] as the Baroness, [[Ian Gelder]] as Max, [[Sophie Bould]] as Liesl, and [[Neil McDermott]] as Rolf. Other notable replacements have included [[Simon Burke]] and [[Simon MacCorkindale]] as the Captain and newcomer Amy Lennox as Liesl. [[Summer Strallen]] replaced Fisher in February 2008,<ref> [https://www.broadwayworld.com/westend/article/Summer-Strallen-is-Maria-in-Londons-The-Sound-of-Music-Feb26-20080204 "Summer Strallen is Maria in London's ''The Sound of Music'' Feb.26"], Broadwayworld.com, February 4, 2008, accessed November 15, 2017</ref> with Mulholland portraying Maria on Monday evenings and Wednesday matinees.<ref>[http://www.thisistheatre.com/soundofmusic/aoife-mulholland.html "Aoife Mulholland"], Thisistheatre.com, 29 April 2015</ref>

The revival received enthusiastic reviews, especially for Fisher, Preece, Bould and Garrett. A cast recording of the London Palladium cast was released.<ref>[http://www.theatre.com/story/id/3004750 Information from Theatre.com] {{webarchive |url=https://web.archive.org/web/20080725132621/http://www.theatre.com/story/id/3004750 |date=July 25, 2008 }}</ref> The production closed on February 21, 2009, after a run of over two years<ref>{{cite web|url=http://www.playbill.com/news/article/126544.html="So|archive-url=https://archive.is/20130131085917/http://www.playbill.com/news/article/126544.html=%22So|url-status=dead|archive-date=2013-01-31|title=Long, Farewell": London's Sound of Music Closes Feb. 21|work=Playbill}}</ref> and was followed by a UK national tour, described below.

===Other notable productions===
;1960s to 2000

The first Australian production opened at [[Melbourne]]'s [[Princess Theatre, Melbourne|Princess Theatre]] in 1961 and ran for three years. The production was directed by Charles Hickman, with musical numbers staged by Ernest Parham. The cast included [[June Bronhill]] as Maria, [[Peter Graves (actor)|Peter Graves]] as Captain von Trapp and [[Rosina Raisbeck]] as Mother Abbess. A touring company then played for years, with Vanessa Lee (Graves' wife) in the role of Maria. The cast recording made in 1961 was the first time a major overseas production featuring Australian artists was transferred to disc.{{citation needed|date=October 2015}}

A Puerto Rican production, performed in English, opened at the [[Teatro Tapia|Tapia Theatre]] in [[San Juan, Puerto Rico|San Juan]] under the direction of Pablo Cabrera in 1966. It starred [[Camille Carrión]] as María and Raúl Dávila as Captain Von Trapp, and it featured a young [[Johanna Rosaly]] as Liesl. In 1968, the production transferred to the [[Teatro de la Zarzuela]] in [[Madrid]], Spain, where it was performed in Spanish with Carrión reprising the role of María, [[Alfredo Mayo]] as Captain Von Trapp and [[Roberto Rey]] as Max.{{citation needed|date=October 2015}}

In 1988, the Moon Troupe of [[Takarazuka Revue]] performed the musical at the Bow Hall (Takarazuka, [[Hyōgo Prefecture|Hyōgo]]). Harukaze Hitomi and Gou Mayuka starred.<ref>{{cite web | title = The Sound of Music | website = takawiki.com | url = http://www.takawiki.com/tiki-index.php?page=The+Sound+of+Music+%28Moon+1988%29 | access-date = January 23, 2017 }}</ref> A 1990 [[New York City Opera]] production, directed by [[Oscar Hammerstein II]]'s son, James, featured [[Debby Boone]] as Maria, [[Laurence Guittard]] as Captain von Trapp, and [[Werner Klemperer]] as Max.<ref>Rockwell, John. [https://www.nytimes.com/1990/03/09/theater/review-music-sound-of-music-takes-on-the-icons-of-a-heroic-past.html "Review/Music; 'Sound of Music' Takes On The Icons of a Heroic Past"] ''The New York Times'', March 9, 1990</ref> In the 1993 Stockholm production, [[Carola Häggkvist]] played Maria and [[Tommy Körberg]] played Captain von Trapp.{{citation needed|date=October 2015}}

An Australian revival played in the Lyric Theatre, [[Sydney]], New South Wales, from November 1999 to February 2000. [[Lisa McCune]] played Maria, [[John Waters (actor)|John Waters]] was Captain von Trapp, [[Bert Newton]] was Max, [[Eilene Hannan]] was Mother Abbess and [[Rachel Marley]] was Marta. This production was based on the 1998 Broadway revival staging.<ref>Rose, Colin. "Head for the hills; Stage", ''The Sun Herald'' (Sydney, Australia), November 14, 1999, ''Time Out'', p. 15</ref> The production then toured until February 2001, in Melbourne, [[Brisbane]], [[Perth]] and [[Adelaide]]. [[Rachael Beck]] took over as Maria in Perth and Adelaide, and [[Rob Guest]] took over as Captain von Trapp in Perth.<ref>Critics' Choice, ''The Australian'', April 14, 2000, Features, p. 11</ref><ref>Barclay, Alison. "Von Trapps' house is full", ''Herald Sun'' (Melbourne, Australia), July 7, 2000, p. 89</ref><ref>Aldred, Debra. "Lisa can sing for her supper of marshmallows", ''Courier Mail'' (Queensland, Australia), August 4, 2000, p. 7</ref><ref>Archdall, Susan. "Rachael's happy to go her own way", ''The Advertiser'', January 1, 2001, p. 77</ref>

;21st century

An Austrian production premiered in 2005 at the [[Volksoper Wien]] in German. It was directed and choreographed by Renaud Doucet. The cast included Sandra Pires as Maria, Kurt Schreibmayer and Michael Kraus as von Trapp, with [[Heidi Brunner]] as Mother Abbess. As of 2012, the production was still in the repertoire of the Volksoper with 12–20 performances per season.<ref>{{cite web |url=http://www.volksoper.at/Content.Node2/home/index.php |title=Website of the Volksoper Wien |publisher=Volksoper.at |accessdate=August 29, 2012 |url-status=dead |archiveurl=https://web.archive.org/web/20120722202051/http://www.volksoper.at/Content.Node2/home/index.php |archivedate=July 22, 2012 |df=mdy-all }}</ref><ref>Official season programmes of the Volksoper Wien, 2005/06, 2006/07, 2007/08</ref><ref>Lash, Larry L. "The Sound of Music", ''Variety'', March 7, 2005 – March 13, 2005, Legit Reviews; Abroad, p. 57</ref>

The [[Salzburg Marionette Theatre]] has toured extensively with their version that features the recorded voices of Broadway singers such as [[Christiane Noll]] as Maria.<ref>Genzlinger, Neil. [http://theater2.nytimes.com/2007/12/07/theater/reviews/07mari.html "The Hills Are Still Alive, Just Look Past the Strings"] {{webarchive|url=https://web.archive.org/web/20071210221010/http://theater2.nytimes.com/2007/12/07/theater/reviews/07mari.html |date=December 10, 2007 }}, ''The New York Times'', December 7, 2007</ref> The tour began in [[Dallas]], Texas, in 2007<ref>[http://www.guidelive.com/sharedcontent/dws/ent/columnists/ltaitte/stories/DN-puppet_gl03.ART.State.Edition2.4291906.html Review of Dallas opening, November 3, 2007] {{webarchive |url=https://web.archive.org/web/20081220111041/http://www.guidelive.com/sharedcontent/dws/ent/columnists/ltaitte/stories/DN-puppet_gl03.ART.State.Edition2.4291906.html |date=December 20, 2008 }}</ref> and continued in Salzburg in 2008.<ref>[http://www.marionetten.at/marionetten/marionetten/shop_karten 2008 schedule of performances] {{webarchive |url=https://web.archive.org/web/20090728073725/http://www.marionetten.at/marionetten/marionetten/shop_karten |date=July 28, 2009 }}</ref> The director is [[Richard Hamburger]].<ref>[http://www.marionetten.at/marionetten/marionetten/sound-of-music Official website of the Salzburg Marionette Theatre's production] {{webarchive |url=https://web.archive.org/web/20090228172845/http://www.marionetten.at/marionetten/marionetten/sound-of-music |date=February 28, 2009 }}</ref> In 2010, the production was given in Paris, France, with dialogue in French and the songs in English.{{citation needed|date=October 2015}} In 2008, a Brazilian production with Kiara Sasso as Maria and Herson Capri as the Captain played in [[Rio de Janeiro]] and [[São Paulo]],<ref>{{cite web|url=http://www.anovicarebelde.com.br/|title=Official website of the Brazilian Production|url-status=dead|archiveurl=https://web.archive.org/web/20080607095432/http://www.anovicarebelde.com.br/|archivedate=June 7, 2008|df=mdy-all}}</ref> and a Dutch production was mounted with Wieneke Remmers as Maria, directed by John Yost.<ref>[http://www.efteling.com/thesoundofmusic/ Official website of the 2008 Dutch production] {{webarchive |url=https://web.archive.org/web/20081119153507/http://www.efteling.com/thesoundofmusic/ |date=November 19, 2008 }}</ref>

[[Andrew Lloyd Webber]], [[David Ian]] and [[David Mirvish]] presented ''The Sound of Music'' at the [[Princess of Wales Theatre]] in Toronto from 2008 to 2010. The role of Maria was chosen by the public through a television show, ''[[How Do You Solve a Problem Like Maria? (Canada)|How Do You Solve a Problem Like Maria?]]'', which was produced by Lloyd Webber and Ian and aired in mid-2008. [[Elicia MacKenzie]] won<ref>Lipton, Brian Scott.[http://www.theatermania.com/new-york/news/09-2007/the-sound-of-music-to-bow-in-toronto-in-september_11682.html "''The Sound of Music'' to Bow in Toronto in September 2008"] {{webarchive|url=https://web.archive.org/web/20081230030645/http://www.theatermania.com/new-york/news/09-2007/the-sound-of-music-to-bow-in-toronto-in-september_11682.html |date=December 30, 2008 }}, Theatermania.com, September 25, 2007</ref> and played the role six times a week, while the runner-up in the TV show, Janna Polzin, played Maria twice a week.<ref name="Turnsout2008">{{cite news | url=https://www.thestar.com/entertainment/article/478044 | work=The Star | location=Toronto | title=Turns out Janna's a 'Maria' after all | date=August 14, 2008 | accessdate=May 25, 2010 | url-status=live | archiveurl=https://web.archive.org/web/20081220110750/http://www.thestar.com/entertainment/article/478044 | archivedate=December 20, 2008 | df=mdy-all }}</ref> Captain von Trapp was played by [[Burke Moses]]. The show ran for more than 500 performances. It was Toronto's longest running revival ever.<ref>[http://toronto.broadwayworld.com/article/THE_SOUND_OF_MUSIC_Extended_At_The_Princess_of_Wales_Theatre_20100109 "''The Sound of Music'' Ends Run at The Princess of Wales Theatre January 10"] {{webarchive|url=https://web.archive.org/web/20110708094901/http://toronto.broadwayworld.com/article/THE_SOUND_OF_MUSIC_Extended_At_The_Princess_of_Wales_Theatre_20100109 |date=July 8, 2011 }}, Broadwayworld.com, January 10, 2010</ref>

A UK tour began in 2009 and visited more than two dozen cities before ending in 2011. The original cast included [[Connie Fisher]] as Maria, [[Michael Praed]] as Captain von Trapp and [[Margaret Preece]] as the Mother Abbess. Kirsty Malpass was the alternate Maria.<ref>[http://www.thesoundofmusictour.com/ The Sound of Music UK Tour] {{webarchive|url=https://web.archive.org/web/20090520084149/http://www.thesoundofmusictour.com/ |date=May 20, 2009 }}, Thesoundofmusictour.com, Retrieved May 18, 2009</ref> [[Jason Donovan]] assumed the role of Captain Von Trapp, and [[Verity Rushworth]] took over as Maria, in early 2011. [[Lesley Garrett]] reprised her role as Mother Abbess for the tour's final engagement in [[Wimbledon, London|Wimbledon]] in October 2011.

A production ran at the Ópera-Citi theater in [[Buenos Aires]], Argentina in 2011. The cast included Laura Conforte as Maria and Diego Ramos as Captain Von Trapp.<ref>{{cite web|work=La Novicia Rebelde|title=La Novicia Rebelde|url=http://www.lanoviciarebelde.com/|url-status=dead|archiveurl=https://web.archive.org/web/20110806041635/http://www.lanoviciarebelde.com/|archivedate=August 6, 2011|df=mdy-all}}</ref> A Spanish national tour began in November 2011 at the [[Auditorio de Tenerife]] in [[Santa Cruz de Tenerife]] in the [[Canary Islands]]. The tour visited 29 Spanish cities, spending one year in [[Madrid]]'s [[Gran Vía (Madrid)|Gran Vía]] at the Teatro Coliseum, and one season at the Tívoli Theatre in [[Barcelona]]. It was directed by Jaime Azpilicueta and starred Silvia Luchetti as Maria and Carlos J. Benito as Captain Von Trapp.<ref>{{cite web|url=http://www.broadwayworld.com/spain/article/BWW-TV-Sonrisas-y-lgrimas-se-prepara-para-su-gira-espaola-20111202|title=BWW TV: 'Sonrisas y lágrimas' se prepara para su gira española|author=Nuria Frutos|work=BroadwayWorld.com|url-status=live|archiveurl=https://web.archive.org/web/20141030022037/http://www.broadwayworld.com/spain/article/BWW-TV-Sonrisas-y-lgrimas-se-prepara-para-su-gira-espaola-20111202|archivedate=October 30, 2014|df=mdy-all}}</ref>

A production was mounted at the [[Open Air Theatre, Regent's Park]] from July to September 2013.<ref name ="extend" /><ref>{{cite web|url=http://www.whatsonstage.com/news/theatre/london/E8831345035584/To+Kill+A+Mockingbird+%26+Sound+of+Music+lead+2013+Open+Air+season.html|title=''To Kill A Mockingbird'' & ''Sound of Music'' lead 2013 Open Air season|publisher=whatsonstage.com|date=15 August 2012|accessdate=28 October 2012|url-status=live|archiveurl=https://web.archive.org/web/20130310055139/http://www.whatsonstage.com/news/theatre/london/E8831345035584/To%2BKill%2BA%2BMockingbird%2B%26%2BSound%2Bof%2BMusic%2Blead%2B2013%2BOpen%2BAir%2Bseason.html|archivedate=March 10, 2013|df=mdy-all}}</ref> It starred Charlotte Wakefield as Maria, with Michael Xavier as Captain von Trapp and [[Caroline Keiff]] as Elsa.<ref name="extend">[http://www.playbill.com/news/article/181143-The-Sound-of-Music-Extends-Run-at-Londons-Open-Air-Theatre-Regents-Park- The Sound of Music Extends Run at London's Open Air Theatre, Regent's Park] {{webarchive|url=https://web.archive.org/web/20130926062046/http://playbill.com/news/article/181143-The-Sound-of-Music-Extends-Run-at-Londons-Open-Air-Theatre-Regents-Park- |date=September 26, 2013 }}, Playbill, Retrieved November 7, 2013</ref> It received enthusiastic reviews and became the highest-grossing production ever at the theatre.<ref name ="extend" /> In 2014, the show was nominated for Best Musical Revival at the [[Laurence Olivier Awards]] and Wakefield was nominated for Best Actress in a Musical.<ref>[http://www.broadwayworld.com/article/Nominations-Announced-for-Olivier-Awards-2014-CHARLIE-AND-THE-CHOCOLATE-FACTORY-ONCE-MORMON-MERRILY-Jude-Law-Judi-Dench-More-20140310#.Ux4ZFvldVfg Nominations Announced for 2014 Olivier Awards!"] {{webarchive|url=https://web.archive.org/web/20140310214025/http://www.broadwayworld.com/article/Nominations-Announced-for-Olivier-Awards-2014-CHARLIE-AND-THE-CHOCOLATE-FACTORY-ONCE-MORMON-MERRILY-Jude-Law-Judi-Dench-More-20140310 |date=March 10, 2014 }}, Broadwayworld, retrieved 10 March 2014</ref>

A brief South Korean production played in 2014,<ref>{{cite web|url=http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2982837|title=2014.1.1 Ticket|work=[[Korea JoongAng Daily]]|date=1 January 2014|url-status=live|archiveurl=https://web.archive.org/web/20140105070302/http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2982837|archivedate=January 5, 2014|df=mdy-all}}</ref> as did a South African production at the Artscape in [[Cape Town]] and at the Teatro at [[Montecasino]] based on Lloyd Webber and Ian's London Palladium production.{{citation needed|date=October 2015}} The same year, a Spanish language translation opened at Teatro de la Universidad in San Juan, under the direction of Edgar García. It starred [[Lourdes Robles]] as Maria and [[Braulio Castillo, Jr.|Braulio Castillo]] as Captain Von Trapp, with [[Dagmar (Puerto Rico entertainer)|Dagmar]] as Elsa.<ref>{{cite web|url=http://elvocero.com/en-cartelera-the-sound-of-music/|archive-url=https://archive.is/20141029220303/http://elvocero.com/en-cartelera-the-sound-of-music/|url-status=dead|archive-date=2014-10-29|title=En cartelera The Sound of Music}}</ref> A production (in Thai: ''มนต์รักเพลงสวรรค์'') ran at Muangthai ratchadalai Theatre, [[Bangkok]], Thailand, in April 2015 in the Thai language. The production replaced the song "Ordinary couple" with "Something Good".<ref>{{cite web|url=http://news.voicetv.co.th/entertainment/164823.html|title=ละครเวที'มนตร์รักเพลงสวรรค์ The sound of music'|work=VoiceTV Thailand|url-status=live| archiveurl=https://web.archive.org/web/20150402181506/http://news.voicetv.co.th/entertainment/164823.html|archivedate=April 2, 2015|df=mdy-all}}</ref><ref>[http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html "Thailand's Hills Are Alive"] {{webarchive|url=https://web.archive.org/web/20150411052446/http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html |date=April 11, 2015 }}, NationMultimedia.com</ref><ref>[http://www.bangkokpost.com/lifestyle/music/514667/bangkok-is-alive-with-the-sound-of-music "Bangkok Is Alive with the Sound of Music"], ''Bangkok Post''</ref>

A North American tour, directed by [[Jack O'Brien (director)|Jack O'Brien]] and choreographed by Danny Mefford, began at the [[Ahmanson Theatre]] in Los Angeles in September 2015. The tour is scheduled to run until at least July 2017.<ref>[http://www.broadwayworld.com/article/New-National-Tour-of-THE-SOUND-OF-MUSIC-Directed-by-Jack-OBrien-to-Launch-This-Fall-Initial-Dates-Announced-20150429 "New National Tour of ''The Sound of Music'', Directed by Jack O'Brien, to Launch This Fall"] {{webarchive|url=https://web.archive.org/web/20160304123556/http://www.broadwayworld.com/article/New-National-Tour-of-THE-SOUND-OF-MUSIC-Directed-by-Jack-OBrien-to-Launch-This-Fall-Initial-Dates-Announced-20150429 |date=March 4, 2016 }}, Broadwayworld, retrieved 1 May 2015</ref> [[Kerstin Anderson]] plays Maria, with Ben Davis as Capt. von Trapp, Kyla Carter as Gretl von Trapp and [[Ashley Brown]] as Mother Abess. The production has received warm reviews.<ref>Verini, Bob. [https://variety.com/2015/legit/reviews/sound-of-music-review-national-tour-1201607718/ "L.A. Theater Review: ''The Sound of Music'', Directed by Jack O’Brien"] {{webarchive|url=https://web.archive.org/web/20160201205738/http://variety.com/2015/legit/reviews/sound-of-music-review-national-tour-1201607718/ |date=February 1, 2016 }}, ''Variety'', October 1, 2015</ref>

A UK tour produced by [[Bill Kenwright]] began in 2015 and toured into 2016. It was directed by [[Martin Connor]] and starred [[Lucy O'Byrne]] as Maria.<ref>[http://britishtheatre.com/sound-music-uk-tour "''The Sound of Music'' Tour Tickets 2016"] {{webarchive|url=https://web.archive.org/web/20160711160729/http://britishtheatre.com/sound-music-uk-tour/ |date=July 11, 2016 }}, BritishTheatre.com, May 14, 2016</ref><ref>[http://www.etnow.com/news/2015/12/the-sound-of-music-is-alive-with-white-light "''The Sound of Music'' Is Alive with White Light"] {{webarchive|url=https://web.archive.org/web/20160809034250/http://www.etnow.com/news/2015/12/the-sound-of-music-is-alive-with-white-light |date=August 9, 2016 }}, etnow.com, December 3, 2015, accessed July 16, 2016</ref> A 2016 Australian tour of the Lloyd Webber production, directed by Sams, included stops in Sydney,<ref>Cotter, Richard. [http://www.australianstage.com.au/201512187538/reviews/sydney/the-sound-of-music.html ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20160304085739/http://australianstage.com.au/201512187538/reviews/sydney/the-sound-of-music.html |date=March 4, 2016 }}, ''Australian Stage'', December 18, 2015</ref> Brisbane, Melbourne and Adelaide. The cast included [[Cameron Daddo]] as Captain Von Trapp, [[Marina Prior]] as Baroness Schraeder and [[Lorraine Bayly]] as Frau Schmidt. The choreographer was [[Arlene Phillips]].<ref>[http://soundofmusictour.com.au "The London Palladium Production of ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20150714044725/http://soundofmusictour.com.au/ |date=July 14, 2015 }}, The Really Useful Group Ltd., accessed November 15, 2015</ref>

==Film adaptation==
{{Main|The Sound of Music (film)}}
On March 2, 1965, [[20th Century Fox]] released a [[The Sound of Music (film)|film adaption of the musical]] starring [[Julie Andrews]] as Maria Rainer and [[Christopher Plummer]] as Captain Georg von Trapp. It was produced and directed by [[Robert Wise]] with the screenplay adaption written by [[Ernest Lehman]]. Two songs were written by Rodgers specifically for the film, "I Have Confidence" and "Something Good". The film won five Oscars at the [[38th Academy Awards]], including Best Picture.

==Television adaptations==
{{Main|The Sound of Music Live!}}
A [[The Sound of Music Live!|live televised production]] of the musical aired twice in December 2013 on [[NBC]].<ref>{{cite journal|last=Friedlander|first=Whitney|title=NBC to Re-Air 'The Sound of Music Live!'|journal=[[Variety (magazine)|Variety]]|date=December 10, 2013|publisher=[[Penske Business Media]]|url=https://variety.com/2013/tv/news/nbc-sound-of-music-live-reair-1200941859/|accessdate=December 14, 2013|url-status=live|archiveurl=https://web.archive.org/web/20131213125013/http://variety.com/2013/tv/news/nbc-sound-of-music-live-reair-1200941859/|archivedate=December 13, 2013|df=mdy-all}}</ref> It was directed by [[Beth McCarthy-Miller]] and [[Rob Ashford]].<ref>[http://broadwayworld.com/article/Breaking-News-NBC-Craig-ZadanNeil-Meron-to-Present-Live-Broadcast-of-THE-SOUND-OF-MUSIC-20120629#ixzz2CoUEezC5 NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC!] {{webarchive|url=https://web.archive.org/web/20121214220747/http://broadwayworld.com/article/Breaking-News-NBC-Craig-ZadanNeil-Meron-to-Present-Live-Broadcast-of-THE-SOUND-OF-MUSIC-20120629 |date=December 14, 2012 }} Retrieved November 30, 2012</ref> [[Carrie Underwood]] starred as Maria Rainer, with [[Stephen Moyer]] as Captain von Trapp, [[Christian Borle]] as Max, [[Laura Benanti]] as Elsa, and [[Audra McDonald]] as the Mother Abbess.<ref>{{Cite web|url = http://www.hollywoodreporter.com/review/sound-music-live-tv-review-663346|title = The Sound of Music Live!: TV Review|date = December 5, 2013|accessdate = December 6, 2013|work = [[The Hollywood Reporter]]|publisher = [[Prometheus Global Media]]|last = Bernardin|first = Marc|url-status = live|archiveurl = https://web.archive.org/web/20131207013628/http://www.hollywoodreporter.com/review/sound-music-live-tv-review-663346|archivedate = December 7, 2013|df = mdy-all}}</ref> The production was released on DVD the same month.<ref>{{Cite news|url=http://www.broadwayworld.com/article/NBC-to-Release-THE-SOUND-OF-MUSIC-LIVE-on-DVD-Dec-17-20131123|title=NBC to Release ''The Sound of Music Live!'' on DVD, Dec 17|accessdate=November 25, 2013|work=Broadway World|publisher=Wisdom Digital Media|date=November 23, 2013|url-status=live|archiveurl=https://web.archive.org/web/20131127222306/http://www.broadwayworld.com/article/NBC-to-Release-THE-SOUND-OF-MUSIC-LIVE-on-DVD-Dec-17-20131123|archivedate=November 27, 2013|df=mdy-all}}</ref>

British network [[ITV (network)|ITV]] presented a [[The Sound of Music Live (2015)|live version of its own]] on December 20, 2015. It starred [[Kara Tointon]] as Maria, [[Julian Ovenden]] as Captain von Trapp, [[Katherine Kelly (actress)|Katherine Kelly]] as Baroness Schraeder and [[Alexander Armstrong (comedian)|Alexander Armstrong]] as Max.<ref name="guardian-future">{{cite web|last1=Martinson|first1=Jane|title=As ITV prepares for the Sound of Music Live, are we watching TV's future?| url=https://www.theguardian.com/tv-and-radio/2015/dec/15/as-itv-prepares-for-the-sound-of-music-live-are-we-watching-tvs-future|website=The Guardian|accessdate=21 December 2015}}</ref><ref name="deadline-itvsom">{{cite web|title=ITV To Mount 'The Sound Of Music Live!' UK Christmas Special|url=http://deadline.com/2015/10/itv-sound-of-music-live-christmas-special-kara-tointon-1201590814/|website=Deadline.com|accessdate=2 February 2016}}</ref>

==Reception==
Most reviews of the original Broadway production were favorable. [[Richard Watts, Jr.]] of the ''[[New York Post]]'' stated that the show had "strangely gentle charm that is wonderfully endearing. ''The Sound of Music'' strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity."<ref name=Suskin>Suskin, pp. 460–64</ref> The ''[[New York World-Telegram|New York World-Telegram and Sun]]'' pronounced ''The Sound of Music'' "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement."<ref name=Suskin/> The ''[[New York Journal American]]''{{'}}s review opined that ''The Sound of Music'' is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".<ref name=Suskin/>

[[Brooks Atkinson]] of ''[[The New York Times]]'' gave a mixed assessment. He praised Mary Martin's performance, saying "she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar" and stated that "the best of the ''Sound of Music'' is Rodgers and Hammerstein in good form". However, he said, the libretto "has the hackneyed look of the musical theatre replaced with ''[[Oklahoma!]]'' in 1943. It is disappointing to see the American musical stage succumbing to the clichés of [[operetta]]."<ref name=Suskin/> [[Walter Kerr]]'s review in the ''[[New York Herald Tribune]]'' was unfavorable: "Before ''The Sound of Music'' is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music", stating that the "evening suffer(s) from little children".<ref name=Suskin/>

==Cast recordings==
[[Columbia Masterworks]] recorded the original Broadway cast album a week after the show's 1959 opening. The album was the label's first deluxe package in a gatefold jacket, priced $1 higher than previous cast albums. It was #1 on Billboard's best-selling albums chart for 16 weeks in 1960.<ref>Bronson, Fred.[https://books.google.com/books?id=wQkEAAAAMBAJ&pg=PA104 "Chart Beat"], ''Billboard'', September 14, 1996</ref> It was released on CD from Sony in the Columbia Broadway Masterworks series.<ref>[http://castalbums.org/recordings/The-Sound-Of-Music-1959-Original-Broadway-Cast/1094 "The Sound of Music – Original Broadway Cast"], Castalbums.org, accessed March 12, 2018</ref> In 1959, singer [[Patti Page]] recorded [[The Sound of Music (song)|the title song]] from the show for [[Mercury Records]]<ref>[http://www.discogs.com/Patti-Page-The-Sound-Of-Music-Little-Donkey/master/644503 "Patti Page – 'The Sound Of Music' / 'Little Donkey'"] {{webarchive|url=https://web.archive.org/web/20160311083637/https://www.discogs.com/Patti-Page-The-Sound-Of-Music-Little-Donkey/master/644503 |date=March 11, 2016 }}, Discogs.com, accessed December 8, 2015. The disc debuted at No. 99 on the [[Billboard Hot 100|''Billboard'' Hot 100]]. [https://books.google.com/books?id=0QoEAAAAMBAJ&pg=PA5 "''Hot 100'' Ads 16"] {{webarchive|url=https://web.archive.org/web/20160515044620/https://books.google.com/books?id=0QoEAAAAMBAJ&pg=PA5 |date=May 15, 2016 }}, ''The Billboard'', December 28, 1959, p. 5, accessed December 8, 2015</ref> on the day that the musical opened on Broadway. Since it was recorded a week before the original Broadway cast album, Page was the first artist to record any song from the musical. She featured the song on her TV show, ''The Patti Page Olds Show'', helping to popularize the musical.{{citation needed|date=December 2015}} The 1961 London production was recorded by [[EMI]] and released on the HMV label and later re-issued on CD in 1997, on the Broadway Angel label.<ref>[http://castalbums.org/recordings/The-Sound-Of-Music-1961-Original-London-Cast/1402 "The Sound of Music – Original London Cast"], Castalbums.org, accessed March 12, 2018</ref>

[[The Sound of Music (soundtrack)|The 1965 film soundtrack]] was released by [[RCA Victor]] and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide.<ref>Eyman, Scott. [https://www.wsj.com/articles/book-review-the-sound-of-music-story-by-tom-santopietro-1425069491 "The Hills Are Alive With the Sound of Money"], ''[[The Wall Street Journal]]'', February 27, 2015, accessed December 30, 2017</ref><ref>Hischak, p. 44</ref> Recent CD editions incorporate musical material from the film that would not fit on the original LP. The label has also issued the soundtrack in German, Italian, Spanish and French editions.{{citation needed|date=December 2017}} [[RCA Victor]] also released an album of the 1998 [[Broadway theatre|Broadway]] revival produced by [[Hallmark Entertainment]] and featuring the full revival cast, including [[Rebecca Luker]], [[Michael Siberry]], [[Jan Maxwell]] and [[Fred Applegate (actor)|Fred Applegate]].<ref name="castalbums-1998">[http://castalbums.org/recordings/The-Sound-Of-Music-1998-Broadway-Cast/2177 "The Sound of Music – Broadway Cast"], 1998, Castalbums.org, accessed March 12, 2018</ref> The [[Telarc]] label made a studio cast recording of ''The Sound of Music'', with the [[Cincinnati Pops Orchestra]] conducted by [[Erich Kunzel]] (1987). The lead roles went to opera stars: [[Frederica von Stade]] as Maria, [[Håkan Hagegård]] as Captain von Trapp, and [[Eileen Farrell]] as the Mother Abbess.<ref name="Hischak, p. 259"/> The recording "includes both the two new songs written for the film version and the three Broadway songs they replace, as well as a previously unrecorded verse of "An Ordinary Couple"".<ref>Dyer, Richard, "Record Review;Cincinnati Pops Orchestra Rodgers And Hammersrein: The Sound of Music Telarc (CD)", ''The Boston Globe'', September 15, 1988, Calendar; p. 12</ref> The 2006 London revival was recorded and has been released on the [[Decca Broadway]] label.<ref>[http://castalbums.org/recordings/The-Sound-of-Music-2006-London-Palladium-Cast-Recording/4537 "The Sound of Music – London Cast"] (2006), Castalbums.org, accessed March 12, 2018</ref> There have been numerous studio cast albums and foreign cast albums issued, though many have only received regional distribution. According to the cast album database, there are 62 recordings of the score that have been issued over the years.<ref>[http://castalbums.org/shows/The-Sound-of-Music/333 "The Sound of Music"], CastAlbums.org, accessed March 12, 2018</ref>

The [[The Sound of Music: Music from the NBC Television Event|soundtrack]] from the 2013 NBC television production starring [[Carrie Underwood]] and [[Stephen Moyer]] was released on CD and digital download in December 2013 on the [[Sony Masterworks]] label. Also featured on the album are [[Audra McDonald]], [[Laura Benanti]] and [[Christian Borle]].<ref>[[Stephen Thomas Erlewine|Erlewine, Stephen Thomas]]. [http://www.allmusic.com/album/the-the-sound-of-music-2013-nbc-television-cast-mw0002593930 "Carrie Underwood: ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20151107040744/http://www.allmusic.com/album/the-the-sound-of-music-2013-nbc-television-cast-mw0002593930 |date=November 7, 2015 }}, [[AllMusic]], December 3, 2013, accessed February 11, 2016</ref>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="10" align="center"| 1960
| rowspan="9"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{won}}
|-
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Mary Martin]]
| {{won}}
|-
| rowspan="2"| [[Tony Award for Best Featured Actor in a Musical|Best Featured Actor in a Musical]]
| [[Theodore Bikel]]
| {{nom}}
|-
| [[Kurt Kasznar]]
| {{nom}}
|-
| rowspan="2"|[[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]]
| [[Patricia Neway]]
| {{won}}
|-
| Kathy Dunn, [[Lauri Peters]], Mary Susan Locke, Marilyn Rogers, Evanna Lien, William Snowden, and Joseph Stewart
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Vincent J. Donehue]]
| {{nom}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| Frederick Dvonch
| {{won}}
|-
| [[Tony Award for Best Scenic Design of a Musical|Best Scenic Design of a Musical]]
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| colspan=2|[[Theatre World Award]]
| [[Lauri Peters]]
| {{won}}
|-
| 1967
| [[Outer Critics Circle]]
| Special Award
| [[Constance Towers]]
| {{won}}
|}

===1998 Broadway Revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7"|1998
| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
| [[Bruce Coughlin]]
| {{nom}}
|-
| rowspan="4"|[[Outer Critics Circle Award]]
| colspan="2"|Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actress in a Musical
| [[Rebecca Luker]]
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| [[Jan Maxwell]]
| {{nom}}
|-
| Outstanding Set Design
| [[Heidi Ettinger]]
| {{nom}}
|-
| [[Drama League Award]]
| colspan="2"|Distinguished Production of a Revival
| {{nom}}
|}

==Notes==
{{Reflist|30em}}

==References==
* Green, Stanley. ''Encyclopedia of the Musical Theatre'' (1980). Da Capo Press. {{ISBN|0-306-80113-2}}
* Hischak, Thomas. ''The Rodgers and Hammerstein Encyclopedia'' (2007). Greenwood Publishing Group. {{ISBN|0-313-34140-0}}
* Maslon, Laurence, with a foreword by Andrew Lloyd Webber. ''The Sound of Music Companion'' (2007) Simon and Schuster {{ISBN|1-4165-4954-4}}
* Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers & Hammerstein'', New York: Applause Theatre & Cinema Books. {{ISBN|1-55783-473-3}}
* Suskin, Steven. [https://www.amazon.com/dp/0028726251 ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre''] (1990), Schirmer Books {{ISBN|0-02-872625-1}}

==Further reading==
* Bell, Bethany, [http://news.bbc.co.uk/2/hi/programmes/from_our_own_correspondent/4361449.stm "Austria discovers ''The Sound of Music''"], BBC, Saturday, March 19, 2005.
* Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
* Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
* Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
* Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
* Hirsch, Julia Antopol. ''The Sound Of Music—The Making Of America's Favorite Movie''. McGraw-Hill Publishing, 1993
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.
* Papamichael, Stella. [https://www.bbc.co.uk/films/2005/11/23/the_sound_of_music_40th_2005_dvd_review.shtml ''The Sound of Music: 40th Anniversary Collector's Edition DVD (1965)''], BBC, review and history, November 23, 2005
* Wilk, Max. ''The Making of The Sound of Music'' (2007), Routledge {{ISBN|0-415-97934-X}}

==External links==
{{wikiquote}}
* {{ibdb show|id=8195|title=The Sound of Music}}
* [http://www.rnh.com/show/95/The-Sound-of-Music The Sound of Music at RNH Theatricals]
* [http://www.theatrehistory.com/american/musical010.html Synopsis on theatrehistory]
* [http://www.stageagent.com/Shows/View/724 Sound of Music character descriptions and plot summary from StageAgent.com]
* [http://www.masterworksbroadway.com/podcast/series/the-sound-of-music-50th-anniversary-edition-podcast-series The Sound of Music: 50th Anniversary Edition Podcast Series]

{{The Story of the Trapp Family Singers}}
{{Navboxes
| title = Awards for ''The Sound of Music''
| list =
{{Grammy Award for Best Musical Theater Album}}
{{TonyAwardBestMusical 1947-1975}}
}}
{{Rodgers and Hammerstein}}

{{DEFAULTSORT:Sound Of Music, The}}
[[Category:The Sound of Music| ]]
[[Category:1959 musicals]]
[[Category:Broadway musicals]]
[[Category:Love stories]]
[[Category:Biographical musicals]]
[[Category:Musicals inspired by real-life events]]
[[Category:Nuns in fiction]]
[[Category:Plays set in Austria]]
[[Category:Musicals about World War II]]
[[Category:Salzburg]]
[[Category:Tony Award for Best Musical]]
[[Category:Trapp family]]
[[Category:West End musicals]]
[[Category:Tony Award-winning musicals]]

Oklahoma!

2020-04-03T22:34:44Z

JohnAnkerBow: /* Instrumentation */

{{short description|1943 musical}}
{{about||the film adaptation|Oklahoma! (1955 film)|other uses|Oklahoma (disambiguation)}}
{{Use mdy dates|date=June 2012}}
{{Infobox musical
| name = Oklahoma!
| image = Musical1943-Oklahoma!-OriginalPoster.jpg
| image_size = 210px
| caption = Original Broadway poster (1943)
| music = [[Richard Rodgers]]
| lyrics= [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'' by [[Lynn Riggs]]
| productions = 1943 Broadway 1947 West End 1951 Broadway [[revival (theatre)|revival]] 1955 [[Oklahoma! (1955 film)|Film]] 1979 Broadway revival 1980 West End revival 1998 West End revival 2002 Broadway revival 2003 US Tour 2010 UK Tour 2015 UK Tour 2019 Broadway revival

| awards = 1944 special [[Pulitzer Prize]] 1993 [[Special Tony Award]] (50th Anniversary) 1999 [[Laurence Olivier Award for Best Musical Revival|Olivier Award for Best Musical Revival]] 2019 [[Tony Award for Best Revival of a Musical]]
}}
'''''Oklahoma!''''' is the first [[musical theater|musical]] written by the team of [[Rodgers and Hammerstein|composer Richard Rodgers and librettist Oscar Hammerstein II]]. The musical is based on [[Lynn Riggs]]' 1931 play, ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''. Set in farm country outside the town of [[Claremore, Oklahoma|Claremore]], [[Indian Territory]], in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

The original [[Broadway theatre|Broadway]] production opened on March 31, 1943. It was a box-office smash and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an [[Academy Awards|Oscar]]-winning 1955 [[Oklahoma! (1955 film)|film adaptation]]. It has long been a popular choice for school and community productions.<ref>''[[Time (magazine)|Time]]'' magazine reported in its [http://www.time.com/time/arts/article/0,8599,1807032,00.html May 26, 2008 issue], p. 51, that ''Oklahoma!'' tied (with ''[[Bye Bye Birdie (musical)|Bye Bye Birdie]]'') as the eighth most frequently produced musical by U.S. high schools in 2007.</ref> Rodgers and Hammerstein won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] for ''Oklahoma!'' in 1944.

This musical, building on the innovations of the earlier ''[[Show Boat]]'', epitomized the development of the "[[book musical]]", a musical play where the songs and dances are fully integrated into a well-made story with serious dramatic goals that are able to evoke genuine emotions other than laughter.<ref>Everett, p. 137, chapter by Riis, Thomas L., with Ann Sears and Everett</ref> In addition, ''Oklahoma!'' features musical themes, or [[Motif (music)|motifs]], that recur throughout the work to connect the music and story.<ref>Wilk, Max. ''OK! The Story of Oklahoma!: A Celebration of America's Most Beloved Musical''. Rev. ed. New York: Applause Books, 2002. {{ISBN|1-55783-555-1}}</ref>{{Page needed|date=February 2012}}<ref name=Swain>Swain, Joseph P. ''The Broadway Musical: A Critical and Musical Survey''. Scarecrow Press, Inc., 2002, pp. 103–06</ref> A fifteen-minute "dream ballet" reflects Laurey's struggle with her feelings about two men, Curly and Jud.

==Background==
By the early 1940s, Rodgers and Hammerstein were each well known for creating [[Broadway theatre|Broadway]] hits with other collaborators. Rodgers, with [[Lorenz Hart]], had produced over two dozen musicals since the 1920s, including such popular successes as ''[[Babes in Arms]]'' (1937), ''[[The Boys from Syracuse]]'' (1938) and ''[[Pal Joey (musical)|Pal Joey]]'' (1940).<ref>Secrest, pp. 403–04</ref> Among other successes, Hammerstein had written the words for ''[[Rose-Marie]]'' (1924), ''[[The Desert Song]]'' (1926), ''[[The New Moon]]'' (1927) and ''[[Show Boat]]'' (1927). Though less productive in the 1930s, he wrote musicals, songs and films, sharing an [[Academy Award]] for his song with [[Jerome Kern]], "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", which was included in the 1941 film ''[[Lady Be Good (1941 film)|Lady Be Good]]''.<ref>[http://www.songwritershalloffame.org/exhibits/C13 “Oscar Hammerstein II”] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }}. Songwriters Hall of Fame, accessed December 22, 2010</ref> By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.<ref>Layne, Joslyn. [{{Allmusic|class=artist|id=p84807|pure_url=yes}} Lorenz Hart Biography], Allmusic, accessed December 22, 2010</ref>

===Conception===
In 1931, the [[Theatre Guild]] produced [[Lynn Riggs]]'s ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', a play about settlers in [[Oklahoma]]'s Indian Territory. Though the play was not successful, ten years later in 1941, [[Theresa Helburn]], one of the Guild's producers, saw a summer-stock production supplemented with traditional [[folk song]]s and [[square dance]]s and decided the play could be the basis of a musical that might revive the struggling Guild. She contacted [[Richard Rodgers]] and [[Lorenz Hart]], whose first successful [[Rodgers and Hart|collaboration]], ''[[The Garrick Gaieties]]'', had been produced by the Theatre Guild in 1925. Rodgers wanted to work on the project and obtained the rights for himself and Hart. Rodgers had asked [[Oscar Hammerstein II]] to collaborate with him and Hart. During the tryouts of Rodgers and Hart's ''[[By Jupiter]]'' in 1941, Hammerstein had assured Rodgers that if Hart was ever unable to work, he would be willing to take his place.<ref name=Nolan>Nolan, pp. 1–25.</ref> Coincidentally in 1942, Hammerstein had thought of musicalizing ''Green Grow the Lilacs'', but when he had approached [[Jerome Kern]] about it, the latter declined. Hammerstein learned that Rodgers was seeking someone to write the book, and he eagerly took the opportunity. Hart lost interest in the musical; he preferred contemporary, urbane shows that would showcase his witty lyric writing, and he found the farmers and cowhands in ''Green Grow the Lilacs'' corny and uninspiring. Moreover, spiraling downward, consumed by his longstanding alcoholism, Hart no longer felt like writing. He embarked on a vacation to Mexico, advising Rodgers that Hammerstein would be a good choice of a new collaborator.<ref name=Kantor>Kantor and Malson, pp. 196–202</ref><ref name=Heritage/>

This partnership allowed both Rodgers and Hammerstein to follow their preferred writing methods: Hammerstein preferred to write a complete lyric before it was set to music, and Rodgers preferred to set completed lyrics to music. In Rodgers' previous collaborations with Hart, Rodgers had always written the music first, since the unfocused Hart needed something on which to base his lyrics. Hammerstein's previous collaborators included composers [[Rudolf Friml]], [[Herbert Stothart]], [[Vincent Youmans]], and Kern, who all wrote music first, for which Hammerstein then wrote lyrics. The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it.<ref name=Nolan/> As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, ''Green Grow the Lilacs'', not by musical comedy conventions.<ref name=Kantor/> Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.<ref name=Kenrick2>Kenrick, John. [http://www.musicals101.com/1940bway2.htm "History of the Musical Stage, 1940s Part II: Oklahoma, OK!"] Musicals101.com, accessed October 11, 2011</ref>

===Casting and development===
Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though [[Theresa Helburn]], codirector of the Theatre Guild, suggested [[Shirley Temple]] as Laurey and [[Groucho Marx]] as Ali Hakim, Rodgers and Hammerstein, with director [[Rouben Mamoulian|Rouben Mamoulian's]] support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.<ref name=Nolan/> The production was choreographed by [[Agnes de Mille]] (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the [[dream ballet]]) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.<ref name=Kenrick2/>

The first title given to the work was ''Away We Go!'' which opened for out-of-town-tryouts in [[New Haven, Connecticut|New Haven]]'s [[Shubert Theatre (New Haven)|Shubert Theatre]] on March 11, 1943.<ref>[http://www.capa.com/newhaven/venues/shubert_history.php Information on the tryout from Capa.com] {{webarchive|url=https://web.archive.org/web/20080511195305/http://www.capa.com/newhaven/venues/shubert_history.php |date=May 11, 2008 }}</ref> Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer [[Mike Todd]] walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance."<ref name=Heritage>[[John Steele Gordon|Gordon, John Steele]]. [http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml ''Oklahoma'!'] {{webarchive|url=https://web.archive.org/web/20100804175330/http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml |date=August 4, 2010 }}, accessed June 13, 2010</ref> But Rodgers and Hammerstein were confident. The New Haven and [[Boston]] audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping [[Number (music)|musical number]], "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" and the decision to retitle the musical after that number.<ref>[[Helene Hanff|Hanff, Helene]]. [http://thingsthatmadeanimpression.wordpress.com/2013/06/16/excerpt-from-underfoot-in-show-business-by-helene-hanff-away-we-go/ "Excerpt ... ''Away We Go''"], ''Underfoot in Show Business'', Harper and Row, 1962. {{ISBN|0-316-34319-6}}</ref>

Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]].<ref>[https://www.pulitzer.org/winners/richard-rodgers-and-oscar-hammerstein-ii "Richard Rodgers and Oscar Hammerstein II for ''Oklahoma!''"], Pulitzer.org, 1944, accessed November 16, 2019</ref> [[Brooks Atkinson]] wrote in ''[[The New York Times]]'' that the show's opening number, "[[Oh, What a Beautiful Mornin']]" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable."<ref name=Heritage/> The ''[[New York Post]]'' was the only major paper to give ''Oklahoma!'' a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike.<ref>Lewis, David H., ''Broadway musicals: A Hundred Year History'', 2002, McFarland & Company, p. 35</ref> The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.<ref name=Heritage/>

==Plot==


=== Act I ===
In Oklahoma Territory, in 1906, cowboy Curly McLain looks forward to the beautiful day ahead as he wanders into farm girl Laurey Williams's yard ("[[Oh, What a Beautiful Mornin']]"). He and Laurey tease each other, while her Aunt Eller looks on. There will be a [[box social]] dance that night, which includes an auction of lunch baskets prepared by the local women to raise funds for a schoolhouse. The man who wins each basket will eat lunch with the lady who prepared it. Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. He attempts to persuade her by telling her that he will take her in the finest carriage money can buy ("[[The Surrey with the Fringe on Top]]"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a rig.

The lonely, disturbed farm hand Jud Fry has become obsessed with Laurey and asks her to the dance. She accepts to spite Curly, although she is afraid of Jud. Meanwhile, cowboy Will Parker returns bedazzled and souvenir-laden from a trip to modern [[Kansas City, Missouri|Kansas City]] ("[[Kansas City (Oklahoma!)|Kansas City]]"). He won $50 (${{Inflation|US|50|1906|r=-2|fmt=c}} today) at the fair, which, according to his girlfriend Ado Annie's father, Andrew Carnes, is the money he needs to marry Ado Annie. Unfortunately, he spent all the money on gifts for her. Will also purchased a "Little Wonder" (a metal tube used for looking at pictures, but with a hidden blade inside) for Ado Annie's father, unaware of its deadly secret. Later, Ado Annie confesses to Laurey that while Will has been away, she has been spending a lot of time with Ali Hakim, a [[Persia]]n peddler. Laurey tells her she'll have to choose between them, but Ado Annie insists she loves them both ("[[I Cain't Say No]]"). Laurey and her friends prepare for the social, while Gertie Cummings flirts with Curly (her obnoxious laugh floating in to taunt Laurey). Laurey tells her friends that she doesn't really care about Curly ("[[Many a New Day]]").

Andrew Carnes discovers Annie with Ali Hakim. After questioning Ado Annie about their relationship, he forces Hakim at gunpoint to agree to marry her. Hakim and the other men lament the unfairness of the situation ("[[It's a Scandal! It's a Outrage!]]"). Curly discovers that Laurey is going to the box social with Jud and tries to convince her to go with him instead. Afraid to tell Jud she won't go with him, Laurey tries to convince Curly (and herself) that she does not love him ("[[People Will Say We're in Love]]"). Hurt by her refusal, Curly goes to the smokehouse where Jud lives to talk with him. Curly suggests that since Jud does not feel appreciated, he could hang himself, and everyone would realize how much they care about him ("Pore Jud Is Daid"). Their talk turns into an ominous confrontation about Laurey. After Curly leaves, Jud's resolve to win Laurey becomes even stronger, and he vows to make her his bride ("[[Lonely Room]]").

Confused by her feelings for Curly and her fear of Jud, Laurey purchases a "magic potion" (referred to as [[smelling salts]], but actually [[laudanum]]) from Ali Hakim, which the unscrupulous peddler guarantees will reveal her true love. She muses on leaving her dreams of love behind and joining the man she loves ("Out of My Dreams"), then falls asleep under the influence of the opiate ("Dream Sequence"). In an extended dream ballet sequence, Laurey first dreams of what marriage to Curly would be like. Her dream takes a nightmarish turn when Jud appears and kills Curly. She cannot escape him, confused by her desires. The dream makes her realize that Curly is the right man for her, but it is too late to change her mind about going to the dance with Jud; he has come for her, and they leave for the box social.

===Act II===
At the social, during an upbeat [[square dance]] ("The Farmer and the Cowman"), the [[Range war|rivalry between the local farmers and cowboys]] over fences and water rights has led to fighting, which Aunt Eller ends by firing a gun to silence everyone.<ref>Carter, Tim. [https://books.google.com/books?id=Wn_RDxA6wxAC&pg=PA198&dq=Oklahoma+%22Aunt+Eller%22&hl=en#v=onepage&q=Oklahoma%20%22Aunt%20Eller%22&f=true "Reading Oklahoma!"] ''Oklahoma!: The Making of an American Musical'', Yale University Press, 2007, {{ISBN|0-300-10619-X}}, p. 177</ref> Laurey is upset when she sees Curly at the dance with Gertie. In an effort to rid himself of Ado Annie, Ali Hakim buys Will's souvenirs from Kansas City for $50. Jud also contributes to this by purchasing Will's Little Wonder, knowing of the blade concealed within it. The auction starts and Will bids $50 on Ado Annie's basket, not realizing that without the $50, he would no longer have the money her father insisted he needs to "purchase" marriage with her. Desperate to be rid of Ado Annie, the peddler bids $51 to get the basket so that Will can approach Andrew Carnes with the $50 and claim Ado Annie as his bride. The auction becomes much more serious when Laurey's basket comes up for auction. Jud has saved all his money so he can win Laurey's basket. Various men bid, trying to protect Laurey, but Jud outbids them all. Curly and Jud engage in a ferocious bidding war, and Curly sells his saddle, his horse, and even his gun to raise money. Curly outbids Jud and wins the basket. Jud discreetly tries to kill Curly with the Little Wonder, but his plan is foiled when Aunt Eller (knowing what is happening) loudly asks Curly for a dance. Later that night, Will and Annie work out their differences, as she reluctantly agrees not to flirt with other men ("[[All Er Nuthin']]").

Jud confronts Laurey about his feelings for her. When she admits that she does not return them, he threatens her. She then fires him as her farmhand, screaming at him to get off her property. Jud furiously threatens Laurey before he departs; Laurey bursts into tears and calls for Curly. She tells him that she has fired Jud and is frightened by what Jud might do now. Curly, seeing that she has turned to him for guidance and safety, reassures her and proposes to her, and she accepts ("People Will Say We're In Love (Reprise)"). He then realizes that he must now become a farmer. Afterward, Ali Hakim decides to leave the territory and bids Ado Annie goodbye after telling her Will is the man she should marry.

Three weeks later, Laurey and Curly are married and everyone rejoices in celebration of the territory's impending statehood ("[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]"). During the celebration, Ali Hakim returns with his new wife, Gertie, whom he unwillingly married after being [[Forced marriage#Shotgun wedding|threatened by her father]] with a shotgun. A drunken Jud reappears, harasses Laurey by kissing her and punches Curly, and they begin a fistfight. Jud attacks Curly with a knife and Curly dodges, causing Jud to fall on his own knife. Jud soon dies. The wedding guests hold a makeshift trial for Curly, at Aunt Eller's urging, as the couple is due to leave for their honeymoon. The judge, Andrew Carnes, declares the verdict: "not guilty!" Curly and Laurey depart on their honeymoon in the [[Surrey (carriage)|surrey]] with the fringe on top ("Finale Ultimo").

==Principal roles and notable performers==

{|class="wikitable"
|-
! style="width:100px;"|Character
! style="width:300px;"|Description
! style="width:400px;"|Notable stage performers in major market productions
|-
|Curly McLain ||A cowboy in love with Laurey ||[[Alfred Drake]]°, [[Harry Stockwell]]°, [[John Raitt]], [[Howard Keel]], [[Ridge Bond]], [[Hugh Jackman]], [[Patrick Wilson (American actor)|Patrick Wilson]], [[Laurence Guittard]], [[Damon Daunno]]
|-
|Laurey Williams ||Aunt Eller's niece, an independent young woman||[[Joan Roberts]]°, [[Betty Jane Watson]], [[Christine Andreas]], [[Leila Benn Harris]], [[Josefina Gabrielle]], [[Florence Henderson]], [[Lucy Durack]], [[Rebecca Naomi Jones]]
|-
|Jud Fry ||A hired hand on Aunt Eller's ranch, a mysterious and dangerous loner ||[[Howard Da Silva]]°, [[Shuler Hensley]], [[Alfred Molina]]
|-
|Aunt Eller ||Laurey's aunt, a respected community leader ||[[Betty Garde]]°, [[Mary Wickes]], [[Andrea Martin]], [[Patty Duke]], [[Margaret Hamilton (actress)|Margaret Hamilton]], [[Maureen Lipman]], [[Louise Plowright]], [[Mary Testa]]
|-
|Ado Annie Carnes ||A flirtatious, gullible young woman ||[[Celeste Holm]]°, [[Shelley Winters]], [[Barbara Cook]], [[Christine Ebersole]], [[Jessica Boevers]], [[Amanda Harrison]], [[Ali Stroker]]
|-
|Will Parker ||A simple young man in love with Ado Annie||[[Lee Dixon (actor)|Lee Dixon]]°, [[Harry Groener]]
|-
|Andrew Carnes ||Ado Annie's father, eager to have her marry ||Ralph Riggs°
|-
|Ali Hakim ||A Persian peddler, enamored of Ado Annie ||[[Joseph Buloff]]°, [[Eddie Albert]], [[Peter Polycarpou]], [[Bruce Adler]], [[Jamie Farr]], [[Aasif Mandvi]], [[Will Brill]]
|-
|Gertie Cummings ||A local farm girl, fond of Curly, marries Ali Hakim|| [[Jane Lawrence]]°, [[Pamela Britton]]
|-
|Dream Curly ||Curly in the dream sequence|| [[Marc Platt (dancer)|Marc Platt]]°
|-
|Dream Laurey ||Laurey in the dream sequence|| [[Katharine Sergava]]°
|}

° denotes original Broadway cast

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "[[Oh, What a Beautiful Mornin']]" – Curly
* Laurey's Entrance – Laurey & Curly
* "[[The Surrey with the Fringe on Top]]" – Curly, Laurey, & Aunt Eller
* "[[Kansas City (Oklahoma!)|Kansas City]]" – Will Parker, Aunt Eller, Male Ensemble
* "[[I Cain't Say No]]" – Ado Annie
* Entrance of Ensemble ("I Cain't Say No" and "Oh What a Beautiful Mornin'") – Will, Ado Annie, Curly, Aunt Eller & Ensemble
* "[[Many a New Day]]" – Laurey and Female Ensemble
* "[[It's a Scandal! It's a Outrage!]]" – Ali Hakim & Ensemble
* "[[People Will Say We're in Love]]" – Curly & Laurey
* "Pore Jud Is Daid" – Curly & Jud
* "[[Lonely Room]]" – Jud
* "Out of My Dreams"/"Dream Ballet" – Laurey & Dream Figures
{{col-break}}
;Act II
* Entr'acte – Orchestra
* "[[The Farmer and the Cowman]]" – Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ike Skidmore, Cord Elam & Ensemble
* "[[All Er Nuthin']]" – Will & Ado Annie
* "People Will Say We're in Love" (Reprise) – Curly & Laurey
* "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" – Curly, Laurey, Aunt Eller, Ike Skidmore, Cord Elam, Fred, Andrew Carnes & Ensemble
* Finale Ultimo ("Oh What a Beautiful Mornin'" and "People Will Say We're in Love") – Company
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Oklahoma! |url=https://www.concordtheatricals.com/p/44839/oklahoma |website=Concord Theatricals |publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute (doubling Piccolo), Oboe (doubling English Horn, Bass Oboe & Oboe D'Amore), Bassoon (optional), Clarinet 1, Clarinet 2 (doubling Bass Clarinet), Horn I, Horn II, Trumpet I, Trumpet II, Trumpet III (optional) Trombone I, Trombone II (optional), 6 Violin A, 4 Violin B, 2 Violas, 2 Cellos, 1 or 2 Bass, Guitar, Harp, String Synth (optional) & Percussion [Trap Set, Oriental Drum, 3 Timpani, Orchestra Bells, Xylophone, Vibraphone, B Flat & E Flat Chimes, Wood Block, Temple Blocks, Pop Cork Gun, Slapstick, Cowbell & Tambourine (optional)]

==Production history==
===Original Broadway===
The original Broadway production opened on March 31, 1943 at the [[St. James Theatre]] in New York City. It was directed by [[Rouben Mamoulian]] and choreographed by [[Agnes de Mille]]. It starred [[Alfred Drake]] (Curly), [[Joan Roberts]] (Laurey), [[Celeste Holm]] (Ado Annie), [[Howard Da Silva]] (Jud Fry), [[Betty Garde]] (Aunt Eller), [[Lee Dixon (actor)|Lee Dixon]] (Will Parker), [[Joseph Buloff]] (Ali Hakim), [[Jane Lawrence]] (Gertie), [[Barry Kelley]] (Ike) and [[George S. Irving]] (Joe). [[Marc Platt (dancer)|Marc Platt]] danced the role of "Dream Curly", [[Katharine Sergava]] danced the part of "Dream Laurey" and the small dancing part of Aggie was played by [[Bambi Linn]]. George Church danced the part of "Dream Jud" but was replaced by [[Vladimir Kostenko]] only two months after the premiere.{{citation needed|date=July 2018}}

The production ran for 2,212 performances, finally closing on May 29, 1948.<ref>[https://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_hammerstein2.html Oklahoma!] at ''Encyclopedia of Composers and Songwriters'', PBS.org, accessed April 30, 2012</ref> "The demand for tickets was unprecedented as the show became more popular in the months that followed" the opening.<ref name=Hischak>Hischak, p. 202</ref> ''Oklahoma!'' ran for over five years, a Broadway record that "would not be bested until ''My Fair Lady'' (1956)."<ref name=Hischak/> The [[Tony Award]]s and other awards now given for achievement in musical theatre were not in existence in 1943, and therefore the original production of ''Oklahoma!'' received no theatrical awards.<ref>[https://www.britannica.com/art/Tony-Awards "Tony Awards: American theatrical awards"], Encyclopedia Britannica, accessed February 24, 2019</ref>

===Early U.S. tours===
The "first of several" national tours began in [[New Haven]], Connecticut, in 1944. A 1953 article in ''[[The New York Times]]'' reported that the show was "believed to be the only musical to have enjoyed a consecutive run of ten years. It ran on Broadway for five years and two months, grossing $7,000,000. The tour of the national company, which started late in 1943, has grossed $15,000,000."<ref>Gelb, Arthur. "Facts and Figures on a Gold Mine", ''The New York Times'', March 29, 1953, p. X1</ref> [[John Raitt]] played Curly in the original production in Chicago.<ref>[http://www.johnraitt.com/career/broadway "Career: Broadway"], John Raitt – Broadway's Legendary Star, Definite Maybe Productions, accessed May 19, 2016</ref> The [[United Service Organizations]] sponsored a tour to U.S. military bases in 1945 that lasted for several years.<ref>Hischak, p. 203</ref><ref>Mordden, Ethan. ''Beautiful Mornin: The Broadway Musical in the 1940s'', Oxford University Press U.S., 1999, {{ISBN|0-19-512851-6}}, p. 78</ref> ''The New York Times'' reported in 1953:

{{quote|The tenth anniversary of the Broadway opening of ''Oklahoma!'' will be celebrated in Washington, where the Theatre Guild's touring company of the phenomenal musical will be playing at that time. ... According to a Guild estimate, "upwards of 20,000,000 people thus far have seen the show in the United States, England, Sweden, Denmark, South Africa, Australia and through [the U.S.O. shows] during the war".<ref>"''Oklahoma!'' to Celebrate 10th Birthday March 31", ''The New York Times'', February 15, 1953, p. 79</ref>|}}

===Original West End===
''Oklahoma!'' was the first of a post-war wave of Broadway musicals to reach London's [[West End theatre|West End]]. It starred [[Howard Keel]] (then known as Harold Keel) and [[Betty Jane Watson]], opening at the [[Theatre Royal, Drury Lane]] on April 30, 1947 to rave press reviews and sellout houses, running for 1,543 performances.<ref>''Who's Who in the Theatre'', 11th edition, 1952. See also ''[[The Times]]'' review, May 1, 1947.</ref> A pre-London run opened a day late at the [[Manchester Opera House]] on April 18, 1947, after the ship carrying the cast, scenery, and costumes ran aground on a sandbank off [[Southampton]].<ref>''Chronicle of the 20th century'', entry for April 14, 1947: "Southampton, The luxury liner [[RMS Queen Elizabeth]] runs aground." See also article by Dr Anthony Field in ''[[The Stage]]'' newspaper, January 9, 1997.</ref>

===1951 and 1979 Broadway revivals===
A 1951 revival produced by the Theatre Guild opened at [[The Broadway Theatre]] on May 9, 1951, and ran for 100 performances. [[Ridge Bond]] played Curly, Patricia Northrop played Laurey, Henry Clarke was Jud, and Jacqueline Sundt played Ado Annie. Mamoulian and de Mille returned to direct and choreograph, and the production was restaged by Jerome Whyte.<ref name=Suskin>Suskin, pp. 499–503.</ref> In 1953, a 10th anniversary revival opened on August 31 at the [[New York City Center]] Theatre. It ran for a limited engagement of 40 performances before going on tour. The cast included [[Florence Henderson]] as Laurey, [[Ridge Bond]] as Curly and [[Barbara Cook]] as Annie. Mamoulian and De Mille directed and choreographed.<ref>''Oklahoma!'', New York City Center Theatre, "Stagebill" program, October 6, 1953</ref><ref>Atkinson, Brooks. [https://www.nytimes.com/1953/09/01/archives/oklahoma-revived-at-city-center-celebrating-rodgers-and.html "'Oklahoma!' Revived at City Center; Celebrating Rodgers and Hammerstein's Official Week"]. ''The New York Times'' (abstract), September 1, 1953, p. 19</ref>

A 1979 revival opened at the [[Palace Theatre (Broadway)|Palace Theatre]] on Broadway on December 13, 1979 and closed on August 24, 1980, running for 293 performances and nine previews. William Hammerstein (Oscar's son) directed, and [[Gemze de Lappe]] recreated Agnes De Mille's choreography. The show starred [[Christine Andreas]] as Laurey, [[Laurence Guittard]] as Curly, [[Mary Wickes]] as Aunt Eller, [[Christine Ebersole]] as Ado Annie, [[Martin Vidnovic]] as Jud Fry, [[Harry Groener]] as Will Parker and [[Bruce Adler]] as Ali Hakim.<ref name="Gänzl">Gänzl, Kurt. ''Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from [[H.M.S. Pinafore]] to [[Sunset Boulevard]]'', pp. 103–08. Schirmer Books, New York, 1995. {{ISBN|0-02-870832-6}}</ref> Andreas and Groener both received [[Tony Award]] nominations for their performances, and Vidnovic won a [[Drama Desk Award]]. This production started as a cross-country national tour, beginning at the [[Pantages Theatre (Hollywood)|Pantages Theater]] in Los Angeles on May 1, 1979.<ref>Searl, Hanford. [https://books.google.com/books?id=0SQEAAAAMBAJ&pg=PT46&dq=Oklahoma+%22Pantages+Theatre%22++Andreas&lr=&as_brr=3&cd=1#v=onepage&q=Oklahoma%20%22Pantages%20Theatre%22%20Andreas&f=false "L.A. Debut of ''Oklahoma!'' A True Revival Production"]. ''Billboard'', May 19, 1979</ref>

===1980 and 1998 West End revivals===
The following year, [[James Hammerstein]] directed a production at the [[Haymarket Theatre, Leicester]], in January 1980, produced by [[Cameron Mackintosh]]. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the [[Palace Theatre, London]], on September 17, 1980, and running until September 19, 1981.<ref>[http://www.thisistheatre.com/shows/palace60.html "'Oklahoma!' at the Palace Theatre, September 17, 1980 – September 19, 1981"]. Thisistheatre.com, accessed May 20, 2010</ref> This production starred [[John Diedrich]] as Curly and [[Alfred Molina]] as Jud Fry, both of whom were nominated for [[Olivier Awards]].<ref>[http://www.olivierawards.com/winners/view/item98514/olivier-winners-1980/ "Olivier Winners 1980"] ''OlivierAwards.com'', accessed 9 Oct 2017</ref> Rosamund Shelley played Laurey, and [[Madge Ryan]] was Aunt Eller. The production was [[Maria Friedman]]'s debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role.<ref>[http://www.aboutmaria.com/oklahoma.html "''Oklahoma!''"], About Maria Friedman, accessed July 26, 2013</ref> John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the ''Showtime!'' label.<ref>[http://castalbumcollector.com/recordings/3630 "'Oklahoma!", 1980 London Cast"]. Castalbumcollector.com, accessed May 20, 2010</ref>

[[File:Oklahoma! (London Stage Revival) .jpeg|thumb|[[Hugh Jackman]] on the cover of the DVD of the London revival]]
A dark-themed production of the musical was presented by the [[Royal National Theatre|National Theatre]] in London at the [[Olivier Theatre]], opening on July 15, 1998. The production team included [[Trevor Nunn]] (director), [[Susan Stroman]] (choreographer) and [[William David Brohn]] (orchestrator). The international cast included [[Hugh Jackman]] as Curly, [[Maureen Lipman]] as Aunt Eller, [[Josefina Gabrielle]] as Laurey, [[Shuler Hensley]] as Jud Fry, Vicki Simon as Ado Annie, [[Peter Polycarpou]] as Ali Hakim and Jimmy Johnston as Will Parker.<ref name=curtainlondon/> Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted [[Robert Russell Bennett]]'s original orchestrations and extended some of the dance sequences. A new Dream Ballet was composed for [[Susan Stroman]]'s new choreography, and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all redesigned. The overture was also altered, at the request of Nunn.

The production received numerous [[Olivier Award]] nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design ([[Anthony Ward]]) and choreography (Stroman).<ref>[http://www.olivierawards.com/winners/view/item98534/olivier-winners-1999 "Olivier Winners, 1999"]. OlivierAwards.com, accessed October 23, 2015</ref> According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records,<ref>[http://www.shulerhensley.com/perfect_oklahoma!.htm "London Welcomes a Perfect ''Oklahoma!''"] {{webarchive|url=https://web.archive.org/web/20120330223519/http://www.shulerhensley.com/perfect_oklahoma!.htm |date=March 30, 2012 }}. ''Happy Talk'', the newsletter of the Rodgers & Hammerstein Organization. Vol. 6 Issue 1, Fall 1998, Interview with Hensley, accessed June 4, 2010</ref> and so the show was transferred to the [[Lyceum Theatre (London)|Lyceum Theatre]] in the West End for a six-month run.<ref name=curtainlondon>Heppel, David. [http://www.curtainup.com/lonokla.html "Curtain Up review, ''Oklahoma!'', 1998"]. Curtainup.com, July 1998, accessed May 20, 2010</ref> Plans to transfer to Broadway with the London cast were thwarted by [[Actors' Equity Association|Actors' Equity]], which insisted that American actors must be cast.<ref>[[Robert Simonson|Simonson, Robert]]. [https://archive.today/20140908131117/http://staging.playbill.com/news/article/43199-Actors-Equity-Denies-London-Cast-of-Oklahoma-US-Visit "Actors' Equity Denies London Cast of ''Oklahoma!'' U.S. Visit"], ''Playbill'', January 22, 1999</ref><ref>Simonson, Robert. [https://archive.today/20120912190211/http://www.playbill.com/news/article/43693-Equity-Stands-Firm-on-Americans-in-Oklahoma "Equity Stands Firm on Americans in ''Oklahoma!''"], ''Playbill'', February 17, 1999</ref> Eventually a U.S. cast was selected.<ref>McBride, Murdoch. [https://archive.today/20120906071311/http://www.playbill.com/news/article/52841-Oklahoma-OKd-Stroman-Nunn-Begin-US-Casting-in-June-Fall-Start-Likely "''Oklahoma!'' OK'd: Stroman, Nunn Begin U.S. Casting in June; Fall Start Likely"], ''Playbill'', May 17, 2000</ref> The production was filmed and issued on DVD, as well as being broadcast on U.S. [[Public Television]] in November 2003.<ref>Gans, Andrew and Robert Simonson. [https://archive.today/20120913072829/http://www.playbill.com/news/article/82048-PBS-To-Air-Hugh-Jackman-Oklahoma-in-November "PBS To Air Hugh Jackman ''Oklahoma!'' in November"], ''Playbill'', October 8, 2003</ref>

===2002 Broadway revival===
The London production was repeated on Broadway at the [[George Gershwin Theatre]] on March 21, 2002, with direction by Nunn. The production closed on February 23, 2003 after 388 performances. Only two of the London cast, Josefina Gabrielle as Laurey and Shuler Hensley as Jud, were in the production, which also featured [[Patrick Wilson (American actor)|Patrick Wilson]] as Curly and [[Andrea Martin]] as Aunt Eller. It was nominated for seven Tony Awards, including Best Revival of a Musical, Best Featured Actress in a Musical and Best Featured Actor in a Musical (which was awarded to Hensley). The musical was also nominated for nine Drama Desk Awards, with Hensley winning as Outstanding Featured Actor in a Musical and Susan Stroman winning for choreography.

[[Ben Brantley]] wrote in ''[[The New York Times]]'': "At its best, which is usually when it's dancing, this resurrection of Rodgers and Hammerstein's epochal show is dewy with an adolescent lustiness, both carnal and naive, exuberant and confused." The review stated that "Anthony Ward's harmoniously curved set, in which the sky seems to stretch into eternity, again pulses with the promise of a land on the verge of transformation."<ref>Brantley, Ben. "This Time, a Beautiful Mornin' With a Dark Side", ''The New York Times'', March 22, 2002, Section E, p. 1</ref> The ''[[New York Daily News]]'' review commented that "Visually, this one is stunning – at times, Anthony Ward's sets have a pastoral, idyllic quality, like Thomas Hart Benton's paintings. At other times, especially in lighting designer David Hersey's lustrous palette, they convey the bleakness of the frontier." The review also stated that the Royal National Theatre "brought it back to us in a way that makes it seem fresh and vital."<ref>Kissel, Howard. [http://www.nydailynews.com/archives/entertainment/2002/03/22/2002-03-22_oh__what_a_beautiful_revival.html "Oh, What a Beautiful Revival of a Pure Prairie Classic"]{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }}. ''New York Daily News'', March 22, 2002</ref> However, ''USA Today'' gave the production a tepid assessment, its reviewer writing that "A cold breeze blows through this beautiful mornin', and that golden haze is never quite bright enough."<ref>Gardner, Elysa. "''Oklahoma!'' revival is just slightly better than OK", ''USA Today'', March 22, 2002, Life Section, p. 1E</ref> The production went on to tour nationally from 2003–2005.<ref>Jones, Kenneth. [http://www.playbill.com/article/networks-tour-of-oklahoma-begins-dec-16-in-denver-travels-into-2004-com-116898 "NETworks Tour of ''Oklahoma!'' Begins Dec. 16 in Denver, Travels Into 2004"], ''Playbill'', December 16, 2003, accessed December 29, 2018; [https://www.rnh.com/show/78/Oklahoma#shows-history "History: ''Oklahoma!'' Timeline"] {{Webarchive|url=https://web.archive.org/web/20181230080757/https://www.rnh.com/show/78/Oklahoma#shows-history |date=December 30, 2018 }}, The Rodgers & Hammerstein Organization, accessed December 29, 2018</ref>

===2019 Broadway revival===
Following a 2015 workshop at [[Bard College]] and a 2018 run at [[Brooklyn]]'s [[St. Ann's Warehouse]], a 75th anniversary staging of ''Oklahoma!'' transferred to Broadway at [[Circle in the Square Theatre]]. The production is directed by [[Daniel Fish]] in an intimate, immersive style, set in a community hall, with chili and cornbread served to the audience at intermission. The production began preview performances on March 19, 2019 and officially opened on April 7 for a limited run through January 19, 2020 (with a national tour set to follow). It stars [[Rebecca Naomi Jones]] as Laurey, [[Damon Daunno]] as Curly, [[Ali Stroker]] as Ado Annie, James Davis as Will Parker, [[Will Brill]] as Ali Hakim, Patrick Vaill as Jud and [[Mary Testa]] as Aunt Eller. The production features choreography by John Heginbotham and new music arrangements by Daniel Kluger, performed by a seven-piece band.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/reimagined-oklahoma-revival-begins-broadway-performances-march-19 "Reimagined ''Oklahoma!'' Revival Begins Broadway Performances March 19"], ''Playbill'', March 19, 2019; Fierberg, Ruthie. [http://www.playbill.com/article/why-broadways-upcoming-oklahoma-is-not-your-grandmas-version-of-the-rodgers-hammerstein-classic "Why Broadway’s Upcoming ''Oklahoma!'' Is Not Your 'Grandma’s Version' of the Rodgers & Hammerstein Classic"], ''Playbill'', March 18, 2019; and McPhee, Ryan. [http://www.playbill.com/article/reimagined-oklahoma-will-transfer-to-broadway "Reimagined Oklahoma! Will Transfer to Broadway"], ''Playbill'', December 11, 2018</ref> The production was nominated for eight [[Tony Award]]s and won [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] and [[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]] for Stroker, making her the first wheelchair user to win a Tony.<ref>{{Cite news| url=https://www.nytimes.com/2019/06/09/theater/ali-stroker-oklahoma-tony-awards.html|title=Ali Stroker Accepts Tony in a Wheelchair, Making History|last=Salam|first=Maya|date=June 9, 2019|work=The New York Times|access-date=June 10, 2019|issn=0362-4331}}</ref><ref>{{Cite web|url=http://www.playbill.com/article/updating-live-the-2019-tony-award-winners|title=Hadestown Leads the Pack at the 2019 Tony Awards|last=McPhee|first=Ryan|date=June 9, 2019|website=Playbill|access-date=June 10, 2019}}</ref>

===Other notable productions===
;Discoveryland
''Oklahoma!'' was presented nightly except Sundays each summer at the Discoveryland amphitheater, an outdoor theatre in [[Sand Springs, Oklahoma]], from 1977 until 2011.<ref>[https://archive.today/20130908002840/http://www.kjrh.com/dpp/news/local_news/discoveryland-to-remain-closed-through-2013-season "Sand Springs' Discoveryland! theater, known for the play ''Oklahoma'', to remain closed through 2013"], KRJH.com, June 19, 2013</ref><ref name=Discoveryland>[http://dland.redrockcustomhomes.com/awards.html "Discoveryland! Honors and Awards"] {{Webarchive|url=https://web.archive.org/web/20100705113521/http://dland.redrockcustomhomes.com/awards.html |date=July 5, 2010 }}, Discoveryland! USA, Inc., accessed July 11, 2010</ref> In 1993, Mary Rodgers (daughter of Richard Rodgers) and William Hammerstein (son of Oscar Hammerstein II) designated Discoveryland the "National Home of Rodgers and Hammerstein's ''Oklahoma!''"<ref name=Discoveryland/>

;2006 Japan
In 2006, ''Oklahoma!'' was performed in Japan by the all-female [[Takarazuka Revue]]. This revival starred Yuu Todoroki, Ai Shirosaki, and Hiromu Kiriya.<ref>[http://www.takarazuka-revue.info/tiki-index.php?page=Oklahoma+%28Moon+2006%29 "''Oklahoma! in 2006 listing] {{Webarchive|url=https://web.archive.org/web/20101203133513/http://takarazuka-revue.info/tiki-index.php?page=Oklahoma%20%28Moon%202006%29 |date=December 3, 2010 }}, Takarazuka-revue.info, accessed May 20, 2010</ref>

;2009 Chichester Theatre Festival
In the summer of 2009, British director [[John Doyle (director)|John Doyle]] directed the musical at the [[Chichester Festival Theatre]]. The production was dark in concept and featured new orchestrations by [[Jonathan Tunick]]. On a spare stage, decorated only with blue sheets, "Confetti of rose petals stains the floor like drops of blood, and a nightmarish dream-dance sequence has Freudian overtones as Laurey's bridal gown becomes her shroud."<ref name=guardian>Gardner, Lyn. [https://www.theguardian.com/stage/2009/jun/27/oklahoma-chichester-festival-theatre-review "'Oklahoma!'Chichester Festival Theatre"]. ''[[The Guardian]]'', June 27, 2009</ref><ref name=telegraph>Cavendish, Dominic. [https://www.telegraph.co.uk/culture/culturecritics/dominiccavendish/5638481/Oklahoma-at-Chichester-review.html "''Oklahoma!'' at Chichester"]. ''The Telegraph'', June 25, 2009, accessed June 7, 2010</ref> It received mixed reviews. ''The Times'' reviewer wrote: "This is a very stylised, overdrilled production, no friend of intimate moments or quiet depth of emotion."<ref>Nightingale, Benedict. [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article6577412.ece "'Oklahoma!' at the Chichester Festival Theatre, West Sussex"]. ''The Times'', June 26, 2009</ref> ''The Guardian'' liked it the most, stating that "it's a delight, with one brilliant tippy-tappy-toed song after another and a nugget of darkness lodged in its sweet heart."<ref name=guardian/> ''Whats On Stage'', like most of the papers, gave the show three out of five stars and wrote that this is a "downbeat vision" and that "all told it's a somewhat disappointing show", but their "average reader rating" was four stars.<ref>Cooter, Maxwell. [http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html "'Oklahoma!'"] {{Webarchive|url=https://web.archive.org/web/20110615170835/http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html |date=June 15, 2011 }} Whatsonstage.com, June 25, 2009</ref> A review in ''[[The Daily Telegraph|The Telegraph]]'' commented, "Doyle uses shadow and silhouette to bring out the musical's nightmarish aspects but doesn't over-labour them. There are enough sunny spots – no more so than in Act 2's rousing title song – to keep the tone evenly textured."<ref name=telegraph/>

;2010 UK tour
The show toured England for nine months in 2010 in a new staging by [[Julian Woolford]], with [[Marti Webb]] as Aunt Eller and [[Mark Evans (actor)|Mark Evans]] as Curly.<ref>Cole, Simon. [http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html "Marti Webb Opens New Tour of ''Oklahoma!''"] {{Webarchive|url=https://web.archive.org/web/20110615165949/http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html |date=June 15, 2011 }} Whatsonstage.com, March 18, 2010</ref>

;2010 Washington, DC Arena Stage
''Oklahoma!'' opened in October 2010 at the [[Arena Stage]] to critical acclaim.<ref name=marks1>Marks, Peter. [https://www.washingtonpost.com/gog/performing-arts/oklahoma,1071268/critic-review.html "A grand new state: You just cain't say no to Arena Stage's 'Oklahoma!'"], ''The Washington Post'', November 6, 2010</ref><ref>See also Billups, Edith. [http://communities.washingtontimes.com/neighborhood/proscenium-view-theater-news-and-reviews/2010/nov/9/oklahoma-arena-stage/ "'Oklahoma!' at the Arena Stage in D.C."], ''Washington Times'', November 9, 2010; Blanchard, Jayne. [http://dctheatrescene.com/2010/11/07/oklahoma/ "'Oklahoma!' Review"], dctheatrescene.com, November 7, 2010; and Jones, Kenneth. [http://www.playbill.com/article/photo-call-arena-stage-opens-its-doors-to-the-world-at-homecoming-with-alumni-stars-com-173068 "Arena Stage Opens Its Doors to the World at Oct. 23 "Homecoming," With Alumni Stars"], Playbill.com, October 23, 2010, accessed August 29, 2017</ref> Artistic Director Molly Smith cast African-American actresses as Laurey and Aunt Eller to mirror both modern Washington, D.C. demographics and the diverse population of the musical's 1906 Oklahoma territory setting.<ref>BWW News Staff. [http://broadwayworld.com/article/Review_Roundup_OKLAHOMA_at_Arena_Stage_20101206 "Review Roundup: 'Oklahoma!' at Arena Stage"]. Broadwayworld.com, December 6, 2010</ref> The production received ten 2011 [[Helen Hayes Award]] nominations, winning as Outstanding Resident Musical (tying with Shakespeare Theatre's ''Candide'') and for choreography (Parker Esse), lead actor (Nicholas Rodriguez as Curly) and musical direction (George Fulginiti-Shakar).<ref>Jones, Kenneth. [http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood "DC's Helen Hayes Winners Include Candide, The Liar, Clybourne Park, Oklahoma!, Thurgood"] {{webarchive|url=https://web.archive.org/web/20110428000030/http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood |date=April 28, 2011 }}, Playbill.com, April 25, 2011</ref> The production returned to the Arena Stage for a second run in 2011.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 "Still Doin' Fine: Arena Stage Revives Its Hit 2010 Oklahoma!, Starting July 8"] {{Webarchive|url=https://web.archive.org/web/20110805073116/http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 |date=August 5, 2011 }}. Playbill.com, July 8, 2011</ref>

;2012, Seattle, Washington, 5th Avenue Theater
The [[5th Avenue Theatre]]'s 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud.<ref name=SGS>Strangeways, Michael. [https://archive.today/20130202033038/http://www.seattlegayscene.com/2012/02/review-oklahoma-at-the-5th-avenue-is-a-bit-problematic.html "''Oklahoma!'' at the 5th Avenue Is a Bit Problematic"], ''Seattle Gay Scene'', February 10, 2012</ref> The choice was intended, as in the Arena Stage production, to reflect the historical presence of African Americans in the Oklahoma territory, but it "has some audience members squirming in their seats ... they're seeing on stage one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman [and] the white hero ... all but urges Jud to hang himself – and even pantomimes the act. Some see a clear reference to lynching."<ref name=Brodeur>Brodeur, Nicole. [http://seattletimes.nwsource.com/html/nicolebrodeur/2017557140_nicole21m.html "''Oklahoma'' seen in a new light"], ''The Seattle Times'', February 20, 2012</ref><ref>Goldstein, David. [http://www.thestranger.com/seattle/racial-profiling/Content?oid=12582804 "Racial Profiling"], ''The Stranger'', February 14, 2012</ref> The "Dream Ballet" had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped. One critic noted the historical "license taken when an African-American farmhand is allowed to escort a white woman to the box dance. ... Maybe some people ... left with not so much a song in their head, but a question in their heart. And isn't that part of what theater is supposed to do?"<ref name=Brodeur/> Another wrote: "Rothstein's ''Oklahoma!'' is now the story of a crazy, sex obsessed black man ... lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial."<ref name=SGS/>

;2015 UK tour
A UK tour ran from February to August 2015, directed by Rachel Kavanaugh and starring Ashley Day as Curly, Charlotte Wakefield as Laurey, [[Belinda Lang]] as Aunt Eller and [[Gary Wilmot]] as Ali Hakim.<ref>Davies, Michael. [http://www.whatsonstage.com/northampton-theatre/reviews/oklahoma-uk-tour_37255.html "''Oklahoma!'' (Tour) – triumphant production warrants its revival"], Whats On Stage, February 26, 2017; and Collins, Stephen. [http://britishtheatre.com/review-oklahoma-lyceum-theatre-sheffield-5stars "''Oklahoma!'' Lyceum Theatre Sheffield"], BritishTheatre.com, July 27, 2015</ref>

===1955 film adaptation===
{{Main|Oklahoma! (1955 film)}}
The 1955 film adaptation starred [[Gordon MacRae]], [[Shirley Jones]] (in her film debut),<ref>Jones had previously performed in a stage production of ''Oklahoma!'' See: [http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes ''Oklahoma!'' from Turner Classic Movies]</ref> [[Rod Steiger]], [[Charlotte Greenwood]], [[Gloria Grahame]], [[Gene Nelson]], [[James Whitmore]] and [[Eddie Albert]]. It was the only musical film directed by [[Fred Zinnemann]],<ref name="Chapin">[[Audio commentary]] by Ted Chapin and Hugh Fordin, [[CinemaScope]] version of film, 2-DVD 50th Anniversary Edition (2005), [[20th Century Fox Home Entertainment]]</ref> and [[Agnes de Mille]] choreographed. It was the first feature film photographed in the [[Todd-AO]] [[70 mm film|70 mm]] [[widescreen]] process.<ref name="TCM">{{cite web|url=http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes |title=''Oklahoma!'' from Turner Classic Movies |publisher=Tcm.com |accessdate=March 7, 2012}}</ref><ref>{{cite web |url=http://www.in70mm.com/todd_ao/magna/index.htm |title=Magna Theatre Corporation |publisher=In70mm.com |accessdate=March 7, 2012 |archive-url=https://web.archive.org/web/20120307090915/http://www.in70mm.com/todd_ao/magna/index.htm |archive-date=March 7, 2012 |url-status=dead |df=mdy-all }}</ref>

Rodgers and Hammerstein personally oversaw the film to prevent the studio from making the changes that were then typical of stage-to-film musical adaptations, such as interpolating new songs by others. The film followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation, although it divided the long first scene into several shorter scenes, changing the locations of several of the songs. For example, "Kansas City" is performed at the train station, where Aunt Eller and other cowboys meet Will Parker just after he returns from Kansas City. Lyrics in the song about a [[burlesque]] stripteaser were slightly changed to pass [[censorship|film censorship]].<ref name="Chapin"/> In a nod to ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', which was the basis of the musical, Jud attempts revenge on Curly and Laurey by burning a haystack they stand on, before Curly jumps down, landing on Jud and causing him to fall on his own knife. The film omits only "It's a Scandal, It's a Outrage" and "Lonely Room".<ref name="TCM" /> The film won [[Academy Awards]] for [[Academy Award for Original Music Score|Best Music, Scoring of a Musical Picture]] and [[Academy Award for Sound|Best Sound, Recording]].<ref name="Oscars1956">{{cite web|url=http://www.oscars.org/oscars/ceremonies/1956 |title=The 28th Academy Awards (1956) Nominees and Winners |accessdate=August 20, 2011|work=oscars.org}}</ref>


==Recordings==
Most of the songs from ''Oklahoma!'' were released on a record album by [[Decca Records]] in 1943 containing six 10-inch double-sided discs in 78 RPM format. It was the first U.S. [[cast album]] featuring the original Broadway cast of a musical. It sold over a million copies, prompting the label to call the cast back into the studio to record three additional selections that had been left out of the first set. These were issued as ''Oklahoma! Volume Two''. In 1949, Decca re-released the first set on LP but not the second set, which soon became a very rare collectors' item. All subsequent LP releases were similarly incomplete. Finally in 2000, Decca Broadway went back to the original glass masters to generate a new high fidelity transfer of the complete song program and released it on CD, utilizing the original 78 album artwork.<ref>{{cite web|url=http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 |title='Decca Broadway – Oklahoma' web page. Accessed May 22, 2010 |publisher=Deccabroadway.com |date=May 16, 2000 |accessdate=March 7, 2012}}</ref>

The success of the original ''Oklahoma!'' cast album set a precedent for the production of [[cast album|original cast recordings]] of Broadway musicals, which became an essential part of a musical's dissemination and endurance in popular culture.<ref>Stempel, p. 311</ref> Later cast recordings of ''Oklahoma!'' include the 1979 Broadway cast recording, the 1980 London cast recording, the 1998 Royal National Theatre cast recording, the 2019 Broadway cast recording, and a [[Oklahoma! (soundtrack)|soundtrack album]] of the [[Oklahoma! (1955 film)|1955 film]]. There have also been more than 20 studio cast recordings of the show, featuring stars such as [[Nelson Eddy]], [[John Raitt]] and [[Florence Henderson]] in the leading roles.<ref>Fick, David. [http://musicalcyberspace.wordpress.com/musicals-l-o/oklahoma/4/ "''Oklahoma!'' Cast Recording Reviews"]. Musical Cyberspace, March 31, 2003, accessed September 26, 2010</ref>

==Reception==
The original production of ''Oklahoma!'' was an unprecedented critical and popular success. John Anderson of the ''[[New York Journal American]]'' pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything".<ref name=Suskin/> In the ''[[New York Herald Tribune]]'', Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended. ... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship."<ref name=Suskin/> Louis Kronenberger of [[PM (newspaper)|''PM'']] opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in ''Oklahoma!'' call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."<ref name=Suskin/>

In the ''[[Daily News (New York)|New York Daily News]]'', [[Burns Mantle]] declared that "''Oklahoma!'' really is different – beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, ''Oklahoma!'' seems to me to be the most thoroughly and attractively American musical comedy since [[Edna Ferber]]'s ''Show Boat''".<ref name=Suskin/> ''[[New York World-Telegram]]'' critic [[Burton Rascoe]] particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights. ... They are spinetingling, out of this world."<ref name=Suskin/> In ''[[The New York Sun]]'', [[Ward Morehouse]] commented that "''Oklahoma!'' is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B."<ref name=Suskin/> Lorenz Hart himself "pushed his way through the crowd at the after-show party in [[Sardi's]] restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."<ref name=Nolan/>

The only negative review of the musical appeared in the ''[[New York Post]]'': The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."<ref name=Suskin/>

==Antecedents and influence==
According to playwright and theatre writer Thomas Hischak, "Not only is 'Oklahoma!' the most important of the Rodgers and Hammerstein musicals, it is also the single most influential work in the American musical theatre. ... It is the first fully integrated musical play and its blending of song, character, plot and even dance would serve as the model for Broadway shows for decades."<ref>Hischak, p. 201</ref> William Zinsser observed that ''Oklahoma!'' broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.<ref>Zinsser, William. ''Easy to Remember:The Great American Songwriters and Their Songs'', David R. Godine Publisher, 2006, {{ISBN|1-56792-325-9}}, p. 180</ref> The show "became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, p. 124.</ref> ''Oklahoma!'' made Rodgers and Hammerstein "the most important contributors to the musical-play form. ... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref>Lubbock, Mark. [http://www.theatrehistory.com/american/musical030.html "American musical theatre: an introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }} excerpted from ''The Complete Book of Light Opera'', London: Putnam, 1962, pp. 753–56</ref>

Theater historian [[Ethan Mordden]] points out that, although ''Oklahoma!'' has been called "the first integrated musical, the first American folk musical", ''[[Show Boat]]'' "got there first on both counts."<ref name=Mordden140>Mordden, Ethan. 'Broadway Babies: The People Who Made the American Musical'', Oxford University Press US, 1988, {{ISBN|0-19-505425-3}}, p. 140</ref> Even earlier, the [[Princess Theatre, New York City|Princess Theatre]] musicals, following [[Gilbert and Sullivan]] and French ''[[opéra bouffe]]'', began the reintegration of song and story after decades of thinly plotted British and American musicals, paving the way for ''Show Boat'' and ''Oklahoma!'' by showing that a musical could combine popular entertainment with continuity between its story and songs.<ref>Jones 2003, pp. 10–11</ref> These Princess Theatre shows, which featured modern American settings, "built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. [[Jerome Kern|Kern's]] exquisitely flowing melodies were employed to further the action or develop characterization."<ref>Bordman, Gerald and Thomas Hischak, eds. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t149.e1700 "Kern, Jerome (David)"]. ''The Oxford Companion to American Theatre'', third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref><ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/1910bway.htm ''History of The Musical Stage 1910–1919: Part I''], accessed May 11, 2010</ref> Mordden also notes that ''Oklahoma!'' was called the first great dance musical, but other musicals had earlier focused on dance, among them ''[[Gay Divorce]]'' and ''[[On Your Toes]]''. He concludes: "But ''Oklahoma!'' was the first American musical with an ethnic sound, words and music entirely in the folk idiom."<ref name=Mordden140/>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1944
| [[Pulitzer Prize]]<ref>[http://www.pulitzer.org/prize-winners-by-year/1944 "1944 Pulitzer Prizes"], Pulitzer.org, retrieved January 7, 2018</ref>
| [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Awards and Citations]]
| [[Richard Rodgers]] and [[Oscar Hammerstein II]]
| {{won}}
|-
| align="center"|1947
| colspan=2|[[Theatre World Award]]
| Dorothea Macfarland
| {{won}}
|-
| align="center"|1993
| [[Tony Award]]
| colspan=2|[[Special Tony Award]] (50th anniversary)
| {{won}}
|}

===1979 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=5 align="center"|1980
| rowspan=2|[[Tony Award]]
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christine Andreas]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Harry Groener]]
| {{nom}}
|-
| rowspan=2|[[Drama Desk Award]]
| rowspan=2|[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Martin Vidnovic]]
| {{nom}}
|-
| rowspan=2|[[Harry Groener]]
| {{nom}}
|-
| colspan=2|[[Theatre World Award]]
| {{won}}
|}

===1980 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=2 align="center"|1980
| rowspan=2|[[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Actor of the Year in a Musical]]
| [[John Diedrich]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Newcomer in a Play|Most Promising Newcomer of the Year in Theatre]]
| [[Alfred Molina]]
| {{nom}}
|}

===1998 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1998
| [[Critics' Circle Theatre Award]]
| colspan="2"|Best Musical
| {{won}}
|-
| rowspan="8" align="center"|1999
| rowspan="8"|[[Laurence Olivier Award]]
| colspan="2"|[[Laurence Olivier Award for Best Musical Revival|Outstanding Musical Production]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Hugh Jackman]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Supporting Performance in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Director|Best Director]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Set Designer|Best Set Designer]]
| [[Anthony Ward]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Lighting Design|Best Lighting Designer]]
| [[David Hersey]]
| {{nom}}
|}

===2002 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="17" align="center"| 2002
| rowspan="7"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Susan Stroman]]
| {{nom}}
|-
| [[Tony Award for Best Lighting Design|Best Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| rowspan="9"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| rowspan="2"| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| Justin Bohon
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Anthony Ward]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lighting Design|Outstanding Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| colspan="2"|[[Theatre World Award]]
| Justin Bohon
| {{won}}
|}

=== 2019 Broadway revival ===
{| class="wikitable" width="95%"
|-
! width="5%" | Year
! width="25%" | Award ceremony
! width="40%" | Category
! width="20%" | Nominee
! width="10%" | Result
|-
| rowspan="28" align="center" |2019
| rowspan="8" |[[Tony Award]]
| colspan="2" |[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
|[[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
|[[Damon Daunno]]
| {{nom}}
|-
| rowspan="2" |[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Ali Stroker]]
| {{won}}
|-
|[[Mary Testa]]
| {{nom}}
|-
|[[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
|[[Daniel Fish]]
| {{nom}}
|-
|[[Tony Award for Best Scenic Design in a Musical|Best Scenic Design in a Musical]]
|[[Laura Jellinek]]
| {{nom}}
|-
|[[Tony Award for Best Sound Design of a Musical|Best Sound Design of a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Tony Award for Best Orchestrations|Best Orchestrations]]
|[[Daniel Kluger]]
| {{nom}}
|-
| rowspan="12" |[[Drama Desk Award]]
| colspan="2" |[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|Damon Daunno
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
|[[Rebecca Naomi Jones]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
|Patrick Vaill
| {{nom}}
|-
| rowspan="2" |[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|Ali Stroker
| {{won}}
|-
|Mary Testa
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|Daniel Fish
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Scenic Design of a Musical|Outstanding Scenic Design of a Musical]]
|Laura Jellinek
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design for a Musical]]
|Scott Zielinski
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design in a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
|Daniel Kluger
| {{won}}
|-
|[[Drama Desk Award for Outstanding Projection Design|Outstanding Projection Design]]
|Joshua Thorson
| {{nom}}
|-
| rowspan="2" |[[Drama League Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Distinguished Performance
| Ali Stroker
| {{nom}}
|-
| rowspan="6" |[[Outer Critics Circle Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actor in a Musical
| Damon Daunno
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| Ali Stroker
| {{nom}}
|-
| Outstanding Director of a Musical
| Daniel Fish
| {{nom}}
|-
| Outstanding Orchestrations
| Daniel Kluger
| {{win}}
|-
| Outstanding Sound Design
| Drew Levy
| {{nom}}
|-
| align="center" |2020
|[[Grammy Award]]
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
|[[Damon Daunno]], [[Rebecca Naomi Jones]], [[Ali Stroker]], [[Mary Testa]] & Patrick Vaill (principal soloists); [[Daniel Kluger]] & Dean Sharenow (producers); [[Richard Rodgers]] (composer); [[Oscar Hammerstein II]] (lyricist)
|{{nom}}
|}

==In popular culture==
{{Refimprove section|date=July 2017}}
''Oklahoma!'' has frequently been quoted or parodied in films, television and other media. The following list includes some of the more notable references.

'''Films'''
* The songs "Oh What a Beautiful Mornin'" and "Oklahoma!" were spoofed in the animated film ''[[South Park: Bigger, Longer & Uncut]]''. One of the spoofs is the song "Uncle Fucka", which parodies the spelled-out O-K-L-A-H-O-M-A of the musical's title song.<ref>Pahle, Rebecca. [http://mentalfloss.com/article/501819/10-best-animated-movies-all-time "The 10 Best Animated Movies of All Time"], MentalFloss.com, June 13, 2017</ref><ref>{{cite magazine| url=http://entertainment.time.com/2011/06/23/the-25-all-time-best-animated-films/slide/south-park-bigger-longer-uncut-1999|title=''South Park: Bigger, Longer & Uncut: The 25 All-TIME Best Animated Films''|author=Richard Corliss|date=June 21, 2011|magazine=[[Time (magazine)|Time]]|accessdate=July 4, 2017}}</ref> A similar spoof is heard in the musical ''[[Curtains (musical)|Curtains]]'', concerning the title song of the ''Oklahoma!''-like musical performed within the show.
* In the film ''[[When Harry Met Sally...]]'', Harry and Sally sing a [[karaoke]] version of "Surrey With the Fringe on Top".<ref>Eastwood, Joel. [https://www.thestar.com/entertainment/movies/2014/07/19/when_harry_met_sally_turns_25_how_does_it_hold_up.html "''When Harry Met Sally'' turns 25: How does it hold up?"], ''[[Toronto Star]]'', July 19, 2014, accessed July 4, 2017</ref>
* In the film ''[[Twister (1996 film)|Twister]]'', Beltzer is heard singing the song "Oklahoma!" when he is introduced.
* In the film ''[[Dave (film)|Dave]]'', the title character sings the song "Oklahoma!"
* In the film ''[[I Can Only Imagine (film)|I Can Only Imagine]]'', [[Bart Millard]] performs "Oklahoma!" for his school play. Meanwhile, at a diner, his father blacks out and was sent to a hospital.

'''Television'''
* In ''[[The Simpsons]]'' episode "[[Milhouse of Sand and Fog]]", the character Milhouse imagines himself and Bart singing "[[The Farmer and the Cowman]]". Another episode, "[[I'm Just a Girl Who Can't Say D'oh]]", begins with Llewellyn Sinclair directing a production of ''Oklahoma!'' with Marge as Ado Annie. Llewellyn becomes frustrated every time Marge tells him no, since Ado Annie "cain't say no".<ref>Sokol, Tony. [https://www.denofgeek.com/us/tv/the-simpsons/280340/the-simpsons-season-30-episode-20-review-im-just-a-girl-who-cant-say-doh "The Simpsons Season 30 Episode 20 Review: I'm Just a Girl Who Can't Say D'oh"], ''Den of Geek'', April 8, 2019</ref>
* ''[[Sesame Street]]'' featured Kermit the Frog as a director making the film "Oklahoma" and Forgetful Jones singing the title song from "Oklahoma!" but forgetting how it begins, trying "Aaaaaa-klahoma", "Eeeeee-klahoma" and "Iiiiii-klahoma". Furthermore, [[Ray Charles]] performed "Oh, What a Beautiful Mornin'" on Sesame Street in 1977 and Oscar the grouch a few times sang to himself "Oh what a rotten old morning/Oh what a rotten old day".
* On episode 317 of ''[[The Muppet Show]]'', [[Fozzie Bear]], dressed as a cowboy, begins to sing "Oklahoma", but large Muppets dressed as [[Samurai]] warriors turn the number into a parody called "Yokohama".
* ''[[Tiny Toon Adventures]]'' did a spoof of the musical called "Ducklahoma", which heavily featured anvils.
* In an episode of ''[[3rd Rock from the Sun]]'' ([[3rd Rock from the Sun (season 1)|Frozen Dick]]), [[Dick Solomon|Dick]] sings a rendition of "Oklahoma!" in a diner, sparking the patrons in the diner to sing along with him.
* In the ''[[Fawlty Towers]]'' episode "[[Gourmet Night]]", Polly serenades the guests with a rendition of "[[I Cain't Say No]]".
* In episode 9 of ''[[Band of Brothers (TV miniseries)|Band of Brothers]]'', "Why We Fight" (2001), Captain Nixon mentions that ''Oklahoma!'' was still on Broadway, causing the soldiers to break out in song.
* On an episode of ''[[Friends]]'', "The One Where Emma Cries", Chandler accidentally accepts a job in [[Tulsa]], and his wife Monica says that she does not want to move to Oklahoma or see the musical ''Oklahoma!'' Chandler responds by listing the songs from the musical, and Monica asks whether he is telling her that he got a job in Oklahoma or that he is gay.

'''Other media'''
* In the mid-1940s, radio comedian [[Fred Allen]] wrote and performed parody lyrics to the tune of "Surrey With the Fringe on Top": "Union Suit with the Hinge on the Back." The parody was repeated on subsequent programs.
* The title song became the official [[state song]] of [[Oklahoma]] in 1953. (Oklahoma became a state on November 16, 1907.)
*In the song "Oklahoma, U.S.A." by [[The Kinks]], on their album [[Muswell Hillbillies]], the protagonist dreams of "riding in the surrey with the fringe on top".
* In [[Truman Capote]]'s 1958 novella ''[[Breakfast at Tiffany's (novella)|Breakfast at Tiffany's]]'', [[Holly Golightly (character)|Holly Golightly]] sings music from ''Oklahoma!'' while accompanying herself on her guitar.{{page needed|date=April 2013}}
* In the [[web series]] ''Musical Hell'', host Diva lists "Lonely Room" as her favorite villain song from a stage or film musical.

==See also==
*[[Sheep Wars]]

==Notes==
{{Reflist}}

==References==
*Carter, Tim. ''Oklahoma!: the making of an American musical''. Yale University Press, 2007, {{ISBN|0-300-10619-X}}
*Everett, William A. and Paul R. Laird. ''The Cambridge Companion to the Musical'', [[Cambridge University Press]], 2002, {{ISBN|0-521-79189-8}}
*Hischak, Thomas S. ''The Rodgers and Hammerstein Encyclopedia''. Greenwood Publishing Group, 2007, {{ISBN|0-313-34140-0}}
*Jones, John B. [https://books.google.com/books?id=WqQH31qkYNoC ''Our Musicals, Ourselves'']. Hanover: University Press of New England, 2003 {{ISBN|978-1-58465-311-0}}
*Kantor, Michael and Maslon, Laurence. ''Broadway: The American Musical''. New York: Bullfinch Press, 2004. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers and Hammerstein''. New York: Applause Books, 2002, {{ISBN|1-55783-473-3}}
*Stempel, Larry. ''Showtime: A History of the Broadway Musical Theater''. New York: [[W.W. Norton & Company]], 2010, {{ISBN|0-393-06715-7}}

==Further reading==
*Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
*Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
*Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
*Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
*Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.

==External links==
{{Wikiquote}}
* {{ibdb show|id=6697|title=Oklahoma!}}
* [http://www.theatrehistory.com/american/musical014.html Information from the Theatre History website]
* [http://www.rnh.com/show/78/Oklahoma%21 RNH Theatricals site]
* [http://www.guidetomusicaltheatre.com/shows_o/oklahoma.htm Plot and production information, guidetomusicaltheatre.com ]
* [http://www.musicalheaven.com/Detailed/217.html Information from the Musical Heaven website]
* [https://www.pbs.org/wnet/gperf/shows/oklahoma/oklahoma.html PBS article on ''Oklahoma!'']
* [https://www.loc.gov/rr/record/nrpb/registry/essays/OKLAHOMA!.pdf Library of Congress essay] on original cast recording on the [[National Recording Registry]].
* [http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 ''Decca Broadway – Oklahoma!'' web page with CD extracts]

{{Rodgers and Hammerstein}}
{{Oklahoma!}}
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[[Category:Oklahoma!| ]]
[[Category:Fiction set in 1906]]
[[Category:1943 musicals]]
[[Category:Broadway musicals]]
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[[Category:Tony Award-winning musicals]]

The King and I

2020-04-03T22:29:05Z

JohnAnkerBow: /* Instrumentation */

{{About|the stage musical}}
{{short description|1951 musical}}
{{Use mdy dates|date=January 2013}}
{{Infobox musical
| name = The King and I
| image = King~I~OBP.jpeg
| image_size = 250px
| caption = Original Broadway poster (1951)
| music = [[Richard Rodgers]]
| lyrics = [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' by [[Margaret Landon]]
| productions =
{{plainlist |
*1951 [[Broadway theatre|Broadway]]
*1953 [[West End theatre|West End]]
*1954 U.S. tour
*1973 West End [[revival (theatre)|revival]]
*1977 Broadway revival
*1979 West End revival
*1981 U.S. tour
*1985 Broadway revival
*1996 Broadway revival
*2000 West End revival
*2004 U.S. tour
*2011 U.K. tour
*2015 Broadway revival
*2016 U.S. tour
*2018 West End revival

}}

| awards =
{{plainlist |
*1952 [[Tony Award for Best Musical]]
*1996 [[Tony Award for Best Revival of a Musical]]
*2015 [[Tony Award for Best Revival of a Musical]]
}}
}}
'''''The King and I''''' is the fifth [[musical theatre|musical]] by [[Rodgers and Hammerstein|the team]] of composer [[Richard Rodgers]] and dramatist [[Oscar Hammerstein II]]. It is based on [[Margaret Landon]]'s novel, ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (1944), which is in turn derived from the memoirs of [[Anna Leonowens]], [[governess]] to the children of [[Mongkut|King Mongkut]] of [[Thailand|Siam]] in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at [[Broadway theatre|Broadway]]'s [[St. James Theatre]]. It ran for nearly three years, making it the fourth longest-running Broadway musical in history at the time, and has had many tours and revivals.

In 1950, theatrical attorney [[Fanny Holtzmann]] was looking for a part for her client, veteran leading lady [[Gertrude Lawrence]]. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted [[Rodgers and Hammerstein]], who were initially reluctant but agreed to write the musical. The pair initially sought [[Rex Harrison]] to play the supporting part of the King, a role he had played in [[Anna and the King of Siam (film)|the 1946 film]] made from Landon's book, but he was unavailable. They settled on the young actor and television director [[Yul Brynner]].

The musical was an immediate hit, winning [[Tony Award]]s for [[Tony Award for Best Musical|Best Musical]], [[Tony Award for Best Actress in a Musical|Best Actress]] (for Lawrence) and [[Tony Award for Best Featured Actor in a Musical|Best Featured Actor]] (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with [[The King and I (1956 film)|a 1956 film]] for which Brynner won an [[Academy Award]], and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.

[[Christopher Renshaw]] directed major revivals on Broadway (1996), winning the [[Tony Award for Best Revival of a Musical|Tony Award for Best Revival]], and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of ''The King and I'' continue to be staged regularly throughout the English-speaking world.

== Historical background ==
[[File:SiamRoyals1875GeorgeEastmanHouseviaGetty.jpg|thumb|left|alt=Sepia tinted photo of seated woman and older man separated by three children sitting on a bench, with several children sitting on the floor in front of them|King [[Mongkut]] (far right) with his heir [[Chulalongkorn]] seated next to him and some of his other children. A wife is seated at left.]]

[[Mongkut]], [[Monarchy of Thailand|King of Siam]], was about 57 years old in 1861. He had lived half his life as a [[Buddhist monk]], was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King [[Nangklao]]). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.<ref>Morgan, pp. 96–98</ref>

In 1861, Mongkut wrote to his Singapore agent, [[Tan Kim Ching]], asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, [[Anna Leonowens]] (1831–1915), who was running a small nursery school  in the colony.<ref name=Morgan86>Morgan, pp. 86–87</ref> Leonowens was the [[Anglo-Indian]] daughter of an [[Bombay Army|Indian Army]] soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was [[Welsh people|Welsh]] by birth. Her deception was not detected until long after her death, and had still not come to light when ''The King and I'' was written.<ref>Morgan, pp. 81–86</ref>

[[File:King Mongkut and Prince Chulalongkorn.jpg|thumb|right|alt=Black and white photo of older man and teenage boy standing in uniforms with bold designs and ornaments|Mongkut with Chulalongkorn, dressed in naval uniforms]]

Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to [[Bangkok]] with her five-year-old son, [[Louis Leonowens|Louis]].<ref name=Morgan86 /> King Mongkut had sought a Briton to teach his children and wives after trying local [[missionaries]], who used the opportunity to proselytize. Leonowens initially asked for $150 in [[Straits dollar|Singapore currency]] per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here".<ref name=Morgan88 /> King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day.<ref name=Morgan88>Morgan, pp. 88–91</ref> Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.<ref name=Morgan88 />

In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis.<ref>Morgan, p. 160</ref> However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king [[Chulalongkorn]].<ref>Morgan, p. 173</ref><ref>"Important Trifles", ''Washington Post'', May 15, 1887, p. 4</ref>

== Creation ==
In 1950, British actress [[Gertrude Lawrence]]'s business manager and attorney, [[Fanny Holtzmann]], was looking for a new vehicle for her client when the 1944 [[Margaret Landon]] novel ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (a fictionalized version of Leonowens' experiences) was sent to her by Landon's [[talent agent|agent]].<ref name=Nolan199>Nolan, p. 199</ref> According to Rodgers biographer [[Meryle Secrest]], Holtzmann was worried that Lawrence's career was fading.<ref>Secrest, p. 309</ref> The 51-year-old actress had appeared only in plays, not in musicals, since ''[[Lady in the Dark]]'' closed in 1943.<ref>Morley, pp. 142–51</ref> Holtzmann agreed that a musical based on ''Anna and the King of Siam'' would be ideal for her client,<ref name=Nolan199 /> who purchased the rights to adapt the novel for the stage.<ref name=Hischak148>Hischak, p. 148</ref>

Holtzmann initially wanted [[Cole Porter]] to write the [[Theatre music|score]], but he declined. She was going to approach [[Noël Coward]] next, but happened to meet [[Dorothy Hammerstein]] (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted [[Rodgers and Hammerstein]] to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical.<ref name=Nolan199 /> Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in ''[[André Charlot]]'s London Revue of 1924'' on Broadway and on tour in North America.<ref>Dorothy Hammerstein was [[Beatrice Lillie]]'s understudy in that production. See [http://articles.latimes.com/1987-08-05/news/mn-594_1_dorothy-hammerstein ''Los Angeles Times''], August 5, 1987. Retrieved November 17, 2013</ref>

[[File:R and H.jpg|thumb|left|upright|alt=Two men in business suits sit in theatre seats amiably discussing what they are watching|Rodgers (left) and Hammerstein]]
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of [[vignette (literature)|vignettes]] of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them.<ref name=Nolan310 /><ref>Block (ed.), p. 156</ref> Rodgers and Hammerstein could see no coherent story from which a musical could be made<ref name=Nolan310 /> until they saw the [[Anna and the King of Siam (film)|1946 film adaptation]], starring [[Irene Dunne]] and [[Rex Harrison]], and how the [[screenplay]] united the episodes in the novel.<ref name=Nolan310>Nolan, p. 310</ref> Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of [[diva]]-like behavior.<ref>Nolan, pp. 310–11</ref> In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show.<ref>Fordin, p. 291</ref> For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.<ref>{{cite news | last = Zolotow | first = Sam | title = Lawrence accepts lead in musical | page = 19 (Amusements section) | newspaper = [[The New York Times]] | date = April 17, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F70910F73F59157B93C5A8178FD85F448585F9&scp=49&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about [[Abraham Lincoln]]. This would eventually become the narrated dance, "[[Uncle Tom's Cabin|The Small House of Uncle Thomas]]". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores,<ref name=Bloom163>Bloom and Vlastnik, p. 163</ref> Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical.<ref>Nolan, p. 201</ref> Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies.<ref>Bloom and Vlastnik, p. 162</ref> In an interview for ''[[The New York Times]]'', Hammerstein indicated that he wrote the first scene before leaving for London and the [[West End theatre|West End]] production of ''[[Carousel (musical)|Carousel]]'' in mid-1950; he wrote a second scene while in the British capital.<ref>{{cite news | last=Calta | first=Louis | title = Hit team working on a new musical | page = 7 (Amusements section) | newspaper = The New York Times | date = June 24, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F10611FD3959157B93C6AB178DD85F448585F9&scp=69&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

The pair had to overcome the challenge of how to represent [[Thai language|Thai]] speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with [[Lorenz Hart]] titled ''Chee-chee'',<ref name=Secrest311>Secrest, p. 311</ref> did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]] and chords in unusual keys, in ways pleasant to Western ears.<ref name=MillerExotic>Miller, Scott. [http://www.newlinetheatre.com/kingandichapter.html "Inside ''The King and I''"], New Line Theatre. Retrieved December 28, 2012</ref><ref name=Fordin293 /> Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement".<ref name=Fordin293>Fordin, pp. 293–94</ref> Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.<ref>Ma, p. 18</ref>

With Rodgers laid up with back trouble, Hammerstein completed most of the musical's [[book (musical theatre)|book]] before many songs were set to music.<ref>Fordin, p. 295</ref> Early on, Hammerstein contacted set designer [[Jo Mielziner]] and costume designer [[Irene Sharaff]] and asked them to begin work in coordination with each other. Sharaff communicated with [[Jim Thompson (designer)|Jim Thompson]], an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century.<ref>Fordin, pp. 292–93</ref> One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.<ref name=Fordin296>Fordin, p. 296</ref>

[[File:Jerome Robbins 1951.jpg|thumb|upright|right|alt=Slightly angled headshot of a man in his 30s with wavy dark hair.|Choreographer [[Jerome Robbins]]]]
Producer [[Leland Hayward]], who had worked with the duo on ''[[South Pacific (musical)|South Pacific]]'', approached [[Jerome Robbins]] to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number.<ref name=Fordin296 /> His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim.<ref name=Nolan208/> [[Robert Russell Bennett]] provided the orchestrations, and [[Trude Rittmann]] arranged the ballet music.<ref>Hyland, p. 196</ref>

The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)."<ref name=Mordden144 /> Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King.<ref name=Bloom163 /><ref name=Mordden144>Mordden, p. 144</ref> "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. [[Josh Logan]], who had worked closely with Hammerstein on ''South Pacific'', listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.<ref>Fordin, p. 299</ref>

== Casting and auditions ==
[[File:Yul Brynner The King and I 1954.JPG|thumb|alt=Black and white photo of a man with a shaven head in silky Asian garb; his chest is exposed and his feet are bare; he stands with hands on hips, glowering at the camera|[[Yul Brynner]] in the original production of ''The King and I'']]
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. [[Alfred Drake]], the original Curly in ''[[Oklahoma!]]'', made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. [[Mary Martin]], the original Nellie Forbush in ''South Pacific'', suggested that her co-star in a 1946 musical set in China, ''[[Lute Song (musical)|Lute Song]]'', try for the role.<ref>Hammerstein, pp. 204–05</ref> Rodgers recounted the audition of the Russian-American performer, [[Yul Brynner]]:
{{quote |
They told us the name of the first man and out he came with a bald head and sat cross-legged on the stage. He had a guitar and he hit his guitar one whack and gave out with this unearthly yell and sang some heathenish sort of thing, and Oscar and I looked at each other and said, "Well, that's it."<ref>Nolan, p. 202</ref>
}}

Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in [[CBS]]'s ''Starlight Theatre'', for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project.<ref>Nolan, pp. 202–03</ref><ref>Capua, pp. 26, 28</ref> In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "[[Shall We Dance? (1951 song)|Shall We Dance?]]", where the King hesitantly touches Anna's waist, the chemistry was palpable.<ref name=Bloom163 />

[[File:Gertrude Lawrence as Anna.jpg|thumb|alt=Woman looking over her shoulder, wearing a Victorian-style gown with a fitted bodice and full hoop skirt|[[Gertrude Lawrence]] as Anna, in the [[Irene Sharaff]]-designed ball gown]]
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for ''South Pacific'', but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director [[John van Druten]], who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of ''The King and I'' will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown."<ref>Hammerstein, p. 206</ref> Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".<ref>Mordden, p. 137</ref>

The show was budgeted at $250,000 (US${{formatnum:{{Inflation|US|250000|1951|r=-4}}}} in {{Inflation-year|US}} dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop ''[[Allegro (musical)|Allegro]]''.<ref>Nolan, p. 204</ref> Investors included Hammerstein, Rodgers, Logan, Martin, [[Billy Rose]] and Hayward.<ref name=Mordden190>Mordden, p. 190</ref> The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai.<ref>Capua, p. 38</ref> Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.<ref name=Green233cast/><ref>Asch, Amy. [http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum "Getting to Know You Better: ''King & I'' Reunion at Museum"] {{webarchive|url=https://web.archive.org/web/20110629145655/http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum |date=June 29, 2011 }}, ''Playbill'', April 12, 2001. Retrieved February 21, 2011; and [http://www.ibdb.com/person.php?id=79187 Larry Douglas], [[Internet Broadway Database]]. Retrieved December 29, 2012</ref>

Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, [[Doretta Morrow]], sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies.<ref name=Hyland200>Hyland, p. 200</ref> Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for ''[[Collier's]]'' who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
{{quote |
She took the center of the barren stage wearing, for practice, a dirty muslin hoop over her slacks, with an old jacket thrown over her shoulders for warmth. She began rather quietly on the note, "Your servant! Your servant! Indeed I'm not your servant!" Then she gradually built the scene, slowly but powerfully, until, in a great crescendo, she ended prone on the floor, pounding in fury, and screaming, "Toads! Toads! Toads! All of your people are toads." When she finished, the handful of professionals in the theatre burst into admiring applause.<ref name=Secrest311 />
}}

At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.<ref>Fordin, p. 297</ref>

Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her.<ref name=Hyland200 /> When the tryout opened in [[New Haven, Connecticut]] on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from [[laryngitis]], had missed the [[dress rehearsal]] but managed to make it through the first public performance. The ''[[Variety (magazine)|Variety]]'' critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the ''[[Philadelphia Bulletin]]'' printed that her "already thin voice is now starting to wear a great deal thinner".<ref>Morley, p. 191</ref> Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long.<ref name=Nolan207>Nolan, p. 207</ref> [[Gemze de Lappe]], who was one of the dancers, recalled one cut that she regretted:
{{quote |
They took out a wonderful scene. Mrs. Anna's first entrance into the palace comes with a song in which she sings, "Over half a year I have been waiting, waiting, waiting, waiting, waiting, waiting outside your door." At the end she points her umbrella at him, or something like that, and the King says "Off with her head" or words to that effect, and the eunuchs pick her up and carry her off. The King says "Who, who, who?" with great satisfaction, and finds out that he has just thrown out the English schoolteacher. So he says, "Bring her back!" and she is ushered in ... we all loved it.<ref>Secrest, p. 312</ref>
}}

[[File:New Haven song list.jpg|thumb|left|300px|alt=Detail of page 15 from a theatre program showing a partial song list that includes the songs "Waiting" and "Who Would Refuse"|Part of the Act I song list from the New Haven tryout]]
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by [[Dorothy Sarnoff]] in the original production), was also cut.<ref name=Green233cast>Green, p. 233, lists the original principal cast</ref><ref name=Nolan207 /> After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from ''South Pacific'', "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.<ref name=Nolan208>Nolan, p. 208. In some references, "Suddenly Lucky" is called "Suddenly Lovely".</ref>

Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."<ref name=ocala>Freedman, Samuel G. [https://news.google.com/newspapers?id=LAckAAAAIBAJ&sjid=gAYEAAAAIBAJ&dq=brynner%20dick%20opening%20night&pg=2484%2C102242 Yul Brynner leaves King of Siam role for own future], ''[[The New York Times]]'' via ''[[Ocala Star-Banner]]'', January 1, 1985, pp. C1, C2. Retrieved December 28, 2012</ref>

== Plot ==

=== Act 1 ===
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("[[I Whistle a Happy Tune]]"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.

[[File:King 1977.jpg|thumb|280px|alt=Black and white photo of a theatrical scene: a middle-aged man with a shaved head and imposing presence has his right arm extended to introduce a group of children in Asian dress to a woman in a crinoline dress and bonnet in the foreground at right, who is partially turned upstage. The children are mostly kneeling and have their arms raised in greeting; one child (probably Crown Prince Chulalongkorn) stands and bows.|The King (Brynner) presents (some of) his children to Anna (Constance Towers), 1977]]
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.

Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("[[Getting to Know You (song)|Getting to Know You]]"). As the [[crown prince]], Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").

[[File:King dictates to Anna.jpg|thumb|left|alt=A man with a shaven head, wearing Asian dress, reclines on the floor and gestures at a woman in 19th century dress, who is writing, apparently at the man's dictation.|Lawrence as Anna takes dictation from the King (Brynner), 1951]]
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a [[protectorate]]. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, ''[[Uncle Tom's Cabin]]'', that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."

=== Act 2 ===
[[File:Small House of Uncle Thomas.jpg|thumb|350px|alt=Wide angle shot of the whole stage showing the ballet scene; a threatening character stands at center with a raised sword, while other dancers lie prone on the stage appearing to plead with him; others stand at left looking concerned|"The Small House of Uncle Thomas"]]
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.

As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("[[Uncle Tom's Cabin|Small House of Uncle Thomas]]", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King [[Simon Legree|Simon of Legree]] and his pursuit of the runaway slave [[Uncle Tom's Cabin#Eliza|Eliza]]. Eliza is saved by [[Buddha]], who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.

[[File:Yul Brynner and Gertrude Lawrence in stage musical The King and I.jpg|left|thumb|upright|alt=A barefoot man in Asian-style dress dances exuberantly with a woman in a formal gown with a large hoop skirt|Brynner and Lawrence perform "Shall We Dance?"]]
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.

Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of [[kowtow]]ing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
{{Clear left}}

== Principal roles and notable performers ==

{| class="wikitable"
! width="100" | Character
! width="200" | Description
! width="120" | Original Broadway cast<ref>Hischak, pp. 147–148 (roles and original cast only)</ref>
! width="400" | Other notable stage performers in long-running, noteworthy productions
|-
| [[Anna Leonowens]] ||A widowed Briton, in Siam to teach the royal children ||[[Gertrude Lawrence]]|| [[Eileen Brennan]], [[Constance Carpenter]], [[Jan Clayton]], [[Barbara Cook]], [[Sandy Duncan]], [[Valerie Hobson]], [[Celeste Holm]], [[Sally Ann Howes]], [[Laura Michelle Kelly]], [[Angela Lansbury]], [[Josie Lawrence]], [[Marin Mazzie]], [[Lisa McCune]], [[Maureen McGovern]], [[Virginia McKenna]], [[Hayley Mills]], [[Patricia Marand]], [[Patricia Morison]], [[Donna Murphy]], [[Kelli O'Hara]], [[Marie Osmond]], [[Elaine Paige]], [[Mary Beth Peil]], [[Stefanie Powers]], [[Faith Prince]], [[Liz Robertson]], [[Risë Stevens]], [[Constance Towers]]
|-
| The King of Siam ||A fictionalized version of the historical King [[Mongkut]]||[[Yul Brynner]]|| [[Farley Granger]], [[Kevin Gray (actor)|Kevin Gray]], [[Daniel Dae Kim]], [[Hoon Lee]], [[Jason Scott Lee]], [[Jose Llana]], [[Herbert Lom]], [[Darren McGavin]], [[Paul Nakauchi]], [[Rudolf Nureyev]], [[Lou Diamond Phillips]], [[Zachary Scott]], [[Teddy Tahu Rhodes]], [[Ramon Tikaram]], [[Ken Watanabe]], [[Peter Wyngarde]]
|-
| Lady Thiang ||The King's chief wife ||[[Dorothy Sarnoff]]|| [[Ruthie Ann Miles]], [[Patricia Neway]], [[Muriel Smith (singer)|Muriel Smith]], [[Terry Saunders]], [[Joan Almedilla]], [[Naoko Mori]]
|-
| Lun Tha ||A Burmese scholar and envoy, in love with Tuptim ||Larry Douglas|| [[Sean Ghazi]], [[Jose Llana]], [[Conrad Ricamora]], [[Dean John-Wilson]]
|-
| Tuptim ||A slave brought from Burma to be one of the King's junior wives ||[[Doretta Morrow]]|| [[June Angela]], [[Joy Clements]], [[Lee Venora]], [[Patricia Welch]], [[Na-Young Jeon]], [[Ashley Park (actress)|Ashley Park]]
|-
| Prince [[Chulalongkorn]] ||A fictionalized version of Mongkut's eldest son and heir ||Johnny Stewart|| [[Sal Mineo]]
|-
| The Kralahome ||The King's prime minister ||John Juliano|| [[Martin Benson (actor)|Martin Benson]], [[Saeed Jaffrey]], [[Randall Duk Kim]], [[Ho Yi]], [[Paul Nakauchi]], [[Takao Osawa]]
|-
| [[Louis Leonowens]] ||Anna's son|| Sandy Kennedy|| [[Jeff B. Davis|Jeffrey Bryan Davis]], [[Jake Lucas]]
|}


== Musical numbers ==
{{col-begin}}
{{col-2}}
'''Act I'''<ref name=Hischak148 />
* Overture – Orchestra
* "[[I Whistle a Happy Tune]]" – Anna and Louis
* "My Lord and Master" – Tuptim
* "[[Hello, Young Lovers (song)|Hello, Young Lovers]]" – Anna
* "March of the Royal Siamese Children" – Orchestra
* "A Puzzlement" – King
* "The Royal Bangkok Academy" – Anna, Wives and Children
* "[[Getting to Know You (song)|Getting to Know You]]" – Anna, Wives and Children
* "[[We Kiss in a Shadow]]" – Tuptim and Lun Tha
* "A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
* "Shall I Tell You What I Think of You?" – Anna
* "[[Something Wonderful (song)|Something Wonderful]]" – Lady Thiang
* "Buddhist Prayer"/Act I finale – King and Company
{{col-break}}

'''Act II'''<ref name=Hischak148 />
* Entr'acte – Orchestra
* "Western People Funny" – Lady Thiang and Wives
* "[[I Have Dreamed (song)|I Have Dreamed]]" – Tuptim and Lun Tha
* "Hello, Young Lovers" (reprise) – Anna
* "The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
* "Song of the King" – King and Anna
* "[[Shall We Dance? (1951 song)|Shall We Dance?]]" – Anna and the King
* "I Whistle a Happy Tune" (reprise) – Anna
* "Something Wonderful" (reprise, finale ultimo) – Orchestra<ref>''The King and I'', conductor's score, pp. 192 & 193.</ref>
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=The King & I |url=https://www.concordtheatricals.com/p/44904/the-king-and-i |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute I, Flute II (doubles Piccolo), Oboe (optional doubling English Horn), Clarinet I, Clarinet II, Clarinet III (doubles Bass Clarinet), Bassoon, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Horn III, Trombone I, Trombone II, Tuba, 2 Violin A (Divisi), 2 Violin B (Divisi), 2 Violin C, Viola, Cello, Bass, Harp & Percussion I & II (Trap Set, Timpani, Bells, Gong, Triangle, Xylophone, Temple Blocks, Oriental Drum, Finger Cymbals, Wood Block, Ratchet & Slap Stick)

== Productions ==

=== Original productions ===
[[File:Stjamestheatre.jpg|thumb|alt=Wide angle photo showing facade of St. James Theatre|''The King and I'' opened in 1951 at the [[St. James Theatre]] (seen in 2006).]]
''The King and I'' opened on [[Broadway theatre|Broadway]] on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than ''South Pacific''. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the [[St. James Theatre]].<ref>Hyland, p. 201</ref> Margaret Landon, author of the book on which the musical was based, was not invited to opening night.<ref>Morgan, p. 216</ref>

Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful."<ref name=Hyland202 /> The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's [[West End theatre|West End]], and finally on film.<ref>Morley, p. 193</ref> Lawrence won a [[Tony Award]] for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.<ref name=TonyAwards>[https://www.tonyawards.com/winners/?q=The%20King%20and%20I "Search past winners – ''The King and I''"], Tony Awards, American Theatre Wing, accessed January 13, 2011</ref>

De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
{{quote | I used to listen to Gertrude Lawrence on the public address system every night in our dressing rooms, and she'd get onto a note and sag down off of it. The night after I left the show to go into ''[[Paint Your Wagon (musical)|Paint Your Wagon]]'', Yul Brynner gave me house seats and I saw her from the front and I was so taken by her. She had such a star quality, you didn't care if she sang off-key. She more than dominated the stage. Boy, was that a lesson to me.<ref name=Secrest311 />
}}
Lawrence had not yet discovered that she was dying from [[Hepatocellular carcinoma|liver cancer]], and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing {{convert|75|lb}} while walking or dancing a total of {{convert|4|mi}} during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Understudy [[Constance Carpenter]] began replacing her in matinee performances. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling [[pleurisy]] and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, [[bronchitis]] felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from ''Oklahoma!'', [[Celeste Holm]], for six weeks during the summer.<ref name=Green233 /> Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people".<ref>Morley, pp. 191–96</ref> In late August, Lawrence fainted following a matinee and was admitted to the [[NewYork–Presbyterian Hospital]]. She slipped into a coma and died on September 6, 1952, aged 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of ''The King and I'' was cancelled.<ref>Morley, pp. 197–98</ref> The lights of Broadway and the West End were dimmed; she was buried in the ball gown she wore during Act 2.<ref>Hammerstein, p. 207</ref>

Carpenter assumed the role of Anna and went on to play it for 620 performances.<ref>Daniels, Lee A. [https://query.nytimes.com/gst/fullpage.html?res=9F0CEEDD173DF932A35752C0A965958260 "Constance Carpenter obituary"], ''The New York Times'', January 1, 1993. Retrieved January 23, 2011</ref> Other Annas during the run included Holm, [[Annamary Dickey]] and [[Patricia Morison]].<ref name=Hischak149>Hischak, p. 149</ref> Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis.<ref>Capua, p. 47</ref> Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner.<ref name=Green233 /><ref>''Playbill'', St. James Theatre, "Week beginning Monday, May 18, 1953"</ref> One young actor, [[Sal Mineo]], began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn.<ref>[http://www.ibdb.com/person.php?id=53216 "Salvatore Mineo"], Internet Broadway Database. Retrieved February 20, 2011</ref> Mineo began a close friendship and working relationship with Brynner which would last for more than a decade.<ref>Capua, p. 39</ref> Another replacement was [[Terry Saunders]] as Lady Thiang.<ref>[https://www.ibdb.com/broadway-cast-staff/terry-saunders-95660 Terry Saunders], Internet Broadway Database, accessed October 17, 2016</ref> She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical.<ref>[http://www.playbill.com/celebritybuzz/article/75222-Long-Runs-on-Broadway "Long Runs on Broadway"], ''Playbill'', December 23, 2012 (compare show names with closing dates at IBDB)</ref> A U.S. national tour began on March 22, 1954, at the Community Theatre, [[Hershey, Pennsylvania]], starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.<ref name=March22>[https://archive.is/20130118153846/http://rnh.development.busites.com/show/60/The-King-and-I/artwork/bio/154/show/60/The-King-and-I/artwork/44%23shows-trivia#shows-trivia "''The King and I'' Trivia: March 22, 1954"], Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref><ref>[[John Kenrick (theatre writer)|Kenrick, John]]. [http://www.musicals101.com/who14.htm "Who's Who in Musicals: Additional Bios IV: Morison, Patricia"], Musicals101.com (2002). Retrieved February 22, 2011</ref>

The original London production opened on October 8, 1953, at the [[Theatre Royal, Drury Lane]], and was warmly received by both audiences and critics;<ref>[https://select.nytimes.com/gst/abstract.html?res=FA0A10FE3B55107B93CBA9178BD95F478585F9&scp=1&sq=The+enormous+popularity+in+London+of+the+modern+American+musicals%2C+in+particular+those+written+...+%22The+King+and+I%22+h&st=p "''King and I'' wins London ovation"], ''[[The New York Times]]'', October 9, 1953, p. 53. Retrieved February 18, 2011. {{subscription required}}</ref> it ran for 946 performances.<ref name=Hischak150 /> The show was restaged by Jerome Whyte.<ref name=Green233 /> The cast featured [[Valerie Hobson]], in her last role, as Anna;<ref>Vallance, Tom. [https://www.independent.co.uk/arts-entertainment/obituary-valerie-hobson-1185255.html "Obituary: Valerie Hobson"], ''[[The Independent]]'', November 16, 1998. Retrieved February 20, 2011</ref> [[Herbert Lom]] as the King; and [[Muriel Smith (singer)|Muriel Smith]] as Lady Thiang.<ref name=Hischak150>Hischak, p. 150</ref> [[Martin Benson (actor)|Martin Benson]] played the Kralahome,<ref name=Green233>Green, p. 233</ref> a role he reprised in the film.<ref name=Hischak150 /> [[Eve Lister]] was a replacement for Hobson, and [[George Pastell]] replaced Lom during the long run.<ref name=Green233 /> ''The New York Times'' theatre columnist [[Brooks Atkinson]] saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "''The King and I'' is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."<ref>[[Brooks Atkinson|Atkinson, Brooks]]. [https://timesmachine.nytimes.com/timesmachine/1955/05/17/79450419.pdf "Theatre: London Trio; ''Kismet'' Pleases Queen, ''King and I'' Is Listless, ''Wonderful Town'' Too British"], ''[[The New York Times]]'', May 17, 1955, p. 33. Retrieved December 27, 2012. {{subscription required}}</ref>

The musical was soon premiered in Australia, Japan, and throughout Europe.<ref>[http://www.rnh.com/show/42/G2K-The-King-and-I#history-882 "''The King and I'' History: March 22, 1954"] {{webarchive|url=https://web.archive.org/web/20120916113451/http://www.rnh.com/show/42/G2K-THE-KING-AND-I |date=September 16, 2012 }}, Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref>

=== Early revivals ===
[[File:Portrait of Zachary Scott, in The King & I LCCN2004663545.jpg|thumb|left|upright|[[Zachary Scott]] in the 1956 revival of ''The King and I'']]
The first revival of ''The King and I'' in New York was presented by the [[New York City Center]] Light Opera Company in April and May 1956 for three weeks, starring [[Jan Clayton]] and [[Zachary Scott]], directed by John Fearnley, with Robbins' choreography recreated by June Graham.<ref>Atkinson, Brooks. "Theatre: ''The King and I'' in Fine Revival", ''The New York Times'', April 19, 1956, p. 34</ref> Muriel Smith reprised her London role of Lady Thiang, and [[Patrick Adiarte]] repeated his film role, Chulalongkorn.<ref>[http://broadwayworld.com/shows/cast.php?showid=5428 "The King and I – 1956 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> This company presented the musical again in May 1960 with [[Barbara Cook]] and [[Farley Granger]], again directed by Fearnley, in another three-week engagement.<ref>Atkinson, Brooks. "''The King and I'': City Center Lengthens Current Engagement", ''The New York Times'', May 22, 1960, p. X1</ref> Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before."<ref name=sixty /> He noted that Granger brought "a fresh point of view – as well as a full head of hair".<ref name=sixty >Atkinson, Brooks. "Theatre: ''The King and I''", ''The New York Times'', May 12, 1960, p. 40</ref> [[Joy Clements]] played Tuptim, and [[Anita Darian]] was Lady Thiang.<ref>[http://broadwayworld.com/shows/The_King_and_I_5429.html "The King and I – 1960 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> City Center again presented the show in June 1963, starring [[Eileen Brennan]] and Manolo Fabregas, directed by Fearnley.<ref name=Hischak150 /><ref>Funke, Lewis. "Theater: ''The King and I''; Eileen Brennan Stars at City Center", ''The New York Times'', June 13, 1963, p. 28</ref> Clements and Darian reprised Tuptim and Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5431 "The King and I – 1963 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> In the final City Center Light Opera production, Michael Kermoyan played the King opposite [[Constance Towers]] for three weeks in May 1968.<ref>"Entertainment events: Theater: Opening tonight", ''The New York Times'', May 23, 1968, p. 56</ref> Darian again played Lady Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5433 "The King and I – 1968 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> For all of these 1960s productions, Robbins' choreography was reproduced by [[Yuriko (dancer)|Yuriko]], who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.<ref>Funke, Lewis. [https://timesmachine.nytimes.com/timesmachine/1963/06/13/89925821.pdf "Theatre: ''The King and I''"], ''[[The New York Times]]'', June 13, 1963, p. 28. Retrieved February 23, 2011. {{subscription required}}</ref><ref name=Suskin>Suskin, Steven. [http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all "On the Record" Rodgers & Hammerstein's ''The King and I'' and ''Flower Drum Song''"] {{webarchive|url=https://web.archive.org/web/20110629154639/http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all |date=June 29, 2011 }}, ''Playbill'', August 16, 2009</ref>

The Music Theatre of [[Lincoln Center]], with Rodgers as producer, presented the musical in mid-1964 at the [[New York State Theater]], starring [[Risë Stevens]] and [[Darren McGavin]], with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by [[Frank Porretta]], [[Lee Venora]] and [[Patricia Neway]].<ref name=Suskin /> Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation.<ref>[http://www.atthemusicals.com/shows/K/kingandi/details.html#1965 "''The King and I'': Production Details, 1964 Broadway Production"] {{webarchive|url=https://web.archive.org/web/20110707184320/http://www.atthemusicals.com/shows/K/kingandi/details.html |date=July 7, 2011 }}, At the Musicals. Retrieved February 20, 2011</ref> The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko.<ref name=Suskin /> This was Music Theatre's debut production, a five-week limited engagement.<ref>Taubman, Howard. "Theater: ''The King and I'' in New Surroundings; Lincoln Center Musical Troupe Makes Debut; Rise Stevens Is Starred With Darren McGavin", ''The New York Times'', July 7, 1964, p. 26</ref>

''The King and I'' was revived at London's [[Adelphi Theatre]] on October 10, 1973, running for 260 performances until May 25, 1974, starring [[Sally Ann Howes]] as Anna and [[Peter Wyngarde]] as the King. Roger Redfarn directed, and Sheila O'Neill choreographed.<ref name=Green233 /> The production, which began in June 1973 with a tour of the English provinces,<ref>"''The King and I''", ''The Times'', June 13, 1973, p. 13</ref> earned mixed to warm reviews.<ref>"Entertainments", ''[[The Times]]'', May 24, 1974, p. 11</ref> [[Michael Billington (critic)|Michael Billington]] in ''[[The Guardian]]'' called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror".<ref name=guardian /> He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'."<ref name=guardian>Billington, Michael. "''The King and I'' at the Adelphi", ''[[The Guardian]]'', October 11, 1973, p. 14</ref> Less favorably, Robert Cushman in ''[[The Observer]]'' thought the production "scenically and economically under-nourished".<ref name=cushman>Cushman, Robert. "Gay times for the CIA!", ''[[The Observer]]'', October 14, 1973, p. 36</ref> He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".<ref name=cushman />

=== Brynner reprises the role ===
[[File:Brynner 1977 program.jpg|thumb|upright|alt=Theatrical program cover reading "''The King and I''" dominated by the image of a middle-aged man with shaved head and a brooding expression. Small images representing scenes from the musical are seen behind him.|Brynner on the 1977 program cover]]
In early 1976, Brynner received an offer from impresarios Lee Gruber and [[Shelly Gross]] to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he [[lip synch|lip-synched]], with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the [[Gershwin Theatre]]) on May 2, 1977.<ref>Capua, pp. 144–47</ref><ref name=NYTimesBarnes50 /> The production featured [[Martin Vidnovic]] as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated.<ref name=March22 /><ref name=NYTimesBarnes50>[[Clive Barnes|Barnes, Clive]]. [https://select.nytimes.com/gst/abstract.html?res=FB0A16F63B5D167493C1A9178ED85F438785F9&scp=76&sq=%22The+King+and+I%22+Brynner&st=p "''King and I'', reminder of golden age"], ''[[The New York Times]]'', May 3, 1977, p. 50. Retrieved February 17, 2011. {{subscription required}}</ref> Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome,<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977)"], Internet Broadway Database. Retrieved February 21, 2011</ref> while [[June Angela]] was Tuptim.<ref name=Companion>Hischak, Thomas S. ''The Oxford Companion to the American Musical: theatre, film, and television''. Oxford University Press US, 2008, p. 396 {{ISBN|978-0-19-533533-0}}</ref> The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with [[Angela Lansbury]] replacing Towers and Kermoyan replacing Brynner.<ref name=Hischak150 /> The production was nominated for the [[Drama Desk Award for Outstanding Musical]].<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977–1978)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref>

Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet".<ref name=Capua148 /> He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up.<ref name=Capua148>Capua, pp. 148–49</ref> '' New York Times'' reviewer [[Clive Barnes]] said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine".<ref name=NYTimesBarnes50 /> However, fellow ''Times'' critic [[Mel Gussow]] warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".<ref name=NYTimesGussow>[[Mel Gussow|Gussow, Mel]]. [https://www.nytimes.com/1978/04/13/archives/kermoyan-is-now-king-and-miss-lansbury-i.html?sq=%2522The+King+and+I%2522+Brynner&scp=31&st=p "Kermoyan is now 'King' and Miss Lansbury 'I' "], ''[[The New York Times]]'', April 13, 1978, p. C18. Retrieved February 17, 2011. {{subscription required}}</ref>

[[File:Puzzlement.jpg|thumb|left|alt=Man in Asian garb raising his arms over his head|Brynner in 1977: "Every day I do my best for one more day."]]
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the [[London Palladium]], on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening."<ref name=Leader18>[https://news.google.com/newspapers?id=ZU5VAAAAIBAJ&sjid=ej4NAAAAIBAJ&pg=1077,4259108&dq=virginia+mckenna+the+king+and+i+london&hl=en "Yul Brynner never gets tired of ''King and I'' role"], ''[[The Leader-Post]]'', March 15, 1979, p. 18. Retrieved February 18, 2011</ref> [[Virginia McKenna]] starred in London as Anna,<ref name=Leader18 /> winning an [[Olivier Award]] for her performance.<ref>[http://www.westendtheatre.com/4652/awards-data/olivier-awards-best-actress-winners/ "Olivier Awards – Best Actress Winners"] WestEndtheatre.com. Retrieved January 23, 2013</ref> June Angela again played Tuptim, and [[John Bennett (actor)|John Bennett]] was the Kralahome.<ref>[http://broadwayworld.com/shows/cast.php?showid=5436&cast_type=original "The King and I – 1979 West End"], BroadwayWorld.com. Retrieved February 22, 2011</ref> It ran until September 27, 1980.<ref>"''The King and I''", ''The Guardian'', July 9, 1980, p. 22</ref>

Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway.<ref name=Capua151>Capua, pp. 151–57</ref> [[Mitch Leigh]] produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977.<ref name=washpost /> [[Patricia Marand]] played Anna, Michael Kermoyan was again the Kralahome, [[Patricia Welch]] was Tuptim.<ref>Souvenir program, from the beginning of the national tour, distributed in [[Manchester, New Hampshire]] in early 1981. Mitch Leigh, as producer, was publisher.</ref> During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half.<ref>Feeney, Donna. [https://web.archive.org/web/20140114015134/http://archive.wmlnj.org/var/www/TheWestfieldLeader/1982/1982-08-05/pg_0013.pdf "Former Resident Has Lead in ''The King and I''"], ''The Westerfield Leader'' (New Jersey), August 5, 1982, p. 13. Retrieved January 4, 2013</ref> By 1983, [[Mary Beth Peil]] was playing Anna.<ref name=LATimesDrakeG1>Drake, Sylvie. [https://pqasb.pqarchiver.com/latimes/access/668774632.html?FMT=ABS&FMTS=::ABS:AI:CITE:PAGE&type=historic&date=Aug+22%2C+1983&author=SYLVIE+DRAKE&pub=Los+Angeles+Times+(1923-Current+File)&desc=%27KING%27+YUL+BRYNNER+STILL+RULING+WITH+IRON+HAND "'King' Yul Brynner Still Ruling With Iron Hand"], ''[[Los Angeles Times]]'', August 22, 1983, p. G1. Retrieved February 24, 2011. {{subscription required}}</ref> On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor.<ref name=Capua151 /><ref name=Bows /> ''[[The Washington Post]]'' reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
{{quote |When Brynner opened in the original production in 1951, he was the newcomer and Gertrude Lawrence the established star. Now, 33 years and 4,300 performances later, he is the king of the mountain as well as the show ... The genius of his performance – and it must be some sort of genius to maintain a character this long – is its simplicity. There is not a superfluous expression nor a vague gesture. And if at times, the arms on hips posture, the shining dome and fierce expression remind one of [[Mr. Clean]], it should be remembered that Brynner was there first.<ref name=washpost>Rosenfeld, Megan. [https://search.proquest.com/docview/138110597 "Classic ''King and I''"], ''[[The Washington Post]]'', December 6, 1984, p. B13. Retrieved December 28, 2012. {{subscription required}}</ref>
}}

The production reached New York in January 1985, running for 191 performances at the [[Broadway Theatre (theatre)|Broadway Theatre]], with Brynner, Peil, Welch and West still playing their roles.<ref name=IBDB1985>[http://www.ibdb.com/production.php?id=4357 "''The King and I'' (1985)"], Internet Broadway Database. Retrieved February 21, 2011</ref> The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner,<ref name=washpost /><ref>Robertson, Nan. "Farewell performance for Brynner in ''King and I''", ''[[The New York Times]]'', July 1, 1985</ref> and newcomer [[Jeff B. Davis|Jeffrey Bryan Davis]] played Louis.<ref name=IBDB1985/><ref>[http://luvinlife2010.tripod.com/id1.html "Biography"], Chronicles of Jeff Davis. Retrieved June 9, 2014</ref> During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony."<ref name=Bows /> He received a special Tony Award for his role as the King<ref name=Capua151 /> and had come to dominate the musical to such an extent that Peil was nominated merely for a [[Tony Award for Best Featured Actress in a Musical|featured actress Tony]] as Anna.<ref name=TonyAwards /> Leigh was nominated for a Tony for his direction.<ref name=TonyAwards /> ''New York Times'' critic [[Frank Rich]] praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this ''King and I.''"<ref>[[Frank Rich|Rich, Frank]]. [https://www.nytimes.com/1985/01/08/arts/the-stage-yul-brynner-in-the-king-an-i.html?scp=1&sq=%22The+King+and+I%22+Brynner&st=nyt "''The Stage'' – Yul Brynner in ''The King and I''"], ''[[The New York Times]]'', January 8, 1985. Retrieved February 17, 2011</ref> The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role.<ref name=Bows>[https://news.google.com/newspapers?nid=1734&dat=19850701&id=DO0bAAAAIBAJ&sjid=p1IEAAAAIBAJ&pg=4095,6633 "Brynner Bows Out as 'King of Slam'"], ''The Dispatch'', July 1, 1985, p. 2. Retrieved January 4, 2013</ref> Brynner died less than four months later, on October 10, 1985.<ref name=Capua151 />

From August 1989 to March 1990, [[Rudolf Nureyev]] played the King in a North American tour opposite [[Liz Robertson]], with Kermoyan as the Kralahome, directed by [[Arthur Storch]] and with the original Robbins choreography.<ref>Guernsey, Otis L. and Jeffrey Sweet (eds.) [https://books.google.com/books?id=QjG9z1umObkC&pg=PA397 "''The King and I''"], ''The Best Plays of 1989-1990: The Complete Broadway and Off-Broadway Sourcebook'', p. 397, Hal Leonard Corporation (1990) {{ISBN|1557830916}}</ref> Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."<ref>Sullivan, Dan. [http://articles.latimes.com/1989-12-07/entertainment/ca-20_1_nureyev-s-king "Nureyev in ''King and I'': It's a Puzzlement"], ''Los Angeles Times'', December 7, 1989, accessed January 30, 2014</ref><ref>Zink, Jack. [http://articles.sun-sentinel.com/1989-12-22/features/8902160396_1_king-opposite-nureyev-rudolf-nureyev "Distractions Mar ''King And I'' Revival"], ''[[Sun-Sentinel]]'', December 22, 1989, accessed January 30, 2014</ref>

=== Renshaw's production: 1991 to 2002 ===
The first major revival to break away from the original staging and interpretation was an Australian production directed by [[Christopher Renshaw]], starring [[Hayley Mills]] as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script<ref name=Flatow>Flatow, Sheryl. [http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King "How Christopher Renshaw Crowned a New King"] {{webarchive|url=https://web.archive.org/web/20121019152939/http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King |date=October 19, 2012 }}, ''[[Playbill]]'', August 9, 1996</ref> when reshaping the piece into what he called "an authentic Thai experience".<ref name=Grossberg>Grossberg, Michael. [http://www.seedship.com/hayley/8b01cd1h.html "British director lends authenticity to ''The King and I''"], ''The Columbus Dispatch'' ([[Columbus, Ohio]]), February 1, 1998. Retrieved February 20, 2011</ref> The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo).<ref name=Hischak150 /> The attraction between Anna and the King was made explicit.<ref name=Secrest313 /> Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land",<ref name=Grossberg /> and all Asian roles were played by Asian actors.<ref name=Flatow /> He also asked choreographers [[Lar Lubovitch]] and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II.<ref name=Grossberg /> According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace",<ref name=Grossberg /> and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok.<ref name=Flatow /> For example, the stage was framed by columns of elephant figures, a large [[emerald Buddha]] loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."<ref name=Grossberg />

Stanley Green, in his ''Encyclopedia of the Musical Theatre'', viewed the central theme of ''The King and I'' as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds",<ref name=Green233 /> but Renshaw felt that the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture."<ref name=Grossberg /> He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in ''Playbill'' commented that the production focused on the "clash of ideologies and cultures, of East versus West".<ref name=Flatow /> Theatre arts professor Eileen Blumenthal, however, called the production "a ''King and I'' for the age of political correctness".<ref name=Blumenthal>Blumenthal, Eileen. "How Thai Is It?", ''American Theatre'', July/August 1996, pp. 6–7</ref> While she acknowledged that the musical's treatment of Asian cultures had come to be understood as insensitive in the nearly half century since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic.<ref name=Blumenthal /> She concluded that the show is a documentary of "who we've been" in the West, and that a work like ''The King and I'' should not be suppressed, because it is "too good".<ref name=Blumenthal />

The production was reproduced on Broadway, opening on April 11, 1996 at the [[Neil Simon Theatre]], starring [[Donna Murphy]] as Anna, who won a Tony Award for her performance, and [[Lou Diamond Phillips]] as the King,<ref name=TonyAwards /> with [[Randall Duk Kim]] as the Kralahome, [[Jose Llana]] as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. [[Jenna Ushkowitz]] made her Broadway debut as one of the children.<ref>[http://ibdb.com/person.php?id=480210 Jenna Ushkowitz], Internet Broadway Database. Retrieved January 8, 2013</ref> The production was nominated for eight [[Tony Award]]s, winning best revival and three others, with acting nominations for Phillips and Choi,<ref name=TonyAwards /> who each won [[Theatre World Award]]s,<ref name=DramaDeskAwards>[http://www.ibdb.com/production.php?id=4673 "''The King and I'' (1996)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref> and seven [[Drama Desk Award]]s, winning for [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]; Renshaw won for his direction.<ref name=DramaDeskAwards /> The production was praised for "lavish ... sumptuous" designs by [[Roger Kirk (designer)|Roger Kirk]] (costumes) and [[Brian Thomson (scenic designer)|Brian Thomson]] (sets), who both won Tony<ref name=TonyAwards /> and Drama Desk Awards for their work.<ref name=DramaDeskAwards /><ref>Jefferson, Margo. [http://theater.nytimes.com/mem/theater/treview.html?_r=1&res=9800E5D91639F93BA15757C0A960958260 "Culture Clashes Still Intrigue In ''King and I''"], ''The New York Times'', April 28, 1996. Retrieved February 21, 2011</ref> [[Faith Prince]] played the role of Anna later in the run, followed by [[Marie Osmond]].<ref name=winer>Winer, Laurie. [http://articles.latimes.com/1998/may/25/entertainment/ca-53229 "Osmond a Pretty, Petulant Anna in 'King and I'"], ''Los Angeles Times'', May 25, 1998. Retrieved January 28, 2013</ref> The revival ran on Broadway for 780 performances, and [[Kevin Gray (actor)|Kevin Gray]] replaced Phillips.<ref name=Hischak150 /><ref>[http://broadwayworld.com/article/Broadways-Kevin-Gray-Dies-at-55-Starred-in-PHANTOM-THE-LION-KING-SHOWBOAT-SPIDER-WOMAN-More-20130212 "Broadway's Kevin Gray Dies at 55"], BroadwayWorld, February 12, 2013</ref> The production then toured in the U.S. with Mills and Victor Talmadge. Other Annas on this tour included Osmond, [[Sandy Duncan]], [[Stefanie Powers]] and [[Maureen McGovern]], who ended the tour in Chicago in June 1998.<ref name=winer /><ref>Jones, Chris. [http://www.maureenmcgovern.com/chictrib.htm "This 'King' has an 'I' Maureen McGovern pours herself into Anna"] {{webarchive|url=https://web.archive.org/web/20110726193545/http://www.maureenmcgovern.com/chictrib.htm |date=July 26, 2011 }}, ''[[Chicago Tribune]]'' (reprint at maureenmcgovern.com), June 15, 1998. Retrieved January 28, 2013</ref>

The production opened on May 3, 2000 at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs.<ref name=Kellaway>Kellaway, Kate. "Elaine's Burmese daze", ''The Observer'', May 7, 2000, p. F11</ref> It reportedly took in £8 million in advance ticket sales.<ref>Logan, Brian. "''The King and I'' and me", ''The Guardian'', May 2, 2000, p. A15</ref> The cast included [[Elaine Paige]] as Anna and [[Jason Scott Lee]] as the King, with [[Sean Ghazi]] as Luan Tha and [[Ho Yi]] as the Kralahome.<ref>Loveridge, Lizzie. [http://www.curtainup.com/kingandi.html "A CurtainUp London Review, ''The King and I''"], Curtainup.com, May 3, 2000. Retrieved February 18, 2011</ref> Lady Thiang was, again, played by Taewon Yi Kim, of whom ''The Observer'' wrote, "Her 'Something Wonderful' was just that."<ref name=Kellaway /> The show was nominated for an [[Laurence Olivier Award|Olivier Award]] for outstanding musical.<ref>[http://www.westendtheatre.com/4626/awards/olivier-awards-2001/ "Olivier Winners 2001"] WestEndtheatre.com. Retrieved January 24, 2013</ref> Later in the run, Lee was replaced as the King by [[Paul Nakauchi]].<ref>Carballo, Bibsy M. [https://news.google.com/newspapers?id=v1g1AAAAIBAJ&sjid=gSUMAAAAIBAJ&pg=2027,37022097&dq=paul+nakauchi+the+king+and+i+london&hl=en "Life on the London stage after ''Miss Saigon''"], ''Philippine Daily Inquirer'', October 14, 2000, p. C5. Retrieved February 18, 2010</ref> The revival was generally well received. ''[[The Daily Mirror]]'' said: "''The King and I'' waltzed back to the West End in triumph last night."<ref name=AlbemarleLondon /> The ''[[Daily Express]]'' noted, "Love it or loathe it, ''The King and I'' is an unstoppable smash."<ref name=AlbemarleLondon>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I "The King and I archives, London Palladium"] {{webarchive|url=https://web.archive.org/web/20100917135431/http://albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I |date=September 17, 2010 }}, Albemarle-London.com. Retrieved February 11, 2014</ref> ''Variety'', however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang".<ref>Wolf, Matt. [https://variety.com/2000/legit/reviews/the-king-and-i-7-1200462231/ "Review: ''The King and I''"], ''Variety'', May 15, 2000. Retrieved February 11, 2014</ref> Replacements included [[Josie Lawrence]] as Anna, [[Keo Woolford]] as the King<ref>Harada, Wayne. [http://the.honoluluadvertiser.com/article/2001/Sep/28/il/il07a.html "Ex-Islander's London theater role extended"], ''The Honolulu Advertiser'', September 28, 2001, accessed October 11, 2014</ref> and [[Saeed Jaffrey]] as the Kralahome. The show closed on January 5, 2002.<ref name=AlbemarleLondon/>

=== 2004 to present ===
Another U.S. national tour began in mid-2004, directed by [[Baayork Lee]] (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005.<ref>[[Robert Simonson|Simonson, Robert]]. [http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 "Martin Vidnovic and Sandy Duncan Are ''The King and I'' in New National Tour, Beginning June 15"] {{webarchive|url=https://web.archive.org/web/20110629151750/http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 |date=June 29, 2011 }}, ''Playbill'', June 15, 2004. Retrieved February 22, 2011</ref> Near the end of the tour in November 2005, ''Variety'' judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."<ref>Daniels, Robert L. [http://www.variety.com/review/VE1117928840?refcatid=33 "''The King and I''"], ''Variety'', November 13, 2005. Retrieved February 22, 2011</ref>

[[Jeremy Sams]] directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the [[Royal Albert Hall]] in London. It starred [[Maria Friedman]] and [[Daniel Dae Kim]].<ref>Michael Billington. [https://www.theguardian.com/stage/2009/jun/15/theatre-review-king-and-i "''The King and I''"], ''The Guardian'', June 15, 2009. Retrieved February 22, 2011</ref> A U.K. national tour starred [[Ramon Tikaram]] as the King and [[Josefina Gabrielle]] as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in [[Edinburgh]] and continued into May 2012.<ref>Dibdin, Thom. [http://www.thestage.co.uk/reviews/review.php/34746/the-king-and-i "The King and I"], ''The Stage'', December 19, 2011. Retrieved April 20, 2012</ref><ref>Price, Karen. [http://www.walesonline.co.uk/showbiz-and-lifestyle/showbiz/2012/01/06/ramon-tikaram-waltzes-into-wales-with-the-king-and-i-91466-30067502/ "Ramon Tikaram waltzes into Wales with The King and I"], ''Wales Online'', January 6, 2012. Retrieved April 20, 2012</ref><ref>Zing, Harry. [http://chewingthescenery.com/2012/05/16/review-the-king-and-i-bradford-alhambra-15052012/ "Review: The King and I, Bradford Alhambra"], ChewingTheScenery.com, May 16, 2012</ref>

In June 2014, [[Théâtre du Châtelet]] in Paris presented an English-language production of ''The King and I'' directed by [[Lee Blakeley]] and starring [[Susan Graham]], who was "close to perfection as Anna", [[Lambert Wilson]], "also excellent as the king", and [[Lisa Milne]] as Lady Thiang. ''The New York Times'' called it "a grand new staging that has set French critics searching for superlatives."<ref>Loomis, George. [https://www.nytimes.com/2014/06/24/arts/in-paris-a-revival-of-the-king-and-i.html?_r=0] ''The New York Times'', June 19, 2014</ref> The Renshaw production was revived again in April 2014 by [[Opera Australia]] for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring [[Lisa McCune]] and [[Teddy Tahu Rhodes]].<ref>Hetrick, Adam. [http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 "Tony-Winning ''The King and I'' Revival Returns to Australia With Lisa McCune and Teddy Tahu Rhodes April 13"] {{webarchive|url=https://web.archive.org/web/20140415203505/http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 |date=April 15, 2014 }}, ''[[Playbill]], 13 April 2014</ref> Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.<ref>Peard, Anne-Marie. [https://aussietheatre.com.au/reviews/the-king-and-i-melbourne#.VGKw6snYeil "The King and I, Melbourne"], AussieTheatre.com, June 16, 2014; and Neutze, Ben. [http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne "The King and I review (Princess Theatre, Melbourne)"] {{webarchive|url=https://web.archive.org/web/20141112231752/http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne |date=November 12, 2014 }}, ''Daily Review'', June 13, 2014; accessed November 12, 2014</ref>

A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the [[Vivian Beaumont Theater]]. The production was directed by [[Bartlett Sher]] and starred [[Kelli O'Hara]] as Anna and [[Ken Watanabe]], as the King, in his American stage debut. It featured [[Ruthie Ann Miles]] as Lady Thiang, [[Paul Nakauchi]] as the Kralahome, [[Ashley Park (actress)|Ashley Park]] as Tuptim, [[Conrad Ricamora]] as Lun Tha, [[Jake Lucas]] as Louis Leonowens, and [[Edward Baker-Duly]] as Sir Edward Ramsey. Choreography by [[Christopher Gattelli]] was based on the original Jerome Robbins dances. The designers included [[Michael Yeargan]] (sets), [[Catherine Zuber]] (costumes) and [[Donald Holder]] (lighting).<ref>Hetrick, Adam. [http://www.playbill.com/news/article/tix-on-sale-for-king-and-i-broadway-revival-with-kelli-ohara-and-ken-watanabe-leading-cast-of-more-than-50-333514 "Tix on Sale for ''King and I'' Broadway Revival, with Kelli O'Hara and Ken Watanabe Leading Cast of More Than 50"], ''Playbill'', October 19, 2014</ref><ref name=Brantley2015>Brantley, Ben. [https://www.nytimes.com/2015/04/17/theater/review-the-king-and-i-back-on-broadway.html?_r=0 "Review: ‘'The King and I'', Back on Broadway"], ''The New York Times'', April 16, 2015</ref> Reviews were uniformly glowing, with [[Ben Brantley]] of ''The New York Times'' calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility."<ref name=Brantley2015/> The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber),<ref>McRady, Rachel. [http://www.usmagazine.com/entertainment/news/tony-awards-2015-list-winners-201576 "Tony Awards 2015: Complete List of Winners!"], ''Us Weekly'' magazine'', June 7, 2015</ref> and won the Drama Desk Award for Outstanding Revival.<ref>Levitt, Hayley. [http://www.theatermania.com/new-york-city-theater/news/2015-drama-desk-award-winners-are-announced_73086.html "2015 Drama Desk Award Winners Are Announced!"], TheaterMania, May 31, 2015</ref> Replacements for the King included Jose Llana<ref>[[Lia Chang|Chang, Lia]]. [http://www.asamnews.com/2015/06/19/jose-llana-and-hoon-lee-to-play-king-of-siam-in-tony-award-winning-the-king-and-i "Jose Llana and Hoon Lee to play King of Siam in Tony Award-winning ''The King and I''"], ''AsAmNews'', June 19, 2015</ref> [[Hoon Lee]]<ref>Viagas, Robert. [http://www.playbill.com/news/article/join-the-cast-of-broadways-king-and-i-as-they-welcome-their-new-king-video-365069 "Join the Cast of Broadway's King and I as They Welcome Their New King"], October 1, 2015</ref> and [[Daniel Dae Kim]]. Replacements for Anna included [[Marin Mazzie]].<ref>[https://www.ibdb.com/Production/ViewReplacements/497593 Replacements for ''The King and I''], Internet Broadway Database, accessed May 12, 2016</ref> The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included [[Laura Michelle Kelly]] as Anna, Llana as the King and [[Joan Almedilla]] as Lady Thiang.<ref>Murphy, Linda. [http://www.heraldnews.com/news/20161103/review-the-king-and-i-wows-audiences-at-ppac "Review: ''The King and I'' wows audiences at PPAC"], ''The Herald News'', November 3, 2016</ref> The production was reproduced at the [[London Palladium]] from June through September 2018. O'Hara and Watanabe reprised their roles, with [[Naoko Mori]] and Ruthie Ann Miles sharing the role of Lady Thiang, [[Na-Young Jeon]] as Tuptim, [[Dean John-Wilson]] as Lun Tha and [[Takao Osawa]] as the Kralahome.<ref>Wood, Alex. [http://www.whatsonstage.com/london-theatre/news/the-king-and-i-palladium-2018_44868.html "''The King and I'' to be revived at the London Palladium in 2018"], WhatsOnStage.com, 17 November 2017; [https://www.broadwayworld.com/article/Bartlett-Sher-Revival-of-THE-KING-AND-I-to-Head-Out-on-International-Tour-20180705 "Bartlett Sher Revival of ''The King and I'' to Head Out on International Tour"], BroadwayWorld.com, July 5, 2018; Smith, Neil. [https://www.bbc.com/news/entertainment-arts-44709484 "''The King and I'': timeless classic or dated relic?"], BBC, July 4, 2018; and Quinn, Dave. [https://people.com/theater/ruthie-ann-miles-returns-stage-after-family-death "Ruthie Ann Miles 'Sang Like an Angel' in Stage Return After Daughter's Death and Losing Unborn Baby"], ''People'', August 4, 2018</ref> The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival.<ref>[https://officiallondontheatre.com/olivier-awards/year/2019 "Nominations for the Olivier Awards 2019 with Mastercard"], Olivier Awards, accessed April 7, 2019</ref> The production was filmed and shown in theatres in late 2018.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/filmed-the-king-and-i-adds-encore-screenings-after-breaking-box-office-records "Filmed ''The King and I'' Adds Encore Screenings After Breaking Box Office Records"], ''Playbill'', November 30, 2018</ref>

''The King and I'' continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.<ref name=Hischak150 />

== Adaptations ==
The musical was [[The King and I (1956 film)|filmed in 1956]] with Brynner re-creating his role opposite [[Deborah Kerr]]. The film was nominated for nine [[Academy Awards]] and won five, including [[Academy Award for Best Actor|Best Actor]] for Brynner, with Kerr nominated for [[Academy Award for Best Actress|Best Actress]].<ref>[https://movies.nytimes.com/movie/27374/The-King-and-I/awards "''The King and I'' (1956): Awards"], ''[[The New York Times]]''. Retrieved February 24, 2011</ref> Sharaff won for best costume design.<ref>Howe, Marvine. [https://query.nytimes.com/gst/fullpage.html?res=9F0CE3D61E3CF934A2575BC0A965958260 "Irene Sharaff, Designer, 83, Dies; Costumes Won Tony and Oscars"], ''The New York Times'', August 17, 1993. Retrieved February 24, 2011</ref> The film was directed by [[Walter Lang]] (who was also nominated for an Oscar) and choreographed by Robbins. [[Marni Nixon]] dubbed the singing voice of Anna, and [[Rita Moreno]] played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. [[Alan Mowbray]] appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by [[Geoffrey Toone]].<ref name=Hischak151 /><ref name=NYTimes56>[https://movies.nytimes.com/movie/27374/The-King-and-I/credits "''The King and I'' (1956): Production credits"], ''[[The New York Times]]''. Retrieved February 23, 2011</ref> The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his ''The Rodgers and Hammerstein Encyclopedia'', states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical".<ref name=Hischak151 /><ref name=NYTimesBosley>Crowther, Bosley. [https://movies.nytimes.com/movie/review?res=9A0CE3D6143BE03ABC4151DFB066838D649EDE Movie Review: "''The King and I'' (1956)"], ''[[The New York Times]]'', June 29, 1956. Retrieved February 23, 2011</ref> Thai officials [[Lèse majesté in Thailand|judged the film offensive]] to their monarchy and banned both film and musical in 1956.<ref>Grossman, Nicholas (ed). [https://books.google.com/books?id=O0R3uO1d9u4C&pg=PA88 "''The King and I'' banned in Thailand"], ''Chronicle of Thailand: Headline News Since 1946'', Editions Didier Millet, (2010), p. 88 {{ISBN|981-4217-12-3}}</ref>

A non-musical [[Anna and the King (TV series)|1972 TV comedy series]], starring Brynner, was broadcast in the U.S. by [[CBS]] but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. [[Samantha Eggar]] played "Anna Owens", with [[Brian Tochi]] as Chulalongkorn, [[Keye Luke]] as the Kralahome, [[Eric Shea]] as Louis, [[Lisa Lu]] as Lady Thiang, and [[Rosalind Chao]] as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972.<ref>[http://www.tvguide.com/tvshows/anna-and-the-king/199771 "''Anna and the King'' on CBS"], ''TV Guide''. Retrieved January 11, 2013</ref> Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.<ref>Meyer, Lawrence. "Court and ''The King''", ''Washington Post'', 21 November 1972, p. B2</ref><ref>Landon v. Twentieth Century-Fox Film Corp., 384 F. Supp. 450 (S.D.N.Y. 1974), in Donald E. Biederman, Edward P. Pierson, Martin E. Silfen, Janna Glasser, ''Law and Business of the Entertainment Industries'', 5th edition, Westport, Connecticut: Greenwood, 2006, pp. 349–56</ref>

''[[Jerome Robbins' Broadway]]'' was a Broadway [[revue]], directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".<ref>[http://ibdb.com/production.php?id=4533 ''Jerome Robbins' Broadway''], Internet Broadway Database. Retrieved January 24, 2013</ref><ref>[https://www.pbs.org/wnet/broadway/stars/793/ "Broadway – The Stars: Jerome Robbins"], Pbs.org. Retrieved January 20, 2013</ref>

[[RichCrest Animation Studios]] and [[Morgan Creek Productions]] released [[The King and I (1999 film)|a 1999 animated film adaptation]] of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by [[Miranda Richardson]] as Anna (speaking), [[Christiane Noll]] as Anna (singing), Martin Vidnovic as the King, [[Ian Richardson]] as the Kralahome and [[Adam Wylie]] as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing [[Barbra Streisand]] sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 ''[[The Broadway Album]]'' and played under the film's closing credits.<ref>Ruhlmann, William. [http://www.allmusic.com/album/the-king-and-i-original-animated-feature-soundtrack-mw0000049046 "1999 Soundtrack: ''The King and I''"], Allmusic.com. Retrieved December 24, 2012</ref> He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed ''The King and I'' for five decades without relying on dancing dragons".<ref name=Hischak151>Hischak, p. 151</ref> Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.<ref>[http://m.npr.org/story/100768756 Ted Chapin: Reviving R&H's ambitious ''Allegro'']. National Public Radio, February 17, 2009. Retrieved on April 19, 2013.</ref>

== Music and recordings ==

=== Musical treatment ===
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing [[major second]]s that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]], the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music.<ref name=MillerExotic /><ref>Mordden, p. 140</ref> The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.<ref name=Mordden142>Mordden, p. 142</ref>

Before Rodgers and Hammerstein began writing together, the [[Thirty-two-bar form|AABA form]] for [[show tune]]s was standard, but many of the songs in ''The King and I'' vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an [[Tuplet#triplets|eighth note triplet]] and two [[half note]]s) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."<ref name=Mordden142 />

According to Rodgers' biographer [[William G. Hyland|William Hyland]], the score for ''The King and I'' is much more closely tied to the action than that of ''South Pacific'', "which had its share of purely entertaining songs".<ref name=Hyland198>Hyland, p. 198</ref> For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip.<ref name=Hyland198 /> Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.<ref name=Hyland198 />

=== Recordings ===
The [[The King and I (original cast recording)|original cast recording of ''The King and I'']] was released by [[Decca Records]] in 1951. While [[John Kenrick (theatre writer)|John Kenrick]] admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults.<ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/cdcomps3.htm "Comparative CD Reviews: Part III. The King and I"] (Copyright 1998–2003). Retrieved January 11, 2011</ref> In 2000, the recording was inducted into the Grammy Hall of Fame.<ref>[http://www.grammy.org/recording-academy/awards/hall-of-fame Grammy Hall of Fame] {{webarchive|url=https://web.archive.org/web/20110122042616/http://www.grammy.org/recording-academy/awards/hall-of-fame |date=January 22, 2011 }}, The Recording Academy. Retrieved January 2, 2012</ref> Later in the same year [[Patrice Munsel]] and [[Robert Merrill]] made the first studio recording of selections from the musical.<ref name = Hischak152 /> Hischak comments that in the [[The King and I (1953 London cast album)|1953 London cast album]], Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is [[Muriel Smith]]'s "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying;<ref name=Hischak152>Hischak, p. 152</ref> Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.<ref name=Kenrick />

[[File:Hello Young Lovers.jpg|thumb|right|alt=Black-and-white photo of a stage scene. A Caucasian woman wearing a bonnet sits on a chair at center, with her huge Victorian hoop skirt spread out around her, singing. Several women in elegant silky Asian clothing surround her. One at right (Tuptim) kneels watching her, as the others stand in a clump at left.|"Hello, Young Lovers", 1977 cast: Towers as Anna; [[June Angela]] as Tuptim at right; Hye-Young Choi as Lady Thiang in front of other wives at left]]
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang.<ref name=Kenrick /> The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single [[LP record|LP]] limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers.<ref>Mordden, p. 143</ref> Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying ''King & I'' on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant".<ref name=Hischak152 /> Kenrick enjoys the [[The King and I (1992 studio cast album)|1992 Angel studio recording]] mostly for the Anna of [[Julie Andrews]], who he says is "pure magic" in a role she never performed on stage.<ref name=Kenrick /> Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow".<ref name=Kenrick /> Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself,<ref name=Hischak152 /> but Kenrick writes that his sole use for that CD is as a coaster.<ref name=Kenrick />

== Critical reception ==
{{Further|List of awards and nominations for The King and I }}
[[File:Lawrence Brynner.jpg|thumb|left|alt=Woman kneeling in front of a standing man; the two are conversing amiably, and each is gesturing with one hand as if ringing a small bell, although, according to the song lyrics, they are actually demonstrating the flying motion of a honey bee|Lawrence as Anna and Brynner as the King from "Shall We Dance?", 1951]]
Opening night reviews of the musical were strongly positive. [[Richard Watts, Jr.|Richard Watts]] in the ''[[New York Post]]'' termed it "<nowiki>[a]</nowiki>nother triumph for the masters".<ref name=Hischak149 /> Critic [[John Mason Brown]] stated, "They have done it again."<ref name=Hyland202>Hyland, p. 202</ref> ''The New York Times'' drama critic [[Brooks Atkinson]] wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and ''The King and I'' is a beautiful and lovable musical play."<ref>Fordin, p. 303</ref> Barely less enthusiastic was [[John Lardner (sports writer)|John Lardner]] in ''[[The New Yorker]]'', who wrote, "Even those of us who find <nowiki>[the Rodgers and Hammerstein musicals]</nowiki> a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them."<ref name=Secrest313>Secrest, p. 313</ref> Otis Guernsey wrote for the ''[[New York Herald Tribune]]'', "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.<ref>Capua, p. 36</ref>

The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In ''[[The Observer]]'', [[Ivor Brown]] predicted that the piece would "settle down for some years at Drury Lane."<ref>Ivor Brown. "Far Eastern", ''The Observer'', October 11, 1953, p. 13</ref> The anonymous critic of ''[[The Times]]'' compared the work to [[Gilbert and Sullivan]]: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour."<ref>"''The King and I''", ''The Times'', October 9, 1953, p. 13</ref> Less favorably, in the ''[[Daily Express]]'', John Barber called the work "this treacle-bin ''[[The Mikado|Mikado]]''", and declared that only one of the cast, Muriel Smith, could really sing.<ref>Barber, John. "Home-grown star is the new queen of Drury Lane", ''Daily Express'', October 9, 1953, p. 3</ref>

[[File:Brynner 1977.jpg|thumb|upright|alt=Man in ornate Asian garb stands with fists planted on his hips|Brynner in the 1977 Broadway production]]
In 1963, ''New York Times'' reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity."<ref>Funke, Lewis. "Theater: ''The King and I''", ''The New York Times'', June 13, 1963, p. 28</ref> Fourteen years later, another ''Times'' reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".<ref name=NYTimesBarnes50 />

The reworked 1996 Broadway production received mixed reviews. [[Vincent Canby]] of ''The New York Times'' disliked it: "This latest ''King and I'' might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination."<ref>{{cite news | last = Canby | first = Vincent | title = Once again, the taming of a despot | newspaper = The New York Times | date = April 12, 1996 | url = http://theater.nytimes.com/mem/theater/treview.html?id=1077011432556&html_title=&tols_title=&byline=&fid=NONE&scp=2&sq=the%20king%20and%20i%20lou%20diamond&st=cse | accessdate = January 13, 2011}}</ref> But [[Liz Smith (journalist)|Liz Smith]] enthused: "''The King and I'' is perfect"; and the ''[[Houston Chronicle]]'' wrote, of the subsequent tour, "''The King and I'' is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey."<ref>[http://www.rnh.com/show/60/The-King-and-I#shows-press "Press: Quotes"], The Rodgers and Hammerstein Organization, accessed January 23, 2013</ref> Critic Richard Christiansen in the ''[[Chicago Tribune]]'' observed, of a 1998 tour stop at the [[Auditorium Theatre]]: "Written in a more leisurely and innocent and less politically correct period, <nowiki>[</nowiki>''The King and I''<nowiki>]</nowiki> cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age."<ref>Christiansen, Richard. [http://articles.chicagotribune.com/1998-06-22/features/9806220171_1_king-yul-brynner-broadway-two-years "Its balance restored, ''King and I'' also shows its age"], ''[[Chicago Tribune]]'', June 22, 1998. Retrieved February 17, 2011</ref> When the production reached London in 2000, however, it received uniformly positive reviews; the ''[[Financial Times]]'' called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".<ref name=AlbemarleLondon />

The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of ''The New York Times'' called it a "resplendent production" and commented:
{{quote|[In the] 1996 production ... [a] dark strain of sadomasochistic tension born of Victorian repression and Eastern sensuality was introduced into sunny Siam. ... Mr. Sher is no strong-armed revisionist. He works from within vintage material, coaxing shadowy emotional depths to churn up a surface that might otherwise seem shiny and slick. ... [T]he show is both panoramic and personal, balancing dazzling musical set pieces with sung introspective soliloquies. [The direction] enhances [scenes'] emotional weight. No one is merely a dancer or an extra or an archetype, which may be the greatest defense this show offers against what can come across as cute condescension toward the exotic East. ... [The] portrayal of the varied forms and content of love [and] some of [Rodgers and Hammerstein's] lushest ballads ... acquire freshening nuance and anchoring conviction".<ref name=Brantley2015/>}}
Marilyn Stasio, in ''Variety'', termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures."<ref>Stasio, Marilyn. [https://variety.com/2015/legit/reviews/king-and-i-review-broadway-1201474091/ "Broadway Review: ''The King and I''"], ''Variety'', April 16, 2015</ref> In ''[[USA Today]]'', Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes."<ref>Gardner, Elysa. [https://www.usatoday.com/story/life/theater/2015/04/16/the-king-and-i-broadway-review/25786885/ "New ''King and I'' is something wonderful"], ''USA Today'', April 17, 2015</ref> The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's [[orientalism]] into "a modern critique of racism and sexism".<ref>Lewis, Christian. [http://www.huffingtonpost.com/christian-lewis/the-king-and-i-message_b_8940460.html "''The King and I'' Revival's Important Message"], ''Huffington Post'', January 12, 2016.</ref> Other commentators, however, such as composer [[Mohammed Fairouz]], argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written.<ref>[[Mohammed Fairouz|Fairouz, Mohammed]]. [https://onbeing.org/blog/pedestals-dont-excuse-backwards-politics/ "Pedestals Don't Excuse Backwards Politics"], OnBeing.org, February 16, 2016, accessed 10 April 2019</ref> [[Benjamin Ivry]] opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".<ref>[[Benjamin Ivry|Ivry, Benjamin]]. [http://forward.com/culture/218363/the-king-and-us/ "''The King'' and Us"], ''[[The Forward]]'', April 13, 2015</ref>

Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
{{quote |''The King and I'' is really a celebration of love in all its guises, from the love of Anna for her dead husband; the love of the King's official wife, Lady Thiang, for a man she knows is flawed and also unfaithful; the desperation of forbidden love; and a love that is barely recognized and can never be acted upon.<ref>Secrest, p. 314</ref>}}

== References ==
{{reflist}}

=== Bibliography ===
{{refbegin}}
* Block, Geoffrey (ed.) [https://books.google.com/books?id=QLxEdG6HJ9sC&dq=carousel+rodgers&source=gbs_navlinks_s ''The Richard Rodgers Reader'']. New York: Oxford University Press (US), 2006. {{ISBN|978-0-19-531343-7}}.
* Bloom, Ken and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of All Time''. New York: Black Dog & Leventhal Publishers, 2004. {{ISBN|978-1-57912-390-1}}.
* Capua, Michelangelo. ''Yul Brynner: A Biography'', Jefferson, N.C.: McFarland & Co. Inc., 2006; {{ISBN|978-0-7864-2461-0}}.
* Fordin, Hugh. ''Getting to Know Him: A Biography of Oscar Hammerstein II''. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. {{ISBN|978-0-306-80668-1}}.
* Green, Stanley. "[https://books.google.com/books?id=ZWIRAljCR7oC&pg=PA232 Encyclopedia of the Musical Theatre]. Jefferson, N.C.: Da Capo Press, 1980. {{ISBN|978-0-306-80113-6}}.
* Hammerstein, Oscar Andrew. ''The Hammersteins: A Musical Theatre Family''. New York: Black Dog & Leventhal Publishers, 2010. {{ISBN|978-1-57912-846-3}}.
* Hischak, Thomas S. [https://books.google.com/books?id=CsbEP_Mu50EC&pg=PA150 ''The Rodgers and Hammerstein Encyclopedia'']. Westport, Conn.: Greenwood Publishing Group, 2007. {{ISBN|978-0-313-34140-3}}.
* [[William G. Hyland|Hyland, William G.]] ''Richard Rodgers''. New Haven, Conn.: Yale University Press, 1998. {{ISBN|978-0-300-07115-3}}.
* Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". ''Literature/Film Quarterly'', Vol. 31, Number 1 (2003), pp. 17–26.
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992. {{ISBN|978-0-8109-1567-1}}.
* Morgan, Susan. ''Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess'', Berkeley, Cal.: University of California Press, 2008; {{ISBN|978-0-520-25226-4}}.
* Morley, Sheridan, ''Gertrude Lawrence''. New York: McGraw-Hill, 1981. {{ISBN|978-0-07-043149-2}}.
* Nolan, Frederick. [https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein]. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. {{ISBN|978-1-55783-473-7}}.
* Secrest, Meryle. ''Somewhere for Me: A Biography of Richard Rodgers''. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. {{ISBN|978-1-55783-581-9}}.
{{refend}}

== Further reading ==
* Rodgers, Richard. ''Musical Stages: An Autobiography''. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. {{ISBN|978-0-306-81134-0}}.
* Ponti, Carla. ''The Musical Representation of Asian Characters in the Musicals of Richard Rodgers'', University of California: San Diego, 2010.

== External links ==
{{Commons category|The King and I}}
* {{IBDB title|1935|The King and I}}
* {{IBDB show|5067|The King and I productions}}
* [https://www.youtube.com/watch?v=1AkjsVjKEeM Performance at the 2015 Tony Awards]

{{Anna and the King of Siam}}
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The King and I

2020-04-03T22:28:27Z

JohnAnkerBow: /* Instrumentation */

{{About|the stage musical}}
{{short description|1951 musical}}
{{Use mdy dates|date=January 2013}}
{{Infobox musical
| name = The King and I
| image = King~I~OBP.jpeg
| image_size = 250px
| caption = Original Broadway poster (1951)
| music = [[Richard Rodgers]]
| lyrics = [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' by [[Margaret Landon]]
| productions =
{{plainlist |
*1951 [[Broadway theatre|Broadway]]
*1953 [[West End theatre|West End]]
*1954 U.S. tour
*1973 West End [[revival (theatre)|revival]]
*1977 Broadway revival
*1979 West End revival
*1981 U.S. tour
*1985 Broadway revival
*1996 Broadway revival
*2000 West End revival
*2004 U.S. tour
*2011 U.K. tour
*2015 Broadway revival
*2016 U.S. tour
*2018 West End revival

}}

| awards =
{{plainlist |
*1952 [[Tony Award for Best Musical]]
*1996 [[Tony Award for Best Revival of a Musical]]
*2015 [[Tony Award for Best Revival of a Musical]]
}}
}}
'''''The King and I''''' is the fifth [[musical theatre|musical]] by [[Rodgers and Hammerstein|the team]] of composer [[Richard Rodgers]] and dramatist [[Oscar Hammerstein II]]. It is based on [[Margaret Landon]]'s novel, ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (1944), which is in turn derived from the memoirs of [[Anna Leonowens]], [[governess]] to the children of [[Mongkut|King Mongkut]] of [[Thailand|Siam]] in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at [[Broadway theatre|Broadway]]'s [[St. James Theatre]]. It ran for nearly three years, making it the fourth longest-running Broadway musical in history at the time, and has had many tours and revivals.

In 1950, theatrical attorney [[Fanny Holtzmann]] was looking for a part for her client, veteran leading lady [[Gertrude Lawrence]]. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted [[Rodgers and Hammerstein]], who were initially reluctant but agreed to write the musical. The pair initially sought [[Rex Harrison]] to play the supporting part of the King, a role he had played in [[Anna and the King of Siam (film)|the 1946 film]] made from Landon's book, but he was unavailable. They settled on the young actor and television director [[Yul Brynner]].

The musical was an immediate hit, winning [[Tony Award]]s for [[Tony Award for Best Musical|Best Musical]], [[Tony Award for Best Actress in a Musical|Best Actress]] (for Lawrence) and [[Tony Award for Best Featured Actor in a Musical|Best Featured Actor]] (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with [[The King and I (1956 film)|a 1956 film]] for which Brynner won an [[Academy Award]], and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.

[[Christopher Renshaw]] directed major revivals on Broadway (1996), winning the [[Tony Award for Best Revival of a Musical|Tony Award for Best Revival]], and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of ''The King and I'' continue to be staged regularly throughout the English-speaking world.

== Historical background ==
[[File:SiamRoyals1875GeorgeEastmanHouseviaGetty.jpg|thumb|left|alt=Sepia tinted photo of seated woman and older man separated by three children sitting on a bench, with several children sitting on the floor in front of them|King [[Mongkut]] (far right) with his heir [[Chulalongkorn]] seated next to him and some of his other children. A wife is seated at left.]]

[[Mongkut]], [[Monarchy of Thailand|King of Siam]], was about 57 years old in 1861. He had lived half his life as a [[Buddhist monk]], was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King [[Nangklao]]). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.<ref>Morgan, pp. 96–98</ref>

In 1861, Mongkut wrote to his Singapore agent, [[Tan Kim Ching]], asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, [[Anna Leonowens]] (1831–1915), who was running a small nursery school  in the colony.<ref name=Morgan86>Morgan, pp. 86–87</ref> Leonowens was the [[Anglo-Indian]] daughter of an [[Bombay Army|Indian Army]] soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was [[Welsh people|Welsh]] by birth. Her deception was not detected until long after her death, and had still not come to light when ''The King and I'' was written.<ref>Morgan, pp. 81–86</ref>

[[File:King Mongkut and Prince Chulalongkorn.jpg|thumb|right|alt=Black and white photo of older man and teenage boy standing in uniforms with bold designs and ornaments|Mongkut with Chulalongkorn, dressed in naval uniforms]]

Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to [[Bangkok]] with her five-year-old son, [[Louis Leonowens|Louis]].<ref name=Morgan86 /> King Mongkut had sought a Briton to teach his children and wives after trying local [[missionaries]], who used the opportunity to proselytize. Leonowens initially asked for $150 in [[Straits dollar|Singapore currency]] per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here".<ref name=Morgan88 /> King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day.<ref name=Morgan88>Morgan, pp. 88–91</ref> Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.<ref name=Morgan88 />

In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis.<ref>Morgan, p. 160</ref> However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king [[Chulalongkorn]].<ref>Morgan, p. 173</ref><ref>"Important Trifles", ''Washington Post'', May 15, 1887, p. 4</ref>

== Creation ==
In 1950, British actress [[Gertrude Lawrence]]'s business manager and attorney, [[Fanny Holtzmann]], was looking for a new vehicle for her client when the 1944 [[Margaret Landon]] novel ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (a fictionalized version of Leonowens' experiences) was sent to her by Landon's [[talent agent|agent]].<ref name=Nolan199>Nolan, p. 199</ref> According to Rodgers biographer [[Meryle Secrest]], Holtzmann was worried that Lawrence's career was fading.<ref>Secrest, p. 309</ref> The 51-year-old actress had appeared only in plays, not in musicals, since ''[[Lady in the Dark]]'' closed in 1943.<ref>Morley, pp. 142–51</ref> Holtzmann agreed that a musical based on ''Anna and the King of Siam'' would be ideal for her client,<ref name=Nolan199 /> who purchased the rights to adapt the novel for the stage.<ref name=Hischak148>Hischak, p. 148</ref>

Holtzmann initially wanted [[Cole Porter]] to write the [[Theatre music|score]], but he declined. She was going to approach [[Noël Coward]] next, but happened to meet [[Dorothy Hammerstein]] (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted [[Rodgers and Hammerstein]] to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical.<ref name=Nolan199 /> Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in ''[[André Charlot]]'s London Revue of 1924'' on Broadway and on tour in North America.<ref>Dorothy Hammerstein was [[Beatrice Lillie]]'s understudy in that production. See [http://articles.latimes.com/1987-08-05/news/mn-594_1_dorothy-hammerstein ''Los Angeles Times''], August 5, 1987. Retrieved November 17, 2013</ref>

[[File:R and H.jpg|thumb|left|upright|alt=Two men in business suits sit in theatre seats amiably discussing what they are watching|Rodgers (left) and Hammerstein]]
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of [[vignette (literature)|vignettes]] of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them.<ref name=Nolan310 /><ref>Block (ed.), p. 156</ref> Rodgers and Hammerstein could see no coherent story from which a musical could be made<ref name=Nolan310 /> until they saw the [[Anna and the King of Siam (film)|1946 film adaptation]], starring [[Irene Dunne]] and [[Rex Harrison]], and how the [[screenplay]] united the episodes in the novel.<ref name=Nolan310>Nolan, p. 310</ref> Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of [[diva]]-like behavior.<ref>Nolan, pp. 310–11</ref> In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show.<ref>Fordin, p. 291</ref> For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.<ref>{{cite news | last = Zolotow | first = Sam | title = Lawrence accepts lead in musical | page = 19 (Amusements section) | newspaper = [[The New York Times]] | date = April 17, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F70910F73F59157B93C5A8178FD85F448585F9&scp=49&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about [[Abraham Lincoln]]. This would eventually become the narrated dance, "[[Uncle Tom's Cabin|The Small House of Uncle Thomas]]". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores,<ref name=Bloom163>Bloom and Vlastnik, p. 163</ref> Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical.<ref>Nolan, p. 201</ref> Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies.<ref>Bloom and Vlastnik, p. 162</ref> In an interview for ''[[The New York Times]]'', Hammerstein indicated that he wrote the first scene before leaving for London and the [[West End theatre|West End]] production of ''[[Carousel (musical)|Carousel]]'' in mid-1950; he wrote a second scene while in the British capital.<ref>{{cite news | last=Calta | first=Louis | title = Hit team working on a new musical | page = 7 (Amusements section) | newspaper = The New York Times | date = June 24, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F10611FD3959157B93C6AB178DD85F448585F9&scp=69&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

The pair had to overcome the challenge of how to represent [[Thai language|Thai]] speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with [[Lorenz Hart]] titled ''Chee-chee'',<ref name=Secrest311>Secrest, p. 311</ref> did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]] and chords in unusual keys, in ways pleasant to Western ears.<ref name=MillerExotic>Miller, Scott. [http://www.newlinetheatre.com/kingandichapter.html "Inside ''The King and I''"], New Line Theatre. Retrieved December 28, 2012</ref><ref name=Fordin293 /> Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement".<ref name=Fordin293>Fordin, pp. 293–94</ref> Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.<ref>Ma, p. 18</ref>

With Rodgers laid up with back trouble, Hammerstein completed most of the musical's [[book (musical theatre)|book]] before many songs were set to music.<ref>Fordin, p. 295</ref> Early on, Hammerstein contacted set designer [[Jo Mielziner]] and costume designer [[Irene Sharaff]] and asked them to begin work in coordination with each other. Sharaff communicated with [[Jim Thompson (designer)|Jim Thompson]], an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century.<ref>Fordin, pp. 292–93</ref> One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.<ref name=Fordin296>Fordin, p. 296</ref>

[[File:Jerome Robbins 1951.jpg|thumb|upright|right|alt=Slightly angled headshot of a man in his 30s with wavy dark hair.|Choreographer [[Jerome Robbins]]]]
Producer [[Leland Hayward]], who had worked with the duo on ''[[South Pacific (musical)|South Pacific]]'', approached [[Jerome Robbins]] to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number.<ref name=Fordin296 /> His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim.<ref name=Nolan208/> [[Robert Russell Bennett]] provided the orchestrations, and [[Trude Rittmann]] arranged the ballet music.<ref>Hyland, p. 196</ref>

The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)."<ref name=Mordden144 /> Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King.<ref name=Bloom163 /><ref name=Mordden144>Mordden, p. 144</ref> "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. [[Josh Logan]], who had worked closely with Hammerstein on ''South Pacific'', listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.<ref>Fordin, p. 299</ref>

== Casting and auditions ==
[[File:Yul Brynner The King and I 1954.JPG|thumb|alt=Black and white photo of a man with a shaven head in silky Asian garb; his chest is exposed and his feet are bare; he stands with hands on hips, glowering at the camera|[[Yul Brynner]] in the original production of ''The King and I'']]
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. [[Alfred Drake]], the original Curly in ''[[Oklahoma!]]'', made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. [[Mary Martin]], the original Nellie Forbush in ''South Pacific'', suggested that her co-star in a 1946 musical set in China, ''[[Lute Song (musical)|Lute Song]]'', try for the role.<ref>Hammerstein, pp. 204–05</ref> Rodgers recounted the audition of the Russian-American performer, [[Yul Brynner]]:
{{quote |
They told us the name of the first man and out he came with a bald head and sat cross-legged on the stage. He had a guitar and he hit his guitar one whack and gave out with this unearthly yell and sang some heathenish sort of thing, and Oscar and I looked at each other and said, "Well, that's it."<ref>Nolan, p. 202</ref>
}}

Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in [[CBS]]'s ''Starlight Theatre'', for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project.<ref>Nolan, pp. 202–03</ref><ref>Capua, pp. 26, 28</ref> In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "[[Shall We Dance? (1951 song)|Shall We Dance?]]", where the King hesitantly touches Anna's waist, the chemistry was palpable.<ref name=Bloom163 />

[[File:Gertrude Lawrence as Anna.jpg|thumb|alt=Woman looking over her shoulder, wearing a Victorian-style gown with a fitted bodice and full hoop skirt|[[Gertrude Lawrence]] as Anna, in the [[Irene Sharaff]]-designed ball gown]]
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for ''South Pacific'', but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director [[John van Druten]], who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of ''The King and I'' will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown."<ref>Hammerstein, p. 206</ref> Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".<ref>Mordden, p. 137</ref>

The show was budgeted at $250,000 (US${{formatnum:{{Inflation|US|250000|1951|r=-4}}}} in {{Inflation-year|US}} dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop ''[[Allegro (musical)|Allegro]]''.<ref>Nolan, p. 204</ref> Investors included Hammerstein, Rodgers, Logan, Martin, [[Billy Rose]] and Hayward.<ref name=Mordden190>Mordden, p. 190</ref> The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai.<ref>Capua, p. 38</ref> Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.<ref name=Green233cast/><ref>Asch, Amy. [http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum "Getting to Know You Better: ''King & I'' Reunion at Museum"] {{webarchive|url=https://web.archive.org/web/20110629145655/http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum |date=June 29, 2011 }}, ''Playbill'', April 12, 2001. Retrieved February 21, 2011; and [http://www.ibdb.com/person.php?id=79187 Larry Douglas], [[Internet Broadway Database]]. Retrieved December 29, 2012</ref>

Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, [[Doretta Morrow]], sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies.<ref name=Hyland200>Hyland, p. 200</ref> Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for ''[[Collier's]]'' who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
{{quote |
She took the center of the barren stage wearing, for practice, a dirty muslin hoop over her slacks, with an old jacket thrown over her shoulders for warmth. She began rather quietly on the note, "Your servant! Your servant! Indeed I'm not your servant!" Then she gradually built the scene, slowly but powerfully, until, in a great crescendo, she ended prone on the floor, pounding in fury, and screaming, "Toads! Toads! Toads! All of your people are toads." When she finished, the handful of professionals in the theatre burst into admiring applause.<ref name=Secrest311 />
}}

At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.<ref>Fordin, p. 297</ref>

Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her.<ref name=Hyland200 /> When the tryout opened in [[New Haven, Connecticut]] on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from [[laryngitis]], had missed the [[dress rehearsal]] but managed to make it through the first public performance. The ''[[Variety (magazine)|Variety]]'' critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the ''[[Philadelphia Bulletin]]'' printed that her "already thin voice is now starting to wear a great deal thinner".<ref>Morley, p. 191</ref> Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long.<ref name=Nolan207>Nolan, p. 207</ref> [[Gemze de Lappe]], who was one of the dancers, recalled one cut that she regretted:
{{quote |
They took out a wonderful scene. Mrs. Anna's first entrance into the palace comes with a song in which she sings, "Over half a year I have been waiting, waiting, waiting, waiting, waiting, waiting outside your door." At the end she points her umbrella at him, or something like that, and the King says "Off with her head" or words to that effect, and the eunuchs pick her up and carry her off. The King says "Who, who, who?" with great satisfaction, and finds out that he has just thrown out the English schoolteacher. So he says, "Bring her back!" and she is ushered in ... we all loved it.<ref>Secrest, p. 312</ref>
}}

[[File:New Haven song list.jpg|thumb|left|300px|alt=Detail of page 15 from a theatre program showing a partial song list that includes the songs "Waiting" and "Who Would Refuse"|Part of the Act I song list from the New Haven tryout]]
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by [[Dorothy Sarnoff]] in the original production), was also cut.<ref name=Green233cast>Green, p. 233, lists the original principal cast</ref><ref name=Nolan207 /> After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from ''South Pacific'', "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.<ref name=Nolan208>Nolan, p. 208. In some references, "Suddenly Lucky" is called "Suddenly Lovely".</ref>

Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."<ref name=ocala>Freedman, Samuel G. [https://news.google.com/newspapers?id=LAckAAAAIBAJ&sjid=gAYEAAAAIBAJ&dq=brynner%20dick%20opening%20night&pg=2484%2C102242 Yul Brynner leaves King of Siam role for own future], ''[[The New York Times]]'' via ''[[Ocala Star-Banner]]'', January 1, 1985, pp. C1, C2. Retrieved December 28, 2012</ref>

== Plot ==

=== Act 1 ===
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("[[I Whistle a Happy Tune]]"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.

[[File:King 1977.jpg|thumb|280px|alt=Black and white photo of a theatrical scene: a middle-aged man with a shaved head and imposing presence has his right arm extended to introduce a group of children in Asian dress to a woman in a crinoline dress and bonnet in the foreground at right, who is partially turned upstage. The children are mostly kneeling and have their arms raised in greeting; one child (probably Crown Prince Chulalongkorn) stands and bows.|The King (Brynner) presents (some of) his children to Anna (Constance Towers), 1977]]
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.

Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("[[Getting to Know You (song)|Getting to Know You]]"). As the [[crown prince]], Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").

[[File:King dictates to Anna.jpg|thumb|left|alt=A man with a shaven head, wearing Asian dress, reclines on the floor and gestures at a woman in 19th century dress, who is writing, apparently at the man's dictation.|Lawrence as Anna takes dictation from the King (Brynner), 1951]]
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a [[protectorate]]. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, ''[[Uncle Tom's Cabin]]'', that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."

=== Act 2 ===
[[File:Small House of Uncle Thomas.jpg|thumb|350px|alt=Wide angle shot of the whole stage showing the ballet scene; a threatening character stands at center with a raised sword, while other dancers lie prone on the stage appearing to plead with him; others stand at left looking concerned|"The Small House of Uncle Thomas"]]
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.

As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("[[Uncle Tom's Cabin|Small House of Uncle Thomas]]", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King [[Simon Legree|Simon of Legree]] and his pursuit of the runaway slave [[Uncle Tom's Cabin#Eliza|Eliza]]. Eliza is saved by [[Buddha]], who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.

[[File:Yul Brynner and Gertrude Lawrence in stage musical The King and I.jpg|left|thumb|upright|alt=A barefoot man in Asian-style dress dances exuberantly with a woman in a formal gown with a large hoop skirt|Brynner and Lawrence perform "Shall We Dance?"]]
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.

Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of [[kowtow]]ing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
{{Clear left}}

== Principal roles and notable performers ==

{| class="wikitable"
! width="100" | Character
! width="200" | Description
! width="120" | Original Broadway cast<ref>Hischak, pp. 147–148 (roles and original cast only)</ref>
! width="400" | Other notable stage performers in long-running, noteworthy productions
|-
| [[Anna Leonowens]] ||A widowed Briton, in Siam to teach the royal children ||[[Gertrude Lawrence]]|| [[Eileen Brennan]], [[Constance Carpenter]], [[Jan Clayton]], [[Barbara Cook]], [[Sandy Duncan]], [[Valerie Hobson]], [[Celeste Holm]], [[Sally Ann Howes]], [[Laura Michelle Kelly]], [[Angela Lansbury]], [[Josie Lawrence]], [[Marin Mazzie]], [[Lisa McCune]], [[Maureen McGovern]], [[Virginia McKenna]], [[Hayley Mills]], [[Patricia Marand]], [[Patricia Morison]], [[Donna Murphy]], [[Kelli O'Hara]], [[Marie Osmond]], [[Elaine Paige]], [[Mary Beth Peil]], [[Stefanie Powers]], [[Faith Prince]], [[Liz Robertson]], [[Risë Stevens]], [[Constance Towers]]
|-
| The King of Siam ||A fictionalized version of the historical King [[Mongkut]]||[[Yul Brynner]]|| [[Farley Granger]], [[Kevin Gray (actor)|Kevin Gray]], [[Daniel Dae Kim]], [[Hoon Lee]], [[Jason Scott Lee]], [[Jose Llana]], [[Herbert Lom]], [[Darren McGavin]], [[Paul Nakauchi]], [[Rudolf Nureyev]], [[Lou Diamond Phillips]], [[Zachary Scott]], [[Teddy Tahu Rhodes]], [[Ramon Tikaram]], [[Ken Watanabe]], [[Peter Wyngarde]]
|-
| Lady Thiang ||The King's chief wife ||[[Dorothy Sarnoff]]|| [[Ruthie Ann Miles]], [[Patricia Neway]], [[Muriel Smith (singer)|Muriel Smith]], [[Terry Saunders]], [[Joan Almedilla]], [[Naoko Mori]]
|-
| Lun Tha ||A Burmese scholar and envoy, in love with Tuptim ||Larry Douglas|| [[Sean Ghazi]], [[Jose Llana]], [[Conrad Ricamora]], [[Dean John-Wilson]]
|-
| Tuptim ||A slave brought from Burma to be one of the King's junior wives ||[[Doretta Morrow]]|| [[June Angela]], [[Joy Clements]], [[Lee Venora]], [[Patricia Welch]], [[Na-Young Jeon]], [[Ashley Park (actress)|Ashley Park]]
|-
| Prince [[Chulalongkorn]] ||A fictionalized version of Mongkut's eldest son and heir ||Johnny Stewart|| [[Sal Mineo]]
|-
| The Kralahome ||The King's prime minister ||John Juliano|| [[Martin Benson (actor)|Martin Benson]], [[Saeed Jaffrey]], [[Randall Duk Kim]], [[Ho Yi]], [[Paul Nakauchi]], [[Takao Osawa]]
|-
| [[Louis Leonowens]] ||Anna's son|| Sandy Kennedy|| [[Jeff B. Davis|Jeffrey Bryan Davis]], [[Jake Lucas]]
|}


== Musical numbers ==
{{col-begin}}
{{col-2}}
'''Act I'''<ref name=Hischak148 />
* Overture – Orchestra
* "[[I Whistle a Happy Tune]]" – Anna and Louis
* "My Lord and Master" – Tuptim
* "[[Hello, Young Lovers (song)|Hello, Young Lovers]]" – Anna
* "March of the Royal Siamese Children" – Orchestra
* "A Puzzlement" – King
* "The Royal Bangkok Academy" – Anna, Wives and Children
* "[[Getting to Know You (song)|Getting to Know You]]" – Anna, Wives and Children
* "[[We Kiss in a Shadow]]" – Tuptim and Lun Tha
* "A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
* "Shall I Tell You What I Think of You?" – Anna
* "[[Something Wonderful (song)|Something Wonderful]]" – Lady Thiang
* "Buddhist Prayer"/Act I finale – King and Company
{{col-break}}

'''Act II'''<ref name=Hischak148 />
* Entr'acte – Orchestra
* "Western People Funny" – Lady Thiang and Wives
* "[[I Have Dreamed (song)|I Have Dreamed]]" – Tuptim and Lun Tha
* "Hello, Young Lovers" (reprise) – Anna
* "The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
* "Song of the King" – King and Anna
* "[[Shall We Dance? (1951 song)|Shall We Dance?]]" – Anna and the King
* "I Whistle a Happy Tune" (reprise) – Anna
* "Something Wonderful" (reprise, finale ultimo) – Orchestra<ref>''The King and I'', conductor's score, pp. 192 & 193.</ref>
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=The King & I |url=https://www.concordtheatricals.com/p/44904/the-king-and-i |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute I, Flute II (doubles Piccolo), Oboe (optional doubling English Horn), Clarinet I, Clarinet II, Clarinet III (doubles Bass Clarinet), Bassoon, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Horn III, Trombone I, Trombone II, Tuba, 2 Percussion, 2 Violin A (Divisi), 2 Violin B (Divisi), 2 Violin C, Viola, Cello, Bass, Harp & Percussion I & II (Trap Set, Timpani, Bells, Gong, Triangle, Xylophone, Temple Blocks, Oriental Drum, Finger Cymbals, Wood Block, Ratchet & Slap Stick)

== Productions ==

=== Original productions ===
[[File:Stjamestheatre.jpg|thumb|alt=Wide angle photo showing facade of St. James Theatre|''The King and I'' opened in 1951 at the [[St. James Theatre]] (seen in 2006).]]
''The King and I'' opened on [[Broadway theatre|Broadway]] on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than ''South Pacific''. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the [[St. James Theatre]].<ref>Hyland, p. 201</ref> Margaret Landon, author of the book on which the musical was based, was not invited to opening night.<ref>Morgan, p. 216</ref>

Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful."<ref name=Hyland202 /> The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's [[West End theatre|West End]], and finally on film.<ref>Morley, p. 193</ref> Lawrence won a [[Tony Award]] for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.<ref name=TonyAwards>[https://www.tonyawards.com/winners/?q=The%20King%20and%20I "Search past winners – ''The King and I''"], Tony Awards, American Theatre Wing, accessed January 13, 2011</ref>

De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
{{quote | I used to listen to Gertrude Lawrence on the public address system every night in our dressing rooms, and she'd get onto a note and sag down off of it. The night after I left the show to go into ''[[Paint Your Wagon (musical)|Paint Your Wagon]]'', Yul Brynner gave me house seats and I saw her from the front and I was so taken by her. She had such a star quality, you didn't care if she sang off-key. She more than dominated the stage. Boy, was that a lesson to me.<ref name=Secrest311 />
}}
Lawrence had not yet discovered that she was dying from [[Hepatocellular carcinoma|liver cancer]], and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing {{convert|75|lb}} while walking or dancing a total of {{convert|4|mi}} during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Understudy [[Constance Carpenter]] began replacing her in matinee performances. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling [[pleurisy]] and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, [[bronchitis]] felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from ''Oklahoma!'', [[Celeste Holm]], for six weeks during the summer.<ref name=Green233 /> Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people".<ref>Morley, pp. 191–96</ref> In late August, Lawrence fainted following a matinee and was admitted to the [[NewYork–Presbyterian Hospital]]. She slipped into a coma and died on September 6, 1952, aged 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of ''The King and I'' was cancelled.<ref>Morley, pp. 197–98</ref> The lights of Broadway and the West End were dimmed; she was buried in the ball gown she wore during Act 2.<ref>Hammerstein, p. 207</ref>

Carpenter assumed the role of Anna and went on to play it for 620 performances.<ref>Daniels, Lee A. [https://query.nytimes.com/gst/fullpage.html?res=9F0CEEDD173DF932A35752C0A965958260 "Constance Carpenter obituary"], ''The New York Times'', January 1, 1993. Retrieved January 23, 2011</ref> Other Annas during the run included Holm, [[Annamary Dickey]] and [[Patricia Morison]].<ref name=Hischak149>Hischak, p. 149</ref> Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis.<ref>Capua, p. 47</ref> Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner.<ref name=Green233 /><ref>''Playbill'', St. James Theatre, "Week beginning Monday, May 18, 1953"</ref> One young actor, [[Sal Mineo]], began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn.<ref>[http://www.ibdb.com/person.php?id=53216 "Salvatore Mineo"], Internet Broadway Database. Retrieved February 20, 2011</ref> Mineo began a close friendship and working relationship with Brynner which would last for more than a decade.<ref>Capua, p. 39</ref> Another replacement was [[Terry Saunders]] as Lady Thiang.<ref>[https://www.ibdb.com/broadway-cast-staff/terry-saunders-95660 Terry Saunders], Internet Broadway Database, accessed October 17, 2016</ref> She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical.<ref>[http://www.playbill.com/celebritybuzz/article/75222-Long-Runs-on-Broadway "Long Runs on Broadway"], ''Playbill'', December 23, 2012 (compare show names with closing dates at IBDB)</ref> A U.S. national tour began on March 22, 1954, at the Community Theatre, [[Hershey, Pennsylvania]], starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.<ref name=March22>[https://archive.is/20130118153846/http://rnh.development.busites.com/show/60/The-King-and-I/artwork/bio/154/show/60/The-King-and-I/artwork/44%23shows-trivia#shows-trivia "''The King and I'' Trivia: March 22, 1954"], Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref><ref>[[John Kenrick (theatre writer)|Kenrick, John]]. [http://www.musicals101.com/who14.htm "Who's Who in Musicals: Additional Bios IV: Morison, Patricia"], Musicals101.com (2002). Retrieved February 22, 2011</ref>

The original London production opened on October 8, 1953, at the [[Theatre Royal, Drury Lane]], and was warmly received by both audiences and critics;<ref>[https://select.nytimes.com/gst/abstract.html?res=FA0A10FE3B55107B93CBA9178BD95F478585F9&scp=1&sq=The+enormous+popularity+in+London+of+the+modern+American+musicals%2C+in+particular+those+written+...+%22The+King+and+I%22+h&st=p "''King and I'' wins London ovation"], ''[[The New York Times]]'', October 9, 1953, p. 53. Retrieved February 18, 2011. {{subscription required}}</ref> it ran for 946 performances.<ref name=Hischak150 /> The show was restaged by Jerome Whyte.<ref name=Green233 /> The cast featured [[Valerie Hobson]], in her last role, as Anna;<ref>Vallance, Tom. [https://www.independent.co.uk/arts-entertainment/obituary-valerie-hobson-1185255.html "Obituary: Valerie Hobson"], ''[[The Independent]]'', November 16, 1998. Retrieved February 20, 2011</ref> [[Herbert Lom]] as the King; and [[Muriel Smith (singer)|Muriel Smith]] as Lady Thiang.<ref name=Hischak150>Hischak, p. 150</ref> [[Martin Benson (actor)|Martin Benson]] played the Kralahome,<ref name=Green233>Green, p. 233</ref> a role he reprised in the film.<ref name=Hischak150 /> [[Eve Lister]] was a replacement for Hobson, and [[George Pastell]] replaced Lom during the long run.<ref name=Green233 /> ''The New York Times'' theatre columnist [[Brooks Atkinson]] saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "''The King and I'' is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."<ref>[[Brooks Atkinson|Atkinson, Brooks]]. [https://timesmachine.nytimes.com/timesmachine/1955/05/17/79450419.pdf "Theatre: London Trio; ''Kismet'' Pleases Queen, ''King and I'' Is Listless, ''Wonderful Town'' Too British"], ''[[The New York Times]]'', May 17, 1955, p. 33. Retrieved December 27, 2012. {{subscription required}}</ref>

The musical was soon premiered in Australia, Japan, and throughout Europe.<ref>[http://www.rnh.com/show/42/G2K-The-King-and-I#history-882 "''The King and I'' History: March 22, 1954"] {{webarchive|url=https://web.archive.org/web/20120916113451/http://www.rnh.com/show/42/G2K-THE-KING-AND-I |date=September 16, 2012 }}, Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref>

=== Early revivals ===
[[File:Portrait of Zachary Scott, in The King & I LCCN2004663545.jpg|thumb|left|upright|[[Zachary Scott]] in the 1956 revival of ''The King and I'']]
The first revival of ''The King and I'' in New York was presented by the [[New York City Center]] Light Opera Company in April and May 1956 for three weeks, starring [[Jan Clayton]] and [[Zachary Scott]], directed by John Fearnley, with Robbins' choreography recreated by June Graham.<ref>Atkinson, Brooks. "Theatre: ''The King and I'' in Fine Revival", ''The New York Times'', April 19, 1956, p. 34</ref> Muriel Smith reprised her London role of Lady Thiang, and [[Patrick Adiarte]] repeated his film role, Chulalongkorn.<ref>[http://broadwayworld.com/shows/cast.php?showid=5428 "The King and I – 1956 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> This company presented the musical again in May 1960 with [[Barbara Cook]] and [[Farley Granger]], again directed by Fearnley, in another three-week engagement.<ref>Atkinson, Brooks. "''The King and I'': City Center Lengthens Current Engagement", ''The New York Times'', May 22, 1960, p. X1</ref> Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before."<ref name=sixty /> He noted that Granger brought "a fresh point of view – as well as a full head of hair".<ref name=sixty >Atkinson, Brooks. "Theatre: ''The King and I''", ''The New York Times'', May 12, 1960, p. 40</ref> [[Joy Clements]] played Tuptim, and [[Anita Darian]] was Lady Thiang.<ref>[http://broadwayworld.com/shows/The_King_and_I_5429.html "The King and I – 1960 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> City Center again presented the show in June 1963, starring [[Eileen Brennan]] and Manolo Fabregas, directed by Fearnley.<ref name=Hischak150 /><ref>Funke, Lewis. "Theater: ''The King and I''; Eileen Brennan Stars at City Center", ''The New York Times'', June 13, 1963, p. 28</ref> Clements and Darian reprised Tuptim and Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5431 "The King and I – 1963 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> In the final City Center Light Opera production, Michael Kermoyan played the King opposite [[Constance Towers]] for three weeks in May 1968.<ref>"Entertainment events: Theater: Opening tonight", ''The New York Times'', May 23, 1968, p. 56</ref> Darian again played Lady Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5433 "The King and I – 1968 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> For all of these 1960s productions, Robbins' choreography was reproduced by [[Yuriko (dancer)|Yuriko]], who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.<ref>Funke, Lewis. [https://timesmachine.nytimes.com/timesmachine/1963/06/13/89925821.pdf "Theatre: ''The King and I''"], ''[[The New York Times]]'', June 13, 1963, p. 28. Retrieved February 23, 2011. {{subscription required}}</ref><ref name=Suskin>Suskin, Steven. [http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all "On the Record" Rodgers & Hammerstein's ''The King and I'' and ''Flower Drum Song''"] {{webarchive|url=https://web.archive.org/web/20110629154639/http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all |date=June 29, 2011 }}, ''Playbill'', August 16, 2009</ref>

The Music Theatre of [[Lincoln Center]], with Rodgers as producer, presented the musical in mid-1964 at the [[New York State Theater]], starring [[Risë Stevens]] and [[Darren McGavin]], with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by [[Frank Porretta]], [[Lee Venora]] and [[Patricia Neway]].<ref name=Suskin /> Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation.<ref>[http://www.atthemusicals.com/shows/K/kingandi/details.html#1965 "''The King and I'': Production Details, 1964 Broadway Production"] {{webarchive|url=https://web.archive.org/web/20110707184320/http://www.atthemusicals.com/shows/K/kingandi/details.html |date=July 7, 2011 }}, At the Musicals. Retrieved February 20, 2011</ref> The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko.<ref name=Suskin /> This was Music Theatre's debut production, a five-week limited engagement.<ref>Taubman, Howard. "Theater: ''The King and I'' in New Surroundings; Lincoln Center Musical Troupe Makes Debut; Rise Stevens Is Starred With Darren McGavin", ''The New York Times'', July 7, 1964, p. 26</ref>

''The King and I'' was revived at London's [[Adelphi Theatre]] on October 10, 1973, running for 260 performances until May 25, 1974, starring [[Sally Ann Howes]] as Anna and [[Peter Wyngarde]] as the King. Roger Redfarn directed, and Sheila O'Neill choreographed.<ref name=Green233 /> The production, which began in June 1973 with a tour of the English provinces,<ref>"''The King and I''", ''The Times'', June 13, 1973, p. 13</ref> earned mixed to warm reviews.<ref>"Entertainments", ''[[The Times]]'', May 24, 1974, p. 11</ref> [[Michael Billington (critic)|Michael Billington]] in ''[[The Guardian]]'' called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror".<ref name=guardian /> He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'."<ref name=guardian>Billington, Michael. "''The King and I'' at the Adelphi", ''[[The Guardian]]'', October 11, 1973, p. 14</ref> Less favorably, Robert Cushman in ''[[The Observer]]'' thought the production "scenically and economically under-nourished".<ref name=cushman>Cushman, Robert. "Gay times for the CIA!", ''[[The Observer]]'', October 14, 1973, p. 36</ref> He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".<ref name=cushman />

=== Brynner reprises the role ===
[[File:Brynner 1977 program.jpg|thumb|upright|alt=Theatrical program cover reading "''The King and I''" dominated by the image of a middle-aged man with shaved head and a brooding expression. Small images representing scenes from the musical are seen behind him.|Brynner on the 1977 program cover]]
In early 1976, Brynner received an offer from impresarios Lee Gruber and [[Shelly Gross]] to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he [[lip synch|lip-synched]], with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the [[Gershwin Theatre]]) on May 2, 1977.<ref>Capua, pp. 144–47</ref><ref name=NYTimesBarnes50 /> The production featured [[Martin Vidnovic]] as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated.<ref name=March22 /><ref name=NYTimesBarnes50>[[Clive Barnes|Barnes, Clive]]. [https://select.nytimes.com/gst/abstract.html?res=FB0A16F63B5D167493C1A9178ED85F438785F9&scp=76&sq=%22The+King+and+I%22+Brynner&st=p "''King and I'', reminder of golden age"], ''[[The New York Times]]'', May 3, 1977, p. 50. Retrieved February 17, 2011. {{subscription required}}</ref> Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome,<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977)"], Internet Broadway Database. Retrieved February 21, 2011</ref> while [[June Angela]] was Tuptim.<ref name=Companion>Hischak, Thomas S. ''The Oxford Companion to the American Musical: theatre, film, and television''. Oxford University Press US, 2008, p. 396 {{ISBN|978-0-19-533533-0}}</ref> The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with [[Angela Lansbury]] replacing Towers and Kermoyan replacing Brynner.<ref name=Hischak150 /> The production was nominated for the [[Drama Desk Award for Outstanding Musical]].<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977–1978)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref>

Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet".<ref name=Capua148 /> He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up.<ref name=Capua148>Capua, pp. 148–49</ref> '' New York Times'' reviewer [[Clive Barnes]] said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine".<ref name=NYTimesBarnes50 /> However, fellow ''Times'' critic [[Mel Gussow]] warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".<ref name=NYTimesGussow>[[Mel Gussow|Gussow, Mel]]. [https://www.nytimes.com/1978/04/13/archives/kermoyan-is-now-king-and-miss-lansbury-i.html?sq=%2522The+King+and+I%2522+Brynner&scp=31&st=p "Kermoyan is now 'King' and Miss Lansbury 'I' "], ''[[The New York Times]]'', April 13, 1978, p. C18. Retrieved February 17, 2011. {{subscription required}}</ref>

[[File:Puzzlement.jpg|thumb|left|alt=Man in Asian garb raising his arms over his head|Brynner in 1977: "Every day I do my best for one more day."]]
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the [[London Palladium]], on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening."<ref name=Leader18>[https://news.google.com/newspapers?id=ZU5VAAAAIBAJ&sjid=ej4NAAAAIBAJ&pg=1077,4259108&dq=virginia+mckenna+the+king+and+i+london&hl=en "Yul Brynner never gets tired of ''King and I'' role"], ''[[The Leader-Post]]'', March 15, 1979, p. 18. Retrieved February 18, 2011</ref> [[Virginia McKenna]] starred in London as Anna,<ref name=Leader18 /> winning an [[Olivier Award]] for her performance.<ref>[http://www.westendtheatre.com/4652/awards-data/olivier-awards-best-actress-winners/ "Olivier Awards – Best Actress Winners"] WestEndtheatre.com. Retrieved January 23, 2013</ref> June Angela again played Tuptim, and [[John Bennett (actor)|John Bennett]] was the Kralahome.<ref>[http://broadwayworld.com/shows/cast.php?showid=5436&cast_type=original "The King and I – 1979 West End"], BroadwayWorld.com. Retrieved February 22, 2011</ref> It ran until September 27, 1980.<ref>"''The King and I''", ''The Guardian'', July 9, 1980, p. 22</ref>

Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway.<ref name=Capua151>Capua, pp. 151–57</ref> [[Mitch Leigh]] produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977.<ref name=washpost /> [[Patricia Marand]] played Anna, Michael Kermoyan was again the Kralahome, [[Patricia Welch]] was Tuptim.<ref>Souvenir program, from the beginning of the national tour, distributed in [[Manchester, New Hampshire]] in early 1981. Mitch Leigh, as producer, was publisher.</ref> During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half.<ref>Feeney, Donna. [https://web.archive.org/web/20140114015134/http://archive.wmlnj.org/var/www/TheWestfieldLeader/1982/1982-08-05/pg_0013.pdf "Former Resident Has Lead in ''The King and I''"], ''The Westerfield Leader'' (New Jersey), August 5, 1982, p. 13. Retrieved January 4, 2013</ref> By 1983, [[Mary Beth Peil]] was playing Anna.<ref name=LATimesDrakeG1>Drake, Sylvie. [https://pqasb.pqarchiver.com/latimes/access/668774632.html?FMT=ABS&FMTS=::ABS:AI:CITE:PAGE&type=historic&date=Aug+22%2C+1983&author=SYLVIE+DRAKE&pub=Los+Angeles+Times+(1923-Current+File)&desc=%27KING%27+YUL+BRYNNER+STILL+RULING+WITH+IRON+HAND "'King' Yul Brynner Still Ruling With Iron Hand"], ''[[Los Angeles Times]]'', August 22, 1983, p. G1. Retrieved February 24, 2011. {{subscription required}}</ref> On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor.<ref name=Capua151 /><ref name=Bows /> ''[[The Washington Post]]'' reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
{{quote |When Brynner opened in the original production in 1951, he was the newcomer and Gertrude Lawrence the established star. Now, 33 years and 4,300 performances later, he is the king of the mountain as well as the show ... The genius of his performance – and it must be some sort of genius to maintain a character this long – is its simplicity. There is not a superfluous expression nor a vague gesture. And if at times, the arms on hips posture, the shining dome and fierce expression remind one of [[Mr. Clean]], it should be remembered that Brynner was there first.<ref name=washpost>Rosenfeld, Megan. [https://search.proquest.com/docview/138110597 "Classic ''King and I''"], ''[[The Washington Post]]'', December 6, 1984, p. B13. Retrieved December 28, 2012. {{subscription required}}</ref>
}}

The production reached New York in January 1985, running for 191 performances at the [[Broadway Theatre (theatre)|Broadway Theatre]], with Brynner, Peil, Welch and West still playing their roles.<ref name=IBDB1985>[http://www.ibdb.com/production.php?id=4357 "''The King and I'' (1985)"], Internet Broadway Database. Retrieved February 21, 2011</ref> The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner,<ref name=washpost /><ref>Robertson, Nan. "Farewell performance for Brynner in ''King and I''", ''[[The New York Times]]'', July 1, 1985</ref> and newcomer [[Jeff B. Davis|Jeffrey Bryan Davis]] played Louis.<ref name=IBDB1985/><ref>[http://luvinlife2010.tripod.com/id1.html "Biography"], Chronicles of Jeff Davis. Retrieved June 9, 2014</ref> During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony."<ref name=Bows /> He received a special Tony Award for his role as the King<ref name=Capua151 /> and had come to dominate the musical to such an extent that Peil was nominated merely for a [[Tony Award for Best Featured Actress in a Musical|featured actress Tony]] as Anna.<ref name=TonyAwards /> Leigh was nominated for a Tony for his direction.<ref name=TonyAwards /> ''New York Times'' critic [[Frank Rich]] praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this ''King and I.''"<ref>[[Frank Rich|Rich, Frank]]. [https://www.nytimes.com/1985/01/08/arts/the-stage-yul-brynner-in-the-king-an-i.html?scp=1&sq=%22The+King+and+I%22+Brynner&st=nyt "''The Stage'' – Yul Brynner in ''The King and I''"], ''[[The New York Times]]'', January 8, 1985. Retrieved February 17, 2011</ref> The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role.<ref name=Bows>[https://news.google.com/newspapers?nid=1734&dat=19850701&id=DO0bAAAAIBAJ&sjid=p1IEAAAAIBAJ&pg=4095,6633 "Brynner Bows Out as 'King of Slam'"], ''The Dispatch'', July 1, 1985, p. 2. Retrieved January 4, 2013</ref> Brynner died less than four months later, on October 10, 1985.<ref name=Capua151 />

From August 1989 to March 1990, [[Rudolf Nureyev]] played the King in a North American tour opposite [[Liz Robertson]], with Kermoyan as the Kralahome, directed by [[Arthur Storch]] and with the original Robbins choreography.<ref>Guernsey, Otis L. and Jeffrey Sweet (eds.) [https://books.google.com/books?id=QjG9z1umObkC&pg=PA397 "''The King and I''"], ''The Best Plays of 1989-1990: The Complete Broadway and Off-Broadway Sourcebook'', p. 397, Hal Leonard Corporation (1990) {{ISBN|1557830916}}</ref> Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."<ref>Sullivan, Dan. [http://articles.latimes.com/1989-12-07/entertainment/ca-20_1_nureyev-s-king "Nureyev in ''King and I'': It's a Puzzlement"], ''Los Angeles Times'', December 7, 1989, accessed January 30, 2014</ref><ref>Zink, Jack. [http://articles.sun-sentinel.com/1989-12-22/features/8902160396_1_king-opposite-nureyev-rudolf-nureyev "Distractions Mar ''King And I'' Revival"], ''[[Sun-Sentinel]]'', December 22, 1989, accessed January 30, 2014</ref>

=== Renshaw's production: 1991 to 2002 ===
The first major revival to break away from the original staging and interpretation was an Australian production directed by [[Christopher Renshaw]], starring [[Hayley Mills]] as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script<ref name=Flatow>Flatow, Sheryl. [http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King "How Christopher Renshaw Crowned a New King"] {{webarchive|url=https://web.archive.org/web/20121019152939/http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King |date=October 19, 2012 }}, ''[[Playbill]]'', August 9, 1996</ref> when reshaping the piece into what he called "an authentic Thai experience".<ref name=Grossberg>Grossberg, Michael. [http://www.seedship.com/hayley/8b01cd1h.html "British director lends authenticity to ''The King and I''"], ''The Columbus Dispatch'' ([[Columbus, Ohio]]), February 1, 1998. Retrieved February 20, 2011</ref> The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo).<ref name=Hischak150 /> The attraction between Anna and the King was made explicit.<ref name=Secrest313 /> Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land",<ref name=Grossberg /> and all Asian roles were played by Asian actors.<ref name=Flatow /> He also asked choreographers [[Lar Lubovitch]] and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II.<ref name=Grossberg /> According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace",<ref name=Grossberg /> and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok.<ref name=Flatow /> For example, the stage was framed by columns of elephant figures, a large [[emerald Buddha]] loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."<ref name=Grossberg />

Stanley Green, in his ''Encyclopedia of the Musical Theatre'', viewed the central theme of ''The King and I'' as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds",<ref name=Green233 /> but Renshaw felt that the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture."<ref name=Grossberg /> He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in ''Playbill'' commented that the production focused on the "clash of ideologies and cultures, of East versus West".<ref name=Flatow /> Theatre arts professor Eileen Blumenthal, however, called the production "a ''King and I'' for the age of political correctness".<ref name=Blumenthal>Blumenthal, Eileen. "How Thai Is It?", ''American Theatre'', July/August 1996, pp. 6–7</ref> While she acknowledged that the musical's treatment of Asian cultures had come to be understood as insensitive in the nearly half century since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic.<ref name=Blumenthal /> She concluded that the show is a documentary of "who we've been" in the West, and that a work like ''The King and I'' should not be suppressed, because it is "too good".<ref name=Blumenthal />

The production was reproduced on Broadway, opening on April 11, 1996 at the [[Neil Simon Theatre]], starring [[Donna Murphy]] as Anna, who won a Tony Award for her performance, and [[Lou Diamond Phillips]] as the King,<ref name=TonyAwards /> with [[Randall Duk Kim]] as the Kralahome, [[Jose Llana]] as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. [[Jenna Ushkowitz]] made her Broadway debut as one of the children.<ref>[http://ibdb.com/person.php?id=480210 Jenna Ushkowitz], Internet Broadway Database. Retrieved January 8, 2013</ref> The production was nominated for eight [[Tony Award]]s, winning best revival and three others, with acting nominations for Phillips and Choi,<ref name=TonyAwards /> who each won [[Theatre World Award]]s,<ref name=DramaDeskAwards>[http://www.ibdb.com/production.php?id=4673 "''The King and I'' (1996)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref> and seven [[Drama Desk Award]]s, winning for [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]; Renshaw won for his direction.<ref name=DramaDeskAwards /> The production was praised for "lavish ... sumptuous" designs by [[Roger Kirk (designer)|Roger Kirk]] (costumes) and [[Brian Thomson (scenic designer)|Brian Thomson]] (sets), who both won Tony<ref name=TonyAwards /> and Drama Desk Awards for their work.<ref name=DramaDeskAwards /><ref>Jefferson, Margo. [http://theater.nytimes.com/mem/theater/treview.html?_r=1&res=9800E5D91639F93BA15757C0A960958260 "Culture Clashes Still Intrigue In ''King and I''"], ''The New York Times'', April 28, 1996. Retrieved February 21, 2011</ref> [[Faith Prince]] played the role of Anna later in the run, followed by [[Marie Osmond]].<ref name=winer>Winer, Laurie. [http://articles.latimes.com/1998/may/25/entertainment/ca-53229 "Osmond a Pretty, Petulant Anna in 'King and I'"], ''Los Angeles Times'', May 25, 1998. Retrieved January 28, 2013</ref> The revival ran on Broadway for 780 performances, and [[Kevin Gray (actor)|Kevin Gray]] replaced Phillips.<ref name=Hischak150 /><ref>[http://broadwayworld.com/article/Broadways-Kevin-Gray-Dies-at-55-Starred-in-PHANTOM-THE-LION-KING-SHOWBOAT-SPIDER-WOMAN-More-20130212 "Broadway's Kevin Gray Dies at 55"], BroadwayWorld, February 12, 2013</ref> The production then toured in the U.S. with Mills and Victor Talmadge. Other Annas on this tour included Osmond, [[Sandy Duncan]], [[Stefanie Powers]] and [[Maureen McGovern]], who ended the tour in Chicago in June 1998.<ref name=winer /><ref>Jones, Chris. [http://www.maureenmcgovern.com/chictrib.htm "This 'King' has an 'I' Maureen McGovern pours herself into Anna"] {{webarchive|url=https://web.archive.org/web/20110726193545/http://www.maureenmcgovern.com/chictrib.htm |date=July 26, 2011 }}, ''[[Chicago Tribune]]'' (reprint at maureenmcgovern.com), June 15, 1998. Retrieved January 28, 2013</ref>

The production opened on May 3, 2000 at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs.<ref name=Kellaway>Kellaway, Kate. "Elaine's Burmese daze", ''The Observer'', May 7, 2000, p. F11</ref> It reportedly took in £8 million in advance ticket sales.<ref>Logan, Brian. "''The King and I'' and me", ''The Guardian'', May 2, 2000, p. A15</ref> The cast included [[Elaine Paige]] as Anna and [[Jason Scott Lee]] as the King, with [[Sean Ghazi]] as Luan Tha and [[Ho Yi]] as the Kralahome.<ref>Loveridge, Lizzie. [http://www.curtainup.com/kingandi.html "A CurtainUp London Review, ''The King and I''"], Curtainup.com, May 3, 2000. Retrieved February 18, 2011</ref> Lady Thiang was, again, played by Taewon Yi Kim, of whom ''The Observer'' wrote, "Her 'Something Wonderful' was just that."<ref name=Kellaway /> The show was nominated for an [[Laurence Olivier Award|Olivier Award]] for outstanding musical.<ref>[http://www.westendtheatre.com/4626/awards/olivier-awards-2001/ "Olivier Winners 2001"] WestEndtheatre.com. Retrieved January 24, 2013</ref> Later in the run, Lee was replaced as the King by [[Paul Nakauchi]].<ref>Carballo, Bibsy M. [https://news.google.com/newspapers?id=v1g1AAAAIBAJ&sjid=gSUMAAAAIBAJ&pg=2027,37022097&dq=paul+nakauchi+the+king+and+i+london&hl=en "Life on the London stage after ''Miss Saigon''"], ''Philippine Daily Inquirer'', October 14, 2000, p. C5. Retrieved February 18, 2010</ref> The revival was generally well received. ''[[The Daily Mirror]]'' said: "''The King and I'' waltzed back to the West End in triumph last night."<ref name=AlbemarleLondon /> The ''[[Daily Express]]'' noted, "Love it or loathe it, ''The King and I'' is an unstoppable smash."<ref name=AlbemarleLondon>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I "The King and I archives, London Palladium"] {{webarchive|url=https://web.archive.org/web/20100917135431/http://albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I |date=September 17, 2010 }}, Albemarle-London.com. Retrieved February 11, 2014</ref> ''Variety'', however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang".<ref>Wolf, Matt. [https://variety.com/2000/legit/reviews/the-king-and-i-7-1200462231/ "Review: ''The King and I''"], ''Variety'', May 15, 2000. Retrieved February 11, 2014</ref> Replacements included [[Josie Lawrence]] as Anna, [[Keo Woolford]] as the King<ref>Harada, Wayne. [http://the.honoluluadvertiser.com/article/2001/Sep/28/il/il07a.html "Ex-Islander's London theater role extended"], ''The Honolulu Advertiser'', September 28, 2001, accessed October 11, 2014</ref> and [[Saeed Jaffrey]] as the Kralahome. The show closed on January 5, 2002.<ref name=AlbemarleLondon/>

=== 2004 to present ===
Another U.S. national tour began in mid-2004, directed by [[Baayork Lee]] (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005.<ref>[[Robert Simonson|Simonson, Robert]]. [http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 "Martin Vidnovic and Sandy Duncan Are ''The King and I'' in New National Tour, Beginning June 15"] {{webarchive|url=https://web.archive.org/web/20110629151750/http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 |date=June 29, 2011 }}, ''Playbill'', June 15, 2004. Retrieved February 22, 2011</ref> Near the end of the tour in November 2005, ''Variety'' judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."<ref>Daniels, Robert L. [http://www.variety.com/review/VE1117928840?refcatid=33 "''The King and I''"], ''Variety'', November 13, 2005. Retrieved February 22, 2011</ref>

[[Jeremy Sams]] directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the [[Royal Albert Hall]] in London. It starred [[Maria Friedman]] and [[Daniel Dae Kim]].<ref>Michael Billington. [https://www.theguardian.com/stage/2009/jun/15/theatre-review-king-and-i "''The King and I''"], ''The Guardian'', June 15, 2009. Retrieved February 22, 2011</ref> A U.K. national tour starred [[Ramon Tikaram]] as the King and [[Josefina Gabrielle]] as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in [[Edinburgh]] and continued into May 2012.<ref>Dibdin, Thom. [http://www.thestage.co.uk/reviews/review.php/34746/the-king-and-i "The King and I"], ''The Stage'', December 19, 2011. Retrieved April 20, 2012</ref><ref>Price, Karen. [http://www.walesonline.co.uk/showbiz-and-lifestyle/showbiz/2012/01/06/ramon-tikaram-waltzes-into-wales-with-the-king-and-i-91466-30067502/ "Ramon Tikaram waltzes into Wales with The King and I"], ''Wales Online'', January 6, 2012. Retrieved April 20, 2012</ref><ref>Zing, Harry. [http://chewingthescenery.com/2012/05/16/review-the-king-and-i-bradford-alhambra-15052012/ "Review: The King and I, Bradford Alhambra"], ChewingTheScenery.com, May 16, 2012</ref>

In June 2014, [[Théâtre du Châtelet]] in Paris presented an English-language production of ''The King and I'' directed by [[Lee Blakeley]] and starring [[Susan Graham]], who was "close to perfection as Anna", [[Lambert Wilson]], "also excellent as the king", and [[Lisa Milne]] as Lady Thiang. ''The New York Times'' called it "a grand new staging that has set French critics searching for superlatives."<ref>Loomis, George. [https://www.nytimes.com/2014/06/24/arts/in-paris-a-revival-of-the-king-and-i.html?_r=0] ''The New York Times'', June 19, 2014</ref> The Renshaw production was revived again in April 2014 by [[Opera Australia]] for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring [[Lisa McCune]] and [[Teddy Tahu Rhodes]].<ref>Hetrick, Adam. [http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 "Tony-Winning ''The King and I'' Revival Returns to Australia With Lisa McCune and Teddy Tahu Rhodes April 13"] {{webarchive|url=https://web.archive.org/web/20140415203505/http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 |date=April 15, 2014 }}, ''[[Playbill]], 13 April 2014</ref> Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.<ref>Peard, Anne-Marie. [https://aussietheatre.com.au/reviews/the-king-and-i-melbourne#.VGKw6snYeil "The King and I, Melbourne"], AussieTheatre.com, June 16, 2014; and Neutze, Ben. [http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne "The King and I review (Princess Theatre, Melbourne)"] {{webarchive|url=https://web.archive.org/web/20141112231752/http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne |date=November 12, 2014 }}, ''Daily Review'', June 13, 2014; accessed November 12, 2014</ref>

A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the [[Vivian Beaumont Theater]]. The production was directed by [[Bartlett Sher]] and starred [[Kelli O'Hara]] as Anna and [[Ken Watanabe]], as the King, in his American stage debut. It featured [[Ruthie Ann Miles]] as Lady Thiang, [[Paul Nakauchi]] as the Kralahome, [[Ashley Park (actress)|Ashley Park]] as Tuptim, [[Conrad Ricamora]] as Lun Tha, [[Jake Lucas]] as Louis Leonowens, and [[Edward Baker-Duly]] as Sir Edward Ramsey. Choreography by [[Christopher Gattelli]] was based on the original Jerome Robbins dances. The designers included [[Michael Yeargan]] (sets), [[Catherine Zuber]] (costumes) and [[Donald Holder]] (lighting).<ref>Hetrick, Adam. [http://www.playbill.com/news/article/tix-on-sale-for-king-and-i-broadway-revival-with-kelli-ohara-and-ken-watanabe-leading-cast-of-more-than-50-333514 "Tix on Sale for ''King and I'' Broadway Revival, with Kelli O'Hara and Ken Watanabe Leading Cast of More Than 50"], ''Playbill'', October 19, 2014</ref><ref name=Brantley2015>Brantley, Ben. [https://www.nytimes.com/2015/04/17/theater/review-the-king-and-i-back-on-broadway.html?_r=0 "Review: ‘'The King and I'', Back on Broadway"], ''The New York Times'', April 16, 2015</ref> Reviews were uniformly glowing, with [[Ben Brantley]] of ''The New York Times'' calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility."<ref name=Brantley2015/> The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber),<ref>McRady, Rachel. [http://www.usmagazine.com/entertainment/news/tony-awards-2015-list-winners-201576 "Tony Awards 2015: Complete List of Winners!"], ''Us Weekly'' magazine'', June 7, 2015</ref> and won the Drama Desk Award for Outstanding Revival.<ref>Levitt, Hayley. [http://www.theatermania.com/new-york-city-theater/news/2015-drama-desk-award-winners-are-announced_73086.html "2015 Drama Desk Award Winners Are Announced!"], TheaterMania, May 31, 2015</ref> Replacements for the King included Jose Llana<ref>[[Lia Chang|Chang, Lia]]. [http://www.asamnews.com/2015/06/19/jose-llana-and-hoon-lee-to-play-king-of-siam-in-tony-award-winning-the-king-and-i "Jose Llana and Hoon Lee to play King of Siam in Tony Award-winning ''The King and I''"], ''AsAmNews'', June 19, 2015</ref> [[Hoon Lee]]<ref>Viagas, Robert. [http://www.playbill.com/news/article/join-the-cast-of-broadways-king-and-i-as-they-welcome-their-new-king-video-365069 "Join the Cast of Broadway's King and I as They Welcome Their New King"], October 1, 2015</ref> and [[Daniel Dae Kim]]. Replacements for Anna included [[Marin Mazzie]].<ref>[https://www.ibdb.com/Production/ViewReplacements/497593 Replacements for ''The King and I''], Internet Broadway Database, accessed May 12, 2016</ref> The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included [[Laura Michelle Kelly]] as Anna, Llana as the King and [[Joan Almedilla]] as Lady Thiang.<ref>Murphy, Linda. [http://www.heraldnews.com/news/20161103/review-the-king-and-i-wows-audiences-at-ppac "Review: ''The King and I'' wows audiences at PPAC"], ''The Herald News'', November 3, 2016</ref> The production was reproduced at the [[London Palladium]] from June through September 2018. O'Hara and Watanabe reprised their roles, with [[Naoko Mori]] and Ruthie Ann Miles sharing the role of Lady Thiang, [[Na-Young Jeon]] as Tuptim, [[Dean John-Wilson]] as Lun Tha and [[Takao Osawa]] as the Kralahome.<ref>Wood, Alex. [http://www.whatsonstage.com/london-theatre/news/the-king-and-i-palladium-2018_44868.html "''The King and I'' to be revived at the London Palladium in 2018"], WhatsOnStage.com, 17 November 2017; [https://www.broadwayworld.com/article/Bartlett-Sher-Revival-of-THE-KING-AND-I-to-Head-Out-on-International-Tour-20180705 "Bartlett Sher Revival of ''The King and I'' to Head Out on International Tour"], BroadwayWorld.com, July 5, 2018; Smith, Neil. [https://www.bbc.com/news/entertainment-arts-44709484 "''The King and I'': timeless classic or dated relic?"], BBC, July 4, 2018; and Quinn, Dave. [https://people.com/theater/ruthie-ann-miles-returns-stage-after-family-death "Ruthie Ann Miles 'Sang Like an Angel' in Stage Return After Daughter's Death and Losing Unborn Baby"], ''People'', August 4, 2018</ref> The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival.<ref>[https://officiallondontheatre.com/olivier-awards/year/2019 "Nominations for the Olivier Awards 2019 with Mastercard"], Olivier Awards, accessed April 7, 2019</ref> The production was filmed and shown in theatres in late 2018.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/filmed-the-king-and-i-adds-encore-screenings-after-breaking-box-office-records "Filmed ''The King and I'' Adds Encore Screenings After Breaking Box Office Records"], ''Playbill'', November 30, 2018</ref>

''The King and I'' continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.<ref name=Hischak150 />

== Adaptations ==
The musical was [[The King and I (1956 film)|filmed in 1956]] with Brynner re-creating his role opposite [[Deborah Kerr]]. The film was nominated for nine [[Academy Awards]] and won five, including [[Academy Award for Best Actor|Best Actor]] for Brynner, with Kerr nominated for [[Academy Award for Best Actress|Best Actress]].<ref>[https://movies.nytimes.com/movie/27374/The-King-and-I/awards "''The King and I'' (1956): Awards"], ''[[The New York Times]]''. Retrieved February 24, 2011</ref> Sharaff won for best costume design.<ref>Howe, Marvine. [https://query.nytimes.com/gst/fullpage.html?res=9F0CE3D61E3CF934A2575BC0A965958260 "Irene Sharaff, Designer, 83, Dies; Costumes Won Tony and Oscars"], ''The New York Times'', August 17, 1993. Retrieved February 24, 2011</ref> The film was directed by [[Walter Lang]] (who was also nominated for an Oscar) and choreographed by Robbins. [[Marni Nixon]] dubbed the singing voice of Anna, and [[Rita Moreno]] played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. [[Alan Mowbray]] appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by [[Geoffrey Toone]].<ref name=Hischak151 /><ref name=NYTimes56>[https://movies.nytimes.com/movie/27374/The-King-and-I/credits "''The King and I'' (1956): Production credits"], ''[[The New York Times]]''. Retrieved February 23, 2011</ref> The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his ''The Rodgers and Hammerstein Encyclopedia'', states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical".<ref name=Hischak151 /><ref name=NYTimesBosley>Crowther, Bosley. [https://movies.nytimes.com/movie/review?res=9A0CE3D6143BE03ABC4151DFB066838D649EDE Movie Review: "''The King and I'' (1956)"], ''[[The New York Times]]'', June 29, 1956. Retrieved February 23, 2011</ref> Thai officials [[Lèse majesté in Thailand|judged the film offensive]] to their monarchy and banned both film and musical in 1956.<ref>Grossman, Nicholas (ed). [https://books.google.com/books?id=O0R3uO1d9u4C&pg=PA88 "''The King and I'' banned in Thailand"], ''Chronicle of Thailand: Headline News Since 1946'', Editions Didier Millet, (2010), p. 88 {{ISBN|981-4217-12-3}}</ref>

A non-musical [[Anna and the King (TV series)|1972 TV comedy series]], starring Brynner, was broadcast in the U.S. by [[CBS]] but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. [[Samantha Eggar]] played "Anna Owens", with [[Brian Tochi]] as Chulalongkorn, [[Keye Luke]] as the Kralahome, [[Eric Shea]] as Louis, [[Lisa Lu]] as Lady Thiang, and [[Rosalind Chao]] as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972.<ref>[http://www.tvguide.com/tvshows/anna-and-the-king/199771 "''Anna and the King'' on CBS"], ''TV Guide''. Retrieved January 11, 2013</ref> Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.<ref>Meyer, Lawrence. "Court and ''The King''", ''Washington Post'', 21 November 1972, p. B2</ref><ref>Landon v. Twentieth Century-Fox Film Corp., 384 F. Supp. 450 (S.D.N.Y. 1974), in Donald E. Biederman, Edward P. Pierson, Martin E. Silfen, Janna Glasser, ''Law and Business of the Entertainment Industries'', 5th edition, Westport, Connecticut: Greenwood, 2006, pp. 349–56</ref>

''[[Jerome Robbins' Broadway]]'' was a Broadway [[revue]], directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".<ref>[http://ibdb.com/production.php?id=4533 ''Jerome Robbins' Broadway''], Internet Broadway Database. Retrieved January 24, 2013</ref><ref>[https://www.pbs.org/wnet/broadway/stars/793/ "Broadway – The Stars: Jerome Robbins"], Pbs.org. Retrieved January 20, 2013</ref>

[[RichCrest Animation Studios]] and [[Morgan Creek Productions]] released [[The King and I (1999 film)|a 1999 animated film adaptation]] of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by [[Miranda Richardson]] as Anna (speaking), [[Christiane Noll]] as Anna (singing), Martin Vidnovic as the King, [[Ian Richardson]] as the Kralahome and [[Adam Wylie]] as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing [[Barbra Streisand]] sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 ''[[The Broadway Album]]'' and played under the film's closing credits.<ref>Ruhlmann, William. [http://www.allmusic.com/album/the-king-and-i-original-animated-feature-soundtrack-mw0000049046 "1999 Soundtrack: ''The King and I''"], Allmusic.com. Retrieved December 24, 2012</ref> He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed ''The King and I'' for five decades without relying on dancing dragons".<ref name=Hischak151>Hischak, p. 151</ref> Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.<ref>[http://m.npr.org/story/100768756 Ted Chapin: Reviving R&H's ambitious ''Allegro'']. National Public Radio, February 17, 2009. Retrieved on April 19, 2013.</ref>

== Music and recordings ==

=== Musical treatment ===
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing [[major second]]s that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]], the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music.<ref name=MillerExotic /><ref>Mordden, p. 140</ref> The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.<ref name=Mordden142>Mordden, p. 142</ref>

Before Rodgers and Hammerstein began writing together, the [[Thirty-two-bar form|AABA form]] for [[show tune]]s was standard, but many of the songs in ''The King and I'' vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an [[Tuplet#triplets|eighth note triplet]] and two [[half note]]s) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."<ref name=Mordden142 />

According to Rodgers' biographer [[William G. Hyland|William Hyland]], the score for ''The King and I'' is much more closely tied to the action than that of ''South Pacific'', "which had its share of purely entertaining songs".<ref name=Hyland198>Hyland, p. 198</ref> For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip.<ref name=Hyland198 /> Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.<ref name=Hyland198 />

=== Recordings ===
The [[The King and I (original cast recording)|original cast recording of ''The King and I'']] was released by [[Decca Records]] in 1951. While [[John Kenrick (theatre writer)|John Kenrick]] admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults.<ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/cdcomps3.htm "Comparative CD Reviews: Part III. The King and I"] (Copyright 1998–2003). Retrieved January 11, 2011</ref> In 2000, the recording was inducted into the Grammy Hall of Fame.<ref>[http://www.grammy.org/recording-academy/awards/hall-of-fame Grammy Hall of Fame] {{webarchive|url=https://web.archive.org/web/20110122042616/http://www.grammy.org/recording-academy/awards/hall-of-fame |date=January 22, 2011 }}, The Recording Academy. Retrieved January 2, 2012</ref> Later in the same year [[Patrice Munsel]] and [[Robert Merrill]] made the first studio recording of selections from the musical.<ref name = Hischak152 /> Hischak comments that in the [[The King and I (1953 London cast album)|1953 London cast album]], Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is [[Muriel Smith]]'s "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying;<ref name=Hischak152>Hischak, p. 152</ref> Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.<ref name=Kenrick />

[[File:Hello Young Lovers.jpg|thumb|right|alt=Black-and-white photo of a stage scene. A Caucasian woman wearing a bonnet sits on a chair at center, with her huge Victorian hoop skirt spread out around her, singing. Several women in elegant silky Asian clothing surround her. One at right (Tuptim) kneels watching her, as the others stand in a clump at left.|"Hello, Young Lovers", 1977 cast: Towers as Anna; [[June Angela]] as Tuptim at right; Hye-Young Choi as Lady Thiang in front of other wives at left]]
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang.<ref name=Kenrick /> The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single [[LP record|LP]] limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers.<ref>Mordden, p. 143</ref> Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying ''King & I'' on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant".<ref name=Hischak152 /> Kenrick enjoys the [[The King and I (1992 studio cast album)|1992 Angel studio recording]] mostly for the Anna of [[Julie Andrews]], who he says is "pure magic" in a role she never performed on stage.<ref name=Kenrick /> Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow".<ref name=Kenrick /> Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself,<ref name=Hischak152 /> but Kenrick writes that his sole use for that CD is as a coaster.<ref name=Kenrick />

== Critical reception ==
{{Further|List of awards and nominations for The King and I }}
[[File:Lawrence Brynner.jpg|thumb|left|alt=Woman kneeling in front of a standing man; the two are conversing amiably, and each is gesturing with one hand as if ringing a small bell, although, according to the song lyrics, they are actually demonstrating the flying motion of a honey bee|Lawrence as Anna and Brynner as the King from "Shall We Dance?", 1951]]
Opening night reviews of the musical were strongly positive. [[Richard Watts, Jr.|Richard Watts]] in the ''[[New York Post]]'' termed it "<nowiki>[a]</nowiki>nother triumph for the masters".<ref name=Hischak149 /> Critic [[John Mason Brown]] stated, "They have done it again."<ref name=Hyland202>Hyland, p. 202</ref> ''The New York Times'' drama critic [[Brooks Atkinson]] wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and ''The King and I'' is a beautiful and lovable musical play."<ref>Fordin, p. 303</ref> Barely less enthusiastic was [[John Lardner (sports writer)|John Lardner]] in ''[[The New Yorker]]'', who wrote, "Even those of us who find <nowiki>[the Rodgers and Hammerstein musicals]</nowiki> a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them."<ref name=Secrest313>Secrest, p. 313</ref> Otis Guernsey wrote for the ''[[New York Herald Tribune]]'', "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.<ref>Capua, p. 36</ref>

The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In ''[[The Observer]]'', [[Ivor Brown]] predicted that the piece would "settle down for some years at Drury Lane."<ref>Ivor Brown. "Far Eastern", ''The Observer'', October 11, 1953, p. 13</ref> The anonymous critic of ''[[The Times]]'' compared the work to [[Gilbert and Sullivan]]: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour."<ref>"''The King and I''", ''The Times'', October 9, 1953, p. 13</ref> Less favorably, in the ''[[Daily Express]]'', John Barber called the work "this treacle-bin ''[[The Mikado|Mikado]]''", and declared that only one of the cast, Muriel Smith, could really sing.<ref>Barber, John. "Home-grown star is the new queen of Drury Lane", ''Daily Express'', October 9, 1953, p. 3</ref>

[[File:Brynner 1977.jpg|thumb|upright|alt=Man in ornate Asian garb stands with fists planted on his hips|Brynner in the 1977 Broadway production]]
In 1963, ''New York Times'' reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity."<ref>Funke, Lewis. "Theater: ''The King and I''", ''The New York Times'', June 13, 1963, p. 28</ref> Fourteen years later, another ''Times'' reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".<ref name=NYTimesBarnes50 />

The reworked 1996 Broadway production received mixed reviews. [[Vincent Canby]] of ''The New York Times'' disliked it: "This latest ''King and I'' might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination."<ref>{{cite news | last = Canby | first = Vincent | title = Once again, the taming of a despot | newspaper = The New York Times | date = April 12, 1996 | url = http://theater.nytimes.com/mem/theater/treview.html?id=1077011432556&html_title=&tols_title=&byline=&fid=NONE&scp=2&sq=the%20king%20and%20i%20lou%20diamond&st=cse | accessdate = January 13, 2011}}</ref> But [[Liz Smith (journalist)|Liz Smith]] enthused: "''The King and I'' is perfect"; and the ''[[Houston Chronicle]]'' wrote, of the subsequent tour, "''The King and I'' is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey."<ref>[http://www.rnh.com/show/60/The-King-and-I#shows-press "Press: Quotes"], The Rodgers and Hammerstein Organization, accessed January 23, 2013</ref> Critic Richard Christiansen in the ''[[Chicago Tribune]]'' observed, of a 1998 tour stop at the [[Auditorium Theatre]]: "Written in a more leisurely and innocent and less politically correct period, <nowiki>[</nowiki>''The King and I''<nowiki>]</nowiki> cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age."<ref>Christiansen, Richard. [http://articles.chicagotribune.com/1998-06-22/features/9806220171_1_king-yul-brynner-broadway-two-years "Its balance restored, ''King and I'' also shows its age"], ''[[Chicago Tribune]]'', June 22, 1998. Retrieved February 17, 2011</ref> When the production reached London in 2000, however, it received uniformly positive reviews; the ''[[Financial Times]]'' called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".<ref name=AlbemarleLondon />

The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of ''The New York Times'' called it a "resplendent production" and commented:
{{quote|[In the] 1996 production ... [a] dark strain of sadomasochistic tension born of Victorian repression and Eastern sensuality was introduced into sunny Siam. ... Mr. Sher is no strong-armed revisionist. He works from within vintage material, coaxing shadowy emotional depths to churn up a surface that might otherwise seem shiny and slick. ... [T]he show is both panoramic and personal, balancing dazzling musical set pieces with sung introspective soliloquies. [The direction] enhances [scenes'] emotional weight. No one is merely a dancer or an extra or an archetype, which may be the greatest defense this show offers against what can come across as cute condescension toward the exotic East. ... [The] portrayal of the varied forms and content of love [and] some of [Rodgers and Hammerstein's] lushest ballads ... acquire freshening nuance and anchoring conviction".<ref name=Brantley2015/>}}
Marilyn Stasio, in ''Variety'', termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures."<ref>Stasio, Marilyn. [https://variety.com/2015/legit/reviews/king-and-i-review-broadway-1201474091/ "Broadway Review: ''The King and I''"], ''Variety'', April 16, 2015</ref> In ''[[USA Today]]'', Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes."<ref>Gardner, Elysa. [https://www.usatoday.com/story/life/theater/2015/04/16/the-king-and-i-broadway-review/25786885/ "New ''King and I'' is something wonderful"], ''USA Today'', April 17, 2015</ref> The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's [[orientalism]] into "a modern critique of racism and sexism".<ref>Lewis, Christian. [http://www.huffingtonpost.com/christian-lewis/the-king-and-i-message_b_8940460.html "''The King and I'' Revival's Important Message"], ''Huffington Post'', January 12, 2016.</ref> Other commentators, however, such as composer [[Mohammed Fairouz]], argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written.<ref>[[Mohammed Fairouz|Fairouz, Mohammed]]. [https://onbeing.org/blog/pedestals-dont-excuse-backwards-politics/ "Pedestals Don't Excuse Backwards Politics"], OnBeing.org, February 16, 2016, accessed 10 April 2019</ref> [[Benjamin Ivry]] opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".<ref>[[Benjamin Ivry|Ivry, Benjamin]]. [http://forward.com/culture/218363/the-king-and-us/ "''The King'' and Us"], ''[[The Forward]]'', April 13, 2015</ref>

Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
{{quote |''The King and I'' is really a celebration of love in all its guises, from the love of Anna for her dead husband; the love of the King's official wife, Lady Thiang, for a man she knows is flawed and also unfaithful; the desperation of forbidden love; and a love that is barely recognized and can never be acted upon.<ref>Secrest, p. 314</ref>}}

== References ==
{{reflist}}

=== Bibliography ===
{{refbegin}}
* Block, Geoffrey (ed.) [https://books.google.com/books?id=QLxEdG6HJ9sC&dq=carousel+rodgers&source=gbs_navlinks_s ''The Richard Rodgers Reader'']. New York: Oxford University Press (US), 2006. {{ISBN|978-0-19-531343-7}}.
* Bloom, Ken and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of All Time''. New York: Black Dog & Leventhal Publishers, 2004. {{ISBN|978-1-57912-390-1}}.
* Capua, Michelangelo. ''Yul Brynner: A Biography'', Jefferson, N.C.: McFarland & Co. Inc., 2006; {{ISBN|978-0-7864-2461-0}}.
* Fordin, Hugh. ''Getting to Know Him: A Biography of Oscar Hammerstein II''. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. {{ISBN|978-0-306-80668-1}}.
* Green, Stanley. "[https://books.google.com/books?id=ZWIRAljCR7oC&pg=PA232 Encyclopedia of the Musical Theatre]. Jefferson, N.C.: Da Capo Press, 1980. {{ISBN|978-0-306-80113-6}}.
* Hammerstein, Oscar Andrew. ''The Hammersteins: A Musical Theatre Family''. New York: Black Dog & Leventhal Publishers, 2010. {{ISBN|978-1-57912-846-3}}.
* Hischak, Thomas S. [https://books.google.com/books?id=CsbEP_Mu50EC&pg=PA150 ''The Rodgers and Hammerstein Encyclopedia'']. Westport, Conn.: Greenwood Publishing Group, 2007. {{ISBN|978-0-313-34140-3}}.
* [[William G. Hyland|Hyland, William G.]] ''Richard Rodgers''. New Haven, Conn.: Yale University Press, 1998. {{ISBN|978-0-300-07115-3}}.
* Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". ''Literature/Film Quarterly'', Vol. 31, Number 1 (2003), pp. 17–26.
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992. {{ISBN|978-0-8109-1567-1}}.
* Morgan, Susan. ''Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess'', Berkeley, Cal.: University of California Press, 2008; {{ISBN|978-0-520-25226-4}}.
* Morley, Sheridan, ''Gertrude Lawrence''. New York: McGraw-Hill, 1981. {{ISBN|978-0-07-043149-2}}.
* Nolan, Frederick. [https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein]. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. {{ISBN|978-1-55783-473-7}}.
* Secrest, Meryle. ''Somewhere for Me: A Biography of Richard Rodgers''. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. {{ISBN|978-1-55783-581-9}}.
{{refend}}

== Further reading ==
* Rodgers, Richard. ''Musical Stages: An Autobiography''. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. {{ISBN|978-0-306-81134-0}}.
* Ponti, Carla. ''The Musical Representation of Asian Characters in the Musicals of Richard Rodgers'', University of California: San Diego, 2010.

== External links ==
{{Commons category|The King and I}}
* {{IBDB title|1935|The King and I}}
* {{IBDB show|5067|The King and I productions}}
* [https://www.youtube.com/watch?v=1AkjsVjKEeM Performance at the 2015 Tony Awards]

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Hello, Dolly! (musical)

2020-04-03T22:25:23Z

JohnAnkerBow: /* Instrumentation */

{{short description|1964 Broadway musical}}
{{Infobox Musical
|name= Hello, Dolly!
|image= DollyPlay.jpg
|caption= 1964 Broadway poster
|music= [[Jerry Herman]]
|lyrics= Jerry Herman
|book= [[Michael Stewart (playwright)|Michael Stewart]]
|basis= ''[[The Matchmaker]]'' by [[Thornton Wilder]]
|productions= 1964 Broadway 1965 West End 1969 [[Hello, Dolly! (film)|Film]] 1975 Broadway revival 1978 Broadway revival 1995 Broadway revival 2009 West End revival 2017 Broadway revival 2018 US Tour 2020 London West End

|awards= 1964 [[Tony Award for Best Musical]] 1964 [[Tony Award for Best Book of a Musical]] 1964 [[Tony Award for Best Original Score]] 2010 [[Laurence Olivier Award for Best Musical Revival]] 2017 [[Tony Award for Best Revival of a Musical]]
}}

'''''Hello, Dolly!''''' is a 1964 musical with lyrics and music by [[Jerry Herman]] and a book by [[Michael Stewart (playwright)|Michael Stewart]], based on [[Thornton Wilder]]'s 1938 farce ''[[The Merchant of Yonkers]]'', which Wilder revised and retitled ''[[The Matchmaker]]'' in 1955. The musical follows the story of Dolly Gallagher Levi, a strong-willed matchmaker, as she travels to Yonkers, New York to find a match for the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder.

''Hello, Dolly!'' first debuted at the [[Fisher Building|Fisher Theater]] in Detroit on November 18, 1963<ref>{{Cite web|url=https://www.broadwayworld.com/shows/backstage.php?showid=5050|title=Hello, Dolly! - 1964 Broadway - Backstage & Production Info|website=www.broadwayworld.com|access-date=2019-11-23}}</ref>, directed and choreographed by [[Gower Champion]] and produced by [[David Merrick]], and moved to Broadway in 1964, winning 10 Tony Awards, including Best Musical. This set a record which the play held for 37 years. The show album ''Hello, Dolly! An Original Cast Recording'' was inducted into the Grammy Hall of Fame in 2002.<ref>[http://www.grammy.org/recording-academy/awards/hall-of-fame#h Grammy Hall of Fame Award] {{webarchive|url=https://web.archive.org/web/20150707235113/http://www.grammy.org/recording-academy/awards/hall-of-fame |date=2015-07-07 }}</ref> The album reached number one on the Billboard album chart on June 6, 1964, and was replaced the next week by [[Louis Armstrong]]'s album ''[[Hello, Dolly! (Louis Armstrong album)|Hello, Dolly!]]''<ref>Whitburn, Joel. ''Top Pop Albums'' (2010), Record Research, {{ISBN|0-89820-183-7}}, p.973</ref> [[Louis Armstrong]] also was featured in the film version of the show, performing a small part of the song "Hello, Dolly!".

The show has become one of the most enduring musical theater hits, with four Broadway revivals and international success. It was also made into the 1969 film ''[[Hello, Dolly! (film)|Hello Dolly!]]'' by [[20th Century Fox]], which won three Academy Awards, including [[Academy Award for Best Original Score|Best Score of a Musical Picture]] and was nominated in four other categories, including [[Academy Award for Best Picture|Best Picture]] at the [[42nd Academy Awards]].

==History==
The plot of ''Hello, Dolly!'' originated in the 1835 English play ''A Day Well Spent'' by [[John Oxenford]], which [[Johann Nestroy]] adapted into the farce ''[[Einen Jux will er sich machen]]'' (''He Will Go on a Spree'' or ''He'll Have Himself a Good Time''). [[Thornton Wilder]] adapted Nestroy's play into his 1938 farcical play ''The Merchant of Yonkers''. That play was a flop, so he revised it and retitled it as ''[[The Matchmaker]]'' in 1955, expanding the role of Dolly (played by [[Ruth Gordon]]).<ref name=London2008>[http://www.indielondon.co.uk/Theatre-Review/hello-dolly-new-wimbledon-theatre-review "Hello Dolly! – New Wimbledon Theatre"] IndieLondon, March 2008</ref> ''The Matchmaker'' became a hit and was much revived and made into [[The Matchmaker (1958 film)|a 1958 film]] starring [[Shirley Booth]]. However, the 1891 musical ''[[A Trip to Chinatown]]'' also features a meddlesome widow who strives to bring romance to several couples and to herself in a big city restaurant.<ref>Saltzman, Simon. [http://www.curtainup.com/hellodollys.html "A CurtainUp Feature. Hello Dollys. . .They Never Say Good-Bye"] ''Curtain Up'', 2006, retrieved March 16, 2017</ref>

The role of Dolly Gallagher Levi was originally written for [[Ethel Merman]] but she turned it down, as did [[Mary Martin]]—although both eventually played it.<ref name=London2008/> Merrick then auditioned [[Nancy Walker]], but he hired [[Carol Channing]] who created her signature role in Dolly.<ref name=Musicals101>Kenrick, John. [http://www.musicals101.com/1960bway.htm " 'Hello, Dolly!' article"] Musicals101.com</ref> Director [[Gower Champion]] was not the producer's first choice, but [[Hal Prince]] and others turned it down, among them [[Jerome Robbins]] and [[Joe Layton]].<ref>Gilvey, John Anthony. ''Before the Parade Passes by: Gower Champion and the Glorious American Musical'' (2005), St. Martin's Press, {{ISBN|0-312-33776-0}}, p. 117</ref>

''Hello, Dolly!'' had rocky tryouts in [[Detroit, Michigan]] and Washington, D.C.<ref name=Musicals101/> After receiving the reviews, the creators made major changes to the script and score, including the addition of the song "Before the Parade Passes By".<ref>Gilvey, p. 149</ref> The show was originally entitled ''Dolly, A Damned Exasperating Woman'',<ref>Bloom, p. 152.</ref> then ''Call on Dolly'', but Merrick changed it upon hearing [[Louis Armstrong]]'s version of "Hello, Dolly". The show became one of the most iconic Broadway shows of the latter half of the 1960s, running for 2,844 performances, and was the longest-running musical in Broadway history for a time.<ref>Kantor, p. 302</ref>

==Synopsis==

Sources: Tams-Witmark<ref>[http://www.tamswitmark.com/shows/hello-dolly/ ''Hello, Dolly!''] tamswitmark.com, accessed December 20, 2016</ref> Guide to Musical Theatre<ref>[http://www.guidetomusicaltheatre.com/shows_h/hello_dolly.htm ''Hello, Dolly!''] guidetomusicaltheatre.com, accessed December 20, 2016</ref> Masterworks Broadway<ref>[http://www.masterworksbroadway.com/music/hello-dolly-1967-broadway-cast/ ''Hello, Dolly!"] masterworksbroadway.com, accessed December 20, 2016</ref>

===Act I===
[[File:Carol Channing - 1964.jpg|thumb|right|[[David Burns (actor)|David Burns]] and [[Carol Channing]] in the original Broadway cast, 1964 ]]
As the nineteenth becomes the 20th century, all of [[New York City]] is excited because widowed but brassy Dolly Gallagher Levi is in town ("Call on Dolly"). Dolly makes a living through what she calls "meddling" – matchmaking and numerous sidelines, including dance instruction and [[mandolin]] lessons ("I Put My Hand In"). She is currently seeking a wife for grumpy Horace Vandergelder, the well-known half-a-millionaire, but it becomes clear that Dolly intends to marry Horace herself. Ambrose Kemper, a young artist, wants to marry Horace's weepy niece Ermengarde, but Horace opposes this because Ambrose's vocation does not guarantee a steady living. Ambrose enlists Dolly's help, and they travel to [[Yonkers, New York]] to visit Horace, who is a prominent citizen there and owns Vandergelder's Hay and Feed.

Horace explains to his two clerks, Cornelius Hackl and Barnaby Tucker, that he is going to get married because "It Takes a Woman" to cheerfully do all the household chores. He plans to travel with Dolly to New York City to march in the Fourteenth Street Association Parade and propose to the widow Irene Molloy, who owns a hat shop there. Dolly arrives in Yonkers and "accidentally" mentions that Irene's first husband might not have died of natural causes, and also mentions that she knows an heiress, Ernestina Money, who may be interested in Horace. Horace leaves for New York and leaves Cornelius and Barnaby to run the store.

Cornelius decides that he and Barnaby need to get out of Yonkers. They'll go to New York, have a good meal, spend all their money, see the stuffed whale in Barnum's museum, almost get arrested, and each kiss a girl! They blow up some tomato cans to create a terrible stench and a pretext to close the store. Dolly mentions that she knows two ladies in New York they should call on: Irene Molloy and her shop assistant, Minnie Fay. She tells Ermengarde and Ambrose that she'll enter them in the [[polka]] competition at the upscale Harmonia Gardens Restaurant in New York City so Ambrose can demonstrate his ability to be a breadwinner to Horace. Cornelius, Barnaby, Ambrose, Ermengarde and Dolly take the train to New York ("Put on Your Sunday Clothes").

Irene and Minnie open their hat shop for the afternoon. Irene wants a husband, but does not love Horace Vandergelder. She declares that she will wear an elaborate hat to impress a gentleman ("Ribbons Down My Back"). Cornelius and Barnaby arrive at the shop and pretend to be rich. Horace and Dolly arrive at the shop, and Cornelius and Barnaby hide from him. Irene inadvertently mentions that she knows Cornelius Hackl, and Dolly tells her and Horace that even though Cornelius is Horace's clerk by day, he's a New York playboy by night; he's one of ''the'' Hackls. Minnie screams when she finds Cornelius hiding in the armoire. Horace is about to open the armoire himself, but Dolly, Irene and Minnie distract him with patriotic sentiments related to subjects like Betsy Ross and The Battle of the Alamo shown in the famous lyrics "Alamo, remember the Alamo!" ("Motherhood March"). Cornelius sneezes, and Horace storms out, realizing there are men hiding in the shop, but not knowing they are his clerks.

Dolly arranges for Cornelius and Barnaby, who are still pretending to be rich, to take the ladies out to dinner to the Harmonia Gardens restaurant to make up for their humiliation. She teaches Cornelius and Barnaby how to dance since they always have dancing at such establishments ("Dancing"). Soon, Cornelius, Irene, Barnaby, and Minnie are happily dancing. They go to watch the great 14th Street Association Parade together. Alone, Dolly decides to put her dear departed husband Ephram behind her and to move on with life "Before the Parade Passes By". She asks Ephram's permission to marry Horace, requesting a sign from him. Dolly catches up with the annoyed Vandergelder, who has missed the whole parade, and she convinces him to give her matchmaking one more chance. She tells him that Ernestina Money would be perfect for him and asks him to meet her at the swanky Harmonia Gardens that evening.

===Act II===
[[File:Carol Channing Hello Dolly 1966.jpg|thumb|right|Milo Boulton and [[Carol Channing]] in one of several national tours, 1966 ]]
Cornelius is determined to get a kiss before the night is over, but Barnaby isn't so sure. As the clerks have no money for a carriage, they tell the girls that walking to the restaurant shows that they've got "Elegance". At the Harmonia Gardens Restaurant, Rudolph, the head waiter, prepares his service crew for Dolly Gallagher Levi's return: their usual lightning service, he tells them, must be "twice as lightning" ("The Waiters' Gallop"). Horace arrives with his date, but she proves neither as rich nor as elegant as Dolly had implied; furthermore she is soon bored by Horace and leaves, as Dolly had planned she would.

Cornelius, Barnaby, and their dates arrive, unaware that Horace is also dining at the restaurant. Irene and Minnie, inspired by the restaurant's opulence, order the menu's most expensive items. Cornelius and Barnaby grow increasingly anxious as they discover they have little more than a dollar left. Dolly makes her triumphant return to the Harmonia Gardens and is greeted in style by the staff ("Hello, Dolly!") She sits in the now-empty seat at Horace's table and proceeds to eat a large, expensive dinner, telling the exasperated Horace that no matter what he says, she will not marry him. Barnaby and Horace hail waiters at the same time, and in the ensuing confusion each drops his wallet and inadvertently picks up the other's. Barnaby is delighted that he can now pay the restaurant bill, while Horace finds only a little spare change. Barnaby and Cornelius realize that the wallet must belong to Horace. Cornelius, Irene, Barnaby and Minnie try to sneak out during "The [[Polka]] Contest", but Horace recognizes them and spots Ermengarde and Ambrose as well. The ensuing free-for-all culminates in a trip to night court.

Cornelius and Barnaby confess that they have no money and have never been to New York before. Cornelius declares that even if he has to dig ditches the rest of his life, he'll never forget the day because he had met Irene. Cornelius, Barnaby, and Ambrose then each profess their love for their companion ("It Only Takes A Moment"). Dolly convinces the judge that their only crime was being in love. The judge finds everyone innocent and cleared of all charges, but Horace is declared guilty and forced to pay damages. Dolly mentions marriage again, and Horace declares that he wouldn't marry her if she were the last woman in the world. Dolly angrily bids him "So Long, Dearie", telling him that while he's bored and lonely, she'll be living the high life.

The next morning, back at the hay and feed store, Cornelius and Irene, Barnaby and Minnie, and Ambrose and Ermengarde each set out on new life's paths. A chastened Horace Vandergelder finally admits that he needs Dolly in his life, but Dolly is unsure about the marriage until her late husband sends her a sign. Vandergelder spontaneously repeats a saying of Ephram's: "Money is like manure. It's not worth a thing unless it's spread about, encouraging young things to grow." Horace tells Dolly life would be dull without her, and she promises in return that she'll "never go away again" ("Hello, Dolly" (reprise)).

==Characters==
* '''Dolly Gallagher Levi''': A widow in her middle years who has decided to begin her life again. She is a matchmaker, meddler, opportunist, and a life-loving woman.
* '''Horace Vandergelder''': The proprietor of a Hay & Feed store and a client of Dolly Gallagher Levi's. A well-known half-a-millionaire, he is a widower, gruff, authoritative, and set in his ways.
* '''Cornelius Hackl''': Vandergelder's chief clerk who yearns for one exciting day in NYC. Energetic, enthusiastic, and adventurous young man who has a sweet innocence about him.
* '''Barnaby Tucker''': An assistant to Cornelius at Vandergelder's Hay & Feed store. He is sweet, naïve, energetic, and a follower.
* '''Irene Molloy''': A widow and a beautiful, smart, fun-loving milliner with a hat shop in New York. Dolly has introduced her to Horace Vandergelder but she yearns for romance.
* '''Minnie Fay''': A young girl who works in Irene's hat shop. Irene's assistant, she is naïve, strait-laced, fresh, and a follower.
* '''Ambrose Kemper''': A young and explosive struggling artist seeking to marry Ermengarde.
* '''Ermengarde''': The young niece of Horace Vandergelder. She cries often and wants her independence and wants to marry Ambrose.
* '''Ernestina Money''': An eccentric-looking girl in need of Dolly's matchmaker services.
* '''Rudolf Reisenweber''': Maître d' of the Harmonia Gardens restaurant.
* '''Judge''': A white-whiskered night court judge. Easily moved to tears by romance.
* '''Mrs. Rose''': An old friend of Dolly's.

==Characters and original cast==
{| class="wikitable" style="width:1000px;"
|-
! Character
! [[Broadway theatre|Broadway]] (1964)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-2810 " 'Hello, Dolly!' Broadway, 1964"] ibdb.com, retrieved January 15, 2018</ref>
! [[West End theatre|West End]] (1965)<ref name=london>[http://www.thisistheatre.com/londonshows/hellodolly.html " 'Hello, Dolly!' London"] thisistheatre.com, retrieved January 15, 2018</ref><ref>[https://www.broadwayworld.com/shows/cast.php?showid=5052#content " 'Hello, Dolly!' West End 1965"] broadwayworld.com, retrieved January 16, 2018</ref>
! Movie (1969)<ref>[http://www.tcm.com/tcmdb/title/77721/Hello-Dolly-/ " 'Hello, Dolly!' Film"] tcm.com, retrieved January 15, 2018</ref>
! Broadway (1975)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-3769 " 'Hello, Dolly!' Broadway, 1975"] ibdb.com, retrieved January 15, 2018</ref>
! Broadway (1978)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-4044 " 'Hello, Dolly!' Broadway, 1978"] ibdb.com, retrieved January 15, 2018</ref>
! West End (1979)<ref name=london/>
! West End (1983)<ref name=london/>
! Broadway (1995)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-4308 " 'Hello, Dolly!' Broadway, 1995"] ibdb.com, retrieved January 15, 2018</ref>
! [[Paper Mill Playhouse]] (2006)<ref>Gans, Andrew. [http://www.playbill.com/article/casting-complete-for-paper-mill-hello-dolly-charles-and-baldwin-to-join-feldshuh-com-132450# "Casting Complete for Paper Mill 'Hello, Dolly!'; Charles and Baldwin to Join Feldshuh"] Playbill, May 8, 2006</ref><ref>Miller, Mark. [http://www.theatermania.com/new-jersey-theater/reviews/06-2006/hello-dolly_8423.html "Review. 'Hello, Dolly!'] theatermania.com, June 11, 2006</ref>
! West End (2009)<ref>Blank, Matthew. [http://www.playbill.com/article/photo-call-hello-dolly-at-regents-park-open-air-theatre-in-london-com-163849# "PHOTO CALL: 'Hello, Dolly!' at Regent's Park Open Air Theatre in London"] Playbill, April 26, 2009</ref>
! Broadway (2017)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-507877 " 'Hello, Dolly!' Broadway, 2017"] ibdb.com, retrieved January 15, 2018</ref>
! US National Tour (2018)<ref>{{cite web|url=https://www.broadwayworld.com/shows/cast.php?showid=332568 |title=Hello, Dolly! Original US Tour Cast – 2018 US Tour |website=Broadway World |accessdate=2018-02-17}}</ref>
|-
! Dolly Gallagher Levi
| style="text-align:center;"| [[Carol Channing]]
| style="text-align:center;"| [[Mary Martin]]
| style="text-align:center;" | [[Barbra Streisand]]
| style="text-align:center;"| [[Pearl Bailey]]
| style="text-align:center;"| Carol Channing
| style="text-align:center;"| Carol Channing
| style="text-align:center;"|[[Danny La Rue]]
| style="text-align:center;"| Carol Channing
| style="text-align:center;"| [[Tovah Feldshuh]]
| style="text-align:center;"| [[Samantha Spiro]]
| style="text-align:center;"| [[Bette Midler]]
| style="text-align:center;"| [[Betty Buckley]]
|-
! Horace Vandergelder
| style="text-align:center;"| [[David Burns (actor)|David Burns]]
| style="text-align:center;"| [[Loring Smith]]
| style="text-align:center;" | [[Walter Matthau]]
| style="text-align:center;"| [[Billy Daniels]]
| style="text-align:center;"| [[Eddie Bracken]]
| style="text-align:center;"| Eddie Bracken
| style="text-align:center;"| [[Lionel Jeffries]]
| style="text-align:center;"| [[Jay Garner (actor)|Jay Garner]]
| style="text-align:center;"| [[Walter Charles]]
| style="text-align:center;"| [[Allan Corduner]]
| style="text-align:center;"| [[David Hyde Pierce]]
| style="text-align:center;"|[[Lewis J. Stadlen]]
|-
! Cornelius Hackl
| style="text-align:center;"| [[Charles Nelson Reilly]]
| style="text-align:center;"| [[Garrett Lewis]]
| style="text-align:center;" | [[Michael Crawford]]
| style="text-align:center;"| Terrence Emanuel
| style="text-align:center;"| [[Lee Roy Reams]]
| style="text-align:center;"| [[Tudor Davies]]
| style="text-align:center;"| Michael Sadler
| style="text-align:center;"| Michael DeVries
| style="text-align:center;"| Jonathan Rayson
| style="text-align:center;"| Daniel Crossley
| style="text-align:center;"| [[Gavin Creel]]
| style="text-align:center;"| Nic Rouleau
|-
! Barnaby Tucker
| style="text-align:center;"| Jerry Dodge
| style="text-align:center;"| Johnny Beecher
| style="text-align:center;" | [[Danny Lockin]]
| style="text-align:center;"| Grenoldo Frazier
| style="text-align:center;"| Robert Lydiard
| style="text-align:center;"| Richard Drabble
| style="text-align:center;"| [[Mark Haddigan]]
| style="text-align:center;"| [[Cory English]]
| style="text-align:center;"| Brian Sears
| style="text-align:center;"| Oliver Brenin
| style="text-align:center;"| [[Taylor Trensch]]
| style="text-align:center;"|Jess LeProtto
|-
! Irene Molloy
| style="text-align:center;"| [[Eileen Brennan]]
| style="text-align:center;"| Marilynn Lovell
| style="text-align:center;" | [[Marianne McAndrew]]
| style="text-align:center;"| Mary Louise
| style="text-align:center;"| Florence Lacey
| style="text-align:center;"| Maureen Scott
| style="text-align:center;"| Lorna Dallas
| style="text-align:center;"| Florence Lacey
| style="text-align:center;"| [[Kate Baldwin]]
| style="text-align:center;"| [[Josefina Gabrielle]]
| style="text-align:center;"|[[Kate Baldwin]]
| style="text-align:center;"|Analisa Leaming
|-
! Minnie Fay
| style="text-align:center;"| Sondra Lee
| style="text-align:center;"| Coco Ramirez
| style="text-align:center;" |[[E. J. Peaker|E.J. Peaker]]
| style="text-align:center;"| [[Chip Fields]]
| style="text-align:center;"| Alexandra Korey
| style="text-align:center;"| Mandy More
| style="text-align:center;"| Pollyann Tanner
| style="text-align:center;"| Lori Ann Mahl
| style="text-align:center;"| Jessica-Snow Wilson
| style="text-align:center;"| Akiya Henry
| style="text-align:center;"| [[Beanie Feldstein]]
| style="text-align:center;"|Kristen Hahn
|-
! Ambrose Kemper
| style="text-align:center;"| Igors Gavon
| style="text-align:center;"| Mark Alden
| style="text-align:center;" | [[Tommy Tune]]
| style="text-align:center;"| Howard Porter
| style="text-align:center;"| Michael C. Booker
| style="text-align:center;"|
| style="text-align:center;"| David Ellen
| style="text-align:center;"| James Darrah
| style="text-align:center;"| [[Drew Gehling]]
| style="text-align:center;"| Mark Anderson
| style="text-align:center;"| Will Burton
| style="text-align:center;"|Garrett Hawe
|-
! Ermengarde
| style="text-align:center;"| [[Alice Playten]]
| style="text-align:center;"| Beverlee Weir
| style="text-align:center;" | Joyce Ames
| style="text-align:center;"| Karen Hubbard
| style="text-align:center;"| K.T. Baumann
| style="text-align:center;"|
| style="text-align:center;"| Sue Latimer
| style="text-align:center;"| Christine DeVito
| style="text-align:center;"|[[Lauren Marcus]]
| style="text-align:center;"| Clare Louise Connolly
| style="text-align:center;"| [[Melanie Moore]]
| style="text-align:center;"|Morgan Kirner
|-
! Ernestina
| style="text-align:center;"| [[Mary Jo Catlett]]
| style="text-align:center;"| Judith Drake
| style="text-align:center;" | Judy Knaiz
| style="text-align:center;"| Bessye Ruth Scott
| style="text-align:center;"| P.J. Nelson
| style="text-align:center;"|
| style="text-align:center;"| Carol Kaye
| style="text-align:center;"| Monica M. Wemitt
| style="text-align:center;"| Anna McNeely
| style="text-align:center;"|
| style="text-align:center;"| [[Jennifer Simard]]
| style="text-align:center;"| Jessica Sheridan
|-
! Rudolph
| style="text-align:center;"| [[David Hartman (TV personality)|David Hartman]]
| style="text-align:center;"| Robert Hocknell
| style="text-align:center;" | David Hurst
| style="text-align:center;"| Jonathan Wynne
| style="text-align:center;"| John Anania
| style="text-align:center;"|
| style="text-align:center;"| Jeremy Hawk
| style="text-align:center;"| Steve Pudenz
| style="text-align:center;"| William Solo
| style="text-align:center;"|
| style="text-align:center;"| Kevin Ligon
| style="text-align:center;"|Wally Dunn
|}

===Notable Broadway cast replacements===
'''Broadway 1964'''<ref>[https://www.ibdb.com/broadway-production/hello-dolly-2810#Replacements_4310 "''Hello, Dolly!'' 1964 Replacements"] Playbill, accessed September 7, 2019</ref>

*Dolly: [[Pearl Bailey]] (November 12, 1967), [[Thelma Carpenter]], [[Ethel Merman]] (March 28, 1970), [[Phyllis Diller]] (December 26, 1969), [[Bibi Osterwald]] (November 6, 1967), [[Betty Grable]] (June 12, 1967), [[Martha Raye]] (February 27, 1967), [[Ginger Rogers]] (August 9, 1965)<ref name=dolly64/>
*Horace: [[Cab Calloway]] (November 12, 1967), [[Richard Deacon (actor)|Richard Deacon]], [[Max Showalter]] (March 13, 1967)<ref name=dolly64/>
*Cornelius: [[Will Mackenzie]], [[Russell Nype]](March 28, 1970)<ref name=dolly64/>
*Barnaby: [[Danny Lockin]] (Barnaby from the [[Hello, Dolly! (film)|1969 film]]<ref name=dolly64/>
*Irene: [[Ernestine Jackson]]<ref name=dolly64/>
*Minnie: [[Georgia Engel]] (December 26, 1969), [[Leland Palmer (actress)|Leland Palmer]] (June 30, 1967)<ref name=dolly64/>
*Ernestina: [[Mabel King]] (November 12, 1967)<ref name=dolly64>[http://www.playbill.com/production/hello-dolly-st-james-theatre-vault-0000004200 "''Hello, Dolly!'' 1964 Person List"] Playbill Vault, accessed September 6, 2019</ref>

'''Broadway 2017'''

*Dolly: [[Bernadette Peters]]<ref name=":0"/><ref name=replace>[https://www.ibdb.com/broadway-production/hello-dolly-507877#Replacements_4310 "''Hello, Dolly!'' Replacements 2017-2018"] ibdb.com, accessed September 6, 2019</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/read-the-reviews-for-bernadette-peters-star-turn-in-broadways-hello-dolly# "Read the Reviews for Bernadette Peters’ Star Turn in Broadway’s ''Hello, Dolly!''"] playbill, February 23, 2018</ref><ref name=variety>Stasio, Marilyn. [http://variety.com/2018/legit/reviews/hello-dolly-review-bernadette-peters-1202707835/ "Broadway Review: Bernadette Peters in ‘Hello, Dolly!’"] ''Variety'', February 22, 2018</ref>
*Dolly: [[Donna Murphy]] (alternate at certain performances only)<ref name=replace/><ref>McPhee, Ryan. [http://www.playbill.com/article/read-reviews-for-donna-murphy-in-hello-dolly# "Read Reviews for Donna Murphy in ''Hello, Dolly!''"] Playbill, July 10, 2017</ref><ref name=donna/>
*Horace: [[Victor Garber]]<ref name=":0"/><ref name=replace/><ref name
*Cornelius: [[Santino Fontana]]<ref name=replace/>
*Barnaby: [[Charlie Stemp]]<ref name=stemp/><ref name=replace/><ref name=variety/>
*Ernestina: [[Alli Mauzey]]<ref name=replace/><ref>McPhee. [http://www.playbill.com/article/alli-mauzey-joins-broadways-hello-dolly# "Alli Mauzey Joins Broadway’s ''Hello, Dolly!''"] Playbill, March 19, 2018</ref>

===Notable 2019 U.S. Tour replacements===
*[[Carolee Carmello]] as Dolly<ref name=tour18/><ref name=passerelle>[http://www.playbill.com/article/carolee-carmello-walks-the-passerelle-headlining-hello-dolly-tour-beginning-september-25 "Carolee-Carmello-Walks-the-Passerelle"] Playbill, September 25, 2019</ref>
*[[John Bolton (actor)|John Bolton]] as Horace Vandergelder<ref name=passerelle/>

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "Call On Dolly" – Ensemble
* "I Put My Hand In" — Dolly
* "It Takes a Woman" — Horace, Men
* "It Takes a Woman (Reprise)" – Horace
* "World, Take Me Back" – Dolly*
* "Put On Your Sunday Clothes" — Cornelius, Barnaby, Dolly, Ambrose, Ermengarde, and Ensemble
* "Ribbons Down My Back" — Irene
* "Ribbons Down My Back (Reprise)" – Irene
* "Motherhood" — Dolly, Irene, Minnie Fay, and Horace
* "Dancing" — Dolly, Cornelius, Barnaby, Irene, Minnie Fay, and Ensemble
* "Love, Look in My Window" – Dolly*
* "Before the Parade Passes By" — Dolly and the Company**
* "Finale Act I: Before the Parade Passes By" – Dolly
{{col-break}}

;Act II
* Entr'acte – Orchestra
* "Penny in My Pocket" – Vandergelder^
* "Elegance" – Cornelius, Barnaby, Irene, Minnie Fay
* "The Waiters' Gallop" – Rudolph and the Waiters
* "[[Hello, Dolly! (song)|Hello, Dolly!]]" – Dolly, Rudolph, Waiters, Cooks
* "The Waiters' Gallop (Reprise)" – Rudolph and Waiters
* "The Polka Contest" – Ambrose, Ermengarde, Irene, Cornelius, Minnie Fay, Barnaby, and the Contestants***
* "It Only Takes a Moment" – Cornelius, Irene, Ensemble
* "So Long Dearie" – Dolly
* "Hello, Dolly!" (Reprise) – Dolly and Vandergelder
* "Finale Act II: Hello, Dolly! / Dancing / It Only Takes a Moment / Put On Your Sunday Clothes / Hello, Dolly!" — The Company
{{col-end}}

<nowiki>*</nowiki>Song cut before Broadway Opening, reinstated when Ethel Merman joined to play Dolly. 
<nowiki>**</nowiki>Song was not included in the original version. During the tryouts in [[Detroit]], [[Gower Champion]] invited [[Charles Strouse]] and [[Lee Adams]] to consult on improvements to the musical. [[David Merrick]] was aware of their involvement, but Jerry Herman was not, even though Strouse was under impression that Herman knew about it. Strouse and Adams suggested re-working the ending of Act I, wrote a new song "Before the Parade Passes By" and sent it to Champion. By the time the next set of tryouts in Washington began, a different number with the same name, written by Merrick, was included in the show. After Strouse and Adams threatened to sue the production, they were given a songwriting credit for the song. That conflict led to an eight-year-long feud between Gower and Michael Stewart on one side and Strouse and Adams on the other.<ref>{{cite web|publisher=Richard Skipper|url=http://richardskipper.blogspot.com/2013/03/charles-strouse-on-his-involvement-with.html|title=Charles Strouse on his Involvement with Hello, Dolly!|date=1 March 2013}}</ref> The official songwriting credits as listed with [[ASCAP]] have Adams, Herman and Strouse as co-writers.<ref>{{cite web|publisher=[[ASCAP]]|url=https://www.ascap.com/repertory#ace/search/workID/320126047|title=Before the Parade Passes By songwriter listing|accessdate=4 March 2020}}</ref> 
<nowiki>***</nowiki>Song replaced "Come and Be My Butterfly" during Broadway Run.

^Horace Vandergelder's solo "Penny in My Pocket", although it received rave responses out of town, was cut prior to the Broadway opening for reasons of time. For the 2017 Broadway Revival, it was added back in as the opening of Act Two in front of the curtain. It is not, however, included in the licensed version for stock and amateur productions from Tams Witmark.

The song "Elegance", though credited to Herman, was written by [[Bob Merrill]] for the 1957 show ''[[New Girl in Town]]'' but deleted from the original production.<ref>Suskin, ''Show Tunes'', p. 263</ref>

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Hello, Dolly! |url=https://www.concordtheatricals.com/p/44630/hello-dolly |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Reed I (Flute, Piccolo, Clarinet & Alto Sax), Reed II (Clarinet & Alto Sax), Reed III (Clarinet & Tenor Sax), Reed IV (Clarinet, Bass Clarinet & Baritone Sax), Trumpet I, Trumpet II, Trumpet III, Trombone I, Trombone II, Guitar/Banjo, Piano/Celeste, 2 Violin I (optional), Violin II (optional), Viola (optional), Cello (optional), Bass/Tuba (Tuba optional) & Percussion I & II (Timpani, Bass Drum, Snare, Suspended Cymbals, Hand Cymbals, Vibraphone, Xylophone, Glockenspiel, Bell Plate, Wood Block, Cow Bell, Slide Whistle, & Ratchet)

==Productions==

===Original Broadway production===
The musical, directed and [[choreographed]] by [[Gower Champion]] and produced by David Merrick, opened on January 16, 1964, at the [[St. James Theatre]] and closed on December 27, 1970, after 2,844 performances. [[Carol Channing]] starred as Dolly, with a supporting cast that included [[David Burns (actor)|David Burns]] as Horace, [[Charles Nelson Reilly]] as Cornelius, [[Eileen Brennan]] as Irene, Jerry Dodge as Barnaby, Sondra Lee as Minnie Fay, [[Alice Playten]] as Ermengarde, and Igors Gavon as Ambrose. Although facing competition from ''[[Funny Girl (musical)|Funny Girl]]'' with [[Barbra Streisand]], ''Hello, Dolly!'' swept the [[Tony Awards]] that year, winning awards in ten categories<ref>[https://web.archive.org/web/20010126160100/http://www.tams-witmark.com/musicals/hellodolly.html#brief " 'Hello, Dolly!' Listing"] tams-witmark.com, accessed March 29, 2012</ref> (out of eleven nominations) that tied the musical with the previous record keeper ''[[South Pacific (musical)|South Pacific]]'',{{Citation needed|date=January 2019}} record that remained unbroken for 37 years until ''[[The Producers (musical)|The Producers]]'' won twelve Tonys in 2001.<ref>{{Cite web|url=http://www.playbill.com/article/the-producers-beats-record-for-tony-wins-with-12-trophies-com-97014|title=The Producers Beats Record for Tony wins with 12 Trophies|last=Simonson|first=Robert|date=June 3, 2001|website=Playbill|language=en|access-date=2019-01-15}}</ref>
[[File:Pearl Bailey Ed Sullivan Show 1968.JPG|thumb|180px|[[Pearl Bailey]] as Dolly, 1968.]]

After Channing left the show, Merrick employed prominent actresses to play Dolly, including [[Ginger Rogers]], who started on August 9, 1965; [[Martha Raye]], starting on February 27, 1967; [[Betty Grable]], from June 12, 1967 to November 5, 1967; [[Pearl Bailey]] (in an all-black version) starting on November 12, 1967; [[Phyllis Diller]], as of December 26, 1969; and [[Ethel Merman]] (after having turned down the lead at the show's inception) from March 28, 1970 to December 27, 1970.<ref>[http://www.playbill.com/personlistpage/person-list?production=00000150-aea3-d936-a7fd-eef741440000&type=op# " 'Hello, Dolly' Cast Replacements"] Playbill, retrieved December 28, 2017</ref>

Two songs cut prior to the opening – typical [[Belt (music)|belt]] style songs "World, Take Me Back" and "Love, Look in My Window" – were restored for Merman's run. [[Thelma Carpenter]] played Dolly at all matinees during the Pearl Bailey production and subbed more than a hundred times, at one point playing all performances for seven straight weeks. [[Bibi Osterwald]] was the standby for Dolly in the original Broadway production, subbing for all the stars, including Bailey, despite the fact that Osterwald was a blue-eyed blonde. Bailey received a Special Tony Award in 1968.<ref>Sullivan, Dan. " 'Rosencrantz' and 'Hallelujah, Baby!' Garner Tonys: Zoe Caldwell and Balsam Capture Acting Honors", ''The New York Times'', April 22, 1968, p.58</ref>

The show received rave reviews,<ref name=Musicals101/><ref>Bovson article</ref> with "praise for Carol Channing and particularly Gower Champion."<ref>Green, Stanley. ''Encyclopedia of the Musical Theatre'', Da Capo Press, 1980, {{ISBN|0-306-80113-2}}, p. 183</ref> The original production became the [[List of the longest-running Broadway shows|longest-running musical]] (and third longest-running show)<ref>[http://www.playbill.com/celebritybuzz/article/75222-Long-Runs-on-Broadway "Long Runs on Broadway"] playbill.com, retrieved July 1, 2010</ref> in Broadway history up to that time, surpassing ''My Fair Lady'' and then being surpassed in turn by ''[[Fiddler on the Roof]].'' The Broadway production of ''Hello Dolly!'' grossed $27 million.<ref>Bloom, Ken, and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of all Time'', p. 302. Black Dog & Leventhal Publishers, New York, 2004. {{ISBN|1-57912-390-2}}</ref> ''Hello, Dolly!'' and ''Fiddler'' remained the longest-running Broadway record holders for nearly ten years until ''[[Grease (musical)|Grease]]'' surpassed them.

;Tour and regional Dollys
[[Dorothy Lamour]], [[Eve Arden]], [[Ann Miller]], [[Michele Lee]], [[Edie Adams]], and [[Yvonne De Carlo]] played the role on tour. [[Betty White]] appeared with the [[Kenley Players]] as Dolly in the summer of 1979. [[Molly Picon]] appeared as Dolly in a 1971 production by the [[North Shore Music Theatre]] of [[Beverly, Massachusetts]]. [[Lainie Kazan]] starred in a production at the [[Claridge Atlantic City]]. Both [[Tovah Feldshuh]] and [[Betsy Palmer]] played Dolly in productions by the [[Paper Mill Playhouse]]. [[Marilyn Maye]] also starred in several regional productions and recorded a full album of the score.

===Original London production===
''Hello, Dolly!'' premiered in the [[West End theatre|West End]] at the [[Theatre Royal, Drury Lane]] on December 2, 1965 and ran for 794 performances. Champion directed and choreographed, and the cast starred [[Mary Martin]] as Dolly (after she, as well as Merman, had turned down the role for the original run of the show), [[Loring Smith]] as Horace Vandergelder (Smith had created the Horace role in the original production of ''[[The Matchmaker]]''), Johnny Beecher as Barnaby, Garrett Lewis as Cornelius, Mark Alden as Ambrose Kemper, and Marilynn Lovell as Irene Molloy. [[Dora Bryan]] replaced Martin during the run.<ref>[http://baltimore.broadwayworld.com/bwidb/productions/Hello%2C_Dolly%21_5052/ "1965 London production"] BroadwayWorld.com</ref>

===Revivals===
The show has been revived four times on [[Broadway theatre|Broadway]]:
*November 6, 1975 – December 28, 1975, [[Minskoff Theatre]] – Starring [[Pearl Bailey]] and [[Billy Daniels]] in an all-black production (42 performances)
*March 5, 1978 – July 9, 1978, [[Lunt-Fontanne Theatre]] – Starring [[Carol Channing]] and [[Eddie Bracken]] (147 performances)
*October 19, 1995 – January 28, 1996, [[Lunt-Fontanne Theatre]] – Starring [[Carol Channing]] and [[Jay Garner (actor)|Jay Garner]] (116 performances)
*April 20, 2017 – August 25, 2018, [[Shubert Theatre (New York City)|Shubert Theatre]] – Starring [[Bette Midler]] and [[David Hyde Pierce]] (550 performances)

In the [[West End theatre|West End]] the show has been revived three times (to date, November 2019):
*1979 – Starring [[Carol Channing]] at the [[Theatre Royal, Drury Lane]] and [[Shaftesbury Theatre]]
*January 3, 1984 – April 27, 1984 – Starring female impersonator [[Danny La Rue]] as Dolly at the [[Prince of Wales Theatre]]<ref name=london/>
*July 30, 2009 – September 12, 2009 – Starring [[Samantha Spiro]] (Dolly) and [[Allan Corduner]] (Horace) at the [[Open Air Theatre, Regent's Park]].<ref>[https://openairtheatre.com/production/hellodolly ''Hello, Dolly!''] openairtheatre.com, retrieved January 15, 2018</ref> Spiro won the [[Olivier Award]] for her performance.

In 1989, there was a UK tour of the show directed and choreographed by Paul Kerryson, starring Dora Bryan. Kerryson went on to direct the show again in 2014 at the Curve Theatre in Leicester UK, starring Janie Dee.

On 22 November 2019, it was announced that a new production would run for a limited season at the [[Adelphi Theatre]] starring [[Imelda Staunton]], [[Jenna Russell]] and [[Andy Nyman]] from 11 August 2020, with direction by [[Dominic Cooke]].<ref>Wood, Alex. [https://www.whatsonstage.com/london-theatre/news/imelda-staunton-hello-dolly-west-end_50325.html "Imelda Staunton 'Hello Dolly' West End"] whatsonstage.com, November 22, 2019</ref><ref>{{cite web |url=https://www.bestoftheatre.co.uk/blog/post/hello-dolly-andy-nyman |title=Andy Nyman and Jenna Russell Join Imelda Staunton in the New Production of the Iconic Musical, Hello Dolly! |date=10 January 2020 |website=bestoftheatre.co.uk |accessdate=13 January 2020}}</ref>

===2017 Broadway revival/national tour===
[[File:Bette Midler Hello Dolly Broadway (34654432724).jpg|thumb|upright|2017 Broadway revival at the Shubert Theatre.]]

On January 19, 2016, it was announced that [[Bette Midler]] would play the title role in a Broadway revival of ''Hello, Dolly!''. Previews began March 15, 2017, officially opening on April 20, 2017, at the [[Shubert Theatre (New York City)|Shubert Theatre]].<ref>{{cite web |last1=Kennedy |first1=Mark |title=Bette Midler to return to Broadway in 'Hello, Dolly!' |url=http://bigstory.ap.org/article/4f7c279e89e04195a77f0d0e9537579d/bette-midler-return-broadway-hello-dolly |website=[[Associated Press]] |accessdate=20 January 2016 |url-status=dead |archiveurl=https://web.archive.org/web/20160121231903/http://bigstory.ap.org/article/4f7c279e89e04195a77f0d0e9537579d/bette-midler-return-broadway-hello-dolly |archivedate=21 January 2016 }}</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/get-a-first-look-at-bette-midler-in-hello-dolly# "Get a First Look at Bette Midler in 'Hello, Dolly!'] Playbill, March 14, 2017</ref><ref>{{cite news| title=Hello, Dolly! review – Bette Midler is irresistible in a riotous delight| url=https://www.theguardian.com/stage/2017/apr/21/hello-dolly-review-bette-midler-broadway-david-hyde-pierce| last=Soloski| first=Alexis| date=April 21, 2017| work=[[The Guardian]]| location=[[Manchester]]}}</ref>

The production was produced by [[Scott Rudin]], directed by [[Jerry Zaks]] and choreographed by [[Warren Carlyle]]. [[David Hyde Pierce]] played Horace Vandergelder.<ref>{{cite news| last=Gans| first=Andrew| title=David Hyde Pierce Will Join Bette Midler in Hello, Dolly! |url=http://www.playbill.com/article/david-hyde-pierce-will-join-bette-midler-in-hello-dolly-broadway-revival#| work=Playbill| date=May 17, 2016| accessdate=May 17, 2016}}</ref> Other principal casting for this revival included [[Kate Baldwin]] as Irene Molloy, [[Gavin Creel]] as Cornelius Hackl, Jennifer Simard as Ernestina Money, [[Taylor Trensch]] as Barnaby Tucker, [[Will Burton]] as Ambrose Kemper, [[Melanie Moore]] as Ermengarde, and<ref>Hetrick, Adam. [http://www.playbill.com/article/kate-baldwin-gavin-creel-jennifer-simard-join-bette-midler-hello-dolly "Kate Baldwin, Gavin Creel, Jennifer Simard Join Bette Midler 'Hello, Dolly!' "], ''Playbill'', September 16, 2016</ref> [[Beanie Feldstein]] as Minnie Fay.<ref>Viagas, Robert. [http://www.playbill.com/article/broadway-hello-dolly-casts-its-minnie-fay# "Broadway’s 'Hello, Dolly!' Casts Its Minnie Fay"], ''Playbill'', October 18, 2016</ref> [[Donna Murphy]] played the role of Dolly at Tuesday evening performances beginning in June 2017, as well as covering Midler's holiday dates.<ref name=donna>{{cite news| last=Hetrick| first=Adam| url=http://www.playbill.com/article/donna-murphy-will-play-matchmaker-once-a-week-in-broadways-hello-dolly#| title=Donna Murphy Will Play Matchmaker Once a Week in Broadway's 'Hello, Dolly!'| work=Playbill| date=October 20, 2016}}</ref> She played her final performance on January 7, 2018.<ref name=final/>

Midler, Pierce, Trensch, and Feldstein left the production on January 14, 2018.<ref name=final>McPhee, Ryan. [http://www.playbill.com/article/bette-midler-david-hyde-pierce-taylor-trensch-beanie-feldstein-bid-farewell-to-hello-dolly-january-14# "Bette Midler, David Hyde Pierce, Taylor Trensch, Beanie Feldstein Bid Farewell to 'Hello, Dolly!' January 14"] Playbill, January 14, 2018</ref> [[Bernadette Peters]] took over the role of Dolly with previews from January 20, 2018, officially on February 22, 2018, and [[Victor Garber]] took over the role of Horace Vandergelder.<ref name=":0">McPhee, Ryan. [http://www.playbill.com/article/bernadette-peters-will-succeed-bette-midler-in-broadways-hello-dolly# "Bernadette Peters Will Succeed Bette Midler in Broadway's 'Hello, Dolly!'"] Playbill, September 5, 2017</ref> [[Charlie Stemp]] assumed the role of Barnaby Tucker on January 20, 2018.<ref name=stemp>McPhee, Ryan. [http://www.playbill.com/article/charlie-stemp-will-make-broadway-debut-in-hello-dolly-alongside-bernadette-peters-and-victor-garber# "Charlie Stemp Will Make Broadway Debut in 'Hello, Dolly!' Alongside Bernadette Peters and Victor Garber"] Playbill, September 7, 2017</ref><ref>Green, Jesse. [https://www.nytimes.com/2018/02/22/theater/hello-dolly-review-bernadette-peters.html " Theater. ''Hello Dolly'' Review"] ''The New York Times'', February 22, 2018</ref> [[Santino Fontana]] temporarily played the role of Cornelius Hackl from March 2018 to May 6 while Gavin Creel recovered from back surgery. Creel returned to the role on May 8, 2018.<ref>McPhee, Ryan. [http://www.playbill.com/article/gavin-creel-returns-to-broadways-hello-dolly-may-8# "Gavin Creel Returns to Broadway's 'Hello, Dolly!' May 8"] Playbill, May 8, 2018</ref> Before Fontana's temporary engagement, understudy Christian Dante White played the role of Cornelius.<ref>{{Cite web|url=http://www.playbill.com/article/santino-fontana-steps-into-hello-dolly-on-broadway-march-13|title=Santino Fontana Steps into Hello, Dolly! on Broadway March 13 {{!}} Playbill|website=Playbill|language=en|access-date=2018-03-28}}</ref> The production closed on August 25, 2018, with Midler and Hyde Pierce returning to play Dolly and Horace (respectively) from July 17, 2018 to closing.<ref>McPhee, Ryan. [http://www.playbill.com/article/bette-midler-will-return-to-broadways-hello-dolly-tony-winning-revival-sets-closing-date# "Bette Midler Will Return to Broadway's 'Hello, Dolly!'; Tony-Winning Revival Sets Closing Date"] Playbill, April 20, 2018</ref>

[[Betty Buckley]] played the title role in the first national tour of the 2017 Broadway revival, which began performances in Cleveland, Ohio in October 2018 in the Connor Palace at Playhouse Square, after a tryout in Utica, New York in September 2018.<ref>Simakis, Andrea. [https://www.cleveland.com/onstage/index.ssf/2018/10/hello_dolly_betty_buckley_and.html "'Hello, Dolly!': Betty Buckley and a superb cast rediscover the legendary musical's bittersweet joy (review)"] cleveland.com, October 8, 2018</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/hello-dolly-national-tour-starring-betty-buckley-begins-september-25# : 'Hello, Dolly!' National Tour, Starring Betty Buckley, Begins September 25"] Playbill, September 25, 2018</ref>

===International productions===
*The Australian production in 1965–66 starred [[Carole Cook]], produced by JC Williamson Theatres LTD. She was the second woman to play the role. Jack Goode as Horace and Bill Millican as Cornelius also starred. The show played at Her Majesty's Theatre, Sydney and Melbourne, and His Majesty's Theatre, Auckland in 1966.<ref>[http://www.callondolly.com/carole-cook/ "Call on Dolly"] callondolly.com, accessed September 24, 2016</ref><ref>[http://www.ovrtur.com/production/2900995/credits " 'Hello, Dolly!' Australia"] ovrtur.com, accessed September 24, 2016</ref><ref>[http://nla.gov.au/nla.cs-ma-an40491377 "Stage set for the J. C. Williamson production of 'Hello, Dolly!'"] nla.gov.au, accessed September 24, 2016</ref>
*The Israeli production in 1968–1970 starred [[Hanna Maron]] as Dolly Levi, one of the most famous actress on the Israel theater, on the "Alhambra" theater, produced by [[Giora Godik]], also starring [[Shraga Friedman]] as Horace Vandergelder, [[Gadi Yagil]] as Cornelius Hackl and [[Tzipi Shavit]] as Minnie Fay. The musical was a huge successful and Dolly remains one of Maron's lovable roles. The musical was translated to Hebrew by [[Haim Hefer]], a well-known songwriter and poet.<ref>{{cite web|url=https://www.pinterest.com/pin/126734176985732116/?amp_client_id=Zgh5X6b1RYdX5OVgykoGWkCr9BcfFZ1AvHxZIvACN0c9xIkcjw4RL5wVRClN37Kg |title=Hello Dolly Israeli Hebrew Musical Chana Maron Godik Original Cast LP 1968 | Set The Record Straight, Theatre & Movie Recordings | Pinterest | Hello dolly, Lp … |publisher=Pinterest |accessdate=2018-02-17}}</ref>
*In 1967, the Argentine singer and actress [[Libertad Lamarque]] starred the first [[Spanish language]] version of the musical in the Teatro Manolo Fabregas of [[Mexico City]]. Lamarque also starred the musical in [[Argentina]] the same year.<ref>[http://criticateatral2021.org/transcripciones/364_680728.php ''Critica Teatral: Libertad Lamarque in Hello, Dolly!'']</ref>
*In 1985, Cuban diva Rosita Fornes played Dolly in a Cuban production of ''Hello, Dolly'' by the Teatro Karl Marx in Havana, Cuba. She also played the role in Camaguey City and in a television production under director Manolo Rifat.<ref>[https://www.youtube.com/watch?v=hIwY_okq97E "YouTube video"]</ref>
*In 1989, Canadian theatre actress [[Nonnie Griffin]] played Dolly in a 10-month run of ''Hello Dolly'' in Toronto.<ref>{{cite encyclopedia|url=https://www.thecanadianencyclopedia.ca/en/article/nonnie-griffin-margaret|title=Nonnie Griffin|encyclopedia=[[The Canadian Encyclopedia]]|accessdate=September 1, 2019}}</ref>
*In 1996, Mexican cinema star [[Silvia Pinal]] starred a new version of the musical opposite [[Ignacio Lopez Tarso]] in the Teatro Silvia Pinal, in [[Mexico City]].<ref>[http://musicallatino.blogspot.mx/2013/12/figuras-del-musical-latinoamericano.html ''The Latin American Musical Comedy Stars: Silvia Pinal'']</ref>

* In 2018, the Mexican actress and singer [[Daniela Romo]] starred a new Mexican version of the musical in the [[Teatro de los Insurgentes]] in Mexico City.<ref>[https://carteleradeteatro.mx/2018/daniela-romo-y-jesus-ochoa-en-hello-dolly/ ''Cartelera de teatro: Daniela Romo in Hello, Dolly!'']</ref>

* In 2020, Lucía Galán (half of the [[Pimpinela]] singing duo) starred in the Argentinian version of the musical in the [[Teatro Opera]] in [[Buenos Aires]].<ref>{{Cite web|url=https://www.ticketek.com.ar/hello-dolly/teatro-opera-orbis-seguros|title=Hello, Dolly!|website=Ticketek|language=es|access-date=2019-12-31}}</ref>

===Tours===
*[[Mary Martin]] starred in a US tour, starting in April 1965 and playing in 11 cities. The production also toured in [[Japan]], [[Korea]] and [[Vietnam]] for a special USO performance for U.S. troops.<ref>[https://www.imdb.com/title/tt0397087/ Information about a documentary chronicling Martin's Asian tour in ''Hello, Dolly!''] imdb.com</ref><ref>Dibble, Susan. [https://www.stripes.com/news/from-the-s-s-archives-mary-martin-dolly-cast-in-tokyo-1.88252 "From the S&S archives: Mary Martin, 'Dolly!' cast in Tokyo"] ''Stars and Stripes'', September 8, 1965</ref><ref>[https://tamswitmark.com/blog_items/photo-gallery-hello-dolly-a-dozen-dollys/ "PHOTO GALLERY: ''Hello, Dolly!'' – A Dozen Dollys"] tamswitmark.com, accessed August 26, 2019</ref>
*A second US tour began in September 1965, headed by Channing, and ran for two years and nine months. [[Eve Arden]] and [[Dorothy Lamour]] were replacements.<ref>Green, Stanley."Encyclopedia of the Musical Theatre" (1980), Da Capo Press, {{ISBN|0-306-80113-2}}, p. 183</ref>
*In 2008, [[Anita Dobson]] toured in the UK.<ref>Edmonds, Richard. [http://www.thestage.co.uk/reviews/review.php/19781/hello-dolly "'Hello Dolly!' review"] thestage.co.uk, 8 February 2008</ref>
*[[Sally Struthers]] appeared as Dolly in the 50th anniversary tour of the musical, starting in October 2013.<ref>Hetrick, Adam. [http://www.playbill.com/news/article/50th-anniversary-tour-of-hello-dolly-starring-sally-struthers-parades-acros-210214# "50th Anniversary Tour of 'Hello, Dolly!', Starring Sally Struthers, Parades Across U.S. Beginning Oct. 5"] Playbill, October 5, 2013</ref>
*A tour of the 2017 Broadway revival began touring the U.S. in September 2018 in Utica, New York starring [[Betty Buckley]].<ref>{{cite web|url=http://www.playbill.com/article/tony-winner-betty-buckley-will-lead-hello-dolly-national-tour|title=Tony Winner Betty Buckley Will Lead Hello, Dolly! National Tour. The tour opened in Cleveland, Ohio. {{!}} Playbill|website=Playbill|language=en|access-date=2018-02-12}}</ref> The cast includes [[Lewis J. Stadlen]] as Horace Vandergelder, Nic Rouleau as Cornelius, Analisa Leaning as Irene Molloy, Jess LeProtto as Barnaby, Kristen Hahn as Minnie Fay, Garret Hawe as Ambrose Kemper, Morgan Kirner as Ermengarde, and Jessica Sheridan as Ernestina.<ref>{{Cite web|url=https://broadwaydirect.com/complete-casting-announced-national-tour-hello-dolly/|title=Complete Casting Announced for National Tour of Hello, Dolly!|date=2018-08-09|website=Broadway Direct|language=en-US|access-date=2018-12-22}}</ref> Buckley ended her run in the tour on August 25, 2019; [[Carolee Carmello]] took over as Dolly on September 24, 2019 in Kansas City, Missouri.<ref name=tour18>Gans, Andrew. [http://www.playbill.com/article/betty-buckley-ends-run-in-national-tour-of-hello-dolly-august-25# "Betty Buckley Ends Run in National Tour of ''Hello, Dolly!'' August 25"] Playbill, August 25, 2019</ref> The other cast changes effective in September 2019 include [[John Bolton (actor)|John Bolton]] as Horace, with new cast playing Cornelius, Barnaby, Minnie Fay, and Ambrose.<ref name=carolee>McPhee, Ryan. [http://www.playbill.com/article/see-whos-joining-carolee-carmello-in-the-new-company-of-hello-dolly-tour# "See Who’s Joining Carolee Carmello in the New Company of'' Hello, Dolly!'' Tour"] Playbill, September 4, 2019</ref> The tour schedule has been announced, with the last stop in Rochester, NY in March 2020.

==Critical reception==
Opening night reviews of the original production were generally positive, and Carol Channing's performance as Dolly Gallagher Levi was greatly acclaimed; however, some reviewers criticized the score and the libretto, implying that Channing's performance was responsible for the efficacy of the show. In his review of the opening night performance, ''[[The New York Times]]'' theatre critic Howard Taubman wrote

<blockquote>''Hello, Dolly!'' ... has qualities of freshness and imagination that are rare in the run of our machine-made musicals. It transmutes the broadly stylized mood of a mettlesome farce into the gusto and colors of the musical stage. ... Mr. Herman's songs are brisk and pointed and always tuneful ... a shrewdly mischievous performance by Carol Channing. ... Making the necessary reservations for the unnecessary vulgar and frenzied touches, one is glad to welcome ''Hello, Dolly!'' for its warmth, color and high spirits.<ref>Taubman, Howard. [http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=HELLO,%20DOLLY!%20(PLAY)&pdate=19640117&byline=By%20HOWARD%20TAUBMAN&id=1077011430206 "Hello Dolly!"]. ''The New York Times'', 1964</ref></blockquote>

John Chapman of the ''[[Daily News (New York)|New York Daily News]]'' lauded Carol Channing's performance, declaring her "the most outgoing woman on the musical stage today – big and warm, all eyes and smiles, in love with everybody in the theatre and possessing a unique voice ranging somewhat upward from a ''basso profundo''." He also wrote, "I wouldn't say that Jerry Herman's score is memorable."<ref name=Suskin>Suskin, Steven. ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre'', pp. 297–301. Schirmer Books, New York, 1990. {{ISBN|0-02-872625-1}}</ref> [[New York Post]] critic Richard Watts, Jr., wrote,

<blockquote>The fact that [''Hello, Dolly!''] seems to me short on charm, warmth, and the intangible quality of distinction in no way alters my conviction that it will be an enormous popular success. Herman has composed a score that is always pleasant and agreeably tuneful, although the only number that comes to mind at the moment is the lively title song. His lyrics could be called serviceable.<ref name=Suskin/></blockquote>

In the ''[[New York Herald Tribune]]'', [[Walter Kerr]] wrote,

<blockquote>''Hello, Dolly!'' is a musical comedy dream, with Carol Channing the girl of it. ... Channing opens wide her big-as-millstone eyes, spreads her white-gloved arms in ecstatic abandon, trots out on a circular runway that surrounds the orchestra, and proceeds to dance rings around the conductor. ... With hair like orange sea foam, a contralto like a horse's neighing, and a confidential swagger, [she is] a musical comedy performer with all the blowzy glamor of the girls on the sheet music of 1916.</blockquote>

Kerr perceived deficiencies in the libretto, though, stating that the "lines are not always as funny as Miss Channing makes them".<ref name=Suskin/> John McClain of the [[New York Journal American]] particularly praised the staging of the musical, saying that

<blockquote>Gower Champion deserves the big gong for performance beyond the call of duty. Seldom has a corps of dancers brought so much style and excitement to a production which could easily have been pedestrian. ... It is difficult to describe the emotion [the song "Hello, Dolly!"] produces. Last night the audience nearly tore up the seats as she led the parade of waiters in a series of encores over the semi-circular runway that extends around the orchestra pit out into the audience, ... a tribute to the personal appeal of Miss Channing and the magical inventiveness of Mr. Champion's staging.<ref name=Suskin/></blockquote>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="12" style="text-align:center;"| 1964
| [[New York Drama Critics Circle|New York Drama Critics Circle Award]]<ref>[http://www.dramacritics.org/dc_pastawards.html#1964 "New York Drama Critics Past Awards, 1964"] dramacritics.org, accessed March 29, 2012</ref>
| colspan="2"| Best Musical
| {{won}}
|-
| rowspan="11"| [[Tony Award]]<ref>[http://www.ibdb.com/production.php?id=2810 " 'Hello Dolly' Listing, 1964–1970"] Internet Broadway Database, accessed March 29, 2012</ref><ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964 "Tony Awards, 1964"] {{Webarchive|url=https://web.archive.org/web/20120105101119/http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964 |date=2012-01-05 }} broadwayworld.com, accessed March 29, 2012</ref><ref>[http://www.infoplease.com/ipa/A0153433.html "Tony Award Winners, 1964"] infoplease.com, accessed March 29, 2012</ref>
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{won}}
|-
| [[Tony Award for Best Book of a Musical|Best Book of a Musical]]
| [[Michael Stewart (playwright)|Michael Stewart]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Carol Channing]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Charles Nelson Reilly]]
| {{nom}}
|-
| [[Tony Award for Best Original Score|Best Original Score]]
| [[Jerry Herman]]
| {{won}}
|-
| [[Tony Award|Best Producer of a Musical]]
| [[David Merrick]]
| {{won}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| rowspan="2"| [[Gower Champion]]
| {{won}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| {{won}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| Shepard Coleman
| {{won}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Freddy Wittop]]
| {{won}}
|-
| style="text-align:center;"| 1968
| [[Special Tony Award]]<ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1968 "Tony Awards, 1968"] {{Webarchive|url=https://web.archive.org/web/20160407225811/http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1968 |date=2016-04-07 }} broadwayworld.com, accessed March 29, 2012</ref><ref>[http://www.ibdb.com/person.php?id=30650 "Pearl Bailey Listing, Awards and Nominations"] Internet Broadway Database, accessed March 29, 2012</ref><ref>[http://www.infoplease.com/ipa/A0153442.html "Tony Award Winners, 1968"] infoplease.com, accessed March 29, 2012</ref>
| Special Award
| [[Pearl Bailey]]
| {{won}}
|-
| style="text-align:center;"| 1970
| [[Drama Desk Award]]<ref>[http://www.dramadesk.org/1969_1970dd.html "Drama Desk, 1969–1970"]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} dramadesk.org, accessed March 29, 2012</ref><ref>Flinn, Caryl. [https://books.google.com/books?id=QzivAc6Yei8C&pg=PA376 "Chapter 17"] ''Brass Diva: The Life and Legends of Ethel Merman'' (2007), University of California Press, {{ISBN|0-520-22942-8}}, p.376</ref>
| [[Drama Desk Award|Outstanding Performance]]
| [[Ethel Merman]]
| {{won}}
|}

===1978 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1978
| [[Tony Award]]<ref>[http://broadwayworld.com/tonyawardssearch.cfm " 'Hello, Dolly!' Tony Awards Listing"] broadwayworld.com, accessed March 29, 2012</ref>
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Eddie Bracken]]
| {{nom}}
|}

===1979 West End revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1979
| [[Olivier Award]]
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Carol Channing]]
| {{nom}}
|}

===1995 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1996
| [[Tony Award]]<ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1996 "Tony Awards 1996"] {{Webarchive|url=https://web.archive.org/web/20181022033524/https://www.broadwayworld.com/tonyawardsyear.cfm?year=1996 |date=2018-10-22 }} broadwayworld.com, accessed March 29, 2012</ref><ref>Evans, Greg. "50th Tonys raise 'Rent' with 'Class' ", ''Daily Variety'', June 3, 1996, p.1</ref>
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|}

===2009 Open Air Theatre revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="3" style="text-align:center;"| 2010
| rowspan="3"| [[Laurence Olivier Award]]<ref>[http://www.olivierawards.com/about/previous-winners/view/item110508/olivier-winners-2010/ "Olivier Winners 2010"] {{webarchive|url=https://archive.is/20120907154120/http://www.olivierawards.com/about/previous-winners/view/item110508/Olivier-Winners-2010/ |date=2012-09-07 }} olivierawards.com, accessed March 29, 2012</ref>

| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Samantha Spiro]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Stephen Mear]]
| {{won}}
|}

===2017 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="34" | 2017
| rowspan="10"| [[Tony Award]]<ref>Kelley, Seth. [https://variety.com/2017/legit/news/tony-nominations-2017-full-list-nominees-1202406314 "Tony Nominations Announced: Full List of 2017 Nominees"], ''Variety'', May 2, 2017, accessed June 11, 2017</ref><ref>{{Cite web|url=http://www.playbill.com/article/2017-tony-award-nominations-the-great-comet-and-hello-dolly-lead-the-pack|title=2017 Tony Award Nominations: The Great Comet and Hello, Dolly! Lead the Pack {{!}} Playbill|website=Playbill|language=en|access-date=2017-05-02}}</ref>

| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Actor in a Musical|Best Actor in a Leading Role in a Musical]]
| [[David Hyde Pierce]]
| {{nom}}
|-
| [[Tony Award for Best Actress in a Musical|Best Actress in a Leading Role in Musical]]
| [[Bette Midler]]
| {{won}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Actor in a Featured Role in a Musical]]
| [[Gavin Creel]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Actress in a Featured Role in a Musical]]
| [[Kate Baldwin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Jerry Zaks]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design in a Musical|Best Scenic Design of a Musical]]
| rowspan="2" | [[Santo Loquasto]]
| {{nom}}
|-
| [[Tony Award for Best Costume Design in a Musical|Best Costume Design of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Lighting Design in a Musical|Best Lighting Design of a Musical]]
| [[Natasha Katz]]
| {{nom}}
|-
| [[Tony Award for Best Orchestrations|Best Orchestrations]]
| [[Larry Hochman]]
| {{nom}}
|-
| rowspan="10"| [[Drama Desk Award]]<ref>{{Cite news|url=https://variety.com/2017/legit/news/drama-desk-awards-2017-winners-full-list-1202453738/|title=Drama Desk Awards 2017: Bette Midler, 'Oslo' Take Top Honors (Full List)|last=Cox|first=Gordon|date=2017-06-05|work=Variety|access-date=2017-12-05|language=en-US}}</ref>
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bette Midler]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Gavin Creel]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Kate Baldwin]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Jerry Zaks]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreographer]]
| [[Warren Carlyle]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Santo Loquasto]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Costume Design of a Musical|Outstanding Costume Design]]
| [[Santo Loquasto]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design]]
| Scott Lehrer
| {{nominated}}
|-
| Outstanding Wigs and Hair
| Campbell Young Associates
| {{nominated}}
|-
| rowspan="2" |[[Drama League Award]]<ref>{{Cite web|url=http://www.playbill.com/article/dear-evan-hansens-ben-platt-hello-dolly-and-more-are-winners-of-drama-league-awards|title=Dear Evan Hansen's Ben Platt, Hello, Dolly! and More Are Winners of Drama League Awards {{!}} Playbill|website=Playbill|language=en|access-date=2017-05-19}}</ref>
| colspan="2" |Outstanding Revival of a Broadway or Off-Broadway Musical
| {{win}}
|-
|Distinguished Performance
|[[David Hyde Pierce]]
| {{nom}}
|-
| rowspan="10"| [[Outer Critics Circle Award]]<ref>{{cite news|url=http://www.broadwayworld.com/article/Outer-Critics-Circle-Nominations-Announced-20170425|title=Outer Critics Circle Nominations Announced: Hello, Dolly!, Anastasia, Groundhog Day and More!|publisher=BWW News|date=April 25, 2017|work=BroadwayWorld.com|accessdate=May 25, 2018|language=en}}</ref>
| colspan="2"| Outstanding Revival of a Broadway Musical
| {{won}}
|-
| Outstanding Actor in a Musical
| [[David Hyde Pierce]]
| {{nominated}}
|-
| Outstanding Actress in a Musical
| [[Bette Midler]]
| {{won}}
|-
| Outstanding Featured Actor in a Musical
| [[Gavin Creel]]
| {{won}}
|-
| Outstanding Featured Actress in a Musical
| [[Kate Baldwin]]
| {{nominated}}
|-
| Outstanding Director of a Musical
| [[Jerry Zaks]]
| {{nominated}}
|-
| Outstanding Choreographer
| [[Warren Carlyle]]
| {{won}}
|-
| Outstanding Costume Design
| [[Santo Loquasto]]
| {{nominated}}
|-
| Outstanding Lighting Design
| [[Natasha Katz]]
| {{nominated}}
|-
| Outstanding Orchestrations
| [[Larry Hochman]]
| {{won}}
|-
| rowspan="2" |[[Chita Rivera Awards for Dance and Choreography|Chita Rivera Awards]]<ref>McPheee, Ryan. [http://www.playbill.com/article/bandstand-sweet-charity-and-more-earn-chita-rivera-award-nominations# " 'Bandstand', 'Sweet Charity' and More Earn Chita Rivera Award Nominations"] Playbill, May 1, 2017</ref>
| colspan="2" |Outstanding Ensemble in a Broadway Show
| {{nominated}}
|-
|Outstanding Choreography in a Broadway Show
|[[Warren Carlyle]]
| {{nominated}}
|-
| 2018
| [[60th Grammy Awards|Grammy Awards]]<ref>{{cite web |url=https://www.grammy.com/grammys/awards/60th-annual-grammy-awards#category-224 |title=60th Annual GRAMMY Awards |date=2017-11-28 |website=GRAMMY.com |language=en |access-date=2017-11-28}}</ref><ref>{{cite web |url=http://www.latimes.com/entertainment/la-et-grammys-nominees-winners-list-2018-story.html |title=Grammys 2018: Complete list of nominees |website=Los Angeles Times |date=2017-11-28 |access-date=2017-11-28}}</ref><ref>{{cite web |url=https://www.allmusic.com/artist/steven-epstein-mn0001724355/credits |title=Steven Epstein Credits |access-date=2017-12-27}}</ref><ref>{{cite web |url=https://broadway.news/2018/01/28/dear-evan-hansen-wins-grammy-award-best-musical-theater-album/ |title='Dear Evan Hansen' wins Grammy Award for Best Musical Theater Album |last=Huston |first=Caitlin | date=January 28, 2018 |website=Broadway News | access-date=2018-02-08}}</ref>
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
| [[Bette Midler]] (principal soloist); [[Steven Epstein (music producer)|Steven Epstein]] (producer)
|{{nom}}
|}

==Recordings==
The [[RCA Victor]] [[cast recording]] of the original Broadway production was released in 1964. It was the number-one album on the [[Billboard 200|''Billboard'' pop albums]] chart for seven weeks and the top album of the year on the [[Billboard Year-End|Year-End chart]]. In 1965, a recording of the original London production was released. In 1967, RCA Victor released a recording of the all-black Broadway replacement cast, featuring Pearl Bailey, who also starred in the unrecorded 1975 revival. The movie soundtrack was released in 1969. On November 15, 1994, the 1994 revival cast recording was released.<ref>[https://www.amazon.com/dp/B0000014VF Release date of 1994 revival album] Amazon.com, retrieved June 26, 2010</ref>

The 2017 Broadway Revival cast recording was released on May 12, 2017, featuring the songs now sung by Bette Midler, David Hyde Pierce, Kate Baldwin, and Gavin Creel.<ref>{{cite web|url=http://www.playbill.com/article/listen-to-the-complete-hello-dolly-cast-recording-featuring-bette-midler-and-more|last=McPhee|first=Ryan|title=Listen to the Complete Hello, Dolly! Cast Recording, Featuring Bette Midler and More {{!}} Playbill|website=Playbill|date=May 8, 2017|language=en|access-date=2018-02-08}}</ref>

==Cultural influence==
*In 1964, Armstrong's recording of the song, "[[Hello, Dolly! (song)|Hello, Dolly!]]", rose to number one on the ''[[Billboard (magazine)|Billboard]]'' pop chart,<ref>[http://www.allmusic.com/album/hello-dolly-r153005 "'Hello, Dolly!' Louis Armstrong Listing"] allmusic.com, accessed April 2, 2012</ref><ref>Ruhlmann, William. [http://www.allmusic.com/song/t4280502 "Song Review"] allmusic.com, accessed April 2, 2012</ref> making Armstrong, at age 62, the oldest person ever to accomplish that feat. In the process, Armstrong dislodged [[The Beatles]] "Can't Buy Me Love" from the number-one position they had occupied for 14 consecutive weeks with three different songs.
*The title song was sung in the 1999 film ''[[Dick (film)|Dick]]'' by actor [[Dan Hedaya]], playing President Richard Nixon.<ref>[http://all-reviews.com/videos/dick-3.htm "Movie/Video Review. 'Dick' "] All-Reviews.com, accessed April 2, 2012</ref>
*The red satin, sequin-bedecked costume, designed by [[Freddy Wittop]], that Channing wore during ''Hello, Dolly!'' was donated to the [[Smithsonian]] by Channing and theatrical producer Manny Kladitis, following the thirtieth anniversary tour of the show. It is currently on display at the [[National Museum of American History]].<ref name="NMAH">{{cite web | url=http://americanhistory.si.edu/collections/object.cfm?key=35&objkey=116 | title="Hello, Dolly" Dress | publisher=National Museum of American History, Smithsonian Institution | accessdate=2008-06-19}}</ref> While Miss Channing's Harmonia Gardens gown is in the Smithsonian, the remainder of the original Freddy Wittop costumes are now housed in the permanent collection of the Costume World Broadway Collection, a theatrical museum dedicated to Broadway costuming located in [[Pompano Beach, Florida]].<ref>[http://www.costumeworld.com/category/broadway-collection/ "Broadway Collection"]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} costumeworld.com, accessed April 2, 2012</ref>


==Footnotes==
{{reflist|30em}}

==References==
*{{cite book | title = Broadway Musicals: The 101 Greatest Shows of All Time | author = Bloom, Ken |author2=Frank Vlastnik | publisher = Black Dog & Leventhal Publishers | location = New York, New York | isbn = 1-57912-390-2 | pages = 152–155 | date = 2004-10-01}}
* {{cite book | title = At This Theatre | author = Botto, Louis | editor = Robert Viagas | publisher = Applause Books | isbn = 1-55783-566-7 | date = 2002-09-01 | url = https://archive.org/details/atthistheatre10000bott }}
*Bovsun, Mara. [https://web.archive.org/web/20061101193013/http://www.barbra-archives.com/articles/streisand_dolly_bovsun_article.html From 'Hello, Dolly!': Dolly Gallagher Levi.] barbra-archives.com. Retrieved on 2007-04-08. 
*{{cite book | title = Broadway: the American musical | author = Kantor, Michael | author2 = Laurence Maslon | location = New York, New York | publisher = Bulfinch Press | year = 2004 | isbn = 0-8212-2905-2 | url = https://archive.org/details/broadwayamerican00kant }}
*[http://www.imagi-nation.com/moonstruck/albm69.html Hello, Dolly!] imagi-nation.com. Retrieved on 2007-04-08.
*{{cite book | title = Show Tunes | author = Suskin, Steven | publisher = Oxford University Press US | location = New York | isbn = 0-19-512599-1 | date = 1999-01-01}}

==External links==
{{Commons category|Hello, Dolly! (musical)}}
*[https://www.ibdb.com/broadway-show/hello-dolly-4310 Internet Broadway Database listing for all productions]
*[http://www.charlesnelsonreilly.com/ Charles Nelson Reilly's autobiographical film, in which he discusses ''Hello Dolly'']
*[http://www.playbill.com/article/long-runs-on-broadway-com-109864# "Long Runs on Broadway as of February 2017"]
*[https://web.archive.org/web/20071127174553/http://www.tuts.com/season07/dolly_study.pdf TUTS study guide]
*[http://www.guidetomusicaltheatre.com/shows_h/hello_dolly.htm Synopsis, Casting, Choreography, Scenes and Settings]
*[http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=HELLO,%20DOLLY!%20(PLAY)&pdate=19640117&byline=By%20HOWARD%20TAUBMAN&id=1077011430206 1964 New York Times review of original production]

{{Thornton Wilder}}
{{Jerry Herman}}
{{Navboxes
| title = Awards for ''Hello, Dolly!''
| list =
{{DramaDesk MusicalRevival}}
{{OlivierAward MusicalRevival 2001–2025}}
{{TonyAwardBestMusical 1947-1975}}
{{TonyAward MusicalRevival}}
{{TonyAward MusicalBook 1947-1975}}
{{TonyAward MusicalScore 1947-1975}}
}}

{{Authority control}}

[[Category:1964 musicals]]
[[Category:Broadway musicals]]
[[Category:Culture of Yonkers, New York]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Musicals based on plays]]
[[Category:Musicals by Jerry Herman]]
[[Category:Musicals by Michael Stewart (playwright)]]
[[Category:Plays set in New York City]]
[[Category:Plays set in the 19th century]]
[[Category:Tony Award for Best Musical]]
[[Category:West End musicals]]
[[Category:A Day Well Spent]]
[[Category:Tony Award-winning musicals]]

Hello, Dolly! (musical)

2020-04-03T22:24:17Z

JohnAnkerBow: Instrumentation added

{{short description|1964 Broadway musical}}
{{Infobox Musical
|name= Hello, Dolly!
|image= DollyPlay.jpg
|caption= 1964 Broadway poster
|music= [[Jerry Herman]]
|lyrics= Jerry Herman
|book= [[Michael Stewart (playwright)|Michael Stewart]]
|basis= ''[[The Matchmaker]]'' by [[Thornton Wilder]]
|productions= 1964 Broadway 1965 West End 1969 [[Hello, Dolly! (film)|Film]] 1975 Broadway revival 1978 Broadway revival 1995 Broadway revival 2009 West End revival 2017 Broadway revival 2018 US Tour 2020 London West End

|awards= 1964 [[Tony Award for Best Musical]] 1964 [[Tony Award for Best Book of a Musical]] 1964 [[Tony Award for Best Original Score]] 2010 [[Laurence Olivier Award for Best Musical Revival]] 2017 [[Tony Award for Best Revival of a Musical]]
}}

'''''Hello, Dolly!''''' is a 1964 musical with lyrics and music by [[Jerry Herman]] and a book by [[Michael Stewart (playwright)|Michael Stewart]], based on [[Thornton Wilder]]'s 1938 farce ''[[The Merchant of Yonkers]]'', which Wilder revised and retitled ''[[The Matchmaker]]'' in 1955. The musical follows the story of Dolly Gallagher Levi, a strong-willed matchmaker, as she travels to Yonkers, New York to find a match for the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder.

''Hello, Dolly!'' first debuted at the [[Fisher Building|Fisher Theater]] in Detroit on November 18, 1963<ref>{{Cite web|url=https://www.broadwayworld.com/shows/backstage.php?showid=5050|title=Hello, Dolly! - 1964 Broadway - Backstage & Production Info|website=www.broadwayworld.com|access-date=2019-11-23}}</ref>, directed and choreographed by [[Gower Champion]] and produced by [[David Merrick]], and moved to Broadway in 1964, winning 10 Tony Awards, including Best Musical. This set a record which the play held for 37 years. The show album ''Hello, Dolly! An Original Cast Recording'' was inducted into the Grammy Hall of Fame in 2002.<ref>[http://www.grammy.org/recording-academy/awards/hall-of-fame#h Grammy Hall of Fame Award] {{webarchive|url=https://web.archive.org/web/20150707235113/http://www.grammy.org/recording-academy/awards/hall-of-fame |date=2015-07-07 }}</ref> The album reached number one on the Billboard album chart on June 6, 1964, and was replaced the next week by [[Louis Armstrong]]'s album ''[[Hello, Dolly! (Louis Armstrong album)|Hello, Dolly!]]''<ref>Whitburn, Joel. ''Top Pop Albums'' (2010), Record Research, {{ISBN|0-89820-183-7}}, p.973</ref> [[Louis Armstrong]] also was featured in the film version of the show, performing a small part of the song "Hello, Dolly!".

The show has become one of the most enduring musical theater hits, with four Broadway revivals and international success. It was also made into the 1969 film ''[[Hello, Dolly! (film)|Hello Dolly!]]'' by [[20th Century Fox]], which won three Academy Awards, including [[Academy Award for Best Original Score|Best Score of a Musical Picture]] and was nominated in four other categories, including [[Academy Award for Best Picture|Best Picture]] at the [[42nd Academy Awards]].

==History==
The plot of ''Hello, Dolly!'' originated in the 1835 English play ''A Day Well Spent'' by [[John Oxenford]], which [[Johann Nestroy]] adapted into the farce ''[[Einen Jux will er sich machen]]'' (''He Will Go on a Spree'' or ''He'll Have Himself a Good Time''). [[Thornton Wilder]] adapted Nestroy's play into his 1938 farcical play ''The Merchant of Yonkers''. That play was a flop, so he revised it and retitled it as ''[[The Matchmaker]]'' in 1955, expanding the role of Dolly (played by [[Ruth Gordon]]).<ref name=London2008>[http://www.indielondon.co.uk/Theatre-Review/hello-dolly-new-wimbledon-theatre-review "Hello Dolly! – New Wimbledon Theatre"] IndieLondon, March 2008</ref> ''The Matchmaker'' became a hit and was much revived and made into [[The Matchmaker (1958 film)|a 1958 film]] starring [[Shirley Booth]]. However, the 1891 musical ''[[A Trip to Chinatown]]'' also features a meddlesome widow who strives to bring romance to several couples and to herself in a big city restaurant.<ref>Saltzman, Simon. [http://www.curtainup.com/hellodollys.html "A CurtainUp Feature. Hello Dollys. . .They Never Say Good-Bye"] ''Curtain Up'', 2006, retrieved March 16, 2017</ref>

The role of Dolly Gallagher Levi was originally written for [[Ethel Merman]] but she turned it down, as did [[Mary Martin]]—although both eventually played it.<ref name=London2008/> Merrick then auditioned [[Nancy Walker]], but he hired [[Carol Channing]] who created her signature role in Dolly.<ref name=Musicals101>Kenrick, John. [http://www.musicals101.com/1960bway.htm " 'Hello, Dolly!' article"] Musicals101.com</ref> Director [[Gower Champion]] was not the producer's first choice, but [[Hal Prince]] and others turned it down, among them [[Jerome Robbins]] and [[Joe Layton]].<ref>Gilvey, John Anthony. ''Before the Parade Passes by: Gower Champion and the Glorious American Musical'' (2005), St. Martin's Press, {{ISBN|0-312-33776-0}}, p. 117</ref>

''Hello, Dolly!'' had rocky tryouts in [[Detroit, Michigan]] and Washington, D.C.<ref name=Musicals101/> After receiving the reviews, the creators made major changes to the script and score, including the addition of the song "Before the Parade Passes By".<ref>Gilvey, p. 149</ref> The show was originally entitled ''Dolly, A Damned Exasperating Woman'',<ref>Bloom, p. 152.</ref> then ''Call on Dolly'', but Merrick changed it upon hearing [[Louis Armstrong]]'s version of "Hello, Dolly". The show became one of the most iconic Broadway shows of the latter half of the 1960s, running for 2,844 performances, and was the longest-running musical in Broadway history for a time.<ref>Kantor, p. 302</ref>

==Synopsis==

Sources: Tams-Witmark<ref>[http://www.tamswitmark.com/shows/hello-dolly/ ''Hello, Dolly!''] tamswitmark.com, accessed December 20, 2016</ref> Guide to Musical Theatre<ref>[http://www.guidetomusicaltheatre.com/shows_h/hello_dolly.htm ''Hello, Dolly!''] guidetomusicaltheatre.com, accessed December 20, 2016</ref> Masterworks Broadway<ref>[http://www.masterworksbroadway.com/music/hello-dolly-1967-broadway-cast/ ''Hello, Dolly!"] masterworksbroadway.com, accessed December 20, 2016</ref>

===Act I===
[[File:Carol Channing - 1964.jpg|thumb|right|[[David Burns (actor)|David Burns]] and [[Carol Channing]] in the original Broadway cast, 1964 ]]
As the nineteenth becomes the 20th century, all of [[New York City]] is excited because widowed but brassy Dolly Gallagher Levi is in town ("Call on Dolly"). Dolly makes a living through what she calls "meddling" – matchmaking and numerous sidelines, including dance instruction and [[mandolin]] lessons ("I Put My Hand In"). She is currently seeking a wife for grumpy Horace Vandergelder, the well-known half-a-millionaire, but it becomes clear that Dolly intends to marry Horace herself. Ambrose Kemper, a young artist, wants to marry Horace's weepy niece Ermengarde, but Horace opposes this because Ambrose's vocation does not guarantee a steady living. Ambrose enlists Dolly's help, and they travel to [[Yonkers, New York]] to visit Horace, who is a prominent citizen there and owns Vandergelder's Hay and Feed.

Horace explains to his two clerks, Cornelius Hackl and Barnaby Tucker, that he is going to get married because "It Takes a Woman" to cheerfully do all the household chores. He plans to travel with Dolly to New York City to march in the Fourteenth Street Association Parade and propose to the widow Irene Molloy, who owns a hat shop there. Dolly arrives in Yonkers and "accidentally" mentions that Irene's first husband might not have died of natural causes, and also mentions that she knows an heiress, Ernestina Money, who may be interested in Horace. Horace leaves for New York and leaves Cornelius and Barnaby to run the store.

Cornelius decides that he and Barnaby need to get out of Yonkers. They'll go to New York, have a good meal, spend all their money, see the stuffed whale in Barnum's museum, almost get arrested, and each kiss a girl! They blow up some tomato cans to create a terrible stench and a pretext to close the store. Dolly mentions that she knows two ladies in New York they should call on: Irene Molloy and her shop assistant, Minnie Fay. She tells Ermengarde and Ambrose that she'll enter them in the [[polka]] competition at the upscale Harmonia Gardens Restaurant in New York City so Ambrose can demonstrate his ability to be a breadwinner to Horace. Cornelius, Barnaby, Ambrose, Ermengarde and Dolly take the train to New York ("Put on Your Sunday Clothes").

Irene and Minnie open their hat shop for the afternoon. Irene wants a husband, but does not love Horace Vandergelder. She declares that she will wear an elaborate hat to impress a gentleman ("Ribbons Down My Back"). Cornelius and Barnaby arrive at the shop and pretend to be rich. Horace and Dolly arrive at the shop, and Cornelius and Barnaby hide from him. Irene inadvertently mentions that she knows Cornelius Hackl, and Dolly tells her and Horace that even though Cornelius is Horace's clerk by day, he's a New York playboy by night; he's one of ''the'' Hackls. Minnie screams when she finds Cornelius hiding in the armoire. Horace is about to open the armoire himself, but Dolly, Irene and Minnie distract him with patriotic sentiments related to subjects like Betsy Ross and The Battle of the Alamo shown in the famous lyrics "Alamo, remember the Alamo!" ("Motherhood March"). Cornelius sneezes, and Horace storms out, realizing there are men hiding in the shop, but not knowing they are his clerks.

Dolly arranges for Cornelius and Barnaby, who are still pretending to be rich, to take the ladies out to dinner to the Harmonia Gardens restaurant to make up for their humiliation. She teaches Cornelius and Barnaby how to dance since they always have dancing at such establishments ("Dancing"). Soon, Cornelius, Irene, Barnaby, and Minnie are happily dancing. They go to watch the great 14th Street Association Parade together. Alone, Dolly decides to put her dear departed husband Ephram behind her and to move on with life "Before the Parade Passes By". She asks Ephram's permission to marry Horace, requesting a sign from him. Dolly catches up with the annoyed Vandergelder, who has missed the whole parade, and she convinces him to give her matchmaking one more chance. She tells him that Ernestina Money would be perfect for him and asks him to meet her at the swanky Harmonia Gardens that evening.

===Act II===
[[File:Carol Channing Hello Dolly 1966.jpg|thumb|right|Milo Boulton and [[Carol Channing]] in one of several national tours, 1966 ]]
Cornelius is determined to get a kiss before the night is over, but Barnaby isn't so sure. As the clerks have no money for a carriage, they tell the girls that walking to the restaurant shows that they've got "Elegance". At the Harmonia Gardens Restaurant, Rudolph, the head waiter, prepares his service crew for Dolly Gallagher Levi's return: their usual lightning service, he tells them, must be "twice as lightning" ("The Waiters' Gallop"). Horace arrives with his date, but she proves neither as rich nor as elegant as Dolly had implied; furthermore she is soon bored by Horace and leaves, as Dolly had planned she would.

Cornelius, Barnaby, and their dates arrive, unaware that Horace is also dining at the restaurant. Irene and Minnie, inspired by the restaurant's opulence, order the menu's most expensive items. Cornelius and Barnaby grow increasingly anxious as they discover they have little more than a dollar left. Dolly makes her triumphant return to the Harmonia Gardens and is greeted in style by the staff ("Hello, Dolly!") She sits in the now-empty seat at Horace's table and proceeds to eat a large, expensive dinner, telling the exasperated Horace that no matter what he says, she will not marry him. Barnaby and Horace hail waiters at the same time, and in the ensuing confusion each drops his wallet and inadvertently picks up the other's. Barnaby is delighted that he can now pay the restaurant bill, while Horace finds only a little spare change. Barnaby and Cornelius realize that the wallet must belong to Horace. Cornelius, Irene, Barnaby and Minnie try to sneak out during "The [[Polka]] Contest", but Horace recognizes them and spots Ermengarde and Ambrose as well. The ensuing free-for-all culminates in a trip to night court.

Cornelius and Barnaby confess that they have no money and have never been to New York before. Cornelius declares that even if he has to dig ditches the rest of his life, he'll never forget the day because he had met Irene. Cornelius, Barnaby, and Ambrose then each profess their love for their companion ("It Only Takes A Moment"). Dolly convinces the judge that their only crime was being in love. The judge finds everyone innocent and cleared of all charges, but Horace is declared guilty and forced to pay damages. Dolly mentions marriage again, and Horace declares that he wouldn't marry her if she were the last woman in the world. Dolly angrily bids him "So Long, Dearie", telling him that while he's bored and lonely, she'll be living the high life.

The next morning, back at the hay and feed store, Cornelius and Irene, Barnaby and Minnie, and Ambrose and Ermengarde each set out on new life's paths. A chastened Horace Vandergelder finally admits that he needs Dolly in his life, but Dolly is unsure about the marriage until her late husband sends her a sign. Vandergelder spontaneously repeats a saying of Ephram's: "Money is like manure. It's not worth a thing unless it's spread about, encouraging young things to grow." Horace tells Dolly life would be dull without her, and she promises in return that she'll "never go away again" ("Hello, Dolly" (reprise)).

==Characters==
* '''Dolly Gallagher Levi''': A widow in her middle years who has decided to begin her life again. She is a matchmaker, meddler, opportunist, and a life-loving woman.
* '''Horace Vandergelder''': The proprietor of a Hay & Feed store and a client of Dolly Gallagher Levi's. A well-known half-a-millionaire, he is a widower, gruff, authoritative, and set in his ways.
* '''Cornelius Hackl''': Vandergelder's chief clerk who yearns for one exciting day in NYC. Energetic, enthusiastic, and adventurous young man who has a sweet innocence about him.
* '''Barnaby Tucker''': An assistant to Cornelius at Vandergelder's Hay & Feed store. He is sweet, naïve, energetic, and a follower.
* '''Irene Molloy''': A widow and a beautiful, smart, fun-loving milliner with a hat shop in New York. Dolly has introduced her to Horace Vandergelder but she yearns for romance.
* '''Minnie Fay''': A young girl who works in Irene's hat shop. Irene's assistant, she is naïve, strait-laced, fresh, and a follower.
* '''Ambrose Kemper''': A young and explosive struggling artist seeking to marry Ermengarde.
* '''Ermengarde''': The young niece of Horace Vandergelder. She cries often and wants her independence and wants to marry Ambrose.
* '''Ernestina Money''': An eccentric-looking girl in need of Dolly's matchmaker services.
* '''Rudolf Reisenweber''': Maître d' of the Harmonia Gardens restaurant.
* '''Judge''': A white-whiskered night court judge. Easily moved to tears by romance.
* '''Mrs. Rose''': An old friend of Dolly's.

==Characters and original cast==
{| class="wikitable" style="width:1000px;"
|-
! Character
! [[Broadway theatre|Broadway]] (1964)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-2810 " 'Hello, Dolly!' Broadway, 1964"] ibdb.com, retrieved January 15, 2018</ref>
! [[West End theatre|West End]] (1965)<ref name=london>[http://www.thisistheatre.com/londonshows/hellodolly.html " 'Hello, Dolly!' London"] thisistheatre.com, retrieved January 15, 2018</ref><ref>[https://www.broadwayworld.com/shows/cast.php?showid=5052#content " 'Hello, Dolly!' West End 1965"] broadwayworld.com, retrieved January 16, 2018</ref>
! Movie (1969)<ref>[http://www.tcm.com/tcmdb/title/77721/Hello-Dolly-/ " 'Hello, Dolly!' Film"] tcm.com, retrieved January 15, 2018</ref>
! Broadway (1975)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-3769 " 'Hello, Dolly!' Broadway, 1975"] ibdb.com, retrieved January 15, 2018</ref>
! Broadway (1978)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-4044 " 'Hello, Dolly!' Broadway, 1978"] ibdb.com, retrieved January 15, 2018</ref>
! West End (1979)<ref name=london/>
! West End (1983)<ref name=london/>
! Broadway (1995)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-4308 " 'Hello, Dolly!' Broadway, 1995"] ibdb.com, retrieved January 15, 2018</ref>
! [[Paper Mill Playhouse]] (2006)<ref>Gans, Andrew. [http://www.playbill.com/article/casting-complete-for-paper-mill-hello-dolly-charles-and-baldwin-to-join-feldshuh-com-132450# "Casting Complete for Paper Mill 'Hello, Dolly!'; Charles and Baldwin to Join Feldshuh"] Playbill, May 8, 2006</ref><ref>Miller, Mark. [http://www.theatermania.com/new-jersey-theater/reviews/06-2006/hello-dolly_8423.html "Review. 'Hello, Dolly!'] theatermania.com, June 11, 2006</ref>
! West End (2009)<ref>Blank, Matthew. [http://www.playbill.com/article/photo-call-hello-dolly-at-regents-park-open-air-theatre-in-london-com-163849# "PHOTO CALL: 'Hello, Dolly!' at Regent's Park Open Air Theatre in London"] Playbill, April 26, 2009</ref>
! Broadway (2017)<ref>[https://www.ibdb.com/broadway-production/hello-dolly-507877 " 'Hello, Dolly!' Broadway, 2017"] ibdb.com, retrieved January 15, 2018</ref>
! US National Tour (2018)<ref>{{cite web|url=https://www.broadwayworld.com/shows/cast.php?showid=332568 |title=Hello, Dolly! Original US Tour Cast – 2018 US Tour |website=Broadway World |accessdate=2018-02-17}}</ref>
|-
! Dolly Gallagher Levi
| style="text-align:center;"| [[Carol Channing]]
| style="text-align:center;"| [[Mary Martin]]
| style="text-align:center;" | [[Barbra Streisand]]
| style="text-align:center;"| [[Pearl Bailey]]
| style="text-align:center;"| Carol Channing
| style="text-align:center;"| Carol Channing
| style="text-align:center;"|[[Danny La Rue]]
| style="text-align:center;"| Carol Channing
| style="text-align:center;"| [[Tovah Feldshuh]]
| style="text-align:center;"| [[Samantha Spiro]]
| style="text-align:center;"| [[Bette Midler]]
| style="text-align:center;"| [[Betty Buckley]]
|-
! Horace Vandergelder
| style="text-align:center;"| [[David Burns (actor)|David Burns]]
| style="text-align:center;"| [[Loring Smith]]
| style="text-align:center;" | [[Walter Matthau]]
| style="text-align:center;"| [[Billy Daniels]]
| style="text-align:center;"| [[Eddie Bracken]]
| style="text-align:center;"| Eddie Bracken
| style="text-align:center;"| [[Lionel Jeffries]]
| style="text-align:center;"| [[Jay Garner (actor)|Jay Garner]]
| style="text-align:center;"| [[Walter Charles]]
| style="text-align:center;"| [[Allan Corduner]]
| style="text-align:center;"| [[David Hyde Pierce]]
| style="text-align:center;"|[[Lewis J. Stadlen]]
|-
! Cornelius Hackl
| style="text-align:center;"| [[Charles Nelson Reilly]]
| style="text-align:center;"| [[Garrett Lewis]]
| style="text-align:center;" | [[Michael Crawford]]
| style="text-align:center;"| Terrence Emanuel
| style="text-align:center;"| [[Lee Roy Reams]]
| style="text-align:center;"| [[Tudor Davies]]
| style="text-align:center;"| Michael Sadler
| style="text-align:center;"| Michael DeVries
| style="text-align:center;"| Jonathan Rayson
| style="text-align:center;"| Daniel Crossley
| style="text-align:center;"| [[Gavin Creel]]
| style="text-align:center;"| Nic Rouleau
|-
! Barnaby Tucker
| style="text-align:center;"| Jerry Dodge
| style="text-align:center;"| Johnny Beecher
| style="text-align:center;" | [[Danny Lockin]]
| style="text-align:center;"| Grenoldo Frazier
| style="text-align:center;"| Robert Lydiard
| style="text-align:center;"| Richard Drabble
| style="text-align:center;"| [[Mark Haddigan]]
| style="text-align:center;"| [[Cory English]]
| style="text-align:center;"| Brian Sears
| style="text-align:center;"| Oliver Brenin
| style="text-align:center;"| [[Taylor Trensch]]
| style="text-align:center;"|Jess LeProtto
|-
! Irene Molloy
| style="text-align:center;"| [[Eileen Brennan]]
| style="text-align:center;"| Marilynn Lovell
| style="text-align:center;" | [[Marianne McAndrew]]
| style="text-align:center;"| Mary Louise
| style="text-align:center;"| Florence Lacey
| style="text-align:center;"| Maureen Scott
| style="text-align:center;"| Lorna Dallas
| style="text-align:center;"| Florence Lacey
| style="text-align:center;"| [[Kate Baldwin]]
| style="text-align:center;"| [[Josefina Gabrielle]]
| style="text-align:center;"|[[Kate Baldwin]]
| style="text-align:center;"|Analisa Leaming
|-
! Minnie Fay
| style="text-align:center;"| Sondra Lee
| style="text-align:center;"| Coco Ramirez
| style="text-align:center;" |[[E. J. Peaker|E.J. Peaker]]
| style="text-align:center;"| [[Chip Fields]]
| style="text-align:center;"| Alexandra Korey
| style="text-align:center;"| Mandy More
| style="text-align:center;"| Pollyann Tanner
| style="text-align:center;"| Lori Ann Mahl
| style="text-align:center;"| Jessica-Snow Wilson
| style="text-align:center;"| Akiya Henry
| style="text-align:center;"| [[Beanie Feldstein]]
| style="text-align:center;"|Kristen Hahn
|-
! Ambrose Kemper
| style="text-align:center;"| Igors Gavon
| style="text-align:center;"| Mark Alden
| style="text-align:center;" | [[Tommy Tune]]
| style="text-align:center;"| Howard Porter
| style="text-align:center;"| Michael C. Booker
| style="text-align:center;"|
| style="text-align:center;"| David Ellen
| style="text-align:center;"| James Darrah
| style="text-align:center;"| [[Drew Gehling]]
| style="text-align:center;"| Mark Anderson
| style="text-align:center;"| Will Burton
| style="text-align:center;"|Garrett Hawe
|-
! Ermengarde
| style="text-align:center;"| [[Alice Playten]]
| style="text-align:center;"| Beverlee Weir
| style="text-align:center;" | Joyce Ames
| style="text-align:center;"| Karen Hubbard
| style="text-align:center;"| K.T. Baumann
| style="text-align:center;"|
| style="text-align:center;"| Sue Latimer
| style="text-align:center;"| Christine DeVito
| style="text-align:center;"|[[Lauren Marcus]]
| style="text-align:center;"| Clare Louise Connolly
| style="text-align:center;"| [[Melanie Moore]]
| style="text-align:center;"|Morgan Kirner
|-
! Ernestina
| style="text-align:center;"| [[Mary Jo Catlett]]
| style="text-align:center;"| Judith Drake
| style="text-align:center;" | Judy Knaiz
| style="text-align:center;"| Bessye Ruth Scott
| style="text-align:center;"| P.J. Nelson
| style="text-align:center;"|
| style="text-align:center;"| Carol Kaye
| style="text-align:center;"| Monica M. Wemitt
| style="text-align:center;"| Anna McNeely
| style="text-align:center;"|
| style="text-align:center;"| [[Jennifer Simard]]
| style="text-align:center;"| Jessica Sheridan
|-
! Rudolph
| style="text-align:center;"| [[David Hartman (TV personality)|David Hartman]]
| style="text-align:center;"| Robert Hocknell
| style="text-align:center;" | David Hurst
| style="text-align:center;"| Jonathan Wynne
| style="text-align:center;"| John Anania
| style="text-align:center;"|
| style="text-align:center;"| Jeremy Hawk
| style="text-align:center;"| Steve Pudenz
| style="text-align:center;"| William Solo
| style="text-align:center;"|
| style="text-align:center;"| Kevin Ligon
| style="text-align:center;"|Wally Dunn
|}

===Notable Broadway cast replacements===
'''Broadway 1964'''<ref>[https://www.ibdb.com/broadway-production/hello-dolly-2810#Replacements_4310 "''Hello, Dolly!'' 1964 Replacements"] Playbill, accessed September 7, 2019</ref>

*Dolly: [[Pearl Bailey]] (November 12, 1967), [[Thelma Carpenter]], [[Ethel Merman]] (March 28, 1970), [[Phyllis Diller]] (December 26, 1969), [[Bibi Osterwald]] (November 6, 1967), [[Betty Grable]] (June 12, 1967), [[Martha Raye]] (February 27, 1967), [[Ginger Rogers]] (August 9, 1965)<ref name=dolly64/>
*Horace: [[Cab Calloway]] (November 12, 1967), [[Richard Deacon (actor)|Richard Deacon]], [[Max Showalter]] (March 13, 1967)<ref name=dolly64/>
*Cornelius: [[Will Mackenzie]], [[Russell Nype]](March 28, 1970)<ref name=dolly64/>
*Barnaby: [[Danny Lockin]] (Barnaby from the [[Hello, Dolly! (film)|1969 film]]<ref name=dolly64/>
*Irene: [[Ernestine Jackson]]<ref name=dolly64/>
*Minnie: [[Georgia Engel]] (December 26, 1969), [[Leland Palmer (actress)|Leland Palmer]] (June 30, 1967)<ref name=dolly64/>
*Ernestina: [[Mabel King]] (November 12, 1967)<ref name=dolly64>[http://www.playbill.com/production/hello-dolly-st-james-theatre-vault-0000004200 "''Hello, Dolly!'' 1964 Person List"] Playbill Vault, accessed September 6, 2019</ref>

'''Broadway 2017'''

*Dolly: [[Bernadette Peters]]<ref name=":0"/><ref name=replace>[https://www.ibdb.com/broadway-production/hello-dolly-507877#Replacements_4310 "''Hello, Dolly!'' Replacements 2017-2018"] ibdb.com, accessed September 6, 2019</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/read-the-reviews-for-bernadette-peters-star-turn-in-broadways-hello-dolly# "Read the Reviews for Bernadette Peters’ Star Turn in Broadway’s ''Hello, Dolly!''"] playbill, February 23, 2018</ref><ref name=variety>Stasio, Marilyn. [http://variety.com/2018/legit/reviews/hello-dolly-review-bernadette-peters-1202707835/ "Broadway Review: Bernadette Peters in ‘Hello, Dolly!’"] ''Variety'', February 22, 2018</ref>
*Dolly: [[Donna Murphy]] (alternate at certain performances only)<ref name=replace/><ref>McPhee, Ryan. [http://www.playbill.com/article/read-reviews-for-donna-murphy-in-hello-dolly# "Read Reviews for Donna Murphy in ''Hello, Dolly!''"] Playbill, July 10, 2017</ref><ref name=donna/>
*Horace: [[Victor Garber]]<ref name=":0"/><ref name=replace/><ref name
*Cornelius: [[Santino Fontana]]<ref name=replace/>
*Barnaby: [[Charlie Stemp]]<ref name=stemp/><ref name=replace/><ref name=variety/>
*Ernestina: [[Alli Mauzey]]<ref name=replace/><ref>McPhee. [http://www.playbill.com/article/alli-mauzey-joins-broadways-hello-dolly# "Alli Mauzey Joins Broadway’s ''Hello, Dolly!''"] Playbill, March 19, 2018</ref>

===Notable 2019 U.S. Tour replacements===
*[[Carolee Carmello]] as Dolly<ref name=tour18/><ref name=passerelle>[http://www.playbill.com/article/carolee-carmello-walks-the-passerelle-headlining-hello-dolly-tour-beginning-september-25 "Carolee-Carmello-Walks-the-Passerelle"] Playbill, September 25, 2019</ref>
*[[John Bolton (actor)|John Bolton]] as Horace Vandergelder<ref name=passerelle/>

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "Call On Dolly" – Ensemble
* "I Put My Hand In" — Dolly
* "It Takes a Woman" — Horace, Men
* "It Takes a Woman (Reprise)" – Horace
* "World, Take Me Back" – Dolly*
* "Put On Your Sunday Clothes" — Cornelius, Barnaby, Dolly, Ambrose, Ermengarde, and Ensemble
* "Ribbons Down My Back" — Irene
* "Ribbons Down My Back (Reprise)" – Irene
* "Motherhood" — Dolly, Irene, Minnie Fay, and Horace
* "Dancing" — Dolly, Cornelius, Barnaby, Irene, Minnie Fay, and Ensemble
* "Love, Look in My Window" – Dolly*
* "Before the Parade Passes By" — Dolly and the Company**
* "Finale Act I: Before the Parade Passes By" – Dolly
{{col-break}}

;Act II
* Entr'acte – Orchestra
* "Penny in My Pocket" – Vandergelder^
* "Elegance" – Cornelius, Barnaby, Irene, Minnie Fay
* "The Waiters' Gallop" – Rudolph and the Waiters
* "[[Hello, Dolly! (song)|Hello, Dolly!]]" – Dolly, Rudolph, Waiters, Cooks
* "The Waiters' Gallop (Reprise)" – Rudolph and Waiters
* "The Polka Contest" – Ambrose, Ermengarde, Irene, Cornelius, Minnie Fay, Barnaby, and the Contestants***
* "It Only Takes a Moment" – Cornelius, Irene, Ensemble
* "So Long Dearie" – Dolly
* "Hello, Dolly!" (Reprise) – Dolly and Vandergelder
* "Finale Act II: Hello, Dolly! / Dancing / It Only Takes a Moment / Put On Your Sunday Clothes / Hello, Dolly!" — The Company
{{col-end}}

<nowiki>*</nowiki>Song cut before Broadway Opening, reinstated when Ethel Merman joined to play Dolly. 
<nowiki>**</nowiki>Song was not included in the original version. During the tryouts in [[Detroit]], [[Gower Champion]] invited [[Charles Strouse]] and [[Lee Adams]] to consult on improvements to the musical. [[David Merrick]] was aware of their involvement, but Jerry Herman was not, even though Strouse was under impression that Herman knew about it. Strouse and Adams suggested re-working the ending of Act I, wrote a new song "Before the Parade Passes By" and sent it to Champion. By the time the next set of tryouts in Washington began, a different number with the same name, written by Merrick, was included in the show. After Strouse and Adams threatened to sue the production, they were given a songwriting credit for the song. That conflict led to an eight-year-long feud between Gower and Michael Stewart on one side and Strouse and Adams on the other.<ref>{{cite web|publisher=Richard Skipper|url=http://richardskipper.blogspot.com/2013/03/charles-strouse-on-his-involvement-with.html|title=Charles Strouse on his Involvement with Hello, Dolly!|date=1 March 2013}}</ref> The official songwriting credits as listed with [[ASCAP]] have Adams, Herman and Strouse as co-writers.<ref>{{cite web|publisher=[[ASCAP]]|url=https://www.ascap.com/repertory#ace/search/workID/320126047|title=Before the Parade Passes By songwriter listing|accessdate=4 March 2020}}</ref> 
<nowiki>***</nowiki>Song replaced "Come and Be My Butterfly" during Broadway Run.

^Horace Vandergelder's solo "Penny in My Pocket", although it received rave responses out of town, was cut prior to the Broadway opening for reasons of time. For the 2017 Broadway Revival, it was added back in as the opening of Act Two in front of the curtain. It is not, however, included in the licensed version for stock and amateur productions from Tams Witmark.

The song "Elegance", though credited to Herman, was written by [[Bob Merrill]] for the 1957 show ''[[New Girl in Town]]'' but deleted from the original production.<ref>Suskin, ''Show Tunes'', p. 263</ref>

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Hello, Dolly! |url=https://www.concordtheatricals.com/p/44630/hello-dolly |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Reed I (Flute, Piccolo, Clarinet & Alto Sax), Reed 2 (Clarinet & Alto Sax), Reed 3 (Clarinet & Tenor Sax), Reed 4 (Clarinet, Bass Clarinet & Baritone Sax), Trumpet 1, Trumpet 2, Trumpet 3, Trombone 1, Trombone 2, Guitar/Banjo, Piano/Celeste, 2 Violin I (optional), Violin 2 (optional), Viola (optional), Cello (optional), Bass/Tuba (Tuba optional) & Percussion I & II (Timpani, Bass Drum, Snare, Suspended Cymbals, Hand Cymbals, Vibraphone, Xylophone, Glockenspiel, Bell Plate, Wood Block, Cow Bell, Slide Whistle, & Ratchet)

==Productions==

===Original Broadway production===
The musical, directed and [[choreographed]] by [[Gower Champion]] and produced by David Merrick, opened on January 16, 1964, at the [[St. James Theatre]] and closed on December 27, 1970, after 2,844 performances. [[Carol Channing]] starred as Dolly, with a supporting cast that included [[David Burns (actor)|David Burns]] as Horace, [[Charles Nelson Reilly]] as Cornelius, [[Eileen Brennan]] as Irene, Jerry Dodge as Barnaby, Sondra Lee as Minnie Fay, [[Alice Playten]] as Ermengarde, and Igors Gavon as Ambrose. Although facing competition from ''[[Funny Girl (musical)|Funny Girl]]'' with [[Barbra Streisand]], ''Hello, Dolly!'' swept the [[Tony Awards]] that year, winning awards in ten categories<ref>[https://web.archive.org/web/20010126160100/http://www.tams-witmark.com/musicals/hellodolly.html#brief " 'Hello, Dolly!' Listing"] tams-witmark.com, accessed March 29, 2012</ref> (out of eleven nominations) that tied the musical with the previous record keeper ''[[South Pacific (musical)|South Pacific]]'',{{Citation needed|date=January 2019}} record that remained unbroken for 37 years until ''[[The Producers (musical)|The Producers]]'' won twelve Tonys in 2001.<ref>{{Cite web|url=http://www.playbill.com/article/the-producers-beats-record-for-tony-wins-with-12-trophies-com-97014|title=The Producers Beats Record for Tony wins with 12 Trophies|last=Simonson|first=Robert|date=June 3, 2001|website=Playbill|language=en|access-date=2019-01-15}}</ref>
[[File:Pearl Bailey Ed Sullivan Show 1968.JPG|thumb|180px|[[Pearl Bailey]] as Dolly, 1968.]]

After Channing left the show, Merrick employed prominent actresses to play Dolly, including [[Ginger Rogers]], who started on August 9, 1965; [[Martha Raye]], starting on February 27, 1967; [[Betty Grable]], from June 12, 1967 to November 5, 1967; [[Pearl Bailey]] (in an all-black version) starting on November 12, 1967; [[Phyllis Diller]], as of December 26, 1969; and [[Ethel Merman]] (after having turned down the lead at the show's inception) from March 28, 1970 to December 27, 1970.<ref>[http://www.playbill.com/personlistpage/person-list?production=00000150-aea3-d936-a7fd-eef741440000&type=op# " 'Hello, Dolly' Cast Replacements"] Playbill, retrieved December 28, 2017</ref>

Two songs cut prior to the opening – typical [[Belt (music)|belt]] style songs "World, Take Me Back" and "Love, Look in My Window" – were restored for Merman's run. [[Thelma Carpenter]] played Dolly at all matinees during the Pearl Bailey production and subbed more than a hundred times, at one point playing all performances for seven straight weeks. [[Bibi Osterwald]] was the standby for Dolly in the original Broadway production, subbing for all the stars, including Bailey, despite the fact that Osterwald was a blue-eyed blonde. Bailey received a Special Tony Award in 1968.<ref>Sullivan, Dan. " 'Rosencrantz' and 'Hallelujah, Baby!' Garner Tonys: Zoe Caldwell and Balsam Capture Acting Honors", ''The New York Times'', April 22, 1968, p.58</ref>

The show received rave reviews,<ref name=Musicals101/><ref>Bovson article</ref> with "praise for Carol Channing and particularly Gower Champion."<ref>Green, Stanley. ''Encyclopedia of the Musical Theatre'', Da Capo Press, 1980, {{ISBN|0-306-80113-2}}, p. 183</ref> The original production became the [[List of the longest-running Broadway shows|longest-running musical]] (and third longest-running show)<ref>[http://www.playbill.com/celebritybuzz/article/75222-Long-Runs-on-Broadway "Long Runs on Broadway"] playbill.com, retrieved July 1, 2010</ref> in Broadway history up to that time, surpassing ''My Fair Lady'' and then being surpassed in turn by ''[[Fiddler on the Roof]].'' The Broadway production of ''Hello Dolly!'' grossed $27 million.<ref>Bloom, Ken, and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of all Time'', p. 302. Black Dog & Leventhal Publishers, New York, 2004. {{ISBN|1-57912-390-2}}</ref> ''Hello, Dolly!'' and ''Fiddler'' remained the longest-running Broadway record holders for nearly ten years until ''[[Grease (musical)|Grease]]'' surpassed them.

;Tour and regional Dollys
[[Dorothy Lamour]], [[Eve Arden]], [[Ann Miller]], [[Michele Lee]], [[Edie Adams]], and [[Yvonne De Carlo]] played the role on tour. [[Betty White]] appeared with the [[Kenley Players]] as Dolly in the summer of 1979. [[Molly Picon]] appeared as Dolly in a 1971 production by the [[North Shore Music Theatre]] of [[Beverly, Massachusetts]]. [[Lainie Kazan]] starred in a production at the [[Claridge Atlantic City]]. Both [[Tovah Feldshuh]] and [[Betsy Palmer]] played Dolly in productions by the [[Paper Mill Playhouse]]. [[Marilyn Maye]] also starred in several regional productions and recorded a full album of the score.

===Original London production===
''Hello, Dolly!'' premiered in the [[West End theatre|West End]] at the [[Theatre Royal, Drury Lane]] on December 2, 1965 and ran for 794 performances. Champion directed and choreographed, and the cast starred [[Mary Martin]] as Dolly (after she, as well as Merman, had turned down the role for the original run of the show), [[Loring Smith]] as Horace Vandergelder (Smith had created the Horace role in the original production of ''[[The Matchmaker]]''), Johnny Beecher as Barnaby, Garrett Lewis as Cornelius, Mark Alden as Ambrose Kemper, and Marilynn Lovell as Irene Molloy. [[Dora Bryan]] replaced Martin during the run.<ref>[http://baltimore.broadwayworld.com/bwidb/productions/Hello%2C_Dolly%21_5052/ "1965 London production"] BroadwayWorld.com</ref>

===Revivals===
The show has been revived four times on [[Broadway theatre|Broadway]]:
*November 6, 1975 – December 28, 1975, [[Minskoff Theatre]] – Starring [[Pearl Bailey]] and [[Billy Daniels]] in an all-black production (42 performances)
*March 5, 1978 – July 9, 1978, [[Lunt-Fontanne Theatre]] – Starring [[Carol Channing]] and [[Eddie Bracken]] (147 performances)
*October 19, 1995 – January 28, 1996, [[Lunt-Fontanne Theatre]] – Starring [[Carol Channing]] and [[Jay Garner (actor)|Jay Garner]] (116 performances)
*April 20, 2017 – August 25, 2018, [[Shubert Theatre (New York City)|Shubert Theatre]] – Starring [[Bette Midler]] and [[David Hyde Pierce]] (550 performances)

In the [[West End theatre|West End]] the show has been revived three times (to date, November 2019):
*1979 – Starring [[Carol Channing]] at the [[Theatre Royal, Drury Lane]] and [[Shaftesbury Theatre]]
*January 3, 1984 – April 27, 1984 – Starring female impersonator [[Danny La Rue]] as Dolly at the [[Prince of Wales Theatre]]<ref name=london/>
*July 30, 2009 – September 12, 2009 – Starring [[Samantha Spiro]] (Dolly) and [[Allan Corduner]] (Horace) at the [[Open Air Theatre, Regent's Park]].<ref>[https://openairtheatre.com/production/hellodolly ''Hello, Dolly!''] openairtheatre.com, retrieved January 15, 2018</ref> Spiro won the [[Olivier Award]] for her performance.

In 1989, there was a UK tour of the show directed and choreographed by Paul Kerryson, starring Dora Bryan. Kerryson went on to direct the show again in 2014 at the Curve Theatre in Leicester UK, starring Janie Dee.

On 22 November 2019, it was announced that a new production would run for a limited season at the [[Adelphi Theatre]] starring [[Imelda Staunton]], [[Jenna Russell]] and [[Andy Nyman]] from 11 August 2020, with direction by [[Dominic Cooke]].<ref>Wood, Alex. [https://www.whatsonstage.com/london-theatre/news/imelda-staunton-hello-dolly-west-end_50325.html "Imelda Staunton 'Hello Dolly' West End"] whatsonstage.com, November 22, 2019</ref><ref>{{cite web |url=https://www.bestoftheatre.co.uk/blog/post/hello-dolly-andy-nyman |title=Andy Nyman and Jenna Russell Join Imelda Staunton in the New Production of the Iconic Musical, Hello Dolly! |date=10 January 2020 |website=bestoftheatre.co.uk |accessdate=13 January 2020}}</ref>

===2017 Broadway revival/national tour===
[[File:Bette Midler Hello Dolly Broadway (34654432724).jpg|thumb|upright|2017 Broadway revival at the Shubert Theatre.]]

On January 19, 2016, it was announced that [[Bette Midler]] would play the title role in a Broadway revival of ''Hello, Dolly!''. Previews began March 15, 2017, officially opening on April 20, 2017, at the [[Shubert Theatre (New York City)|Shubert Theatre]].<ref>{{cite web |last1=Kennedy |first1=Mark |title=Bette Midler to return to Broadway in 'Hello, Dolly!' |url=http://bigstory.ap.org/article/4f7c279e89e04195a77f0d0e9537579d/bette-midler-return-broadway-hello-dolly |website=[[Associated Press]] |accessdate=20 January 2016 |url-status=dead |archiveurl=https://web.archive.org/web/20160121231903/http://bigstory.ap.org/article/4f7c279e89e04195a77f0d0e9537579d/bette-midler-return-broadway-hello-dolly |archivedate=21 January 2016 }}</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/get-a-first-look-at-bette-midler-in-hello-dolly# "Get a First Look at Bette Midler in 'Hello, Dolly!'] Playbill, March 14, 2017</ref><ref>{{cite news| title=Hello, Dolly! review – Bette Midler is irresistible in a riotous delight| url=https://www.theguardian.com/stage/2017/apr/21/hello-dolly-review-bette-midler-broadway-david-hyde-pierce| last=Soloski| first=Alexis| date=April 21, 2017| work=[[The Guardian]]| location=[[Manchester]]}}</ref>

The production was produced by [[Scott Rudin]], directed by [[Jerry Zaks]] and choreographed by [[Warren Carlyle]]. [[David Hyde Pierce]] played Horace Vandergelder.<ref>{{cite news| last=Gans| first=Andrew| title=David Hyde Pierce Will Join Bette Midler in Hello, Dolly! |url=http://www.playbill.com/article/david-hyde-pierce-will-join-bette-midler-in-hello-dolly-broadway-revival#| work=Playbill| date=May 17, 2016| accessdate=May 17, 2016}}</ref> Other principal casting for this revival included [[Kate Baldwin]] as Irene Molloy, [[Gavin Creel]] as Cornelius Hackl, Jennifer Simard as Ernestina Money, [[Taylor Trensch]] as Barnaby Tucker, [[Will Burton]] as Ambrose Kemper, [[Melanie Moore]] as Ermengarde, and<ref>Hetrick, Adam. [http://www.playbill.com/article/kate-baldwin-gavin-creel-jennifer-simard-join-bette-midler-hello-dolly "Kate Baldwin, Gavin Creel, Jennifer Simard Join Bette Midler 'Hello, Dolly!' "], ''Playbill'', September 16, 2016</ref> [[Beanie Feldstein]] as Minnie Fay.<ref>Viagas, Robert. [http://www.playbill.com/article/broadway-hello-dolly-casts-its-minnie-fay# "Broadway’s 'Hello, Dolly!' Casts Its Minnie Fay"], ''Playbill'', October 18, 2016</ref> [[Donna Murphy]] played the role of Dolly at Tuesday evening performances beginning in June 2017, as well as covering Midler's holiday dates.<ref name=donna>{{cite news| last=Hetrick| first=Adam| url=http://www.playbill.com/article/donna-murphy-will-play-matchmaker-once-a-week-in-broadways-hello-dolly#| title=Donna Murphy Will Play Matchmaker Once a Week in Broadway's 'Hello, Dolly!'| work=Playbill| date=October 20, 2016}}</ref> She played her final performance on January 7, 2018.<ref name=final/>

Midler, Pierce, Trensch, and Feldstein left the production on January 14, 2018.<ref name=final>McPhee, Ryan. [http://www.playbill.com/article/bette-midler-david-hyde-pierce-taylor-trensch-beanie-feldstein-bid-farewell-to-hello-dolly-january-14# "Bette Midler, David Hyde Pierce, Taylor Trensch, Beanie Feldstein Bid Farewell to 'Hello, Dolly!' January 14"] Playbill, January 14, 2018</ref> [[Bernadette Peters]] took over the role of Dolly with previews from January 20, 2018, officially on February 22, 2018, and [[Victor Garber]] took over the role of Horace Vandergelder.<ref name=":0">McPhee, Ryan. [http://www.playbill.com/article/bernadette-peters-will-succeed-bette-midler-in-broadways-hello-dolly# "Bernadette Peters Will Succeed Bette Midler in Broadway's 'Hello, Dolly!'"] Playbill, September 5, 2017</ref> [[Charlie Stemp]] assumed the role of Barnaby Tucker on January 20, 2018.<ref name=stemp>McPhee, Ryan. [http://www.playbill.com/article/charlie-stemp-will-make-broadway-debut-in-hello-dolly-alongside-bernadette-peters-and-victor-garber# "Charlie Stemp Will Make Broadway Debut in 'Hello, Dolly!' Alongside Bernadette Peters and Victor Garber"] Playbill, September 7, 2017</ref><ref>Green, Jesse. [https://www.nytimes.com/2018/02/22/theater/hello-dolly-review-bernadette-peters.html " Theater. ''Hello Dolly'' Review"] ''The New York Times'', February 22, 2018</ref> [[Santino Fontana]] temporarily played the role of Cornelius Hackl from March 2018 to May 6 while Gavin Creel recovered from back surgery. Creel returned to the role on May 8, 2018.<ref>McPhee, Ryan. [http://www.playbill.com/article/gavin-creel-returns-to-broadways-hello-dolly-may-8# "Gavin Creel Returns to Broadway's 'Hello, Dolly!' May 8"] Playbill, May 8, 2018</ref> Before Fontana's temporary engagement, understudy Christian Dante White played the role of Cornelius.<ref>{{Cite web|url=http://www.playbill.com/article/santino-fontana-steps-into-hello-dolly-on-broadway-march-13|title=Santino Fontana Steps into Hello, Dolly! on Broadway March 13 {{!}} Playbill|website=Playbill|language=en|access-date=2018-03-28}}</ref> The production closed on August 25, 2018, with Midler and Hyde Pierce returning to play Dolly and Horace (respectively) from July 17, 2018 to closing.<ref>McPhee, Ryan. [http://www.playbill.com/article/bette-midler-will-return-to-broadways-hello-dolly-tony-winning-revival-sets-closing-date# "Bette Midler Will Return to Broadway's 'Hello, Dolly!'; Tony-Winning Revival Sets Closing Date"] Playbill, April 20, 2018</ref>

[[Betty Buckley]] played the title role in the first national tour of the 2017 Broadway revival, which began performances in Cleveland, Ohio in October 2018 in the Connor Palace at Playhouse Square, after a tryout in Utica, New York in September 2018.<ref>Simakis, Andrea. [https://www.cleveland.com/onstage/index.ssf/2018/10/hello_dolly_betty_buckley_and.html "'Hello, Dolly!': Betty Buckley and a superb cast rediscover the legendary musical's bittersweet joy (review)"] cleveland.com, October 8, 2018</ref><ref>McPhee, Ryan. [http://www.playbill.com/article/hello-dolly-national-tour-starring-betty-buckley-begins-september-25# : 'Hello, Dolly!' National Tour, Starring Betty Buckley, Begins September 25"] Playbill, September 25, 2018</ref>

===International productions===
*The Australian production in 1965–66 starred [[Carole Cook]], produced by JC Williamson Theatres LTD. She was the second woman to play the role. Jack Goode as Horace and Bill Millican as Cornelius also starred. The show played at Her Majesty's Theatre, Sydney and Melbourne, and His Majesty's Theatre, Auckland in 1966.<ref>[http://www.callondolly.com/carole-cook/ "Call on Dolly"] callondolly.com, accessed September 24, 2016</ref><ref>[http://www.ovrtur.com/production/2900995/credits " 'Hello, Dolly!' Australia"] ovrtur.com, accessed September 24, 2016</ref><ref>[http://nla.gov.au/nla.cs-ma-an40491377 "Stage set for the J. C. Williamson production of 'Hello, Dolly!'"] nla.gov.au, accessed September 24, 2016</ref>
*The Israeli production in 1968–1970 starred [[Hanna Maron]] as Dolly Levi, one of the most famous actress on the Israel theater, on the "Alhambra" theater, produced by [[Giora Godik]], also starring [[Shraga Friedman]] as Horace Vandergelder, [[Gadi Yagil]] as Cornelius Hackl and [[Tzipi Shavit]] as Minnie Fay. The musical was a huge successful and Dolly remains one of Maron's lovable roles. The musical was translated to Hebrew by [[Haim Hefer]], a well-known songwriter and poet.<ref>{{cite web|url=https://www.pinterest.com/pin/126734176985732116/?amp_client_id=Zgh5X6b1RYdX5OVgykoGWkCr9BcfFZ1AvHxZIvACN0c9xIkcjw4RL5wVRClN37Kg |title=Hello Dolly Israeli Hebrew Musical Chana Maron Godik Original Cast LP 1968 | Set The Record Straight, Theatre & Movie Recordings | Pinterest | Hello dolly, Lp … |publisher=Pinterest |accessdate=2018-02-17}}</ref>
*In 1967, the Argentine singer and actress [[Libertad Lamarque]] starred the first [[Spanish language]] version of the musical in the Teatro Manolo Fabregas of [[Mexico City]]. Lamarque also starred the musical in [[Argentina]] the same year.<ref>[http://criticateatral2021.org/transcripciones/364_680728.php ''Critica Teatral: Libertad Lamarque in Hello, Dolly!'']</ref>
*In 1985, Cuban diva Rosita Fornes played Dolly in a Cuban production of ''Hello, Dolly'' by the Teatro Karl Marx in Havana, Cuba. She also played the role in Camaguey City and in a television production under director Manolo Rifat.<ref>[https://www.youtube.com/watch?v=hIwY_okq97E "YouTube video"]</ref>
*In 1989, Canadian theatre actress [[Nonnie Griffin]] played Dolly in a 10-month run of ''Hello Dolly'' in Toronto.<ref>{{cite encyclopedia|url=https://www.thecanadianencyclopedia.ca/en/article/nonnie-griffin-margaret|title=Nonnie Griffin|encyclopedia=[[The Canadian Encyclopedia]]|accessdate=September 1, 2019}}</ref>
*In 1996, Mexican cinema star [[Silvia Pinal]] starred a new version of the musical opposite [[Ignacio Lopez Tarso]] in the Teatro Silvia Pinal, in [[Mexico City]].<ref>[http://musicallatino.blogspot.mx/2013/12/figuras-del-musical-latinoamericano.html ''The Latin American Musical Comedy Stars: Silvia Pinal'']</ref>

* In 2018, the Mexican actress and singer [[Daniela Romo]] starred a new Mexican version of the musical in the [[Teatro de los Insurgentes]] in Mexico City.<ref>[https://carteleradeteatro.mx/2018/daniela-romo-y-jesus-ochoa-en-hello-dolly/ ''Cartelera de teatro: Daniela Romo in Hello, Dolly!'']</ref>

* In 2020, Lucía Galán (half of the [[Pimpinela]] singing duo) starred in the Argentinian version of the musical in the [[Teatro Opera]] in [[Buenos Aires]].<ref>{{Cite web|url=https://www.ticketek.com.ar/hello-dolly/teatro-opera-orbis-seguros|title=Hello, Dolly!|website=Ticketek|language=es|access-date=2019-12-31}}</ref>

===Tours===
*[[Mary Martin]] starred in a US tour, starting in April 1965 and playing in 11 cities. The production also toured in [[Japan]], [[Korea]] and [[Vietnam]] for a special USO performance for U.S. troops.<ref>[https://www.imdb.com/title/tt0397087/ Information about a documentary chronicling Martin's Asian tour in ''Hello, Dolly!''] imdb.com</ref><ref>Dibble, Susan. [https://www.stripes.com/news/from-the-s-s-archives-mary-martin-dolly-cast-in-tokyo-1.88252 "From the S&S archives: Mary Martin, 'Dolly!' cast in Tokyo"] ''Stars and Stripes'', September 8, 1965</ref><ref>[https://tamswitmark.com/blog_items/photo-gallery-hello-dolly-a-dozen-dollys/ "PHOTO GALLERY: ''Hello, Dolly!'' – A Dozen Dollys"] tamswitmark.com, accessed August 26, 2019</ref>
*A second US tour began in September 1965, headed by Channing, and ran for two years and nine months. [[Eve Arden]] and [[Dorothy Lamour]] were replacements.<ref>Green, Stanley."Encyclopedia of the Musical Theatre" (1980), Da Capo Press, {{ISBN|0-306-80113-2}}, p. 183</ref>
*In 2008, [[Anita Dobson]] toured in the UK.<ref>Edmonds, Richard. [http://www.thestage.co.uk/reviews/review.php/19781/hello-dolly "'Hello Dolly!' review"] thestage.co.uk, 8 February 2008</ref>
*[[Sally Struthers]] appeared as Dolly in the 50th anniversary tour of the musical, starting in October 2013.<ref>Hetrick, Adam. [http://www.playbill.com/news/article/50th-anniversary-tour-of-hello-dolly-starring-sally-struthers-parades-acros-210214# "50th Anniversary Tour of 'Hello, Dolly!', Starring Sally Struthers, Parades Across U.S. Beginning Oct. 5"] Playbill, October 5, 2013</ref>
*A tour of the 2017 Broadway revival began touring the U.S. in September 2018 in Utica, New York starring [[Betty Buckley]].<ref>{{cite web|url=http://www.playbill.com/article/tony-winner-betty-buckley-will-lead-hello-dolly-national-tour|title=Tony Winner Betty Buckley Will Lead Hello, Dolly! National Tour. The tour opened in Cleveland, Ohio. {{!}} Playbill|website=Playbill|language=en|access-date=2018-02-12}}</ref> The cast includes [[Lewis J. Stadlen]] as Horace Vandergelder, Nic Rouleau as Cornelius, Analisa Leaning as Irene Molloy, Jess LeProtto as Barnaby, Kristen Hahn as Minnie Fay, Garret Hawe as Ambrose Kemper, Morgan Kirner as Ermengarde, and Jessica Sheridan as Ernestina.<ref>{{Cite web|url=https://broadwaydirect.com/complete-casting-announced-national-tour-hello-dolly/|title=Complete Casting Announced for National Tour of Hello, Dolly!|date=2018-08-09|website=Broadway Direct|language=en-US|access-date=2018-12-22}}</ref> Buckley ended her run in the tour on August 25, 2019; [[Carolee Carmello]] took over as Dolly on September 24, 2019 in Kansas City, Missouri.<ref name=tour18>Gans, Andrew. [http://www.playbill.com/article/betty-buckley-ends-run-in-national-tour-of-hello-dolly-august-25# "Betty Buckley Ends Run in National Tour of ''Hello, Dolly!'' August 25"] Playbill, August 25, 2019</ref> The other cast changes effective in September 2019 include [[John Bolton (actor)|John Bolton]] as Horace, with new cast playing Cornelius, Barnaby, Minnie Fay, and Ambrose.<ref name=carolee>McPhee, Ryan. [http://www.playbill.com/article/see-whos-joining-carolee-carmello-in-the-new-company-of-hello-dolly-tour# "See Who’s Joining Carolee Carmello in the New Company of'' Hello, Dolly!'' Tour"] Playbill, September 4, 2019</ref> The tour schedule has been announced, with the last stop in Rochester, NY in March 2020.

==Critical reception==
Opening night reviews of the original production were generally positive, and Carol Channing's performance as Dolly Gallagher Levi was greatly acclaimed; however, some reviewers criticized the score and the libretto, implying that Channing's performance was responsible for the efficacy of the show. In his review of the opening night performance, ''[[The New York Times]]'' theatre critic Howard Taubman wrote

<blockquote>''Hello, Dolly!'' ... has qualities of freshness and imagination that are rare in the run of our machine-made musicals. It transmutes the broadly stylized mood of a mettlesome farce into the gusto and colors of the musical stage. ... Mr. Herman's songs are brisk and pointed and always tuneful ... a shrewdly mischievous performance by Carol Channing. ... Making the necessary reservations for the unnecessary vulgar and frenzied touches, one is glad to welcome ''Hello, Dolly!'' for its warmth, color and high spirits.<ref>Taubman, Howard. [http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=HELLO,%20DOLLY!%20(PLAY)&pdate=19640117&byline=By%20HOWARD%20TAUBMAN&id=1077011430206 "Hello Dolly!"]. ''The New York Times'', 1964</ref></blockquote>

John Chapman of the ''[[Daily News (New York)|New York Daily News]]'' lauded Carol Channing's performance, declaring her "the most outgoing woman on the musical stage today – big and warm, all eyes and smiles, in love with everybody in the theatre and possessing a unique voice ranging somewhat upward from a ''basso profundo''." He also wrote, "I wouldn't say that Jerry Herman's score is memorable."<ref name=Suskin>Suskin, Steven. ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre'', pp. 297–301. Schirmer Books, New York, 1990. {{ISBN|0-02-872625-1}}</ref> [[New York Post]] critic Richard Watts, Jr., wrote,

<blockquote>The fact that [''Hello, Dolly!''] seems to me short on charm, warmth, and the intangible quality of distinction in no way alters my conviction that it will be an enormous popular success. Herman has composed a score that is always pleasant and agreeably tuneful, although the only number that comes to mind at the moment is the lively title song. His lyrics could be called serviceable.<ref name=Suskin/></blockquote>

In the ''[[New York Herald Tribune]]'', [[Walter Kerr]] wrote,

<blockquote>''Hello, Dolly!'' is a musical comedy dream, with Carol Channing the girl of it. ... Channing opens wide her big-as-millstone eyes, spreads her white-gloved arms in ecstatic abandon, trots out on a circular runway that surrounds the orchestra, and proceeds to dance rings around the conductor. ... With hair like orange sea foam, a contralto like a horse's neighing, and a confidential swagger, [she is] a musical comedy performer with all the blowzy glamor of the girls on the sheet music of 1916.</blockquote>

Kerr perceived deficiencies in the libretto, though, stating that the "lines are not always as funny as Miss Channing makes them".<ref name=Suskin/> John McClain of the [[New York Journal American]] particularly praised the staging of the musical, saying that

<blockquote>Gower Champion deserves the big gong for performance beyond the call of duty. Seldom has a corps of dancers brought so much style and excitement to a production which could easily have been pedestrian. ... It is difficult to describe the emotion [the song "Hello, Dolly!"] produces. Last night the audience nearly tore up the seats as she led the parade of waiters in a series of encores over the semi-circular runway that extends around the orchestra pit out into the audience, ... a tribute to the personal appeal of Miss Channing and the magical inventiveness of Mr. Champion's staging.<ref name=Suskin/></blockquote>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="12" style="text-align:center;"| 1964
| [[New York Drama Critics Circle|New York Drama Critics Circle Award]]<ref>[http://www.dramacritics.org/dc_pastawards.html#1964 "New York Drama Critics Past Awards, 1964"] dramacritics.org, accessed March 29, 2012</ref>
| colspan="2"| Best Musical
| {{won}}
|-
| rowspan="11"| [[Tony Award]]<ref>[http://www.ibdb.com/production.php?id=2810 " 'Hello Dolly' Listing, 1964–1970"] Internet Broadway Database, accessed March 29, 2012</ref><ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964 "Tony Awards, 1964"] {{Webarchive|url=https://web.archive.org/web/20120105101119/http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1964 |date=2012-01-05 }} broadwayworld.com, accessed March 29, 2012</ref><ref>[http://www.infoplease.com/ipa/A0153433.html "Tony Award Winners, 1964"] infoplease.com, accessed March 29, 2012</ref>
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{won}}
|-
| [[Tony Award for Best Book of a Musical|Best Book of a Musical]]
| [[Michael Stewart (playwright)|Michael Stewart]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Leading Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Carol Channing]]
| {{won}}
|-
| [[Tony Award for Best Performance by a Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Charles Nelson Reilly]]
| {{nom}}
|-
| [[Tony Award for Best Original Score|Best Original Score]]
| [[Jerry Herman]]
| {{won}}
|-
| [[Tony Award|Best Producer of a Musical]]
| [[David Merrick]]
| {{won}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| rowspan="2"| [[Gower Champion]]
| {{won}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| {{won}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| Shepard Coleman
| {{won}}
|-
| [[Tony Award for Best Scenic Design|Best Scenic Design]]
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| [[Tony Award for Best Costume Design|Best Costume Design]]
| [[Freddy Wittop]]
| {{won}}
|-
| style="text-align:center;"| 1968
| [[Special Tony Award]]<ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1968 "Tony Awards, 1968"] {{Webarchive|url=https://web.archive.org/web/20160407225811/http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1968 |date=2016-04-07 }} broadwayworld.com, accessed March 29, 2012</ref><ref>[http://www.ibdb.com/person.php?id=30650 "Pearl Bailey Listing, Awards and Nominations"] Internet Broadway Database, accessed March 29, 2012</ref><ref>[http://www.infoplease.com/ipa/A0153442.html "Tony Award Winners, 1968"] infoplease.com, accessed March 29, 2012</ref>
| Special Award
| [[Pearl Bailey]]
| {{won}}
|-
| style="text-align:center;"| 1970
| [[Drama Desk Award]]<ref>[http://www.dramadesk.org/1969_1970dd.html "Drama Desk, 1969–1970"]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} dramadesk.org, accessed March 29, 2012</ref><ref>Flinn, Caryl. [https://books.google.com/books?id=QzivAc6Yei8C&pg=PA376 "Chapter 17"] ''Brass Diva: The Life and Legends of Ethel Merman'' (2007), University of California Press, {{ISBN|0-520-22942-8}}, p.376</ref>
| [[Drama Desk Award|Outstanding Performance]]
| [[Ethel Merman]]
| {{won}}
|}

===1978 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1978
| [[Tony Award]]<ref>[http://broadwayworld.com/tonyawardssearch.cfm " 'Hello, Dolly!' Tony Awards Listing"] broadwayworld.com, accessed March 29, 2012</ref>
| [[Tony Award for Best Performance by a Leading Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Eddie Bracken]]
| {{nom}}
|}

===1979 West End revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1979
| [[Olivier Award]]
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Carol Channing]]
| {{nom}}
|}

===1995 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| style="text-align:center;"| 1996
| [[Tony Award]]<ref>[http://www2.broadwayworld.com/tonyawardsyear.cfm?year=1996 "Tony Awards 1996"] {{Webarchive|url=https://web.archive.org/web/20181022033524/https://www.broadwayworld.com/tonyawardsyear.cfm?year=1996 |date=2018-10-22 }} broadwayworld.com, accessed March 29, 2012</ref><ref>Evans, Greg. "50th Tonys raise 'Rent' with 'Class' ", ''Daily Variety'', June 3, 1996, p.1</ref>
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|}

===2009 Open Air Theatre revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="3" style="text-align:center;"| 2010
| rowspan="3"| [[Laurence Olivier Award]]<ref>[http://www.olivierawards.com/about/previous-winners/view/item110508/olivier-winners-2010/ "Olivier Winners 2010"] {{webarchive|url=https://archive.is/20120907154120/http://www.olivierawards.com/about/previous-winners/view/item110508/Olivier-Winners-2010/ |date=2012-09-07 }} olivierawards.com, accessed March 29, 2012</ref>

| colspan="2"| [[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Samantha Spiro]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Stephen Mear]]
| {{won}}
|}

===2017 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:25%;"| Award
! style="width:40%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="34" | 2017
| rowspan="10"| [[Tony Award]]<ref>Kelley, Seth. [https://variety.com/2017/legit/news/tony-nominations-2017-full-list-nominees-1202406314 "Tony Nominations Announced: Full List of 2017 Nominees"], ''Variety'', May 2, 2017, accessed June 11, 2017</ref><ref>{{Cite web|url=http://www.playbill.com/article/2017-tony-award-nominations-the-great-comet-and-hello-dolly-lead-the-pack|title=2017 Tony Award Nominations: The Great Comet and Hello, Dolly! Lead the Pack {{!}} Playbill|website=Playbill|language=en|access-date=2017-05-02}}</ref>

| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Actor in a Musical|Best Actor in a Leading Role in a Musical]]
| [[David Hyde Pierce]]
| {{nom}}
|-
| [[Tony Award for Best Actress in a Musical|Best Actress in a Leading Role in Musical]]
| [[Bette Midler]]
| {{won}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Actor in a Featured Role in a Musical]]
| [[Gavin Creel]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Actress in a Featured Role in a Musical]]
| [[Kate Baldwin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Jerry Zaks]]
| {{nom}}
|-
| [[Tony Award for Best Scenic Design in a Musical|Best Scenic Design of a Musical]]
| rowspan="2" | [[Santo Loquasto]]
| {{nom}}
|-
| [[Tony Award for Best Costume Design in a Musical|Best Costume Design of a Musical]]
| {{won}}
|-
| [[Tony Award for Best Lighting Design in a Musical|Best Lighting Design of a Musical]]
| [[Natasha Katz]]
| {{nom}}
|-
| [[Tony Award for Best Orchestrations|Best Orchestrations]]
| [[Larry Hochman]]
| {{nom}}
|-
| rowspan="10"| [[Drama Desk Award]]<ref>{{Cite news|url=https://variety.com/2017/legit/news/drama-desk-awards-2017-winners-full-list-1202453738/|title=Drama Desk Awards 2017: Bette Midler, 'Oslo' Take Top Honors (Full List)|last=Cox|first=Gordon|date=2017-06-05|work=Variety|access-date=2017-12-05|language=en-US}}</ref>
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
| [[Bette Midler]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Gavin Creel]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Kate Baldwin]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Jerry Zaks]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreographer]]
| [[Warren Carlyle]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Santo Loquasto]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Costume Design of a Musical|Outstanding Costume Design]]
| [[Santo Loquasto]]
| {{nominated}}
|-
| [[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design]]
| Scott Lehrer
| {{nominated}}
|-
| Outstanding Wigs and Hair
| Campbell Young Associates
| {{nominated}}
|-
| rowspan="2" |[[Drama League Award]]<ref>{{Cite web|url=http://www.playbill.com/article/dear-evan-hansens-ben-platt-hello-dolly-and-more-are-winners-of-drama-league-awards|title=Dear Evan Hansen's Ben Platt, Hello, Dolly! and More Are Winners of Drama League Awards {{!}} Playbill|website=Playbill|language=en|access-date=2017-05-19}}</ref>
| colspan="2" |Outstanding Revival of a Broadway or Off-Broadway Musical
| {{win}}
|-
|Distinguished Performance
|[[David Hyde Pierce]]
| {{nom}}
|-
| rowspan="10"| [[Outer Critics Circle Award]]<ref>{{cite news|url=http://www.broadwayworld.com/article/Outer-Critics-Circle-Nominations-Announced-20170425|title=Outer Critics Circle Nominations Announced: Hello, Dolly!, Anastasia, Groundhog Day and More!|publisher=BWW News|date=April 25, 2017|work=BroadwayWorld.com|accessdate=May 25, 2018|language=en}}</ref>
| colspan="2"| Outstanding Revival of a Broadway Musical
| {{won}}
|-
| Outstanding Actor in a Musical
| [[David Hyde Pierce]]
| {{nominated}}
|-
| Outstanding Actress in a Musical
| [[Bette Midler]]
| {{won}}
|-
| Outstanding Featured Actor in a Musical
| [[Gavin Creel]]
| {{won}}
|-
| Outstanding Featured Actress in a Musical
| [[Kate Baldwin]]
| {{nominated}}
|-
| Outstanding Director of a Musical
| [[Jerry Zaks]]
| {{nominated}}
|-
| Outstanding Choreographer
| [[Warren Carlyle]]
| {{won}}
|-
| Outstanding Costume Design
| [[Santo Loquasto]]
| {{nominated}}
|-
| Outstanding Lighting Design
| [[Natasha Katz]]
| {{nominated}}
|-
| Outstanding Orchestrations
| [[Larry Hochman]]
| {{won}}
|-
| rowspan="2" |[[Chita Rivera Awards for Dance and Choreography|Chita Rivera Awards]]<ref>McPheee, Ryan. [http://www.playbill.com/article/bandstand-sweet-charity-and-more-earn-chita-rivera-award-nominations# " 'Bandstand', 'Sweet Charity' and More Earn Chita Rivera Award Nominations"] Playbill, May 1, 2017</ref>
| colspan="2" |Outstanding Ensemble in a Broadway Show
| {{nominated}}
|-
|Outstanding Choreography in a Broadway Show
|[[Warren Carlyle]]
| {{nominated}}
|-
| 2018
| [[60th Grammy Awards|Grammy Awards]]<ref>{{cite web |url=https://www.grammy.com/grammys/awards/60th-annual-grammy-awards#category-224 |title=60th Annual GRAMMY Awards |date=2017-11-28 |website=GRAMMY.com |language=en |access-date=2017-11-28}}</ref><ref>{{cite web |url=http://www.latimes.com/entertainment/la-et-grammys-nominees-winners-list-2018-story.html |title=Grammys 2018: Complete list of nominees |website=Los Angeles Times |date=2017-11-28 |access-date=2017-11-28}}</ref><ref>{{cite web |url=https://www.allmusic.com/artist/steven-epstein-mn0001724355/credits |title=Steven Epstein Credits |access-date=2017-12-27}}</ref><ref>{{cite web |url=https://broadway.news/2018/01/28/dear-evan-hansen-wins-grammy-award-best-musical-theater-album/ |title='Dear Evan Hansen' wins Grammy Award for Best Musical Theater Album |last=Huston |first=Caitlin | date=January 28, 2018 |website=Broadway News | access-date=2018-02-08}}</ref>
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
| [[Bette Midler]] (principal soloist); [[Steven Epstein (music producer)|Steven Epstein]] (producer)
|{{nom}}
|}

==Recordings==
The [[RCA Victor]] [[cast recording]] of the original Broadway production was released in 1964. It was the number-one album on the [[Billboard 200|''Billboard'' pop albums]] chart for seven weeks and the top album of the year on the [[Billboard Year-End|Year-End chart]]. In 1965, a recording of the original London production was released. In 1967, RCA Victor released a recording of the all-black Broadway replacement cast, featuring Pearl Bailey, who also starred in the unrecorded 1975 revival. The movie soundtrack was released in 1969. On November 15, 1994, the 1994 revival cast recording was released.<ref>[https://www.amazon.com/dp/B0000014VF Release date of 1994 revival album] Amazon.com, retrieved June 26, 2010</ref>

The 2017 Broadway Revival cast recording was released on May 12, 2017, featuring the songs now sung by Bette Midler, David Hyde Pierce, Kate Baldwin, and Gavin Creel.<ref>{{cite web|url=http://www.playbill.com/article/listen-to-the-complete-hello-dolly-cast-recording-featuring-bette-midler-and-more|last=McPhee|first=Ryan|title=Listen to the Complete Hello, Dolly! Cast Recording, Featuring Bette Midler and More {{!}} Playbill|website=Playbill|date=May 8, 2017|language=en|access-date=2018-02-08}}</ref>

==Cultural influence==
*In 1964, Armstrong's recording of the song, "[[Hello, Dolly! (song)|Hello, Dolly!]]", rose to number one on the ''[[Billboard (magazine)|Billboard]]'' pop chart,<ref>[http://www.allmusic.com/album/hello-dolly-r153005 "'Hello, Dolly!' Louis Armstrong Listing"] allmusic.com, accessed April 2, 2012</ref><ref>Ruhlmann, William. [http://www.allmusic.com/song/t4280502 "Song Review"] allmusic.com, accessed April 2, 2012</ref> making Armstrong, at age 62, the oldest person ever to accomplish that feat. In the process, Armstrong dislodged [[The Beatles]] "Can't Buy Me Love" from the number-one position they had occupied for 14 consecutive weeks with three different songs.
*The title song was sung in the 1999 film ''[[Dick (film)|Dick]]'' by actor [[Dan Hedaya]], playing President Richard Nixon.<ref>[http://all-reviews.com/videos/dick-3.htm "Movie/Video Review. 'Dick' "] All-Reviews.com, accessed April 2, 2012</ref>
*The red satin, sequin-bedecked costume, designed by [[Freddy Wittop]], that Channing wore during ''Hello, Dolly!'' was donated to the [[Smithsonian]] by Channing and theatrical producer Manny Kladitis, following the thirtieth anniversary tour of the show. It is currently on display at the [[National Museum of American History]].<ref name="NMAH">{{cite web | url=http://americanhistory.si.edu/collections/object.cfm?key=35&objkey=116 | title="Hello, Dolly" Dress | publisher=National Museum of American History, Smithsonian Institution | accessdate=2008-06-19}}</ref> While Miss Channing's Harmonia Gardens gown is in the Smithsonian, the remainder of the original Freddy Wittop costumes are now housed in the permanent collection of the Costume World Broadway Collection, a theatrical museum dedicated to Broadway costuming located in [[Pompano Beach, Florida]].<ref>[http://www.costumeworld.com/category/broadway-collection/ "Broadway Collection"]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} costumeworld.com, accessed April 2, 2012</ref>


==Footnotes==
{{reflist|30em}}

==References==
*{{cite book | title = Broadway Musicals: The 101 Greatest Shows of All Time | author = Bloom, Ken |author2=Frank Vlastnik | publisher = Black Dog & Leventhal Publishers | location = New York, New York | isbn = 1-57912-390-2 | pages = 152–155 | date = 2004-10-01}}
* {{cite book | title = At This Theatre | author = Botto, Louis | editor = Robert Viagas | publisher = Applause Books | isbn = 1-55783-566-7 | date = 2002-09-01 | url = https://archive.org/details/atthistheatre10000bott }}
*Bovsun, Mara. [https://web.archive.org/web/20061101193013/http://www.barbra-archives.com/articles/streisand_dolly_bovsun_article.html From 'Hello, Dolly!': Dolly Gallagher Levi.] barbra-archives.com. Retrieved on 2007-04-08. 
*{{cite book | title = Broadway: the American musical | author = Kantor, Michael | author2 = Laurence Maslon | location = New York, New York | publisher = Bulfinch Press | year = 2004 | isbn = 0-8212-2905-2 | url = https://archive.org/details/broadwayamerican00kant }}
*[http://www.imagi-nation.com/moonstruck/albm69.html Hello, Dolly!] imagi-nation.com. Retrieved on 2007-04-08.
*{{cite book | title = Show Tunes | author = Suskin, Steven | publisher = Oxford University Press US | location = New York | isbn = 0-19-512599-1 | date = 1999-01-01}}

==External links==
{{Commons category|Hello, Dolly! (musical)}}
*[https://www.ibdb.com/broadway-show/hello-dolly-4310 Internet Broadway Database listing for all productions]
*[http://www.charlesnelsonreilly.com/ Charles Nelson Reilly's autobiographical film, in which he discusses ''Hello Dolly'']
*[http://www.playbill.com/article/long-runs-on-broadway-com-109864# "Long Runs on Broadway as of February 2017"]
*[https://web.archive.org/web/20071127174553/http://www.tuts.com/season07/dolly_study.pdf TUTS study guide]
*[http://www.guidetomusicaltheatre.com/shows_h/hello_dolly.htm Synopsis, Casting, Choreography, Scenes and Settings]
*[http://theater2.nytimes.com/mem/theater/treview.html?html_title=&tols_title=HELLO,%20DOLLY!%20(PLAY)&pdate=19640117&byline=By%20HOWARD%20TAUBMAN&id=1077011430206 1964 New York Times review of original production]

{{Thornton Wilder}}
{{Jerry Herman}}
{{Navboxes
| title = Awards for ''Hello, Dolly!''
| list =
{{DramaDesk MusicalRevival}}
{{OlivierAward MusicalRevival 2001–2025}}
{{TonyAwardBestMusical 1947-1975}}
{{TonyAward MusicalRevival}}
{{TonyAward MusicalBook 1947-1975}}
{{TonyAward MusicalScore 1947-1975}}
}}

{{Authority control}}

[[Category:1964 musicals]]
[[Category:Broadway musicals]]
[[Category:Culture of Yonkers, New York]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Musicals based on plays]]
[[Category:Musicals by Jerry Herman]]
[[Category:Musicals by Michael Stewart (playwright)]]
[[Category:Plays set in New York City]]
[[Category:Plays set in the 19th century]]
[[Category:Tony Award for Best Musical]]
[[Category:West End musicals]]
[[Category:A Day Well Spent]]
[[Category:Tony Award-winning musicals]]

The Sound of Music

2020-04-03T22:16:39Z

JohnAnkerBow: Instrumentation added

{{About|the stage musical|the film|The Sound of Music (film)|other uses}}
{{Use mdy dates|date=August 2012}}
{{Infobox Musical
|name= The Sound of Music
|image = Musical1959-SoundOfMusic-OriginalPoster.png|
|image_size = 250px
|caption = Original Broadway poster (1959)
|music= [[Richard Rodgers]]
|lyrics= [[Oscar Hammerstein II]]
|book= [[Howard Lindsay]] [[Russel Crouse]]
|basis= 1956 German film ''[[The Trapp Family|Die Trapp-Familie]]'' and [[Maria von Trapp]]'s autobiography ''[[The Story of the Trapp Family Singers]]''
|productions= {{Plain list|
* 1959 [[Broadway theatre|Broadway]]
* 1961 [[West End theatre|West End]]
* 1965 [[The Sound of Music (film)|Film]]
* International productions
* 1981 West End [[revival (theatre)|revival]]
* 1998 Broadway [[revival (theatre)|revival]]
* 2006 West End [[revival (theatre)|revival]]
* 2009–11 [[United Kingdom|UK]] Tour
* 2013 [[The Sound of Music Live!|US television]]
* 2015 [[The Sound of Music Live (2015)|UK television]]
* 2015–16 US Tour
* 2015–16 UK Tour

}}
|awards = [[Tony Award for Best Musical]]
}}

'''''The Sound of Music''''' is a [[musical theatre|musical]] with music by [[Richard Rodgers]], lyrics by [[Oscar Hammerstein II]], and a book by [[Howard Lindsay]] and [[Russel Crouse]]. It is based on the memoir of [[Maria von Trapp]], ''[[The Story of the Trapp Family Singers]]''. Set in Austria on the eve of the ''[[Anschluss]]'' in 1938, the musical tells the story of Maria, who takes a job as governess to a large family while she decides whether to become a nun. She falls in love with the children, and eventually their widowed father, [[Georg von Trapp|Captain von Trapp]]. He is ordered to accept a commission in the German navy, but he opposes the Nazis. He and Maria decide on a plan to flee Austria with the children. Many songs from the musical have become [[Standard (music)|standards]], such as "[[Edelweiss (song)|Edelweiss]]", "[[My Favorite Things (song)|My Favorite Things]]", "[[Climb Ev'ry Mountain]]", "[[Do-Re-Mi]]", and the title song "[[The Sound of Music (song)|The Sound of Music]]".

The original [[Broadway theatre|Broadway]] production, starring [[Mary Martin]] and [[Theodore Bikel]], opened in 1959<ref name="Soundof">{{cite web|url= http://www.life.com/image/first/in-gallery/51671/sound-of-music-the-forgotten-maria|title= Sound of Music: The Forgotten Maria|publisher= LIFE.com}}</ref> and won five [[Tony Award]]s, including Best Musical, out of nine nominations. The first London production opened at the [[Palace Theatre, London|Palace Theatre]] in 1961. The show has enjoyed numerous productions and revivals since then. It was adapted as a [[The Sound of Music (film)|1965 film musical]] starring [[Julie Andrews]] and [[Christopher Plummer]], which won five [[Academy Awards]]. ''The Sound of Music'' was the last musical written by [[Rodgers and Hammerstein]]; Oscar Hammerstein died of stomach cancer nine months after the Broadway premiere.

==History==
After viewing ''[[The Trapp Family]]'', a 1956 [[West German]] film about the [[von Trapp family]], and its 1958 sequel (''[[:de:Die Trapp-Familie in Amerika|Die Trapp-Familie in Amerika]]''), stage director [[Vincent J. Donehue]] thought that the project would be perfect for his friend [[Mary Martin]]; Broadway producers [[Leland Hayward]] and Richard Halliday (Martin's husband) agreed.<ref>Nolan, 244</ref> The producers originally envisioned a non-musical play that would be written by [[Lindsay and Crouse]] and that would feature songs from the repertoire of the Trapp Family Singers. Then they decided to add an original song or two, perhaps by [[Rodgers and Hammerstein]]. But it was soon agreed that the project should feature all new songs and be a musical rather than a play.<ref name="Rodgers">{{cite web|url= http://www.rnh.com/show/95/The-Sound-of-Music|accessdate= May 19, 2011|title= The Sound of Music :: Rodgers & Hammerstein Organization :: Show Details|publisher= The Rodgers & Hammerstein Organization|url-status= live|archiveurl= https://web.archive.org/web/20110521083954/http://www.rnh.com/show/95/The-Sound-of-Music|archivedate= May 21, 2011|df= mdy-all}} (Show History section)</ref>

Details of the history of the von Trapp family were altered for the musical. The real [[Georg von Trapp]] did live with his family in a villa in [[Aigen (Salzburg city district)|Aigen]], a suburb of [[Salzburg]]. He wrote to the [[Nonnberg Abbey]] in 1926 asking for a nun to help tutor his sick daughter, and the [[Virgilia, Mother Abbess|Mother Abbess]] sent [[Maria von Trapp|Maria]]. His wife had died in 1922. The real Maria and Georg married at the Nonnberg Abbey in 1927. Lindsay and Crouse altered the story so that Maria was governess to all of the children, whose names and ages were changed, as was Maria's original surname (the show used "Rainer" instead of "Kutschera"). The von Trapps spent some years in Austria after Maria and the Captain married and he was offered a commission in [[kriegsmarine|Germany's navy]]. Since von Trapp opposed the Nazis by that time, the family left Austria after the ''[[Anschluss]]'', going by train to [[Italy]] and then traveling on to London and the United States.<ref name="nara">Gearin, Joan. [https://www.archives.gov/publications/prologue/2005/winter/von-trapps.html ''Movie vs. Reality: The Real Story of the von Trapp Family''], ''[[Prologue (magazine)|Prologue]]'' magazine, Winter 2005, Vol. 37, No. 4, [[National Archives and Records Administration]]</ref> To make the story more dramatic, Lindsay and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to Switzerland on foot.

==Synopsis==

===Act I===
In [[Salzburg, Austria]], just before [[World War II]], nuns from [[Nonnberg Abbey]] sing the ''[[Psalm 110|Dixit Dominus]]''. One of the [[postulant]]s, Maria Rainer, is on the nearby mountainside, regretting leaving the beautiful hills ("[[The Sound of Music (song)|The Sound of Music]]"). She returns late to the abbey where the Mother [[Abbess]] and the other nuns have been considering what to do about the free-spirit ("[[Maria (1959 song)|Maria]]"). Maria explains her lateness, saying she was raised on that mountain, and apologizes for singing in the garden without permission. The Mother Abbess joins her in song ("[[My Favorite Things (song)|My Favorite Things]]").<ref>{{cite web |url=http://www.soundofmusiclondon.com/show/musicalnumbers.php |title=Welcome to the Official Sound of Music London Web Site |publisher=Soundofmusiclondon.com |accessdate=August 29, 2012 |url-status=dead |archiveurl=https://web.archive.org/web/20090205053459/http://www.soundofmusiclondon.com/show/musicalnumbers.php |archivedate=February 5, 2009 |df=mdy-all }}</ref> The Mother Abbess tells her that she should spend some time outside the [[abbey]] to decide whether she is suited for the [[monastic]] life. She will act as the [[governess]] to the seven children of a [[widower]], [[Austro-Hungarian Navy]] submarine Captain [[Georg von Trapp]].

Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children with a [[boatswain's call]]. They march in, clad in uniforms. He teaches her their individual signals on the call, but she openly disapproves of this militaristic approach. Alone with them, she breaks through their wariness and teaches them the basics of music ("[[Do-Re-Mi]]").

Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the villa. He claims he knows what is right for her because he is a year older than she ("[[Sixteen Going on Seventeen]]"). They kiss, and he runs off, leaving her squealing with joy. Meanwhile, the housekeeper, Frau Schmidt, gives Maria material to make new clothes, as Maria had given all her possessions to the poor. Maria sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her secret. The other children are frightened by the storm. Maria sings "[[The Lonely Goatherd]]" to distract them.

Captain von Trapp arrives a month later from [[Vienna]] with Baroness Elsa Schräder and Max Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only poor people have the time for great romances ("How Can Love Survive"). Rolf enters, looking for Liesl, and greets them with "[[Nazi salute|Heil]]". The Captain orders him away, saying that he is Austrian, not German. Maria and the children [[leapfrog]] in, wearing play-clothes that she made from the old drapes in her room. Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he angrily orders her back to the abbey. As she apologizes, they hear the children singing "The Sound of Music", which she had taught them, to welcome Elsa Schräder. He joins in and embraces them. Alone with Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her until she explains that she will be returning to the abbey in September.

The Captain gives a party to introduce Elsa, and guests argue over the Nazi German ''[[Anschluss]]'' (annexation) of Austria. Kurt asks Maria to teach him to dance the [[Ländler]]. When he fails to negotiate a complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face; and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa asks the Captain to allow the children to say goodnight to the guests with a song, "So Long, Farewell". Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests leave for the dining room, and Maria slips out the front door with her luggage.

At the abbey, Maria says that she is ready to take her [[monastic vows]]; but the Mother Abbess realizes that she is running away from her feelings. She tells her to face the Captain and discover if they love each other, and tells her to search for and find the life she was meant to live ("[[Climb Ev'ry Mountain]]").

===Act II===
Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer themselves up by singing "My Favorite Things" but are unsuccessful until they hear Maria singing on her way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange for another governess. Max and Elsa argue with the Captain about the imminent ''[[Anschluss]]'', trying to convince him that it is inevitable ("[[No Way to Stop It]]"). When he refuses to compromise on his opposition to it, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only to be "An Ordinary Couple". As they marry, the nuns reprise "Maria" against the wedding processional.

While Maria and the Captain are on their honeymoon, Max prepares the children to perform at the Kaltzberg Festival. Herr Zeller, the ''[[Gauleiter]]'' of the region, demands to know why they are not flying the flag of the [[Third Reich]] now that the ''Anschluss'' has occurred. The Captain and Maria return early from their honeymoon before the Festival. In view of the Nazi German occupation, the Captain decides the children should not sing at the event. Max argues that they would sing for Austria, but the Captain points out that it no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be married ("Sixteen Going on Seventeen (Reprise)"). Rolf enters with a telegram that offers the Captain a commission in the [[Kriegsmarine|German Navy]], and Liesl is upset to discover that Rolf is now a committed [[Nazi]]. The Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber arrives to find out why Captain von Trapp has not answered the telegram. He explains that the German Navy holds him in high regard, offers him the commission, and tells him to report immediately to [[Bremerhaven]] to assume command. Maria says that he cannot leave immediately, as they are all singing in the Festival concert; and the Admiral agrees to wait.

At the concert, after the von Trapps sing an elaborate reprise of "Do-Re-Mi", Max brings out the Captain's guitar. Captain von Trapp sings "[[Edelweiss (song)|Edelweiss]]", as a goodbye to his homeland, while using [[Leontopodium alpinum#Names|Austria's national flower]] as a symbol to declare his loyalty to the country. Max asks for an encore and announces that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the Captain to his new command. While the judges decide on the prizes, the von Trapps sing "So Long, Farewell", leaving the stage in small groups. Max then announces the runners-up, stalling as much as possible. When he announces that the first prize goes to the von Trapps and they do not appear, the [[Nazis]] start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been closed. Rolf comes upon them and calls his lieutenant, but after seeing Liesl he changes his mind and tells him they aren't there. The Nazis leave, and the von Trapps flee over the [[Alps]] as the nuns reprise "Climb Ev'ry Mountain".

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* "Preludium" – Mother Abbess with Nuns
* "[[The Sound of Music (song)|The Sound of Music]]" – Maria
* "[[Maria (1959 song)|Maria]]" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
* "[[My Favorite Things (song)|My Favorite Things]]" – Maria and the Mother Abbess
* "My Favorite Things" (reprise 1) – Maria
* "[[Do-Re-Mi]]" – Maria and the children
* "[[Sixteen Going on Seventeen]]" – Rolf and Liesl
* "[[The Lonely Goatherd]]" – Maria and the children
* "The Lonely Goatherd" (reprise) – Gretl
* "How Can Love Survive" – Max and Elsa
* "The Sound of Music" (reprise) – Maria, the Captain and the children
* "[[Ländler]]" (instrumental)
* "[[So Long, Farewell]]" – The children
* "Morning Hymn" – Nuns
* "[[Climb Ev'ry Mountain]]" – Mother Abbess

{{col-break}}
;Act II
* "My Favorite Things" (reprise 2) – Maria and the children
* "[[No Way to Stop It]]" – Elsa, Max and the Captain
* "An Ordinary Couple" – Maria and the Captain †
* "Gaudeamus Domino" – Nuns
* "Maria" (reprise) – Nuns
* "Confitemini Domino" – Nuns
* "Sixteen Going on Seventeen" (reprise) – Maria and Liesl
* "Do-Re-Mi" (reprise) – Maria, the Captain, and the children ‡
* "[[Edelweiss (song)|Edelweiss]]" – The Captain
* "So Long, Farewell" (reprise) – Maria, the Captain, and the children
* "Finale Ultimo" (reprise of "Climb Every Mountain") – Nuns
{{col-end}}

;Notes
* ''The musical numbers listed appeared in the original production unless otherwise noted.''
* † Sometimes replaced by "Something Good", which was written for the film version.
* ‡ Replaced by "The Lonely Goatherd" in the 1998 revival.
* In some productions, "My Favorite Things" follows "Sixteen Going on Seventeen" in the thunderstorm scene, while "The Lonely Goatherd" is shifted to the concert scene.
* Many stage revivals have also included "I Have Confidence" and "Something Good", which were written by Richard Rodgers for the film version (since the film was made after original lyricist Oscar Hammerstein's death).
* Although many people believe that "[[Edelweiss (song)|Edelweiss]]" is a traditional Austrian song, it was written for the musical and did not become known in Austria until after the film's success.<ref>{{cite web |url=https://www.bbc.co.uk/pressoffice/pressreleases/stories/2006/07_july/11/maria_facts.shtml |title=Information from the BBC website |publisher=Bbc.co.uk |date=November 16, 1959 |accessdate=August 29, 2012 |url-status=live |archiveurl=https://web.archive.org/web/20140427083144/http://www.bbc.co.uk/pressoffice/pressreleases/stories/2006/07_july/11/maria_facts.shtml |archivedate=April 27, 2014 |df=mdy-all }}</ref>
* The [[Ländler]] dance performed by Maria and the Captain during the party is only loosely based on the traditional Austrian dance of the same name.<ref>[http://www.earthlydelights.com.au/other2.htm Information from Earthlydelights.com] {{webarchive |url=https://web.archive.org/web/20120210005230/http://www.earthlydelights.com.au/other2.htm |date=February 10, 2012 }}</ref>

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=The Sound of Music |url=https://www.concordtheatricals.com/p/57263/the-sound-of-music |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Bassoon, Horn I, Horn II, Horn III, Trumpet 1, Trumpet II, Trumpet III, Trombone I, Trombone II, Tuba, Percussion, Guitar, Harp, Violin I, Violin II, Viola, Cello, Bass & Piano (optional)

There is also a 2 piano version available.

==Characters==
Sources: IBDB and Guidetomusicaltheatre.com<ref>{{cite web | title=''The Sound of Music'' | work=Guidetomusicaltheatre.com | url=http://www.guidetomusicaltheatre.com/shows_s/soundofmusic.htm | accessdate=July 26, 2017}}</ref>
* [[Maria von Trapp|Maria Rainer]], a [[postulant]] at Nonnberg Abbey
* Captain [[Georg von Trapp]]
* Max Detweiler, Captain von Trapp's friend, a music agent and producer
* The Mother Abbess, the head of [[Nonnberg Abbey]]
* Baroness Elsa Schräder<ref name="RodgersHammerstein1960">{{cite book|last1=Rodgers|first1=Richard|authorlink1=Richard Rodgers|last2=Hammerstein|first2=Oscar|authorlink2=Oscar Hammerstein II|title=The Sound of Music|url=https://books.google.com/books?id=4CgMcRb8fJ0C&pg=PA2|accessdate=July 9, 2012|year=1960|publisher=Hal Leonard Corporation|isbn=978-0-88188-050-2|page=2|url-status=live|archiveurl=https://web.archive.org/web/20140103024359/http://books.google.com/books?id=4CgMcRb8fJ0C&pg=PA2|archivedate=January 3, 2014|df=mdy-all}}</ref> "wealthy and sophisticated" and Captain von Trapp's would-be fiancée
* Rolf Gruber, the 17-year-old Nazi delivery boy who is in love with Liesl
* Sister Bertha, the Mistress of Novices
* Sister Margareta, the Mistress of Postulants
* Sister Sophia, a sister at the Abbey
* Herr Zeller, the [[Gauleiter]]
* Franz, Captain von Trapp's butler
* Frau Schmidt, Captain von Trapp's housekeeper
* The Children:
** Liesl von Trapp, age 16
** Friedrich von Trapp, age 14
** Louisa von Trapp, age 13
** Kurt von Trapp, age 11
** Brigitta von Trapp, age 10
** Marta von Trapp, age 7
** Gretl von Trapp, age 5
* Ensemble includes nuns, high-society neighbors of Captain von Trapp who attend the ball thrown in Elsa's honor, Nazi soldiers and contestants in the festival concert

==Productions==

===Original productions===
[[File:Mary_Martin_in_The_Sound_of_Music_by_Toni_Frissell.jpg|thumb|350px|[[Mary Martin]] and children in a publicity photo, 1959]]
''The Sound of Music'' premiered at New Haven's [[Shubert Theatre (New Haven)|Shubert Theatre]] where it played an eight-performance tryout in October and November 1959 before another short tryout in Boston.<ref>Minor, E. Kyle. [https://www.nhregister.com/entertainment/article/Sound-of-Music-returns-to-its-origins-at-12330595.php "''Sound of Music'' returns to its origins at New Haven's Shubert Theatre"], ''[[New Haven Register]]'', November 3, 2017, accessed June 24, 2018</ref> The musical then opened on [[Broadway theatre|Broadway]] at the [[Lunt-Fontanne Theatre]] on November 16, 1959, moved to the [[Mark Hellinger Theatre]] on November 6, 1962, and closed on June 15, 1963, after 1,443 performances. The director was [[Vincent J. Donehue]], and the choreographer was [[Joe Layton]]. The original cast included [[Mary Martin]] as Maria, [[Theodore Bikel]] as Captain Georg von Trapp, [[Patricia Neway]] as Mother Abbess, [[Kurt Kasznar]] as Max Detweiler, [[Marion Marlowe]] as Elsa Schräder, Brian Davies as Rolf and [[Lauri Peters]] as Liesl. [[Patricia Brooks]], [[June Card]] and [[Tatiana Troyanos]] were ensemble members in the original production. The show tied for the [[Tony Award]] for Best Musical with ''[[Fiorello!]]''. Other awards included Martin for Best Actress in a Musical, Neway for Best Featured Actress, Best Scenic Design ([[Oliver Smith (designer)|Oliver Smith]]) and Best Conductor And Musical Director (Frederick Dvonch). Bikel and Kasznar were nominated for acting awards, and Donehue was nominated for his direction. The entire children's cast was nominated for Best Featured Actress category as a single nominee, even though two of the children were boys.<ref>[http://www.playbill.com/production/the-sound-of-music-lunt-fontanne-theatre-vault-0000005082# "''The Sound of Music'' Awards"], Playbill (vault), retrieved November 14, 2017</ref>

[[Martha Wright (actress)|Martha Wright]] replaced Martin in the role of Maria on Broadway in October 1961, followed by Karen Gantz in July 1962, Jeannie Carson in August 1962<ref>August 1962 PLAYBILL from the Lunt-Fontanne Theatre</ref> and [[Nancy Dussault]] in September 1962. [[Jon Voight]], who eventually married co-star Lauri Peters, was a replacement for Rolf. The national tour starred [[Florence Henderson]] as Maria and [[Beatrice Krebs]] as Mother Abbess. It opened at the [[Grand Riviera Theater]], Detroit, on February 27, 1961, and closed November 23, 1963, at the [[O'Keefe Centre]], Toronto. Henderson was succeeded by Barbara Meister in June 1962. Theodore Bikel was not satisfied playing the role of the Captain, because of the role's limited singing, {{Citation needed|date=July 2010}} and Bikel did not like to play the same role over and over again. In his autobiography, he writes: "I promised myself then that if I could afford it, I would never do a run as long as that again."<ref>Bikel, Theodore. ''Theo: The Autobiography of Theodore Bikel'', Univ of Wisconsin Press, 2002, {{ISBN|0-299-18284-3}}, p. Z-17</ref> The original Broadway [[cast album]] sold three million copies.

The musical premiered in London's [[West End theatre|West End]] at the [[Palace Theatre, London|Palace Theatre]] on May 18, 1961, and ran for 2,385 performances. It was directed by Jerome Whyte and used the original New York choreography, supervised by Joe Layton, and the original sets designed by Oliver Smith. The cast included Jean Bayless as Maria, followed by Sonia Rees, Roger Dann as Captain von Trapp, [[Constance Shacklock]] as Mother Abbess, [[Eunice Gayson]] as Elsa Schrader, Harold Kasket as Max Detweiler, Barbara Brown as Liesl, Nicholas Bennett as Rolf and [[Olive Gilbert]] as Sister Margaretta.<ref>Green, ''Encyclopedia'', p. 396</ref>

===1981 London revival===
In 1981, at producer Ross Taylor's urging, [[Petula Clark]] agreed to star in a revival of the show at the [[Apollo Victoria Theatre]] in [[London]]'s [[West End of London|West End]]. [[Michael Jayston]] played Captain von Trapp, [[Honor Blackman]] was the Baroness and June Bronhill the Mother Abbess. Other notable cast members included [[Helen Anker]], [[John Bennett (actor)|John Bennett]] and [[Martina Grant]].<ref>{{cite web |url=http://broadwayworld.com/shows/cast.php?showid=7268 |title=Cast list at Broadway World |publisher=Broadwayworld.com |accessdate=August 21, 2012 |url-status=live |archiveurl=https://web.archive.org/web/20131219164646/http://www.broadwayworld.com/shows/cast.php?showid=7268 |archivedate=December 19, 2013 |df=mdy-all }}</ref> Despite her misgivings that, at age 49, she was too old to play the role convincingly, Clark opened to unanimous rave reviews and the largest advance sale in the history of British theatre at that time. Maria von Trapp, who attended the opening night performance, described Clark as "the best" Maria ever. Clark extended her initial six-month contract to thirteen months. Playing to 101 percent of [[seating capacity]], the show set the highest attendance figure for a single week (October 26–31, 1981) of any British musical production in history (as recorded in ''The Guinness Book of Theatre'').<ref>Maslon, p. 150</ref> It was the first stage production to incorporate the two additional songs ("Something Good" and "I Have Confidence") that Richard Rodgers composed for the film version.<ref name="Hischak, p. 259">Hischak, p. 259</ref> "My Favorite Things" had a similar context to the film version, while the short verse "A Bell is No Bell" was extended into a full-length song for Maria and the Mother Abbess. "The Lonely Goatherd" was set in a new scene at a village fair.

The cast recording of this production was the first to be recorded digitally. It was released on CD for the first time in 2010 by the UK label Pet Sounds and included two bonus tracks from the original single issued by [[Epic Records|Epic]] to promote the production.

===1998 Broadway revival===
Director [[Susan H. Schulman]] staged the first Broadway revival of ''The Sound of Music'', with [[Rebecca Luker]] as Maria and [[Michael Siberry]] as Captain von Trapp. It also featured [[Patti Cohenour]] as Mother Abbess, [[Jan Maxwell]] as Elsa Schrader, [[Fred Applegate (actor)|Fred Applegate]] as Max Detweiler, [[Dashiell Eaves]] as Rolf, [[Patricia Conolly]] as Frau Schmidt and [[Laura Benanti]], in her Broadway debut, as Luker's [[understudy]]. Later, Luker and Siberry were replaced by [[Richard Chamberlain (actor)|Richard Chamberlain]] as the Captain and Benanti as Maria. [[Lou Taylor Pucci]] made his Broadway debut as the understudy for Kurt von Trapp. The production opened on March 12, 1998, at the [[Martin Beck Theatre]], and closed on June 20, 1999, after 533 performances. This production was nominated for a [[Tony Award]] for Best Revival of a Musical.<ref>[http://www.playbillvault.com/Show/Detail/8210/The-Sound-of-Music " 'The Sound of Music' Boadway 1998"] {{webarchive|url=https://web.archive.org/web/20151005224709/http://www.playbillvault.com/Show/Detail/8210/The-Sound-of-Music |date=October 5, 2015 }} playbillvault.com, accessed October 15, 2015</ref> It then toured in North America.

===2006 London revival===
An [[Andrew Lloyd Webber]] production opened on November 15, 2006, at the [[London Palladium]] and ran until February 2009, produced by Live Nation's [[David Ian]] and [[Jeremy Sams]]. Following failed negotiations with Hollywood star [[Scarlett Johansson]],<ref>[http://www.contactmusic.com/news.nsf/story/johansson-snubs-sound-of-music_1003667 Scarlett Johansson – Johansson Snubs Sound Of Music] contactmusic.com, July 27, 2006</ref> the role of Maria was cast through a UK talent search reality TV show called ''[[How Do You Solve a Problem like Maria?]]'' The talent show was produced by (and starred) Andrew Lloyd Webber and featured presenter/comedian [[Graham Norton]] and a judging panel of [[David Ian]], [[John Barrowman]] and [[Zoe Tyler]].

[[Connie Fisher]] was selected by public voting as the winner of the show. In early 2007, Fisher suffered from a heavy cold that prevented her from performing for two weeks. To prevent further disruptions, an alternate Maria, [[Aoife Mulholland]], a fellow contestant on ''How Do You Solve a Problem like Maria?'', played Maria on Monday evenings and Wednesday matinee performances. [[Simon Shepherd]] was originally cast as Captain von Trapp, but after two preview performances he was withdrawn from the production, and [[Alexander Hanson (actor)|Alexander Hanson]] moved into the role in time for the official opening date along with [[Lesley Garrett]] as the Mother Abbess. After Garrett left, [[Margaret Preece]] took the role. The cast also featured [[Lauren Ward]] as the Baroness, [[Ian Gelder]] as Max, [[Sophie Bould]] as Liesl, and [[Neil McDermott]] as Rolf. Other notable replacements have included [[Simon Burke]] and [[Simon MacCorkindale]] as the Captain and newcomer Amy Lennox as Liesl. [[Summer Strallen]] replaced Fisher in February 2008,<ref> [https://www.broadwayworld.com/westend/article/Summer-Strallen-is-Maria-in-Londons-The-Sound-of-Music-Feb26-20080204 "Summer Strallen is Maria in London's ''The Sound of Music'' Feb.26"], Broadwayworld.com, February 4, 2008, accessed November 15, 2017</ref> with Mulholland portraying Maria on Monday evenings and Wednesday matinees.<ref>[http://www.thisistheatre.com/soundofmusic/aoife-mulholland.html "Aoife Mulholland"], Thisistheatre.com, 29 April 2015</ref>

The revival received enthusiastic reviews, especially for Fisher, Preece, Bould and Garrett. A cast recording of the London Palladium cast was released.<ref>[http://www.theatre.com/story/id/3004750 Information from Theatre.com] {{webarchive |url=https://web.archive.org/web/20080725132621/http://www.theatre.com/story/id/3004750 |date=July 25, 2008 }}</ref> The production closed on February 21, 2009, after a run of over two years<ref>{{cite web|url=http://www.playbill.com/news/article/126544.html="So|archive-url=https://archive.is/20130131085917/http://www.playbill.com/news/article/126544.html=%22So|url-status=dead|archive-date=2013-01-31|title=Long, Farewell": London's Sound of Music Closes Feb. 21|work=Playbill}}</ref> and was followed by a UK national tour, described below.

===Other notable productions===
;1960s to 2000

The first Australian production opened at [[Melbourne]]'s [[Princess Theatre, Melbourne|Princess Theatre]] in 1961 and ran for three years. The production was directed by Charles Hickman, with musical numbers staged by Ernest Parham. The cast included [[June Bronhill]] as Maria, [[Peter Graves (actor)|Peter Graves]] as Captain von Trapp and [[Rosina Raisbeck]] as Mother Abbess. A touring company then played for years, with Vanessa Lee (Graves' wife) in the role of Maria. The cast recording made in 1961 was the first time a major overseas production featuring Australian artists was transferred to disc.{{citation needed|date=October 2015}}

A Puerto Rican production, performed in English, opened at the [[Teatro Tapia|Tapia Theatre]] in [[San Juan, Puerto Rico|San Juan]] under the direction of Pablo Cabrera in 1966. It starred [[Camille Carrión]] as María and Raúl Dávila as Captain Von Trapp, and it featured a young [[Johanna Rosaly]] as Liesl. In 1968, the production transferred to the [[Teatro de la Zarzuela]] in [[Madrid]], Spain, where it was performed in Spanish with Carrión reprising the role of María, [[Alfredo Mayo]] as Captain Von Trapp and [[Roberto Rey]] as Max.{{citation needed|date=October 2015}}

In 1988, the Moon Troupe of [[Takarazuka Revue]] performed the musical at the Bow Hall (Takarazuka, [[Hyōgo Prefecture|Hyōgo]]). Harukaze Hitomi and Gou Mayuka starred.<ref>{{cite web | title = The Sound of Music | website = takawiki.com | url = http://www.takawiki.com/tiki-index.php?page=The+Sound+of+Music+%28Moon+1988%29 | access-date = January 23, 2017 }}</ref> A 1990 [[New York City Opera]] production, directed by [[Oscar Hammerstein II]]'s son, James, featured [[Debby Boone]] as Maria, [[Laurence Guittard]] as Captain von Trapp, and [[Werner Klemperer]] as Max.<ref>Rockwell, John. [https://www.nytimes.com/1990/03/09/theater/review-music-sound-of-music-takes-on-the-icons-of-a-heroic-past.html "Review/Music; 'Sound of Music' Takes On The Icons of a Heroic Past"] ''The New York Times'', March 9, 1990</ref> In the 1993 Stockholm production, [[Carola Häggkvist]] played Maria and [[Tommy Körberg]] played Captain von Trapp.{{citation needed|date=October 2015}}

An Australian revival played in the Lyric Theatre, [[Sydney]], New South Wales, from November 1999 to February 2000. [[Lisa McCune]] played Maria, [[John Waters (actor)|John Waters]] was Captain von Trapp, [[Bert Newton]] was Max, [[Eilene Hannan]] was Mother Abbess and [[Rachel Marley]] was Marta. This production was based on the 1998 Broadway revival staging.<ref>Rose, Colin. "Head for the hills; Stage", ''The Sun Herald'' (Sydney, Australia), November 14, 1999, ''Time Out'', p. 15</ref> The production then toured until February 2001, in Melbourne, [[Brisbane]], [[Perth]] and [[Adelaide]]. [[Rachael Beck]] took over as Maria in Perth and Adelaide, and [[Rob Guest]] took over as Captain von Trapp in Perth.<ref>Critics' Choice, ''The Australian'', April 14, 2000, Features, p. 11</ref><ref>Barclay, Alison. "Von Trapps' house is full", ''Herald Sun'' (Melbourne, Australia), July 7, 2000, p. 89</ref><ref>Aldred, Debra. "Lisa can sing for her supper of marshmallows", ''Courier Mail'' (Queensland, Australia), August 4, 2000, p. 7</ref><ref>Archdall, Susan. "Rachael's happy to go her own way", ''The Advertiser'', January 1, 2001, p. 77</ref>

;21st century

An Austrian production premiered in 2005 at the [[Volksoper Wien]] in German. It was directed and choreographed by Renaud Doucet. The cast included Sandra Pires as Maria, Kurt Schreibmayer and Michael Kraus as von Trapp, with [[Heidi Brunner]] as Mother Abbess. As of 2012, the production was still in the repertoire of the Volksoper with 12–20 performances per season.<ref>{{cite web |url=http://www.volksoper.at/Content.Node2/home/index.php |title=Website of the Volksoper Wien |publisher=Volksoper.at |accessdate=August 29, 2012 |url-status=dead |archiveurl=https://web.archive.org/web/20120722202051/http://www.volksoper.at/Content.Node2/home/index.php |archivedate=July 22, 2012 |df=mdy-all }}</ref><ref>Official season programmes of the Volksoper Wien, 2005/06, 2006/07, 2007/08</ref><ref>Lash, Larry L. "The Sound of Music", ''Variety'', March 7, 2005 – March 13, 2005, Legit Reviews; Abroad, p. 57</ref>

The [[Salzburg Marionette Theatre]] has toured extensively with their version that features the recorded voices of Broadway singers such as [[Christiane Noll]] as Maria.<ref>Genzlinger, Neil. [http://theater2.nytimes.com/2007/12/07/theater/reviews/07mari.html "The Hills Are Still Alive, Just Look Past the Strings"] {{webarchive|url=https://web.archive.org/web/20071210221010/http://theater2.nytimes.com/2007/12/07/theater/reviews/07mari.html |date=December 10, 2007 }}, ''The New York Times'', December 7, 2007</ref> The tour began in [[Dallas]], Texas, in 2007<ref>[http://www.guidelive.com/sharedcontent/dws/ent/columnists/ltaitte/stories/DN-puppet_gl03.ART.State.Edition2.4291906.html Review of Dallas opening, November 3, 2007] {{webarchive |url=https://web.archive.org/web/20081220111041/http://www.guidelive.com/sharedcontent/dws/ent/columnists/ltaitte/stories/DN-puppet_gl03.ART.State.Edition2.4291906.html |date=December 20, 2008 }}</ref> and continued in Salzburg in 2008.<ref>[http://www.marionetten.at/marionetten/marionetten/shop_karten 2008 schedule of performances] {{webarchive |url=https://web.archive.org/web/20090728073725/http://www.marionetten.at/marionetten/marionetten/shop_karten |date=July 28, 2009 }}</ref> The director is [[Richard Hamburger]].<ref>[http://www.marionetten.at/marionetten/marionetten/sound-of-music Official website of the Salzburg Marionette Theatre's production] {{webarchive |url=https://web.archive.org/web/20090228172845/http://www.marionetten.at/marionetten/marionetten/sound-of-music |date=February 28, 2009 }}</ref> In 2010, the production was given in Paris, France, with dialogue in French and the songs in English.{{citation needed|date=October 2015}} In 2008, a Brazilian production with Kiara Sasso as Maria and Herson Capri as the Captain played in [[Rio de Janeiro]] and [[São Paulo]],<ref>{{cite web|url=http://www.anovicarebelde.com.br/|title=Official website of the Brazilian Production|url-status=dead|archiveurl=https://web.archive.org/web/20080607095432/http://www.anovicarebelde.com.br/|archivedate=June 7, 2008|df=mdy-all}}</ref> and a Dutch production was mounted with Wieneke Remmers as Maria, directed by John Yost.<ref>[http://www.efteling.com/thesoundofmusic/ Official website of the 2008 Dutch production] {{webarchive |url=https://web.archive.org/web/20081119153507/http://www.efteling.com/thesoundofmusic/ |date=November 19, 2008 }}</ref>

[[Andrew Lloyd Webber]], [[David Ian]] and [[David Mirvish]] presented ''The Sound of Music'' at the [[Princess of Wales Theatre]] in Toronto from 2008 to 2010. The role of Maria was chosen by the public through a television show, ''[[How Do You Solve a Problem Like Maria? (Canada)|How Do You Solve a Problem Like Maria?]]'', which was produced by Lloyd Webber and Ian and aired in mid-2008. [[Elicia MacKenzie]] won<ref>Lipton, Brian Scott.[http://www.theatermania.com/new-york/news/09-2007/the-sound-of-music-to-bow-in-toronto-in-september_11682.html "''The Sound of Music'' to Bow in Toronto in September 2008"] {{webarchive|url=https://web.archive.org/web/20081230030645/http://www.theatermania.com/new-york/news/09-2007/the-sound-of-music-to-bow-in-toronto-in-september_11682.html |date=December 30, 2008 }}, Theatermania.com, September 25, 2007</ref> and played the role six times a week, while the runner-up in the TV show, Janna Polzin, played Maria twice a week.<ref name="Turnsout2008">{{cite news | url=https://www.thestar.com/entertainment/article/478044 | work=The Star | location=Toronto | title=Turns out Janna's a 'Maria' after all | date=August 14, 2008 | accessdate=May 25, 2010 | url-status=live | archiveurl=https://web.archive.org/web/20081220110750/http://www.thestar.com/entertainment/article/478044 | archivedate=December 20, 2008 | df=mdy-all }}</ref> Captain von Trapp was played by [[Burke Moses]]. The show ran for more than 500 performances. It was Toronto's longest running revival ever.<ref>[http://toronto.broadwayworld.com/article/THE_SOUND_OF_MUSIC_Extended_At_The_Princess_of_Wales_Theatre_20100109 "''The Sound of Music'' Ends Run at The Princess of Wales Theatre January 10"] {{webarchive|url=https://web.archive.org/web/20110708094901/http://toronto.broadwayworld.com/article/THE_SOUND_OF_MUSIC_Extended_At_The_Princess_of_Wales_Theatre_20100109 |date=July 8, 2011 }}, Broadwayworld.com, January 10, 2010</ref>

A UK tour began in 2009 and visited more than two dozen cities before ending in 2011. The original cast included [[Connie Fisher]] as Maria, [[Michael Praed]] as Captain von Trapp and [[Margaret Preece]] as the Mother Abbess. Kirsty Malpass was the alternate Maria.<ref>[http://www.thesoundofmusictour.com/ The Sound of Music UK Tour] {{webarchive|url=https://web.archive.org/web/20090520084149/http://www.thesoundofmusictour.com/ |date=May 20, 2009 }}, Thesoundofmusictour.com, Retrieved May 18, 2009</ref> [[Jason Donovan]] assumed the role of Captain Von Trapp, and [[Verity Rushworth]] took over as Maria, in early 2011. [[Lesley Garrett]] reprised her role as Mother Abbess for the tour's final engagement in [[Wimbledon, London|Wimbledon]] in October 2011.

A production ran at the Ópera-Citi theater in [[Buenos Aires]], Argentina in 2011. The cast included Laura Conforte as Maria and Diego Ramos as Captain Von Trapp.<ref>{{cite web|work=La Novicia Rebelde|title=La Novicia Rebelde|url=http://www.lanoviciarebelde.com/|url-status=dead|archiveurl=https://web.archive.org/web/20110806041635/http://www.lanoviciarebelde.com/|archivedate=August 6, 2011|df=mdy-all}}</ref> A Spanish national tour began in November 2011 at the [[Auditorio de Tenerife]] in [[Santa Cruz de Tenerife]] in the [[Canary Islands]]. The tour visited 29 Spanish cities, spending one year in [[Madrid]]'s [[Gran Vía (Madrid)|Gran Vía]] at the Teatro Coliseum, and one season at the Tívoli Theatre in [[Barcelona]]. It was directed by Jaime Azpilicueta and starred Silvia Luchetti as Maria and Carlos J. Benito as Captain Von Trapp.<ref>{{cite web|url=http://www.broadwayworld.com/spain/article/BWW-TV-Sonrisas-y-lgrimas-se-prepara-para-su-gira-espaola-20111202|title=BWW TV: 'Sonrisas y lágrimas' se prepara para su gira española|author=Nuria Frutos|work=BroadwayWorld.com|url-status=live|archiveurl=https://web.archive.org/web/20141030022037/http://www.broadwayworld.com/spain/article/BWW-TV-Sonrisas-y-lgrimas-se-prepara-para-su-gira-espaola-20111202|archivedate=October 30, 2014|df=mdy-all}}</ref>

A production was mounted at the [[Open Air Theatre, Regent's Park]] from July to September 2013.<ref name ="extend" /><ref>{{cite web|url=http://www.whatsonstage.com/news/theatre/london/E8831345035584/To+Kill+A+Mockingbird+%26+Sound+of+Music+lead+2013+Open+Air+season.html|title=''To Kill A Mockingbird'' & ''Sound of Music'' lead 2013 Open Air season|publisher=whatsonstage.com|date=15 August 2012|accessdate=28 October 2012|url-status=live|archiveurl=https://web.archive.org/web/20130310055139/http://www.whatsonstage.com/news/theatre/london/E8831345035584/To%2BKill%2BA%2BMockingbird%2B%26%2BSound%2Bof%2BMusic%2Blead%2B2013%2BOpen%2BAir%2Bseason.html|archivedate=March 10, 2013|df=mdy-all}}</ref> It starred Charlotte Wakefield as Maria, with Michael Xavier as Captain von Trapp and [[Caroline Keiff]] as Elsa.<ref name="extend">[http://www.playbill.com/news/article/181143-The-Sound-of-Music-Extends-Run-at-Londons-Open-Air-Theatre-Regents-Park- The Sound of Music Extends Run at London's Open Air Theatre, Regent's Park] {{webarchive|url=https://web.archive.org/web/20130926062046/http://playbill.com/news/article/181143-The-Sound-of-Music-Extends-Run-at-Londons-Open-Air-Theatre-Regents-Park- |date=September 26, 2013 }}, Playbill, Retrieved November 7, 2013</ref> It received enthusiastic reviews and became the highest-grossing production ever at the theatre.<ref name ="extend" /> In 2014, the show was nominated for Best Musical Revival at the [[Laurence Olivier Awards]] and Wakefield was nominated for Best Actress in a Musical.<ref>[http://www.broadwayworld.com/article/Nominations-Announced-for-Olivier-Awards-2014-CHARLIE-AND-THE-CHOCOLATE-FACTORY-ONCE-MORMON-MERRILY-Jude-Law-Judi-Dench-More-20140310#.Ux4ZFvldVfg Nominations Announced for 2014 Olivier Awards!"] {{webarchive|url=https://web.archive.org/web/20140310214025/http://www.broadwayworld.com/article/Nominations-Announced-for-Olivier-Awards-2014-CHARLIE-AND-THE-CHOCOLATE-FACTORY-ONCE-MORMON-MERRILY-Jude-Law-Judi-Dench-More-20140310 |date=March 10, 2014 }}, Broadwayworld, retrieved 10 March 2014</ref>

A brief South Korean production played in 2014,<ref>{{cite web|url=http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2982837|title=2014.1.1 Ticket|work=[[Korea JoongAng Daily]]|date=1 January 2014|url-status=live|archiveurl=https://web.archive.org/web/20140105070302/http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2982837|archivedate=January 5, 2014|df=mdy-all}}</ref> as did a South African production at the Artscape in [[Cape Town]] and at the Teatro at [[Montecasino]] based on Lloyd Webber and Ian's London Palladium production.{{citation needed|date=October 2015}} The same year, a Spanish language translation opened at Teatro de la Universidad in San Juan, under the direction of Edgar García. It starred [[Lourdes Robles]] as Maria and [[Braulio Castillo, Jr.|Braulio Castillo]] as Captain Von Trapp, with [[Dagmar (Puerto Rico entertainer)|Dagmar]] as Elsa.<ref>{{cite web|url=http://elvocero.com/en-cartelera-the-sound-of-music/|archive-url=https://archive.is/20141029220303/http://elvocero.com/en-cartelera-the-sound-of-music/|url-status=dead|archive-date=2014-10-29|title=En cartelera The Sound of Music}}</ref> A production (in Thai: ''มนต์รักเพลงสวรรค์'') ran at Muangthai ratchadalai Theatre, [[Bangkok]], Thailand, in April 2015 in the Thai language. The production replaced the song "Ordinary couple" with "Something Good".<ref>{{cite web|url=http://news.voicetv.co.th/entertainment/164823.html|title=ละครเวที'มนตร์รักเพลงสวรรค์ The sound of music'|work=VoiceTV Thailand|url-status=live| archiveurl=https://web.archive.org/web/20150402181506/http://news.voicetv.co.th/entertainment/164823.html|archivedate=April 2, 2015|df=mdy-all}}</ref><ref>[http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html "Thailand's Hills Are Alive"] {{webarchive|url=https://web.archive.org/web/20150411052446/http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html |date=April 11, 2015 }}, NationMultimedia.com</ref><ref>[http://www.bangkokpost.com/lifestyle/music/514667/bangkok-is-alive-with-the-sound-of-music "Bangkok Is Alive with the Sound of Music"], ''Bangkok Post''</ref>

A North American tour, directed by [[Jack O'Brien (director)|Jack O'Brien]] and choreographed by Danny Mefford, began at the [[Ahmanson Theatre]] in Los Angeles in September 2015. The tour is scheduled to run until at least July 2017.<ref>[http://www.broadwayworld.com/article/New-National-Tour-of-THE-SOUND-OF-MUSIC-Directed-by-Jack-OBrien-to-Launch-This-Fall-Initial-Dates-Announced-20150429 "New National Tour of ''The Sound of Music'', Directed by Jack O'Brien, to Launch This Fall"] {{webarchive|url=https://web.archive.org/web/20160304123556/http://www.broadwayworld.com/article/New-National-Tour-of-THE-SOUND-OF-MUSIC-Directed-by-Jack-OBrien-to-Launch-This-Fall-Initial-Dates-Announced-20150429 |date=March 4, 2016 }}, Broadwayworld, retrieved 1 May 2015</ref> [[Kerstin Anderson]] plays Maria, with Ben Davis as Capt. von Trapp, Kyla Carter as Gretl von Trapp and [[Ashley Brown]] as Mother Abess. The production has received warm reviews.<ref>Verini, Bob. [https://variety.com/2015/legit/reviews/sound-of-music-review-national-tour-1201607718/ "L.A. Theater Review: ''The Sound of Music'', Directed by Jack O’Brien"] {{webarchive|url=https://web.archive.org/web/20160201205738/http://variety.com/2015/legit/reviews/sound-of-music-review-national-tour-1201607718/ |date=February 1, 2016 }}, ''Variety'', October 1, 2015</ref>

A UK tour produced by [[Bill Kenwright]] began in 2015 and toured into 2016. It was directed by [[Martin Connor]] and starred [[Lucy O'Byrne]] as Maria.<ref>[http://britishtheatre.com/sound-music-uk-tour "''The Sound of Music'' Tour Tickets 2016"] {{webarchive|url=https://web.archive.org/web/20160711160729/http://britishtheatre.com/sound-music-uk-tour/ |date=July 11, 2016 }}, BritishTheatre.com, May 14, 2016</ref><ref>[http://www.etnow.com/news/2015/12/the-sound-of-music-is-alive-with-white-light "''The Sound of Music'' Is Alive with White Light"] {{webarchive|url=https://web.archive.org/web/20160809034250/http://www.etnow.com/news/2015/12/the-sound-of-music-is-alive-with-white-light |date=August 9, 2016 }}, etnow.com, December 3, 2015, accessed July 16, 2016</ref> A 2016 Australian tour of the Lloyd Webber production, directed by Sams, included stops in Sydney,<ref>Cotter, Richard. [http://www.australianstage.com.au/201512187538/reviews/sydney/the-sound-of-music.html ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20160304085739/http://australianstage.com.au/201512187538/reviews/sydney/the-sound-of-music.html |date=March 4, 2016 }}, ''Australian Stage'', December 18, 2015</ref> Brisbane, Melbourne and Adelaide. The cast included [[Cameron Daddo]] as Captain Von Trapp, [[Marina Prior]] as Baroness Schraeder and [[Lorraine Bayly]] as Frau Schmidt. The choreographer was [[Arlene Phillips]].<ref>[http://soundofmusictour.com.au "The London Palladium Production of ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20150714044725/http://soundofmusictour.com.au/ |date=July 14, 2015 }}, The Really Useful Group Ltd., accessed November 15, 2015</ref>

==Film adaptation==
{{Main|The Sound of Music (film)}}
On March 2, 1965, [[20th Century Fox]] released a [[The Sound of Music (film)|film adaption of the musical]] starring [[Julie Andrews]] as Maria Rainer and [[Christopher Plummer]] as Captain Georg von Trapp. It was produced and directed by [[Robert Wise]] with the screenplay adaption written by [[Ernest Lehman]]. Two songs were written by Rodgers specifically for the film, "I Have Confidence" and "Something Good". The film won five Oscars at the [[38th Academy Awards]], including Best Picture.

==Television adaptations==
{{Main|The Sound of Music Live!}}
A [[The Sound of Music Live!|live televised production]] of the musical aired twice in December 2013 on [[NBC]].<ref>{{cite journal|last=Friedlander|first=Whitney|title=NBC to Re-Air 'The Sound of Music Live!'|journal=[[Variety (magazine)|Variety]]|date=December 10, 2013|publisher=[[Penske Business Media]]|url=https://variety.com/2013/tv/news/nbc-sound-of-music-live-reair-1200941859/|accessdate=December 14, 2013|url-status=live|archiveurl=https://web.archive.org/web/20131213125013/http://variety.com/2013/tv/news/nbc-sound-of-music-live-reair-1200941859/|archivedate=December 13, 2013|df=mdy-all}}</ref> It was directed by [[Beth McCarthy-Miller]] and [[Rob Ashford]].<ref>[http://broadwayworld.com/article/Breaking-News-NBC-Craig-ZadanNeil-Meron-to-Present-Live-Broadcast-of-THE-SOUND-OF-MUSIC-20120629#ixzz2CoUEezC5 NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC!] {{webarchive|url=https://web.archive.org/web/20121214220747/http://broadwayworld.com/article/Breaking-News-NBC-Craig-ZadanNeil-Meron-to-Present-Live-Broadcast-of-THE-SOUND-OF-MUSIC-20120629 |date=December 14, 2012 }} Retrieved November 30, 2012</ref> [[Carrie Underwood]] starred as Maria Rainer, with [[Stephen Moyer]] as Captain von Trapp, [[Christian Borle]] as Max, [[Laura Benanti]] as Elsa, and [[Audra McDonald]] as the Mother Abbess.<ref>{{Cite web|url = http://www.hollywoodreporter.com/review/sound-music-live-tv-review-663346|title = The Sound of Music Live!: TV Review|date = December 5, 2013|accessdate = December 6, 2013|work = [[The Hollywood Reporter]]|publisher = [[Prometheus Global Media]]|last = Bernardin|first = Marc|url-status = live|archiveurl = https://web.archive.org/web/20131207013628/http://www.hollywoodreporter.com/review/sound-music-live-tv-review-663346|archivedate = December 7, 2013|df = mdy-all}}</ref> The production was released on DVD the same month.<ref>{{Cite news|url=http://www.broadwayworld.com/article/NBC-to-Release-THE-SOUND-OF-MUSIC-LIVE-on-DVD-Dec-17-20131123|title=NBC to Release ''The Sound of Music Live!'' on DVD, Dec 17|accessdate=November 25, 2013|work=Broadway World|publisher=Wisdom Digital Media|date=November 23, 2013|url-status=live|archiveurl=https://web.archive.org/web/20131127222306/http://www.broadwayworld.com/article/NBC-to-Release-THE-SOUND-OF-MUSIC-LIVE-on-DVD-Dec-17-20131123|archivedate=November 27, 2013|df=mdy-all}}</ref>

British network [[ITV (network)|ITV]] presented a [[The Sound of Music Live (2015)|live version of its own]] on December 20, 2015. It starred [[Kara Tointon]] as Maria, [[Julian Ovenden]] as Captain von Trapp, [[Katherine Kelly (actress)|Katherine Kelly]] as Baroness Schraeder and [[Alexander Armstrong (comedian)|Alexander Armstrong]] as Max.<ref name="guardian-future">{{cite web|last1=Martinson|first1=Jane|title=As ITV prepares for the Sound of Music Live, are we watching TV's future?| url=https://www.theguardian.com/tv-and-radio/2015/dec/15/as-itv-prepares-for-the-sound-of-music-live-are-we-watching-tvs-future|website=The Guardian|accessdate=21 December 2015}}</ref><ref name="deadline-itvsom">{{cite web|title=ITV To Mount 'The Sound Of Music Live!' UK Christmas Special|url=http://deadline.com/2015/10/itv-sound-of-music-live-christmas-special-kara-tointon-1201590814/|website=Deadline.com|accessdate=2 February 2016}}</ref>

==Reception==
Most reviews of the original Broadway production were favorable. [[Richard Watts, Jr.]] of the ''[[New York Post]]'' stated that the show had "strangely gentle charm that is wonderfully endearing. ''The Sound of Music'' strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity."<ref name=Suskin>Suskin, pp. 460–64</ref> The ''[[New York World-Telegram|New York World-Telegram and Sun]]'' pronounced ''The Sound of Music'' "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement."<ref name=Suskin/> The ''[[New York Journal American]]''{{'}}s review opined that ''The Sound of Music'' is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".<ref name=Suskin/>

[[Brooks Atkinson]] of ''[[The New York Times]]'' gave a mixed assessment. He praised Mary Martin's performance, saying "she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar" and stated that "the best of the ''Sound of Music'' is Rodgers and Hammerstein in good form". However, he said, the libretto "has the hackneyed look of the musical theatre replaced with ''[[Oklahoma!]]'' in 1943. It is disappointing to see the American musical stage succumbing to the clichés of [[operetta]]."<ref name=Suskin/> [[Walter Kerr]]'s review in the ''[[New York Herald Tribune]]'' was unfavorable: "Before ''The Sound of Music'' is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music", stating that the "evening suffer(s) from little children".<ref name=Suskin/>

==Cast recordings==
[[Columbia Masterworks]] recorded the original Broadway cast album a week after the show's 1959 opening. The album was the label's first deluxe package in a gatefold jacket, priced $1 higher than previous cast albums. It was #1 on Billboard's best-selling albums chart for 16 weeks in 1960.<ref>Bronson, Fred.[https://books.google.com/books?id=wQkEAAAAMBAJ&pg=PA104 "Chart Beat"], ''Billboard'', September 14, 1996</ref> It was released on CD from Sony in the Columbia Broadway Masterworks series.<ref>[http://castalbums.org/recordings/The-Sound-Of-Music-1959-Original-Broadway-Cast/1094 "The Sound of Music – Original Broadway Cast"], Castalbums.org, accessed March 12, 2018</ref> In 1959, singer [[Patti Page]] recorded [[The Sound of Music (song)|the title song]] from the show for [[Mercury Records]]<ref>[http://www.discogs.com/Patti-Page-The-Sound-Of-Music-Little-Donkey/master/644503 "Patti Page – 'The Sound Of Music' / 'Little Donkey'"] {{webarchive|url=https://web.archive.org/web/20160311083637/https://www.discogs.com/Patti-Page-The-Sound-Of-Music-Little-Donkey/master/644503 |date=March 11, 2016 }}, Discogs.com, accessed December 8, 2015. The disc debuted at No. 99 on the [[Billboard Hot 100|''Billboard'' Hot 100]]. [https://books.google.com/books?id=0QoEAAAAMBAJ&pg=PA5 "''Hot 100'' Ads 16"] {{webarchive|url=https://web.archive.org/web/20160515044620/https://books.google.com/books?id=0QoEAAAAMBAJ&pg=PA5 |date=May 15, 2016 }}, ''The Billboard'', December 28, 1959, p. 5, accessed December 8, 2015</ref> on the day that the musical opened on Broadway. Since it was recorded a week before the original Broadway cast album, Page was the first artist to record any song from the musical. She featured the song on her TV show, ''The Patti Page Olds Show'', helping to popularize the musical.{{citation needed|date=December 2015}} The 1961 London production was recorded by [[EMI]] and released on the HMV label and later re-issued on CD in 1997, on the Broadway Angel label.<ref>[http://castalbums.org/recordings/The-Sound-Of-Music-1961-Original-London-Cast/1402 "The Sound of Music – Original London Cast"], Castalbums.org, accessed March 12, 2018</ref>

[[The Sound of Music (soundtrack)|The 1965 film soundtrack]] was released by [[RCA Victor]] and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide.<ref>Eyman, Scott. [https://www.wsj.com/articles/book-review-the-sound-of-music-story-by-tom-santopietro-1425069491 "The Hills Are Alive With the Sound of Money"], ''[[The Wall Street Journal]]'', February 27, 2015, accessed December 30, 2017</ref><ref>Hischak, p. 44</ref> Recent CD editions incorporate musical material from the film that would not fit on the original LP. The label has also issued the soundtrack in German, Italian, Spanish and French editions.{{citation needed|date=December 2017}} [[RCA Victor]] also released an album of the 1998 [[Broadway theatre|Broadway]] revival produced by [[Hallmark Entertainment]] and featuring the full revival cast, including [[Rebecca Luker]], [[Michael Siberry]], [[Jan Maxwell]] and [[Fred Applegate (actor)|Fred Applegate]].<ref name="castalbums-1998">[http://castalbums.org/recordings/The-Sound-Of-Music-1998-Broadway-Cast/2177 "The Sound of Music – Broadway Cast"], 1998, Castalbums.org, accessed March 12, 2018</ref> The [[Telarc]] label made a studio cast recording of ''The Sound of Music'', with the [[Cincinnati Pops Orchestra]] conducted by [[Erich Kunzel]] (1987). The lead roles went to opera stars: [[Frederica von Stade]] as Maria, [[Håkan Hagegård]] as Captain von Trapp, and [[Eileen Farrell]] as the Mother Abbess.<ref name="Hischak, p. 259"/> The recording "includes both the two new songs written for the film version and the three Broadway songs they replace, as well as a previously unrecorded verse of "An Ordinary Couple"".<ref>Dyer, Richard, "Record Review;Cincinnati Pops Orchestra Rodgers And Hammersrein: The Sound of Music Telarc (CD)", ''The Boston Globe'', September 15, 1988, Calendar; p. 12</ref> The 2006 London revival was recorded and has been released on the [[Decca Broadway]] label.<ref>[http://castalbums.org/recordings/The-Sound-of-Music-2006-London-Palladium-Cast-Recording/4537 "The Sound of Music – London Cast"] (2006), Castalbums.org, accessed March 12, 2018</ref> There have been numerous studio cast albums and foreign cast albums issued, though many have only received regional distribution. According to the cast album database, there are 62 recordings of the score that have been issued over the years.<ref>[http://castalbums.org/shows/The-Sound-of-Music/333 "The Sound of Music"], CastAlbums.org, accessed March 12, 2018</ref>

The [[The Sound of Music: Music from the NBC Television Event|soundtrack]] from the 2013 NBC television production starring [[Carrie Underwood]] and [[Stephen Moyer]] was released on CD and digital download in December 2013 on the [[Sony Masterworks]] label. Also featured on the album are [[Audra McDonald]], [[Laura Benanti]] and [[Christian Borle]].<ref>[[Stephen Thomas Erlewine|Erlewine, Stephen Thomas]]. [http://www.allmusic.com/album/the-the-sound-of-music-2013-nbc-television-cast-mw0002593930 "Carrie Underwood: ''The Sound of Music''"] {{webarchive|url=https://web.archive.org/web/20151107040744/http://www.allmusic.com/album/the-the-sound-of-music-2013-nbc-television-cast-mw0002593930 |date=November 7, 2015 }}, [[AllMusic]], December 3, 2013, accessed February 11, 2016</ref>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="10" align="center"| 1960
| rowspan="9"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Musical|Best Musical]]
| {{won}}
|-
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Mary Martin]]
| {{won}}
|-
| rowspan="2"| [[Tony Award for Best Featured Actor in a Musical|Best Featured Actor in a Musical]]
| [[Theodore Bikel]]
| {{nom}}
|-
| [[Kurt Kasznar]]
| {{nom}}
|-
| rowspan="2"|[[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]]
| [[Patricia Neway]]
| {{won}}
|-
| Kathy Dunn, [[Lauri Peters]], Mary Susan Locke, Marilyn Rogers, Evanna Lien, William Snowden, and Joseph Stewart
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Vincent J. Donehue]]
| {{nom}}
|-
| [[Tony Award for Best Conductor and Musical Director|Best Conductor and Musical Director]]
| Frederick Dvonch
| {{won}}
|-
| [[Tony Award for Best Scenic Design of a Musical|Best Scenic Design of a Musical]]
| [[Oliver Smith (designer)|Oliver Smith]]
| {{won}}
|-
| colspan=2|[[Theatre World Award]]
| [[Lauri Peters]]
| {{won}}
|-
| 1967
| [[Outer Critics Circle]]
| Special Award
| [[Constance Towers]]
| {{won}}
|}

===1998 Broadway Revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="7"|1998
| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award]]
| [[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
| [[Bruce Coughlin]]
| {{nom}}
|-
| rowspan="4"|[[Outer Critics Circle Award]]
| colspan="2"|Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actress in a Musical
| [[Rebecca Luker]]
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| [[Jan Maxwell]]
| {{nom}}
|-
| Outstanding Set Design
| [[Heidi Ettinger]]
| {{nom}}
|-
| [[Drama League Award]]
| colspan="2"|Distinguished Production of a Revival
| {{nom}}
|}

==Notes==
{{Reflist|30em}}

==References==
* Green, Stanley. ''Encyclopedia of the Musical Theatre'' (1980). Da Capo Press. {{ISBN|0-306-80113-2}}
* Hischak, Thomas. ''The Rodgers and Hammerstein Encyclopedia'' (2007). Greenwood Publishing Group. {{ISBN|0-313-34140-0}}
* Maslon, Laurence, with a foreword by Andrew Lloyd Webber. ''The Sound of Music Companion'' (2007) Simon and Schuster {{ISBN|1-4165-4954-4}}
* Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers & Hammerstein'', New York: Applause Theatre & Cinema Books. {{ISBN|1-55783-473-3}}
* Suskin, Steven. [https://www.amazon.com/dp/0028726251 ''Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre''] (1990), Schirmer Books {{ISBN|0-02-872625-1}}

==Further reading==
* Bell, Bethany, [http://news.bbc.co.uk/2/hi/programmes/from_our_own_correspondent/4361449.stm "Austria discovers ''The Sound of Music''"], BBC, Saturday, March 19, 2005.
* Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
* Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
* Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
* Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
* Hirsch, Julia Antopol. ''The Sound Of Music—The Making Of America's Favorite Movie''. McGraw-Hill Publishing, 1993
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.
* Papamichael, Stella. [https://www.bbc.co.uk/films/2005/11/23/the_sound_of_music_40th_2005_dvd_review.shtml ''The Sound of Music: 40th Anniversary Collector's Edition DVD (1965)''], BBC, review and history, November 23, 2005
* Wilk, Max. ''The Making of The Sound of Music'' (2007), Routledge {{ISBN|0-415-97934-X}}

==External links==
{{wikiquote}}
* {{ibdb show|id=8195|title=The Sound of Music}}
* [http://www.rnh.com/show/95/The-Sound-of-Music The Sound of Music at RNH Theatricals]
* [http://www.theatrehistory.com/american/musical010.html Synopsis on theatrehistory]
* [http://www.stageagent.com/Shows/View/724 Sound of Music character descriptions and plot summary from StageAgent.com]
* [http://www.masterworksbroadway.com/podcast/series/the-sound-of-music-50th-anniversary-edition-podcast-series The Sound of Music: 50th Anniversary Edition Podcast Series]

{{The Story of the Trapp Family Singers}}
{{Navboxes
| title = Awards for ''The Sound of Music''
| list =
{{Grammy Award for Best Musical Theater Album}}
{{TonyAwardBestMusical 1947-1975}}
}}
{{Rodgers and Hammerstein}}

{{DEFAULTSORT:Sound Of Music, The}}
[[Category:The Sound of Music| ]]
[[Category:1959 musicals]]
[[Category:Broadway musicals]]
[[Category:Love stories]]
[[Category:Biographical musicals]]
[[Category:Musicals inspired by real-life events]]
[[Category:Nuns in fiction]]
[[Category:Plays set in Austria]]
[[Category:Musicals about World War II]]
[[Category:Salzburg]]
[[Category:Tony Award for Best Musical]]
[[Category:Trapp family]]
[[Category:West End musicals]]
[[Category:Tony Award-winning musicals]]

The King and I

2020-04-03T22:13:04Z

JohnAnkerBow: Instrumentation added

{{About|the stage musical}}
{{short description|1951 musical}}
{{Use mdy dates|date=January 2013}}
{{Infobox musical
| name = The King and I
| image = King~I~OBP.jpeg
| image_size = 250px
| caption = Original Broadway poster (1951)
| music = [[Richard Rodgers]]
| lyrics = [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' by [[Margaret Landon]]
| productions =
{{plainlist |
*1951 [[Broadway theatre|Broadway]]
*1953 [[West End theatre|West End]]
*1954 U.S. tour
*1973 West End [[revival (theatre)|revival]]
*1977 Broadway revival
*1979 West End revival
*1981 U.S. tour
*1985 Broadway revival
*1996 Broadway revival
*2000 West End revival
*2004 U.S. tour
*2011 U.K. tour
*2015 Broadway revival
*2016 U.S. tour
*2018 West End revival

}}

| awards =
{{plainlist |
*1952 [[Tony Award for Best Musical]]
*1996 [[Tony Award for Best Revival of a Musical]]
*2015 [[Tony Award for Best Revival of a Musical]]
}}
}}
'''''The King and I''''' is the fifth [[musical theatre|musical]] by [[Rodgers and Hammerstein|the team]] of composer [[Richard Rodgers]] and dramatist [[Oscar Hammerstein II]]. It is based on [[Margaret Landon]]'s novel, ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (1944), which is in turn derived from the memoirs of [[Anna Leonowens]], [[governess]] to the children of [[Mongkut|King Mongkut]] of [[Thailand|Siam]] in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at [[Broadway theatre|Broadway]]'s [[St. James Theatre]]. It ran for nearly three years, making it the fourth longest-running Broadway musical in history at the time, and has had many tours and revivals.

In 1950, theatrical attorney [[Fanny Holtzmann]] was looking for a part for her client, veteran leading lady [[Gertrude Lawrence]]. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted [[Rodgers and Hammerstein]], who were initially reluctant but agreed to write the musical. The pair initially sought [[Rex Harrison]] to play the supporting part of the King, a role he had played in [[Anna and the King of Siam (film)|the 1946 film]] made from Landon's book, but he was unavailable. They settled on the young actor and television director [[Yul Brynner]].

The musical was an immediate hit, winning [[Tony Award]]s for [[Tony Award for Best Musical|Best Musical]], [[Tony Award for Best Actress in a Musical|Best Actress]] (for Lawrence) and [[Tony Award for Best Featured Actor in a Musical|Best Featured Actor]] (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with [[The King and I (1956 film)|a 1956 film]] for which Brynner won an [[Academy Award]], and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.

[[Christopher Renshaw]] directed major revivals on Broadway (1996), winning the [[Tony Award for Best Revival of a Musical|Tony Award for Best Revival]], and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of ''The King and I'' continue to be staged regularly throughout the English-speaking world.

== Historical background ==
[[File:SiamRoyals1875GeorgeEastmanHouseviaGetty.jpg|thumb|left|alt=Sepia tinted photo of seated woman and older man separated by three children sitting on a bench, with several children sitting on the floor in front of them|King [[Mongkut]] (far right) with his heir [[Chulalongkorn]] seated next to him and some of his other children. A wife is seated at left.]]

[[Mongkut]], [[Monarchy of Thailand|King of Siam]], was about 57 years old in 1861. He had lived half his life as a [[Buddhist monk]], was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King [[Nangklao]]). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.<ref>Morgan, pp. 96–98</ref>

In 1861, Mongkut wrote to his Singapore agent, [[Tan Kim Ching]], asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, [[Anna Leonowens]] (1831–1915), who was running a small nursery school  in the colony.<ref name=Morgan86>Morgan, pp. 86–87</ref> Leonowens was the [[Anglo-Indian]] daughter of an [[Bombay Army|Indian Army]] soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was [[Welsh people|Welsh]] by birth. Her deception was not detected until long after her death, and had still not come to light when ''The King and I'' was written.<ref>Morgan, pp. 81–86</ref>

[[File:King Mongkut and Prince Chulalongkorn.jpg|thumb|right|alt=Black and white photo of older man and teenage boy standing in uniforms with bold designs and ornaments|Mongkut with Chulalongkorn, dressed in naval uniforms]]

Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to [[Bangkok]] with her five-year-old son, [[Louis Leonowens|Louis]].<ref name=Morgan86 /> King Mongkut had sought a Briton to teach his children and wives after trying local [[missionaries]], who used the opportunity to proselytize. Leonowens initially asked for $150 in [[Straits dollar|Singapore currency]] per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here".<ref name=Morgan88 /> King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day.<ref name=Morgan88>Morgan, pp. 88–91</ref> Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.<ref name=Morgan88 />

In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis.<ref>Morgan, p. 160</ref> However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king [[Chulalongkorn]].<ref>Morgan, p. 173</ref><ref>"Important Trifles", ''Washington Post'', May 15, 1887, p. 4</ref>

== Creation ==
In 1950, British actress [[Gertrude Lawrence]]'s business manager and attorney, [[Fanny Holtzmann]], was looking for a new vehicle for her client when the 1944 [[Margaret Landon]] novel ''[[Anna and the King of Siam (novel)|Anna and the King of Siam]]'' (a fictionalized version of Leonowens' experiences) was sent to her by Landon's [[talent agent|agent]].<ref name=Nolan199>Nolan, p. 199</ref> According to Rodgers biographer [[Meryle Secrest]], Holtzmann was worried that Lawrence's career was fading.<ref>Secrest, p. 309</ref> The 51-year-old actress had appeared only in plays, not in musicals, since ''[[Lady in the Dark]]'' closed in 1943.<ref>Morley, pp. 142–51</ref> Holtzmann agreed that a musical based on ''Anna and the King of Siam'' would be ideal for her client,<ref name=Nolan199 /> who purchased the rights to adapt the novel for the stage.<ref name=Hischak148>Hischak, p. 148</ref>

Holtzmann initially wanted [[Cole Porter]] to write the [[Theatre music|score]], but he declined. She was going to approach [[Noël Coward]] next, but happened to meet [[Dorothy Hammerstein]] (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted [[Rodgers and Hammerstein]] to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical.<ref name=Nolan199 /> Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in ''[[André Charlot]]'s London Revue of 1924'' on Broadway and on tour in North America.<ref>Dorothy Hammerstein was [[Beatrice Lillie]]'s understudy in that production. See [http://articles.latimes.com/1987-08-05/news/mn-594_1_dorothy-hammerstein ''Los Angeles Times''], August 5, 1987. Retrieved November 17, 2013</ref>

[[File:R and H.jpg|thumb|left|upright|alt=Two men in business suits sit in theatre seats amiably discussing what they are watching|Rodgers (left) and Hammerstein]]
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of [[vignette (literature)|vignettes]] of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them.<ref name=Nolan310 /><ref>Block (ed.), p. 156</ref> Rodgers and Hammerstein could see no coherent story from which a musical could be made<ref name=Nolan310 /> until they saw the [[Anna and the King of Siam (film)|1946 film adaptation]], starring [[Irene Dunne]] and [[Rex Harrison]], and how the [[screenplay]] united the episodes in the novel.<ref name=Nolan310>Nolan, p. 310</ref> Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of [[diva]]-like behavior.<ref>Nolan, pp. 310–11</ref> In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show.<ref>Fordin, p. 291</ref> For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.<ref>{{cite news | last = Zolotow | first = Sam | title = Lawrence accepts lead in musical | page = 19 (Amusements section) | newspaper = [[The New York Times]] | date = April 17, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F70910F73F59157B93C5A8178FD85F448585F9&scp=49&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about [[Abraham Lincoln]]. This would eventually become the narrated dance, "[[Uncle Tom's Cabin|The Small House of Uncle Thomas]]". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores,<ref name=Bloom163>Bloom and Vlastnik, p. 163</ref> Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical.<ref>Nolan, p. 201</ref> Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies.<ref>Bloom and Vlastnik, p. 162</ref> In an interview for ''[[The New York Times]]'', Hammerstein indicated that he wrote the first scene before leaving for London and the [[West End theatre|West End]] production of ''[[Carousel (musical)|Carousel]]'' in mid-1950; he wrote a second scene while in the British capital.<ref>{{cite news | last=Calta | first=Louis | title = Hit team working on a new musical | page = 7 (Amusements section) | newspaper = The New York Times | date = June 24, 1950 | url = http://select.nytimes.com/gst/abstract.html?res=F10611FD3959157B93C6AB178DD85F448585F9&scp=69&sq=%22gertrude+lawrence%22&st=p | accessdate = January 11, 2011}} {{subscription required}}</ref>

The pair had to overcome the challenge of how to represent [[Thai language|Thai]] speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with [[Lorenz Hart]] titled ''Chee-chee'',<ref name=Secrest311>Secrest, p. 311</ref> did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]] and chords in unusual keys, in ways pleasant to Western ears.<ref name=MillerExotic>Miller, Scott. [http://www.newlinetheatre.com/kingandichapter.html "Inside ''The King and I''"], New Line Theatre. Retrieved December 28, 2012</ref><ref name=Fordin293 /> Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement".<ref name=Fordin293>Fordin, pp. 293–94</ref> Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.<ref>Ma, p. 18</ref>

With Rodgers laid up with back trouble, Hammerstein completed most of the musical's [[book (musical theatre)|book]] before many songs were set to music.<ref>Fordin, p. 295</ref> Early on, Hammerstein contacted set designer [[Jo Mielziner]] and costume designer [[Irene Sharaff]] and asked them to begin work in coordination with each other. Sharaff communicated with [[Jim Thompson (designer)|Jim Thompson]], an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century.<ref>Fordin, pp. 292–93</ref> One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.<ref name=Fordin296>Fordin, p. 296</ref>

[[File:Jerome Robbins 1951.jpg|thumb|upright|right|alt=Slightly angled headshot of a man in his 30s with wavy dark hair.|Choreographer [[Jerome Robbins]]]]
Producer [[Leland Hayward]], who had worked with the duo on ''[[South Pacific (musical)|South Pacific]]'', approached [[Jerome Robbins]] to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number.<ref name=Fordin296 /> His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim.<ref name=Nolan208/> [[Robert Russell Bennett]] provided the orchestrations, and [[Trude Rittmann]] arranged the ballet music.<ref>Hyland, p. 196</ref>

The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)."<ref name=Mordden144 /> Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King.<ref name=Bloom163 /><ref name=Mordden144>Mordden, p. 144</ref> "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. [[Josh Logan]], who had worked closely with Hammerstein on ''South Pacific'', listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.<ref>Fordin, p. 299</ref>

== Casting and auditions ==
[[File:Yul Brynner The King and I 1954.JPG|thumb|alt=Black and white photo of a man with a shaven head in silky Asian garb; his chest is exposed and his feet are bare; he stands with hands on hips, glowering at the camera|[[Yul Brynner]] in the original production of ''The King and I'']]
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. [[Alfred Drake]], the original Curly in ''[[Oklahoma!]]'', made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. [[Mary Martin]], the original Nellie Forbush in ''South Pacific'', suggested that her co-star in a 1946 musical set in China, ''[[Lute Song (musical)|Lute Song]]'', try for the role.<ref>Hammerstein, pp. 204–05</ref> Rodgers recounted the audition of the Russian-American performer, [[Yul Brynner]]:
{{quote |
They told us the name of the first man and out he came with a bald head and sat cross-legged on the stage. He had a guitar and he hit his guitar one whack and gave out with this unearthly yell and sang some heathenish sort of thing, and Oscar and I looked at each other and said, "Well, that's it."<ref>Nolan, p. 202</ref>
}}

Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in [[CBS]]'s ''Starlight Theatre'', for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project.<ref>Nolan, pp. 202–03</ref><ref>Capua, pp. 26, 28</ref> In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "[[Shall We Dance? (1951 song)|Shall We Dance?]]", where the King hesitantly touches Anna's waist, the chemistry was palpable.<ref name=Bloom163 />

[[File:Gertrude Lawrence as Anna.jpg|thumb|alt=Woman looking over her shoulder, wearing a Victorian-style gown with a fitted bodice and full hoop skirt|[[Gertrude Lawrence]] as Anna, in the [[Irene Sharaff]]-designed ball gown]]
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for ''South Pacific'', but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director [[John van Druten]], who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of ''The King and I'' will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown."<ref>Hammerstein, p. 206</ref> Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".<ref>Mordden, p. 137</ref>

The show was budgeted at $250,000 (US${{formatnum:{{Inflation|US|250000|1951|r=-4}}}} in {{Inflation-year|US}} dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop ''[[Allegro (musical)|Allegro]]''.<ref>Nolan, p. 204</ref> Investors included Hammerstein, Rodgers, Logan, Martin, [[Billy Rose]] and Hayward.<ref name=Mordden190>Mordden, p. 190</ref> The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai.<ref>Capua, p. 38</ref> Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.<ref name=Green233cast/><ref>Asch, Amy. [http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum "Getting to Know You Better: ''King & I'' Reunion at Museum"] {{webarchive|url=https://web.archive.org/web/20110629145655/http://www.playbill.com/news/article/59555-Getting-to-Know-You-Better-King-I-Reunion-at-Museum |date=June 29, 2011 }}, ''Playbill'', April 12, 2001. Retrieved February 21, 2011; and [http://www.ibdb.com/person.php?id=79187 Larry Douglas], [[Internet Broadway Database]]. Retrieved December 29, 2012</ref>

Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, [[Doretta Morrow]], sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies.<ref name=Hyland200>Hyland, p. 200</ref> Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for ''[[Collier's]]'' who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
{{quote |
She took the center of the barren stage wearing, for practice, a dirty muslin hoop over her slacks, with an old jacket thrown over her shoulders for warmth. She began rather quietly on the note, "Your servant! Your servant! Indeed I'm not your servant!" Then she gradually built the scene, slowly but powerfully, until, in a great crescendo, she ended prone on the floor, pounding in fury, and screaming, "Toads! Toads! Toads! All of your people are toads." When she finished, the handful of professionals in the theatre burst into admiring applause.<ref name=Secrest311 />
}}

At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.<ref>Fordin, p. 297</ref>

Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her.<ref name=Hyland200 /> When the tryout opened in [[New Haven, Connecticut]] on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from [[laryngitis]], had missed the [[dress rehearsal]] but managed to make it through the first public performance. The ''[[Variety (magazine)|Variety]]'' critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the ''[[Philadelphia Bulletin]]'' printed that her "already thin voice is now starting to wear a great deal thinner".<ref>Morley, p. 191</ref> Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long.<ref name=Nolan207>Nolan, p. 207</ref> [[Gemze de Lappe]], who was one of the dancers, recalled one cut that she regretted:
{{quote |
They took out a wonderful scene. Mrs. Anna's first entrance into the palace comes with a song in which she sings, "Over half a year I have been waiting, waiting, waiting, waiting, waiting, waiting outside your door." At the end she points her umbrella at him, or something like that, and the King says "Off with her head" or words to that effect, and the eunuchs pick her up and carry her off. The King says "Who, who, who?" with great satisfaction, and finds out that he has just thrown out the English schoolteacher. So he says, "Bring her back!" and she is ushered in ... we all loved it.<ref>Secrest, p. 312</ref>
}}

[[File:New Haven song list.jpg|thumb|left|300px|alt=Detail of page 15 from a theatre program showing a partial song list that includes the songs "Waiting" and "Who Would Refuse"|Part of the Act I song list from the New Haven tryout]]
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by [[Dorothy Sarnoff]] in the original production), was also cut.<ref name=Green233cast>Green, p. 233, lists the original principal cast</ref><ref name=Nolan207 /> After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from ''South Pacific'', "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.<ref name=Nolan208>Nolan, p. 208. In some references, "Suddenly Lucky" is called "Suddenly Lovely".</ref>

Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."<ref name=ocala>Freedman, Samuel G. [https://news.google.com/newspapers?id=LAckAAAAIBAJ&sjid=gAYEAAAAIBAJ&dq=brynner%20dick%20opening%20night&pg=2484%2C102242 Yul Brynner leaves King of Siam role for own future], ''[[The New York Times]]'' via ''[[Ocala Star-Banner]]'', January 1, 1985, pp. C1, C2. Retrieved December 28, 2012</ref>

== Plot ==

=== Act 1 ===
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("[[I Whistle a Happy Tune]]"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.

[[File:King 1977.jpg|thumb|280px|alt=Black and white photo of a theatrical scene: a middle-aged man with a shaved head and imposing presence has his right arm extended to introduce a group of children in Asian dress to a woman in a crinoline dress and bonnet in the foreground at right, who is partially turned upstage. The children are mostly kneeling and have their arms raised in greeting; one child (probably Crown Prince Chulalongkorn) stands and bows.|The King (Brynner) presents (some of) his children to Anna (Constance Towers), 1977]]
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.

Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("[[Getting to Know You (song)|Getting to Know You]]"). As the [[crown prince]], Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").

[[File:King dictates to Anna.jpg|thumb|left|alt=A man with a shaven head, wearing Asian dress, reclines on the floor and gestures at a woman in 19th century dress, who is writing, apparently at the man's dictation.|Lawrence as Anna takes dictation from the King (Brynner), 1951]]
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a [[protectorate]]. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, ''[[Uncle Tom's Cabin]]'', that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."

=== Act 2 ===
[[File:Small House of Uncle Thomas.jpg|thumb|350px|alt=Wide angle shot of the whole stage showing the ballet scene; a threatening character stands at center with a raised sword, while other dancers lie prone on the stage appearing to plead with him; others stand at left looking concerned|"The Small House of Uncle Thomas"]]
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.

As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("[[Uncle Tom's Cabin|Small House of Uncle Thomas]]", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King [[Simon Legree|Simon of Legree]] and his pursuit of the runaway slave [[Uncle Tom's Cabin#Eliza|Eliza]]. Eliza is saved by [[Buddha]], who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.

[[File:Yul Brynner and Gertrude Lawrence in stage musical The King and I.jpg|left|thumb|upright|alt=A barefoot man in Asian-style dress dances exuberantly with a woman in a formal gown with a large hoop skirt|Brynner and Lawrence perform "Shall We Dance?"]]
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.

Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of [[kowtow]]ing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
{{Clear left}}

== Principal roles and notable performers ==

{| class="wikitable"
! width="100" | Character
! width="200" | Description
! width="120" | Original Broadway cast<ref>Hischak, pp. 147–148 (roles and original cast only)</ref>
! width="400" | Other notable stage performers in long-running, noteworthy productions
|-
| [[Anna Leonowens]] ||A widowed Briton, in Siam to teach the royal children ||[[Gertrude Lawrence]]|| [[Eileen Brennan]], [[Constance Carpenter]], [[Jan Clayton]], [[Barbara Cook]], [[Sandy Duncan]], [[Valerie Hobson]], [[Celeste Holm]], [[Sally Ann Howes]], [[Laura Michelle Kelly]], [[Angela Lansbury]], [[Josie Lawrence]], [[Marin Mazzie]], [[Lisa McCune]], [[Maureen McGovern]], [[Virginia McKenna]], [[Hayley Mills]], [[Patricia Marand]], [[Patricia Morison]], [[Donna Murphy]], [[Kelli O'Hara]], [[Marie Osmond]], [[Elaine Paige]], [[Mary Beth Peil]], [[Stefanie Powers]], [[Faith Prince]], [[Liz Robertson]], [[Risë Stevens]], [[Constance Towers]]
|-
| The King of Siam ||A fictionalized version of the historical King [[Mongkut]]||[[Yul Brynner]]|| [[Farley Granger]], [[Kevin Gray (actor)|Kevin Gray]], [[Daniel Dae Kim]], [[Hoon Lee]], [[Jason Scott Lee]], [[Jose Llana]], [[Herbert Lom]], [[Darren McGavin]], [[Paul Nakauchi]], [[Rudolf Nureyev]], [[Lou Diamond Phillips]], [[Zachary Scott]], [[Teddy Tahu Rhodes]], [[Ramon Tikaram]], [[Ken Watanabe]], [[Peter Wyngarde]]
|-
| Lady Thiang ||The King's chief wife ||[[Dorothy Sarnoff]]|| [[Ruthie Ann Miles]], [[Patricia Neway]], [[Muriel Smith (singer)|Muriel Smith]], [[Terry Saunders]], [[Joan Almedilla]], [[Naoko Mori]]
|-
| Lun Tha ||A Burmese scholar and envoy, in love with Tuptim ||Larry Douglas|| [[Sean Ghazi]], [[Jose Llana]], [[Conrad Ricamora]], [[Dean John-Wilson]]
|-
| Tuptim ||A slave brought from Burma to be one of the King's junior wives ||[[Doretta Morrow]]|| [[June Angela]], [[Joy Clements]], [[Lee Venora]], [[Patricia Welch]], [[Na-Young Jeon]], [[Ashley Park (actress)|Ashley Park]]
|-
| Prince [[Chulalongkorn]] ||A fictionalized version of Mongkut's eldest son and heir ||Johnny Stewart|| [[Sal Mineo]]
|-
| The Kralahome ||The King's prime minister ||John Juliano|| [[Martin Benson (actor)|Martin Benson]], [[Saeed Jaffrey]], [[Randall Duk Kim]], [[Ho Yi]], [[Paul Nakauchi]], [[Takao Osawa]]
|-
| [[Louis Leonowens]] ||Anna's son|| Sandy Kennedy|| [[Jeff B. Davis|Jeffrey Bryan Davis]], [[Jake Lucas]]
|}


== Musical numbers ==
{{col-begin}}
{{col-2}}
'''Act I'''<ref name=Hischak148 />
* Overture – Orchestra
* "[[I Whistle a Happy Tune]]" – Anna and Louis
* "My Lord and Master" – Tuptim
* "[[Hello, Young Lovers (song)|Hello, Young Lovers]]" – Anna
* "March of the Royal Siamese Children" – Orchestra
* "A Puzzlement" – King
* "The Royal Bangkok Academy" – Anna, Wives and Children
* "[[Getting to Know You (song)|Getting to Know You]]" – Anna, Wives and Children
* "[[We Kiss in a Shadow]]" – Tuptim and Lun Tha
* "A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
* "Shall I Tell You What I Think of You?" – Anna
* "[[Something Wonderful (song)|Something Wonderful]]" – Lady Thiang
* "Buddhist Prayer"/Act I finale – King and Company
{{col-break}}

'''Act II'''<ref name=Hischak148 />
* Entr'acte – Orchestra
* "Western People Funny" – Lady Thiang and Wives
* "[[I Have Dreamed (song)|I Have Dreamed]]" – Tuptim and Lun Tha
* "Hello, Young Lovers" (reprise) – Anna
* "The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
* "Song of the King" – King and Anna
* "[[Shall We Dance? (1951 song)|Shall We Dance?]]" – Anna and the King
* "I Whistle a Happy Tune" (reprise) – Anna
* "Something Wonderful" (reprise, finale ultimo) – Orchestra<ref>''The King and I'', conductor's score, pp. 192 & 193.</ref>
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=The King & I |url=https://www.concordtheatricals.com/p/44904/the-king-and-i |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Clarinet III, Bassoon, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Horn III, Trombone I, Trombone II, Tuba, 2 Percussion, 2 Violin A, 2 Violin B, 2 Violin C, Viola, Cello, Bass & Harp

== Productions ==

=== Original productions ===
[[File:Stjamestheatre.jpg|thumb|alt=Wide angle photo showing facade of St. James Theatre|''The King and I'' opened in 1951 at the [[St. James Theatre]] (seen in 2006).]]
''The King and I'' opened on [[Broadway theatre|Broadway]] on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than ''South Pacific''. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the [[St. James Theatre]].<ref>Hyland, p. 201</ref> Margaret Landon, author of the book on which the musical was based, was not invited to opening night.<ref>Morgan, p. 216</ref>

Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful."<ref name=Hyland202 /> The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's [[West End theatre|West End]], and finally on film.<ref>Morley, p. 193</ref> Lawrence won a [[Tony Award]] for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.<ref name=TonyAwards>[https://www.tonyawards.com/winners/?q=The%20King%20and%20I "Search past winners – ''The King and I''"], Tony Awards, American Theatre Wing, accessed January 13, 2011</ref>

De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
{{quote | I used to listen to Gertrude Lawrence on the public address system every night in our dressing rooms, and she'd get onto a note and sag down off of it. The night after I left the show to go into ''[[Paint Your Wagon (musical)|Paint Your Wagon]]'', Yul Brynner gave me house seats and I saw her from the front and I was so taken by her. She had such a star quality, you didn't care if she sang off-key. She more than dominated the stage. Boy, was that a lesson to me.<ref name=Secrest311 />
}}
Lawrence had not yet discovered that she was dying from [[Hepatocellular carcinoma|liver cancer]], and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing {{convert|75|lb}} while walking or dancing a total of {{convert|4|mi}} during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Understudy [[Constance Carpenter]] began replacing her in matinee performances. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling [[pleurisy]] and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, [[bronchitis]] felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from ''Oklahoma!'', [[Celeste Holm]], for six weeks during the summer.<ref name=Green233 /> Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people".<ref>Morley, pp. 191–96</ref> In late August, Lawrence fainted following a matinee and was admitted to the [[NewYork–Presbyterian Hospital]]. She slipped into a coma and died on September 6, 1952, aged 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of ''The King and I'' was cancelled.<ref>Morley, pp. 197–98</ref> The lights of Broadway and the West End were dimmed; she was buried in the ball gown she wore during Act 2.<ref>Hammerstein, p. 207</ref>

Carpenter assumed the role of Anna and went on to play it for 620 performances.<ref>Daniels, Lee A. [https://query.nytimes.com/gst/fullpage.html?res=9F0CEEDD173DF932A35752C0A965958260 "Constance Carpenter obituary"], ''The New York Times'', January 1, 1993. Retrieved January 23, 2011</ref> Other Annas during the run included Holm, [[Annamary Dickey]] and [[Patricia Morison]].<ref name=Hischak149>Hischak, p. 149</ref> Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis.<ref>Capua, p. 47</ref> Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner.<ref name=Green233 /><ref>''Playbill'', St. James Theatre, "Week beginning Monday, May 18, 1953"</ref> One young actor, [[Sal Mineo]], began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn.<ref>[http://www.ibdb.com/person.php?id=53216 "Salvatore Mineo"], Internet Broadway Database. Retrieved February 20, 2011</ref> Mineo began a close friendship and working relationship with Brynner which would last for more than a decade.<ref>Capua, p. 39</ref> Another replacement was [[Terry Saunders]] as Lady Thiang.<ref>[https://www.ibdb.com/broadway-cast-staff/terry-saunders-95660 Terry Saunders], Internet Broadway Database, accessed October 17, 2016</ref> She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical.<ref>[http://www.playbill.com/celebritybuzz/article/75222-Long-Runs-on-Broadway "Long Runs on Broadway"], ''Playbill'', December 23, 2012 (compare show names with closing dates at IBDB)</ref> A U.S. national tour began on March 22, 1954, at the Community Theatre, [[Hershey, Pennsylvania]], starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.<ref name=March22>[https://archive.is/20130118153846/http://rnh.development.busites.com/show/60/The-King-and-I/artwork/bio/154/show/60/The-King-and-I/artwork/44%23shows-trivia#shows-trivia "''The King and I'' Trivia: March 22, 1954"], Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref><ref>[[John Kenrick (theatre writer)|Kenrick, John]]. [http://www.musicals101.com/who14.htm "Who's Who in Musicals: Additional Bios IV: Morison, Patricia"], Musicals101.com (2002). Retrieved February 22, 2011</ref>

The original London production opened on October 8, 1953, at the [[Theatre Royal, Drury Lane]], and was warmly received by both audiences and critics;<ref>[https://select.nytimes.com/gst/abstract.html?res=FA0A10FE3B55107B93CBA9178BD95F478585F9&scp=1&sq=The+enormous+popularity+in+London+of+the+modern+American+musicals%2C+in+particular+those+written+...+%22The+King+and+I%22+h&st=p "''King and I'' wins London ovation"], ''[[The New York Times]]'', October 9, 1953, p. 53. Retrieved February 18, 2011. {{subscription required}}</ref> it ran for 946 performances.<ref name=Hischak150 /> The show was restaged by Jerome Whyte.<ref name=Green233 /> The cast featured [[Valerie Hobson]], in her last role, as Anna;<ref>Vallance, Tom. [https://www.independent.co.uk/arts-entertainment/obituary-valerie-hobson-1185255.html "Obituary: Valerie Hobson"], ''[[The Independent]]'', November 16, 1998. Retrieved February 20, 2011</ref> [[Herbert Lom]] as the King; and [[Muriel Smith (singer)|Muriel Smith]] as Lady Thiang.<ref name=Hischak150>Hischak, p. 150</ref> [[Martin Benson (actor)|Martin Benson]] played the Kralahome,<ref name=Green233>Green, p. 233</ref> a role he reprised in the film.<ref name=Hischak150 /> [[Eve Lister]] was a replacement for Hobson, and [[George Pastell]] replaced Lom during the long run.<ref name=Green233 /> ''The New York Times'' theatre columnist [[Brooks Atkinson]] saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "''The King and I'' is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."<ref>[[Brooks Atkinson|Atkinson, Brooks]]. [https://timesmachine.nytimes.com/timesmachine/1955/05/17/79450419.pdf "Theatre: London Trio; ''Kismet'' Pleases Queen, ''King and I'' Is Listless, ''Wonderful Town'' Too British"], ''[[The New York Times]]'', May 17, 1955, p. 33. Retrieved December 27, 2012. {{subscription required}}</ref>

The musical was soon premiered in Australia, Japan, and throughout Europe.<ref>[http://www.rnh.com/show/42/G2K-The-King-and-I#history-882 "''The King and I'' History: March 22, 1954"] {{webarchive|url=https://web.archive.org/web/20120916113451/http://www.rnh.com/show/42/G2K-THE-KING-AND-I |date=September 16, 2012 }}, Rodgers and Hammerstein.com. Retrieved December 26, 2012</ref>

=== Early revivals ===
[[File:Portrait of Zachary Scott, in The King & I LCCN2004663545.jpg|thumb|left|upright|[[Zachary Scott]] in the 1956 revival of ''The King and I'']]
The first revival of ''The King and I'' in New York was presented by the [[New York City Center]] Light Opera Company in April and May 1956 for three weeks, starring [[Jan Clayton]] and [[Zachary Scott]], directed by John Fearnley, with Robbins' choreography recreated by June Graham.<ref>Atkinson, Brooks. "Theatre: ''The King and I'' in Fine Revival", ''The New York Times'', April 19, 1956, p. 34</ref> Muriel Smith reprised her London role of Lady Thiang, and [[Patrick Adiarte]] repeated his film role, Chulalongkorn.<ref>[http://broadwayworld.com/shows/cast.php?showid=5428 "The King and I – 1956 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> This company presented the musical again in May 1960 with [[Barbara Cook]] and [[Farley Granger]], again directed by Fearnley, in another three-week engagement.<ref>Atkinson, Brooks. "''The King and I'': City Center Lengthens Current Engagement", ''The New York Times'', May 22, 1960, p. X1</ref> Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before."<ref name=sixty /> He noted that Granger brought "a fresh point of view – as well as a full head of hair".<ref name=sixty >Atkinson, Brooks. "Theatre: ''The King and I''", ''The New York Times'', May 12, 1960, p. 40</ref> [[Joy Clements]] played Tuptim, and [[Anita Darian]] was Lady Thiang.<ref>[http://broadwayworld.com/shows/The_King_and_I_5429.html "The King and I – 1960 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> City Center again presented the show in June 1963, starring [[Eileen Brennan]] and Manolo Fabregas, directed by Fearnley.<ref name=Hischak150 /><ref>Funke, Lewis. "Theater: ''The King and I''; Eileen Brennan Stars at City Center", ''The New York Times'', June 13, 1963, p. 28</ref> Clements and Darian reprised Tuptim and Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5431 "The King and I – 1963 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> In the final City Center Light Opera production, Michael Kermoyan played the King opposite [[Constance Towers]] for three weeks in May 1968.<ref>"Entertainment events: Theater: Opening tonight", ''The New York Times'', May 23, 1968, p. 56</ref> Darian again played Lady Thiang.<ref>[http://broadwayworld.com/shows/cast.php?showid=5433 "The King and I – 1968 Off-Broadway"], BroadwayWorld.com. Retrieved February 21, 2011</ref> For all of these 1960s productions, Robbins' choreography was reproduced by [[Yuriko (dancer)|Yuriko]], who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.<ref>Funke, Lewis. [https://timesmachine.nytimes.com/timesmachine/1963/06/13/89925821.pdf "Theatre: ''The King and I''"], ''[[The New York Times]]'', June 13, 1963, p. 28. Retrieved February 23, 2011. {{subscription required}}</ref><ref name=Suskin>Suskin, Steven. [http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all "On the Record" Rodgers & Hammerstein's ''The King and I'' and ''Flower Drum Song''"] {{webarchive|url=https://web.archive.org/web/20110629154639/http://www.playbill.com/features/article/131945-ON-THE-RECORD-Rodgers-Hammersteins-The-King-and-I-and-Flower-Drum-Song/all |date=June 29, 2011 }}, ''Playbill'', August 16, 2009</ref>

The Music Theatre of [[Lincoln Center]], with Rodgers as producer, presented the musical in mid-1964 at the [[New York State Theater]], starring [[Risë Stevens]] and [[Darren McGavin]], with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by [[Frank Porretta]], [[Lee Venora]] and [[Patricia Neway]].<ref name=Suskin /> Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation.<ref>[http://www.atthemusicals.com/shows/K/kingandi/details.html#1965 "''The King and I'': Production Details, 1964 Broadway Production"] {{webarchive|url=https://web.archive.org/web/20110707184320/http://www.atthemusicals.com/shows/K/kingandi/details.html |date=July 7, 2011 }}, At the Musicals. Retrieved February 20, 2011</ref> The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko.<ref name=Suskin /> This was Music Theatre's debut production, a five-week limited engagement.<ref>Taubman, Howard. "Theater: ''The King and I'' in New Surroundings; Lincoln Center Musical Troupe Makes Debut; Rise Stevens Is Starred With Darren McGavin", ''The New York Times'', July 7, 1964, p. 26</ref>

''The King and I'' was revived at London's [[Adelphi Theatre]] on October 10, 1973, running for 260 performances until May 25, 1974, starring [[Sally Ann Howes]] as Anna and [[Peter Wyngarde]] as the King. Roger Redfarn directed, and Sheila O'Neill choreographed.<ref name=Green233 /> The production, which began in June 1973 with a tour of the English provinces,<ref>"''The King and I''", ''The Times'', June 13, 1973, p. 13</ref> earned mixed to warm reviews.<ref>"Entertainments", ''[[The Times]]'', May 24, 1974, p. 11</ref> [[Michael Billington (critic)|Michael Billington]] in ''[[The Guardian]]'' called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror".<ref name=guardian /> He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'."<ref name=guardian>Billington, Michael. "''The King and I'' at the Adelphi", ''[[The Guardian]]'', October 11, 1973, p. 14</ref> Less favorably, Robert Cushman in ''[[The Observer]]'' thought the production "scenically and economically under-nourished".<ref name=cushman>Cushman, Robert. "Gay times for the CIA!", ''[[The Observer]]'', October 14, 1973, p. 36</ref> He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".<ref name=cushman />

=== Brynner reprises the role ===
[[File:Brynner 1977 program.jpg|thumb|upright|alt=Theatrical program cover reading "''The King and I''" dominated by the image of a middle-aged man with shaved head and a brooding expression. Small images representing scenes from the musical are seen behind him.|Brynner on the 1977 program cover]]
In early 1976, Brynner received an offer from impresarios Lee Gruber and [[Shelly Gross]] to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he [[lip synch|lip-synched]], with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the [[Gershwin Theatre]]) on May 2, 1977.<ref>Capua, pp. 144–47</ref><ref name=NYTimesBarnes50 /> The production featured [[Martin Vidnovic]] as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated.<ref name=March22 /><ref name=NYTimesBarnes50>[[Clive Barnes|Barnes, Clive]]. [https://select.nytimes.com/gst/abstract.html?res=FB0A16F63B5D167493C1A9178ED85F438785F9&scp=76&sq=%22The+King+and+I%22+Brynner&st=p "''King and I'', reminder of golden age"], ''[[The New York Times]]'', May 3, 1977, p. 50. Retrieved February 17, 2011. {{subscription required}}</ref> Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome,<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977)"], Internet Broadway Database. Retrieved February 21, 2011</ref> while [[June Angela]] was Tuptim.<ref name=Companion>Hischak, Thomas S. ''The Oxford Companion to the American Musical: theatre, film, and television''. Oxford University Press US, 2008, p. 396 {{ISBN|978-0-19-533533-0}}</ref> The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with [[Angela Lansbury]] replacing Towers and Kermoyan replacing Brynner.<ref name=Hischak150 /> The production was nominated for the [[Drama Desk Award for Outstanding Musical]].<ref>[http://www.ibdb.com/production.php?id=3999 "''The King and I'' (1977–1978)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref>

Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet".<ref name=Capua148 /> He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up.<ref name=Capua148>Capua, pp. 148–49</ref> '' New York Times'' reviewer [[Clive Barnes]] said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine".<ref name=NYTimesBarnes50 /> However, fellow ''Times'' critic [[Mel Gussow]] warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".<ref name=NYTimesGussow>[[Mel Gussow|Gussow, Mel]]. [https://www.nytimes.com/1978/04/13/archives/kermoyan-is-now-king-and-miss-lansbury-i.html?sq=%2522The+King+and+I%2522+Brynner&scp=31&st=p "Kermoyan is now 'King' and Miss Lansbury 'I' "], ''[[The New York Times]]'', April 13, 1978, p. C18. Retrieved February 17, 2011. {{subscription required}}</ref>

[[File:Puzzlement.jpg|thumb|left|alt=Man in Asian garb raising his arms over his head|Brynner in 1977: "Every day I do my best for one more day."]]
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the [[London Palladium]], on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening."<ref name=Leader18>[https://news.google.com/newspapers?id=ZU5VAAAAIBAJ&sjid=ej4NAAAAIBAJ&pg=1077,4259108&dq=virginia+mckenna+the+king+and+i+london&hl=en "Yul Brynner never gets tired of ''King and I'' role"], ''[[The Leader-Post]]'', March 15, 1979, p. 18. Retrieved February 18, 2011</ref> [[Virginia McKenna]] starred in London as Anna,<ref name=Leader18 /> winning an [[Olivier Award]] for her performance.<ref>[http://www.westendtheatre.com/4652/awards-data/olivier-awards-best-actress-winners/ "Olivier Awards – Best Actress Winners"] WestEndtheatre.com. Retrieved January 23, 2013</ref> June Angela again played Tuptim, and [[John Bennett (actor)|John Bennett]] was the Kralahome.<ref>[http://broadwayworld.com/shows/cast.php?showid=5436&cast_type=original "The King and I – 1979 West End"], BroadwayWorld.com. Retrieved February 22, 2011</ref> It ran until September 27, 1980.<ref>"''The King and I''", ''The Guardian'', July 9, 1980, p. 22</ref>

Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway.<ref name=Capua151>Capua, pp. 151–57</ref> [[Mitch Leigh]] produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977.<ref name=washpost /> [[Patricia Marand]] played Anna, Michael Kermoyan was again the Kralahome, [[Patricia Welch]] was Tuptim.<ref>Souvenir program, from the beginning of the national tour, distributed in [[Manchester, New Hampshire]] in early 1981. Mitch Leigh, as producer, was publisher.</ref> During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half.<ref>Feeney, Donna. [https://web.archive.org/web/20140114015134/http://archive.wmlnj.org/var/www/TheWestfieldLeader/1982/1982-08-05/pg_0013.pdf "Former Resident Has Lead in ''The King and I''"], ''The Westerfield Leader'' (New Jersey), August 5, 1982, p. 13. Retrieved January 4, 2013</ref> By 1983, [[Mary Beth Peil]] was playing Anna.<ref name=LATimesDrakeG1>Drake, Sylvie. [https://pqasb.pqarchiver.com/latimes/access/668774632.html?FMT=ABS&FMTS=::ABS:AI:CITE:PAGE&type=historic&date=Aug+22%2C+1983&author=SYLVIE+DRAKE&pub=Los+Angeles+Times+(1923-Current+File)&desc=%27KING%27+YUL+BRYNNER+STILL+RULING+WITH+IRON+HAND "'King' Yul Brynner Still Ruling With Iron Hand"], ''[[Los Angeles Times]]'', August 22, 1983, p. G1. Retrieved February 24, 2011. {{subscription required}}</ref> On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor.<ref name=Capua151 /><ref name=Bows /> ''[[The Washington Post]]'' reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
{{quote |When Brynner opened in the original production in 1951, he was the newcomer and Gertrude Lawrence the established star. Now, 33 years and 4,300 performances later, he is the king of the mountain as well as the show ... The genius of his performance – and it must be some sort of genius to maintain a character this long – is its simplicity. There is not a superfluous expression nor a vague gesture. And if at times, the arms on hips posture, the shining dome and fierce expression remind one of [[Mr. Clean]], it should be remembered that Brynner was there first.<ref name=washpost>Rosenfeld, Megan. [https://search.proquest.com/docview/138110597 "Classic ''King and I''"], ''[[The Washington Post]]'', December 6, 1984, p. B13. Retrieved December 28, 2012. {{subscription required}}</ref>
}}

The production reached New York in January 1985, running for 191 performances at the [[Broadway Theatre (theatre)|Broadway Theatre]], with Brynner, Peil, Welch and West still playing their roles.<ref name=IBDB1985>[http://www.ibdb.com/production.php?id=4357 "''The King and I'' (1985)"], Internet Broadway Database. Retrieved February 21, 2011</ref> The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner,<ref name=washpost /><ref>Robertson, Nan. "Farewell performance for Brynner in ''King and I''", ''[[The New York Times]]'', July 1, 1985</ref> and newcomer [[Jeff B. Davis|Jeffrey Bryan Davis]] played Louis.<ref name=IBDB1985/><ref>[http://luvinlife2010.tripod.com/id1.html "Biography"], Chronicles of Jeff Davis. Retrieved June 9, 2014</ref> During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony."<ref name=Bows /> He received a special Tony Award for his role as the King<ref name=Capua151 /> and had come to dominate the musical to such an extent that Peil was nominated merely for a [[Tony Award for Best Featured Actress in a Musical|featured actress Tony]] as Anna.<ref name=TonyAwards /> Leigh was nominated for a Tony for his direction.<ref name=TonyAwards /> ''New York Times'' critic [[Frank Rich]] praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this ''King and I.''"<ref>[[Frank Rich|Rich, Frank]]. [https://www.nytimes.com/1985/01/08/arts/the-stage-yul-brynner-in-the-king-an-i.html?scp=1&sq=%22The+King+and+I%22+Brynner&st=nyt "''The Stage'' – Yul Brynner in ''The King and I''"], ''[[The New York Times]]'', January 8, 1985. Retrieved February 17, 2011</ref> The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role.<ref name=Bows>[https://news.google.com/newspapers?nid=1734&dat=19850701&id=DO0bAAAAIBAJ&sjid=p1IEAAAAIBAJ&pg=4095,6633 "Brynner Bows Out as 'King of Slam'"], ''The Dispatch'', July 1, 1985, p. 2. Retrieved January 4, 2013</ref> Brynner died less than four months later, on October 10, 1985.<ref name=Capua151 />

From August 1989 to March 1990, [[Rudolf Nureyev]] played the King in a North American tour opposite [[Liz Robertson]], with Kermoyan as the Kralahome, directed by [[Arthur Storch]] and with the original Robbins choreography.<ref>Guernsey, Otis L. and Jeffrey Sweet (eds.) [https://books.google.com/books?id=QjG9z1umObkC&pg=PA397 "''The King and I''"], ''The Best Plays of 1989-1990: The Complete Broadway and Off-Broadway Sourcebook'', p. 397, Hal Leonard Corporation (1990) {{ISBN|1557830916}}</ref> Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."<ref>Sullivan, Dan. [http://articles.latimes.com/1989-12-07/entertainment/ca-20_1_nureyev-s-king "Nureyev in ''King and I'': It's a Puzzlement"], ''Los Angeles Times'', December 7, 1989, accessed January 30, 2014</ref><ref>Zink, Jack. [http://articles.sun-sentinel.com/1989-12-22/features/8902160396_1_king-opposite-nureyev-rudolf-nureyev "Distractions Mar ''King And I'' Revival"], ''[[Sun-Sentinel]]'', December 22, 1989, accessed January 30, 2014</ref>

=== Renshaw's production: 1991 to 2002 ===
The first major revival to break away from the original staging and interpretation was an Australian production directed by [[Christopher Renshaw]], starring [[Hayley Mills]] as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script<ref name=Flatow>Flatow, Sheryl. [http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King "How Christopher Renshaw Crowned a New King"] {{webarchive|url=https://web.archive.org/web/20121019152939/http://www.playbill.com/features/article/64313-How-Christopher-Renshaw-Crowned-a-New-King |date=October 19, 2012 }}, ''[[Playbill]]'', August 9, 1996</ref> when reshaping the piece into what he called "an authentic Thai experience".<ref name=Grossberg>Grossberg, Michael. [http://www.seedship.com/hayley/8b01cd1h.html "British director lends authenticity to ''The King and I''"], ''The Columbus Dispatch'' ([[Columbus, Ohio]]), February 1, 1998. Retrieved February 20, 2011</ref> The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo).<ref name=Hischak150 /> The attraction between Anna and the King was made explicit.<ref name=Secrest313 /> Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land",<ref name=Grossberg /> and all Asian roles were played by Asian actors.<ref name=Flatow /> He also asked choreographers [[Lar Lubovitch]] and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II.<ref name=Grossberg /> According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace",<ref name=Grossberg /> and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok.<ref name=Flatow /> For example, the stage was framed by columns of elephant figures, a large [[emerald Buddha]] loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."<ref name=Grossberg />

Stanley Green, in his ''Encyclopedia of the Musical Theatre'', viewed the central theme of ''The King and I'' as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds",<ref name=Green233 /> but Renshaw felt that the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture."<ref name=Grossberg /> He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in ''Playbill'' commented that the production focused on the "clash of ideologies and cultures, of East versus West".<ref name=Flatow /> Theatre arts professor Eileen Blumenthal, however, called the production "a ''King and I'' for the age of political correctness".<ref name=Blumenthal>Blumenthal, Eileen. "How Thai Is It?", ''American Theatre'', July/August 1996, pp. 6–7</ref> While she acknowledged that the musical's treatment of Asian cultures had come to be understood as insensitive in the nearly half century since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic.<ref name=Blumenthal /> She concluded that the show is a documentary of "who we've been" in the West, and that a work like ''The King and I'' should not be suppressed, because it is "too good".<ref name=Blumenthal />

The production was reproduced on Broadway, opening on April 11, 1996 at the [[Neil Simon Theatre]], starring [[Donna Murphy]] as Anna, who won a Tony Award for her performance, and [[Lou Diamond Phillips]] as the King,<ref name=TonyAwards /> with [[Randall Duk Kim]] as the Kralahome, [[Jose Llana]] as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. [[Jenna Ushkowitz]] made her Broadway debut as one of the children.<ref>[http://ibdb.com/person.php?id=480210 Jenna Ushkowitz], Internet Broadway Database. Retrieved January 8, 2013</ref> The production was nominated for eight [[Tony Award]]s, winning best revival and three others, with acting nominations for Phillips and Choi,<ref name=TonyAwards /> who each won [[Theatre World Award]]s,<ref name=DramaDeskAwards>[http://www.ibdb.com/production.php?id=4673 "''The King and I'' (1996)"; (awards tab)], Internet Broadway Database. Retrieved January 23, 2013</ref> and seven [[Drama Desk Award]]s, winning for [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]; Renshaw won for his direction.<ref name=DramaDeskAwards /> The production was praised for "lavish ... sumptuous" designs by [[Roger Kirk (designer)|Roger Kirk]] (costumes) and [[Brian Thomson (scenic designer)|Brian Thomson]] (sets), who both won Tony<ref name=TonyAwards /> and Drama Desk Awards for their work.<ref name=DramaDeskAwards /><ref>Jefferson, Margo. [http://theater.nytimes.com/mem/theater/treview.html?_r=1&res=9800E5D91639F93BA15757C0A960958260 "Culture Clashes Still Intrigue In ''King and I''"], ''The New York Times'', April 28, 1996. Retrieved February 21, 2011</ref> [[Faith Prince]] played the role of Anna later in the run, followed by [[Marie Osmond]].<ref name=winer>Winer, Laurie. [http://articles.latimes.com/1998/may/25/entertainment/ca-53229 "Osmond a Pretty, Petulant Anna in 'King and I'"], ''Los Angeles Times'', May 25, 1998. Retrieved January 28, 2013</ref> The revival ran on Broadway for 780 performances, and [[Kevin Gray (actor)|Kevin Gray]] replaced Phillips.<ref name=Hischak150 /><ref>[http://broadwayworld.com/article/Broadways-Kevin-Gray-Dies-at-55-Starred-in-PHANTOM-THE-LION-KING-SHOWBOAT-SPIDER-WOMAN-More-20130212 "Broadway's Kevin Gray Dies at 55"], BroadwayWorld, February 12, 2013</ref> The production then toured in the U.S. with Mills and Victor Talmadge. Other Annas on this tour included Osmond, [[Sandy Duncan]], [[Stefanie Powers]] and [[Maureen McGovern]], who ended the tour in Chicago in June 1998.<ref name=winer /><ref>Jones, Chris. [http://www.maureenmcgovern.com/chictrib.htm "This 'King' has an 'I' Maureen McGovern pours herself into Anna"] {{webarchive|url=https://web.archive.org/web/20110726193545/http://www.maureenmcgovern.com/chictrib.htm |date=July 26, 2011 }}, ''[[Chicago Tribune]]'' (reprint at maureenmcgovern.com), June 15, 1998. Retrieved January 28, 2013</ref>

The production opened on May 3, 2000 at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs.<ref name=Kellaway>Kellaway, Kate. "Elaine's Burmese daze", ''The Observer'', May 7, 2000, p. F11</ref> It reportedly took in £8 million in advance ticket sales.<ref>Logan, Brian. "''The King and I'' and me", ''The Guardian'', May 2, 2000, p. A15</ref> The cast included [[Elaine Paige]] as Anna and [[Jason Scott Lee]] as the King, with [[Sean Ghazi]] as Luan Tha and [[Ho Yi]] as the Kralahome.<ref>Loveridge, Lizzie. [http://www.curtainup.com/kingandi.html "A CurtainUp London Review, ''The King and I''"], Curtainup.com, May 3, 2000. Retrieved February 18, 2011</ref> Lady Thiang was, again, played by Taewon Yi Kim, of whom ''The Observer'' wrote, "Her 'Something Wonderful' was just that."<ref name=Kellaway /> The show was nominated for an [[Laurence Olivier Award|Olivier Award]] for outstanding musical.<ref>[http://www.westendtheatre.com/4626/awards/olivier-awards-2001/ "Olivier Winners 2001"] WestEndtheatre.com. Retrieved January 24, 2013</ref> Later in the run, Lee was replaced as the King by [[Paul Nakauchi]].<ref>Carballo, Bibsy M. [https://news.google.com/newspapers?id=v1g1AAAAIBAJ&sjid=gSUMAAAAIBAJ&pg=2027,37022097&dq=paul+nakauchi+the+king+and+i+london&hl=en "Life on the London stage after ''Miss Saigon''"], ''Philippine Daily Inquirer'', October 14, 2000, p. C5. Retrieved February 18, 2010</ref> The revival was generally well received. ''[[The Daily Mirror]]'' said: "''The King and I'' waltzed back to the West End in triumph last night."<ref name=AlbemarleLondon /> The ''[[Daily Express]]'' noted, "Love it or loathe it, ''The King and I'' is an unstoppable smash."<ref name=AlbemarleLondon>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I "The King and I archives, London Palladium"] {{webarchive|url=https://web.archive.org/web/20100917135431/http://albemarle-london.com/Archive/ArchiveShow.php?Show_Name=King%20and%20I |date=September 17, 2010 }}, Albemarle-London.com. Retrieved February 11, 2014</ref> ''Variety'', however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang".<ref>Wolf, Matt. [https://variety.com/2000/legit/reviews/the-king-and-i-7-1200462231/ "Review: ''The King and I''"], ''Variety'', May 15, 2000. Retrieved February 11, 2014</ref> Replacements included [[Josie Lawrence]] as Anna, [[Keo Woolford]] as the King<ref>Harada, Wayne. [http://the.honoluluadvertiser.com/article/2001/Sep/28/il/il07a.html "Ex-Islander's London theater role extended"], ''The Honolulu Advertiser'', September 28, 2001, accessed October 11, 2014</ref> and [[Saeed Jaffrey]] as the Kralahome. The show closed on January 5, 2002.<ref name=AlbemarleLondon/>

=== 2004 to present ===
Another U.S. national tour began in mid-2004, directed by [[Baayork Lee]] (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005.<ref>[[Robert Simonson|Simonson, Robert]]. [http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 "Martin Vidnovic and Sandy Duncan Are ''The King and I'' in New National Tour, Beginning June 15"] {{webarchive|url=https://web.archive.org/web/20110629151750/http://www.playbill.com/news/article/86788-Martin-Vidnovic-and-Sandy-Duncan-Are-The-King-and-I-in-New-National-Tour-Beginning-June-15 |date=June 29, 2011 }}, ''Playbill'', June 15, 2004. Retrieved February 22, 2011</ref> Near the end of the tour in November 2005, ''Variety'' judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."<ref>Daniels, Robert L. [http://www.variety.com/review/VE1117928840?refcatid=33 "''The King and I''"], ''Variety'', November 13, 2005. Retrieved February 22, 2011</ref>

[[Jeremy Sams]] directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the [[Royal Albert Hall]] in London. It starred [[Maria Friedman]] and [[Daniel Dae Kim]].<ref>Michael Billington. [https://www.theguardian.com/stage/2009/jun/15/theatre-review-king-and-i "''The King and I''"], ''The Guardian'', June 15, 2009. Retrieved February 22, 2011</ref> A U.K. national tour starred [[Ramon Tikaram]] as the King and [[Josefina Gabrielle]] as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in [[Edinburgh]] and continued into May 2012.<ref>Dibdin, Thom. [http://www.thestage.co.uk/reviews/review.php/34746/the-king-and-i "The King and I"], ''The Stage'', December 19, 2011. Retrieved April 20, 2012</ref><ref>Price, Karen. [http://www.walesonline.co.uk/showbiz-and-lifestyle/showbiz/2012/01/06/ramon-tikaram-waltzes-into-wales-with-the-king-and-i-91466-30067502/ "Ramon Tikaram waltzes into Wales with The King and I"], ''Wales Online'', January 6, 2012. Retrieved April 20, 2012</ref><ref>Zing, Harry. [http://chewingthescenery.com/2012/05/16/review-the-king-and-i-bradford-alhambra-15052012/ "Review: The King and I, Bradford Alhambra"], ChewingTheScenery.com, May 16, 2012</ref>

In June 2014, [[Théâtre du Châtelet]] in Paris presented an English-language production of ''The King and I'' directed by [[Lee Blakeley]] and starring [[Susan Graham]], who was "close to perfection as Anna", [[Lambert Wilson]], "also excellent as the king", and [[Lisa Milne]] as Lady Thiang. ''The New York Times'' called it "a grand new staging that has set French critics searching for superlatives."<ref>Loomis, George. [https://www.nytimes.com/2014/06/24/arts/in-paris-a-revival-of-the-king-and-i.html?_r=0] ''The New York Times'', June 19, 2014</ref> The Renshaw production was revived again in April 2014 by [[Opera Australia]] for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring [[Lisa McCune]] and [[Teddy Tahu Rhodes]].<ref>Hetrick, Adam. [http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 "Tony-Winning ''The King and I'' Revival Returns to Australia With Lisa McCune and Teddy Tahu Rhodes April 13"] {{webarchive|url=https://web.archive.org/web/20140415203505/http://www.playbill.com/news/article/189939-Tony-Winning-The-King-and-I-Revival-Returns-to-Australia-With-Lisa-McCune-and-Teddy-Tahu-Rhodes-April-13 |date=April 15, 2014 }}, ''[[Playbill]], 13 April 2014</ref> Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.<ref>Peard, Anne-Marie. [https://aussietheatre.com.au/reviews/the-king-and-i-melbourne#.VGKw6snYeil "The King and I, Melbourne"], AussieTheatre.com, June 16, 2014; and Neutze, Ben. [http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne "The King and I review (Princess Theatre, Melbourne)"] {{webarchive|url=https://web.archive.org/web/20141112231752/http://dailyreview.crikey.com.au/the-king-and-i-review-princess-theatre-melbourne |date=November 12, 2014 }}, ''Daily Review'', June 13, 2014; accessed November 12, 2014</ref>

A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the [[Vivian Beaumont Theater]]. The production was directed by [[Bartlett Sher]] and starred [[Kelli O'Hara]] as Anna and [[Ken Watanabe]], as the King, in his American stage debut. It featured [[Ruthie Ann Miles]] as Lady Thiang, [[Paul Nakauchi]] as the Kralahome, [[Ashley Park (actress)|Ashley Park]] as Tuptim, [[Conrad Ricamora]] as Lun Tha, [[Jake Lucas]] as Louis Leonowens, and [[Edward Baker-Duly]] as Sir Edward Ramsey. Choreography by [[Christopher Gattelli]] was based on the original Jerome Robbins dances. The designers included [[Michael Yeargan]] (sets), [[Catherine Zuber]] (costumes) and [[Donald Holder]] (lighting).<ref>Hetrick, Adam. [http://www.playbill.com/news/article/tix-on-sale-for-king-and-i-broadway-revival-with-kelli-ohara-and-ken-watanabe-leading-cast-of-more-than-50-333514 "Tix on Sale for ''King and I'' Broadway Revival, with Kelli O'Hara and Ken Watanabe Leading Cast of More Than 50"], ''Playbill'', October 19, 2014</ref><ref name=Brantley2015>Brantley, Ben. [https://www.nytimes.com/2015/04/17/theater/review-the-king-and-i-back-on-broadway.html?_r=0 "Review: ‘'The King and I'', Back on Broadway"], ''The New York Times'', April 16, 2015</ref> Reviews were uniformly glowing, with [[Ben Brantley]] of ''The New York Times'' calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility."<ref name=Brantley2015/> The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber),<ref>McRady, Rachel. [http://www.usmagazine.com/entertainment/news/tony-awards-2015-list-winners-201576 "Tony Awards 2015: Complete List of Winners!"], ''Us Weekly'' magazine'', June 7, 2015</ref> and won the Drama Desk Award for Outstanding Revival.<ref>Levitt, Hayley. [http://www.theatermania.com/new-york-city-theater/news/2015-drama-desk-award-winners-are-announced_73086.html "2015 Drama Desk Award Winners Are Announced!"], TheaterMania, May 31, 2015</ref> Replacements for the King included Jose Llana<ref>[[Lia Chang|Chang, Lia]]. [http://www.asamnews.com/2015/06/19/jose-llana-and-hoon-lee-to-play-king-of-siam-in-tony-award-winning-the-king-and-i "Jose Llana and Hoon Lee to play King of Siam in Tony Award-winning ''The King and I''"], ''AsAmNews'', June 19, 2015</ref> [[Hoon Lee]]<ref>Viagas, Robert. [http://www.playbill.com/news/article/join-the-cast-of-broadways-king-and-i-as-they-welcome-their-new-king-video-365069 "Join the Cast of Broadway's King and I as They Welcome Their New King"], October 1, 2015</ref> and [[Daniel Dae Kim]]. Replacements for Anna included [[Marin Mazzie]].<ref>[https://www.ibdb.com/Production/ViewReplacements/497593 Replacements for ''The King and I''], Internet Broadway Database, accessed May 12, 2016</ref> The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included [[Laura Michelle Kelly]] as Anna, Llana as the King and [[Joan Almedilla]] as Lady Thiang.<ref>Murphy, Linda. [http://www.heraldnews.com/news/20161103/review-the-king-and-i-wows-audiences-at-ppac "Review: ''The King and I'' wows audiences at PPAC"], ''The Herald News'', November 3, 2016</ref> The production was reproduced at the [[London Palladium]] from June through September 2018. O'Hara and Watanabe reprised their roles, with [[Naoko Mori]] and Ruthie Ann Miles sharing the role of Lady Thiang, [[Na-Young Jeon]] as Tuptim, [[Dean John-Wilson]] as Lun Tha and [[Takao Osawa]] as the Kralahome.<ref>Wood, Alex. [http://www.whatsonstage.com/london-theatre/news/the-king-and-i-palladium-2018_44868.html "''The King and I'' to be revived at the London Palladium in 2018"], WhatsOnStage.com, 17 November 2017; [https://www.broadwayworld.com/article/Bartlett-Sher-Revival-of-THE-KING-AND-I-to-Head-Out-on-International-Tour-20180705 "Bartlett Sher Revival of ''The King and I'' to Head Out on International Tour"], BroadwayWorld.com, July 5, 2018; Smith, Neil. [https://www.bbc.com/news/entertainment-arts-44709484 "''The King and I'': timeless classic or dated relic?"], BBC, July 4, 2018; and Quinn, Dave. [https://people.com/theater/ruthie-ann-miles-returns-stage-after-family-death "Ruthie Ann Miles 'Sang Like an Angel' in Stage Return After Daughter's Death and Losing Unborn Baby"], ''People'', August 4, 2018</ref> The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival.<ref>[https://officiallondontheatre.com/olivier-awards/year/2019 "Nominations for the Olivier Awards 2019 with Mastercard"], Olivier Awards, accessed April 7, 2019</ref> The production was filmed and shown in theatres in late 2018.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/filmed-the-king-and-i-adds-encore-screenings-after-breaking-box-office-records "Filmed ''The King and I'' Adds Encore Screenings After Breaking Box Office Records"], ''Playbill'', November 30, 2018</ref>

''The King and I'' continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.<ref name=Hischak150 />

== Adaptations ==
The musical was [[The King and I (1956 film)|filmed in 1956]] with Brynner re-creating his role opposite [[Deborah Kerr]]. The film was nominated for nine [[Academy Awards]] and won five, including [[Academy Award for Best Actor|Best Actor]] for Brynner, with Kerr nominated for [[Academy Award for Best Actress|Best Actress]].<ref>[https://movies.nytimes.com/movie/27374/The-King-and-I/awards "''The King and I'' (1956): Awards"], ''[[The New York Times]]''. Retrieved February 24, 2011</ref> Sharaff won for best costume design.<ref>Howe, Marvine. [https://query.nytimes.com/gst/fullpage.html?res=9F0CE3D61E3CF934A2575BC0A965958260 "Irene Sharaff, Designer, 83, Dies; Costumes Won Tony and Oscars"], ''The New York Times'', August 17, 1993. Retrieved February 24, 2011</ref> The film was directed by [[Walter Lang]] (who was also nominated for an Oscar) and choreographed by Robbins. [[Marni Nixon]] dubbed the singing voice of Anna, and [[Rita Moreno]] played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. [[Alan Mowbray]] appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by [[Geoffrey Toone]].<ref name=Hischak151 /><ref name=NYTimes56>[https://movies.nytimes.com/movie/27374/The-King-and-I/credits "''The King and I'' (1956): Production credits"], ''[[The New York Times]]''. Retrieved February 23, 2011</ref> The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his ''The Rodgers and Hammerstein Encyclopedia'', states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical".<ref name=Hischak151 /><ref name=NYTimesBosley>Crowther, Bosley. [https://movies.nytimes.com/movie/review?res=9A0CE3D6143BE03ABC4151DFB066838D649EDE Movie Review: "''The King and I'' (1956)"], ''[[The New York Times]]'', June 29, 1956. Retrieved February 23, 2011</ref> Thai officials [[Lèse majesté in Thailand|judged the film offensive]] to their monarchy and banned both film and musical in 1956.<ref>Grossman, Nicholas (ed). [https://books.google.com/books?id=O0R3uO1d9u4C&pg=PA88 "''The King and I'' banned in Thailand"], ''Chronicle of Thailand: Headline News Since 1946'', Editions Didier Millet, (2010), p. 88 {{ISBN|981-4217-12-3}}</ref>

A non-musical [[Anna and the King (TV series)|1972 TV comedy series]], starring Brynner, was broadcast in the U.S. by [[CBS]] but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. [[Samantha Eggar]] played "Anna Owens", with [[Brian Tochi]] as Chulalongkorn, [[Keye Luke]] as the Kralahome, [[Eric Shea]] as Louis, [[Lisa Lu]] as Lady Thiang, and [[Rosalind Chao]] as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972.<ref>[http://www.tvguide.com/tvshows/anna-and-the-king/199771 "''Anna and the King'' on CBS"], ''TV Guide''. Retrieved January 11, 2013</ref> Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.<ref>Meyer, Lawrence. "Court and ''The King''", ''Washington Post'', 21 November 1972, p. B2</ref><ref>Landon v. Twentieth Century-Fox Film Corp., 384 F. Supp. 450 (S.D.N.Y. 1974), in Donald E. Biederman, Edward P. Pierson, Martin E. Silfen, Janna Glasser, ''Law and Business of the Entertainment Industries'', 5th edition, Westport, Connecticut: Greenwood, 2006, pp. 349–56</ref>

''[[Jerome Robbins' Broadway]]'' was a Broadway [[revue]], directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".<ref>[http://ibdb.com/production.php?id=4533 ''Jerome Robbins' Broadway''], Internet Broadway Database. Retrieved January 24, 2013</ref><ref>[https://www.pbs.org/wnet/broadway/stars/793/ "Broadway – The Stars: Jerome Robbins"], Pbs.org. Retrieved January 20, 2013</ref>

[[RichCrest Animation Studios]] and [[Morgan Creek Productions]] released [[The King and I (1999 film)|a 1999 animated film adaptation]] of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by [[Miranda Richardson]] as Anna (speaking), [[Christiane Noll]] as Anna (singing), Martin Vidnovic as the King, [[Ian Richardson]] as the Kralahome and [[Adam Wylie]] as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing [[Barbra Streisand]] sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 ''[[The Broadway Album]]'' and played under the film's closing credits.<ref>Ruhlmann, William. [http://www.allmusic.com/album/the-king-and-i-original-animated-feature-soundtrack-mw0000049046 "1999 Soundtrack: ''The King and I''"], Allmusic.com. Retrieved December 24, 2012</ref> He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed ''The King and I'' for five decades without relying on dancing dragons".<ref name=Hischak151>Hischak, p. 151</ref> Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.<ref>[http://m.npr.org/story/100768756 Ted Chapin: Reviving R&H's ambitious ''Allegro'']. National Public Radio, February 17, 2009. Retrieved on April 19, 2013.</ref>

== Music and recordings ==

=== Musical treatment ===
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing [[major second]]s that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", [[Perfect fifth#Bare fifth, open fifth, or empty fifth|open fifths]], the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music.<ref name=MillerExotic /><ref>Mordden, p. 140</ref> The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.<ref name=Mordden142>Mordden, p. 142</ref>

Before Rodgers and Hammerstein began writing together, the [[Thirty-two-bar form|AABA form]] for [[show tune]]s was standard, but many of the songs in ''The King and I'' vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an [[Tuplet#triplets|eighth note triplet]] and two [[half note]]s) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."<ref name=Mordden142 />

According to Rodgers' biographer [[William G. Hyland|William Hyland]], the score for ''The King and I'' is much more closely tied to the action than that of ''South Pacific'', "which had its share of purely entertaining songs".<ref name=Hyland198>Hyland, p. 198</ref> For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip.<ref name=Hyland198 /> Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.<ref name=Hyland198 />

=== Recordings ===
The [[The King and I (original cast recording)|original cast recording of ''The King and I'']] was released by [[Decca Records]] in 1951. While [[John Kenrick (theatre writer)|John Kenrick]] admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults.<ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/cdcomps3.htm "Comparative CD Reviews: Part III. The King and I"] (Copyright 1998–2003). Retrieved January 11, 2011</ref> In 2000, the recording was inducted into the Grammy Hall of Fame.<ref>[http://www.grammy.org/recording-academy/awards/hall-of-fame Grammy Hall of Fame] {{webarchive|url=https://web.archive.org/web/20110122042616/http://www.grammy.org/recording-academy/awards/hall-of-fame |date=January 22, 2011 }}, The Recording Academy. Retrieved January 2, 2012</ref> Later in the same year [[Patrice Munsel]] and [[Robert Merrill]] made the first studio recording of selections from the musical.<ref name = Hischak152 /> Hischak comments that in the [[The King and I (1953 London cast album)|1953 London cast album]], Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is [[Muriel Smith]]'s "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying;<ref name=Hischak152>Hischak, p. 152</ref> Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.<ref name=Kenrick />

[[File:Hello Young Lovers.jpg|thumb|right|alt=Black-and-white photo of a stage scene. A Caucasian woman wearing a bonnet sits on a chair at center, with her huge Victorian hoop skirt spread out around her, singing. Several women in elegant silky Asian clothing surround her. One at right (Tuptim) kneels watching her, as the others stand in a clump at left.|"Hello, Young Lovers", 1977 cast: Towers as Anna; [[June Angela]] as Tuptim at right; Hye-Young Choi as Lady Thiang in front of other wives at left]]
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang.<ref name=Kenrick /> The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single [[LP record|LP]] limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers.<ref>Mordden, p. 143</ref> Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying ''King & I'' on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant".<ref name=Hischak152 /> Kenrick enjoys the [[The King and I (1992 studio cast album)|1992 Angel studio recording]] mostly for the Anna of [[Julie Andrews]], who he says is "pure magic" in a role she never performed on stage.<ref name=Kenrick /> Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow".<ref name=Kenrick /> Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself,<ref name=Hischak152 /> but Kenrick writes that his sole use for that CD is as a coaster.<ref name=Kenrick />

== Critical reception ==
{{Further|List of awards and nominations for The King and I }}
[[File:Lawrence Brynner.jpg|thumb|left|alt=Woman kneeling in front of a standing man; the two are conversing amiably, and each is gesturing with one hand as if ringing a small bell, although, according to the song lyrics, they are actually demonstrating the flying motion of a honey bee|Lawrence as Anna and Brynner as the King from "Shall We Dance?", 1951]]
Opening night reviews of the musical were strongly positive. [[Richard Watts, Jr.|Richard Watts]] in the ''[[New York Post]]'' termed it "<nowiki>[a]</nowiki>nother triumph for the masters".<ref name=Hischak149 /> Critic [[John Mason Brown]] stated, "They have done it again."<ref name=Hyland202>Hyland, p. 202</ref> ''The New York Times'' drama critic [[Brooks Atkinson]] wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and ''The King and I'' is a beautiful and lovable musical play."<ref>Fordin, p. 303</ref> Barely less enthusiastic was [[John Lardner (sports writer)|John Lardner]] in ''[[The New Yorker]]'', who wrote, "Even those of us who find <nowiki>[the Rodgers and Hammerstein musicals]</nowiki> a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them."<ref name=Secrest313>Secrest, p. 313</ref> Otis Guernsey wrote for the ''[[New York Herald Tribune]]'', "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.<ref>Capua, p. 36</ref>

The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In ''[[The Observer]]'', [[Ivor Brown]] predicted that the piece would "settle down for some years at Drury Lane."<ref>Ivor Brown. "Far Eastern", ''The Observer'', October 11, 1953, p. 13</ref> The anonymous critic of ''[[The Times]]'' compared the work to [[Gilbert and Sullivan]]: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour."<ref>"''The King and I''", ''The Times'', October 9, 1953, p. 13</ref> Less favorably, in the ''[[Daily Express]]'', John Barber called the work "this treacle-bin ''[[The Mikado|Mikado]]''", and declared that only one of the cast, Muriel Smith, could really sing.<ref>Barber, John. "Home-grown star is the new queen of Drury Lane", ''Daily Express'', October 9, 1953, p. 3</ref>

[[File:Brynner 1977.jpg|thumb|upright|alt=Man in ornate Asian garb stands with fists planted on his hips|Brynner in the 1977 Broadway production]]
In 1963, ''New York Times'' reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity."<ref>Funke, Lewis. "Theater: ''The King and I''", ''The New York Times'', June 13, 1963, p. 28</ref> Fourteen years later, another ''Times'' reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".<ref name=NYTimesBarnes50 />

The reworked 1996 Broadway production received mixed reviews. [[Vincent Canby]] of ''The New York Times'' disliked it: "This latest ''King and I'' might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination."<ref>{{cite news | last = Canby | first = Vincent | title = Once again, the taming of a despot | newspaper = The New York Times | date = April 12, 1996 | url = http://theater.nytimes.com/mem/theater/treview.html?id=1077011432556&html_title=&tols_title=&byline=&fid=NONE&scp=2&sq=the%20king%20and%20i%20lou%20diamond&st=cse | accessdate = January 13, 2011}}</ref> But [[Liz Smith (journalist)|Liz Smith]] enthused: "''The King and I'' is perfect"; and the ''[[Houston Chronicle]]'' wrote, of the subsequent tour, "''The King and I'' is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey."<ref>[http://www.rnh.com/show/60/The-King-and-I#shows-press "Press: Quotes"], The Rodgers and Hammerstein Organization, accessed January 23, 2013</ref> Critic Richard Christiansen in the ''[[Chicago Tribune]]'' observed, of a 1998 tour stop at the [[Auditorium Theatre]]: "Written in a more leisurely and innocent and less politically correct period, <nowiki>[</nowiki>''The King and I''<nowiki>]</nowiki> cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age."<ref>Christiansen, Richard. [http://articles.chicagotribune.com/1998-06-22/features/9806220171_1_king-yul-brynner-broadway-two-years "Its balance restored, ''King and I'' also shows its age"], ''[[Chicago Tribune]]'', June 22, 1998. Retrieved February 17, 2011</ref> When the production reached London in 2000, however, it received uniformly positive reviews; the ''[[Financial Times]]'' called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".<ref name=AlbemarleLondon />

The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of ''The New York Times'' called it a "resplendent production" and commented:
{{quote|[In the] 1996 production ... [a] dark strain of sadomasochistic tension born of Victorian repression and Eastern sensuality was introduced into sunny Siam. ... Mr. Sher is no strong-armed revisionist. He works from within vintage material, coaxing shadowy emotional depths to churn up a surface that might otherwise seem shiny and slick. ... [T]he show is both panoramic and personal, balancing dazzling musical set pieces with sung introspective soliloquies. [The direction] enhances [scenes'] emotional weight. No one is merely a dancer or an extra or an archetype, which may be the greatest defense this show offers against what can come across as cute condescension toward the exotic East. ... [The] portrayal of the varied forms and content of love [and] some of [Rodgers and Hammerstein's] lushest ballads ... acquire freshening nuance and anchoring conviction".<ref name=Brantley2015/>}}
Marilyn Stasio, in ''Variety'', termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures."<ref>Stasio, Marilyn. [https://variety.com/2015/legit/reviews/king-and-i-review-broadway-1201474091/ "Broadway Review: ''The King and I''"], ''Variety'', April 16, 2015</ref> In ''[[USA Today]]'', Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes."<ref>Gardner, Elysa. [https://www.usatoday.com/story/life/theater/2015/04/16/the-king-and-i-broadway-review/25786885/ "New ''King and I'' is something wonderful"], ''USA Today'', April 17, 2015</ref> The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's [[orientalism]] into "a modern critique of racism and sexism".<ref>Lewis, Christian. [http://www.huffingtonpost.com/christian-lewis/the-king-and-i-message_b_8940460.html "''The King and I'' Revival's Important Message"], ''Huffington Post'', January 12, 2016.</ref> Other commentators, however, such as composer [[Mohammed Fairouz]], argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written.<ref>[[Mohammed Fairouz|Fairouz, Mohammed]]. [https://onbeing.org/blog/pedestals-dont-excuse-backwards-politics/ "Pedestals Don't Excuse Backwards Politics"], OnBeing.org, February 16, 2016, accessed 10 April 2019</ref> [[Benjamin Ivry]] opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".<ref>[[Benjamin Ivry|Ivry, Benjamin]]. [http://forward.com/culture/218363/the-king-and-us/ "''The King'' and Us"], ''[[The Forward]]'', April 13, 2015</ref>

Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
{{quote |''The King and I'' is really a celebration of love in all its guises, from the love of Anna for her dead husband; the love of the King's official wife, Lady Thiang, for a man she knows is flawed and also unfaithful; the desperation of forbidden love; and a love that is barely recognized and can never be acted upon.<ref>Secrest, p. 314</ref>}}

== References ==
{{reflist}}

=== Bibliography ===
{{refbegin}}
* Block, Geoffrey (ed.) [https://books.google.com/books?id=QLxEdG6HJ9sC&dq=carousel+rodgers&source=gbs_navlinks_s ''The Richard Rodgers Reader'']. New York: Oxford University Press (US), 2006. {{ISBN|978-0-19-531343-7}}.
* Bloom, Ken and Vlastnik, Frank. ''Broadway Musicals: The 101 Greatest Shows of All Time''. New York: Black Dog & Leventhal Publishers, 2004. {{ISBN|978-1-57912-390-1}}.
* Capua, Michelangelo. ''Yul Brynner: A Biography'', Jefferson, N.C.: McFarland & Co. Inc., 2006; {{ISBN|978-0-7864-2461-0}}.
* Fordin, Hugh. ''Getting to Know Him: A Biography of Oscar Hammerstein II''. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. {{ISBN|978-0-306-80668-1}}.
* Green, Stanley. "[https://books.google.com/books?id=ZWIRAljCR7oC&pg=PA232 Encyclopedia of the Musical Theatre]. Jefferson, N.C.: Da Capo Press, 1980. {{ISBN|978-0-306-80113-6}}.
* Hammerstein, Oscar Andrew. ''The Hammersteins: A Musical Theatre Family''. New York: Black Dog & Leventhal Publishers, 2010. {{ISBN|978-1-57912-846-3}}.
* Hischak, Thomas S. [https://books.google.com/books?id=CsbEP_Mu50EC&pg=PA150 ''The Rodgers and Hammerstein Encyclopedia'']. Westport, Conn.: Greenwood Publishing Group, 2007. {{ISBN|978-0-313-34140-3}}.
* [[William G. Hyland|Hyland, William G.]] ''Richard Rodgers''. New Haven, Conn.: Yale University Press, 1998. {{ISBN|978-0-300-07115-3}}.
* Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". ''Literature/Film Quarterly'', Vol. 31, Number 1 (2003), pp. 17–26.
* Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992. {{ISBN|978-0-8109-1567-1}}.
* Morgan, Susan. ''Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess'', Berkeley, Cal.: University of California Press, 2008; {{ISBN|978-0-520-25226-4}}.
* Morley, Sheridan, ''Gertrude Lawrence''. New York: McGraw-Hill, 1981. {{ISBN|978-0-07-043149-2}}.
* Nolan, Frederick. [https://books.google.com/books?id=yMvjDWEBnRoC&printsec=frontcover The Sound of Their Music: The Story of Rodgers and Hammerstein]. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. {{ISBN|978-1-55783-473-7}}.
* Secrest, Meryle. ''Somewhere for Me: A Biography of Richard Rodgers''. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. {{ISBN|978-1-55783-581-9}}.
{{refend}}

== Further reading ==
* Rodgers, Richard. ''Musical Stages: An Autobiography''. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. {{ISBN|978-0-306-81134-0}}.
* Ponti, Carla. ''The Musical Representation of Asian Characters in the Musicals of Richard Rodgers'', University of California: San Diego, 2010.

== External links ==
{{Commons category|The King and I}}
* {{IBDB title|1935|The King and I}}
* {{IBDB show|5067|The King and I productions}}
* [https://www.youtube.com/watch?v=1AkjsVjKEeM Performance at the 2015 Tony Awards]

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Carousel (musical)

2020-04-03T22:08:47Z

JohnAnkerBow: Instrumentation added

{{Infobox musical
| name = Carousel
| image = Musical1945-Carousel-OriginalPoster.jpg
| image_size = 215px
| caption = Original Broadway poster (1945)
| music = [[Richard Rodgers]]
| lyrics = [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Liliom]]'' by [[Ferenc Molnár]]
| productions =
{{plainlist|
* 1945 [[Broadway theatre|Broadway]]
* 1947 U.S. tour
* 1949 Broadway [[revival (theatre)|revival]]
* 1950 [[West End theatre|West End]]
* 1954 [[New York City Center|City Center]] revival
* 1957 City Center revival
* 1965 [[Lincoln Center]] revival
* 1992 West End revival
* 1994 Broadway revival
* 1996 U.S. tour
* 2008 West End revival
* 2017 London revival
* 2018 Broadway revival

}}

| awards =
{{plainlist|
* 1945 [[New York Drama Critics Circle Award]], Best Musical
* 1992 [[Laurence Olivier Award for Best Musical Revival]]
* 1994 [[Tony Award for Best Revival of a Musical]]
}}
}}

'''''Carousel''''' is the second [[musical theatre|musical]] by the team of [[Richard Rodgers]] (music) and [[Oscar Hammerstein II]] (book and lyrics). The 1945 work was adapted from [[Ferenc Molnár]]'s 1909 play ''[[Liliom]]'', transplanting its [[Budapest]] setting to the [[Maine]] coastline. The story revolves around [[carousel]] [[barker (occupation)|barker]] Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "[[If I Loved You]]", "June Is Bustin' Out All Over" and "[[You'll Never Walk Alone]]". Richard Rodgers later wrote that ''Carousel'' was his favorite of all his musicals.

Following the spectacular success of the first [[Rodgers and Hammerstein]] musical, ''[[Oklahoma!]]'' (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with ''Oklahoma!'', most likely unfavorably. They were initially reluctant to seek the rights to ''Liliom''; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful.

The musical required considerable modification during out-of-town tryouts, but once it opened on [[Broadway theatre|Broadway]] on April 19, 1945, it was an immediate hit with both critics and audiences. ''Carousel'' initially ran for 890 performances and duplicated its success in the [[West End theatre|West End]] in 1950. Though it has never achieved as much commercial success as ''Oklahoma!'', the piece has been repeatedly revived, recorded several times and was [[Carousel (film)|filmed in 1956]]. A production by [[Nicholas Hytner]] enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, ''[[Time (magazine)|Time]]'' magazine named ''Carousel'' the best musical of the 20th century.

== Background ==

=== ''Liliom'' ===

[[Ferenc Molnár]]'s Hungarian-language drama, ''[[Liliom]]'', premiered in [[Budapest]] in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. ''Liliom'' was not presented again until after [[World War I]]. When it reappeared on the Budapest stage, it was a tremendous hit.<ref>Molnár, pp. ix–x</ref>

[[File:Liliom offers Louise a star.jpg|thumb|"A star—please, my dear—I must do something good." Liliom ([[Joseph Schildkraut]]) offers Louise (Evelyn Chard) the star he stole; 1921 [[Theatre Guild]] production]]
Except for the ending, the plots of ''Liliom'' and ''Carousel'' are very similar.<ref>Fordin, p. 226</ref> Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"),<ref name="Hyland, p. 158">Hyland, p. 158</ref> a carnival [[Barker (occupation)|barker]], falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory.<ref name="liliom" />

On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen.<ref name="liliom">Molnár, pp. 1–185</ref>

An English translation of ''Liliom'' was credited to [[Benjamin Glazer|Benjamin "Barney" Glazer]], though there is a story that the actual translator, uncredited, was Rodgers' first major partner [[Lorenz Hart]].<ref name="n153" /> The [[Theatre Guild]] presented it in New York City in 1921, with [[Joseph Schildkraut]] as Liliom,<ref name="n153" /> and the play was a success, running 300 performances.<ref name="h38">Hischak, p. 38</ref> A 1940 revival with [[Burgess Meredith]] and [[Ingrid Bergman]] was seen by both Hammerstein and Rodgers.<ref name="n153">Nolan, p. 153</ref> Glazer, in introducing the English translation of ''Liliom'', wrote of the play's appeal:

<blockquote>And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist.<ref>Molnár, p. xiii</ref></blockquote>

=== Inception ===
In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating [[Broadway theatre|Broadway]] hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as ''[[Babes in Arms]]'' (1937), ''[[The Boys from Syracuse]]'' (1938) and ''[[Pal Joey (musical)|Pal Joey]]'' (1940).<ref>Secrest, pp. 403–04</ref> Some of Rodgers' work with Hart broke new ground in musical theatre: ''[[On Your Toes]]'' was the first use of ballet to sustain the plot (in the "[[Slaughter on Tenth Avenue]]" scene), while ''Pal Joey'' flouted Broadway tradition by presenting a knave as its hero.<ref>Block (ed.), pp. 194–95</ref> Hammerstein had written or co-written the words for such hits as ''[[Rose-Marie]]'' (1924), ''[[The Desert Song]]'' (1926), ''[[The New Moon]]'' (1927) and ''[[Show Boat]]'' (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an [[Academy Awards|Oscar]] for his song with [[Jerome Kern]], "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", which was included in the 1941 film ''[[Lady Be Good (1941 film)|Lady Be Good]]''.<ref name="HOF">[http://www.songwritershalloffame.org/exhibits/C13 "Oscar Hammerstein II"] {{webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=2010-12-17 }}. Songwriters Hall of Fame. Retrieved on December 22, 2010</ref>

By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him.<ref>Layne, Joslyn. [{{Allmusic|class=artist|id=p84807|pure_url=yes}} Lorenz Hart Biography] at Allmusic. Retrieved on December 22, 2010</ref> Hammerstein was eager to do so, and their first collaboration was ''[[Oklahoma!]]'' (1943).<ref name="Nolan1">Nolan, pp. 1–25.</ref> Thomas Hischak states, in his ''The Rodgers and Hammerstein Encyclopedia'', that ''Oklahoma!'' is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before ''Oklahoma!'' and what came after it."<ref name="h202">Hischak, pp. 201–02</ref> An innovation for its time in integrating song, character, plot and dance, ''Oklahoma!'' would serve, according to Hischak, as "the model for Broadway shows for decades",<ref name="h202" /> and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer [[Samuel Goldwyn]] saw ''Oklahoma!'' and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as ''Oklahoma!''"<ref name="shoot">Rodgers, p. 234</ref> As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another ''Oklahoma!''' "<ref name="Fordin, p. 224">Fordin, p. 224</ref>

''Oklahoma!'' had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with [[Theresa Helburn]] and [[Lawrence Langner]] of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's ''Liliom'' into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre.<ref name="n153" /> In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal.<ref name="tunnel">Fordin, p. 220</ref> At the next luncheon, Helburn and Langner again proposed ''Liliom'', suggesting that they move the setting to Louisiana and make Liliom a [[Louisiana Creole people|Creole]]. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics.<ref name="tunnel" />

A breakthrough came when Rodgers, who owned a house in [[Connecticut]], proposed a [[New England]] setting.<ref name="h157">Hyland, p. 157</ref> Hammerstein wrote of this suggestion in 1945,
<blockquote>
I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere.<ref name="turn">Hammerstein, Oscar II. [https://www.nytimes.com/1945/04/15/archives/turns-on-a-carousel-an-account-of-adventures-in-setting-the-play.html?sq=carousel&scp=16&st=p "Turns on a Carousel; an account of adventures in setting the play 'Liliom' to music]. ''The New York Times'', April 15, 1945, Arts and Leisure, p. X1. Retrieved on December 20, 2010. Fee for article.</ref>
</blockquote>

Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music.<ref name="tunnel" /> Molnár's opposition to having his works adapted was also an issue; he had famously turned down [[Giacomo Puccini]] when the great composer wished to transform ''Liliom'' into an opera, stating that he wanted the piece to be remembered as his, not Puccini's.<ref name="n153" /> In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from [[Kurt Weill]] to adapt the play into a musical.<ref name="Hyland, p. 158" />

The pair continued to work on the preliminary ideas for a ''Liliom'' adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical ''[[State Fair (1945 film)|State Fair]]''<ref>Nolan, pp. 144–45</ref> and producing ''[[I Remember Mama (play)|I Remember Mama]]'' on Broadway.<ref>Fordin, pp. 223–24</ref> Meanwhile, the Theatre Guild took Molnár to see ''Oklahoma!'' Molnár stated that if Rodgers and Hammerstein could adapt ''Liliom'' as beautifully as they had modified ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'' into ''Oklahoma!'', he would be pleased to have them do it.<ref>Fordin, pp. 221–22</ref> The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services".<ref>Hyland, pp. 157–58</ref> The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made ''Carousel''."<ref>Secrest, p. 273</ref>

In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in ''Pal Joey''. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "[[Soliloquy (song)|Soliloquy]]". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely."<ref name="edsel">Fordin, pp. 156–57</ref>

[[File:Liliom prologue.jpg|thumb|upright=1.4|The opening carnival scene in ''Liliom'' inspired the [[Mime artist|pantomime]] that begins ''Carousel''; 1921]]
Hammerstein and Rodgers returned to the ''Liliom'' project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results.<ref name="Fordin, p. 224" /> ''Green Grow the Lilacs'' had been a little-known work; ''Liliom'' was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy.<ref name="Hyland, p. 158" /> Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in ''Liliom''; they became Enoch Snow and Carrie Pipperidge.<ref>Hyland, pp. 158–59</ref> "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for ''Oklahoma!'' but not used.<ref name="b162">Block, p. 162</ref>

Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to [[Frederick Nolan]] in his book on the team's works: "From that scene the song "[[You'll Never Walk Alone (song)|You'll Never Walk Alone]]" sprang almost naturally."<ref name="n157">Nolan, p. 157</ref> In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music.<ref>Block (ed.), p. 184</ref> Rodgers explained his rationale for the changed ending,
<blockquote>
''Liliom'' was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended ''Carousel'' it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others.<ref>Block (ed.), p. 180</ref>
</blockquote>

When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring.<ref>Fordin, pp. 227–28</ref>

Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves.<ref>Fordin, p. 222</ref> In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a [[Mime artist|pantomime]] scene accompanied by what became known as "The Carousel Waltz".<ref>Rodgers, p. 239</ref> The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience.<ref name="h161" /> Author [[Ethan Mordden]] described the effectiveness of this opening:
<blockquote>
Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture ''and'' the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had.<ref>Mordden, p. 75</ref>
</blockquote>

=== Casting and out-of-town tryouts ===
The casting for ''Carousel'' began when ''Oklahoma!'''s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in ''Oklahoma!''). Lawrence Langner had heard, through a relative, of a California singer named [[John Raitt]], who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "[[Largo al factotum]]", Figaro's aria from ''[[The Barber of Seville]]'', to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed).<ref name="Block ed., p. 122">Block (ed.), p. 122</ref> Theresa Helburn made another California discovery, [[Jan Clayton]], a singer/actress who had made a few minor films for [[MGM]]. She was brought east and successfully auditioned for the part of Julie.<ref name="n157" />

The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of ''Pal Joey''), had ever played on Broadway before.<ref name="n157" /> It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, [[John Fearnley]], that the sole qualification for a dancing boy was that he be alive.<ref>Secrest, p. 277</ref> Rodgers and Hammerstein reassembled much of the creative team that had made ''Oklahoma!'' a success, including director [[Rouben Mamoulian]] and choreographer [[Agnes de Mille]]. [[Miles White]] was the costume designer while [[Jo Mielziner]] (who had not worked on ''Oklahoma!'') was the scenic and lighting designer. Even though ''Oklahoma!'' orchestrator [[Russell Bennett]] had informed Rodgers that he was unavailable to work on ''Carousel'' due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by [[Don Walker (orchestrator)|Don Walker]].<ref>Fordin, p. 231</ref> A new member of the creative team was [[Trude Rittmann]], who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s.<ref name="h161">Hyland, p. 161</ref>

[[File:Hammerstein.jpg|left|thumb|upright|alt=Photo of Hammerstein in middle age, seated, wearing a suit|Oscar Hammerstein II]]

Rehearsals began in January 1945;<ref name="Hyland, p. 158" /> either Rodgers or Hammerstein was always present.<ref>Fordin, p. 232</ref> Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed.<ref name="god">Secrest, p. 276</ref> At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.<ref name="Block ed., p. 122" /><ref>Fordin, pp. 231–32</ref> As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!"<ref>Rodgers, pp. 240–41</ref> Hammerstein wrote that Molnár became a regular attendee at rehearsals after that.<ref name="turn" />

Like most of the pair's works, ''Carousel'' contains a lengthy ballet, "Billy Makes a Journey",<ref>Hischak, pp. 21–22</ref> in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille.<ref>Hischak, pp. 26–27</ref> It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by [[Bambi Linn]], who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies.<ref name="agnes">Easton, pp. 243–45.</ref>

The play opened for tryouts in [[New Haven, Connecticut]] on March 22, 1945. The first act was well-received; the second act was not.<ref name="f233">Fordin, p. 233</ref> Casto recalled that the second act finished about 1:30 a.m.<ref name="n157" /> The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life."<ref name="f233" /> De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed."<ref>Block (ed.), p. 132</ref> By the time the company left New Haven, de Mille's ballet was down to forty minutes.<ref name="agnes" />

A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"),<ref>Block, p. 160</ref> before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.<ref name="god" /><ref>Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister".</ref> The couple was still part of the show at the Boston opening.<ref name="god" /> Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder,<ref>Block, pp. 161–62</ref> and Mrs. God was removed from the show.<ref name="god" /> Rodgers biographer [[Meryle Secrest]] terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by ''[[The New Republic]]'' as "a [[Rotary International|Rotarian]] atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth".<ref name="god" />

Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made".<ref name="turn" /> A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music.<ref>Rodgers, p. 241</ref> Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception.<ref name="f233" /> An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her.<ref name="agnes" />

== Synopsis ==

=== Act 1 ===
Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("[[If I Loved You]]").

[[File:Mister Snow.jpg|thumb|upright=1.5|Enoch (Eric Mattson) arrives unexpectedly (reprise of "(When I Marry) Mister Snow"). [[Iva Withers]] is Julie (standing), and Margot Moser is Carrie (bent over) (1947).]]
Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep").

Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a ''father'' to a girl" ("[[Soliloquy (song)|Soliloquy]]"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice.

The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale").

=== Act 2 ===
[[File:Use of Wondering.jpg|thumb|upright=1.4|"What's the Use of Wond'rin' "; Withers is Julie (1947)]]
Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery.

As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("[[You'll Never Walk Alone (song)|You'll Never Walk Alone]]").

Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice.

Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)").

Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward.

== Principal roles and notable performers ==

{| class="wikitable" style="margin-right: 0;"
|-
! width="100" | Character
! width="300" | Description
! width="400" | Notable stage performers in long-running, noteworthy productions
|-
| Billy Bigelow || A barker for a carousel || [[John Raitt]]°, [[Stephen Douglass]], [[Bruce Yarnell]], [[Michael Hayden (actor)|Michael Hayden]], [[Howard Keel]], [[Patrick Wilson (American actor)|Patrick Wilson]], [[Alfie Boe]], [[Joshua Henry]]
|-
| Julie Jordan || A millworker, in love with Billy || [[Jan Clayton]]°, [[Iva Withers]], [[Barbara Cook]], [[Constance Towers]], [[Joanna Riding]], [[Sarah Uriarte Berry]], [[Jennifer Laura Thompson]], [[Alexandra Silber]], [[Katherine Jenkins]], [[Jessie Mueller]]
|-
| Carrie Pipperidge || A millworker and friend of Julie's, in love with Enoch Snow || [[Jean Darling]]°, [[Janie Dee]], [[Audra McDonald]], [[Lindsay Mendez]]
|-
| Enoch Snow || A fisherman, who thinks big in his plans || Eric Mattson°, [[Eddie Korbich]], [[Reid Shelton]], [[Clive Rowe]], [[Alexander Gemignani]]
|-
| Nettie Fowler || Julie's cousin and owner of a small seaside spa || [[Christine Johnson (actress)|Christine Johnson]]°, [[Shirley Verrett]], [[Lesley Garrett]], [[Patricia Routledge]], [[Cheryl Studer]], [[Renée Fleming]]
|-
| Jigger Craigin || A no-account whaler, Billy's friend || [[Murvyn Vye]]°, [[Jerry Orbach]], [[Fisher Stevens]], [[Amar Ramasar]]
|-
| Louise Bigelow || Billy and Julie's daughter || [[Bambi Linn]]°, [[Brittany Pollack]]
|-
| The Starkeeper || An official in the afterlife || Russell Collins°, [[Edward Everett Horton]], [[Nicholas Lyndhurst]], [[John Douglas Thompson]]
|}
° denotes original Broadway cast

== Musical numbers ==
{{col-begin}}
{{col-2}}
'''Act I'''<ref name="h38" /><ref name=IBDB>[https://archive.is/20130125200202/http://www.ibdb.com/production-songs.php?ShowNo=2419&ProdNo=1694 "List of Songs"], Carousel at the IBDB Database. Retrieved July 18, 2012</ref>
* "The Carousel Waltz" – Orchestra
* "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan
* "(When I Marry) Mister Snow" – Carrie
* "[[If I Loved You]]" – Billy Bigelow and Julie
* "June Is Bustin' Out All Over" – Nettie Fowler and Chorus
* "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus
* "When the Children Are Asleep" – Enoch and Carrie
* "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus
* "[[Soliloquy (song)|Soliloquy]]" – Billy
{{col-break}}

'''Act II'''<ref name="h38" /><ref name=IBDB/>
* "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus
* "Geraniums in the Winder" – Enoch *
* "There's Nothin' So Bad for a Woman" – Jigger and Chorus 
* "What's the Use of Wond'rin'?" – Julie
* "[[You'll Never Walk Alone]]" – Nettie
* "The Highest Judge of All" – Billy
* Ballet: "Billy Makes a Journey" – Orchestra
* "If I Loved You" (reprise) – Billy
* Finale: "You'll Never Walk Alone" (reprise) – Company
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Carousel |url=https://www.concordtheatricals.com/p/44804/carousel |website=Concord Theatricals|publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

* Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Bassoon, Horn I, Horn II, Horn III, Trumpet I, Trumpet II, Trombone I, Trombone II, Trombone III, Tuba, Percussion, Harp, 2 Violin I, 2 Violin II, 2 Viola, 2 Cello & Bass

The publisher also offers a reduced orchestration which includes:

* Reed I, Reed II, Reed III, Reed IV, Horn I, Horn II, Trumpet I, Trumpet II, Trombone, Harp, Keyboard, Percussion, Violin I, Violin II, Viola, Cello & Bass

== Productions ==

=== Early productions ===
The original Broadway production opened at the [[Majestic Theatre (Broadway)|Majestic Theatre]] on April 19, 1945. The [[dress rehearsal]] the day before had gone badly, and the pair feared the new work would not be well received.<ref name="r243" /> One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working.<ref name="agnes" /> Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause.<ref name="r243">Rodgers, p. 243</ref> [[Bambi Linn]], who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter [[Mary Rodgers|Mary]] caught sight of her friend, [[Stephen Sondheim]], both teenagers then, across several rows; both had eyes wet with tears.<ref name="f233" />

The original production ran for 890 performances, closing on May 24, 1947. The original cast included [[John Raitt]] (Billy), [[Jan Clayton]] (Julie), [[Jean Darling]] (Carrie), Eric Mattson (Enoch Snow), [[Christine Johnson (actress)|Christine Johnson]] (Nettie Fowler), [[Murvyn Vye]] (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of ''[[Show Boat]]'' and was replaced by [[Iva Withers]]; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.<ref name="enc" /><ref>Hischak, p. 62</ref>

After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered {{convert|15000|mi}} and played to nearly two million people. The touring company had a four-week run at [[New York City Center]] in January 1949.<ref name="NYT/Calta 1949-01-25">Calta, Louis. [https://www.nytimes.com/1949/01/25/archives/carousel-opens-at-center-tonight-guilds-touring-unit-to-start.html?sq=carousel+city+center&scp=33&st=p "'Carousel' opens tonight at City Center"]. ''The New York Times'', January 25, 1949, p. 27. Retrieved on December 21, 2010.</ref> Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until ''[[South Pacific (musical)|South Pacific]]'' opened in early April. However, ticket sales were mediocre, and the show closed almost a month early.<ref name="NYT/Calta 1949-02-28">Calta, Louis. [https://www.nytimes.com/1949/02/28/archives/carousel-to-end-run-on-saturday-rodgershammerstein-musical-fails-to.html?sq=carousel+city+center&scp=43&st=p "'Carousel' to end run on Saturday"]. ''The New York Times'', February 28, 1949, p. 15. Retrieved on December 21, 2010.</ref>

The musical premiered in the [[West End theatre|West End]], London, at the [[Theatre Royal, Drury Lane]] on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included [[Stephen Douglass]] (Billy), Iva Withers (Julie) and Margot Moser (Carrie). ''Carousel'' ran in London for 566 performances, remaining there for over a year and a half.<ref name="enc">Green, Stanley. [https://books.google.com/books?id=ZWIRAljCR7oC&pg=PA64&dq=%22London%22+Carousel&hl=en# ''Encyclopedia of The Musical Theatre: An Updated Reference'']. Da Capo Press, 1980, pp. 63–64. {{ISBN|978-0-306-80113-6}}. Retrieved on December 21, 2010.</ref>

=== Subsequent productions ===
''Carousel'' was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured [[Barbara Cook]], though she played Carrie in 1954 and Julie in 1957 (playing alongside [[Howard Keel]] as Billy). The production was then taken to Belgium to be performed at the [[1958 Brussels World's Fair]], with [[David Atkinson (baritone)|David Atkinson]] as Billy, [[Ruth Kobart]] as Nettie, and Clayton reprising the role of Julie, which she had originated.<ref name="h40" />

In August 1965, Rodgers and the Music Theater of [[Lincoln Center]] produced ''Carousel'' for 47 performances. [[John Raitt]] reprised the role of Billy, with [[Jerry Orbach]] as Jigger and [[Reid Shelton]] as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by [[Edward Everett Horton]] in his final stage appearance.<ref>Suskin, Steven. ''Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers''. Oxford University Press US, 2000, p. 106. {{ISBN|0-19-512599-1}}.</ref> The following year, New York City Center Light Opera Company brought ''Carousel'' back to City Center for 22 performances, with [[Bruce Yarnell]] as Billy and [[Constance Towers]] as Julie.<ref name="h40" />

[[Nicholas Hytner]] directed a new production of ''Carousel'' in 1992, at London's [[Royal National Theatre]], with choreography by Sir [[Kenneth MacMillan]] and designs by [[Bob Crowley]]. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival.<ref name="h40">Hischak, p. 40</ref> As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.<ref name="94review">Richards, David. [https://www.nytimes.com/1994/03/25/theater/review-theater-a-carousel-for-the-90-s-full-of-grit-and-passion.html?scp=10&sq=carousel+rodgers&st=nyt "A 'Carousel' for the 90s full of grit and passion"]. ''The New York Times'', March 25, 1994. Retrieved on December 21, 2010.</ref><ref>Block, p. 175</ref> Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel.<ref name="94review" /> [[Michael Hayden (actor)|Michael Hayden]] played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode.<ref name="h40" /> Hayden, [[Joanna Riding]] (Julie) and [[Janie Dee]] (Carrie) all won [[Olivier Award]]s for their performances.<ref name="olive" /> [[Patricia Routledge]] played Nettie.<ref>Wolf, Matt. [http://articles.latimes.com/1993-01-01/entertainment/ca-3152_1_royal-national-theater "'Carousel' Gets Another Go-Around in London"]. ''Los Angeles Times'', January 1, 1993.</ref> Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in ''The New York Times'', looked like "a walking United Colors of Benetton ad".<ref name="94review" /> [[Clive Rowe]], as Enoch, was nominated for an Olivier Award.<ref>Butler, Robert. [https://www.independent.co.uk/arts-entertainment/arts--show-people-a-star-waiting-to-happen-clive-rowe-1451077.html "Show People: A star waiting to happen: Clive Rowe"], ''The Independent'', September 25, 1994</ref> The production's limited run from December 1992 through March 1993 was a sellout.<ref>Wolf, Matt. "In London, the Shock of the New Found in Old Shows". Associated Press, March 11, 1993.</ref> It re-opened at the [[Shaftesbury Theatre]] in London in September 1993, presented by [[Cameron Mackintosh]], where it continued until May 1994.<ref>Wolf, Matt. "Stage frights; Dead on Revival". ''Variety'', May 23–29, 1994, p. 45.</ref>

The Hytner production moved to New York's [[Vivian Beaumont Theater]], where it opened on March 24, 1994, and ran for 322 performances.<ref name="h40" /><ref name="94review" /> This won five [[Tony Award]]s, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and [[Audra McDonald]] (as Carrie).<ref name="tony" /> The cast also included Sally Murphy as Julie, [[Shirley Verrett]] as Nettie, [[Fisher Stevens]] as Jigger and [[Eddie Korbich]] as Enoch.<ref>Canby, Vincent. [https://www.nytimes.com/1994/04/03/theater/sunday-view-carousel-a-soap-opera-no-longer.html "Sunday View; 'Carousel,' A Soap Opera No Longer"]. ''The New York Times'', April 3, 1994. Retrieved on December 26, 2010</ref> One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that."<ref name="susan">Cheever, Susan. [https://www.nytimes.com/1994/03/06/theater/a-lost-boy-makes-good.html?scp=7&sq=carousel+rodgers&st=nyt "A lost boy makes good"]. ''The New York Times'', March 6, 1994. Retrieved on December 21, 2010.</ref> The Hytner ''Carousel'' was presented in Japan in May 1995.<ref>Krulwich, Sarah. [https://www.nytimes.com/1995/01/29/theater/carousel-comes-to-a-stop-as-its-cast-takes-a-final-bow.html?scp=1&sq=Carousel+AND+Hytner&st=nyt ''Carousel'' comes to a stop as its cast takes a final bow]. ''The New York Times'', January 29, 1995. Retrieved on December 27, 2010.</ref> A U.S. national tour with a scaled-down production began in February 1996 in Houston<ref name="hou">Evans, Everett. "Catch ''Carousel'' for the ride of a lifetime". Houston ''Chronicle'', February 12, 1996, p. 1 of Houston section.</ref> and closed in May 1997 in [[Providence, Rhode Island]].<ref>Gale, Bill. "PPAC is last turn for ''Carousel''". ''Providence Journal-Bulletin'' ([[Rhode Island]]), May 11, 1997, Arts Week, p. 3E.</ref> Producers sought to feature young talent on the tour,<ref name="hou" /> with [[Patrick Wilson (American actor)|Patrick Wilson]] as Billy and [[Sarah Uriarte Berry]],<ref>Miller, Daryl H. [http://www.thefreelibrary.com/POWERFUL+%60CAROUSEL'+LEAVES+AHMANSON+AUDIENCE+SPINNING-a083953057 "Powerful ''Carousel'' Leaves Ahmanson Audience Spinning",] ''Daily News'' (Los Angeles), July 12, 1996. Retrieved on December 26, 2010</ref> and later [[Jennifer Laura Thompson]], as Julie.<ref>Phillips, Michael. "Clambakes, Americana and ''Carousel''", ''The San Diego Union-Tribune'', December 26, 1996, p. 4.</ref>

A revival opened at London's [[Savoy Theatre]] on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), [[Alexandra Silber]] (Julie) and [[Lesley Garrett]] (Nettie).<ref name="cov">Coveney, Michael. [https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/carousel-savoy-theatre-london-1050504.html "Carousel, Savoy Theatre, London"]. ''The Independent'', December 4, 2008. Retrieved on December 21, 2010.</ref> The production received warm to mixed reviews.<ref>See, e.g., Spencer, Charles. [https://www.telegraph.co.uk/culture/theatre/drama/3563940/Carousel-at-the-Savoy-Theatre.html "''Carousel'' at the Savoy Theatre"]. ''The Telegraph'', December 3, 2008; Billington, Michael. [https://www.theguardian.com/stage/2008/dec/03/carousel-savoy-london-theatre-review ''Carousel'']. ''The Guardian'', December 3, 2008; and Smith, Sam. [http://www.musicomh.com/theatre/lon_carousel_1208.htm ''Carousel'']. MusicOMH. All retrieved on December 27, 2010</ref> It closed in June 2009, a month early.<ref>[http://www.whatsonstage.com/news/theatre/london/E8831244545378/Carousel+Posts+Closing+Notices+at+Savoy,+20+Jun.html "Carousel Posts Closing Notices at Savoy, 20 Jun"] {{webarchive|url=https://web.archive.org/web/20110615183432/http://www.whatsonstage.com/news/theatre/london/E8831244545378/Carousel+Posts+Closing+Notices+at+Savoy,+20+Jun.html |date=2011-06-15 }}. WhatsOnStage, June 9, 2009. Retrieved on December 28, 2010</ref> Michael Coveney, writing in ''[[The Independent]]'', admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version".<ref name="cov" /> A production at [[Theater Basel]], Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and [[Cheryl Studer]] starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "''Richard Rodgers: ''Carousel''"] {{Webarchive|url=https://web.archive.org/web/20180308232520/http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215# |date=2018-03-08 }}, Diary: Theater Basel, Operabase.com, accessed March 8, 2018</ref> A semi-staged revival by the [[English National Opera]] opened at the [[London Coliseum]] in 2017. The production was directed by [[Lonny Price]], conducted by [[David Charles Abell]], and starred [[Alfie Boe]] as Billy, [[Katherine Jenkins]] as Julie and [[Nicholas Lyndhurst]] as the Starkeeper. The production received mixed to positive reviews.<ref>Morgan, Fergus. [https://www.thestage.co.uk/opinion/2017/carousel-london-coliseum-alfie-boe-review-round-up "''Carousel'' starring Alfie Boe and Katherine Jenkins – review round-up"], ''[[The Stage]]'', April 18, 2017</ref>

The third Broadway revival began previews in February 2018 at the [[Imperial Theatre]], with an official opening on April 12. It stars [[Jessie Mueller]], [[Joshua Henry]], [[Renée Fleming]], [[Lindsay Mendez]] and [[Alexander Gemignani]]. The production is directed by [[Jack O'Brien (director)|Jack O'Brien]] and choreographed by [[Justin Peck]].<ref>McPhee, Ryan. [http://www.playbill.com/article/carousel-starring-jessie-mueller-joshua-henry-and-renee-fleming-begins-on-broadway-february-28 "Carousel, Starring Jessie Mueller, Joshua Henry, and Renée Fleming, Begins on Broadway February 28"], ''Playbill'', February 28, 2018</ref> The song "There's Nothin' So Bad for a Woman" was cut from this revival.<ref>[http://www.ibdb.com/broadway-production/carousel-515791/#songs "List of Songs"], Carousel Revival at the IBDB Database. Retrieved April 19, 2018</ref> [[Ben Brantley]] wrote in ''The New York Times'', "The tragic inevitability of ''Carousel'' has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene.<ref>[[Ben Brantley|Brantley, Ben]]. [https://www.nytimes.com/2018/04/12/theater/carousel-review-broadway.html "A ''Carousel'' That Spins on a Romantically Charged Axis"], ''The New York Times'', April 12, 2018</ref> Most of the reviewers agreed that while the choreography and performances (especially the singing) are excellent, characterizing the production as sexy and sumptuous, O'Brien's direction does little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia.<ref>[https://www.broadwayworld.com/article/Review-Roundup-Critics-Weigh-In-on-CAROUSEL-on-Broadway-Starring-Jessie-Mueller-and-Joshua-Henry-20180412 "Review Roundup: Critics Weigh In on ''Carousel'' on Broadway, Starring Jessie Mueller and Joshua Henry"], BroadwayWorld.com, April 18, 2018</ref>

=== Film, television and concert versions ===
[[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|[[Boothbay Harbor, Maine]], where the location shots for ''Carousel'''s movie version were filmed]]
{{Main|Carousel (film)}}
A film version of the musical was made in 1956, starring [[Gordon MacRae]] and [[Shirley Jones]]. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of [[Oklahoma! (1955 film)|the film version of ''Oklahoma!'']] It garnered some good reviews,<ref>''The New York Times'' called the movie a "beautifully turned out film, crisply played and richly sung by a fine cast that is fully worthy of the original show". Crowther, Bosley. [https://www.nytimes.com/1956/02/17/archives/screen-carousel-is-worthy-of-stage-original-macrae-shirley-jones.html?sq=Carousel+AND+MacRae&scp=1&st=p "''Carousel'' is worthy of original show"]. ''The New York Times'', February 17, 1956, p. 13. Retrieved on December 25, 2010.</ref> and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of ''Carousel''. Thomas Hischak, in ''The Rodgers and Hammerstein Encyclopedia'', later wondered "if the smaller number of ''Carousel'' stage revivals is the product of this often-lumbering<nowiki> [film] </nowiki> musical".<ref name="film">Hischak, pp. 41–42</ref>

There was also an abridged (100 minute) 1967 [[ABC Television|network television version]] that starred [[Robert Goulet]], with choreography by [[Edward Villella]].<ref name="film" />

The [[New York Philharmonic]] presented a staged concert version of the musical from February 28 to March 2, 2013, at [[Avery Fisher Hall]]. [[Kelli O'Hara]] played Julie, with [[Nathan Gunn]] as Billy, [[Stephanie Blythe]] as Nettie, [[Jessie Mueller]] as Carrie, [[Jason Danieley]] as Enoch, [[Shuler Hensley]] as Jigger, [[John Cullum]] as the Starkeeper, and [[Kate Burton (actress)|Kate Burton]] as Mrs. Mullin. [[Tiler Peck]] danced the role of Louise to choreography by [[Warren Carlyle]]. The production was directed by [[John Rando]]. [[Charles Isherwood]] of ''The New York Times'' wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear."<ref>Isherwood, Charles. [http://theater.nytimes.com/2013/03/01/theater/reviews/carousel-with-new-york-philharmonic-at-avery-fisher-hall.html?pagewanted=all&_r=0 "In a Sunny Setting, Lives Dappled by Shadow"], ''The New York Times'', February 28, 2013 (print version dated March 1, 2013, p. C13)</ref> It was broadcast as part of the [[PBS]] ''[[Live from Lincoln Center]]'' series, premiering on April 26, 2013.<ref>[http://broadwayworld.com/article/Kelli-OHara-Led-CAROUSEL-Concert-to-Air-426-on-PBS-20130425 "Kelli O'Hara-Led ''Carousel'' Concert Airs Tonight on PBS"], BroadwayWorld, April 26, 2013</ref>

== Music and recordings ==

=== Musical treatment ===
Rodgers designed ''Carousel'' to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw ''Carousel'' in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music."<ref name="stream">Secrest, p. 275</ref>

[[File:Rodgers.jpg|left|thumb|upright|alt=Photo of Rodgers, in middle age, seated in a theatre, wearing a suit and holding a cigarette|Richard Rodgers]]
Rodgers uses music in ''Carousel'' in subtle ways to differentiate characters and tell the audience of their emotional state.<ref>Block, pp. 164–65</ref> In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even [[eighth-note]] rhythms, whereas the emotionally restless Julie's music is marked by [[Dotted note|dotted]] eighths and [[Sixteenth note|sixteenths]]; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's.<ref>Block, p. 167</ref> Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'".<ref>Block, p. 168</ref> The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in [[close harmony]], but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music.<ref>Block, p. 174</ref> Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive.<ref>Block, pp. 174–75</ref>

The twelve-minute "bench scene",<ref name="h129">Hischak, p. 129</ref> in which Billy and Julie get to know each other and which culminates with "[[If I Loved You]]", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre".<ref name="h38" /> The scene is almost entirely drawn from Molnár and is one extended musical piece; [[Stephen Sondheim]] described it as "probably the single most important moment in the revolution of contemporary musicals".<ref>Nolan, p. 159</ref> "If I Loved You" has been recorded many times, by such diverse artists as [[Frank Sinatra]], [[Barbra Streisand]], [[Sammy Davis Jr.]], [[Mario Lanza]] and [[Chad and Jeremy]].<ref name="h129" /> The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ".<ref>Mordden, p. 142</ref>

When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours.<ref name="eight">Fordin, p. 239</ref> "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax.<ref name="eight" />

[[File:Shankly Gates.jpg|thumb|Shankly Gates at [[Anfield]], [[Liverpool F.C.]]'s stadium]]
[[Irving Berlin]] later stated that "You'll Never Walk Alone" had the same sort of effect on him as [[Psalm 23|the 23rd Psalm]].<ref>Nolan, p. 162</ref> When singer [[Mel Tormé]] told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to."<ref>Nolan, p. 163</ref> The frequently recorded song has become a widely accepted hymn.<ref name="Bradley79">Bradley, p. 79</ref><ref>Rodgers, p. 240</ref> The cast recording of ''Carousel'' proved popular in Liverpool, like many Broadway albums, and in 1963, the [[Brian Epstein]]-managed band, [[Gerry and the Pacemakers]] had a number-one hit with the song. At the time, the top ten hits were played before [[Liverpool F.C.]] home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool.<ref>Coslet, Paul. [https://www.bbc.co.uk/liverpool/content/articles/2008/06/09/youll_never_walk_alone_feature.shtml "You'll Never Walk Alone"]. [[BBC]], September 6, 2008. Retrieved on December 20, 2010.</ref> A [[BBC]] program, ''Soul Music'', ranked it alongside "[[Silent Night]]" and "[[Abide With Me]]" in terms of its emotional impact and iconic status.<ref name="Bradley79" />

=== Recordings ===
The [[cast album]] of the 1945 Broadway production was issued on [[Gramophone record|78s]], and the score was significantly cut—as was the 1950 London cast recording.<ref name="record" /> Theatre historian [[John Kenrick (theatre writer)|John Kenrick]] notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.<ref name=ken>Kenrick, John. [http://www.musicals101.com/cdcomps2.htm Comparative CD reviews—''Carousel'']. Musicals101.com. Retrieved on December 27, 2010.</ref><ref name=Cyber>Fick, David. [https://musicalcyberspace.wordpress.com/2009/06/11/the-best-carousel-recording "The Best ''Carousel'' Recording"], June 11, 2009, accessed April 7, 2016</ref>

A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of ''Carousel'''s songs were released in 1956 (with [[Robert Merrill]] as Billy, [[Patrice Munsel]] as Julie, and [[Florence Henderson]] as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including [[Samuel Ramey]], [[Barbara Cook]] and [[Sarah Brightman]].<ref name="record" /><ref name=Cyber/> Kenrick recommends the 1962 studio recording for its outstanding cast, including [[Alfred Drake]], [[Roberta Peters]], [[Claramae Turner]], [[Lee Venora]], and [[Norman Treigle]].<ref name=ken/>

Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy.<ref name="record">Hischak, pp. 42–43</ref> Kenrick judges the 1994 recording the best all-around performance of ''Carousel'' on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard).<ref name=ken/><ref name=Cyber/> The [[Stratford Festival]] issued a recording in 2015.<ref>Gans, Andrew. [http://www.playbill.com/article/recording-of-stratford-festivals-carousel-now-available-online-com-352647 "Recording of Stratford Festival's Carousel Now Available Online"], July 6, 2015</ref>

== Critical reception and legacy ==
[[File:R and H.jpg|thumb|right|Rodgers (left) and Hammerstein]]
The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for ''Oklahoma!'' as the critics were not taken by surprise this time. John Chapman of the ''[[Daily News (New York)|Daily News]]'' termed it "one of the finest musical plays I have ever seen and I shall remember it always".<ref name="h39">Hischak, p. 39</ref> ''[[The New York Times]]'''s reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting ''Liliom'' into a musical play. Their ''Carousel'' is on the whole delightful."<ref>Nichols, Lewis. [https://www.nytimes.com/1945/04/20/archives/the-play-in-review.html?sq=carousel&scp=11&st=p "The play in review"]. ''The New York Times'', April 20, 1945, p. 24. Retrieved on December 21, 2010. Fee for article.</ref> Wilella Waldorf of the ''[[New York Post]]'', however, complained, "''Carousel'' seemed to us a rather long evening. The ''Oklahoma!'' formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"<ref name="h39" /><ref>Suskin, Steven. ''Opening Night on Broadway''. Schirmer Trade Books, 1990, p. 147. {{ISBN|978-0-02-872625-0}}.</ref> ''[[Dance Magazine]]'' gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand".<ref name="agnes" /> Howard Barnes in the ''[[New York Herald Tribune]]'' also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show."<ref name="agnes" />

When the musical returned to New York in 1949, ''The New York Times'' reviewer [[Brooks Atkinson]] described ''Carousel'' as "a conspicuously superior musical play ... ''Carousel'', which was warmly appreciated when it opened, seems like nothing less than a masterpiece now."<ref>Atkinson, Brooks. [https://www.nytimes.com/1949/02/06/archives/carousel-returns-at-the-peak-of-its-form-after-four-years.html?sq=Carousel+AND+Hammerstein&scp=1&st=p "Carousel returns; At the peak of its form after four years"]. ''The New York Times'', February 6, 1949, p. X1. Retrieved on December 21, 2010. Fee for article.</ref> In 1954, when ''Carousel'' was revived at City Center, Atkinson discussed the musical in his review:

<blockquote>''Carousel'' has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but ''Carousel'' recognizes the decency of his motives and admires his independence. There are no slick solutions in ''Carousel''.<ref>Atkinson, Brooks. [https://www.nytimes.com/1954/06/13/archives/eloquent-musical-carousel-gaining-in-stature-through-the-years-is.html?sq=lewis%2520nichols%2520carousel&scp=2&st=cse "Eloquent musical"]. ''The New York Times'', June 13, 1954, p. X1. Retrieved on December 21, 2010. Fee for article.</ref></blockquote>

Stephen Sondheim noted the duo's ability to take the innovations of ''Oklahoma!'' and apply them to a serious setting: "''Oklahoma!'' is about a picnic, ''Carousel'' is about life and death."<ref>Bradley, p. 74</ref> Critic [[Eric Bentley]], on the other hand, wrote that "the last scene of ''Carousel'' is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."<ref>Block (ed.), pp. 161–62</ref>

''New York Times'' critic [[Frank Rich]] said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good."<ref name="rich">Rich, Frank. [http://theater.nytimes.com/mem/theater/treview.html?res=9E0CEFD61E3CF934A25751C1A964958260&scp=9&sq=hytner%20carousel%20london&st=cse "London makes a revelation of ''Carousel''"]. ''The New York Times'', December 17, 1992. Retrieved on December 24, 2010. Fee for article.</ref> The Hytner production in New York was hailed by many critics as a grittier ''Carousel'', which they deemed more appropriate for the 1990s.<ref name="h162">Hyland, p. 162</ref> [[Clive Barnes (critic)|Clive Barnes]] of the ''New York Post'' called it a "defining ''Carousel''—hard-nosed, imaginative, and exciting."<ref name="h162" />

Critic [[Michael Billington (critic)|Michael Billington]] has commented that "lyrically [''Carousel''] comes perilously close to acceptance of the inevitability of domestic violence."<ref>[[Michael Billington (critic)|Billington, Michael]]. [https://www.theguardian.com/stage/2012/aug/21/carousel-musical-review "''Carousel'' – review"], ''The Guardian'', August 21, 2012, accessed July 29, 2016</ref> BroadwayWorld.com stated in 2013 that ''Carousel'' is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it."<ref>Fox, Jena Tesse. [http://www.broadwayworld.com/article/BWW-Interviews-Kelli-OHara-Talks-CAROUSEL-20130219 "BWW Interviews: Kelli O'Hara Talks ''Carousel''"], Broadwayworld.com, February 19, 2013, accessed August 5, 2015</ref>

Rodgers considered ''Carousel'' his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed".<ref name="r243" /> In 1999, ''[[Time (magazine)|Time]]'' magazine, in its "Best of the Century" list, named ''Carousel'' the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling".<ref>[http://www.time.com/time/magazine/article/0,9171,993039-2,00.html "The best of the century"]. ''Time'', December 31, 1999. Retrieved on December 21, 2010.</ref> Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made ''Carousel'''s ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with <nowiki>[Billy's]</nowiki> all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave."<ref>Hammerstein, p. 175</ref> Author and composer [[Ethan Mordden]] agreed with that perspective:
<blockquote>
If ''Oklahoma!'' developed the moral argument for sending American boys overseas, ''Carousel'' offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone.<ref>Block (ed.), p. 95</ref>
</blockquote>

== Awards and nominations ==

=== Original 1945 Broadway production===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:20%;"| Award
! style="width:45%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
|rowspan="8" align="center"|1945
|rowspan="8"|[[Donaldson Awards|Donaldson Award]]
|colspan="2"|Best Play of the 1944-1945 Season
|{{won}}
|-
|Male Lead Performance (Musical)
|[[John Raitt]]
|{{won}}
|-
|Direction (Musical)
|Rouben Mamoulian
|{{won}}
|-
|rowspan="2"|Supporting Performance (Dance)
|Bambi Linn
|{{won}}
|-
|Peter Birch
|{{won}}
|-
|colspan="2"|Book, Lyrics and Score
|{{won}}
|-
|Choreography
|[[Agnes DeMille]]
|{{won}}
|-
|Costume Design
|Miles White
|{{won}}
|-
|rowspan="2" align="center"|1946
|[[New York Drama Critics' Circle Award]]<ref>[http://www.dramacritics.org/dc_pastawards.html#1946 Past Awards (1945–1946), New York Drama Critics' Circle]. dramacritics.org. Retrieved on January 25, 2012</ref>
|colspan="2"|Best Musical
|{{won}}
|-
|[[Theatre World Award]]<ref>Willis, John. [https://books.google.com/?id=yGx3tLELoEoC&pg=PA364&dq=%22Ann+Crowley%22+Carousel+%22Theatre+OR+World%22#v=onepage&q=%22Ann%20Crowley%22%20Carousel%20%22Theatre%20OR%20World%22&f=false "Previous Theatre World Award Recipients"]. Hal Leonard Corporation, 2009, p. 364 {{ISBN|978-1-4234-7369-5}}. Retrieved January 25, 2012</ref>
|Best Debut Performance
|Ann Crowley
|{{won}}
|}
''Note: The [[Tony Award]]s were not established until 1947, and so ''Carousel'' was not eligible to win any Tonys at its premiere.<ref>[http://www.tonyawards.com/en_US/archive/index.html "Tony Awards Archive"] {{Webarchive|url=https://web.archive.org/web/20080316035442/http://www.tonyawards.com/en_US/archive/index.html |date=2008-03-16 }}. American Theatre Wing. Retrieved January 25, 2012</ref>

=== 1957 revival ===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:20%;"| Award
! style="width:45%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
|align="center"|1958
|[[Tony Award]]<ref name="tony">[https://www.ibdb.com/broadway-production/carousel-13514 "''Carousel'' 1957"], ibdb.com, retrieved June 18, 2019</ref>
|[[Tony Award for Best Scenic Design|Best Scenic Design]]
|[[Oliver Smith (designer)|Oliver Smith]]
|{{nom}}
|}

=== 1992 London revival ===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:20%;"| Award
! style="width:45%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
|rowspan="8" align="center"|1993
|rowspan="8"|[[Olivier Award]]<ref name="olive">[https://officiallondontheatre.com/olivier-awards/winners/olivier-winners-1993/ "Official London Theatre listing"]. 1993 Olivier Awards, Official London Theatre. Retrieved March 4, 2018</ref>
|colspan="2"|[[Olivier Award for Best Musical Revival|Best Musical Revival]]
|{{won}}
|-
|[[Laurence Olivier Award for Best Director of a Musical|Best Director of a Musical]]
|[[Nicholas Hytner]]
|{{won}}
|-
|[[Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
|[[Michael Hayden (actor)|Michael Hayden]]
|{{nom}}
|-
|[[Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
|[[Joanna Riding]]
|{{won}}
|-
|[[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Performance in a Supporting Role in a Musical]]
|[[Janie Dee]]
|{{won}}
|-
|[[Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
|Kenneth MacMillan
|{{nom}}
|-
|[[Olivier Award for Best Set Designer|Best Set Designer]]
|rowspan="2"|[[Bob Crowley]]
|{{nom}}
|-
|[[Laurence Olivier Award for Best Costume Design|Best Costume Design]]
|{{nom}}
|}

=== 1994 Broadway revival ===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:20%;"| Award
! style="width:45%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
|rowspan="14" align="center"|1994
|rowspan="5"|[[Tony Award]]<ref name="tony" />
|colspan="2"|[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
|{{won}}
|-
|[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Audra McDonald]]
|{{won}}
|-
||[[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
|[[Nicholas Hytner]]
|{{won}}
|-
|[[Tony Award for Best Choreography|Best Choreography]]
|[[Sir Kenneth MacMillan]]
|{{won}}
|-
|[[Tony Award for Best Scenic Design of a Musical|Best Scenic Design of a Musical]]
|[[Bob Crowley]]
|{{won}}
|-
|rowspan="7"|[[Drama Desk Award]]<ref name="drama">[http://www.dramadesk.com/1993_1994dd.html "1993–1994 40th Drama Desk Awards"] {{webarchive|url=https://archive.is/20080704130706/http://www.dramadesk.com/1993_1994dd.html |date=2008-07-04 }}. Drama Desk. Retrieved January 25, 2012</ref>
|colspan="2"|[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Musical Revival]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|[[Michael Hayden (actor)|Michael Hayden]]
|{{nom}}
|-
|[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Supporting Actress in a Musical]]
|[[Audra McDonald]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
|[[Jane Elliot]] and [[Sir Kenneth MacMillan]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|[[Nicholas Hytner]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design]]
|[[Paul Pyant]]
|{{nom}}
|-
|[[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
|[[Bob Crowley]]
|{{nom}}
|-
|rowspan="2"|[[Theatre World Award]]<ref>[http://www.theatreworldawards.org/award.html "Previous Theatre World Award Recipients"]. Theatre World. Retrieved January 25, 2012</ref>
|colspan="2"|[[Audra McDonald]]
|{{won}}
|-
|colspan="2"|[[Michael Hayden (actor)|Michael Hayden]]
|{{won}}
|}

===2018 Broadway revival===
{| class="wikitable" style="width:95%;"
|-
! style="width:5%;"| Year
! style="width:20%;"| Award
! style="width:45%;"| Category
! style="width:20%;"| Nominee
! style="width:10%;"| Result
|-
| rowspan="23" |2018
| rowspan="11" |[[72nd Tony Awards|Tony Awards]]
| colspan="2" |[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
|{{nom}}
|-
|[[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
|[[Joshua Henry]]
|{{nom}}
|-
|[[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
|[[Jessie Mueller]]
|{{nom}}
|-
|[[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
|[[Alexander Gemignani]]
|{{nom}}
|-
| rowspan="2" |[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Renée Fleming]]
|{{nom}}
|-
|[[Lindsay Mendez]]
|{{Won}}
|-
|[[Tony Award for Best Costume Design in a Musical|Best Costume Design of a Musical]]
|[[Ann Roth]]
|{{nom}}
|-
|[[Tony Award for Best Lighting Design in a Musical|Best Lighting Design of a Musical]]
|[[Brian MacDevitt]]
|{{nom}}
|-
|[[Tony Award for Best Sound Design|Best Sound Design of a Musical]]
|Scott Lehrer
|{{nom}}
|-
|[[Tony Award for Best Choreography|Best Choreography]]
|[[Justin Peck]]
|{{won}}
|-
|[[Tony Award for Best Orchestrations|Best Orchestrations]]
|[[Jonathan Tunick]]
|{{nom}}
|-
| rowspan="12" |[[Drama Desk Awards]]<ref name= "DD 2018">{{cite web|first= |last= |url=http://www.playbill.com/article/spongebob-squarepants-leads-2018-drama-desk-awards |title=SpongeBob SquarePants Leads 2018 Drama Desk Awards |date=June 3, 2018|work=Playbill}}</ref>
| colspan="2" |[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|[[Joshua Henry]]
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
|[[Jessie Mueller]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
|[[Alexander Gemignani]]
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|[[Lindsay Mendez]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|[[Jack O'Brien (director)|Jack O'Brien]]
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
|[[Justin Peck]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
|[[Jonathan Tunick]]
|{{won}}
|-
|[[Drama Desk Award for Outstanding Scenic Design of a Musical|Outstanding Set Design for a Musical]]
|Santo Loquasto
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design for a Musical]]
|Brian MacDevitt
|{{nominated}}
|-
|[[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design for a Musical]]
|Scott Lehrer
|{{nominated}}
|-
|Outstanding Fight Choreography
|Steve Rankin
|{{won}}
|}

== References ==
{{reflist}}

=== Bibliography ===
* Block, Geoffrey. [https://books.google.com/books?id=6gRuvIuWZyUC&lpg=PA161&dq=carousel%20new%20haven%20march%2022%2C%201945&pg=PA162#v=onepage&q=carousel%20new%20haven%20march%2022,%201945&f=false ''Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim'']. New York: Oxford University Press US, 2004. {{ISBN|978-0-19-516730-6}}.
* Block, Geoffrey (ed.) [https://books.google.com/books?id=QLxEdG6HJ9sC&dq=carousel+rodgers&source=gbs_navlinks_s ''The Richard Rodgers Reader'']. New York: Oxford University Press US, 2006. {{ISBN|978-0-19-531343-7}}.
* [[Ian Bradley|Bradley, Ian.]] [https://books.google.com/books?id=P9rFTWvLDNgC&lpg=PA74&dq=sondheim%20carousel%20life%20death&pg=PA79#v=onepage&q=sondheim%20carousel%20life%20death&f=false ''You've Got to Have a Dream: The Message of the Broadway Musical'']. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5.
* Easton, Carol. ''No Intermission: The Life of Agnes DeMille.'' Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). {{ISBN|978-0-306-80975-0}}.
* Fordin, Hugh. ''Getting to Know Him: A Biography of Oscar Hammerstein II''. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. {{ISBN|978-0-306-80668-1}}.
* Hammerstein, Oscar Andrew. ''The Hammersteins: A Musical Theatre Family''. New York: Black Dog & Leventhal Publishers, 2010. {{ISBN|978-1-57912-846-3}}.
* Hischak, Thomas S. [https://books.google.com/?id=CsbEP_Mu50EC&lpg=PA310&ots=Wxcl5GCQtb&dq=The%20Rodgers%20and%20Hammerstein%20encyclopedia%20carousel&pg=PA310#v=onepage&q=%22Carousel.%20A%20musical%20play%22&f=false ''The Rodgers and Hammerstein Encyclopedia'']. Westport, Conn.: Greenwood Publishing Group, 2007. {{ISBN|978-0-313-34140-3}}.
* Hyland, William G. ''Richard Rodgers''. New Haven, Conn.: Yale University Press, 1998. {{ISBN|978-0-300-07115-3}}.
* [[Ferenc Molnár|Molnár, Ferenc.]] [https://books.google.com/books?id=aTsiAAAAMAAJ&dq=liliom%201909&pg=PR5#v=onepage&q=liliom%201909&f=false ''Liliom: A Legend in Seven Scenes and a Prologue'']. New York: Boni and Liveright, 1921.
* [[Ethan Mordden|Mordden, Ethan.]] "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. {{ISBN|978-0-8109-1567-1}}.
* [[Frederick Nolan|Nolan, Frederick]]. ''The Sound of Their Music: The Story of Rodgers and Hammerstein''. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. {{ISBN|978-1-55783-473-7}}.
* Rodgers, Richard. ''Musical Stages: An Autobiography''. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. {{ISBN|978-0-306-81134-0}}.
* [[Meryle Secrest|Secrest, Meryle]]. ''Somewhere for Me: A Biography of Richard Rodgers''. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. {{ISBN|978-1-55783-581-9}}.

== External links ==
{{Portal|Theatre}}
{{Commons category|Carousel (musical)}}
{{Wikiquote|Carousel}}
* {{ibdb show|2419}}
* [http://guidetomusicaltheatre.com/shows_c/carousel.htm ''Carousel'' at guidetomusicaltheatre.com]
* [https://web.archive.org/web/20080122081559/http://stageagent.com/Shows/View/708 ''Carousel'' info page on StageAgent.com] – ''Carousel'' plot summary and character descriptions
* {{IMDb title|0190291}} (1967 TV adaptation)

{{Liliom}}
{{Rodgers and Hammerstein}}
{{Navboxes
| title = Awards for ''Carousel''
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{{OlivierAward MusicalRevival}}
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}}

{{Featured article}}

{{DEFAULTSORT:Carousel (Musical)}}
[[Category:1945 musicals]]
[[Category:Broadway musicals]]
[[Category:Musicals by Rodgers and Hammerstein]]
[[Category:West End musicals]]
[[Category:Musicals based on plays]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Maine in fiction]]
[[Category:Fiction set in 1873]]
[[Category:Fiction about the afterlife]]
[[Category:Tony Award-winning musicals]]

Oklahoma!

2020-04-03T22:02:36Z

JohnAnkerBow:

{{short description|1943 musical}}
{{about||the film adaptation|Oklahoma! (1955 film)|other uses|Oklahoma (disambiguation)}}
{{Use mdy dates|date=June 2012}}
{{Infobox musical
| name = Oklahoma!
| image = Musical1943-Oklahoma!-OriginalPoster.jpg
| image_size = 210px
| caption = Original Broadway poster (1943)
| music = [[Richard Rodgers]]
| lyrics= [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'' by [[Lynn Riggs]]
| productions = 1943 Broadway 1947 West End 1951 Broadway [[revival (theatre)|revival]] 1955 [[Oklahoma! (1955 film)|Film]] 1979 Broadway revival 1980 West End revival 1998 West End revival 2002 Broadway revival 2003 US Tour 2010 UK Tour 2015 UK Tour 2019 Broadway revival

| awards = 1944 special [[Pulitzer Prize]] 1993 [[Special Tony Award]] (50th Anniversary) 1999 [[Laurence Olivier Award for Best Musical Revival|Olivier Award for Best Musical Revival]] 2019 [[Tony Award for Best Revival of a Musical]]
}}
'''''Oklahoma!''''' is the first [[musical theater|musical]] written by the team of [[Rodgers and Hammerstein|composer Richard Rodgers and librettist Oscar Hammerstein II]]. The musical is based on [[Lynn Riggs]]' 1931 play, ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''. Set in farm country outside the town of [[Claremore, Oklahoma|Claremore]], [[Indian Territory]], in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

The original [[Broadway theatre|Broadway]] production opened on March 31, 1943. It was a box-office smash and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an [[Academy Awards|Oscar]]-winning 1955 [[Oklahoma! (1955 film)|film adaptation]]. It has long been a popular choice for school and community productions.<ref>''[[Time (magazine)|Time]]'' magazine reported in its [http://www.time.com/time/arts/article/0,8599,1807032,00.html May 26, 2008 issue], p. 51, that ''Oklahoma!'' tied (with ''[[Bye Bye Birdie (musical)|Bye Bye Birdie]]'') as the eighth most frequently produced musical by U.S. high schools in 2007.</ref> Rodgers and Hammerstein won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] for ''Oklahoma!'' in 1944.

This musical, building on the innovations of the earlier ''[[Show Boat]]'', epitomized the development of the "[[book musical]]", a musical play where the songs and dances are fully integrated into a well-made story with serious dramatic goals that are able to evoke genuine emotions other than laughter.<ref>Everett, p. 137, chapter by Riis, Thomas L., with Ann Sears and Everett</ref> In addition, ''Oklahoma!'' features musical themes, or [[Motif (music)|motifs]], that recur throughout the work to connect the music and story.<ref>Wilk, Max. ''OK! The Story of Oklahoma!: A Celebration of America's Most Beloved Musical''. Rev. ed. New York: Applause Books, 2002. {{ISBN|1-55783-555-1}}</ref>{{Page needed|date=February 2012}}<ref name=Swain>Swain, Joseph P. ''The Broadway Musical: A Critical and Musical Survey''. Scarecrow Press, Inc., 2002, pp. 103–06</ref> A fifteen-minute "dream ballet" reflects Laurey's struggle with her feelings about two men, Curly and Jud.

==Background==
By the early 1940s, Rodgers and Hammerstein were each well known for creating [[Broadway theatre|Broadway]] hits with other collaborators. Rodgers, with [[Lorenz Hart]], had produced over two dozen musicals since the 1920s, including such popular successes as ''[[Babes in Arms]]'' (1937), ''[[The Boys from Syracuse]]'' (1938) and ''[[Pal Joey (musical)|Pal Joey]]'' (1940).<ref>Secrest, pp. 403–04</ref> Among other successes, Hammerstein had written the words for ''[[Rose-Marie]]'' (1924), ''[[The Desert Song]]'' (1926), ''[[The New Moon]]'' (1927) and ''[[Show Boat]]'' (1927). Though less productive in the 1930s, he wrote musicals, songs and films, sharing an [[Academy Award]] for his song with [[Jerome Kern]], "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", which was included in the 1941 film ''[[Lady Be Good (1941 film)|Lady Be Good]]''.<ref>[http://www.songwritershalloffame.org/exhibits/C13 “Oscar Hammerstein II”] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }}. Songwriters Hall of Fame, accessed December 22, 2010</ref> By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.<ref>Layne, Joslyn. [{{Allmusic|class=artist|id=p84807|pure_url=yes}} Lorenz Hart Biography], Allmusic, accessed December 22, 2010</ref>

===Conception===
In 1931, the [[Theatre Guild]] produced [[Lynn Riggs]]'s ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', a play about settlers in [[Oklahoma]]'s Indian Territory. Though the play was not successful, ten years later in 1941, [[Theresa Helburn]], one of the Guild's producers, saw a summer-stock production supplemented with traditional [[folk song]]s and [[square dance]]s and decided the play could be the basis of a musical that might revive the struggling Guild. She contacted [[Richard Rodgers]] and [[Lorenz Hart]], whose first successful [[Rodgers and Hart|collaboration]], ''[[The Garrick Gaieties]]'', had been produced by the Theatre Guild in 1925. Rodgers wanted to work on the project and obtained the rights for himself and Hart. Rodgers had asked [[Oscar Hammerstein II]] to collaborate with him and Hart. During the tryouts of Rodgers and Hart's ''[[By Jupiter]]'' in 1941, Hammerstein had assured Rodgers that if Hart was ever unable to work, he would be willing to take his place.<ref name=Nolan>Nolan, pp. 1–25.</ref> Coincidentally in 1942, Hammerstein had thought of musicalizing ''Green Grow the Lilacs'', but when he had approached [[Jerome Kern]] about it, the latter declined. Hammerstein learned that Rodgers was seeking someone to write the book, and he eagerly took the opportunity. Hart lost interest in the musical; he preferred contemporary, urbane shows that would showcase his witty lyric writing, and he found the farmers and cowhands in ''Green Grow the Lilacs'' corny and uninspiring. Moreover, spiraling downward, consumed by his longstanding alcoholism, Hart no longer felt like writing. He embarked on a vacation to Mexico, advising Rodgers that Hammerstein would be a good choice of a new collaborator.<ref name=Kantor>Kantor and Malson, pp. 196–202</ref><ref name=Heritage/>

This partnership allowed both Rodgers and Hammerstein to follow their preferred writing methods: Hammerstein preferred to write a complete lyric before it was set to music, and Rodgers preferred to set completed lyrics to music. In Rodgers' previous collaborations with Hart, Rodgers had always written the music first, since the unfocused Hart needed something on which to base his lyrics. Hammerstein's previous collaborators included composers [[Rudolf Friml]], [[Herbert Stothart]], [[Vincent Youmans]], and Kern, who all wrote music first, for which Hammerstein then wrote lyrics. The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it.<ref name=Nolan/> As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, ''Green Grow the Lilacs'', not by musical comedy conventions.<ref name=Kantor/> Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.<ref name=Kenrick2>Kenrick, John. [http://www.musicals101.com/1940bway2.htm "History of the Musical Stage, 1940s Part II: Oklahoma, OK!"] Musicals101.com, accessed October 11, 2011</ref>

===Casting and development===
Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though [[Theresa Helburn]], codirector of the Theatre Guild, suggested [[Shirley Temple]] as Laurey and [[Groucho Marx]] as Ali Hakim, Rodgers and Hammerstein, with director [[Rouben Mamoulian|Rouben Mamoulian's]] support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.<ref name=Nolan/> The production was choreographed by [[Agnes de Mille]] (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the [[dream ballet]]) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.<ref name=Kenrick2/>

The first title given to the work was ''Away We Go!'' which opened for out-of-town-tryouts in [[New Haven, Connecticut|New Haven]]'s [[Shubert Theatre (New Haven)|Shubert Theatre]] on March 11, 1943.<ref>[http://www.capa.com/newhaven/venues/shubert_history.php Information on the tryout from Capa.com] {{webarchive|url=https://web.archive.org/web/20080511195305/http://www.capa.com/newhaven/venues/shubert_history.php |date=May 11, 2008 }}</ref> Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer [[Mike Todd]] walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance."<ref name=Heritage>[[John Steele Gordon|Gordon, John Steele]]. [http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml ''Oklahoma'!'] {{webarchive|url=https://web.archive.org/web/20100804175330/http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml |date=August 4, 2010 }}, accessed June 13, 2010</ref> But Rodgers and Hammerstein were confident. The New Haven and [[Boston]] audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping [[Number (music)|musical number]], "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" and the decision to retitle the musical after that number.<ref>[[Helene Hanff|Hanff, Helene]]. [http://thingsthatmadeanimpression.wordpress.com/2013/06/16/excerpt-from-underfoot-in-show-business-by-helene-hanff-away-we-go/ "Excerpt ... ''Away We Go''"], ''Underfoot in Show Business'', Harper and Row, 1962. {{ISBN|0-316-34319-6}}</ref>

Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]].<ref>[https://www.pulitzer.org/winners/richard-rodgers-and-oscar-hammerstein-ii "Richard Rodgers and Oscar Hammerstein II for ''Oklahoma!''"], Pulitzer.org, 1944, accessed November 16, 2019</ref> [[Brooks Atkinson]] wrote in ''[[The New York Times]]'' that the show's opening number, "[[Oh, What a Beautiful Mornin']]" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable."<ref name=Heritage/> The ''[[New York Post]]'' was the only major paper to give ''Oklahoma!'' a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike.<ref>Lewis, David H., ''Broadway musicals: A Hundred Year History'', 2002, McFarland & Company, p. 35</ref> The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.<ref name=Heritage/>

==Plot==


=== Act I ===
In Oklahoma Territory, in 1906, cowboy Curly McLain looks forward to the beautiful day ahead as he wanders into farm girl Laurey Williams's yard ("[[Oh, What a Beautiful Mornin']]"). He and Laurey tease each other, while her Aunt Eller looks on. There will be a [[box social]] dance that night, which includes an auction of lunch baskets prepared by the local women to raise funds for a schoolhouse. The man who wins each basket will eat lunch with the lady who prepared it. Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. He attempts to persuade her by telling her that he will take her in the finest carriage money can buy ("[[The Surrey with the Fringe on Top]]"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a rig.

The lonely, disturbed farm hand Jud Fry has become obsessed with Laurey and asks her to the dance. She accepts to spite Curly, although she is afraid of Jud. Meanwhile, cowboy Will Parker returns bedazzled and souvenir-laden from a trip to modern [[Kansas City, Missouri|Kansas City]] ("[[Kansas City (Oklahoma!)|Kansas City]]"). He won $50 (${{Inflation|US|50|1906|r=-2|fmt=c}} today) at the fair, which, according to his girlfriend Ado Annie's father, Andrew Carnes, is the money he needs to marry Ado Annie. Unfortunately, he spent all the money on gifts for her. Will also purchased a "Little Wonder" (a metal tube used for looking at pictures, but with a hidden blade inside) for Ado Annie's father, unaware of its deadly secret. Later, Ado Annie confesses to Laurey that while Will has been away, she has been spending a lot of time with Ali Hakim, a [[Persia]]n peddler. Laurey tells her she'll have to choose between them, but Ado Annie insists she loves them both ("[[I Cain't Say No]]"). Laurey and her friends prepare for the social, while Gertie Cummings flirts with Curly (her obnoxious laugh floating in to taunt Laurey). Laurey tells her friends that she doesn't really care about Curly ("[[Many a New Day]]").

Andrew Carnes discovers Annie with Ali Hakim. After questioning Ado Annie about their relationship, he forces Hakim at gunpoint to agree to marry her. Hakim and the other men lament the unfairness of the situation ("[[It's a Scandal! It's a Outrage!]]"). Curly discovers that Laurey is going to the box social with Jud and tries to convince her to go with him instead. Afraid to tell Jud she won't go with him, Laurey tries to convince Curly (and herself) that she does not love him ("[[People Will Say We're in Love]]"). Hurt by her refusal, Curly goes to the smokehouse where Jud lives to talk with him. Curly suggests that since Jud does not feel appreciated, he could hang himself, and everyone would realize how much they care about him ("Pore Jud Is Daid"). Their talk turns into an ominous confrontation about Laurey. After Curly leaves, Jud's resolve to win Laurey becomes even stronger, and he vows to make her his bride ("[[Lonely Room]]").

Confused by her feelings for Curly and her fear of Jud, Laurey purchases a "magic potion" (referred to as [[smelling salts]], but actually [[laudanum]]) from Ali Hakim, which the unscrupulous peddler guarantees will reveal her true love. She muses on leaving her dreams of love behind and joining the man she loves ("Out of My Dreams"), then falls asleep under the influence of the opiate ("Dream Sequence"). In an extended dream ballet sequence, Laurey first dreams of what marriage to Curly would be like. Her dream takes a nightmarish turn when Jud appears and kills Curly. She cannot escape him, confused by her desires. The dream makes her realize that Curly is the right man for her, but it is too late to change her mind about going to the dance with Jud; he has come for her, and they leave for the box social.

===Act II===
At the social, during an upbeat [[square dance]] ("The Farmer and the Cowman"), the [[Range war|rivalry between the local farmers and cowboys]] over fences and water rights has led to fighting, which Aunt Eller ends by firing a gun to silence everyone.<ref>Carter, Tim. [https://books.google.com/books?id=Wn_RDxA6wxAC&pg=PA198&dq=Oklahoma+%22Aunt+Eller%22&hl=en#v=onepage&q=Oklahoma%20%22Aunt%20Eller%22&f=true "Reading Oklahoma!"] ''Oklahoma!: The Making of an American Musical'', Yale University Press, 2007, {{ISBN|0-300-10619-X}}, p. 177</ref> Laurey is upset when she sees Curly at the dance with Gertie. In an effort to rid himself of Ado Annie, Ali Hakim buys Will's souvenirs from Kansas City for $50. Jud also contributes to this by purchasing Will's Little Wonder, knowing of the blade concealed within it. The auction starts and Will bids $50 on Ado Annie's basket, not realizing that without the $50, he would no longer have the money her father insisted he needs to "purchase" marriage with her. Desperate to be rid of Ado Annie, the peddler bids $51 to get the basket so that Will can approach Andrew Carnes with the $50 and claim Ado Annie as his bride. The auction becomes much more serious when Laurey's basket comes up for auction. Jud has saved all his money so he can win Laurey's basket. Various men bid, trying to protect Laurey, but Jud outbids them all. Curly and Jud engage in a ferocious bidding war, and Curly sells his saddle, his horse, and even his gun to raise money. Curly outbids Jud and wins the basket. Jud discreetly tries to kill Curly with the Little Wonder, but his plan is foiled when Aunt Eller (knowing what is happening) loudly asks Curly for a dance. Later that night, Will and Annie work out their differences, as she reluctantly agrees not to flirt with other men ("[[All Er Nuthin']]").

Jud confronts Laurey about his feelings for her. When she admits that she does not return them, he threatens her. She then fires him as her farmhand, screaming at him to get off her property. Jud furiously threatens Laurey before he departs; Laurey bursts into tears and calls for Curly. She tells him that she has fired Jud and is frightened by what Jud might do now. Curly, seeing that she has turned to him for guidance and safety, reassures her and proposes to her, and she accepts ("People Will Say We're In Love (Reprise)"). He then realizes that he must now become a farmer. Afterward, Ali Hakim decides to leave the territory and bids Ado Annie goodbye after telling her Will is the man she should marry.

Three weeks later, Laurey and Curly are married and everyone rejoices in celebration of the territory's impending statehood ("[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]"). During the celebration, Ali Hakim returns with his new wife, Gertie, whom he unwillingly married after being [[Forced marriage#Shotgun wedding|threatened by her father]] with a shotgun. A drunken Jud reappears, harasses Laurey by kissing her and punches Curly, and they begin a fistfight. Jud attacks Curly with a knife and Curly dodges, causing Jud to fall on his own knife. Jud soon dies. The wedding guests hold a makeshift trial for Curly, at Aunt Eller's urging, as the couple is due to leave for their honeymoon. The judge, Andrew Carnes, declares the verdict: "not guilty!" Curly and Laurey depart on their honeymoon in the [[Surrey (carriage)|surrey]] with the fringe on top ("Finale Ultimo").

==Principal roles and notable performers==

{|class="wikitable"
|-
! style="width:100px;"|Character
! style="width:300px;"|Description
! style="width:400px;"|Notable stage performers in major market productions
|-
|Curly McLain ||A cowboy in love with Laurey ||[[Alfred Drake]]°, [[Harry Stockwell]]°, [[John Raitt]], [[Howard Keel]], [[Ridge Bond]], [[Hugh Jackman]], [[Patrick Wilson (American actor)|Patrick Wilson]], [[Laurence Guittard]], [[Damon Daunno]]
|-
|Laurey Williams ||Aunt Eller's niece, an independent young woman||[[Joan Roberts]]°, [[Betty Jane Watson]], [[Christine Andreas]], [[Leila Benn Harris]], [[Josefina Gabrielle]], [[Florence Henderson]], [[Lucy Durack]], [[Rebecca Naomi Jones]]
|-
|Jud Fry ||A hired hand on Aunt Eller's ranch, a mysterious and dangerous loner ||[[Howard Da Silva]]°, [[Shuler Hensley]], [[Alfred Molina]]
|-
|Aunt Eller ||Laurey's aunt, a respected community leader ||[[Betty Garde]]°, [[Mary Wickes]], [[Andrea Martin]], [[Patty Duke]], [[Margaret Hamilton (actress)|Margaret Hamilton]], [[Maureen Lipman]], [[Louise Plowright]], [[Mary Testa]]
|-
|Ado Annie Carnes ||A flirtatious, gullible young woman ||[[Celeste Holm]]°, [[Shelley Winters]], [[Barbara Cook]], [[Christine Ebersole]], [[Jessica Boevers]], [[Amanda Harrison]], [[Ali Stroker]]
|-
|Will Parker ||A simple young man in love with Ado Annie||[[Lee Dixon (actor)|Lee Dixon]]°, [[Harry Groener]]
|-
|Andrew Carnes ||Ado Annie's father, eager to have her marry ||Ralph Riggs°
|-
|Ali Hakim ||A Persian peddler, enamored of Ado Annie ||[[Joseph Buloff]]°, [[Eddie Albert]], [[Peter Polycarpou]], [[Bruce Adler]], [[Jamie Farr]], [[Aasif Mandvi]], [[Will Brill]]
|-
|Gertie Cummings ||A local farm girl, fond of Curly, marries Ali Hakim|| [[Jane Lawrence]]°, [[Pamela Britton]]
|-
|Dream Curly ||Curly in the dream sequence|| [[Marc Platt (dancer)|Marc Platt]]°
|-
|Dream Laurey ||Laurey in the dream sequence|| [[Katharine Sergava]]°
|}

° denotes original Broadway cast

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "[[Oh, What a Beautiful Mornin']]" – Curly
* Laurey's Entrance – Laurey & Curly
* "[[The Surrey with the Fringe on Top]]" – Curly, Laurey, & Aunt Eller
* "[[Kansas City (Oklahoma!)|Kansas City]]" – Will Parker, Aunt Eller, Male Ensemble
* "[[I Cain't Say No]]" – Ado Annie
* Entrance of Ensemble ("I Cain't Say No" and "Oh What a Beautiful Mornin'") – Will, Ado Annie, Curly, Aunt Eller & Ensemble
* "[[Many a New Day]]" – Laurey and Female Ensemble
* "[[It's a Scandal! It's a Outrage!]]" – Ali Hakim & Ensemble
* "[[People Will Say We're in Love]]" – Curly & Laurey
* "Pore Jud Is Daid" – Curly & Jud
* "[[Lonely Room]]" – Jud
* "Out of My Dreams"/"Dream Ballet" – Laurey & Dream Figures
{{col-break}}
;Act II
* Entr'acte – Orchestra
* "[[The Farmer and the Cowman]]" – Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ike Skidmore, Cord Elam & Ensemble
* "[[All Er Nuthin']]" – Will & Ado Annie
* "People Will Say We're in Love" (Reprise) – Curly & Laurey
* "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" – Curly, Laurey, Aunt Eller, Ike Skidmore, Cord Elam, Fred, Andrew Carnes & Ensemble
* Finale Ultimo ("Oh What a Beautiful Mornin'" and "People Will Say We're in Love") – Company
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Oklahoma! |url=https://www.concordtheatricals.com/p/44839/oklahoma |website=Concord Theatricals |publisher=Concord Theatricals |accessdate=3 April 2020}}</ref>

Flute, Oboe, Bassoon, Clarinet 1, Clarinet 2, French Horn 1, French Horn 2, Trumpet 1, Trumpet 2, Trumpet 3, Trombone 1, Trombone 2, Violin 1, Violin 2, Viola, Cello, Bass, Percussion, Guitar, Harp & String Synth (optional)

==Production history==
===Original Broadway===
The original Broadway production opened on March 31, 1943 at the [[St. James Theatre]] in New York City. It was directed by [[Rouben Mamoulian]] and choreographed by [[Agnes de Mille]]. It starred [[Alfred Drake]] (Curly), [[Joan Roberts]] (Laurey), [[Celeste Holm]] (Ado Annie), [[Howard Da Silva]] (Jud Fry), [[Betty Garde]] (Aunt Eller), [[Lee Dixon (actor)|Lee Dixon]] (Will Parker), [[Joseph Buloff]] (Ali Hakim), [[Jane Lawrence]] (Gertie), [[Barry Kelley]] (Ike) and [[George S. Irving]] (Joe). [[Marc Platt (dancer)|Marc Platt]] danced the role of "Dream Curly", [[Katharine Sergava]] danced the part of "Dream Laurey" and the small dancing part of Aggie was played by [[Bambi Linn]]. George Church danced the part of "Dream Jud" but was replaced by [[Vladimir Kostenko]] only two months after the premiere.{{citation needed|date=July 2018}}

The production ran for 2,212 performances, finally closing on May 29, 1948.<ref>[https://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_hammerstein2.html Oklahoma!] at ''Encyclopedia of Composers and Songwriters'', PBS.org, accessed April 30, 2012</ref> "The demand for tickets was unprecedented as the show became more popular in the months that followed" the opening.<ref name=Hischak>Hischak, p. 202</ref> ''Oklahoma!'' ran for over five years, a Broadway record that "would not be bested until ''My Fair Lady'' (1956)."<ref name=Hischak/> The [[Tony Award]]s and other awards now given for achievement in musical theatre were not in existence in 1943, and therefore the original production of ''Oklahoma!'' received no theatrical awards.<ref>[https://www.britannica.com/art/Tony-Awards "Tony Awards: American theatrical awards"], Encyclopedia Britannica, accessed February 24, 2019</ref>

===Early U.S. tours===
The "first of several" national tours began in [[New Haven]], Connecticut, in 1944. A 1953 article in ''[[The New York Times]]'' reported that the show was "believed to be the only musical to have enjoyed a consecutive run of ten years. It ran on Broadway for five years and two months, grossing $7,000,000. The tour of the national company, which started late in 1943, has grossed $15,000,000."<ref>Gelb, Arthur. "Facts and Figures on a Gold Mine", ''The New York Times'', March 29, 1953, p. X1</ref> [[John Raitt]] played Curly in the original production in Chicago.<ref>[http://www.johnraitt.com/career/broadway "Career: Broadway"], John Raitt – Broadway's Legendary Star, Definite Maybe Productions, accessed May 19, 2016</ref> The [[United Service Organizations]] sponsored a tour to U.S. military bases in 1945 that lasted for several years.<ref>Hischak, p. 203</ref><ref>Mordden, Ethan. ''Beautiful Mornin: The Broadway Musical in the 1940s'', Oxford University Press U.S., 1999, {{ISBN|0-19-512851-6}}, p. 78</ref> ''The New York Times'' reported in 1953:

{{quote|The tenth anniversary of the Broadway opening of ''Oklahoma!'' will be celebrated in Washington, where the Theatre Guild's touring company of the phenomenal musical will be playing at that time. ... According to a Guild estimate, "upwards of 20,000,000 people thus far have seen the show in the United States, England, Sweden, Denmark, South Africa, Australia and through [the U.S.O. shows] during the war".<ref>"''Oklahoma!'' to Celebrate 10th Birthday March 31", ''The New York Times'', February 15, 1953, p. 79</ref>|}}

===Original West End===
''Oklahoma!'' was the first of a post-war wave of Broadway musicals to reach London's [[West End theatre|West End]]. It starred [[Howard Keel]] (then known as Harold Keel) and [[Betty Jane Watson]], opening at the [[Theatre Royal, Drury Lane]] on April 30, 1947 to rave press reviews and sellout houses, running for 1,543 performances.<ref>''Who's Who in the Theatre'', 11th edition, 1952. See also ''[[The Times]]'' review, May 1, 1947.</ref> A pre-London run opened a day late at the [[Manchester Opera House]] on April 18, 1947, after the ship carrying the cast, scenery, and costumes ran aground on a sandbank off [[Southampton]].<ref>''Chronicle of the 20th century'', entry for April 14, 1947: "Southampton, The luxury liner [[RMS Queen Elizabeth]] runs aground." See also article by Dr Anthony Field in ''[[The Stage]]'' newspaper, January 9, 1997.</ref>

===1951 and 1979 Broadway revivals===
A 1951 revival produced by the Theatre Guild opened at [[The Broadway Theatre]] on May 9, 1951, and ran for 100 performances. [[Ridge Bond]] played Curly, Patricia Northrop played Laurey, Henry Clarke was Jud, and Jacqueline Sundt played Ado Annie. Mamoulian and de Mille returned to direct and choreograph, and the production was restaged by Jerome Whyte.<ref name=Suskin>Suskin, pp. 499–503.</ref> In 1953, a 10th anniversary revival opened on August 31 at the [[New York City Center]] Theatre. It ran for a limited engagement of 40 performances before going on tour. The cast included [[Florence Henderson]] as Laurey, [[Ridge Bond]] as Curly and [[Barbara Cook]] as Annie. Mamoulian and De Mille directed and choreographed.<ref>''Oklahoma!'', New York City Center Theatre, "Stagebill" program, October 6, 1953</ref><ref>Atkinson, Brooks. [https://www.nytimes.com/1953/09/01/archives/oklahoma-revived-at-city-center-celebrating-rodgers-and.html "'Oklahoma!' Revived at City Center; Celebrating Rodgers and Hammerstein's Official Week"]. ''The New York Times'' (abstract), September 1, 1953, p. 19</ref>

A 1979 revival opened at the [[Palace Theatre (Broadway)|Palace Theatre]] on Broadway on December 13, 1979 and closed on August 24, 1980, running for 293 performances and nine previews. William Hammerstein (Oscar's son) directed, and [[Gemze de Lappe]] recreated Agnes De Mille's choreography. The show starred [[Christine Andreas]] as Laurey, [[Laurence Guittard]] as Curly, [[Mary Wickes]] as Aunt Eller, [[Christine Ebersole]] as Ado Annie, [[Martin Vidnovic]] as Jud Fry, [[Harry Groener]] as Will Parker and [[Bruce Adler]] as Ali Hakim.<ref name="Gänzl">Gänzl, Kurt. ''Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from [[H.M.S. Pinafore]] to [[Sunset Boulevard]]'', pp. 103–08. Schirmer Books, New York, 1995. {{ISBN|0-02-870832-6}}</ref> Andreas and Groener both received [[Tony Award]] nominations for their performances, and Vidnovic won a [[Drama Desk Award]]. This production started as a cross-country national tour, beginning at the [[Pantages Theatre (Hollywood)|Pantages Theater]] in Los Angeles on May 1, 1979.<ref>Searl, Hanford. [https://books.google.com/books?id=0SQEAAAAMBAJ&pg=PT46&dq=Oklahoma+%22Pantages+Theatre%22++Andreas&lr=&as_brr=3&cd=1#v=onepage&q=Oklahoma%20%22Pantages%20Theatre%22%20Andreas&f=false "L.A. Debut of ''Oklahoma!'' A True Revival Production"]. ''Billboard'', May 19, 1979</ref>

===1980 and 1998 West End revivals===
The following year, [[James Hammerstein]] directed a production at the [[Haymarket Theatre, Leicester]], in January 1980, produced by [[Cameron Mackintosh]]. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the [[Palace Theatre, London]], on September 17, 1980, and running until September 19, 1981.<ref>[http://www.thisistheatre.com/shows/palace60.html "'Oklahoma!' at the Palace Theatre, September 17, 1980 – September 19, 1981"]. Thisistheatre.com, accessed May 20, 2010</ref> This production starred [[John Diedrich]] as Curly and [[Alfred Molina]] as Jud Fry, both of whom were nominated for [[Olivier Awards]].<ref>[http://www.olivierawards.com/winners/view/item98514/olivier-winners-1980/ "Olivier Winners 1980"] ''OlivierAwards.com'', accessed 9 Oct 2017</ref> Rosamund Shelley played Laurey, and [[Madge Ryan]] was Aunt Eller. The production was [[Maria Friedman]]'s debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role.<ref>[http://www.aboutmaria.com/oklahoma.html "''Oklahoma!''"], About Maria Friedman, accessed July 26, 2013</ref> John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the ''Showtime!'' label.<ref>[http://castalbumcollector.com/recordings/3630 "'Oklahoma!", 1980 London Cast"]. Castalbumcollector.com, accessed May 20, 2010</ref>

[[File:Oklahoma! (London Stage Revival) .jpeg|thumb|[[Hugh Jackman]] on the cover of the DVD of the London revival]]
A dark-themed production of the musical was presented by the [[Royal National Theatre|National Theatre]] in London at the [[Olivier Theatre]], opening on July 15, 1998. The production team included [[Trevor Nunn]] (director), [[Susan Stroman]] (choreographer) and [[William David Brohn]] (orchestrator). The international cast included [[Hugh Jackman]] as Curly, [[Maureen Lipman]] as Aunt Eller, [[Josefina Gabrielle]] as Laurey, [[Shuler Hensley]] as Jud Fry, Vicki Simon as Ado Annie, [[Peter Polycarpou]] as Ali Hakim and Jimmy Johnston as Will Parker.<ref name=curtainlondon/> Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted [[Robert Russell Bennett]]'s original orchestrations and extended some of the dance sequences. A new Dream Ballet was composed for [[Susan Stroman]]'s new choreography, and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all redesigned. The overture was also altered, at the request of Nunn.

The production received numerous [[Olivier Award]] nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design ([[Anthony Ward]]) and choreography (Stroman).<ref>[http://www.olivierawards.com/winners/view/item98534/olivier-winners-1999 "Olivier Winners, 1999"]. OlivierAwards.com, accessed October 23, 2015</ref> According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records,<ref>[http://www.shulerhensley.com/perfect_oklahoma!.htm "London Welcomes a Perfect ''Oklahoma!''"] {{webarchive|url=https://web.archive.org/web/20120330223519/http://www.shulerhensley.com/perfect_oklahoma!.htm |date=March 30, 2012 }}. ''Happy Talk'', the newsletter of the Rodgers & Hammerstein Organization. Vol. 6 Issue 1, Fall 1998, Interview with Hensley, accessed June 4, 2010</ref> and so the show was transferred to the [[Lyceum Theatre (London)|Lyceum Theatre]] in the West End for a six-month run.<ref name=curtainlondon>Heppel, David. [http://www.curtainup.com/lonokla.html "Curtain Up review, ''Oklahoma!'', 1998"]. Curtainup.com, July 1998, accessed May 20, 2010</ref> Plans to transfer to Broadway with the London cast were thwarted by [[Actors' Equity Association|Actors' Equity]], which insisted that American actors must be cast.<ref>[[Robert Simonson|Simonson, Robert]]. [https://archive.today/20140908131117/http://staging.playbill.com/news/article/43199-Actors-Equity-Denies-London-Cast-of-Oklahoma-US-Visit "Actors' Equity Denies London Cast of ''Oklahoma!'' U.S. Visit"], ''Playbill'', January 22, 1999</ref><ref>Simonson, Robert. [https://archive.today/20120912190211/http://www.playbill.com/news/article/43693-Equity-Stands-Firm-on-Americans-in-Oklahoma "Equity Stands Firm on Americans in ''Oklahoma!''"], ''Playbill'', February 17, 1999</ref> Eventually a U.S. cast was selected.<ref>McBride, Murdoch. [https://archive.today/20120906071311/http://www.playbill.com/news/article/52841-Oklahoma-OKd-Stroman-Nunn-Begin-US-Casting-in-June-Fall-Start-Likely "''Oklahoma!'' OK'd: Stroman, Nunn Begin U.S. Casting in June; Fall Start Likely"], ''Playbill'', May 17, 2000</ref> The production was filmed and issued on DVD, as well as being broadcast on U.S. [[Public Television]] in November 2003.<ref>Gans, Andrew and Robert Simonson. [https://archive.today/20120913072829/http://www.playbill.com/news/article/82048-PBS-To-Air-Hugh-Jackman-Oklahoma-in-November "PBS To Air Hugh Jackman ''Oklahoma!'' in November"], ''Playbill'', October 8, 2003</ref>

===2002 Broadway revival===
The London production was repeated on Broadway at the [[George Gershwin Theatre]] on March 21, 2002, with direction by Nunn. The production closed on February 23, 2003 after 388 performances. Only two of the London cast, Josefina Gabrielle as Laurey and Shuler Hensley as Jud, were in the production, which also featured [[Patrick Wilson (American actor)|Patrick Wilson]] as Curly and [[Andrea Martin]] as Aunt Eller. It was nominated for seven Tony Awards, including Best Revival of a Musical, Best Featured Actress in a Musical and Best Featured Actor in a Musical (which was awarded to Hensley). The musical was also nominated for nine Drama Desk Awards, with Hensley winning as Outstanding Featured Actor in a Musical and Susan Stroman winning for choreography.

[[Ben Brantley]] wrote in ''[[The New York Times]]'': "At its best, which is usually when it's dancing, this resurrection of Rodgers and Hammerstein's epochal show is dewy with an adolescent lustiness, both carnal and naive, exuberant and confused." The review stated that "Anthony Ward's harmoniously curved set, in which the sky seems to stretch into eternity, again pulses with the promise of a land on the verge of transformation."<ref>Brantley, Ben. "This Time, a Beautiful Mornin' With a Dark Side", ''The New York Times'', March 22, 2002, Section E, p. 1</ref> The ''[[New York Daily News]]'' review commented that "Visually, this one is stunning – at times, Anthony Ward's sets have a pastoral, idyllic quality, like Thomas Hart Benton's paintings. At other times, especially in lighting designer David Hersey's lustrous palette, they convey the bleakness of the frontier." The review also stated that the Royal National Theatre "brought it back to us in a way that makes it seem fresh and vital."<ref>Kissel, Howard. [http://www.nydailynews.com/archives/entertainment/2002/03/22/2002-03-22_oh__what_a_beautiful_revival.html "Oh, What a Beautiful Revival of a Pure Prairie Classic"]{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }}. ''New York Daily News'', March 22, 2002</ref> However, ''USA Today'' gave the production a tepid assessment, its reviewer writing that "A cold breeze blows through this beautiful mornin', and that golden haze is never quite bright enough."<ref>Gardner, Elysa. "''Oklahoma!'' revival is just slightly better than OK", ''USA Today'', March 22, 2002, Life Section, p. 1E</ref> The production went on to tour nationally from 2003–2005.<ref>Jones, Kenneth. [http://www.playbill.com/article/networks-tour-of-oklahoma-begins-dec-16-in-denver-travels-into-2004-com-116898 "NETworks Tour of ''Oklahoma!'' Begins Dec. 16 in Denver, Travels Into 2004"], ''Playbill'', December 16, 2003, accessed December 29, 2018; [https://www.rnh.com/show/78/Oklahoma#shows-history "History: ''Oklahoma!'' Timeline"] {{Webarchive|url=https://web.archive.org/web/20181230080757/https://www.rnh.com/show/78/Oklahoma#shows-history |date=December 30, 2018 }}, The Rodgers & Hammerstein Organization, accessed December 29, 2018</ref>

===2019 Broadway revival===
Following a 2015 workshop at [[Bard College]] and a 2018 run at [[Brooklyn]]'s [[St. Ann's Warehouse]], a 75th anniversary staging of ''Oklahoma!'' transferred to Broadway at [[Circle in the Square Theatre]]. The production is directed by [[Daniel Fish]] in an intimate, immersive style, set in a community hall, with chili and cornbread served to the audience at intermission. The production began preview performances on March 19, 2019 and officially opened on April 7 for a limited run through January 19, 2020 (with a national tour set to follow). It stars [[Rebecca Naomi Jones]] as Laurey, [[Damon Daunno]] as Curly, [[Ali Stroker]] as Ado Annie, James Davis as Will Parker, [[Will Brill]] as Ali Hakim, Patrick Vaill as Jud and [[Mary Testa]] as Aunt Eller. The production features choreography by John Heginbotham and new music arrangements by Daniel Kluger, performed by a seven-piece band.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/reimagined-oklahoma-revival-begins-broadway-performances-march-19 "Reimagined ''Oklahoma!'' Revival Begins Broadway Performances March 19"], ''Playbill'', March 19, 2019; Fierberg, Ruthie. [http://www.playbill.com/article/why-broadways-upcoming-oklahoma-is-not-your-grandmas-version-of-the-rodgers-hammerstein-classic "Why Broadway’s Upcoming ''Oklahoma!'' Is Not Your 'Grandma’s Version' of the Rodgers & Hammerstein Classic"], ''Playbill'', March 18, 2019; and McPhee, Ryan. [http://www.playbill.com/article/reimagined-oklahoma-will-transfer-to-broadway "Reimagined Oklahoma! Will Transfer to Broadway"], ''Playbill'', December 11, 2018</ref> The production was nominated for eight [[Tony Award]]s and won [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] and [[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]] for Stroker, making her the first wheelchair user to win a Tony.<ref>{{Cite news| url=https://www.nytimes.com/2019/06/09/theater/ali-stroker-oklahoma-tony-awards.html|title=Ali Stroker Accepts Tony in a Wheelchair, Making History|last=Salam|first=Maya|date=June 9, 2019|work=The New York Times|access-date=June 10, 2019|issn=0362-4331}}</ref><ref>{{Cite web|url=http://www.playbill.com/article/updating-live-the-2019-tony-award-winners|title=Hadestown Leads the Pack at the 2019 Tony Awards|last=McPhee|first=Ryan|date=June 9, 2019|website=Playbill|access-date=June 10, 2019}}</ref>

===Other notable productions===
;Discoveryland
''Oklahoma!'' was presented nightly except Sundays each summer at the Discoveryland amphitheater, an outdoor theatre in [[Sand Springs, Oklahoma]], from 1977 until 2011.<ref>[https://archive.today/20130908002840/http://www.kjrh.com/dpp/news/local_news/discoveryland-to-remain-closed-through-2013-season "Sand Springs' Discoveryland! theater, known for the play ''Oklahoma'', to remain closed through 2013"], KRJH.com, June 19, 2013</ref><ref name=Discoveryland>[http://dland.redrockcustomhomes.com/awards.html "Discoveryland! Honors and Awards"] {{Webarchive|url=https://web.archive.org/web/20100705113521/http://dland.redrockcustomhomes.com/awards.html |date=July 5, 2010 }}, Discoveryland! USA, Inc., accessed July 11, 2010</ref> In 1993, Mary Rodgers (daughter of Richard Rodgers) and William Hammerstein (son of Oscar Hammerstein II) designated Discoveryland the "National Home of Rodgers and Hammerstein's ''Oklahoma!''"<ref name=Discoveryland/>

;2006 Japan
In 2006, ''Oklahoma!'' was performed in Japan by the all-female [[Takarazuka Revue]]. This revival starred Yuu Todoroki, Ai Shirosaki, and Hiromu Kiriya.<ref>[http://www.takarazuka-revue.info/tiki-index.php?page=Oklahoma+%28Moon+2006%29 "''Oklahoma! in 2006 listing] {{Webarchive|url=https://web.archive.org/web/20101203133513/http://takarazuka-revue.info/tiki-index.php?page=Oklahoma%20%28Moon%202006%29 |date=December 3, 2010 }}, Takarazuka-revue.info, accessed May 20, 2010</ref>

;2009 Chichester Theatre Festival
In the summer of 2009, British director [[John Doyle (director)|John Doyle]] directed the musical at the [[Chichester Festival Theatre]]. The production was dark in concept and featured new orchestrations by [[Jonathan Tunick]]. On a spare stage, decorated only with blue sheets, "Confetti of rose petals stains the floor like drops of blood, and a nightmarish dream-dance sequence has Freudian overtones as Laurey's bridal gown becomes her shroud."<ref name=guardian>Gardner, Lyn. [https://www.theguardian.com/stage/2009/jun/27/oklahoma-chichester-festival-theatre-review "'Oklahoma!'Chichester Festival Theatre"]. ''[[The Guardian]]'', June 27, 2009</ref><ref name=telegraph>Cavendish, Dominic. [https://www.telegraph.co.uk/culture/culturecritics/dominiccavendish/5638481/Oklahoma-at-Chichester-review.html "''Oklahoma!'' at Chichester"]. ''The Telegraph'', June 25, 2009, accessed June 7, 2010</ref> It received mixed reviews. ''The Times'' reviewer wrote: "This is a very stylised, overdrilled production, no friend of intimate moments or quiet depth of emotion."<ref>Nightingale, Benedict. [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article6577412.ece "'Oklahoma!' at the Chichester Festival Theatre, West Sussex"]. ''The Times'', June 26, 2009</ref> ''The Guardian'' liked it the most, stating that "it's a delight, with one brilliant tippy-tappy-toed song after another and a nugget of darkness lodged in its sweet heart."<ref name=guardian/> ''Whats On Stage'', like most of the papers, gave the show three out of five stars and wrote that this is a "downbeat vision" and that "all told it's a somewhat disappointing show", but their "average reader rating" was four stars.<ref>Cooter, Maxwell. [http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html "'Oklahoma!'"] {{Webarchive|url=https://web.archive.org/web/20110615170835/http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html |date=June 15, 2011 }} Whatsonstage.com, June 25, 2009</ref> A review in ''[[The Daily Telegraph|The Telegraph]]'' commented, "Doyle uses shadow and silhouette to bring out the musical's nightmarish aspects but doesn't over-labour them. There are enough sunny spots – no more so than in Act 2's rousing title song – to keep the tone evenly textured."<ref name=telegraph/>

;2010 UK tour
The show toured England for nine months in 2010 in a new staging by [[Julian Woolford]], with [[Marti Webb]] as Aunt Eller and [[Mark Evans (actor)|Mark Evans]] as Curly.<ref>Cole, Simon. [http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html "Marti Webb Opens New Tour of ''Oklahoma!''"] {{Webarchive|url=https://web.archive.org/web/20110615165949/http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html |date=June 15, 2011 }} Whatsonstage.com, March 18, 2010</ref>

;2010 Washington, DC Arena Stage
''Oklahoma!'' opened in October 2010 at the [[Arena Stage]] to critical acclaim.<ref name=marks1>Marks, Peter. [https://www.washingtonpost.com/gog/performing-arts/oklahoma,1071268/critic-review.html "A grand new state: You just cain't say no to Arena Stage's 'Oklahoma!'"], ''The Washington Post'', November 6, 2010</ref><ref>See also Billups, Edith. [http://communities.washingtontimes.com/neighborhood/proscenium-view-theater-news-and-reviews/2010/nov/9/oklahoma-arena-stage/ "'Oklahoma!' at the Arena Stage in D.C."], ''Washington Times'', November 9, 2010; Blanchard, Jayne. [http://dctheatrescene.com/2010/11/07/oklahoma/ "'Oklahoma!' Review"], dctheatrescene.com, November 7, 2010; and Jones, Kenneth. [http://www.playbill.com/article/photo-call-arena-stage-opens-its-doors-to-the-world-at-homecoming-with-alumni-stars-com-173068 "Arena Stage Opens Its Doors to the World at Oct. 23 "Homecoming," With Alumni Stars"], Playbill.com, October 23, 2010, accessed August 29, 2017</ref> Artistic Director Molly Smith cast African-American actresses as Laurey and Aunt Eller to mirror both modern Washington, D.C. demographics and the diverse population of the musical's 1906 Oklahoma territory setting.<ref>BWW News Staff. [http://broadwayworld.com/article/Review_Roundup_OKLAHOMA_at_Arena_Stage_20101206 "Review Roundup: 'Oklahoma!' at Arena Stage"]. Broadwayworld.com, December 6, 2010</ref> The production received ten 2011 [[Helen Hayes Award]] nominations, winning as Outstanding Resident Musical (tying with Shakespeare Theatre's ''Candide'') and for choreography (Parker Esse), lead actor (Nicholas Rodriguez as Curly) and musical direction (George Fulginiti-Shakar).<ref>Jones, Kenneth. [http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood "DC's Helen Hayes Winners Include Candide, The Liar, Clybourne Park, Oklahoma!, Thurgood"] {{webarchive|url=https://web.archive.org/web/20110428000030/http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood |date=April 28, 2011 }}, Playbill.com, April 25, 2011</ref> The production returned to the Arena Stage for a second run in 2011.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 "Still Doin' Fine: Arena Stage Revives Its Hit 2010 Oklahoma!, Starting July 8"] {{Webarchive|url=https://web.archive.org/web/20110805073116/http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 |date=August 5, 2011 }}. Playbill.com, July 8, 2011</ref>

;2012, Seattle, Washington, 5th Avenue Theater
The [[5th Avenue Theatre]]'s 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud.<ref name=SGS>Strangeways, Michael. [https://archive.today/20130202033038/http://www.seattlegayscene.com/2012/02/review-oklahoma-at-the-5th-avenue-is-a-bit-problematic.html "''Oklahoma!'' at the 5th Avenue Is a Bit Problematic"], ''Seattle Gay Scene'', February 10, 2012</ref> The choice was intended, as in the Arena Stage production, to reflect the historical presence of African Americans in the Oklahoma territory, but it "has some audience members squirming in their seats ... they're seeing on stage one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman [and] the white hero ... all but urges Jud to hang himself – and even pantomimes the act. Some see a clear reference to lynching."<ref name=Brodeur>Brodeur, Nicole. [http://seattletimes.nwsource.com/html/nicolebrodeur/2017557140_nicole21m.html "''Oklahoma'' seen in a new light"], ''The Seattle Times'', February 20, 2012</ref><ref>Goldstein, David. [http://www.thestranger.com/seattle/racial-profiling/Content?oid=12582804 "Racial Profiling"], ''The Stranger'', February 14, 2012</ref> The "Dream Ballet" had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped. One critic noted the historical "license taken when an African-American farmhand is allowed to escort a white woman to the box dance. ... Maybe some people ... left with not so much a song in their head, but a question in their heart. And isn't that part of what theater is supposed to do?"<ref name=Brodeur/> Another wrote: "Rothstein's ''Oklahoma!'' is now the story of a crazy, sex obsessed black man ... lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial."<ref name=SGS/>

;2015 UK tour
A UK tour ran from February to August 2015, directed by Rachel Kavanaugh and starring Ashley Day as Curly, Charlotte Wakefield as Laurey, [[Belinda Lang]] as Aunt Eller and [[Gary Wilmot]] as Ali Hakim.<ref>Davies, Michael. [http://www.whatsonstage.com/northampton-theatre/reviews/oklahoma-uk-tour_37255.html "''Oklahoma!'' (Tour) – triumphant production warrants its revival"], Whats On Stage, February 26, 2017; and Collins, Stephen. [http://britishtheatre.com/review-oklahoma-lyceum-theatre-sheffield-5stars "''Oklahoma!'' Lyceum Theatre Sheffield"], BritishTheatre.com, July 27, 2015</ref>

===1955 film adaptation===
{{Main|Oklahoma! (1955 film)}}
The 1955 film adaptation starred [[Gordon MacRae]], [[Shirley Jones]] (in her film debut),<ref>Jones had previously performed in a stage production of ''Oklahoma!'' See: [http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes ''Oklahoma!'' from Turner Classic Movies]</ref> [[Rod Steiger]], [[Charlotte Greenwood]], [[Gloria Grahame]], [[Gene Nelson]], [[James Whitmore]] and [[Eddie Albert]]. It was the only musical film directed by [[Fred Zinnemann]],<ref name="Chapin">[[Audio commentary]] by Ted Chapin and Hugh Fordin, [[CinemaScope]] version of film, 2-DVD 50th Anniversary Edition (2005), [[20th Century Fox Home Entertainment]]</ref> and [[Agnes de Mille]] choreographed. It was the first feature film photographed in the [[Todd-AO]] [[70 mm film|70 mm]] [[widescreen]] process.<ref name="TCM">{{cite web|url=http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes |title=''Oklahoma!'' from Turner Classic Movies |publisher=Tcm.com |accessdate=March 7, 2012}}</ref><ref>{{cite web |url=http://www.in70mm.com/todd_ao/magna/index.htm |title=Magna Theatre Corporation |publisher=In70mm.com |accessdate=March 7, 2012 |archive-url=https://web.archive.org/web/20120307090915/http://www.in70mm.com/todd_ao/magna/index.htm |archive-date=March 7, 2012 |url-status=dead |df=mdy-all }}</ref>

Rodgers and Hammerstein personally oversaw the film to prevent the studio from making the changes that were then typical of stage-to-film musical adaptations, such as interpolating new songs by others. The film followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation, although it divided the long first scene into several shorter scenes, changing the locations of several of the songs. For example, "Kansas City" is performed at the train station, where Aunt Eller and other cowboys meet Will Parker just after he returns from Kansas City. Lyrics in the song about a [[burlesque]] stripteaser were slightly changed to pass [[censorship|film censorship]].<ref name="Chapin"/> In a nod to ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', which was the basis of the musical, Jud attempts revenge on Curly and Laurey by burning a haystack they stand on, before Curly jumps down, landing on Jud and causing him to fall on his own knife. The film omits only "It's a Scandal, It's a Outrage" and "Lonely Room".<ref name="TCM" /> The film won [[Academy Awards]] for [[Academy Award for Original Music Score|Best Music, Scoring of a Musical Picture]] and [[Academy Award for Sound|Best Sound, Recording]].<ref name="Oscars1956">{{cite web|url=http://www.oscars.org/oscars/ceremonies/1956 |title=The 28th Academy Awards (1956) Nominees and Winners |accessdate=August 20, 2011|work=oscars.org}}</ref>


==Recordings==
Most of the songs from ''Oklahoma!'' were released on a record album by [[Decca Records]] in 1943 containing six 10-inch double-sided discs in 78 RPM format. It was the first U.S. [[cast album]] featuring the original Broadway cast of a musical. It sold over a million copies, prompting the label to call the cast back into the studio to record three additional selections that had been left out of the first set. These were issued as ''Oklahoma! Volume Two''. In 1949, Decca re-released the first set on LP but not the second set, which soon became a very rare collectors' item. All subsequent LP releases were similarly incomplete. Finally in 2000, Decca Broadway went back to the original glass masters to generate a new high fidelity transfer of the complete song program and released it on CD, utilizing the original 78 album artwork.<ref>{{cite web|url=http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 |title='Decca Broadway – Oklahoma' web page. Accessed May 22, 2010 |publisher=Deccabroadway.com |date=May 16, 2000 |accessdate=March 7, 2012}}</ref>

The success of the original ''Oklahoma!'' cast album set a precedent for the production of [[cast album|original cast recordings]] of Broadway musicals, which became an essential part of a musical's dissemination and endurance in popular culture.<ref>Stempel, p. 311</ref> Later cast recordings of ''Oklahoma!'' include the 1979 Broadway cast recording, the 1980 London cast recording, the 1998 Royal National Theatre cast recording, the 2019 Broadway cast recording, and a [[Oklahoma! (soundtrack)|soundtrack album]] of the [[Oklahoma! (1955 film)|1955 film]]. There have also been more than 20 studio cast recordings of the show, featuring stars such as [[Nelson Eddy]], [[John Raitt]] and [[Florence Henderson]] in the leading roles.<ref>Fick, David. [http://musicalcyberspace.wordpress.com/musicals-l-o/oklahoma/4/ "''Oklahoma!'' Cast Recording Reviews"]. Musical Cyberspace, March 31, 2003, accessed September 26, 2010</ref>

==Reception==
The original production of ''Oklahoma!'' was an unprecedented critical and popular success. John Anderson of the ''[[New York Journal American]]'' pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything".<ref name=Suskin/> In the ''[[New York Herald Tribune]]'', Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended. ... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship."<ref name=Suskin/> Louis Kronenberger of [[PM (newspaper)|''PM'']] opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in ''Oklahoma!'' call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."<ref name=Suskin/>

In the ''[[Daily News (New York)|New York Daily News]]'', [[Burns Mantle]] declared that "''Oklahoma!'' really is different – beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, ''Oklahoma!'' seems to me to be the most thoroughly and attractively American musical comedy since [[Edna Ferber]]'s ''Show Boat''".<ref name=Suskin/> ''[[New York World-Telegram]]'' critic [[Burton Rascoe]] particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights. ... They are spinetingling, out of this world."<ref name=Suskin/> In ''[[The New York Sun]]'', [[Ward Morehouse]] commented that "''Oklahoma!'' is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B."<ref name=Suskin/> Lorenz Hart himself "pushed his way through the crowd at the after-show party in [[Sardi's]] restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."<ref name=Nolan/>

The only negative review of the musical appeared in the ''[[New York Post]]'': The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."<ref name=Suskin/>

==Antecedents and influence==
According to playwright and theatre writer Thomas Hischak, "Not only is 'Oklahoma!' the most important of the Rodgers and Hammerstein musicals, it is also the single most influential work in the American musical theatre. ... It is the first fully integrated musical play and its blending of song, character, plot and even dance would serve as the model for Broadway shows for decades."<ref>Hischak, p. 201</ref> William Zinsser observed that ''Oklahoma!'' broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.<ref>Zinsser, William. ''Easy to Remember:The Great American Songwriters and Their Songs'', David R. Godine Publisher, 2006, {{ISBN|1-56792-325-9}}, p. 180</ref> The show "became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, p. 124.</ref> ''Oklahoma!'' made Rodgers and Hammerstein "the most important contributors to the musical-play form. ... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref>Lubbock, Mark. [http://www.theatrehistory.com/american/musical030.html "American musical theatre: an introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }} excerpted from ''The Complete Book of Light Opera'', London: Putnam, 1962, pp. 753–56</ref>

Theater historian [[Ethan Mordden]] points out that, although ''Oklahoma!'' has been called "the first integrated musical, the first American folk musical", ''[[Show Boat]]'' "got there first on both counts."<ref name=Mordden140>Mordden, Ethan. 'Broadway Babies: The People Who Made the American Musical'', Oxford University Press US, 1988, {{ISBN|0-19-505425-3}}, p. 140</ref> Even earlier, the [[Princess Theatre, New York City|Princess Theatre]] musicals, following [[Gilbert and Sullivan]] and French ''[[opéra bouffe]]'', began the reintegration of song and story after decades of thinly plotted British and American musicals, paving the way for ''Show Boat'' and ''Oklahoma!'' by showing that a musical could combine popular entertainment with continuity between its story and songs.<ref>Jones 2003, pp. 10–11</ref> These Princess Theatre shows, which featured modern American settings, "built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. [[Jerome Kern|Kern's]] exquisitely flowing melodies were employed to further the action or develop characterization."<ref>Bordman, Gerald and Thomas Hischak, eds. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t149.e1700 "Kern, Jerome (David)"]. ''The Oxford Companion to American Theatre'', third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref><ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/1910bway.htm ''History of The Musical Stage 1910–1919: Part I''], accessed May 11, 2010</ref> Mordden also notes that ''Oklahoma!'' was called the first great dance musical, but other musicals had earlier focused on dance, among them ''[[Gay Divorce]]'' and ''[[On Your Toes]]''. He concludes: "But ''Oklahoma!'' was the first American musical with an ethnic sound, words and music entirely in the folk idiom."<ref name=Mordden140/>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1944
| [[Pulitzer Prize]]<ref>[http://www.pulitzer.org/prize-winners-by-year/1944 "1944 Pulitzer Prizes"], Pulitzer.org, retrieved January 7, 2018</ref>
| [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Awards and Citations]]
| [[Richard Rodgers]] and [[Oscar Hammerstein II]]
| {{won}}
|-
| align="center"|1947
| colspan=2|[[Theatre World Award]]
| Dorothea Macfarland
| {{won}}
|-
| align="center"|1993
| [[Tony Award]]
| colspan=2|[[Special Tony Award]] (50th anniversary)
| {{won}}
|}

===1979 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=5 align="center"|1980
| rowspan=2|[[Tony Award]]
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christine Andreas]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Harry Groener]]
| {{nom}}
|-
| rowspan=2|[[Drama Desk Award]]
| rowspan=2|[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Martin Vidnovic]]
| {{nom}}
|-
| rowspan=2|[[Harry Groener]]
| {{nom}}
|-
| colspan=2|[[Theatre World Award]]
| {{won}}
|}

===1980 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=2 align="center"|1980
| rowspan=2|[[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Actor of the Year in a Musical]]
| [[John Diedrich]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Newcomer in a Play|Most Promising Newcomer of the Year in Theatre]]
| [[Alfred Molina]]
| {{nom}}
|}

===1998 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1998
| [[Critics' Circle Theatre Award]]
| colspan="2"|Best Musical
| {{won}}
|-
| rowspan="8" align="center"|1999
| rowspan="8"|[[Laurence Olivier Award]]
| colspan="2"|[[Laurence Olivier Award for Best Musical Revival|Outstanding Musical Production]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Hugh Jackman]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Supporting Performance in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Director|Best Director]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Set Designer|Best Set Designer]]
| [[Anthony Ward]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Lighting Design|Best Lighting Designer]]
| [[David Hersey]]
| {{nom}}
|}

===2002 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="17" align="center"| 2002
| rowspan="7"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Susan Stroman]]
| {{nom}}
|-
| [[Tony Award for Best Lighting Design|Best Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| rowspan="9"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| rowspan="2"| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| Justin Bohon
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Anthony Ward]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lighting Design|Outstanding Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| colspan="2"|[[Theatre World Award]]
| Justin Bohon
| {{won}}
|}

=== 2019 Broadway revival ===
{| class="wikitable" width="95%"
|-
! width="5%" | Year
! width="25%" | Award ceremony
! width="40%" | Category
! width="20%" | Nominee
! width="10%" | Result
|-
| rowspan="28" align="center" |2019
| rowspan="8" |[[Tony Award]]
| colspan="2" |[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
|[[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
|[[Damon Daunno]]
| {{nom}}
|-
| rowspan="2" |[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Ali Stroker]]
| {{won}}
|-
|[[Mary Testa]]
| {{nom}}
|-
|[[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
|[[Daniel Fish]]
| {{nom}}
|-
|[[Tony Award for Best Scenic Design in a Musical|Best Scenic Design in a Musical]]
|[[Laura Jellinek]]
| {{nom}}
|-
|[[Tony Award for Best Sound Design of a Musical|Best Sound Design of a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Tony Award for Best Orchestrations|Best Orchestrations]]
|[[Daniel Kluger]]
| {{nom}}
|-
| rowspan="12" |[[Drama Desk Award]]
| colspan="2" |[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|Damon Daunno
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
|[[Rebecca Naomi Jones]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
|Patrick Vaill
| {{nom}}
|-
| rowspan="2" |[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|Ali Stroker
| {{won}}
|-
|Mary Testa
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|Daniel Fish
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Scenic Design of a Musical|Outstanding Scenic Design of a Musical]]
|Laura Jellinek
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design for a Musical]]
|Scott Zielinski
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design in a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
|Daniel Kluger
| {{won}}
|-
|[[Drama Desk Award for Outstanding Projection Design|Outstanding Projection Design]]
|Joshua Thorson
| {{nom}}
|-
| rowspan="2" |[[Drama League Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Distinguished Performance
| Ali Stroker
| {{nom}}
|-
| rowspan="6" |[[Outer Critics Circle Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actor in a Musical
| Damon Daunno
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| Ali Stroker
| {{nom}}
|-
| Outstanding Director of a Musical
| Daniel Fish
| {{nom}}
|-
| Outstanding Orchestrations
| Daniel Kluger
| {{win}}
|-
| Outstanding Sound Design
| Drew Levy
| {{nom}}
|-
| align="center" |2020
|[[Grammy Award]]
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
|[[Damon Daunno]], [[Rebecca Naomi Jones]], [[Ali Stroker]], [[Mary Testa]] & Patrick Vaill (principal soloists); [[Daniel Kluger]] & Dean Sharenow (producers); [[Richard Rodgers]] (composer); [[Oscar Hammerstein II]] (lyricist)
|{{nom}}
|}

==In popular culture==
{{Refimprove section|date=July 2017}}
''Oklahoma!'' has frequently been quoted or parodied in films, television and other media. The following list includes some of the more notable references.

'''Films'''
* The songs "Oh What a Beautiful Mornin'" and "Oklahoma!" were spoofed in the animated film ''[[South Park: Bigger, Longer & Uncut]]''. One of the spoofs is the song "Uncle Fucka", which parodies the spelled-out O-K-L-A-H-O-M-A of the musical's title song.<ref>Pahle, Rebecca. [http://mentalfloss.com/article/501819/10-best-animated-movies-all-time "The 10 Best Animated Movies of All Time"], MentalFloss.com, June 13, 2017</ref><ref>{{cite magazine| url=http://entertainment.time.com/2011/06/23/the-25-all-time-best-animated-films/slide/south-park-bigger-longer-uncut-1999|title=''South Park: Bigger, Longer & Uncut: The 25 All-TIME Best Animated Films''|author=Richard Corliss|date=June 21, 2011|magazine=[[Time (magazine)|Time]]|accessdate=July 4, 2017}}</ref> A similar spoof is heard in the musical ''[[Curtains (musical)|Curtains]]'', concerning the title song of the ''Oklahoma!''-like musical performed within the show.
* In the film ''[[When Harry Met Sally...]]'', Harry and Sally sing a [[karaoke]] version of "Surrey With the Fringe on Top".<ref>Eastwood, Joel. [https://www.thestar.com/entertainment/movies/2014/07/19/when_harry_met_sally_turns_25_how_does_it_hold_up.html "''When Harry Met Sally'' turns 25: How does it hold up?"], ''[[Toronto Star]]'', July 19, 2014, accessed July 4, 2017</ref>
* In the film ''[[Twister (1996 film)|Twister]]'', Beltzer is heard singing the song "Oklahoma!" when he is introduced.
* In the film ''[[Dave (film)|Dave]]'', the title character sings the song "Oklahoma!"
* In the film ''[[I Can Only Imagine (film)|I Can Only Imagine]]'', [[Bart Millard]] performs "Oklahoma!" for his school play. Meanwhile, at a diner, his father blacks out and was sent to a hospital.

'''Television'''
* In ''[[The Simpsons]]'' episode "[[Milhouse of Sand and Fog]]", the character Milhouse imagines himself and Bart singing "[[The Farmer and the Cowman]]". Another episode, "[[I'm Just a Girl Who Can't Say D'oh]]", begins with Llewellyn Sinclair directing a production of ''Oklahoma!'' with Marge as Ado Annie. Llewellyn becomes frustrated every time Marge tells him no, since Ado Annie "cain't say no".<ref>Sokol, Tony. [https://www.denofgeek.com/us/tv/the-simpsons/280340/the-simpsons-season-30-episode-20-review-im-just-a-girl-who-cant-say-doh "The Simpsons Season 30 Episode 20 Review: I'm Just a Girl Who Can't Say D'oh"], ''Den of Geek'', April 8, 2019</ref>
* ''[[Sesame Street]]'' featured Kermit the Frog as a director making the film "Oklahoma" and Forgetful Jones singing the title song from "Oklahoma!" but forgetting how it begins, trying "Aaaaaa-klahoma", "Eeeeee-klahoma" and "Iiiiii-klahoma". Furthermore, [[Ray Charles]] performed "Oh, What a Beautiful Mornin'" on Sesame Street in 1977 and Oscar the grouch a few times sang to himself "Oh what a rotten old morning/Oh what a rotten old day".
* On episode 317 of ''[[The Muppet Show]]'', [[Fozzie Bear]], dressed as a cowboy, begins to sing "Oklahoma", but large Muppets dressed as [[Samurai]] warriors turn the number into a parody called "Yokohama".
* ''[[Tiny Toon Adventures]]'' did a spoof of the musical called "Ducklahoma", which heavily featured anvils.
* In an episode of ''[[3rd Rock from the Sun]]'' ([[3rd Rock from the Sun (season 1)|Frozen Dick]]), [[Dick Solomon|Dick]] sings a rendition of "Oklahoma!" in a diner, sparking the patrons in the diner to sing along with him.
* In the ''[[Fawlty Towers]]'' episode "[[Gourmet Night]]", Polly serenades the guests with a rendition of "[[I Cain't Say No]]".
* In episode 9 of ''[[Band of Brothers (TV miniseries)|Band of Brothers]]'', "Why We Fight" (2001), Captain Nixon mentions that ''Oklahoma!'' was still on Broadway, causing the soldiers to break out in song.
* On an episode of ''[[Friends]]'', "The One Where Emma Cries", Chandler accidentally accepts a job in [[Tulsa]], and his wife Monica says that she does not want to move to Oklahoma or see the musical ''Oklahoma!'' Chandler responds by listing the songs from the musical, and Monica asks whether he is telling her that he got a job in Oklahoma or that he is gay.

'''Other media'''
* In the mid-1940s, radio comedian [[Fred Allen]] wrote and performed parody lyrics to the tune of "Surrey With the Fringe on Top": "Union Suit with the Hinge on the Back." The parody was repeated on subsequent programs.
* The title song became the official [[state song]] of [[Oklahoma]] in 1953. (Oklahoma became a state on November 16, 1907.)
*In the song "Oklahoma, U.S.A." by [[The Kinks]], on their album [[Muswell Hillbillies]], the protagonist dreams of "riding in the surrey with the fringe on top".
* In [[Truman Capote]]'s 1958 novella ''[[Breakfast at Tiffany's (novella)|Breakfast at Tiffany's]]'', [[Holly Golightly (character)|Holly Golightly]] sings music from ''Oklahoma!'' while accompanying herself on her guitar.{{page needed|date=April 2013}}
* In the [[web series]] ''Musical Hell'', host Diva lists "Lonely Room" as her favorite villain song from a stage or film musical.

==See also==
*[[Sheep Wars]]

==Notes==
{{Reflist}}

==References==
*Carter, Tim. ''Oklahoma!: the making of an American musical''. Yale University Press, 2007, {{ISBN|0-300-10619-X}}
*Everett, William A. and Paul R. Laird. ''The Cambridge Companion to the Musical'', [[Cambridge University Press]], 2002, {{ISBN|0-521-79189-8}}
*Hischak, Thomas S. ''The Rodgers and Hammerstein Encyclopedia''. Greenwood Publishing Group, 2007, {{ISBN|0-313-34140-0}}
*Jones, John B. [https://books.google.com/books?id=WqQH31qkYNoC ''Our Musicals, Ourselves'']. Hanover: University Press of New England, 2003 {{ISBN|978-1-58465-311-0}}
*Kantor, Michael and Maslon, Laurence. ''Broadway: The American Musical''. New York: Bullfinch Press, 2004. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers and Hammerstein''. New York: Applause Books, 2002, {{ISBN|1-55783-473-3}}
*Stempel, Larry. ''Showtime: A History of the Broadway Musical Theater''. New York: [[W.W. Norton & Company]], 2010, {{ISBN|0-393-06715-7}}

==Further reading==
*Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
*Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
*Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
*Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
*Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.

==External links==
{{Wikiquote}}
* {{ibdb show|id=6697|title=Oklahoma!}}
* [http://www.theatrehistory.com/american/musical014.html Information from the Theatre History website]
* [http://www.rnh.com/show/78/Oklahoma%21 RNH Theatricals site]
* [http://www.guidetomusicaltheatre.com/shows_o/oklahoma.htm Plot and production information, guidetomusicaltheatre.com ]
* [http://www.musicalheaven.com/Detailed/217.html Information from the Musical Heaven website]
* [https://www.pbs.org/wnet/gperf/shows/oklahoma/oklahoma.html PBS article on ''Oklahoma!'']
* [https://www.loc.gov/rr/record/nrpb/registry/essays/OKLAHOMA!.pdf Library of Congress essay] on original cast recording on the [[National Recording Registry]].
* [http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 ''Decca Broadway – Oklahoma!'' web page with CD extracts]

{{Rodgers and Hammerstein}}
{{Oklahoma!}}
{{Navboxes
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[[Category:Oklahoma!| ]]
[[Category:Fiction set in 1906]]
[[Category:1943 musicals]]
[[Category:Broadway musicals]]
[[Category:Laurence Olivier Award-winning musicals]]
[[Category:West End musicals]]
[[Category:Musicals based on plays]]
[[Category:Western (genre) plays]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Pulitzer Prize-winning works]]
[[Category:Plays set in Oklahoma]]
[[Category:United States National Recording Registry recordings]]
[[Category:Plays set in the United States]]
[[Category:Tony Award-winning musicals]]

Oklahoma!

2020-04-03T22:01:14Z

JohnAnkerBow:

{{short description|1943 musical}}
{{about||the film adaptation|Oklahoma! (1955 film)|other uses|Oklahoma (disambiguation)}}
{{Use mdy dates|date=June 2012}}
{{Infobox musical
| name = Oklahoma!
| image = Musical1943-Oklahoma!-OriginalPoster.jpg
| image_size = 210px
| caption = Original Broadway poster (1943)
| music = [[Richard Rodgers]]
| lyrics= [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'' by [[Lynn Riggs]]
| productions = 1943 Broadway 1947 West End 1951 Broadway [[revival (theatre)|revival]] 1955 [[Oklahoma! (1955 film)|Film]] 1979 Broadway revival 1980 West End revival 1998 West End revival 2002 Broadway revival 2003 US Tour 2010 UK Tour 2015 UK Tour 2019 Broadway revival

| awards = 1944 special [[Pulitzer Prize]] 1993 [[Special Tony Award]] (50th Anniversary) 1999 [[Laurence Olivier Award for Best Musical Revival|Olivier Award for Best Musical Revival]] 2019 [[Tony Award for Best Revival of a Musical]]
}}
'''''Oklahoma!''''' is the first [[musical theater|musical]] written by the team of [[Rodgers and Hammerstein|composer Richard Rodgers and librettist Oscar Hammerstein II]]. The musical is based on [[Lynn Riggs]]' 1931 play, ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''. Set in farm country outside the town of [[Claremore, Oklahoma|Claremore]], [[Indian Territory]], in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

The original [[Broadway theatre|Broadway]] production opened on March 31, 1943. It was a box-office smash and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an [[Academy Awards|Oscar]]-winning 1955 [[Oklahoma! (1955 film)|film adaptation]]. It has long been a popular choice for school and community productions.<ref>''[[Time (magazine)|Time]]'' magazine reported in its [http://www.time.com/time/arts/article/0,8599,1807032,00.html May 26, 2008 issue], p. 51, that ''Oklahoma!'' tied (with ''[[Bye Bye Birdie (musical)|Bye Bye Birdie]]'') as the eighth most frequently produced musical by U.S. high schools in 2007.</ref> Rodgers and Hammerstein won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] for ''Oklahoma!'' in 1944.

This musical, building on the innovations of the earlier ''[[Show Boat]]'', epitomized the development of the "[[book musical]]", a musical play where the songs and dances are fully integrated into a well-made story with serious dramatic goals that are able to evoke genuine emotions other than laughter.<ref>Everett, p. 137, chapter by Riis, Thomas L., with Ann Sears and Everett</ref> In addition, ''Oklahoma!'' features musical themes, or [[Motif (music)|motifs]], that recur throughout the work to connect the music and story.<ref>Wilk, Max. ''OK! The Story of Oklahoma!: A Celebration of America's Most Beloved Musical''. Rev. ed. New York: Applause Books, 2002. {{ISBN|1-55783-555-1}}</ref>{{Page needed|date=February 2012}}<ref name=Swain>Swain, Joseph P. ''The Broadway Musical: A Critical and Musical Survey''. Scarecrow Press, Inc., 2002, pp. 103–06</ref> A fifteen-minute "dream ballet" reflects Laurey's struggle with her feelings about two men, Curly and Jud.

==Background==
By the early 1940s, Rodgers and Hammerstein were each well known for creating [[Broadway theatre|Broadway]] hits with other collaborators. Rodgers, with [[Lorenz Hart]], had produced over two dozen musicals since the 1920s, including such popular successes as ''[[Babes in Arms]]'' (1937), ''[[The Boys from Syracuse]]'' (1938) and ''[[Pal Joey (musical)|Pal Joey]]'' (1940).<ref>Secrest, pp. 403–04</ref> Among other successes, Hammerstein had written the words for ''[[Rose-Marie]]'' (1924), ''[[The Desert Song]]'' (1926), ''[[The New Moon]]'' (1927) and ''[[Show Boat]]'' (1927). Though less productive in the 1930s, he wrote musicals, songs and films, sharing an [[Academy Award]] for his song with [[Jerome Kern]], "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", which was included in the 1941 film ''[[Lady Be Good (1941 film)|Lady Be Good]]''.<ref>[http://www.songwritershalloffame.org/exhibits/C13 “Oscar Hammerstein II”] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }}. Songwriters Hall of Fame, accessed December 22, 2010</ref> By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.<ref>Layne, Joslyn. [{{Allmusic|class=artist|id=p84807|pure_url=yes}} Lorenz Hart Biography], Allmusic, accessed December 22, 2010</ref>

===Conception===
In 1931, the [[Theatre Guild]] produced [[Lynn Riggs]]'s ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', a play about settlers in [[Oklahoma]]'s Indian Territory. Though the play was not successful, ten years later in 1941, [[Theresa Helburn]], one of the Guild's producers, saw a summer-stock production supplemented with traditional [[folk song]]s and [[square dance]]s and decided the play could be the basis of a musical that might revive the struggling Guild. She contacted [[Richard Rodgers]] and [[Lorenz Hart]], whose first successful [[Rodgers and Hart|collaboration]], ''[[The Garrick Gaieties]]'', had been produced by the Theatre Guild in 1925. Rodgers wanted to work on the project and obtained the rights for himself and Hart. Rodgers had asked [[Oscar Hammerstein II]] to collaborate with him and Hart. During the tryouts of Rodgers and Hart's ''[[By Jupiter]]'' in 1941, Hammerstein had assured Rodgers that if Hart was ever unable to work, he would be willing to take his place.<ref name=Nolan>Nolan, pp. 1–25.</ref> Coincidentally in 1942, Hammerstein had thought of musicalizing ''Green Grow the Lilacs'', but when he had approached [[Jerome Kern]] about it, the latter declined. Hammerstein learned that Rodgers was seeking someone to write the book, and he eagerly took the opportunity. Hart lost interest in the musical; he preferred contemporary, urbane shows that would showcase his witty lyric writing, and he found the farmers and cowhands in ''Green Grow the Lilacs'' corny and uninspiring. Moreover, spiraling downward, consumed by his longstanding alcoholism, Hart no longer felt like writing. He embarked on a vacation to Mexico, advising Rodgers that Hammerstein would be a good choice of a new collaborator.<ref name=Kantor>Kantor and Malson, pp. 196–202</ref><ref name=Heritage/>

This partnership allowed both Rodgers and Hammerstein to follow their preferred writing methods: Hammerstein preferred to write a complete lyric before it was set to music, and Rodgers preferred to set completed lyrics to music. In Rodgers' previous collaborations with Hart, Rodgers had always written the music first, since the unfocused Hart needed something on which to base his lyrics. Hammerstein's previous collaborators included composers [[Rudolf Friml]], [[Herbert Stothart]], [[Vincent Youmans]], and Kern, who all wrote music first, for which Hammerstein then wrote lyrics. The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it.<ref name=Nolan/> As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, ''Green Grow the Lilacs'', not by musical comedy conventions.<ref name=Kantor/> Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.<ref name=Kenrick2>Kenrick, John. [http://www.musicals101.com/1940bway2.htm "History of the Musical Stage, 1940s Part II: Oklahoma, OK!"] Musicals101.com, accessed October 11, 2011</ref>

===Casting and development===
Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though [[Theresa Helburn]], codirector of the Theatre Guild, suggested [[Shirley Temple]] as Laurey and [[Groucho Marx]] as Ali Hakim, Rodgers and Hammerstein, with director [[Rouben Mamoulian|Rouben Mamoulian's]] support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.<ref name=Nolan/> The production was choreographed by [[Agnes de Mille]] (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the [[dream ballet]]) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.<ref name=Kenrick2/>

The first title given to the work was ''Away We Go!'' which opened for out-of-town-tryouts in [[New Haven, Connecticut|New Haven]]'s [[Shubert Theatre (New Haven)|Shubert Theatre]] on March 11, 1943.<ref>[http://www.capa.com/newhaven/venues/shubert_history.php Information on the tryout from Capa.com] {{webarchive|url=https://web.archive.org/web/20080511195305/http://www.capa.com/newhaven/venues/shubert_history.php |date=May 11, 2008 }}</ref> Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer [[Mike Todd]] walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance."<ref name=Heritage>[[John Steele Gordon|Gordon, John Steele]]. [http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml ''Oklahoma'!'] {{webarchive|url=https://web.archive.org/web/20100804175330/http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml |date=August 4, 2010 }}, accessed June 13, 2010</ref> But Rodgers and Hammerstein were confident. The New Haven and [[Boston]] audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping [[Number (music)|musical number]], "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" and the decision to retitle the musical after that number.<ref>[[Helene Hanff|Hanff, Helene]]. [http://thingsthatmadeanimpression.wordpress.com/2013/06/16/excerpt-from-underfoot-in-show-business-by-helene-hanff-away-we-go/ "Excerpt ... ''Away We Go''"], ''Underfoot in Show Business'', Harper and Row, 1962. {{ISBN|0-316-34319-6}}</ref>

Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]].<ref>[https://www.pulitzer.org/winners/richard-rodgers-and-oscar-hammerstein-ii "Richard Rodgers and Oscar Hammerstein II for ''Oklahoma!''"], Pulitzer.org, 1944, accessed November 16, 2019</ref> [[Brooks Atkinson]] wrote in ''[[The New York Times]]'' that the show's opening number, "[[Oh, What a Beautiful Mornin']]" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable."<ref name=Heritage/> The ''[[New York Post]]'' was the only major paper to give ''Oklahoma!'' a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike.<ref>Lewis, David H., ''Broadway musicals: A Hundred Year History'', 2002, McFarland & Company, p. 35</ref> The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.<ref name=Heritage/>

==Plot==


=== Act I ===
In Oklahoma Territory, in 1906, cowboy Curly McLain looks forward to the beautiful day ahead as he wanders into farm girl Laurey Williams's yard ("[[Oh, What a Beautiful Mornin']]"). He and Laurey tease each other, while her Aunt Eller looks on. There will be a [[box social]] dance that night, which includes an auction of lunch baskets prepared by the local women to raise funds for a schoolhouse. The man who wins each basket will eat lunch with the lady who prepared it. Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. He attempts to persuade her by telling her that he will take her in the finest carriage money can buy ("[[The Surrey with the Fringe on Top]]"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a rig.

The lonely, disturbed farm hand Jud Fry has become obsessed with Laurey and asks her to the dance. She accepts to spite Curly, although she is afraid of Jud. Meanwhile, cowboy Will Parker returns bedazzled and souvenir-laden from a trip to modern [[Kansas City, Missouri|Kansas City]] ("[[Kansas City (Oklahoma!)|Kansas City]]"). He won $50 (${{Inflation|US|50|1906|r=-2|fmt=c}} today) at the fair, which, according to his girlfriend Ado Annie's father, Andrew Carnes, is the money he needs to marry Ado Annie. Unfortunately, he spent all the money on gifts for her. Will also purchased a "Little Wonder" (a metal tube used for looking at pictures, but with a hidden blade inside) for Ado Annie's father, unaware of its deadly secret. Later, Ado Annie confesses to Laurey that while Will has been away, she has been spending a lot of time with Ali Hakim, a [[Persia]]n peddler. Laurey tells her she'll have to choose between them, but Ado Annie insists she loves them both ("[[I Cain't Say No]]"). Laurey and her friends prepare for the social, while Gertie Cummings flirts with Curly (her obnoxious laugh floating in to taunt Laurey). Laurey tells her friends that she doesn't really care about Curly ("[[Many a New Day]]").

Andrew Carnes discovers Annie with Ali Hakim. After questioning Ado Annie about their relationship, he forces Hakim at gunpoint to agree to marry her. Hakim and the other men lament the unfairness of the situation ("[[It's a Scandal! It's a Outrage!]]"). Curly discovers that Laurey is going to the box social with Jud and tries to convince her to go with him instead. Afraid to tell Jud she won't go with him, Laurey tries to convince Curly (and herself) that she does not love him ("[[People Will Say We're in Love]]"). Hurt by her refusal, Curly goes to the smokehouse where Jud lives to talk with him. Curly suggests that since Jud does not feel appreciated, he could hang himself, and everyone would realize how much they care about him ("Pore Jud Is Daid"). Their talk turns into an ominous confrontation about Laurey. After Curly leaves, Jud's resolve to win Laurey becomes even stronger, and he vows to make her his bride ("[[Lonely Room]]").

Confused by her feelings for Curly and her fear of Jud, Laurey purchases a "magic potion" (referred to as [[smelling salts]], but actually [[laudanum]]) from Ali Hakim, which the unscrupulous peddler guarantees will reveal her true love. She muses on leaving her dreams of love behind and joining the man she loves ("Out of My Dreams"), then falls asleep under the influence of the opiate ("Dream Sequence"). In an extended dream ballet sequence, Laurey first dreams of what marriage to Curly would be like. Her dream takes a nightmarish turn when Jud appears and kills Curly. She cannot escape him, confused by her desires. The dream makes her realize that Curly is the right man for her, but it is too late to change her mind about going to the dance with Jud; he has come for her, and they leave for the box social.

===Act II===
At the social, during an upbeat [[square dance]] ("The Farmer and the Cowman"), the [[Range war|rivalry between the local farmers and cowboys]] over fences and water rights has led to fighting, which Aunt Eller ends by firing a gun to silence everyone.<ref>Carter, Tim. [https://books.google.com/books?id=Wn_RDxA6wxAC&pg=PA198&dq=Oklahoma+%22Aunt+Eller%22&hl=en#v=onepage&q=Oklahoma%20%22Aunt%20Eller%22&f=true "Reading Oklahoma!"] ''Oklahoma!: The Making of an American Musical'', Yale University Press, 2007, {{ISBN|0-300-10619-X}}, p. 177</ref> Laurey is upset when she sees Curly at the dance with Gertie. In an effort to rid himself of Ado Annie, Ali Hakim buys Will's souvenirs from Kansas City for $50. Jud also contributes to this by purchasing Will's Little Wonder, knowing of the blade concealed within it. The auction starts and Will bids $50 on Ado Annie's basket, not realizing that without the $50, he would no longer have the money her father insisted he needs to "purchase" marriage with her. Desperate to be rid of Ado Annie, the peddler bids $51 to get the basket so that Will can approach Andrew Carnes with the $50 and claim Ado Annie as his bride. The auction becomes much more serious when Laurey's basket comes up for auction. Jud has saved all his money so he can win Laurey's basket. Various men bid, trying to protect Laurey, but Jud outbids them all. Curly and Jud engage in a ferocious bidding war, and Curly sells his saddle, his horse, and even his gun to raise money. Curly outbids Jud and wins the basket. Jud discreetly tries to kill Curly with the Little Wonder, but his plan is foiled when Aunt Eller (knowing what is happening) loudly asks Curly for a dance. Later that night, Will and Annie work out their differences, as she reluctantly agrees not to flirt with other men ("[[All Er Nuthin']]").

Jud confronts Laurey about his feelings for her. When she admits that she does not return them, he threatens her. She then fires him as her farmhand, screaming at him to get off her property. Jud furiously threatens Laurey before he departs; Laurey bursts into tears and calls for Curly. She tells him that she has fired Jud and is frightened by what Jud might do now. Curly, seeing that she has turned to him for guidance and safety, reassures her and proposes to her, and she accepts ("People Will Say We're In Love (Reprise)"). He then realizes that he must now become a farmer. Afterward, Ali Hakim decides to leave the territory and bids Ado Annie goodbye after telling her Will is the man she should marry.

Three weeks later, Laurey and Curly are married and everyone rejoices in celebration of the territory's impending statehood ("[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]"). During the celebration, Ali Hakim returns with his new wife, Gertie, whom he unwillingly married after being [[Forced marriage#Shotgun wedding|threatened by her father]] with a shotgun. A drunken Jud reappears, harasses Laurey by kissing her and punches Curly, and they begin a fistfight. Jud attacks Curly with a knife and Curly dodges, causing Jud to fall on his own knife. Jud soon dies. The wedding guests hold a makeshift trial for Curly, at Aunt Eller's urging, as the couple is due to leave for their honeymoon. The judge, Andrew Carnes, declares the verdict: "not guilty!" Curly and Laurey depart on their honeymoon in the [[Surrey (carriage)|surrey]] with the fringe on top ("Finale Ultimo").

==Principal roles and notable performers==

{|class="wikitable"
|-
! style="width:100px;"|Character
! style="width:300px;"|Description
! style="width:400px;"|Notable stage performers in major market productions
|-
|Curly McLain ||A cowboy in love with Laurey ||[[Alfred Drake]]°, [[Harry Stockwell]]°, [[John Raitt]], [[Howard Keel]], [[Ridge Bond]], [[Hugh Jackman]], [[Patrick Wilson (American actor)|Patrick Wilson]], [[Laurence Guittard]], [[Damon Daunno]]
|-
|Laurey Williams ||Aunt Eller's niece, an independent young woman||[[Joan Roberts]]°, [[Betty Jane Watson]], [[Christine Andreas]], [[Leila Benn Harris]], [[Josefina Gabrielle]], [[Florence Henderson]], [[Lucy Durack]], [[Rebecca Naomi Jones]]
|-
|Jud Fry ||A hired hand on Aunt Eller's ranch, a mysterious and dangerous loner ||[[Howard Da Silva]]°, [[Shuler Hensley]], [[Alfred Molina]]
|-
|Aunt Eller ||Laurey's aunt, a respected community leader ||[[Betty Garde]]°, [[Mary Wickes]], [[Andrea Martin]], [[Patty Duke]], [[Margaret Hamilton (actress)|Margaret Hamilton]], [[Maureen Lipman]], [[Louise Plowright]], [[Mary Testa]]
|-
|Ado Annie Carnes ||A flirtatious, gullible young woman ||[[Celeste Holm]]°, [[Shelley Winters]], [[Barbara Cook]], [[Christine Ebersole]], [[Jessica Boevers]], [[Amanda Harrison]], [[Ali Stroker]]
|-
|Will Parker ||A simple young man in love with Ado Annie||[[Lee Dixon (actor)|Lee Dixon]]°, [[Harry Groener]]
|-
|Andrew Carnes ||Ado Annie's father, eager to have her marry ||Ralph Riggs°
|-
|Ali Hakim ||A Persian peddler, enamored of Ado Annie ||[[Joseph Buloff]]°, [[Eddie Albert]], [[Peter Polycarpou]], [[Bruce Adler]], [[Jamie Farr]], [[Aasif Mandvi]], [[Will Brill]]
|-
|Gertie Cummings ||A local farm girl, fond of Curly, marries Ali Hakim|| [[Jane Lawrence]]°, [[Pamela Britton]]
|-
|Dream Curly ||Curly in the dream sequence|| [[Marc Platt (dancer)|Marc Platt]]°
|-
|Dream Laurey ||Laurey in the dream sequence|| [[Katharine Sergava]]°
|}

° denotes original Broadway cast

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "[[Oh, What a Beautiful Mornin']]" – Curly
* Laurey's Entrance – Laurey & Curly
* "[[The Surrey with the Fringe on Top]]" – Curly, Laurey, & Aunt Eller
* "[[Kansas City (Oklahoma!)|Kansas City]]" – Will Parker, Aunt Eller, Male Ensemble
* "[[I Cain't Say No]]" – Ado Annie
* Entrance of Ensemble ("I Cain't Say No" and "Oh What a Beautiful Mornin'") – Will, Ado Annie, Curly, Aunt Eller & Ensemble
* "[[Many a New Day]]" – Laurey and Female Ensemble
* "[[It's a Scandal! It's a Outrage!]]" – Ali Hakim & Ensemble
* "[[People Will Say We're in Love]]" – Curly & Laurey
* "Pore Jud Is Daid" – Curly & Jud
* "[[Lonely Room]]" – Jud
* "Out of My Dreams"/"Dream Ballet" – Laurey & Dream Figures
{{col-break}}
;Act II
* Entr'acte – Orchestra
* "[[The Farmer and the Cowman]]" – Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ike Skidmore, Cord Elam & Ensemble
* "[[All Er Nuthin']]" – Will & Ado Annie
* "People Will Say We're in Love" (Reprise) – Curly & Laurey
* "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" – Curly, Laurey, Aunt Eller, Ike Skidmore, Cord Elam, Fred, Andrew Carnes & Ensemble
* Finale Ultimo ("Oh What a Beautiful Mornin'" and "People Will Say We're in Love") – Company
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Oklahoma! |url=https://www.concordtheatricals.com/p/44839/oklahoma |website=Playbill Vault |publisher=ConcordTheatricals |accessdate=3 April 2020}}</ref>

Flute, Oboe, Bassoon, Clarinet 1, Clarinet 2, French Horn 1, French Horn 2, Trumpet 1, Trumpet 2, Trumpet 3, Trombone 1, Trombone 2, Violin 1, Violin 2, Viola, Cello, Bass, Percussion, Guitar, Harp & String Synth (optional)

==Production history==
===Original Broadway===
The original Broadway production opened on March 31, 1943 at the [[St. James Theatre]] in New York City. It was directed by [[Rouben Mamoulian]] and choreographed by [[Agnes de Mille]]. It starred [[Alfred Drake]] (Curly), [[Joan Roberts]] (Laurey), [[Celeste Holm]] (Ado Annie), [[Howard Da Silva]] (Jud Fry), [[Betty Garde]] (Aunt Eller), [[Lee Dixon (actor)|Lee Dixon]] (Will Parker), [[Joseph Buloff]] (Ali Hakim), [[Jane Lawrence]] (Gertie), [[Barry Kelley]] (Ike) and [[George S. Irving]] (Joe). [[Marc Platt (dancer)|Marc Platt]] danced the role of "Dream Curly", [[Katharine Sergava]] danced the part of "Dream Laurey" and the small dancing part of Aggie was played by [[Bambi Linn]]. George Church danced the part of "Dream Jud" but was replaced by [[Vladimir Kostenko]] only two months after the premiere.{{citation needed|date=July 2018}}

The production ran for 2,212 performances, finally closing on May 29, 1948.<ref>[https://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_hammerstein2.html Oklahoma!] at ''Encyclopedia of Composers and Songwriters'', PBS.org, accessed April 30, 2012</ref> "The demand for tickets was unprecedented as the show became more popular in the months that followed" the opening.<ref name=Hischak>Hischak, p. 202</ref> ''Oklahoma!'' ran for over five years, a Broadway record that "would not be bested until ''My Fair Lady'' (1956)."<ref name=Hischak/> The [[Tony Award]]s and other awards now given for achievement in musical theatre were not in existence in 1943, and therefore the original production of ''Oklahoma!'' received no theatrical awards.<ref>[https://www.britannica.com/art/Tony-Awards "Tony Awards: American theatrical awards"], Encyclopedia Britannica, accessed February 24, 2019</ref>

===Early U.S. tours===
The "first of several" national tours began in [[New Haven]], Connecticut, in 1944. A 1953 article in ''[[The New York Times]]'' reported that the show was "believed to be the only musical to have enjoyed a consecutive run of ten years. It ran on Broadway for five years and two months, grossing $7,000,000. The tour of the national company, which started late in 1943, has grossed $15,000,000."<ref>Gelb, Arthur. "Facts and Figures on a Gold Mine", ''The New York Times'', March 29, 1953, p. X1</ref> [[John Raitt]] played Curly in the original production in Chicago.<ref>[http://www.johnraitt.com/career/broadway "Career: Broadway"], John Raitt – Broadway's Legendary Star, Definite Maybe Productions, accessed May 19, 2016</ref> The [[United Service Organizations]] sponsored a tour to U.S. military bases in 1945 that lasted for several years.<ref>Hischak, p. 203</ref><ref>Mordden, Ethan. ''Beautiful Mornin: The Broadway Musical in the 1940s'', Oxford University Press U.S., 1999, {{ISBN|0-19-512851-6}}, p. 78</ref> ''The New York Times'' reported in 1953:

{{quote|The tenth anniversary of the Broadway opening of ''Oklahoma!'' will be celebrated in Washington, where the Theatre Guild's touring company of the phenomenal musical will be playing at that time. ... According to a Guild estimate, "upwards of 20,000,000 people thus far have seen the show in the United States, England, Sweden, Denmark, South Africa, Australia and through [the U.S.O. shows] during the war".<ref>"''Oklahoma!'' to Celebrate 10th Birthday March 31", ''The New York Times'', February 15, 1953, p. 79</ref>|}}

===Original West End===
''Oklahoma!'' was the first of a post-war wave of Broadway musicals to reach London's [[West End theatre|West End]]. It starred [[Howard Keel]] (then known as Harold Keel) and [[Betty Jane Watson]], opening at the [[Theatre Royal, Drury Lane]] on April 30, 1947 to rave press reviews and sellout houses, running for 1,543 performances.<ref>''Who's Who in the Theatre'', 11th edition, 1952. See also ''[[The Times]]'' review, May 1, 1947.</ref> A pre-London run opened a day late at the [[Manchester Opera House]] on April 18, 1947, after the ship carrying the cast, scenery, and costumes ran aground on a sandbank off [[Southampton]].<ref>''Chronicle of the 20th century'', entry for April 14, 1947: "Southampton, The luxury liner [[RMS Queen Elizabeth]] runs aground." See also article by Dr Anthony Field in ''[[The Stage]]'' newspaper, January 9, 1997.</ref>

===1951 and 1979 Broadway revivals===
A 1951 revival produced by the Theatre Guild opened at [[The Broadway Theatre]] on May 9, 1951, and ran for 100 performances. [[Ridge Bond]] played Curly, Patricia Northrop played Laurey, Henry Clarke was Jud, and Jacqueline Sundt played Ado Annie. Mamoulian and de Mille returned to direct and choreograph, and the production was restaged by Jerome Whyte.<ref name=Suskin>Suskin, pp. 499–503.</ref> In 1953, a 10th anniversary revival opened on August 31 at the [[New York City Center]] Theatre. It ran for a limited engagement of 40 performances before going on tour. The cast included [[Florence Henderson]] as Laurey, [[Ridge Bond]] as Curly and [[Barbara Cook]] as Annie. Mamoulian and De Mille directed and choreographed.<ref>''Oklahoma!'', New York City Center Theatre, "Stagebill" program, October 6, 1953</ref><ref>Atkinson, Brooks. [https://www.nytimes.com/1953/09/01/archives/oklahoma-revived-at-city-center-celebrating-rodgers-and.html "'Oklahoma!' Revived at City Center; Celebrating Rodgers and Hammerstein's Official Week"]. ''The New York Times'' (abstract), September 1, 1953, p. 19</ref>

A 1979 revival opened at the [[Palace Theatre (Broadway)|Palace Theatre]] on Broadway on December 13, 1979 and closed on August 24, 1980, running for 293 performances and nine previews. William Hammerstein (Oscar's son) directed, and [[Gemze de Lappe]] recreated Agnes De Mille's choreography. The show starred [[Christine Andreas]] as Laurey, [[Laurence Guittard]] as Curly, [[Mary Wickes]] as Aunt Eller, [[Christine Ebersole]] as Ado Annie, [[Martin Vidnovic]] as Jud Fry, [[Harry Groener]] as Will Parker and [[Bruce Adler]] as Ali Hakim.<ref name="Gänzl">Gänzl, Kurt. ''Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from [[H.M.S. Pinafore]] to [[Sunset Boulevard]]'', pp. 103–08. Schirmer Books, New York, 1995. {{ISBN|0-02-870832-6}}</ref> Andreas and Groener both received [[Tony Award]] nominations for their performances, and Vidnovic won a [[Drama Desk Award]]. This production started as a cross-country national tour, beginning at the [[Pantages Theatre (Hollywood)|Pantages Theater]] in Los Angeles on May 1, 1979.<ref>Searl, Hanford. [https://books.google.com/books?id=0SQEAAAAMBAJ&pg=PT46&dq=Oklahoma+%22Pantages+Theatre%22++Andreas&lr=&as_brr=3&cd=1#v=onepage&q=Oklahoma%20%22Pantages%20Theatre%22%20Andreas&f=false "L.A. Debut of ''Oklahoma!'' A True Revival Production"]. ''Billboard'', May 19, 1979</ref>

===1980 and 1998 West End revivals===
The following year, [[James Hammerstein]] directed a production at the [[Haymarket Theatre, Leicester]], in January 1980, produced by [[Cameron Mackintosh]]. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the [[Palace Theatre, London]], on September 17, 1980, and running until September 19, 1981.<ref>[http://www.thisistheatre.com/shows/palace60.html "'Oklahoma!' at the Palace Theatre, September 17, 1980 – September 19, 1981"]. Thisistheatre.com, accessed May 20, 2010</ref> This production starred [[John Diedrich]] as Curly and [[Alfred Molina]] as Jud Fry, both of whom were nominated for [[Olivier Awards]].<ref>[http://www.olivierawards.com/winners/view/item98514/olivier-winners-1980/ "Olivier Winners 1980"] ''OlivierAwards.com'', accessed 9 Oct 2017</ref> Rosamund Shelley played Laurey, and [[Madge Ryan]] was Aunt Eller. The production was [[Maria Friedman]]'s debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role.<ref>[http://www.aboutmaria.com/oklahoma.html "''Oklahoma!''"], About Maria Friedman, accessed July 26, 2013</ref> John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the ''Showtime!'' label.<ref>[http://castalbumcollector.com/recordings/3630 "'Oklahoma!", 1980 London Cast"]. Castalbumcollector.com, accessed May 20, 2010</ref>

[[File:Oklahoma! (London Stage Revival) .jpeg|thumb|[[Hugh Jackman]] on the cover of the DVD of the London revival]]
A dark-themed production of the musical was presented by the [[Royal National Theatre|National Theatre]] in London at the [[Olivier Theatre]], opening on July 15, 1998. The production team included [[Trevor Nunn]] (director), [[Susan Stroman]] (choreographer) and [[William David Brohn]] (orchestrator). The international cast included [[Hugh Jackman]] as Curly, [[Maureen Lipman]] as Aunt Eller, [[Josefina Gabrielle]] as Laurey, [[Shuler Hensley]] as Jud Fry, Vicki Simon as Ado Annie, [[Peter Polycarpou]] as Ali Hakim and Jimmy Johnston as Will Parker.<ref name=curtainlondon/> Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted [[Robert Russell Bennett]]'s original orchestrations and extended some of the dance sequences. A new Dream Ballet was composed for [[Susan Stroman]]'s new choreography, and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all redesigned. The overture was also altered, at the request of Nunn.

The production received numerous [[Olivier Award]] nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design ([[Anthony Ward]]) and choreography (Stroman).<ref>[http://www.olivierawards.com/winners/view/item98534/olivier-winners-1999 "Olivier Winners, 1999"]. OlivierAwards.com, accessed October 23, 2015</ref> According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records,<ref>[http://www.shulerhensley.com/perfect_oklahoma!.htm "London Welcomes a Perfect ''Oklahoma!''"] {{webarchive|url=https://web.archive.org/web/20120330223519/http://www.shulerhensley.com/perfect_oklahoma!.htm |date=March 30, 2012 }}. ''Happy Talk'', the newsletter of the Rodgers & Hammerstein Organization. Vol. 6 Issue 1, Fall 1998, Interview with Hensley, accessed June 4, 2010</ref> and so the show was transferred to the [[Lyceum Theatre (London)|Lyceum Theatre]] in the West End for a six-month run.<ref name=curtainlondon>Heppel, David. [http://www.curtainup.com/lonokla.html "Curtain Up review, ''Oklahoma!'', 1998"]. Curtainup.com, July 1998, accessed May 20, 2010</ref> Plans to transfer to Broadway with the London cast were thwarted by [[Actors' Equity Association|Actors' Equity]], which insisted that American actors must be cast.<ref>[[Robert Simonson|Simonson, Robert]]. [https://archive.today/20140908131117/http://staging.playbill.com/news/article/43199-Actors-Equity-Denies-London-Cast-of-Oklahoma-US-Visit "Actors' Equity Denies London Cast of ''Oklahoma!'' U.S. Visit"], ''Playbill'', January 22, 1999</ref><ref>Simonson, Robert. [https://archive.today/20120912190211/http://www.playbill.com/news/article/43693-Equity-Stands-Firm-on-Americans-in-Oklahoma "Equity Stands Firm on Americans in ''Oklahoma!''"], ''Playbill'', February 17, 1999</ref> Eventually a U.S. cast was selected.<ref>McBride, Murdoch. [https://archive.today/20120906071311/http://www.playbill.com/news/article/52841-Oklahoma-OKd-Stroman-Nunn-Begin-US-Casting-in-June-Fall-Start-Likely "''Oklahoma!'' OK'd: Stroman, Nunn Begin U.S. Casting in June; Fall Start Likely"], ''Playbill'', May 17, 2000</ref> The production was filmed and issued on DVD, as well as being broadcast on U.S. [[Public Television]] in November 2003.<ref>Gans, Andrew and Robert Simonson. [https://archive.today/20120913072829/http://www.playbill.com/news/article/82048-PBS-To-Air-Hugh-Jackman-Oklahoma-in-November "PBS To Air Hugh Jackman ''Oklahoma!'' in November"], ''Playbill'', October 8, 2003</ref>

===2002 Broadway revival===
The London production was repeated on Broadway at the [[George Gershwin Theatre]] on March 21, 2002, with direction by Nunn. The production closed on February 23, 2003 after 388 performances. Only two of the London cast, Josefina Gabrielle as Laurey and Shuler Hensley as Jud, were in the production, which also featured [[Patrick Wilson (American actor)|Patrick Wilson]] as Curly and [[Andrea Martin]] as Aunt Eller. It was nominated for seven Tony Awards, including Best Revival of a Musical, Best Featured Actress in a Musical and Best Featured Actor in a Musical (which was awarded to Hensley). The musical was also nominated for nine Drama Desk Awards, with Hensley winning as Outstanding Featured Actor in a Musical and Susan Stroman winning for choreography.

[[Ben Brantley]] wrote in ''[[The New York Times]]'': "At its best, which is usually when it's dancing, this resurrection of Rodgers and Hammerstein's epochal show is dewy with an adolescent lustiness, both carnal and naive, exuberant and confused." The review stated that "Anthony Ward's harmoniously curved set, in which the sky seems to stretch into eternity, again pulses with the promise of a land on the verge of transformation."<ref>Brantley, Ben. "This Time, a Beautiful Mornin' With a Dark Side", ''The New York Times'', March 22, 2002, Section E, p. 1</ref> The ''[[New York Daily News]]'' review commented that "Visually, this one is stunning – at times, Anthony Ward's sets have a pastoral, idyllic quality, like Thomas Hart Benton's paintings. At other times, especially in lighting designer David Hersey's lustrous palette, they convey the bleakness of the frontier." The review also stated that the Royal National Theatre "brought it back to us in a way that makes it seem fresh and vital."<ref>Kissel, Howard. [http://www.nydailynews.com/archives/entertainment/2002/03/22/2002-03-22_oh__what_a_beautiful_revival.html "Oh, What a Beautiful Revival of a Pure Prairie Classic"]{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }}. ''New York Daily News'', March 22, 2002</ref> However, ''USA Today'' gave the production a tepid assessment, its reviewer writing that "A cold breeze blows through this beautiful mornin', and that golden haze is never quite bright enough."<ref>Gardner, Elysa. "''Oklahoma!'' revival is just slightly better than OK", ''USA Today'', March 22, 2002, Life Section, p. 1E</ref> The production went on to tour nationally from 2003–2005.<ref>Jones, Kenneth. [http://www.playbill.com/article/networks-tour-of-oklahoma-begins-dec-16-in-denver-travels-into-2004-com-116898 "NETworks Tour of ''Oklahoma!'' Begins Dec. 16 in Denver, Travels Into 2004"], ''Playbill'', December 16, 2003, accessed December 29, 2018; [https://www.rnh.com/show/78/Oklahoma#shows-history "History: ''Oklahoma!'' Timeline"] {{Webarchive|url=https://web.archive.org/web/20181230080757/https://www.rnh.com/show/78/Oklahoma#shows-history |date=December 30, 2018 }}, The Rodgers & Hammerstein Organization, accessed December 29, 2018</ref>

===2019 Broadway revival===
Following a 2015 workshop at [[Bard College]] and a 2018 run at [[Brooklyn]]'s [[St. Ann's Warehouse]], a 75th anniversary staging of ''Oklahoma!'' transferred to Broadway at [[Circle in the Square Theatre]]. The production is directed by [[Daniel Fish]] in an intimate, immersive style, set in a community hall, with chili and cornbread served to the audience at intermission. The production began preview performances on March 19, 2019 and officially opened on April 7 for a limited run through January 19, 2020 (with a national tour set to follow). It stars [[Rebecca Naomi Jones]] as Laurey, [[Damon Daunno]] as Curly, [[Ali Stroker]] as Ado Annie, James Davis as Will Parker, [[Will Brill]] as Ali Hakim, Patrick Vaill as Jud and [[Mary Testa]] as Aunt Eller. The production features choreography by John Heginbotham and new music arrangements by Daniel Kluger, performed by a seven-piece band.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/reimagined-oklahoma-revival-begins-broadway-performances-march-19 "Reimagined ''Oklahoma!'' Revival Begins Broadway Performances March 19"], ''Playbill'', March 19, 2019; Fierberg, Ruthie. [http://www.playbill.com/article/why-broadways-upcoming-oklahoma-is-not-your-grandmas-version-of-the-rodgers-hammerstein-classic "Why Broadway’s Upcoming ''Oklahoma!'' Is Not Your 'Grandma’s Version' of the Rodgers & Hammerstein Classic"], ''Playbill'', March 18, 2019; and McPhee, Ryan. [http://www.playbill.com/article/reimagined-oklahoma-will-transfer-to-broadway "Reimagined Oklahoma! Will Transfer to Broadway"], ''Playbill'', December 11, 2018</ref> The production was nominated for eight [[Tony Award]]s and won [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] and [[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]] for Stroker, making her the first wheelchair user to win a Tony.<ref>{{Cite news| url=https://www.nytimes.com/2019/06/09/theater/ali-stroker-oklahoma-tony-awards.html|title=Ali Stroker Accepts Tony in a Wheelchair, Making History|last=Salam|first=Maya|date=June 9, 2019|work=The New York Times|access-date=June 10, 2019|issn=0362-4331}}</ref><ref>{{Cite web|url=http://www.playbill.com/article/updating-live-the-2019-tony-award-winners|title=Hadestown Leads the Pack at the 2019 Tony Awards|last=McPhee|first=Ryan|date=June 9, 2019|website=Playbill|access-date=June 10, 2019}}</ref>

===Other notable productions===
;Discoveryland
''Oklahoma!'' was presented nightly except Sundays each summer at the Discoveryland amphitheater, an outdoor theatre in [[Sand Springs, Oklahoma]], from 1977 until 2011.<ref>[https://archive.today/20130908002840/http://www.kjrh.com/dpp/news/local_news/discoveryland-to-remain-closed-through-2013-season "Sand Springs' Discoveryland! theater, known for the play ''Oklahoma'', to remain closed through 2013"], KRJH.com, June 19, 2013</ref><ref name=Discoveryland>[http://dland.redrockcustomhomes.com/awards.html "Discoveryland! Honors and Awards"] {{Webarchive|url=https://web.archive.org/web/20100705113521/http://dland.redrockcustomhomes.com/awards.html |date=July 5, 2010 }}, Discoveryland! USA, Inc., accessed July 11, 2010</ref> In 1993, Mary Rodgers (daughter of Richard Rodgers) and William Hammerstein (son of Oscar Hammerstein II) designated Discoveryland the "National Home of Rodgers and Hammerstein's ''Oklahoma!''"<ref name=Discoveryland/>

;2006 Japan
In 2006, ''Oklahoma!'' was performed in Japan by the all-female [[Takarazuka Revue]]. This revival starred Yuu Todoroki, Ai Shirosaki, and Hiromu Kiriya.<ref>[http://www.takarazuka-revue.info/tiki-index.php?page=Oklahoma+%28Moon+2006%29 "''Oklahoma! in 2006 listing] {{Webarchive|url=https://web.archive.org/web/20101203133513/http://takarazuka-revue.info/tiki-index.php?page=Oklahoma%20%28Moon%202006%29 |date=December 3, 2010 }}, Takarazuka-revue.info, accessed May 20, 2010</ref>

;2009 Chichester Theatre Festival
In the summer of 2009, British director [[John Doyle (director)|John Doyle]] directed the musical at the [[Chichester Festival Theatre]]. The production was dark in concept and featured new orchestrations by [[Jonathan Tunick]]. On a spare stage, decorated only with blue sheets, "Confetti of rose petals stains the floor like drops of blood, and a nightmarish dream-dance sequence has Freudian overtones as Laurey's bridal gown becomes her shroud."<ref name=guardian>Gardner, Lyn. [https://www.theguardian.com/stage/2009/jun/27/oklahoma-chichester-festival-theatre-review "'Oklahoma!'Chichester Festival Theatre"]. ''[[The Guardian]]'', June 27, 2009</ref><ref name=telegraph>Cavendish, Dominic. [https://www.telegraph.co.uk/culture/culturecritics/dominiccavendish/5638481/Oklahoma-at-Chichester-review.html "''Oklahoma!'' at Chichester"]. ''The Telegraph'', June 25, 2009, accessed June 7, 2010</ref> It received mixed reviews. ''The Times'' reviewer wrote: "This is a very stylised, overdrilled production, no friend of intimate moments or quiet depth of emotion."<ref>Nightingale, Benedict. [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article6577412.ece "'Oklahoma!' at the Chichester Festival Theatre, West Sussex"]. ''The Times'', June 26, 2009</ref> ''The Guardian'' liked it the most, stating that "it's a delight, with one brilliant tippy-tappy-toed song after another and a nugget of darkness lodged in its sweet heart."<ref name=guardian/> ''Whats On Stage'', like most of the papers, gave the show three out of five stars and wrote that this is a "downbeat vision" and that "all told it's a somewhat disappointing show", but their "average reader rating" was four stars.<ref>Cooter, Maxwell. [http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html "'Oklahoma!'"] {{Webarchive|url=https://web.archive.org/web/20110615170835/http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html |date=June 15, 2011 }} Whatsonstage.com, June 25, 2009</ref> A review in ''[[The Daily Telegraph|The Telegraph]]'' commented, "Doyle uses shadow and silhouette to bring out the musical's nightmarish aspects but doesn't over-labour them. There are enough sunny spots – no more so than in Act 2's rousing title song – to keep the tone evenly textured."<ref name=telegraph/>

;2010 UK tour
The show toured England for nine months in 2010 in a new staging by [[Julian Woolford]], with [[Marti Webb]] as Aunt Eller and [[Mark Evans (actor)|Mark Evans]] as Curly.<ref>Cole, Simon. [http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html "Marti Webb Opens New Tour of ''Oklahoma!''"] {{Webarchive|url=https://web.archive.org/web/20110615165949/http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html |date=June 15, 2011 }} Whatsonstage.com, March 18, 2010</ref>

;2010 Washington, DC Arena Stage
''Oklahoma!'' opened in October 2010 at the [[Arena Stage]] to critical acclaim.<ref name=marks1>Marks, Peter. [https://www.washingtonpost.com/gog/performing-arts/oklahoma,1071268/critic-review.html "A grand new state: You just cain't say no to Arena Stage's 'Oklahoma!'"], ''The Washington Post'', November 6, 2010</ref><ref>See also Billups, Edith. [http://communities.washingtontimes.com/neighborhood/proscenium-view-theater-news-and-reviews/2010/nov/9/oklahoma-arena-stage/ "'Oklahoma!' at the Arena Stage in D.C."], ''Washington Times'', November 9, 2010; Blanchard, Jayne. [http://dctheatrescene.com/2010/11/07/oklahoma/ "'Oklahoma!' Review"], dctheatrescene.com, November 7, 2010; and Jones, Kenneth. [http://www.playbill.com/article/photo-call-arena-stage-opens-its-doors-to-the-world-at-homecoming-with-alumni-stars-com-173068 "Arena Stage Opens Its Doors to the World at Oct. 23 "Homecoming," With Alumni Stars"], Playbill.com, October 23, 2010, accessed August 29, 2017</ref> Artistic Director Molly Smith cast African-American actresses as Laurey and Aunt Eller to mirror both modern Washington, D.C. demographics and the diverse population of the musical's 1906 Oklahoma territory setting.<ref>BWW News Staff. [http://broadwayworld.com/article/Review_Roundup_OKLAHOMA_at_Arena_Stage_20101206 "Review Roundup: 'Oklahoma!' at Arena Stage"]. Broadwayworld.com, December 6, 2010</ref> The production received ten 2011 [[Helen Hayes Award]] nominations, winning as Outstanding Resident Musical (tying with Shakespeare Theatre's ''Candide'') and for choreography (Parker Esse), lead actor (Nicholas Rodriguez as Curly) and musical direction (George Fulginiti-Shakar).<ref>Jones, Kenneth. [http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood "DC's Helen Hayes Winners Include Candide, The Liar, Clybourne Park, Oklahoma!, Thurgood"] {{webarchive|url=https://web.archive.org/web/20110428000030/http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood |date=April 28, 2011 }}, Playbill.com, April 25, 2011</ref> The production returned to the Arena Stage for a second run in 2011.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 "Still Doin' Fine: Arena Stage Revives Its Hit 2010 Oklahoma!, Starting July 8"] {{Webarchive|url=https://web.archive.org/web/20110805073116/http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 |date=August 5, 2011 }}. Playbill.com, July 8, 2011</ref>

;2012, Seattle, Washington, 5th Avenue Theater
The [[5th Avenue Theatre]]'s 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud.<ref name=SGS>Strangeways, Michael. [https://archive.today/20130202033038/http://www.seattlegayscene.com/2012/02/review-oklahoma-at-the-5th-avenue-is-a-bit-problematic.html "''Oklahoma!'' at the 5th Avenue Is a Bit Problematic"], ''Seattle Gay Scene'', February 10, 2012</ref> The choice was intended, as in the Arena Stage production, to reflect the historical presence of African Americans in the Oklahoma territory, but it "has some audience members squirming in their seats ... they're seeing on stage one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman [and] the white hero ... all but urges Jud to hang himself – and even pantomimes the act. Some see a clear reference to lynching."<ref name=Brodeur>Brodeur, Nicole. [http://seattletimes.nwsource.com/html/nicolebrodeur/2017557140_nicole21m.html "''Oklahoma'' seen in a new light"], ''The Seattle Times'', February 20, 2012</ref><ref>Goldstein, David. [http://www.thestranger.com/seattle/racial-profiling/Content?oid=12582804 "Racial Profiling"], ''The Stranger'', February 14, 2012</ref> The "Dream Ballet" had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped. One critic noted the historical "license taken when an African-American farmhand is allowed to escort a white woman to the box dance. ... Maybe some people ... left with not so much a song in their head, but a question in their heart. And isn't that part of what theater is supposed to do?"<ref name=Brodeur/> Another wrote: "Rothstein's ''Oklahoma!'' is now the story of a crazy, sex obsessed black man ... lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial."<ref name=SGS/>

;2015 UK tour
A UK tour ran from February to August 2015, directed by Rachel Kavanaugh and starring Ashley Day as Curly, Charlotte Wakefield as Laurey, [[Belinda Lang]] as Aunt Eller and [[Gary Wilmot]] as Ali Hakim.<ref>Davies, Michael. [http://www.whatsonstage.com/northampton-theatre/reviews/oklahoma-uk-tour_37255.html "''Oklahoma!'' (Tour) – triumphant production warrants its revival"], Whats On Stage, February 26, 2017; and Collins, Stephen. [http://britishtheatre.com/review-oklahoma-lyceum-theatre-sheffield-5stars "''Oklahoma!'' Lyceum Theatre Sheffield"], BritishTheatre.com, July 27, 2015</ref>

===1955 film adaptation===
{{Main|Oklahoma! (1955 film)}}
The 1955 film adaptation starred [[Gordon MacRae]], [[Shirley Jones]] (in her film debut),<ref>Jones had previously performed in a stage production of ''Oklahoma!'' See: [http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes ''Oklahoma!'' from Turner Classic Movies]</ref> [[Rod Steiger]], [[Charlotte Greenwood]], [[Gloria Grahame]], [[Gene Nelson]], [[James Whitmore]] and [[Eddie Albert]]. It was the only musical film directed by [[Fred Zinnemann]],<ref name="Chapin">[[Audio commentary]] by Ted Chapin and Hugh Fordin, [[CinemaScope]] version of film, 2-DVD 50th Anniversary Edition (2005), [[20th Century Fox Home Entertainment]]</ref> and [[Agnes de Mille]] choreographed. It was the first feature film photographed in the [[Todd-AO]] [[70 mm film|70 mm]] [[widescreen]] process.<ref name="TCM">{{cite web|url=http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes |title=''Oklahoma!'' from Turner Classic Movies |publisher=Tcm.com |accessdate=March 7, 2012}}</ref><ref>{{cite web |url=http://www.in70mm.com/todd_ao/magna/index.htm |title=Magna Theatre Corporation |publisher=In70mm.com |accessdate=March 7, 2012 |archive-url=https://web.archive.org/web/20120307090915/http://www.in70mm.com/todd_ao/magna/index.htm |archive-date=March 7, 2012 |url-status=dead |df=mdy-all }}</ref>

Rodgers and Hammerstein personally oversaw the film to prevent the studio from making the changes that were then typical of stage-to-film musical adaptations, such as interpolating new songs by others. The film followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation, although it divided the long first scene into several shorter scenes, changing the locations of several of the songs. For example, "Kansas City" is performed at the train station, where Aunt Eller and other cowboys meet Will Parker just after he returns from Kansas City. Lyrics in the song about a [[burlesque]] stripteaser were slightly changed to pass [[censorship|film censorship]].<ref name="Chapin"/> In a nod to ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', which was the basis of the musical, Jud attempts revenge on Curly and Laurey by burning a haystack they stand on, before Curly jumps down, landing on Jud and causing him to fall on his own knife. The film omits only "It's a Scandal, It's a Outrage" and "Lonely Room".<ref name="TCM" /> The film won [[Academy Awards]] for [[Academy Award for Original Music Score|Best Music, Scoring of a Musical Picture]] and [[Academy Award for Sound|Best Sound, Recording]].<ref name="Oscars1956">{{cite web|url=http://www.oscars.org/oscars/ceremonies/1956 |title=The 28th Academy Awards (1956) Nominees and Winners |accessdate=August 20, 2011|work=oscars.org}}</ref>


==Recordings==
Most of the songs from ''Oklahoma!'' were released on a record album by [[Decca Records]] in 1943 containing six 10-inch double-sided discs in 78 RPM format. It was the first U.S. [[cast album]] featuring the original Broadway cast of a musical. It sold over a million copies, prompting the label to call the cast back into the studio to record three additional selections that had been left out of the first set. These were issued as ''Oklahoma! Volume Two''. In 1949, Decca re-released the first set on LP but not the second set, which soon became a very rare collectors' item. All subsequent LP releases were similarly incomplete. Finally in 2000, Decca Broadway went back to the original glass masters to generate a new high fidelity transfer of the complete song program and released it on CD, utilizing the original 78 album artwork.<ref>{{cite web|url=http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 |title='Decca Broadway – Oklahoma' web page. Accessed May 22, 2010 |publisher=Deccabroadway.com |date=May 16, 2000 |accessdate=March 7, 2012}}</ref>

The success of the original ''Oklahoma!'' cast album set a precedent for the production of [[cast album|original cast recordings]] of Broadway musicals, which became an essential part of a musical's dissemination and endurance in popular culture.<ref>Stempel, p. 311</ref> Later cast recordings of ''Oklahoma!'' include the 1979 Broadway cast recording, the 1980 London cast recording, the 1998 Royal National Theatre cast recording, the 2019 Broadway cast recording, and a [[Oklahoma! (soundtrack)|soundtrack album]] of the [[Oklahoma! (1955 film)|1955 film]]. There have also been more than 20 studio cast recordings of the show, featuring stars such as [[Nelson Eddy]], [[John Raitt]] and [[Florence Henderson]] in the leading roles.<ref>Fick, David. [http://musicalcyberspace.wordpress.com/musicals-l-o/oklahoma/4/ "''Oklahoma!'' Cast Recording Reviews"]. Musical Cyberspace, March 31, 2003, accessed September 26, 2010</ref>

==Reception==
The original production of ''Oklahoma!'' was an unprecedented critical and popular success. John Anderson of the ''[[New York Journal American]]'' pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything".<ref name=Suskin/> In the ''[[New York Herald Tribune]]'', Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended. ... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship."<ref name=Suskin/> Louis Kronenberger of [[PM (newspaper)|''PM'']] opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in ''Oklahoma!'' call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."<ref name=Suskin/>

In the ''[[Daily News (New York)|New York Daily News]]'', [[Burns Mantle]] declared that "''Oklahoma!'' really is different – beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, ''Oklahoma!'' seems to me to be the most thoroughly and attractively American musical comedy since [[Edna Ferber]]'s ''Show Boat''".<ref name=Suskin/> ''[[New York World-Telegram]]'' critic [[Burton Rascoe]] particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights. ... They are spinetingling, out of this world."<ref name=Suskin/> In ''[[The New York Sun]]'', [[Ward Morehouse]] commented that "''Oklahoma!'' is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B."<ref name=Suskin/> Lorenz Hart himself "pushed his way through the crowd at the after-show party in [[Sardi's]] restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."<ref name=Nolan/>

The only negative review of the musical appeared in the ''[[New York Post]]'': The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."<ref name=Suskin/>

==Antecedents and influence==
According to playwright and theatre writer Thomas Hischak, "Not only is 'Oklahoma!' the most important of the Rodgers and Hammerstein musicals, it is also the single most influential work in the American musical theatre. ... It is the first fully integrated musical play and its blending of song, character, plot and even dance would serve as the model for Broadway shows for decades."<ref>Hischak, p. 201</ref> William Zinsser observed that ''Oklahoma!'' broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.<ref>Zinsser, William. ''Easy to Remember:The Great American Songwriters and Their Songs'', David R. Godine Publisher, 2006, {{ISBN|1-56792-325-9}}, p. 180</ref> The show "became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, p. 124.</ref> ''Oklahoma!'' made Rodgers and Hammerstein "the most important contributors to the musical-play form. ... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref>Lubbock, Mark. [http://www.theatrehistory.com/american/musical030.html "American musical theatre: an introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }} excerpted from ''The Complete Book of Light Opera'', London: Putnam, 1962, pp. 753–56</ref>

Theater historian [[Ethan Mordden]] points out that, although ''Oklahoma!'' has been called "the first integrated musical, the first American folk musical", ''[[Show Boat]]'' "got there first on both counts."<ref name=Mordden140>Mordden, Ethan. 'Broadway Babies: The People Who Made the American Musical'', Oxford University Press US, 1988, {{ISBN|0-19-505425-3}}, p. 140</ref> Even earlier, the [[Princess Theatre, New York City|Princess Theatre]] musicals, following [[Gilbert and Sullivan]] and French ''[[opéra bouffe]]'', began the reintegration of song and story after decades of thinly plotted British and American musicals, paving the way for ''Show Boat'' and ''Oklahoma!'' by showing that a musical could combine popular entertainment with continuity between its story and songs.<ref>Jones 2003, pp. 10–11</ref> These Princess Theatre shows, which featured modern American settings, "built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. [[Jerome Kern|Kern's]] exquisitely flowing melodies were employed to further the action or develop characterization."<ref>Bordman, Gerald and Thomas Hischak, eds. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t149.e1700 "Kern, Jerome (David)"]. ''The Oxford Companion to American Theatre'', third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref><ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/1910bway.htm ''History of The Musical Stage 1910–1919: Part I''], accessed May 11, 2010</ref> Mordden also notes that ''Oklahoma!'' was called the first great dance musical, but other musicals had earlier focused on dance, among them ''[[Gay Divorce]]'' and ''[[On Your Toes]]''. He concludes: "But ''Oklahoma!'' was the first American musical with an ethnic sound, words and music entirely in the folk idiom."<ref name=Mordden140/>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1944
| [[Pulitzer Prize]]<ref>[http://www.pulitzer.org/prize-winners-by-year/1944 "1944 Pulitzer Prizes"], Pulitzer.org, retrieved January 7, 2018</ref>
| [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Awards and Citations]]
| [[Richard Rodgers]] and [[Oscar Hammerstein II]]
| {{won}}
|-
| align="center"|1947
| colspan=2|[[Theatre World Award]]
| Dorothea Macfarland
| {{won}}
|-
| align="center"|1993
| [[Tony Award]]
| colspan=2|[[Special Tony Award]] (50th anniversary)
| {{won}}
|}

===1979 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=5 align="center"|1980
| rowspan=2|[[Tony Award]]
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christine Andreas]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Harry Groener]]
| {{nom}}
|-
| rowspan=2|[[Drama Desk Award]]
| rowspan=2|[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Martin Vidnovic]]
| {{nom}}
|-
| rowspan=2|[[Harry Groener]]
| {{nom}}
|-
| colspan=2|[[Theatre World Award]]
| {{won}}
|}

===1980 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=2 align="center"|1980
| rowspan=2|[[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Actor of the Year in a Musical]]
| [[John Diedrich]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Newcomer in a Play|Most Promising Newcomer of the Year in Theatre]]
| [[Alfred Molina]]
| {{nom}}
|}

===1998 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1998
| [[Critics' Circle Theatre Award]]
| colspan="2"|Best Musical
| {{won}}
|-
| rowspan="8" align="center"|1999
| rowspan="8"|[[Laurence Olivier Award]]
| colspan="2"|[[Laurence Olivier Award for Best Musical Revival|Outstanding Musical Production]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Hugh Jackman]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Supporting Performance in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Director|Best Director]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Set Designer|Best Set Designer]]
| [[Anthony Ward]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Lighting Design|Best Lighting Designer]]
| [[David Hersey]]
| {{nom}}
|}

===2002 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="17" align="center"| 2002
| rowspan="7"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Susan Stroman]]
| {{nom}}
|-
| [[Tony Award for Best Lighting Design|Best Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| rowspan="9"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| rowspan="2"| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| Justin Bohon
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Anthony Ward]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lighting Design|Outstanding Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| colspan="2"|[[Theatre World Award]]
| Justin Bohon
| {{won}}
|}

=== 2019 Broadway revival ===
{| class="wikitable" width="95%"
|-
! width="5%" | Year
! width="25%" | Award ceremony
! width="40%" | Category
! width="20%" | Nominee
! width="10%" | Result
|-
| rowspan="28" align="center" |2019
| rowspan="8" |[[Tony Award]]
| colspan="2" |[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
|[[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
|[[Damon Daunno]]
| {{nom}}
|-
| rowspan="2" |[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Ali Stroker]]
| {{won}}
|-
|[[Mary Testa]]
| {{nom}}
|-
|[[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
|[[Daniel Fish]]
| {{nom}}
|-
|[[Tony Award for Best Scenic Design in a Musical|Best Scenic Design in a Musical]]
|[[Laura Jellinek]]
| {{nom}}
|-
|[[Tony Award for Best Sound Design of a Musical|Best Sound Design of a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Tony Award for Best Orchestrations|Best Orchestrations]]
|[[Daniel Kluger]]
| {{nom}}
|-
| rowspan="12" |[[Drama Desk Award]]
| colspan="2" |[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|Damon Daunno
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
|[[Rebecca Naomi Jones]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
|Patrick Vaill
| {{nom}}
|-
| rowspan="2" |[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|Ali Stroker
| {{won}}
|-
|Mary Testa
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|Daniel Fish
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Scenic Design of a Musical|Outstanding Scenic Design of a Musical]]
|Laura Jellinek
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design for a Musical]]
|Scott Zielinski
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design in a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
|Daniel Kluger
| {{won}}
|-
|[[Drama Desk Award for Outstanding Projection Design|Outstanding Projection Design]]
|Joshua Thorson
| {{nom}}
|-
| rowspan="2" |[[Drama League Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Distinguished Performance
| Ali Stroker
| {{nom}}
|-
| rowspan="6" |[[Outer Critics Circle Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actor in a Musical
| Damon Daunno
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| Ali Stroker
| {{nom}}
|-
| Outstanding Director of a Musical
| Daniel Fish
| {{nom}}
|-
| Outstanding Orchestrations
| Daniel Kluger
| {{win}}
|-
| Outstanding Sound Design
| Drew Levy
| {{nom}}
|-
| align="center" |2020
|[[Grammy Award]]
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
|[[Damon Daunno]], [[Rebecca Naomi Jones]], [[Ali Stroker]], [[Mary Testa]] & Patrick Vaill (principal soloists); [[Daniel Kluger]] & Dean Sharenow (producers); [[Richard Rodgers]] (composer); [[Oscar Hammerstein II]] (lyricist)
|{{nom}}
|}

==In popular culture==
{{Refimprove section|date=July 2017}}
''Oklahoma!'' has frequently been quoted or parodied in films, television and other media. The following list includes some of the more notable references.

'''Films'''
* The songs "Oh What a Beautiful Mornin'" and "Oklahoma!" were spoofed in the animated film ''[[South Park: Bigger, Longer & Uncut]]''. One of the spoofs is the song "Uncle Fucka", which parodies the spelled-out O-K-L-A-H-O-M-A of the musical's title song.<ref>Pahle, Rebecca. [http://mentalfloss.com/article/501819/10-best-animated-movies-all-time "The 10 Best Animated Movies of All Time"], MentalFloss.com, June 13, 2017</ref><ref>{{cite magazine| url=http://entertainment.time.com/2011/06/23/the-25-all-time-best-animated-films/slide/south-park-bigger-longer-uncut-1999|title=''South Park: Bigger, Longer & Uncut: The 25 All-TIME Best Animated Films''|author=Richard Corliss|date=June 21, 2011|magazine=[[Time (magazine)|Time]]|accessdate=July 4, 2017}}</ref> A similar spoof is heard in the musical ''[[Curtains (musical)|Curtains]]'', concerning the title song of the ''Oklahoma!''-like musical performed within the show.
* In the film ''[[When Harry Met Sally...]]'', Harry and Sally sing a [[karaoke]] version of "Surrey With the Fringe on Top".<ref>Eastwood, Joel. [https://www.thestar.com/entertainment/movies/2014/07/19/when_harry_met_sally_turns_25_how_does_it_hold_up.html "''When Harry Met Sally'' turns 25: How does it hold up?"], ''[[Toronto Star]]'', July 19, 2014, accessed July 4, 2017</ref>
* In the film ''[[Twister (1996 film)|Twister]]'', Beltzer is heard singing the song "Oklahoma!" when he is introduced.
* In the film ''[[Dave (film)|Dave]]'', the title character sings the song "Oklahoma!"
* In the film ''[[I Can Only Imagine (film)|I Can Only Imagine]]'', [[Bart Millard]] performs "Oklahoma!" for his school play. Meanwhile, at a diner, his father blacks out and was sent to a hospital.

'''Television'''
* In ''[[The Simpsons]]'' episode "[[Milhouse of Sand and Fog]]", the character Milhouse imagines himself and Bart singing "[[The Farmer and the Cowman]]". Another episode, "[[I'm Just a Girl Who Can't Say D'oh]]", begins with Llewellyn Sinclair directing a production of ''Oklahoma!'' with Marge as Ado Annie. Llewellyn becomes frustrated every time Marge tells him no, since Ado Annie "cain't say no".<ref>Sokol, Tony. [https://www.denofgeek.com/us/tv/the-simpsons/280340/the-simpsons-season-30-episode-20-review-im-just-a-girl-who-cant-say-doh "The Simpsons Season 30 Episode 20 Review: I'm Just a Girl Who Can't Say D'oh"], ''Den of Geek'', April 8, 2019</ref>
* ''[[Sesame Street]]'' featured Kermit the Frog as a director making the film "Oklahoma" and Forgetful Jones singing the title song from "Oklahoma!" but forgetting how it begins, trying "Aaaaaa-klahoma", "Eeeeee-klahoma" and "Iiiiii-klahoma". Furthermore, [[Ray Charles]] performed "Oh, What a Beautiful Mornin'" on Sesame Street in 1977 and Oscar the grouch a few times sang to himself "Oh what a rotten old morning/Oh what a rotten old day".
* On episode 317 of ''[[The Muppet Show]]'', [[Fozzie Bear]], dressed as a cowboy, begins to sing "Oklahoma", but large Muppets dressed as [[Samurai]] warriors turn the number into a parody called "Yokohama".
* ''[[Tiny Toon Adventures]]'' did a spoof of the musical called "Ducklahoma", which heavily featured anvils.
* In an episode of ''[[3rd Rock from the Sun]]'' ([[3rd Rock from the Sun (season 1)|Frozen Dick]]), [[Dick Solomon|Dick]] sings a rendition of "Oklahoma!" in a diner, sparking the patrons in the diner to sing along with him.
* In the ''[[Fawlty Towers]]'' episode "[[Gourmet Night]]", Polly serenades the guests with a rendition of "[[I Cain't Say No]]".
* In episode 9 of ''[[Band of Brothers (TV miniseries)|Band of Brothers]]'', "Why We Fight" (2001), Captain Nixon mentions that ''Oklahoma!'' was still on Broadway, causing the soldiers to break out in song.
* On an episode of ''[[Friends]]'', "The One Where Emma Cries", Chandler accidentally accepts a job in [[Tulsa]], and his wife Monica says that she does not want to move to Oklahoma or see the musical ''Oklahoma!'' Chandler responds by listing the songs from the musical, and Monica asks whether he is telling her that he got a job in Oklahoma or that he is gay.

'''Other media'''
* In the mid-1940s, radio comedian [[Fred Allen]] wrote and performed parody lyrics to the tune of "Surrey With the Fringe on Top": "Union Suit with the Hinge on the Back." The parody was repeated on subsequent programs.
* The title song became the official [[state song]] of [[Oklahoma]] in 1953. (Oklahoma became a state on November 16, 1907.)
*In the song "Oklahoma, U.S.A." by [[The Kinks]], on their album [[Muswell Hillbillies]], the protagonist dreams of "riding in the surrey with the fringe on top".
* In [[Truman Capote]]'s 1958 novella ''[[Breakfast at Tiffany's (novella)|Breakfast at Tiffany's]]'', [[Holly Golightly (character)|Holly Golightly]] sings music from ''Oklahoma!'' while accompanying herself on her guitar.{{page needed|date=April 2013}}
* In the [[web series]] ''Musical Hell'', host Diva lists "Lonely Room" as her favorite villain song from a stage or film musical.

==See also==
*[[Sheep Wars]]

==Notes==
{{Reflist}}

==References==
*Carter, Tim. ''Oklahoma!: the making of an American musical''. Yale University Press, 2007, {{ISBN|0-300-10619-X}}
*Everett, William A. and Paul R. Laird. ''The Cambridge Companion to the Musical'', [[Cambridge University Press]], 2002, {{ISBN|0-521-79189-8}}
*Hischak, Thomas S. ''The Rodgers and Hammerstein Encyclopedia''. Greenwood Publishing Group, 2007, {{ISBN|0-313-34140-0}}
*Jones, John B. [https://books.google.com/books?id=WqQH31qkYNoC ''Our Musicals, Ourselves'']. Hanover: University Press of New England, 2003 {{ISBN|978-1-58465-311-0}}
*Kantor, Michael and Maslon, Laurence. ''Broadway: The American Musical''. New York: Bullfinch Press, 2004. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers and Hammerstein''. New York: Applause Books, 2002, {{ISBN|1-55783-473-3}}
*Stempel, Larry. ''Showtime: A History of the Broadway Musical Theater''. New York: [[W.W. Norton & Company]], 2010, {{ISBN|0-393-06715-7}}

==Further reading==
*Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
*Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
*Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
*Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
*Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.

==External links==
{{Wikiquote}}
* {{ibdb show|id=6697|title=Oklahoma!}}
* [http://www.theatrehistory.com/american/musical014.html Information from the Theatre History website]
* [http://www.rnh.com/show/78/Oklahoma%21 RNH Theatricals site]
* [http://www.guidetomusicaltheatre.com/shows_o/oklahoma.htm Plot and production information, guidetomusicaltheatre.com ]
* [http://www.musicalheaven.com/Detailed/217.html Information from the Musical Heaven website]
* [https://www.pbs.org/wnet/gperf/shows/oklahoma/oklahoma.html PBS article on ''Oklahoma!'']
* [https://www.loc.gov/rr/record/nrpb/registry/essays/OKLAHOMA!.pdf Library of Congress essay] on original cast recording on the [[National Recording Registry]].
* [http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 ''Decca Broadway – Oklahoma!'' web page with CD extracts]

{{Rodgers and Hammerstein}}
{{Oklahoma!}}
{{Navboxes
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[[Category:Oklahoma!| ]]
[[Category:Fiction set in 1906]]
[[Category:1943 musicals]]
[[Category:Broadway musicals]]
[[Category:Laurence Olivier Award-winning musicals]]
[[Category:West End musicals]]
[[Category:Musicals based on plays]]
[[Category:Western (genre) plays]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Pulitzer Prize-winning works]]
[[Category:Plays set in Oklahoma]]
[[Category:United States National Recording Registry recordings]]
[[Category:Plays set in the United States]]
[[Category:Tony Award-winning musicals]]

Oklahoma!

2020-04-03T21:58:17Z

JohnAnkerBow: Instrumentation Added

{{short description|1943 musical}}
{{about||the film adaptation|Oklahoma! (1955 film)|other uses|Oklahoma (disambiguation)}}
{{Use mdy dates|date=June 2012}}
{{Infobox musical
| name = Oklahoma!
| image = Musical1943-Oklahoma!-OriginalPoster.jpg
| image_size = 210px
| caption = Original Broadway poster (1943)
| music = [[Richard Rodgers]]
| lyrics= [[Oscar Hammerstein II]]
| book = Oscar Hammerstein II
| basis = ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'' by [[Lynn Riggs]]
| productions = 1943 Broadway 1947 West End 1951 Broadway [[revival (theatre)|revival]] 1955 [[Oklahoma! (1955 film)|Film]] 1979 Broadway revival 1980 West End revival 1998 West End revival 2002 Broadway revival 2003 US Tour 2010 UK Tour 2015 UK Tour 2019 Broadway revival

| awards = 1944 special [[Pulitzer Prize]] 1993 [[Special Tony Award]] (50th Anniversary) 1999 [[Laurence Olivier Award for Best Musical Revival|Olivier Award for Best Musical Revival]] 2019 [[Tony Award for Best Revival of a Musical]]
}}
'''''Oklahoma!''''' is the first [[musical theater|musical]] written by the team of [[Rodgers and Hammerstein|composer Richard Rodgers and librettist Oscar Hammerstein II]]. The musical is based on [[Lynn Riggs]]' 1931 play, ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]''. Set in farm country outside the town of [[Claremore, Oklahoma|Claremore]], [[Indian Territory]], in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

The original [[Broadway theatre|Broadway]] production opened on March 31, 1943. It was a box-office smash and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an [[Academy Awards|Oscar]]-winning 1955 [[Oklahoma! (1955 film)|film adaptation]]. It has long been a popular choice for school and community productions.<ref>''[[Time (magazine)|Time]]'' magazine reported in its [http://www.time.com/time/arts/article/0,8599,1807032,00.html May 26, 2008 issue], p. 51, that ''Oklahoma!'' tied (with ''[[Bye Bye Birdie (musical)|Bye Bye Birdie]]'') as the eighth most frequently produced musical by U.S. high schools in 2007.</ref> Rodgers and Hammerstein won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]] for ''Oklahoma!'' in 1944.

This musical, building on the innovations of the earlier ''[[Show Boat]]'', epitomized the development of the "[[book musical]]", a musical play where the songs and dances are fully integrated into a well-made story with serious dramatic goals that are able to evoke genuine emotions other than laughter.<ref>Everett, p. 137, chapter by Riis, Thomas L., with Ann Sears and Everett</ref> In addition, ''Oklahoma!'' features musical themes, or [[Motif (music)|motifs]], that recur throughout the work to connect the music and story.<ref>Wilk, Max. ''OK! The Story of Oklahoma!: A Celebration of America's Most Beloved Musical''. Rev. ed. New York: Applause Books, 2002. {{ISBN|1-55783-555-1}}</ref>{{Page needed|date=February 2012}}<ref name=Swain>Swain, Joseph P. ''The Broadway Musical: A Critical and Musical Survey''. Scarecrow Press, Inc., 2002, pp. 103–06</ref> A fifteen-minute "dream ballet" reflects Laurey's struggle with her feelings about two men, Curly and Jud.

==Background==
By the early 1940s, Rodgers and Hammerstein were each well known for creating [[Broadway theatre|Broadway]] hits with other collaborators. Rodgers, with [[Lorenz Hart]], had produced over two dozen musicals since the 1920s, including such popular successes as ''[[Babes in Arms]]'' (1937), ''[[The Boys from Syracuse]]'' (1938) and ''[[Pal Joey (musical)|Pal Joey]]'' (1940).<ref>Secrest, pp. 403–04</ref> Among other successes, Hammerstein had written the words for ''[[Rose-Marie]]'' (1924), ''[[The Desert Song]]'' (1926), ''[[The New Moon]]'' (1927) and ''[[Show Boat]]'' (1927). Though less productive in the 1930s, he wrote musicals, songs and films, sharing an [[Academy Award]] for his song with [[Jerome Kern]], "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", which was included in the 1941 film ''[[Lady Be Good (1941 film)|Lady Be Good]]''.<ref>[http://www.songwritershalloffame.org/exhibits/C13 “Oscar Hammerstein II”] {{Webarchive|url=https://web.archive.org/web/20101217193407/http://www.songwritershalloffame.org/exhibits/C13 |date=December 17, 2010 }}. Songwriters Hall of Fame, accessed December 22, 2010</ref> By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.<ref>Layne, Joslyn. [{{Allmusic|class=artist|id=p84807|pure_url=yes}} Lorenz Hart Biography], Allmusic, accessed December 22, 2010</ref>

===Conception===
In 1931, the [[Theatre Guild]] produced [[Lynn Riggs]]'s ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', a play about settlers in [[Oklahoma]]'s Indian Territory. Though the play was not successful, ten years later in 1941, [[Theresa Helburn]], one of the Guild's producers, saw a summer-stock production supplemented with traditional [[folk song]]s and [[square dance]]s and decided the play could be the basis of a musical that might revive the struggling Guild. She contacted [[Richard Rodgers]] and [[Lorenz Hart]], whose first successful [[Rodgers and Hart|collaboration]], ''[[The Garrick Gaieties]]'', had been produced by the Theatre Guild in 1925. Rodgers wanted to work on the project and obtained the rights for himself and Hart. Rodgers had asked [[Oscar Hammerstein II]] to collaborate with him and Hart. During the tryouts of Rodgers and Hart's ''[[By Jupiter]]'' in 1941, Hammerstein had assured Rodgers that if Hart was ever unable to work, he would be willing to take his place.<ref name=Nolan>Nolan, pp. 1–25.</ref> Coincidentally in 1942, Hammerstein had thought of musicalizing ''Green Grow the Lilacs'', but when he had approached [[Jerome Kern]] about it, the latter declined. Hammerstein learned that Rodgers was seeking someone to write the book, and he eagerly took the opportunity. Hart lost interest in the musical; he preferred contemporary, urbane shows that would showcase his witty lyric writing, and he found the farmers and cowhands in ''Green Grow the Lilacs'' corny and uninspiring. Moreover, spiraling downward, consumed by his longstanding alcoholism, Hart no longer felt like writing. He embarked on a vacation to Mexico, advising Rodgers that Hammerstein would be a good choice of a new collaborator.<ref name=Kantor>Kantor and Malson, pp. 196–202</ref><ref name=Heritage/>

This partnership allowed both Rodgers and Hammerstein to follow their preferred writing methods: Hammerstein preferred to write a complete lyric before it was set to music, and Rodgers preferred to set completed lyrics to music. In Rodgers' previous collaborations with Hart, Rodgers had always written the music first, since the unfocused Hart needed something on which to base his lyrics. Hammerstein's previous collaborators included composers [[Rudolf Friml]], [[Herbert Stothart]], [[Vincent Youmans]], and Kern, who all wrote music first, for which Hammerstein then wrote lyrics. The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it.<ref name=Nolan/> As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, ''Green Grow the Lilacs'', not by musical comedy conventions.<ref name=Kantor/> Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.<ref name=Kenrick2>Kenrick, John. [http://www.musicals101.com/1940bway2.htm "History of the Musical Stage, 1940s Part II: Oklahoma, OK!"] Musicals101.com, accessed October 11, 2011</ref>

===Casting and development===
Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though [[Theresa Helburn]], codirector of the Theatre Guild, suggested [[Shirley Temple]] as Laurey and [[Groucho Marx]] as Ali Hakim, Rodgers and Hammerstein, with director [[Rouben Mamoulian|Rouben Mamoulian's]] support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.<ref name=Nolan/> The production was choreographed by [[Agnes de Mille]] (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the [[dream ballet]]) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.<ref name=Kenrick2/>

The first title given to the work was ''Away We Go!'' which opened for out-of-town-tryouts in [[New Haven, Connecticut|New Haven]]'s [[Shubert Theatre (New Haven)|Shubert Theatre]] on March 11, 1943.<ref>[http://www.capa.com/newhaven/venues/shubert_history.php Information on the tryout from Capa.com] {{webarchive|url=https://web.archive.org/web/20080511195305/http://www.capa.com/newhaven/venues/shubert_history.php |date=May 11, 2008 }}</ref> Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer [[Mike Todd]] walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance."<ref name=Heritage>[[John Steele Gordon|Gordon, John Steele]]. [http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml ''Oklahoma'!'] {{webarchive|url=https://web.archive.org/web/20100804175330/http://www.americanheritage.com/articles/magazine/ah/1993/1/1993_1_58.shtml |date=August 4, 2010 }}, accessed June 13, 2010</ref> But Rodgers and Hammerstein were confident. The New Haven and [[Boston]] audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping [[Number (music)|musical number]], "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" and the decision to retitle the musical after that number.<ref>[[Helene Hanff|Hanff, Helene]]. [http://thingsthatmadeanimpression.wordpress.com/2013/06/16/excerpt-from-underfoot-in-show-business-by-helene-hanff-away-we-go/ "Excerpt ... ''Away We Go''"], ''Underfoot in Show Business'', Harper and Row, 1962. {{ISBN|0-316-34319-6}}</ref>

Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a [[Pulitzer Prize Special Citations and Awards|special Pulitzer Prize]].<ref>[https://www.pulitzer.org/winners/richard-rodgers-and-oscar-hammerstein-ii "Richard Rodgers and Oscar Hammerstein II for ''Oklahoma!''"], Pulitzer.org, 1944, accessed November 16, 2019</ref> [[Brooks Atkinson]] wrote in ''[[The New York Times]]'' that the show's opening number, "[[Oh, What a Beautiful Mornin']]" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable."<ref name=Heritage/> The ''[[New York Post]]'' was the only major paper to give ''Oklahoma!'' a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike.<ref>Lewis, David H., ''Broadway musicals: A Hundred Year History'', 2002, McFarland & Company, p. 35</ref> The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.<ref name=Heritage/>

==Plot==


=== Act I ===
In Oklahoma Territory, in 1906, cowboy Curly McLain looks forward to the beautiful day ahead as he wanders into farm girl Laurey Williams's yard ("[[Oh, What a Beautiful Mornin']]"). He and Laurey tease each other, while her Aunt Eller looks on. There will be a [[box social]] dance that night, which includes an auction of lunch baskets prepared by the local women to raise funds for a schoolhouse. The man who wins each basket will eat lunch with the lady who prepared it. Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. He attempts to persuade her by telling her that he will take her in the finest carriage money can buy ("[[The Surrey with the Fringe on Top]]"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a rig.

The lonely, disturbed farm hand Jud Fry has become obsessed with Laurey and asks her to the dance. She accepts to spite Curly, although she is afraid of Jud. Meanwhile, cowboy Will Parker returns bedazzled and souvenir-laden from a trip to modern [[Kansas City, Missouri|Kansas City]] ("[[Kansas City (Oklahoma!)|Kansas City]]"). He won $50 (${{Inflation|US|50|1906|r=-2|fmt=c}} today) at the fair, which, according to his girlfriend Ado Annie's father, Andrew Carnes, is the money he needs to marry Ado Annie. Unfortunately, he spent all the money on gifts for her. Will also purchased a "Little Wonder" (a metal tube used for looking at pictures, but with a hidden blade inside) for Ado Annie's father, unaware of its deadly secret. Later, Ado Annie confesses to Laurey that while Will has been away, she has been spending a lot of time with Ali Hakim, a [[Persia]]n peddler. Laurey tells her she'll have to choose between them, but Ado Annie insists she loves them both ("[[I Cain't Say No]]"). Laurey and her friends prepare for the social, while Gertie Cummings flirts with Curly (her obnoxious laugh floating in to taunt Laurey). Laurey tells her friends that she doesn't really care about Curly ("[[Many a New Day]]").

Andrew Carnes discovers Annie with Ali Hakim. After questioning Ado Annie about their relationship, he forces Hakim at gunpoint to agree to marry her. Hakim and the other men lament the unfairness of the situation ("[[It's a Scandal! It's a Outrage!]]"). Curly discovers that Laurey is going to the box social with Jud and tries to convince her to go with him instead. Afraid to tell Jud she won't go with him, Laurey tries to convince Curly (and herself) that she does not love him ("[[People Will Say We're in Love]]"). Hurt by her refusal, Curly goes to the smokehouse where Jud lives to talk with him. Curly suggests that since Jud does not feel appreciated, he could hang himself, and everyone would realize how much they care about him ("Pore Jud Is Daid"). Their talk turns into an ominous confrontation about Laurey. After Curly leaves, Jud's resolve to win Laurey becomes even stronger, and he vows to make her his bride ("[[Lonely Room]]").

Confused by her feelings for Curly and her fear of Jud, Laurey purchases a "magic potion" (referred to as [[smelling salts]], but actually [[laudanum]]) from Ali Hakim, which the unscrupulous peddler guarantees will reveal her true love. She muses on leaving her dreams of love behind and joining the man she loves ("Out of My Dreams"), then falls asleep under the influence of the opiate ("Dream Sequence"). In an extended dream ballet sequence, Laurey first dreams of what marriage to Curly would be like. Her dream takes a nightmarish turn when Jud appears and kills Curly. She cannot escape him, confused by her desires. The dream makes her realize that Curly is the right man for her, but it is too late to change her mind about going to the dance with Jud; he has come for her, and they leave for the box social.

===Act II===
At the social, during an upbeat [[square dance]] ("The Farmer and the Cowman"), the [[Range war|rivalry between the local farmers and cowboys]] over fences and water rights has led to fighting, which Aunt Eller ends by firing a gun to silence everyone.<ref>Carter, Tim. [https://books.google.com/books?id=Wn_RDxA6wxAC&pg=PA198&dq=Oklahoma+%22Aunt+Eller%22&hl=en#v=onepage&q=Oklahoma%20%22Aunt%20Eller%22&f=true "Reading Oklahoma!"] ''Oklahoma!: The Making of an American Musical'', Yale University Press, 2007, {{ISBN|0-300-10619-X}}, p. 177</ref> Laurey is upset when she sees Curly at the dance with Gertie. In an effort to rid himself of Ado Annie, Ali Hakim buys Will's souvenirs from Kansas City for $50. Jud also contributes to this by purchasing Will's Little Wonder, knowing of the blade concealed within it. The auction starts and Will bids $50 on Ado Annie's basket, not realizing that without the $50, he would no longer have the money her father insisted he needs to "purchase" marriage with her. Desperate to be rid of Ado Annie, the peddler bids $51 to get the basket so that Will can approach Andrew Carnes with the $50 and claim Ado Annie as his bride. The auction becomes much more serious when Laurey's basket comes up for auction. Jud has saved all his money so he can win Laurey's basket. Various men bid, trying to protect Laurey, but Jud outbids them all. Curly and Jud engage in a ferocious bidding war, and Curly sells his saddle, his horse, and even his gun to raise money. Curly outbids Jud and wins the basket. Jud discreetly tries to kill Curly with the Little Wonder, but his plan is foiled when Aunt Eller (knowing what is happening) loudly asks Curly for a dance. Later that night, Will and Annie work out their differences, as she reluctantly agrees not to flirt with other men ("[[All Er Nuthin']]").

Jud confronts Laurey about his feelings for her. When she admits that she does not return them, he threatens her. She then fires him as her farmhand, screaming at him to get off her property. Jud furiously threatens Laurey before he departs; Laurey bursts into tears and calls for Curly. She tells him that she has fired Jud and is frightened by what Jud might do now. Curly, seeing that she has turned to him for guidance and safety, reassures her and proposes to her, and she accepts ("People Will Say We're In Love (Reprise)"). He then realizes that he must now become a farmer. Afterward, Ali Hakim decides to leave the territory and bids Ado Annie goodbye after telling her Will is the man she should marry.

Three weeks later, Laurey and Curly are married and everyone rejoices in celebration of the territory's impending statehood ("[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]"). During the celebration, Ali Hakim returns with his new wife, Gertie, whom he unwillingly married after being [[Forced marriage#Shotgun wedding|threatened by her father]] with a shotgun. A drunken Jud reappears, harasses Laurey by kissing her and punches Curly, and they begin a fistfight. Jud attacks Curly with a knife and Curly dodges, causing Jud to fall on his own knife. Jud soon dies. The wedding guests hold a makeshift trial for Curly, at Aunt Eller's urging, as the couple is due to leave for their honeymoon. The judge, Andrew Carnes, declares the verdict: "not guilty!" Curly and Laurey depart on their honeymoon in the [[Surrey (carriage)|surrey]] with the fringe on top ("Finale Ultimo").

==Principal roles and notable performers==

{|class="wikitable"
|-
! style="width:100px;"|Character
! style="width:300px;"|Description
! style="width:400px;"|Notable stage performers in major market productions
|-
|Curly McLain ||A cowboy in love with Laurey ||[[Alfred Drake]]°, [[Harry Stockwell]]°, [[John Raitt]], [[Howard Keel]], [[Ridge Bond]], [[Hugh Jackman]], [[Patrick Wilson (American actor)|Patrick Wilson]], [[Laurence Guittard]], [[Damon Daunno]]
|-
|Laurey Williams ||Aunt Eller's niece, an independent young woman||[[Joan Roberts]]°, [[Betty Jane Watson]], [[Christine Andreas]], [[Leila Benn Harris]], [[Josefina Gabrielle]], [[Florence Henderson]], [[Lucy Durack]], [[Rebecca Naomi Jones]]
|-
|Jud Fry ||A hired hand on Aunt Eller's ranch, a mysterious and dangerous loner ||[[Howard Da Silva]]°, [[Shuler Hensley]], [[Alfred Molina]]
|-
|Aunt Eller ||Laurey's aunt, a respected community leader ||[[Betty Garde]]°, [[Mary Wickes]], [[Andrea Martin]], [[Patty Duke]], [[Margaret Hamilton (actress)|Margaret Hamilton]], [[Maureen Lipman]], [[Louise Plowright]], [[Mary Testa]]
|-
|Ado Annie Carnes ||A flirtatious, gullible young woman ||[[Celeste Holm]]°, [[Shelley Winters]], [[Barbara Cook]], [[Christine Ebersole]], [[Jessica Boevers]], [[Amanda Harrison]], [[Ali Stroker]]
|-
|Will Parker ||A simple young man in love with Ado Annie||[[Lee Dixon (actor)|Lee Dixon]]°, [[Harry Groener]]
|-
|Andrew Carnes ||Ado Annie's father, eager to have her marry ||Ralph Riggs°
|-
|Ali Hakim ||A Persian peddler, enamored of Ado Annie ||[[Joseph Buloff]]°, [[Eddie Albert]], [[Peter Polycarpou]], [[Bruce Adler]], [[Jamie Farr]], [[Aasif Mandvi]], [[Will Brill]]
|-
|Gertie Cummings ||A local farm girl, fond of Curly, marries Ali Hakim|| [[Jane Lawrence]]°, [[Pamela Britton]]
|-
|Dream Curly ||Curly in the dream sequence|| [[Marc Platt (dancer)|Marc Platt]]°
|-
|Dream Laurey ||Laurey in the dream sequence|| [[Katharine Sergava]]°
|}

° denotes original Broadway cast

==Musical numbers==
{{col-begin}}
{{col-2}}
;Act I
* Overture – Orchestra
* "[[Oh, What a Beautiful Mornin']]" – Curly
* Laurey's Entrance – Laurey & Curly
* "[[The Surrey with the Fringe on Top]]" – Curly, Laurey, & Aunt Eller
* "[[Kansas City (Oklahoma!)|Kansas City]]" – Will Parker, Aunt Eller, Male Ensemble
* "[[I Cain't Say No]]" – Ado Annie
* Entrance of Ensemble ("I Cain't Say No" and "Oh What a Beautiful Mornin'") – Will, Ado Annie, Curly, Aunt Eller & Ensemble
* "[[Many a New Day]]" – Laurey and Female Ensemble
* "[[It's a Scandal! It's a Outrage!]]" – Ali Hakim & Ensemble
* "[[People Will Say We're in Love]]" – Curly & Laurey
* "Pore Jud Is Daid" – Curly & Jud
* "[[Lonely Room]]" – Jud
* "Out of My Dreams"/"Dream Ballet" – Laurey & Dream Figures
{{col-break}}
;Act II
* Entr'acte – Orchestra
* "[[The Farmer and the Cowman]]" – Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ike Skidmore, Cord Elam & Ensemble
* "[[All Er Nuthin']]" – Will & Ado Annie
* "People Will Say We're in Love" (Reprise) – Curly & Laurey
* "[[Oklahoma (Rodgers and Hammerstein song)|Oklahoma]]" – Curly, Laurey, Aunt Eller, Ike Skidmore, Cord Elam, Fred, Andrew Carnes & Ensemble
* Finale Ultimo ("Oh What a Beautiful Mornin'" and "People Will Say We're in Love") – Company
{{col-end}}

==Instrumentation==
The standard orchestral instrumentation for the show is as follows:<ref>{{cite web |title=Oklahoma! |url=https://www.concordtheatricals.com/p/44839/oklahoma |website=Playbill Vault |publisher=ConcordTheatricals |accessdate=03 April 2020}}</ref>

Flute, Oboe, Bassoon, Clarinet 1, Clarinet 2, French Horn 1, French Horn 2, Trumpet 1, Trumpet 2, Trumpet 3, Trombone 1, Trombone 2, Violin 1, Violin 2, Viola, Cello, Bass, Percussion, Guitar, Harp & String Synth (optional)

==Production history==
===Original Broadway===
The original Broadway production opened on March 31, 1943 at the [[St. James Theatre]] in New York City. It was directed by [[Rouben Mamoulian]] and choreographed by [[Agnes de Mille]]. It starred [[Alfred Drake]] (Curly), [[Joan Roberts]] (Laurey), [[Celeste Holm]] (Ado Annie), [[Howard Da Silva]] (Jud Fry), [[Betty Garde]] (Aunt Eller), [[Lee Dixon (actor)|Lee Dixon]] (Will Parker), [[Joseph Buloff]] (Ali Hakim), [[Jane Lawrence]] (Gertie), [[Barry Kelley]] (Ike) and [[George S. Irving]] (Joe). [[Marc Platt (dancer)|Marc Platt]] danced the role of "Dream Curly", [[Katharine Sergava]] danced the part of "Dream Laurey" and the small dancing part of Aggie was played by [[Bambi Linn]]. George Church danced the part of "Dream Jud" but was replaced by [[Vladimir Kostenko]] only two months after the premiere.{{citation needed|date=July 2018}}

The production ran for 2,212 performances, finally closing on May 29, 1948.<ref>[https://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_hammerstein2.html Oklahoma!] at ''Encyclopedia of Composers and Songwriters'', PBS.org, accessed April 30, 2012</ref> "The demand for tickets was unprecedented as the show became more popular in the months that followed" the opening.<ref name=Hischak>Hischak, p. 202</ref> ''Oklahoma!'' ran for over five years, a Broadway record that "would not be bested until ''My Fair Lady'' (1956)."<ref name=Hischak/> The [[Tony Award]]s and other awards now given for achievement in musical theatre were not in existence in 1943, and therefore the original production of ''Oklahoma!'' received no theatrical awards.<ref>[https://www.britannica.com/art/Tony-Awards "Tony Awards: American theatrical awards"], Encyclopedia Britannica, accessed February 24, 2019</ref>

===Early U.S. tours===
The "first of several" national tours began in [[New Haven]], Connecticut, in 1944. A 1953 article in ''[[The New York Times]]'' reported that the show was "believed to be the only musical to have enjoyed a consecutive run of ten years. It ran on Broadway for five years and two months, grossing $7,000,000. The tour of the national company, which started late in 1943, has grossed $15,000,000."<ref>Gelb, Arthur. "Facts and Figures on a Gold Mine", ''The New York Times'', March 29, 1953, p. X1</ref> [[John Raitt]] played Curly in the original production in Chicago.<ref>[http://www.johnraitt.com/career/broadway "Career: Broadway"], John Raitt – Broadway's Legendary Star, Definite Maybe Productions, accessed May 19, 2016</ref> The [[United Service Organizations]] sponsored a tour to U.S. military bases in 1945 that lasted for several years.<ref>Hischak, p. 203</ref><ref>Mordden, Ethan. ''Beautiful Mornin: The Broadway Musical in the 1940s'', Oxford University Press U.S., 1999, {{ISBN|0-19-512851-6}}, p. 78</ref> ''The New York Times'' reported in 1953:

{{quote|The tenth anniversary of the Broadway opening of ''Oklahoma!'' will be celebrated in Washington, where the Theatre Guild's touring company of the phenomenal musical will be playing at that time. ... According to a Guild estimate, "upwards of 20,000,000 people thus far have seen the show in the United States, England, Sweden, Denmark, South Africa, Australia and through [the U.S.O. shows] during the war".<ref>"''Oklahoma!'' to Celebrate 10th Birthday March 31", ''The New York Times'', February 15, 1953, p. 79</ref>|}}

===Original West End===
''Oklahoma!'' was the first of a post-war wave of Broadway musicals to reach London's [[West End theatre|West End]]. It starred [[Howard Keel]] (then known as Harold Keel) and [[Betty Jane Watson]], opening at the [[Theatre Royal, Drury Lane]] on April 30, 1947 to rave press reviews and sellout houses, running for 1,543 performances.<ref>''Who's Who in the Theatre'', 11th edition, 1952. See also ''[[The Times]]'' review, May 1, 1947.</ref> A pre-London run opened a day late at the [[Manchester Opera House]] on April 18, 1947, after the ship carrying the cast, scenery, and costumes ran aground on a sandbank off [[Southampton]].<ref>''Chronicle of the 20th century'', entry for April 14, 1947: "Southampton, The luxury liner [[RMS Queen Elizabeth]] runs aground." See also article by Dr Anthony Field in ''[[The Stage]]'' newspaper, January 9, 1997.</ref>

===1951 and 1979 Broadway revivals===
A 1951 revival produced by the Theatre Guild opened at [[The Broadway Theatre]] on May 9, 1951, and ran for 100 performances. [[Ridge Bond]] played Curly, Patricia Northrop played Laurey, Henry Clarke was Jud, and Jacqueline Sundt played Ado Annie. Mamoulian and de Mille returned to direct and choreograph, and the production was restaged by Jerome Whyte.<ref name=Suskin>Suskin, pp. 499–503.</ref> In 1953, a 10th anniversary revival opened on August 31 at the [[New York City Center]] Theatre. It ran for a limited engagement of 40 performances before going on tour. The cast included [[Florence Henderson]] as Laurey, [[Ridge Bond]] as Curly and [[Barbara Cook]] as Annie. Mamoulian and De Mille directed and choreographed.<ref>''Oklahoma!'', New York City Center Theatre, "Stagebill" program, October 6, 1953</ref><ref>Atkinson, Brooks. [https://www.nytimes.com/1953/09/01/archives/oklahoma-revived-at-city-center-celebrating-rodgers-and.html "'Oklahoma!' Revived at City Center; Celebrating Rodgers and Hammerstein's Official Week"]. ''The New York Times'' (abstract), September 1, 1953, p. 19</ref>

A 1979 revival opened at the [[Palace Theatre (Broadway)|Palace Theatre]] on Broadway on December 13, 1979 and closed on August 24, 1980, running for 293 performances and nine previews. William Hammerstein (Oscar's son) directed, and [[Gemze de Lappe]] recreated Agnes De Mille's choreography. The show starred [[Christine Andreas]] as Laurey, [[Laurence Guittard]] as Curly, [[Mary Wickes]] as Aunt Eller, [[Christine Ebersole]] as Ado Annie, [[Martin Vidnovic]] as Jud Fry, [[Harry Groener]] as Will Parker and [[Bruce Adler]] as Ali Hakim.<ref name="Gänzl">Gänzl, Kurt. ''Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from [[H.M.S. Pinafore]] to [[Sunset Boulevard]]'', pp. 103–08. Schirmer Books, New York, 1995. {{ISBN|0-02-870832-6}}</ref> Andreas and Groener both received [[Tony Award]] nominations for their performances, and Vidnovic won a [[Drama Desk Award]]. This production started as a cross-country national tour, beginning at the [[Pantages Theatre (Hollywood)|Pantages Theater]] in Los Angeles on May 1, 1979.<ref>Searl, Hanford. [https://books.google.com/books?id=0SQEAAAAMBAJ&pg=PT46&dq=Oklahoma+%22Pantages+Theatre%22++Andreas&lr=&as_brr=3&cd=1#v=onepage&q=Oklahoma%20%22Pantages%20Theatre%22%20Andreas&f=false "L.A. Debut of ''Oklahoma!'' A True Revival Production"]. ''Billboard'', May 19, 1979</ref>

===1980 and 1998 West End revivals===
The following year, [[James Hammerstein]] directed a production at the [[Haymarket Theatre, Leicester]], in January 1980, produced by [[Cameron Mackintosh]]. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the [[Palace Theatre, London]], on September 17, 1980, and running until September 19, 1981.<ref>[http://www.thisistheatre.com/shows/palace60.html "'Oklahoma!' at the Palace Theatre, September 17, 1980 – September 19, 1981"]. Thisistheatre.com, accessed May 20, 2010</ref> This production starred [[John Diedrich]] as Curly and [[Alfred Molina]] as Jud Fry, both of whom were nominated for [[Olivier Awards]].<ref>[http://www.olivierawards.com/winners/view/item98514/olivier-winners-1980/ "Olivier Winners 1980"] ''OlivierAwards.com'', accessed 9 Oct 2017</ref> Rosamund Shelley played Laurey, and [[Madge Ryan]] was Aunt Eller. The production was [[Maria Friedman]]'s debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role.<ref>[http://www.aboutmaria.com/oklahoma.html "''Oklahoma!''"], About Maria Friedman, accessed July 26, 2013</ref> John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the ''Showtime!'' label.<ref>[http://castalbumcollector.com/recordings/3630 "'Oklahoma!", 1980 London Cast"]. Castalbumcollector.com, accessed May 20, 2010</ref>

[[File:Oklahoma! (London Stage Revival) .jpeg|thumb|[[Hugh Jackman]] on the cover of the DVD of the London revival]]
A dark-themed production of the musical was presented by the [[Royal National Theatre|National Theatre]] in London at the [[Olivier Theatre]], opening on July 15, 1998. The production team included [[Trevor Nunn]] (director), [[Susan Stroman]] (choreographer) and [[William David Brohn]] (orchestrator). The international cast included [[Hugh Jackman]] as Curly, [[Maureen Lipman]] as Aunt Eller, [[Josefina Gabrielle]] as Laurey, [[Shuler Hensley]] as Jud Fry, Vicki Simon as Ado Annie, [[Peter Polycarpou]] as Ali Hakim and Jimmy Johnston as Will Parker.<ref name=curtainlondon/> Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted [[Robert Russell Bennett]]'s original orchestrations and extended some of the dance sequences. A new Dream Ballet was composed for [[Susan Stroman]]'s new choreography, and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all redesigned. The overture was also altered, at the request of Nunn.

The production received numerous [[Olivier Award]] nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design ([[Anthony Ward]]) and choreography (Stroman).<ref>[http://www.olivierawards.com/winners/view/item98534/olivier-winners-1999 "Olivier Winners, 1999"]. OlivierAwards.com, accessed October 23, 2015</ref> According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records,<ref>[http://www.shulerhensley.com/perfect_oklahoma!.htm "London Welcomes a Perfect ''Oklahoma!''"] {{webarchive|url=https://web.archive.org/web/20120330223519/http://www.shulerhensley.com/perfect_oklahoma!.htm |date=March 30, 2012 }}. ''Happy Talk'', the newsletter of the Rodgers & Hammerstein Organization. Vol. 6 Issue 1, Fall 1998, Interview with Hensley, accessed June 4, 2010</ref> and so the show was transferred to the [[Lyceum Theatre (London)|Lyceum Theatre]] in the West End for a six-month run.<ref name=curtainlondon>Heppel, David. [http://www.curtainup.com/lonokla.html "Curtain Up review, ''Oklahoma!'', 1998"]. Curtainup.com, July 1998, accessed May 20, 2010</ref> Plans to transfer to Broadway with the London cast were thwarted by [[Actors' Equity Association|Actors' Equity]], which insisted that American actors must be cast.<ref>[[Robert Simonson|Simonson, Robert]]. [https://archive.today/20140908131117/http://staging.playbill.com/news/article/43199-Actors-Equity-Denies-London-Cast-of-Oklahoma-US-Visit "Actors' Equity Denies London Cast of ''Oklahoma!'' U.S. Visit"], ''Playbill'', January 22, 1999</ref><ref>Simonson, Robert. [https://archive.today/20120912190211/http://www.playbill.com/news/article/43693-Equity-Stands-Firm-on-Americans-in-Oklahoma "Equity Stands Firm on Americans in ''Oklahoma!''"], ''Playbill'', February 17, 1999</ref> Eventually a U.S. cast was selected.<ref>McBride, Murdoch. [https://archive.today/20120906071311/http://www.playbill.com/news/article/52841-Oklahoma-OKd-Stroman-Nunn-Begin-US-Casting-in-June-Fall-Start-Likely "''Oklahoma!'' OK'd: Stroman, Nunn Begin U.S. Casting in June; Fall Start Likely"], ''Playbill'', May 17, 2000</ref> The production was filmed and issued on DVD, as well as being broadcast on U.S. [[Public Television]] in November 2003.<ref>Gans, Andrew and Robert Simonson. [https://archive.today/20120913072829/http://www.playbill.com/news/article/82048-PBS-To-Air-Hugh-Jackman-Oklahoma-in-November "PBS To Air Hugh Jackman ''Oklahoma!'' in November"], ''Playbill'', October 8, 2003</ref>

===2002 Broadway revival===
The London production was repeated on Broadway at the [[George Gershwin Theatre]] on March 21, 2002, with direction by Nunn. The production closed on February 23, 2003 after 388 performances. Only two of the London cast, Josefina Gabrielle as Laurey and Shuler Hensley as Jud, were in the production, which also featured [[Patrick Wilson (American actor)|Patrick Wilson]] as Curly and [[Andrea Martin]] as Aunt Eller. It was nominated for seven Tony Awards, including Best Revival of a Musical, Best Featured Actress in a Musical and Best Featured Actor in a Musical (which was awarded to Hensley). The musical was also nominated for nine Drama Desk Awards, with Hensley winning as Outstanding Featured Actor in a Musical and Susan Stroman winning for choreography.

[[Ben Brantley]] wrote in ''[[The New York Times]]'': "At its best, which is usually when it's dancing, this resurrection of Rodgers and Hammerstein's epochal show is dewy with an adolescent lustiness, both carnal and naive, exuberant and confused." The review stated that "Anthony Ward's harmoniously curved set, in which the sky seems to stretch into eternity, again pulses with the promise of a land on the verge of transformation."<ref>Brantley, Ben. "This Time, a Beautiful Mornin' With a Dark Side", ''The New York Times'', March 22, 2002, Section E, p. 1</ref> The ''[[New York Daily News]]'' review commented that "Visually, this one is stunning – at times, Anthony Ward's sets have a pastoral, idyllic quality, like Thomas Hart Benton's paintings. At other times, especially in lighting designer David Hersey's lustrous palette, they convey the bleakness of the frontier." The review also stated that the Royal National Theatre "brought it back to us in a way that makes it seem fresh and vital."<ref>Kissel, Howard. [http://www.nydailynews.com/archives/entertainment/2002/03/22/2002-03-22_oh__what_a_beautiful_revival.html "Oh, What a Beautiful Revival of a Pure Prairie Classic"]{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }}. ''New York Daily News'', March 22, 2002</ref> However, ''USA Today'' gave the production a tepid assessment, its reviewer writing that "A cold breeze blows through this beautiful mornin', and that golden haze is never quite bright enough."<ref>Gardner, Elysa. "''Oklahoma!'' revival is just slightly better than OK", ''USA Today'', March 22, 2002, Life Section, p. 1E</ref> The production went on to tour nationally from 2003–2005.<ref>Jones, Kenneth. [http://www.playbill.com/article/networks-tour-of-oklahoma-begins-dec-16-in-denver-travels-into-2004-com-116898 "NETworks Tour of ''Oklahoma!'' Begins Dec. 16 in Denver, Travels Into 2004"], ''Playbill'', December 16, 2003, accessed December 29, 2018; [https://www.rnh.com/show/78/Oklahoma#shows-history "History: ''Oklahoma!'' Timeline"] {{Webarchive|url=https://web.archive.org/web/20181230080757/https://www.rnh.com/show/78/Oklahoma#shows-history |date=December 30, 2018 }}, The Rodgers & Hammerstein Organization, accessed December 29, 2018</ref>

===2019 Broadway revival===
Following a 2015 workshop at [[Bard College]] and a 2018 run at [[Brooklyn]]'s [[St. Ann's Warehouse]], a 75th anniversary staging of ''Oklahoma!'' transferred to Broadway at [[Circle in the Square Theatre]]. The production is directed by [[Daniel Fish]] in an intimate, immersive style, set in a community hall, with chili and cornbread served to the audience at intermission. The production began preview performances on March 19, 2019 and officially opened on April 7 for a limited run through January 19, 2020 (with a national tour set to follow). It stars [[Rebecca Naomi Jones]] as Laurey, [[Damon Daunno]] as Curly, [[Ali Stroker]] as Ado Annie, James Davis as Will Parker, [[Will Brill]] as Ali Hakim, Patrick Vaill as Jud and [[Mary Testa]] as Aunt Eller. The production features choreography by John Heginbotham and new music arrangements by Daniel Kluger, performed by a seven-piece band.<ref>Culwell-Block, Logan. [http://www.playbill.com/article/reimagined-oklahoma-revival-begins-broadway-performances-march-19 "Reimagined ''Oklahoma!'' Revival Begins Broadway Performances March 19"], ''Playbill'', March 19, 2019; Fierberg, Ruthie. [http://www.playbill.com/article/why-broadways-upcoming-oklahoma-is-not-your-grandmas-version-of-the-rodgers-hammerstein-classic "Why Broadway’s Upcoming ''Oklahoma!'' Is Not Your 'Grandma’s Version' of the Rodgers & Hammerstein Classic"], ''Playbill'', March 18, 2019; and McPhee, Ryan. [http://www.playbill.com/article/reimagined-oklahoma-will-transfer-to-broadway "Reimagined Oklahoma! Will Transfer to Broadway"], ''Playbill'', December 11, 2018</ref> The production was nominated for eight [[Tony Award]]s and won [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] and [[Tony Award for Best Featured Actress in a Musical|Best Featured Actress in a Musical]] for Stroker, making her the first wheelchair user to win a Tony.<ref>{{Cite news| url=https://www.nytimes.com/2019/06/09/theater/ali-stroker-oklahoma-tony-awards.html|title=Ali Stroker Accepts Tony in a Wheelchair, Making History|last=Salam|first=Maya|date=June 9, 2019|work=The New York Times|access-date=June 10, 2019|issn=0362-4331}}</ref><ref>{{Cite web|url=http://www.playbill.com/article/updating-live-the-2019-tony-award-winners|title=Hadestown Leads the Pack at the 2019 Tony Awards|last=McPhee|first=Ryan|date=June 9, 2019|website=Playbill|access-date=June 10, 2019}}</ref>

===Other notable productions===
;Discoveryland
''Oklahoma!'' was presented nightly except Sundays each summer at the Discoveryland amphitheater, an outdoor theatre in [[Sand Springs, Oklahoma]], from 1977 until 2011.<ref>[https://archive.today/20130908002840/http://www.kjrh.com/dpp/news/local_news/discoveryland-to-remain-closed-through-2013-season "Sand Springs' Discoveryland! theater, known for the play ''Oklahoma'', to remain closed through 2013"], KRJH.com, June 19, 2013</ref><ref name=Discoveryland>[http://dland.redrockcustomhomes.com/awards.html "Discoveryland! Honors and Awards"] {{Webarchive|url=https://web.archive.org/web/20100705113521/http://dland.redrockcustomhomes.com/awards.html |date=July 5, 2010 }}, Discoveryland! USA, Inc., accessed July 11, 2010</ref> In 1993, Mary Rodgers (daughter of Richard Rodgers) and William Hammerstein (son of Oscar Hammerstein II) designated Discoveryland the "National Home of Rodgers and Hammerstein's ''Oklahoma!''"<ref name=Discoveryland/>

;2006 Japan
In 2006, ''Oklahoma!'' was performed in Japan by the all-female [[Takarazuka Revue]]. This revival starred Yuu Todoroki, Ai Shirosaki, and Hiromu Kiriya.<ref>[http://www.takarazuka-revue.info/tiki-index.php?page=Oklahoma+%28Moon+2006%29 "''Oklahoma! in 2006 listing] {{Webarchive|url=https://web.archive.org/web/20101203133513/http://takarazuka-revue.info/tiki-index.php?page=Oklahoma%20%28Moon%202006%29 |date=December 3, 2010 }}, Takarazuka-revue.info, accessed May 20, 2010</ref>

;2009 Chichester Theatre Festival
In the summer of 2009, British director [[John Doyle (director)|John Doyle]] directed the musical at the [[Chichester Festival Theatre]]. The production was dark in concept and featured new orchestrations by [[Jonathan Tunick]]. On a spare stage, decorated only with blue sheets, "Confetti of rose petals stains the floor like drops of blood, and a nightmarish dream-dance sequence has Freudian overtones as Laurey's bridal gown becomes her shroud."<ref name=guardian>Gardner, Lyn. [https://www.theguardian.com/stage/2009/jun/27/oklahoma-chichester-festival-theatre-review "'Oklahoma!'Chichester Festival Theatre"]. ''[[The Guardian]]'', June 27, 2009</ref><ref name=telegraph>Cavendish, Dominic. [https://www.telegraph.co.uk/culture/culturecritics/dominiccavendish/5638481/Oklahoma-at-Chichester-review.html "''Oklahoma!'' at Chichester"]. ''The Telegraph'', June 25, 2009, accessed June 7, 2010</ref> It received mixed reviews. ''The Times'' reviewer wrote: "This is a very stylised, overdrilled production, no friend of intimate moments or quiet depth of emotion."<ref>Nightingale, Benedict. [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article6577412.ece "'Oklahoma!' at the Chichester Festival Theatre, West Sussex"]. ''The Times'', June 26, 2009</ref> ''The Guardian'' liked it the most, stating that "it's a delight, with one brilliant tippy-tappy-toed song after another and a nugget of darkness lodged in its sweet heart."<ref name=guardian/> ''Whats On Stage'', like most of the papers, gave the show three out of five stars and wrote that this is a "downbeat vision" and that "all told it's a somewhat disappointing show", but their "average reader rating" was four stars.<ref>Cooter, Maxwell. [http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html "'Oklahoma!'"] {{Webarchive|url=https://web.archive.org/web/20110615170835/http://www.whatsonstage.com/reviews/theatre/london/E8831245924735/Oklahoma!+(Chichester).html |date=June 15, 2011 }} Whatsonstage.com, June 25, 2009</ref> A review in ''[[The Daily Telegraph|The Telegraph]]'' commented, "Doyle uses shadow and silhouette to bring out the musical's nightmarish aspects but doesn't over-labour them. There are enough sunny spots – no more so than in Act 2's rousing title song – to keep the tone evenly textured."<ref name=telegraph/>

;2010 UK tour
The show toured England for nine months in 2010 in a new staging by [[Julian Woolford]], with [[Marti Webb]] as Aunt Eller and [[Mark Evans (actor)|Mark Evans]] as Curly.<ref>Cole, Simon. [http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html "Marti Webb Opens New Tour of ''Oklahoma!''"] {{Webarchive|url=https://web.archive.org/web/20110615165949/http://www.whatsonstage.com/news/theatre/central/E8831268932553/Marti+Webb+Opens+New+Tour+of+Oklahoma!.html |date=June 15, 2011 }} Whatsonstage.com, March 18, 2010</ref>

;2010 Washington, DC Arena Stage
''Oklahoma!'' opened in October 2010 at the [[Arena Stage]] to critical acclaim.<ref name=marks1>Marks, Peter. [https://www.washingtonpost.com/gog/performing-arts/oklahoma,1071268/critic-review.html "A grand new state: You just cain't say no to Arena Stage's 'Oklahoma!'"], ''The Washington Post'', November 6, 2010</ref><ref>See also Billups, Edith. [http://communities.washingtontimes.com/neighborhood/proscenium-view-theater-news-and-reviews/2010/nov/9/oklahoma-arena-stage/ "'Oklahoma!' at the Arena Stage in D.C."], ''Washington Times'', November 9, 2010; Blanchard, Jayne. [http://dctheatrescene.com/2010/11/07/oklahoma/ "'Oklahoma!' Review"], dctheatrescene.com, November 7, 2010; and Jones, Kenneth. [http://www.playbill.com/article/photo-call-arena-stage-opens-its-doors-to-the-world-at-homecoming-with-alumni-stars-com-173068 "Arena Stage Opens Its Doors to the World at Oct. 23 "Homecoming," With Alumni Stars"], Playbill.com, October 23, 2010, accessed August 29, 2017</ref> Artistic Director Molly Smith cast African-American actresses as Laurey and Aunt Eller to mirror both modern Washington, D.C. demographics and the diverse population of the musical's 1906 Oklahoma territory setting.<ref>BWW News Staff. [http://broadwayworld.com/article/Review_Roundup_OKLAHOMA_at_Arena_Stage_20101206 "Review Roundup: 'Oklahoma!' at Arena Stage"]. Broadwayworld.com, December 6, 2010</ref> The production received ten 2011 [[Helen Hayes Award]] nominations, winning as Outstanding Resident Musical (tying with Shakespeare Theatre's ''Candide'') and for choreography (Parker Esse), lead actor (Nicholas Rodriguez as Curly) and musical direction (George Fulginiti-Shakar).<ref>Jones, Kenneth. [http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood "DC's Helen Hayes Winners Include Candide, The Liar, Clybourne Park, Oklahoma!, Thurgood"] {{webarchive|url=https://web.archive.org/web/20110428000030/http://www.playbill.com/news/article/150203-DCs-Helen-Hayes-Winners-Include-Candide-The-Liar-Clybourne-Park-Oklahoma-Thurgood |date=April 28, 2011 }}, Playbill.com, April 25, 2011</ref> The production returned to the Arena Stage for a second run in 2011.<ref>Jones, Kenneth. [http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 "Still Doin' Fine: Arena Stage Revives Its Hit 2010 Oklahoma!, Starting July 8"] {{Webarchive|url=https://web.archive.org/web/20110805073116/http://www.playbill.com/news/article/152504-Still-Doin-Fine-Arena-Stage-Revives-Its-Hit-2010-Oklahoma-Starting-July-8 |date=August 5, 2011 }}. Playbill.com, July 8, 2011</ref>

;2012, Seattle, Washington, 5th Avenue Theater
The [[5th Avenue Theatre]]'s 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud.<ref name=SGS>Strangeways, Michael. [https://archive.today/20130202033038/http://www.seattlegayscene.com/2012/02/review-oklahoma-at-the-5th-avenue-is-a-bit-problematic.html "''Oklahoma!'' at the 5th Avenue Is a Bit Problematic"], ''Seattle Gay Scene'', February 10, 2012</ref> The choice was intended, as in the Arena Stage production, to reflect the historical presence of African Americans in the Oklahoma territory, but it "has some audience members squirming in their seats ... they're seeing on stage one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman [and] the white hero ... all but urges Jud to hang himself – and even pantomimes the act. Some see a clear reference to lynching."<ref name=Brodeur>Brodeur, Nicole. [http://seattletimes.nwsource.com/html/nicolebrodeur/2017557140_nicole21m.html "''Oklahoma'' seen in a new light"], ''The Seattle Times'', February 20, 2012</ref><ref>Goldstein, David. [http://www.thestranger.com/seattle/racial-profiling/Content?oid=12582804 "Racial Profiling"], ''The Stranger'', February 14, 2012</ref> The "Dream Ballet" had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped. One critic noted the historical "license taken when an African-American farmhand is allowed to escort a white woman to the box dance. ... Maybe some people ... left with not so much a song in their head, but a question in their heart. And isn't that part of what theater is supposed to do?"<ref name=Brodeur/> Another wrote: "Rothstein's ''Oklahoma!'' is now the story of a crazy, sex obsessed black man ... lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial."<ref name=SGS/>

;2015 UK tour
A UK tour ran from February to August 2015, directed by Rachel Kavanaugh and starring Ashley Day as Curly, Charlotte Wakefield as Laurey, [[Belinda Lang]] as Aunt Eller and [[Gary Wilmot]] as Ali Hakim.<ref>Davies, Michael. [http://www.whatsonstage.com/northampton-theatre/reviews/oklahoma-uk-tour_37255.html "''Oklahoma!'' (Tour) – triumphant production warrants its revival"], Whats On Stage, February 26, 2017; and Collins, Stephen. [http://britishtheatre.com/review-oklahoma-lyceum-theatre-sheffield-5stars "''Oklahoma!'' Lyceum Theatre Sheffield"], BritishTheatre.com, July 27, 2015</ref>

===1955 film adaptation===
{{Main|Oklahoma! (1955 film)}}
The 1955 film adaptation starred [[Gordon MacRae]], [[Shirley Jones]] (in her film debut),<ref>Jones had previously performed in a stage production of ''Oklahoma!'' See: [http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes ''Oklahoma!'' from Turner Classic Movies]</ref> [[Rod Steiger]], [[Charlotte Greenwood]], [[Gloria Grahame]], [[Gene Nelson]], [[James Whitmore]] and [[Eddie Albert]]. It was the only musical film directed by [[Fred Zinnemann]],<ref name="Chapin">[[Audio commentary]] by Ted Chapin and Hugh Fordin, [[CinemaScope]] version of film, 2-DVD 50th Anniversary Edition (2005), [[20th Century Fox Home Entertainment]]</ref> and [[Agnes de Mille]] choreographed. It was the first feature film photographed in the [[Todd-AO]] [[70 mm film|70 mm]] [[widescreen]] process.<ref name="TCM">{{cite web|url=http://www.tcm.com/tcmdb/title.jsp?stid=85454&category=Notes |title=''Oklahoma!'' from Turner Classic Movies |publisher=Tcm.com |accessdate=March 7, 2012}}</ref><ref>{{cite web |url=http://www.in70mm.com/todd_ao/magna/index.htm |title=Magna Theatre Corporation |publisher=In70mm.com |accessdate=March 7, 2012 |archive-url=https://web.archive.org/web/20120307090915/http://www.in70mm.com/todd_ao/magna/index.htm |archive-date=March 7, 2012 |url-status=dead |df=mdy-all }}</ref>

Rodgers and Hammerstein personally oversaw the film to prevent the studio from making the changes that were then typical of stage-to-film musical adaptations, such as interpolating new songs by others. The film followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation, although it divided the long first scene into several shorter scenes, changing the locations of several of the songs. For example, "Kansas City" is performed at the train station, where Aunt Eller and other cowboys meet Will Parker just after he returns from Kansas City. Lyrics in the song about a [[burlesque]] stripteaser were slightly changed to pass [[censorship|film censorship]].<ref name="Chapin"/> In a nod to ''[[Green Grow the Lilacs (play)|Green Grow the Lilacs]]'', which was the basis of the musical, Jud attempts revenge on Curly and Laurey by burning a haystack they stand on, before Curly jumps down, landing on Jud and causing him to fall on his own knife. The film omits only "It's a Scandal, It's a Outrage" and "Lonely Room".<ref name="TCM" /> The film won [[Academy Awards]] for [[Academy Award for Original Music Score|Best Music, Scoring of a Musical Picture]] and [[Academy Award for Sound|Best Sound, Recording]].<ref name="Oscars1956">{{cite web|url=http://www.oscars.org/oscars/ceremonies/1956 |title=The 28th Academy Awards (1956) Nominees and Winners |accessdate=August 20, 2011|work=oscars.org}}</ref>


==Recordings==
Most of the songs from ''Oklahoma!'' were released on a record album by [[Decca Records]] in 1943 containing six 10-inch double-sided discs in 78 RPM format. It was the first U.S. [[cast album]] featuring the original Broadway cast of a musical. It sold over a million copies, prompting the label to call the cast back into the studio to record three additional selections that had been left out of the first set. These were issued as ''Oklahoma! Volume Two''. In 1949, Decca re-released the first set on LP but not the second set, which soon became a very rare collectors' item. All subsequent LP releases were similarly incomplete. Finally in 2000, Decca Broadway went back to the original glass masters to generate a new high fidelity transfer of the complete song program and released it on CD, utilizing the original 78 album artwork.<ref>{{cite web|url=http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 |title='Decca Broadway – Oklahoma' web page. Accessed May 22, 2010 |publisher=Deccabroadway.com |date=May 16, 2000 |accessdate=March 7, 2012}}</ref>

The success of the original ''Oklahoma!'' cast album set a precedent for the production of [[cast album|original cast recordings]] of Broadway musicals, which became an essential part of a musical's dissemination and endurance in popular culture.<ref>Stempel, p. 311</ref> Later cast recordings of ''Oklahoma!'' include the 1979 Broadway cast recording, the 1980 London cast recording, the 1998 Royal National Theatre cast recording, the 2019 Broadway cast recording, and a [[Oklahoma! (soundtrack)|soundtrack album]] of the [[Oklahoma! (1955 film)|1955 film]]. There have also been more than 20 studio cast recordings of the show, featuring stars such as [[Nelson Eddy]], [[John Raitt]] and [[Florence Henderson]] in the leading roles.<ref>Fick, David. [http://musicalcyberspace.wordpress.com/musicals-l-o/oklahoma/4/ "''Oklahoma!'' Cast Recording Reviews"]. Musical Cyberspace, March 31, 2003, accessed September 26, 2010</ref>

==Reception==
The original production of ''Oklahoma!'' was an unprecedented critical and popular success. John Anderson of the ''[[New York Journal American]]'' pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything".<ref name=Suskin/> In the ''[[New York Herald Tribune]]'', Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended. ... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship."<ref name=Suskin/> Louis Kronenberger of [[PM (newspaper)|''PM'']] opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in ''Oklahoma!'' call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."<ref name=Suskin/>

In the ''[[Daily News (New York)|New York Daily News]]'', [[Burns Mantle]] declared that "''Oklahoma!'' really is different – beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, ''Oklahoma!'' seems to me to be the most thoroughly and attractively American musical comedy since [[Edna Ferber]]'s ''Show Boat''".<ref name=Suskin/> ''[[New York World-Telegram]]'' critic [[Burton Rascoe]] particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights. ... They are spinetingling, out of this world."<ref name=Suskin/> In ''[[The New York Sun]]'', [[Ward Morehouse]] commented that "''Oklahoma!'' is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B."<ref name=Suskin/> Lorenz Hart himself "pushed his way through the crowd at the after-show party in [[Sardi's]] restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."<ref name=Nolan/>

The only negative review of the musical appeared in the ''[[New York Post]]'': The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."<ref name=Suskin/>

==Antecedents and influence==
According to playwright and theatre writer Thomas Hischak, "Not only is 'Oklahoma!' the most important of the Rodgers and Hammerstein musicals, it is also the single most influential work in the American musical theatre. ... It is the first fully integrated musical play and its blending of song, character, plot and even dance would serve as the model for Broadway shows for decades."<ref>Hischak, p. 201</ref> William Zinsser observed that ''Oklahoma!'' broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.<ref>Zinsser, William. ''Easy to Remember:The Great American Songwriters and Their Songs'', David R. Godine Publisher, 2006, {{ISBN|1-56792-325-9}}, p. 180</ref> The show "became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to ''Oklahoma!''"<ref>Everett, p. 124.</ref> ''Oklahoma!'' made Rodgers and Hammerstein "the most important contributors to the musical-play form. ... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".<ref>Lubbock, Mark. [http://www.theatrehistory.com/american/musical030.html "American musical theatre: an introduction"] {{Webarchive|url=https://web.archive.org/web/20090221095758/http://www.theatrehistory.com/american/musical030.html |date=February 21, 2009 }} excerpted from ''The Complete Book of Light Opera'', London: Putnam, 1962, pp. 753–56</ref>

Theater historian [[Ethan Mordden]] points out that, although ''Oklahoma!'' has been called "the first integrated musical, the first American folk musical", ''[[Show Boat]]'' "got there first on both counts."<ref name=Mordden140>Mordden, Ethan. 'Broadway Babies: The People Who Made the American Musical'', Oxford University Press US, 1988, {{ISBN|0-19-505425-3}}, p. 140</ref> Even earlier, the [[Princess Theatre, New York City|Princess Theatre]] musicals, following [[Gilbert and Sullivan]] and French ''[[opéra bouffe]]'', began the reintegration of song and story after decades of thinly plotted British and American musicals, paving the way for ''Show Boat'' and ''Oklahoma!'' by showing that a musical could combine popular entertainment with continuity between its story and songs.<ref>Jones 2003, pp. 10–11</ref> These Princess Theatre shows, which featured modern American settings, "built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. [[Jerome Kern|Kern's]] exquisitely flowing melodies were employed to further the action or develop characterization."<ref>Bordman, Gerald and Thomas Hischak, eds. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t149.e1700 "Kern, Jerome (David)"]. ''The Oxford Companion to American Theatre'', third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref><ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/1910bway.htm ''History of The Musical Stage 1910–1919: Part I''], accessed May 11, 2010</ref> Mordden also notes that ''Oklahoma!'' was called the first great dance musical, but other musicals had earlier focused on dance, among them ''[[Gay Divorce]]'' and ''[[On Your Toes]]''. He concludes: "But ''Oklahoma!'' was the first American musical with an ethnic sound, words and music entirely in the folk idiom."<ref name=Mordden140/>

==Awards and nominations==

===Original Broadway production===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1944
| [[Pulitzer Prize]]<ref>[http://www.pulitzer.org/prize-winners-by-year/1944 "1944 Pulitzer Prizes"], Pulitzer.org, retrieved January 7, 2018</ref>
| [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Awards and Citations]]
| [[Richard Rodgers]] and [[Oscar Hammerstein II]]
| {{won}}
|-
| align="center"|1947
| colspan=2|[[Theatre World Award]]
| Dorothea Macfarland
| {{won}}
|-
| align="center"|1993
| [[Tony Award]]
| colspan=2|[[Special Tony Award]] (50th anniversary)
| {{won}}
|}

===1979 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=5 align="center"|1980
| rowspan=2|[[Tony Award]]
| [[Tony Award for Best Actress in a Musical|Best Performance by a Leading Actress in a Musical]]
| [[Christine Andreas]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Harry Groener]]
| {{nom}}
|-
| rowspan=2|[[Drama Desk Award]]
| rowspan=2|[[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Martin Vidnovic]]
| {{nom}}
|-
| rowspan=2|[[Harry Groener]]
| {{nom}}
|-
| colspan=2|[[Theatre World Award]]
| {{won}}
|}

===1980 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan=2 align="center"|1980
| rowspan=2|[[Laurence Olivier Award]]
| [[Laurence Olivier Award for Best Actor in a Musical|Actor of the Year in a Musical]]
| [[John Diedrich]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Newcomer in a Play|Most Promising Newcomer of the Year in Theatre]]
| [[Alfred Molina]]
| {{nom}}
|}

===1998 West End revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| align="center"|1998
| [[Critics' Circle Theatre Award]]
| colspan="2"|Best Musical
| {{won}}
|-
| rowspan="8" align="center"|1999
| rowspan="8"|[[Laurence Olivier Award]]
| colspan="2"|[[Laurence Olivier Award for Best Musical Revival|Outstanding Musical Production]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Actor in a Musical|Best Actor in a Musical]]
| [[Hugh Jackman]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Actress in a Musical|Best Actress in a Musical]]
| [[Josefina Gabrielle]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Performance in a Supporting Role in a Musical|Best Supporting Performance in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Director|Best Director]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Laurence Olivier Award for Best Theatre Choreographer|Best Theatre Choreographer]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Set Designer|Best Set Designer]]
| [[Anthony Ward]]
| {{won}}
|-
| [[Laurence Olivier Award for Best Lighting Design|Best Lighting Designer]]
| [[David Hersey]]
| {{nom}}
|}

===2002 Broadway revival===
{| class="wikitable" width="95%"
|-
! width="5%"| Year
! width="25%"| Award ceremony
! width="40%"| Category
! width="20%"| Nominee
! width="10%"| Result
|-
| rowspan="17" align="center"| 2002
| rowspan="7"| [[Tony Award]]
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{nom}}
|-
| [[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| [[Tony Award for Best Featured Actor in a Musical|Best Performance by a Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| [[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Tony Award for Best Choreography|Best Choreography]]
| [[Susan Stroman]]
| {{nom}}
|-
| [[Tony Award for Best Lighting Design|Best Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| rowspan="9"| [[Drama Desk Award]]
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
| [[Patrick Wilson (American actor)|Patrick Wilson]]
| {{nom}}
|-
| rowspan="2"| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
| [[Shuler Hensley]]
| {{won}}
|-
| Justin Bohon
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
| [[Andrea Martin]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
| [[Trevor Nunn]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]]
| [[Susan Stroman]]
| {{won}}
|-
| [[Drama Desk Award for Outstanding Set Design|Outstanding Set Design]]
| [[Anthony Ward]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Lighting Design|Outstanding Lighting Design]]
| [[David Hersey]]
| {{nom}}
|-
| colspan="2"|[[Theatre World Award]]
| Justin Bohon
| {{won}}
|}

=== 2019 Broadway revival ===
{| class="wikitable" width="95%"
|-
! width="5%" | Year
! width="25%" | Award ceremony
! width="40%" | Category
! width="20%" | Nominee
! width="10%" | Result
|-
| rowspan="28" align="center" |2019
| rowspan="8" |[[Tony Award]]
| colspan="2" |[[Tony Award for Best Revival of a Musical|Best Revival of a Musical]]
| {{won}}
|-
|[[Tony Award for Best Actor in a Musical|Best Performance by a Leading Actor in a Musical]]
|[[Damon Daunno]]
| {{nom}}
|-
| rowspan="2" |[[Tony Award for Best Featured Actress in a Musical|Best Performance by a Featured Actress in a Musical]]
|[[Ali Stroker]]
| {{won}}
|-
|[[Mary Testa]]
| {{nom}}
|-
|[[Tony Award for Best Direction of a Musical|Best Direction of a Musical]]
|[[Daniel Fish]]
| {{nom}}
|-
|[[Tony Award for Best Scenic Design in a Musical|Best Scenic Design in a Musical]]
|[[Laura Jellinek]]
| {{nom}}
|-
|[[Tony Award for Best Sound Design of a Musical|Best Sound Design of a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Tony Award for Best Orchestrations|Best Orchestrations]]
|[[Daniel Kluger]]
| {{nom}}
|-
| rowspan="12" |[[Drama Desk Award]]
| colspan="2" |[[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]]
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actor in a Musical|Outstanding Actor in a Musical]]
|Damon Daunno
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Actress in a Musical|Outstanding Actress in a Musical]]
|[[Rebecca Naomi Jones]]
| {{nom}}
|-
| [[Drama Desk Award for Outstanding Featured Actor in a Musical|Outstanding Featured Actor in a Musical]]
|Patrick Vaill
| {{nom}}
|-
| rowspan="2" |[[Drama Desk Award for Outstanding Featured Actress in a Musical|Outstanding Featured Actress in a Musical]]
|Ali Stroker
| {{won}}
|-
|Mary Testa
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Director of a Musical|Outstanding Director of a Musical]]
|Daniel Fish
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Scenic Design of a Musical|Outstanding Scenic Design of a Musical]]
|Laura Jellinek
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Lighting Design for a Musical|Outstanding Lighting Design for a Musical]]
|Scott Zielinski
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Sound Design in a Musical|Outstanding Sound Design in a Musical]]
|Drew Levy
| {{nom}}
|-
|[[Drama Desk Award for Outstanding Orchestrations|Outstanding Orchestrations]]
|Daniel Kluger
| {{won}}
|-
|[[Drama Desk Award for Outstanding Projection Design|Outstanding Projection Design]]
|Joshua Thorson
| {{nom}}
|-
| rowspan="2" |[[Drama League Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Distinguished Performance
| Ali Stroker
| {{nom}}
|-
| rowspan="6" |[[Outer Critics Circle Award]]
| colspan="2" |Outstanding Revival of a Musical
| {{nom}}
|-
| Outstanding Actor in a Musical
| Damon Daunno
| {{nom}}
|-
| Outstanding Featured Actress in a Musical
| Ali Stroker
| {{nom}}
|-
| Outstanding Director of a Musical
| Daniel Fish
| {{nom}}
|-
| Outstanding Orchestrations
| Daniel Kluger
| {{win}}
|-
| Outstanding Sound Design
| Drew Levy
| {{nom}}
|-
| align="center" |2020
|[[Grammy Award]]
|[[Grammy Award for Best Musical Theater Album|Best Musical Theater Album]]
|[[Damon Daunno]], [[Rebecca Naomi Jones]], [[Ali Stroker]], [[Mary Testa]] & Patrick Vaill (principal soloists); [[Daniel Kluger]] & Dean Sharenow (producers); [[Richard Rodgers]] (composer); [[Oscar Hammerstein II]] (lyricist)
|{{nom}}
|}

==In popular culture==
{{Refimprove section|date=July 2017}}
''Oklahoma!'' has frequently been quoted or parodied in films, television and other media. The following list includes some of the more notable references.

'''Films'''
* The songs "Oh What a Beautiful Mornin'" and "Oklahoma!" were spoofed in the animated film ''[[South Park: Bigger, Longer & Uncut]]''. One of the spoofs is the song "Uncle Fucka", which parodies the spelled-out O-K-L-A-H-O-M-A of the musical's title song.<ref>Pahle, Rebecca. [http://mentalfloss.com/article/501819/10-best-animated-movies-all-time "The 10 Best Animated Movies of All Time"], MentalFloss.com, June 13, 2017</ref><ref>{{cite magazine| url=http://entertainment.time.com/2011/06/23/the-25-all-time-best-animated-films/slide/south-park-bigger-longer-uncut-1999|title=''South Park: Bigger, Longer & Uncut: The 25 All-TIME Best Animated Films''|author=Richard Corliss|date=June 21, 2011|magazine=[[Time (magazine)|Time]]|accessdate=July 4, 2017}}</ref> A similar spoof is heard in the musical ''[[Curtains (musical)|Curtains]]'', concerning the title song of the ''Oklahoma!''-like musical performed within the show.
* In the film ''[[When Harry Met Sally...]]'', Harry and Sally sing a [[karaoke]] version of "Surrey With the Fringe on Top".<ref>Eastwood, Joel. [https://www.thestar.com/entertainment/movies/2014/07/19/when_harry_met_sally_turns_25_how_does_it_hold_up.html "''When Harry Met Sally'' turns 25: How does it hold up?"], ''[[Toronto Star]]'', July 19, 2014, accessed July 4, 2017</ref>
* In the film ''[[Twister (1996 film)|Twister]]'', Beltzer is heard singing the song "Oklahoma!" when he is introduced.
* In the film ''[[Dave (film)|Dave]]'', the title character sings the song "Oklahoma!"
* In the film ''[[I Can Only Imagine (film)|I Can Only Imagine]]'', [[Bart Millard]] performs "Oklahoma!" for his school play. Meanwhile, at a diner, his father blacks out and was sent to a hospital.

'''Television'''
* In ''[[The Simpsons]]'' episode "[[Milhouse of Sand and Fog]]", the character Milhouse imagines himself and Bart singing "[[The Farmer and the Cowman]]". Another episode, "[[I'm Just a Girl Who Can't Say D'oh]]", begins with Llewellyn Sinclair directing a production of ''Oklahoma!'' with Marge as Ado Annie. Llewellyn becomes frustrated every time Marge tells him no, since Ado Annie "cain't say no".<ref>Sokol, Tony. [https://www.denofgeek.com/us/tv/the-simpsons/280340/the-simpsons-season-30-episode-20-review-im-just-a-girl-who-cant-say-doh "The Simpsons Season 30 Episode 20 Review: I'm Just a Girl Who Can't Say D'oh"], ''Den of Geek'', April 8, 2019</ref>
* ''[[Sesame Street]]'' featured Kermit the Frog as a director making the film "Oklahoma" and Forgetful Jones singing the title song from "Oklahoma!" but forgetting how it begins, trying "Aaaaaa-klahoma", "Eeeeee-klahoma" and "Iiiiii-klahoma". Furthermore, [[Ray Charles]] performed "Oh, What a Beautiful Mornin'" on Sesame Street in 1977 and Oscar the grouch a few times sang to himself "Oh what a rotten old morning/Oh what a rotten old day".
* On episode 317 of ''[[The Muppet Show]]'', [[Fozzie Bear]], dressed as a cowboy, begins to sing "Oklahoma", but large Muppets dressed as [[Samurai]] warriors turn the number into a parody called "Yokohama".
* ''[[Tiny Toon Adventures]]'' did a spoof of the musical called "Ducklahoma", which heavily featured anvils.
* In an episode of ''[[3rd Rock from the Sun]]'' ([[3rd Rock from the Sun (season 1)|Frozen Dick]]), [[Dick Solomon|Dick]] sings a rendition of "Oklahoma!" in a diner, sparking the patrons in the diner to sing along with him.
* In the ''[[Fawlty Towers]]'' episode "[[Gourmet Night]]", Polly serenades the guests with a rendition of "[[I Cain't Say No]]".
* In episode 9 of ''[[Band of Brothers (TV miniseries)|Band of Brothers]]'', "Why We Fight" (2001), Captain Nixon mentions that ''Oklahoma!'' was still on Broadway, causing the soldiers to break out in song.
* On an episode of ''[[Friends]]'', "The One Where Emma Cries", Chandler accidentally accepts a job in [[Tulsa]], and his wife Monica says that she does not want to move to Oklahoma or see the musical ''Oklahoma!'' Chandler responds by listing the songs from the musical, and Monica asks whether he is telling her that he got a job in Oklahoma or that he is gay.

'''Other media'''
* In the mid-1940s, radio comedian [[Fred Allen]] wrote and performed parody lyrics to the tune of "Surrey With the Fringe on Top": "Union Suit with the Hinge on the Back." The parody was repeated on subsequent programs.
* The title song became the official [[state song]] of [[Oklahoma]] in 1953. (Oklahoma became a state on November 16, 1907.)
*In the song "Oklahoma, U.S.A." by [[The Kinks]], on their album [[Muswell Hillbillies]], the protagonist dreams of "riding in the surrey with the fringe on top".
* In [[Truman Capote]]'s 1958 novella ''[[Breakfast at Tiffany's (novella)|Breakfast at Tiffany's]]'', [[Holly Golightly (character)|Holly Golightly]] sings music from ''Oklahoma!'' while accompanying herself on her guitar.{{page needed|date=April 2013}}
* In the [[web series]] ''Musical Hell'', host Diva lists "Lonely Room" as her favorite villain song from a stage or film musical.

==See also==
*[[Sheep Wars]]

==Notes==
{{Reflist}}

==References==
*Carter, Tim. ''Oklahoma!: the making of an American musical''. Yale University Press, 2007, {{ISBN|0-300-10619-X}}
*Everett, William A. and Paul R. Laird. ''The Cambridge Companion to the Musical'', [[Cambridge University Press]], 2002, {{ISBN|0-521-79189-8}}
*Hischak, Thomas S. ''The Rodgers and Hammerstein Encyclopedia''. Greenwood Publishing Group, 2007, {{ISBN|0-313-34140-0}}
*Jones, John B. [https://books.google.com/books?id=WqQH31qkYNoC ''Our Musicals, Ourselves'']. Hanover: University Press of New England, 2003 {{ISBN|978-1-58465-311-0}}
*Kantor, Michael and Maslon, Laurence. ''Broadway: The American Musical''. New York: Bullfinch Press, 2004. {{ISBN|0-8212-2905-2}}
*Nolan, Frederick. ''The Sound of Their Music: The Story of Rodgers and Hammerstein''. New York: Applause Books, 2002, {{ISBN|1-55783-473-3}}
*Stempel, Larry. ''Showtime: A History of the Broadway Musical Theater''. New York: [[W.W. Norton & Company]], 2010, {{ISBN|0-393-06715-7}}

==Further reading==
*Block, Geoffrey. ''The Richard Rodgers Reader''. New York: Oxford University Press, 2002.
*Ewen, David. ''With a Song in His Heart (Richard Rodgers)''. New York: Holt, Rinehart and Winston, 1963.
*Fordin, Hugh. ''Getting To Know Him: The Biography of Oscar Hammerstein II''. New York: Random House, 1977; Decapo Press, 1995.
*Green, Stanley. ''The Rodgers and Hammerstein Fact Book''. Milwaukee: Hal Leonard, 1980.
*Mordden, Ethan. ''Rodgers & Hammerstein''. New York: Harry N. Abrams, Inc., 1992.

==External links==
{{Wikiquote}}
* {{ibdb show|id=6697|title=Oklahoma!}}
* [http://www.theatrehistory.com/american/musical014.html Information from the Theatre History website]
* [http://www.rnh.com/show/78/Oklahoma%21 RNH Theatricals site]
* [http://www.guidetomusicaltheatre.com/shows_o/oklahoma.htm Plot and production information, guidetomusicaltheatre.com ]
* [http://www.musicalheaven.com/Detailed/217.html Information from the Musical Heaven website]
* [https://www.pbs.org/wnet/gperf/shows/oklahoma/oklahoma.html PBS article on ''Oklahoma!'']
* [https://www.loc.gov/rr/record/nrpb/registry/essays/OKLAHOMA!.pdf Library of Congress essay] on original cast recording on the [[National Recording Registry]].
* [http://www.deccabroadway.com/product/default.aspx?pid=56721&aid=96945 ''Decca Broadway – Oklahoma!'' web page with CD extracts]

{{Rodgers and Hammerstein}}
{{Oklahoma!}}
{{Navboxes
| title = Awards for ''Oklahoma!''
| list =
{{OlivierAward MusicalRevival}}
{{PulitzerPrize SpecialCitations Arts}}
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[[Category:Oklahoma!| ]]
[[Category:Fiction set in 1906]]
[[Category:1943 musicals]]
[[Category:Broadway musicals]]
[[Category:Laurence Olivier Award-winning musicals]]
[[Category:West End musicals]]
[[Category:Musicals based on plays]]
[[Category:Western (genre) plays]]
[[Category:Grammy Hall of Fame Award recipients]]
[[Category:Pulitzer Prize-winning works]]
[[Category:Plays set in Oklahoma]]
[[Category:United States National Recording Registry recordings]]
[[Category:Plays set in the United States]]
[[Category:Tony Award-winning musicals]]

Alan Jay Lerner

2020-04-03T21:07:36Z

JohnAnkerBow: Spoken article added

{{short description|American lyricist and librettist}}
{{for|the big band leader|Al Lerner (composer)}}
{{more citations needed|date=December 2016}}
{{use mdy dates|date=December 2016}}
{{Infobox musical artist
| name = Alan Jay Lerner
| image = Alan Jay Lerner.jpg
| caption = Lerner, c. 1975
| image_size =
| background = non_performing_personnel
| birth_name =
| alias =
| birth_date = {{birth date|1918|8|31|mf=y}}
| birth_place = [[New York City]], US
| death_date = {{death date and age|1986|6|14|1918|8|31}}
| death_place = New York City, US
| origin =
| instrument =
| genre = [[Musical theatre]], [[Popular music|popular]]
| occupations = [[Lyricist]], [[librettist]]
| years_active = 1942–1986
}}

'''Alan Jay Lerner''' (August 31, 1918 – June 14, 1986) was an American [[lyricist]] and [[librettist]]. In collaboration with [[Frederick Loewe]], and later [[Burton Lane]], he created some of the world's most popular and enduring works of [[musical theatre]] both for the stage and on film. He won three [[Tony Award]]s and three [[Academy Awards]], among other honors.

==Early life and education==
Born in [[New York City]], he was the son of Edith Adelson Lerner and Joseph Jay Lerner, whose brother, Samuel Alexander Lerner, was founder and owner of the [[Lerner Stores]], a chain of dress shops. One of Lerner's cousins was the radio comedian and television game show panelist [[Henry Morgan (comedian)|Henry Morgan]]. Lerner was educated at [[Bedales School]] in England, [[Choate Rosemary Hall|The Choate School]] (now Choate Rosemary Hall) in Wallingford, Connecticut, (where he wrote "The Choate Marching Song") and [[Harvard University|Harvard]]. He attended both [[Camp Androscoggin]] and [[Camp Greylock]].<ref>[https://query.nytimes.com/gst/fullpage.html?res=9E0CE7DC1E3AF937A25755C0A964958260 "The Executive Life; And No One Mentions The Many Mosquitoes"]''[[The New York Times]]'', June 14, 1992</ref> At both Choate and Harvard, Lerner was a classmate of [[John F. Kennedy]]'s; at Choate they had worked together on the yearbook staff.<ref name=tcm>[http://www.tcm.com/tcmdb/participant.jsp?spid=112326&apid=8980 "Alan Jay Lerner: Biography"] [[Turner Classic Movies]], accessed August 1, 2009</ref> Like [[Cole Porter]] at [[Yale]] and [[Richard Rodgers]] at [[Columbia University|Columbia]], his career in musical theater began with his collegiate contributions, in Lerner's case to the annual Harvard [[Hasty Pudding Theatricals|Hasty Pudding]] musicals.<ref>Green, p.238</ref> During the summers of 1936 and 1937, Lerner studied music composition at [[Juilliard]]. While attending Harvard, he lost his sight in his left eye due to an accident in the boxing ring. In 1957, Lerner and [[Leonard Bernstein]], another of Lerner's college classmates, collaborated on "Lonely Men of Harvard," a tongue-in-cheek salute to their alma mater.

==Career==
Due to his eye injury, Lerner could not serve in [[World War II]]. Instead he wrote [[radio]] scripts, including ''[[Your Hit Parade]]'', until he was introduced to [[Austria]]n composer [[Frederick Loewe]], who needed a partner, in 1942 at the [[Lamb's Club]]. While at the Lamb's, he also met [[Lorenz Hart]], with whom he would also collaborate.<ref>{{cite news| last1=Viertel| first1=Jack| title=Encores! artistic director Jack Viertel explains how the Lerner and Lowe musical Paint Your Wagon is a fascinating anomaly from the songwriting team best known for My Fair Lady and Camelot| url=http://www.playbill.com/article/how-a-wrong-turn-at-the-lambs-club-introduced-lerner-to-loewe-and-an-anomaly-explained-com-343920| journal=[[Playbill]]| accessdate=December 16, 2016| date=March 15, 2015}}</ref>

[[Lerner and Loewe]]'s first collaboration was a musical adaptation of Barry Conners's farce ''The Patsy'' called ''Life of the Party'' for a [[Detroit]] [[Stock company (acting)|stock company]]. The lyrics were mostly written by Earle Crooker, but he had left the project, with the score needing vast improvement. It enjoyed a nine-week run and encouraged the duo to join forces with Arthur Pierson for ''[[What's Up? (musical)|What's Up?]]'', which opened on Broadway in 1943. It ran for 63 performances and was followed two years later by ''[[The Day Before Spring]]''.<ref>Green, p. 239</ref>

Their first hit was ''[[Brigadoon (musical)|Brigadoon]]'' (1947), a romantic fantasy set in a mystical Scottish village, directed by [[Robert Lewis (actor)|Robert Lewis]]. It was followed in 1951 by the [[California Gold Rush|Gold Rush]] story ''[[Paint Your Wagon (musical)|Paint Your Wagon]]''. While the show ran for nearly a year and included songs that later became pop standards, it was less successful than Lerner's previous work. He later said of ''Paint Your Wagon'', it was "a success but not a hit."<ref>{{cite news| last1=Zink| first1=Jack| title=Folk Musical 'Wagon' Claims Quite A History Lerner And Loewe's 'Paint Your Wagon' Has Had Three Transformations In Its Lifetime. And Now What Is Considered The Best Version Is Being Presented At The Royal Palm Dinner Theatre In Boca Raton| url=http://articles.sun-sentinel.com/1986-10-12/features/8603010966_1_wagon-paint-broadway-musicals| newspaper=[[Sun-Sentinel]]| location=Fort Lauderdale, Florida| accessdate=December 16, 2016| date=October 12, 1986}}</ref>

Lerner worked with [[Kurt Weill]] on the stage musical ''[[Love Life (musical)|Love Life]]'' (1948) and [[Burton Lane]] on the movie musical ''[[Royal Wedding]]'' (1951). In that same year Lerner also wrote the [[Academy Awards|Oscar-winning]] original [[screenplay]] for ''[[An American in Paris (film)|An American in Paris]]'', produced by [[Arthur Freed]] and directed by [[Vincente Minnelli]]. This was the same team who would later join with Lerner and Loewe to create ''[[Gigi (1958 film)|Gigi]]''.

In 1956, Lerner and Loewe unveiled ''[[My Fair Lady]]''. By this time, too, Lerner and [[Burton Lane]] were already working on a musical about [[Li'l Abner]]. [[Gabriel Pascal]] owned the rights to ''Pygmalion'', which had been unsuccessful with other composers who tried to adapt it into a musical. [[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". Lerner and Loewe's adaptation of [[George Bernard Shaw]]'s ''[[Pygmalion (play)|Pygmalion]]'' retained his social commentary and added appropriate songs for the characters of Henry Higgins and Eliza Doolittle, played originally by [[Rex Harrison]] and [[Julie Andrews]]. It set box-office records in [[New York City|New York]] and [[London]]. When brought to the screen in 1964, the movie version won eight [[Academy Awards|Oscars]], including Best Picture and Best Actor for [[Rex Harrison]].

Lerner and Loewe's run of success continued with their next project, a film adaptation of stories from [[Colette]], the [[Academy Awards|Academy Award]]-winning film musical ''[[Gigi (1958 film)|Gigi]]'', starring [[Leslie Caron]], [[Louis Jourdan]] and [[Maurice Chevalier]]. The film won all of its nine Oscar nominations, a record at that time, and a special Oscar for co-star Maurice Chevalier.

The Lerner-Loewe partnership cracked under the stress of producing the Arthurian ''[[Camelot (musical)|Camelot]]'' in 1960, with Loewe resisting Lerner's desire to direct as well as write when original director [[Moss Hart]] suffered a heart attack in the last few months of rehearsals and died shortly after the show's premiere. Lerner was hospitalized with [[bleeding ulcer]]s while Loewe continued to have heart troubles. ''Camelot'' was a hit nonetheless, and immediately following the assassination of [[John F. Kennedy]], his widow told reporter [[Theodore H. White]] that JFK's administration reminded her of the "one brief shining moment" of Lerner and Loewe's ''Camelot''. As of the early 21st century, ''Camelot'' was still invoked to describe the [[idealism]], [[Romanticism|romance]], and [[tragedy]] of the Kennedy years.<ref>{{cite news| last1=Koehler| first1=Robert| title=Stage Review: Retunn to 'Camelot ' -- Sans Inspiration| url=http://articles.latimes.com/1992-12-23/entertainment/ca-2120_1_robert-goulet| newspaper=[[Los Angeles Times]]| accessdate=December 16, 2016| date=December 23, 1992}}</ref>

Loewe retired to [[Palm Springs, California]], while Lerner went through a series of musicals—some successful, some not—with such composers as [[André Previn]] (''[[Coco (musical)|Coco]]''), [[John Barry (composer)|John Barry]] (''[[Lolita, My Love]]''), [[Leonard Bernstein]] (''[[1600 Pennsylvania Avenue (musical)|1600 Pennsylvania Avenue]]''), [[Burton Lane]] (''[[Carmelina]]'') and [[Charles Strouse]] (''[[Dance a Little Closer]]'', based on the film, ''[[Idiot's Delight (film)|Idiot's Delight]]'', nicknamed ''Close A Little Faster'' by Broadway humorists because it closed on opening night). Most biographers{{who|date=July 2015}} blame Lerner's professional decline on the lack of a strong director with whom Lerner could collaborate, as [[Neil Simon]] did with [[Mike Nichols]] or [[Stephen Sondheim]] with [[Harold Prince]] ([[Moss Hart]], who had directed ''[[My Fair Lady]],'' died shortly after ''[[Camelot (musical)|Camelot]]'' opened). In 1965 Lerner collaborated again with [[Burton Lane]] on the musical ''[[On a Clear Day You Can See Forever]]'', which was adapted for film in 1970. At this time, Lerner was hired by film producer [[Arthur P. Jacobs]] to write a treatment for an upcoming film project, ''[[Doctor Dolittle (film)|Doctor Dolittle]]'', but Lerner abrogated his contract after several non-productive months of non-communicative procrastination and was replaced with [[Leslie Bricusse]].<ref>{{cite book| last=Harris| first=Mark| title=Pictures at a Revolution| url=https://archive.org/details/picturesatrevolu00harr_0| url-access=registration| quote=lerner bricusse.| date=February 14, 2008| publisher=Penguin Press| pages=[https://archive.org/details/picturesatrevolu00harr_0/page/77 77]–78| isbn=978-1101202852}}</ref> Lerner was inducted into the [[Songwriters Hall of Fame]] in 1971.

In 1973, Lerner coaxed Loewe out of retirement to augment the ''Gigi'' score for a [[Gigi (musical)|musical stage adaptation]]. The following year they collaborated on a musical film version of ''[[The Little Prince (1974 film)|The Little Prince]]'', based on the classic children's tale by [[Antoine de Saint-Exupéry]]. This film was a critical and box office failure, but it has gained a modern following.{{citation needed|date= August 2017}}

Lerner's autobiography, ''The Street Where I Live'' (1978), was an account of three of his and Loewe's successful collaborations, ''My Fair Lady'', ''Gigi'', and ''Camelot'', along with personal information. In the last year of his life, he published ''The Musical Theatre: A Celebration'', a well-reviewed history of the theatre, with personal anecdotes and humor. The ''Los Angeles Times'' reviewer wrote: "There are several reasons why this book makes a fine introduction to musical theater. One is that Lerner knows exactly what was new, and when and why....In "The Musical Theatre," one is privy to the judgment of a man... who expresses his opinions in a forthright, warm and personal manner."<ref>Curcio, Vincent. [https://www.latimes.com/archives/la-xpm-1986-11-30-bk-107-story.html " 'The Musical Theatre: A CELEBRATION' by Alan Jay Lerner (McGraw-Hill: $24.95; 280 pp., illustrated)"] ''Los Angeles Times'', November 30, 1986</ref> A book of Lerner's lyrics entitled ''A Hymn To Him'', edited by a British writer [[Benny Green (saxophonist)|Benny Green]], was published in 1987.

At the time of Lerner's death, he had been working with [[Gerard Kenny]] and [[Kristi Kane (libretto)|Kristi Kane]] in London on a musical version of the film ''[[My Man Godfrey]]''. He had also received an urgent call from [[Andrew Lloyd Webber]], asking him to write the lyrics to ''[[The Phantom of the Opera (1986 musical)|The Phantom of the Opera]]''. He wrote "[[Masquerade (The Phantom of the Opera song)|Masquerade]]", but he then informed Webber that he wanted to leave the project because he was losing his memory (due to an undiagnosed brain tumor) and [[Charles Hart (lyricist)|Charles Hart]] replaced him.<ref>{{cite book| last=Furia| first=Philip| title=American Song Lyricists, 1920-1960| url=https://books.google.com/books?id=MLc7AQAAIAAJ&q=Alan+Lerner| pages=322–335| year=2002| publisher=Gale| location=Detroit| isbn=978-0-7876-6009-3|url-access=subscription }}</ref><ref>{{cite book| last=Citron| first=Stephen| title=Sondheim and Lloyd-Webber| url=https://archive.org/details/sondheimlloydweb0000citr| quote=lerner.| date=September 13, 2001| publisher=Oxford University Press US| isbn= 978-0195357271| page=[https://archive.org/details/sondheimlloydweb0000citr/page/330 330]|url-access=subscription }}</ref> He had turned down an invitation to write the English-language lyrics for the musical version of ''[[Les Misérables (musical)|Les Misérables]]''.<ref>{{cite book| last=Behr| first=Edward| title=The Complete Book of Les Misérables| url=https://books.google.com/books?id=qiCO4XZ2K6IC&printsec=frontcover&q=lerner| date=January 1, 1993| publisher=Arcade Publishing| isbn=978-1559701563| page=62| accessdate=August 23, 2018}}</ref>

After Lerner's death, Paul Blake made a musical revue based on Lerner's lyrics and life entitled ''Almost Like Being In Love'', which featured music by [[Frederick Loewe]], [[Burton Lane]], [[André Previn]], [[Charles Strouse]], and [[Kurt Weill]].<ref>{{cite news| title=Almost Like Being In Love: A Musical Revue| url=http://www.playbill.com/production/almost-like-being-in-love-coms-0000026096| journal=Playbill| accessdate=23 February 2018}}</ref><ref>{{cite news| title=Theater Week| volume=3| issue=21| publisher=That New Magazine, Inc.| date=1990| page=8| language=en}}</ref> The show ran for 10 days at the [[Herbst Theatre]] in [[San Francisco, California|San Francisco]].{{citation needed|date=February 2018}}

==Songwriting==
{{Unreferenced section|date=August 2017}}Lerner often struggled with writing his lyrics. He was uncharacteristically able to complete "[[I Could Have Danced All Night]]" from ''[[My Fair Lady]]'' in one 24-hour period. He usually spent months on each song and was constantly rewriting them. Lerner was said{{by whom|date=August 2017}} to have insecurity about his talent. He would sometimes write songs with someone in mind, for instance, "[[I've Grown Accustomed To Her Face]]" from ''[[My Fair Lady]]'' was written with [[Rex Harrison]] in mind to complement his very limited vocal range.{{clarify|reason=This makes no sense. Lerner wrote the words of the song, not the music; in what way could HE have 'complemented [Harrison's] very limited vocal range', unless 'very limited vocal range' means that Harrison had a speech impediment that prevented him from pronouncing certain English words—VERY unlikely since he was cast as a phonetics (pronunciation) professor—and Lerner avoided using those words in the song. Otherwise, if 'very limited vocal range' refers, as it nearly always would, to a very limited range of musical pitches Harrison could sing, this statement belongs in the Loewe (composer) article, not in this Lerner (lyricist) article|date=August 2017}}

Lerner said of writing:
{{quote|You have to keep in mind that there is no such thing as realism or naturalism in the theater. That is a myth. If there was realism in the theater, there would never be a third act. Nothing ends that way. A man's life is made up of thousands and thousands of little pieces. In writing fiction, you select 20 or 30 of them. In a musical, you select even fewer than that.}} {{quote| First, we decide where a song is needed in a play. Second, what is it going to be about? Third, we discuss the mood of the song. Fourth, I give (Loewe) a title. Then he writes the music to the title and the general feeling of the song is established. After he's written the melody, then I write the lyrics.}}

In a 1979 interview on [[NPR]]'s ''[[All Things Considered]]'', Lerner went into some depth about his lyrics for ''[[My Fair Lady]]''. Professor Henry Higgins sings, "Look at her, a prisoner of the gutters / Condemned by every syllable she utters / By right she should be taken out and hung / For the cold-blooded murder of the English tongue." Lerner said he knew the lyric used incorrect grammar for the sake of a rhyme. He was later approached about it by another lyricist:
{{quote|I thought, oh well, maybe nobody will notice it, but not at all. Two nights after it opened, I ran into [[Noël Coward]] in a restaurant, and he walked over and he said, "Dear boy, it is ''hanged'', not ''hung''." I said, "Oh, Noel, I know it, I know it! You know, shut up!" So, and there's another, "Than to ever let a woman in my life." It should be, "as to ever let a woman in my life," but it just didn't sing well.
}}

==Dramatists Guild==
Alan Jay Lerner was an advocate for writers' rights in theatre. He was a member of the [[Dramatists Guild of America]]. In 1960, he was elected as the twelfth president of the non-profit organization. He continued to serve as the Guild's president until 1964.

==Personal life==
For nearly twenty years, Lerner was [[Substance use disorder|addicted]] to [[amphetamine]]; during the 1960s he was a patient of [[Max Jacobson]], known as "Dr. Feelgood", who administered injections of "vitamins with enzymes" that were in fact laced with amphetamine. Lerner's addiction is believed to have been the result of Jacobson's practice.<ref>{{cite news| last=Bryk| first=William| url=http://www.nysun.com/out-and-about/dr-feelgood/20251/| title=Dr. Feelgood| newspaper=[[The New York Sun]]| date=September 20, 2005}}</ref><ref>{{cite book| author-link=Nicolas Rasmussen| last=Rasmussen| first=Nicolas| title=On Speed: The Many Lives of Amphetamine| url=https://books.google.com/books?id=1mf5eEG0nRUC&pg=PA169&q=Dexamyl%20%22purple%20heart%22| publisher=New York University Press| location=New York City| date=March 1, 2008| page=169| isbn=978-0814776278}}</ref>

===Marriages and children===
Lerner married eight times: Ruth Boyd (1940–1947), singer [[Marion Bell]] (1947–1949), actress [[Nancy Olson]] (1950–1957), lawyer Micheline Muselli Pozzo di Borgo (1957–1965), editor Karen Gundersen (1966–1974), [[Sandra Payne]] (1974–1976), Nina Bushkin (1977–1981) and [[Liz Robertson]] (1981–1986 [his death]). Four of his eight wives – Olson, Payne, Bushkin, and Robertson – were actresses.<ref name=tcm/>
His seventh wife, Nina Bushkin, whom he married on May 30, 1977, was the director of development at [[Mannes College of Music]] and the daughter of composer and musician [[Joey Bushkin]].<ref>"Note on People", ''The New York Times'', June 10, 1977, p. 19</ref> After their divorce in 1981, Lerner was ordered to pay her a settlement of $50,000.<ref>{{cite book| last=Lees| first=Gene| title=The musical worlds of Lerner and Loewe| url=https://books.google.com/books?id=EujKPSbVOooC&printsec=frontcover&q=saiger| year=2005| publisher=U of Nebraska Press| isbn=978-0803280403| page=309|url-access=subscription }}</ref> Lerner wrote in his autobiography (as quoted by ''The New York Times''): "All I can say is that if I had no flair for marriage, I also had no flair for bachelorhood."<ref name=times>{{cite news| last=Freedman| first=Samuel| newspaper=The New York Times| title=Alan Jay Lerner, the Lyricist and Playwright, Is Dead at 67| url=https://www.nytimes.com/1986/06/15/obituaries/alan-jay-lerner-the-lyricist-and-playwright-is-dead-at-67.html| date=June 15, 1986| page=1|url-access=subscription }}</ref> One of his ex-wives reportedly said, "Marriage is Alan's way of saying goodbye."{{citation needed|date=August 2017}}

Lerner had four children: three daughters, Susan (by Boyd), Liza and Jennifer (by Olson); and one son, screenwriter and journalist [[Michael Alan Lerner]] (by di Borgo).

[[File:Alan J Lerner Plaque London 2016.jpg|thumb|160px|right|Lerner's memorial plaque in [[St Paul's, Covent Garden|St Paul's Church]] in London]]

Lerner's multiple divorces cost him much of his wealth, but he was primarily responsible for his own financial ups and downs and was apparently less than truthful about his financial fecklessness.<ref>{{cite book| last1=Brown| first1=Gordon W.| last2=Myers| first2=Scott| title=Administration of wills, trusts, and estates| url=https://books.google.com/books?id=eaoKAAAAQBAJ&printsec=frontcover&q=Lerner| date=February 22, 2012| publisher=Cengage Learning| isbn=978-1285401034| page=358}}</ref> One persistent fiction, widely publicized, was that his divorce settlement from Micheline Muselli Pozzo di Borgo (his fourth wife) cost him an estimated $1 million in 1965. This was a gross distortion of the truth.<ref>{{cite news| title=Mrs. Lerner in Las Vegas Preparing to Ask Divorce| url=https://www.nytimes.com/1965/09/01/archives/mrs-lerner-in-las-vegas-preparing-to-ask-divorce.html| newspaper=The New York Times| date=September 1, 1965| page=28|url-access=subscription }}</ref> Lerner's pattern of financial mismanagement continued until his death from cancer in 1986, when he reportedly owed the [[US Internal Revenue Service]] over US$1,000,000 in back taxes and was unable to pay for his final medical expenses.<ref>{{cite news| url=https://www.nytimes.com/1986/02/20/arts/alan-jay-lerner-sued-by-us-for-1.4-million.html| title=Alan Jay Lerner Sued By U.S. for $1.4 Million| agency=[[Associated Press]]| newspaper=The New York Times| date=February 20, 1986|url-access=subscription }}</ref>

==Death==
On June 14, 1986, Lerner died of [[lung cancer]] in [[Manhattan]] at the age of 67. At the time of his death he was married to actress [[Liz Robertson]], who was 36 years his junior.<ref name=times/> He lived in [[Center Island, New York]].<ref name=LIX>{{cite web| url=https://www.longislandexchange.com/towns/centre-island/| title=Centre Island| website=Long Island Exchange| accessdate=August 23, 2018}}</ref> He has a memorial plaque in [[St Paul's, Covent Garden|St Paul's Church]], the Actors' Church in [[Covent Garden]] in London.

==Awards and honors==

*[[American Theater Hall of Fame]] 1979<ref>{{cite news|url=https://www.nytimes.com/1979/11/19/archives/theater-hall-of-fame-enshrines-51-artists-great-things-and-blank.html|title=Theater Hall of Fame Enshrines 51 Artists|newspaper=New York Times|date=November 19, 1979|accessdate=February 7, 2019}}</ref>
*[[Kennedy Center Honors]] 1985<ref>[https://www.kennedy-center.org/pages/specialevents/honors "Honors, 1985"] kennedy-center.org, retrieved July 13, 2019</ref>

;Academy Award
*[[Academy Award for Writing Original Screenplay|Best Original Screenplay]], 1951 ''[[An American in Paris (film)|An American in Paris]]''
*[[Academy Award for Writing Adapted Screenplay|Best Adapted Screenplay]], 1958 ''[[Gigi (1958 film)|Gigi]]''
*[[Academy Award for Best Original Song|Best Original Song]], 1958 ''[[Gigi (1958 film)|Gigi]]''

;[[Golden Globes]]<ref>[https://www.goldenglobes.com/person/alan-jay-lerner "Alan Jay Lerner"] goldenglobes.com, retrieved July 13, 2019</ref>
*[[Golden Globe Award for Best Original Song|Best Original Song]], 1968 ''[[Camelot (film)|Camelot]]''
*[[Golden Globe Award for Best Original Score|Best Original Score]], 1975 ''[[The Little Prince]]''

;[[Tony Award]]<ref name=play1>[http://www.playbill.com/person/alan-jay-lerner-vault-0000000316# "Alan Jay Lerner Broadway"] playbill.com, retrieved July 13, 2019</ref>
*[[Tony Award for Best Book of a Musical|Best Book of a Musical]], 1957 ''[[My Fair Lady]]''
*[[Tony Award for Best Original Score|Best Original Score]], 1957 ''[[My Fair Lady]]'' and 1974 ''[[Gigi (musical)|Gigi]]''

;[[New York Drama Critics Circle]]<ref name=play1/>
*[[New York Drama Critics' Circle|Best Musical]], 1947 ''[[Brigadoon]]''
*[[New York Drama Critics' Circle|Best Musical]], 1956 ''[[My Fair Lady]]''

;Johnny Mercer Award<ref>[https://www.songhall.org/awards/1985_awards_ceremony "1985 Awards Ceremony"] songhall.org, retrieved July 13, 2019</ref>
*[[National Academy of Popular Music|Lyric Writing]], 1985, Lifetime

==Works==

===Stage===
* ''[[Life of the Party (musical)|Life of the Party]]'' (1942), with [[Frederick Loewe]]
* ''[[What's Up? (musical)|What's Up?]]'' (1943), with [[Frederick Loewe]]
* ''[[The Day Before Spring]]'' (1945), with [[Frederick Loewe]]
* ''[[Brigadoon (musical)|Brigadoon]]'' (1947), with [[Frederick Loewe]]
* ''[[Love Life (musical)|Love Life]]'' (1948), with [[Kurt Weill]]
* ''[[Paint Your Wagon (musical)|Paint Your Wagon]]'' (1951), [[Frederick Loewe]]
* ''[[My Fair Lady]]'' (1956), with [[Frederick Loewe]]
* ''[[Camelot (musical)|Camelot]]'' (1960), with [[Frederick Loewe]]
* ''[[On a Clear Day You Can See Forever]]'' (1965), with [[Burton Lane]]
* ''[[Coco (musical)|Coco]]'' (1969), with [[André Previn]]
* ''[[Lolita, My Love]]'' (1971), with [[John Barry (composer)|John Barry]]
* ''[[Gigi (musical)|Gigi]]'' (1973), based on the 1958 [[Gigi (1958 film)|film of the same name]], with [[Frederick Loewe]]
* ''[[1600 Pennsylvania Avenue (musical)|1600 Pennsylvania Avenue]]'' (1976), with [[Leonard Bernstein]]
* ''[[Carmelina]]'' (1979), with [[Burton Lane]] and [[Joseph Stein]]
* ''[[Dance a Little Closer]]'' (1983), with [[Charles Strouse]]
* ''My Man Godfrey'' (1984), unfinished, with [[Gerard Kenny]]<ref>{{cite web |first=Enid |last=Nemy |title=`My Man Godfrey` Bound For Broadway |url=http://articles.chicagotribune.com/1985-03-19/features/8501150815_1_madcap-perfect-timing-alan-jay-lerner |work=[[Chicago Tribune]] |date=March 19, 1985 |accessdate=July 13, 2019}}</ref>

===Films===
Source: TCM<ref>[http://www.tcm.com/tcmdb/person/112326|8980/Alan-Jay-Lerner/filmography.html "Alan Jay Lerner Filmography"] tcm.com, retrieved July 13, 2019</ref>

*''[[Royal Wedding]]'', 1951 (screenwriter/lyricist)
*''[[An American in Paris (film)|An American in Paris]]'' (1951) (writer)
*''[[Brigadoon (film)|Brigadoon]]'', 1954 (film) (screenwriter/lyricist)
*''[[Gigi (1958 film)|Gigi]]'', 1958 (screenwriter/lyricist)
*''The Adventures of Huckleberry Finn'', 1960 (lyricist)
*''[[My Fair Lady (film)|My Fair Lady]]'', 1964 (screenwriter/lyricist)
*''[[Camelot (film)|Camelot]]'', 1967 (screenwriter/lyricist)
*''[[Paint Your Wagon (film)|Paint Your Wagon]]'', 1969 (producer/screenwriter/lyricist)
*''[[On a Clear Day You Can See Forever (film)|On a Clear Day You Can See Forever]]'', 1970 (screenwriter/lyricist)
*''[[The Little Prince (1974 film)|The Little Prince]]'', 1974 (screenwriter/lyricist)
*''[[Tribute (1980 film)|Tribute]]'', 1980 ("It's All for the Best," lyricist)
*''Secret Places'', 1984 (title song lyricist)

==See also==
*[[Lerner and Loewe]]

==Notes==
{{Reflist}}

==References==
*Green, Stanley. ''The world of musical comedy'' (Edition 4, 1984), Da Capo Press, {{ISBN|0-306-80207-4}}

==Further reading==
* Lerner, Alan Jay (1985). ''The Street Where I Live''. Da Capo Press. {{ISBN|0-306-80602-9}}
* Shapiro, Doris (1989). ''We Danced All Night: My Life Behind the Scenes With Alan Jay Lerner''. Barricade Books. {{ISBN|0-942637-98-4}}
* Jablonski, Edward (1996). ''Alan Jay Lerner: A Biography''. Henry Holt & Co. {{ISBN|0-8050-4076-5}}
* Citron, David (1995). ''The Wordsmiths: Oscar Hammerstein 2nd and Alan Jay Lerner''. Oxford University Press. {{ISBN|0-19-508386-5}}
* Green, Benny, Editor (1987). ''A Hymn to Him : The Lyrics of Alan Jay Lerner''. Hal Leonard Corporation. {{ISBN|0-87910-109-1}}
* Garebian, Keith (1998). ''The Making of My Fair Lady''. Publisher: Mosaic Press. {{ISBN|0-88962-653-7}}

{{Use mdy dates|date=September 2014}}

==External links==
{{Spoken Wikipedia|Alan_Jay_Lerner.ogg|2020-04-03}}
* {{IBDB name}}
* {{iobdb name|1551}}
* {{IMDb name| 503585 }}
* {{Shof| 42 }}

{{Lerner and Loewe}}
{{Navboxes
|title = Awards for Alan Jay Lerner
|list =
{{AcademyAwardBestOriginalScreenplay 1940-1960}}
{{AcademyAwardBestAdaptedScreenplay 1941-1960}}
{{AcademyAwardBestOriginalSong 1951–1960}}
{{Golden Globe Award for Best Original Score 1970–1989}}
{{Golden Globe Award for Best Original Song}}
{{TonyAward MusicalScore 1947–1975}}
{{Kennedy Center Honorees 1980s}}
}}
{{My Fair Lady}}

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{{DEFAULTSORT:Lerner, Alan Jay}}
[[Category:1918 births]]
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[[Category:American lyricists]]
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[[Category:Best Original Song Academy Award-winning songwriters]]
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[[Category:Choate Rosemary Hall alumni]]
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Earl Tupper

2020-04-03T21:06:41Z

JohnAnkerBow: Spoken article added

{{Infobox person
|name = Earl Tupper
|image =
|birth_name = Earl Silas Tupper
|birth_date = July 28, 1907
|birth_place = [[Berlin, New Hampshire]], United States
|death_date = {{death date and age|1983|10|5|1907|7|28}}
|death_place = [[Costa Rica]]
|residence =
|nationality = United States
|other_names =
|known_for = [[Tupperware]]
|education = [[Bryant College]]
|employer =
|occupation = inventor, company founder
|home_town =
|religion =
|spouse =
|partner =
|children =
|parents =
}}
'''Earl Silas Tupper''' (July 28, 1907 – October 5, 1983) was an American businessman and inventor, best known as the inventor of [[Tupperware]], an airtight [[plastic container]] for storing [[food]], and for founding the related home products company that bears his name, [[Tupperware Plastics Company]].

==Early life and career==
Tupper was born on a farm in [[Berlin, New Hampshire]]. The Tupper family moved from Berlin when he was three years old.{{Where?|date=December 2014}}

After studying at Bryant College (now [[Bryant University]]) in [[Providence, Rhode Island]], he began a [[landscaping]] and [[nursery (horticulture)|nursery]] business until the [[Great Depression]] forced the business into [[bankruptcy]]. He then got a job with the [[DuPont]] chemical company.<ref>{{cite book |url=https://archive.org/details/madeinamericafro0000free|url-access=registration|title=Made in America: from Levis to Barbie to Google|first= Nick|last= Freeth |publisher=MBI Publishing Company|location= St. Paul, MN|year= 2005|isbn=978-0-7603-2270-3 |page=[https://archive.org/details/madeinamericafro0000free/page/227 227]|accessdate=2010-11-04 }}</ref>

==Creation of Tupperware==
[[File:Tupperdose.jpg|thumb|An example of Tupperware]]
Using black, inflexible pieces of [[polyethylene]] [[slag]], a waste product of the oil refining process given to him by his supervisor at DuPont, Tupper purified the slag and molded it to create lightweight, non-breakable containers, cups, bowls, plates, and even [[gas mask]]s that were used in [[World War II]].<ref name="Clarke 2001">{{cite book |title=Tupperware: The Promise of Plastic in 1950's America|first= Alison|last= Clarke |publisher=Smithsonian Institution, Smithsonian books|year= 2001 }}</ref> He later designed liquid-proof, airtight lids, inspired by the secure seal of [[paint]] can lids.<ref name=pbs>{{cite web |url=https://www.pbs.org/wgbh/amex/tupperware/peopleevents/p_tupper.html |title=People & Events: Earl Silas Tupper (1907-1983) |work= Tupperware!| publisher= PBS American Experience|date=December 11, 2003|accessdate=2011-03-11 }}</ref>

==Business==
Tupper founded the [[Tupperware Plastics Company]] in 1938, and in 1948 the company introduced Tupper Plastics to hardware and department stores. Around 1946, he joined forces with [[Brownie Wise]], who caught his attention after she made a lengthy phone call to his office in [[Grafton, Massachusetts|South Grafton, Massachusetts]], during which she explained her extraordinary success selling Tupperware via home parties.<ref name="Clarke 2001"/>

Based on a [[marketing]] strategy developed by Wise and early pioneers Tom and Ann Damigella from Everett, Massachusetts, Tupperware was withdrawn from sale in retail stores in the early 1950s and Tupperware "parties" soon became popular in homes. This was the first instance of what became known as "[[party plan]]" marketing.<ref>{{Cite news|url=https://www.independent.co.uk/property/interiors/secret-history-of-tupperware-2100910.html|title=Secret History Of: Tupperware|date=2010-10-08|work=The Independent|access-date=2017-08-12|language=en-GB}}</ref>

The corporate headquarters was moved from Massachusetts to [[Orlando, Florida]]. After his falling-out with Wise, which resulted in her dismissal in 1958, Tupper sold The Tupperware Company for $16 million to [[Rexall]]. Shortly afterward, he divorced his wife, gave up his [[U.S. citizenship]] to avoid taxes, and bought an island just off the coast of [[Costa Rica]].<ref>[https://www.pbs.org/wgbh/americanexperience/features/biography/tupperware-tupper/ Tupper]</ref>

==Philanthropy==
In 1969, Tupper donated 428 acres of land in Smithfield, Rhode Island, to his alma mater, Bryant College (now named [[Bryant University]]). The land was developed into the college's new campus, which opened in 1971.{{citation needed|date=October 2015}}

==Death==
Tupper died in Costa Rica on October 5, 1983, at the age of 76.{{citation needed|date=October 2015}}

==References==
{{reflist|2}}

==External links==
{{Spoken Wikipedia|Earl_Tupper.ogg|2020-04-03}}

* [https://web.archive.org/web/20051128042320/http://americanhistory.si.edu/archives/d8470a.htm Earl S. Tupper Papers, ca. 1914–82] Archives Center, National Museum of American History, Smithsonian Institution
{{DuPont}}

{{Authority control}}

{{DEFAULTSORT:Tupper, Earl}}
[[Category:1907 births]]
[[Category:1983 deaths]]
[[Category:People from Berlin, New Hampshire]]
[[Category:Bryant University alumni]]
[[Category:DuPont people]]
[[Category:American expatriates in Costa Rica]]
[[Category:20th-century American inventors]]

Statue of George M. Cohan

2020-04-03T21:05:49Z

JohnAnkerBow: Spoken article added

{{short description|Statue in Times Square, New York City}}
{{More sources|date=July 2016}}
{{Infobox artwork
| title = Statue of George M. Cohan
| italic title = no
| other_language_1 =
| other_title_1 =
| other_language_2 =
| other_title_2 =
| wikidata =
| image = George M Cohan statue and Duffy Square.jpg
| image_upright =
| alt =
| caption = The statue in 2011
| artist =
| year = 
| completion_date = 
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| subject =
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| metric_unit = cm 
| imperial_unit = in 
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| city = [[New York City]], New York, U.S.
| coordinates = {{Coord|40|45|31.53|N|73|59|6.52|W|display=inline,title}}
| owner =
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}}
A [[bronze statue]] of composer [[George M. Cohan]], by artist [[Georg John Lober]] and architect [[Otto Langman]], is installed at [[Duffy Square]] in Manhattan, New York. Cast in 1959 and dedicated on September 11, 1959, the statue rests on a light [[Barre, Vermont (disambiguation)|Barre]] granite pedestal, which is set on a dark Barre granite base.<ref>{{cite web|url=https://www.nycgovparks.org/parks/M093/monuments/282 |title=Father Duffy Square Monuments - George M. Cohan : NYC Parks |website=Nycgovparks.org |date=1959-09-11 |access-date=2016-11-30}}</ref>

==See also==
{{Portal|New York City|Visual arts}}
* [[1959 in art]]

==References==
{{Reflist}}

==External links==
{{Spoken Wikipedia|Statue_of_George_M._Cohan.ogg|2020-04-03}}

* {{Commons category-inline|George M. Cohan by Georg Lober|''George M. Cohen'' by Georg Lober}}

{{Public art in Manhattan}}

[[Category:1959 establishments in New York (state)]]
[[Category:1959 sculptures]]
[[Category:Bronze sculptures in Manhattan]]
[[Category:Granite sculptures in New York City]]
[[Category:Monuments and memorials in Manhattan]]
[[Category:Outdoor sculptures in Manhattan]]
[[Category:Sculptures of men in New York City]]
[[Category:Statues in New York City]]
[[Category:Times Square]]

{{NYC-stub}}
{{Sculpture-stub}}

Dun & Bradstreet

2020-01-07T17:32:39Z

JohnAnkerBow: Spoken article added

{{short description|American business data company}}
{{Redirect|D&B}}
{{Infobox company
| name = The Dun & Bradstreet Corporation
| logo = Dun and Bradstreet wordmark.svg
| type = [[Privately held company|Private]]
| industry = Commercial & professional services
| foundation = {{start date and age|1841}} [[New York City]], [[New York (state)|NY]], U.S.
| location = [[Short Hills, New Jersey]], U.S.
| key_people = {{ubl|class=nowrap| Anthony Jabbour | {{small|(CEO)}} | Richard H. Veldran | {{small|(CFO)}} }}
| products = {{ubl|class=nowrap| [[Business information]] | Credit & risk | Sales & marketing | [[Data analytics]] | Supply & compliance}}
| revenue = {{nowrap|{{up}} US$ 1.74 billion {{small|(2017)}}}}
| operating_income = {{nowrap|{{up}} US$ 382.9 million {{small|(2017)}}}}
| net_income = {{nowrap|{{up}} US$ 145 million {{small|(2017)}}}}
| assets = {{nowrap|{{up}} US$ 2.48 billion {{small|(2017)}}}}
| equity = {{nowrap|{{up}} US$ -811.2 million {{small|(2017)}}}}
| num_employees = {{nowrap|~5,000 {{small|(2019)}}}}
| homepage = {{url|http://www.dnb.com/|www.DnB.com}}
| footnotes = <ref name=10K2017>{{cite web|url=https://www.sec.gov/Archives/edgar/data/1115222/000111522218000004/a201710-k.htm|title=US SEC: Form 10-K The Dun & Bradstreet Corporation|publisher=[[U.S. Securities and Exchange Commission]]|accessdate=February 22, 2018}}</ref><ref name=CEO>{{cite web|url=https://www.sec.gov/Archives/edgar/data/1115222/000119312518243391/d603966d8k.htm|title=Form 8-K The Dun & Bradstreet Corporation|publisher=[[U.S. Securities and Exchange Commission]]|accessdate=August 22, 2018}}</ref>
}}

'''The Dun & Bradstreet Corporation''' is a company that provides commercial data, analytics, and insights for businesses.<ref name=":0">{{Cite news|url=https://finance.yahoo.com/news/dun-bradstreet-ushers-era-100000570.html|title=Dun & Bradstreet Ushers in a New Era|date=March 10, 2015|work=Yahoo Finance|access-date=2017-09-13|archive-url=https://web.archive.org/web/20150316061759/http://finance.yahoo.com/news/dun-bradstreet-ushers-era-100000570.html|archive-date=2015-03-16|url-status=dead|language=en-US}}</ref> It is headquartered in [[Short Hills, New Jersey|Short Hills]], a community in [[Millburn, New Jersey|Millburn]], [[New Jersey]], U.S.<ref>"[http://www.dnb.com/company.html About Us]." Dun & Bradstreet. Retrieved on October 1, 2012. "HQ info: 103 John F. Kennedy Parkway Short Hills, NJ 07078"</ref> The company offers a wide range of products and services for risk and finance, operations and supply, and sales and marketing professionals, as well as research and insights on global business issues, serving customers in government and industries such as communications, technology, strategic financial services, and retail/telecommunications/manufacturing markets.<ref name="yprof">{{Cite news| url =https://finance.yahoo.com/q/pr?s=dnb|title=Profile - Dun & Bradstreet Corp.|publisher=[[Yahoo! Finance]] |accessdate =September 12, 2014}}</ref> Often referred to as '''D&B''', the company's database contains more than 300 million business records worldwide.<ref name=secdatabase.com>
{{cite web
| url = http://investor.dnb.com/secfiling.cfm?filingID=1115222-17-7&CIK=1115222#A201610-K_HTM_S0365496C443B5201B357B43F142098DE
| title = Dun & Bradstreet Corp/NW - Form 10-K - February 23, 2017
| publisher = dnb.com
| accessdate = 2017-08-22
}}</ref><ref>{{Cite web|url=https://www.sec.gov/Archives/edgar/data/1115222/000111522217000007/a201610-k.htm|title=DUN & BRADSTREET CORP/NW 2016 Annual Report Form (10-K)|last=|first=|date=February 23, 2017|website=www.sec.gov|access-date=2017-09-13}}</ref><ref>{{Cite news| url =http://archive.fortune.com/magazines/fortune/fortune500/snapshots/1704.html|title=Dun & Bradstreet|publisher=[[Fortune (magazine)|Fortune]] |date =2006}}</ref><ref>{{Cite news| url =http://i.usatoday.net/money/_pdfs/11-0615-centurions.pdf|title=Public companies 100 years old or more|publisher=[[USA Today]] |accessdate =September 13, 2014}}</ref><ref>{{Cite news|url=http://www.eweek.com/enterprise-apps/companies-of-all-sizes-plugging-into-the-salesforce-crm-ecosystem|title=Companies of All Sizes Plugging into the Salesforce CRM Ecosystem|last=Needle|first=David|date=2017-11-07|work=eWEEK|access-date=2017-11-07|language=en-US}}</ref><ref>{{Cite news|url=http://www.businessinsider.com/the-ceo-of-the-interactive-advertising-bureau-says-most-big-marketers-are-screwed-2018-2|title=The CEO of digital advertising's biggest trade group says most big marketers are screwed unless they completely change their business models
|last=|first=|date=February 12, 2018|work=Businessinsider|access-date=2018-02-28}}</ref>

== History ==
===1800s===
Dun & Bradstreet traces its history back to July 20, 1841, with the formation of The Mercantile Agency in New York City by [[Lewis Tappan]], later called R.G. Dun & Company.<ref>{{Cite news| url =http://www.library.hbs.edu/hc/collections/dun/ |title= R.G. Dun & Co. / Dun & Bradstreet Collections|publisher=[[Harvard Business School]] |accessdate= September 12, 2014}}</ref> Recognizing the need for a centralized credit reporting system, Tappan formed the company to create a network of correspondents who would provide reliable, objective credit information to subscribers.<ref>{{Cite news| url=http://www.fundinguniverse.com/company-histories/the-dun-bradstreet-corporation-history/ |title=History of the Dun & Bradstreet Corporation- Funding Universe |publisher=Funding Universe |accessdate= June 22, 2015}}</ref> As an advocate for civil rights, Tappan used his [[abolitionist]] connections to expand and update the company's credit information.<ref>{{Cite news| url=https://www.pbs.org/wgbh/theymadeamerica/whomade/tappan_hi.html |title= Who Made America? Innovators Lewis Tappan |publisher=[[PBS]] |accessdate= June 22, 2015}}</ref>

In spite of accusations for invading personal privacy, by 1844 the Mercantile Agency had over 280 clients. The agency continued to expand allowing offices to open in Boston, Philadelphia, and Baltimore. By 1849, Tappan retired, allowing Benjamin Douglass to take over the booming business.<ref>{{Cite web|url=http://www.pbs.org/wgbh/theymadeamerica/whomade/tappan_hi.html|title=Who Made America? {{!}} Innovators {{!}} Lewis Tappan|website=www.pbs.org|access-date=2017-09-13}}</ref>

In 1859, Douglass transferred the company to Robert Graham Dun, who immediately changed the firm's name to R.G. Dun & Company.<ref>{{Cite news| url=https://www.loc.gov/rr/business/businesshistory/July/duns.html |title=Dun & Bradstreet: This Month in Business History |publisher=[[Library of Congress]] |accessdate= June 22, 2015}}</ref> Over the next 40 years, Graham Dun continued to expand the business across international boundaries.

===1900s===
In 1933, Dun merged with competitor, John M. Bradstreet to form today's Dun & Bradstreet.<ref>{{cite book |last=Hightower|first=Michael J. |date=2013 |title=Banking in Oklahoma Before Statehood|url=https://books.google.com/books?id=efpKAQAAQBAJ&dq=In+1933,+Dun+merged+with+competitor+John+M.+Bradstreet+to+form+today's+Dun+%26+Bradstreet.&source=gbs_navlinks_s |location= |publisher=[[University of Oklahoma Press]] |page=345 |isbn=9780806150260|accessdate=September 12, 2014 }}</ref> The merger was engineered by Dun's CEO Arthur Whiteside.<ref name=DNBHistory>{{cite web|title=Dun and Bradstreet Company History|url=http://www.dnb.com/company/history.html|website=dnb.com|accessdate=8 December 2015}}</ref> Whiteside's successor, J. Wilson Newman, worked to increase Dun's range of products and services and expanded dramatically during the 1960s by engineering ways to apply new technologies to evolving operations.<ref name=DNBHistory/>

The Dun & Bradstreet [[Data Universal Numbering System]] ([[Data Universal Numbering System|D&B D-U-N-S]] Number) was invented in 1963.<ref>{{Cite web|url=https://www.loc.gov/rr/business/businesshistory/July/duns.html|title=Dun & Bradstreet: This Month in Business History (Business Reference Services, Library of Congress)|website=www.loc.gov|language=en|access-date=2017-09-13}}</ref><ref>{{Cite news| url =https://www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/|title= Frequently Asked Questions for D-U-N-S Number and SAM Registration |publisher=[[United States Department of Agriculture]] |accessdate = September 12, 2014}}</ref>

In 1996 the company tri-vested creating three entities D&B Companies, [[Nielsen Holdings|Nielsen]] and the [[Cognizant|Cognizant Corporation]].<ref>{{Cite web|url=http://www.dnb.com/about-us/company/history.html|title=Learn About Our Company History|website=www.dnb.com|access-date=2017-09-13}}</ref> [[Cognizant|Cognizant Corporation]] included [[Nielsen ratings|Nielsen TV Ratings]], [[Gartner|Gartner Group]], Clarke-O'Neill, Erisco and several other lesser known entities. In 1999, Cognizant Corporation spun off Nielsen TV Ratings and shortly thereafter divested all its holdings emerging as IMS Health. IMS Health continued to hold its prize incubator company that is today known as Cognizant Corporation. [[Moody's Corporation|Moody's]], a credit reporting agency, was acquired by Dun & Bradstreet in 1962. In 1986, Dun & Bradstreet acquired the education data company Market Data Retrieval (MDR).<ref>{{Cite news|url=https://www.ftc.gov/news-events/press-releases/2010/05/ftc-challenges-dun-bradstreets-purchase-competing-education-data|title=FTC Challenges Dun & Bradstreet's Purchase of Competing Education Data Provider|date=2010-05-07|work=Federal Trade Commission|access-date=2017-09-13|language=en}}</ref><ref>{{Cite news| url =http://www.chicagobusiness.com/article/19960113/ISSUE01/10008072/nielsen-exits-d-b-a-weakened-brand-spinoff-alone-will-not-solve-units-problems |title=Nielsen Exits D&B A Weakened Brand;Spinoff Alone Will Not Solve Unit's Problems |author= Veronica Anderson |publisher=[[Crain's Chicago Business]] |date = January 15, 1996}}</ref><ref>{{Cite news| url =http://www.fundinguniverse.com/company-histories/cognizant-technology-solutions-corporation-history/ |title=Cognizant Technology Solutions Corporation History|publisher= Funding Universe|date = 2004}}</ref><ref name="NYT">{{cite news | url = https://www.nytimes.com/1999/12/16/business/dun-bradstreet-will-spin-off-moody-s.html| title = Dun & Bradstreet Will Spin Off Moody's | publisher = [[The New York Times]] | author=Kenneth N. Gilpin | date=December 16, 1999}}</ref>

===2000s===
During 2001, Dun & Bradstreet acquired the company Harris InfoSource International, Inc, a data company. In February 2003, the company acquired [[Hoover's]].<ref>{{Cite web|url=http://www.fundinguniverse.com/company-histories/the-dun-bradstreet-corporation-history/|title=History of The Dun & Bradstreet Corporation – FundingUniverse|website=www.fundinguniverse.com|language=en|access-date=2017-09-13}}</ref>

On February 5, 2003, Dun & Bradstreet restated prior period results to correct timing errors in the recognition of some of the revenue associated with 14 of the Company's 200+ products, after a review of its revenue recognition from 1997 through 2002.<ref>{{Cite web|url=http://investor.dnb.com/releasedetail.cfm?ReleaseID=385069|title=D&B Reports 2002 Fourth Quarter and Full Year Results - The Dun & Bradstreet Corporation|website=investor.dnb.com|language=en|access-date=2017-09-13}}</ref><ref>{{cite web|url=http://investor.dnb.com/releasedetail.cfm?ReleaseID=385069| title=D&B Restated Prior Period Results|website=dnb.com}}</ref> In August 2010, Dun & Bradstreet spun off and sold their credit monitoring and management business to a newly formed company, [[Dun & Bradstreet Credibility Corp]].{{cn|date=June 2019}} In 2007, Dun & Bradstreet acquired [[AllBusiness.com]] and sold the company in 2012.<ref>{{Cite news| url =http://mashable.com/2007/12/04/dun-and-bradstreet-allbusiness/|title=Dun & Bradstreet Acquires AllBusiness.com for $55M|author=Nicole, Kristen |website=[[Mashable]]|date = December 4, 2007}}</ref>

In October 2013, [[Bob Carrigan]] became the CEO of Dun & Bradstreet.

On January 5, 2015, Dun & Bradstreet acquired the data management firm NetProspex.<ref>{{Cite web|url=https://blogs.wsj.com/cmo/2015/01/08/dun-bradstreet-acquires-data-management-firm-netprospex/|title=Dun & Bradstreet Acquires Data Management Firm NetProspex|last=Shields|first=Mike|date=2015-01-08|website=WSJ|language=en-US|access-date=2017-09-13}}</ref> In April 2015, Dun & Bradstreet acquired Dun & Bradstreet Credibility Corp. and announced the formation of a new division, Dun & Bradstreet Emerging Business. In January 2017, Dun & Bradstreet acquired Avention, the maker of OneSource solutions.<ref>{{Cite news|url=https://www.reuters.com/article/idUSASC09QDI|title=Dun & Bradstreet acquires Avention|last=|first=|date=January 10, 2017|work=Reuters|access-date=2017-09-13}}</ref>

On August 8, 2018, Dun & Bradstreet announced Thomas J. Manning, who has served as the company's interim CEO, as the new Chief Executive Officer, and that the company had entered into a definitive agreement to be acquired by an investor group led by CC Capital, Cannae Holdings and Thomas H. Lee Partners.<ref>{{Cite news|url=https://www.cnbc.com/2018/08/09/dun--bradstreet-to-go-private-for-5point38-billion.html|title=Dun & Bradstreet to go private for $5.38 billion|date=August 9, 2018|website=cnbc.com|access-date=2019-04-16}}</ref>

On February 8, 2019, Dun & Bradstreet completed its merger and became a privately held company. Its former ticker symbol, DNB, was retired.<ref>{{Cite news|url=https://www.dnb.com/utility-pages/alerts/privatization.html|title=Dun & Bradstreet is now a private company|date=February 8, 2019|website=dnb.com|access-date=2019-04-16}}</ref>

== Operations ==
The company generates revenue through subscription-based products, business information reports, data licensing agreements, strategic partnerships and concierge services.<ref name=":0" />

The company derives revenues through two segments: Americas and non-Americas.

Americas consists of:
* United States and Canada<ref>{{Cite web|url=https://www.reuters.com/finance/stocks/companyProfile/DNB|title=Dun & Bradstreet Corp (DNB)|last=|first=|date=|website=Reuters|language=|access-date=2017-09-15}}</ref>
* (The company divested its Latin America operations in September 2016)<ref name=":1">{{Cite news|url=http://www.marketwatch.com/story/10-k-dun-bradstreet-corpnw-2017-02-23|title=10-K: DUN & BRADSTREET CORP/NW|work=MarketWatch|access-date=2017-09-15|language=en-US}}</ref>
And non-Americas consists of:
* The United Kingdom
* Ireland
* Greater China (Including Hong Kong and Taiwan?)
* India
* (Netherlands and Belgium operations were divested in November 2016)<ref name=":1" />
* (Australian and New Zealand operations were divested in June 2015 to [[Archer Capital]] for $169.8 million, and were rebranded as [[illion Australia Pty. Ltd.|illion]] in 2018, with debt collection operations being formally rebranded as [[Milton Graham (debt collectors)|Milton Graham]] on 14 June 2018)<ref name=":1" /><ref>{{cite web |title=Company Overview of illion |url=https://www.bloomberg.com/research/stocks/private/snapshot.asp?privcapId=1149666 |website=Bloomberg.com |publisher=Bloomberg |accessdate=8 June 2019}}</ref><ref>{{cite web |title=illion is now formally integrating our subsidiaries to deliver an even more cohesive suite of solutions to you. |url=https://rebrand.illion.com.au/home |website=rebrand.illion.com.au/home |publisher=illion Australia Pty. Ltd. |accessdate=8 June 2019}}</ref><ref>{{cite web |title=It with great excitement that we announce our new receivables optimisation brand: Milton Graham |url=https://rebrand.illion.com.au/milton-graham |website=rebrand.illion.com.au/milton-graham |publisher=illion Australia Pty. Ltd. |accessdate=8 June 2019}}</ref>

== Products and services ==
Dun & Bradstreet offers various products and services solving for credit, risk, marketing, sales, analytics and more, including [[D&B Hoovers]],<ref>{{Cite web|url=http://www.dbm.today/dun-bradstreet-looks-to-clean-up-with-db-hoovers/|title=Dun & Bradstreet looks to clean up with D&B Hoovers {{!}} DBM {{!}} Database Marketing|date=March 8, 2017|website=www.dbm.today|language=en-GB|access-date=2017-10-04}}</ref><ref name="yprof"/><ref>{{Cite news| url = http://investing.businessweek.com/research/stocks/private/snapshot.asp?privcapId=|title=Company Overview of Hoover's, Inc.|publisher=[[Bloomberg Businessweek]] |date = September 16, 2014}}</ref> [[Master Data]]<ref>{{Cite news|url=http://www.financialexpress.com/economy/economic-growth-to-remain-subdued-at-6-6-in-q4-fy17-db-report/681985/|title=Economic growth to remain subdued at 6.6% in Q4 FY17: D&B report|date=2017-05-23|work=The Financial Express|access-date=2017-10-04|language=en-US}}</ref> and D&B Data Exchange.<ref>{{Cite news|url=http://blog.executivebiz.com/2013/07/d-josh-peirez-laura-kelly-comment/|title=D&B Launches New Data Exchange for Clients, Partners; Josh Peirez, Laura Kelly Comment|last=Clemens|first=Jay|date=July 29, 2013|work=ExecutiveBiz|access-date=2017-10-04|language=en-US}}</ref>

==Competition==
Competitors to Dun & Bradstreet include:
* [[Equifax]]<ref name="Cross, Christopher">{{cite news|url=http://smallbusiness.chron.com/credit-report-company-14844.html|title=Small Business: How Do I Get a Credit Report for My Company?|author=Cross, Christopher |newspaper=Houston Chronicle|accessdate=August 27, 2016}}</ref><ref name="Huebsch, Russell">{{cite news|url=http://smallbusiness.chron.com/businesses-credit-score-1890.html|title=Small Business: Do Businesses Have a Credit Score?|newspaper=Houston Chronicle|author=Huebsch, Russell|accessdate=August 27, 2016}}</ref>
* [[Experian]] Business Information Services<ref>{{cite book|url=http://www.experian.com/assets/business-information/brochures/small-business-credit-faq.pdf|title=Business Credit: What You Don’t Know Can Hurt You Experian|author=Experian|author2=GrowBizMedia|last-author-amp=yes}}</ref><ref name="Cross, Christopher"/><ref name="Huebsch, Russell"/>
* [[Creditsafe Group|Creditsafe]] Global Intelligence Experts
* [[BvD|Bureau van Dijk]] Private Company Data

== See also ==
{{Portal|New Jersey|Companies}}
* [[Credit rating agencies]]
* [[Mercantile agencies]]

==References==
{{Reflist|30em}}

==External links==
{{Spoken Wikipedia|Dun_&_Bradstreet.ogg|2020-1-7}}
*{{official|https://www.dnb.com}}
{{Finance links historical
| sec_cik = 0001115222
}}

* [http://nrs.harvard.edu/urn-3:HBS.Baker.EAD:bak00123 Dun & Bradstreet Corporation Records at Baker Library Historical Collections, Harvard Business School]
* {{OpenCorp|Dun and Bradstreet}}

{{authority control}}

{{DEFAULTSORT:Dun and Bradstreet}}
[[Category:Business services companies of the United States]]
[[Category:Companies formerly listed on the New York Stock Exchange]]
[[Category:Companies based in Essex County, New Jersey]]
[[Category:Credit rating agencies]]
[[Category:Dun & Bradstreet|*]]
[[Category:Millburn, New Jersey]]
[[Category:Companies formed by merger]]
[[Category:Data brokers]]
[[Category:American companies established in 1841]]
[[Category:1841 establishments in New York (state)]]
[[Category:2019 mergers and acquisitions]]
[[Category:Private equity portfolio companies]]
[[Category:Lewis Tappan]]

Dynamo

2020-01-07T17:29:28Z

JohnAnkerBow: Spoken article added

{{distinguish-otheruses2|Dynamometer|Dynamo}}
[[File:DynamoElectricMachinesEndViewPartlySection USP284110.png|thumb|"Dynamo Electric Machine" (end view, partly section, {{US patent|284110}})]]
A '''dynamo''' is an obsolete [[electrical generator]] that creates [[direct current]] using a [[commutator (electric)|commutator]]. Dynamos were the first electrical generators capable of delivering power for industry, and the foundation upon which many other later [[Electric power conversion|electric-power conversion]] devices were based, including the [[electric motor]], the [[Alternating current|alternating-current]] [[alternator]], and the [[rotary converter]].

Today, the simpler alternator dominates large scale [[Electricity generation|power generation]], for efficiency, reliability and cost reasons. A dynamo has the disadvantages of a mechanical commutator. Also, converting alternating to direct current using power rectification devices (such as [[vacuum tube]]s or more recently via [[Solid state (electronics)|solid state]] technology) is effective and usually economical.

==Etymology==
The word ''dynamo'' (from the Greek word dynamis (δύναμις), meaning force or power) was originally another name for an [[electrical generator]], and still has some regional usage as a replacement for the word generator. The word "dynamo" was coined in 1831 by [[Michael Faraday]], who utilized his invention toward making many discoveries in [[electricity]] (Faraday discovered electrical induction) and [[magnetism]]. <ref>Williams, L. Pearce, “Michael Faraday,” p. 296-298, Da Capo series, New York, N.Y. (1965).</ref><ref>"Experimental Researches in Electricity," Vol. 1, Series I (Nov. 1831); footnote
for Art. 79, p. 23, 'Ampère's Inductive Results,' Michael Faraday, D.C.L, F.R.S.; Reprinted From The Philosophical Transactions Of 1846-1852, with other Electrical Papers from the Proceedings of the Royal Institution and Philosophical Magazine, Richard Taylor and William Francis, Printers and Publishers to the University of London, Red Lion Court, Fleet Str., London, England (1855).</ref>

The original "dynamo principle" of [[Werner von Siemens]] referred only to the direct current generators which use exclusively the [[Excitation (magnetic)|self-excitation]] (self-induction) principle to generate DC power. The earlier DC generators which used permanent magnets were not considered "dynamo electric machines".<ref>Volker Leiste: 1867 – Fundamental report on dynamo-electric principle before the Prussian Academy of Sciences [https://www.siemens.com/history/en/news/1057_dynamoelectric_principles.htm] {{Webarchive|url=https://web.archive.org/web/20170901153901/https://www.siemens.com/history/en/news/1057_dynamoelectric_principles.htm |date=2017-09-01 }}</ref> The invention of the dynamo principle (self-induction) was a huge technological leap over the old traditional permanent magnet based DC generators. The discovery of the dynamo principle made industrial scale electric power generation technically and economically feasible.
After the invention of the [[alternator]] and that [[alternating current]] can be used as a power supply, the word ''dynamo'' became associated exclusively with the ''[[Commutator (electric)|commutated]] [[direct current]] electric generator'', while an AC electrical generator using either [[slip ring]]s or rotor magnets would become known as an [[alternator]].

A small electrical generator built into the hub of a bicycle wheel to power lights is called a [[hub dynamo]], although these are invariably AC devices,{{Citation needed|date=March 2011}} and are actually [[magneto]]s.

==Description==
The electric dynamo uses rotating coils of wire and magnetic fields to convert mechanical rotation into a pulsing direct electric [[Current (electricity)|current]] through [[Faraday's law of induction]] and [[Lenz's law]]. A dynamo machine consists of a stationary structure, called the [[stator]], which provides a constant [[magnetic field]], and a set of rotating windings called the [[Armature (electrical engineering)|armature]] which turn within that field. Due to [[Faraday's law of induction]] the motion of the wire within the magnetic field creates an [[electromotive force]] which pushes on the electrons in the metal, creating an [[electric current]] in the wire. On small machines the constant magnetic field may be provided by one or more [[permanent magnet]]s; larger machines have the constant magnetic field provided by one or more [[electromagnet]]s, which are usually called ''[[field coil]]s''.

===Commutation===
{{main article|Commutator (electric)}}
The ''commutator'' is needed to produce [[direct current]]. When a loop of wire rotates in a magnetic field, the [[magnetic flux]] through it, and thus the potential induced in it, reverses with each half turn, generating an [[alternating current]]. However, in the early days of electric experimentation, [[alternating current]] generally had no known use. The few uses for electricity, such as [[electroplating]], used direct current provided by messy liquid [[Battery (electricity)|batteries]]. Dynamos were invented as a replacement for batteries. The commutator is essentially a rotary [[switch]]. It consists of a set of contacts mounted on the machine's shaft, combined with graphite-block stationary contacts, called "brushes", because the earliest such fixed contacts were metal brushes. The commutator reverses the connection of the windings to the external circuit when the potential reverses, so instead of alternating current, a pulsing direct current is produced.

===Excitation===
{{main article|Excitation (magnetic)}}
The earliest dynamos used [[permanent magnet]]s to create the magnetic field. These were referred to as "magneto-electric machines" or [[magneto]]s.<ref name="Lockwood" >{{cite book|last=Lockwood|first=Thomas D.|title=Electricity, Magnetism, and Electric Telegraphy|publisher=D. Van Nostrand|year=1883|pages=76–77|url=https://books.google.com/books?id=RYBRAAAAMAAJ&pg=PA76&dq=%22magneto-electric+machine}}</ref> However, researchers found that stronger magnetic fields, and so more power, could be produced by using [[electromagnet]]s (field coils) on the stator.<ref name="Schellen" >{{cite book|last=Schellen|first=Heinrich|author2=Nathaniel S. Keith|title=Magneto-Electric and Dynamo-Electric Machines, Vol. 1|publisher=D. Van Nostrand|year=1884|pages=471|url=https://books.google.com/books?id=qIxPAAAAMAAJ&pg=PA471&dq=%22comparison+of+dynamo-electric}}, translated from German by Nathaniel Keith</ref> These were called "dynamo-electric machines" or dynamos.<ref name="Lockwood" /> The field coils of the stator were originally ''separately excited'' by a separate, smaller, dynamo or magneto. An important development by [[Henry Wilde (engineer)|Wilde]] and [[Werner von Siemens|Siemens]] was the discovery (by 1866) that a dynamo could also [[Bootstrapping|bootstrap]] itself to be ''self-excited'', using current generated by the dynamo itself. This allowed the growth of a much more powerful field, thus far greater output power.

Self-excited direct current dynamos commonly have a combination of series and parallel (shunt) field windings which are directly supplied power by the rotor through the commutator in a regenerative manner. They are started and operated in a manner similar to modern portable alternating current electric generators, which are not used with other generators on an electric grid.

There is a weak residual magnetic field that persists in the metal frame of the device when it is not operating, which has been imprinted onto the metal by the field windings. The dynamo begins rotating while not connected to an external load. The residual magnetic field induces a very small electrical current into the rotor windings as they begin to rotate. Without an external load attached, this small current is then fully supplied to the field windings, which in combination with the residual field, cause the rotor to produce more current. In this manner the self-exciting dynamo ''builds up'' its internal magnetic fields until it reaches its normal operating voltage. When it is able to produce sufficient current to sustain both its internal fields and an external load, it is ready to be used.

A self-excited dynamo with insufficient residual magnetic field in the metal frame will not be able to produce any current in the rotor, regardless of what speed the rotor spins. This situation can also occur in modern self-excited portable generators, and is resolved for both types of generators in a similar manner, by applying a brief direct current battery charge to the output terminals of the stopped generator. The battery energizes the windings just enough to imprint the residual field, to enable building up the current. This is referred to as ''flashing the field''.

Both types of self-excited generator, which have been attached to a large external load while it was stationary, will not be able to build up voltage even if the residual field is present. The load acts as an energy sink and continuously drains away the small rotor current produced by the residual field, preventing magnetic field buildup in the field coil.

==History==

===Induction with permanent magnets===
[[File:Faraday disk generator.jpg|thumb|right|The [[Faraday disk]] was the first electric generator. The horseshoe-shaped magnet ''(A)'' created a magnetic field through the disk ''(D)''. When the disk was turned, this induced an electric current radially outward from the center toward the rim. The current flowed out through the sliding spring contact ''m'' (connected to ''B''') through the external circuit, and back through ''B'' to the center of the disk through the axle.]]
The operating principle of electromagnetic generators was discovered in the years 1831–1832 by [[Michael Faraday]]. The principle, later called [[Faraday's law of induction|Faraday's law]], is that an [[electromotive force]] is generated in an electrical conductor which encircles a varying [[magnetic flux]].

He also built the first electromagnetic generator, called the [[Faraday disk]], a type of [[homopolar generator]], using a [[copper]] disc rotating between the poles of a horseshoe [[magnet]]. It produced a small [[direct current|DC voltage]]. This was not a dynamo in the current sense, because it did not use a [[Commutator (electric)|commutator]].

This design was inefficient, due to self-cancelling counterflows of [[electric current|current]] in regions of the disk that were not under the influence of the magnetic field. While current was induced directly underneath the magnet, the current would circulate backwards in regions that were outside the influence of the magnetic field. This counterflow limited the power output to the pickup wires, and induced waste heating of the copper disc. Later homopolar generators would solve this problem by using an array of magnets arranged around the disc perimeter to maintain a steady field effect in one current-flow direction.

Another disadvantage was that the output [[voltage]] was very low, due to the single current path through the magnetic flux. Faraday and others found that higher, more useful voltages could be produced by winding multiple turns of wire into a coil. Wire windings can conveniently produce any voltage desired by changing the number of turns, so they have been a feature of all subsequent generator designs, requiring the invention of the commutator to produce direct current.

===The first dynamos===
[[File:Wechselstromerzeuger Crop LevelAdj.jpg|thumb|200px|right|[[Hippolyte Pixii]]'s dynamo. The commutator is located on the shaft below the spinning magnet.]]
The first dynamo based on Faraday's principles was built in 1832 by [[Hippolyte Pixii]], a French instrument maker. It used a [[permanent magnet]] which was rotated by a crank. The spinning magnet was positioned so that its north and south poles passed by a piece of iron wrapped with insulated wire.

Pixii found that the spinning magnet produced a pulse of current in the wire each time a pole passed the coil. However, the north and south poles of the magnet induced currents in opposite directions. To convert the alternating current to DC, Pixii invented a [[Commutator (electric)|commutator]], a split metal cylinder on the shaft, with two springy metal contacts that pressed against it.

[[File:Pacinotti dynamo.jpg|thumb|left|[[Antonio Pacinotti|Pacinotti]] dynamo, 1860]]

This early design had a problem: the electric current it produced consisted of a series of "spikes" or pulses of current separated by none at all, resulting in a low average power output. As with electric motors of the period, the designers did not fully realize the seriously detrimental effects of large air gaps in the magnetic circuit.

[[Antonio Pacinotti]], an Italian physics professor, solved this problem around 1860 by replacing the spinning two-pole [[Axial symmetry|axial]] coil with a multi-pole [[toroid]]al one, which he created by wrapping an iron ring with a continuous winding, connected to the commutator at many equally spaced points around the ring; the commutator being divided into many segments. This meant that some part of the coil was continually passing by the magnets, smoothing out the current.<ref>[https://web.archive.org/web/20030915150232/http://fisicavolta.unipv.it/percorsi/biography.asp?nome=Antonio&cognome=Pacinotti&anno_i=1841&anno_f=1912 Anthology of Italian Physics, entry for Antonio Pacinotti, from the website of the University of Pavia]</ref>

The [[Woolrich Electrical Generator]] of 1844, now in [[Thinktank, Birmingham|Thinktank, Birmingham Science Museum]], is the earliest electrical generator used in an industrial process.<ref>Birmingham Museums trust catalogue, accession number: 1889S00044</ref> It was used by the firm of [[Elkington Silver Electroplating Works|Elkingtons]] for commercial [[electroplating]].<ref name="thomas">{{cite book|last1=Thomas|first1=John Meurig|title=Michael Faraday and the Royal Institution: The Genius of Man and Place|date=1991|publisher=Hilger|location=Bristol|isbn=0750301457|page=51}}</ref><ref>{{cite book|last1=Beauchamp|first1=K G|title=Exhibiting Electricity|date=1997|publisher=IET|isbn=9780852968956|page=90}}</ref><ref>{{cite journal|last1=Hunt|first1=L. B.|title=The early history of gold plating|journal=Gold Bulletin|date=March 1973|volume=6|issue=1|pages=16–27|doi=10.1007/BF03215178}}</ref>

[[File:Thinktank Birmingham - object 1889S00044(1).jpg|thumb|left| The [[Woolrich Electrical Generator]] in [[Thinktank, Birmingham]] ]]

===Dynamo self excitation===

Independently of Faraday, the Hungarian [[Anyos Jedlik]] started experimenting in 1827 with the electromagnetic rotating devices which he called [[Jedlik's dynamo|electromagnetic self-rotors]]. In the prototype of the single-pole electric starter, both the stationary and the revolving parts were electromagnetic.

About 1856 he formulated the concept of the dynamo about six years before [[Werner von Siemens|Siemens]] and [[Charles Wheatstone|Wheatstone]] but did not patent it as he thought he was not the first to realize this. His dynamo used, instead of permanent magnets, two electromagnets placed opposite to each other to induce the magnetic field around the rotor.<ref name="Simon, 1998" >{{cite book|first=Andrew L.|last=Simon|title=Made in Hungary: Hungarian contributions to universal culture|publisher=Simon Publications|year=1998|isbn=0-9665734-2-0|ref=Simon, 1998|pages=[https://archive.org/details/madeinhungaryhun0000simo/page/207 207]|url-access=registration|url=https://archive.org/details/madeinhungaryhun0000simo/page/207}}</ref><ref>{{cite web|url=http://www.mszh.hu/English/feltalalok/jedlik.html|title=Ányos Jedlik biography|publisher=Hungarian Patent Office|accessdate=10 May 2009}}</ref> It was also the discovery of the principle of dynamo [[self-excitation]],<ref>{{cite journal|journal=Nature|title=Anianus Jedlik|author=Augustus Heller|publisher=Norman Lockyer|date=April 2, 1896|volume=53|issue=1379|page=516|url=https://books.google.com/?id=nWojdmTmch0C&pg=PA516&dq=jedlik+dynamo+1827#v=onepage&q=jedlik%20dynamo%201827&f=false|bibcode=1896Natur..53..516H|doi=10.1038/053516a0}}</ref> which replaced permanent magnet designs.

===Practical designs===
[[File:High-Current Copper-Brush Commutated Dynamo.jpg|thumb|300px|This large belt-driven high-current dynamo from around 1917 produced 310 amperes at 7 volts DC. The huge complicated [[commutator (electric)|commutator]] ''(left)'' was needed to handle the large current. Dynamos are no longer used due to the size and complexity of commutators needed for high power applications. ]]

The dynamo was the first electrical generator capable of delivering power for industry. The modern dynamo, fit for use in industrial applications, was invented independently by [[Sir Charles Wheatstone]], [[Werner von Siemens]] and [[Samuel Alfred Varley]]. Varley took out a patent on 24 December 1866, while Siemens and Wheatstone both announced their discoveries on 17 January 1867, the latter delivering a paper on his discovery to the [[Royal Society]].

The "dynamo-electric machine" employed self-powering electromagnetic field coils rather than permanent magnets to create the stator field.<ref>{{cite journal|journal=Berliner Berichte|date=January 1867}}</ref> Wheatstone's design was similar to Siemens', with the difference that in the Siemens design the stator electromagnets were in series with the rotor, but in Wheatstone's design they were in parallel.<ref>{{cite journal|journal=[[Proceedings of the Royal Society]]|date=February 14, 1867}}</ref> The use of electromagnets rather than permanent magnets greatly increased the power output of a dynamo and enabled high power generation for the first time. This invention led directly to the first major industrial uses of electricity. For example, in the 1870s Siemens used electromagnetic dynamos to power [[electric arc furnace]]s for the production of metals and other materials.

The dynamo machine that was developed consisted of a stationary structure, which provides the magnetic field, and a set of rotating windings which turn within that field. On larger machines the constant magnetic field is provided by one or more electromagnets, which are usually called field coils.

[[File:Gramme dynamo.png|thumb|left|Small [[Gramme dynamo]], around 1878.]]
[[Zénobe Gramme]] reinvented Pacinotti's design in 1871 when designing the first commercial power plants operated in [[Paris]]. An advantage of Gramme's design was a better path for the [[magnetic flux]], by filling the space occupied by the magnetic field with heavy iron cores and minimizing the air gaps between the stationary and rotating parts. The [[Gramme dynamo]] was one of the first machines to generate commercial quantities of power for industry.<ref>Fink, Donald G. and H. Wayne Beaty (2007), ''Standard Handbook for Electrical Engineers'', Fifteenth Edition. McGraw Hill. Section 8, page 5. {{ISBN|978-0-07-144146-9}}.</ref> Further improvements were made on the Gramme ring, but the basic concept of a spinning endless loop of wire remains at the heart of all modern dynamos.<ref>[https://books.google.com/books?id=i34AAAAAMAAJ&printsec=frontcover&dq=Sylvanus+Thompson+Gramme&source=bl&ots=k47DczbO-D&sig=WY-EIA1gyJ59kPCuzLHqM0VWc3Q&hl=en&sa=X&ei=GHIFUJ-OBMj00gHglLHfCA&redir_esc=y#v=onepage&q=Gramme&f=false Thomspon, Sylvanus P. (1888), ''Dynamo-electric machinery: a manual for students of electrotechnics'']. London: E. & F.N. Spon. p. 140.</ref>

[[Charles F. Brush]] assembled his first dynamo in the summer of 1876 using a horse-drawn [[treadmill]] to power it. Brush's design modified the [[Gramme dynamo]] by shaping the ring armature like a disc rather than a cylinder shape. The field electromagnets were also positioned on the sides of the armature disc rather than around the circumference.<ref>{{cite web|url=http://www.lafavre.us/brush/dynamo.htm|title=The Brush Dynamo|author=Jeffrey La Favre}}</ref><ref>{{cite journal|url=http://www.machine-history.com/Brush%20Electric%20Company|title=The Brush Electric Light|journal=Scientific American|date=2 April 1881|url-status=dead|archiveurl=https://web.archive.org/web/20110111040515/http://www.machine-history.com/Brush%20Electric%20Company|archivedate=11 January 2011}}</ref>

===Rotary converters===
After dynamos and motors were found to allow easy conversion back and forth between mechanical or electrical power, they were combined in devices called [[rotary converters]], rotating machines whose purpose was not to provide mechanical power to loads but to convert one type of electric current into another, for example [[Direct current|DC]] into [[Alternating current|AC]]. They were multi-field single-rotor devices with two or more sets of rotating contacts (either commutators or sliprings, as required), one to provide power to one set of armature windings to turn the device, and one or more attached to other windings to produce the output current.

The rotary converter can directly convert, internally, any type of electric power into any other. This includes converting between direct current (DC) and alternating current (AC), [[three phase]] and [[Single-phase electric power|single phase]] power, 25 Hz AC and 60 Hz AC, or many different output voltages at the same time. The size and mass of the rotor was made large so that the rotor would act as a [[flywheel]] to help smooth out any sudden surges or dropouts in the applied power.

The technology of rotary converters was replaced in the early 20th century by [[Mercury-arc valve|mercury-vapor rectifiers]], which were smaller, did not produce vibration and noise, and required less maintenance. The same conversion tasks are now performed by [[Solid state (electronics)|solid state]] [[power semiconductor device]]s. Rotary converters remained in use in the West Side [[Interborough Rapid Transit Company|IRT subway]] in [[Manhattan]] into the late 1960s, and possibly some years later. They were powered by 25 Hz AC, and provided DC at 600 volts for the trains.

==Historical uses==

===Electric power generation===
Dynamos, usually driven by [[steam engines]], were widely used in [[power station]]s to generate electricity for industrial and domestic purposes. They have since been replaced by [[alternator]]s.

Large industrial dynamos with series and parallel (shunt) windings can be difficult to use together in a power plant, unless either the rotor or field wiring or the mechanical drive systems are coupled together in certain special combinations. It seems theoretically possible to run dynamos in parallel to create induction and self sustaining system for electrical power. <ref>''Dynamo-Electric Machinery'': A Manual for Students of Electrotechnics, by Silvanus P. Thompson, 1901, 8th American Edition, Ch. 31, ''Management of Dynamos'', pp. 765-777, [https://play.google.com/store/books/details?id=0Uk5AQAAMAAJ Free digital access from Google Books], Cite search method: "dynamo" "coupling" via Google Scholar</ref>

===Transport===
Dynamos were used in motor vehicles to generate electricity for battery charging. An early type was the [[third-brush dynamo]]. They have, again, been replaced by [[Alternator (automotive)|alternators]].

==Modern uses==
Dynamos still have some uses in low power applications, particularly where low voltage [[Direct current|DC]] is required, since an [[alternator]] with a [[semiconductor]] [[rectifier]] can be inefficient in these applications.

Hand [[crank (mechanism)|cranked]] dynamos are used in [[clockwork radio]]s, [[Mechanically-powered flashlight|hand powered flashlights]] and other [[self-powered equipment|human powered equipment]] to recharge [[rechargeable battery|batteries]].

==See also==
{{Portal|Energy}}
* [[Bottle dynamo]]
*''[https://new.siemens.com/global/en/company/about/history/news/dynamo-machine.html The electrification of the world – Werner von Siemens and the dynamoelectric principle]''. Siemens Historical Institute.

==References==
{{reflist|30em}}

==External links==
{{Spoken Wikipedia|Dynamo.ogg|2020-1-7}}
{{Commons category|Dynamos}}

{{Automotive engine |collapsed}}

[[Category:Electrical generators]]

Bad Sister (1931 film)

2019-12-29T15:51:43Z

JohnAnkerBow: Spoken article added

{{short description|1931 film by Hobart Henley}}
{{Infobox film
| name = Bad Sister
| image = Bad Sister poster.jpg
| caption = [[Lobby card]], 1931
| director = [[Hobart Henley]]
| producer = [[Carl Laemmle, Jr.]]
| writer = [[Edwin H. Knopf]] Tom Reed [[Raymond L. Schrock]] Based on a novel by [[Booth Tarkington]]
| starring = [[Conrad Nagel]] [[Sidney Fox]] [[Bette Davis]] [[ZaSu Pitts]] [[Humphrey Bogart]]
| music = David Broekman
| cinematography = [[Karl Freund]]
| editing = [[Ted J. Kent]]
| distributor = [[Universal Pictures]]
| released = {{Film date|1931|03|29}}
| runtime = 68 minutes
| country = United States
| language = English}}

'''''Bad Sister''''' is a 1931 American [[Pre-Code Hollywood|pre-Code]] [[drama film]] directed by [[Hobart Henley]]. The screenplay by [[Edwin H. Knopf]], Tom Reed, and [[Raymond L. Schrock]] is based on the 1913 novel ''The Flirt'' by [[Booth Tarkington]], which had been filmed in 1916 and 1922.

The film marks the screen debuts of [[Bette Davis]] and [[Sidney Fox]], who was billed over Davis. The cast also includes [[Humphrey Bogart]] and [[ZaSu Pitts]] in supporting roles. ''Bad Sister'' has been preserved in the Library of Congress collection.<ref>''Catalog of Holdings The American Film Institute Collection and The United Artists Collection at The Library of Congress'' p.11 c.1978 by The American Film Institute</ref> <ref>[http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=7637 The AFI Catalog of Feature Films:''Bad Sister''], afi.com; accessed September 23, 2015.</ref>

==Plot==
Saucy Marianne Madison, bored with her routine life, falls for dashing [[con artist]] Valentine Corliss, who has come to her small town looking for fresh marks to swindle. He soon charms her into faking her well-respected father's name on a letter of endorsement which he presents to a small group of local merchants, who willingly give him money. Corliss then prepares his escape, but not before conning Marianne to come away with him with the promise of marriage.

Following a night spent together in his hotel in Columbus, Valentine abandons Marianne. Angry and ashamed - and unmarried - she returns home and announces to her jilted fiancé Dr. Lindley that she will now marry him, but having been toyed with enough by Marianne, he informs her that he has fallen in love with her shy younger sister Laura.

All is not lost though. After confessing to her father and the duped investors, Marianne accepts wealthy but portly Wade Trumbull's marriage proposal. Trumbull bails her father completely out of his debt and as a year has gone by, Marianne comes to be genuinely fond of him.

==Production and release notes==
[[File:Bette davis bad sister.jpg|thumb|right|160px|[[Bette Davis]] in ''Bad Sister'']]
*The original title for ''Bad Sister'' during production was ''What a Flirt'' and then briefly changed to ''Gambling Daughters'' just before the film’s nationwide release.<ref name=Stine>Stine, Whitney, and Davis, Bette, ''Mother Goddam: The Story of the Career of Bette Davis''. New York: Hawthorn Books 1974. {{ISBN|0-8015-5184-6}}, pp. 8-11</ref>
*Bette Davis, nervous about her appearance in her first feature film, consulted with studio makeup chief [[Jack Pierce (makeup artist)|Jack Pierce]], who "surveyed me critically, almost resentfully," she recalled for an interview in the April 1938 issue of ''[[Good Housekeeping]]''. "Your eyelashes are too short, hair's a nondescript color, and mouth's too small. A fat little Dutch girl's face, and a neck that's too long," he told her. He suggested a different shade of lipstick and advised her to use eye shadow, but their meeting left Davis feeling anxious and lacking self-confidence. After seeing the completed film, producer [[Carl Laemmle, Jr.]] commented, "Can you imagine some poor guy going through hell and high water and ending up with ''her'' at the fade-out?" <ref name="Stine"/>
*Davis was required to change a baby in one scene, and the fact the infant was a boy was kept secret from her. When she undid the diaper and saw male [[Sex organ|genitals]] for the first time in her life, she was so embarrassed her face reddened enough to look deep gray on the production’s black-and-white film.<ref name=Stine/>
*Davis and her mother attended a preview of the film in [[San Bernardino, California|San Bernardino]]. The actress was reportedly so distressed by her performance that they left before the final credits. Certain her Hollywood career was over, she cried all the way home.<ref name=Stine/>

==Cast==
*[[Conrad Nagel]] as Dr Dick Lindley
*[[Sidney Fox]] as Marianne Madison
*[[Bette Davis]] as Laura Madison
*[[Humphrey Bogart]] as Valentine Corliss
*[[Charles Winninger]] as Mr Madison
*[[Emma Dunn]] as Mrs Madison
*[[ZaSu Pitts]] as Minnie (the Madison family servant)
*[[Slim Summerville]] as Sam
*[[Bert Roach]] as Wade Trumbull
* [[David Durand (actor)|David Durand]] as Hedrick Madison (the son)

==References==
{{reflist}}

==External links==
{{Spoken Wikipedia|Bad_Sister_(1931_film).ogg|2019-12-29}}
{{commons category|Bad Sister (1931 film)|Bad Sister}}
*{{AFI film | 7637 | Bad Sister}}
*{{imdb title|id=0021636}}

{{Booth Tarkington}}

[[Category:1931 films]]
[[Category:1930s drama films]]
[[Category:American films]]
[[Category:American drama films]]
[[Category:American black-and-white films]]
[[Category:English-language films]]
[[Category:Films based on American novels]]
[[Category:Films based on works by Booth Tarkington]]
[[Category:Films directed by Hobart Henley]]
[[Category:Films made before the MPAA Production Code]]
[[Category:Universal Pictures films]]

Caged (1950 film)

2019-12-29T15:48:56Z

JohnAnkerBow: Spoken article added

{{other uses}}
{{Infobox film
| name = Caged
| image = Caged1 1950.jpg
| image_size = 250px
| alt =
| caption = Theatrical release lobby card
| director = [[John Cromwell (director)|John Cromwell]]
| producer = [[Jerry Wald]]
| writer = [[Bernard C. Schoenfeld]] [[Virginia Kellogg]]
| screenplay = Virginia Kellogg
| based on = ''Women Without Men'' by Kellogg and Schoenfeld
| starring = [[Eleanor Parker]] [[Agnes Moorehead]] [[Betty Garde]] [[Hope Emerson]] [[Ellen Corby]]
| music = [[Max Steiner]]
| cinematography = [[Carl E. Guthrie]]
| editing = [[Owen Marks]]
| distributor = [[Warner Bros.]]
| released = {{Film date|1950|5|19|United States}}
| runtime = 96 minutes
| country = United States
| language = English
| budget =
| gross =$1.5 million<ref>[https://archive.org/stream/variety181-1951-01#page/n57/mode/1up "Top-Grosses of 1950"], ''[[Variety (magazine)|Variety]]'' (New York, N.Y), January 3, 1951, page 58. [[Internet Archive]], San Francisco. Retrieved September 1, 2018.</ref>
}}

'''''Caged''''' is a 1950 [[film noir]] directed by [[John Cromwell (director)|John Cromwell]] and starring [[Eleanor Parker]], [[Agnes Moorehead]], [[Betty Garde]], [[Hope Emerson]], and [[Ellen Corby]]. It was nominated for three [[Academy Awards]].

The film portrays the story of a young newlywed sent to prison for being an accessory to a robbery. Her brutal experiences while incarcerated, along with the killing of her husband, transform her from a meek, [[wikt:Special:Search/Naive|naive]] woman into a hardened convict.<ref>[https://catalog.afi.com/Catalog/moviedetails/26250 "Caged (1950)"], catalog, [[American Film Institute]] (AFI), Los Angeles, California. Retrieved September 1, 2018.</ref>

''Caged'' was adapted by [[Virginia Kellogg]] from the story "Women Without Men" by Kellogg and [[Bernard C. Schoenfeld]]. The studio had originally intended the film to be a vehicle for [[Bette Davis]] and [[Joan Crawford]], but reportedly Davis had said she did not want to make a "dyke movie" (a film with [[lesbian]] content) and turned it down.{{cn|date=August 2018}}

==Plot==
A married 19-year-old, Marie Allen ([[Eleanor Parker]]), is sent to prison after a botched armed robbery attempt with her equally young husband, Tom, who is killed. While receiving her initial prison physical, she learns that she is two months pregnant.

Marie has trouble adjusting to the monotonous and cutthroat world of the [[Incarceration of women|women's prison]]. She meets Kitty Stark ([[Betty Garde]]), a murderous shoplifter, who says once Marie gets out, Kitty will get her a job "boosting" ([[shoplifting]]). Marie does not want to get involved in crime, but Kitty explains the realities of prison life: "You get tough or you get killed. You better wise up before it's too late."

Told she can be [[parole]]d in 10 months, Marie witnesses prisoner after prisoner being "flopped back"—granted parole—but then not released from jail because no job had been arranged by her parole officer. One flopped-back prisoner, June ([[Olive Deering]]), kills herself given the hopelessness of her situation. For Marie, this steadily drains her own hopes of getting out early.

Despite the hardships under [[Sadomasochism|sadistic]] matron Evelyn Harper ([[Hope Emerson]]), Marie gives birth to a healthy baby. She plans to "temporarily" grant full custody to her mother, with the intent of getting the child back after she is released, but Marie's callous [[step-father]] had already decided not to allow the baby into his house. Marie's mother uses the excuses that she is "too old" and "hasn't a penny in [her] name" as reasons why she cannot help Marie. After Marie is denied a parole, she tries half-heartedly to escape. She is not punished for that attempt, although prison authorities do force her to give up her child for adoption.

The arrival of "vice queen" Elvira Powell ([[Lee Patrick (actress)|Lee Patrick]]) sets off a rivalry with Kitty. Elvira bribes Harper to put Kitty in [[solitary confinement]], where Kitty is beaten. When a kitten is found in the jail yard, Marie attempts to make it a pet, but Harper tries to take the little animal away, an action that prompts the inmates to riot. The kitten is accidentally killed during the [[melee]]; and after order is restored by the staff, Marie is punished this time, also being sent to "solitary".

Before taking Marie to an isolated cell, Harper shaves Marie's head, symbolically stripping her of her innocence. Harper has disagreements with the sympathetic reformist prison superintendent, Ruth Benton ([[Agnes Moorehead]]), especially after this latest incident with Marie. Because Harper is a political appointee, the police commissioner refuses to fire her and instead asks for Benton's resignation. When Benton declares that she will request a public hearing, the resignation issue is dropped.

Kitty finally rejoins her fellow inmates after serving a month in solitary confinement, but she is distraught and mentally unstable. After being harassed by Harper in the prison cafeteria, Kitty stabs Harper to death as the inmates watch and make no attempt to stop it. Marie—now hardened by her exposure to career criminals and sadistic guards—actually encourages Kitty in the fatal assault.

Up for parole once again, Marie has allegedly found a "cashier's job" outside the prison. In reality, the job is simply a ruse to get released so she can join Elvira Powell's shoplifting gang. Marie leaves the institution a cynical, unscrupulous woman after living and surviving there for 15 months. Before she departs, Benton asks her why she is going into crime when she could go back to school. Marie says she got all the education she needed in prison. After she leaves, an office assistant asks Benton what to do with Marie's file. Benton replies, "Keep it active. She'll be back."

==Cast==
{{col-begin|width=75%}}
{{col-2}}
* [[Eleanor Parker]] - Marie Allen
* [[Agnes Moorehead]] - Ruth Benton
* [[Ellen Corby]] - Emma Barber
* [[Hope Emerson]] - Evelyn Harper
* [[Betty Garde]] - Kitty Stark
* [[Sheila MacRae]] - Helen
{{col-2}}
* [[Jan Sterling]] - Jeta Kovsky aka "Smoochie"
* [[Lee Patrick (actress)|Lee Patrick]] - Elvira Powell
* [[Jane Darwell]] - Solitary Confinement Matron
* [[Gertrude Hoffmann (actress)|Gertrude W. Hoffmann]] - Millie
* [[Olive Deering]] - June Roberts
* [[Gertrude Michael]] - Georgia Harrison
{{col-end}}

==Critical reception==
In 1950, ''[[Variety (magazine)|Variety]]'' gave a mixed but predominantly positive review of ''Caged''. The film industry's long-established, widely read [[trade paper]] believed the film might struggle in the "general market", characterizing it as a "grim, unrelieved study of cause and effect" that "still adds up to very drab entertainment".<ref name=Variety50>“Brog.”(1950). [https://archive.org/stream/variety178-1950-05#page/n5 "'Caged'"], review, ''Variety'', May 3, 1950, page 6. Internet Archive. Retrieved August 29, 2018.</ref> Nevertheless, ''Variety'' was very complimentary of nearly all aspects of the film's production, including its direction, editing, set designs, music, and cast performances, especially those of Parker and Emerson:{{quote|Plot provides Eleanor Parker with what is known as a meaty femme role, completely deglamorized, and she plays it with considerable ability. There are other strong performances...all running true to the types depicted, and the most colorful is the sadistic prison matron socked over by Hope Emerson.
...The direction by John Cromwell and Jerry Wald's production draw a rather clear picture of the dreariness of prison life and the hopelessness it instills in all but the very strong inmate. There's high and low society, a definite blue book based on crime and convictions, among the prisoners.

...Art direction, set directions and the lensing by Carl Guthrie all emphasize the grimness of prison life. Cutting has done a good job in holding the footage to 96 minutes, and there is a Max Steiner score that fits the mood of the production.<ref name=Variety50/>}}

Another American reviewer in 1950, ''Film Bulletin'', gave generally high marks as well to ''Caged''.<ref name=Bulletin>[https://archive.org/stream/filmbulletin195018film#page/n281 "'Caged’ Stark, Gripping Prison Film Is Highly Exploitable"], ''Film Bulletin'' (New York, N.Y.), May 8, 1950, page 10. Internet Archive. Retrieved September 1, 2018.</ref> The New York-based weekly publication, which promoted itself as an “Independent Motion Picture Trade Paper”, did contend that the film's "stark, gripping" social commentary would be even more powerful if the "dismal atmosphere" of its storyline had at least a few contrasting lighter moments.<ref name=Bulletin/> “'Caged’”, ''Film Bulletin'' observed, "is to penal institutions what ‘[[The Snake Pit]]’ was to mental institutions and ‘[[The Lost Weekend (film)|The Lost Weekend]]’ to alcoholism."<ref name=Bulletin/>

In a much later review, critic Emanuel Levy in 2007 generally praised the film too:{{quote|...master of melodrama, John Cromwell directs in a taut style, coaxing excellent performances from his female-dominated cast..."Caged" walks a fine line between a socially conscious drama (and wake-up call) and exploitative, borderline campy fare.<ref>Levy, Emanuel (2007). [http://emanuellevy.com/review/caged-3/ "Caged (1950): Controversial, Oscar-Nominated Women Prison Melodrama, with Lesbian Themes”], review, ''Emanuel Levy Cinema 24/7'', April 20, 2007. Retrieved August 29, 2018.</ref>}}

''[[Leonard Maltin's Movie Guide]]'' in 2014 favorably awarded ''Caged'' three out of four stars, also describing the film overall as “stark” with "remarkable" performances.<ref>[http://www.tcm.com/tcmdb/title/27277/Caged/ Maltin, Leonard]</ref>

==[[23rd Academy Awards|Academy Awards]]==
;Nominations<ref>[http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1387251766456 "Oscars.org -- Caged"] {{webarchive|url=https://archive.is/20131217210354/http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1387251766456 |date=2013-12-17 }}. [[Academy of Motion Picture Arts and Sciences]]. Retrieved December 16, 2013.</ref>
* [[Academy Award for Best Actress|Best Actress]]: Eleanor Parker
* [[Academy Award for Best Supporting Actress|Best Supporting Actress]]: Hope Emerson
* [[Academy Award for Best Original Screenplay|Best Writing (Story and Screenplay)]]: [[Virginia Kellogg]], [[Bernard C. Schoenfeld]]

==In popular culture==
''Caged'' is satirized in a 1977 ''[[Second City Television|SCTV]]'' [[comedy sketch]] as "Broads Behind Bars" with the character of Marie renamed "Cheryl" (and portrayed by comedian [[Catherine O'Hara]]). Cheryl is depicted as a teenager in the mid-to-late 1950s, who after smoking [[Cannabis (drug)|"pot"]] ends up in prison after being framed for armed robbery and also learns later that she is pregnant. The character of Kitty is played by [[Andrea Martin]], while [[John Candy]], in [[Drag (clothing)|drag]], plays the role of matron Harper (called "Schultzy"). A knife fight between Kitty and Harper occurs in the skit, as in the film, although both Kitty and Schultzy die. Kitty is fatally stabbed by Schultzy, and Schultzy is later killed by Cheryl. For her action, Cheryl is then told she can be released from prison; however, she responds by only laughing and declining the offer, echoing Kitty's remark in the original film, “No dice!” The [[Comedy sketch|skit]], in the end, presents itself not only as a [[parody]] of “women-in-prison” movies like ''Caged'' but also as a [[Parody|spoof]] of the anti-marijuana films that were presented to students in many American high schools during the late 1950s and early 1960s.

==References==
{{reflist|20em}}

==External links==
{{Spoken Wikipedia|Caged.ogg|2019-12-29}}
{{Portal|1950s|Film|United States}}
* {{AFI film|id=26250|title=Caged}}
* {{IMDb title|id=0042296|title=Caged}}
* {{Allmovie title|id=86393|title=Caged}}
* {{Tcmdb title|id=27277|title=Caged}}
* {{rotten-tomatoes|1176040_caged|Caged}}
* {{YouTube|dRY_U4yS1oE|''Caged'' film trailer}}

===Streaming audio===
* Eleanor Parker also stars in the radio version of ''Caged'', which was originally broadcast eight months after the film's release. It was presented by [[NBC Radio]] on August 2, 1951, as episode #112 of the network's [[anthology series]] ''[[Screen Directors Playhouse]]''. That adaptation is free for download at the [https://archive.org/details/ScreenDirectorsPlayhouse Internet Archive].

{{John Cromwell}}

[[Category:1950 films]]
[[Category:1950s drama films]]
[[Category:American films]]
[[Category:American black-and-white films]]
[[Category:American drama films]]
[[Category:American prison drama films]]
[[Category:English-language films]]
[[Category:Film noir]]
[[Category:Films directed by John Cromwell]]
[[Category:Films scored by Max Steiner]]
[[Category:Suicide in film]]
[[Category:Warner Bros. films]]
[[Category:Women in prison films]]
[[Category:1950s prison films]]

Taboo

2019-12-28T03:08:08Z

JohnAnkerBow: Spoken article added

{{short description|A prohibition on something based on a sense that it is excessively repulsive or too sacred for ordinary people}}
{{other uses|Taboo (disambiguation)}}
{{Sociology}}
A '''taboo''' is an implicit prohibition on something (usually against an utterance or behavior) based on a cultural sense that it is excessively repulsive or, perhaps, too sacred for ordinary people.<ref name="EB">''Encyclopædia Britannica Online''. "[http://www.britannica.com/EBchecked/topic/579821/taboo Taboo]." Encyclopædia Britannica Inc., 2012. Retrieved 21 Mar. 2012</ref><ref>Merriam-Webster's Online Dictionary, 11th Edition. "[http://www.merriam-webster.com/dictionary/taboo Taboo]."</ref> Such prohibitions are present in virtually all societies.<ref name="EB" /> On a comparative basis taboos, for example related to food items, seem to make no sense at all as what may be declared unfit for one group by [[Custom (law)|custom]] or [[religion]] may be perfectly acceptable to another.

Taboos are often meant to protect the human individual, but there are numerous other reasons for their existence. An ecological or medical background is apparent in many, including some that are seen as religious or spiritual in origin. Taboos can help use a resource more efficiently, but when applied to only a subsection of the community they can also serve to suppress a subsection of the [[community]]. A taboo acknowledged by a particular group or [[tribe]] as part of their ways, aids in the cohesion of the group, helps that particular group to stand out and maintain its identity in the face of others and therefore creates a feeling of "belonging".<ref name="Meyer-Rochow 2009" />

The meaning of the word "taboo" has been somewhat expanded in the [[social science]]s to strong prohibitions relating to any area of human activity or custom that is sacred or forbidden based on [[Morality|moral judgment]], religious beliefs, or cultural [[norm (sociology)|norms]].<ref name="Meyer-Rochow 2009">{{cite journal | last=Meyer-Rochow| first= Victor Benno | title= Food taboos: their origins and purposes|journal= Journal of Ethnobiology and Ethnomedicine | date=2009| volume=5-18:|
pages=18| doi= 10.1186/1746-4269-5-18| pmid= 19563636 | pmc= 2711054 }} [[File:CC-BY icon.svg|50px]] This article contains quotations from this source, which is available under the [https://creativecommons.org/licenses/by/2.0/ Creative Commons Attribution 2.0 Generic (CC by 2.0)] license.</ref> "Breaking a taboo" is usually considered objectionable by society in general, not merely a subset of a culture.

==Etymology==
The term "taboo" comes from the [[Tongan language|Tongan]] ''[[Tapu (Polynesian culture)|tapu]]'' or [[Fijian language|Fijian]] ''tabu'' ("prohibited", "disallowed", "forbidden"),<ref>{{Cite book
| url=https://books.google.com/?id=Y7v2Beyc5YgC&pg=PA368&dq=tabu+meaning+Fijian
| title=A Grammar of Boumaa Fijian
| first=Robert M. W.| last=Dixon
| page=368
| isbn=978-0-226-15429-9
| year=1988
}}</ref> related among others to the [[Maori language|Maori]] ''tapu'' and [[Hawaiian language|Hawaiian]] ''kapu''. Its English use dates to 1777 when the British explorer [[Captain James Cook|James Cook]] visited [[Tonga]], and referred to the [[Tongans]]' use of the term "taboo" for "any thing is forbidden to be eaten, or made use of".<ref>{{Harvnb|Cook|King|1821|p=[https://books.google.com/books?id=h6UFAAAAMAAJ&pg=PA462 462]}}</ref> He wrote:
{{Quote|Not one of them would sit down, or eat a bit of any thing.... On expressing my surprise at this, they were all taboo, as they said; which word has a very comprehensive meaning; but, in general, signifies that a thing is forbidden.<ref>{{Harvnb|Cook|King|1821|p=[https://books.google.com/books?id=h6UFAAAAMAAJ&pg=PA348 348]}}</ref>}}

The term was translated to him as "consecrated, inviolable, forbidden, unclean or cursed."<ref>{{harv|Cook|King|1821}}</ref> ''Tabu'' itself has been derived from alleged Tongan [[Morpheme|morphemes]] ''ta'' ("mark") and ''bu'' ("especially"), but this may be a [[False etymology|folk etymology]] (Tongan does not actually have a [[phoneme]] /b/), and ''tapu'' is usually treated as a unitary, non-[[Compound (linguistics)|compound]] word inherited from [[Proto-Polynesian language|Proto-Polynesian]] *''tapu'', in turn inherited from [[Proto-Oceanic language|Proto-Oceanic]] *''tabu'', with the [[Linguistic reconstruction|reconstructed]] meaning "sacred, forbidden."<ref>[[Online Etymology Dictionary]]. "[http://www.etymonline.com/index.php?search=taboo&searchmode=none Taboo]."</ref><ref>
{{cite web
|url=http://dictionary.reference.com/browse/taboo
|title=Online dictionary
|publisher=Lexico Publishing Group, LLC
|accessdate=2007-06-05
}}</ref><ref name=POLLEX>{{cite web|last=Biggs|first=Bruce|title=Entries for TAPU <nowiki>[OC]</nowiki> Prohibited, under ritual restriction, taboo|url=http://pollex.org.nz/entry/tapu|work=Polynesian Lexicon Project Online|publisher=University of Auckland|accessdate=9 September 2012}}</ref> In its current use on Tonga, the word ''tapu'' means "sacred" or "holy", often in the sense of being restricted or protected by custom or law. On the main island, the word is often appended to the end of "Tonga" as ''Tongatapu'', here meaning "Sacred South" rather than "Forbidden South".

==Examples==
[[File:Os Filhos de Pindorama. Cannibalism in Brazil in 1557.jpg|thumb|right|alt=Woodcut showing 12 people holding various human body parts carousing around an open bonfire where human body parts, suspended on a sling, are cooking.|[[Cannibalism]], Brazil. Engraving by [[Theodor de Bry]] for [[Hans Staden]]'s account of his 1557 captivity.]]

[[Sigmund Freud]] speculated that [[incest taboo|incest]] and [[patricide]] were the only two universal taboos and formed the basis of civilization.<ref>Freud, Sigmund. ''[[Totem and Taboo]]''.</ref> However, although [[cannibalism]], in-group [[murder]], and [[incest]] are taboo in the majority of societies, exceptions can be found, such as marriages between brothers and sisters in [[Roman Egypt]].<ref>
*{{cite web | first = Ashley | last = Jones | title = Incest in Ancient Egypt | url = http://cnersundergraduatejournal.files.wordpress.com/2011/06/incest_in_ancient_egypt_revised_.pdf}}
*{{cite journal | last = Strong | first = Anise | title = Incest Laws and Absent Taboos in Roman Egypt | journal = Ancient History Bulletin | volume = 20 | year = 2006 | url = https://www.academia.edu/205164}}
*{{cite book | last = Lewis | first = N. | title = Life in Egypt under Roman Rule | isbn = 978-0-19-814848-7 | publisher = [[Oxford University Press|Clarendon Press]] | year = 1983}}
*{{cite book |last=Frier |first=Bruce W. |last2=Bagnall |first2=Roger S. |author2-link=Roger S. Bagnall |title=The Demography of Roman Egypt |publisher= [[Cambridge University Press]] |location=Cambridge, UK |year=1994 |isbn=978-0-521-46123-8}}</ref><ref>
*{{cite journal | last = Shaw | first = B. D. | title = Explaining Incest: Brother-Sister Marriage in Graeco-Roman Egypt | journal = Man, New Series | volume = 27 | issue = 2 | year = 1992 | pages = 267–299 | jstor=2804054}}
*{{cite journal | last = Hopkins | first = Keith |author-link=Keith Hopkins | year = 1980 | title = Brother-Sister Marriage in Roman Egypt | url = http://humweb.ucsc.edu/jklynn/ancientwomen/HopkinsBrotherSisterMarriage.pdf | journal = Comparative Studies in Society and History | volume = 22 | pages=303–354 | doi = 10.1017/S0010417500009385 | issue = 3}}
*{{cite web | last = remijsen | first = sofie | title = Incest or Adoption? Brother-Sister Marriage in Roman Egypt Revisited | url = https://lirias.kuleuven.be/bitstream/123456789/208733/2/Journal+of+Roman+Studies+2008+Remijsen.pdf}}
*{{cite web | last = Scheidel | first = W | title = Brother-sister marriage in Roman Egypt | url = http://humweb.ucsc.edu/jklynn/AncientWomen/ScheidelBrotherSisterMarriages.pdf}}</ref> Modern Western societies, however, do not condone such relationships. These familial sexual activities are criminalised, even if all parties are consenting adults. Through an analysis of the language surrounding [[Laws regarding incest|these laws]], it can be seen how the policy makers, and society as a whole, find these acts to be immoral.<ref>{{cite journal|title= The Synthetic Necessary Truth Behind New Labour's Criminalisation of Incest| doi=10.1177/0964663913502068 | volume=23|journal=Social & Legal Studies|pages=113–130|year = 2014|last1 = Roffee|first1 = James A.}}</ref><ref>{{cite book|title=Roffee, James (2015). When Yes Actually Means Yes in Rape Justice. 72 - 91|df=|doi=10.1057/9781137476159.0009|chapter = When Yes Actually Means Yes|year = 2015|last1 = Roffee|first1 = James A.|isbn=9781137476159}}</ref><ref>{{cite journal|doi=10.1093/hrlr/ngu023|title= No Consensus on Incest? Criminalisation and Compatibility with the European Convention on Human Rights | volume=14 |issue= 3 | journal=Human Rights Law Review|pages=541–572|year= 2014 |last1= Roffee |first1= J. A. }}</ref>

Common taboos involve restrictions or ritual regulation of killing and hunting; sex and sexual relationships; reproduction; the [[taboo on the dead|dead]] and their graves; as well as food and dining (primarily cannibalism and [[dietary laws]] such as [[vegetarianism]], ''[[kashrut]]'', and ''[[halal]]'') or religious ([[treif]] and [[haram]]). In [[Madagascar]], a strong code of taboos, known as ''[[fady (taboo)|fady]]'', constantly change and are formed from new experiences. Each region, village or tribe may have its own ''fady''.{{Citation needed|date=February 2018}}

The word "taboo" gained popularity at times, with some scholars looking for ways to apply it where other English words had previously been applied. For example, [[John Merlin Powis Smith|J. M. Powis Smith]], in his book ''The American Bible'' (editor's preface 1927), used "taboo" occasionally in relation to Israel's [[Tabernacle]] and ceremonial laws, including {{Bibleverse|Exodus|30:36}}, {{Bibleverse|Exodus|29:37}}; {{Bibleverse|Numbers|16:37–38}}; {{Bibleverse|Deuteronomy|22:9}}, {{Bibleverse|Isaiah|65:5}}, {{Bibleverse|Ezekiel|44:19}} and {{Bibleverse|Ezekiel|46:20}}.

[[Albert Schweitzer]] wrote a chapter about taboos of the people of Gabon. As an example, it was considered a misfortune for twins to be born, and they would be subject to many rules not incumbent on other people.<ref>Schweitzer, Albert. ''African Notebook'' 1958. Indiana University Press</ref>

==Function==
[[Communist]] and [[materialist]] theorists have argued that taboos can be used to reveal the histories of societies when other records are lacking.<ref>{{Cite book|author1=Marta Dyczok|author2=Oxana Gaman-Golutvina|title=Media, Democracy and Freedom: The Post-Communist Experience|url=https://books.google.com/books?id=meUcrEBRpgMC|year=2009|publisher=Peter Lang|isbn=978-3-0343-0311-8|page=[https://books.google.com/books?id=meUcrEBRpgMC&pg=PA209 209]}}</ref> [[Marvin Harris]] particularly endeavored to explain taboos as a consequence of ecologic and economic conditions.<ref>{{citation |url=http://sociology101.net/readings/Indias-sacred-cow.pdf |author=Marvin Harris |title=India's Sacred Cow |access-date=2015-07-20 |archive-url=https://web.archive.org/web/20150610221816/http://sociology101.net/readings/Indias-sacred-cow.pdf |archive-date=2015-06-10 |url-status=dead |df= }}</ref>

==Modernity==
Some argue that contemporary Western [[multiculturalism|multicultural]] societies have taboos against [[tribalism]]s (for example, [[ethnocentrism]] and [[nationalism]]) and [[prejudice]]s ([[racism]], [[sexism]], and [[religious extremism]]).<ref name="Putnam, Robert D. 2007">{{Cite journal | last= Putnam | first = Robert D. | author-link = Robert D. Putnam | title = ''E Pluribus Unum'': Diversity and community in the twenty-first century | id = [[Johan Skytte Prize in Political Science|The 2006 Johan Skytte Prize Lecture]] | journal = [[Scandinavian Political Studies]] | volume = 30 | issue = 2 | pages = 137–174 | doi = 10.1111/j.1467-9477.2007.00176.x | date = June 2007 | ref = harv }}</ref>

Changing social customs and standards also create new taboos, such as bans on [[history of slavery|slavery]]; extension of the [[pedophilia]] taboo to [[ephebophilia]];<ref name="www.usccb.org">{{cite web|first=Frederick |last=S. Berlin |title=Interview with Frederick S. Berlin, M.D., Ph.D. |publisher=Office of Media Relations |accessdate=2008-06-27 |url=http://www.usccb.org/comm/kit6.shtml |url-status=dead |archiveurl=https://web.archive.org/web/20110623130406/http://www.usccb.org/comm/kit6.shtml |archivedate=June 23, 2011 }}</ref> prohibitions on [[Prohibition|alcohol]], [[smoking ban|tobacco]], or [[prohibition of drugs|psychopharmaceutical]] consumption (particularly among [[Prenatal exposure|pregnant women]]); and the employment of [[politically correct]] euphemisms{{spaced ndash}}at times quite [[euphemism treadmill|unsuccessfully]]{{spaced ndash}}to mitigate various alleged forms of discrimination.

Incest itself has been pulled both ways, with some seeking to normalize consensual adult relationships regardless of the degree of [[kinship]]<ref>{{cite news|url=https://www.theguardian.com/Archive/Article/0,4273,4331603,00.html|title=Forbidden love|author=Johann Hari|date=2002-01-09|newspaper=[[The Guardian]]|accessdate=2008-04-11}}</ref> (notably in Europe)<ref name="spiegel">{{cite news|url=http://www.spiegel.de/international/germany/0,1518,540831,00.html|title=German High Court Takes a Look at Incest|author=Hipp, Dietmar|date=2008-03-11|work=Der Spiegel|accessdate=2008-04-12}}</ref><ref name="abcnightline">{{cite news|url=http://abcnews.go.com/Health/switzerland-considers-legalizing-consensual-incest-columbia-professor-accused/story?id=12395499|title=Professor Accused of Incest With Daughter|last=DONALDSON JAMES|first=SUSAN|work=ABC Nightline|accessdate=29 November 2011}}</ref> and others expanding the degrees of prohibited contact (notably in the [[Laws regarding incest in the United States|United States]].)<ref>Joanna Grossman, [http://writ.news.findlaw.com/grossman/20020408.html Should the law be kinder to kissin' cousins?]</ref> Although the term ''taboo'' usually implies negative connotations, it is sometimes associated with enticing propositions in proverbs such as ''forbidden fruit is the sweetest''.<ref>Ladygina-Kots, Nadezhda Nikolaevna. "Infant Ape and Human Child: (Instincts, Emotions, Play, Habits)." Journal of Russian & East European Psychology 38.1 (2000): 5-78.</ref>

In medicine, professionals who practice in ethical and moral [[Loophole|grey areas]], or fields subject to [[social stigma]] such as [[late termination of pregnancy]], may refrain from public discussion of their practice. Among other reasons, this taboo may come from concern that comments may be taken out of the appropriate context and used to make ill-informed policy decisions.<ref>{{cite journal|last1=Harris|first1=Lisa|title=Second Trimester Abortion Provision: Breaking the Silence and Changing the Discourse|journal=Reproductive Health Matters|date=2008|volume=16|issue=31|pages=74–81|doi=10.1016/S0968-8080(08)31396-2|pmid=18772087|url=http://lib.tcu.edu/staff/bellinger/abortion/Harris.pdf|accessdate=29 October 2015}}</ref><ref>{{cite journal|author1=O'Donnell, Jenny|author2=Weitz, Tracy|author3=Freedman, Lori|title=Resistance and vulnerability to stigmatization in abortion work|journal=Social Science and Medicine|date=November 2011|volume=73|issue=9|pages=1357–1364|doi=10.1016/j.socscimed.2011.08.019|pmid=21940082}}</ref>

==See also==
{{div col}}
* {{annotated link|Anathema}}
* {{annotated link|Deviance (sociology)|Deviance}}
* {{annotated link|Etiquette}}
* {{annotated link|Geas}}
* {{annotated link|Morality}}
* {{annotated link|Naming taboo}}s
* {{annotated link|Obscenity}}
* {{annotated link|Public morality}}
* {{annotated link|Sexual ethics}}
* {{annotated link|Social stigma}}
* {{annotated link|Taboo on rulers}}
* {{annotated link|Taboo on the dead}}
* {{annotated link|Word taboo}}
{{div col end}}

==References==
{{Reflist|30em}}

==External links==
{{Spoken Wikipedia|Taboo.ogg|2019-12-27}}

==Bibliography==
{{wiktionary}}{{wikiquote}}
{{Refbegin}}
* {{Cite book | ref=harv | last=Cook | first=James | authorlink=James Cook | last2=King | first2=James | title=A voyage to the Pacific Ocean: undertaken by command of His Majesty, for making discoveries in the Northern Hemisphere : performed under the direction of Captains Cook, Clerke, and Gore : in the years 1776, 1777, 1778, 1779, and 1780 : being a copious, comprehensive, and satisfactory abridgement of the voyage | url=https://books.google.com/books?id=F0M-AAAAYAAJ | year=1821 }} Printed for Champante and Whitrow ... and M. Watson; 1793.
* {{Cite journal | ref=harv | last=Cook | first=James | authorlink=James Cook | title=The Three Voyages of Captain James Cook Round the World | publisher=A&E Spottiswoode | location=London | year=1728–1779 | volume=5 | url=https://books.google.com/?id=h6UFAAAAMAAJ }}
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[[Category:Taboo| ]]
[[Category:Cultural anthropology]]
[[Category:Psychoanalytic terminology]]
[[Category:Freudian psychology]]
[[Category:Moral psychology]]