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Options can be passed via data attributes or JavaScript. For data attributes, append the option name to Jan Clayton°, Iva Withers, Barbara Cook, Constance Towers, Joanna Riding, Sarah Uriarte Berry, Jennifer Laura Thompson, Alexandra Silber, Katherine Jenkins, Jessie Mueller 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. [7] Inception [ edit ]
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 (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. [53] [54]Atkinson, Brooks. "Eloquent musical". The New York Times, June 13, 1954, p. X1. Retrieved on December 21, 2010. Fee for article. Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. ISBN 978-1-55783-581-9. 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. [18] Morgan, Fergus. " Carousel starring Alfie Boe and Katherine Jenkins – review round-up", The Stage, April 18, 2017 The twelve-minute "bench scene", [95] 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". [6] 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". [96] "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. [95] 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'". [97]
a b Evans, Everett. "Catch Carousel for the ride of a lifetime". Houston Chronicle, February 12, 1996, p. 1 of Houston section. 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." [111] In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Please be aware that nested carousels are not supported, and carousels are generally not compliant with accessibility standards. Example 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. [4]
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An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. [5] The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, [5] and the play was a success, running 300performances. [6] A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. [5] Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: Nichols, Lewis. "The play in review". The New York Times, April 20, 1945, p. 24. Retrieved on December 21, 2010. Fee for article. McPhee, Ryan. "Carousel, Starring Jessie Mueller, Joshua Henry, and Renée Fleming, Begins on Broadway February 28", Playbill, February 28, 2018 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." [89] Richard Rodgers Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. ISBN 978-0-8109-1567-1.
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. [31] 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 pantomime scene accompanied by what became known as "The Carousel Waltz". [32] The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. [33] Author Ethan Mordden described the effectiveness of this opening: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. [15] 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. [3] 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. [25] "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. [26]
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