Part of the attraction of Rodgers’ music is its subtle Oriental flavoring. In the music—as in text, settings and costuming—The King and I is a picture of an “East of frank and unashamed romance,” as Richard Watts, Jr., said, “seen through the eyes of ... theatrical artists of rare taste and creative power.” The Oriental element is particularly pronounced in the orchestral excerpt, “The March of the Royal Siamese Children,” with its exotic syncopated structure and orchestration. Other popular excerpts from this score include Anna’s lilting “I Whistle a Happy Tune”; her poignant ballad “Hello, Young Lovers”; Anna’s duet with the king, “Shall We Dance?”; her amiable conversation with the children, “Getting to Know You”; the King’s narrative, “A Puzzlement”; also two sensitive and atmospheric duets by the two Siamese lovers, Tuptim and Lun Tha, “We Kiss in the Shadow” and “I Have Dreamed.”
Oklahoma!, the first of the Rodgers and Hammerstein musical plays—which opened on March 31, 1943—made stage history. Its run of 2,248 performances was the longest run of any Broadway musical up to then; a national company toured for ten years. It was successfully produced in Europe, Africa, and Australia. But beyond being a box-office triumph of incomparable magnitude, it was also an artistic event of the first importance. This was musical comedy no more, but a vital folk play rich in dramatic content, and authentic in characterization and background. The play upon which it was based was Lynn Riggs’ folk play, Green Grow the Lilacs, adapted by Oscar Hammerstein II. In making his adaptation, Hammerstein had to sidestep long accepted formulas and clichés of the American musical stage to meet the demands of Riggs’ play. Chorus-girl routines made way for American ballet conceived by Agnes De Mille. Set comedy routines were replaced by a humor which rose naturally from text and characters. Each musical incident was basic to the movement of the dramatic action. Even the plot was unorthodox for our musical theater. At the turn of the present century in West-Indian country, Laurey and Curly are in love, but are kept apart by their respective diffidence and a false sense of hostility. An ugly, lecherous character, Jud Fry, pursues Laurey. Laurey and Curly finally declare their love for each other. At their wedding Jud arrives inebriated, attacks Curly with a knife, and becomes its fatal victim when he accidentally falls upon the blade during a brawl. A hastily improvised trial exonerates Curly of murder and permits him and his bride to set off on their honeymoon for a land that some day will get the name of Oklahoma.
The play opens at once with its best musical foot forward, a simple song, “Oh, What a Beautiful Mornin’,” which has the personality of American folk music. It is sung offstage by Curly. After that the principal musical episodes include the love song of Curly and Laurey, “People Will Say We’re in Love”; several songs with a strong American national identity, including “Kansas City,” “The Farmer and the Cowman,” “The Surrey With the Fringe on Top,” and the title number; and two highly expressive numbers, “Out of My Dreams” and “Many a New Day.”
Slaughter on Tenth Avenue is one of Rodgers’ most famous orchestral compositions, and one of the finest achievements of the school of symphonic-jazz writing. This music was used for a ballet sequence in the Rodgers and Hart musical, On Your Toes, first produced in 1936. Since On Your Toes dwelled in the world of ballet, with dancers as principal characters, ballet episodes played an important part in the unfolding of the story; these episodes were conceived by George Balanchine. The play reaches a dramatic climax with a jazz ballet, a satire on gangsters, entitled Slaughter on Tenth Avenue. This is a description of the pursuit by gangsters of a hoofer and his girl. Caught up in a Tenth Avenue café, the gangsters murder the girl and are about to kill the hoofer when the police come to his rescue. Rodgers’ music for the ballet is an extended and integrated symphonic-jazz composition which has won its way into the permanent repertory of semi-classical music. It is constructed from two main melodic ideas. The first is an impudent little jazz tune, and the second is a rich and luscious jazz melody for strings.
South Pacific, produced on April 7, 1949, was both commercially and artistically of the magnitude of Oklahoma! Its Broadway run of 1,925 performances was only 325 less than that of its epoch-making predecessor. In many other respects South Pacific outdid Oklahoma!: In the overall box-office grossage; in sale of sheet music and records; in the capture of prizes (including the Pulitzer Prize for drama, seven Antoinette Perry and nine Donaldson awards). The book was adapted by Oscar Hammerstein II and Joshua Logan from Tales of the South Pacific, a series of short stories about American troops in the Pacific during World War II. In the adaptation two love plots are emphasized. The first involves the French planter, Emile de Becque, and the American ensign, Nellie Forbush; the other engages Liat, a Tonkinese girl, and Lieutenant Cable. The first ends happily, but only after complications brought on by the discovery on Nellie’s part that Emile was once married to a Polynesian and is the father of two Eurasian children. The other love affair has a tragic ending, since Lieutenant Cable dies on a mission. With Ezio Pinza as De Becque and Mary Martin as Nellie, South Pacific was “a show of rare enchantment,” as Howard Barnes reported, “novel in texture and treatment, rich in dramatic substance, and eloquent in song.” Among its prominent musical numbers are De Becque and Nellie’s love song, “Some Enchanted Evening”; De Becque’s lament “This Nearly Was Mine”; Cable’s love song “Younger Than Springtime”; three songs by Nellie, “I’m Gonna Wash That Man Right Outa My Hair,” “A Cockeyed Optimist,” and “I’m in Love with a Wonderful Guy”; two exotic numbers by the Tonkinese Bloody Mary, “Happy Talk” and “Bali Ha’i”; and a spirited and humorous choral number by the Marines, “There Is Nothing Like a Dame.”
Victory at Sea is a nine-movement suite for symphony orchestra adapted by Robert Russell Bennett from the extended musical score for a series of documentary films on naval operations during World War II. These films were presented over NBC television in 1952 and received both the Sylvania and the George Foster Peabody Awards. Much of the acclaim accorded to these remarkable films belonged to Rodgers’ background music which, as Otis L. Guernsey said, “suggested courage, self-sacrifice and the indomitable spirit of the free man.” A New Yorker critic described Rodgers’ music as a “seemingly endless creation, now martial, now tender, now tuneful, now dissonant ... memorable and tremendously moving.”
The first movement, “The Song of the High Seas,” is a picture of ships menaced by Nazi U-boats on the seas during the early part of World War II. They finally get involved in battle. “The Pacific Boils Over” describes the beauty of Hawaii at peace in a melody suggesting Hawaiian song and dance. War comes, and this idyllic mood is shattered. A broad melody for strings ending in forceful chords tells about the tragedy of Pearl Harbor and the grim business of repairing the damage inflicted upon it by the Japanese. The third movement is one of the most famous in the suite, often performed independently of the other sections. It is stirring and dramatic march music of symphonic dimensions entitled “Guadalcanal March.” This is followed by “D Day,” its principal melody a broad, strong subject for brass telling of the gradual build-up of men and materials for the invasion of Fortress Europe. The fifth movement, “Hard Work and Horseplay” provides the lighter side of war. American soldiers find relief from grim realities in mischievous escapades and playtime. “Theme of the Fast Carrier” brings up the picture of a battle scene and ends with moving funeral music. In “Beneath the Southern Cross” we get an infectious tango melody which Rodgers later borrowed for his hit song, “No Other Love,” for the Rodgers and Hammerstein musical play, Me and Juliet. “Mare Nostrum” recalls the harsh realities of war, first by presenting a serene Mediterranean scene, and then showing how it is torn and violated by the fierce naval attack on North Africa, Sicily, Salerno, and Anzio. The suite ends on a note of triumph with “Victory at Sea.” A hymn of thanksgiving is sounded. Then we hear reminders of the “Guadalcanal March” and the seductive tango melody from “Beneath the Southern Cross.” This tango is soon transformed into a rousing song of joy and triumph with which the suite comes to a magnificent culmination.
Sigmund Romberg
Sigmund Romberg was born in Szeged, Hungary, on July 29, 1887. His boyhood and early manhood were spent in Vienna where he studied engineering and fulfilled his military service with the 19th Hungarian Infantry stationed in that city. In Vienna, Romberg’s lifelong interest in and talent for music found a favorable climate. He heard concerts, haunted the city’s leading music salons, was a devotee of Viennese operettas at the Theater-an-der-Wien. Vienna’s influence led him to abandon all thoughts of becoming an engineer. In 1909 he came to the United States where he led salon orchestras in various restaurants and published his first popular songs. In 1912 he was engaged as staff composer for the Shuberts, for whose many and varied Broadway productions Romberg supplied all the music. Within a three-year period he wrote the scores for eighteen musicals, one of which was his first operetta in a European style, The Blue Paradise (1915) for which he created his first outstanding song hit, “Auf Wiedersehen.” Though he continued writing music for many musical comedies, revues and extravaganzas—including some starring Al Jolson at the Winter Garden—it was in the field of the operetta that Romberg achieved significance in American popular music. His musical roots were so deeply embedded in the soil of Vienna that only in writing music for operettas in the manner and procedures of Vienna did he succeed in producing a lyricism that ran the gamut from sweetness and sentimentality to gaiety, masculine vigor and charm. His most successful operettas, which are discussed below, have never lost their capacity to enchant audiences however many times they are revived.
Romberg began writing music for motion pictures in 1930 with Viennese Nights. Out of one of his many scores for the screen came the poignant ballad, “When I Grow Too Old to Dream.” His last huge success on Broadway was achieved not with an operetta but with an American musical comedy with American backgrounds, settings and characters—and songs in a pronounced American idiom. It was Up in Central Park in 1945. His last musical comedy was The Girl in Pink Tights produced on Broadway posthumously in 1954. Romberg died in New York City on November 9, 1951. Three years after his death his screen biography, Deep in My Heart, was released, with José Ferrer playing the part of the composer.