Fair Play

"Their music is incredibly melodic," notes Mary Rodgers, referring to the work of famed songwriters Richard Rodgers and Oscar Hammerstein II during a recent phone conversation from her home in New York City. "Human beings are constructed to enjoy that. We have something instinctive that needs that melodic base. And all those songs are based on wonderful stories. Puccini was awfully good in his day, and Mozart in his. I think Rodgers and Hammerstein are probably the Puccini of this age."
Okay, maybe she's a little biased. After all, she is composer Richard Rodgers's daughter, but she's also a composer in her own right, having written the music for 1959's Once Upon a Mattress, which returned to Broadway last year.

James Hammerstein, Oscar's son, has a similarly glowing opinion about R&H. "They represent an optimism that is totally American," explains the younger Hammerstein. His directorial credits include numerous productions of his lyricist father's musicals, notably the 1996 Broadway premiere of State Fair. That show is based on the 1945 movie musical of the same name, made when James was a teenager. Also speaking over the phone from New York, Hammerstein recalls his involvement with the recent stage version, set in 1946: "This was the first time I ever did a period piece that was my period. I saw [State Fair] as an idealization of what we would like to have gone through in the America of 1946 -- idealized, but very American."

American enough to withstand countless passing fads and remain remarkably popular, not unlike the rest of R&H's oeuvre. Since 1993 alone four R&H musicals -- Carousel, The King and I, State Fair, and the revue A Grand Night for Singing -- have been on Broadway, with a fifth, The Sound of Music, slated to open in March. This season two post-Broadway tours featuring Rodgers's unforgettable music and Hammerstein's stirring lyrics -- plus a Hammerstein collaboration with Jerome Kern -- are headed to South Florida.

Arriving first: State Fair, which was cobbled together from the duo's movie score ("It Might as Well Be Spring" won the Oscar for Best Song) and other R&H sources. It begins a six-day run this week at the Jackie Gleason Theater in Miami Beach, with John Davidson reprising his Broadway role as the Iowa farmer who bets five dollars that his pig will win the blue ribbon. And the 1996 Tony Award-winning revival of the 1951 blockbuster The King and I opens March 17 for a weeklong stint at West Palm Beach's Kravis Center; it stars Hayley Mills as the visiting English governess who rules the King of Siam's household. Finally: Hammerstein and Kern's 1927 Show Boat steams into Fort Lauderdale's Broward Center on March 28 for a monthlong engagement; director Hal Prince's 1995 revival took home several Tonys.

Rodgers and Hammerstein have long been a force on the national entertainment scene; their works have been rediscovered over and over. For example, their made-for-TV Cinderella was seen by 107 million people when it premiered with Julie Andrews in 1957, while a 1965 remake starring Lesley Ann Warren drew even more viewers. Last month yet another version, this one with Whitney Houston and Brandy, made its successful television debut.

Meanwhile, sales from videos of R&H movies, cast recordings, and tribute albums continue to generate a fair amount of dough-re-mi. And the pair has graced the Internet with its own Website: www.rnh.com. Over the years their musicals have raked in 34 Tony Awards, fifteen Academy Awards, two Pulitzers, and two Grammys. Not bad for two guys who have been dead for quite some time.

Ironically, the men who redefined American musical comedy and glorified the nation's pioneer spirit in their first collaboration, Oklahoma! (1943), were both city slickers from New York. The grandson of a well-to-do merchant, Richard Rodgers (1902-79) was only fourteen when he first met Oscar Hammerstein (1895-1960), who was born into an established theatrical family. In his autobiography, Musical Stages, Rodgers recalled his brother taking him backstage at Columbia University's 1917 annual varsity show, for which Hammerstein had written lyrics and in which the prelaw student also acted. "No deathless words were exchanged at that first meeting," Rodgers wrote, "but it was an occasion that years later prompted an extended disagreement between us. Oscar insisted that I wore short pants that day while I, with equal certainty, stoutly maintained that I had already graduated to 'longies.'"

Each decided to pursue a career in the theater, establishing his own legacy over the next 25 years: Hammerstein worked with various partners to produce Rose-Marie, Desert Song, Show Boat, and Carmen Jones, while Rodgers became a Broadway and sheet music legend with lyricist Lorenz Hart, turning out Babes in Arms, On Your Toes, Pal Joey, and The Boys from Syracuse.

Despite their reputations, when Rodgers teamed with Hammerstein after Hart's death, the early buzz on the new pairing was decidedly bad. One wag who witnessed the out-of-town tryout for Oklahoma! wired newspaper columnist Walter Winchell a terse review that read, "No girls, no legs, no jokes, no chance." And yet Oklahoma! played on Broadway for five years, and R&H's partnership continued right up until Hammerstein's death in 1960. Although his doctors hid the truth from him, Hammerstein was diagnosed with terminal cancer during rehearsals for 1959's The Sound of Music; that show's wistfully nostalgic "Edelweiss" was the last song he wrote with Rodgers. After his partner's death, Rodgers helped to create five additional musicals (writing the lyrics himself or partnering with lyricists Stephen Sondheim, Sheldon Harnick, and Martin Charnin), none of which became a smash on Broadway.

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