Jews on Broadway: An Historical Survey of Performers, Playwrights, Composers, Lyricists and Producers by Stewart F. Lane Page A
Authors: Stewart F. Lane
Tags: Drama, United States, General, History, 20th Century, Theater, New York, New York (State), Performing Arts, Jewish, Jews in Popular Culture - United States, Theater - New York (State) - New York - History - 20th Century, Jewish Entertainers, Jews in Popular Culture, Jewish Entertainers - New York (State) - New York - History - 20th Century, Musicals - New York (State) - New York - History - 20th Century, Musicals, Broadway (New York; N.Y.), Jews in the Performing Arts, Jews in the Performing Arts - New York (State) - New York - History - 20th Century
Ads: Link
whom to share his life.
His emotional ups and downs were reflected in his lyrics, at times being sarcastic or caustic, while at other times simply longing for love.
In the classic “My Funny Valentine,” Hart writes about wanting someone who, not unlike him, was not particularly attractive, and then responds with the words he wants to hear, a request not to change. His personal life was reflected in many of his songs, such as “I Wish I Were in Love Again.” Despite his inner turmoil, and because of it, Hart’s lyrics were considered among the most touching, and sometimes most biting, of the era between the two world wars.
Rodgers and Hart would hit their stride with the 1926 sketch comedy The Garrick Gaieties, featuring several stars and an actor named Lee Strasberg, who would later change the craft of acting. The show was unique in that it was a satirical revue based on the popular “Follies,”
poking fun at the very business in which they would thrive for some 26
Broadway shows.
Along with the New York Yankees, Rodgers and Hart were probably the most successful team from 1925 through 1943, sometimes writing three or four Broadway shows in a single year. Among their many musicals was a second version of The Garrick Gaieties in 1926, as well as A 60
3. The Music of Broadway
Connecticut Yankee in 1927, Present Arms in 1928 and several hits in London including Evergreen , which ran for over 250 performances in 1930.
After a five-year stint writing for films, Rodgers and Hart returned to the theater with Jumbo in 1935 starring Jimmy Durante and On Your Toes in 1936, starring Ray Bolger, which ran for over 300 performances on Broadway. Babes in Arms , in 1937, would become one of the team’s biggest hits, featuring “My Funny Valentine” and “The Lady Is a Tramp.”
Like Irving Berlin and Jerome Kern, Rodgers and Hart, while writing songs integral to the script, also had a knack for penning popular hits that had a life of their own outside the theater walls, songs that would ultimately became classics.
Five Broadway shows later, they would usher in the 1940s with their most significant musical, Pal Joey , starring Gene Kelly and featuring
“Bewitched, Bothered and Bewildered.” Despite some mixed reviews by critics, the show was a success and an even bigger hit when brought back again in 1952 and in subsequent revivals. Together Rodgers and Hart would write By Jupiter as their last play together in 1943. By this time, Hart’s drinking, his emotional turmoil and frustrations were taking a toll on the collaboration. Hart was no longer as reliable or responsible as he had been, and the team suffered. Supposedly Rodgers would also have his own bout with alcohol, but he kept it under wraps, and it did not take a toll on his career.
Rodgers and Hart were offered the opportunity to write the score for Oklahoma , but at this point Hart was neither emotionally or physically up to the task. Thus began the teaming of Rodgers and Hammerstein, as discussed under the career of Oscar Hammerstein II (above). Hart did return to write another song with Rodgers for the revival of the show A Connecticut Yankee , but shortly thereafter he disappeared from Rodgers’
life and then from the public eye. Hart passed away of pneumonia shortly after the opening of Oklahoma in 1943.
Amazingly, Rodgers and Hammerstein were able to follow up one triumphant show with another, from Oklahoma to Carousel to South Paci fic to The Sound of Music. Collectively, the Rodgers and Hammerstein musicals earned 34 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and two Emmy Awards. Time magazine and CBS
News cited Rodgers and Hammerstein in 1998 as being among the 20
most influential artists of the 20th century. Yet, their pairing was one of 61
Jews on Broadway
two amazing collaborative unions in the career of Richard Rodgers, which spanned some 50 years.
Following his lengthy partnerships with Hart and Hammerstein,
His emotional ups and downs were reflected in his lyrics, at times being sarcastic or caustic, while at other times simply longing for love.
In the classic “My Funny Valentine,” Hart writes about wanting someone who, not unlike him, was not particularly attractive, and then responds with the words he wants to hear, a request not to change. His personal life was reflected in many of his songs, such as “I Wish I Were in Love Again.” Despite his inner turmoil, and because of it, Hart’s lyrics were considered among the most touching, and sometimes most biting, of the era between the two world wars.
Rodgers and Hart would hit their stride with the 1926 sketch comedy The Garrick Gaieties, featuring several stars and an actor named Lee Strasberg, who would later change the craft of acting. The show was unique in that it was a satirical revue based on the popular “Follies,”
poking fun at the very business in which they would thrive for some 26
Broadway shows.
Along with the New York Yankees, Rodgers and Hart were probably the most successful team from 1925 through 1943, sometimes writing three or four Broadway shows in a single year. Among their many musicals was a second version of The Garrick Gaieties in 1926, as well as A 60
3. The Music of Broadway
Connecticut Yankee in 1927, Present Arms in 1928 and several hits in London including Evergreen , which ran for over 250 performances in 1930.
After a five-year stint writing for films, Rodgers and Hart returned to the theater with Jumbo in 1935 starring Jimmy Durante and On Your Toes in 1936, starring Ray Bolger, which ran for over 300 performances on Broadway. Babes in Arms , in 1937, would become one of the team’s biggest hits, featuring “My Funny Valentine” and “The Lady Is a Tramp.”
Like Irving Berlin and Jerome Kern, Rodgers and Hart, while writing songs integral to the script, also had a knack for penning popular hits that had a life of their own outside the theater walls, songs that would ultimately became classics.
Five Broadway shows later, they would usher in the 1940s with their most significant musical, Pal Joey , starring Gene Kelly and featuring
“Bewitched, Bothered and Bewildered.” Despite some mixed reviews by critics, the show was a success and an even bigger hit when brought back again in 1952 and in subsequent revivals. Together Rodgers and Hart would write By Jupiter as their last play together in 1943. By this time, Hart’s drinking, his emotional turmoil and frustrations were taking a toll on the collaboration. Hart was no longer as reliable or responsible as he had been, and the team suffered. Supposedly Rodgers would also have his own bout with alcohol, but he kept it under wraps, and it did not take a toll on his career.
Rodgers and Hart were offered the opportunity to write the score for Oklahoma , but at this point Hart was neither emotionally or physically up to the task. Thus began the teaming of Rodgers and Hammerstein, as discussed under the career of Oscar Hammerstein II (above). Hart did return to write another song with Rodgers for the revival of the show A Connecticut Yankee , but shortly thereafter he disappeared from Rodgers’
life and then from the public eye. Hart passed away of pneumonia shortly after the opening of Oklahoma in 1943.
Amazingly, Rodgers and Hammerstein were able to follow up one triumphant show with another, from Oklahoma to Carousel to South Paci fic to The Sound of Music. Collectively, the Rodgers and Hammerstein musicals earned 34 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and two Emmy Awards. Time magazine and CBS
News cited Rodgers and Hammerstein in 1998 as being among the 20
most influential artists of the 20th century. Yet, their pairing was one of 61
Jews on Broadway
two amazing collaborative unions in the career of Richard Rodgers, which spanned some 50 years.
Following his lengthy partnerships with Hart and Hammerstein,
Similar Books
