Richard Rodgers (1902–1979)

There is nothing like it. More politically aware and socially relevant than the movie, this musical has more heart than one might think a stage can carry.

Substance: Song-by-song account of Rodgers' career with lyricists Lorenz (Larry) Hart and Oscar Hammerstein II. Interesting information on his youth and early career, with his perception of his development as a composer. However, there was way too much material about way too many productions for general interest. The Rodgers and Hart works, despite their contemporary popularity, have faded away (with the possible exception of "Pal Joey", which was different from most of their shows). The show more Hammerstein collaborations are all still active in repertoire.

Style: Informal and friendly autobiography (don't know if there was a ghost writer or editor involved).

NOTES: My feeling is that the divide between the Hart and Hammerstein works stems more from the book than the music. The earlier shows leaned heavily to revues, or strings of songs loosely bound together, and formulaic lyrics, despite Hart's wit and rhyming facility. Hammerstein integrated the story and the songs much more, although most of the musical peices can be sung independently of the rest,or of the show as a whole (unlike more recent Broadway hits). show less

The arrangements are easy piano - easy enough for me, spanning about 4 octaves.

But THERE ARE NO WORDS. What is a song without words? Especially a popular song! Popular songs need to have words with them. The themes of the music by Richard Rodgers is there. Hurrah! But the lyrics by Oscar Hammerstein are missing. Boo hoo.

My FAVORITE version of Cinderella. Don't get me wrong, this still follows the traditional story really well and I have a few philosopical problems with it. But, I love the music. I grew up watching the Leslie Ann Warren, and even though the production values are shit, I still love it. "In my Own Little Corner" and "10 Minutes Ago" are probably my favorites.