New Releases by Oscar Hammerstein

Step into the rugged beauty of the Canadian Rockies with Rose-Marie, a timeless romantic operetta that captivated Broadway and the world. This newly published libretto brings to life the enduring love story of Rose-Marie La Flamme, a spirited French Canadian woman, and Jim Kenyon, a bold miner accused of a crime he didn''t commit. Oscar Hammerstein''s work on Rose-Marie is notable as a precursor to Hammerstein''s later successes with Richard Rodgers. It showcases his interest in combining music, lyrics, and narrative to explore complex characters and heightened emotions. A landmark in musical theater history, Rose-Marie remains a celebrated classic, blending romance, intrigue, and the wild majesty of nature. This libretto edition invites you to rediscover the operetta that enchanted audiences for decades.

Oscar Hammerstein II is arguably the greatest innovator in the history of American musical theater. This rich collection of his letters not only sheds light on the Golden Age of Broadway theater and its major figures but also reveals a man with a fine sense of humor who was deeply engaged in social activism.

"Material contained herein, in a different form, copyrighted 1951 by Richard Rogers and Oscar Hammerstein II, renewed 1979."--Title page verso.

Rodgers + Hammerstein''s Cinderella is the new Broadway adaptation of the classic musical. This contemporary take on the classic tale features Rodgers & Hammerstein''s most beloved songs, including "In My Own Little Corner," "Impossible/It''s Possible" and "Ten Minutes Ago," alongside an up-to-date, hilarious and romantic libretto by Tony Award-nominee Douglas Carter Beane. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein''s Cinderella was twice remade for television, first in 1965 for Lesley Ann Warren and again in 1997, featuring Brandy and Whitney Houston. The original Broadway production of Rodgers + Hammerstein''s Cinderella opened in 2013 and starred Laura Osnes, Santino Fontana, Victoria Clark and Harriet Harris. Nominee: Nine 2013 Tony Awards, including Best Book of a Musical and Best Revival of a Musical Winner! 2014 Tony Award for Best Costume Design for a Musical Winner! Three 2013 Drama Desk Awards, including Outstanding Orchestrations

The timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmarks of originality, charm, and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein''s Cinderella was the most widely viewed program in the history of the medium. Its re-creation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. In 1956 Richard Rodgers and Oscar Hammerstein II were indisputably the world''s most successful writers of musicals. Julie Andrews was a sparkling new star, having just triumphed in My Fair Lady. When her agent approached Rodgers and Hammerstein and suggested that the television audience would welcome a musical version of "Cinderella," it was an irresistible temptation for all. Everything about the project was right from the start. The CBS production team was quickly assembled. Richard Lewine, a distant cousin of Rodgers and a close friend, was the producer, Ralph Nelson the director. Howard Lindsay and his wife, Dorothy Stickney, were signed for the King and Queen; Jon Cypher played the Prince; the Stepmother and Stepsisters were made less frightening and more comic by Ilka Chase, Kaye Ballard and Alice Ghostley; rather than the standard old crone, the beautiful Edie Adams played the Godmother. Rodgers and Hammerstein approached the story with the honesty and simplicity that characterized all their work. They purposely did not seek to improve a story they felt was dramatically sound, as many writers are prone to do, instead concentrating on bringing the characters to life. Rodgers wrote in his autobiography Musical Stages, "In writing the story and the songs, Oscar and I felt that it was important to keep everything as traditional as possible, without any ''modernizing'' or reaching for psychological significance." When Hammerstein was asked where he found the version of Cinderella story he based his adaptation upon, he answered, "I looked it up in the encyclopedia." The marriage of music, lyrics and story in Cinderella exemplified their artistic philosophy; all elements held together integrally to illuminate the characters. As Rodgers explained, "Although a few of its songs have become popular, our score for Cinderella is another example of what theatre music is really about. No matter what the medium, a score is more than a collection of individual songs. It is, or should be, a cohesive entity whose word and music are believable expressions of the characters singing them...Like a symphony, concerto or opera, some portions have greater appeal than others, but it is the work as a whole that makes the overall impression." Cinderella succeeded. When it was broadcast on March 31, 1957, it was viewed by more people than any other program in the history of television.

In het leven van de advocaat Oscar Hammerstein zijn drie data van veel belang. Wanneer hij in juli 1988 te horen krijgt dat hij besmet is met het hiv-virus – toentertijd een doodvonnis – stort zijn wereld in. Hij gaat gezond leven, veel sporten en zet alles op alles om te overleven. In de lente van 1994 wordt hij opgepakt wegens vermeende betrokkenheid bij het witwassen van crimineel geld en wordt zijn overlevingsinstinct voor een tweede maal aangesproken. Zes weken lang zit hij vast. Uiteindelijk wordt hij op alle punten vrijgesproken. De moord op zijn vriend Pim Fortuyn is het derde ijkpunt in Hammersteins leven. De dader is veroordeeld maar de littekens ervan zijn bij de advocaat én in onze samenleving nog zichtbaar. In Ik heb de tijd vertelt Hammerstein openhartig over zijn familie en vrienden, zijn Leidse studententijd en zijn carrière als advocaat aan de hand van deze drie levensbepalende gebeurtenissen.

From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric. Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air, and their masterpiece, Show Boat. The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet. In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma!, merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella). Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys. Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.” All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.

History comes alive with this first release in a new collection of musical adaptations! From the beloved library of Rodgers and Hammerstein, The King and I is classic musical theater at its best, combining drama, music, dance and stagecraft for an unforgettable experience! Based on Anna and the King of Siam by Margaret Landon, with book and lyrics by Oscar Hammerstein II and a dazzling score by Richard Rodgers, this musical tells the classic story of the English widow, Anna Leonowens, and her young son and their life at the Royal Palace in Bangkok. Anna has been summoned by the King to serve as tutor to his many children and wives. While they both retain their respective traditions and values, Anna and the King grow to understand and eventually respect one another in this unique and uplifting story of East meets West. Running approximately 70 minutes, Getting to Know... The King and I is the perfect show to introduce young people up through 9th grade to the wonders of live theater. The all-inclusive ShowKit provides all you need to make your production a success! The ShowKit includes: * Director''s Guide * 2 Piano/Vocal Scores * 20 Lib

An illustrated collection of sixteen songs by Rogers and Hammerstein.

Sheet music.

10 piano duet arrangements for late intermediate-level students as arranged for Williamson Music by David Carr Glover, including: Climb Ev''ry Mountain * Do-Re-Mi * Edelweiss * The Lonely Goatherd * Maria * My Favorite Things * An Ordinary Couple * Sixteen Going on Seventeen * So Long, Farewell * The Sound of Music.

The scripts and lyrics of six of their most popular musicals.

Pipe Dream is the seventh musical by the team of Richard Rodgers and Oscar Hammerstein II; it premiered on Broadway on November 30, 1955. The work is based on John Steinbeck''s short novel Sweet Thursday - Steinbeck wrote the novel, a sequel to Cannery Row, in the hope of having it adapted into a musical. Set in Monterey, California, the musical tells the story of the romance between Doc, a marine biologist, and Suzy, who in the novel is a prostitute; her profession is only alluded to in the stage work. Pipe Dream was a flop and a financial disaster for Rodgers and Hammerstein.

Transcript of proceedings at the Alexander Hamilton dinner April 4, 1956, on the occasion of the award of Alexander Hamilton medals to Oscar Hammerstein II and Richard Rodgers. Includes speeches by Grayson Kirk, Frederick C. Lascoff, Howard Dietz, Joseph Mankiewcz, and message from Herman Wouk.