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Hammerstein later related that he had included an incident he had seen when he was a neophyte assistant stage manager—a chorus boy came up to a chorus girl and asked to use some of her mascara to disguise a hole in the boy's black socks.<ref name = "peck">Peck, Seymour. [http://select.nytimes.com/gst/abstract.html?res=F10E11FB3858117B8EDDAD0A94DD405B8389F1D3&scp=8&sq=Me+and+Juliet&st=p "About ''Me and Juliet''."] ''[[The New York Times]]'', May 24, 1953, page X1. Retrieved on February 6, 2011.</ref> Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers&nbsp;... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."<ref name = "peck"/>
Hammerstein later related that he had included an incident he had seen when he was a neophyte assistant stage manager—a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks.<ref name = "peck">Peck, Seymour. [http://select.nytimes.com/gst/abstract.html?res=F10E11FB3858117B8EDDAD0A94DD405B8389F1D3&scp=8&sq=Me+and+Juliet&st=p "About ''Me and Juliet''."] ''[[The New York Times]]'', May 24, 1953, page X1. Retrieved on February 6, 2011.</ref> Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers&nbsp;... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."<ref name = "peck"/>


In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer [[Robert Alton]] had worked in such hits as ''[[Panama Hattie]]'' and in movie musicals. [[Don Walker (orchestrator)|Don Walker]] was hired to do the orchestrations; his would be simpler than those of [[Robert Russell Bennett]], who usually performed that function in the pair's musicals.<ref>Mordden, pp. 152–153.</ref> [[Irene Sharaff]] was engaged to design the more than 300&nbsp;costumes which would be needed.<ref name = "f309">Fordin, p. 309.</ref> The cast consisted mostly of unknowns, though [[Isabel Bigley]], who had just originated Sister Sarah Brown in ''[[Guys and Dolls]]'' was given the leading role of chorus girl Jeanie. For Larry, the assistant stage manager who falls for Jeanie, they cast [[Bill Hayes]], a well-known stage and television actor.<ref>Secrest, pp. 318–320.</ref> William Tabbert, the original Lt. Joe Cable in ''[[South Pacific (musical)|South Pacific]]'' was considered for the part of Larry, but lost out because he was considered too tall to be afraid of [[Mark Dawson]], hired as the towering bully Bob.<ref name = "m153">Mordden, p. 153.</ref>
In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer [[Robert Alton]] had worked in such hits as ''[[Panama Hattie]]'' and in movie musicals. [[Don Walker (orchestrator)|Don Walker]] was hired to do the orchestrations; his would be simpler than those of [[Robert Russell Bennett]], who usually performed that function in the pair's musicals.<ref>Mordden, pp. 152–153.</ref> [[Irene Sharaff]] was engaged to design the more than 300&nbsp;costumes which would be needed.<ref name = "f309">Fordin, p. 309.</ref> The cast consisted mostly of unknowns, though [[Isabel Bigley]], who had just originated Sister Sarah Brown in ''[[Guys and Dolls]]'' was given the leading role of chorus girl Jeanie. For Larry, the assistant stage manager who falls for Jeanie, they cast [[Bill Hayes]], a well-known stage and television actor.<ref>Secrest, pp. 318–320.</ref> William Tabbert, the original Lt. Joe Cable in ''[[South Pacific (musical)|South Pacific]]'' was considered for the part of Larry, but lost out because he was considered too tall to be afraid of [[Mark Dawson]], hired as the towering bully Bob.<ref name = "m153">Mordden, p. 153.</ref>

Revision as of 14:15, 16 February 2011

Me and Juliet
MusicRichard Rodgers
LyricsOscar Hammerstein II
BookOscar Hammerstein II
Productions1953 Broadway

Me and Juliet is a musical comedy written by Richard Rodgers (music) and Oscar Hammerstein II (lyrics and book), their sixth collaboration for the stage. The work tells of romance backstage at a long-running musical, with assistant stage manager Larry wooing chorus girl Jeanie behind the back of her electrician boyfriend, Bob. The work premiered in 1953 and was not a success, closing after a year on Broadway.

Rodgers had long wanted to write a musical comedy about the cast and crew backstage at a theatre. After Rodgers and Hammerstein scored another hit with The King and I, Rodgers proposed the backstage project to his partner. Hammerstein was unenthusiastic, but agreed to do the project. The play would require complex stage machinery, so that the audience could view action not only on the stage of the theatre where the action takes place, but in the wings and on the light bridge as well.

When Me and Juliet began tryouts in Cleveland, the duo realized that the show had many problems. Extensive revisions during the remaining Cleveland and Boston tryouts failed to cure the difficulties, and the show was met with dismal reviews by critics. With the exception of a short run in Chicago, there was no national tour, and the show is almost never seen—a small-scale production was presented by London's Finborough Theatre in 2010.

Inception

Photo of Hammerstein in middle age, seated, wearing a suit
Oscar Hammerstein II

Soon after Oklahoma!, Rodgers and Hammerstein's first work together and a massive hit, opened in 1943, Rodgers began considering the idea of a musical entirely set backstage at a theatre staging a musical. The production could explore different areas of the backstage world, from the dressing rooms to the flies.[1] Rodgers also saw it as the opportunity to write a pure musical comedy, without the serious themes which had marked their early works (such as the attacks on racism in South Pacific, and the cultural tolerance in The King and I). Hammerstein was initially unenthusiastic, but Rodgers pressed the matter. Rodgers had agreed to the project which became Allegro, their initial failure, under pressure from Hammerstein, who had long dreamed of doing a serious musical about an ordinary man.[2][3] According to Steven Sondheim, a protégé of Hammerstein, "Oscar was able to keep the partnership together by taking Dick's suggestion, which he did not want to take."[4] As the two discussed the matter, Hammerstein became more enthusiastic, suggesting ideas such as starting with the stage entirely bare, as if the audience had come in not at performance time but at another time during the day. Such effects are today well-known following the success of other "backstagers" such as A Chorus Line; in the early 1950s they were unrealized and novel.[3][5]

The two discussed the matter at a meeting in Palm Beach, Florida, in early 1952, where Rodgers was vacationing as he finished the melodic sketches for his music for the television program Victory at Sea.[6] Rodgers suggested dispensing with the overture, reserving that for the overture of the show-within-the-show.[6] Following another meeting in mid-1952, they called in long-time Rodgers and Hammerstein stage designer Jo Mielziner. Mielziner, whom the pair hired to design the sets, confirmed that a scene could be played part onstage and part in the backstage world, but that this would be expensive.[7] In August 1952, Hammerstein began a sketch of the plot; by early October he had a near-complete first draft.[8] As the show was to be musical comedy, the pair hired one of the top musical comedy directors, George Abbott, who accepted the position without reading the script. He regretted the haste of this decision as soon as he read the script, finding it sentimental and melodramatic. He confided his concerns to the pair; in response, Hammerstein told him to make whatever changes in the script he thought best.[9] Abbott made major changes in the plot, which saw large alterations from Hammerstein's original script. Abbott also felt that some highlights would be furnished by the show-within-the-show.[10] According to author and composer Ethan Mordden, the show-within-the-show was to be:

Something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.[11]

Hammerstein later related that he had included an incident he had seen when he was a neophyte assistant stage manager—a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks.[12] Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."[12]

In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals.[13] Irene Sharaff was engaged to design the more than 300 costumes which would be needed.[14] The cast consisted mostly of unknowns, though Isabel Bigley, who had just originated Sister Sarah Brown in Guys and Dolls was given the leading role of chorus girl Jeanie. For Larry, the assistant stage manager who falls for Jeanie, they cast Bill Hayes, a well-known stage and television actor.[15] William Tabbert, the original Lt. Joe Cable in South Pacific was considered for the part of Larry, but lost out because he was considered too tall to be afraid of Mark Dawson, hired as the towering bully Bob.[16]

Rehearsals and tryouts

Chorus auditions began March 10, 1953, at the Majestic Theatre; Rodgers, Hammerstein, and Abbott listened to more than 1,000 people audition. Rehearsals opened at the Majestic for principals and the Alvin Theatre for dancers. According to Saul Pett, a free-lance reporter who was allowed to observe the rehearsals, "everyone seems relaxed except Hammerstein."[17][18] The lyricist's son James served as second assistant stage manager. James Hammerstein remembered having a difficult relationship with Rodgers; he remembered the composer suggesting James do his work from front of house, rather than from backstage. "I think he thought it was his show and his bailiwick. Why should a Hammerstein be back there?"[18] James Hammerstein found the lead female dancer attractive, and asked her out on a date. Just before the date, Rodgers fired her, detailing James Hammerstein to break the news.[18]

Pett recorded the technical problems which had to be solved to accomplish the complex staging:

A number of key scenes required the audience to both see the play-within-the-play and at the same time observe the realism of the stage manager's operations in the wings. To achieve this result and to make both elements simultaneous, the major part of the production had to hang on specially-constructed overhead steel tracks. Synchronized electric motors slowly moved the stage pictures off into the wings far enough to expose the stage manager's desk and actors and stagehands offstage awaiting their cues.[19]

During the rehearsals, the duo took out two production numbers, "Wake Up, Little Theatre" and "Dance", concerned that the show was running long. The actress playing Juliet in the internal play proved to be a fine singer but a poor actress; she was replaced by Helena Scott.[19] Abbott had few negative comments after the final New York run-through, and the company entrained for Cleveland, where the first tryouts were to be, in high spirits, sleeping little on the train ride.[20] RCA Records put up the $350,000 cost of the production in exchange for a 50% interest and rights to the original cast album.[21]

The tryouts in Cleveland were at the Hanna Theatre. The dress rehearsal revealed a number of problems with the show; during the first act alone, Hammerstein dictated eight pages of notes. The sandbag which falls from the light bridge dropped off-cue, nearly striking Isabel Bigley, the Jeanie. Pett remembered that the rehearsal was stopped often, as Rodgers sought to work out each problem as it arose, and the rehearsal, which began at 8 p.m. did not end until 2 a.m. The Cleveland premiere on the evening of April 20, 1953, saw a glittering crowd turn out. When the stage backdrop failed to come down on time, Hammerstein was heard to mutter, "Damn and damn and damn! This is a new way: they saved it for the performance!"[22] Nevertheless, the crowd gave the show a rousing welcome. The Cleveland critics thought well of the show, but were concerned about the weak story.[22] After the Cleveland reactions and problems, according to Rodgers biographer Meryle Secrest, "what had seemed to be a show needing minor adjustments became a musical in serious trouble".[18] Bigley remembered that she had just come from a hit and "there just wasn't the same energy".[18]

In contrast to the levity on their first train ride, the company was downcast and exhausted en route from Cleveland to Boston for the final tryouts.[18] The show opened in Boston on May 6. A majority of the Boston critics liked the show, and expressed confidence that Rodgers and Hammerstein could fix the problems with the plot. The pair took out one song, "Meat and Potatoes", which was felt to be too raunchy. After watching it performed by Joan McCracken, who played Betty (Carmen in the play-within-the-play), the pair decided it had too many double entendres and cut it.[23] It was replaced by "We Deserve Each Other", which the pair had written in a Cleveland hotel room.[24] Another cut song, "You Never Had It So Good", included lyrics which satirized the duo's own earlier efforts. Its lyrics, "I'll sew, I'll bake / I'll try to make your evenings all enchanted. / My honeycake, / I'm yours to take, but don't take me for granted", alluded to two songs from South Pacific, "Some Enchanted Evening" and "Honey Bun".[11] Audiences continued to greet the show warmly.[24]

During the Boston previews, the duo heard the audience praise the sets, a reaction which usually augers ill for the show itself.[25] Hammerstein wrote to The King and I director John van Druten:

Me and Juliet looks like a great big hit. It is a change of pace for us and in some quarters we may be criticized because it is not as high-falutin' as our most recent efforts. It is in fact an out and out musical comedy. If this be treason, make the most of it.[23]

Plot

The entire action of Me and Juliet takes place in and close to a theatre in which the successful long-running musical Me and Juliet is playing.

Act 1

A half hour remains before curtain time, and electrician Sidney and chorus girl Jeanie are annoyed at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's professional talents; Jeanie, who has been dating Bob for six months, since the show opened, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts which Jeanie has herself ("A Very Special Day"/"That's the Way it Happens"). Jeanie leaves, and Bob appears. Bob tells Sidney that while he desires a romance with Jeanie, he has no intention of marrying her. When Sidney makes it clear he is attracted to Jeanie, Bob (a far larger man) momentarily chokes him. Jeanie sees part of this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie ("That's the Way it Happens" (reprise)). Stage manager Mac sees to the final preparations, and the overture to the internal show is played ("Overture to Me and Juliet"), and its curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by a singer), tells the audience both of the girl he is minded to marry, Juliet (also a singer), and the girl he is determined not to, Carmen—he feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep it Gay").

Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep it Gay"). At Larry's urging, Jeanie plans to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while he is in charge of it. No sooner has he said this than his girlfriend Betty (currently in the show across the street which is about to close) auditions for the role of Carmen (the incumbent is leaving the show). The unseen producer and choreographer give her the role; Mac accepts this professionally while Larry looks on with amusement. Jeanie practices for her future audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant").

Several months pass, during which Jeanie gets the job as second understudy and serves in that capacity during Juliet's summer vacation. Larry and Jeanie are meeting secretly and hoping to keep their budding romance from Bob. The rest of the cast is fully aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue. Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"); as she performs in the internal show, we see Bob and Sidney on the light bridge again. Bob has been fooled by Jeanie's lies about why they are not going out, and is enlightened when Sidney lets slip that Larry and Jeanie are seeing each other. Bob demands proof, and Sidney tells Bob to watch what happens in the wings during the upcoming Act 1 finale to Me and Juliet. Bob sees Larry and Jeanie kiss, an action caught by Bob's spotlight, which then relentlessly follows Jeanie around the stage as more and more of the dancers become aware something has gone badly wrong. The light is not the only thing to come from above; a sandbag follows, knocking the tray which Jeanie is holding to the ground. Mac orders the curtain lowered in front of a stage in panic.

Act 2

In the downstairs lounge, a few minutes before the Act 2 curtain for Me and Juliet rises, the ushers comment on the remarkable conclusion to Act 1—although the audience has noticed nothing amiss ("Intermission Talk"). As Act 2 of the internal show commences, Bob is searching the theatre for both Larry and Jeanie, and promises dire action when they are found. He takes up position at a bar across the street where he can watch both doors to the theatre ("It Feels Good"). The perspective shifts briefly to the onstage action in Me and Juliet, where Don Juan and Carmen are on a date ("We Deserve Each Other"), before shifting to the manager's office where Larry and Jeanie are hiding out ("I'm Your Girl"). Mac has only just begun his lecture to them when Bob enters. In the ensuing fight, Bob's head hits a radiator and he is knocked unconscious.

After Bob recovers, Ruby, the company manager, informs him that Larry and Jeanie had secretly married earlier that day. Surprised, Bob leaves and Mac, fearful of more mayhem, goes in search of him. As he does so, the producer calls to transfer Mac to another show, setting him free to resume his romance with Betty. Onstage, Me and Juliet is concluding. After the internal show finishes ("Finale to Me and Juliet"), Larry, who will be the new stage manager, insists on rehearsing a scene from the show. Seeing Bob enter with a scowl, Larry orders him and Sidney to be present the next morning to re-angle the lights. Taken aback, and rather sheepishly, Bob says "I didn't know you were married" before quietly leaving, "I'll be here, I guess." Jeanie is congratulated by her showmates, but Larry, all business, waves them to their places to rehearse the scene (with Jeanie standing in for the Juliet, who has had to leave) as the curtain falls ("Finale of Our Play").

Production

The musical opened on Broadway on May 28, 1953 at the Majestic Theatre.[26] Large advance sales guaranteed a considerable run; by the start of November, it was in profit,[25] and closed after 358 performances, paying a small return.[27]

The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bob Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon.[23] Bill Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love."[23] Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances.[28]

No national tour was attempted, but the show did have a six-week run in Chicago in 1954.[27] Equity Library Theatre produced it in New York in 1970.[29] It returned to New York, though not to Broadway, in 2002 with the York Theatre.[28] A London production was presented by the Finborough Theatre in 2010; with a capacity of 50, the production was billed as the show's European premiere.[30]

Musical numbers

Musical treatment and recording

Photo of Rodgers in middle age, seated in a theatre, wearing a suit and holding a cigarette
Richard Rodgers

One source of Rodgers's excitement for the concept which became Me and Juliet was the opportunity to have a truly contemporary score, which might not be possible in an adaptation. At the time Rodgers wrote the score, there was a Latin dance craze in the United States, and its influence found its way into the score. Rodgers put an onstage jazz trio in the production—and encouraged them to improvise. According to author and composer Ethan Mordden, Rodgers's score "found R & H going for impish, nimble, the sound of the Hit Parade as reimagined by R & H".[11] Rodgers borrowed the music for "No Other Love" from his award-winning score for Victory at Sea.[27]

Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, describes the original cast album as "surprisingly lively and mostly enjoyable for a musical that was considered so dull on stage."[32] He points to "Intermission Talk" as a number which probably works better in a recording than on stage and states that "there is no mistaking the hypnotic power of 'No Other Love'".[32] The original cast recording was released on compact disc in 1993.[33]

Critical reception and assessment

The critics's views were neutral to unfavorable.[34] The New York Times critic Brooks Atkinson praised the acting and choreography, but stated, "This is their Valentine to show business, expressed in the form of a show-within-a-show; and it has just about everything except an intelligible story."[35] Walter Kerr noted that "Rodgers and Hammerstein have come perilously close to writing a show-without-a-show."[25] George Jean Nathan of the Journal American stated that "Hammerstein's book has the effect of hanging idly around waiting for an idea to come to him."[27] Robert Coleman of the Daily Mirror noted, "Having set new high standards for musicals throughout the world, Rodgers and Hammerstein dipped into the lower drawer of their desk for Me and Juliet. It proved a big disappointment for this dyed-in-the-wool R. & H. fan."[36] John Chapman of the Daily News commented, "It is at its most interesting when Jo Mielziner's sets are in motion".[36] According to Steven Suskin in his compilation of Broadway opening night reviews, Me and Juliet the seven major New York critics allotted the production no raves, one favorable review, one mixed, four unfavorable, and one pan.[34]

One well-received number was "Keep It Gay", a song which in rehearsal had been assigned to several different performers before ending with Bob. The song was liked in part due to the novelty of its setting: it begins with Bob singing from the light bridge high above the stage; following a blackout the internal play performers take it up on the stage below, and following another blackout, the performers are seen in their workout clothes, at a rehearsal some weeks later. Hammerstein gave credit for the scene to Mielziner, and suggested that it demonstrated one way in which the book had affected the music.[37]

Abbott stated that there were two reasons for the show's failure. The first was Rodgers and Hammerstein's overconfidence, who thought of themselves as Broadway's "Golden Boys".[38] The other was the play-within-the-play, which had not been thoroughly thought out by anyone. According to Abbott, Hammerstein remained "positively Sphinx-like" on the subject. At a loss to understand the characters of the play-within-the play, Alton came up with nothing more than routine song-and-dance numbers. During the run, the duo approached choreographer Jerome Robbins and asked him if he could fix the dances. Robbins said that he could, but he would not, as "it would kill Bob Alton".[39] According to Hammerstein biographer Hugh Fordin, "[the] intended contrast between onstage and backstage life was never achieved because the onstage show was so tepid and confusing."[21]

Composer and author Ethan Mordden wrote of the conceptual difficulties which Rodgers and Hammerstein had with the musical:

[Me and Juliet] was the first of their plays without a powerful sense of destiny, of characters consequentially interconnected. In Oklahoma!, Carousel, South Pacific and The King and I especially, the principals—whether noble or weak, just or impetuous—change each other's lives. Me and Juliet's characters appear to be thrown together by chance and—except for the lovers—will part company unaffected by each other as soon as the show closes. This left Hammerstein with nothing to seek out in his people, and Rodgers with nothing to illustrate.[40]

Characters and cast

Principal characters:[41]
  • Jeanie, chorus singer — Isabel Bigley
  • Bob, electrician — Mark Dawson
  • Larry, assistant stage manager — Bill Hayes
  • Mac, stage manager — Ray Walston
  • Dario, conductor — George S. Irving
  • Sidney, electrician — Edwin Phillips
  • Herbie, candy counter boy — Jackie Kelk
  • Ruby, company manager — Joe Lautner
  • Buzz, principal dancer — Buzz Miller
Characters in "Me and Juliet" (play-within-the-play):[41]
  • Charlie (Me), featured lead — Arthur Maxwell
  • Lily (Juliet), singing principal — Helena Scott
  • Jim (Don Juan), principal dancer — Robert Fortier
  • Susie (Carmen), principal dancer — Svetlana McLee
  • Betty, successor to Susie as principal dancer — Joan McCracken

References

  1. ^ Mordden, p. 149.
  2. ^ Hischak, pp. 286–287.
  3. ^ a b Mordden, p. 150.
  4. ^ Secrest, p. 316.
  5. ^ Nolan, p. 218.
  6. ^ a b Nolan, p. 217.
  7. ^ Nolan, p. 219.
  8. ^ Hischak, p. 220.
  9. ^ Nolan, pp. 219–221.
  10. ^ Hyland, p. 221.
  11. ^ a b c Mordden, p. 152.
  12. ^ a b Peck, Seymour. "About Me and Juliet." The New York Times, May 24, 1953, page X1. Retrieved on February 6, 2011.
  13. ^ Mordden, pp. 152–153.
  14. ^ Fordin, p. 309.
  15. ^ Secrest, pp. 318–320.
  16. ^ Mordden, p. 153.
  17. ^ Nolan, p. 221.
  18. ^ a b c d e f Secrest, p. 320.
  19. ^ a b Nolan, p. 222.
  20. ^ Secrest, p. 319.
  21. ^ a b Fordin, p. 311.
  22. ^ a b Nolan, pp. 223–224.
  23. ^ a b c d Secrest, p. 321.
  24. ^ a b Nolan, pp. 224–225.
  25. ^ a b c Hyland, p. 223. Cite error: The named reference "h223" was defined multiple times with different content (see the help page).
  26. ^ Hischak, p. 178.
  27. ^ a b c d Hischak, p. 180.
  28. ^ a b Me and Juliet History. The Rodgers & Hammerstein Organization. Retrieved on February 6, 2011.
  29. ^ Gussow, Mel. "Equity Library revives Me and Juliet." The New York Times, May 15, 1970, p. 42. Retrieved on February 6, 2011.
  30. ^ Wolf, Matt. "Theatre Review: In the city of second chances." The New York Times, October 19, 2010. Retrieved on February 6, 2011.
  31. ^ a b Rodgers and Hammerstein, p. 456.
  32. ^ a b Hischak, p. 181.
  33. ^ Metcalf, Steve. "Torrent of CD releases showcases Broadway classics and obscurities." Hartford Courant, February 7, 1993, page G1. Retrieved on January 30, 2011.
  34. ^ a b Suskin, p. 429.
  35. ^ Atkinson, Brooks. "First Night at the Theatre." The New York Times, May 29, 1953, p. 17. Retrieved on February 6, 2011.
  36. ^ a b Suskin, p. 428.
  37. ^ Hyland, p. 222.
  38. ^ Nolan, p. 225.
  39. ^ Nolan, pp. 225–226.
  40. ^ Mordden, p. 159.
  41. ^ a b Rodgers and Hammerstein, p. 453.

Bibliography

Books
  • Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson: Da Capo, 1995. Reprint of 1986. ISBN 978-0306806681. OCLC 32589395.
  • Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal, 2010. ISBN 9781579128463.
  • Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport: Greenwood, 2007. ISBN 0313341400.
  • Hyland, Richard G. Richard Rodgers. New Haven: Yale UP, 1998. ISBN 0300071159.
  • Mordden, Ethan. Rodgers & Hammerstein. New York: Abrams, 1992. ISBN 0810915677.
  • Nolan, Frederick The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge: Applause Theatre and Cinema Books, 2002. ISBN 978-1557834737. OCLC=49421591.
  • Rodgers, Richard and Oscar Hammerstein II. Six Plays by Rodgers and Hammerstein. New York: Random House (Modern Library), 1953.
  • Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge: Applause Theatre and Cinema Books, 2001. ISBN 1557835810.
  • Suskin, Steven. Opening Night on Broadway. New York: Schirmer, 1990. ISBN 0028726251.
Articles and webpages
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