Le monde des musicals

Version 7

The American Musical Theatre - 07. Jule Styne And The Musicals Of the 1940’s

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 15 mai 1960
Première : dimanche 15 mai 1960
Dernière : dimanche 15 mai 1960
Mise en scène :
Chorégraphie :
Producteur :
Commentaires longs: Jule Styne And The Musicals Of the 1940’s 5/15/60 ~ WCBS-TV - Jule Styne, Erik Rhodes, Gretchen Wyler. Hosted by Jim Morske, with Alfredo Antonini conducting the CBS Orchestra. “In this edition, host Jim Morske examines the work of several Broadway composers who had their first big hits in the 1940s. After Jules Styne plays a bit of "New York, New York" on the piano from Leonard Bernstein's "On the Town," Erik Rhodes sings "Come to Me, Bend to Me," from Alan Jay Lerner and Frederick Loewe's "Brigadoon, and Gretchen Wyler performs "Mamie Is Mimi" from Styne's "Gentlemen Prefer Blondes," which she explains was not in the original Broadway production starring Carol Channing. Next, Morske interviews Styne, who discusses his early interest in music, his exploration of jazz, the difference between writing music for movies and the stage, and the experience of working with a variety of lyricists. Styne then performs some of his well-known songs, including "You're My Girl" from "High Button Shoes," "Bye Bye Baby" from "Gentlemen Prefer Blondes," "Never Land" from "Peter Pan," "Everything's Coming Up Roses" from "Gypsy," and "The Party's Over" from "Bells Are Ringing." As a tribute to Kurt Weill, Rhodes next performs a rendition of "Mack the Knife" in which he strives to recreate the original atmosphere envisioned by the composer of an unsavory performer singing in a dive in the slums of Berlin. Next, Gretchen Wyler talks about performing in Frank Loesser's "Where's Charley?" and sings and dances to the show's "Once in Love with Amy," popularized by the musical's star, Ray Bolger. Rhodes then joins her and tells a comical story of a bond shared by these two performers. The program closes with the CBS Orchestra playing "Everything's Coming Up Roses." (The American Musical Theatre: Early Stars) B+

Version 1

The American Musical Theatre - 01. Early History Of the American Musical Theatre (Pilot Episode)

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 15 novembre 1959
Première : dimanche 15 novembre 1959
Dernière : dimanche 15 novembre 1959
Mise en scène :
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Producteur :
Commentaires longs: WCBS-TV - Hosted by Jim Morske, with guest singers Jacquelynne Moody and Jack Russell. Alfredo Antonini conducts the CBS Orchestra. “In this edition, the series' premiere, host Jim Morske examines the early days of musical theater through vaudeville, the extravaganza, burlesque, and musical farce. The program opens with the CBS Orchestra playing the overture to "My Fair Lady" as an example of the modern musical, after which Jack Russell and Jacquelynne Moody evoke the leisurely, sentimental and naive mood of mid-nineteenth century theater with "Little Annie Rooney," "East Side, West Side," and "A Bicycle Built for Two." Following some still photos of Victorian New York, Morske explains the influence of Tony Pastor in cleaning up and popularizing burlesque for family audiences, and Ned Harrigan and Tony Hart's famous "Mulligan Guard" plays. Next, Morske discusses the important aspects of the sentimental ballads of the period, specifically, simple lyrics, a waltz rhythm, and a sweet melody, which are demonstrated by Russell in "The Little Lost Girl" and Moody in "My Mother Was a Lady." The CBS Orchestra plays a popular barbershop quartet ballad from that era, "Sweet Adeline," and Moody and Russell sing "Strolling Through the Park One Day" to showcase ballads of a lighter nature. After the audience participates in a rendition of "Ta-Ra-Ra-Boom-De-Ay," Morske reads from Charles M. Barras's play, "The Black Crook," to illustrate its outrageous plot, typical of the extravaganzas of the late nineteenth century. Morske defines the original meaning of the term "burlesque," and Russell sings "After the Ball," a tremendously popular sentimental ballad that had its origins in the musical farce "A Trip to Chinatown." The program closes with the audience singing "The Band Played On" as accompanied by the CBS Orchestra.” (Also included on the disc: The American Musical Theatre: European Influences.) A-

Version 2

The American Musical Theatre - 02. European influence

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 22 novembre 1959
Première : dimanche 22 novembre 1959
Dernière : dimanche 22 novembre 1959
Mise en scène :
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Commentaires longs: WCBS-TV - Hosted by Jim Morske, with guest singers Earl Wrightson and Barbara Meister. Alfredo Antonini conducts the CBS Orchestra. “In this edition, host Jim Morske examines the elements of European music and entertainment that influenced the development of the American musical theater. The program opens with the CBS Orchestra playing a can can from Jacques Offenbach's "Orpheus in the Underworld," after which Morske explains that the most popular forms of theater in the 1880s were burlesque, extravaganza, and operetta, particularly the operettas of Gilbert and Sullivan. Barbara Meister sings "Buttercup" from "H.M.S. Pinafore" to illustrate the playfulness and melodic beauty of their work, followed by Wrightson's performance of "When I Was a Lad," exhibiting Gilbert and Sullivan's satirical touches and their technique of placing of serious characters in ridiculous situations. Morske explains the team's set of principles and the most prevalent ingredients evident in their productions, and Meister, as Yum Yum in "The Mikado" sings "The Moon and I." Next, Wrightson performs "I've Got a Little List," also from "The Mikado," as an example of Gilbert and Sullivan's use of "tongue tripping satire on topical subjects." This strong Oriental influence eventually infiltrated American works such as "Wang," a selection from which, "A Man with an Elephant on His Hands," is performed by the CBS Orchestra. Meister sings "Every Rose Must Have a Thorn", also from "Wang," to illustrate the requisite sentimental ballad in such works. Morske then reads the plot of the first American comic opera, "The Little Tycoon," from which Wrightson and Meister sing the duet "Oh, We're Immensely Hi-Toned." Conductor Alfredo Antonini comments that Italian operas, recently introduced into the United States at that time, had an enormous influence, and illustrates the fact on the piano. Morske mentions Jacques Offenbach's contribution to the art form with his witty, risqué opera bouffes, and the orchestra demonstrates with a portion of "La Vie Parisienne." Offenbach's song "I Dote on the Military" from "The Grand Duchess of Gerolstein" suggests the medium's love and use of all things military as performed by Meister. The program closes as the orchestra plays the waltz from Johann Strauss's "Die Fledermaus." (Also included on the disc: The American Musical Theatre: Early History Of the American Musical Theatre (Pilot Episode).) A-

Version 3

The American Musical Theatre - 03. Early Stars

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 27 décembre 1959
Première : dimanche 27 décembre 1959
Dernière : dimanche 27 décembre 1959
Mise en scène :
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Commentaires longs: WCBS-TV - Hosted by Jim Morske, with guests Eileen Barton and William Gaxton. Alfredo Antonini conducts the CBS Orchestra. “In this edition, host Jim Morske discusses the stars of the musical theater's early days. He begins with the theater owner B.F. Keith, who later joined by partner E.F. Albee, developed vaudeville into a circuit format where complete variety shows traveled around the country to different theaters. After the CBS Orchestra plays a medley of Harry von Tilzer tunes to recreate the music of the times, Morske mentions Gus Edwards and his act "School Boys and Girls" from which many future headliners were launched. Eileen Barton then sings the song that gave vaudeville star Eva Tanguay the nickname of "The I Don't Care Girl." Next, Morske introduces former vaudevillian William Gaxton, who relates how his career began; describes "furniture actors" and "cuff shooters;" recounts how B.F. Keith hired a man to impersonate himself, and how Will Rogers developed his comic technique; gives his opinions as to why vaudeville died; and recalls the spectacular shows of the period including those of Florenz Ziegfeld. Barton follows this by singing "Shine on Harvest Moon" made famous by Nora Bayes, Lillian Lorraine's signature "Up, Up, Up in My Airplane," and Fanny Brice's popular "My Man." After Gaxton recalls an anecdote about Sarah Bernhardt appearing in "The Ziegfeld Follies," the orchestra closes the show with "Let Me Call You Sweetheart." (Also included on the disc: The American Musical Theatre: Jule Styne And The Musicals Of the 1940’s.) B+

Version 4

The American Musical Theatre - 04. The Vaudeville

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 20 décembre 1959
Première : dimanche 20 décembre 1959
Dernière : dimanche 20 décembre 1959
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Commentaires longs: WCBS-TV - Hosted by Jim Morske, with guest singers Don Liberto and Betty Rhodes. Ray Bloch conducts the CBS Orchestra. “Host Jim Morske examines the field of vaudeville entertainment. In an effort to recreate the vaudeville experience, this program is presented in a legitimate theater, with a small number of musicians in the orchestra pit. Morske explains that most vaudeville shows opened with a novelty act, followed by a variety format similar to what is presented in this program. Banjoist John Cali performs a medley of "There's a Hot Time" and "Hello My Baby," after which Betty Rhodes sings a song about prize fighters, "Throw Him Down McCloskey," and a sentimental maiden's lament, "Take Back Your Gold." After pianist Mike Colicchio plays "Rubinstein's Melody in F," Don Liberto tap dances to "Rosie O'Grady." Morske and conductor Ray Bloch recreate some corny jokes of the period, followed by Liberto demonstrating the "buck and wing," "soft shoe," and "cakewalk" dance steps of the times. Morske examines George M. Cohan's development out of vaudeville, and the remainder of the program focuses on his work. At this point, Liberto does a song and dance routine to "Yankee Doodle Boy" from Cohan's first successful show, "Little Johnny Jones." Next, Rhodes sings "Forty-Five Minutes from Broadway" and Liberto performs "Mary's a Grand Old Name." The program closes with the CBS Orchestra performing Cohan's well-known patriotic tunes "Over There" and "You're a Grand Old Flag." (Also included on the disc: The American Musical Theatre: Salute To Otto Harbach.) A-

Version 5

The American Musical Theatre - 05. Revues

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : samedi 13 février 1960
Première : samedi 13 février 1960
Dernière : samedi 13 février 1960
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Commentaires longs: WCBS-TV -“This program, hosted by Jim Morske, examines the musical revue of the 1920s. Here Morske concentrates, not on the big, lavish revues popular on Broadway, but on those produced on a smaller scale, beginning with the All-Negro Revue. John Bubbles reminisces about one of the first of that genre, Noble Sissle and Eubie Blake's "Shuffle Along," and he and Bibi Osterwald perform the show's hit song, "I'm Just Wild About Harry," after which Bubbles performs the Charleston dance step as introduced in 1923's "Running Wild." Morske then discusses Jimmy McHugh and Dorothy Fields's hit revue "Blackbirds of 1928," and tells the story behind the origin of that show's "I Can't Give You Anything but Love," which Bubbles then performs in song and tap. Next, Morske focuses on popular foreign imports such as "Chauve Souris" from Moscow featuring the numbers "Parade of the Wooden Soldiers" and "Dark Eyes" as played by the CBS Orchestra. An import from London, "Charlot's Revue," which introduced Beatrice Lillie and Gertrude Lawrence to America, featured "Limehouse Blues" as sung by Osterwald in this program. Following this, Morske concentrates on the intimate Off-Broadway revues, such as the "Greenwich Village Follies" which satirized celebrities and customs of the day. Bubbles sings and taps to Ted Lewis's signature song "When My Baby Smiles at Me" from the 1919 edition, Osterwald sings "I'm in Love Again" from Cole Porter's 1924 version, and the CBS Orchestra plays "Three O'clock in the Morning" from the 1921 "Greenwich Village Follies." Similar in nature was the "Grand Street Follies," which used talent and imagination in lieu of money, and the 1925-1926 "Garrick Gaieties" with a score by Richard Rodgers and Lorenz Hart. Bubbles and Osterwald close the program with one of that show's popular numbers, "Manhattan." 
(Also included on the disc: The American Musical Theatre: Musical Comedies Of The 1920’s.) B+

Version 6

The American Musical Theatre - 06. Musical Comedies Of The 1920’s

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : samedi 20 février 1960
Première : samedi 20 février 1960
Dernière : samedi 20 février 1960
Mise en scène :
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Commentaires longs: WCBS-TV - In this edition, host Jim Morske examines the musical comedies of the 1920s. The CBS Orchestra opens the program with a number from the 1923 musical "Kid Boots," after which Morske introduces conductor Hal Hastings. Morske mentions that in the first half of the 1920s, revues were generally more popular than musical comedies, which fell into three categories, all of which are represented by the work of Harry Tierney. The sweet and simple musical is typified by his "Irene," from which Joy Clements sings "Alice Blue Gown" and "Castle of Dreams" which was based on Chopin's Minute Waltz. An example of a musical geared to a particular personality is Tierney's "Kid Boots," written as a showcase for Eddie Cantor. The lavish musical style is illustrated by Tierney's "Rio Rita" from which the CBS Orchestra plays the title song. The most popular of the musicals, however, those like "Irene," were charming, tuneful, and sentimental. "Mary," another one of this genre, with lyrics by Otto Harbach, contained the song "Love Nest," sung here by Clements, which later became the theme song for George Burns and Gracie Allen. At this point, Morske introduces lyricist Harbach, who explains the different techniques employed by musical comedies and musical plays. Clements then sings "Every Little Movement" after Harbach tells the story behind the lyrics of the song. Next, Harbach describes what it was like to work with different composers, and compares Jerome Kern and Rudolf Friml in this context. Clements performs Harbach's "Bambalina" as well as "Wild Flower," which he wrote with Vincent Youmans, and Harbach tells of Oscar Hammerstein II's contribution to the piece. After Clements sings Kern and Harbach's "Smoke Gets in Your Eyes," the orchestra closes the program with a reprisal of the piece. (Also included on the disc: The American Musical Theatre: Revues.) 
A-

Version 7

The American Musical Theatre - 07. Jule Styne And The Musicals Of the 1940’s

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 15 mai 1960
Première : dimanche 15 mai 1960
Dernière : dimanche 15 mai 1960
Mise en scène :
Chorégraphie :
Producteur :
Commentaires longs: Jule Styne And The Musicals Of the 1940’s 5/15/60 ~ WCBS-TV - Jule Styne, Erik Rhodes, Gretchen Wyler. Hosted by Jim Morske, with Alfredo Antonini conducting the CBS Orchestra. “In this edition, host Jim Morske examines the work of several Broadway composers who had their first big hits in the 1940s. After Jules Styne plays a bit of "New York, New York" on the piano from Leonard Bernstein's "On the Town," Erik Rhodes sings "Come to Me, Bend to Me," from Alan Jay Lerner and Frederick Loewe's "Brigadoon, and Gretchen Wyler performs "Mamie Is Mimi" from Styne's "Gentlemen Prefer Blondes," which she explains was not in the original Broadway production starring Carol Channing. Next, Morske interviews Styne, who discusses his early interest in music, his exploration of jazz, the difference between writing music for movies and the stage, and the experience of working with a variety of lyricists. Styne then performs some of his well-known songs, including "You're My Girl" from "High Button Shoes," "Bye Bye Baby" from "Gentlemen Prefer Blondes," "Never Land" from "Peter Pan," "Everything's Coming Up Roses" from "Gypsy," and "The Party's Over" from "Bells Are Ringing." As a tribute to Kurt Weill, Rhodes next performs a rendition of "Mack the Knife" in which he strives to recreate the original atmosphere envisioned by the composer of an unsavory performer singing in a dive in the slums of Berlin. Next, Gretchen Wyler talks about performing in Frank Loesser's "Where's Charley?" and sings and dances to the show's "Once in Love with Amy," popularized by the musical's star, Ray Bolger. Rhodes then joins her and tells a comical story of a bond shared by these two performers. The program closes with the CBS Orchestra playing "Everything's Coming Up Roses." (The American Musical Theatre: Early Stars) B+

Version 8

The American Musical Theatre - 08. Broadway, I Love You

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : jeudi 22 septembre 1960
Première : jeudi 22 septembre 1960
Dernière : jeudi 22 septembre 1960
Mise en scène :
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Commentaires longs: Broadway, I Love You 9/22/60 ~ WCBS-TV - John Bubbles, Barbara Cook, Dorothy Fields, Otto Harbach, Robert Rounseville, Arthur Scwartz, Blossom Seeley, Merrill Staton Singers, Martha Wright, Earl Wrightson, Gretchen Wyler. Hosted by Jim Morske. This episode celebrates “Broadway musicals of the past and present” but mostly focuses on the 1960 Broadway season. Interesting opening montage features marquees of the day, as well as footage of Times Square. Alfredo Antonini conducts the CBS Orchestra. This edition is a special primetime hour-long tribute to the American musical, tracing its development from its simple beginnings after the Civil War through operetta, vaudeville, burlesque, brassy musicals, and intimate revues, to the shows on Broadway at the time of this program. The CBS Orchestra opens the show with "Seventy-Six Trombones" and "I Could Have Danced All Night," both from shows currently running. Host Jim Morske gives an example of the theatrical extravaganzas popular in the latter part of the nineteenth century by reading a portion of "The Black Crook." Next, Earl Wrightson sings "After the Ball," a waltz popularized by the burlesque show "A Trip to Chinatown." The Merrill Staton Singers perform a medley of "The Yankee Doodle Boy," "You're a Grand Old Flag," and "Over There" as a showcase of songs from the big brash musicals written by George M. Cohan at the turn of the century. From the same period, but exhibiting more of an influence of European operetta, Martha Wright sings Victor Herbert's "Kiss Me Again." Next, Otto Harbach, whom Morske calls the "Dean of American Librettists," discusses the challenges of working with foreign composers, compared with the ease of writing for Jerome Kern's casual melodies that follow the natural rhythms and cadences of conversation. He recites the lyrics of "Smoke Gets in Your Eyes" to demonstrate this theory, after which Wright sings the song. Earl Wrightson then sings Sigmund Romberg's "One Alone," and Barbara Cook and Robert Rounseville perform the "Sympathy Duet" from Rudolf Friml's "Firefly." Next, Morske introduces Blossom Seeley, who discusses a career, begun in 1911, that is synonymous with the brassy revues that followed. Gretchen Wyler then performs a musical number typifying the flappers of the roaring twenties, followed by Barbara Cook singing Irving Berlin's "Always," Rounseville singing Vincent Youmans' "There's Gonna Be a Great Day," and Wright singing George Gershwin's "Somebody Loves Me." Next, lyricist Dorothy Fields reveals the story behind her collaboration on "Somebody Loves Me." John Bubbles performs the number, and then dances the Charleston. Composer Arthur Schwartz explains that as the grim realities of the Great Depression set in, he felt that audiences wanted entertainment featuring wit and satire, instead of big lavish spectaculars. This led to a period of intimate revues featuring numbers such as "Louisa" sung by Wrightson. The program closes with The CBS Orchestra playing a medley of songs from shows since the 1940s along with Barbara Cook singing "Make the Man Love Me," the Merrill Staton Singers performing "Up in the Elevated Railway," Gretchen Wyler's rendition of "Once in Love With Amy" from "Where's Charley?," and Earl Wrightson singing "That Great Come-and-Get-it Day." This episode was expanded to an hour, rather than its usual 30 minute format. A-

Version 9

The American Musical Theatre - 09. Alan Jay Lerner

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 14 mai 1961
Première : dimanche 14 mai 1961
Dernière : dimanche 14 mai 1961
Mise en scène :
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Commentaires longs: Alan Jay Lerner 5/14/61 ~ WCBS-TV - Alan Jay Lerner, Richard Burton, Edward Mulhare. Hosted by Jim Morske. Irwin Kostal conducts the CBS Orchestra. “Lyricist/librettist Alan Jay Lerner and actors Edward Mulhare and Richard Burton are the guests on this edition, which examines Lerner's work on the musicals "My Fair Lady" and "Camelot." The program opens with the CBS Orchestra playing "I Could Have Danced All Night." Host Jim Morske introduces Lerner who divulges that what piqued his interest in George Bernard Shaw's play "Pygmalion" was not the "star" character of Eliza, but instead that of Henry Higgins; that the process of adapting that play to a musical involved retaining as much of the original play as possible; and that in developing songs for characters, he takes a single personality trait and expands it. Lerner confesses that he and composer Frederick Loewe did not want a trained singer for the role of Higgins because the character's principal trait is his love of speaking the English language correctly. Morske then introduces Mulhare who starred as Henry Higgins on Broadway for three years. Mulhare sings "Why Can't the English?" to illustrate Higgins's passion for the English language, and "I'm an Ordinary Man" to show his disdain for women. Next, Lerner speaks about how his interest in King Arthur led to his writing "Camelot," and of how he learned of Richard Burton's singing ability. Burton then joins the other guests and explains the difference between breath control for acting and singing; and why his role of King Arthur, the themes of the play, and the long speeches he recites are unusual in musical comedy. The program closes with the orchestra playing the title song from "Camelot." (Also included on the disc: The American Musical Theatre: Meredith Willson.) A

Version 10

The American Musical Theatre - 10. Stephen Sondheim

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : dimanche 15 octobre 1961
Première : dimanche 15 octobre 1961
Dernière : dimanche 15 octobre 1961
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Commentaires longs: Stephen Sondheim 10/15/61 ~ WCBS-TV - This program, hosted by Earl Wrightson, explores the career of Broadway lyricist and composer Stephen Sondheim. The CBS Orchestra opens the program with "Everything's Coming Up Roses" from the Broadway musical "Gypsy," after which Wrightson introduces Sondheim, who begins by examining aspects of that show. He describes how the songs are used to elaborate on the musical's theme and characters. For instance, "Some People" helps to define Mama Rose's personality, and the deceptively ballad-like "Small World" is her attempt to con a new acquaintance. Indicative of Sondheim's craft is that both of these songs, as well as "Everything's Coming Up Roses," have hidden meanings below the surface. After Martha Wright sings "Small World," Sondheim explains what he considers the most difficult aspect of lyric writing -- having to convey a great deal of information through only a few words. Sondheim then recalls his early musical training, his apprenticeship under lyricist Oscar Hammerstein II, and how he landed the job of lyricist for "West Side Story," a contemporary retelling of Shakespeare's "Romeo and Juliet." Next, he explains the settings and inspiration behind some of that show's songs, such as Tony's fascination with his new lover's name in the song "Maria" (sung here by Ralph Curtis); Maria's feelings leading to "I Feel Pretty" (performed by Martha Wright); and the "balcony scene" of "Tonight" and wedding vows of "One Hand, One Heart" (the lovers are here portrayed by Curtis and Wright). Sondheim then explains the dissatisfactions he feels with some of these songs due to the restrictions inherent in lyric writing. Guest conductor Irwin Kostal, the orchestrator and arranger for "West Side Story," joins them and explains the difference between these two activities, and then conducts the CBS Orchestra in "Mambo" and "Cool Fugue," both from "West Side Story." Following this, Sondheim concentrates on his activities as a composer, specifically in relation to his upcoming musical "A Funny Thing Happened on the Way to the Forum," which he calls a celebration of comedy. The program ends with the CBS Orchestra's reprisal of "Everything's Coming Up Roses."
 This video seems to have come directly from a producer's copy as it has a false start with a little blooper, and it still has the clapboard/marker thing. (Also included on the disc: The American Musical Theatre: Vincent Youmans Tribute.) A

Version 11

The American Musical Theatre - 11. Richard Rogers, Rogers & Hart

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
Mise en scène :
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Commentaires longs: Richard Rogers, Rogers & Hart 1961 ~ WCBS-TV - Richard Rogers, John Reardon, Martha Wright. Hosted by Jim Morske with Alfredo Antonini and the CBS Orchestra. "An informal workshop presented for the students of the New York City High School system, by the Board of Education of The City of New York, and telecast on a local New York CBS television station. A series of television biography's featuring people who's personal contributions to the musical theatre has made it a native of American art." This episode features Rogers collaboration with Lorenzo Hart. (Also included on the disc: The American Musical Theatre: Richard Rogers, Rogers & Hammertein.) A

Version 12

The American Musical Theatre - 12. Richard Rogers, Rogers & Hammertein

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
Nombre :
Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
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Commentaires longs: Richard Rogers, Rogers & Hammertein 1961 ~ WCBS - Richard Rogers, John Reardon, Martha Wright. Hosted by Jim Morske with Alfredo Antonini and the CBS Orchestra. "An informal workshop presented for the students of the New York City High School system, by the Board of Education of The City of New York, and telecast on a local New York CBS television station. A series of television biography's featuring people who's personal contributions to the musical theatre has made it a native of American art." This episode was recorded a week after the episode described above, and features Richard Rogers collaboration with Oscar Hammerstein. (Also included on the disc: The American Musical Theatre: Richard Rogers, Rogers & Hart.) A

Version 13

The American Musical Theatre - 13. Salute to Richard Rogers

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
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Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
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Commentaires longs: Salute to Richard Rogers 6/24/62 ~ WCBS-TV - With singers Earl Wrightson, Martha Wright, and Ralph Curtis and Alfredo Antonini and the CBS Orchestra. “In this edition, host Earl Wrightson chronicles the work of Richard Rodgers in celebration of the prolific composer's upcoming sixtieth birthday. The program opens with a medley of Rodgers tunes performed by Martha Wright, Ralph Curtis, and Earl Wrightson consisting of "June Is Bustin' Out All Over," "Oh, What a Beautiful Mornin'," "I'm in Love with a Wonderful Guy," and "We Kiss in a Shadow." After the CBS Orchestra plays "I Cain't Say No," Wrightson reviews Rodgers's childhood, his collaboration with Lorenz Hart on twenty-seven shows, and his partnership with Oscar Hammerstein II beginning with the 1943 hit "Oklahoma." In a review of some Rogers and Hart songs and the shows in which they were featured, Curtis sings "Here in My Arms" from "Dearest Enemy," Wright sings "My Funny Valentine" from "Babes in Arms," and Wrightson sings "With a Song in My Heart" from "Spring Is Here." Wrightson then explores Rodgers's more serious music by touching on his work for the ballet, and the scores he wrote for television. The orchestra then plays "The Guadalcanal March" from "Victory at Sea," a dramatic history of the U.S. Navy's role in World War II, as a musical illustration of war at sea. From Rodgers's work in movie musicals, Curtis sings "You're Nearer," a ballad added by Rodgers and Hart for the film version of "Too Many Girls," and Wright sings "It Might As Well Be Spring" from Rodgers and Hammerstein's "State Fair." Conductor Alfredo Antonini recalls that while he was musical director of the Milwaukee Symphony he commissioned Rodgers to compose a piece for the inauguration of the St. Lawrence Seaway, "The Seaway March," which is then played by the CBS Orchestra. Martha Wright sings "The Sweetest Sounds" from the current season's production of "No Strings" for which Rodgers uncharacteristically wrote both music and lyrics. Finally, Wrightson, joined by Curtis and Wright, close the program with "Climb Every Mountain" from "The Sound of Music." A

Version 14

The American Musical Theatre - 14. Bob Fosse & Gwen Verdon

Type de série: Documentaire
Théâtre: *** TV (*** - ***)
Durée :
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Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
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Commentaires longs: Bob Fosse & Gwen Verdon 1962 ~ WCBS-TV - Bob Fosse, Gwen Verdon, Hosted by Earl Wrightson with Jay Blackton and the CBS Orchestra. "An informal workshop presented for the students of the New York City High School system, by the Board of Education of The City of New York, and telecast on a local New York CBS television station. A series of television biography's featuring people who's personal contributions to the musical theatre has made it a native of American art." The couple discuss their early years in show business, and their work on such shows as How To Succeed, Damn Yankees, Pal Joey, Red Head and others. Both Gwen and Bob sing and dance some of the numbers that have made them famous, and participate in a question and answer session with the students in the audience. In black and white. About 50 minutes. A