The King And I Codes And Conventions

On June 12, the King Band will begin their summer season with the annual Flag Day Concert. Many patriotic selections will be featured, including “Let Freedom Ring!” by Kenny Bierschenk.

The musical was a collaborative effort by the two talents of Rodgers and Hammerstein. Prior to Carousel, the two had found success in various shows independently including shows like The Boys From Syracuse, Pal Joey, and Show Boat. After a falling out between Rodgers and his previous writing partner Hart due to alcoholism, Rodgers approached Hammerstein for opportunity to create new work together (Columbia). On March 31st 1943 Rodgers and Hammerstein found major success with the hit musical, Oklahoma! (Hauser). The musical was the duo’s first step in a direction of evolution in response to resistance to their vision for musical theater. The two had wanted to produce a musical that told more complex stories and substantial character arcs and psychologies, but found resistance in their older partners (Columbia). It was not until the two had met up to work together that they began their journey into their own artistic vision. Naturally after the success of

During a later part of Scene Two when the cast is dancing the movements match the music, they appeared to be doing the Waltz, so the music had abrupt changes. In Scene Three: Cadiz, the orchestra plays some sad and somber music at the beginning. As the scene progresses the music goes from dark and dismal to happy and cheerful. During one of the songs of Scene Four: Paris the Old Lady, Cunegonde and Candide were discussing a flight and the music being played by the orchestra matched the lyrics bringing the idea of a flight to life. The Old Lady has a mezzo soprano voice she executes all of her notes well in the song. At the end of scene three Candide, Cunegonde, and the Old Lady leave to go to a new place and in the song they sing there are rounds, which were well executed. It helped change the mood again which brightened up the audience.

There are many well-known lyricists and composers, but none of them have left a mark on the theatre world like Rodgers and Hammerstein. The duo produced eleven musicals during their partnership and made an extensive change in musical comedy. They set a new standard that are still followed to this day in musical history.

There are many classic films out there, though only a few help mold future films. Dictionary.com states “classic” means, “serving as a standard, model, or guide”. Singin’ in the Rain is a movie that is just that. A classic. It was filmed in 1952 by leading man himself Gene Kelly and Stanley Donen at MGM Studios. Singin’ in the Rain is a spoof film about the years when film companies and actors were making the transition from silent films to “talkies”. The dynamic acting ability of Gene Kelly and Debbie Reynolds with their great musical numbers and slapstick comedy has made Singin’ in the Rain a movie family’s have enjoyed for years.

The movie begins with Oscar, and his girlfriend dropping of their daughter, Tatiana at daycare. Oscar's mom's birthday is that day, and they are going to a family party later that night. Oscar goes to the grocery store to pick up

Oklahoma! Is the first musical that was written by both Oscar Hammerstein II and Richard Rodgers, or commonly known as the pair “Rodgers and Hammerstein”. Written in 1906 and produced in 1943 on Broadway; the pair wrote this musical revolving around the love stories of various people living in Oklahoma territory when there was a very firm grip on gender roles, especially the presence of male domination. Oklahoma! Supplies the audience with heavy acts of male domination in various dance numbers like “The Farmer and the Cowman” songs; such as “Poor Jud is Dea”, “Oh What a Beautiful Mornin” and even disputes between cowboys and farmers. Oklahoma’s patriotic love story seems as if it was made to be viewed by people as an act of recreation, but also for people who want to explore the time of frontier America where male dominance was heavily present.

The original songs in the musical include Magic to Do, Corner of the Sky, Welcome Home, War is a Science, Glory, Simple Joys, No Time at All, With You, Spread a Little Sunshine, Morning Glow, On the Right Track, And There He Was, Kind of Woman, Extraordinary, Prayer for a Duck, Love Song, I Guess I’ll Miss the Man, and Finale. These are the songs Schwartz designed to be catchy, different, and exciting.

The first musical they wrote together was Oklahoma. Though Walter Winchell said “No gags, no girls, no chance,” Rodgers and Hammerstein knew that Oklahoma would be a hit. Rodgers’ wife left him a note on his pillow one day after rehearsal that said: “Darling, this is the best musical show I’ve ever seen.” Oklahoma premiered on Broadway on March 31, 1943, and it ran 2,212 performances over five years. After its time on Broadway, Oklahoma went on an 11-year national tour. In 1955, Oklahoma was made into a film. The most famous songs from this show are “Oh, What a Beautiful Mornin’”, “People Will Say We’re in Love”, “Surrey With the Fringe on Top”, and “Oklahoma!”

The period between early 1940s to mid-1960s or so, alternatively, the period between when the musical Oklahoma! (1943) was produced till the time when Hair (1968) was produced, is usually referred to as the Golden Age of the American musical (Kantor, 2010). It is during this period, that most of the noted titles such as “Carousel”, “South Pacific” etc. were produced. 1940s and early 1950s were dominated thoroughly by MGM musicals, while the late 1950s and 1960s belonged to Broadway. Initially, the musicals of this era had simple plots, unchallenging themes, with romantic or comedic characters and lots of singing and dancing. But towards the end of it, the plots were sophisticated, serious with singing, dancing as well as dialogue. In this

The two decade period beginning in the late 1940s and concluding in the late 1960s represented the height in popularity for the Hollywood musical. With every major production proving to be box office gold, the level of critical approval was high establishing the Hollywood musical as a genre. Born with the coming of sound, the Hollywood movie musical derived from two sources: opera and operetta, brought over by European emigres, and the American tradition of vaudeville, the inspiration behind so many “backstage” musicals, the plots of which revolved around putting on a show. The interesting alliance between dream and reality in the musical gave directors, designers, and cinematographers the most creative scope within the commercial of

On December 7, 1941, with Japanese attack on Perl Harbor, all debate over avoiding war and the policy of American isolationism was gone. It was the beginning of a great war that brought death, devastation and finally the victory and power to United States. At the time of Roosevelt’s appointment in 1933, historically crucial events were taking place in Japan, Italy and Germany which had to shape the future and the fate of United States. This paper studies and analyses the major factors which contributed to American success both at home and abroad during WWII in addition to world’s view about American participation in war and bombings on Hiroshima and Nagasaki.

A musical is a form of theater that uses the song as a form of storytelling as well as regular lines of dialog. Little priest and Being alive are both great songs because of their great storytelling in their respective musicals, and for the strong feelings, they invoke. Both songs are written by the great Stephen Sondheim, who has been writing classic musicals since the 1970s and these are two of his best songs, in my mind. These songs are meant to leave a lasting impact on the audience because they end an act of their shows, thus causing them to need to end with triumph or an important message and these songs deliver. Little priest is from the musical Sweeney Todd: the Demon Barber of Fleet Street, which was the first musical to be counted in the horror genre. The song is what ends the first act of this show of revenge and injustice. After the title character, Sweeney Todd kills his first victim his neighbor, Mrs.Lovett, who just happens to be a struggling

Dicey named ‘conventions’ the non-legal rules that regulate the way legal rules are applied . Prerogative powers are legal powers held by the crown but exercised by government without the authority from parliament. There is no doubt about their importance to the British constitution but their unwritten nature has caused disputes regarding their extent. Therefore some believe that conventions and prerogative powers should be codified. This could be in legal or non-legal form. Codification might clarify their existence and extent; neither form however will generate a more effective constitution.

He continued to say that with their first collaboration, Rodgers and Hammerstein ushered in a new era for the musical theatre. This beautiful folk play realized fully that which the earlier Rodgers and Hart musicals had been striving to obtain: a synchronization of all the elements of the musical theatre into a single entity. At best Oklahoma! could lay legitimate claim to have carefully woven a new element, dance, into the artful fabric of the modern musical. No longer would singers sing and then go into their dance, a purely decorative dance at that. (248)