Rodgers & Hammerstein's CAROUSEL | Through Time and History | Narrated by Laurence Maslon
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- Опубликовано: 2 окт 2024
- "The Best Musical of the 20th Century!" - TIME Magazine, 1999
Learn about @RodgersandHammerstein's CAROUSEL - Through Time and History!
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Laurence Maslon is an arts professor at New York University's Tisch School of the Arts, as well as associate chair of the Graduate Acting Program. He is the writer and coproducer of the American Masters documentary, Sammy Davis, Jr.: I’ve Gotta Be Me, broadcast on PBS in 2019, as well as the artistic director and writer of “Yes I Can: The Sammy Davis, Jr. Songbook” at the 92Y’s “Lyrics and Lyricists” series. He is also the host and producer of the radio series, Broadway to Main Street on the local NPR-affiliate station WPPB-FM. The program is winner of the 2019 ASCAP Foundation/Deems Taylor Award for Radio Broadcast. His most recent book is the companion volume to the Broadway phenomenon Come From Away, as well as an update third edition companion volume to the PBS series Broadway: The American Musical. His history of recorded music from Broadway, Broadway to Main Street: How Show Music Enchanted America, was published in 2018 by Oxford University Press. He edited the two-volume set American Musicals (1927-1969) containing sixteen classic Broadway librettos, published by the Library of America in 2014 to national acclaim, as well as the Library of America’s Kaufman & Co., an anthology of Broadway comedies by George S. Kaufman. He wrote the American Masters documentary Richard Rodgers: The Sweetest Sounds in 2001 and with producer/director Michael Kantor, he cowrote the PBS series Make ‘Em Laugh (Emmy nomination) and two episodes of the Emmy-winning Broadway: The American Musical as well as its companion volume (third edition upcoming in fall 2019). He served on the nominating committee for the Tony Awards from 2007 to 2010. He was written for the New York Times, the Washington Post, the New Yorker, Opera News, Stagebill, and American Theatre. 
Видеоклипы
I loved Carousel and no matter how many times I have seen it I cry each time. IF I LOVED YOU HAS GOT TO BE ONE OF THE GREATEST LOVE SONGS EVER WRITTEN!!!! The last song in the musical has the same effect You Never Walk Alone!!!! Today after all the sadness of coronavirus it really hits home!!!!!
The film version of "Carousel" was released in 1956, not 1954.
EXACTLY. I don't know how they let that glitch get through??
This is my absolute favourite musical, the music is just so beautiful and expressive
Frank Sinatra would probably have been a better Billy as far as the acting goes, but Gordon MacRae's singing ran circles around Frank Sinatra. We would have gotten much weaker versions of "If I Loved You" and "Soliloquy" if Sinatra had completed filming. Also, the film version was 1956, not 1954.
0:03 Awesome Behind The Scenes Look About Rodgers And Hammerstein's Carousel The Original Broadway Musical. Thanks Mate. X
How clever that Rodgers and Hammerstein wrote Carousel so that the mood of the songs matched the mood of the country as World War II was approaching its conclusion (as mentioned in the video, the war in Europe ended, leaving the Pacific half left to be fought). The death of FDR and the loss of American military personnel in the war inspired You'll Never Walk Alone to teach audiences to find strength and go on living. June is Busting Out All Over reflected hope for the future when the war ended, at least the war in Europe after the musical opened on Broadway in 1945. This production, like all the others, provides life lessons we can all appreciate. Thanks for the video.
Way to ignore the elephant in the room 🤦♂️
Love the music. Hate the dumb depressing plot.I only listen to the soundtrack album these days.
f u , “Carousel” comes under the category of Musical Comedy not “Tragedy”.I can’t find comedy anywhere in this show.If selfish,unpleasant
people like Billy are given divine power to return to earth and slap their children then God help us.The score deserved a better narrative.
I don’t blame you. I never seen the show or movie before. I only like three songs from the score though.
The program commentary is correct to a limited degree, he misses the point which is Paramount that life in the physical will fade yet spirit lives on where love exists which is every where and always, what is death but the night of life.
Carousel is very good.
I like June is Busting Out All Over, If I Loved You And You’ll Never Walk Alone. The story itself and the extended music breaks don’t appeal to me though.
There was also a tv version of"Carousel" that aired on ABC TV in the 1960's.
Yes, with Robert Goulet as Billy Bigelow. I liked that version.
I enjoyed the Goulet version. One of his costars was Patricia Neway, who'd originated the Reverend Mother in "The Sound of Music".@@Celluloidwatcher
Rodgers and harmmrstn carousel Maggie sundby was Julie jordon
Original Julie was Jan Clayton. There is a video of a TV performance with her and John Raitt doing the bench scene here on RUclips. She's amazing.
Allegro came next after Oklahoma!
dear
Nope OKLAHOMA! (1943), CAROUSEL (1945), ALLEGRO (1947). Of course, their film musical STATE FAIR (1945) also preceded ALLEGRO.
@@oliverbrownlow5615 Allegro is one of those "what could have been" shows. It was arguably the first stage musical to be built on a concept rather than a narrative plot. It was originally intended to follow an everyman from his birth to his death, but was shortened to birth to middle age. The intention was to convey the idea that values and integrity should not be sacrificed for financial gain and popularity, but it seemed to say instead that "the city" equaled vanity and corruption while "the small town" equaled wholesomeness and integrity. Hammerstein often expressed a desire to go back and rework Allegro to deal with conveying the original intention better, but it never happened. With that said, there are some interesting and even praiseworthy things about the show. It was one of the first shows to have the director and choreographer be the same person (Agnes de Mille). A kind of Greek Chorus being used to represent the conscience/inner thoughts of the characters was a brilliant idea. De Mille's choreography was, by all accounts, brilliant. There are some wonderful musical moments in the score ("So Far", "A Fellow Needs A Girl", "You Are Never Away", "Come Home", "The Gentleman Is A Dope"). It's just too bad that the libretto didn't make the intended message clearer to the audience.
I don’t think the movie would have worked with Sinatra. Let’s face it. He simply didn’t have a Rodgers and Hammerstein voice. (Not that Gordon McRae was anything special as an actor) It would have been viewed simply as a vehicle for Frank Sinatra just like Pal Joey.
I agree about Sinatra and his voice. Love McRae's voice - he sings the songs beautifully, but not a "bad boy." John Raitt owns the role - vocally and has just the right amount of darkness.
I think there were a few things that made Frank Sinatra walk off the set. I don't think any of them had to do with him not wanting to film each scene twice. That was just an excuse. I think he knew that he was not vocally up to the challenge of the music, and I think that he saw that he wasn't going to be able to use his clout to "tailor" the film more to his style rather than keep mostly faithful to the original Broadway show.
I'm glad Sinatra bowed out. I would've hated it. Sinatra was too skinny for Billy then in 1955 (when the film was shot). And he has this screechy voice. I just wish they would release the complete version of the film.
@@Makeji Eh. Raitt was too stiff.
@@mylesgarcia4625 After watching the video a million times now, I have to agree. He had the right look and a great voice, but he wasn't the best actor. Jan carried that scene. What a lovely Julie she was.