Nellie, a spunky nurse from Arkansas, falls in love with a mature French planter, Emile. Nellie learns that the mother of his children was an island native and, unable to turn her back on the prejudices with which she was raised, refuses Emile's proposal of marriage. Meanwhile, the strapping Lt. Joe Cable denies himself the fulfillment of a future with an innocent Tonkinese girl with whom he's fallen in love out of the same fears that haunt Nellie. When Emile is recruited to accompany Joe on a dangerous mission that claims Joe's life, Nellie realizes that life is too short not to seize her own chance for happiness, thus confronting and conquering her prejudices. Based on Tales of the South Pacific, James Michener's collection of short stories, South Pacific opened on Broadway at the the Majestic Theatre on April 7, 1949, starring Mary Martin, Ezio Pinza and Juanita Hall. South Pacific received the 1950 Pulitzer Prize for Drama, and for the first time the committee included a composer in the drama prize. The show received ten Tony Awards (including Best Musical), a Grammy Award and countless other accolades. For years the second-longest running show in Broadway history (right behind Oklahoma!), South Pacific returned to Broadway in a celebrated 2008 revival starring Kelli O'Hara and Paolo Szot. The show has proven itself a classic in countless productions around the world and was adapted onscreen in the 1958 film starring Rossano Brazzi and Mitzi Gaynor and in a 2001 made-for-television film starring Glenn Close and Harry Connick, Jr.

The world is full of environmental injustices and inequalities, yet few European historians have tackled these subjects head on; nor have they explored their relationships with social inequalities. In this innovative collection of historical essays the contributors consider a range of past environmental injustices, spanning seven northern and western European countries and with several chapters adding a North American perspective. In addition to an introductory chapter that surveys approaches to this area of environmental history, individual chapters address inequalities in the city as regards water supply, air pollution, waste disposal, factory conditions, industrial effluents, fuel poverty and the administrative and legal arrangements that discriminated against segments of society.

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.

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 recreation 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. As adapted for the stage, with great warmth and more than a touch of hilarity, this romantic fairy tale still warms the hearts of children and adults alike. This Enchanted Edition is inspired by the 1997 teleplay. Rodgers and Hammerstein's Cinderella premiered in a live television broadcast on March 31, 1957, starring Julie Andrews, a sparkling new star who had just triumphed in My Fair Lady. Richard Lewine, a distant cousin and close friend of Rodgers, produced and Ralph Nelson directed. Real-life spouses Howard Lindsay and Dorothy Stickney played the King and Queen; Jon Cypher played the Prince; Ilka Chase, Kaye Ballard and Alice Ghostley played the comical Stepmother and Stepsisters; and Edi Adams played the Fairy Godmother. Rodgers and Hammerstein approached the story with the honesty and simplicity that characterized all their work, and Cinderella was a smash hit. The live broadcast was viewed by more people than any other program in the history of television. In 1997, Cinderella was remade for television in a production adapted by Robert L. Freedman and directed by Robert Iscove, with choreography by Rob Marshall. Produced by Whitney Houston and Debra Martin Chase for Walt Disney Television, Rodgers and Hammerstein's Cinderella aired on November 2, 1997. This version featured a diverse cast, with Brandy Norwood as Cinderella, Whitney Houston as her fairy godmother, Bernadette Peters as Cinderella's stepmother, Paolo Montalban as the prince, Whoopi Goldberg as the queen, Victor Garber as the king and Jason Alexander as Lionel, the herald. Several songs were added, including "The Sweetest Sounds" from No Strings, sung by Cinderella and the Prince, and "There's Music in You," written for the 1953 film Main Street to Broadway, sung as the finale by the Fairy Godmother. Sixty million viewers watched the broadcast, making it the most-watched television musical in decades, and earning ABC its highest Sunday-night ratings in 10 years.

Rodgers and Hammerstein's first collaboration remains, in many ways, their most innovative, setting the standards and rules of modern musical theatre. In a Western territory just after the turn of the 20th century, a high-spirited rivalry between local farmers and cowboys provides a colorful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination and the promise of a new land. Oklahoma! opened at the St. James Theatre on Broadway on March 31, 1943. At that time, the longest-running show in Broadway history had run for three years. Oklahoma! surpassed that record by two more years, running for a marathon 2,212 performances. The US national tour played for an unprecedented ten and a half years, visiting every single state and playing before a combined audience of more than 10 million people. In 1947, Oklahoma! opened at the Theatre Royal, Drury Lane, London, where it ran for 1,548 performances, the longest run of any show up to that time in the 267-year history of the theatre. In 1953, the Oklahoma State Legislature named "Oklahoma" the official state song. In 1955, the motion picture version of Oklahoma!, starring Gordon MacRae and Shirley Jones and produced by Rodgers and Hammerstein, was released to great success.

(Applause Libretto Library). Music by Richard Rodgers Lyrics by Oscar Hammerstein II New book by Douglas Carter Beane Original book by Oscar Hammerstein II In March 2013, a new Rodgers and Hammerstein musical opened on Broadway new to Broadway, but based on a TV musical first written nearly 60 years before, and beloved by audiences all over the world. It was Rodgers + Hammerstein's Cinderella, which very quickly became the belle of the ball of the Broadway season, winning cheers for its fresh take on a timeless classic. Douglas Carter Beane created a new, Tony-nominated book that was hailed for complementing the inspirational themes of Rodgers and Hammerstein with a 21st-century sensibility, giving the musical new characters, surprising plot twists, and revelatory moments that harkened back to the Charles Perrault version of the fairy tale. The score was cheered as well: the familiar songs from the television versions "In My Own Little Corner," "Impossible," "A Lovely Night," "Do I Love You Because You're Beautiful," and so on along with undiscovered gems from the "trunk." Rodgers + Hammerstein's Cinderella was hailed by the Associated Press as a "charming, witty and relevant take on the classic story" and cheered by New York magazine as a "wised-up, wit-spackled CINDERELLA... As solidly entertaining as they come "

(Piano Solo Songbook). Thirteen tunes from the beloved musical expertly arranged for solo piano by Phillip Keveren: Climb Ev'ry Mountain * Do-Re-Mi * Edelweiss * I Have Confidence * The Lonely Goatherd * Maria * My Favorite Things * An Ordinary Couple * Sixteen Going on Seventeen * So Long, Farewell * Something Good * The Sound of Music * Wedding Processional.

Oral testimony is one of the most valuable but challenging sources for the study of modern history, providing access to knowledge and experience unavailable to historians of earlier periods. In this groundbreaking collection, oral testimonies are used to explore themes relating to the construction of urban memories in European cities during the twentieth century. From the daily experiences of city life, to personal and communal responses to urban change and regeneration, to migration and the construction of ethnic identities, oral history is employed to enrich our understanding of urban history. It offers insights and perspectives that both enhance existing approaches and forces us to re-examine official histories based on more traditional sources of documentation. Moreover, it enables the historian to understand something of the nature of memory itself, and how people construct their own versions of the urban experience to try to make sense of the past. By using the full range of opportunities offered by oral history, as well as fully considering the related methodological issues of interpretation, this volume provides a fascinating insight into one of the least explored areas of urban history. As well as adding to our understanding of the European urban experience, it highlights the potential of this intersection of oral and urban history.

This book explores the changing boundaries and relationships between market and state from the seventeenth to the twentieth century. Money and Markets celebrates Martin Daunton's distinguished career by bringing together essays from leading economic, social and cultural historians, many being colleagues and former students. Throughout his career, Dauntonhas focused on the relationship between structure and agency, how institutional structures create capacities and path dependencies, and how institutions are themselves shaped by agency and contingency - what Braudel referred to as 'turning the hour glass twice'. This volume reflects that focus, combining new research on the financing of the British fiscal-military state before and during the Napoleonic wars, its property institutions, and thelonger-term economic consequences of Sir Robert Peel. There are also chapters on the birth of the Eurodollar market, Conservative fiscal policy from the 1960s to the 1980s, the impact of neoliberalism on welfare policy and more broadly, the failed attempt to build an airport in the Thames Estuary in the 1970s, and the political economy of time in Britain since 1945. While much of the focus is on Britain, and British finance in a global economy, the volumealso reflects Daunton's more recent study of international political economy with essays on the French contribution to nineteenth-century globalization, Prussian state finances at the time of the 1848 revolution, Imperial German monetary policy, the role of international charity in the mixed economy of welfare and neoliberal governance, and the material politics of energy consumption from the 1930s to the 1960s. JULIAN HOPPIT is Astor Professor of British History at University College London. ADRIAN LEONARD is Associate Director of the Centre for Financial History at the University of Cambridge. DUNCAN NEEDHAM is Dean and Senior Tutor at Darwin College, University of Cambridge. CONTRIBUTORS: Martin Chick, Sean Eddie, Matthew Hilton, Julian Hoppit, Seung-Woo Kim, Adrian Leonard, Duncan Needham, Charles Read, Bernhard Rieger, Richard Rodger, Sabine Schneider, HirokiShin, David Todd, James Tomlinson, Frank Trentmann, Adrian Williamson

Oral testimony is one of the most valuable but challenging sources for the study of modern history, providing access to knowledge and experience unavailable to historians of earlier periods. In this groundbreaking collection, oral testimonies are used to explore themes relating to the construction of urban memories in European cities during the twentieth century. From the daily experiences of city life, to personal and communal responses to urban change and regeneration, to migration and the construction of ethnic identities, oral history is employed to enrich our understanding of urban history. It offers insights and perspectives that both enhance existing approaches and forces us to re-examine official histories based on more traditional sources of documentation. Moreover, it enables the historian to understand something of the nature of memory itself, and how people construct their own versions of the urban experience to try to make sense of the past. By using the full range of opportunities offered by oral history, as well as fully considering the related methodological issues of interpretation, this volume provides a fascinating insight into one of the least explored areas of urban history. As well as adding to our understanding of the European urban experience, it highlights the potential of this intersection of oral and urban history.

Dr Henry Littlejohn's Report on the Sanitary Condition of Edinburgh (1865) was a landmark in urban management and public health administration. The Lancet described it as 'monumental'. The Report had a significance far beyond the boundaries of Edinburgh and his meticulous research produced penetrating insights into the links between poverty, employment and public health in Victorian cities. Insanitary City reproduces the full Report and sets it in this wider context. For over half a century, Littlejohn's career as Police Surgeon, Crown witness in murder cases and medical advisor to the Scottish Poor Law authorities, gave him an unrivalled overview of the problems confronting Victorian society. In 1895 he was knighted 'for services to sanitary science'.

This lavishly produced book brings together an impressive amount of new historical research which seeks to answer this question, providing fresh interpretations of Leicester's history since 1800. The chapters analyse the events, changes and characteristics that have shaped the city and given it its distinctive identity. The sights, sounds and smells of the city in the twenty-first century are products of cumulative layers of history, layers which are peeled back by a specially assembled team of historians, all of whom have lived and worked in Leicester for many years. The result is an important book which helps us to understand the city's past, so that we may better understand the present and know how to approach the future. Above all, this fascinating volume demonstrates that Leicester is a quietly confident city built on firm historical foundations of which Leicester citizens of today can feel very proud.

This show-within-a-show follows the romance between a chorus girl and an Assistant Stage Manager leading to their secret marriage. Their happy union is threatened by the electrician who still carries a torch for the girl and, in a drunken rage, tries to kill them both. A contrasting romance involves the Stage Manager, whose credo never to fall for a girl in a show he's working on is complicated when a dancer he's been wooing is suddenly thrown into the cast of 'Me and Juliet.' Informed by rich insights into the world of Broadway - how jobs are gotten and lost, the inside tricks of the trade and the pitfalls of backstage romances - Me and Juliet is an innovative, irresistible show that consistently delivers both musically and dramatically.

Rodgers & Hammerstein's only musical written directly for the screen is now a stage musical that's had critics raving from coast to coast. Set against the colorful backdrop of an American heartland tradition, State Fair travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers and Hammerstein songbook, State Fair is the kind of warm-hearted family entertainment only Rodgers & Hammerstein could deliver!

(Vocal Piano). Songs in the Broadway Singer's Edition include the vocal line and lyrics paired with faithful reductions of the orchestral accompaniments. The songs are presented in their original keys with piano accompaniments carefully crafted for playability. The CD includes performances of these piano accompaniments. This Sound of Music edition includes a dozen songs from this ever-popular Rodgers & Hammerstein musical: Climb Ev'ry Mountain * Do-Re-Mi * Edelweiss * I Have Confidence * The Lonely Goatherd * Maria * My Favorite Things * An Ordinary Couple * Sixteen Going on Seventeen * So Long, Farewell * Something Good * The Sound of Music.

This clear and lucid study explores the physical transformation of Edinburgh in the nineteenth century. It is based on a formidable amount of new archival research and enriched with fascinating illustrative material. In a powerful analysis of how the law adapted under intense pressure from institutions and individuals to new possibilities for profit, Richard Rodger shows how urban expansion was financed. Victorian 'feudalism', he argues, was reasserted. As a consequence, durable housing was created, though at densities and at costs which had adverse consequences for the tenement dwellers within. Trusts, educational endowments and the Church were each instrumental in this process. The urban environmental damage associated with intensive building and overcrowding is also explored, as are the public health and co-operative responses which they prompted. Historians - whether political, urban, economic, social or legal - will find challenging new insights here, which have a resonance far beyond the confines of one city. Winner of the 2003 Frank Watson Prize.

This clear, lucid and richly illustrated study, based on a formidable amount of new archival research, explores the physical transformation of Edinburgh in the nineteenth century. Richard Rodger's powerful book shows how landowners, builders and investors pursued their own agendas and in doing so reshaped the Victorian towns and cities that the twentieth century inherited. Historians--whether political, urban, economic, social or legal--will find challenging new insights here, which have a resonance far beyond the confines of one city.

Rodgers and Hammerstein's beloved song from The Soundof Music has captured hearts for generations. Now acclaimed illustrator Renee Graef's heartwarming illustrations give it new meaning. Complete with its score, My Favorite Things is perfect for reading and sharing.

Why did slums and suburbs develop simultaneously? Did the capitalist system produce these, and were class antagonisms to blame? Why did the Victorians believe there was a housing problem, and who or what created it? What housing solutions were attempted, and how successfully? These are amongst the central questions addressed by social and urban historians in recent years, and their arguments and analyses are reviewed here. The history of housing between 1780 and 1914 encapsulates many problems associated with the transition from a largely rural to an overwhelmingly urban nation. The unprecedented pace of this transition imposed immense tensions within society, with implications for the urban environment and for local and national government. Housing is central to an understanding of the social, economic, political and cultural forces in nineteenth-century history; this book is an ideal introduction to the topic.

Why did slums and suburbs develop simultaneously? Did the capitalist system produce these, and were class antagonisms to blame? Why did the Victorians believe there was a housing problem, and who or what created it? What housing solutions were attempted, and how successfully? These are amongst the central questions addressed by social and urban historians in recent years, and their arguments and analyses are reviewed here. The history of housing between 1780 and 1914 encapsulates many problems associated with the transition from a largely rural to an overwhelmingly urban nation. The unprecedented pace of this transition imposed immense tensions within society, with implications for the urban environment and for local and national government. Housing is central to an understanding of the social, economic, political and cultural forces in nineteenth-century history; this book is an ideal introduction to the topic.

(Duet Piano Education). 9 piano duet arrangements from the beloved musical, including: Climb Ev'ry Mountain * Do-Re-Mi * Edelweiss * The Lonely Goatherd * Maria * My Favorite Things * Sixteen Going on Seventeen * So Long, Farewell * The Sound of Music.

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story!" With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.