Winner! 1993 Olivier Award, Best Musical Revival Winner! Five 1994 Tony Awards, including Best Revival of a Musical Winner! Three 1994 Drama Desk Awards Nominee: Seven 1994 Drama Desk Awards, including Outstanding Musical Revival Winner! Two 2018 Tony Awards Nominee: Eleven 2018 Tony Awards, including Best Revival of a Musical Winner! Five 2018 Drama Desk Awards, including Outstanding Orchestrations Nominee: Twelve 2018 Drama Desk Awards, including Outstanding Musical Revival In a Maine coastal village toward the end of the 19th century, the swaggering, carefree carnival barker, Billy Bigelow, captivates and marries the gentle millworker, Julie Jordan. Billy loses his job just as he learns that Julie is pregnant and, desperately intent upon providing a decent life for his family, he is coerced into being an accomplice to a robbery. Caught in the act and facing the certainty of prison, he takes his own life and is sent 'up there.' Billy is allowed to return to earth for one day fifteen years later, and he encounters the daughter he never knew. She is a lonely, friendless teenager, her father's reputation as a thief and bully having haunted her throughout her young life. How Billy instills in both the child and her mother a sense of hope and dignity is a dramatic testimony to the power of love.

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 final collaboration between Rodgers & Hammerstein was destined to become the world's most beloved musical. Featuring a trove of cherished songs, including "Climb Ev'ry Mountain," "My Favorite Things," "Do Re Mi," "Sixteeen Going on Seventeen" and the title number, The Sound of Music won the hearts of audiences worldwide, earning five Tony Awards and five Oscars. The inspirational story, based on the memoir of Maria Augusta Trapp, follows an ebullient postulate who serves as governess to the seven children of the imperious Captain Von Trapp, bringing music and joy to the household. But as the forces of Nazism take hold of Austria, Maria and the entire Von Trapp family must make a moral decision. The Sound of Music opened at Broadway's Lunt-Fontanne Theatre on November 16, 1959, and Rodgers & Hammerstein's last musical was a triumph. It ran for 1,443 performances and earned five Tony Awards, including Best Musical. In addition, the cast album earned a Gold Record and the Grammy Award. Florence Henderson starred in the first national tour, which played for over two years. Jean Bayless created the role of Maria in the original London production, which ran for over six years, long holding the record as the longest-running American musical in London.

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.

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 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 & 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!

Winner! Three 1947 Donaldson Awards, for Best Book, Best Lyrics and Best Score Nominee: Seven 2005 Helen Hayes Awards Winner! Two 2005 Helen Hayes Awards for Outstanding Resident Musical and Outstanding Director This ensemble musical chronicles nearly four decades in the life of an Everyman, Joseph Taylor, Jr., from cradle through a mid-life discovery of who he is and what his life is truly about. The first musical to be staged by a director who also served as choreographer (the legendary Agnes de Mille), Allegro followed a unique structural format traveling from Joe's birth through his childhood, from college dorm to marriage altar, and on to his career; from the tranquility of his small Midwestern hometown to the hectic din of big city life, in a series of vignettes and musical sequences dazzling in their simplicity and stunning in their impact. Ahead of its time theatrically, Allegro remains timeless in its appeal.

It is 1862 in Siam when an English widow, Anna Leonowens, and her young son arrive at the Royal Palace in Bangkok, having been summoned by the King to serve as tutor to his many children and wives. The King is largely considered to be a "barbarian" by those in the West, and he seeks Anna's assistance in changing his image, if not his ways. With both keeping a firm grip on their respective traditions and values, Anna and the King grow to understand and respect one another in a truly unique love story.

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.

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

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.

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 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.

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.

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.

(Vocal Collection). Great classic songs selected for children singers. CD features performances by professional Broadway kids and piano accompaniments. Includes: Do-Re-Mi * Getting to Know You * I Enjoy Being a Girl * I Whistle a Happy Tune * In My Own Little Corner * My Favorite Things * Oh' What a Beautiful Mornin' * and more.

(Applause Libretto Library). Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener Winner of the Pulitzer Prize for Drama and the Tony for Best Musical, South Pacific flourished as the golden musical of Broadway's post-WWII golden era. Nearly 60 years after its 1949 premiere, South Pacific returned to Broadway in Lincoln Center Theater's glorious Tony-winning production, setting box-office records and bringing this timely and timeless musical to new generations. With a score by Rodgers & Hammerstein and a libretto by Hammerstein and Joshua Logan, based on James A. Michener's Pulitzer Prize-winning novel, Tales of the South Pacific, this landmark musical combines compassionate love stories with the saga of a world at war. Richly developed characters are faced with life-changing moments in a complex world, their thoughts and yearnings powerfully expressed in the lyrics to such songs as "This Nearly Was Mine," "Younger Than Springtime," and "Some Enchanted Evening."

In a Maine coastal village toward the end of the 19th century swaggering carefree carnival barker Billy Bigelow captivates and marries naive millworker Julie Jordan. Billy loses his job just as he learns that Julie is pregnant and a desperately intent upon providing a decent life for his family a he is coerced into being an accomplice to a robbery. Caught in the act and facing the certainty of prison he takes his own life and is sent up there. Billy is allowed to return to earth for one day 15 years later and he encounters the daughter he never knew. She is a lonely friendless teenager her father's reputation as a thief and bully having haunted her throughout her young life. How Billy instills a sense of hope and dignity in both the child and her mother is a dramatic testimony to the power of love. It's easy to understand why of all the shows they created ECarouselE was Rodgers and Hammerstein's personal favorite.

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.