The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. [27] It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. [36] Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. [37] A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. [33] Oscar Hammerstein II

The New York Times called the movie a "beautifully turned out film, crisply played and richly sung by a fine cast that is fully worthy of the original show". Crowther, Bosley. " Carousel is worthy of original show". The New York Times, February 17, 1956, p. 13. Retrieved on December 25, 2010. Set between Montreal, Quebec and various American cities, Carousel is a story about secrets--secret yearnings, lives, and losses--and the measures we take to protect our loved ones from the monsters we see ourselves to be.Fox, Jena Tesse. "BWW Interviews: Kelli O'Hara Talks Carousel", Broadwayworld.com, February 19, 2013. Retrieved on August 5, 2015 var myCarousel = document . querySelector ( '#myCarousel' ) var carousel = new bootstrap . Carousel ( myCarousel , { interval : 2000 , wrap : false }) Method

Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. ISBN 978-0-313-34140-3. Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. ISBN 978-0-02-872625-0. Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Autoplays the carousel after the user manually cycles the first item. If set to 'carousel', autoplays the carousel on load.Calta, Louis. "'Carousel' to end run on Saturday". The New York Times, February 28, 1949, p. 15. Retrieved on December 21, 2010.

Review Roundup: Critics Weigh In on Carousel on Broadway, Starring Jessie Mueller and Joshua Henry", BroadwayWorld.com, April 18, 2018 If set to 'hover', pauses the cycling of the carousel on mouseenter and resumes the cycling of the carousel on mouseleave. If set to false, hovering over the carousel won't pause it. I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. [18] Jan Clayton°, Iva Withers, Barbara Cook, Constance Towers, Joanna Riding, Sarah Uriarte Berry, Jennifer Laura Thompson, Alexandra Silber, Katherine Jenkins, Jessie Mueller On touch-enabled devices, when set to 'hover', cycling will pause on touchend (once the user finished interacting with the carousel) for two intervals, before automatically resuming. Note that this is in addition to the above mouse behavior.

Instagram

Rich, Frank. "London makes a revelation of Carousel". The New York Times, December 17, 1992. Retrieved on December 24, 2010. Fee for article. In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). [8] Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the " Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. [9] Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, " The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. [10] Options can be passed via data attributes or JavaScript. For data attributes, append the option name to

Cheever, Susan. "A lost boy makes good". The New York Times, March 6, 1994. Retrieved on December 21, 2010.

Sign up to our newsletter

Canby, Vincent. "Sunday View; 'Carousel,' A Soap Opera No Longer". The New York Times, April 3, 1994. Retrieved on December 26, 2010 Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. [16] Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. [5] In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. [3] If set to "hover", pauses the cycling of the carousel on mouseenter and resumes the cycling of the carousel on mouseleave. If set to false, hovering over the carousel won’t pause it. On touch-enabled devices, when set to "hover", cycling will pause on touchend (once the user finished interacting with the carousel) for two intervals, before automatically resuming. This is in addition to the mouse behavior. div id="carouselExampleCaptions" class="carousel slide" data-mdb-ride="carousel" data-mdb-carousel-init>