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Oscar Hammerstein mentored Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").

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Oscar Hammerstein mentored Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").
geologist"). Compare Creator/LernerAndLoewe, another theatrical songwriting/composing duo of the mid-20th century.


Rodgers and Hammerstein were an American songwriting team consisting of composer Richard Rodgers (June 28, 1902 -- December 30, 1979) and lyricist Oscar Hammerstein II (July 12, 1895 -- August 23, 1960). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar.

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Rodgers and Hammerstein were an American songwriting team consisting of composer Richard Rodgers (June 28, 1902 -- December 30, 1979) and lyricist lyricist/scriptwriter Oscar Hammerstein II (July 12, 1895 -- August 23, 1960). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar.


Oscar Hammerstein knew Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").

to:

Oscar Hammerstein knew mentored Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").


As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[TropeCodifier Trope Codifiers]] for modern musicals.

to:

As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their However, at the time, their musicals were known revolutionary for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[TropeCodifier Trope Codifiers]] for modern musicals.


As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[Trope Codifiers TropeCodifier]] for modern musicals.

to:

As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[Trope Codifiers TropeCodifier]] [[TropeCodifier Trope Codifiers]] for modern musicals.


As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[Trope Codifiers]] TropeCodifier for modern musicals.

to:

As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the [[Trope Codifiers]] TropeCodifier Codifiers TropeCodifier]] for modern musicals.


As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the TropeCodifiers for modern musicals.

to:

As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the TropeCodifiers [[Trope Codifiers]] TropeCodifier for modern musicals.


Rodgers and Hammerstein were an American songwriting team consisting of composer Richard Rodgers (June 28, 1902 -- December 30, 1979) and lyricist Oscar Hammerstein II (July 12, 1895 -- August 23, 1960). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.

Before their creative partnership began, both had been involved in earlier collaborations; Rodgers was acclaimed for his work with Lorenz Hart, while Hammerstein co-wrote ''Theatre/ShowBoat'' (arguably the first modern musical, and written in a style which foreshadowed the work of this duo) with composer Jerome Kern.

Curiously, Oscar Hammerstein knew Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").

to:

Rodgers and Hammerstein were an American songwriting team consisting of composer Richard Rodgers (June 28, 1902 -- December 30, 1979) and lyricist Oscar Hammerstein II (July 12, 1895 -- August 23, 1960). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar.

As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals. Their musicals were known for making sure all songs and dances were directly related to the plot, for having more in-depth character development than most of the musicals that preceded them, and for using scenic design as an integral part of the storytelling; they were so successful, and so widely imitated, that they are considered the TropeCodifiers for modern musicals.

Before their creative partnership began, both had been involved in earlier collaborations; Rodgers was acclaimed for his work with Lorenz Hart, while Hammerstein co-wrote ''Theatre/ShowBoat'' (arguably the first modern musical, and written in a style which foreshadowed the work of this duo) with composer Jerome Kern.

Curiously,
Kern. Rodgers and Hammerstein also produced most of their own musicals and sometimes produced other people's work, including ''Theatre/AnnieGetYourGun''.

Oscar Hammerstein knew Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").


American songwriting team consisting of Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) and Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.

to:

Rodgers and Hammerstein were an American songwriting team consisting of composer Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) 1979) and lyricist Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist).1960). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.


* ''{{Allegro}}''

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* ''{{Allegro}}''''Allegro''



* ''MeAndJuliet''

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* ''MeAndJuliet''''Me and Juliet''


American songwriting team consisting of Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) and Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.

to:

American songwriting team consisting of Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) and Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. Hammerstein is also the only Oscar to ever win an Oscar. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.


* ''Film/{{Cinderella}}'' (originally a Creator/{{CBS}} television production)

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* ''Film/{{Cinderella}}'' ''Theatre/{{Cinderella|Rodgers and Hammerstein}}'' (originally a Creator/{{CBS}} television production)


American songwriting team consisting of Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) and Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.

to:

American songwriting team consisting of Richard Rodgers (June 28, 1902 -- December 30, 1979, composer) and Oscar Hammerstein II (July 12, 1895 -- August 23, 1960, lyricist). Together they earned 34 Tonys, 15 UsefulNotes/{{Academy Award}}s, a UsefulNotes/PulitzerPrize and two [[UsefulNotes/GrammyAward Grammys]], making them [[TheEGOTs [[UsefulNotes/TheEGOTs EGOTs (winners of an Emmy, Grammy, Oscar and Tony)]]. Rodgers was ''the'' first-ever EGOT, and he, along with Music/MarvinHamlisch, have been the only [=EGOTs=] to win those 4 prizes and a Pulitzer. As the quote above indicates, their shows are well on the idealistic end of the SlidingScaleOfIdealismVersusCynicism; despite often dealing with serious topics (racism in ''Theatre/SouthPacific'', sexual harassment in ''Theatre/{{Oklahoma}}'', spousal abuse in ''Theatre/{{Carousel}}''), they're a by-word for perky, heart-warming, optimistic musicals.


Curiously, Oscar Hammerstein knew Creator/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").

to:

Curiously, Oscar Hammerstein knew Creator/StephenSondheim Music/StephenSondheim as a young man and was a formative influence on him (Sondheim has said that "if Oscar was a geologist, I would have been a geologist").

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