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A musical where the show's metaphor or statement is more important than the actual narrative. Has roots in the plays with music Bertolt Brecht wrote with Kurt Weill and other composers |
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| First star billing was in Panama Hattie in 1940. Alongside Mary Martin, drew more than 90% of TV audiences in 1953 with a musical special. Also starred in Call Me Madam, Gypsy (SHE WAS ROSE). |
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| Starred in Cabin in the Sky, sang "Takin a Chance on Love". She was a black jazz/big band singer also famous for her song "Am I Blue?" |
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| His first role in a hit show was in Let's Face It (1941). Best known for stealing the show during Lady in the Dark when he sang "Tchaikowsky", a patter "list" song. |
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| Starred alongside Ethel Merman on a 1953 musical TV special that garnered 90% of TV viewership. Starred in Weill's One Touch of Venus (1943) as Venus and in South Pacific (1949). She also played Maria in The Sound of Music (1959) and Peter Pan (1954). |
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| Played the King of Siam in The King and I (1951). Won an Academy Award for best actor. |
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| Starred as Harold Hill in The Music Man (1957). This role made him a star. He also starred in the movie version of this Meredith Willson Show. |
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| Starred as Marian Paroo in The Music Man (1957). This role catapulted her into stardom. She also starred in Bernstein's Candide (1953). |
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| Made her debut as the princess in Once Upon a Mattress (1959, Mary Rodgers Guettel). |
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| Made her debut in The Boy Friend (Broadway version) (1954). Later starred in Camelot (1960) as Guinevere and in My Fair Lady (1956) as Eliza Doolittle. Rodgers wanted her for Pipe Dream but suggested she take the role in Lerner/Loewe's MFL. |
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| He got his start as Lancelot in Camelot and sang the number "If Ever I Would Leave". Would later go on to star in the Kander/Ebb show The Happy Time. |
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| She started with her role in Dames at Sea (1968) as a sensual chorus type girl who understudies an egotistical star. |
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| Made his debut on Broadway in Carnival (1961). Won a Tony for his role as male lead in Promises, Promises (1968). |
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| Starred in Kismet (1953), No Strings (1962, Rodgers), won a Tony for his role in Man of La Mancha (Wasserman, Leigh, Darion, 1965 transformation of Don Quixote). |
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| Main female lead in No Strings (1962, Rodgers post-Hammerstein). |
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| Starred as the emcee of the cabaret in Cabaret (1966) in an unforgettable presentation |
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| Her last major role was in Stephen Schwartz's Pippin (1972), singing "It's Time to Start Living". |
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| Starred in Bye-Bye Birdie as the assistant/girlfriend of Dick van Dyke. |
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| Starred in Damn Yankees (1955, Bob Fosse), as Lola. Sang "Whatever Lola Wants". She starred in another Fosse show in 1959 Redhead and then married Fosse! |
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| Starred as Margo Channing in Applause (1970, Strouse & Adams, producers of Bye Bye, Birdie). |
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| At age 13, starred as Little Orphan Annie and made the song "Tomorrow" from Annie an overnight sensation. |
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| Achieved stardom when she starred in Ain't Misbehavin (1978, Richard Maltby) and won a Tony for her performance. |
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| Movie veterans featured as main leads in Sugar Babies (1979 revue). |
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| Brought out of slump when Jerry Herman recruited her for his 1966 show Mame. She sung "Open a New Window". Show was one of the biggest successes of 1960s. She also was featured in 1974 revival of Gypsy. SHE WAS FEATURED IN SWEENY TODD (1979, Sondheim). |
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| Starred as Sweeney in Sweeney Todd (1979, Sondheim). |
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| Starred as Eva Peron in Evita (1978, Andrew Lloyd Webber). |
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| Wrote Out of This World, Let's Face It, Can-Can, Silk Stockings, and wrote songs for Aladdin (TV). WROTE KISS ME KATE. |
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| Made an effort to have a musical comedy but still within the realm of a book show in his production of Cabin in the Sky. |
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| Worked with Moss Hart & Ira Gerswhin on Lady in the Dark (1941). Also wrote One Touch of Venus, Street Scene, Love Life, and Lost in the Stars. |
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| Collaborated with Moss Hart and Kurt Weill on Lady in the Dark. |
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Collaborated on Higher & Higher, Pal Joey, By Jupiter. By the late 1940's, Hart's drinking was driving Rodgers crazy...so he started to work with Hammerstein.
"Blue Moon", "My Heart Stood Still" |
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Very prolific duo, started with Green Grow the Lilacs. Together they eventually were responsible for The King & I, Oklahoma, South Pacific, Carousel, The Sound of Music.
"People will say we're in Love", "If I loved you", "Do-Re-Mi" |
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| Harold Arlen & Yip Harburg |
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| Duo responsible for Bloomer Girl (1944). |
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| Duo responsible for The Song of Norway (1944), story of composer Edvard Grieg. They also worked on Kismet (1953). |
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| Single longest running dramatic show performance in world history ever, bar none. Opened in 1960 at the Sullivan St. Theater, NYC. Ran for 30 years, 17,000+ performances. |
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| Composer of many famous shows incl. On the Town (1944), Wonderful Town (1953), but most importantly was responsible for West Side Story's soundtrack along with Stephen Sondheim (lyrics). |
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| Betty Comden & Adolph Green |
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| Musical comedy duo lasting nearly 60 years on Broadway. Starred in On the Town, Wonderful Town, Bells are Ringing. Worked closely with Leonard Bernstein |
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| Famous for his song "Oh How I Hate to Get Up in the Morning". Also wrote Miss Liberty, others. IMPORTANT; "(Insert this guy's name here) has no place in American music; he IS American music". |
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| Alan Jay Lerner & Frederick Loewe |
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| This lyrical duo started their run together with the show Brigadoon (1947) but are most famous for their work on My Fair Lady and Camelot. |
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| Songwriter famous for his work with Comden & Green and Sondheim. Wrote songs for Bells are Ringing, Gentlemen Prefer Blondes, GYPSY. |
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| Despite his prolific career in the 20s and 30s in London, this composer wrote a series of unsuccessful shows in the 60s that investors lost money on. These included Sail Away, Blithe Spirit, The Girl who Came to Supper. |
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| Cartoonist/Humorist responsible for the satirical comic strip Li'l Abner that evolved into a Broadway show in the 1950s. |
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| Responsible for the comic strip "Peanuts" that evolved into a multitude of Broadway shows including Snoopy and You're a Good Man Charlie Brown. |
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| Known primarily for composing the score of Guys and Dolls (1950), but also known for Most Happy Fella and How to Succeed in Business Without Really Trying. |
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| He, most importantly, has an incredibly feminine name, but less importantly, was a musician for John Philip Souza's band and ended up writing The Music Man (1957) as well as The Unsinkable Molly Brown and Here's Love. |
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| Composer for Once Upon a Mattress (1959), the show that featured the Broadway debut of Carol Burnett. |
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| The famous composer that was the main subject of the 1944 Wright & Foster show The Song of Norway. This show also featured his music. |
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| Classical Russian composer whose music was used in the Wright & Foster show Kismet. |
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| His play Pygmalion was transformed into My Fair Lady by Lerner & Loewe. Hammerstein warned Lerner & Loewe that he had already tried to transform Pygmalion but thought it wasn't possible. |
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| Duo most famous for their composition Fiddler on the Roof (1964). Also provided the score for Fiorello (1st success) and She Loves Me. |
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| Richard Adler & Jerry Ross |
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| Duo that worked with Bob Fosse on the show Damn Yankees in 1955. Their first success was Pajama Game which was also choreographed by Fosse. |
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| Incredibly prolific composer and lyricist most famous for his work in West Side Story and A Funny Thing Happened on the Way to the Forum. |
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| Playwright responsible for the librettos of Promises, Promises, Sweet Charity, among others. |
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| Composer of several musicals, most famous for Promises, Promises. |
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| Lyricist for Promises, Promises alongside Bacharach on the compositions and Simon on the libretto, DJ Premier on the beat. |
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| Harvey Schmidt & Tom Jones |
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| The 2 fellas responsible for the longest running musical of all time, The Fantasticks. They also worked on I Do, I Do alongside Mary Martin & Robert Preston. |
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| Composer & lyricist responsible for Hello, Dolly! (1964). Also well known for his successful show Mame and 1776. His shows weren't terribly original but instead focused on presenting recognizable characters that the audience could relate to. |
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| Songwriting team responsible for Cabaret and Chicago, but most famous for their work on the blockbuster hit Kiss of the Spiderwoman. |
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| Wrote Godspell as his first Off-Broadway production but made his Broadway debut when he wrote the score for Pippin (1972). He was also known for his successful show The Magic Show (1974). |
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| Composer of several shows, most notably Jesus Christ Superstar and Evita. Worked along side Tim Rice on several occasions. |
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| Worked as a lyricist alongside Andrew Lloyd Webber on such shows as Jesus Christ Superstar and Evita. |
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| Jim Jacobs & Warren Casey |
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| The duo made famous by their creation Grease (1972). |
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| Producer and director of several shows, most known for Bock/Harnick's She Loves Me and Cabaret. Him and Sondheim were the creators of the 'concept musical'. |
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| Wrote the libretto for Company (1970) alongside Sondheim's music/lyrics. |
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| Composer for A Chorus Line and composer/lyricist for They're Playing Our Song. |
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| Best known as the lyricist for A Chorus Line alongside Hamlisch's compositions. |
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| Composer who worked closely with lyricist Lee Adams on shows including Applause and Bye-Bye, Birdie. Also composed Annie but recruited Martin Charnin as a lyricist. |
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| Lyricist in the duo Adams & Strouse. Wrote lyrics for Applause and Bye Bye, Birdie. |
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| Wrote lyrics for Annie alongside composer Charles Strouse. |
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| The music of this jazz pianist was used heavily with added lyrics in the show Ain't Misbehavin (1978). |
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| Ain't Misbehavin was this producer/lyricist's brainchild. |
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| Russian choreographer who worked on Lousiana Purchase. Considered one of the most famous choreographers of the 20th century. |
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| She choreographed Oklahoma (1979) and is less well known for also working on Allegro. |
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| He wrote the libretto for High Button Shoes, Where's Charley?, Me and Juliet, Jumbo, and A Funny Thing Happened on the way to the Forum. He was known as the "show doctor" and helped struggling Broadway shows make it through tryouts and get to the stage. Also known for directing the original Pal Joey which was a flop. That doesn't make much sense |
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| Producer/director/choreographer with an impressive resume. Throughout his career, he worked on On the Town (choreography), Pajama Game, Bells are Ringing. Best known for staging West Side Story, Gypsy. |
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| Choreographer who later became a director of many shows; started his career in the revival of Pal Joey and eventually directed Cabaret, Chicago, Bells are Ringing, Damn Yankees, Redhead, and How to Succeed in Business without Really Trying. Married Gwen Verdon, who was featured in many of his shows. |
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| He choreographed Loesser's Guys and Dolls and Porter's Can-Can before coming the director/choreographer of Lil' Abner. Also famous for choreographing Hello, Dolly! |
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| He was a director/choreographer for several shows including The Happy Time, Lend an Ear (his first show), and I Do, I Do. |
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| He was a choreographer who worked on Promises, Promises and Company. |
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| Not to be confused with the guy who wrote "867-5309", he was the director/choreographer of The Best Little Whorehouse in Texas (1978). |
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| 1935 musical written by Rodgers & Hart and directed by George Abbott. Tells the story of a financially strapped circus. |
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| 1940 musical by Cole Porter that was known as being the first show with Ethel Merman as the star billing. |
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| 1941 Kurt Weill musical, also featured Moss Hart & Ira Gerswhin. Featured Danny Kaye as a side character who stole the show with "Tchaikowsky", a patter "list" song. |
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| Pattersong by Danny Kaye from Lady in the Dark. Less of a song and more of a list; Kaye simply rattled off a list of 50 or so Russian composers as fast as he could. It was intended to be recited a cappella. |
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| 1940 show by Rodgers & Hart that is most known as being the first Broadway show that featured an anti-hero as the lead. Was revived in 1952 for 540 performances. |
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| "Bewitched, Bothered, and Bewildered" |
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| Song featured in Pal Joey, introduced by Vivenne Segal. Composed by Hart, lyrics by Rodgers. |
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| Rodgers and Hart musical from 1942 that revolved around Greeks warring with Amazons. Included the song "The Boy I Left Behind Me". |
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| 1944 musical by Wright & Forrest that followed the story of composer Edvard Grieg; also featured the music of Grieg in its score. |
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| Rodgers and Hammerstein's first musical, opened in 1943. Significant because it came at a period during WWII when the simplicity of Rural America and young love was reassuring and was wildly successful. Also was the first show to produce a cast album. Much like Show Boat, epitomized the idea of a "book musical" in which the songs advanced the plot. Also significant because it rejected current events and sophistication; it reflected everyday people, and b/c it combined acting, singing, and dancing as essential aspects of a unified plot. |
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| "People will say We're in Love" |
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| Rodgers & Hammerstein's song from Oklahoma that was significant because it foreshadowed later events in the plot. Laurey and Curly sing this to each other as they warn one another to be careful displaying affection as people may misinterpret their intentions. Neither character wants to admit their true feelings. |
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| Rodgers and Hart musical from 1945. Adaptation of Ferenc Molnar's Lilliom. There was no overture! A waltz was staged as an opening pantomime. Also significant b/c it featured an anti-hero as the lead. Included "Soliloquy", a significant song. |
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| Song featured in Carousel that epitomized how a Browadway song could be a character song, a lyrical song, and advance the plot all at the same time. |
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| Another song from Carousel that was significant mainly because it embodied the Oklahoma trend of foreshadowing to future love scenes. Compare to "People Will say We're In Love". |
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| 1949 Rodgers and Hammerstein show that featured two romantic couples exploring the prejudices of time. IMPORTANT; This show caused an investigation into the Shuberts' charging for tickets & their practices were determined illegal b/c they had a monopoly on the theater industry. |
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| Rodgers & Hammerstein show from 1951 that followed a clash between cultures as an English woman tutors the children & wives of the King of Siam (played by Yul Brynner). Featured the song "Shall We Dance". |
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| 1959 Rodgers & Hammerstein hit inspired by the real life story of von Trapp family before & after the Nazi Anschluss of Austria. Featured songs such as "Do Re Mi", "My Favorite Things", among others. |
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| 1944 hit from Harold Arlen and E.Y. "Yip" Harburg. Most of Arlen's writing was for screen musicals at this point, but this was their most successful collaboration. Imitated the "book show" with lyrics advancing the plot. |
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| 1939 film based on a 1900 children with lyrics by Harburg and music by Arlen. Notable for its use of special effects and Technicolor. Starred Judy Garland and Billie Burke. |
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| 1942 play by Irving Berlin featuring the famous song "Oh how I hate to Get up in the morning". Used mostly as propaganda for the U.S. Army. |
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| Leonard Bernstein, Betty Comden, Jerome Robbins, and Adolph Green all worked together on this 1944 hit about 3 American sailors growing enamored with women while on leave from duty. Robbins received his "Attila the Hitler" nickname after this show. |
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| Jerome Robbins choreographed this dance-infused hit with additional production from Bernstein on music and Sondheim on lyrics. IMPORTANT b/c it became the youth musical of the generation and caused dance to become the idol of many productions thereafter. |
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| 1946 hit written by Irving Berlin; his first integrated musical. Starred Ethel Merman, featured "You Can't Get a Man with a Gun", story of Annie Oakley. |
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| Cole Porter's big hit from 1948, follows the story of director Fred Graham working on a Broadway-bound musical version of Shakespeare's Taming of the Shrew. First musical to win Best Musical category Tony Award in 1949. |
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| Kurt Weill collaborated on this 1943 show with poet Ogden Nash. Featured Mary Martin as Venus. Is this starting to sound like Jeopardy yet? |
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| Lerner and Loewe's first real musical hit on Broadway. Opened in 1947, about a mythical city in Scotland that appears only one day every century. Featured another foreshadowing love song, "Almost Like Being in Love". |
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| 1956, Lerner & Loewe's biggest hit. Musical version of George Bernard Shaw's Pygmalion. Story of Eliza Doolittle, a little flower girl with a horrific cockney-Brit accent. Henry Higgins works to help her learn to talk like a proper girl and be presentable for the Queen. |
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| 1960 Lerner & Loewe hit, directed by Moss Hart. Became a metaphor for the 3-year presidency of JFK, as it ended in tragedy. Richard Burton played King Arthur, Robert Goulet played Lancelot, Julie Andrews as Guinevere |
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| Forest & Wright took music from Russian classical composer Borodin and adapted it and wrote lyrics for it for this 1953 show which also starred Alfred Drake and Richard Kiley. |
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| 1950 show done by Irving Berlin, featuring Ethel Merman. Followed the story of Perle Mesta, ambassador to Luxembourg. Featured the classic counterpoint song "You're Just in Love", which revolutionzied the concept because it featured Berlin and Merman singing at the same time but at differing tempos and with different lyrics, creating a unique effect. |
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| Cole Porter's 1953 hit that featured French actress Lilo as a cabaret owner. Followed the story of Montmarte showgirls in the 1890s. |
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| Frank Loesser's major hit, came out in 1950. Followed the story of a NY journalist who romanticized the slang of the common folk around Times Square. |
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| Loesser's show after Guys and Dolls, came out in 1956 but wasn't nearly as successful. Nonetheless, it was successful and enjoyed many revivals over the years. Often called an "opera" of sorts. |
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| This 1957 musical, score by Meredith Willson, made stars of Robert Preston (Harold Hill) and Barbara Cook (Marian Paroo). Followed story of a con man who invades a small town and some other things, I forget. |
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| The Unsinkable Molly Brown |
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| Another hit from Meredith Willson, story of Molly Brown, a back hills woman from Colorado who makes a fortune on gold and becomes a survivor of the Titanic. |
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| 1959 hit by Mary Rodgers Guettel and lyrics from Marshall Barer. Featured Broadway debut of Carol Burnett as Princess, Jane White as Queen, Jack Gilford as King. Only time Rodgers' name was really heard. |
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| 1959 hit from George Abbott, first successful show from composer Jerry Bock & lyricist Sheldon Harnick. Story of a Depression Era mayor of NYC, shared best musical Tony with Sound of Music. One of only 8 musicals to win a Pulitzer Prize. |
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| 1963 show with score by Bock & Harnick and produced by Harold Prince. Libretto by Joe Masteroff. Set in 1930s perfume shop, 2 clerks fall in love with each other through letters. |
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| First show for composer Jerry Adler and lyricist Jerry Ross, directed by George Abbott. Opened in 1954, choreographed by Bob Fosse. Featured "Steam Heat", very sensually choreographed as was typical for Fosse. |
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| 1955 show by Fosse, Adler, Ross, and Abbott once again (see Pajama Game). Follows story of Joe Hardy, fan of Washington Senators who trades his soul to the devil to become young and able to help the team become winners. Show lost clout when Washington Senators moved out of town. |
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| 1956 show directed/choreographed by Michael Kidd, based on the comic strip by Al Capp of the same name. Composed by Gene DePaul, lyrics by Jonny Mercer. |
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| Jerome Robbins' 1959 show that followed the story of Rose Hovick who forced Lee Hovick and June Havoc into theater. Was created as a vehicle for Ethel Merman, but she didn't want to work with Sondheim so she demanded Jule Styne write the score and Sondheim wrote the lyrics. Featured the song "Rose's Turn", in which Merman's (Rose's) unrequited dreams of her own stardom and demons come to the surface. |
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| How to Succeed in Business Without Really Trying |
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| Loesser's highly successful show from 1961, choreographed by Fosse, featured the song "Brotherhood of Man". Another one of the 8 shows to win a Pulitzer Prize. |
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| 6 Big successes of the 1960s |
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| Hello, Dolly!, Cabaret, Man of La Mancha, Funny Girl, Fiddler on the Roof, Mame |
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| A Funny Thing Happened on the Way to the Forum |
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| George Abbott's last truly successful show, featured Sondheim as both the lyricist and the composer. Vaudeville style trip through a play done by Roman playwright Plautus. The show won several Tonys, opened in 1962. Sondheim saved the show by adding the song "Comedy Tonight" which introduced the key characters and set the right tone from the get-go. Before this song, the audience reacted ambivalently and wasn't sure what to think. |
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| Huge hit in London, a parody of and homage to the musicals of the 1920s. Title similar to Rodgers & Hart's The Girl Friend (hint). When it was brought to Broadway, it featured the debut of new actress Julie Andrews. |
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| You're a Good Man, Charlie Brown |
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| One of two famous musicals featuring Charles Schultz's comic strip Peanuts. Released in 1967, primary songs were "Summertime", "Happiness", and "A Book Report on Peter Rabbit". Followed up by the sequel Snoopy in 1983. |
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| 1968 show that introduced newcomer Bernadette Peters as a sensual chorus girl who understudies an egotistical star. Parody of large, 1930s Busby Berkeley style flashy shows, all of the producers were/are no-names. |
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| Richard Rodgers' musical that he wrote after Hammerstein was out of the picture, released in 1962. Story of two expatriate Americans in Paris, one black, one white. Featured Diahann Carroll & Richard Kiley as the leads, also had the main song "The Sweetest Sound", haunting. |
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| 1960 show about a furor over an Elvis-like rock star who gets drafted into the Army. Featured a new team of composer Charles Strouse, lyricist Lee Adams. Also marked Dick Van Dyke's first performance on Broadway. Choreography by Gower Champion. |
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| 1964 musical by Jerry Herman and Michael Stewart (libretto). Similar to A Trip to Chinatown, originally a vehicle for Ethel Merman but became lifetime role for Carol Channing. Again was choreographed/directed by Champion. |
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| 1964 hit from Jule Styne and Bob Merrill that documented the life of Fanny Brice. Barbara Streisand was the lead and proved to be very difficult to deal with. Score included "People" and "Don't Rain on my Parade". Jerome Robbins was eventually brought in to solve issues. |
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| 1964 show by Jerome Robbins and Bock & Harnick that followed the story of Tevye, a father of 5 Jewish girls and his attempts to keep his family adhering to Jewish traditions. Each of his daughters' choice of husbands moves the family further away from the Jewish traditions and he must deal accordingly. |
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| Musical adaptation of Don Quixote, came out in 1965. Vehicle for Richard Kiley, featured the song "The Impossible Dream", audience loved it. |
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| 1966 show by Jerry Herman, featuring Angela Lansbury. Featured songs "Open a New Window", "If He Walked into my Life". Set in Great Depression and WWII and features the story of bohemian Mame Dennis. |
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| Kander & Ebb musical from 1966. Focuses on the nightlife at a seedy British club and a cabaret dancer during WWII. One of the 6 highly successful shows of the 1960s. |
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