Best Selling Books by Richard Rodgers

Tells the story of a romance backstage at a long-running musical: assistant stage manager Larry woos chorus girl Jeanie behind the back of her electrician boyfriend, Bob.

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!”

An illustrated collection of sixteen songs by Rogers and Hammerstein.

"Material contained herein, in a different form, copyrighted 1951 by Richard Rogers and Oscar Hammerstein II, renewed 1979."--Title page verso.

On a South Pacific island during World War II, love blooms between a young nurse and a secretive Frenchman who''s being courted for a dangerous military mission.

Simply Rodgers and Hart is a collection of the most famous songs by Richard Rodgers (1902--1979) and Lorenz Hart (1895--1943). These have been carefully selected and arranged by Matt Hyzer for Easy Piano, making many of Rodgers and Hart’s most enduring melodies accessible to pianists of all ages. Phrase markings, articulations, fingering, pedaling and dynamics have been included to aid with interpretation, and a large print size makes the notation easy to read. Titles: * Bewitched, Bothered and Bewildered * Blue Moon * The Blue Room * Dancing on the Ceiling * Falling in Love with Love * Have You Met Miss Jones? * He Was Too Good to Me * I Could Write a Book * I Didn’t Know What Time It Was * I Wish I Were in Love Again * It Never Entered My Mind * Johnny One Note * The Lady Is a Tramp * Mountain Greenery * My Funny Valentine * My Heart Stood Still * There’s a Small Hotel * Where or When * With a Song in My Heart * You Are Too Beautiful * You Took Advantage of Me. 80 pages.

Pipe Dream is the seventh musical by the team of Richard Rodgers and Oscar Hammerstein II; it premiered on Broadway on November 30, 1955. The work is based on John Steinbeck''s short novel Sweet Thursday - Steinbeck wrote the novel, a sequel to Cannery Row, in the hope of having it adapted into a musical. Set in Monterey, California, the musical tells the story of the romance between Doc, a marine biologist, and Suzy, who in the novel is a prostitute; her profession is only alluded to in the stage work. Pipe Dream was a flop and a financial disaster for Rodgers and Hammerstein.

The genius of Rodgers and Hart sparkles in this collection, skillfully arranged by Jan Sanborn for advanced pianists. This volume revisits their best songs, casting them in the rich voice of the piano. Wonderful musical moments are certain to provide hours of enjoyment for the pianist who wishes to be a Popular Performer. Titles: * Bewitched, Bothered and Bewildered * Blue Moon * Dancing on the Ceiling * Falling In Love with Love * I Could Write a Book * Mountain Greenery * My Funny Valentine * Where or When * With a Song in My Heart.

St. James Theatre, Rodgers and Hammerstein present Gertrude Lawrence in a new musical play, "The King and I, " music by Richard Rodgers, book and lyrics by Oscar Hammerstein, 2nd. based on the novel "Anna and the King of Siam, " by Margaret Landon, with Yul Brynner, Dorothy Sarnoff, Doretta Morrow, directed by John Van Druten, settings and lighting by Jo Mielziner, costumes designed by Irene Sharaff, choreography by Jerome Robbins, orchestrations by Robert Russell Bennett, musical direction by Frederick Dvonch.

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.

Forty-sixth Street Theatre, Richard Rodgers presents "Do I Hear A Waltz," a new musical starring Elizabeth Allen, Sergio Franchi, music by Richard Rodgers, lyrics by Stephen Sondheim, book by Arthur Laurents, based on the play, "The Time of the Cuckoo" by Arthur Laurents, directed by John Dexter, featuring Madeleine Sherwood, Julienne Marie, Stuart Damon, Fleury D''Antonakis, Jack Manning, Christopher Votos, James Dybas and Carol Bruce, choreography by Herbert Ross, scenery and costumes by Beni Montresor, lighting by Jules Fisher, orchestrations by Ralph Burns, musical director Frederick Dvonch, dance music arranged by Richard de Benedictis, choreographic associate Wakefield Poole, production stage manager Jean Barrere.