Oscar Hammerstein II (1895-1960) forged a remarkable, multifaceted career as a librettist, lyricist, playwright, director, and producer. He wrote Carmen Jones, Carousel, Show Boat , and, with longtime collabourator Richard Rodgers, Oklahoma!, South Pacific, The King and I, and The Sound of Music. Hugh Fordin enjoyed complete access to the Hammerstein archives and conducted numerous interviews with family and colleagues like Rodgers, Berlin, Robbins, and Sondheim. The result is the definitive biography of a creative ...
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Oscar Hammerstein II (1895-1960) forged a remarkable, multifaceted career as a librettist, lyricist, playwright, director, and producer. He wrote Carmen Jones, Carousel, Show Boat , and, with longtime collabourator Richard Rodgers, Oklahoma!, South Pacific, The King and I, and The Sound of Music. Hugh Fordin enjoyed complete access to the Hammerstein archives and conducted numerous interviews with family and colleagues like Rodgers, Berlin, Robbins, and Sondheim. The result is the definitive biography of a creative giant, who changed forever the texture of American theatre.
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On September 1st, 1960, the lights went out on Broadway, the ultimate tipping of the hat, the bowing of the head, in deference to greatness. This time it was for Oscar Hammerstein II, that giant of show business, that lyricist and librettist extraordinaire, who with Jerome Kern penned "Showboat", and later with Richard Rodgers, "Oklahoma", "Carousel", "South Pacific", "The King And I" and "The Sound Of Music".
Born into a show business dynasty, Hammerstein was first persuaded to study Law, but later followed his heart by writing for the stage. After a success with "Rose Marie", he and Kern wrote many shows until they hit the big one, "Showboat", which was an innovative musical because both Hammerstein and Kern believed firmly in the music progressing the plot. After Kern's death, he teamed up with Richard Rodgers and his talents were given free rein, with show after show producing as many as six hit classics.
This is a comprehensive biography, one you can get your teeth into, with spine-tingling moments, such as the coming together of "Oklahoma" and its first night. Hammerstein comes over as a bear of a man, a kind, thoughtful, loving husband and a loyal friend, so it is with shock that on pages 272-on, the reader learns that he is capable of the opposite. Josh Logan collaborated on the script of "South Pacific" extensively, and wanted credit. Hammerstein agreed and then reneged. Logan would not receive royalties nor part of the copyright, and book credit would be in smaller typeface than that of the music and lyrics.
All that being said, Baroness Von Trapp said Hammerstein had the demeanour of a saint, and his fight with stomach cancer was truly noble: he made sure he saw his close family and friends one by one, made arrangements for his wife, Dorothy, and his children, and died like a king. The last few pages will choke up many a reader who will probably agree that here was a once-in-a-lifetime talent and a great man.
