A Quote by Stephen Sondheim
After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
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The genius of Rodgers and Hammerstein is that their songs become a part of the DNA of the audience.
I'm a Mexican girl from California, and I never grew up thinking I could be in a Rodgers and Hammerstein musical. I didn't really see myself in that. Not that I didn't grow up loving Rodgers and Hammerstein, but I don't know - I just never put myself there.
In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century.
The music and lyrics of Rodgers & Hammerstein connect seamlessly. Singing those beautiful songs was a joyous experience for me, and one that I will never forget.
And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.
Starting a band is the easy part. Once you've formed the band, you have to tell a story, and that story requires songs. And not just good songs, but great songs. After a while, great songs won't do - they have to be the best. Success doesn't make it any easier. Each time I start a new record, it's a brand-new search.
Neck-down comedy was no longer valid after the 1980s alternative comedy revolution. Everything became about the cerebral. And with that came positive things - it helped get rid of some of the sexism and homophobia - but it also meant a lot of physical comedy was lost.
Not being a natural songwriter... for me the appreciation of a great song and the writers came early on, growing up in a musical family. My dad got to sing songs by some of the greatest writers of all time, Rodgers and Hammerstein.
I've been singing Rodgers and Hammerstein all my life.
Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
In the Rodgers and Hammerstein generation, popular hits came out of shows and movies.
I've never met a Mormon I didn't like. They're really nice people. They're so Disney. They're so Rodgers and Hammerstein.
I have only one bit of advice to beginning writers: be sure your novel is read by Rodgers and Hammerstein.
I have only one bit of advice to the beginning writer: Be sure your novel is read by Rodgers and Hammerstein.
I feel very fortunate to have been associated with people such as Rodgers and Hammerstein. I think they were geniuses of their time.
For me, when you are talking about perfect songs, you're talking about Gershwin, 'Someone To Watch Over Me.' Or Larry Hart and Richard Rodgers. Or some of the great Cole Porter songs, whether it's 'Night and Day' or some of the comedy songs. Or Irving Berlin, of course.
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