
Rodgers and Hammerstein wrote nine musicals together. Five are legendary hits: Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music. (Flower Drum Song was a success, but not in the same league as the golden five.) They wrote one film musical, State Fair, and the TV special Cinderella, starring Julie Andrews. They were also hugely canny producers. Irving Berlin's Annie Get Your Gun was but one of the works they produced that was not their own. Their flops Allegro, Me and Juliet and Pipe Dream were probably a result, as much as anything, of their trying too consciously to be innovative.
What sets the great Rodgers and Hammerstein musicals apart for me is their directness and their awareness of the importance of construction in musical theater. Years ago, I played through the piano score of South Pacific. It is staggering how skillfully reprises are used as scene-change music that sets up a following number or underlines a previous point. It could only be the product of a hugely close relationship in which each partner sensed organically where the other, and the show, was going.
After Hammerstein's death from cancer in 1960, Rodgers valiantly plowed on. He worked with Stephen Sondheim on a musical, Do I Hear a Waltz? An attempt at a collaboration with Alan Jay Lerner, lyricist of My Fair Lady, came to nothing. I can vouch for Alan's never having had the almost puritanical discipline that Rodgers found so satisfactory in Hammerstein. Sadly, too, with one or two exceptions, the post-Hammerstein melodies paled against Rodgers' former output. Who can say why? Perhaps it was simply the lack of the right partner to provide inspiration and bring out the best in him. Musical partnerships are, after all, like marriages built on a chemistry that is intangible, perhaps not even definable. Nearly 40 years later, the partnership of Rodgers and Hammerstein has not yet been equaled. It probably never will be.
Andrew Lloyd Webber's latest show, Whistle Down the Wind, opens on July 1 in London
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