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"The return to New York in 2002 of Rodgers and Hammerstein's Flower Drum Song was considered the most revolutionary chapter in the history of Broadway revivals. Drawing upon interviews with members of the original and the revival casts, whose first-hand accounts enliven the narrative, David H. Lewis charts the difficult production history of Flower Drum Song"--Provided by publisher.
Originally published in 1957, The Flower Drum Song was a groundbreaking work of popular literature. An immediate bestseller, it inspired the classic Rodgers and Hammerstein musical. This charming, bittersweet tale of romance and the powerful bonds of family tells the story of Wang Ta, who wants what every young American man wants: a great career and a woman to love. Living in San Francisco's Chinatown-with his widowed father, Old Master Wang, who misses the old way of life in China, and his younger brother, who just wants to be a normal American teenager-Wang Ta becomes involved with a series of women as he searches for love and the American dream. Comic, poignant, and sexy, The Flower Drum Song is an astute portrayal of immigrants struggling with assimilation. This edition features a new introduction by David Henry Hwang.
Originally published in 1957, one of the first novels of the Chinese-American experience is now back in print to tie in with the Broadway revival.
Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.
"Even before they joined forces, Richard Rodgers and Oscar Hammerstein II had written dozens of Broadway shows, but together they pioneered a new art form: the serious musical play. Their songs and dance numbers served to advance the drama and reveal character, a sharp break from the past and the template on which all future musicals would be built. [This is a portrait of that creative partnership]"--Amazon.com
From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric. Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air, and their masterpiece, Show Boat. The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet. In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma!, merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella). Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys. Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.” All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.
Intro -- Relocation, or a travelin' girl -- Don't fence me in -- A tisket, a tasket, a brown and yellow basket... -- From a broken past into the future -- Twice as good -- Shall we dance! -- School daze -- Chop suey -- We shall overcome -- Power to the people -- A single stone, many ripples -- Something about me today -- The people's beat -- A song for ourselves -- Nosotro somos Asiaticos -- Foster children of the Pepsi Generation -- A grain of sand -- Free the land -- What will people think? -- Some things live a moment -- How to mend what's broken -- Women hold up half the sky -- Our own chop suey -- What is the color of love? -- Talk story -- Yuiyo, just dance -- Float hands like clouds -- Deep is the chasm -- To all relations -- Bismillah Ir Rahman Ir Rahim -- The seed of the dandelion -- I dream a garden -- Mottainai : waste nothing -- Black Lives Matter -- Bambutsu : all things connected -- Epilogue.
(Vocal Collection). The most accomplished composer in the history of the American musical theatre was Richard Rodgers (1902-1979), with a professional career on Broadway that spanned more than 50 years. In an edition designed especially for singers, 45 songs have been carefully chosen from both the Rodgers & Hart and Rodgers & Hammerstein output. Contents: Bewitched (PAL JOEY) * Climb Ev'ry Mountain (THE SOUND OF MUSIC) * Do I Love You Because You're Beautiful? (CINDERELLA) * Edelweiss (THE SOUND OF MUSIC) * Falling in Love with Love (THE BOYS FROM SYRACUSE) * Hello, Young Lovers (THE KING AND I) * I Could Write a Book (PAL JOEY) * I Didn't Know What Time It Was (TOO MANY GIRLS) * I Have Dreamed (THE KING AND I) * I Wish I Were in Love Again (BABES IN ARMS) * If I Loved You (CAROUSEL) * Isn't It Romantic? (LOVE ME TONIGHT) * It Might as Well Be Spring (STATE FAIR) * It Never Entered My Mind (HIGHER AND HIGHER) * The Lady Is a Tramp (BABES IN ARMS) * Love, Look Away (FLOWER DRUM SONG) * Manhattan (THE GARRICK GAIETIES) * My Favorite Things (THE SOUND OF MUSIC) * My Funny Valentine (BABES IN ARMS) * My Heart Stood Still (ONE DAM THING AFTER ANOTHER) * My Lord and Master (THE KING AND I) * My Romance (JUMBO) * No Other Love (ME AND JULET) * Nobody's Heart (BY JUPITER) * Oh, What a Beautiful Mornin' (OKLAHOMA!) * People Will Say We're in Love (OKLAHOMA!) * Some Enchanted Evening (SOUTH PACIFIC) * Something Wonderful (THE KING AND I) * The Sound of Music (THE SOUND OF MUSIC) * The Surrey with the Fringe on Top (OKLAHOMA!) * The Sweetest Sounds (NO STRINGS) * Ten Cents a Dance (SIMPLE SIMON) * There's a Small Hotel (ON YOUR TOES) * This Can't Be Love (THE BOYS FROM SYRACUSE) * This Nearly Was Mine (SOUTH PACIFIC)* Thou Swell (A CONNECTICUT YANKEE) * To Keep My Love Alive (A CONNECTICUT YANKEE) * Where or When (BABES IN ARMS) * With a Song in My Heart (SPRING IS HERE) * A Wonderful Guy (SOUTH PACIFIC) * You Are Never Away (ALLEGRO) * You Took Advantage of Me (PRESENT ARMS) * You'll Never Walk Alone (CAROUSEL) * You're Nearer (TOO MANY GIRLS) * Younger Than Springtime (SOUTH PACIFIC)