Falling in Love With the New Style:
A Revolution on Broadway
I smile at him as he sings softly to me. I’ve fought love for so long, but my anxiety melted away with his soothing voice. I could stay in this moment forever. Just the two of us. I was falling in love, but for so long I had denied the idea and the feeling. Could I change my mind now? Could I face the condescending reactions of other people? But I began to think it would be worth it. -Juliette Sorensen
I wrote the piece above to portray the relationship of Laurey and Curly in the Broadway musical Oklahoma!. The songs and characters in Oklahoma! were much different than any other play before. Oklahoma introduced fresh and new characters, songs, and dancing that had never been produced before. Oklahoma! revolutionized Broadway musicals in the 1930’s by making music and dancing an integral part of the play, relating to the audience with a common theme, and transforming production.
The most notable change in the musical was the music. Rodgers and Hammerstein, the writers of the play Oklahoma!, created music to develop the characters and plot. One example is the song People Will Say we’re in Love (Oklahoma! 33 ). This song effectively illustrates the budding relationship of Laurey and Curly.
LAUREY (Follows him): Don't sigh and gaze at me, Your sighs are so like mine, (CURLY turns to embrace her, she stops him) Your eyes mustn't glow like mine— People will say we're in love! Don't start collecting things CURLY (Spoken): Like whut? LAUREY: Give me my rose and my glove. (He looks away guiltily) Sweetheart, they're suspecting things— People will say we’re in love!(27).
In this part of the song, Laurey and Curly acknowledge that they are falling in love, but they are hesitant. They address each other fondly, but reiterate the fact they don’t want others to know they are in love. This song gives us insight into Laurey’s internal conflict of her relationship with Curly. After the new love birds sing People will say we’re in love (26).Curly gets up to leave as Laurey pines after him.
(She watches him as he exits UP LEFT, then sits on rocker crying softly, and starts to sing) Don't sigh and gaze at me, Your sighs are so like mine, Your eyes mustn’t glow like mine— (Music continues. She chokes up, can’t go on. AUNT ELLER has come out and looks with great understanding.” (27-28)
Laurey’s subtle sighs, her endearing gaze, and stolen looks as he turns away, reveals her conflicting emotions. This song is crucial in Laurey’s character development.
Another important modification was the removal of “cigarette” songs, which were common in Broadway musicals before the 1930’s. Cigarette songs were extravagant and flashy and had no correlation to the plot. In Oklahoma! these disappeared. Instead, the writers created lyrics that were integral with the plot and setting. For example in the song Kansas City, Will describes how the town has grown. He talks about seeing skyscrapers, and cars and other amazing new technology. Through vivid descriptions, Will’s personality is exemplified. We get a glimpse of Kansas City and infer that Claremore does not have the same technical advancements as Kansas and clearly illustrates his simple town.
Another difference with this play was how it was produced. One of the major differences Rodgers and Hammerstein made was to not hire expensive, famous actors and actresses of the day. Musicals in the 1930’s typically hired popular actors and actresses. In contrast Rodgers and Hammerstein hired Shirley Jones, a “non-star” actress, to play Laurey . Rodgers and Hammerstein specifically looked for people who could both act and sing to create the ultimate performance. The actors just had to be talented. When Rodgers and Hammerstein did this, people criticized them because it was unusual and different (Mroczka).
Rodgers and Hammerstein not only produced their own soundtrack, but created their own publishing company, Williamson Music. This was another unusuality. While this change was not emulated in future Broadway musicals, it was a unique position that Oklahoma! took (Rodgers & Hammerstein).
Another adjustment Rodgers and Hammerstein made was to choreograph dancing dancing to develop characters and the plot. They hired the ballet dancer Agnes de Mille to choreograph the dances in the play. As this was her first time doing this, people were very doubtful of her skills (Razze). But her skills actually made a big difference in how the characters were portrayed and made them more realistic and relatable (Mroczka).
One of her most notable dances in this play was her “dream ballet” that she choreographed for Laurey. During the rehearsals of the play Agnes de Mille took her own experience as a teenage girl to help create a true to life character and emotional dance, which showed plot and development of the character Laurey. Instead of a flashy dance, Agnes made a meaningful movement of expression.
Another adaptation Rodgers and Hammerstein made was not to glamorize the elite class like most of the plays at the time. The characters of Oklahoma! were simple country folk and the play was about the struggles of their less fortunate lives. Instead the plot focuses on country folk, and the struggles of the less fortunates lives. This fresh worldview made Oklahoma! unexpectedly relatable to the people who endured the strenuous and financial strain of the Great Depression. “Oklahoma! was about home, family, love, and the triumph of good over evil—precisely what Americans were fighting for”(Malet).
The characters all have relatable situations but not necessarily similar problems. So it has creative story, but still has pertinent characters. Another interesting point of the play was that it was not centered around fame at all. The resolution of the play was not that they got rich or became successful, but they found love. This plot line was particularly relatable because most people did not become rich, but are able to find love. This is a wonderful change from most plots.
Section 5
After Oklahoma! finished showing, it left behind a legacy of greatness that most plays thereafter emulated. The play Big River: The Tales of Huckleberry Finn took this example of the play to heart and fashioned it similar to it. Oklahoma! was only the first of many plays that used these same concepts.
The play Oklahoma! was truly different and unique. It set a high bar for public entertainment. Rodgers and Hammerstein cleverly utilized music and dancing. They created relatable characters and plots and ultimately changed the way plays were produced. Their new ideas sparked a revolution. I saw this concept in the play Wicked that I watched recently. The way the producers used the music was similar and was vital to plot and character development. While the relatability of the characters and plot were minimal due to the magical content, I was still able to relate to the theme of solving difficult situations. Oklahoma! changed the game and set a lofty goal for all future musicals.
I smiled as he kissed me. It had all worked out. He saved me and brought me home. I felt so much joy that my face began to hurt from smiling. He loved me, and I loved him, and that is all that matters. -Juliette Sorensen
The most notable change in the musical was the music. Rodgers and Hammerstein, the writers of the play Oklahoma!, created music to develop the characters and plot. One example is the song People Will Say we’re in Love (Oklahoma! 33 ). This song effectively illustrates the budding relationship of Laurey and Curly.
LAUREY (Follows him): Don't sigh and gaze at me, Your sighs are so like mine, (CURLY turns to embrace her, she stops him) Your eyes mustn't glow like mine— People will say we're in love! Don't start collecting things CURLY (Spoken): Like whut? LAUREY: Give me my rose and my glove. (He looks away guiltily) Sweetheart, they're suspecting things— People will say we’re in love!(27).
In this part of the song, Laurey and Curly acknowledge that they are falling in love, but they are hesitant. They address each other fondly, but reiterate the fact they don’t want others to know they are in love. This song gives us insight into Laurey’s internal conflict of her relationship with Curly. After the new love birds sing People will say we’re in love (26).Curly gets up to leave as Laurey pines after him.
(She watches him as he exits UP LEFT, then sits on rocker crying softly, and starts to sing) Don't sigh and gaze at me, Your sighs are so like mine, Your eyes mustn’t glow like mine— (Music continues. She chokes up, can’t go on. AUNT ELLER has come out and looks with great understanding.” (27-28)
Laurey’s subtle sighs, her endearing gaze, and stolen looks as he turns away, reveals her conflicting emotions. This song is crucial in Laurey’s character development.
Another important modification was the removal of “cigarette” songs, which were common in Broadway musicals before the 1930’s. Cigarette songs were extravagant and flashy and had no correlation to the plot. In Oklahoma! these disappeared. Instead, the writers created lyrics that were integral with the plot and setting. For example in the song Kansas City, Will describes how the town has grown. He talks about seeing skyscrapers, and cars and other amazing new technology. Through vivid descriptions, Will’s personality is exemplified. We get a glimpse of Kansas City and infer that Claremore does not have the same technical advancements as Kansas and clearly illustrates his simple town.
Another difference with this play was how it was produced. One of the major differences Rodgers and Hammerstein made was to not hire expensive, famous actors and actresses of the day. Musicals in the 1930’s typically hired popular actors and actresses. In contrast Rodgers and Hammerstein hired Shirley Jones, a “non-star” actress, to play Laurey . Rodgers and Hammerstein specifically looked for people who could both act and sing to create the ultimate performance. The actors just had to be talented. When Rodgers and Hammerstein did this, people criticized them because it was unusual and different (Mroczka).
Rodgers and Hammerstein not only produced their own soundtrack, but created their own publishing company, Williamson Music. This was another unusuality. While this change was not emulated in future Broadway musicals, it was a unique position that Oklahoma! took (Rodgers & Hammerstein).
Another adjustment Rodgers and Hammerstein made was to choreograph dancing dancing to develop characters and the plot. They hired the ballet dancer Agnes de Mille to choreograph the dances in the play. As this was her first time doing this, people were very doubtful of her skills (Razze). But her skills actually made a big difference in how the characters were portrayed and made them more realistic and relatable (Mroczka).
One of her most notable dances in this play was her “dream ballet” that she choreographed for Laurey. During the rehearsals of the play Agnes de Mille took her own experience as a teenage girl to help create a true to life character and emotional dance, which showed plot and development of the character Laurey. Instead of a flashy dance, Agnes made a meaningful movement of expression.
Another adaptation Rodgers and Hammerstein made was not to glamorize the elite class like most of the plays at the time. The characters of Oklahoma! were simple country folk and the play was about the struggles of their less fortunate lives. Instead the plot focuses on country folk, and the struggles of the less fortunates lives. This fresh worldview made Oklahoma! unexpectedly relatable to the people who endured the strenuous and financial strain of the Great Depression. “Oklahoma! was about home, family, love, and the triumph of good over evil—precisely what Americans were fighting for”(Malet).
The characters all have relatable situations but not necessarily similar problems. So it has creative story, but still has pertinent characters. Another interesting point of the play was that it was not centered around fame at all. The resolution of the play was not that they got rich or became successful, but they found love. This plot line was particularly relatable because most people did not become rich, but are able to find love. This is a wonderful change from most plots.
Section 5
After Oklahoma! finished showing, it left behind a legacy of greatness that most plays thereafter emulated. The play Big River: The Tales of Huckleberry Finn took this example of the play to heart and fashioned it similar to it. Oklahoma! was only the first of many plays that used these same concepts.
The play Oklahoma! was truly different and unique. It set a high bar for public entertainment. Rodgers and Hammerstein cleverly utilized music and dancing. They created relatable characters and plots and ultimately changed the way plays were produced. Their new ideas sparked a revolution. I saw this concept in the play Wicked that I watched recently. The way the producers used the music was similar and was vital to plot and character development. While the relatability of the characters and plot were minimal due to the magical content, I was still able to relate to the theme of solving difficult situations. Oklahoma! changed the game and set a lofty goal for all future musicals.
I smiled as he kissed me. It had all worked out. He saved me and brought me home. I felt so much joy that my face began to hurt from smiling. He loved me, and I loved him, and that is all that matters. -Juliette Sorensen
Work Cited
Malet, Jeff. ""Oklahoma!" a Historical Perspective." The Georgetowner. Georgetown
Media Group, 17 Nov. 2010. Web. 22 Mar. 2017.
Mroczka, Paul. "Broadway Show History: Oklahoma! The Musical that Many
Doubted." Broadway Scene. 2015 BroadwayScene.com, 20 May 2013. Web. 23 Mar. 2017.
Rodgers and Hammerstein. Oklahoma!, R&H Theatricals, 1943
"Oklahoma!" Oklahoma! TheatreHistory.com, 2002. Web. 22 Mar. 2017. Source 3-
Razze, Dennis. "Legendary Musical Sparked Revolution ." The Quill (2013):
n. pag. Web.
Rodgers & Hammerstein :: Our History. Rodgers & Hammerstein :: Our History. Web. 23
Mar. 2017.
Malet, Jeff. ""Oklahoma!" a Historical Perspective." The Georgetowner. Georgetown
Media Group, 17 Nov. 2010. Web. 22 Mar. 2017.
Mroczka, Paul. "Broadway Show History: Oklahoma! The Musical that Many
Doubted." Broadway Scene. 2015 BroadwayScene.com, 20 May 2013. Web. 23 Mar. 2017.
Rodgers and Hammerstein. Oklahoma!, R&H Theatricals, 1943
"Oklahoma!" Oklahoma! TheatreHistory.com, 2002. Web. 22 Mar. 2017. Source 3-
Razze, Dennis. "Legendary Musical Sparked Revolution ." The Quill (2013):
n. pag. Web.
Rodgers & Hammerstein :: Our History. Rodgers & Hammerstein :: Our History. Web. 23
Mar. 2017.