Oklahoma! (February/March 1993 | Volume: 44, Issue: 1)

Oklahoma!

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Authors: John Steele Gordon

Historic Era: Era 8: The Great Depression and World War II (1929-1945)

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February/March 1993 | Volume 44, Issue 1

Only in retrospect does it seem surprising that there were empty seats in the St. James Theatre the night Oklahoma! opened, on March 31, 1943.

After all, no member of the cast could have remotely been called a star. The Theatre Guild, which produced it, was at the end of its financial rope after a disastrous series of failure. Agnes de Mille, the choreographer, well known and respected in the small world of serious dance, had not yet had a Broadway success. Rouben Mamoulian, principally a film director, had done only one prior Broadway musical, Porgy and Bess , an artistic success but a financial failure. Richard Rodgers, for the first time in his career, was writing songs with someone other than Lorenz Hart, and no one, including himself, knew how he would do. Oscar Hammerstein II, meanwhile, had had six Broadway flops in a row.

The smart money certainly wasn’t expecting much. The producer Mike Todd, who walked out after the first act during the show’s New Haven tryout, had returned to New York to wisecrack, “No legs, no jokes, no chance.”

But Mike Todd was wrong. Instead Samuel Johnson, as usual, had proved to be right, and the prospect of being hanged, at least professionally, had concentrated minds wonderfully. The next day the reviews were nearly unanimous raves, and Mike Todd was hastily denying he had ever bad-mouthed the show. The police had to be summoned to cope with a near-riot at the box office. Oklahoma! won a special Pulitzer Prize. By the time it closed half a decade later, Oklahoma! had run more than three times as long as any book musical in history. Its investors earned thirty-three dollars in return for each one they had risked. And the following seventeen years are still remembered on Broadway as the Rodgers and Hammerstein era.

The show that had had no chance became the most important musical in Broadway history.

Richard Rodgers was born in New York City in 1902 into a prosperous family. His father was a doctor (as, later, would be his older brother, Mortimer). Although no relative had ever been a professional musician, there was a strong family love of music. His mother played the piano well, and group singing of the latest hit songs was a common evening’s entertainment in the household. Rodgers, at a very early age, showed extraordinary musical aptitude, playing easily by ear. Before long he was displaying that rarest of all musical talents, a gift for melody, picking out tunes of his own devising.

 
Its investors earned 33 times what they risked, and the next 17 years became the Rodgers and Hammerstein era.

He soon decided on a career in the theater, and his family, most unusually, encouraged him in this, even backing his decision to transfer from Columbia University to