Rodgers and Hammerstein's 'Carousel' Quiz

Answer: No

Both composer Richard Rodgers and lyricist Oscar Hammerstein has previous successful partnerships (especially Rodgers and Hart, Kern and Hammerstein), but their first collaboration, the 1943 musical 'Oklahoma!' is generally seen as a pivot point in the stage musical. It was the first to fully integrate the story line and the musical interludes; previously, shows had been more a series of song and dance numbers loosely connected by a story line, often with little relationship between the plot and the songs. Rodgers and Hammerstein produced what are now called book musicals, where the plot is advanced, rather than interrupted, by the musical numbers.

The writing of 'Oklahoma!' came about because both Rodgers and Hammerstein were interested in a musical based on the play 'Green Grow the Lilacs', but neither of them could interest their current partner in the project. The two had worked together much earlier, on 1920 Varsity Show at Columbia University, and reunited for this project. Its overwhelming success led to a continuation of the partnership, producing the major hits 'Carousel' (1945), 'South Pacific' (1949), 'The King and I' (1951), and 'The Sound of Music' (1959). Along the way there were several films, and a musical written for television - 'Cinderella' in 1957 - and several successful (but not quite the blockbusters of their big five) musicals.

Answer: There is none.

Richard Rodgers wrote in his autobiography that he disliked the way theatre patrons wandered in and took their seats during the overture, and was also unhappy with the way the brass instruments dominated the sound as the orchestra tried to be heard over the entering audience. So he decided to start off with the first scene.

As a bit of a compromise, this was a dance scene that set the stage by showing some of the main characters interacting with each other, so those who were still making their way in didn't make life difficult for actors trying to deliver their lines.

Answer: Maine coast

'Liliom' was actually a flop when it debuted in 1909, but a revival after World War I found a receptive audience, and an English version found success on Broadway in 1921. Members of the Theatre Guild which had produced both the 1921 and 1932 Broadway productions of 'Liliom' and 'Oklahoma!', tried to convince Rodgers and Hammerstein to work their magic on 'Liliom'. However, they saw two main obstacles to overcome before it would make a successful musical. One was the thoroughly grim second act, in which the main characters spiral to despair. The second was the setting, as the Budapest background was not one that Rodgers and Hammerstein felt comfortable using. They considered a move to Louisiana, but finally settled on Maine, where a fresh-faced and naive female lead would, in their opinion, fit nicely. The name of the male lead was changed from Liliom to the more American-sounding Billy.

Another obstacle to the production involved Molnár's resistance to previous proposals to use his play as the basis for a musical. However, the Theatre Guild arranged for him to see a performance of 'Oklahoma!', and he was so impressed with the sensitivity of that adaptation that he agreed to sell the rights to a musical version of his play to the Theatre Guild in 1943.

Answer: Agnes de Mille

Agnes de Mille was always part of the production team, there to choreograph the 40-minute-long ballet scene in the second act, following the success of her ballet in 'Oklahoma!'. But the opening pantomime was staged by the director, Rouben Mamoulian, until just before opening night. Final rehearsals were not going well, and the awkward movement of the actors in the pantomime was one issue that could be identified and addressed. Agnes de Mille restaged it, developing a suitably flowing feel to introduce the characters. As Julie and her friend Carrie join the other townsfolk in enjoying the carousel, she catches the eye of the barker, Billy Bigelow, and the scene is set.

Miles White designed the costumes, while Jo Mielziner was the scenic and lighting designer. He was the only one of the four listed who had not also been involved with 'Oklahoma!'.

Answer: a sphink

As Carrie tries to get Julie to talk about her feelings for Billy, she goes through a number of ways in which Julie's behavior is baffling.

"You're a queer one, Julie Jordan
You won't ever tell a body what you think
You're as tight-lipped as an oyster
And as silent as an old Sahara sphink!"

When Julie tells her that the word is sphinx, Carrie replies that is only when there is more than one; the singular is sphink: one sphink, two sphinks. Julie points out the proper spelling of the word; end of conversation and time to move on to Carrie's beau.

Answer: fisherman

Although they got engaged the previous evening, Carrie does not use his first name, but always refers to him as Mr Snow in this song. She describes his trade as a bit of an obstacle at first - so much time at sea, so fishy a smell to him and his clothes when he returns - but tells Julie that once she fell in love none of that mattered. She finishes with a glowing description that contains a slight foreshadowing of possible future issues:

"For I love that Mister Snow-
That young, seafarin', bold and darin',
Big, bewhiskered, overbearin',
Darlin' Mister Snow!"

Answer: Elvis Presley

Elvis did perform the song in concert, and a recording of it was included in the 1999 album 'Home Recordings', but he was not one of those with a hit recording in 1945. Perry Como's version reached the highest position on the charts, at #3; Frank Sinatra's reached #7, while Bing Crosby and Harry James both made it to #8.

The lyrics for the song were based on dialogue from 'Liliom', in which Liliom and Julie try to discuss their feelings for each other, but are unable to express them openly. In 'Carousel', Billy and Julie similarly skirt around an open declaration of love. The reprise near the end of the show has Billy once again trying to express his love, this time for his daughter Louise.

Answer: summer

'June is Bustin' Out All Over' is the ensemble piece in question, sung by the townsfolk as they get ready for the annual town party. This song contains a factual error - not one most who see the show would notice, let alone care about, but still there. The verse about the sheep suggests that June is a time when mating occurs, when that actually happens months earlier, in winter; June is lambing time.

"All the rams that chase ewe sheep
Are determined there'll be new sheep,
And the ewe sheep aren't even keepin' score!"

Still, the lyrics contribute to the general sense of energy and optimism of the song, reflecting that of the townsfolk, and contrasting to the developing unease we sense over the relationship between Julie and Billy.

Answer: He might be a girl.

This song places a heavy load on the singer, as that is a long time to sing on your own, with no chorus to chime in and give you a slight break. When Billy starts to consider parenthood in terms of responsibility to a daughter, rather than just having a young version of himself to play with, the song slows down and becomes more reflective. As he notes,

"You can have fun with a son,
But you got to be a father
To a girl!"

By the finish, Billy has decided that he needs to participate in the proposed robbery in order to provide some financial security for his family, and the tragedy of the second act becomes inevitable.

Answer: Annual clambake

'It's Been a Real Nice Clambake' is the opening ensemble number of Act Two. The end of Act One saw everyone heading off to the beach, with Billy and Jigger (the one who roped him into the planned robbery) going along to provide themselves with an alibi. This upbeat number marks the final turning point, as things are going to be rough from now on for Julie and Billy (and, arguably, for Carrie, who is going to end up with many more children than she really wanted).

"This was a real nice clambake,
We're mighty glad we came.
The vittles we et
Were good, you bet,
The company was the same.
Our hearts are warm, our bellies are full,
And we are feeling prime.
This was a real nice clambake,
And we all had a real good time.
We said it 'afore and we'll say it again,
We all had a real good time!"

Answer: No

In fact, it was an absolute disaster. While Billy and Jigger waited for Mr Bascombe to come past with the mill's takings so they could steal the money, they played cards. Billy lost his share of the profits due to some poor luck with the cards (and maybe a bit of cheating), so he now has nothing to gain even if they are successful. Since Mr Bascombe had already deposited the money, the attempted theft is fruitless, and Mr Bascombe produces a gun as a counter to Billy's knife. Jigger escapes and Billy stabs himself, dying just after Julie's arrival.

Answer: her cousin, Nettie

Juie and Billy had been living with her cousin since their marriage, and Nettie arrives with Carrie and Mr Snow to support Juliet in her distress. The song 'You'll Never Walk Alone' marks the point where 'Carousel' departs definitively from the ultimate despair of 'Liliom', and moves to showing the possibility of hope in a better future. Rodgers and Hammerstein wanted to impart this message, with the show opening during the last stages of World War II, and many people having experienced personal tragedy from that conflict. It is reprised at the end of the show, as the ensemble works to encourage Louise to face her future with courage and hope.

'You'll Never Walk Alone' was a pop hit in 1963 when it was recorded by the Liverpool group Gerry and the Pacemakers, and fans of the Liverpool Football Club made it a tradition to sing the song in support of their team. It remains their official team anthem, and has been picked up by other clubs around the world.

Answer: star

The ballet lasts for over half an hour, so when the Starkeeper tells Billy that 15 years have passed since his death, it doesn't seem all that surprising! It is followed by a scene in which the Snow family are getting ready for the high school graduation, which involves their oldest son and Louise.

The two teens get into a fight about each other's father, and Billy makes himself visible to Louise, offering the star as a comforting gift. When she refuses it, he angrily slaps her and makes himself invisible, dropping the star.

Answer: like a kiss

Julie says that she totally understands that a blow can feel like a kiss, in one of the scenes which a contemporary audience may well find difficult to accept. Even though Billy had hit her, repeatedly, she accepted that as just a part of his effort to express his love.

When she picks up the star he dropped, she feels his presence and sings a reprise of 'If I Loved You', expressing again her love and their mutual difficulty in expressing it.

Answer: Yes

Unlike the original, in which Liliom fails in his attempt, and is presumably on his way to Hell, Billy does help Louise stop feeling like an outcast, and finally tells Julie he loves her. The town's beloved doctor (who bears a more than passing resemblance to the Starkeeper) tells the graduates not to rely on their parents' successes, or be held back by their failures, then everyone sings a reprise of 'You'll Never Walk Alone'. An invisible Billy tells Louise to listen, and is glad to see her reach out to hold the hand of another girl as they sing.

He then tells Julie that he loves her, and leaves his family singing of their hope.