-
By Instrumentation
Books on Music
-
-
-
Accessories
|
|
|
|
Getting To Know Him: A Biography Of Oscar Hammerstein II | 
 enlarge | Author: Hugh Fordin
Publisher: Da Capo Press
Category: Book
List Price: $18.95
Buy New: $13.78
You Save: $5.17 (27%)
New (18) Used (11) from $8.94
Avg. Customer Rating:  7 reviews
Sales Rank: 665099
Media: Paperback
Number Of Items: 1
Pages: 432
Shipping Weight (lbs): 1.2
Dimensions (in): 8.3 x 5.5 x 1
ISBN: 0306806681
Dewey Decimal Number: 782.14092
EAN: 9780306806681
ASIN: 0306806681
Publication Date: August 21, 1995
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: New American book. Printed on demand and shipped within the US in 4-7 days (expedited) or about 10-14 days (standard). Standard can occasionally be slower so we advise using expedited if quicker delivery is important!
|
| Also Available In:
|
| Similar Items:
|
| Editorial Reviews:
Product Description
Oscar Hammerstein II (1895–1960) forged a remarkable, multifaceted career as a librettist, lyricist, playwright, director, and producer. He wrote Carmen Jones, Carousel, Show Boat, and, with longtime collaborator Richard Rodgers, Oklahoma!, South Pacific, The King and I, and The Sound of Music. Hugh Fordin enjoyed complete access to the Hammerstein archives and conducted numerous interviews with family and colleagues like Rodgers, Berlin, Robbins, and Sondheim. The result is the definitive biography of a creative giant, who changed forever the texture of American theater.
|
| Customer Reviews: Read 2 more reviews...
 More like getting acquainted with him July 10, 2005
4 out of 4 found this review helpful
Oscar Hammerstein II was among the 20th Century American theatre's most influential writers, along with Eugene O'Neill and Tennessee Williams. With SHOWBOAT in 1929 and OKLAHOMA in 1943, he revolutionized the Musical. Thanks to Hammerstein, a collection of pop songs and jokes strung together on a flimsy plot would never again be enough. For the most part, Hammerstein seems to have been born with a silver spoon in his mouth. He was the third generation of a prominent theatrical family at a time when the American theatre was really developing its own personality, although it had strong ties to foreign plays. He had an easy entry into his chosen profession and was able to collaborate with successful composers (Sigmund Romberg, Rudolf Friml, Jerome Kern) from the very beginning. He wrote plays as well as musicals, but so many of his plays were flops that his career evolved into one in which he wrote only musicals, and ultimately concentrated his energy exclusively on writing lyrics. He seems to have had the golden touch until he suddenly went into an eleven year decline in which everything he was involved with failed. He was considered a has-been. And then Richard Rodgers approached him about replacing his incapacitated collaborator Lorenz Hart. Rodgers & Hammerstein became the most successful partnership in the history of the American theatre, producing such super hits as OKLAHOMA, CAROUSEL, SOUTH PACIFIC, THE KING AND I and THE SOUND OF MUSIC, in addition to the also profitable ME AND JULIET and FLOWER DRUM SONG as well as the out-and-out flops ALLEGRO and PIPE DREAM.
Toward the end of an unhappy first marriage, Hammerstein met the stunning Australian beauty Dorothy Blanchard, who was also married, while on a ship crossing the Atlantic. Their rapport was immediate and they carried on a long flirtation before divorcing their respective spouses and marrying. It was to be a supportive and fulfilling marriage for both of them. He made many famous friends and was mentor to young neighbor Stephen Sondheim, who has provided a thoughtful introductory essay. He seems to have been beloved by virtually everyone. However, the title here is a bit misleading, since after reading this book it appears that no one really "knew" Oscar Hammerstein II. Most of the time he was a remarkably closed person who best expressed himself in his writing. After he died, Richard Rodgers said that he never knew whether Hammerstein liked him or not. There are a lot of things I wish Fordin had gone into more detail about, especially the creation of the shows, but it does contain information that is not easily found anywhere else. I had not been aware that the role of Doc in PIPE DREAM, based on Steinbeck's SWEET THURSDAY, was written for Henry Fonda. Fonda took singing lessons and wanted to do it. He auditioned for Rodgers and Hammerstein and was rejected. Fonda was also married to Hammerstein's stepdaughter, Susan Blanchard. On the whole I found the book very satisfying. Four stars.
 Makes a Mythic Giant Human March 30, 2005
4 out of 4 found this review helpful
I would never have expected to make the acquaintance of Oscar Hammerstein II, "Ockie" as I would now call him, until this wonderful book made it possible. You get to meet his grandfather, father, mother, and his whole family , including his protege Stephen Sondheim, who wrote the moving introduction. It provided many enchanted evenings of reading and made me get out all my Rogers and Hammerstein (and Kern/ Hammerstein, Bizet/Hammerstein) LPs and play them with new appreciation and fondness. The book is written in a simple, honest style with prodigious detail. I was sorry to finish it, would have preferred that R & H would keep on having hit after hit. I enjoyed the many interesting and humorous anecdotes, for instance the one about the young Mary Martin auditioning for Oscar without knowing who he was, singing one of his songs and telling him he probably wouldn't recognize it. He replied simply, "I wrote it.
I learned a lot about the American Musical theatre and its actors and actresses , and about the business of show business. Oscar Hammerstein's life is a great success story and this biography successfully describes it.
Fascinating people February 4, 2005
2 out of 2 found this review helpful
This book is an easy read and covers all the bases that a person would want to understand after having been entertained over a lifetime by this man's works. From his family history to the history he made in his career. This book provides details about the individuals that most influenced Hammerstein's work and how he transitioned from one project to another.
I still left wanting to understand more because of my own awe regarding his outstanding work.
Discover a Wonderful Lyricist January 11, 2003
9 out of 9 found this review helpful
This is one of the better books about Oscar Hammerstein, that luckily enough, is now back in print. Hugh Fordin writes a wonderful book that looks at the personal and the professional side of America's pre-eminent lyricist.
While fans of Richard Rodgers may be more inclined to enjoy the cynical wit of Larry Hart's lyrics, after reading this book, you can't help but be made into a Hammerstein convert. Here's a man with a sunny disposition, who believed in happy endings, and the best in people. One of the most telling stories Fordin recounts is how Hammerstein wrote "The Last Time I Saw Paris" (a pre-Rodgers song) because he was devastated by the fall of France in 1940. He would later point to that as the worst day of his life... not finding out his first wife had been cheating on him. That's the sort of guy Oscar Hammerstein comes across as in this book.
You'll also explore his early high-water mark of "Show Boat" and its important role in American Theater, followed by his pre-Rodgers drought.
If you read this book, you'll be glad you've Gotten to Know Him.
Magnifcent, to say the least September 1, 2000
11 out of 11 found this review helpful
A wonderful, warm, authoritative biogrphaphy. It is obvious the Hammerstein family cooperatied fully with the author. The author is meticulous in his research. I advise next reading the autobiography of Richard Rodgers, and then reading the suburb biography of Stephen Soundheim, to whit, "Stephen Sondheim : A Life" by Meryle Secrest. Ockie was a great man...a man who never in his life visited a whore house and yet tried to write lyrics for a musical that was about a prostitute (i.e., the unsuccessful musical "PipeDream"). It fascinating how this book reprints some of the correspondance where John Steinbeck argues, in vein, for Oscar to stop sanitizing PipeDream to the point where the audience never knew the woman character was a lady of the evening. The book tells the story of every musical Hamerstein wrote lyrics for. I found myself buying CD cast albums as I encountered the story of each in the biography. The book is interesting and never boring, not even once.
|
|
|
| |
