{"title":"合同和承诺","authors":"T. Carter","doi":"10.12987/YALE/9780300106190.003.0002","DOIUrl":null,"url":null,"abstract":"Theresa Helburn was initially uncertain about whether to treat Green Grow the Lilacs as a “cowboy play” with songs by the likes of Woody Guthrie and Tex Ritter, as something aspiring to higher artistic status (music by Aaron Copland or Roy Harris), or somewhere in between. Richard Rodgers also needed to deal with his longtime but collapsing partnership with Lorenz Hart. Even after Helburn had fixed on Rodgers and Hammerstein, in summer 1942, there were important decisions to be made about the director (eventually, it was Rouben Mamoulian), choreographer (Agnes de Mille, chosen because of her work on Copland’s Rodeo), and the casting of the show. The Guild approached various Hollywood stars (Deanna Durbin, Groucho Marx, Anthony Quinn, Shirley Temple) but took a different path in the end. No less troublesome was how to generate the large amount of money needed to get a musical onto the stage.","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"13 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2007-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Contracts and Commitments\",\"authors\":\"T. Carter\",\"doi\":\"10.12987/YALE/9780300106190.003.0002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Theresa Helburn was initially uncertain about whether to treat Green Grow the Lilacs as a “cowboy play” with songs by the likes of Woody Guthrie and Tex Ritter, as something aspiring to higher artistic status (music by Aaron Copland or Roy Harris), or somewhere in between. Richard Rodgers also needed to deal with his longtime but collapsing partnership with Lorenz Hart. Even after Helburn had fixed on Rodgers and Hammerstein, in summer 1942, there were important decisions to be made about the director (eventually, it was Rouben Mamoulian), choreographer (Agnes de Mille, chosen because of her work on Copland’s Rodeo), and the casting of the show. The Guild approached various Hollywood stars (Deanna Durbin, Groucho Marx, Anthony Quinn, Shirley Temple) but took a different path in the end. No less troublesome was how to generate the large amount of money needed to get a musical onto the stage.\",\"PeriodicalId\":82221,\"journal\":{\"name\":\"Oklahoma law review\",\"volume\":\"13 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2007-04-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Oklahoma law review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.12987/YALE/9780300106190.003.0002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Oklahoma law review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12987/YALE/9780300106190.003.0002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 2
摘要
特蕾莎·赫尔本(Theresa Helburn)最初不确定是将《绿色种植紫丁香》(Green Grow the Lilacs)视为伍迪·格思里(Woody Guthrie)和特克斯·里特(Tex Ritter)等人创作的“牛仔剧”,还是将其视为追求更高艺术地位的作品(由亚伦·科普兰(Aaron Copland)或罗伊·哈里斯(Roy Harris)创作),还是介于两者之间。理查德·罗杰斯还需要处理他与洛伦兹·哈特长期但即将破裂的合作关系。即使在1942年夏天,赫尔本确定了罗杰斯和哈默斯坦之后,关于导演(最终是鲁本·马穆里安)、编舞(艾格尼丝·德·米勒,因为她在科普兰的牛仔竞技表演中所做的工作而被选中)和演出的选角,还需要做出一些重要的决定。工会曾接触过许多好莱坞明星(迪安娜·德宾、格劳乔·马克思、安东尼·奎因、秀兰·邓波儿),但最终选择了不同的道路。同样麻烦的是,如何筹集到将音乐剧搬上舞台所需的大笔资金。
Theresa Helburn was initially uncertain about whether to treat Green Grow the Lilacs as a “cowboy play” with songs by the likes of Woody Guthrie and Tex Ritter, as something aspiring to higher artistic status (music by Aaron Copland or Roy Harris), or somewhere in between. Richard Rodgers also needed to deal with his longtime but collapsing partnership with Lorenz Hart. Even after Helburn had fixed on Rodgers and Hammerstein, in summer 1942, there were important decisions to be made about the director (eventually, it was Rouben Mamoulian), choreographer (Agnes de Mille, chosen because of her work on Copland’s Rodeo), and the casting of the show. The Guild approached various Hollywood stars (Deanna Durbin, Groucho Marx, Anthony Quinn, Shirley Temple) but took a different path in the end. No less troublesome was how to generate the large amount of money needed to get a musical onto the stage.