Whitney Bros Two-Shelf Book Carousel

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Whitney Bros Two-Shelf Book Carousel

Whitney Bros Two-Shelf Book Carousel

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In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). [8] Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the " Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. [9] Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, " The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. [10] Morgan, Fergus. " Carousel starring Alfie Boe and Katherine Jenkins – review round-up", The Stage, April 18, 2017 McPhee, Ryan. "Broadway Revival of Carousel Closes September 16", Playbill, September 16, 2018. Retrieved on January 9, 2021 Atkinson, Brooks. "Eloquent musical". The New York Times, June 13, 1954, p. X1. Retrieved on December 21, 2010. Fee for article.

Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. ISBN 978-0-8109-1567-1. McPhee, Ryan. "Carousel, Starring Jessie Mueller, Joshua Henry, and Renée Fleming, Begins on Broadway February 28", Playbill, February 28, 2018 There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. [86] var myCarousel = document . querySelector ( '#myCarousel' ) var carousel = new bootstrap . Carousel ( myCarousel , { interval : 2000 , wrap : false }) Method See, e.g., Spencer, Charles. " Carousel at the Savoy Theatre". The Telegraph, December 3, 2008; Billington, Michael. Carousel. The Guardian, December 3, 2008; and Smith, Sam. Carousel. MusicOMH. All retrieved on December 27, 2010

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The New York Times called the movie a "beautifully turned out film, crisply played and richly sung by a fine cast that is fully worthy of the original show". Crowther, Bosley. " Carousel is worthy of original show". The New York Times, February 17, 1956, p. 13. Retrieved on December 25, 2010. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. [16] Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. [5] In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. [3] Use data attributes to easily control the position of the carousel. data-bs-slide accepts the keywords prev or next, which alters the slide position relative to its current position. Alternatively, use data-bs-slide-to to pass a raw slide index to the carousel data-bs-slide-to="2", which shifts the slide position to a particular index beginning with 0.

Miller, Daryl H. "Powerful Carousel Leaves Ahmanson Audience Spinning", Daily News (Los Angeles), July 12, 1996. Retrieved on December 26, 2010

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When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." [111] In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Gans, Andrew (July 31, 2021). "Carly Bawden, Declan Bennett, John Pfumojena, More Star in Regent's Park Open Air Carousel". Playbill . Retrieved August 2, 2021.

Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. [15] Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. [3] Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. [25] "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. [26] Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". [52] In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". [119] Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." [120] Author and composer Ethan Mordden agreed with that perspective: As options can be passed via data attributes or JavaScript, you can append an option name to data-bs-, as in data-bs-animation="{value}". Make sure to change the case type of the option name from “ camelCase” to “ kebab-case” when passing the options via data attributes. For example, use data-bs-custom-class="beautifier" instead of data-bs-customClass="beautifier". Bootstrap’s carousel class exposes two events for hooking into carousel functionality. Both events have the following additional properties: Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice.Carousel is a marvel of intriguing detail, little observations that give added dimension to the narrative and insight into the roiling confusion that is Margot's state of mind." Brantley, Ben. "A Carousel That Spins on a Romantically Charged Axis", The New York Times, April 12, 2018

Jan Clayton°, Iva Withers, Barbara Cook, Constance Towers, Joanna Riding, Sarah Uriarte Berry, Jennifer Laura Thompson, Alexandra Silber, Katherine Jenkins, Jessie MuellerWinner of the 2020 International Book Award for LGBTQ Fiction; Finalist for the Foreword INDIES Book of the Year Awards



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