Customer Reviews

Musical Stages

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I was glad to see that this book is still available, so that other people can also enjoy it. I read "Musical Stages" in the early 80's, and my admiration for Mr. Rodgers increased considerably on learning about his personal and professional life in his own words. I was particularly delighted with stories like the one about "Blue Moon", which seemed destined to oblivion, but instead became one of his greatest hits ever. Or the ones about the way he worked with his partners Lorenz Hart and Oscar Hammerstein II, and how he dealt with Broadway and Hollywood people, producers, musicians, fellow composers... Above all, what strikes the reader most is the genuine love Mr. Rodgers always had for the stage. The anxieties, curiosities and goings-on involved in the production and staging of his Broadway works made me quite envious of those who were able to see the premieres of shows such as "On Your Toes", "Pal Joey", "Oklahoma", and so on, which Mr. Rodgers relates in such a vivid way. I was lucky enough, though, to see Yul Brynner in the 1978 revival of "The King and I" at the Uris Theater in New York. It was a magic moment I will treasure forever. Every person of good taste in this world owes a lot to this determined and sensitive man that managed to create a lot of the best music of this century, regardless of national, ideological or whatever boundaries you may think of. And, on top of that, Mr. Rodgers tells us his wonderful life story in a style that echoes the irresistible charm of his immortal melodies. For better enjoyment of this book, I recommend that you read it with your CD player on with, for instance, the soundtracks of Mr. Rodgers' shows and movies, or compilations and/or albums dedicated to his music by the likes of Billie Holiday, Ella Fitzgerald, Anita O'Day, Bing Crosby, Maurice Chevalier, Frank Sinatra and Tony Bennett. Like me, you will thank God for the existence of someone like Mr. Rodgers, and for the legacy he's given us.

This book is an absolutely essential book for anyone who wants to understand musical comedy. I advise first reading a biography of Oscar Hammerstein and then jumping to this autobiography. I highly, highly recommend the book "Getting to Know Him : A Biography of Oscar Hammerstein II" by Hugh Fordin. The Rodgers auto-biogrophy is of the highest quality. Of course, it is a reflection of the author's upbringing and sense of decorum. Thus, Rodgers never mentions that Larry Hart was a homosexual despite their 20 year collaboration. Rodgers could easily have written an auto-biography that was four times as long, as his life was very full. The best part is the story of his childhood and the incredible persistance and focus he had to have to become a success. I advise, immediately after finishing this book, jumping into the suburb biography of Stephen Soundheim, to whit, "Stephen Sondheim : A Life" by Meryle Secrest

Thoroughly readable and entertaining, this is one of the most interesting autobiographies in the musical theatre field. Yes, Rodgers can be less than frank about some subjects -- Larry Hart's private life and the questionable way Josh Logan was compensated for co-writing the libretto of SOUTH PACIFIC both get minimal coverage, but that was to be expected. (Could a man of Rodgers' time ever have written openly about Hart's homosexuality?) Otherwise, this is a one-of-a-kind look into the life and mindset of a genuine giant in 20th Century theatre. Rodgers was not afraid to make a few frank observations about people he had worked with, and his insights are still worth reading. If musicals are your thing, don't miss this one!

The autobiography of composer/lyricist Richard Rodgers. Very good reading; filled with anecdotes of his long career, including, of course, his work with Lorenz Hart and later, Oscar Hammerstein II. Also, his solo work as composer and lyricist. Along the way, you will meet Mary Martin, Gertrude Lawrence, and others. One caveat: Take what he says with a grain of salt. If you believe everything he says, you'll think he was Mr. Nice Guy and it was everyone else who had a problem.

This book is a fast (but not too fast) read, full of useful information and anecdotes. Rodgers details his life from his earliest
memories, his creative process, to working with Larry Hart and Oscar Hammerstein and beyond.

The names alone - Gershwin, Porter, Herbert, Friml, etc - are
enough to highlight the network of musicians, lyricists, directors and
producers Rodgers knew. He gives a personal view of their lives, small bits you won't find in the history books! Highly recommend.

Epilogue given by his daughter Mary.

I reviewed that book a few years ago,but i feel i could give a better review of it now.Let me be objective here by saying that RICHARD RODGERS was the best AMERICAN composer of the previous century.This book of memoirs gives you a real insight of the music business at the time of mister RODGERS.The anecdotes are very accurate;they show the good and the bad aspects of the music business.RICHARD RODGERS learned early in his career that you are always as good as your last success,and that producers are the kings of BROADWAY.The best example of this is that even with all the hits he had,RICHARD RODGERS never could give ALLEGRO a second chance on BROADWAY.A show that failed is almost never revived again.The man has a lot to say about creativity;the way one must always stand tall even in adversity.One of the most moving passage of the book is the retreat of LORENZ HART and his death at the age of 47.RODGERS certainly knew the value of a partnership.That he could work with both HART and HAMMERSTEIN demonstrates how good he was.Nobody in the history of AMERICAN music has done it better.Out of the 40 shows that he created,10 have become classics of the repertoire.That's quite a feat.If RODGERS was the best,it's simply because he was the most passionnate and the most talented;a perfect combinaison.In my book,there will never be enough revivals of his shows.Buy this,you'll become a fan too,this is guarantee for a lifetime of musical pleasures.

There are a handful of composers of American popular music whose body of work is revered generation after generation. Kern, Arlen, Gershwin, and Loewe come to mind. But at the top of the list is Richard Rodgers.

In my opinion, Rodgers is the greatest songwriter in the history of Broadway and popular music. His range was simply astonishing. He could write jubilant, folksy music as in "Oklahoma" or jazzy sophisticated tunes as found in "Pal Joey". He could create soaringly romantic melodies such as those in "The King and I" or inspirational and spiritual ballads as presented in "Carousel". Many of his songs have become popular standards as well.

Rodgers adapted brilliantly to a variety of subject matter. And the longevity of his illustrious career is enviable. "Musical Stages" not only chronicles Rodgers' life and work, but it is also an overview of the development and maturation of American musical theater to which Rodgers contributed mightily.

In this autobiography, you will get to know some of the true giants of American popular music in particular Rodgers' two lyricists: the impish, undisciplined, yet lovable genius Lorenz Hart and the wise and idealistic Oscar Hammerstein II. Both of these men wrote many of the best lyrics ever composed for Broadway or popular music.

You'll also meet acting luminaries such as Yul Brynner, Gertrude Lawrence, and Mary Martin among others. "Musical Stages" is a rich addition to any theater and popular music buff's library. Read it with delight!

Since RICHARD RODGERS is my favourite AMERICAN composer ,i could have killed to have that book, and i was not disapointed.One of those few autobiographies that are completely honest.You learn about his family upbringing, his complex relation with LARRY HART,the way he and OSCAR HAMMERSTEIN worked together ,and the way both were affected by the failure of ALLEGRO.You also discover that most movie producers didn't really care about music ,and that RICHARD was glad to go back to BROADWAYin 1935.It is also interesting to read the introduction of his daughter MARY, saying that she likes what other people likes about him:his music, but she also adds of course i loved him.RICHARD RODGERS was probably a very private person, who was in a way forced to live a public life because of his profession.

I did not know much about Richard Rodgers when I bought this book. I'm not sure I learned all that much about the man by reading his autobiography. For example, he never discusses his drinking problem or his way with the ladies (unlike the autobiography of Alan Jay Lerner). And he sheds very little insight into his relationships with either Larry Hart or Oscar Hammerstein. In any event, it was still fascinating to read about his musical roots, his work on Broadway and in Hollywood and how some of his greatest successes and failures (a musical about eunuchs?) occurred. I mean, come on! The man wrote the music for Oklahoma, Carousel AND Sound of Music (although he hated 'the book,' as it's called, because it was too sweet.)

We could have been spared the biography of Richard Rodger's grandfather, and we didn't really need to know how much the Rodgers's resented their house sitters (tenants), but overall this is enjoyable to read. Rodger's portrait of Hart is amusing. There are nuggets of wisdom along the way for those contemplating a career in musical theatre. Probably, in fact, this book is indispensable for those contemplating a career in musical theatre.

Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.