You can’t think musical without thinking of Richard Rodgers and Oscar Hammerstein II, who created the “golden age” of musical theatre. The minds behind classics such as “Oklahoma!” and “The Sound of Music,” the duo need no introduction. The pair’s 12 Broadway shows — and their subsequent film productions and revivals — have garnered
34 Tony awards and 15 Academy Awards.
On Friday and Saturday night, the Utah Symphony will perform hits from the pair’s vast collection. With the conducting skills of conductor Jerry Steichen, excerpts from “The King and I,” “State Fair,” “Show Boat,” “Carousel,” “Oklahoma!,” “The Sound of Music” and “South Pacific” will be heard at Abravanel Hall. Alongside a choir directed by Barlow Bradford, guest artists such as Lisa Vroman, Gary Mauer and William Michals will take the stage.
Both Bradford and Steichen have fond memories of Rodgers and Hammerstein music.
“I grew up in Oklahoma, so you’re just kind of born knowing the score to ‘Oklahoma!.’ Also, my father is a musician, so we had music playing in the house all the time,” Steichen said. “We owned LPs of ‘Carousel’ and ‘The King and I.’ I don’t ever remember a time not knowing them.”
Remembering childhood experiences at the cinema, Bradford mirrors Steichen’s sentiments.
“Personally, my first recollection was without question ‘The Sound of Music.’ I remember it being a big family outing when I was a kid. It really got to me I have to say. For me, as a four- or five-year-old kid, it was pretty powerful and pretty scary. I’m always a fan of their work,” Bradford said.
While both Bradford and Steichen are looking forward to performing the entire program, both have soft spots for specific numbers.
“‘All the Things You Are” from ‘Very Warm for May’ is it for me. The way the choir adds as a part of the big show is great on that tune.” Bradford said.
Having conducted music for “Carousel,” Steichen is happy to revisit its waltzes. Nonetheless, he finds significance in all the pieces taking stage at Abravanel Hall.
Rodgers and Hammerstein’s influence is undeniable. In fact, Steichen believes the pair fostered today’s definition of the musical.
“They were the first who really said each song must advance the plot and be specific to the characters. All of their pieces were revolutionary,” Steichen said. “They dealt with race relations and women’s roles in the world. They really tackled major issues head on.”
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