Carousel (1956) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error | Drama , Musical | 16 February 1956 (USA) Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his ... See full summary » Director: From $2.99 (SD) on Amazon Video ON DISC a list of 26 titles created 05 Jan 2013 a list of 23 titles created 29 Nov 2013 a list of 43 titles created 13 Jan 2016 a list of 35 titles created 10 months ago a list of 34 titles created 1 month ago Search for " Carousel " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin.

In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with an evil ranch hand and a traveling peddler for the hearts of the women they love. Director: Fred Zinnemann On a South Pacific island during World War II, love blooms between a young nurse and a secretive Frenchman who's being courted for a dangerous military mission. Director: Joshua Logan Farm family Frake, with discontented daughter Margy, head for the Iowa State Fair. On the first day, both Margy and brother Wayne meet attractive new flames; so does father's prize hog, ... See full summary » Director: Walter Lang A widow accepts a job as a live-in governess to the King of Siam's children. Director: Walter Lang Harold Hill poses as a boys' band leader to con naive Iowa townsfolk. Director: Morton DaCosta The story of the great sharpshooter Annie Oakley , who rose to fame while dealing with her love/professional rival, Frank Butler.

Directors: George Sidney, Busby Berkeley Stars: Betty Hutton, Howard Keel, Louis Calhern Fred and Lilly are a divorced pair of actors who are brought together by Cole Porter who has written a musical version of The Taming of the Shrew. Of course, the couple seem to act a great ... See full summary » Director: George Sidney Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way. Director: Gene Kelly In 1850 Oregon, when a backwoodsman brings a wife home to his farm, his six brothers decide that they want to get married too. Director: Stanley Donen An Iowa pajama factory worker falls in love with an affable superintendent who had been hired by the factory's boss to help oppose the workers' demand for a pay rise.

Directors: George Abbott, Stanley Donen Stars: Doris Day, John Raitt, Carol Haney In New York, a gambler is challenged to take a cold female missionary to Havana, but they fall for each other, and the bet has a hidden motive to finance a crap game. Director: Joseph L. Mankiewicz Chinese stowaway Mei Li (Miyoshi Umeki) arrives in San Francisco with her father to meet her fiancé, wealthy nightclub owner Sammy Fong (Jack Soo), in an arranged marriage, but the groom ... See full summary » Director: Henry Koster Edit Storyline Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his family, namely his wife Julie Bigelow née Jordan and the child he never met, that problem with which he would now like to head back to Earth to assist in rectifying. Before he is allowed back to Earth, he has to get the OK from the gatekeeper, to who he tells his story... Immediately attracted to each other, he and Julie met when he worked as a carousel barker.

Both stated to the other that they did not believe in love or marriage, but they did get married. Because the shrewish carousel owner, Mrs. Mullin, was attracted to Billy herself, and since she believed he was only of use as a barker if he was single to attract the young women to the carousel, she fired him. With no other job skills and unwilling to take just any job, Billy did not provide for Julie but rather lived off Julie's Aunt Nettie. But... Written by Huggo Curtain up...on a wonderful new world of entertainment! See more » Genres: 16 February 1956 (USA) See more » Also Known As: Rodgers and Hammerstein's Carousel See more » Filming Locations: 4-Track Stereo (35 mm magnetic prints)| 6-Track Stereo (premiere only)| 4-Track Stereo (Westrex Recording System) Color: Did You Know? Trivia This film was originally meant to be filmed in both standard 35mm CinemaScope and CinemaScope 55 (55mm).

Early in production it was discovered that both prints could be made from the one negative, and so it was filmed in 55mm CinemaScope only. Standard 35mm CinemaScope prints were made for release, and like The King and I (1956), this film was never shown theatrically in the 55mm format. See more » Goofs As everyone leaves for the clambake in sailboats, we can see, for a full fifteen seconds or so, several men in one of the boats wearing very modern-looking caps and sunglasses. See more » Quotes Billy Bigelow : [impatiently] Well, what'd I do now? Heavenly Friend : Nothing. I just thought you'd wanna know - there's trouble. Billy Bigelow : Huh! Thought you said I didn't do nothin'. See more » Crazy Credits A star hurtles downward and explodes in mid-air; out of this appears the credit "Twentieth-Century Fox presents Rodgers and Hammerstein's 'Carousel'". The other credits all appear in a straightforward fashion. See more » Connections The very finest of Rodgers and Hammerstein!

1 January 2003 | by hamlet-16 The film of this classic musical is a joy to watch and listen to. The music is undoubtedly the finest Rodgers and Hammerstein score. Of the many fine moments in the film two astounding highlights must be Billy's Soliloquy and the Shirley Jones' and Gordon MacRae's lover's duet "If I loved you". To this is added two great ballet sequences "June is Bustin' out all Over" and Louise's ballet. The film is Rogers and Hammerstein at their most dark and introspective, which may account for the film's relatively lacklustre reception at the time of its initial release but the at the same time explains the ongoing appeal of this truly timeless classic film. It is a fine memorial to both composer and lyricist and to the artistry of Gordon MacRae whose performance of the soliloquy is the benchmark against which all performances are judged.

The film was produced in Cinemascope 55 a large film fomat which overcame many of the problems that were inherent in early Cinemascope films (even though the film was actually released only in standard 35mm form ..a bit like a 35mm print of a 70mm film this still results in a far better image) and gives the film its immaculate look. carousel (musical) - YouTube carousel (musical) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 6, 2011 Carrie Pipperidge (2006) Carousel is the second stage musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The work premiered in 1945 and was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline.

The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He attempts a robbery to provide for Julie and their unborn child; when it goes wrong, he has a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite among all his musicals. Category Carousel :: Rodgers & Hammerstein :: Show Details Carousel Background The Theatre Guild, a theatrical producing organization which flourished on Broadway from the early ‘20s for over half a century, hit upon successful formula of turning a few of its classic plays into classics of musical theatre. Their production of Gershwin’s PORGY AND BESS was based on their production of DuBose Heyward’s PORGY; likewise, Rodgers & Hammerstein’s OKLAHOMA! was based on Lynn Rigg’s GREEN GROWN THE LILACS.

In 1921 The Guild presented the American premiere of a new play called LILIOM by the renowned Hungarian playwright, Ferenc Molnar. Benjamin Glaser was the translator (although a fascinating and never-proven rumor has suggested that an early translation of LILIOM was provided by Rodgers’ first partner, Lorenz Hart), and Eva Le Gallienne created the role of Julie to Joseph Schidkraut’s portrayal of the title role. LILIOM was a critical and popular success for the Guild; set on the outskirts of Budapest, its mix of whimsy and pathos, tragedy and fantasy, hit a chord with the American public. The Guild knew they had a winner; more than that, they felt its potential could be further exploited. A preliminary request to Molnar that LILIOM be musicalized, following on the heels of PORGY AND BESS, was rejected; but a subsequent proposal, this time fresh on the heels of OKLAHOMA! and with the understanding that the authors of that musical adaptation would tackle this one as well, met with Molnar’s approval. LILIOM could sing, if Rodgers & Hammerstein wrote the score.

However, there was yet another problem, this time on the American side of the equation: in 1945, at the height of World War II and the Nazi occupation of Europe, Budapest was not a romantic of uncontroversial setting for a musical. If LILIOM were to work, it would have to be relocated, and Rodgers and Hammerstein were reticent to do so. Theatre Guild producer Theresa Helburn suggested a New Orleans setting, with Liliom becoming a tough and exotic Creole character. Hammerstein demurred on the grounds that his lyrics, always rife with dialect of the setting they were placed in, would be riddled with so many “ze’s” and “zose’s” as to make the songs sound like so manu buzz saws. Helburn was determined not to let the idea go, and she persisted. It was Richard Rodgers who came up with the concept of New England in the late 19th century—and suddenly the idea fell into place. While visions of clambakes and fishing boats danced in their heads, the authors went to work.

The very first song they wrote for the score was the most daunting—Billy’s powerful and insightful “Soliloquy.” As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, story, passion and heartfelt emotion—in an unprecedented eight-minute solo. After the “Soliloquy” everything fell into place: the upbeat choral numbers ( “June is Bustin’ Out All Over,” “This Was a Real Nice Clambake”), the love songs (“If I Loved You,” “When I Marry Mister Snow,” “What’s the Use of Wond’rin,” and “When the Children are Asleep,”) and the haunting and inspirational “You’ll Never Walk Alone.” CAROUSEL proved that the extraordinary innovations of OKLAHOMA! were no one-time fluke; the opening scuttled the traditional overture and replaced it with a lush “Carousel Waltz” joined by a storied prologue in mime; and this was followed by the now-classic “Beach Scene” in which dialogue and snatched of song we intermingled to breathtaking effects. CAROUSEL shared with OKLAHOMA!

its stellar creative team: authors Rodgers & Hammerstein of course, and director (Rouben Mamoulian) and choreographer (Agnes de Mille.) After tryouts in New Haven and Boston, CAROUSEL opened at Broadway’s Majestic Theatre on April 19, 1945, where it ran for 890 performances. While not the spectacular success the OKLAHOMA! was, CAROUSEL managed to do the impossible—follow a mammoth success and stand on its own right. Audiences in the throes of World War II could not help but be moved by the story of a young widow raising a child without its father. The final scene, in which Bill comes back to Earth spiritually and reaches out to Julie and their daughter Louise, was played before countless war widows, parents, children and siblings who had lost a loved one overseas. The effect of CAROUSEL and “You’ll Never Walk Alone” is haunting, to this day. The original Broadway cast featured John Raitt as Billy, Jan Clayton as Julie, and Jean Darling as Carrie.

Winner of the New York Drama Critics’ Circle Award as Best Musical of 1945, the Broadway run was quickly followed by a two year national tour, as well as countless productions throughout the world. In 1950, CAROUSEL premiered at London’s Theatre Royal Drury Lane, where it played for 566 performances, and in 1956 the motion picture version, starring Gordon MacRae as Billy and Shirley Jones as Julie, was released. Written By: Bert Fink OKLAHOMA!, the first musical Rodgers & Hammerstein wrote together, wasn’t a mere success: it was a phenomenon. An artistic triumph that changed the course of musical theatre, it shattered box office records when it opened in 1943, outran every show before it, held Broadway's longevity crown for fifteen years, and launched the Rodgers & Hammerstein partnership as Broadway's Golden Team in Broadway’s Golden Era. Inevitably the question arose: what could possibly follow OKLAHOMA!? In his autobiography Rodgers recalls the sage advice he received from film mogul Sam Goldwyn: "This is such a wonderful show!" Goldwyn bubbled. "You know what you should do next?

Shoot yourself!" Fortunately Rodgers & Hammerstein had other ideas in mind. Their first assignment after OKLAHOMA! was a new work in another medium altogether—writing the score for a movie musical called STATE FAIR (1945), a charming depiction of homespun Americana that introduced "It Might as Well Be Spring," the Academy Award winner for Best Song of the Year. Still, Hollywood was only a detour on the return to Broadway. As with OKLAHOMA!, it was Rodgers & Hammerstein’s producers, Lawrence Langner and Theresa Helburn of The Theatre Guild, who provided the team with the source for their next musical. In two previous, successful instances Helburn and Langner had recycled Guild plays into Guild musicals (turning PORGY into PORGY AND BESS, and GREEN GROW THE LILACS into OKLAHOMA!). Now, the Guild wanted Rodgers & Hammerstein to make a musical out of LILIOM. Hungarian playwright Ferenc Molnar’s elaborate fantasy had its American premiere under the auspices of the Theatre Guild, in a 1921 production translated by Benjamin F.

Glazer that starred Joseph Schildkraut in the title role and Eva Le Gallienne as Julie. The property was rich with musical potential, but before it could be transformed Helburn and Langner had to convince not only their skeptical American authors, but also their Hungarian one. Molnar had already turned down several requests to turn LILIOM into an opera. And he was ready to resist again, until, at the Guild's invitation, he attended a performance of OKLAHOMA! and was instantly won over. LILIOM could sing, he decreed, if Rodgers & Hammerstein wrote the score. But Rodgers & Hammerstein had their doubts too. It was not the themes of domestic violence and fateful tragedy in LILIOM that deterred the authors—in fact these issues only served to whet their appetite for challenging work—but the play's locale: Budapest, Hungary. In 1944 Budapest was ravaged by war and setting a play there would only compete with the headlines or, worse, seem exploitative. If a musical of LILIOM were to work, they concluded, it would have to be relocated, and Rodgers and Hammerstein were reluctant to do so.

Helburn suggested a New Orleans setting, with Liliom turned into a tough and exotic Creole character. Oscar Hammerstein II demurred on the grounds that his lyrics, which were always steeped in the dialect of their locale, would become riddled with the "ze's" and "zose's" of the Creole accent and end up sounding like a chorus of buzz saws. But then Richard Rodgers came up with the concept of New England in the late 19th century and everything fell into place. Liliom would become Billy Bigelow, barker on a carousel in a small fishing village, and Julie would be featured as one of the local millworkers. While images of clambakes and lighthouses danced in their heads, the authors went to work. The very first song they wrote for the score was the most daunting—Billy’s powerful and insightful "Soliloquy." As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, motivation, passion and heartfelt emotion—in an unprecedented eight-minute solo. Structurally, CAROUSEL proved as daring as OKLAHOMA! in style and form, while telling a story that was far more sophisticated.

Here, in addition to Billy’s "Soliloquy," the innovations included the opening, which scuttled the traditional overture entirely and replaced it with a lush "Carousel Waltz" that underscored a storied prologue in mime; and the now-classic "If I Loved You" scene, in which dialogue and fragments of song were intermingled to breathtaking effects. CAROUSEL began rehearsals in early 1945. Guiding it was OKLAHOMA!'s stellar creative team: authors Rodgers & Hammerstein, producers Helburn and Langner, director Rouben Mamoulian, choreographer Agnes de Mille and costume designer Miles White. Featured in the original cast were John Raitt as Billy, Jan Clayton as Julie Jordan, and Jean Darling as Carrie. After tryouts in New Haven and Boston, CAROUSEL opened at Broadway's Majestic Theatre on April 19, 1945, and eventually ran for 890 performances. Even the skeptics were confounded: while it could never be the unexpected revelation that OKLAHOMA! was, CAROUSEL did the impossible—it followed a smash hit by succeeding in its own right.

Audiences in the throes of World War II responded deeply to its story of a young widow raising a child alone, and its spiritual imagery had a profound impact on those who had lost a loved one overseas. The effects of CAROUSEL and its authemn, "You’ll Never Walk Alone" are haunting to this day. Winner of the New York Drama Critics’ Circle Award as Best Musical of 1945, the Broadway run was followed by a two year national tour. In London CAROUSEL followed OKLAHOMA! directly into the Theatre Royal, Drury Lane, opening in June of 1950 and playing for over a year and a half. In 1956 the motion picture version was released by Twentieth Century Fox. Filmed on location in Boothbay Harbor, Maine, it was originally slated to star Frank Sinatra as Billy and Judy Garland as Julie. However, she withdrew prior to filming and he left over a contract dispute during the first weeks of shooting. They were replaced by the OKLAHOMA! movie co-stars Gordon MacRae and Shirley Jones. CAROUSEL has been performed by hundreds of theatre and opera companies throughout the world.

Notable productions include the Music Theater of Lincoln Center with John Raitt re-creating the role of Billy (1965); a television version starring Robert Goulet with choreography by Edward Villella, broadcast on ABC-TV (1967); and a summer run at the U.S. Pavilion of the 1958 Brussels Exposition, with Jan Clayton re-creating the role of Julie. Director Nicholas Hytner, choreographer Sir Kenneth MacMillan and designer Bob Crowley collaborated on the revelatory 1992 Royal National Theatre production of CAROUSEL in London, which played to sold-out houses in the Lyttleton Theatre before transferring to the Shaftesbury Theatre in the West End the following September, where it was presented by Cameron Mackintosh. In March 1994, CAROUSEL marked its first return to Broadway since the original run, playing for a year at the Vivian Beaumont Theater.

Presented by Lincoln Center Theater, this CAROUSEL went on to receive a record-setting five Tony Awards (the most of any show that season), including Best Director of a Musical (Hytner), Best Choreography (MacMillan), Best Scenic Design (Crowley) and Best Revival of a Musical 1994. A Japanese production played extended engagements in Tokyo, Nagoya and Osaka in 1995, and a U.S. National Tour visited over 40 cities from February of 1996 through May of 1997, and starred Broadway stars to be Patrick Wilson, Sarah Uriarte Berry and Jennifer Laura Thompson. In 2002, Carnegie Hall hosted a concert performance with Hugh Jackman, Audra McDonald, Philip Bosco, Blythe Danner, John Raitt, Norbert Leo Butz, Jason Danieley, Judy Kaye and Lauren Ward. That same year, Emily Loesser appeared in CAROUSEL at the Royal Festival Hall in London. Shirley Jones played Nettie at the Reagle Theatre in 2005.

In 2007, the Boston Pops' CAROUSEL featured Aaron Lazar, Liz Callaway, Jason Danieley and Marin Mazzie, while R&H opera star Lesley Garrett played Nettie in a 2008 West End revival. CAROUSEL had always been Rodgers & Hammerstein’s personal favorite; the latest turns on the CAROUSEL prove that their opinion is still shared by audiences everywhere. YOU’LL NEVER WALK ALONE "You’ll Never Walk Alone" (music by Richard Rodgers, lyrics by Oscar Hammerstein II) was written for the 1945 Broadway musical play CAROUSEL. The song highlights a momentous plot turn early in Act II, and is reprised as the musical’s powerful and inspirational finale. From the very beginning, this song has always had a special resonance and meaning beyond its context and function within the score for CAROUSEL. During the musical’s original Broadway run, with the world at war, many in the audience who had a husband, a brother, a son or a lover fighting overseas, found solace in its meaning and its message.

In addition to numerous recordings of the song on CAROUSEL cast albums and the motion picture soundtrack, "You’ll Never Walk Alone" has been recorded by dozens of pop, rock, gospel, country western and opera stars, including: Louis Armstrong, Chet Atkins, Shirley Bassey, Glen Campbell, Ray Charles, Perry Como, Michael Crawford, Placido Domingo, Aretha Franklin, Judy Garland, Gerry and the Pacemakers, Marilyn Horne, Mahalia Jackson, Patti LaBelle, Cleo Laine, Mario Lanza, Darlene Love, Jim Nabors, Olivia Newton John, Pink Floyd, Elvis Presley, The Righteous Brothers, Nina Simone, Frank Sinatra, Kiri Te Kanawa, Conway Twitty and Dionne Warwick. Rodgers & Hammerstein’s "You'll Never Walk Alone" has a unique history in Great Britain where a 1963 cover version of the song by the Liverpool band Gerry and the Pacemakers was embraced by the locals (known as "scousers"), and lead to its adoption as the motto and anthem of the Liverpool Football Club. Subsequently, it has become ubiquitous at football (soccer) matches all over the world.

True to the song's intent, it has also provided inspiration in times of peril, and has served as a potent fundraiser for causes borne out of disaster. In 1985, a recording of "You’ll Never Walk Alone" featuring British pop and rock stars, was put together to raise funds for victims of the Bradford Stadium tragedy — and did: the song was a Number One single in Britain throughout the summer of 1985, and raised hundreds of thousand of pounds for the cause. In September 1997, on the eve of the funeral for Diana, Princess of Wales, scores of Londoners who had gathered for the event broke into spontaneous, subdued choruses of "You’ll Never Walk Alone." In happier times, BBC live coverage showed over 750,000 Britons gathered on the Mall in front of Buckingham Palace in June 2002, singing "You'll Never Walk Alone" during the 2002 Golden Jubilee of Queen Elizabeth II.

In the United States in recent years, "You’ll Never Walk Alone," long associated with Jerry Lewis’ Labor Day Muscular Dystrophy telethons, has also been adopted by such causes as Hurricane Andrew and Hurricane Katrina relief and the annual national AIDS Walk campaigns. Marilyn Horne, Joan Baez and others have sung "You’ll Never Walk Alone" at AIDS Walk rallies in New York, Los Angeles, San Francisco, Philadelphia and Chicago, and in 1992 Patti LaBelle made a new recording of the song for a national AIDS Walk public service announcement. Bringing the song full circle, at the 1994 AIDS Walk New York, Shirley Verrett and the cast of the Broadway production of CAROUSEL sang "You’ll Never Walk Alone" on the Great Lawn in Central Park before a crowd of 30,000. 17 years later, CAROUSEL co-star Audra McDonald sang the song, to a crowd now swollen to over 45,000. Rolling into the 21st Century, "You'll Never Walk Alone" continues to inspire the world at times of triumph and tragedy.

In 2002, opera great Renee Fleming sang it at Ground Zero as part of the first year anniversary commemorations of the devastating 9/11 attacks; in 2009 she sang the song for a worldwide audience once again, this time backed by the US Naval Academy Glee Club on the steps of the Lincoln Memorial for a globally-televised concert in honor of the Inauguration of President Barack Obama. Ewen, David. Richard Rodgers, Holt, New York 1957 _____. With a Song in His Heart (Richard Rodgers), Holt, Rinehart and Winston, New York 1963 Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II, Random House, New York 1977 Green, Stanley. The Rodgers and Hammerstein Story, John Day, New York 1963; DeCapo Press paperback, 1980 _____. The Rodgers & Hammerstein Fact Book, Hal Leonard, Milwaukee 1980 Hammerstein II, Oscar. Lyrics, with an introduction by the author and a preface by Stephen Sondheim, Hal Leonard, Milwaukee 1985 _____.

A Real Nice Clambake, illustrated by Nadine Westcott, Little, Brown & Co., Boston 1992 Mordden, Ethan.Rodgers & Hammerstein, Harry N. Abrams, Inc., New York 1992 Nolan, Frederick. The Sound of Their Music, Walker, New York 1978 Rodgers, Richard. Musical Stages: An Autobiography, Random House, New York 1975; Jove Paperback, New York 1978 Taylor, Deems. Some Enchanted Evenings, Harper, New York 1953 AGNES DE MILLE: THE DANCES OF CAROUSEL Written By: Agnes DeMille In the last year of her life, legendary choreographer Agnes de Mille revisited her contributions to the original groundbreaking 1945 Broadway production of Rodgers & Hammerstein’s CAROUSEL, resulting in an extraordinary video of insight, commentary and recollection. Hosted by the composer’s daughter, Mary Rodgers, the video includes the dance sequences from “June is Bustin’ Out All Over,” “The Hornpipe,” and the Act II Ballet, recreated by Ms.

de Mille’s longtime associate Gemze de Lappe and performed by members of the Nashville Ballet. Commentary from Ms. de Mille and Ms. de Lappe includes analysis, discussion and demonstration, advice and suggestions for the director, and discussion of sets, costumes and lighting. This instructional video is included with the materials provided by R&H Theatricals for CAROUSEL and is recommended for viewing by your entire production team, cast and crew. The New York Times Written By: Oscar Hammerstein II Toward the end of January, 1944, Theresa Helburn and Lawrence Langner beckoned Dick Rodgers and me into a dark corner of Sardi's, put their fingers to their lips with a hushing gesture, looked from left to right to make sure no one was listening, and whispered, 'How would you like to do a musical play based on Molnar's Liliom?' We looked from right to left and whispered back at them in unison: 'No.' A pause. Then Lawrence asked, 'Why?' We took turns listing successive objections, all having to do with the original scene, Hungary. 'It's a beautiful story,' Terry commented wistfully. We agreed. 'Interesting set of characters,' volunteered Lawrence.

Granted. We had some cannelloni, and ice cream and raisin cake, and parted. The following week we met at my house and Miss Helburn was prepared to meet our locale objection: 'Move it from Hungary to Louisiana. You boys say you want to write about America. Louisiana is America$mdash;but it also has a European flavor. Liliom can be a Creole.' This sounded like a good idea. I promised to give it serious consideration. Well, I brushed up on my Creole atmosphere and ran bang into a disconcerting difficulty$mdash;the dialect. Meanwhile, however, Molnar's tender story and its strange characters had begun to hypnotize us. Dick and I kept telling each other why we weren't going to adapt 'Liliom,' and then we would drift off into a contemplation of all its attractive possibilities. The very difficulties of the job we knew would lead us into unusual devices. We knew we wouldn't wind up with a conventional musical comedy. It was obvious that we would have to mix in values from the dramatic stage and opera. The idea that really opened the way to it all was a suggestion by Dick that at first sounded downright silly.

This was to transplant the play to the New England coast. But it sounded silly only for a few seconds. I began to see an attractive ensemble$mdash;sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty. The poignancy of the story, I was certain, would not suffer from gaiety of background. It would enhance it. As for the two leading characters, Julie with her courage and inner strength and outer simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. So now, for the first time, Dick and I felt that irrational enthusiasm that lures men into the harrowing project of writing a musical play. And away we went. from 'Turns on a Carousel' Percussion Notes CLARINET I and CLARINET II are both B-Flat Clarinets. The BASS CLARINET part in the BASSOON book has been double lined for BASSOON, if a doubler or an additional player is not available.

TROMBONE I, TROMBONE II and TROMBONE III are all Tenor Trombones. The HARP part may be played on a synthesizer with a harp patch if a real harp is not available, but the HARP part is essential cannot be omitted The PERCUSSION book is written to be played by one percussionist, with the exception of “The Carousel Waltz” which can be played by either one, two or three percussionists. The original string breakdown was 5 VIOLINS 1-A, 4 VIOLINS 1-B, 4 VIOLAS, 3 CELLOS and 2 BASSES.

Trap Set, Timpani, Triangle, Bells, Glockenspiel, Xylophone, Wood Block, Tambourine Download Carousel (1956) YIFY Torrent for 1080p mp4 movie in yify-torrent.org Screenshots (click to view large image) The Reviews for Carousel (1956) 1080p Beautiful and inspiring Reviewed byRegistered_UserVote: 5/10 Shirley Jones is very believable as Julie Jordan, the lovely and ever patient mill worker who falls for a carousel barker, Billy Bigelow. With such heart felt ballads as "If I Loved You" and "You'll Never Walk Alone" it definitely ranks as one of the essential Hollywood musicals. Carousel is just about the only musical made during this period that deals with darker themes (i.e. date rape, domestic abuse). One could say that it even argues in favor of birth control. Carousel will never look dated because its themes are timeless and apply to the human spirit no matter what year it is. Everybody can identify with Billy to a degree and everybody can not help but feel a deep respect for Julie by the end of her personal journey. Fans of musical drama will treasure Carousel for years to come.

excellent Rodgers and Hammerstein musical Reviewed bydidi-5Vote: 5/10 This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for. Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death. So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her.

The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life. Classic R&H Musical With Superb MacRae and Jones... Reviewed byNeil DoyleVote: 5/10 Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline.

Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop. Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama. Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger. Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream. Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works.

The Plot Summary for Carousel (1956) 1080p Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his family, namely his wife Julie Bigelow née Jordan and the child he never met, that problem with which he would now like to head back to Earth to assist in rectifying. Before he is allowed back to Earth, he has to get the OK from the gatekeeper, to who he tells his story... Immediately attracted to each other, he and Julie met when he worked as a carousel barker. Both stated to the other that they did not believe in love or marriage, but they did get married. Because the shrewish carousel owner, Mrs. Mullin, was attracted to Billy herself, and since she believed he was only of use as a barker if he was single to attract the young women to the carousel, she fired him. With no other job skills and unwilling to take just any job, Billy did not provide for Julie but rather lived off Julie's Aunt Nettie.

But Billy figured he could be the breadwinner through his association with a criminal lowlife named Jigger Craigin, which led to his death. In going back to Earth, Billy not only hopes to help his child, but "tell" Julie of his true feeling for her. Director & Cast for Carousel (1956) 1080p Carousel (Musical) Plot & Characters | StageAgent Overview Synopsis Richard Rodgers once wrote that of all the musicals he wrote, Carousel was his personal favorite. This iconic American classic features some of the most powerful music ever written for the stage, including “If I Loved You”, “Mister Snow”, “June is Bustin Out All Over” and the iconic “You’ll Never Walk Alone.” Carousel was Rodgers and Hammerstein’s second collaboration, and was adapted from Ferenc Molnar’s 1909 play Lilliom. They transferred the Budapest setting of Lilliom to the New England coastline, where Carousel takes place. The story tells of charming, roguish carnival barker, Billy Bigelow, and mill worker Julie Jordan, both loners, who meet and fall in love. Their marriage ends up costing both their jobs, and things go downhill from there.

Billy’s desperation makes him violent against those he loves most, and drives him to commit crimes in order to provide for his family. When Billy falls in with con-man Jigger Craigin, he ends up getting caught in the midst of an armed robbery and takes his own life. Billy is allowed to return to earth for one day fifteen years later, and he encounters the daughter he never knew. Louise is a lonely, friendless teenager, her father's reputation having haunted her throughout her young life. How Billy instills in both the child and her mother a sense of hope and dignity is a dramatic testimony to love’s transcendence. Voted the best musical of the 20th century by Time Magazine, Rodger’s and Hammerstein’s Carousel is the classic American musical, spanning heaven and earth in its exploration of human frailty, resilience, and the power of forgiveness.

Characters Amazon.com: Customer Reviews: Carousel (1956 Film Soundtrack) Carousel (1956 Film Soundtrack) 4.7 out of 5 stars 90 Price:$10.99+ Free shipping with Amazon Prime Your rating( Clear )Rate this item 49 people found this helpful 5.0 out of 5 starsFinest of all recordings of the classic R&H score ByA. Andersenon July 29, 1998 The sumptuous orchestrations, superb vocal and dramatic interpretations (courtesy of Alfred Newman/Ken Darby) and the wonderful stereo sound make this the finest recording of the score to date. True it is incomplete but until the new 1994 cast recording this was true of all prior releases. The CAROUSEL WALTZ is heard in its entirety (7:11) though this performance is not heard in the film. Likewise YOU'RE A QUEER ONE, JULIE JORDAN and BLOW HIGH, BLOW LOW appear on the album but not in the film - excised from the final print due to running lengths. This is the first time the first half of the WALTZ is heard in stereo.

The stereo LP cut it in half. Barbara Ruick is a wonderful Carrie and her MR. SNOW is the definitive version - there's a musical intro not heard in the film. IF I LOVED YOU has little of the bridging dialogue but is superbly sung by MacRae and Jones and sumptuously orchestrated. Part of the bridge "I can just see myself..." is not heard in the film. JUNE is a fabulous stereo sound spread with exceptional work from Claramae Turner as Nettie and the chorus and orchestra - this contains a musical intro and closing music not heard in the film. The SOLILOQUY is MacRae's finest hour dramatically and vocally and is the best recording of the song to date. The first half of WHEN THE CHILDREN ARE ASLEEP heard here does not appear in the film - it is an infectious performance vocally (Ruick and Robert Rounseville) and orchestrally. A REAL NICE CLAMBAKE is rousing - here another musical intro not in the film. STONECUTTERS CUT IT ON STONE (again with a musical intro not in the film) is great fun and very well done - part of the women's chorus is not in the film.

Jones' WHAT'S THE USE OF WONDRIN is plaintive and introspective - a fine performance. Turner is again fabulously voiced in YOU'LL NEVER WALK ALONE. The poignant reprisal of IF I LOVED YOU is first recorded here. The Finale as heard here does not appear in the film, with the exception of the last repetition of the title concluding the work, tacked onto this recording of Jones and chorus performing YOU'LL NEVER WALK ALONE. Not present here are: GERANIUMS IN THE WINDER and THE HIGHEST JUDGE OF ALL. Recording time differs in liner notes and jewel case as either 50:53 or 47:08 - my calculations favor the latter. All in all, a superb, extremely sensitive combination of acting, singing and orchestration - the finest moment for this score. A must have! 27 people found this helpful 1.0 out of 5 starsCAROUSEL SOUNDTRACK THE GREATEST PERFORMANCE EVER! ByAmazon Customeron March 15, 2001 CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote.

The 1956 film version showcases the finest performance, before or since, that this magnificent score has ever received. Nevertheless it is very difficult to recommend this latest expanded edition from EMI-Angel, which contains about 20 additional minutes of music not on the original album or previous CD editions. For while it is great to have Louise's Ballet, in a simply glorious arrangement by the great Alfred Newman and additional ballet music as well, the additional music is NOT from the original multi channel vocal and music separation soundtrack master recordings stored in the 20th Century Fox vaults but instead recorded directly from a final mix print soundtrack complete with foot stomping and extraneous sound effects, which besides having no place on a music only recording, actually detract from the listening experience rather than enhance it. If this were 42ND STREET, the foot stomping would make sense, since it is an integral part of the musical presentation, but without the visuals these random sounds don't make any sense in CAROUSEL, where the magnificent arrangements of Alfred Newman should be allowed to speak for themselves without intrusions from foley effects.

If this were a live recording, such sounds would be an artifact of the original and impossible to remove and therefore have to be acceptable if one wanted to hear the score in its entirety. But in the case of CAROUSEL (and for that fact, OKLAHOMA, THE KING AND I and SOUTH PACIFIC) a wealth of unmixed original musical material exists in the studio vaults which could have been made available for this remastering, allowing the inclusion of even MORE MUSIC on this album. For instance, LOUISE'S BALLET could have been presented in its ENTIRETY without any worry about the ocean sound effects intruding at the beginning and the delicate and quite beautiful OPENING MUSIC lead up to the CAROUSEL WALTZ Main Title could have been presented minus the dialogue at the beginning of the album. That is the saddest part concerning this release. The original material could have been made available if anyone at EMI-Angel had cared enough to present CAROUSEL with the integrity that this classic recording deserves and should have gotten. If you can get past these aberrations imposed on us by producer Didier C.

Deutsch, whose name on any soundtrack usually means a DESTRUCTION rather than reconstruction of the material (there are some amateur sloppy fade-ins and fade-outs cross cutting the old and new material) the sound on this CD is at least as good as the previous CD version and offers a performance of the seven minute Soliloquy by Gordon Mac Rae which is one of the greatest vocal performances of the 20th. Century. In fact, the entire cast performs this music superbly and add to that the excellent orchestration and choral work by Alfred Newman and Ken Darby. No other recording even comes close to this level of brilliance. But even so, try to find the previous CD version of this album, which may not have the additional music but does include the entire vocal score without all the intrusive sound effects and sloppy edits making for a far more enjoyable listening experience. By the way, the same criticisms listed above apply to the other two Rodgers and Hammerstein musical re-issues from EMI-Angel (Oklahoma, The King and I) as well with the exception being that on the other two the useless dialogue and sound effect intrusions are even worse. Add three more classic soundtrack albums destroyed and mangled by the likes of Didier C.

Deutsch and company. EMI-Angel would have done well to listen to the so-called EXPANDED versions of West Side Story, My Fair Lady and especially A Star Is Born before green lighting these projects. Let's hope that someday EMI-Angel will give all three of the Rodgers and Hammerstein soundtracks their due and re-release them with added material from the untainted studio vault separations. That would really be SOMETHING SPECIAL. Download Carousel (1956) YIFY Torrent for 720p movie in yify-torrent.org Screenshots (click to view large image) The Reviews for Carousel (1956) Beautiful and inspiring Reviewed byRegistered_UserVote: 5/10 Shirley Jones is very believable as Julie Jordan, the lovely and ever patient mill worker who falls for a carousel barker, Billy Bigelow. With such heart felt ballads as "If I Loved You" and "You'll Never Walk Alone" it definitely ranks as one of the essential Hollywood musicals. Carousel is just about the only musical made during this period that deals with darker themes (i.e. date rape, domestic abuse). One could say that it even argues in favor of birth control.

Carousel will never look dated because its themes are timeless and apply to the human spirit no matter what year it is. Everybody can identify with Billy to a degree and everybody can not help but feel a deep respect for Julie by the end of her personal journey. Fans of musical drama will treasure Carousel for years to come. excellent Rodgers and Hammerstein musical Reviewed bydidi-5Vote: 5/10 This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for. Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death. So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her.

The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life. Classic R&H Musical With Superb MacRae and Jones... Reviewed byNeil DoyleVote: 5/10 Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline.

Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop. Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama. Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger. Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream. Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works.

The Plot Summary for Carousel (1956) Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his family, namely his wife Julie Bigelow née Jordan and the child he never met, that problem with which he would now like to head back to Earth to assist in rectifying. Before he is allowed back to Earth, he has to get the OK from the gatekeeper, to who he tells his story... Immediately attracted to each other, he and Julie met when he worked as a carousel barker. Both stated to the other that they did not believe in love or marriage, but they did get married. Because the shrewish carousel owner, Mrs. Mullin, was attracted to Billy herself, and since she believed he was only of use as a barker if he was single to attract the young women to the carousel, she fired him. With no other job skills and unwilling to take just any job, Billy did not provide for Julie but rather lived off Julie's Aunt Nettie. But...

Director & Cast for Carousel (1956) Rodgers & Hammerstein - Carousel (Vinyl, LP, Album) at Discogs Music By – Richard Rodgers Notes This Stereo Version differs from the earlier Mono, with a shorter version of The Carousel Waltz and the song "When The Children Are Asleep" moved from B side to A side. Shipped with an inner sleeve with extensive consumer information on stereo records. Other Versions (5 of 38) View All Carousel [Original Motion Picture Soundtrack] - Shirley Jones,Gordon MacRae | Songs, Reviews, Credits | AllMusic Carousel [Original Motion Picture Soundtrack] AllMusic Rating google+ AllMusic Review by William Ruhlmann Rodgers and Hammerstein were relatively uninvolved in the movie version of their second musical, Carousel, which was the least successful of three adaptations of their shows released within an eight-month period from October 1955 to June 1956. Oklahoma!, which preceded it, and The King and I, which followed, were both blockbusters, while Carousel failed to make back its considerable production cost.

The dark-edged story had also been less of a success on Broadway, though still a big hit, and the casting of Shirley Jones and Gordon MacRae (the latter a last-minute replacement for Frank Sinatra , who walked out in a contract dispute), the same pair who had just appeared in Oklahoma!, may have dampened audiences' enthusiasm. The soundtrack album, however, was musically more complete containing songs like "You're a Queer One, Julie Jordan" and "Blow High, Blow Low" that had been cut from the film -- and more popular -- reaching the Top Five and selling a million copies -- than the movie. Jones (some of whose singing may have been dubbed by Marni Nixon) and MacRae perform well, as does the rest of the cast, particularly soprano Claramae Turner ("You'll Never Walk Alone"). Some lyrics have been bowdlerized, and a couple of minor songs are missing, but this is still a good version of the score, especially because of the larger orchestra. Subsequent CD reissues have expanded the album's length, and the 2001 edition is padded out with music from two lengthy ballet sections to bring the running time over 70 minutes.

2001 reissue producers Didier C. Deutsch and Charles L. Granata each contribute liner notes, and they overlap; the two essays should have been edited together. And since they make so much of Sinatra's defection, it would have been nice to have dug up the pre-recordings he made for the soundtrack. Track Listing Carousel [Prism] - Original Movie Soundtrack | Songs, Reviews, Credits | AllMusic Original Movie Soundtrack google+ AllMusic Review by William Ruhlmann Rodgers and Hammerstein were relatively uninvolved in the movie version of their second musical, Carousel, which was the least successful of three adaptations of their shows released within an eight-month period from October 1955 to June 1956. Oklahoma!, which preceded it, and The King and I, which followed, were both blockbusters, while Carousel failed to make back its considerable production cost.

The dark-edged story had also been less of a success on Broadway, though still a big hit, and the casting of Shirley Jones and Gordon MacRae (the latter a last-minute replacement for Frank Sinatra, who walked out in a contract dispute), the same pair who had just appeared in Oklahoma!, may have dampened audiences' enthusiasm. The soundtrack album, however, was musically more complete containing songs like "You're a Queer One, Julie Jordan" and "Blow High, Blow Low" that had been cut from the film -- and more popular -- reaching the Top Five and selling a million copies -- than the movie. Jones (some of whose singing may have been dubbed by Marni Nixon) and MacRae perform well, as does the rest of the cast, particularly soprano Claramae Turner ("You'll Never Walk Alone"). Some lyrics have been bowdlerized, and a couple of minor songs are missing, but this is still a good version of the score, especially because of the larger orchestra. Subsequent CD reissues have expanded the album's length, and the 2001 edition is padded out with music from two lengthy ballet sections to bring the running time over 70 minutes.

2001 reissue producers Didier C. Deutsch and Charles L. Granata each contribute liner notes, and they overlap; the two essays should have been edited together. And since they make so much of Sinatra's defection, it would have been nice to have dug up the pre-recordings he made for the soundtrack. Track Listing

Question: The songs 'If I Loved You' and 'When The Children Are Asleep'are from which 1956 stage musical?
Answer: 'CAROUSEL'