Richard Rodgers biography

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As a youth Rodgers composed songs for amateur boys' club shows. In 1918 he entered Columbia University. There he met Hart, with whom he collaborated on Columbia's varsity show of 1919, Fly with Me. After a year and a half he left Columbia, intending to work full time composing for the musical theatre. He studied composition for two years at the Institute of Musical Art (now Juilliard School of Music), New York City, and produced several amateur shows with Hart.

Rodgers and Hart's first professional success was a revue, The Garrick Gaieties (1925), which included the song “Manhattan.” In 1936 their comedy On Your Toes was produced. This production, with the jazz ballet Slaughter on Tenth Avenue (choreography by George Balanchine), introduced ballet and established serious dance as a permanent part of musical comedy. Among their other collaborations were Babes in Arms (1937), including the songs “My Funny Valentine” and “The Lady Is a Tramp”; I Married an Angel (1938); and The Boys from Syracuse (1938), adapted from Shakespeare's The Comedy of Errors. Their Pal Joey (1940), adapted by John O'Hara from a series of his short stories, turned away from purely escapist entertainment to serious drama. Too realistic for its time when first produced, it was revived in 1952 with enormous success. Among its songs was “Bewitched.” Their final collaboration, one year before Hart's death, was By Jupiter (1942).

In 1942 Rodgers began working with Hammerstein on an adaptation of Lynn Riggs's play Green Grow the Lilacs. The result, the 1944 Pulitzer Prize-winning Oklahoma! (1943; film, 1955), enjoyed a then-unprecedented Broadway run of 2,248 performances. Choreographed by Agnes de Mille and including the songs “Oh, What a Beautiful Morning,” “The Surrey with the Fringe on Top,” and “People Will Say We're in Love,” it marked the beginning of a 17-year partnership that ended with Hammerstein's death. Carousel (1945) and the experimental Allegro (1947) were somewhat less successful, but South Pacific (1949) had a Broadway run almost as long as that of Oklahoma! and won a second Pulitzer Prize (1950). Unusual in its treatment of racial prejudice and skillful matching of music to character, it included the songs “Younger than Springtime,” “Some Enchanted Evening,” and “I'm Gonna Wash That Man Right Outa My Hair.” There followed The King and I (1951), remarkable