Whitney Bros Two-Shelf Book Carousel

Product Information

Autoplays the carousel after the user manually cycles the first item. If set to 'carousel', autoplays the carousel on load. 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: Bootstrap’s carousel class exposes two events for hooking into carousel functionality. Both events have the following additional properties:

Willis, John. "Previous Theatre World Award Recipients". Hal Leonard Corporation, 2009, p. 364 ISBN 978-1-4234-7369-5. Retrieved January 25, 2012 If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. [121] Awards and nominations [ edit ] Original 1945 Broadway production [ edit ] Year By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. [11] Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). [12] Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." [13] An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", [13] and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which, according to Rodgers, "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" [14] As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma!' " [15] Atkinson, Brooks. "Eloquent musical". The New York Times, June 13, 1954, p. X1. Retrieved on December 21, 2010. Fee for article. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century.The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. [27] It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. [36] Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. [37] A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. [33] Oscar Hammerstein II

Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. SpongeBob SquarePants Leads 2018 Drama Desk Awards", Playbill, June 3, 2018. Retrieved on January 9, 2021Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. [31] In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". [32] The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. [33] Author Ethan Mordden described the effectiveness of this opening: Butler, Robert. "Show People: A star waiting to happen: Clive Rowe", The Independent, September 25, 1994 I began to see an attractive ensemble—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, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. [18] Nichols, Lewis. "The play in review". The New York Times, April 20, 1945, p. 24. Retrieved on December 21, 2010. Fee for article.

Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. ISBN 978-0-313-34140-3. 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. a b Coveney, Michael. "Carousel, Savoy Theatre, London". The Independent, December 4, 2008. Retrieved on December 21, 2010. Spellbinding and beautifully written--a galloping ride into love, relationships, and friendship, and the burdens of family history."

Horizontal Carousels

var myCarousel = document . querySelector ( '#myCarousel' ) var carousel = new bootstrap . Carousel ( myCarousel , { interval : 2000 , wrap : false }) Method An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. [5] The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, [5] and the play was a success, running 300performances. [6] A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. [5] Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: If set to 'hover', pauses the cycling of the carousel on mouseenter and resumes the cycling of the carousel on mouseleave. If set to false, hovering over the carousel won't pause it. Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. [34] Casting and out-of-town tryouts [ edit ]