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The amount of time to delay between automatically cycling an item. If false, carousel will not automatically cycle. Few things are so ideal to restore your inner balance after a hard day than Rosamund Pilcher's books. This optimism, the gentle romance, the relaxing descriptions of nature and in general all this world of her are the ideal elements that one can look for in these conditions and their positive effect on me is something stable. Of course, there is nothing different from her other books, which of course can be described as negative but, on the other hand, this absence of surprise works just as relaxing as the reader knows what he will encounter. So here we have a story in beautiful Cornwall, with a young woman looking for her way, a man who has lost it and a neglected girl, all under the roof of a wise middle-aged woman and faced with the consequences of the actions of selfish and immature people. In this bubble of love and understanding, everything can be done, the tears can dry, true love can bloom, solid solutions can be found and, of course, the reader can find refuge for a few hours. However, in the case of this book, the hours are really few and that is something negative but I have the feeling that all these nice things are given in an ideally condensed way that actually enhances the book and makes it more enjoyable. That's why I could not avoid the rating you see.

Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. [15] Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. [3] Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. [25] "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. [26] a b Evans, Everett. "Catch Carousel for the ride of a lifetime". Houston Chronicle, February 12, 1996, p. 1 of Houston section. Rich, Frank. "London makes a revelation of Carousel". The New York Times, December 17, 1992. Retrieved on December 24, 2010. Fee for article.

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Rodgers 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: Spellbinding and beautifully written--a galloping ride into love, relationships, and friendship, and the burdens of family history." The casting for Carousel began when Oklahoma!'s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing " Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). [35] Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. [27]

var myCarousel = document . querySelector ( '#myCarousel' ) var carousel = new bootstrap . Carousel ( myCarousel , { interval : 2000 , wrap : false }) Method McPhee, Ryan. "Carousel, Starring Jessie Mueller, Joshua Henry, and Renée Fleming, Begins on Broadway February 28", Playbill, February 28, 2018 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 Miller, Daryl H. "Powerful Carousel Leaves Ahmanson Audience Spinning", Daily News (Los Angeles), July 12, 1996. Retrieved on December 26, 2010

Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5.

Cheever, Susan. "A lost boy makes good". The New York Times, March 6, 1994. Retrieved on December 21, 2010. Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. ISBN 978-0-02-872625-0. Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921.

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a b Green, Stanley. Encyclopedia of The Musical Theatre: An Updated Reference. Da Capo Press, 1980, pp. 63–64. ISBN 978-0-306-80113-6. Retrieved on December 21, 2010. Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre.... There's much that is operatic in the music." [89] Richard Rodgers