Summary

One in this educational public affairs series that traces the origins and development of the American musical theater and examines the careers and contributions of the creative artists who have made the musical a native American art form. In an informal workshop setting, New York City high school students meet the composers, lyricists, and performers who have shaped the American musical and question them about their work. In this edition, host Jim Morske examines the work of several Broadway composers who had their first big hits in the 1940s. After Jules Styne plays a bit of "New York, New York" on the piano from Leonard Bernstein's "On the Town," Erik Rhodes sings "Come to Me, Bend to Me," from Alan Jay Lerner and Frederick Loewe's "Brigadoon, and Gretchen Wyler performs "Mamie Is Mimi" from Styne's "Gentlemen Prefer Blondes," which she explains was not in the original Broadway production starring Carol Channing. Next, Morske interviews Styne, who discusses his early interest in music, his exploration of jazz, the difference between writing music for movies and the stage, and the experience of working with a variety of lyricists. Styne then performs some of his well-known songs, including "You're My Girl" from "High Button Shoes," "Bye Bye Baby" from "Gentlemen Prefer Blondes," "Never Land" from "Peter Pan," "Everything's Coming Up Roses" from "Gypsy," and "The Party's Over" from "Bells Are Ringing." As a tribute to Kurt Weill, Rhodes next performs a rendition of "Mack the Knife" in which he strives to recreate the original atmosphere envisioned by the composer of an unsavory performer singing in a dive in the slums of Berlin. Next, Gretchen Wyler talks about performing in Frank Loesser's "Where's Charley?" and sings and dances to the show's "Once in Love with Amy," popularized by the musical's star, Ray Bolger. Rhodes then joins her and tells a comical story of a bond shared by these two performers. The program closes with the CBS Orchestra playing "Everything's Coming Up Roses."

Cataloging of this program was made possible by a grant from the GRAMMY Foundation.