On November 16, 1959, when the play opened on Broadway, the Times changed its tune as they, along with most critics, offered mixed reviews, to put it kindly. “The scenario of The Sound of Music has the hackneyed look of a musical theatre that Richard Rodgers and Oscar Hammerstein [II] replaced with Oklahoma! in 1943,” offered Brooks Atkinson, who added, “It is disappointing to see the American musical stage succumbing to the clichés of operetta. The revolution of the forties and fifties has lost its fire.” Obviously feeling badly, he went on to say it’s also “moving” and “glorious.”
Walter Kerr thought it was “too sweet for words but almost too sweet for music,” and Kenneth Tynan, never one to mince words, thought it was “appropriate for children of all ages from six to about eleven and a half.” Others chimed in with “cloying,” “hackneyed,” “sentimental,” “syrupy sweetness,” “marzipan sentimentality,” and even “exploitation of precious children.” (The best line would have to wait for Christopher Plummer’s “The Sound of Mucous.”)
Of course, none of this resonated with the public, who voted with their pocketbooks, making The Sound of Music the most successful show in Broadway history, with 1,442 performances, five Tonys (including that for Best Actress), a three-year national tour, and five and a half years at the Palace in London—a record. The Sound of Music didn’t stop there; it went on to become an even bigger hit when the film starring—much to Mary Martin’s displeasure—Julie Andrews and Christopher Plummer was released in 1965 and became the most popular film in history.
Sadly, no one involved with the play would be able to fully enjoy its warm reception by New York City theatregoers. The Sound of Music would be Rodgers and Hammerstein’s last collaboration.
In September 1959, soon after rehearsals for The Sound of Music began, Oscar Hammerstein went for his annual medical checkup. The year before he’d had an operation on his gallbladder and had his prostate removed, necessitating a monthlong stay in the hospital. Although he was sixty-three and felt a little old and a little tired, the checkup went well. Oscar did mention a very minor problem he was having: waking up in the middle of the night, hungry. A glass of milk seemed to help. Oscar thought maybe he had an ulcer—it would figure. The doctor suggested they run some tests and take some X-rays. The X-rays showed that Oscar did not have an ulcer; he had a large tumor in his stomach. Surgery was scheduled immediately and resulted in his having three-quarters of his stomach removed. Oscar had stage-five cancer; he had six months to a year to live.
Oscar in Montego Bay, Jamaica
Dorothy, who was at the hospital, along with Oscar’s five children, was given the news of Oscar’s prognosis and decided to withhold the information from her husband. She told him the operation was a success; they got it all. By October 4, 1959, Oscar was home and recuperated for ten days. Then it was back to work: to New Haven and then Boston for the previews. Afterward, he and Dorothy took some time off: For Christmas they went down to Round Hill, in Montego Bay, Jamaica, where they had a vacation home. (Oscar had spotted it while scouting locations for South Pacific.) While he was there, he worked on a possible television adaptation of Allegro, which he had clearly still not given up on.
By June 1960, however, Oscar was beginning to suspect the truth. He met with his doctor, and a month later further tests showed that the cancer had recurred. He decided against chemotherapy (then very much in its infancy) or further surgery, saying, “I’m just going down to Doylestown and stay on the farm until I die.” He talked with his children and inscribed photographs to each of them, including Stevie Sondheim (“To my friend and teacher, Ockie”). And he wrote notes for an autobiography he had begun that summer, writing:
I make no room to die with my boots on. Someday I may leave the theatre. But I couldn’t walk out suddenly. I would have to linger awhile and take a few last looks. I would have to blow a few fond kisses as I edged toward the stage door.
On August 23, 1960, shortly after midnight, Oscar Hammerstein II died.
All the lights in Times Square—his grandfather’s Times Square—and in the London theatre district were dimmed for a minute, as a last bow.
Oscar writing on the farm
ACKNOWLEDGMENTS
I wish to acknowledge my debt to a handful of writers who have lit the way before me—Vincent Sheean, John F. Cone, George Blumenthal, Hugh Fordin, Max Wilk, Ethan Mordden, Meryle Secrest, Gerald Bordman, and the inimitable Miles Kreuger. They, and many others, have taught me my family’s history. For their efforts I am ever grateful.
I would also like to thank the many Hammerstein family members, past and present: Dorothy Blanchard Hammerstein, Dorothy Underhill Hammerstein, Alice Hammerstein Mathias, William and Jane-Howard Hammerstein, Susan Blanchard, Dena Hammerstein, Gabriele Hammerstein, as well as Stephen Sondheim, John Steele Gordon, and Cody Dalton for their generosity with family photographs and anecdotes. Thank you to the Rodgers & Hammerstein Organization: Ted Chapin, Bert Fink, Victoria Traube, and Bruce Pomahac for their unflagging input and encouragement.
I would like to express my gratitude for the assistance of Thom Lisanti and the many dedicated librarians at the New York Public Library Theatre Division; Marty Jacobs and Robbi Siegel at the Museum of the City of New York; Jill Slaight at the New-York Historical Society; Ray Wemmlinger at the Hampden-Booth Library Collection; Alexander Adducci at the NIU Scenic Collection; and Jeff Roth at the New York Times.
Kudos also goes to my publisher, J. P. Leventhal; my editor, Liz Van Doren; Liz Driesbach, Becky Koh, Camille March, and True Sims at Black Dog & Leventhal.
My heartfelt thanks goes to Jill Cohen, my hands-on literary agent, and to the writing support of Barry Denenberg whose wit and wisdom lit my way through the development of this book.
To all my many friends and family, my humble thanks for always being there for me.
PHOTO CREDITS
I am grateful to the following collections and institutions for permission to publish the photographs in this book.
p. 6:
Times Square at Night / Good Boy Marquee
Hammerstein Family Collection
p. 9:
Oscar Hammerstein I
Hammerstein Family Collection
p. 12:
Oscar Hammerstein II
Hammerstein Family Collection
p. 15:
Lower Manhattan ca. 1864
Hammerstein Family Collection
p. 16:
Rosa Blau
Hammerstein Family Collection
p. 17:
Oscar Hammerstein; 1878 portrait; Oscar’s first patent
Hammerstein Family Collection
p. 18:
Oscar inventing
Hammerstein Family Collection
p. 19:
“Drunk on a lamppost” illustration
Hammerstein Family Collection
p. 20:
The United States Tobacco Journal, August 10, 1878
Hammerstein Family Collection
p. 21:
Henry and Anna Hammerstein Rosenberg
Hammerstein Family Collection
p. 22:
Malvina Jacobi
Hammerstein Family Collection
p. 23:
Rose and Stella
Hammerstein Family Collection
p. 25:
J. B. McElfatrick
Hammerstein Family Collection
p. 27:
“Newark Bay” painting, oil on board
Hammerstein Family Collection
p. 28:
The Harlem Opera House
Hammerstein Family Collection
p. 29:
The Columbus Theatre
Hammerstein Family Collection
p. 30:
Oscar’s Topper
Hammerstein Family Collection
p. 31:
Illustration from the first Manhattan Opera House; 1892 theatre design patent
Hammerstein Family Collection
p. 3
2:
Harry Hammerstein; “Manhattan Opera House proscenium” illustration
Hammerstein Family Collection
p. 33:
“Champagne follows Beere” illustration; Oscar’s look; Oscar with full beard
Hammerstein Family Collection
p. 35:
Koster & Bial’s broadside
Hammerstein Family Collection
p. 37:
Oscar Hammerstein
Hammerstein Family Collection
p. 41:
Programme
Hammerstein Family Collection
p. 45:
Olympia Theatre; “Oscar multitasks” illustration
Hammerstein Family Collection
p. 46:
Oscar Hammerstein
Hammerstein Family Collection
p. 47:
Joe Weber and Lew Fields
Hammerstein Family Collection
p. 48:
Leopoldo Fregoli
Hammerstein Family Collection
p. 49:
The Cherry Sisters
Hammerstein Family Collection
p. 50:
Theodore Roosevelt; Silk souvenir; Anna Held; Florenz Ziegfeld
Hammerstein Family Collection
p. 51:
Santa Maria sheet music
Hammerstein Family Collection
p. 57:
Oscar Hammerstein
Hammerstein Family Collection
p. 58:
Victoria Theatre seating diagram
Hammerstein Family Collection
p. 59:
The Republic Theatre; David Belasco
Hammerstein Family Collection
p. 60:
“Hammerstein Farm” illustration
Hammerstein Family Collection
p. 61:
The New York Times building
Hammerstein Family Collection
p. 62:
Willy Hammerstein
Hammerstein Family Collection
p. 63:
Hammerstein’s Roof Garden Program; Victoria bill listing; Charlie Chaplin
Hammerstein Family Collection
p. 64:
W. C. Fields; Lew Fields; The Lew Fields Theatre
Hammerstein Family Collection
p. 65:
Oscar Hammerstein; Sober Sue announcement
Hammerstein Family Collection
p. 66:
Manhattan Opera House
Hammerstein Family Collection
p. 68:
The Manhattan Opera House Interior; Heinrich Conried
Hammerstein Family Collection
p. 69:
Opera War cartoon; Conductor Cleofonte Campanini; The Manhattan Opera House postcard; Allesandro Bonci
Hammerstein Family Collection
p. 70:
Impresario
Hammerstein Family Collection
p. 71:
Nellie Melba
Hammerstein Family Collection
p. 72:
Mary Garden
Hammerstein Family Collection
p. 73:
Luisa Tetrazzini; Musical America Magazine illustration
Hammerstein Family Collection
p. 74:
Philadelphia Opera House, postcard
Hammerstein Family Collection
p. 75:
Arthur Hammerstein
Hammerstein Family Collection
p. 77:
Oscar Hammerstein
Hammerstein Family Collection
p. 78:
Victor Herbert
Hammerstein Family Collection
p. 79:
London Opera House construction site
Hammerstein Family Collection
p. 80:
Oscar Hammerstein
Hammerstein Family Collection
p. 81:
Naughty Marietta cast listing
Hammerstein Family Collection
p. 82:
Oscar Hammerstein with daughter Stella
Hammerstein Family Collection
p. 83:
The Lexington Theatre
Hammerstein Family Collection
p. 84:
Alice Nimmo Hammerstein
Hammerstein Family Collection
p. 85:
Oscar Greeley Clendenning Hammerstein
Hammerstein Family Collection
p. 86:
Hippodrome group portrait
Hammerstein Family Collection
p. 87:
1911 Vanity Fair cover
Hammerstein Family Collection
p. 89:
Young Oscar
Hammerstein Family Collection
p. 90:
Brother Reggie
Hammerstein Family Collection
p. 92:
Oscar in college; Oscar with college pals
Hammerstein Family Collection
p. 93:
Oscar and Myra
Hammerstein Family Collection
p. 95
You’re in Love vocal score; “Heart of my Heart” sheet music
Hammerstein Family Collection
p. 97:
Title song from Sometime
Hammerstein Family Collection
p. 98:
“Syncopated Heart” sheet music; Always You souvenir program
Hammerstein Family Collection
p. 99:
Otto Harbach
Hammerstein Family Collection
p. 100:
“Until You Say Good-Bye” sheet music; “Baby Dreams” sheet music
Hammerstein Family Collection
p. 101:
Guy Bolton; “Two Little Ruby Rings” sheet music
Hammerstein Family Collection
p. 102:
“You Need Someone, Someone Needs You” sheet music; Nora Bayes
Hammerstein Family Collection
p. 103:
“Bambalina” sheet music
Hammerstein Family Collection
p. 104:
“Flannel Petticoat Gal” sheet music; Rudolf Friml
Hammerstein Family Collection
p. 105:
Arthur Hammerstein with his fourth wife, Dorothy Dalton; Elaine Hammerstein
Hammerstein Family Collection
p. 106:
“Indian Love Call” sheet music; Charles Dillingham
Hammerstein Family Collection
p. 107:
Jerome Kern; “Who?” sheet music; Marilyn Miller
Hammerstein Family Collection
p. 108:
George Gershwin; Title song from Song of the Flame; Otto Kahn
Hammerstein Family Collection
p. 109:
Title song of Desert Song, 1926
Hammerstein Family Collection
p. 110:
Oscar Hammerstein and Sigmund Romberg
Hammerstein Family Collection
p. 111:
“Dawn” sheet music; Oscar Hammerstein statue by Pompeo Coppini
Hammerstein Family Collection
p. 113:
“Ol’ Man River” sheet music
Hammerstein Family Collection
p. 114:
Guy Bolton, P. G. Wodehouse, and Jerome Kern
Hammerstein Family Collection
p. 116:
Edna Ferber
Hammerstein Family Collection
p. 119:
Oscar Hammerstein, Florenz Ziegfeld, and Jerome Kern
Hammerstein Family Collection
p. 120:
Helen Morgan
Hammerstein Family Collection
p. 124:
Arthur Hammerstein
Hammerstein Family Collection
p. 125:
Florenz Ziegfeld
Hammerstein Family Collection
p. 127:
Dorothy Blanchard and sisters
Hammerstein Family Collection
p. 128:
Dorothy Blanchard
Hammerstein Family Collection
p. 129:
Oscar and Dorothy
Hammerstein Family Collection
p. 132:
“I Wanna Be Loved By You” sheet music
Hammerstein Family Collection
p. 133:
Helen Kane; “Try Her Out At Dances” sheet music
Hammerstein Family Collection
p. 134:
Sigmund Romberg; “The One Girl” sheet music
Hammerstein Family Collection
p. 135:
“Why Was I Born?” sheet music
Hammerstein Family Collection
p. 137:
Publicity shot from the film Viennese Nights, 1930
Hammerstein Family Collection
p. 138:
“No Wonder I’m Blue” sheet music
Hammerstein Family Collection
p. 139:
W. C. Fields
Hammerstein Family Collection
p. 140:
Oscar Hammerstein II
Hammerstein Family Collection
p. 141:
“To-night” sheet music; “It’s a Wonderful World” sheet music
Hammerstein Family Collection
p. 142:
“I’ve Told Ev’ry Little Star” sheet music
Hammerstein Family Collection
p. 143:
“Just Once Around The Clock” sheet music
Hammerstein Family Collection
p. 144:
“All The Things You Are” sheet music
Hammerstein Family Collection
p. 145:
Jerome Kern
Hammerstein Family Collection
p. 146:
Oscar Hammerstein II
Hammerstein Family Collection
p. 147:
American Jubilee souvenir program; “Lordy” sheet music
Hammerstein Family Collection
p. 148:
Carmen libretto
Hammerstein Family Collection
p. 149:
Program from Carmen Jones
Hammerstein Family Collection
p. 151:
Richard Rodgers and Lorenz “Larry” Hart
Hammerstein Family Collection
p. 153:
Oscar and Dorothy
Hammerstein Family Collection
p. 159:
“Oh, What A Beautiful Mornin’” sheet music
Hammerstein Family Collection
p. 162:
Oscar Hammerstein II; Variety apology
Hammerstein Family Collection
The Hammersteins Page 16