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The Liberal Protestant Influence on the Musical Plays of Oscar Hammerstein Ii Circa 1943-1959

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The Liberal Protestant Influence on the Musical Plays of Oscar Hammerstein Ii Circa 1943-1959 THE LIBERAL PROTESTANT INFLUENCE ON THE MUSICAL PLAYS OF OSCAR HAMMERSTEIN II CIRCA 1943-1959 Kathryn Anne Bradley A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3552 This item is protected by original copyright UNIVERSITY OF ST ANDREWS St Mary’s College THE LIBERAL PROTESTANT INFLUENCE ON THE MUSICAL PLAYS OF OSCAR HAMMERSTEIN II CIRCA 1943-1959 A Thesis Submitted by KATHRYN ANNE BRADLEY TO THE FACULTY OF DIVINITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY 4 February, 2013 ii DECLARATIONS (i) I, Kathryn Bradley, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. (ii) I was admitted as a research student in September 2009 and as a candidate for the degree of PhD in Theology in May 2010; the higher study for which this is a record was carried out in the University of St Andrews between 2009 and 2013. (iii) I,Kathryn Bradley, received assistance in the writing of this thesis in respect of proofreading, which was provided by James Bradby. Date Signature of candidate (iv) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date Signature of supervisor (v) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. I have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: iii i. Embargo on both all of printed copy and electronic copy for the same fixed period of 5 years on the following ground(s): (delete those not applicable) . publication would preclude future publication; . publication would be in breach of law or ethics due to a considerable amount of copyrighted material essential to this thesis found throughout that has not been cleared, and while I plan to seek permission there is a possibility that it will be refused. Date Signature of candidate Date Signature of supervisor iv COPYRIGHT DECLARATIONS The use of quotations by Oscar Hammerstein II in this thesis have been used by arrangement with Hammerstein Properties LLC. Permission to use excerpts from various Rodgers and Hammerstein productions in this thesis was granted by Imagem. Copyright notices follow excerpts throughout this thesis in the body of the text and in the footnotes as directed by Imagem. v ABSTRACT This thesis explores the American liberal Protestant religious influences on Oscar Hammerstein II, and investigates how they are manifested in his musical plays written with Richard Rodgers in the period 1943-1959. Identifying these influences, which stem from Hammerstein’s Protestant maternal family and from his attendance during his youth at the prominent Universalist church, The Church of the Divine Paternity, enable a widening of the theological engagement with popular culture to include the neglected realm of musical theatre. Having identified the Rodgers and Hammerstein musical play as a particularly powerful popular art form that explores the existential questions faced by human beings, I investigate the previously unexplored Unitarian and Universalist influences on Oscar Hammerstein II, refuting claims that he was part of the Jewish theatrical community on Broadway. Tracing these influences in Hammerstein’s lyrics and libretti shows his response to these fundamental questions as human beings seek to create meaning and build identity in relation to that which is ‘other’. Within Hammerstein’s personal philosophy I distinguish, the relationship between human beings and God, and the ethical relationships between human beings in community. I begin by exploring the Unitarian moral philosophy and belief in the fatherhood of God found in Carousel, The Sound of Music and Cinderella, and engaging with the Universalist depiction of the restoration period of the soul found in Carousel. Having revealed Hammerstein’s liberal Protestant understanding of this relationship, I turn to his social and political activism connecting it to a social gospel understanding of the brotherhood of man and assertion of human unity. Engaging with his ‘American’ musicals – Oklahoma!, Carousel, and The Sound of Music - and his ‘Asian’ musicals – vi South Pacific, The King and I, and Flower Drum Song - separately, I question the theological implications of his late nineteenth- and early twentieth-century understanding of human unity have with regard to diversity. Throughout each of his musicals evidence is adduced of an unwavering belief in the progress of humankind onward and upward, as he reveals a significant liberal Protestant understanding of the nature of humanity, the brotherhood of man, and the possibility for human development and change. vii ACKNOWLEDGEMENTS I would like to take this opportunity to thank my supervisor, Dr Ian Bradley, for briefly setting aside the topsy-turvy world of Gilbert and Sullivan for the cockeyed optimism of Oscar Hammerstein II. I could not have wished for a more enthusiastic, conscientious and patient supervisor throughout this process. I would like to extend this thanks to the Bradley family, the wider St Mary’s College community, and Lynda Kinloch in the St James’ Library for their support and encouragement. I am grateful to the Rodgers and Hammerstein Organization, Andrew Boose Ltd., and the Hammerstein family, for granting me permission to access the Oscar Hammerstein II Archives held at the Library of Congress, without which this thesis would not have been a success. I am particularly thankful to the President of the Rodgers and Hammerstein Organization, Ted Chapin, and Bert Fink for welcoming me into their offices in New York City, and taking time out of their schedules to talk with me at length about Oscar Hammerstein II. Access to the Oscar Hammerstein II Archives at the Library of Congress would have been impossible without the help of the dedicated team at the Music Division led by Mark Horowitz. The personal welcome and attention I received from Mark Horowitz was incredible, and to this day I am not sure how he managed to carry that endless stream of boxes up from the basement without the slightest murmur of complaint. I thank Jan Hus Presbyterian Church and Neighbourhood House in New York City for providing me with a bed and a spiritual sanctuary in the city, and Ken Kovacs and Mark Dunham for their hospitality and support in Washington D.C. during my research trip to the United States. My family and friends who have shared in the highs and lows of my journey through this process have been remarkable. Special thanks go to my grandmother, Nan Bradley, for her words of wisdom, optimism and encouragement; she certainly has something of the Hammerstein spirit. viii CONTENTS DECLARATIONS .............................................................................................................................. ii COPYRIGHT DECLARATIONS ..........................................................................................................iv ABSTRACT ...................................................................................................................................... v ACKNOWLEDGEMENTS ................................................................................................................ vii INTRODUCTION ............................................................................................................................. 1 Theological Engagement with the Musical Play ........................................................................ 6 Aims and Intentions: Summary of the Thesis ........................................................................... 8 THEOLOGICAL ENGAGEMENTS WITH POPULAR CULTURE AND MUSICAL THEATRE .................. 12 Identifying Popular Culture ..................................................................................................... 13 Theological Engagements with Popular Culture ..................................................................... 22 Paul Tillich’s Theology of Culture ............................................................................................ 30 Rodgers and Hammerstein, and the Integrated Musical Play: A Place for Theological Engagement ...........................................................................................................................
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