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In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired " Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." [24] The opening carnival scene in Liliom inspired the pantomime that begins Carousel; 1921 The New York Times called the movie a "beautifully turned out film, crisply played and richly sung by a fine cast that is fully worthy of the original show". Crowther, Bosley. " Carousel is worthy of original show". The New York Times, February 17, 1956, p. 13. Retrieved on December 25, 2010.

As of Bootstrap 5.2.0, all components support an experimental reserved data attribute data-bs-config that can house simple component configuration as a JSON string. When an element has data-bs-config='{"delay":0, "title":123}' and data-bs-title="456" attributes, the final title value will be 456 and the separate data attributes will override values given on data-bs-config. In addition, existing data attributes are able to house JSON values like data-bs-delay='{"show":0,"hide":150}'. 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. On touch-enabled devices, when set to "hover", cycling will pause on touchend (once the user finished interacting with the carousel) for two intervals, before automatically resuming. This is in addition to the mouse behavior. If set to true, autoplays the carousel after the user manually cycles the first item. If set to "carousel", autoplays the carousel on load.

In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). [8] Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the " Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. [9] Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, " The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. [10] Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. [1] "A star—please, my dear—I must do something good." Liliom ( Joseph Schildkraut) offers Louise (Evelyn Chard) the star he stole; 1921 Theatre Guild production Jan Clayton°, Iva Withers, Barbara Cook, Constance Towers, Joanna Riding, Sarah Uriarte Berry, Jennifer Laura Thompson, Alexandra Silber, Katherine Jenkins, Jessie Mueller Atkinson, Brooks. "Eloquent musical". The New York Times, June 13, 1954, p. X1. Retrieved on December 21, 2010. Fee for article. Billington, Michael. " Carousel – review", The Guardian, August 21, 2012. Retrieved on July 29, 2016

Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: " Oklahoma! is about a picnic, Carousel is about life and death." [113] Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls." [114] Set between Montreal, Quebec and various American cities, Carousel is a story about secrets--secret yearnings, lives, and losses--and the measures we take to protect our loved ones from the monsters we see ourselves to be.

Options can be passed via data attributes or JavaScript. For data attributes, append the option name to data-bs-, as in data-bs-interval="". Name The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. [53] Subsequent productions [ edit ] 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 Krulwich, Sarah. Carousel comes to a stop as its cast takes a final bow. The New York Times, January 29, 1995. Retrieved on December 27, 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.

Rich, Frank. "London makes a revelation of Carousel". The New York Times, December 17, 1992. Retrieved on December 24, 2010. Fee for article. 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. There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. [86] Cheever, Susan. "A lost boy makes good". The New York Times, March 6, 1994. Retrieved on December 21, 2010.Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep").

Isherwood, Charles. "In a Sunny Setting, Lives Dappled by Shadow", The New York Times, February 28, 2013 (print version dated March 1, 2013, p. C13)

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var myCarousel = document . querySelector ( '#myCarousel' ) var carousel = new bootstrap . Carousel ( myCarousel , { interval : 2000 , wrap : false }) Method On his return to Earth, Liliom encounters his daughter Louise, who, like her mother, is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. [4] The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. [45] Casto recalled that the second act finished about 1:30a.m. [27] The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." [45] De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking.... We cut and cut and cut and then we went to bed." [46] By the time the company left New Haven, de Mille's ballet was down to forty minutes. [44] It's kind of an updated Jane Eyre, accelerated for the twenty-first century, with smartphones and texting." Carousel wrapper -->