Charles W. 'Chuck' Bryant

Yeah, I mean, people were not doing that at the time. They also had blackface in that review because that was something they were also doing at the time, but it was also pretty, you know, progressive in some ways by, like, having an integrated cast.

Yeah, I mean, people were not doing that at the time. They also had blackface in that review because that was something they were also doing at the time, but it was also pretty, you know, progressive in some ways by, like, having an integrated cast.

Yeah, I mean, people were not doing that at the time. They also had blackface in that review because that was something they were also doing at the time, but it was also pretty, you know, progressive in some ways by, like, having an integrated cast.

Yeah, and just to be clear, it was truly integrated. I wasn't saying the blackface was integration. It had real integration and also blackface, which I don't quite understand.

Yeah, and just to be clear, it was truly integrated. I wasn't saying the blackface was integration. It had real integration and also blackface, which I don't quite understand.

Yeah, and just to be clear, it was truly integrated. I wasn't saying the blackface was integration. It had real integration and also blackface, which I don't quite understand.

Yeah, I don't know how they were doing things in 1927.

Yeah, I don't know how they were doing things in 1927.

Yeah, I don't know how they were doing things in 1927.

Right, exactly. So Hammerstein is doing his thing, doing pretty well. Jerome Kern's great. But all of a sudden, a dude lopes onto the scene named Richard Rodgers. And Hammerstein said, Rogers and Hammerstein. That sounds, that has a nice ring to it. They're old buddies, old former classmates from Columbia years earlier.

Right, exactly. So Hammerstein is doing his thing, doing pretty well. Jerome Kern's great. But all of a sudden, a dude lopes onto the scene named Richard Rodgers. And Hammerstein said, Rogers and Hammerstein. That sounds, that has a nice ring to it. They're old buddies, old former classmates from Columbia years earlier.

Right, exactly. So Hammerstein is doing his thing, doing pretty well. Jerome Kern's great. But all of a sudden, a dude lopes onto the scene named Richard Rodgers. And Hammerstein said, Rogers and Hammerstein. That sounds, that has a nice ring to it. They're old buddies, old former classmates from Columbia years earlier.

And Rogers approached Hammerstein and said, hey, there's this play, Green Grow the Lilacs from Lynn Riggs. Why don't we turn that into a musical? And why don't we do a little different? Like, why don't you write the words to this thing first? I'll write the music. And I don't know, let's use an exclamation point in the title. Let's just call it Oklahoma.

And Rogers approached Hammerstein and said, hey, there's this play, Green Grow the Lilacs from Lynn Riggs. Why don't we turn that into a musical? And why don't we do a little different? Like, why don't you write the words to this thing first? I'll write the music. And I don't know, let's use an exclamation point in the title. Let's just call it Oklahoma.

And Rogers approached Hammerstein and said, hey, there's this play, Green Grow the Lilacs from Lynn Riggs. Why don't we turn that into a musical? And why don't we do a little different? Like, why don't you write the words to this thing first? I'll write the music. And I don't know, let's use an exclamation point in the title. Let's just call it Oklahoma.

Yeah.

Yeah.

Yeah.

Yeah, I mean, giants to this day of the industry, South Pacific, The Sound of Music, The King and I. I mean, their names are basically synonymous with musical theater.

Yeah, I mean, giants to this day of the industry, South Pacific, The Sound of Music, The King and I. I mean, their names are basically synonymous with musical theater.