Oscar Hammerstein II is recognized as a leading influence for modern Broadway musicals. His grandfather, Oscar Hammerstein I, built the Victoria Theatre, a 1,000-seat venue located at 42nd Street and 7th Avenue in New York, considered the first theater on Broadway. When the Victoria first opened, musicals of the time were more like popular entertainment, combining songs, magic, and dance, with an emphasis on the spectacle. Stories were straightforward and simple, often portraying lighthearted, romantic themes with happy endings, offering enjoyment to the public as a form of entertainment show.
One work that served as a turning point in the evolution of musicals was Show Boat, for which Oscar Hammerstein II wrote the lyrics and script. This production was the first to incorporate a serious storyline and express drama through the musical format. The theme of racial discrimination brought a depth previously unseen in musicals, transforming them from lighthearted entertainment to a medium capable of telling profound stories. This is considered the beginning of the Broadway musical. Hammerstein II's later works, such as Oklahoma! and The Sound of Music, often dealt with issues such as governance and discrimination. These works elevated musicals from mere spectacles or acrobatics to storytelling art forms, imbuing music and performance with a strong message.
Hammerstein left behind a famous saying: "A song's not a song 'til you sing it" His commitment to addressing societal and discrimination issues through musicals and his warm, sincere personality continue to inspire admiration. It was likely his compassionate and genuine nature that allowed his musicals to be cherished by so many people.
In the early 20th century, in Hammerstein II's era, theaters began to display signs illuminated with incandescent bulbs. The dazzling, vibrant, and lively atmosphere of Broadway was born, juxtaposed with Oscar's deep concern for social issues. This composition was inspired by the multifaceted nature of Oscar himself-the glamorous energy of Broadway and his warm, empathetic heart.
Even today, societal challenges persist. If Oscar were alive in our time, what kind of story would he tell? What kind of lyrics would he create? This fantasia was composed as a tribute to his illustrious achievements and his sincerity and compassion. The music embodies the spirit of Broadway, expressing the dream of having Oscar himself write its lyrics.
The piece does not draw on a specific story as its motif. Instead, I hope performers will create their own original narratives, imagining them as they play. Perform as if singing a song.
(Masanori Taruya)
