document_title: Oklahoma!

question_text: who shows up drunk to the wedding party in oklahoma

text: Oklahoma!

text: Background[edit]

text: By the early 1940s, Rodgers and Hammerstein were each well known for creating Broadway hits with other collaborators. Rodgers, with Lorenz Hart, had produced over two dozen musicals since the 1920s, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940).[5] Among other successes, Hammerstein had written the words for Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote musicals, songs and films, sharing an Academy Award for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good.[6] By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, and he became unreliable, prompting Rodgers to approach Hammerstein to ask if he would consider working with him.[7]

text: Conception[edit]

text: In 1931, the Theatre Guild produced Lynn Riggs's Green Grow the Lilacs, a play about settlers in Oklahoma's Indian Territory. Though the play was not successful, ten years later in 1941, Theresa Helburn, one of the Guild's producers, saw a summer-stock production supplemented with traditional folk songs and square dances and decided the play could be the basis of a musical that might revive the struggling Guild. She contacted Richard Rodgers and Lorenz Hart, whose first successful collaboration, The Garrick Gaieties, had been produced by the Theatre Guild in 1925. Rodgers wanted to work on the project and obtained the rights for himself and Hart. Rodgers had asked Oscar Hammerstein II to collaborate with him and Hart. During the tryouts of Rodgers and Hart's By Jupiter in 1941, Hammerstein had assured Rodgers that if Hart was ever unable to work, he would be willing to take his place.[8] Coincidentally in 1942, Hammerstein had thought of musicalizing Green Grow the Lilacs, but when he had approached Jerome Kern about it, the latter declined. Hammerstein learned that Rodgers was seeking someone to write the book, and he eagerly took the opportunity. Hart lost interest in the musical; he preferred contemporary, urbane shows that would showcase his witty lyric writing, and he found the farmers and cowhands in Green Grow the Lilacs corny and uninspiring. Moreover, spiraling downward, consumed by his longstanding alcoholism, Hart no longer felt like writing. He embarked on a vacation to Mexico, advising Rodgers that Hammerstein would be a good choice of a new collaborator.[9][10]

text: This partnership allowed both Rodgers and Hammerstein to follow their preferred writing methods: Hammerstein preferred to write a complete lyric before it was set to music, and Rodgers preferred to set completed lyrics to music. In Rodgers' previous collaborations with Hart, Rodgers had always written the music first, since the unfocused Hart needed something on which to base his lyrics. Hammerstein's previous collaborators included composers Rudolf Friml, Herbert Stothart, Vincent Youmans, and Kern, who all wrote music first, for which Hammerstein then wrote lyrics. The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it.[8] As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, Green Grow the Lilacs, not by musical comedy conventions.[9] Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.[11]

text: Casting and development[edit]

text: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.[8] The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.[11]

text: The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943.[12] Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, “No legs, no jokes, no chance.”[10] But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.[13]

text: Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize.[14] Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: “After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable."[10] The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike.[15] The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.[10]

text: Plot[edit]

text: Act I[edit]

text: In Oklahoma territory in 1906, cowboy Curly McLain looks forward to the beautiful day ahead as he wanders into farm girl Laurey Williams's yard ("Oh, What a Beautiful Mornin'"). He and Laurey tease each other, while her Aunt Eller looks on. There will be a box social dance that night, which includes an auction of lunch baskets prepared by the local women to raise funds for a schoolhouse. The man who wins each basket will eat the lunch with the lady who prepared it. Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. He attempts to persuade her by telling her that he will take her in the finest carriage money can buy ("The Surrey with the Fringe on Top"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a rig.

text: The lonely, disturbed farm hand Jud Fry has become obsessed with Laurey and asks her to the dance. She accepts to spite Curly, although she is afraid of Jud. Meanwhile, cowboy Will Parker returns bedazzled and souvenir-laden from a trip to modern Kansas City ("Kansas City"). He won $50 at the fair, which, according to his girlfriend Ado Annie's father, Andrew Carnes, is the money he needs to marry Ado Annie. Unfortunately, he spent all the money on gifts for her. Will also purchased a "Little Wonder" (a metal tube used for looking at pictures, but with a hidden blade inside) for Ado Annie's father, unaware of its deadly secret. Later, Ado Annie confesses to Laurey that while Will has been away, she has been spending a lot of time with Ali Hakim, a Persian peddler. Laurey tells her she'll have to choose between them, but Ado Annie insists she loves them both ("I Cain't Say No"). Laurey and her friends prepare for the social, while Gertie Cummings flirts with Curly (her obnoxious laugh floating in to taunt Laurey). Laurey tells her friends that she doesn't really care about Curly ("Many a New Day").

text: Andrew Carnes discovers Annie with Ali Hakim. After questioning Ado Annie about their relationship, he forces Hakim at gunpoint to agree to marry her. Hakim and the other men lament the unfairness of the situation ("It's a Scandal! It's a Outrage!"). Curly discovers that Laurey is going to the box social with Jud and tries to convince her to go with him instead. Afraid to tell Jud she won't go with him, Laurey tries to convince Curly (and herself) that she does not love him ("People Will Say We're in Love"). Hurt by her refusal, Curly goes to the smokehouse where Jud lives to talk with him. Curly suggests that since Jud does not feel appreciated, he could hang himself, and everyone would realize how much they care about him ("Pore Jud Is Daid"). Their talk turns into an ominous confrontation about Laurey. After Curly leaves, Jud's resolve to win Laurey becomes even stronger, and he vows to make her his bride ("Lonely Room").

text: Confused by her feelings for Curly and her fear of Jud, Laurey purchases a "magic potion" (referred to as smelling salts, but actually laudanum) from Ali Hakim, which the unscrupulous peddler guarantees will reveal her true love. She muses on leaving her dreams of love behind and joining the man she loves ("Out of My Dreams"), then falls asleep under the influence of the opiate ("Dream Sequence"). In an extended dream ballet sequence, Laurey first dreams of what marriage to Curly would be like. Her dream takes a nightmarish turn when Jud appears and kills Curly. She cannot escape him, confused by her desires. The dream makes her realize that Curly is the right man for her, but it is too late to change her mind about going to the dance with Jud; he has come for her, and they leave for the box social.

text: Act II[edit]

text: At the social, during an upbeat square dance ("The Farmer and the Cowman"), the rivalry between the local farmers and cowboys over fences and water rights has led to fighting, which Aunt Eller ends by firing a gun to silence everyone.[16] Laurey is upset when she sees Curly at the dance with Gertie. In an effort to rid himself of Ado Annie, Ali Hakim buys Will's souvenirs from Kansas City for $50. Jud also contributes to this by purchasing Will's Little Wonder, knowing of the blade concealed within it. The auction starts and Will bids $50 on Ado Annie's basket, not realizing that without the $50, he would no longer have the money her father insisted he needs to "purchase" marriage with her. Desperate to be rid of Ado Annie, the peddler bids $51 to get the basket so that Will can approach Andrew Carnes with the $50 and claim Ado Annie as his bride. The auction becomes much more serious when Laurey's basket comes up for auction. Jud has saved all his money so he can win Laurey's basket. Various men bid, trying to protect Laurey, but Jud outbids them all. Curly and Jud engage in a ferocious bidding war, and Curly sells his saddle, his horse, and even his gun to raise money. Curly outbids Jud and wins the basket. Jud discreetly tries to kill Curly with the Little Wonder, but his plan is foiled when Aunt Eller (knowing what is happening) loudly asks Curly for a dance. Later that night, Will and Annie work out their differences, as she reluctantly agrees not to flirt with other men ("All Er Nuthin'").

text: Jud confronts Laurey about his feelings for her. When she admits that she does not return them, he threatens her. She then fires him as her farm hand, screaming at him to get off her property. Jud furiously threatens Laurey before he departs; Laurey bursts into tears and calls for Curly. She tells him that she has fired Jud and is frightened by what Jud might do now. Curly, seeing that she has turned to him for guidance and safety, reassures her and proposes to her, and she accepts ("People Will Say We're In Love (Reprise)"). He then realizes that he must now become a farmer. Afterwards, Ali Hakim decides to leave the territory and bids Ado Annie goodbye after telling her Will is the man she should marry.

text: Three weeks later, Laurey and Curly are married and everyone rejoices in celebration of the territory's impending statehood ("Oklahoma!"). During the celebration, Ali Hakim returns with his new wife, Gertie, whom he unwillingly married after being threatened by her father with a shotgun. A drunken Jud reappears, harasses Laurey by kissing her and attacks Curly with a knife. As Curly dodges a blow, Jud falls on his own knife and soon dies. The wedding guests hold a makeshift trial for Curly, at Aunt Eller's urging, as the couple is due to leave for their honeymoon. The judge, Andrew Carnes, declares the verdict: "not guilty!" Curly and Laurey depart on their honeymoon in the surrey with the fringe on top ("Finale Ultimo").

text: Principal roles and notable performers[edit]

text:
Character
Description
Notable stage performers in major market productions

Curly McLain
A cowboy in love with Laurey
Alfred Drake°, Harry Stockwell°, John Raitt, Howard Keel, Ridge Bond, Hugh Jackman, Patrick Wilson, Laurence Guittard, Lance Smith

Laurey Williams
Aunt Eller's niece, an independent young woman
Joan Roberts°, Betty Jane Watson, Christine Andreas, Leila Benn Harris, Josefina Gabrielle, Florence Henderson, Lucy Durack

Jud Fry
A hired hand on Aunt Eller's ranch, a mysterious and dangerous loner
Howard Da Silva°, Shuler Hensley, Alfred Molina

Aunt Eller
Laurey's aunt, a respected community leader
Betty Garde°, Mary Wickes, Andrea Martin, Patty Duke, Margaret Hamilton, Maureen Lipman, Louise Plowright

Ado Annie Carnes
A flirtatious, gullible young woman
Celeste Holm°, Shelley Winters, Barbara Cook, Christine Ebersole, Jessica Boevers, Amanda Harrison

Will Parker
A simple young man in love with Ado Annie
Lee Dixon°, Harry Groener

Andrew Carnes
Ado Annie's father, eager to have her marry
Ralph Riggs°

Ali Hakim
A Persian peddler, enamored of Ado Annie
Joseph Buloff°, Eddie Albert, Peter Polycarpou, Bruce Adler, Jamie Farr, Aasif Mandvi

Gertie Cummings
A local farm girl, fond of Curly, marries Ali Hakim
Jane Lawrence°, Pamela Britton

Dream Curly
Curly in the dream sequence
Marc Platt°

Dream Laurey
Laurey in the dream sequence
Katharine Sergava°

text: ° denotes original Broadway cast

text: Musical numbers[edit]

text:
Act I

Overture – Orchestra
"Oh, What a Beautiful Mornin'" – Curly
Laurey's Entrance – Laurey & Curly
"The Surrey with the Fringe on Top" – Curly, Laurey, & Aunt Eller
"Kansas City" – Will Parker, Aunt Eller, Male Ensemble
"I Cain't Say No" – Ado Annie
Entrance of Ensemble ("I Cain't Say No" and "Oh What a Beautiful Mornin'") – Will, Ado Annie, Curly, Aunt Eller & Ensemble
"Many a New Day" – Laurey and Female Ensemble
"It's a Scandal! It's a Outrage!" – Ali Hakim & Ensemble
"People Will Say We're in Love" – Curly & Laurey
"Pore Jud Is Daid" – Curly & Jud
"Lonely Room" – Jud
"Out of My Dreams"/"Dream Ballet" – Laurey & Dream Figures

Act II

Entr'acte – Orchestra
"The Farmer and the Cowman" – Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ike Skidmore, Cord Elam & Ensemble
"All Er Nuthin'" – Will & Ado Annie
"People Will Say We're in Love" (Reprise) – Curly & Laurey
"Oklahoma!" – Curly, Laurey, Aunt Eller, Ike Skidmore, Cord Elam, Fred, Andrew Carnes & Ensemble
Finale Ultimo ("Oh What a Beautiful Mornin'" and "People Will Say We're in Love") – Company

text: Production history[edit]

text: Original Broadway[edit]

text: The original Broadway production opened on March 31, 1943 at the St. James Theatre in New York City. It was directed by Rouben Mamoulian and choreographed by Agnes de Mille. It starred Alfred Drake (Curly), Joan Roberts (Laurey), Celeste Holm (Ado Annie), Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Will Parker), Joseph Buloff (Ali Hakim), Jane Lawrence (Gertie), Barry Kelley (Ike) and George S. Irving (Joe). Marc Platt danced the role of "Dream Curly", Katharine Sergava danced the part of "Dream Laurey" and the small dancing part of Aggie was played by Bambi Linn. George Church danced the part of "Dream Jud" but was replaced by Vladimir Kostenko only two months after the premiere.

text: The production ran for 2,212 performances, finally closing on May 29, 1948.[17] "The demand for tickets was unprecedented as the show became more popular in the months that followed" the opening.[18] Oklahoma! ran for over five years, a Broadway record that "would not be bested until My Fair Lady (1956)."[18] The Tony Awards and other awards now given for achievement in musical theatre were not in existence in 1943, and therefore the original production of Oklahoma! received no theatrical awards.

text: Early U.S. tours[edit]

text: The "first of several" national tours began in New Haven, Connecticut, in 1944. A 1953 article in The New York Times reported that the show was "believed to be the only musical to have enjoyed a consecutive run of ten years. It ran on Broadway for five years and two months, grossing $7,000,000. The tour of the national company, which started late in 1943, has grossed $15,000,000."[19] John Raitt played Curly in the original production in Chicago.[20] The United Service Organizations sponsored a tour to U.S. military bases in 1945 that lasted for several years.[21][22] The New York Times reported:

text: The tenth anniversary of the Broadway opening of Oklahoma! will be celebrated in Washington, where the Theatre Guild's touring company of the phenomenal musical will be playing at that time. ... According to a Guild estimate, "upwards of 20,000,000 people thus far have seen the show in the United States, England, Sweden, Denmark, South Africa, Australia and through [the U.S.O. shows] during the war".[23]

text: Original West End[edit]

text: Oklahoma! was the first of a post-war wave of Broadway musicals to reach London's West End. It starred Howard Keel (then known as Harold Keel) and Betty Jane Watson, opening at the Theatre Royal, Drury Lane on April 30, 1947 to rave press reviews and sellout houses, running for 1,543 performances.[24] A pre-London run opened a day late at the Manchester Opera House on April 18, 1947, after the ship carrying the cast, scenery, and costumes ran aground on a sandbank off Southampton.[25]

text: 1951 and 1979 Broadway revivals[edit]

text: A 1951 revival produced by the Theatre Guild opened at The Broadway Theatre on May 9, 1951, and ran for 100 performances. Ridge Bond played Curly, Patricia Northrop played Laurey, Henry Clarke was Jud, and Jacqueline Sundt played Ado Annie. Mamoulian and de Mille returned to direct and choreograph, and the production was restaged by Jerome Whyte.[26] In 1953, a 10th anniversary revival opened on August 31 at the New York City Center Theatre. It ran for a limited engagement of 40 performances before going on tour. The cast included Florence Henderson as Laurey, Ridge Bond as Curly and Barbara Cook as Annie. Mamoulian and De Mille directed and choreographed.[27][28]

text: A 1979 revival opened at the Palace Theatre on Broadway on December 13, 1979 and closed on August 24, 1980, running for 293 performances and nine previews. William Hammerstein (Oscar's son) directed, and Gemze de Lappe recreated Agnes De Mille's choreography. The show starred Christine Andreas as Laurey, Laurence Guittard as Curly, Mary Wickes as Aunt Eller, Christine Ebersole as Ado Annie, Martin Vidnovic as Jud Fry, Harry Groener as Will Parker and Bruce Adler as Ali Hakim.[29] Andreas and Groener both received Tony Award nominations for their performances, and Vidnovic won a Drama Desk Award. This production started as a cross-country national tour, beginning at the Pantages Theater in Los Angeles on May 1, 1979.[30]

text: 1980 and 1998 West End revivals[edit]

text: The following year, James Hammerstein directed a production at the Haymarket Theatre, Leicester, in January 1980, produced by Cameron Mackintosh. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the Palace Theatre, London, on September 17, 1980, and running until September 19, 1981.[31] This production starred John Diedrich as Curly and Alfred Molina as Jud Fry, both of whom were nominated for Olivier Awards.[32] Rosamund Shelley played Laurey, and Madge Ryan was Aunt Eller. The production was Maria Friedman's debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role.[33] John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the Showtime! label.[34]

text: A new production of the musical was presented by the National Theatre in London at the Olivier Theatre, opening on July 15, 1998. The production team included Trevor Nunn (director), Susan Stroman (choreographer) and William David Brohn (orchestrator). The international cast included Hugh Jackman as Curly, Maureen Lipman as Aunt Eller, Josefina Gabrielle as Laurey, Shuler Hensley as Jud Fry, Vicki Simon as Ado Annie, Peter Polycarpou as Ali Hakim and Jimmy Johnston as Will Parker.[35] Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted Robert Russell Bennett's original orchestrations and extended some of the dance sequences. A brand new Dream Ballet was composed for Susan Stroman's new choreography and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all radically redesigned. The overture was also altered, at the request of Nunn.

text: The production received numerous Olivier Award nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design (Anthony Ward) and choreography (Stroman).[36] According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records,[37] and so the show was transferred to the Lyceum Theatre in the West End for a six-month run.[35] Plans to transfer to Broadway with the London cast were thwarted by Actors' Equity, which insisted that American actors must be cast.[38][39] Eventually a U.S. cast was selected.[40] The production was filmed and issued on DVD, as well as being broadcast on U.S. Public Television in November 2003.[41]

text: 2002 Broadway revival[edit]

text: The London production was repeated on Broadway at the George Gershwin Theatre on March 21, 2002, with direction by Nunn. The production closed on February 23, 2003 after 388 performances. Only two of the London cast, Josefina Gabrielle as Laurey and Shuler Hensley as Jud, were in the production, which also featured Patrick Wilson as Curly and Andrea Martin as Aunt Eller. It was nominated for seven Tony Awards, including Best Revival of a Musical, Best Featured Actress in a Musical and Best Featured Actor in a Musical (which was awarded to Hensley). The musical was also nominated for nine Drama Desk Awards, with Hensley winning as Outstanding Featured Actor in a Musical and Susan Stroman winning for choreography.

text: Ben Brantley wrote in The New York Times: "At its best, which is usually when it's dancing, this resurrection of Rodgers and Hammerstein's epochal show is dewy with an adolescent lustiness, both carnal and naive, exuberant and confused." The review stated that "Anthony Ward's harmoniously curved set, in which the sky seems to stretch into eternity, again pulses with the promise of a land on the verge of transformation."[42] The New York Daily News review commented that "Visually, this one is stunning – at times, Anthony Ward's sets have a pastoral, idyllic quality, like Thomas Hart Benton's paintings. At other times, especially in lighting designer David Hersey's lustrous palette, they convey the bleakness of the frontier." The review also stated that the Royal National Theatre "brought it back to us in a way that makes it seem fresh and vital."[43] However, USA Today gave the production a tepid assessment, its reviewer writing that "A cold breeze blows through this beautiful mornin', and that golden haze is never quite bright enough."[44] The production went on to tour nationally from 2003–2006.[45]

text: Other notable productions[edit]

text: Oklahoma! was presented nightly except Sundays each summer at the Discoveryland amphitheater, an outdoor theatre in Sand Springs, Oklahoma, from 1977 until 2011.[46][47] In 1993, Mary Rodgers (daughter of Richard Rodgers) and William Hammerstein (son of Oscar Hammerstein II) designated Discoveryland the "National Home of Rodgers and Hammerstein's Oklahoma!"[47]

text: In 2006, Oklahoma! was performed in Japan by the all-female Takarazuka Revue. This revival starred Yuu Todoroki, Ai Shirosaki, and Hiromu Kiriya.[48]

text: In the summer of 2009, British director John Doyle directed the musical at the Chichester Festival Theatre. The production was dark in concept and featured new orchestrations by Jonathan Tunick. On a spare stage, decorated only with blue sheets, "Confetti of rose petals stains the floor like drops of blood, and a nightmarish dream-dance sequence has Freudian overtones as Laurey's bridal gown becomes her shroud."[49][50] It received mixed reviews. The Times reviewer wrote: "This is a very stylised, overdrilled production, no friend of intimate moments or quiet depth of emotion."[51] The Guardian liked it the most, stating that "it's a delight, with one brilliant tippy-tappy-toed song after another and a nugget of darkness lodged in its sweet heart."[49] Whats On Stage, like most of the papers, gave the show three out of five stars and wrote that this is a "downbeat vision" and that "all told it's a somewhat disappointing show", but their "average reader rating" was four stars.[52] A review in The Telegraph commented, "Doyle uses shadow and silhouette to bring out the musical's nightmarish aspects but doesn't over-labour them. There are enough sunny spots – no more so than in Act 2's rousing title song – to keep the tone evenly textured."[50]

text: The show toured England for nine months in 2010 in a new staging by Julian Woolford, with Marti Webb as Aunt Eller and Mark Evans as Curly.[53]

text: Oklahoma! opened in October 2010 at the Arena Stage to critical acclaim.[54][55] Artistic Director Molly Smith cast African-American actresses as Laurey and Aunt Eller to mirror both modern Washington, D.C. demographics and the diverse population of the musical's 1906 Oklahoma territory setting.[56] The production received ten 2011 Helen Hayes Award nominations, winning as Outstanding Resident Musical (tying with Shakespeare Theatre's Candide) and for choreography (Parker Esse), lead actor (Nicholas Rodriguez as Curly) and musical direction (George Fulginiti-Shakar).[57] The production returned to the Arena Stage for a second run in 2011.[58]

text: The 5th Avenue Theatre's 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud.[59] The choice was intended, as in the Arena Stage production, to reflect the historical presence of African Americans in the Oklahoma territory, but it "has some audience members squirming in their seats ... they're seeing on stage one of the ugliest stereotypes in our history: an imposing black man ravaging a petite white woman [and] the white hero ... all but urges Jud to hang himself – and even pantomimes the act. Some see a clear reference to lynching."[60][61] The "Dream Ballet" had a sinister, sexual tone and ended with Jud dragging Laurey away to be raped. One critic noted the historical "license taken when an African-American farmhand is allowed to escort a white woman to the box dance. ... Maybe some people ... left with not so much a song in their head, but a question in their heart. And isn't that part of what theater is supposed to do?"[60] Another wrote: "Rothstein's Oklahoma! is now the story of a crazy, sex obsessed black man ... lusting violently after his white mistress, who ends up murdered at the hands of a white man, who gets off scot free after a mock trial."[59]

text: A UK tour ran from February to August 2015, directed by Rachel Kavanaugh and starring Ashley Day as Curly, Charlotte Wakefield as Laurey, Belinda Lang as Aunt Eller and Gary Wilmot as Ali Hakim.[62]

text: 1955 film adaptation[edit]

text: The 1955 film adaptation starred Gordon MacRae, Shirley Jones (in her film debut),[63] Rod Steiger, Charlotte Greenwood, Gloria Grahame, Gene Nelson, James Whitmore and Eddie Albert. It was the only musical film directed by Fred Zinnemann,[64] and Agnes de Mille choreographed. It was the first feature film photographed in the Todd-AO 70 mm widescreen process.[65][66]

text: Rodgers and Hammerstein personally oversaw the film to prevent the studio from making the changes that were then typical of stage-to-film musical adaptations, such as interpolating new songs by others. The film followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation, although it divided the long first scene into several shorter scenes, changing the locations of several of the songs. For example, "Kansas City" is performed at the train station, where Aunt Eller and other cowboys meet Will Parker just after he returns from Kansas City. Lyrics in the song about a burlesque stripteaser were slightly changed to pass film censorship.[64] In a nod to Green Grow the Lilacs, which was the basis of the musical, Jud attempts revenge on Curly and Laurey by burning a haystack they stand on, before Curly jumps down, landing on Jud and causing him to fall on his own knife. The film omits only "It's a Scandal, It's an Outrage" and "Lonely Room".[65] The film won Academy Awards for Best Music, Scoring of a Musical Picture and Best Sound, Recording.[67]

text: Recordings[edit]

text: Most of the songs from Oklahoma! were released on a record album by Decca Records in 1943 containing six 10-inch double-sided discs in 78 RPM format. It was the first U.S. cast album featuring the original Broadway cast of a musical. It sold over a million copies, prompting the label to call the cast back into the studio to record three additional selections that had been left out of the first set. These were issued as Oklahoma! Volume Two. In 1949, Decca re-released the first set on LP but not the second set, which soon became a very rare collectors' item. All subsequent LP releases were similarly incomplete. Finally in 2000, Decca Broadway went back to the original glass masters to generate a new high fidelity transfer of the complete song program and released it on CD, utilizing the original 78 album artwork.[68]

text: The success of the original Oklahoma! cast album set a precedent for the production of original cast recordings of Broadway musicals, which became an essential part of a musical's dissemination and endurance in popular culture.[69] Later cast recordings of Oklahoma! include the 1979 Broadway revival cast recording, the 1980 London revival cast recording, the 1998 Royal National Theatre revival cast recording, and a soundtrack album of the 1955 film. There have also been more than 20 studio cast recordings of the show, featuring stars such as Nelson Eddy, John Raitt and Florence Henderson in the leading roles.[70]

text: Reception[edit]

text: The original production of Oklahoma! was an unprecedented critical and popular success. John Anderson of the New York Journal American pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything".[26] In the New York Herald Tribune, Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship."[26] Louis Kronenberger of PM opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."[26]

text: In the New York Daily News, Burns Mantle declared that "Oklahoma! really is different – beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, Oklahoma! seems to me to be the most thoroughly and attractively American musical comedy since Edna Ferber's Show Boat".[26] New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights.... They are spinetingling, out of this world."[26] In The New York Sun, Ward Morehouse commented that "Oklahoma! is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B."[26] Lorenz Hart himself "pushed his way through the crowd at the after-show party in Sardi's restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."[8]

text: The only negative review of the musical appeared in the New York Post: The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."[26]

text: Antecedents and influence[edit]

text: According to playwright and theatre writer Thomas Hischak, "Not only is 'Oklahoma!' the most important of the Rodgers and Hammerstein musicals, it is also the single most influential work in the American musical theatre. ... It is the first fully integrated musical play and its blending of song, character, plot and even dance would serve as the model for Broadway shows for decades."[71] William Zinsser observed that Oklahoma! broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.[72] The show "became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to Oklahoma!"[73] Oklahoma! made Rodgers and Hammerstein "the most important contributors to the musical-play form. ... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".[74]

text: Theater historian Ethan Mordden points out that, although Oklahoma! has been called "the first integrated musical, the first American folk musical", Show Boat "got there first on both counts."[75] Even earlier, the Princess Theatre musicals, following Gilbert and Sullivan and French opéra bouffe, began the reintegration of song and story after decades of thinly plotted British and American musicals, paving the way for Show Boat and Oklahoma! by showing that a musical could combine popular entertainment with continuity between its story and songs.[76] These Princess Theatre shows, which featured modern American settings, "built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. Kern's exquisitely flowing melodies were employed to further the action or develop characterization."[77][78] Mordden also notes that Oklahoma! was called the first great dance musical, but other musicals had earlier focused on dance, among them Gay Divorce and On Your Toes. He concludes: "But Oklahoma! was the first American musical with an ethnic sound, words and music entirely in the folk idiom."[75]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1944
Pulitzer Prize
Special Award
Richard Rodgers and Oscar Hammerstein II
Won

1947
Theatre World Award
Dorothea Macfarland
Won

1993
Tony Award
Special Tony Award (50th anniversary)
Won

text: 1979 Broadway revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1980
Tony Award
Best Performance by a Leading Actress in a Musical
Christine Andreas
Nominated

Best Performance by a Featured Actor in a Musical
Harry Groener
Nominated

Drama Desk Award
Outstanding Featured Actor in a Musical
Martin Vidnovic
Nominated

Harry Groener
Nominated

Theatre World Award
Won

text: 1980 West End revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1980
Laurence Olivier Award
Actor of the Year in a Musical
John Diedrich
Nominated

Most Promising Newcomer of the Year in Theatre
Alfred Molina
Nominated

text: 1998 West End revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1998
Critics' Circle Theatre Award
Best Musical
Won

1999
Laurence Olivier Award
Outstanding Musical Production
Won

Best Actor in a Musical
Hugh Jackman
Nominated

Best Actress in a Musical
Josefina Gabrielle
Nominated

Best Supporting Performance in a Musical
Shuler Hensley
Won

Best Director
Trevor Nunn
Nominated

Best Theatre Chorerographer
Susan Stroman
Won

Best Set Designer
Anthony Ward
Won

Best Lighting Designer
David Hersey
Nominated

text: 2002 Broadway revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

2002
Tony Award
Best Revival of a Musical
Nominated

Best Performance by a Leading Actor in a Musical
Patrick Wilson
Nominated

Best Performance by a Featured Actor in a Musical
Shuler Hensley
Won

Best Performance by a Featured Actress in a Musical
Andrea Martin
Nominated

Best Direction of a Musical
Trevor Nunn
Nominated

Best Choreography
Susan Stroman
Nominated

Best Lighting Design
David Hersey
Nominated

Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Actor in a Musical
Patrick Wilson
Nominated

Outstanding Featured Actor in a Musical
Shuler Hensley
Won

Justin Bohon
Nominated

Outstanding Featured Actress in a Musical
Andrea Martin
Nominated

Outstanding Director of a Musical
Trevor Nunn
Nominated

Outstanding Choreography
Susan Stroman
Won

Outstanding Set Design
Anthony Ward
Nominated

Outstanding Lighting Design
David Hersey
Nominated

Outer Critics Circle Award
Outstanding Revival of a Musical
Won

Outstanding Actress in a Musical
Josefina Gabrielle
Nominated

Outstanding Featured Actor in a Musical
Shuler Hensley
Won

Justin Bohon
Nominated

Outstanding Featured Actress in a Musical
Andrea Martin
Nominated

Outstanding Director of a Musical
Trevor Nunn
Nominated

Outstanding Choreography
Susan Stroman
Won

Outstanding Set Design
Anthony Ward
Won

Outstanding Costume Design
Nominated

Outstanding Lighting Design
David Hersey
Won

Theatre World Award
Justin Bohon
Won

text: In popular culture[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

text: Oklahoma! has frequently been quoted or parodied in films, television and other media. The following list includes some of the more notable references.

text: Films

text:
The songs "Oh What a Beautiful Mornin'" and "Oklahoma!" were spoofed in the animated film South Park: Bigger, Longer & Uncut. One of the spoofs is the song "Uncle Fucka", which parodies the spelled-out O-K-L-A-H-O-M-A of the musical's title song.[79][80] A similar spoof is heard in the musical Curtains, concerning the title song of the Oklahoma!-like musical performed within the show.
In the film When Harry Met Sally..., Harry and Sally sing a karaoke version of "Surrey With the Fringe on Top".[81]
In the film Twister, Beltzer is heard singing the song "Oklahoma!" when he is introduced.
In the film Dave, the title character sings the song "Oklahoma!"
In the film All Good Things, the character Katie sings a bit of the song "Oklahoma!" at the end of her first date with David.

text: Television

text:
In The Simpsons episode "Milhouse of Sand and Fog", the character Milhouse imagines himself and Bart singing "The Farmer and the Cowman".
Sesame Street featured Kermit the Frog as a director making the film "Oklahoma" and Forgetful Jones singing the title song from "Oklahoma!" but forgetting how it begins, trying "Aaaaaa-klahoma", "Eeeeee-klahoma" and "Iiiiii-klahoma". Furthermore, Ray Charles performed "Oh, What a Beautiful Mornin'" on Sesame Street in 1977 and Oscar the grouch a few times sang to himself "Oh what a rotten old morning/Oh what a rotten old day.."
On episode 317 of The Muppet Show, Fozzie Bear, dressed as a cowboy, begins to sing "Oklahoma", but large Muppets dressed as Samurai warriors turn the number into a parody called "Yokohama".
Tiny Toon Adventures did a spoof of the musical called "Ducklahoma", which heavily featured anvils.
In an episode of 3rd Rock from the Sun (Frozen Dick), Dick sings a rendition of "Oklahoma!" in a diner, sparking the patrons in the diner to sing along with him.
In the Fawlty Towers episode "Gourmet Night", Polly serenades the guests with a rendition of "I Cain't Say No".
In episode 9 of Band of Brothers, "Why We Fight" (2001), Captain Nixon mentions that Oklahoma! was still on Broadway, causing the soldiers to break out in song.
On an episode of Friends, "The One Where Emma Cries", Chandler accidentally accepts a job in Tulsa, and his wife Monica says that she does not want to move to Oklahoma or see the musical Oklahoma! Chandler responds by listing the songs from the musical, and Monica asks whether he is telling her that he got a job in Oklahoma or that he is gay.
In the December 31, 2008 episode of The Rachel Maddow Show, comedian Kent Jones sang "Minnesota" to the tune of "Oklahoma!".

text: Other media

text:
In the mid-1940s, radio comedian Fred Allen wrote and performed parody lyrics to the tune of "Surrey With the Fringe on Top": "Union Suit with the Hinge on the Back." The parody was repeated on subsequent programs.
The title song became the official state song of Oklahoma in 1953. (Oklahoma became a state on November 16, 1907.)
In the song "Oklahoma, U.S.A." by The Kinks, on their album Muswell Hillbillies, the protagonist dreams of "riding in the surrey with the fringe on top".
Uniform, Jerry Seinfeld's first Superman webisode commercial for American Express in 1998, featured a spoof of the musical, "Oh, Yes! Wyoming!"
In Truman Capote's 1958 novella Breakfast at Tiffany's, Holly Golightly, sings music from Oklahoma! while accompanying herself on her guitar.[page needed]


document_title: Hairspray (2007 soundtrack)

question_text: who sings the new girl in town hairspray

root

text: Hairspray (2007 soundtrack)

text: Critical reception[edit]

text: Professional ratingsReview scoresSourceRatingAllmusic[2]The News & Observer[3]

tag: table

text: The soundtrack received positive reviews from critics.

tag: p

text: Album information[edit]

text: The soundtrack contains nineteen songs from the film written by Marc Shaiman and Scott Wittman, three of which were not included in the stage musical version. Shaiman, who produced the original cast album for the Broadway musical, produced the songs for the film musical as well. Hairspray's music is written and performed to conform to the story's 1962 setting, with influences spanning the genres of rock and roll, soul, and pop.

text: "Ladies' Choice", a new song performed by Zac Efron, was the Hairspray soundtrack's first single. iTunes released the single on May 15, 2007. The iTunes version of the album includes bonus features such as the bonus track "I Can Wait" (a song written for the film but cut), the "Ladies' Choice" music video, an instructional dance video for "Ladies' Choice", and a digital version of the album booklet. The soundtrack debuted on the Billboard 200 at number 20 and peaked at number two.

text: "The New Girl in Town", "Big, Blonde and Beautiful (Reprise)", and "Come So Far (Got So Far to Go)" are the three songs new to this version of Hairspray, although "The New Girl in Town" was originally written for but dropped from the Broadway production. "Come So Far (Got So Far to Go)" is played over the film's end credits, as are renditions of two songs from the stage musical which were not included in the film proper: "Cooties" and "Mama, I'm a Big Girl Now". "Cooties" is performed on the soundtrack in a contemporary pop style by singer Aimee Allen. It was also played (without vocals) while the contestants, for Miss Teenage Hairspray, danced to show off their "moves".  "Mama, I'm a Big Girl Now", is performed by each of the three women most famous portraying Hairspray's main character, Tracy Turnblad: the 1988 film's Ricki Lake, the Broadway production's Marissa Jaret Winokur, and this film's Nikki Blonsky. Harvey Fierstein, who played Edna in the original Broadway production, also has a vocal cameo at the end of this track.

text: Several of the songs from the Broadway musical had their lyrics altered and/or verses removed for use in the film version. These songs include "(The Legend of) Miss Baltimore Crabs", "Welcome to the 60s", "Big, Blonde and Beautiful", "Without Love", "(It's) Hairspray", "You Can't Stop the Beat", et cetera.

text: In 2016, a vinyl edition of the album was released and sold at numerous retailers to coincide with the release of Hairspray Live!.

text: Track listing[edit]

text: All tracks written by Marc Shaiman and Scott Wittman.

text: No.TitlePerformer(s)Length1."Good Morning Baltimore"Nikki Blonsky3:542."The Nicest Kids in Town"James Marsden with the Council Members2:423."It Takes Two"Zac Efron3:044."(The Legend of) Miss Baltimore Crabs"Michelle Pfeiffer with the Council Members4:085."I Can Hear the Bells"Nikki Blonsky (All Vocals)4:146."Ladies' Choice"Zac Efron2:287."The New Girl in Town"Brittany Snow, Sarah Jayne Jensen, Hayley Podschun and The Dynamites2:168."Welcome to the 60's"Blonsky, John Travolta, The Dynamites with Jerry Stiller5:139."Run and Tell That"Elijah Kelley, Taylor Parks3:5110."Big, Blonde and Beautiful"Queen Latifah with The Negro Day Kids2:3511."Big, Blonde and Beautiful (Reprise)"John Travolta, Michelle Pfeiffer1:0612."(You're) Timeless to Me"John Travolta, Christopher Walken4:4713."I Know Where I've Been"Latifah with Negros, Blonsky and Kelley4:1314."Without Love"Efron, Blonsky, Kelley, Amanda Bynes with Negro Day Kids3:4015."(It's) Hairspray"Marsden with Council Members2:2016."You Can't Stop the Beat"Blonsky, Efron, Bynes, Kelley, Travolta and Latifah with Walken, Marsden, Snow, Pfeiffer5:2517."Come So Far (Got So Far to Go)"Latifah, Blonsky, Efron, Kelley4:1718."Cooties"Aimee Allen2:4219."Mama, I'm a Big Girl Now"Ricki Lake, Marissa Jaret Winokur, Nikki Blonsky with Harvey Fierstein3:19

text: 2-disc Collector's edition[edit]

text: A limited edition two-disc version of the Hairspray soundtrack was released on November 20, 2007, the same day as the film's DVD/Blu-Ray release. The 2-disc Collector's edition soundtrack includes the one-disc soundtrack, as well as a second disc featuring additional songs from the film, deleted songs (among them "I Can Wait"), demo recordings, and karaoke versions of certain songs. The album debuted at #90 on the Billboard 200 with sales of at least 20,000 copies sold.

text: Collector's edition: Disc 2No.TitlePerformer(s)Length1."I Can Wait" (Deleted number that was shot, but was cut from the film)Blonsky3:442."Breakout" (Used in film as a record)Chester Gregory3:033."Boink-Boink" (Used in film as a record)Arthur Adams2:044."Trouble on the Line" (Used in film as a record)Corey Reynolds2:025."Mr. Pinky’s Theme" (Instrumental score)Instrumental0:336."Mrs. Von Tussle Says" (Demo for a potential replacement for "(The Legend of) Miss Baltimore Crabs")Pattie Darcy, Marc Shaiman2:247."Save Your Applause 'Til the End" (Demo for a potential replacement for "(The Legend of) Miss Baltimore Crabs")Christine Ebersole2:558."Turn Back the Hands of Time" (Demo for an end-credits song)Jenifer Lewis3:029."Timeless to Me" (Original demo recorded during development of the Broadway show)Nathan Lane4:0310."It Ain't Over 'Til the Fat Lady Sings" (Original demo for an unused song)Keala Settle3:1911."It Doesn't Get Better Than This" (Original demo for an unused song)Marc Shaiman3:0512."Ladies' Choice" (Karaoke instrumental version)Karaoke instrumental2:2913."Welcome to the 60's" (Karaoke instrumental version)Karaoke instrumental5:0114."Run and Tell That" (Karaoke instrumental version)Karaoke instrumental3:4115."You Can't Stop the Beat" (Karaoke instrumental version)Karaoke instrumental5:2516."Come So Far (Got So Far to Go)" (Karaoke instrumental version)Karaoke instrumental4:20

text: Additional songs[edit]

text: Although included in the movie, "The Nicest Kids in Town (Reprise)" was not included on the motion picture soundtrack. The track included Tracy in the Roll Call with Corny and the Council Members. Another such song was "Tied Up in the Knots of Sin" and the performers included Marc Shaiman and Adam Shankman. The demo songs "Mrs. Von Tussle Says" and "Save Your Applause 'Til the End" contains some of the cut lyrics to "(The Legend of) Miss Baltimore Crabs," as well as lyrics to another popular song in the show that was cut, "Velma's Revenge," which is a reprise of the former.[4]

text: Vocalists[edit]

text: Main vocalists[edit]

text:
Nikki Blonsky as Tracy Turnblad (also additional voices on 4, 9)
James Marsden as Corny Collins
Zac Efron as Link Larkin (also additional voices on 4)
Michelle Pfeiffer as Velma Von Tussle
Brittany Snow as Amber Von Tussle (also additional voices on 4)
John Travolta as Edna Turnblad
Elijah Kelley as Seaweed J. Stubbs
Queen Latifah as Motormouth Maybelle
Christopher Walken as Wilbur Turnblad
Amanda Bynes as Penny Pingleton (also additional voices on 4)
Hayley Podschun as Tammy (also additional voices on 4)
Sarah Jayne Jensen as Shelley

tag: ul

text: Cameo vocalists[edit]

text:
Jerry Stiller as Mr. Pinky
Taylor Parks as Little Inez (also additional voices on 4)
Harvey Fierstein

text: The Dynamites[edit]

text:
Shayna Steele
Kamilah Marshall
Terita R. Redd

text: Background vocals[edit]

text:
Bobbi Page - vocal ensemble, also vocal contractor
John West - vocal ensemble, also vocal contractor
Don Taylor - choir director
New Dimensions - gospel choir vocals
L.A. Mass Choir - gospel choir vocals

text: Vocal ensemble members: Marc Shaiman, Shoshana Bean, Terron Brooks, Jenn Gambatese, Chester Gregory, Leslie Kritzer, Arnold McCuller, Louis Price, Sabrina Sloan, Donna Vivino, Willis White, Lucien Piane, Chyla Anderson, Jonathan Byram, Keith Cotton, Michael Cunio, Carmel Echols, Cliff Frazier, Christopher Johnson, Katharine Leonard, Laura Lively, Michael Mayo, Sophia Pizzulo, Jamison Scott Robinson, Jessica Rotter, Candice Rumph Burrows, Peter Mathew Smith, Leonard Sullivan, Matt Sullivan, Clarke Thorell, Davia Walker, Ayana Williams, Frank Wolf

text: Instrumentalists[edit]

text: Featured Rhythm Musicians[edit]

text:
Marc Shaiman - keyboards
Peter Calo
Francisco Centeno
Keith Cotton - keyboards
James “Jim” Cox - keyboards
George Doering - guitar
Nathan East - bass played by
Mike Fisher
Clint de Ganon
Rick Gratton- drums played by
Paul Jackson Jr.
Dean Parks - guitar
John Robinson
Larry Saltzman
Steve Schaeffer - percussion
David Spinozza
Neil Stubenhaus - bass played by
Michael Thompson - guitar
Michael Valerio - bass played by

text: Featured Horn Section[edit]

text:
Saxophones: Dan Higgins (Main), Larry Williams, Joel Peskin & Bill Liston
Trumpets: Jerry Hey (Main), Wayne Bergeron, Gary Grant, Larry Hall & Warren Luening
Trombones: Charlie Loper (Main), Steve Holtman, Alex Iles & Bill Reichenbach

text: Hollywood Studio Symphony[edit]

text:
Violins: Ralph Morrison, Julie Ann Gigante & 26 others
Viola: Pamela Goldsmith & 11 others
Cello: Antony Cooke & 10 others
Double Bass: Nico Abondolo & 8 others
Bassoon (1st): Rose Corrigan
Additional Bassoon: Allen M. Savedoff
Clarinets: James Kanter & 4 others
Flute (1st): Louise Dillon
Additional Flutes: Geraldine Rotella & Greg Huckins
Oboe (1st): Thomas Boyd
Additional Oboe: Phillip Ayling
Percussion: Alan Estes & 9 others
Additional Trumpets: Daniel Fornero & Jon Lewis
Additional Trombones: Andrew Martin & Craig Gosnell
Additional Horns: James Thatcher

text: Chart performance and awards[edit]

text:
Chart (2007)

Peakposition

Sales

Australian ARIA Albums Chart[5]

5

-

U.S. Billboard 200[6]

2

1,300,000+

U.S. Billboard Top Independent Albums[7]

1

France Albums Top 150[6]

34

-

Norway Norway Albums Top 40

2

10,000+

text:
Wins
Billboard Year End Charts (2007)[8]
#1 Top Independent Album of the Year - "Hairspray"

Nominations
2008 Grammy Awards[8]
Best Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media


document_title: Temple of Hercules Victor

question_text: when was the temple of hercules victor built

text: Temple of Hercules Victor

text: Description[edit]

text: Dating from the later 2nd century BC, and perhaps erected by L. Mummius Achaicus, conqueror of the Achaeans and destroyer of Corinth,[3] the temple is 14.8 m in diameter and consists of a circular cella within a concentric ring of twenty Corinthian columns   10.66 m  tall, resting on a tuff foundation. These elements supported an architrave and roof, which have disappeared. The original wall of the cella, built of travertine and marble blocks, and nineteen of the originally twenty columns remain but the current tile roof was added later. Palladio's published reconstruction suggested a dome, though this was apparently erroneous. The temple is the earliest surviving marble building in Rome.

text: Identification[edit]

text: Its major literary sources are two almost identical passages, one in Servius' commentary on the Aeneid (viii.363)[4] and the other in Macrobius' Saturnalia. [5] Though Servius mentions that aedes duae sunt, "there are two sacred temples", the earliest Roman calendars mention but one festival, on 13 August, to Hercules Victor and Hercules Invictus interchangeably.[6]

text: Post-Classical history[edit]

text: By 1132 the temple had been converted to a church, known as Santo Stefano alle Carozze (St. Stephen 'of the carriages').  Additional restorations (and a fresco over the altar) were made in 1475. A plaque in the floor was dedicated by Sixtus IV. In the 17th century the church was rededicated to Santa Maria del Sole ("St. Mary of the Sun").

text: The temple and the Temple of Vesta in Tivoli were an inspiration for Bramante's Tempietto and other High Renaissance churches of centralized plan.[citation needed]

text: The temple was recognized officially as an ancient monument in 1935 and restored in 1996.[7]

text: Notes[edit]

text:
Jump up ^ "...houses built into the round Temple of 'Vesta', which de Tournon correctly identified as of Hercules Victor, were removed" in 1811 (Salmon 1995, 150).

Jump up ^ Leone Battista Alberti, Architecture, trans. James Leoni (1755), p. 117.

Jump up ^ For its dating, see Ziolkowski 1988, 314ff; Ziolkowski's argument for its dedicator and criticisms of other scholars' candidates: 316ff.

Jump up ^ sed Romae victoris Herculis aedes duae sunt, unam ad Portam Geminam, alia ad Forum Boarium.

Jump up ^ Noted by Ziolkowski  1988:309 and notes; the other temple was that of Hercules Invictus ad Circum Maximum.

Jump up ^ Adam Ziolkowski 1988:311 and note 6 demonstrates the interchangeability that developed for the two originally separate epithets.

Jump up ^ See Alessandro Pergoli Campanelli, Restauro del cosiddetto Tempio di Vesta, in "AR", XXXV, 32, novembre-dicembre 2000, pp. 26-30.

tag: ol


document_title: Once Upon a Time (TV series)

question_text: where is the series once upon a time filmed

question_tokens: where is the series once upon a time filmed

text: Once Upon a Time (TV series)

text: Series overview[edit]

text: For the first six seasons, the series originally took place in the fictional seaside town of Storybrooke, Maine, in which the residents are actually characters from various fairy tales and other stories that were transported to the real world town and robbed of their original memories by the Evil Queen Regina (Lana Parrilla) who used a powerful curse obtained from Rumplestiltskin (Robert Carlyle). The residents of Storybrooke, where Regina is mayor, have lived an unchanging existence for 28 years, unaware of their own lack of aging. The town's only hope lies with a bail-bonds person named Emma Swan (Jennifer Morrison), the daughter of Snow White (Ginnifer Goodwin) and Prince Charming (Josh Dallas), who was transported from the Enchanted Forest to the real world via a magic tree as an infant before she could be cursed. As such, she is the only person who can break the curse and restore the characters' lost memories. She is aided by her son, Henry (Jared S. Gilmore), with whom she was recently reunited after giving him up for adoption upon his birth, and his Once Upon a Time book of fairy tales that holds the key to breaking the curse. Henry is also the adopted son of Regina, providing a source of both conflict and common interest between the two women.

text: In the seventh season reboot, an adult Henry Mills (Andrew J. West), along with Regina, Captain Hook (Colin O'Donoghue) and Rumplestiltskin, are found years later in the Seattle neighborhood of Hyperion Heights, where characters from a different realm were brought under a new curse. Hoping to restore her family's memories, Lucy (Alison Fernandez) must convince her parents, Henry and Cinderella (Dania Ramirez), of the true nature of Hyperion Heights, in the midst of emerging dangers involving Lady Tremaine (Gabrielle Anwar) and Mother Gothel (Emma Booth).

text: Episodes usually have one segment that details the characters' past lives that, when serialized, adds a piece to the puzzle about the characters and their connection to the events that preceded the curse and its consequences. The other, set in the present day, follows a similar pattern with a different outcome but also offers similar insights.

text: Season 1 (2011–12)[edit]

text: The first season premiered on October 23, 2011. The Evil Queen interrupts the wedding of Snow White and Prince Charming to announce that she will cast a curse on everyone that will leave her with the only happy ending. In line with a prophecy that arises during the season, the Evil Queen's curse comes on the eve of the birth of Snow White and Prince Charming's daughter, and the two royal parents are forced to send her along to another realm in the hopes that some day she will be their salvation. As a result of the curse, the majority of the characters are transported to the town of Storybrooke, Maine, where they have been stripped of their original memories and identities as fairy tale characters. On her 28th birthday, Emma Swan, the daughter of Snow White and Prince Charming, is brought to Storybrooke by her biological son Henry Mills in the hopes of breaking the curse cast by his adoptive mother, the Evil Queen Regina.

text: Season 2 (2012–13)[edit]

text: The second season premiered on September 30, 2012.[9] Despite Emma having broken the curse, the characters are not returned to the fairy tale world, and must deal with their own dual identities. Emma struggles with the new knowledge that not only are her parents alive and well, but they come from a world in which magic is very, very real- a world in which Emma must now take part. With the introduction of magic into Storybrooke by Mr. Gold, the fates of the two worlds become intertwined, and new threats emerge in the form of Captain Hook (Colin O'Donoghue), Regina's mother Cora (Barbara Hershey), also known as the Queen of Hearts, and sinister operatives from the real world with an agenda to destroy magic.

text: Season 3 (2013–14)[edit]

text: The third season premiered on September 29, 2013. It was split into two volumes, with the first eleven episodes running from September to December 2013, and the later half from March to May 2014. In the first volume, the main characters travel to Neverland to rescue Henry, who has been kidnapped by Peter Pan (Robbie Kay) as part of a plan to obtain the "Heart of the Truest Believer" from him. Their increasing power struggle with Pan continues in Storybrooke, which ultimately results in the complete reversal of the original curse. All the characters are returned to their original worlds, leaving Emma and Henry to escape to New York City. In the second volume, the characters are mysteriously brought back to a recreated Storybrooke with their memories of the previous year removed, and the envious Wicked Witch of the West (Rebecca Mader) from the Land of Oz appears with a plan to change the past. Once again, Emma is needed to save her family.

text: Season 4 (2014–15)[edit]

text: The fourth season premiered on September 28, 2014. It was also split into two volumes, with the first eleven episodes running from September to December 2014, and the later half from March to May 2015. A new storyline incorporating elements from Frozen was revealed when the time travel events of the previous season lead to the accidental arrival of Elsa (Georgina Haig) from the Enchanted Forest of the past to present-day Storybrooke. As she searches for her sister Anna (Elizabeth Lail) with the aid of the main characters, they encounter the Snow Queen (Elizabeth Mitchell).[10] Meanwhile, Regina seeks the Author of Henry's Once Upon a Time book so that she can finally have her happy ending. However, Mr. Gold, with the help of Cruella De Vil (Victoria Smurfit), Maleficent (Kristin Bauer van Straten), and Ursula (Merrin Dungey), has his own plan to rewrite the rules governing the fates of all heroes and villains. Henry and Emma race to restore reality and the truth before the twisted inversion becomes permanent. However, the price leads to the ultimate sacrifice.

text: Season 5 (2015–16)[edit]

text: The fifth season was announced on May 7, 2015,[11] and premiered on September 27, 2015. It was once again split into two volumes with the first volume ran from September to December 2015, and the second volume from March to May 2016. The characters embark on a quest to Camelot to find the Sorcerer Merlin (Elliot Knight) in order to free Emma from the powers of an ancient darkness that threatens to destroy everything. To complicate matters, King Arthur (Liam Garrigan) is determined to forever alter the balance between light and darkness using the legendary Excalibur. As history and destiny collide, unsuspected consequences lead the characters to the Underworld where they encounter souls of those with unfinished business and must face Hades (Greg Germann). In an attempt to restore order to the chaos that has culminated, the characters' dangerous manipulations of magic lead to an exacerbation of the war between light and darkness, with the separation of Regina and her Evil Queen persona, as well as the arrival of Dr. Jekyll (Hank Harris) and Mr. Hyde (Sam Witwer).

text: Season 6 (2016–17)[edit]

text: The sixth season was announced on March 3, 2016, and premiered on September 25, 2016. The characters must defend Storybrooke from the combined threat of Mr. Hyde and an unleashed Evil Queen and the mysterious fate of saviors leads to Emma learning about Aladdin (Deniz Akdeniz).[12] The ongoing war between light and darkness ultimately leads to the arrival of the creator of the Dark Curse, the Black Fairy (Jaime Murray) as well as the final battle that was prophesied before the casting of the original curse.

text: Season 7 (2017)[edit]

text: In May 2017, the series was renewed for a seventh season consisting of 22 episodes,[13] which marks the beginning of a soft reboot.[14][15][16] Years later after the Final Battle, Lucy (Alison Fernandez) arrives in the neighborhood of Hyperion Heights in Seattle, Washington with her Once Upon a Time book to find her father Henry Mills (Andrew J. West) who is needed by his family.[17][18][19] Characters from the New Enchanted Forest[20] were brought to Hyperion Heights under a new curse and are caught in a rising conflict involving Cinderella (Dania Ramirez) and Lady Tremaine (Gabrielle Anwar) whose dangerous history with Mother Gothel (Emma Booth) is also revealed. The seventh season will serve as the final season of the series.[7]

text: Episodes[edit]

text:
Season
Episodes
Originally aired
Nielsen ratings

First aired
Last aired
Viewers
(millions)
Viewers
rank
18–49
rating/share
18-49
rank

1
22
October 23, 2011 (2011-10-23)
May 13, 2012 (2012-05-13)
11.71
28[21]
4.1/10
18[22]

2
22
September 30, 2012 (2012-09-30)
May 12, 2013 (2013-05-12)
10.24
35[23]
3.6/9
18[24]

3
22
September 29, 2013 (2013-09-29)
May 11, 2014 (2014-05-11)
9.38
35[25]
3.3/8
12[26]

4
22
September 28, 2014 (2014-09-28)
May 10, 2015 (2015-05-10)
8.98
50[27]
3.2/7
17[27]

5
23
September 27, 2015 (2015-09-27)
May 15, 2016 (2016-05-15)
6.32
69[28]
2.2/7
34[28]

6
22
September 25, 2016 (2016-09-25)
May 14, 2017 (2017-05-14)
4.39
105[29]
1.5/5
70[29]

7
22[30]
October 6, 2017 (2017-10-06)
May 18, 2018 (2018-05-18)[31]
TBA
TBA
TBA
TBA

text: Once Upon a Time's first season received "generally favorable" reviews from critics. Metacritic gave it a score of 66 out of 100 based on 26 reviews. The pilot episode was watched by 12.93 million viewers and achieved an adult 18–49 rating/share of 4.0/10. The second season premiered on September 30, 2012, to an audience of 11.36 million viewers, while the third season began on September 29, 2013, opening to 8.52 million viewers. In May 2014, ABC renewed the show for its fourth season, premiering in September 2014 to an audience of 9.47 million viewers. The series was renewed for a fifth season in May 2015 and for a sixth season in March 2016.[32] On May 11, 2017, ABC renewed the series for a 22-episode seventh season.[33] In February 2018, it was announced the seventh season would serve as the final season of the series.[7]

text: Cast[edit]

text:
Ginnifer Goodwin as Snow White / Mary Margaret Blanchard (seasons 1–6)[34][35]
Jennifer Morrison as Emma Swan (seasons 1–6)[34][35][36]
Lana Parrilla as Evil Queen / Regina Mills / Roni[34][37]
Josh Dallas as Pauper[38] / Prince Charming / David Nolan (seasons 1–6)[34][35]
Jared S. Gilmore as Henry Mills (seasons 1–6)[35][39]
Raphael Sbarge as Jiminy Cricket / Dr. Archibald Hopper (main season 1; recurring seasons 2–3, 6)
Jamie Dornan as Huntsman / Sheriff Graham Humbert (season 1)
Robert Carlyle as Rumplestiltskin / Crocodile / Beast / Mr. Gold[34] / Weaver
Eion Bailey as Pinocchio / August Wayne Booth (main season 1; recurring seasons 2, 4, 6)
Emilie de Ravin as Belle / Lacey (main seasons 2–6; recurring season 1)[34][35][40]
Meghan Ory as Red Riding Hood / Wolf / Ruby (main season 2; recurring seasons 1, 3, 5)[41]
Colin O'Donoghue as Killian Jones / Captain Hook / Rogers (seasons 2–)[34]
Michael Raymond-James as Baelfire / Neal Cassidy (main season 3; recurring season 2)
Michael Socha as Will Scarlet / Knave of Hearts / White King (season 4)
Rebecca Mader as Zelena / Wicked Witch of the West / Kelly (main seasons 5–6; recurring seasons 3–4, 7)[34][42][43]
Sean Maguire as Robin Hood (main season 5; recurring seasons 3–4, 6)[34][42]
Andrew J. West as Henry Mills (season 7)
Dania Ramirez as Cinderella / Jacinda (season 7)
Gabrielle Anwar as Rapunzel / Lady Tremaine / Victoria Belfrey (season 7)
Alison Fernandez as Lucy (season 7)
Mekia Cox as Tiana / Sabine (season 7)

text: Development and production[edit]

text: Conception[edit]

text: Adam Horowitz and Edward Kitsis conceived the show in 2004 before joining the writing staff of Lost, but wanted to wait until that series was over to focus on this project.[44]

text:
The idea is to take these characters that we all know collectively and try to find things about them that we haven't explored before. Sometimes it's a story point, sometimes it's a thematic connection, sometimes it's a dilemma they face in both worlds that is similar. We are not generally retelling the exact same story as the fairy tale world.
“
”

— Executive producer Adam Horowitz[45]

tag: div

text: Eight years before the Once Upon a Time pilot (the two had just completed their work on Felicity, in 2002), Kitsis and Horowitz became inspired to write fairy tales out of a love of "mystery and excitement of exploring lots of different worlds."[46] They presented the premise to networks, but were refused because of its fantastic nature.[47] From their time on Lost, the writers learned to look at the story in a different way,[47] namely that "character has to trump mythology."[45]

text: They explained,

text: "As people, you've got to see what the void in their heart or in their lives is to care about them ... For us, this was as much about the character journeys and seeing what was ripped from them in coming to Storybrooke – going at it that way as opposed to making it the 'break-the-curse show.'"[48]

text: Despite the comparisons and similarities to Lost, the writers intend them to be very different shows.[47] To them, Lost concerned itself with redemption, while Once Upon a Time is about "hope".[49] Lost co-creator Damon Lindelof aids in the development of the series as a consultant, but has no official credit on the show. Kitsis and Horowitz have called him a "godfather" to the series.[50][51] To differentiate the storytelling from what the audience already knew, the writing staff decided to begin the pilot with the end of the typical Snow White fairytale.[48] Themes concerning family and motherhood were emphasized, in contrast to the focus on fatherhood in Lost. Kitsis and Horowitz sought to write strong female characters, rather than the classic damsel in distress. Horowitz stated their desire to approach each character the same way, asking themselves, "How do we make these icons real, make them relatable?"[47]

text: The pilot is meant to be the "template of the series".[46] Kitsis confirmed that every week will contain flashbacks between both worlds,[45] as they "love the idea of going back and forth and informing what the character is missing in their life."[52] The writers' desire to present a "mash up" of many small characters can be seen in a scene of the pilot, in which there is a war council featuring Geppetto, Pinocchio, and Grumpy. Horowitz elaborated, "One of the fun things for us coming up with these stories is thinking of ways these different characters can interact in ways they never have before."[47] Since then, the creators have added more elements, and given its ties to Disney, have managed to expand the universe to include more recent material, by throwing out hints that they might look ahead at incorporating characters from Brave and Frozen in future episodes, if they get the green light from Disney.[53] The Season 3 finale introduced Elsa in the final minutes of the episode.[54]

text: The general premise, importing the Snow White core characters into the "real world", was previously seen on ABC television in the short-lived 1980s comedy The Charmings. The show also has a similar premise to Bill Willingham's ten-year-old comic series Fables, to which ABC bought the rights in 2008 but never made it past planning stages. After Fables fans raised controversy over possible appropriation, the show writers initially denied a link, but later said they may have "read a couple issues" of the comic book but while the two concepts are "in the same playground", they are "telling a different story."[52] Bill Willingham responded to the controversy in an interview, where he stated he did not feel the show was plagiarism and said: "Maybe they did remember reading Fables back then, but didn't want to mention it because we've become a very litigious people."[52][55]

text: Casting[edit]

text: Secondary character casting director, Samuel Forsyth, started the casting process in 2010. Horowitz stated that everyone they initially wanted for roles in the series accepted their roles after being sent a script.[46][47] Ginnifer Goodwin was cast as Snow White / Mary Margaret Blanchard,[56] who appreciated that she would be playing a strong character that was fleshed out for the audience. Goodwin had stated in interviews that she would love to play Snow White, and called her acceptance of the role "a no-brainer."[57] Both Kitsis and Horowitz are self-described big fans of Goodwin's previous series, Big Love, and wrote the part of Snow White with her in mind.[47] Josh Dallas, who portrays Prince Charming / David Nolan, was pleased the writers took "some dramatic license" with his character, believing the prince had become more real. He explained,

text: "Prince Charming just happens to be a name. He's still a man with the same emotions as any other man. He's a Prince, but he's a Prince of the people. He gets his hands dirty. He's got a kingdom to run. He has a family to protect. He has an epic, epic love for Snow White. He's like everybody else. He's human."[57]

text: Jennifer Morrison was hired for the part of Emma Swan.[58] The actress explained her character as someone who "help[s] her son Henry whom she abandoned when he was a baby and who seems like he's a little bit emotionally dysfunctional", but noted that Emma does not start out believing in the fairytale universe.[57] Ten-year old Jared Gilmore, known for his work on Mad Men, took the role of her son, Henry.[58] The role of The Evil Queen/ Regina was given to Lana Parrilla.[59]

text:
"There's always two stories being told when playing Regina. There's the threat of her knowing she's an evil queen and then there's just the pure simple fact that the biological mother has stepped into her world and the threat of losing her son is just enormous. That's a fear that I think any adopted mother would have. I think that's going to really help the audience relate to Regina in some level."

—Lana Parrilla[57]

text: The role of Rumplestiltskin / Mr. Gold was given to Robert Carlyle,[60] after having been written with him in mind, though the writers initially thought he would not accept the part.[45] Horowitz recalled Carlyle's prison sequence, which was the actor's first day on the set as "mind-blowing ... You could see Ginny actually jump, the first time he did that character. It was fantastic!"[46] Jamie Dornan portrayed the Huntsman / Sheriff Graham[61] as a series regular before being killed off in the seventh episode,[62] while Eion Bailey was cast as Pinocchio / August Wayne Booth[61] in a recurring role,[63] starting in the show's ninth episode, "True North", where he was credited as "Stranger", he was promoted to series regular status for the fifteenth episode, "Red-Handed".[64] Raphael Sbarge portrayed Jiminy Cricket / Dr. Archie Hopper.[61]

text: For the second season, Meghan Ory and Emilie de Ravin were promoted to series regulars as Red Riding Hood / Ruby[65] and Belle / Lacey[66] respectively, while Bailey made guest appearances in two episodes after departing the series[67][68] and Sbarge joined the recurring cast.[69] Colin O'Donoghue was cast as Captain Killian "Hook" Jones,[70] and was upped to series regular for the fourteenth episode of the season.[71]

text: For the third season, Michael Raymond-James was promoted to a series regular as Neal Cassidy,[72] while Ory did not return as a series regular due to commitments to the TV series, Intelligence.[73]

text: For the fourth season, Michael Socha was brought onto the show as Will Scarlet / Knave of Hearts from the show's spin-off, Once Upon a Time in Wonderland,[74][75] while Raymond-James was dropped from the regular cast[76] when the writers decided to kill off his character.[76] Bailey returned in a recurring arc towards the end of the season after being absent from the show since the second season.[77]

text: For the fifth season, Rebecca Mader[42] and Sean Maguire[42] were announced to have been promoted to series regulars as Zelena / Wicked Witch of the West and Robin Hood respectively, while Socha was confirmed to not be returning as a series regular.[78] Ory also returned to the series in a recurring capacity after being absent since the third-season finale.[41]

text: Before the series was renewed for a seventh season, Jennifer Morrison announced that, if the series were to be renewed, she would not be returning as a series regular for that season but agreed to return for one episode to wrap up Emma Swan's storyline.[79] Later that week, actress Rebecca Mader announced that she would also be leaving the series after the sixth season wrapped. It was later announced that Ginnifer Goodwin, Josh Dallas, Jared S. Gilmore and Emilie de Ravin would also be leaving the show after the sixth season's finale aired. Along with departures, Andrew J. West and Alison Fernandez were announced to be joining the seventh season of the show as series regulars after guest starring in the previous season's finale. They will portray an older Henry Mills and his daughter Lucy respectively. In July 2017, actresses Dania Ramirez and Gabrielle Anwar were announced to be joining the cast of the seventh season as series regulars, playing new iterations of Cinderella and Lady Tremaine, respectively. In September 2017, Mekia Cox, who portrays Tiana, was promoted to a series regular.[80]

text: Filming[edit]

text: Principal photography for the series takes place in Vancouver, British Columbia.[81][82] The village of Steveston in the adjacent city of Richmond doubles as Storybrooke for the series, with props and exterior sets disguising the existing businesses and buildings. During filming, all brightly-colored objects (flowers, etc.) are hidden to reinforce the story village's spell-subdued character. Certain sets are additionally filmed in separate studios, including the interior of Mr. Gold's pawn shop and the clock tower, which are not found in Steveston.[83]

text: Setting[edit]

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2016) (Learn how and when to remove this template message)

text: Main settings[edit]

text: During the first six seasons, the Enchanted Forest was one of the main setting of the series. The Enchanted Forest is a realm within Fairy Tale Land, but the actual spread and scope of the realm is not known. However, they were later united during the Ogre Wars, which played a part in the formation of the War Council that was formed by Prince Charming and served as the catalysts in the backstories involving Rumpelstiltskin and the Evil Queen. Several independent kingdoms are implied by an array of different rulers. Most of the stories detailed their earlier lives before ascension to power and being influenced by their mentors through their upbringings.

text: The Land Without Magic, commonly known as the Real World, is another main setting, shown as a place devoid with magic, and not connected to the others. It is often said that travelling to the Land Without Magic is hard, but possible, such as magical doors created by the Apprentice, magic beans, or the Dark Curse. During the first six seasons, Storybrooke, Maine was the main setting, serving as an isolated town separated from the rest of the world, where the cursed inhabitants are trapped by various forces. During the series’ seventh season, the setting shifted to Hyperion Heights, Seattle, where unlike Storybrooke, its cursed inhabitants are living among ordinary people.

text: During the seventh season, the New Enchanted Forest[84] is shown as the main setting, alongside with Hyperion Heights. As a realm in New Fairy Tale Land, it is divided into several independent kingdoms with different rulers. The inhabitants are in-conflict with each other, most notably between Lady Tremaine, Cinderella, Drizella, a resistance led by Tiana, and the Coven of the Eight led by Mother Gothel. Most flashbacks shown are involving events happened before the original curse and before the latest curse that brought everyone to Hyperion Heights.

text: Expanded settings[edit]

text: The realms and worlds featured in the series are mostly based on many fairy tales, mythologies and real life locations and are magical, unlike the real world which is dubbed the Land Without Magic. Just like the Enchanted Forest, the other realms and worlds were affected by the Evil Queen’s curse, but indirectly, merely freezing them in time and state for twenty-eight years.

text: Some of the worlds within the universe are mostly based fairy tales where witchcraft plays a vital role in the lands. Known worlds are Fairy Tale Land,[85] Wonderland,[85] Neverland,[85] the Land of Oz,[85] Asgard,[86] the Book Realm,[87] the Land of Untold Stories,[85] the World Behind the Mirror,[88] the Dark Realm,[89] the Wish Realm,[89] New Fairy Tale Land,[90] the Edge of Realms,[91] and New Wonderland.[92]

text: There are also worlds known as the Realms of Storytelling.[93] These realms are mostly based on the Land Without Magic, taking the name of a certain location and a certain time period. Known worlds are the Land Without Color,[85] 19th Century London,[94] Victorian England,[95] Kansas,[96] 1920s England,[97] 19th Century France,[98] and the Land Without Stories.[99]

text: Additionally, several spiritual worlds exist in the universe. These worlds are known to not sustain living inhabitants, merely souls of the living in some and the deceased in others, with exception of the deities. Such worlds are the Dreamscape,[100] the Netherworld,[101] the Underworld,[102] the Worst Place,[103] and Mount Olympus.[104]

text: Cultural references[edit]

text: As a nod to the ties between the production teams of Once Upon a Time and Lost, the former show contains allusions to Lost, and is expected to continue alluding to Lost throughout its run.[52] For example, many items found in the Lost universe, such as Apollo candy bars, Oceanic Airlines, Ajira Airways, the TV series Exposé and MacCutcheon Whiskey, can be seen in Once Upon a Time.[105]

text: Music[edit]

text: Mark Isham composed the series' theme and music. On February 14, 2012, an extended play album featuring four cues from the score was released by ABC Studios.[106] On May 1, 2012, a full-length 25-track official soundtrack album was released by Intrada Records to accompany season one.[107] On August 13, 2013, another full-length 25-track official soundtrack album was released by Intrada to accompany season two.[108] Since December 2015, Mark Isham had begun to release music that was previously not released from the third, fourth and fifth seasons on his Soundcloud account.

text:
[show]Season 1 Soundtrack

No.
Title
Length

1.
"Once Upon a Time Orchestral Suite"
4:13

2.
"Henry's Proposal"
1:17

3.
"The Queen's Curse"
2:46

4.
"Jiminy Cricket"
3:11

5.
"Dealing With Rumplestiltskin"
3:26

6.
"Belle's Story"
2:37

7.
"Dwarves"
2:45

8.
"The Huntsman"
4:31

9.
"Things Are Changing in Storybrooke"
1:47

10.
"Cinderella"
1:44

11.
"Wedding Dance"
1:21

12.
"Advising Ashley"
2:26

13.
"If The Shoe Fits"
1:35

14.
"Unhappy Endings"
3:46

15.
"Emma And Henry"
1:43

16.
"The Siren"
5:07

17.
"The Man with the Wooden Box"
1:11

18.
"Hope Will Return"
1:48

19.
"Rumplestiltskin in Love"
2:19

20.
"The Genie's Wishes"
1:58

21.
"The Road To True Love"
2:50

22.
"The Family Compass"
2:00

23.
"Burn The Witch"
2:34

24.
"What The Queen Loves Most"
2:30

25.
"The Clock Moves"
1:12

text:
[show]Season 2 Soundtrack

No.
Title
Length

1.
"Sleeping Beauty"
2:29

2.
"True Love"
4:45

3.
"Magic"
3:12

4.
"We Are Both"
1:41

5.
"Meet the Jefferson"
2:37

6.
"Ruby and Granny"
1:54

7.
"A Real Boy"
2:26

8.
"The Hedge Maze"
4:13

9.
"Regina's True Love"
2:29

10.
"Storybrooke Reunions"
2:12

11.
"The Duelists"
1:21

12.
"The Lady Jack"
0:45

13.
"In a Burning Room"
4:16

14.
"Tallahassee"
2:21

15.
"This Boy Will Be Your Undoing"
2:46

16.
"Science!"
1:23

17.
"To Neverland!"
1:58

18.
"Cora's Waltz"
2:19

19.
"Snow White in Black"
2:45

20.
"How Magic Is Made"
3:33

21.
"One Perfect Day After Another"
2:37

22.
"Bae and the Shadow"
2:45

23.
"Tamara Shows Her True Colors"
4:20

24.
"The Adventure Begins"
2:14

25.
"Main Title"
0:14

text: Broadcast[edit]

text: The series has been licensed to over 190 countries.[109] In Australia, Once Upon a Time first aired on Seven Network, starting on May 15, 2012. In Canada it airs on CTV from October 23, 2011. It premiered on Channel 5 in the United Kingdom on April 1, 2012.[110] On December 17, 2013, it was confirmed that Channel 5 would not be picking the series up for the third season airing in the UK.[110] On March 14, 2015, Netflix picked up the show in the United Kingdom and Republic of Ireland, subsequently showing all seasons and premiering each new episode on Wednesdays after their initial showing on Sundays on ABC.

text: Reception[edit]

text: Critical response[edit]

text: Critical response to the first season was generally positive. On Metacritic, it was given a score of 66 out of 100 with "generally favorable reviews".[111] E!'s Kristin dos Santos cited the show as one of the five new shows of the 2011–2012 season to watch.[112] Matthew Gilbert of The Boston Globe gave the show a "C+" grade commenting

text: "From a pair of Lost producers, this is a love-or-hate proposition. The ambition is impressive, as it asks us to imagine Goodwin's Snow White and Parrilla's Evil Queen as moderns. But Morrison is a wooden lead, and the back stories – a random collection of fairy tales -- don't promise to surprise."[113]

text: In a review from the St. Louis Post-Dispatch, TV critic Gail Pennington hailed it as one of the "Most Promising Shows of The Fall" and, unlike Gilbert, had high marks for Morrison.[114] USA Today's Robert Blanco placed the series on its top ten list, declaring that "There's nothing else on the air quite like it."[115] Mary McNamara of the Los Angeles Times preferred the series to another fairy-tale themed drama, Grimm, citing that the premise takes its time building up the charm and that the producer "has that part nailed". She also gave excellent reviews for Morrison's character: "Her Emma is predictably cynical and prickly – fairy-tale princess, my Aunt Fanny – but she's sharp and lively enough to keep audiences begging for 'just a few more pages' before they go to bed."[116]

text: Several feminist outlets were pleased with the show for its feminist twist on fairy tales. Avital Norman Nathman of Bitch stated that she liked the show for "infusing a feminist sensibility" into the stories.[117] Genie Leslie at Feministing commented that Emma was a "badass", that she liked how Emma was "very adamant that women be able to make their own decisions about their lives and their children", and how Emma was a "well-rounded" character who was "feminine, but not 'girly'".[118] Natalie Wilson from Ms. praised the show for a strong, "kick-butt" female lead, for including multiple strong women who take turns doing the saving with the men, for subverting the fetishization of true love, and for dealing with the idea of what makes a mother in a more nuanced fashion. Wilson went on to state of the lead: "Her pursuit of a 'happy ending' is not about finding a man or going to a ball all gussied up, but about detective work, about building a relationship with her son Henry, and about seeking the 'truth' as to why time stands still in the corrupt Storybrooke world."[119]

text: Ratings[edit]

text: The first season premiered as the top-rated drama series. The pilot episode was watched by 13 million viewers and received a 4.0 rating/share among 18- to 49-year-olds.[120] It was the season's highest-rated drama debut among the age range and ABC's biggest debut in five years.[121][122] With DVR viewers, the premiere climbed to 15.5 million viewers and a 5.2 rating/share in adults 18–49.[123] The show's next three episodes had consistent ratings every week with over 11 million viewers.[124][125][126] The series has become the number one non-sports program in the U.S. with viewers and young adults on Sunday nights.[127]

text:
Season
Timeslot (ET)
Episodes
First aired
Last aired
TV season
Rank
Avg. viewers
(millions)
18–49 rating
(average)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
Sunday 8:00 pm
22
October 23, 2011 (2011-10-23)
12.93[128]
May 13, 2012 (2012-05-13)
9.66[129]
2011–12
28
11.71[130]
4.1/10[131]

2
22
September 30, 2012 (2012-09-30)
11.36[132]
May 12, 2013 (2013-05-12)
7.33[133]
2012–13
35
10.24[134]
3.6/9[135]

3
22
September 29, 2013 (2013-09-29)
8.52[136]
May 11, 2014 (2014-05-11)
6.80[137]
2013–14
35
9.38[138]
3.3/8[139]

4
22
September 28, 2014 (2014-09-28)
9.47[140]
May 10, 2015 (2015-05-10)
5.51[141]
2014–15
50
8.98[142]
3.2/7[142]

5
23
September 27, 2015 (2015-09-27)
5.93[143]
May 15, 2016 (2016-05-15)
4.07[144]
2015–16
69
6.32[28]
2.2[28]

6
22
September 25, 2016 (2016-09-25)
3.99[145]
May 14, 2017 (2017-05-14)
2.95[146]
2016–17
105
4.39[147]
1.5/5[29]

7
Friday 8:00 pm
22[148]
October 6, 2017 (2017-10-06)
3.26[149]
TBA
TBD
2017–18
TBD
TBD
TBD

text: Awards and nominations[edit]

text: Once Upon a Time was nominated for a 2012 People's Choice Award for "Favorite New TV Drama", but lost to Person of Interest.[150] The show was nominated at the 39th People's Choice Awards in four categories: Favorite Network TV Drama, Favorite Sci-Fi/Fantasy Show, Favorite TV Fan Following, and Favorite TV Drama Actress (Ginnifer Goodwin); it lost to another ABC show Grey's Anatomy in the first category, Supernatural in the second two, and Ellen Pompeo (from Grey's Anatomy) in the last category. the show was nominated at 40th People's Choice Awards, but lost to Beauty and the Beast and The Vampire Diaries, respectively.

text: The show was also nominated for "Best Genre Series" at the 2011 Satellite Awards, but lost to American Horror Story.[151] The show was nominated in this category again at the 2012 Satellite Awards, but lost to The Walking Dead.[152]

text: The program also received three nominations at the 2012 Visual Effects Society Awards, but all lost to Boardwalk Empire, Gears of War 3, and Terra Nova.[153]

text: At the 38th Saturn Awards, the series received a nomination for Best Network Television Series and Parrilla was nominated for Best Supporting Actress on Television, but lost to Fringe and Michelle Forbes, respectively.[154]

text: The program was nominated for the former award again at the 39th Saturn Awards, but lost to new series Revolution.[155]

text: Jared S. Gilmore was nominated for Best Performance by an Younger Actor on Television at 40th Saturn Awards, but lost to Chandler Riggs for The Walking Dead

text: The show received trophies for "Favorite New TV Drama" and "Favorite Villain" for Lana Parrilla by the TV Guide.[156]

text: The show was nominated at the 2012 Teen Choice Awards, but lost to The Vampire Diaries, Pretty Little Liars and Awkward and the show was also nominated at 2013 Teen Choice Awards, but lost to The Vampire Diaries and Pretty Little Liars.

text: The show was nominated again 2014 Teen Choice Awards, but lost to The Vampire Diaries and Dylan O'Brien, respectively.

text: It was also nominated at the 64th Creative Arts Primetime Emmy Awards, but lost to Game of Thrones and The Walking Dead and the show was nominated again at 65th Primetime Creative Arts Emmy Awards, but lost to The Borgias and Game of Thrones.

text: Tie-in material[edit]

text: Novels[edit]

text: In 2013, Disney-owned Hyperion Books published Reawakened by Odette Beane, a novelization of storylines from the first season, expanded to include new perspectives. The narrative is from the points-of-view of Emma Swan in Storybrooke and Snow White in the Enchanted Forest. The novel was published on April 28, 2013, as an ebook and May 7, 2013, in paperback form.[157]

text: In 2015, production company Kingswell Teen published Red's Untold Tale, by Wendy Toliver, a novel telling a story of Red's past that was not seen in the show. The novel was published on September 22, 2015 and consisted of 416 pages.

text: In 2017, Kingswell Teen published a second novel, Regina Rising, also written by Wendy Toliver, which depicts the life of a sixteen year old Regina. The novel was published on April 25, 2017.

text: Comic books[edit]

text: A comic book, titled Once Upon a Time: Shadow of the Queen, was released on September 4, 2013, in both digital and hardcover forms. The story was written by Dan Thomsen and Corinna Bechko, with art by Nimit Malavia, Vasilis Lolos, Mike Del Mundo, Stephanie Hans and Mike Henderson. Shadow of the Queen details what happens after the Evil Queen takes the Huntsman's heart. She forces the Huntsman to commit evil, and try to capture Snow White yet again. The Huntsman faces his past, and also meets Red Riding Hood, who is trying to cope with her beastly alter ego. Together, they team up and try to save Snow White before all is too late.[158]

text: On April 14, 2014, a sequel to the first comic book called Once Upon a Time: Out of the Past was released.[159]

text: Spin-off[edit]

text: In February 2013, Kitsis & Horowitz, along with producers Zack Estrin and Jane Espenson, developed a spin-off focusing on Lewis Carroll's Wonderland.[160] The series was called Once Upon a Time in Wonderland. A "teaser presentation" began shooting in April 2013, and the pilot was shot in late July or August.[161] On May 10, 2013, ABC announced that it had approved the spin-off and on May 14, 2013, announced that the spin-off would air in the Thursday night 8:00pm time slot instead of making it a fill-in for the parent series.[162] The series premiered on October 10, 2013, but was cancelled[163] after a single-season thirteen-episode run that ended on April 3, 2014.[164]