Me and Juliet

Me and Juliet is a musical comedy by Richard Rodgers

(music) and Oscar Hammerstein II (lyrics and book) and
their sixth stage collaboration. The work tells a story of
romance backstage at a long-running musical: assistant
stage manager Larry woos chorus girl Jeanie behind the
back of her electrician boyfriend, Bob. Me and Juliet
premiered in 1953 and was not considered a success, al-
though it ran for much of a year on Broadway and re-
turned a small prot to its backers.
Rodgers had long wanted to write a musical comedy
about the cast and crew backstage at a theatre. After
Rodgers and Hammerstein had another hit with The King
and I, Rodgers proposed the backstage project to his part-
ner. Hammerstein was unenthusiastic, thinking the sub-
ject matter trivial, but agreed to do the project. The play
required complex machinery, designed by Jo Mielziner,
so that the audience could view action not only on the
stage of the theatre where the show-within-the-show (also
named Me and Juliet) takes place, but in the wings and
on the light bridge (high above the stage, from which the
lighting technicians train spotlights) as well.
When Me and Juliet began tryout performances in
Cleveland, the duo realized that the show had problems
with the plot and staging. Extensive revisions during the Oscar Hammerstein II
remaining Cleveland and Boston tryouts failed to cure
the diculties with the plot, which the critics considered
weak and uninteresting. The show was met with less than Hammerstein was initially unenthusiastic, thinking the
favorable reviews, though Mielziners staging won praise subject matter trivial,[3] but Rodgers pressed the mat-
from audience and critics. The show closed once it had ter. It was Hammersteins turn to give in to his part-
exhausted its advance sales. With the exception of a short ner; Rodgers had agreed to the project that became the
run in Chicago, there was no national tour, and the show 1947 musical, Allegro, their initial failure, under pressure
has seldom been seen. A small-scale production was pre- from Hammerstein, who had long dreamed of doing a
sented by Londons Finborough Theatre in 2010. serious musical about an ordinary man.[2][4] According
to Stephen Sondheim, a protg of Hammerstein, Os-
car was able to keep the partnership together by taking
1 Inception Dicks suggestion [for a backstage musical], which he did
not want to take.[5] As the two discussed the backstage
The origins of Me and Juliet can be traced to the early idea, Hammerstein became more enthusiastic, suggesting
days of the relationship between Rodgers and Hammer- that the show start with the stage entirely bare, as if the
stein. The musical Oklahoma! opened in 1943; it was audience had come in not at performance time but at an-
Rodgers and Hammersteins rst work together and a other time during the day. Such eects are today well-
massive hit. Soon after Oklahoma! opened, Rodgers be- known following the success of other backstagers such
gan considering the idea of a musical set backstage at a as A Chorus Line; in the early 1950s they were unrealized
theatre staging a musical. The production could explore and novel.[4][6]
dierent areas of the backstage world.[1] Rodgers also The two discussed the matter at a meeting in Palm Beach,
saw it as the opportunity to write a pure musical com- Florida, in early 1952, where Rodgers was vacationing
edy, without the serious themes which had marked their as he worked on melodic sketches for the television pro-
early workssuch as the attacks on racism in South Pa- gram Victory at Sea.[7] Rodgers suggested dispensing with
cic, and the cultural tolerance in The King and I.[2] the overture, reserving that for the overture of the show-

1
2 2 PLOT

within-the-show.[7] Following another meeting in mid- Russell Bennett, who usually performed that function in
1952, they called in long-time Rodgers and Hammer- the pairs musicals but who was not available.[14] Irene
stein stage designer Jo Mielziner and hired him to de- Shara was engaged to design the more than 300 cos-
sign the sets. Mielziner conrmed that a scene could be tumes which would be needed.[3] The show was originally
played part onstage and part in the backstage world, but named Hercules and Juliet, but they soon changed it to
that this would be expensive.[8] In August 1952, Ham- Me and Juliet. The Majestic Theatre, which Rodgers and
merstein began a sketch of the plot; by early October he Hammerstein desired to have for Me and Juliet, was cur-
had a near-complete rst draft.[9] As the show was to be rently occupied by their South Pacic, four years into its
musical comedy, the pair hired one of the top musical run. Arrangements were made to shift South Pacic to
comedy directors, George Abbott, who accepted the po- the Broadway Theatre, though due to schedule conicts,
sition without reading the script. He regretted the haste this meant moving that show to Boston for ve weeks.[8]
of this decision as soon as he read the script, nding it
sentimental and melodramatic. He conded his concerns
to the pair; in response, Hammerstein told him to make 2 Plot
whatever changes in the script he thought best.[10] With
Hammersteins permission, Abbott made major changes For theatrical terminology, see Stage (theatre).
to the plot.[11]
Hammerstein had only briey described the show-within- The entire action of the show takes place in and close to a
the-show. Fearing the show would be uninteresting, Ab- Broadway theatre in which the long-running musical "Me
bott hoped that some highlights would be furnished when and Juliet " (the "show-within-the-show") is playing. The
the show-within-the-show, as yet only briey described setting is the early 1950s.
by Hammerstein, was eshed out.[11] According to au-
thor and composer Ethan Mordden in his book about the
duos works, Hammerstein thought the show-within-the- 2.1 Act 1
show was to be:
A half-hour remains before the show is to begin. Electri-
cian Sidney and chorus girl Jeanie are irritated at Sidneys
something bizarre, to stand out and amaze
fellow electrician, Bob, for not being there. Sidney needs
us, the better to set o the plain life of the actor
Bobs help; Jeanie, Bobs girlfriend, is annoyed at being
... We shall imagine some rather advanced mu-
stood up. Sidney warns Jeanie that Bob may not be the
sical of the near future, something beyond even
right man for her; these are doubts she has too (Musical
Allegro, with archetypical charactersa sim-
numbers: A Very Special Day"/"Thats the Way it Hap-
ple hero and his lovable Juliet, the rapacious
pens).
Don Juan and his volatile Carmen. Then the
audience will always know where it is. Con- Jeanie leaves, and Bob appears. Bob tells Sidney he likes
trast is the key. The show-within must look and dating Jeanie, but does not plan to marry her. When Sid-
sound, at every moment, as far from real life as ney jokes that Jeanie can do better than Bob, the larger
possible.[12] man momentarily chokes him. Jeanie sees this, adding
to her doubts about Bob. Larry, the assistant stage man-
ager, is also attracted to Jeanie (reprise of Thats the Way
Hammerstein included an incident he had seen when he
was a neophyte assistant stage manager: a chorus boy it Happens).
came up to a chorus girl and asked to use some of her Stage manager Mac sees to the nal preparations, and the
mascarato disguise a hole in the boys black socks.[13] overture to the internal show is played by the orchestra,
Hammerstein stated, we were religious in keeping away led by Dario, the conductor (Overture to Me and Juliet").
from the trite thingsthe kindly old stage door man The internal shows curtain rises (Marriage Type Love):
named Pop, the pretty little understudy who replaces the the main male character, Me (performed by Charlie,
star on opening night. We steered clear, too, of the back- a singer), tells the audience about the girl he wants to
stage story of a company putting on a new show, with all marry, Juliet (Lily, a singer). He also tells the audience
the anxieties of the actors and producers ... It seemed of the girl he is determined not to marry, Carmen, who
right to focus on a show which is already running because scares him. Me feels Carmen (the lead female dancing
we wanted to tell a story about a community, the back- role) is better suited to his boss, Don Juan (the lead male
stage community, and this community becomes settled dancer). As the internal show continues, Bob and Sidney
and established after a show opens.[13] are on the light bridge. Bob identies with Don Juan for
In addition to Abbott, the duo recruited other profes- his reluctance to marry (Keep It Gay).
sionals experienced in musical comedy. Choreographer Another day at Me and Juliet, and the dancers are prac-
Robert Alton had worked in such hits as Panama Hattie ticing under Macs supervision (conclusion of Keep It
and in movie musicals. Don Walker was hired to do the Gay). At Larrys urging, Jeanie decides to audition for
orchestrations; his would be simpler than those of Robert the position of second understudy for the role of Juliet.
2.2 Act 2 3

two are still attracted to each other. Betty enjoys acting

(Its Me). As she performs in the internal show, Bob
and Sidney are on the light bridge again.
Bob has been fooled by Jeanies lies about why they are
not going out, and is enlightened when Sidney lets slip
that Larry and Jeanie are seeing each other. Bob de-
mands proof, and Sidney tells Bob to watch what hap-
pens in the wings during the upcoming Act 1 nale to
Me and Juliet. Bob sees Larry and Jeanie kiss after she
comes ostage with a tray of owers, an action caught by
Bobs spotlight. Mac enters, grasps the situation, sends
Larry away, then puts the tray back in Jeanies hands and
pushes her onstage. She is pursued by Bobs spotlight,
which relentlessly follows her around the stage as more
and more of the dancers become aware something has
gone badly wrong. Bob drops a sandbag from the light
bridge; it knocks the tray Jeanie is holding to the ground.
Mac orders the curtain lowered in front of a stage in panic.

George S. Irving, as Dario the conductor 2.2 Act 2

On learning this, Mac takes Larry aside and warns him

never to get involved with a cast member of a show while
in charge of it. No sooner has Mac said this than his girl-
friend Betty (currently in the show across the street) audi-
tions for the role of Carmen. The producer gives her the
role. As Larry looks on with amusement, Mac accepts
this professionally, then stamps o in disgust.

Dance scene from the show-within-the-show. Original produc-

tion, 1953.

In the downstairs lounge, a few minutes before the Act

2 curtain for Me and Juliet rises, the ushers comment on
the remarkable conclusion to Act 1although the audi-
ence has noticed nothing unusual (Intermission Talk).
As Act 2 of the internal show starts, an enraged Bob is
searching the theatre for Jeannie and Larry. Unable to
nd them, he takes up position at a bar across the street
From left: Bill Hayes (as Larry) and Mark Dawson (Bob) ex- where he can watch the theatre doors (It Feels Good).
change hostile stares as Edwin Phillips (Sidney) looks on. From The perspective shifts to the onstage action in Me and
the original production.
Juliet, where Don Juan and Carmen are on a date (We
Deserve Each Other), before moving to the managers
Jeanie practices for her own audition (No Other Love), oce where Larry and Jeanie are hiding out (I'm Your
and Larry tells her that the audience will accept her if Girl). Mac has only just begun his lecture to them when
shes a real kid like Juliet, but reject her if shes a Bob enters through the window, having heard familiar
phony (The Big Black Giant). Larry desires a ro- voices. In the ensuing ght, Bob knocks out Mac, but
mance with Jeannie, but fears the larger and stronger Bob. when the electrician grabs for Jeannie, Larry strongly de-
Several months pass, during which Jeanie gets the job as fends her. The ght ends when Bob accidentally hits his
second understudy. Larry and Jeanie are meeting secretly head on a radiator and is knocked out as well.
and keeping their budding romance from Bob. The rest Ruby, the company manager, sends Larry and Jeannie
of the cast is aware of their datesone dancer spotted down to the stage to continue the play. After Bob and
them in a chili restaurant on Eighth Avenue. Mac recover, Ruby informs Bob that Larry and Jeanie
Mac, true to his principles, has dumped Betty, but the had secretly married earlier that day, and, surprised, the
4 3 REHEARSALS AND TRYOUTS

electrician leaves. Mac, fearful of more mayhem, goes

in search of him. As Mac exits, the phone rings, and
Ruby takes the call. It is the producer, calling for Mac
to transfer him to another show, thereby setting him free
to resume his romance with Betty.
Onstage, Me and Juliet is concluding. After the internal
show nishes (Finale to Me and Juliet"), Larry, who will
be the new stage manager, insists on rehearsing a scene
from the show. Seeing Bob enter with a scowl, Larry or-
ders him and Sidney to be present the next morning to
re-angle the lights. Taken aback, and rather sheepishly,
Bob says I didn't know you were married before qui-
etly leaving, after stating, I'll be here, I guess. Jeanie is
congratulated by her showmates, but Larry, all business,
waves them to their places to rehearse the scene. As Lily
has had to leave, Jeanie stands in for her as Juliet, while
Larry sings the part of Me in the scene, as the curtain falls
(Finale of Our Play).

3 Rehearsals and tryouts

The cast consisted mostly of unknowns, though Isabel
Bigley, who had just originated Sister Sarah Brown in Richard Rodgers
Guys and Dolls, was given the leading role of chorus girl
Jeanie. For Larry, the assistant stage manager who falls in
love with Jeanie, they cast Bill Hayes, a well-known stage to hang on specially-constructed overhead steel
[15]
and television actor. William Tabbert, the original Lt. tracks. Synchronized electric motors slowly
Joe Cable in South Pacic was considered for the part of moved the stage pictures o into the wings far
Larry, but lost out because he was thought to be too tall enough to expose the stage managers desk and
to be afraid of Mark Dawson, hired as the towering bully actors and stagehands ostage awaiting their
Bob. [16] cues.[19]

Chorus auditions began March 10, 1953, at Broadways

During the rehearsals, the duo took out two production
Majestic Theatre; Rodgers, Hammerstein, and Abbott lis-
numbers, Wake Up, Little Theatre and Dance, con-
tened to more than 1,000 people. Rehearsals opened
cerned that the show was running long. The actress play-
at the Majestic for principals and the Alvin Theatre for
ing Juliet in the internal play proved to be a ne singer
dancers. According to Saul Pett, a freelance reporter who
but a poor actress; she was replaced by Helena Scott.[19]
was allowed to observe the rehearsals, everyone seems
Abbott had few negative comments after the nal New
relaxed except Hammerstein.[17][18] The lyricists son
York run-through, and the company entrained for Cleve-
James served as second assistant stage manager. James
land, where the rst tryouts were to be, in high spirits,
Hammerstein remembered having a dicult relationship
sleeping little on the train ride.[20] RCA Records put up
with Rodgers; the composer suggested James do his work
the $350,000 cost of the production in exchange for a
from front of house, rather than from backstage. I think
fty-percent interest and rights to the original cast record-
he thought it was his show and his bailiwick. Why should
ing.[21]
a Hammerstein be back there?"[18] James Hammerstein
found the lead female dancer attractive, and asked herThe tryouts in Cleveland were at the Hanna Theatre. The
dress rehearsal the night before the initial performance
out. Just before the date, Rodgers red her, telling James
Hammerstein to break the news.[18] revealed a number of problems with the show; during the
rst act alone, Hammerstein dictated eight pages of notes.
Pett recorded the technical problems which had to be
The sandbag which falls from the light bridge near the end
solved to accomplish the complex staging:
of Act 1 dropped o-cue, nearly striking Isabel Bigley,
A number of key scenes required the audi- who played Jeanie. Pett remembered that the rehearsal
ence to both see the play-within-the-play and at was stopped often, as Rodgers sought to work out each
the same time observe the realism of the stage problem as it arose, and the rehearsal, which began at 8
managers operations in the wings. To achieve p.m. lasted until 2 a.m.[22]
this result and to make both elements simul- The Cleveland premiere on the evening of April 20, 1953,
taneous, the major part of the production had saw a distinguished crowd turn out. When the stage back-
 5

drop failed to come down on time, Hammerstein was

heard to mutter, Damn and damn and damn! This is
a new way: they saved it for the performance!"[22] Nev-
ertheless, the crowd gave the show a rousing welcome.
The Cleveland critics thought well of the show, but were
concerned about the weak story.[22] After the Cleveland
reactions and problems, according to Rodgers biogra-
pher Meryle Secrest, what had seemed to be a show
needing minor adjustments became a musical in serious
trouble.[18] Bigley remembered that she had just come
from a hit and there just wasn't the same energy.[18]
Hammerstein had intended to omit the overture, with the
audience to watch, after the curtain rose, a blank stage
on which the play-within-the-play performers and crew
drifted in and began their preparations. Expecting the or-
chestra to begin the evening, the audience talked through-
out the initial scenes before being quieted by the internal
shows overture; in response, the duo abandoned Ham-
mersteins concept and opened with an overture.[18]
In contrast to the levity on their rst train ride, the com-
pany was downcast and exhausted en route from Cleve- First credits from Me and Juliet 's playbill
land to Boston for the nal tryouts.[18] The show opened
in Boston on May 6. A majority of the Boston critics
liked the show, and expressed condence that Rodgers paid back its advance,[25] and closed after 358 perfor-
and Hammerstein could x the problems with the plot. mances, paying a small prot to RCA.[27] Thomas His-
The pair took out one song, Meat and Potatoes, which chak, in his The Rodgers and Hammerstein Encyclopedia,
was felt to be too raunchy. After watching it performed suggests that business fell o after the advance sales were
by Joan McCracken, who played Betty (Carmen in the exhausted because audiences had come to expect more
play-within-the-play), the pair decided it had too many from a Rodgers and Hammerstein musical.[27] Accord-
double entendres and cut it.[23] It was replaced by We ing to Frederick W. Nolan in his book about the duos
Deserve Each Other, which the pair had written in a works, despite a $500,000 advance sale, despite a ten-
Cleveland hotel room.[24] Another cut song, You Never month run (which, for anyone except Rodgers and Ham-
Had It So Good, included lyrics which satirized the duos merstein, would have represented a major success), and
own earlier eorts. Its lyrics, I'll sew, I'll bake / I'll try despite an eventual prot in excess of $100,000, Me and
to make your evenings all enchanted. / My honeycake, Juliet has to be classed as a failure.[28]
/ I'm yours to take, but don't take me for granted, al-
luded to two songs from South Pacic, "Some Enchanted The backstage drama portrayed in the musical was
Evening" and Honey Bun.[12] Audiences continued to matched by actual diculties among the cast. Mc-
greet the show warmly.[24] Cracken, who played Betty, was the wife of choreogra-
pher Bob Fosse and became pregnant during the run. Bill
During the Boston previews, the duo heard the audience Hayes later wrote that she lost her baby through miscar-
praise the sets, a reaction which usually augered ill for riage about the same time she lost her husband to Gwen
the show itself.[25] Hammerstein wrote to The King and I Verdon.[23] The baby was in fact aborted, because the
director John van Druten: pregnancy would have endangered McCrackens health
as a result of her diabetes.[29] Hayes noted that in the f-
Me and Juliet looks like a great big hit. It teen months he played Larry, he did not recall ever hav-
is a change of pace for us and in some quarters ing a conversation with Isabel Bigley, who was suppos-
we may be criticized because it is not as high- edly his love interest and wife: I doubt that the audience
falutin' as our most recent eorts. It is in fact an ever believed we were deeply in love.[23] The show re-
out and out musical comedy. If this be treason, ceived no Tony Award nominations.[30] During the run,
[23]
make the most of it. Hammerstein followed his usual practice of visiting the
theatre now and again to ensure that the performers were
not taking liberties with his book. Upon his return, Ham-
4 Production mersteins secretary asked him how the show was going.
The lyricist thought for a second, then said I hate that
[31]
The musical opened on Broadway on May 28, 1953, at show.
the Majestic Theatre.[26] Large advance sales guaranteed No national tour was attempted, but the show did have a
a considerable run; by the start of November, it had six-week run in Chicago in 1954.[27] Among those who
6 7 CRITICAL RECEPTION AND ASSESSMENT

played in the chorus during the New York run was fu- choreography, but stated, This is their Valentine to show
ture star Shirley MacLaine; Shirley Jones was a chorus business, expressed in the form of a show-within-a-show;
girl in the Chicago performances.[32] Subsequent pro- and it has just about everything except an intelligible
ductions include one by Kansas Citys Starlight Theatre story.[43] Herald-Tribune critic Walter Kerr noted that
in 1955.[33] Equity Library Theatre produced it in New Rodgers and Hammerstein have come perilously close to
York in 1970;[34] it returned to that city, though not to writing a show-without-a-show.[25] George Jean Nathan
Broadway, in 2002 with the York Theatre.[32] A London of the Journal American stated that Hammersteins book
production was presented by the Finborough Theatre in has the eect of hanging idly around waiting for an idea
2010 in a fty-seat theatre; the production was billed as to come to him.[27] Robert Coleman of the Daily Mir-
the shows European premiere.[35] ror noted, Having set new high standards for musicals
throughout the world, Rodgers and Hammerstein dipped
into the lower drawer of their desk for Me and Juliet. It
5 Musical numbers proved a big disappointment for this dyed-in-the-wool R.
& H. fan.[44] John Chapman of the Daily News com-
mented, It is at its most interesting when Jo Mielziners
6 Musical treatment and recording sets are in motion.[44] According to Steven Suskin in
his compilation of Broadway opening night reviews, the
seven major New York critics allotted the production no
One source of Rodgerss excitement for the concept that
raves, one favorable review, one mixed, four unfavorable,
became Me and Juliet was his view that a contemporary
and one pan.[42]
musical gave him the opportunity for a contemporary
score. At the time Rodgers wrote the score, a Latin dance One well-received number was Keep It Gay, a song
craze had swept the United States, and its inuence found which in rehearsal had been assigned to several dierent
its way into the music for Me and Juliet. Rodgers put an performers before ending with Bob. The song was liked
onstage jazz trio in the production and encouraged the in part due to the novelty of its setting: it begins with Bob
members to improvise.[12] Among the trio was jazz artist singing from the light bridge high above the stage; follow-
Barbara Carroll as Chris, rehearsal pianist.[37] Intermis- ing a blackout the internal play performers take it up on
sion Talk, the chatter among audience members early the stage below, and following another blackout, the per-
in the second act, is given a bouncy melody and sly refer- formers are seen in their workout clothes, at a rehearsal
ences to a number of shows then on Broadwayincluding some weeks later. Hammerstein gave credit for the scene
the duos own The King and I.[38] According to author to Mielziner, and suggested that it demonstrated one way
and composer Ethan Mordden, Rodgerss score found in which the book had aected the music.[45]
[Rodgers & Hammerstein] going for impish, nimble, the Abbott stated that there were two reasons for what he con-
sound of the Hit Parade as reimagined by [them]".[12] sidered to be the shows failure. The rst was Rodgers and
Rodgers borrowed the music for No Other Love from Hammersteins overcondence; they thought of them-
his award-winning score for Victory at Sea.[27] RCA, selves as Broadways Golden Boys who could do no
which had those rights, arranged for Perry Como to wrong.[28] The other was the play-within-the-play, which
record the song, and it was rushed onto the market to co- had not been thoroughly thought out by anyone. Ac-
incide with the shows Broadway opening. The record cording to Abbott, Hammerstein remained positively
became a number-one hit for Como on the Disc Jockey Sphinx-like on the subject. At a loss to understand
chart, though #2 as a best seller, remaining on the charts the characters of the play-within-the play, Alton came
for 22 weeks.[39] up with nothing more than routine song-and-dance num-
bers. During the run, the duo approached choreographer
Hischak described the original cast album as surpris-
Jerome Robbins and asked him if he could x the dances.
ingly lively and mostly enjoyable for a musical that was
Robbins said that he could, but he would not, as it would
considered so dull on stage.[40] He pointed to Intermis-
kill Bob Alton.[46] According to Hammerstein biogra-
sion Talk as a number which probably works better in a
pher Hugh Fordin, "[the] intended contrast between on-
recording than on stage and states that there is no mis-
stage and backstage life was never achieved because the
taking the hypnotic power of 'No Other Love'".[40] The
onstage show was so tepid and confusing.[21]
original cast recording was released on compact disc in
1993.[41] Thats the Way it Happens was included in the 1996
stage version of Rodgers and Hammersteins 1945 movie
musical, State Fair.[47] According to David Lewis in his
7 Critical reception and assess- history of the Broadway musical, The Rodgers and
Hammerstein oce has, it would appear, given up on
ment [later R&H musical] Pipe Dream and [Me and] Juliet ever
nding an audience ... so these songs are up for grabs.[48]
Critics views were neutral to unfavorable.[42] The New Composer and author Ethan Mordden, in his book on the
York Times critic Brooks Atkinson praised the acting and
 7

duos works, wrote of the conceptual diculties which 9 References

Rodgers and Hammerstein had with the musical:
[1] Mordden, p. 149.
[Me and Juliet] was the rst of their plays [2] Hischak, pp. 286287.
without a powerful sense of destiny, of char-
acters consequentially interconnected. In Ok- [3] Fordin, p. 309.
lahoma!, Carousel, South Pacic and The King [4] Mordden, p. 150.
and I especially, the principalswhether no-
ble or weak, just or impetuouschange each [5] Secrest, p. 316.
others lives. Me and Juliet's characters ap-
[6] Nolan, p. 218.
pear to be thrown together by chance and
except for the loverswill part company unaf- [7] Nolan, p. 217.
fected by each other as soon as the show closes.
[8] Nolan, p. 219.
This left Hammerstein with nothing to seek
out in his people, and Rodgers with nothing to [9] Hischak, p. 220.
illustrate.[49]
[10] Nolan, pp. 219221.

[11] Hyland, p. 221.

8 Characters and opening night [12] Mordden, p. 152.
cast [13] Peck.

Principal characters:[50] [14] Mordden, pp. 152153.

[15] Secrest, pp. 318320.

Jeanie, chorus singer Isabel Bigley [16] Mordden, p. 153.

Bob, electrician Mark Dawson [17] Nolan, p. 221.

[18] Secrest, p. 320.

Larry, assistant stage manager Bill Hayes
[19] Nolan, p. 222.
Mac, stage manager Ray Walston
[20] Secrest, p. 319.
Dario, conductor George S. Irving [21] Fordin, p. 311.

Sidney, electrician Edwin Phillips [22] Nolan, pp. 223224.

[23] Secrest, p. 321.

Herbie, candy counter boy Jackie Kelk
[24] Nolan, pp. 224225.
Ruby, company manager Joe Lautner
[25] Hyland, p. 223.
Buzz, principal dancer Buzz Miller [26] Hischak, p. 178.

[27] Hischak, p. 180.

Characters in Me and Juliet (play-within-the-
play):[50] [28] Nolan, p. 225.

[29] Sagolla, pp. 220-221.

Charlie (Me), featured lead Arthur Maxwell
[30] Hischak, p. 335.

Lily (Juliet), singing principal Helena Scott [31] Secrest, p. 322.

Jim (Don Juan), principal dancer Robert Fortier [32] The Rodgers & Hammerstein Organization.

[33] Starlight Theatre.

Susie (Carmen), principal dancer Svetlana
McLee [34] Gussow.

[35] Wolf.
Betty, successor to Susie as principal dancer Joan
McCracken [36] Rodgers & Hammerstein, p. 456.
8 10
[37] Hischak, p. 179.
[38] Hischak, p. 132.
[39] Macfarlane & Crossland, p. 84.
[40] Hischak, p. 181.
[41] Metcalf.
[42] Suskin, p. 429.
[43] Atkinson.
[44] Suskin, p. 428.
[45] Hyland, p. 222.
[46] Nolan, pp. 225226.
[47] Willis, p. 41
[48] Lewis, p. 180
[49] Mordden, p. 159.
[50] Rodgers & Hammerstein, p. 453.
9.1 Bibliography
Books
Fordin, Hugh (1995) [1977]. Getting to Know Him:
A Biography of Oscar Hammerstein II (reprint, illus-
trated ed.). Jeerson, N.C.: Da Capo Press. ISBN
978-0-306-80668-1.
Hischak, Thomas S. (2007). The Rodgers and Ham-
merstein Encyclopedia (illustrated ed.). Westport,
Conn.: Greenwood Publishing Group. ISBN 978-
0-313-34140-3.
Hyland, William G. (1998). Richard Rodgers (il-
lustrated ed.). New Haven, Conn.: Yale University
Press. ISBN 978-0-300-07115-3.
Lewis, David H. (2002). Broadway Musicals: a
Hundred Year History. Ned Miller (Composer)
Sunday (illustrated ed.). Jeerson, N.C.: McFar-
land & Company, Inc. ISBN 978-0-7864-1269-3.
Macfarlane, Malcolm; Crossland, Ken (2009).
Perry Como: A Biography and Career Record (il-
lustrated ed.). Jeerson, N.C.: McFarland. ISBN
978-0-7864-3701-6.
Mariska, Bradley (2004). Who Expects a Miracle
to Happen Every Day?": Rediscovering Me and Juliet
and Pipe Dream, The Forgotten Musicals of Rodgers
and Hammerstein (PDF) (thesis ed.). College Park,
MD: University of Maryland.
Mordden, Ethan (1992). Rodgers & Hammerstein
(illustrated ed.). New York: Harry N. Abrams.
ISBN 978-0-8109-1567-1.
EXTERNAL LINKS
Nolan, Frederick (2002) [1979]. The Sound of
Their Music: The Story of Rodgers and Hammerstein
(reprint ed.). Cambridge, Mass.: Applause Theatre
and Cinema Books. ISBN 978-1-55783-473-7.
Rodgers, Richard; Hammerstein, Oscar, II (1953).
Six Plays by Rodgers and Hammerstein. New York:
Random House (Modern Library).
Sagolla, Lisa Jo (2003). The Girl Who Fell Down:
A Biography of Joan McCracken. Boston, Mass.:
Northeastern University Press. ISBN 1-55553-573-
9.
Secrest, Meryle (2001). Somewhere for Me: A Bi-
ography of Richard Rodgers (illustrated ed.). Cam-
bridge, Mass.: Applause Theatre and Cinema
Books. ISBN 978-1-55783-581-9.
Suskin, Steven (1990). Opening Night on Broad-
way. New York: Schirmer Books. ISBN 978-0-
02-872625-0.
Willis, John (1998). Theatre World 19951996.
New York: Hal Leonard Corporation. ISBN 978-
1-55783-323-5.
Articles and webpages
Atkinson, Brooks (May 29, 1953). First Night at
the Theatre; ' Me and Juliet' Is a Valentine to the
Theatre by Rodgers and Hammerstein. The New
York Times. p. 17. Retrieved February 6, 2011.
(subscription required)
Gussow, Mel (May 15, 1970). Equity Library re-
vives Me and Juliet". The New York Times. p. 42.
Retrieved February 6, 2011. (subscription required)
Metcalf, Steve (February 7, 1993). Torrent of CD
releases showcases Broadway classics and obscuri-
ties. Hartford Courant. p. G1. Retrieved January
30, 2011. (subscription required)
Peck, Seymour (May 24, 1953). About Me and
Juliet". The New York Times. p. X1. Retrieved
February 6, 2011. (subscription required)
"Me and Juliet History. Rodgers & Hammerstein
Organization, The. Retrieved April 10, 2011.
Show History. Starlight Theatre. Retrieved
March 3, 2011.
Wolf, Matt (October 19, 2010). Theatre Review:
In the city of second chances. The New York Times.
Retrieved February 6, 2011. (subscription required)
10 External links
Me and Juliet at the Internet Broadway Database
 9

11 Text and image sources, contributors, and licenses

11.1 Text
Me and Juliet Source: https://en.wikipedia.org/wiki/Me_and_Juliet?oldid=775510876 Contributors: Bogdangiusca, Daydream believer2,
Bender235, Zaslav, Mairi, Circeus, Arcadian, Rjstern, Jheald, Carcharoth, Drbogdan, Rjwilmsi, Ravenswing, Wavelength, RussBot, Om-
tay38, Nikkimaria, Mlle, Crystallina, Wehwalt, David Fuchs, Ser Amantio di Nicolao, John, Phaeton23, Nehrams2020, Theraven, Al-
bertSM, Cydebot, Ssilvers, After Midnight, Brad101, JamesAM, RobotG, Darklilac, Bencherlite, Connormah, Flami72, Darb02, Hammer-
soft, GimmeBot, Angelic-alyssa, TCO, Artoasis, Fratrep, Jmlptzlp, Drmies, DumZiBoT, AnomieBOT, Andrewrp, Coretheapple, Jfbarlow,
FrescoBot, HJ Mitchell, Steve2011, Suusion of Yellow, RjwilmsiBot, GA bot, Dr Aaij, Gfoley4, EzzeJenkins, Cntras, SomeDudeWith-
AUserName, Adwiii, Helpful Pixie Bot, FUCCK OSAMA BIN LADENN, DahSpammer, HelloKitta, 20thCenturyAmMusic, Br'er Rabbit,
TFA Protector Bot, Bender the Bot, Jeanjung212, Moscow Mule, General Cee and Anonymous: 20

11.2 Images
File:George_S_Irving.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0d/George_S_Irving.jpg License: Public
domain Contributors: Souvenir Program for Me and Juliet Original artist: Unknown<a href='https://www.wikidata.org/wiki/Q4233718'
title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/
Wikidata-logo.svg/20px-Wikidata-logo.svg.png' width='20' height='11' srcset='https://upload.wikimedia.org/wikipedia/commons/
thumb/f/ff/Wikidata-logo.svg/30px-Wikidata-logo.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/
Wikidata-logo.svg/40px-Wikidata-logo.svg.png 2x' data-le-width='1050' data-le-height='590' /></a>
File:Hammerstein.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/26/Hammerstein.jpg License: Public domain Con-
tributors:
Rodgers_and_Hammerstein_and_Berlin_and_Tamiris_NYWTS.jpg Original artist: Rodgers_and_Hammerstein_and_Berlin_and_Tamiris_NYWTS.jpg:
Al Aumuller, World Telegram sta photographer
File:Me_and_Juliet_Playbill_2.jpeg Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Me_and_Juliet_Playbill_2.jpeg
License: Public domain Contributors: Actual playbill from Me and Juliet, January 1954. Original artist: Playbill, Incorporated
File:Me_and_Juliet_confrontation.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0a/Me_and_Juliet_confrontation.
jpg License: Public domain Contributors: Souvenir Program for Me and Juliet' Original artist: Not certain, but probably Vandamm Studios,
who seemed to do the photographic work for R&H at this point.
File:Me_and_Juliet_dance.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e8/Me_and_Juliet_dance.jpg
License: Public domain Contributors: Souvenir Program for Me and Juliet Original artist: Unknown<a href='https:
//www.wikidata.org/wiki/Q4233718' title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https://upload.wikimedia.
org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png' width='20' height='11' srcset='https:
//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/30px-Wikidata-logo.svg.png 1.5x, https://upload.wikimedia.
org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/40px-Wikidata-logo.svg.png 2x' data-le-width='1050' data-le-height='590'
/></a>
File:Musical1953-MeAndJuliet-OriginalPoster.jpg Source: https://upload.wikimedia.org/wikipedia/en/5/5c/
Musical1953-MeAndJuliet-OriginalPoster.jpg License: Fair use Contributors: https://s-media-cache-ak0.pinimg.com/236x/5c/c8/
83/5cc883060e2ec3bad8950e57db22ab01.jpg Original artist: Majestic Theatre
File:Rodgers.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bc/Rodgers.jpg License: Public domain Contributors:
Rodgers_and_Hammerstein_and_Berlin_and_Tamiris_NYWTS.jpg Original artist: Rodgers_and_Hammerstein_and_Berlin_and_Tamiris_NYWTS.jpg:
Al Aumuller, World Telegram sta photographer

11.3 Content license

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