Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting

Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting

$795.00
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Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
  • Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting
Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting

Richard Rodgers — Three Letters Signed to Johnny Green, 1944–1948, Discussing “Liliom” / Carousel, Lorenz Hart’s Estate, and Broadway Casting

$795.00

An engaging group of three typed letters signed “Dick” by Richard Rodgers, addressed to fellow composer and conductor Johnny Green. Written between 1944 and 1948 on Rodgers’s personal New York letterhead, the correspondence comprises five pages and offers a candid view of his creative work, professional obligations, and friendship with Green.

November 21, 1944 — Two pages. Rodgers discusses the success of I Remember Mama before turning to his work with Oscar Hammerstein on “Liliom,” the project that would become Carousel. Explaining that other responsibilities leave little time for composition, he describes coming to the office on Saturday afternoons and Sundays to find the peace and quiet necessary to write. He also discusses arrangements involving producer William Perlberg and director Walter Lang.

January 28, 1946 — Two pages. In a frank and thoughtful letter, Rodgers declines the responsibility of serving as Green’s executor. He explains that administering the estate of his former collaborator, Lorenz “Larry” Hart, is already an exceptionally demanding task. Turning to theatrical matters, he enthusiastically describes Middleton singing “Without a Song” at the St. James Theatre and reports that “Irving” subsequently rehearsed several songs with him. The references appear to concern Ray Middleton and Irving Berlin during preparations for Annie Get Your Gun.

June 15, 1948 — One page. Writing hurriedly before catching a train, Rodgers agrees that Green should wait until a proposed project with “David” has taken clearer shape before presenting a plan to Rodgers and Hammerstein. He closes affectionately with greetings to Green’s family.

Each letter bears Rodgers’s handwritten signature, “Dick.” Together, they document the personal and professional exchanges between two prominent figures in American musical entertainment during the 1940s.

Condition: Generally very good, with horizontal mailing folds, two filing holes at the top of each sheet, light age toning, and occasional minor handling marks. Small pencil price notations appear on the concluding pages of the two longer letters. No envelopes are shown.

Three letters; five pages total. Offered together.