Oklahoma! Act II What is the main event in act 2? The auction becomes much more serious when Laurey's basket comes up for auction. What were the men bidding on? Laurey's basket
Who confessed their love for Laurey?
Who confessed their love for Laurey in act 2 of Oklahoma?
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. 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'").  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.  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 punches Curly, and they begin to fist fight. Jud attacks Curly with a knife and Curly dodges, causing Jud to fall on his own knife. Jud 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"). CANNOTANSWER
Jud confronts Laurey about his feelings for her.
Oklahoma! is the first musical written by the duo of Rodgers and Hammerstein. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs.  Set in farm country outside the town of Claremore, Indian Territory, in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry.  A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

The original Broadway production opened on March 31, 1943. It was a box office hit and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an Oscar-winning 1955 film adaptation.  It has long been a popular choice for school and community productions.  Rodgers and Hammerstein won a special Pulitzer Prize for Oklahoma! in 1944.

This musical, building on the innovations of the earlier Show Boat, epitomized the development of the "book musical", a musical play where the songs and dances are fully integrated into a well-made story, with serious dramatic goals, that is able to evoke genuine emotions other than amusement.  In addition, Oklahoma! features musical themes, or motifs, that recur throughout the work to connect the music and story. A fifteen-minute "dream ballet" reflects Laurey's struggle with her feelings about two men, Curly and Jud.

Background
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).  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.  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.

Conception
In 1931, the Theatre Guild produced Lynn Riggs's Green Grow the Lilacs, a play about settlers in Oklahoma 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.  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.

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. 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.  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.

Casting and development
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. 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.

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.  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 girls, no gags, no chance." 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.

Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. 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."

2009 Chichester Theatre Festival
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."  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." 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." 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. 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."

2010 UK tour
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.

2010 Washington, DC Arena Stage
Oklahoma! opened in October 2010 at the Arena Stage to critical acclaim. 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. 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).  The production returned to the Arena Stage for a second run in 2011.

2012, Seattle, Washington, 5th Avenue Theatre
The 5th Avenue Theatre's 2012 production, directed by Peter Rothstein, included African-American dancers and an African-American actor as Jud. 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." 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?" 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."

2015 UK tour
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.

1955 film adaptation

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

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.  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 a Outrage" and "Lonely Room". The film won Academy Awards for Best Music, Scoring of a Musical Picture and Best Sound, Recording.

Recordings
Bing Crosby and Frank Sinatra both recorded versions of "People Will Say We’re In Love" and "Oh, What a Beautiful Mornin'" in 1943. Due to the 1942–1944 musicians' strike, however, these recordings featured no instrumental accompaniment and instead "were lugubriously weighed down by a cappella backup." Producers of Oklahoma! lamented the lack of high-quality official recordings, with Theresa Helburn writing to a colleague in August 1943: "There are no records of Oklahoma! that we can send you. As you know, the Petrillo ban on the union musicians still holds. They cannot play for broadcasting so the only record that has been made is a singing of "People Will Say We’re in Love" with Frank Sinatra, which if it sounds anything like his radio singing of the same must be terrible." Decca Records president Jack Kapp settled with the union in September 1943, and three weeks later he hastily booked the original cast and orchestra of Oklahoma! into a recording studio.

At a time when Broadway numbers were typically recorded by popular singers with smaller bands, it was unique for Oklahoma! to record its original cast with full orchestration. Although some tunes were not included due to time and cost constraints, 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 sold more than one 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.

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. Later cast recordings of Oklahoma! include the 1979 Broadway cast recording, the 1980 London cast recording, the 1998 Royal National Theatre cast recording, the 2019 Broadway 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.

Reception
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". 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." 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."

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". 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."  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." 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."

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."

Antecedents and influence
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."  William Zinsser observed that Oklahoma! broke the old "musical comedy conventions", with the songs "delving into character" and advancing the plot.  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!"  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".

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."  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.  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." 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."

Critic Andrea Most argues that the musical reflected author's and composer's Jewish heritage and desires for Jewish Americans. Most asserts that the musical was written at a time when America presented Jews with an opportunity to gain privileged status by assimilating into mainstream American culture and passing as white Americans. Most claims that although there were rarely any identifiably Jewish characters in plays of this time period, characters such as Ali and Jud allowed for subtle Jewish representation, Ali embodying an accepted and friendly ideal for Jewish-Americans and Jud embodying Jewish-Americans' fear of becoming a marginalized minority like black Americans.

Awards and nominations

Original Broadway production

1979 Broadway revival

1980 West End revival

1998 West End revival

2002 Broadway revival

2019 Broadway revival

In popular culture

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

Films
 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. 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".
 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 I Can Only Imagine, Bart Millard performs "Oklahoma!" for his school play. Meanwhile, at a diner, his father blacks out and was sent to a hospital.
 The 2020 film I'm Thinking of Ending Things contains several references to Oklahoma! and a performance of the song "Lonely Room".

Television
 In The Simpsons episode "Milhouse of Sand and Fog", the character Milhouse imagines himself and Bart singing "The Farmer and the Cowman". Another episode, "I'm Just a Girl Who Can't Say D'oh", begins with Llewellyn Sinclair directing a production of Oklahoma! with Marge as Ado Annie. Llewellyn is frustrated every time Marge tells him "no", since Ado Annie "cain't say no".
 Sesame Street featured Kermit the Frog directing the film "Oklahoma" and Forgetful Jones singing the title song but forgetting how it begins. In 1977, Ray Charles performed "Oh, What a Beautiful Mornin'" on Sesame Street, while Oscar the grouch 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 spoofed the musical as "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", when Chandler accidentally accepts a job in Tulsa, Oklahoma, 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.
 The HBO series Watchmen, set in Tulsa, frequently references the musical through the score, character names, lyrics, and even integrates its music, themes and plot points in the episodes, once including a fully-staged performance of the song "Oklahoma!"

Other media
 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".
 In Truman Capote's 1958 novella Breakfast at Tiffany's, Holly Golightly sings music from Oklahoma! while accompanying herself on her guitar.

See also
Sheep Wars

Notes

References
Carter, Tim. Oklahoma!: the making of an American musical. Yale University Press, 2007, 
Everett, William A. and Paul R. Laird. The Cambridge Companion to the Musical, Cambridge University Press, 2002, 
Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Greenwood Publishing Group, 2007, 
Jones, John B. Our Musicals, Ourselves. Hanover: University Press of New England, 2003 
Kantor, Michael and Maslon, Laurence. Broadway: The American Musical. New York: Bullfinch Press, 2004. 
 Mordden, Ethan. Broadway Babies: The People Who Made the American Musical, Oxford University Press (1988) 
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. New York: Applause Books, 2002, 
Stempel, Larry. Showtime: A History of the Broadway Musical Theater. New York: W.W. Norton & Company, 2010,

Further reading
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Green, Stanley. The Rodgers and Hammerstein Fact Book. Milwaukee: Hal Leonard, 1980.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Purdum, Todd S. Something Wonderful: Rodgers and Hammerstein's Broadway Revolution. New York: Henry Holt and Company, 2018.

External links

 
 Information from the Theatre History website
 RNH Theatricals site
 Plot and production information, guidetomusicaltheatre.com 
 Pop Chronicles 1940s Program #8 – Excerpts sung by original cast; commentary by Rodgers and Hammerstein

 
1943 musicals
Broadway musicals
Fiction set in 1906
Grammy Hall of Fame Award recipients
Laurence Olivier Award-winning musicals
Musicals based on plays
Plays set in Oklahoma
Plays set in the United States
Pulitzer Prize-winning works
Tony Award-winning musicals
United States National Recording Registry recordings
West End musicals
Western (genre) plays
Thierry Laurey (born 17 February 1964) is a French professional football manager and former player who played as a defender and midfielder. He is the manager of Ligue 2 club Paris FC.

Laurey had one international cap for France against Scotland at Hampden Park in a March 1989 qualifier for the 1990 FIFA World Cup.

Managerial career
Laurey was sacked from Amiens following relegation and replaced by Serge Romano.

In 2011, he became the manager of Arles-Avignon. The following year he joined Gazélec Ajaccio for a three-year stint, before taking on his current role.

In 2017, Laurey guided Strasbourg back to Ligue 1 after a nine-year absence by winning the Ligue 2 championship.

In March 2019, he took Strasbourg to its fourth Coupe de la Ligue final, in which they faced Guingamp and won their fourth Coupe de la Ligue title, their first since 2005. He left the club in May 2021.

On 20 June 2020, Laurey was appointed as head coach of Ligue 2 side Paris FC, on a 2 year contract.

Managerial statistics

Honours

Player
Marseille
Division 1 runner-up: 1986–87
Coupe de France runner-up: 1986–87

Montpellier
Coupe de France runner-up: 1993–94
Coupe d'Été runner-up: 1994

Manager
Strasbourg
Ligue 2: 2016–17
Coupe de la Ligue: 2018–19

References

External links
 

Thierry Laurey at PlanetePSG.com 

1964 births
Living people
People from Troyes
Sportspeople from Aube
French footballers
France international footballers
Association football defenders
Association football midfielders
Valenciennes FC players
Olympique de Marseille players
Montpellier HSC players
FC Sochaux-Montbéliard players
Paris Saint-Germain F.C. players
AS Saint-Étienne players
Ligue 1 players
Ligue 2 players
French football managers
Ligue 1 managers
Ligue 2 managers
FC Sète 34 managers
AC Arlésien managers
Amiens SC managers
RC Strasbourg Alsace managers
Paris FC managers Joy Laurey is the pen name of a French writer, Jean-Pierre Imbrohoris (6 August 1943 - 13 December 1993), author of the series of erotic novels Joy.

The novels were adapted many times for the cinema, with actresses such as Claudia Udy, Brigitte Lahaie or Zara Whites.

In December 1993, Imbrohoris died in a car accident in southern France which also killed his wife, his son and novelist Vanessa Duriès.

Bibliography

As Joy Laurey
Joy (1981)
Joy and Joan (1982)
Joy in Love  
Jessica (1997)
The return of Joy

As Jean-Pierre Imbrohoris
Marion du Faouët
Toute la vérité

References

External links
 

1943 births
1993 deaths
French erotica writers
French male writers
20th-century French male writers
20th-century pseudonymous writers