This transcript was automatically generated and might contain errors.

[0:00] David Armstrong: Welcome to another episode of Broadway Nation, the podcast that tells the remarkable story of how immigrants, Jews, queers, African Americans, and other outcasts invented the Broadway musical and how they changed America in the process. I'm David Armstrong, and I'm very pleased to have as my guest today, Barry Kester, who is the author of a fascinating and extraordinary new book that I literally could not put down. And that book is titled Round in Circles — The Story of Rodgers & Hammerstein's CAROUSEL. I thought I knew a lot about CAROUSEL, and in fact, Albert Evans and I have previously devoted several episodes of this podcast to that show and its truly groundbreaking innovations. However, both of us found this new book to be filled with new information, new discoveries, and new insights.

Based on his exemplary research, Barry Kester takes us deep inside Rodgers & Hammerstein's creative process as they struggle to find a way to turn Ferenc Molnar's dark, fantastical play Lilium into their second Broadway musical collaboration. And central to this story is a dynamic woman, producer Teresa Helburn, who was the inspiring driving force behind the show. In fact, there would have been no CAROUSEL or OKLAHOMA without Teresa Helburn. This is the first of three episodes in which Barry will share with us not only these fascinating stories, but also his own unlikely and surprising tale of how he came to write this book. Here we go. Welcome, Barry Kester, to Broadway Nation. It's wonderful to have you here today to talk about your new book, Round in Circles — The Story of Rodgers & Hammerstein's CAROUSEL.

[2:13] Barry Kester: Thank you, David, and thank you very much for inviting me onto your wonderful podcast. It's a pleasure to be here. I thoroughly enjoyed reading this book, even though CAROUSEL seems to be a subject that I thought maybe had been covered very, very well in other places. You brought so many new things to the discussion that I found it a real page-turner, actually.

[2:39] David Armstrong: I'm delighted to hear that. I really am. How did you come to write this book? You don't come from the theatre world originally, is that true?

[2:44] Barry Kester: That's absolutely true. I spent my working life as a chartered accountant in the UK, which is the equivalent of a CPA in America. I had my own practice, which kept me pretty busy for all my working life. By way of background, let's start at the beginning. I was born in 1944, which you may realize is in between OKLAHOMA and CAROUSEL. The music of Rodgers & Hammerstein and the Gershwins and Jerome Kern, Irving Berlin, Cole Porter, was the soundtrack to my childhood. I just fell in love with it effectively from day one. Always a passion of mine. As I got older, I wanted to find out more, not just about Broadway and the theatre, but about all the writers. Over the years, I've amassed a sizable library of books on the subject.

In 2010, I was kind of forced to retire. My wife was very ill and I had to seriously take care of her. I wanted something to occupy my mind and I decided I'd like to try and write a book. They say when you start to write a book, write about something you know. I felt I knew quite a bit about musical theatre. There was nothing about CAROUSEL per se in my library, so I thought, why not? I mean, I look back on it now, it was absolute crazy, absolute madness. I knew I would need to do a lot of research in America and I knew I wasn't going to go to America anytime soon because of my wife's situation. I knew I would need the help of the Rodgers and Hammerstein organization. I had no idea whether I would get it. As it turns out, they've been absolutely wonderful. Off I went on this mad journey, very interrupted by the circumstances of my life, but here we are finally with a completed book.

[4:31] David Armstrong: And what was your first exposure to CAROUSEL? Do you remember the first time you saw or heard the music from CAROUSEL?

[4:36] Barry Kester: The first time I saw it was the National Theatre's production in 1992, the music I grew up with. I can't point to any one pivotal event which made me pick that one out as my favorite more than any other.

[4:48] David Armstrong: Well, and that was an incredible production. I saw the Broadway iteration of that. It's interesting, from your book, CAROUSEL actually was not a big hit in the UK prior to that. The original production did not run very long.

[4:57] Barry Kester: It ran about 550-odd performances, yes. They occupied Drury Lane from 1947 to 1953 with OKLAHOMA, CAROUSEL, SOUTH PACIFIC, and KING AND I, and that had the shortest run of them all.

[5:05] David Armstrong: So those shows ran back-to-back at the Drury Lane continuously?

[5:10] Barry Kester: For that period, Drury Lane was the Rodgers and Hammerstein Theatre, yes.

[5:14] David Armstrong: Phenomenal. I know that Agnes DeMille talks in an interview about reopening the Drury Lane after the Blitz with OKLAHOMA and what an amazing night that was.

[5:23] Barry Kester: Apparently it was, yes. Yeah, she has quite a moving memory of that. So with that exposure to CAROUSEL, with the National Theatre production, Nick Heitner's production, how do you trace seeing it then to then deciding to write a book specifically about CAROUSEL among all the musicals that you seem to have loved and been exposed to?

[5:40] Barry Kester: Well, I had in my collection a couple of books on the history of OKLAHOMA. There were books on SOUTH PACIFIC, books on SOUND OF MUSIC. I had books on MY FAIR LADY and WEST SIDE STORY. CAROUSEL was the one show at that time which had no definitive history written of it. That made the decision for me, in a way. I wasn't going to go where others had already trodden.

[6:10] David Armstrong: So you talked about the challenges of researching the book, especially for the personal situation you were in. How did you overcome that? Because now you are embarking on this book, and now you have to research it. How did you go about it?

[6:20] Barry Kester: I started off by going through all the books I had, picking out key facts where I could find them. Obviously, the internet was another source. And what I found with that was, for example, looking up someone like Lawrence Langner, the producer. He'd written an autobiography about which I had previously known nothing. So hunting through secondhand bookshops here and online, eventually finding a copy of that. Another book to the collection, another source of material. The same with Theresa Helburn. Agnes de Mille has written a collection of four autobiographies. I obtained those, and so on and so on. Every time you go down one path, this is one of the difficulties as someone not trained in the discipline of university study and studying for a master's or a PhD, it's so easy to get sidetracked. Because if you love a subject and you find something interesting relating to that subject, off you go on that tangent and get distracted from your main purpose.

[7:27] David Armstrong: Exactly. Avoiding those rabbit holes is one of the hardest things to do. But eventually, you did come to America to do research. Is that true?

[7:31] Barry Kester: I did, yes. My wife died in 2013. I was fortunate enough to find another wonderful partner. And after we moved and knocked our house about, I really got down to some serious work. I suppose it was about 2017. I'd got to a stage by 2019 when I felt ready to come to the States. I booked myself a two-week stay. First of all, going to the Library of Congress in Washington for a few days. That's where Oscar Hammerstein's papers are all stored and where Richard Rogers' music manuscripts are stored. Then to the Beinecke Library at Yale, I hope I'm pronouncing that correctly, where the Theatre Guild papers were. And then finally, the Performing Arts Division of the New York Public Library at Lincoln Center, where Richard Rogers' correspondence and Agnes de Mille's papers are also stored.

So it was a fabulous trip. And I also met Ted Chapin of Rogers Hammerstein Organization. He was terrific. He didn't know me from Adam, but agreed to meet with me, spent some considerable time with me, showed me the R&H archives. It was a fabulous experience.

[8:36] David Armstrong: And how long overall did it take you to write the book?

[8:42] Barry Kester: Difficult to quantify. I mean, you could almost discount the time prior to 2017. So I suppose four or five years. I mean, it was not nine to five every day by any means.

[8:47] David Armstrong: You start the book from a very interesting place, which is with a meeting of what you call, or what they called, I guess, the Gloat Club. It's four members, two of whom, as you know, everybody knows, were Rogers and Hammerstein, and then two people that many people will not know much about at all. One of whom you just mentioned was Lawrence Langner, and the other was Teresa Helburn. Who were they? And describe what the Gloat Club was for us.

[9:10] Barry Kester: The Gloat Club, beautiful name, established by the four of them. They would have a regular lunch at Sardis every Thursday following the opening of Oklahoma to gloat about their remarkable triumph in producing Oklahoma. So Rogers and Hammerstein, pretty much everybody listening to this will know. Lawrence Langner and Teresa Helburn were the partners and directors of the Theatre Guild, the producing company. It was Teresa Helburn who approached Rogers and Hart, as it then was, to write a musical based on Greengrove the Lilacs, Lynne Riggs' play, which became Oklahoma. Hart was not interested, wasn't able to work on that project. So Rogers called in Oscar Hammerstein, and they produced Oklahoma.

It was supposed to be a disaster. Everybody anticipated it was going to be a disaster, but as we know, it was anything but. So they set up the Gloat Club to a, gloat, and b, realizing what they had, and that it was going to be around for a long time to discuss the finances, look at the returns, plan a touring production, plan an overseas production eventually after the war, a film at some time in the future, and so forth. So it was part gloat, part genuine business.

[10:28] David Armstrong: Teresa Helburn, I think, is a very important person in the history of the American theatre who hardly gets discussed at all. I very much enjoyed seeing her being so prominent in your book. As you just said, she was the impetus behind Oklahoma, and then she becomes the impetus behind Carousel as well. It's her idea to do these shows.

[10:44] Barry Kester: Yes, she went through the back catalog of plays that the Guild had produced. She found Greengrove the Lilacs, first of all, and then there were a couple of plays that she considered as a follow-up. Lilium, Ferenc Molnar's play, was the one she settled on, and the one that they eventually took to Rodgers and Hammerstein in October 1943.

[11:01] David Armstrong: And with Greengrove the Lilacs, this was sort of out of somewhat desperation of keeping the theatre guild alive.

[11:13] Barry Kester: That's right. They'd made a series of bad choices and were very seriously short of money. They were down to their last few thousand dollars. They realized that the only kind of production that would generate sufficient revenue would be a hit musical. That's why they went somewhat against Teresa Helburn's instinct. At one time, she referred to musical theatre as intellectual slumming. So it wasn't her ideal choice, but it was the only one that was going to save them. And they put it on for some $83,000. It's ironic that with her disdain for musicals, she becomes the sort of godmother of two of the greatest musicals of all time.

[11:50] Barry Kester: Yeah, they had done Porgy and Bess in 1935, so that started to change her mind.

[11:55] David Armstrong: The Theatre Guild had done Porgy and Bess.

[11:59] Barry Kester: Yes. So just describe a little more exactly what the Theatre Guild was. I don't know how it correlates to anything we have today.

[12:08] Barry Kester: The Guild was established by Lawrence Langner and his wife, Armina Marshall, back in 1919 as a not-for-profit production organization to put on quality theatre. I think you still refer to it as legitimate in the States. In other words, it was going to be Shakespeare, new writers like George Bernard Shaw, Sidney Howard, Molnar, Maxwell Anderson, all this type of straight playwright. And they played an early part in the success of Richard Rogers because they built a new theatre in the early 1920s and they wanted to raise money for drapes to decorate the theatre. And they decided they would do that by giving young new writers and actors a chance to shine. And they arranged to put on at the Garrick Theatre for two nights only a musical review. And they chose Rogers and Hart, who had failed dismally to get anywhere close to Broadway up to that point, to write the songs.

[13:06] Barry Kester: Rogers and Hart duly came up with a score which included Manhattan and that set them on their path. So they played a very important part in American theatre.

[13:34] David Armstrong: And had a long relationship with Richard Rogers.

[13:37] Barry Kester: Well, he did a second edition of The Gayettes with Larry Hart, which produced Mountain Greenery, but then nothing until Oklahoma.

[13:45] David Armstrong: They went back.

[13:45] Barry Kester: They certainly went back, yeah.

[13:47] David Armstrong: One of the chapters you title, Helburn's Obsession, and her obsession is with this play, Lilium. First of all, tell us about Lilium. What was Lilium and why was Theresa Helburn so obsessed with it?

[13:59] Barry Kester: Lilium was a play written by Hungarian playwright Ferenc Molnár. It had its premiere in 1909 in Budapest and failed rather dismally in its original Hungarian version. After the First World War, it was translated into German by an Austrian friend of Molnár's. That version was eventually translated into English for the Theatre Guild, who produced it in 1921. Very successful.

[14:28] David Armstrong: This is a fascinating, sort of mind-blowing thing. I had actually heard this before, I think, in some other book. Somebody mentioned that possibility. But do you think Rodgers & Hammerstein knew that that translation that they're working from was written by Larry Hart?

[14:51] Barry Kester: It was his. His family maintained that he did it. Unless one could find an original piece of paper somewhere in his handwriting, it would be impossible to prove. But to me, the story seems entirely plausible. And he was known for doing German translations of other plays. Yeah, he was actually on his mother's side. He was descended from Heinrich Heine, which is an interesting fact. Yeah, he was an absolute polymath, Lorenz Hart. Just the irony of Rodgers & Hammerstein's, potentially one of their greatest works, I'll put it that way, and Rodgers' favorite work of his. Larry Hart being part of that is so complicated, in a way, with their relationship. It seems impossible that if they knew it, somebody wouldn't have talked about it. It wouldn't have been in a letter somewhere. You wouldn't have discovered it somewhere along the way. It seems unbelievable that they could keep their mouth shut about that.

[15:48] I agree. The story of Lilium is very much the story of Carousel. Lilium is set in Budapest, so there are no mill workers. Julie was a housemaid rather than a mill worker. But the basic story is exactly the same as that in Carousel. Anybody who read Lilium who knew Carousel would recognize the story at once. Beat for beat, Hammerstein stuck very closely to the story of Lilium. The ending excluded to a certain extent.

[16:19] David Armstrong: The ending excluded, obviously. Let's talk a little bit more about Teresa Halbern, though. She is obsessed with this play, and now, after the brilliant success of Oklahoma, she's looking for the next Rodgers & Hammerstein Theater Guild collaboration. She again goes back through the list of plays that they already controlled the rights to and comes up with Lilium. Lilium was very much on her mind because in 1937, she met Kurt Weill, who knew all about Lilium, and had himself approached Molnar for permission to turn it into a musical. Molnar turned him down flat, but Kurt Weill had serious discussions with Teresa Halbern about doing a musical version of Lilium. In fact, just going back to Larry Hart, he even considered Larry Hart as being a possible lyricist for his version of the play.

But as I say, Molnar turned them down flat, and that seemed to be an end to it. But from 1937 onwards, I think Teresa Halbern never let it go, never let it out of her mind. Kurt Weill was not the only composer that Molnar had turned down for adapting Lilium. No, he turned down Giacomo Puccini, he turned down France Lehar. There were rumors that Gershwin was interested in doing it as well.

[17:35] Barry Kester: Fascinating. In your opening scene, Teresa Halbern pitches the idea of Lilium to Rodgers & Hammerstein as their follow-up to Oklahoma, and what is their reaction?

[17:45] The way it's described by Lawrence Langner in his book is very theatrical. They turn it down absolutely flat, but I don't believe they were entirely sincere in turning it down, because what they did agree to was a meeting on December 7, 1943, to discuss the matter further. And when they arrived at that meeting, it was very apparent that they'd both given the subject a lot of thought. So although they had said no in a rather theatrical, dramatic fashion, I don't think they really meant no. That's not to say that there weren't several concerns that they had. And Barry and I will be back to talk about those concerns right after this quick break.

[18:31] David Armstrong: Hi, this is David Armstrong, and if you're enjoying this episode, I strongly suspect that you will want to read my new book, Broadway Nation, How Immigrant, Jewish, Queer, and Black Artist Invented the Broadway Musical. On sale now wherever books are sold, and I'm very happy to report that the early reviews have been terrific. The esteemed author Jeffrey Bloch says that Broadway Nation is a fascinating, comprehensive, and timely gem of a book that more than lives up to its promise of delivering no less than five books in one. Kudos to David Armstrong. And Tony Award-winning lyricist David Zippel says that David Armstrong's insightful history of the evolution of the Broadway Musical and its creators is captivating and comprehensive as well as indispensable.

The book is, of course, available on Amazon, but I recommend that you go to the publisher's website, bloomsbury.com, where you will currently receive a 10% discount. Again, like the podcast that inspired it, the book is titled Broadway Nation, How Immigrant, Jewish, Queer, and Black Artist Invented the Broadway Musical. Now, back to the show. And what was their hesitation? What were they concerned about?

[19:43] Barry Kester: First of all, they didn't like the setting. They didn't want to do anything based in Hungary. Oskar Hammerstein said it immediately gave him a mental image of gypsy violins playing and so forth, a setting more familiar to operetta at the turn of the century than a modern day musical. There were political issues as well. Who knew what the status of Hungary would be after the war? They didn't like the fantasy element. How do you put that into a musical? And I think the biggest problem that they foresaw was what they always refer to as the tunnel, a dark, depressing story set in drab interiors. Although they were moving away from the musical comedies of the 1930s, the fact that they grew up in a musical comedy environment was still in their minds, and they couldn't see it working as a musical with that kind of gloom and doom dominating the piece.

And even just from a technical standpoint, even today, it's hard to make a musical fly in interior settings. Musicals almost always happen outdoors, or if you're inside, you have to take the walls away and make sure that you're not confined in a tight space.

[21:02] David Armstrong: Kudos to Lerner and Lowe from IFLA for conquering that.

[21:03] Barry Kester: Exactly. Yes. The other issue that Richard Rogers was particularly concerned about after his experience with Pal Joey was having an antihero, which Billy Bigelow certainly is in Carousel, because he's received a lot of flak. I remember Brook Atkinson's review of Pal Joey when he came out with that famous line, can you draw sweet water from a foul well? Much to praise about Pal Joey, but he hated the character of Joey. And so that was another concern of Rogers. So all those elements affected their thinking.

[21:36] David Armstrong: And you talk us through in the book the way they overcome these issues that they have. Talk about that process and those solutions that they discover that allow them to then continue with the project.

[21:46] Barry Kester: Well, first of all, let's talk about what they liked. If you read the minutes of that first meeting in December 1943, Hammerstein spoke about the first scene with Billy and Julie, and how beautifully it was written, and how it would be wonderfully set to music, culminating with a kiss with the lilac blossoms falling, which is exactly what we saw in the finished musical. And Rogers, from the very beginning, saw that it would be a terrific challenge for him. He immediately envisaged an orchestra twice as big as anything that you'd seen on Broadway up till then. And he also suggested the soliloquy at that very first meeting. Billy singing about having a son and then maybe having a daughter instead. It was all there. So there were those positives which kept them going on. And that's the famous bench scene is the first thing you were talking about, what Sondheim calls the most important development in the modern musical.

[22:43] Barry Kester: It did indeed, yeah. And what's fascinating is it's almost exactly taken line by line from Molnar. Listen, I don't need you or anybody else to help me, huh? I mean, I got it figured out for myself. I mean, we're not important. What are we? We're a couple of specks of nothing. Look up there. There's a hell of a lot of stars in the sky. And the sky's so big, the sea looks small. And two little people, you and I, we don't count at all.

[23:30] David Armstrong: I have typed them out together. And yes, it's incredible.

[23:33] Barry Kester: It is incredible how close the two scenes are. You're a funny kid. I don't ever remember meeting a girl like you. Hey, are you trying to get me to marry you? No. Well, what's putting it into my head then? Yeah, yeah, you're different. All right. I don't know what it is. You look up at me with that little kid's face like, like you trusted me.

[24:12] David Armstrong: It changed the dialogue from the Hungarian setting to the New England setting. But apart from that, almost identical.

[24:18] Barry Kester: And that change in setting is one of the things that allows them to discover their version of the show.

[24:24] David Armstrong: That was the key. Before that, one of the treasures that I discovered amongst Hammerstein's papers, they considered moving it to New Orleans at first. And some of Hammerstein's sketches of scenes set in New Orleans were quite remarkable. And he was looking for comedy. Again, going back to what I said earlier, couldn't break away from this desire to have comedy in the show, even though it wasn't really suited to comedy. Funny scenes were in a witchcraft shop with skulls falling on someone's head. So they go down that path a ways. And why do they abandon? Hammerstein went down that path a little way. But then he remembered that one of his failures in the 1930s was a show called Sunny River, which was set in New Orleans. And he decided, no, he didn't want to get into all the New Orleans dialogue and so forth and rejected that. Richard Rogers suggested New England. And that was that. It all fell into place.

[25:21] David Armstrong: I love that quote you had in there from Hammerstein, where he thought it was a ridiculous idea to set it in New England for a day or so. And then he decided it was good.

[25:29] Barry Kester: I misquoted it there, but that's the gist of it.

[25:32] David Armstrong: And away we went, I think he said.

[25:35] Barry Kester: I think it was an intentional pun on the original title of Oklahoma, which was Away We Go.

[25:41] David Armstrong: That's funny. So as they're figuring this out, and as we know, in the end result, Carousel is groundbreaking in many, many ways. It is a giant step forward, even from Oklahoma. I contend that the golden age of Broadway, and this is nitpicky, but the golden age of Broadway starts with Carousel, not with Oklahoma. Once Carousel opened, it was clear then to everybody that this was the only way to do a Broadway musical anymore. You had to get on this bandwagon. You had to embrace the musical play and move forward. If they hadn't been able to have a second success, Oklahoma might have been somewhat of a one-off, the way Showboat had been. But this is when it just sort of locks in. This is the new system.

[26:26] Barry Kester: But what I'm interested in is they actually decide to do something groundbreaking. This is not an accident that happens. They very consciously are wanting to do something new and different and important. What was in their minds at this time?

[26:43] David Armstrong: I think the overall thought in their minds was their concern that whatever they did to follow Oklahoma was going to suffer by inevitable comparison with Oklahoma. So they really wanted to get as far away from the Oklahoma, I was going to say, formula. I'm not sure they did that, but they wanted to be as different from Oklahoma as they possibly could. They were also aware that the success of Oklahoma not only brought considerable financial reward, but it gave them considerable power. And I think it also gave them considerable confidence. So they were able to look at something far more challenging than was Green Grove, the Lilacs, and Oklahoma.

[27:25] Barry Kester: One of the quotes you have from a critic, and I can't remember who it was, talks about the Oklahoma formula was getting tired. This was, I think, was in a review of Carousel.

[27:34] David Armstrong: It was, yes.

[27:35] Barry Kester: It was interesting to me because, of course, this is only their second show, but Oklahoma had been so influential that other shows had opened in between that were mimicking Oklahoma to a certain extent or following the path of Oklahoma.

[27:47] David Armstrong: Yes. As Hammerstein pointed out in a later interview, it was not only going to be their second show that would suffer from comparison with Oklahoma, every show that opened on Broadway thereafter by all the other songwriters and composers out there, everybody was going to be compared with Oklahoma.

[28:07] Barry Kester: And with Carousel, they're not only following Oklahoma, they're following Bloomer Girl and other shows that had come in between in the Oklahoma model.

[28:16] David Armstrong: Yes.

[28:17] Barry Kester: They had inadvertently inspired, I guess. In terms of Richard Rodgers, he is also looking to do something new with this show. And you talk about his possible influence from Gershwin and Porgy and Bess as being maybe long simmering, but coming to the surface here.

[28:30] David Armstrong: Yes. I have this theory, and it's nothing more than my personal theory. But the letter that Rodgers wrote to Gershwin the day after Porgy and Bess opened, in which Rodgers said to Gershwin, and I quote, you licked me, tells me a lot about Rodgers' state of mind. They were good friends. In fact, Gershwin had played the entire score.

[28:57] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 1.

[29:24] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 2.

[29:49] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 3.

[30:09] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 4.

[30:19] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 5.

[30:44] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 6.

[31:02] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 7.

[31:18] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 8.

[31:40] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 9.

[31:55] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 10.

[32:10] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 11.

[32:25] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 12.

[32:40] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 13.

[33:02] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 14.

[33:22] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 15.

[33:42] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 15.

[34:02] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 15.

[34:26] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 16.

[34:52] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 17.

[35:14] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 18.

[35:40] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 18.

[36:05] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 19.

[36:27] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 20.

[36:57] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 21.

[37:10] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[37:40] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[38:05] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[38:35] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[38:50] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[39:19] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[39:30] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[39:58] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[40:18] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[40:39] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[41:04] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

[41:16] Barry Kester: Rodgers & Hammerstein's CAROUSEL, part 22.

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