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 Posted:   Mar 20, 2015 - 10:29 AM   
 By:   DOGBELLE   (Member)


Technical Credits

Elmer Bernstein Additional Music
Joe Carlton Producer
Betty Comden Songwriter, Song Music
Didier C. Deutsch Liner Notes, Remastering
Paul Goodman Remastering Engineer
Adolph Green Songwriter, Song Music
Hugo Winterhalter Producer
Jule Styne Composer
Bill Rosenfield Original Liner Notes
Roxanne Slimak Art Direction
Trude Rittman Songwriter, Additional Music
Carolyn Leigh Songwriter, Song Music
Mark "Moose" Charlap Composer
Peter Elliott Executive Producer
Elisabeth Ladwig Graphic Design

 
 
 Posted:   Mar 20, 2015 - 11:25 AM   
 By:   Preston Neal Jones   (Member)

That's Elmer playing the celeste which provides Tinker Belle's "voice." My brother and I were lucky kids who got to see the original Broadway production before it was ever telecast. So I guess, now that I'm thinking about it, that this was the very first Elmer Bernstein concert I ever attended. (Happily there were a few others, many years later.)

 
 
 Posted:   Mar 20, 2015 - 11:26 AM   
 By:   John B. Archibald   (Member)

I think Bernstein had a hand in the "Welcome to Neverland" ballet, when the maid Liza arrives, and is welcomed by the animals. She later has a scene with Pan, where he teaches her how to crow. This song is included on the cast album, but the ballet is not. Too bad, because the ballet is beautiful. No discernible Bernstein music in it, but he weaves themes from the songs together into a seamless presentation.

Interestingly, the ballet is included on all the video releases of the 1960 color telecast.

Bernstein is also credited with working on "Laurie's Dream Ballet" for the movie version of the musical, OKLAHOMA.

 
 
 Posted:   Mar 20, 2015 - 11:26 AM   
 By:   John B. Archibald   (Member)

I think Bernstein had a hand in the "Welcome to Neverland" ballet, when the maid Liza arrives, and is welcomed by the animals. She later has a scene with Pan, where he teaches her how to crow. This song is included on the cast album, but the ballet is not. Too bad, because the ballet is beautiful. No discernible Bernstein music in it, but he weaves themes from the songs together into a seamless presentation.

Interestingly, the ballet is included on all the video releases of the 1960 color telecast.

Probably because the character of Liza, played by Mary Martin's daughter Heller Halliday, was added as a role for her, subsequent productions have re-written the script, and deleted her entirely, also, sadly, deleting the ballet. Or, there may have been copyright issues, especially since the show has songs by different composers. In any case, the ballet has not been seen in any subsequent production of the show, TV and otherwise.

Bernstein is also credited with working on "Laurie's Dream Ballet" for the movie version of the musical, OKLAHOMA.

 
 
 Posted:   Mar 20, 2015 - 2:21 PM   
 By:   Morricone   (Member)

Yeah, that was a sad chapter in his life. After being the new up and coming composer doing films at Columbia and RKO he was blacklisted. He was relegated to no budget films like ROBOT MONSTER (which he turned into lemonade learning how to do a score cheaply and experimenting with electronics) and soon found he could make more money being a rehearsal pianist on things like this production of PETER PAN and THE COURT JESTER than on these cheapie film scores. Rehearsal pianists work with choreographers and when they found out their new one was a professional film composer they got the idea of adding some additional dance music on these, and then the film version of OKLAHOMA and then THE TEN COMMANDMENTS. The rest is history. You can't keep a good man down.

 
 
 Posted:   Mar 20, 2015 - 3:47 PM   
 By:   Zooba   (Member)

Here's a post from 2014, I did on the 60's TV Version:

http://filmscoremonthly.com/board/posts.cfm?threadID=103334&forumID=1&archive=0

 
 
 Posted:   Mar 20, 2015 - 5:06 PM   
 By:   James Corry   (Member)

No, you certainly can't keep a good man down! Bernstein scored a Republic thriller in 1954 entitled "Make Haste To Live" and then in 1955 Bernard Herrmann came to his rescue by recommending him to Philip Dunne to score "The View From Pompey's Head".......

J.

 
 
 Posted:   Mar 20, 2015 - 5:14 PM   
 By:   Zooba   (Member)

No, you certainly can't keep a good man down! Bernstein scored a Republic thriller in 1954 entitled "Make Haste To Live" and then in 1955 Bernard Herrmann came to his rescue by recommending him to Philip Dunne to score "The View From Pompey's Head".......

J.


Pretty cool score!

https://www.youtube.com/watch?v=sTdGZpqErTs

 
 
 Posted:   Mar 20, 2015 - 11:21 PM   
 By:   Morricone   (Member)

No, you certainly can't keep a good man down! Bernstein scored a Republic thriller in 1954 entitled "Make Haste To Live" and then in 1955 Bernard Herrmann came to his rescue by recommending him to Philip Dunne to score "The View From Pompey's Head".......

J.


...and let us not forget also in 1955 Cornel Wilde (NAKED PREY), who stayed fiercely independent through his whole Hollywood career, hiring him for STORM FEAR. Also in 1955 Otto Preminger probably relished having a blacklisted composer for controversy's sake on THE MAN WITH THE GOLDEN ARM. But as Elmer said, only after the king of blacklisters Cecil B. DeMille changed him from dance arranger to THE composer was he deemed hirable by any Hollywood studio.

 
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