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Florida High School Stages Musical About Publix

Florida High School Stages Musical About Publix

Najviše na Floridi

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Srednja škola na Floridi napravila je 30-minutni mjuzikl o regionalnom lancu supermarketa Publix.

Učenici umjetničke škole Harrison, koja se nalazi u Lakelandu, gdje je sjedište Publixa, izveli su svoj mjuzikl o Publixu i njegovom osnivaču Georgeu W. Jenkinsu, pod nazivom Kad sanjaš, u Privrednoj komori Lakelanda.

Mjuzikl, koji je napisao i režirao direktor škole, Daryl Ward, s originalnim pjesmama učitelja Tylera Campbella, obraća Jenkinsovu priču od skromnih početaka kao zaposlenica Piggly Wigglyja do vlasnika trgovine i dalje. Iako je prvobitno bila emisija samo za jednu noć, učenici će je izvesti ponovo za godišnju svečanu prikupljanje sredstava u školi.

Glasnogovornik Publixa rekao je za The Daily Meal: „Mjuzikl koji su sastavili i izveli učenici Harrison School of the Arts bio je nevjerovatan. Oni su oživjeli dio naše historije i naše kulture. ”

Nikada niste bili u Publixu? Evo kako lanci supermarketa izgledaju širom svijeta.


Robert Wright, 90 kompozitor, tekstopisac za mjuzikle i filmove

Umro je Robert Wright, kompozitor i tekstopisac nagrađen Tonijevom nagradom čija je tekstopisna saradnja sa Georgeom "Chetom" Forrestom uključivala hit brodvejske mjuzikle "Song of Norway", "Kismet" i "Grand Hotel". Imao je 90 godina.

Wright, trostruki kandidat za Oscara, umro je prirodnom smrću u srijedu u svojoj kući u Miamiju, rekao je Doug Holmes, njegov pomoćnik.

Wright i Forrest bili su srednjoškolci Floride kasnih 1920 -ih kada su se upoznali - prva pjesma koju su zajedno napisali bila je školska pjesma “Hail to Miami High”. Tokom više od 70 godina saradnje, napisali su tekst i muziku za više od 2000 kompozicija za 16 produciranih scenskih mjuzikla, 18 scenskih revija, 58 filmova i brojne kabaretske predstave.

Partneri su dobili Tonys za partituru “Kismet”, hit na Brodvejskom mjuziklu iz 1953. na osnovu tema ruskog kompozitora Aleksandra Borodina iz 19. vijeka. Emisija je uključivala pjesme poput "Stranger in Paradise" i "Baubles, Bangles and Beads".

Njihovi drugi brodvejski krediti uključivali su “Norvešku pjesmu”, hit mjuzikl iz 1944. godine zasnovan na muzici Edvarda Griega “Magdalena”, sa muzikom prilagođenom Heitor Villa-Lobos “Ciganska dama”, sa muzikom koju je priredio Victor Herbert “Anya”, sa muzikom prilagođeno Sergeju Rahmanjinovu "Kean" i "Timbuktu!"

Wright i Forrest, zajedno s Maury Yeston, dobili su nominacije Tonyja za najbolju muziku i tekst za svoj posljednji mjuzikl na Broadwayu, "Grand Hotel", koji je otvoren 1989. godine i osvojio je pet Tonysa, uključujući i najboljeg režisera za Tommyja Tunea, koji je također koreografirao predstavu .

Dok su krajem 1930 -ih i početkom 40 -ih bili pod ugovorom s MGM -om, Wright i Forrest su osvojili tri nominacije za Oscara za najbolju pjesmu - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce ”(1940) i“ Pennies for Peppino ”iz“ Flying With Music ”(1942).

Među ostalim pjesmama ovog para su "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" i "Night of My Nights".

"Bob i Chet bili su nadareni kantautori koji su većinu svoje karijere proveli prilagođavajući muziku klasičnih kompozitora za pozornicu ili ekran", rekao je u petak za The Times Miles Kreuger, predsjednik Instituta američkog mjuzikla sa sjedištem u Los Angelesu.

No, dodao je da "njihov originalni rezultat iz 1961. za" Kean "otkriva koliko su bili sjajno nadareni kada im je bilo dopušteno stvarati vlastitu muziku."

U intervjuu za Associated Press iz 1989. Wright je rekao: „Pisanje originalne muzike je 10 ili 20 puta lakše od stvari po kojima smo najpoznatiji. Prva stvar koju morate učiniti kao adapter je naučiti sve što je kompozitor ikada napisao. Zatim morate sastaviti i asimilirati muziku. I na kraju, razmislite kako je on učinio. ”

Rođen 25. septembra 1914. u Daytona Beachu u Floridi, Wright je kao dijete studirao klavir i rano u životu postao muzičar.

"Osvojio sam amatersko takmičenje svirajući Rachmaninoff C-Sharp Minor Prelude kad sam imao 9 godina i otišao u vodvilj", rekao je za AP. “Vrlo mlad sam otkrio da u muzici ima novca, pa nikada nisam dodirnuo klavir ako nisam plaćen.”

Njegovo djelo je uključivalo sviranje klavira u nijemom kinu i vođenje vlastitog orkestra u srednjoj školi, gdje je upoznao Forresta, koji je bio godinu dana mlađi, kada je Forrest došao na audiciju za Glee Club.

Godine 1933. Wright je svirao klavir za Helen Morgan, Leonarda Rose i plesačicu Sally Rand.

Godinu dana kasnije, on i Forrest započeli su osmomjesečnu kabaretsku turneju po cijeloj zemlji koja je završila u Hollywoodu, gdje su obavili audiciju u MGM-u.

Potpisani za pisanje originalne muzike i tekstova, Wright i Forrest su ostali u studiju sedam godina.

Njihov prvi zadatak bio je pisanje pjesama za kratki muzički komad iz 1936. godine "Nove cipele".

S Walterom Donaldsonom kao kompozitorom, pisali su tekstove za pjesme u filmovima kao što su “Sinner Take All” (1936), “After Thin Man” (1936) i “Saratoga” (1937).

Godine 1937. primili su svoj prvi veliki zadatak: stvoriti novu partituru ponovnom upotrebom muzičkih tema u javnom vlasništvu za filmsku verziju mjuzikla Sigmunda Romberga "Maytime", u kojoj glume Nelson Eddy i Jeanette MacDonald.

Iste godine, Wright i Forrest adaptirali su klavir Rudolfa Frimla pod nazivom "Chansonette". To je postala "Magareća serenada", hit koji je otpjevao Allan Jones u "Krijesnici".

"To ih je stavilo na kartu", rekao je Kreuger.

No, dodao je, i "Maytime" i "The Firefly" predstavljaju presedan da Wright i Forrest prilagode tuđu muziku.

Godine 1942., kada je MGM želio da partneri prepišu Rodgersov i Hartov hit mjuzikl "I Married an Angel", rekao je Kreuger, bili su ogorčeni što su zamoljeni da prepišu djela legendi Broadwaya. Učinili su to, rekao je, ali su zatim napustili studio.

Pre nego što su napustili MGM, napisali su malu muzičku reviju pod nazivom "Hvala ti, Kolumbo", koja je kratko trajala u Los Anđelesu.

"Kad napišete bilo što za pozornicu i stavite to pred publiku i čujete kako reagiraju, tada filmovi postaju vrlo turobni i dosadni", rekao je Wright.

Preselivši se u New York kako bi pisali za kabare i radio, stvorili su poseban materijal za izvođače kao što su Jimmy Durante, Sophie Tucker, Joe E. Lewis i Carmen Miranda.

Za producenta Edwina Lestera, Wright i Forrest su napisali “Song of Norway” za Los Angeles Civic Light Opera. Mjuzikl, zasnovan na životu Griega koristeći vlastite melodije norveškog kompozitora, otvoren je u Los Angelesu u ljeto 1944. Te jeseni preselio se na Broadway, gdje je trajao dvije godine.

Godine 1995. Američko društvo kompozitora, autora i izdavača uručilo je timu nagradu Richarda Rodgersa/ASCAP -a za izvanredan životni doprinos Američkom muzičkom pozorištu.

Prije Forrestove smrti 1999. godine u 84. godini, on i Wright radili su na nekoliko mogućih muzičkih projekata.


Robert Wright, 90 kompozitor, tekstopisac za mjuzikle i filmove

Umro je Robert Wright, kompozitor i tekstopisac nagrađen Tonijevom nagradom čija je tekstopisna saradnja sa Georgeom "Chetom" Forrestom uključivala hit brodvejske mjuzikle "Song of Norway", "Kismet" i "Grand Hotel". Imao je 90 godina.

Wright, trostruki kandidat za Oscara, umro je prirodnom smrću u srijedu u svojoj kući u Miamiju, rekao je Doug Holmes, njegov pomoćnik.

Wright i Forrest bili su srednjoškolci Floride kasnih 1920 -ih kada su se upoznali - prva pjesma koju su zajedno napisali bila je školska pjesma “Hail to Miami High”. Tokom više od 70 godina saradnje, napisali su tekst i muziku za više od 2000 kompozicija za 16 produciranih scenskih mjuzikla, 18 scenskih revija, 58 filmova i brojne kabaretske predstave.

Partneri su dobili Tonys za partituru “Kismet”, hit na Brodvejskom mjuziklu iz 1953. na osnovu tema ruskog kompozitora Aleksandra Borodina iz 19. vijeka. Emisija je uključivala pjesme poput "Stranger in Paradise" i "Baubles, Bangles and Beads".

Njihovi drugi brodvejski krediti uključivali su "Norvešku pjesmu", hit mjuzikl iz 1944. zasnovan na muzici Edvarda Griega "Magdalena", sa muzikom prilagođenom Heitor Villa-Lobos "Ciganska dama", sa muzikom koju je priredio Victor Herbert "Anya", sa muzikom prilagođeno Sergeju Rahmanjinovu "Kean" i "Timbuktu!"

Wright i Forrest, zajedno s Maury Yeston, dobili su nominacije Tonyja za najbolju muziku i tekst za svoj posljednji mjuzikl na Broadwayu, "Grand Hotel", koji je otvoren 1989. godine i osvojio je pet Tonysa, uključujući i najboljeg režisera za Tommyja Tunea, koji je također koreografirao predstavu .

Dok su krajem 1930 -ih i početkom 40 -ih bili pod ugovorom s MGM -om, Wright i Forrest su osvojili tri nominacije za Oscara za najbolju pjesmu - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce ”(1940) i“ Pennies for Peppino ”iz“ Flying With Music ”(1942).

Među ostalim pjesmama para su "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" i "Night of My Nights".

"Bob i Chet bili su nadareni kantautori koji su veći dio svoje karijere proveli prilagođavajući muziku klasičnih kompozitora za scenu ili ekran", rekao je u petak za The Times Miles Kreuger, predsjednik Instituta američkog mjuzikla sa sjedištem u Los Angelesu.

No, dodao je da "njihov originalni rezultat iz 1961. za" Kean "otkriva koliko su bili sjajno nadareni kada im je bilo dopušteno stvarati vlastitu muziku."

U intervjuu za Associated Press iz 1989. Wright je rekao: „Pisanje originalne muzike je 10 ili 20 puta lakše od stvari po kojima smo najpoznatiji. Prva stvar koju morate učiniti kao adapter je naučiti sve što je kompozitor ikada napisao. Zatim morate sastaviti i asimilirati muziku. I na kraju, razmislite kako je on učinio. ”

Rođen 25. septembra 1914. u Daytona Beachu u Floridi, Wright je kao dijete studirao klavir i rano u životu postao muzičar.

"Osvojio sam amatersko takmičenje svirajući Rachmaninoff C-Sharp Minor Prelude kad sam imao 9 godina i otišao u vodvilj", rekao je za AP. “Vrlo mlad sam otkrio da u muzici ima novca, pa nikada nisam dodirnuo klavir ako nisam plaćen.”

Njegovo djelo je uključivalo sviranje klavira u nijemom kinu i vođenje vlastitog orkestra u srednjoj školi, gdje je upoznao Forresta, koji je bio godinu dana mlađi, kada je Forrest došao na audiciju za Glee Club.

Godine 1933. Wright je svirao klavir za Helen Morgan, Leonarda Rose i plesačicu Sally Rand.

Godinu dana kasnije, on i Forrest započeli su osmomjesečnu kabaretsku turneju po cijeloj zemlji koja je završila u Hollywoodu, gdje su obavili audiciju u MGM-u.

Potpisani za pisanje originalne muzike i tekstova, Wright i Forrest su ostali u studiju sedam godina.

Njihov prvi zadatak bio je pisanje pjesama za kratki muzički komad iz 1936. godine "Nove cipele".

S Walterom Donaldsonom kao kompozitorom, pisali su tekstove za pjesme u filmovima kao što su “Sinner Take All” (1936), “After Thin Man” (1936) i “Saratoga” (1937).

Godine 1937. primili su svoj prvi veliki zadatak: stvoriti novu partituru ponovnom upotrebom muzičkih tema u javnom vlasništvu za filmsku verziju mjuzikla Sigmunda Romberga "Maytime", u kojoj glume Nelson Eddy i Jeanette MacDonald.

Iste godine, Wright i Forrest adaptirali su klavir Rudolfa Frimla pod nazivom "Chansonette". To je postala "Magareća serenada", hit koji je otpjevao Allan Jones u "Krijesnici".

"To ih je stavilo na kartu", rekao je Kreuger.

No, dodao je, i "Maytime" i "The Firefly" predstavljaju presedan da Wright i Forrest prilagode tuđu muziku.

Godine 1942., kada je MGM želio da partneri prepišu Rodgersov i Hartov hit mjuzikl "I Married an Angel", rekao je Kreuger, bili su ogorčeni što su zamoljeni da prepišu djela legendi Broadwaya. Učinili su to, rekao je, ali su zatim napustili studio.

Pre nego što su napustili MGM, napisali su malu muzičku reviju pod nazivom „Hvala ti, Kolumbo“, koja je kratko trajala u Los Anđelesu.

"Kad napišete bilo što za pozornicu i stavite to pred publiku i čujete kako reagiraju, tada filmovi postaju vrlo turobni i dosadni", rekao je Wright.

Preselivši se u New York kako bi pisali za kabare i radio, stvorili su poseban materijal za izvođače kao što su Jimmy Durante, Sophie Tucker, Joe E. Lewis i Carmen Miranda.

Za producenta Edwina Lestera, Wright i Forrest su napisali “Song of Norway” za Los Angeles Civic Light Opera. Mjuzikl, zasnovan na životu Griega koristeći vlastite melodije norveškog kompozitora, otvoren je u Los Angelesu u ljeto 1944. Te jeseni preselio se na Broadway, gdje je trajao dvije godine.

Godine 1995. Američko društvo kompozitora, autora i izdavača uručilo je timu nagradu Richarda Rodgersa/ASCAP -a za izvanredan životni doprinos Američkom muzičkom pozorištu.

Prije Forrestove smrti 1999. godine u 84. godini, on i Wright radili su na nekoliko mogućih muzičkih projekata.


Robert Wright, 90 kompozitor, tekstopisac za mjuzikle i filmove

Preminuo je Robert Wright, kompozitor i tekstopisac nagrađen Tony-jem, čija je tekstopisna saradnja sa Georgeom "Chetom" Forrestom uključivala hit brodvejske mjuzikle "Song of Norway", "Kismet" i "Grand Hotel". Imao je 90 godina.

Wright, trostruki kandidat za Oscara, umro je prirodnom smrću u srijedu u svojoj kući u Miamiju, rekao je Doug Holmes, njegov pomoćnik.

Wright i Forrest bili su srednjoškolci Floride kasnih 1920 -ih kada su se upoznali - prva pjesma koju su zajedno napisali bila je školska pjesma “Hail to Miami High”. Tokom više od 70 godina saradnje, napisali su tekst i muziku za više od 2000 kompozicija za 16 produciranih scenskih mjuzikla, 18 scenskih revija, 58 filmova i brojne kabaretske predstave.

Partneri su dobili Tonys za partituru “Kismet”, hit na Brodvejskom mjuziklu iz 1953. na osnovu tema ruskog kompozitora Aleksandra Borodina iz 19. vijeka. Emisija je uključivala pjesme poput "Stranger in Paradise" i "Baubles, Bangles and Beads".

Njihovi drugi brodvejski krediti uključivali su "Norvešku pjesmu", hit mjuzikl iz 1944. zasnovan na muzici Edvarda Griega "Magdalena", sa muzikom prilagođenom Heitor Villa-Lobos "Ciganska dama", sa muzikom koju je priredio Victor Herbert "Anya", sa muzikom prilagođeno Sergeju Rahmanjinovu "Kean" i "Timbuktu!"

Wright i Forrest, zajedno s Maury Yeston, dobili su nominacije Tonyja za najbolju muziku i tekst za svoj posljednji mjuzikl na Broadwayu, "Grand Hotel", koji je otvoren 1989. godine i osvojio je pet Tonysa, uključujući i najboljeg režisera za Tommyja Tunea, koji je također koreografirao predstavu .

Dok su krajem 1930 -ih i početkom 40 -ih bili pod ugovorom s MGM -om, Wright i Forrest su osvojili tri nominacije za Oscara za najbolju pjesmu - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce ”(1940) i“ Pennies for Peppino ”iz“ Flying With Music ”(1942).

Među ostalim pjesmama ovog para su "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" i "Night of My Nights".

"Bob i Chet bili su nadareni kantautori koji su veći dio svoje karijere proveli prilagođavajući muziku klasičnih kompozitora za scenu ili ekran", rekao je u petak za The Times Miles Kreuger, predsjednik Instituta američkog mjuzikla sa sjedištem u Los Angelesu.

No, dodao je da "njihov originalni rezultat iz 1961. za" Kean "otkriva koliko su bili sjajno nadareni kada im je bilo dopušteno stvarati vlastitu muziku."

U intervjuu za Associated Press iz 1989. Wright je rekao: „Pisanje originalne muzike je 10 ili 20 puta lakše od stvari po kojima smo najpoznatiji. Prva stvar koju morate učiniti kao adapter je naučiti sve što je kompozitor ikada napisao. Zatim morate sastaviti i asimilirati muziku. I na kraju, razmislite kako je on učinio. ”

Rođen 25. septembra 1914. u Daytona Beachu u Floridi, Wright je kao dijete studirao klavir i rano u životu postao muzičar.

"Osvojio sam amatersko takmičenje svirajući Rachmaninoff C-Sharp Minor Prelude kad sam imao 9 godina i otišao u vodvilj", rekao je za AP. “Vrlo mlad sam otkrio da u muzici ima novca, pa nikada nisam dodirnuo klavir ako nisam plaćen.”

Njegovo djelo je uključivalo sviranje klavira u nijemom kinu i vođenje vlastitog orkestra u srednjoj školi, gdje je upoznao Forresta, koji je bio godinu dana mlađi, kada je Forrest došao na audiciju za Glee Club.

Godine 1933. Wright je svirao klavir za Helen Morgan, Leonarda Rose i plesačicu Sally Rand.

Godinu dana kasnije, on i Forrest započeli su osmomjesečnu kabare turneju po cijeloj zemlji koja je završila u Hollywoodu, gdje su obavili audiciju u MGM-u.

Potpisani za pisanje originalne muzike i tekstova, Wright i Forrest su ostali u studiju sedam godina.

Njihov prvi zadatak bio je pisanje pjesama za kratki mjuzikl iz 1936. godine "Nove cipele".

S Walterom Donaldsonom kao kompozitorom, pisali su tekstove za pjesme u filmovima kao što su “Sinner Take All” (1936), “After Thin Man” (1936) i “Saratoga” (1937).

Godine 1937. primili su svoj prvi veliki zadatak: stvoriti novu partituru ponovnom upotrebom muzičkih tema u javnom vlasništvu za filmsku verziju mjuzikla Sigmunda Romberga "Maytime", u kojoj glume Nelson Eddy i Jeanette MacDonald.

Iste godine, Wright i Forrest adaptirali su klavir Rudolfa Frimla pod nazivom "Chansonette". To je postala "Magareća serenada", hit koji je otpjevao Allan Jones u "Krijesnici".

"To ih je stavilo na kartu", rekao je Kreuger.

No, dodao je, i "Maytime" i "The Firefly" predstavljaju presedan da Wright i Forrest prilagode tuđu muziku.

Godine 1942., kada je MGM želio da partneri prepišu Rodgersov i Hartov hit mjuzikl "I Married an Angel", rekao je Kreuger, bili su ogorčeni što su zamoljeni da prepišu djela legendi Broadwaya. Učinili su to, rekao je, ali su zatim napustili studio.

Pre nego što su napustili MGM, napisali su malu muzičku reviju pod nazivom "Hvala ti, Kolumbo", koja je kratko trajala u Los Anđelesu.

"Kad jednom napišete bilo što za pozornicu i stavite to pred publiku i čujete kako reagiraju, tada filmovi postaju vrlo turobni i dosadni", rekao je Wright.

Preselivši se u New York kako bi pisali za kabare i radio, stvorili su poseban materijal za izvođače kao što su Jimmy Durante, Sophie Tucker, Joe E. Lewis i Carmen Miranda.

Za producenta Edwina Lestera, Wright i Forrest su napisali “Song of Norway” za Los Angeles Civic Light Opera. Mjuzikl, zasnovan na životu Griega koristeći vlastite melodije norveškog kompozitora, otvoren je u Los Angelesu u ljeto 1944. Te jeseni preselio se na Broadway, gdje je trajao dvije godine.

Godine 1995. Američko društvo kompozitora, autora i izdavača uručilo je timu nagradu Richarda Rodgersa/ASCAP -a za izvanredan životni doprinos Američkom muzičkom pozorištu.

Prije Forrestove smrti 1999. u 84. godini, on i Wright radili su na nekoliko mogućih muzičkih projekata.


Robert Wright, 90 kompozitor, tekstopisac za mjuzikle i filmove

Preminuo je Robert Wright, kompozitor i tekstopisac nagrađen Tony-jem, čija je tekstopisna saradnja sa Georgeom "Chetom" Forrestom uključivala hit brodvejske mjuzikle "Song of Norway", "Kismet" i "Grand Hotel". Imao je 90 godina.

Wright, trostruki kandidat za Oscara, umro je prirodnom smrću u srijedu u svojoj kući u Miamiju, rekao je Doug Holmes, njegov pomoćnik.

Wright i Forrest bili su srednjoškolci Floride kasnih 1920 -ih kada su se upoznali - prva pjesma koju su zajedno napisali bila je školska pjesma “Hail to Miami High”. Tokom više od 70 godina saradnje, napisali su tekst i muziku za više od 2000 kompozicija za 16 produciranih scenskih mjuzikla, 18 scenskih revija, 58 filmova i brojne kabaretske predstave.

Partneri su dobili Tonys za partituru "Kismet", hit na Brodvejskom mjuziklu iz 1953. temeljen na temama ruskog kompozitora Aleksandra Borodina iz 19. stoljeća. Emisija je uključivala pjesme poput "Stranger in Paradise" i "Baubles, Bangles and Beads".

Njihovi drugi brodvejski krediti uključivali su "Norvešku pjesmu", hit mjuzikl iz 1944. zasnovan na muzici Edvarda Griega "Magdalena", sa muzikom prilagođenom Heitor Villa-Lobos "Ciganska dama", sa muzikom koju je priredio Victor Herbert "Anya", sa muzikom prilagođeno Sergeju Rahmanjinovu "Kean" i "Timbuktu!"

Wright i Forrest, zajedno s Maury Yeston, dobili su nominacije Tonyja za najbolju muziku i tekst za svoj posljednji mjuzikl na Broadwayu, "Grand Hotel", koji je otvoren 1989. godine i osvojio je pet Tonysa, uključujući i najboljeg režisera za Tommyja Tunea, koji je također koreografirao predstavu .

Dok su krajem 1930 -ih i početkom 40 -ih bili pod ugovorom s MGM -om, Wright i Forrest su osvojili tri nominacije za Oscara za najbolju pjesmu - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce ”(1940) i“ Pennies for Peppino ”iz“ Flying With Music ”(1942).

Među ostalim pjesmama ovog para su "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" i "Night of My Nights".

"Bob i Chet bili su nadareni kantautori koji su većinu svoje karijere proveli prilagođavajući muziku klasičnih kompozitora za pozornicu ili ekran", rekao je u petak za The Times Miles Kreuger, predsjednik Instituta američkog mjuzikla sa sjedištem u Los Angelesu.

No, dodao je da "njihov originalni rezultat iz 1961. za" Kean "otkriva koliko su bili sjajno nadareni kada im je bilo dopušteno stvarati vlastitu muziku."

U intervjuu za Associated Press iz 1989. Wright je rekao: „Pisanje originalne muzike je 10 ili 20 puta lakše od stvari po kojima smo najpoznatiji. Prva stvar koju morate učiniti kao adapter je naučiti sve što je kompozitor ikada napisao. Zatim morate sastaviti i asimilirati muziku. I na kraju, razmislite kako je on učinio. ”

Rođen 25. septembra 1914. u Daytona Beachu u Floridi, Wright je kao dijete studirao klavir i rano u životu postao muzičar.

"Osvojio sam amatersko takmičenje svirajući Rachmaninoff C-Sharp Minor Prelude kad sam imao 9 godina i otišao u vodvilj", rekao je za AP. “Vrlo mlad sam otkrio da u muzici ima novca, pa nikada nisam dodirnuo klavir ako nisam plaćen.”

Njegov rad uključuje sviranje klavira u bioskopu nijemih filmova i vođenje vlastitog orkestra u srednjoj školi, gdje je upoznao Forresta, koji je bio godinu dana mlađi, kada je Forrest došao na audiciju za Glee Club.

Godine 1933. Wright je svirao klavir za Helen Morgan, Leonarda Rose i plesačicu Sally Rand.

Godinu dana kasnije, on i Forrest započeli su osmomjesečnu kabaretsku turneju po cijeloj zemlji koja je završila u Hollywoodu, gdje su obavili audiciju u MGM-u.

Potpisani za pisanje originalne muzike i tekstova, Wright i Forrest su ostali u studiju sedam godina.

Njihov prvi zadatak bio je pisanje pjesama za kratki muzički komad iz 1936. godine "Nove cipele".

S Walterom Donaldsonom kao kompozitorom, pisali su tekstove za pjesme u filmovima kao što su “Sinner Take All” (1936), “After Thin Man” (1936) i “Saratoga” (1937).

Godine 1937. primili su svoj prvi veliki zadatak: stvoriti novu partituru ponovnom upotrebom muzičkih tema u javnom vlasništvu za filmsku verziju mjuzikla Sigmunda Romberga "Maytime", u kojoj glume Nelson Eddy i Jeanette MacDonald.

Iste godine, Wright i Forrest adaptirali su klavir Rudolfa Frimla pod nazivom "Chansonette". To je postala "Magareća serenada", hit koji je otpjevao Allan Jones u "Krijesnici".

"To ih je stavilo na kartu", rekao je Kreuger.

No, dodao je, i "Maytime" i "The Firefly" predstavljaju presedan da Wright i Forrest prilagode tuđu muziku.

Godine 1942., kada je MGM želio da partneri prepišu Rodgersov i Hartov hit mjuzikl "I Married an Angel", rekao je Kreuger, bili su ogorčeni što su zamoljeni da prepišu djela legendi Broadwaya. Učinili su to, rekao je, ali su zatim napustili studio.

Pre nego što su napustili MGM, napisali su malu muzičku reviju pod nazivom "Hvala ti, Kolumbo", koja je kratko trajala u Los Anđelesu.

"Kad napišete bilo što za pozornicu i stavite to pred publiku i čujete kako reagiraju, tada filmovi postaju vrlo turobni i dosadni", rekao je Wright.

Preselivši se u New York kako bi pisali za kabare i radio, stvorili su poseban materijal za izvođače kao što su Jimmy Durante, Sophie Tucker, Joe E. Lewis i Carmen Miranda.

Za producenta Edwina Lestera, Wright i Forrest su napisali “Song of Norway” za Los Angeles Civic Light Opera. Mjuzikl, zasnovan na životu Griega koristeći vlastite melodije norveškog kompozitora, otvoren je u Los Angelesu u ljeto 1944. Te jeseni preselio se na Broadway, gdje je trajao dvije godine.

Godine 1995. Američko društvo kompozitora, autora i izdavača uručilo je timu nagradu Richarda Rodgersa/ASCAP -a za izvanredan životni doprinos Američkom muzičkom pozorištu.

Prije Forrestove smrti 1999. godine u 84. godini, on i Wright radili su na nekoliko mogućih muzičkih projekata.


Robert Wright, 90 kompozitor, tekstopisac za mjuzikle i filmove

Preminuo je Robert Wright, kompozitor i tekstopisac nagrađen Tony-jem, čija je tekstopisna saradnja sa Georgeom "Chetom" Forrestom uključivala hit brodvejske mjuzikle "Song of Norway", "Kismet" i "Grand Hotel". Imao je 90 godina.

Wright, trostruki kandidat za Oscara, umro je prirodnom smrću u srijedu u svojoj kući u Miamiju, rekao je Doug Holmes, njegov pomoćnik.

Wright i Forrest bili su srednjoškolci Floride kasnih 1920 -ih kada su se upoznali - prva pjesma koju su zajedno napisali bila je školska pjesma “Hail to Miami High”. Tokom više od 70 godina saradnje, napisali su tekst i muziku za više od 2000 kompozicija za 16 produciranih scenskih mjuzikla, 18 scenskih revija, 58 filmova i brojne kabaretske predstave.

Partneri su dobili Tonys za partituru "Kismet", hit na Brodvejskom mjuziklu iz 1953. temeljen na temama ruskog kompozitora Aleksandra Borodina iz 19. stoljeća. Emisija je uključivala pjesme poput "Stranger in Paradise" i "Baubles, Bangles and Beads".

Njihovi drugi brodvejski krediti uključivali su "Norvešku pjesmu", hit mjuzikl iz 1944. zasnovan na muzici Edvarda Griega "Magdalena", sa muzikom prilagođenom Heitor Villa-Lobos "Ciganska dama", sa muzikom koju je priredio Victor Herbert "Anya", sa muzikom prilagođeno Sergeju Rahmanjinovu "Kean" i "Timbuktu!"

Wright i Forrest, zajedno s Maury Yeston, dobili su nominacije Tonyja za najbolju muziku i tekst za svoj posljednji mjuzikl na Broadwayu, "Grand Hotel", koji je otvoren 1989. godine i osvojio je pet Tonysa, uključujući i najboljeg režisera za Tommyja Tunea, koji je također koreografirao predstavu .

Dok su krajem 1930 -ih i početkom 40 -ih bili pod ugovorom s MGM -om, Wright i Forrest su osvojili tri nominacije za Oscara za najbolju pjesmu - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce ”(1940) i“ Pennies for Peppino ”iz“ Flying With Music ”(1942).

Među ostalim pjesmama ovog para su "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" i "Night of My Nights".

"Bob i Chet bili su nadareni kantautori koji su većinu svoje karijere proveli prilagođavajući muziku klasičnih kompozitora za pozornicu ili ekran", rekao je u petak za The Times Miles Kreuger, predsjednik Instituta američkog mjuzikla sa sjedištem u Los Angelesu.

No, dodao je da "njihov originalni rezultat iz 1961. za" Kean "otkriva koliko su bili sjajno nadareni kada im je bilo dopušteno stvarati vlastitu muziku."

U intervjuu za Associated Press iz 1989. Wright je rekao: „Pisanje originalne muzike je 10 ili 20 puta lakše od stvari po kojima smo najpoznatiji. Prva stvar koju morate učiniti kao adapter je naučiti sve što je kompozitor ikada napisao. Zatim morate sastaviti i asimilirati muziku. I na kraju, razmislite kako je on učinio. ”

Rođen 25. septembra 1914. u Daytona Beachu u Floridi, Wright je kao dijete studirao klavir i rano u životu postao muzičar.

"Osvojio sam amatersko takmičenje svirajući Rachmaninoff C-Sharp Minor Prelude kad sam imao 9 godina i otišao u vodvilj", rekao je za AP. “Vrlo mlad sam otkrio da u muzici ima novca, pa nikada nisam dodirnuo klavir ako nisam plaćen.”

Njegovo djelo je uključivalo sviranje klavira u nijemom kinu i vođenje vlastitog orkestra u srednjoj školi, gdje je upoznao Forresta, koji je bio godinu dana mlađi, kada je Forrest došao na audiciju za Glee Club.

Godine 1933. Wright je svirao klavir za Helen Morgan, Leonarda Rose i plesačicu Sally Rand.

Godinu dana kasnije, on i Forrest započeli su osmomjesečnu kabaretsku turneju po cijeloj zemlji koja je završila u Hollywoodu, gdje su obavili audiciju u MGM-u.

Potpisani za pisanje originalne muzike i tekstova, Wright i Forrest su ostali u studiju sedam godina.

Njihov prvi zadatak bio je pisanje pjesama za kratki muzički komad iz 1936. godine "Nove cipele".

S Walterom Donaldsonom kao kompozitorom, pisali su tekstove za pjesme u filmovima kao što su “Sinner Take All” (1936), “After Thin Man” (1936) i “Saratoga” (1937).

Godine 1937. primili su svoj prvi veliki zadatak: stvoriti novu partituru ponovnom upotrebom muzičkih tema u javnom vlasništvu za filmsku verziju mjuzikla Sigmunda Romberga "Maytime", u kojoj glume Nelson Eddy i Jeanette MacDonald.

Iste godine, Wright i Forrest adaptirali su klavir Rudolfa Frimla pod nazivom "Chansonette". To je postala "Magareća serenada", hit koji je otpjevao Allan Jones u "Krijesnici".

"To ih je stavilo na kartu", rekao je Kreuger.

No, dodao je, i "Maytime" i "The Firefly" predstavljaju presedan da Wright i Forrest prilagode tuđu muziku.

Godine 1942., kada je MGM želio da partneri prepišu Rodgersov i Hartov hit mjuzikl "I Married an Angel", rekao je Kreuger, bili su ogorčeni što su zamoljeni da prepišu djela legendi Broadwaya. Učinili su to, rekao je, ali su zatim napustili studio.

Pre nego što su napustili MGM, napisali su malu muzičku reviju pod nazivom "Hvala ti, Kolumbo", koja je kratko trajala u Los Anđelesu.

"Kad napišete bilo što za pozornicu i stavite to pred publiku i čujete kako reagiraju, tada filmovi postaju vrlo turobni i dosadni", rekao je Wright.

Preselivši se u New York kako bi pisali za kabare i radio, stvorili su poseban materijal za izvođače kao što su Jimmy Durante, Sophie Tucker, Joe E. Lewis i Carmen Miranda.

Za producenta Edwina Lestera, Wright i Forrest su napisali “Song of Norway” za Los Angeles Civic Light Opera. Mjuzikl, zasnovan na životu Griega koristeći vlastite melodije norveškog kompozitora, otvoren je u Los Angelesu u ljeto 1944. Te jeseni preselio se na Broadway, gdje je trajao dvije godine.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.