Rodgers and Hammerstein in the context of "Oscar Hammerstein II"

Oklahoma! is the first musical written by the duo of Rodgers and Hammerstein. The musical is based on Lynn Riggs's 1931 play, Green Grow the Lilacs. Set in farm country outside the town of Claremore, Indian Territory, in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie.

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

Dame Julie Andrews (born Julia Elizabeth Wells; 1 October 1935) is an English actress, singer, and author. She has garnered numerous accolades throughout her career, including an Academy Award, a British Academy Film Award, three Emmy Awards, three Grammy Awards, and seven Golden Globe Awards as well as nominations for three Tony Awards. One of the biggest box office draws of the 1960s, Andrews has been honoured with the Kennedy Center Honors in 2001, the Screen Actors Guild Life Achievement Award in 2007, and the AFI Life Achievement Award in 2022. She was made a Dame (DBE) by Queen Elizabeth II in the 2000 New Year Honours.

A child actress and singer, Andrews appeared in the West End in 1948 and from 1950 to 1952 on the radio programme "Educating Archie" in which she played Archie's girlfriend [1]. She made her Broadway debut in The Boy Friend (1954). Billed as "Britain's youngest prima donna", she rose to prominence in Broadway musicals starring as Eliza Doolittle in My Fair Lady (1956) and Queen Guinevere in Camelot (1960). She also starred in the Rodgers and Hammerstein television musical Cinderella (1957). She made her film debut playing the title role in Walt Disney's Mary Poppins (1964) and won the Academy Award for Best Actress. The following year, she starred in the musical film The Sound of Music (1965), playing Maria von Trapp and winning the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical.

Yuliy Borisovich Briner (Russian: Юлий Борисович Бринер; July 11, 1920 – October 10, 1985), known professionally as Yul Brynner (Russian: Юл Бриннер), was a Russian and American actor. He was known for his portrayal of King Mongkut in the Rodgers and Hammerstein stage musical The King and I (1951), for which he won two Tony Awards, and later an Academy Award for Best Actor for the 1956 film adaptation. He played the role 4,625 times on stage, and became known for his shaved head, which he maintained as a personal trademark long after adopting it for The King and I.

Considered one of the first Russian-American film stars, he was honored with a ceremony to put his handprints in front of Grauman's Chinese Theatre in Hollywood in 1956. He also received a star on the Hollywood Walk of Fame in 1960.

Lennon–McCartney was the songwriting partnership between the English musicians John Lennon (1940–1980) and Paul McCartney (born 1942) of the Beatles. It is widely considered one of the greatest, best known, and most successful musical collaborations ever by records sold, with the Beatles selling more than 600 million records worldwide as of 2004. Between 5 October 1962 and 8 May 1970, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.

Unlike many songwriting partnerships that comprise a separate composer and lyricist, such as George and Ira Gershwin, Richard Rodgers and Oscar Hammerstein II, John Kander and Fred Ebb, or Elton John and Bernie Taupin, both Lennon and McCartney wrote music and lyrics. Sometimes, especially early on, they would collaborate extensively when writing songs, working "eyeball to eyeball" as Lennon phrased it. During the latter half of their partnership, it became more common for either of them to write most of a song on their own with minimal input from the other, and sometimes none at all. By an agreement made before the Beatles became famous, Lennon and McCartney were credited equally with songs that either one of them wrote while their partnership lasted.