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The Music Man

The Music Man is a musical with book, music, and lyrics by Meredith Willson, based on a story by Willson and Franklin Lacey. The plot concerns con man Harold Hill, who poses as a boys' band organizer and leader and sells band instruments and uniforms to naïve Midwestern townsfolk, promising to train the members of the new band. Harold is no musician, however, and plans to skip town without giving any music lessons. Prim librarian and piano teacher Marian sees through him, but when Harold helps her younger brother overcome his lisp and social awkwardness, Marian begins to fall in love with him. He risks being caught to win her heart.

In 1957, the show became a hit on Broadway, winning five Tony Awards, including Best Musical, and running for 1,375 performances. The cast album won the first Grammy Award for Best Musical Theater Album and spent 245 weeks on the Billboard charts. The show's success led to Broadway and West End revivals, a popular 1962 film adaptation and a 2003 television adaptation. The Music Man is frequently produced by both professional and amateur theater companies and is a popular choice for high school and college productions.

Background
Meredith Willson was inspired by his boyhood in Mason City, Iowa, to write and compose his first musical, The Music Man. Willson began developing this theme in his 1948 memoir, And There I Stood With My Piccolo. He first approached producers Cy Feuer and Ernest Martin for a television special, and then Metro-Goldwyn-Mayer producer Jesse L. Lasky. After these and other unsuccessful attempts, Willson invited Franklin Lacey to help him edit and simplify the libretto. At this time, Willson considered eliminating a long piece of dialogue about the serious trouble facing River City parents. Willson realized it sounded like a lyric, and he transformed it into the patter song "Ya Got Trouble". Willson wrote about his trials and tribulations in getting the show to Broadway in his book But He Doesn't Know the Territory.

The character Marian Paroo was inspired by Marian Seeley of Provo, Utah, who met Willson during World War II, when Seeley was a medical records librarian. In the original production (and the film), the School Board was played by the 1950 International Quartet Champions of the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA), the Buffalo Bills. Robert Preston claimed that he got the role of Harold Hill despite his limited singing range because, when he went to audition, they were having the men sing "Trouble". The producers felt it would be the most difficult song to sing, but with his acting background, it was the easiest for Preston.

Originally titled The Silver Triangle, early versions of the story focused on a partially paralyzed boy, Jim Paroo, whom the townspeople wanted to consign to an institution for children with disabilities. The plot revolved around Harold Hill finding a musical instrument that the boy could play: a triangle. In some drafts, Jim was also nonverbal. Willson had an epiphany while reflecting on the "Wells Fargo Wagon" song, in which a lisping youngster sang one of the verses. "Here's this kid who isn't even identified," recalled Willson in his 1957 memoir. "Just a lisping kid but you get hit with some magic anyhow. Imagine if the lisping kid were somebody we know – some character in the story." Willson suddenly realized that this youngster could be the child with the disability. In the finished book, Winthrop Paroo is almost silent and hesitates to speak because of a lisp, but unexpectedly bursts into song when the Wells Fargo wagon arrives with his new cornet.

Original Broadway production
After years of development, a change of producers, almost forty songs (twenty-two were cut), and more than forty drafts, the original Broadway production was produced by Kermit Bloomgarden, directed by Morton DaCosta and choreographed by Onna White. The Music Man opened on December 19, 1957, at the Majestic Theatre. It played at the Majestic for nearly three years before transferring to The Broadway Theatre and completing its 1,375 performance run there on April 15, 1961. The original cast included Robert Preston (who reprised his role in the 1962 screen adaptation) as Harold Hill, Barbara Cook as Marian, Eddie Hodges as Winthrop, Pert Kelton as Mrs. Paroo, Iggie Wolfington as Marcellus Washburn and David Burns as Mayor Shinn.

Preston left the show in January 1959 and was replaced by Eddie Albert for 18 months. In June 1960 Preston returned for two weeks until his successor Bert Parks could replace him. Parks finished the Broadway run while Preston was busy with the screen version. Paul Ford was a replacement for David Burns as Mayor Shinn, later reprising the role in the film version.

Howard Bay designed the sets. Don Walker orchestrated the score. The musical won five Tony Awards, including Best Musical, winning in the same year that West Side Story was nominated for the award. Preston, Cook and Burns also won. Liza Redfield became the first woman to be the full-time conductor of a Broadway pit orchestra when she assumed the role of music director for the original production's final year of performances beginning in May 1960. The long-running American tour began in 1958, starring Forrest Tucker as Hill and Joan Weldon as Marian.

First Australia and UK productions
The first Australian production ran from March 5, 1960, to July 30, 1960, at the Princess Theatre in Melbourne, and at the Tivoli Theatre in Sydney from December 13, 1960, to February 4, 1961. The first UK production opened at Bristol Hippodrome, transferring to London's West End at the Adelphi Theatre on March 16, 1961, starring Van Johnson, Patricia Lambert, C. Denier Warren, Ruth Kettlewell and Dennis Waterman. It ran for 395 performances at the Adelphi.

Subsequent productions
A two-week revival at New York City Center ran in June 1965, directed by Gus Schirmer Jr. and starring Bert Parks as Harold. Doro Merande and Sandy Duncan played, respectively, Eulalie and Zaneeta Shinn. A three-week revival, directed and choreographed by Michael Kidd, ran in June 1980, also at City Center. The cast included Dick Van Dyke as Hill, Meg Bussert as Marian, Christian Slater as Winthrop, Carol Arthur as Mrs. Paroo, and Iggie Wolfington (who played Marcellus in the 1957 production) as Mayor Shinn. In 1987, a Chinese translation of the musical was staged at Beijing's Central Opera Theater. New York City Opera staged a revival from February to April 1988, directed by Arthur Masella and choreographed by Marcia Milgrom Dodge, starring Bob Gunton as Hill, with Muriel Costa-Greenspon as Eulalie and James Billings as Marcellus.

A Broadway revival, directed and choreographed by Susan Stroman, opened on April 27, 2000, at the Neil Simon Theatre, where it ran for 699 performances and 22 previews. The cast included Craig Bierko (making his Broadway debut) as Hill and Rebecca Luker as Marian. Robert Sean Leonard and Eric McCormack portrayed Hill later in the run. The production was nominated for eight Tony Awards but did not win any. In 2008, there was a revival at the Chichester Festival Theatre, England, starring Brian Conley as Hill and Scarlett Strallen as Marian.

In 2019, a semi-staged concert production at the Kennedy Center starred Norm Lewis as Harold, Jessie Mueller as Marian, Rosie O'Donnell as Mrs. Paroo, John Cariani as Marcellus, Veanne Cox as Eulalie, Mark Linn-Baker as Mayor Shinn (a role he reprised on Broadway in 2022), and David Pittu as Charlie.

2022 Broadway revival
A Broadway revival began previews on December 20, 2021, and opened on February 10, 2022, at the Winter Garden Theatre. The production starred Hugh Jackman as Harold and Sutton Foster as Marian with Jefferson Mays as the Mayor, Jayne Houdyshell as Mrs. Shinn, Shuler Hensley as Marcellus, Marie Mullen as Mrs. Paroo, Benjamin Pajak as Winthrop, Remy Auberjonois as Charlie Cowell, Phillip Boykin as Olin Britt and Eddie Korbich as Jacey Squires. It is produced by Kate Horton, Barry Diller, and David Geffen and directed by Jerry Zaks, with choreography by Warren Carlyle. It features sets and costumes by Santo Loquasto, lighting by Brian MacDevitt, and sound by Scott Lehrer. The production was set to open in 2020 but was delayed due to the COVID-19 pandemic. It suspended performances from December 28, 2021, through January 5, 2022, after Jackman tested positive for COVID-19. The production closed on January 15, 2023.

The production received mixed reviews but was a success at the box office, taking in $3.5 million in ticket sales during the week of March 22, 2022, more than any show since the pandemic began. It was nominated for six Tony Awards, including Best Revival of a Musical, but it did not win any. A special Theatre World Award for "Outstanding Ensemble" was presented to the 21 cast members making their Broadway debuts in the revival.

Critical reaction to the production was mixed: on the negative side, Jesse Green, in The New York Times, declared the revival, "flat" and "old-fashioned". He criticized Jackman's "smart but strangely inward performance" and felt that Foster's witty and front-facing performance was compromised by her vocal miscasting. Johnny Oleksinski of the New York Post described the production as a "let-down", writing, "Sometimes the show is dark and moody, determined not to have too much fun with a story about a con artist who wins in the end despite his misdeeds. At others, it's ... painfully corny". Frank Scheck of The Hollywood Reporter gave the production a lukewarm review, calling Jackman "neither a great singer nor a particularly accomplished dancer" and commenting that Foster's "voice doesn’t have the crystalline beauty of such predecessors as Barbara Cook and Shirley Jones, and many of the songs aren’t really suited for her". He concluded, however, that "the show ironically feels urgently timely." On the positive side, in Variety, Marilyn Stasio gave the production a rave review, praising all the performances, direction and designs, and calling it "vintage Broadway, but gussied up in grand, glorious style".

An official cast recording was released on September 23, 2022. In the fall 2022 fundraising for Broadway Cares/Equity Fights AIDS, The Music Man broke the Red Bucket fundraising record by raising $2,002,612 toward the charity.

Act I
In the early summer of 1912, aboard a train leaving Rock Island, Illinois, Charlie Cowell and other traveling salesmen debate whether modern conveniences are making their profession more difficult. "Professor" Harold Hill is discussed as one whose sales skills make him immune from such changes ("Rock Island"). Charlie says that Hill is a con man who promises to form boys' marching bands, then skips town after taking payments for instruments and uniforms. Upon the train's arrival in River City, Iowa, a passenger leaves the train with a suitcase labeled "Professor Harold Hill".

After townspeople of River City describe their reserved, "chip-on-the-shoulder attitude" ("Iowa Stubborn"), Harold sees his old friend and shill, Marcellus Washburn, who has "gone legit" and now lives in the town. Marcellus tells Harold that the only person who might expose him is the only trained musician in town, Marian Paroo, the librarian who gives piano lessons. He also informs Hill that a new pool table was just delivered to the town's local billiard parlor so, to launch his scheme, Harold convinces River City parents of the "trouble" that can come from a pool table in the community ("Ya Got Trouble"). Harold follows Marian home, attempting to flirt with her, but she ignores him. Marian gives a piano lesson to a little girl named Amaryllis while arguing with her widowed mother about her high "standards where men are concerned"; she mentions the man who followed her home ("Piano Lesson/If You Don't Mind My Saying So"). Marian's self-conscious 10-year-old brother Winthrop arrives home. Amaryllis, who secretly likes Winthrop but teases him about his lisp, asks Marian to whom she should say goodnight on the evening star, since she doesn't have a sweetheart. Marian tells her to just say goodnight to her "someone" ("Goodnight, My Someone").

The next day, bumbling Mayor Shinn and his overbearing wife Eulalie MacKecknie Shinn lead the festivities for Independence Day at the high school gym ("Columbia, the Gem of the Ocean") but are interrupted by a firecracker set off by troublemaker Tommy Djilas. Harold takes the stage and announces to the townspeople that he will prevent "sin and corruption" from the presence of the pool table by forming a boys' band ("Ya Got Trouble [reprise]/Seventy-Six Trombones"). Mayor Shinn, who owns the billiard parlor, tells the bickering school board to get Harold's credentials, but Harold gets them to sing as a Barbershop Quartet to distract them ("Ice Cream/Sincere"). Harold also sets up Zaneeta, the mayor's eldest daughter, with Tommy, and persuades Tommy to work as his assistant. After another rejection by Marian, Harold is determined to win her ("The Sadder But Wiser Girl"). The town ladies are very excited about the band and the ladies' dance committee that Harold plans to form. He mentions Marian, and they imply (falsely, it turns out) that she had an affair with a now-deceased miser, who willed the library building to the town but left all the books to Marian. They warn Harold that she advocates "dirty books" by "Chaucer, Rabelais and Balzac" ("Pick-a-Little, Talk-a-Little"). The school board arrives to review Harold's credentials, but he leads them in song and slips away ("Goodnight, Ladies").

The next day, Harold walks into the library to woo Marian in earnest ("Marian the Librarian"). For a moment, she forgets her decorum and dances with Harold and the teenagers. Harold kisses her; when she tries to slap him, she accidentally hits Tommy instead. With Tommy's help, Harold signs up all the boys in town to be in his band, including Winthrop. Mrs. Paroo likes Harold and tries to find out why Marian is not interested. Marian describes her ideal man ("My White Knight", rewritten for the film version as "Being in Love"). She sets out to give Mayor Shinn evidence against Harold that she found in the Indiana State Educational Journal, but they are interrupted by the arrival of the Wells Fargo wagon, which delivers the band instruments ("The Wells Fargo Wagon"). When Winthrop is so happy about his new cornet, and totally abandons his shyness and self-consciousness, Marian begins to see Harold in a new light. She tears the incriminating page out of the Journal before giving the book to Mayor Shinn.

Act II
The ladies rehearse their classical dance in the school gym while the school board practices their quartet ("It's You") for the ice cream social. Marcellus and the town's teenagers interrupt the ladies' practice, taking over the gym as they dance ("Shipoopi"). Harold grabs Marian to dance with her, and all the teenagers join in. At the end of the dance, the Mayor angrily denounces Tommy's relationship with his daughter. Regarding Winthrop's cornet, Marian later questions Harold about his claim that "you don't have to bother with the notes". He explains that this is what he calls "The Think System", and he arranges to call on Marian to discuss it. The town ladies ask Marian to join their dance committee, since she was "so dear dancing the Shipoopi" with Professor Hill ("Pick-a-Little, Talk-a-Little" [Reprise]). They have reversed their opinions about her books, and they eagerly tell her that "the Professor told us to read those books, and we simply adored them all!"

That night, the school board tries to collect Harold's credentials again, but he gets them to sing again and slips away ("Lida Rose"). Marian, meanwhile, is sitting on her front porch thinking of Harold ("Will I Ever Tell You?"). Winthrop returns home after spending time with Harold and tells Marian and Mrs. Paroo about Harold's hometown ("Gary, Indiana"). As Marian waits alone for Harold, traveling salesman Charlie Cowell enters with evidence against Harold, hoping to tell Mayor Shinn. He only has a few minutes before his train leaves, but stops to flirt with Marian. She delays him so he won't have time to deliver the evidence, eventually kissing him. As the train whistle blows, she pushes him away. Charlie angrily tells Marian that Harold has a girl in "every county in Illinois, and he's taken it from every one of them – and that's 102 counties!"

Harold arrives, and after he reminds her of the untrue rumors he's heard about her, she convinces herself that Charlie invented everything he told her. They agree to meet at the footbridge, where Marian tells him the difference he's made in her life ("Till There Was You"). Marcellus interrupts and tells Harold that the uniforms have arrived. He urges Harold to take the money and run, but Harold refuses to leave, insisting, "I've come up through the ranks... and I'm not resigning without my commission". He returns to Marian, who tells him that she's known since three days after he arrived that he is a fraud. (Harold earlier claimed to have graduated from the Gary Conservatory in 1905, but Gary, Indiana, was not founded until 1906.) Because she loves him, she gives him the incriminating page out of the Indiana State Educational Journal. She leaves, promising to see him later at the Sociable. With his schemes for the boys' band and Marian proceeding even better than planned, Harold confidently sings "Seventy-Six Trombones". As he overhears Marian singing "Goodnight My Someone", Harold suddenly realizes that he is in love with Marian; he and Marian sing a snatch of each other's songs.

Meanwhile, Charlie Cowell, who has missed his train, arrives at the ice cream social and denounces Harold as a fraud. The townspeople begin an agitated search for Harold. Winthrop is heartbroken and tells Harold that he wishes Harold had never come to River City. But Marian tells Winthrop that she believes everything Harold ever said, for it did come true in the way every kid in town talked and acted that summer. She and Winthrop urge Harold to get away. He chooses to stay and tells Marian that he never really fell in love until he met her ("Till There Was You" [Reprise]). The constable then handcuffs Harold and leads him away.

Mayor Shinn leads a meeting in the high school gym to decide what to do with Harold, asking, "Where's the band? Where's the band?" Marian defends Harold. Tommy enters as a drum major, followed by the boys in uniform with their instruments. Marian urges Harold to lead the River City Boys' Band in Beethoven's Minuet in G. Despite the boys' limited musical ability, the parents in the audience are nonetheless enraptured by the sight of their children playing music. Even Mayor Shinn is won over, and, as the townspeople cheer, Harold is released into Marian's arms ("Finale").

Musical numbers

 * Act I
 * "Rock Island" – Charlie and Salesmen
 * "Iowa Stubborn" – Townspeople
 * "(Ya Got) Trouble" – Harold Hill and Townspeople
 * "Piano Lesson" – Marian, Mrs. Paroo and Amaryllis
 * "Goodnight, My Someone" – Marian
 * "Seventy-Six Trombones" – Harold, Boys and Girls
 * "Sincere" – Barbershop quartet (Olin, Oliver, Ewart, Jacey)
 * "The Sadder-But-Wiser Girl" – Harold and Marcellus
 * "Pickalittle (Talk-a-Little)" – Eulalie, Maud, Ethel, Alma, Mrs. Squires and Ladies of River City
 * "Goodnight, Ladies" – Quartet
 * "Marian The Librarian" – Harold, Boys and Girls
 * "My White Knight" – Marian
 * "The Wells Fargo Wagon" – Winthrop and Townspeople

 * Act II
 * "It's You" – The Quartet, Eulalie, Maud, Ethel, Alma and Mrs. Squires
 * "Shipoopi" – Marcellus, Harold, Marian and townspeople
 * "Pickalittle (Talk-a-Little)" (reprise) – Eulalie, Maud, Ethel, Alma, Mrs. Squires and Ladies
 * "Lida Rose" – Quartet
 * "Will I Ever Tell You" – Marian
 * "Gary, Indiana" – Winthrop, Mrs. Paroo, Marian
 * "It's You" (reprise) – Townspeople, Boys and Girls
 * "Till There Was You" – Marian, Harold
 * "Seventy-six Trombones/Goodnight, My Someone" (reprise) – Harold and Marian
 * "Till There Was You" (reprise) – Harold
 * "Finale" – Company

Notes: As this musical concerns a marching band, the orchestration for several of the numbers includes band instruments.

"Lida Rose" and "Will I Ever Tell You", sung first separately and then simultaneously, are examples of Broadway counterpoint (songs with separate lyrics and separate melodies that harmonize and are designed to be sung together). Similarly, "Pickalittle" and "Good Night Ladies" are also sung first separately, and then in counterpoint. Willson's counterpoint is lampooned, along with two counterpoint song pairs from Irving Berlin musicals, in the 1959 musical Little Mary Sunshine, where three counterpoint songs are combined: "Playing Croquet," "Swinging" and "How Do You Do?" "Goodnight, My Someone" is the same tune, in waltz time, as the march-tempo "Seventy-six Trombones".

In the 1962 movie, the 1980 and 2000 revivals, and some amateur and regional productions, "Gary, Indiana" is sung in Act 1 by Harold (1962 movie) and Mrs. Paroo (between "Marian the Librarian" and "My White Knight"), with Winthrop singing a reprise of it in Act 2 (with Mrs. Paroo and Marian Paroo in 2000).

2022 Broadway revival

 * Mayor Shinn: Mark Linn-Baker

Setting and popular culture references
The Music Man is set in the fictional town of River City, Iowa, in 1912. The town is based in large part on Willson's birthplace, Mason City, Iowa, and many of the musical's characters are based on people that Willson observed in the town. The "river" in River City is probably the Mississippi River near Davenport, Iowa: the Rock Island conductor's announcing "River City, Iowa! Cigarettes illegal in this state" implies crossing the Mississippi from Rock Island, Illinois, into Iowa. The year 1912 was a time of relative innocence, as recalled in 1957 after two world wars, the Great Depression and the arrival of atomic weapons.

The musical includes numerous references to popular culture of the time. For example, in making his pitch, Harold Hill lists popular musicians and composers: Gilmore, Pat Conway, Giuseppe Creatore, W.C. Handy and John Philip Sousa. Some of the cultural references are anachronistic: "Trouble" contains references to both Captain Billy's Whiz Bang, a monthly humor magazine that did not begin publication until October 1919, and the nonalcoholic "near-beer" Bevo, which was first brewed in 1916. In addition, Rafael Méndez (referred to by Hill as "O'Mendez," a great "Irish" trumpeter) was six years old in 1912.

Recordings
The first recording of "Till There Was You" was released before the original cast album version. Promotional copies of the 45 rpm single, Capitol P3847, were released on November 26, 1957, even before the Broadway production had premiered. Produced by Nelson Riddle, it featured his orchestra and 17-year-old vocalist Sue Raney.

The original cast recording was released by Capitol Records on January 20, 1958, in stereophonic & monaural versions and held the #1 spot on the Billboard charts for twelve weeks, remaining on the charts for a total of 245 weeks. The cast album was awarded "Best Original Cast Album" at the first Grammy Awards ceremony in 1958 and was inducted in 1998 as a Grammy Hall of Fame Award winner.

In 1959, jazz composer and arranger Jimmy Giuffre released Jimmy Giuffre and His Music Men Play The Music Man, consisting of jazz arrangements of tunes from the musical. "Till There Was You" was covered by Anita Bryant in 1959 as a single for Carlton Records, reaching No. 30 on the Billboard Hot 100. The Beatles covered "Till There Was You" on their 1963 album With the Beatles (issued on Meet the Beatles! in the United States). Rosemary Willson later told The New York Times that her husband's estate had received more money from the royalties of the Beatles' recordings of "Till There Was You" than it did from the musical's original production.

A cast recording featuring the 2022 revival cast was recorded at Manhattan Center and was released on December 9, 2022 by Accidental Jacket Entertainment, produced by Robert Sher, Brian Gillet and Huck Walton.

Adaptations
Preston starred in the 1962 film adaptation, with Shirley Jones as Marian, Buddy Hackett as Marcellus, Hermione Gingold as Mrs. Shinn and Ron Howard as Winthrop.

The success of the 2000 stage revival prompted a 2003 television film starring Matthew Broderick as Hill and Kristin Chenoweth as Marian, with Victor Garber, Debra Monk, and Molly Shannon in supporting roles.

Reception
Though West Side Story had opened nearly three months earlier, The Music Man captured audiences, critics and five Tony Awards, including Best Musical. The New York Times theatre critic Brooks Atkinson wrote in his review "If Mark Twain could have collaborated with Vachel Lindsay, they might have devised a rhythmic lark like The Music Man, which is as American as apple pie and a Fourth of July oration.... The Music Man is a marvelous show, rooted in wholesome and comic tradition."

Walter Kerr of the Herald Tribune glowingly described the opening scene of the musical: "It's the beat that does it. The overture of The Music Man drives off with a couple of good, shrill whistles and a heave-ho blast from half the brass in the pit, with the heartier trombonists lurching to their feet in a blare of enthusiasm. The curtain sails up to disclose the most energetic engine on the Rock Island Railroad (circa 1912) hurtling across the proscenium with real smoke pouring out of its smokestack and real steam rolling along the rails". Kerr called Preston "indefatigable: he's got zest and gusto and a great big grin for another slam-bang march tune". Robert Coleman of the New York Daily Mirror wrote that the producer "made a 10-strike in landing Robert Preston for the title role", stating that Preston "paces the piece dynamically, acts ingratiatingly, sings as if he'd been doing it all his life, and offers steps that would score on the cards of dance judges".

Frank Aston of the New York World-Telegram and Sun declared "It deserves to run at least a decade", especially praising Barbara Cook's performance as Marian: "If all our stack-tenders looked, sang, danced, and acted like Miss Barbara, this nation's book learning would be overwhelming". John Chapman of the Daily News pronounced The Music Man "one of the few great musical comedies of the last 26 years", stating that Of Thee I Sing (1931) "set a standard for fun and invention which has seldom been reached. Its equal arrived in 1950 – Guys and Dolls – and I would say that The Music Man ranks with these two". In the Journal-American, John McClain deemed the show "a whopping hit. This salute by Meredith Willson to his native Iowa will make even Oklahoma! look to its laurels".

In popular culture
The Music Man's popularity has led to its being mentioned, quoted, parodied or pastiched in a number of media, including television, films and popular music.

Television
The Music Man has been parodied in a number of TV shows, including The Simpsons episode "Marge vs. the Monorail", written by Conan O'Brien. At some point during the second Broadway revival, O'Brien was approached about playing the role of Harold Hill for a brief run, but he ultimately could not fit it into his schedule. He says, on the DVD commentary track for the aforementioned Simpsons episode, that it was the hardest choice he's ever had to make professionally, because The Music Man is one of his favorites. O'Brien did, however, as host of the 2006 Emmy Awards, sing a parody version of "Ya Got Trouble" in his opening monologue targeting NBC and their slide in the ratings.

The television program Family Guy has parodied the musical at least three times. In the episode "Brian Wallows and Peter's Swallows", Lois chastises Brian's high standards in a spoof of "Piano Lesson". In another episode, "Patriot Games", Peter showboats after scoring a touchdown by leading a stadium full of people in a rendition of "Shipoopi", complete with choreography from the film. In Episode 22 of Boston Legal, "Men to Boys", Alan Shore sings a parody of the song "Trouble" to convince patrons of a restaurant not to eat the salmon. Several Music Man songs were used in Ally McBeal, for example in the season 2 episode "Sex, Lies and Politics" in which lawyer John Cage spurs the jury into singing "Ya Got Trouble" with him. Season 2 Episode 15 (2012), "The Super Speedy Cider Squeezy 6000", of the TV show My Little Pony: Friendship Is Magic, makes numerous allusions to The Music Man, including a song based on "Ya Got Trouble".

MSNBC's Keith Olbermann has numerous times referred to Fox News TV host Glenn Beck as "Harold Hill" on the air.

Robert Hanson stars in a community theater production of The Music Man in the Netflix original show Grace and Frankie.

Film
In the 1960 film The Apartment, Jack Lemmon's character is given tickets to the show but is stood up at the Majestic Theatre. In Romy and Michele's High School Reunion (1997), Michele sings "The Wells Fargo Wagon". The next year, in The Wedding Singer (1998), Robbie teaches Rosie to sing "'Til There Was You" for her 50th wedding anniversary.

The 2006 mockumentary/documentary Pittsburgh centers on actor Jeff Goldblum as he attempts to secure a green card for his Canadian actor/singer/dancer girlfriend, Catherine Wreford, by appearing with her as the leads in a summer regional theatre production of The Music Man in Goldblum's hometown of Pittsburgh, Pennsylvania.

Music
The political satire group the Capitol Steps parodies numerous songs from musicals, including The Music Man. To evoke turn of the 20th century Main Street USA at some of its theme parks around the world, Walt Disney Parks and Resorts uses songs from the show, including "76 Trombones" and "Wells Fargo Wagon". Bill Hayes parodied "Rock Island" in a 1959 industrial musical Good News About Olds written by Max Hodge, with Oldsmobile product terminology serving as the "whatayatalk".

The North Iowa Band Festival in Mason City, Iowa, is a yearly event celebrating music with a special emphasis on marching bands. Willson returned several times to his home town of Mason City during the 1950s to participate in the event, including leading the "Big Parade", and the stars of the film version participated in the event in 1962.

title: The Music Man


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Albert Hadley

Albert Livingston Hadley Jr. (November 18, 1920 – March 29, 2012) was an American interior designer and decorator.

Hadley was born in Springfield, Tennessee, in 1920. He attended Peabody College in Nashville for two years, after which he worked as an assistant to one of the South's best-known decorators, A. Herbert Rodgers.

After serving overseas in World War II, Hadley moved to New York. Beginning in 1947, he studied at the Parsons School of Design, and after graduating in 1949, joined the school's faculty. He formed his own design studio, worked from 1956 until 1962 at the distinguished New York interior design firm of McMillen, Inc., and then co-founded Parish-Hadley, Associates (1962–1999) with the interior decorator, Sister Parish (1910–1994).

Hadley's clients included former Vice President Albert Gore and Tipper Gore; Babe Paley and William S. Paley; Oscar de la Renta and Annette de la Renta; Jacqueline Kennedy Onassis; Ambassador and Mrs. Henry Grunwald; Dr. and Mrs. G. Patrick Maxwell; Mike Nichols and Diane Sawyer; Mrs. Brooke Astor; and various members of the Astor and Getty families.

Hadley worked in a variety of styles, including modern, Victorian, and Georgian. He was lauded with numerous international design awards for his creative output. He was inducted into the Interior Design Hall of Fame in 1986.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Albert Hadley


text:
Haematoxylin

Haematoxylin or hematoxylin, also called natural black 1 or C.I. 75290, is a compound extracted from heartwood of the logwood tree (Haematoxylum campechianum) with a chemical formula of. This naturally derived dye has been used as a histologic stain, as an ink  and as a dye in the textile and leather industry. As a dye, haematoxylin has been called palo de Campeche, logwood extract, bluewood and blackwood. In histology, haematoxylin staining is commonly followed by counterstaining with eosin. When paired, this staining procedure is known as H&E staining and is one of the most commonly used combinations in histology. In addition to its use in the H&E stain, haematoxylin is also a component of the Papanicolaou stain (or Pap stain) which is widely used in the study of cytology specimens.

Although the stain is commonly called haematoxylin, the active colourant is the oxidized form haematein, which forms strongly coloured complexes with certain metal ions (commonly Fe(III) and Al(III) salts). In its pure form, haematoxylin is a colourless and crystalline solid, although commercial samples are typically light to dark brown based on the level of impurities present.

Extraction and purification
Haematoxylin has been synthesized, although never in commercially viable amounts. Historically the logwood was exported and the haematoxylin extracted in Europe. More recently extraction takes place closer to where the logwood is harvested. Extraction of haematoxylin from logwood on industrial scales has been accomplished in the 'French process' by boiling the wood chips or in the 'American process' with steam and pressure. Once extracted, the dye can be sold as a liquid concentrate or dried and sold in a crystalline form. Modern production methods use water, ether or alcohol as a solvent, at which point the extracts may be further refined to the level of purity needed.

The commercial product may vary from batch to batch and between manufacturers in both the level of impurities and in the ratio of haematoxylin to haematein. For histologic use, this variability can affect the stains interaction with biological tissue samples, and is therefore of concern to histologists and pathologists. Haematoxylin, like other biological stains, may be certified by the Biological Stain Commission, signifying that a particular batch of stain works in a standardized test, although this does not specify the dye's actual purity.

Use as a histologic stain
Haematoxylin stain is commonly followed (or counterstained) with another histologic stain, eosin. When paired, this staining procedure is known as H&E staining, and is one of the most commonly used combinations in histology. Haematoxylin is also a component of the Papanicolaou stain (or PAP stain) which is widely used in the study of cytology specimens, notably in the PAP test used to detect cervical cancer.

Principally used as a nuclear stain (to stain the cell nucleus), haematoxylin will also stain rough endoplasmic reticulum, ribosomes, collagen, myelin, elastic fibers, and acid mucins. Haematoxylin alone is not an effective stain, but when oxidized to hematein, and combined with a mordant, stains chromatin in cell nuclei dark blue to black. The colour and specificity of haematoxylin stains are controlled by the chemical nature, and amount, of the mordant used, and the pH of the staining solution, thus, a variety of haematoxylin formulations have been developed.

Stain formulations
Haematoxylin stain formulations can be broadly classified based on how the haematoxylin is oxidized (or ripened) and by choice of the mordant used. Haematoxylin stain formulations may either be natural oxidized by exposure to air and sunlight, or more commonly, especially in commercially prepared solutions, chemically oxidized using sodium iodate. Commonly only enough oxidizer is added to convert one half of the haematoxylin to haematein, allowing the remainder to naturally oxidize during use, this extends the staining solution's useful life as more haematein is produced, while some haematein is further oxidized to oxyhaematein. Of the metallic salts used as mordants, aluminium is the most common, other mordants include salts of iron, tungsten, molybdenum and lead.

Depending on the formulation or staining technique, haematoxylin stains may be used in what is called a progressive manner, in which the length of time the tissue remains in contact with the staining solution is used to control the amount of colouration, or in a regressive manner, in which the tissue is over-stained, and excess stain is removed in a secondary step of the procedure. Removal of unwanted staining, or differentiation, typically involves a solution of diluted ethanol and hydrochloric acid.

Early use as a histologic stain
In 1758, Georg Christian Reichel used haemotoxylin, without a mordant, to stain plant tissues. John Thomas Quekett in an 1852 book, suggests using "logwood" (haematoxylin) to dye translucent material for examination under the microscope. In 1863, Wilhelm von Waldeyer-Hartz used haematoxylin on animal tissue without a mordant (with limited success), and is sometimes credited as being the first to do so,   although this is not universally accepted. Franz Böhmer in 1865 published a haematoxylin formula using alum as a mordant,    and in 1891, Paul Mayer published a formulation using a chemical oxidizer to convert haematoxylin into haematein. The first use of haematoxylin with eosin as a counterstain, which is currently the most used stain combination in histology, was first suggested by A. Wissowzky in 1876. By the early 1900s, haematoxylin had become widely accepted as a histologic stain.

Shortages and possible alternatives
During World War I, the late 1920s, World War II, the early 1970s (summer 1973 ) and in 2008, there were shortages of haematoxylin due to interruptions in its extraction from logwood. These shortages prompted a search for alternative nuclear stains. Several synthetic dyes have been recommended as replacements, notably celestine blue (CI 51050), gallocyanine (CI 51030), gallein (CI 45445) and eriochrome cyanine R  also called chromoxane cyanine R and solochrome cyanine (CI 43820). All four have Fe(III) as the mordant. An alternative is the aluminium complex of oxidized brazilin, which differs from haematoxylin by only one hydroxyl group. A replacement stain for haematoxylin in H&E staining must also not disrupt the ability of histologists and pathologists, who have spent years of training with H&E stained slides, to examine the slides and make medical diagnoses. None of proposed replacement stains have been widely adopted.

Use as a textile dye
Haematoxylin was first used as a dye by the Mayans and Aztecs in Central America where logwood trees grow natively. The dye was first introduced to Europe by the Spanish, and soon after was widely adopted. Haematoxylin was used to produce blacks, blues and purples on various textiles, and remained an important industrial dye until the introduction of suitable replacements in the form of synthetic dyes. As a blue dye (with alum as a mordant), the initial results were not as lightfast as those produced using indigo. In reaction to this perceived inferiority of the quality of the blue colour produced with haematoxylin, its use to dye fabric was barred in England from 1581 to 1662. After the introduction of synthetic black dyes in the late 19th century, haematoxylin was first replaced as a dye for cotton. A 1902 German treatise on the dyeing textiles notes "...logwood in the black dyeing of cotton has suffered considerably from the competition of aniline black". Haematoxylin remained important as a black dye (using copperas or chrome as a mordant) for wool until the 1920s when a black synthetic dye compatible with wool became available. Contemporary usage of haematoxylin includes the dyeing of silk, leather, and sutures.

Use as a writing and drawing ink
Haematoxylin has been used as the primary component of writing and drawing inks, although the timing of first use as an ink is unclear. Haematoxylin was also added to some iron gall inks, which take time to fully darken when applied to paper. In this case the Haematoxylin provided some initial colour before the iron gall reached its full depth of colour. William Lewis in 1763 is credited with being the first to use haematoxylin as an additive in iron gall inks. In 1848, Friedlieb Ferdinand Runge produced a heamatoxylin ink that was non-acidic, using a potassium chromate as the mordant, which had the advantage of not corroding steel pens. Van Gogh is known to have used haematoxylin ink with a chrome mordant in a number of his drawings and letters.

title: Haematoxylin


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Sister Parish

Sister Parish (born Dorothy May Kinnicutt; July 15, 1910 – September 8, 1994) was an American interior decorator and socialite. She was the first practitioner brought in to decorate the Kennedy White House, a position soon entrusted to French interior decorator Stéphane Boudin. Despite Boudin's growing influence, Parish's influence can still be seen at the White House, particularly in the Yellow Oval Room.

Early life
Sister Parish was born Dorothy May Kinnicutt on July 15, 1910, in Morristown, New Jersey. Her parents were G. Hermann Kinnicutt and May Appleton Tuckerman. Sister was born at home in a four poster bed. Her paternal grandfather was Francis Kinnicutt, Edith Wharton's doctor and close friend. In addition to their New Jersey house, the family had homes in Manhattan, Maine, and Paris. She was given the nickname Sister by her three-year-old brother Frankie.

As a child, Parish attended The Peck School in New Jersey, in the fall and spring. During the winter, she attended Chapin School in New York. Later, she boarded at Foxcroft School in Virginia.

Parish was a debutante in 1927. Once she had completed high school, her parents expected her to marry, and on Valentine's Day 1930, Kinnicutt married banker Henry Parish II at St. George's Episcopal Church in Manhattan.

After the wedding, the couple lived on East End Avenue in Manhattan (in an apartment done by a decorator), followed by a farmhouse on Long Lane in Far Hills, NJ which Parish decorated herself. In decorating the Long Lane house, Parish found her own sense of style. She painted wood furniture white and used cotton fabrics such as ticking stripe. She experimented with brightly painted floors. Parish's new home was lighter and more casual than other high society homes of the 1930s.

Parish spent most of her summers in her house in Islesboro, Maine.

Early career
The Great Depression tightened the family's finances and in 1933 the 23 year old opened a decorating business. Her Far Hills, New Jersey, office measured 14 feet by 14 feet and cost $35 a month. Parish outfitted the room with wicker furniture and hung a sign that said "Mrs. Henry Parish II, Interiors."

At the time she opened her business, Parish was completely untrained. She had never read a book on decorating or served any kind of apprenticeship. Parish's family helped influence her style. May's first cousin was acclaimed interior decorator Dorothy Draper. May's father collected antiques.

Parish's earliest work was decorating the houses of friends.

Jacqueline Kennedy and the White House
Parish met Jacqueline Kennedy socially in the late 1950s and helped her decorate the Georgetown house the family lived in while John F. Kennedy was a Senator. After Kennedy was elected President in 1960, Jackie hired Parish to help with the redecorating of the White House. Parish's name led to some confusion, with one newspaper proclaiming: '' Kennedys Pick Nun to Decorate White House. ''

Prior to moving into the White House, the Kennedys leased a country house in Virginia called Glen Ora. Parish spent $10,000 redecorating the home; the cost enraged Jack Kennedy. The Kennedys had to restore the house to its previous look before vacating.

In a letter to Sister Parish, Jackie Kennedy explained her plans for the White House, ""I want our private quarters to be heaven for us naturally--but use as much of (the Eisenhowers') stuff as possible & buy as little new--as I want to spend lots of my budget below in the public rooms--which people see & will do you & I proud!" Parish used the Georgetown living room she had previously designed as a blueprint for the West Sitting Hall, painting everything off-white, installing bookcases for Jackie's collection of art books and paintings.

Parish and Jackie spent the entire budget of $50,000 allocated for the redecoration of the White House on the private quarters in the first two weeks. Winterthur Museum Director Charles Montgomery suggested the formation of a committee to acquire antique furnishings for the White House. The goal was to help furnish the White House with authentic pieces from a century and a half earlier. Noted collector Henry du Pont was made chair of the committee and Sister Parish was among the committee members. Parish and DuPont concentrated on including American Federalist furniture in the Sheraton and Hepplewhite styles.

Much of Parish's work updating the White House was simple, like rehanging curtains inside rather than outside moldings. But some of the redesign was more complicated. As part of her redesign, Parish added a kitchen, pantry and dining room to the family unit on the second floor. Prior to this remodel, the First family had to go downstairs to the kitchen that serviced the State Dining Room whenever they wanted something to eat.

Through Parish, Steuben Glass Works offered a donation of crystal that Jackie refused in favor of Morgantown Glassware Guild in West Virginia.

Toward the end of the project, a rift occurred. According to Parish 's granddaughter, ''it was primarily a problem over money and Jackie' s belief that not everything had to be paid for. Sister wrote that it was because someone had told Jackie that she had kicked Caroline. I wouldn't have put it past her, but that was not the root of the falling-out. Later, Sister would shrug off the questions with one of her glib remarks, like 'Jackie got along much better with men than with women.' ''

Although Parish initially decorated the family's private quarters, Stephane Boudin of Paris was hired to decorate the State Rooms. Boudin decorated the Red Room, the Treaty Room, the Lincoln Sitting Room and the Blue Room of the Kennedy White House. After Parish and Kennedy fell out, Boudin returned to the White House to add his French style to the private rooms. However, the Yellow Oval Room, the Kennedys' semi-formal drawing room, remained primarily Parish's design.

Work with Albert Hadley
In 1962, a young designer named Albert Hadley introduced himself to Parish. His first assignment with Parish was the breakfast room of the Kennedy White House. “I only did the curtains,” he said in 1999. Hadley became a full partner two years later. Parish and [Hadley] would continue to work together until Parish's death in 1994. The firm was a training ground for dozens of designers now acclaimed in their own right including Bunny Williams and Thom Filicia. According to Harold Simmons, "Parish-Hadley influenced a whole generation of decorators and many of the top New York decorators went through the firm at some point in their careers."

In 1967, House & Garden magazine ran spreads of Parish's summer house, bursting with wicker and needlepoint and other crafts. According to the New York Times, this departure from traditional decorating was on par with fashion's introduction to Dior's New Look.

Parish and Hadley worked with quilters from Selma, Alabama, in the late 1960s to develop patchwork quilted yard goods. The Freedom Quilting Bee was born in the Civil Rights Movement as a way for poor black craftswomen to earn money for their families. Many of the group's members participated in Civil Rights demonstrations. Parish-Hadley collaborated with the Freedom Quilting Bee from 1967 to 1969, bringing old-fashioned quilts to high style publications. The partnership ended naturally with the Freedom Quilting Bee moving on to other contracts and Parish-Hadley moving on to other looks.

Parish and Hadley stocked handwoven Irish rugs and baskets and other crafts in a small invitation-only shop on New York's Upper East Side. As the items were photographed in magazines, they spread into the mainstream.

In 1988 Sarah, Duchess of York, hired Parish to decorate a new country house near Windsor Castle. The cost of Parish's work was estimated at $1 million. Queen Elizabeth II later rescinded the assignment in favor of an English designer, but just getting in the door was considered a triumph.

Style
Parish is widely considered to have originated what became known as American country style. She avoided matching, filling homes with contrasting prints and sometimes intentionally placed items off center.

A 1999 Architectural Digest article described Parish's style: "Her interiors as a rule were refreshingly unstudied, unself-conscious, and unstrained...A Sister Parish room overflowed, to be sure—but buoyantly. It was romantic and whimsical but not sentimental; and, always, it was light—the rug might be Aubusson, the mirror Chippendale and the chandelier Waterford, but she undercut these "brand names" with all manner of charming distractions. Her living rooms lived: They were friendly to the world..."

In 1994, House Beautiful editor Lou Gropp said, "There is no question that Sister Parish was one of the biggest influences on decorating in the United States. She dominated the decorating of the 1970s and '80s, and many of her ideas that were fresh and new in the 1970s are now in the mainstream of American decorating."

Signature elements of the Parish look included painted floors, Anglo-Franco furniture, painted furniture, chintz, needlepoint pillows, mattress ticking, hooked rugs, rag rugs, starched organdy, botanical prints, painted lampshades, white wicker, quilts, and baskets.

According to a 2000 New York Times article, "If you have a quilt, you probably owe it to Mrs. Parish."

Her work influenced Ralph Lauren and Martha Stewart.

Notable clients

 * Jacqueline and John Kennedy
 * Sarah, Duchess of York
 * Brooke Astor
 * Jane and Charles Engelhard
 * Babe and Bill Paley
 * Betsey and Jock Whitney
 * Ann and Gordon Getty

Later life
Parish stayed on as a partner in the firm into her 80s. She died September 8, 1994, in Maine.

title: Sister Parish


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Eosin

Eosin is the name of several fluorescent acidic compounds which bind to and form salts with basic, or eosinophilic, compounds like proteins containing amino acid residues such as arginine and lysine, and stains them dark red or pink as a result of the actions of bromine on eosin. In addition to staining proteins in the cytoplasm, it can be used to stain collagen and muscle fibers for examination under the microscope. Structures that stain readily with eosin are termed eosinophilic. In the field of histology, Eosin Y is the form of eosin used most often as a histologic stain.

Etymology
Eosin was named by its inventor Heinrich Caro after the nickname (Eos) of a childhood friend, Anna Peters.

Variants
There are actually two very closely related compounds commonly referred to as eosin. Most often used is in histology is Eosin Y (also known as eosin Y ws, eosin yellowish, Acid Red 87, C.I. 45380, bromoeosine, bromofluoresceic acid, D&C Red No. 22); it has a very slightly yellowish cast. The other eosin compound is Eosin B (eosin bluish, Acid Red 91, C.I. 45400, Saffrosine, Eosin Scarlet, or imperial red); it has a very faint bluish cast. The two dyes are interchangeable, and the use of one or the other is a matter of preference and tradition.

Eosin Y is a tetrabromo derivative of fluorescein. Eosin B is a dibromo dinitro derivative of fluorescein.

Use in histology
Eosin is most often used as a counterstain to hematoxylin in H&E (haematoxylin and eosin) staining. H&E staining is one of the most commonly used techniques in histology. Tissue stained with haematoxylin and eosin shows cytoplasm stained pink-orange and nuclei stained darkly, either blue or purple. Eosin also stains red blood cells intensely red.

For staining, eosin Y is typically used in concentrations of 1 to 5 percent weight by volume, dissolved in water or ethanol. For prevention of mold growth in aqueous solutions, thymol is sometimes added. A small concentration (0.5 percent) of acetic acid usually gives a deeper red stain to the tissue.

It is listed as an IARC class 3 carcinogen.

Other uses
Eosin is also used as a red dye in inks; however, the molecule, especially that of eosin Y, tends to degrade over time, leaving behind its bromine atoms, hence causing paint incorporating such a dye to obtain a darker brown tinge over time. A notable user of eosin dye was the post-impressionist painter Van Gogh.

title: Eosin


text: User:FvdP/Sandbox

title: User:FvdP/Sandbox


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State highways in New Jersey

In the U.S. state of New Jersey, the New Jersey Department of Transportation (NJDOT) maintains a system of state highways. Every significant section of roadway maintained by the state is assigned a number, officially State Highway Route X. Interstate Highways and U.S. Highways are included in the system. State Routes are signed with the circular highway shield.

Numbering and other details
Major routes are typically assigned one- or two-digit numbers, except where the numbers were chosen to match an adjacent state. Most numbers from 1 to 50 follow a general geographic pattern assigned in 1927 (details below), but later additions are more haphazard. The only suffixed routes other than U.S. Route 9W are short unmarked connections such as Route 76C, an elongated ramp to Interstate 76. The only special state route is Route 33 Business; U.S. Route 1 Business and U.S. Route 1-9 Truck are also present.

A statewide system of major county highways is numbered by the NJDOT in the 500-599 range; these are known as 500 Series County Routes. All counties but two – Bergen and Monmouth – number their other county routes beginning at 600. County routes in Bergen County range from 2 to 134; those in Monmouth County range from 1 to 57. Ocean County also has a system of minor county routes with numbers ranging from 3 to 111 in addition to those beginning with 600.

History
The initial system of state highways was legislated in 1916, and by 1917 the state began to take over roads from the counties. By 1922, the routes were marked. U.S. Route numbers were added to some of the main routes in 1927.

After a failed renumbering in 1926, a completely new numbering was instituted in 1927, with only four sections of pre-1927 routes remaining as their old numbers suffixed with N - Route 4N, Route 5N, Route 8N and Route 18N. The new numbers followed a general geographical pattern from north to south - 1–12 in northern New Jersey, 21-28 roughly radiating from Newark, 29-37 from Trenton, 38-47 from Camden, and 48–50 in southern New Jersey. Every state highway, even those forming parts of U.S. Routes, was assigned a number. Some short routes were assigned prefixes of S; for instance, Route S26 was a spur of Route 26 south of New Brunswick. One prefixed and suffixed route - Route S4A - was also defined as a second spur of Route 4. As the system grew, some numbers beyond 50 were used, but most new routes received prefixed or suffixed labels.

On January 1, 1953, the second renumbering was implemented. This was not a complete renumbering; instead, the only renumbered routes were those that violated a few guidelines — primarily long concurrencies, especially with U.S. Routes; duplication of numbers with U.S. routes; suffixed routes; and number changes across state borders. Some routes were shortened to remove concurrencies, while others, like Route 25, completely disappeared. Numbers from 53 to 93 were assigned to renumbered routes, while shorter ones received numbers from 152 to 165. The two planned toll roads — the Garden State Parkway and New Jersey Turnpike - received only those names; they had been numbered 4 Parkway and 100.

The majority of new numbers assigned since the 1953 renumbering have been from 166 to 185, with some short routes instead receiving numbers based on their parents (for instance, an old section of U.S. Route 9 became Route 109). Minimal disruption was caused by the assignment of Interstate Highway numbers in the late 1950s. In the 1990s, the majority of special U.S. Highways were renumbered as state routes.

Interstates
See: List of Interstate Highways in New Jersey

US Routes
See: List of U.S. Routes in New Jersey

State highways
See: List of state highways in New Jersey

Parkways and turnpikes

 * Atlantic City Expressway (unsigned Route 446)
 * Garden State Parkway (unsigned Route 444)
 * Palisades Interstate Parkway (unsigned Route 445)
 * New Jersey Turnpike (Northern section part of I-95 and southern section unsigned Route 700)
 * Pearl Harbor Memorial Turnpike Extension (southernmost portion of I-95)

Connector roads

 * Garden State Parkway exit 105 (unsigned Route 444S)
 * Garden State Parkway exit 117 (unsigned Route 444R)
 * Atlantic City–Brigantine Connector (unsigned Route 446X)

title: State highways in New Jersey


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Tom Jones (1963 film)

Tom Jones is a 1963 British period comedy film, an adaptation of Henry Fielding's classic 1749 novel The History of Tom Jones, a Foundling. It is directed by Tony Richardson from a screenplay written by John Osborne, and stars Albert Finney as the titular character. The cast also features Susannah York, Hugh Griffith, Edith Evans, Joan Greenwood, Diane Cilento, and David Warner in his film debut.

The film was a success both critically and at the box office, and was one of the most critically acclaimed and popular comedies of its time. At the 36th Academy Awards, it was nominated for ten Oscars, winning four: Best Picture, Best Director for Richardson, Best Adapted Screenplay and Best Original Score. It also won two Golden Globe Awards, including Best Motion Picture – Musical or Comedy, and three BAFTA Awards, including Best Film and Best British Film.

In 1999, the British Film Institute ranked it as the 51st greatest British film of the 20th century.

Plot
Squire Allworthy returns to his estate and discovers a baby in his bed. Thinking that one of his maids, Jenny Jones, and his barber, Mr. Partridge, conceived the illegitimate baby out of lust, the squire banishes them. He names the infant Tom Jones and chooses to raise him as his own son; Tom grows up loving him like a father.

Tom becomes a lively young man whose good looks and kind heart make him popular with women. He truly loves only Sophie, daughter of a neighbour, who returns his love. Sophie, too, must hide her feelings while her aunt and father, Squire Western, try to coerce her to marry someone they think more suitable, Mr. Blifil, the son of Squire Allworthy's sister, Bridget.

When Bridget dies unexpectedly, Blifil intercepts a letter that his mother intended for his uncle's eyes only. But after his mother's funeral, Blifil and his two tutors, Mr. Thwackum and Mr. Square (who had also tutored Tom), join forces to convince the squire that Tom is a villain. Allworthy gives Tom a substantial cash legacy and sends him out into the world to seek his fortune.

Tom is robbed of his fortune, but soon meets his supposed father, Mr. Partridge, who becomes his manservant. Tom rescues a Mrs. Waters/Fitzpatrick from a British soldier, but ends up in a duel and is later jailed and about to be hanged for murder before it is discovered that the letter that Bridget had written to Squire Allworthy confessed that she is Tom's mother. It is discovered also that Tom had not murdered Mr. Fitzpatrick in the duel.

They are able to reach the jail in time to save Tom from hanging. Tom and Sophie are able to marry with everyone's blessing.

Development
While the British production company Bryanston Films was hesitating over whether to make the film in colour, it went bankrupt. United Artists stepped in to finance the film and make it a colour production.

Overall the production faced challenges of disasters, near-disasters and squabbles caused by films being shot on location in the spotty English weather. The film has an unusual comic style: The opening sequence has subtitles and brisk action in the manner of a silent film. Later in the film, characters sometimes break the fourth wall, often by looking directly into the camera and addressing the audience. In one scene the character of Tom Jones suddenly appears to notice the camera and covers the lens with his hat. Another unusual feature is an unseen narrator, voiced by Micheál Mac Liammóir. His mock-serious commentaries between certain scenes deplore the action of several characters as well as the weaknesses in human character, and he provides a poetic denouement for the film.

Despite its success, director Tony Richardson said that he was dissatisfied with the final product. In his autobiography, Richardson wrote that he "felt the movie to be incomplete and botched in much of its execution. I am not knocking that kind of success – everyone should have it – but whenever someone gushes to me about Tom Jones, I always cringe a little inside."

Writing
John Osborne, in adapting the screenplay from Henry Fielding's novel The History of Tom Jones, a Foundling (1749), truncated and removed notable episodes and characters from the book. He ends the film with the narrator's quoting from a portion of John Dryden's poetic translation of Horace's Ode: To Maecenas: "'Happy the man, and happy he alone, He who can call today his own: He who, secure within, can say, Tomorrow do thy worst, for I have lived today.'"

Filming
Castle Street in Bridgwater, Somerset was used as a location in several scenes. Cinematographer Walter Lassally has said that he thought the location unit got on very well together under the circumstances and that the experience was satisfying. He thought Richardson rather lost his way in post-production, endlessly fixing what was not really broken.

Release
The film was reissued in 1989 by The Samuel Goldwyn Company. For this release, Richardson trimmed the film by seven minutes. It is available through the Criterion Collection, paired with the original version.

Critical reception
Time magazine's review stated "The film is a way-out, walleyed, wonderful exercise in cinema. It is also a social satire written in blood with a broadaxe. It is bawdy as the British were bawdy when a wench had to wear five petticoats to barricade her virtue".

Rich Gold of Variety wrote "Though Tom Jones is a period piece and very different it has the same lustiness and boisterous content with which to project the star. It should breeze its way cheerfully through the box office figures. It has sex, Eastmancolor, some prime performers and plenty of action. Tony Richardson has directed John Osborne's screenplay with verve, though, occasionally, he falls back on camera tricks and editing which are disconcerting".

On Rotten Tomatoes, the film has an approval rating of 81% based on retrospective reviews from 42 critics, with an average rating of 7.5/10. The site's consensus states: "A frantic, irreverent adaptation of the novel, bolstered by Albert Finney's courageous performance and arresting visuals." On Metacritic, it has a score of 77 out of 100, based on reviews from 15 critics, indicating "generally favorable reviews"..

Box office
The film was financially successful on its initial release in 1963. It came third for the year in British box-office receipts, and was the fourth most popular in the United States. Produced on a budget of $1 million, it earned over $17 million in theater rentals from the United States and Canada, and another $4 million in markets other than the UK and U.S. Finney received 10% of the film's earnings.

Accolades
Ilya Lopert accepted the Academy Award for Best Picture on behalf of the producers. After his death, the Oscar was given by his estate to Albert Finney.

Tom Jones is the only film in the history of the Academy Awards in which three actresses were nominated for the Academy Award for Best Supporting Actress. Margaret Rutherford won the category for her role in The V.I.P.s.

The film's five acting nominations and no wins matched the record set for nominations by Peyton Place in 1957. It was the last film to match this record.

title: Tom Jones (1963 film)