Illustrations are like soft memories and evoke warm thoughts of childhood and this song. I believe this book works VERY well for young and older children. I love the sublty of imagery in clouds at end of book when children are staring up at sky imagining "favorite things". Both my two and 4 year old can sing this song now. Words and music are included in back to make this a BONUS for anyone musically inclined. A must have for anyone who likes the song!

I discovered this book only a few days after watching a rerun of the wonderful movie "The Sound of Music." This book really enhances the beautiful lyrics of the song from that movie called "My Favorite Things" with lovely, heartfelt illustrations filled with nostalgia and the innocence of children. The colors glow with soft light and scenes are either set in cozy, homey environments or in serene natural settings. The lyrics and music are printed at the back of the book so you can play it on the piano for your children or just sing it to them as you go along. My children are all grown up and no grandkids yet, so I know from experience that it's quite alright to sing it to yourself, too! This is a delightful book.

I'm a mom of few known lullabys. This song I knew and sang it to my infant daughter many times in the middle of the night. I was delighted to find this book. I love to sing the song as we page through the lovely illustrations. My daughter always relates to when 'the bee stings' and the girl is sad and getting a hug from Mom. This is a book I can read more than once, even after a busy day in toddlerhood. My daughter is starting to sing the song on her own now, which is adorable and rewarding. My husband likes this book too.

This book is so wonderful! As a Kindermusik teacher and music therapist, I know the value and appeal this book has on children of all ages. Please consider re-printing it!

The illustrations for this classic song, help even the youngest little people sing along. It is our family favorite and I very much want to bring it to the hearts of all of my Kindermusik students as well. PLEASE PLEASE PLEASE consider reprinting this timeless book. I have been telling my classes about it and now..... THX!

It is a shame that this book is out of print; anyone who missed it really is unfortunate. The pictures are very vivid and expressive as well as pretty. The rhyming, familiar song will soon become a favorite of any person, young or old. Three years after seeing it, and I can't forget it. Please republish it so I can purchase several.

The greatest thing to come out since the Musical itself, Wonderful, educational, fantastic reproductions of the 19th century musicals!

Richard Fawkes' The History Of The Musical is a flawlessly recorded, 4 cassette, unabridged audiobook showcasing the development of the musical, from its origins in European light opera and operetta to its it's golden age in the American theater. The great song composers and lyricists are presented including Jerome Kern, Irving Berlin, George Gershwin, Rodgers and Hammerstein, Lerner and Loewe, Lloyd Webber, and Sondheim. The wonderfully narrated text by the award-winning Broadway singer Kim Criswell is enhanced with almost one hundred famous musical extracts. The History Of The Musical is a "must" for personal, academic, and community library music history and audiobook collections.

Surely there must be a medal somewhere out there for Naxos records and for author Richard Fawkes. After two superb sets of tapes and CDs titled "The History of Classical Music" and "The History of Opera," there is now available Mr. Fawkes' "The History of the Musical" (NA422712). Here we have singer/actress Kim Criswell narrating on 4 CDs or tapes just under 320 minutes of exactly what the title promises.

Starting with "The Beggar's Opera" of 1728, the history of the genre is traced up to the time of writing, meaning "Les Miserables." Along the way, we consider operetta, the English Music Hall, American vaudeville, the review, the book show, the familiar, the off-beat, the dead ends, the highly influential. And the London stage gets a good deal of attention also, thereby introducing a lot of material not very well known to those better versed in the American musical.

As with any good effort of this sort, a strong connection is drawn between the changing times and the changing concepts of what a musical should be. The importance of "Show Boat" is not glossed over, for example, nor is the other shock caused by "Pal Joey." The reliance of Lloyd Webber on staging is mentioned but not his lack of more than one fairly memorable melody per show. In general, the tone is upbeat and positive.

But this is a recording. While it could never include all the information found in a book, its dozens of recorded examples are what makes this set priceless. Where possible, the oldest "original cast" recordings are used. On the other hand, there are some strange exceptions such as "Hey there" from "Pajama Game" being sung not by John Raitt but by Ron Raines on the Jay recording. I suspect this is because Criswell is in the cast of that set.

Again, this set is in tape and CD formats. For educational purposes, the CDs offer direct access to any show under discussion--and the CDs are very generously divided into nearly 200 tracks! Very considerate of the producers. The booklet offers a nice little personal essay by Criswell. So if I have any complaint about this set, it is that I wish it were twice as long.

This is a wonderful children's version of "South Pacific". (Not the score of South Pacific as mentioned in the paperback reviews.) The illustrations in my first edition of 1992 are wonderful muted tones done in a charming old-fashioned style - not sepia as mentioned in the two professional reviews. A wonderful introduction to South Pacic, the literature of James Michner, or World War II history. Altogether highly recommended. (Refers to the Hardback version.)

If you're interested in this, then don't hesitate to get it! This Vocal Score contains all music from the show (from the Overture to bows and exit music).

Although "The Sound of Music" is their most popular collaboration, "South Pacific" is arguably Rodgers and Hamerstein's finest work. It is also the best scored. This is evidenced by the fact that when the film version was recorded, much of the scoring was kept as it was originally performed on Broadway. Unlike many conductor's scores, most of "South Pacific" is entirely playable on the piano. The occasional omission of a harp, woodwind, or string line from the reduction will not detract from rehearsal. For fans of musicals, conductors, arrangers, and singers, this is a "must-add" to your collection.

How could you not love this book; some of the greatest songs written for american theatre illustrated by one of the great artists of children's books. If you have a small son or daughter, buy this book! ESPECIALLY if they:

1: Love musicals (like my son)
2: Love Rosemary Wells (like my son)

Well, I was able to judge this book by its cover: I love Rodgers & Hammerstein songs (you don't even have to be a great singer to pull them off!), and I love Rosemary Wells' witty illustrations. The marriage of songs and pictures is magical. Only the verse of each song is in the illustrated section of the book, but that won't stop you from singing the whole song if you (and your child) feel like it! A songbook with complete lyrics is included, so get into that rocking chair with or without your favorite kid, and belt 'em out!

The table of contents that Amazon has listed here is from the 1986 edition and is very misleading and an injustice to this important and valuable book. The new 2001 edition has 19 chapters and is very expanded and reorganised to include many new communicative approaches. Look at another online bookseller for a proper table of contents.

Now that it seems certain that the acclaimed British revival of Rodgers and Hammerstein's OKLAHOMA! is headed to Broadway, perhaps the publishers of this invaluable book will re-release it? Max Wilk has assembled facts, memorabilia (including original ads, costume designs, etc.) cast photographs, interviews with the authors...in fact, everything that has anything to do with this musical (including short, contemporary comments by no less than director/producer, Harold Prince and composer/lyricist, Stephen Sondheim) which became a theatrical, historical phenomenon.

Wilk has an easy, very readable style and the story of how this show came to be and how, in fact, Richard Rodgers and Oscar Hammerstein ever came to work together (this WAS, remember, their very first collaboration), how the musical was cast, rehearsed, directed, choreographed, had its title changed from "Away We Go!", how theatre-goers begged and bartered for impossible-to-purchase tickets, and how this truly inspired musical "took off like a prairie wildfire" is exciting and a real page-turner.

If you have any interest in live theatre, in musicals, in America during WW2, I urge you to, somehow, find this fascinating and handsome book.

This is my favorite R&H show! I own all of the Vocal Scores, and love this one a little bit more than the others. All music from the show is contained in this Vocal Score, from the Overture to bows and exit music. This is the music from the original broadway production, and from the version that is released from the Rodgers and Hammerstein Music Theatre Library. (...)

Great book. Love the musical and makes you feel as if you were seeing it on stage.

I was glad to see that this book is still available, so that other people can also enjoy it. I read "Musical Stages" in the early 80's, and my admiration for Mr. Rodgers increased considerably on learning about his personal and professional life in his own words. I was particularly delighted with stories like the one about "Blue Moon", which seemed destined to oblivion, but instead became one of his greatest hits ever. Or the ones about the way he worked with his partners Lorenz Hart and Oscar Hammerstein II, and how he dealt with Broadway and Hollywood people, producers, musicians, fellow composers... Above all, what strikes the reader most is the genuine love Mr. Rodgers always had for the stage. The anxieties, curiosities and goings-on involved in the production and staging of his Broadway works made me quite envious of those who were able to see the premieres of shows such as "On Your Toes", "Pal Joey", "Oklahoma", and so on, which Mr. Rodgers relates in such a vivid way. I was lucky enough, though, to see Yul Brynner in the 1978 revival of "The King and I" at the Uris Theater in New York. It was a magic moment I will treasure forever. Every person of good taste in this world owes a lot to this determined and sensitive man that managed to create a lot of the best music of this century, regardless of national, ideological or whatever boundaries you may think of. And, on top of that, Mr. Rodgers tells us his wonderful life story in a style that echoes the irresistible charm of his immortal melodies. For better enjoyment of this book, I recommend that you read it with your CD player on with, for instance, the soundtracks of Mr. Rodgers' shows and movies, or compilations and/or albums dedicated to his music by the likes of Billie Holiday, Ella Fitzgerald, Anita O'Day, Bing Crosby, Maurice Chevalier, Frank Sinatra and Tony Bennett. Like me, you will thank God for the existence of someone like Mr. Rodgers, and for the legacy he's given us.

There are a handful of composers of American popular music whose body of work is revered generation after generation. Kern, Arlen, Gershwin, and Loewe come to mind. But at the top of the list is Richard Rodgers.

In my opinion, Rodgers is the greatest songwriter in the history of Broadway and popular music. His range was simply astonishing. He could write jubilant, folksy music as in "Oklahoma" or jazzy sophisticated tunes as found in "Pal Joey". He could create soaringly romantic melodies such as those in "The King and I" or inspirational and spiritual ballads as presented in "Carousel". Many of his songs have become popular standards as well.

Rodgers adapted brilliantly to a variety of subject matter. And the longevity of his illustrious career is enviable. "Musical Stages" not only chronicles Rodgers' life and work, but it is also an overview of the development and maturation of American musical theater to which Rodgers contributed mightily.

In this autobiography, you will get to know some of the true giants of American popular music in particular Rodgers' two lyricists: the impish, undisciplined, yet lovable genius Lorenz Hart and the wise and idealistic Oscar Hammerstein II. Both of these men wrote many of the best lyrics ever composed for Broadway or popular music.

You'll also meet acting luminaries such as Yul Brynner, Gertrude Lawrence, and Mary Martin among others. "Musical Stages" is a rich addition to any theater and popular music buff's library. Read it with delight!

(Note: Portions of this review have appeared in lesser detail elsewhere.) Simply stated, Richard Rodgers is America's finest composer. In our history, no other composer's music equals the consistent and prolonged quality, innovativeness, range, and sublime beauty of his compositions. Rodgers'exquisite, unforgettable melodies are crafted with such subtle ingenuity and sophistication that they never lose their freshness or their appeal.

Rodgers' musical genius was matched in two legendary partnerhips, the first with lyricist Lorenz Hart, and the second with librettist-lyricist Oscar Hammerstein II. Rodgers' collaboration with these two gifted men elevated and transformed musical theater into a true and distinctive American art form.

There is a knee-jerk tendency by a few so-called musical "experts" to site Gershwin as the greatest American composer. But discerning authorities and audiences know better. The ENTIRE BODY of Richard Rodgers' work stands the test of time better than Gershwin's, or for that matter, better than the music of Berlin, Kern, Porter, and Arlen, all gifted composers.

Rodgers' music is universally admired and respected generation after generation among all kinds of audiences. Few, if any of his compositions sound dated which cannot be said for a significant portion of Gershwin and other composers' music.

Rodgers' music is written so brilliantly that it seems organic, as if nature itself had perfectly strung together a series of notes which sound no less than heavenly, and which seem as if they could not have been structured in any other way. In some of Gershwin's music, particularly "An American in Paris" and "Porgy and Bess", the music seems stilted, grandiose, even pretentious.

You never get that feeling with a Rodgers' composition. His music always has a quality of lightness, fluidity and sponteneity something missing in portions of Gershwin's music. Some of Gershwin's music feels leaden and redundant unlike Rodgers' works.

The breadth of Rodgers' range as a composer was limitless. And no other composer was better than Rodgers in translating character and plot into music. Here is a man who wrote scores perfectly suited to shows as diverse as "Oklahoma", "Pal Joey", "Carousel", "Sound of Music", "Cinderella", "King and I", "No Strings", etc. The list is impressive.

"Musical Stages" offers a detailed account of Rodgers' life and his incomparable career. In it, you will meet Rodgers' two most famous collaborators the undisciplined, gifted, and lovable Lorenz Hart, and the idealistic, eloquent, and reliable Oscar Hammerstein II. Rodgers also reveals behind the scenes stories about Mary Martin, Yul Brynner, Gertrude Lawrence, Julie Andrews, and other luminaries of the musical theater.

This autobiography should be required reading for fans of musical theater and popular music.