“Dixie Carmen”: War, Race, and Identity in Oscar Hammerstein's Carmen Jones (1943)

ANNEGRET FAUSER

doi:10.1017/S1752196310000015

“Dixie Carmen”: War, Race, and Identity in Oscar Hammerstein's Carmen Jones (1943)

Published online by Cambridge University Press: 15 April 2010

ANNEGRET FAUSER

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Abstract

In December 1943, an all–African American cast starred in the Broadway premiere of Carmen Jones, Oscar Hammerstein II's adaptation of Georges Bizet's Carmen. When Hammerstein began work on Carmen Jones a month after Pearl Harbor, in January 1942, Porgy and Bess was just being revived. Hammerstein's 1942 version of Carmen, set in a Southern town and among African Americans, shows the influence of the revised version of Porgy and Bess, with Catfish Row echoed in a cigarette factory in South Carolina and the Hoity Toity night club. It took Hammerstein more than eighteen months to find a producer, and when the show opened by the end of 1943, the setting in a parachute factory and urban Chicago reflected new priorities brought on by wartime changes. Commercially one of the most successful musical plays on Broadway during its run of 503 performances, Carmen Jones offers a window on the changing issues of culture, class, and race in the United States during World War II. New archival evidence reveals that these topics were part of the work's genesis and production as much as of its reception. This article contextualizes Carmen Jones by focusing on the complex issues of war, race, and identity in the United States in 1942 and 1943.

Type: Research Article
Information: Journal of the Society for American Music , Volume 4 , Issue 2 , May 2010 , pp. 127 - 174

DOI: https://doi.org/10.1017/S1752196310000015 [Opens in a new window]
Copyright: Copyright © The Society for American Music 2010

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