Liliom in a sentence

Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself.

In Mr. Mundreczo’s version, the drama of Liliom’s fate is framed by his climactic trip to the hereafter, where he is called to account for his sins, including suicide and domestic violence.

Mr. Mundruczo’s depiction of these travelers as uptight and judgmental sometimes borders on caricature, and it often seems to be a commentary on political correctness as much as on Liliom’s behavior.

At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical.

Fordin, pp. 156–57 The opening carnival scene in Liliom inspired the pantomime that begins Carousel.

Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard.

Hammerstein and Rodgers returned to the Liliom project in mid-1944.

He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge.

Hischak, p. 39 The New York Times 's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play.

Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory.

Liliom ( Joseph Schildkraut ) offers Louise (Evelyn Chard) the star he stole.

Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it.

On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker.

Secrest, p. 273 In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey.

The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances.

The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed).

They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre.

With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant.