From Here to Eternity (musical)

The musical is set in 1941, at the Schofield Barracks in Hawaii,[1] in the months[2] leading up to the Attack on Pearl Harbor.[3] The story tells the tale of G Company, in particular First Sergeant Milt Warden, who begins an affair with his captain's wife Karen,[4] insubordinate soldier[5] and male hustler Maggio[6] and Private Robert E. Lee Prewitt, an infantryman from Kentucky and self-described "thirty-year man" (a career soldier),[7] who falls in love with prostitute Lorene.[8] Because he blinded a fellow soldier while boxing, the stubborn Prewitt refuses to box for his company's outfit led by Captain Dana "Dynamite" Holmes and then resists the "Treatment,"[9] a daily hazing ritual in which the non-commissioned officers of his company run him into the ground.[10][11]

From Here to Eternity's author James Jones

The basis of the musical is the 1951 novel From Here to Eternity by James Jones.[12] In 1941, Jones was serving with the US Army in Hawaii, at the time of Pearl Harbor, and the novel was loosely based on his experiences[13] in the 27th Infantry Regiment.[14] It focuses on the lives of a group of soldiers in the months leading up to the attack,[15] in particular Private Prewitt, a boxer who no longer wants to fight having blinded an opponent, and Sergeant Milt Warden, who has an affair with the wife of his commanding officer.[16]

James's story was censored by its publisher, Scribner[17] as it would not allow profanity and gay prostitution.[18] to remain in the text.[19] Jones fought the censorship but had to back down;[17] despite this it won the National Book Award for Fiction in 1952[20] and is recognised as one of the twentieth century's best American novels. The title of From Here to Eternity is inspired by Rudyard Kipling's poem "Gentlemen-Rankers", in particular the line "damned from here to Eternity".[21] Two years later in 1953, it was adapted into a film starring Montgomery Clift, Burt Lancaster, Deborah Kerr, Frank Sinatra, Donna Reed and Ernest Borgnine[22] which achieved success at the box office and won eight Academy Awards, including Best Picture.[23] The movie was also initially deemed controversial because of the source text's critical views on the Army, with minor changes being made to the script to gain the military's co-operation.[24] The uncensored version of the novel was released in May 2011, initially as an e-book.[17]

The idea for the musical came from Stuart Brayson, who had been sending cassette tapes with music ideas to Tim Rice since they had first met in the 1980s,[25] when Brayson was a member of the band Pop.[26] In 2002, Brayson sent Rice a tape of music and lyrics to form the basis of a stage version of From Here to Eternity.[26] Rice liked the idea but only intended to produce the show,[27] however after Bill Oakes had been hired to write the book gaps appeared where new songs were needed and some no longer fitted within the context of the show.[27] Rice agreed to write around six new songs,[28] but ultimately ended up writing around 90% of the show's lyrics inspired by Brayson's original lyrics.[26] On the subject Rice said: "Stuart's were very good, but they weren't theatrical and there is a difference. I often wish I could write great rock lyrics, but I can't, however, I can do reasonable lyrics within the context of a show. There are people who can write good tunes, but few who can do theatrical lyrics."[28]

In May 2011, Tim Rice and Lee Menzie announced that an adaption was being planned.[29] Rice acquired the stage rights at an initial cost of around US$40,000,[30] with the intention of opening the show in London the following year.[31][32] Although the show did not ultimately open until 2013, a workshop of the show took place in 2012.[27]

As the show is based on the uncensored novel released in 2011, rather than the 1953 film adaptation,[6] it contains references to prostitution and gay sex, as well as the Army's investigation into them, that the film did not feature.[27] The right to create the musical adaptation came with the condition that it had to be based on the original book. James Jones's daughter Kaylie and son Jamie were in the audience for the show's opening night in London. During its preview period some people walked out of the performance, having been unprepared for the nudity and swearing in the production.[33] Darius Campbell who played First Sergeant Milt Warden, said that the "James Jones novel really portrayed homosexuality and prostitution in the way that it existed in those days and we've dived in head first. Maybe some of the nudity, swearing and explicitness have been too much for them, but a younger audience and an audience who have loved the film – and wanted to see more – have been giving us standing ovations and for that we are all grateful."[34] Kaylie admitted they had doubts about the idea of the show when it first came up, but added that "I'm thrilled—it's so sophisticated and moving." She also noted that she "was so delighted they put in the gay bar scenes, because my dad said this is just the way it was back then" and that "my father would have been amazed".[34]

Brayson's music features a mix of blues, swing,[21] big band, and rock 'n' roll numbers.[64] The musical uses a fifteen-member orchestra consisting of keyboard, cello, ukulele, flute, saxophone, clarinet, flugelhorn, trumpet, bugle, trombone, tuba, French horn, guitar, bass, drums, percussion and harmonica.[65] On the show's music Alexander Gilmour, writing for Financial Times said that the show: "has half a dozen numbers that bring the house down", and that "it feels grown-up. It has a certain grit. It's moving. You might just cry, fall in love, hum yourself to sleep to the tune of 'Thirty Year Man', wake up and join the army."[1]

Michael Billington of The Guardian noted that the original novel had helped offset overly heroic images of the American soldier, but in the wake of Abu Ghraib, the view of the military was already mixed, "why now, and what does music add to the story?"[74] Simon Edge of the Daily Express deemed the show "a commendably ambitious work that makes a refreshing addition to the West End menu."[8] Paul Taylor of The Independent suggested, "For all the show's many defects, though, you come away impressed by its seriousness of purpose".[9]

Taylor praised the music: "Brayson's catchy score, which moves deftly through swing, blues, jazz and early rock'n'roll can rise to good old showbiz brassiness when needed".[9] Henry Hitchings of the Evening Standard gave a mixed view of the music, "There are seductive melodies and a couple of genuinely catchy songs. But it never settles into a single confident idiom, and between the big numbers there are lulls, especially in the overlong first half."[75]

Taylor predicted on 24 October 2013, "Wags have quipped that it should be called From Here to November. But I reckon it's going to survive quite a bit longer than that."[9]

On 6 December 2013, it was announced the production had received four WhatsOnStage Awards nominations,[76] including Best New Musical.[77] Ultimately the production did not win in any of the four categories.[78] Although eligible,[79] the musical did not receive any nominations for the 2014 Laurence Olivier Awards.[80][81]

• From Here To Eternity's channel on YouTube
• From Here to Eternity on Twitter