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Followingthedissolutionofthecompanyin1941,Rittmanworkedasaconcertpianistforthe
choreographerAgnesdeMille,commencingaclosecreativerelationship.Whileworkingwith
DeMille,Rittmanwashiredasdancearrangerin1943fortheKurtWeillmusicalOneTouchof
Venus.Inarrangingthe
balletmusicinBloomerGirl(1944);herrolebehindthescenesbecame
integraltothemusicalcontinuityincountlesstheatricalproductions,integratingacomposer’s
themeormelodyintotheballetorinterlacingincidentalmusicforatheatrical/dramaticeffect.
Inshort,Rittman’sspecialcallingwastransformingmusicintomyriadarrangements,whetherit
wasdance,choral,theatrical,orincidental.
In1945,RittmanbeganherassociationwithRodgersandHammerstein.Forthemusical
Carousel,shewasresponsibleforthearrangementofmusictoAgnesdeMille’sdances.
RodgersandHammersteinhiredheragainin1949ascomposerforincidentalmusicand
musicalcontinuityin
SouthPacific(1952,directedbyJoshuaLogan)whichranfor1,925
performances.(InalateinterviewwithTrudeRittmanbyNancyReynoldsfortheNewYork
PublicLibraryDanceDivision,RittmandescribedapproachingSouthPacificfromthepointof
viewofRussiantheaterasinfluencedbyConstantinStanislavsky.)Severalaccounts
also
describeherasbeing“billedastheassistanttoMr.Rodgers.”Rittmanwentontoworkwith
RodgersandHammersteinonmanyotherprojects.ForTheKingandI(1951)shecomposed
interludesandthedancesequencethedance“TheSmallHouseofUncle
Thomas,”choreographedbyJeromeRobbins.Robbins’sexoticstagingideasinspiredRittmanto
explorenewapproachesofmusicalexpression.TheSoundofMusic(1959)summoned
Rittman’sconservativecompositionaltraining,demonstratedbyheruseofGregorianChants
andcontrapuntaltechniquestoelevatethedramaticcontentofthenun’sandchildren’schoral
singing.
InadditiontoworkingwithRodgersandHammerstein,TrudeRittmanalsocollaboratedonall
themusicalsofAlanJayLernerandFrederickLoewe,beginningwithBrigadoon(1947,
choreographybyAgnesdeMille).OtherLernerandLoewecollaborationsincludedPaintYour
Wagon(1952,choreographybyAgnesdeMille),MyFairLady(1956,choreographybyHanya
Holm,andits1976revival),Camelot(1961,choreographybyHanyaHolm)andGigi(1973,
choreographybyOnnaWhite).RittmanalsoworkedwithLernerandBurtonLane,composing
musiccontinuityanddoingvocalarrangementsforOnaClearDayYouCanSeeForever(1965).
OneyearafterMossHartcommissionedRittmantocomposethemusicforhisplay,TheClimate
ofEden(1952),shebecamethemusicalsupervisorandcomposedoriginalandarrangedballet
scoresfor“AgnesdeMilleDanceTheater”priortothecompany’sU.S.tourin1953‐54.
RepertoryincludedTheCherryTreeLegend(anoriginalballetbyRittman),andtwoLernerand
Loewe
works,PaintYourWagonandBrigadoon.PaintYourWagon,withadditionaloriginal
musicbyRittmanbecamethesubjectofGoldrush(mentionedbelow).Musicfromdancesof
Brigadoonwasusedforanothertelevisionspecialentitled,BitterWeird(1964).
HavingworkedwithheronSouthPacific,JoshuaLoganagaincalledonhertowritethe
incidentalmusicandmusiccontinuityarrangementsforthemusicalWishYouWereHere(1952)
andthedanceandincidentalmusicarrangementsforFanny(1954).Rittmanprovidedthe