Throughout Allegro, Hammerstein and Rodgers offer their own insights into their contemporary medical world. Through how they depict physicians, patients, diseases and even doctor’s wives, they drew upon familiar images from popular culture to infuse their everyman morality tale with a sense of realism that heightens the modernist, experimental qualities of the production. In addition to Allegro, two films from the time, Arrowsmith (1931, based on Sinclair Lewis’s 1925 novel) and A Man to Remember (1938), both offer portrayals of the medical profession. Of special note in the score are its four ballet sequences, choreographed by Agnes de Mille, who also directed the musical early on, the waltz ‘Money Isn’t Everything’ and the motoristic title song and ‘Yatata’. The chapter concludes with discussions of the unrealized television version of Allegro and Stephen Sondheim’s Anyone Can Whistle, which is also on a medical theme and includes vestiges of Allegro.