Loverly:The Life and Times of My Fair Lady (Broadway Legacies) by McHugh, Dominic (best ereader for pc .TXT) 📗

1956 (Renewed) CHAPPELL & CO.

All Rights Reserved Used by Permission

“Say a Prayer” (from My Fair Lady)

Words by ALAN JAY LERNER Music by FREDERICK LOEWE

Copyright © 1956 (Renewed) CHAPPELL & CO.

All Rights Reserved Used by Permission

Pygmalion Waltzes (from My Fair Lady)

Words by ALAN JAY LERNER Music by FREDERICK LOEWE

Copyright © 1956 (Renewed) CHAPPELL & CO.

All Rights Reserved Used by Permission

“Shy” (from My Fair Lady)

Words by ALAN JAY LERNER Music by FREDERICK LOEWE

Copyright © 1956 (Renewed) CHAPPELL & CO.

All Rights Reserved Used by Permission

“What Do the Simple Folk Do?” (from Camelot)

Words by ALAN JAY LERNER Music by FREDERICK LOEWE

Copyright © 1960 (Renewed) ALAN JAY LERNER and FREDERICK LOEWE

Publication and Allied Rights Assigned to CHAPPELL & CO., INC.

All Rights Reserved Used by Permission

INDEX

Adler, Jerry

as director of 1976 revival, 183

as stage manager of original production, 179

Adler, Richard, 13

Allegro, 7, 24

Allen, Gene, 181

Allers, Franz

as conductor of 1976 revival, 183

as conductor of original production, 39, 96, 121, 129

as conductor of Russian tour, 179

Andreas, Christine, 183

Andrews, Anthony, 189

Andrews, Julie

acting problems of, 46

billing of, 29–30

Broadway run, 175, 206

casting as Eliza, 25, 27, 30

contract signing, 39

Equity problems of, 33–34

and film version, 181

hair color of, 43

Home, 41

late arrival to rehearsals of, 41–42

London transfer, 177–78

memories of “Shy,” 102, 104

as potential star of 1976 revival, 183

“Say a Prayer for Me Tonight,” 121

whistling prowess of, 36

Annie Get Your Gun, 8, 9, 201, 206

Anything Goes, 9, 201

Arlen, Harold, 7, 14

“The Ascot Gavotte”

derived from “Lady Liza,” 101

Freddy’s participation in, 155–57

interpretation in 1993 revival, 186

interpretation in 2001 revival, 189

manuscript sources for, 161–62

in movie adaptation, 182

musical style of, 198

original lyric, 216

in outlines of show, 58–61, 70–71, 77

scene in show, 56, 57, 75

structural position, 88, 89, 91, 93, 204

“Ballroom Intro,” 163

Barber, Elizabeth, 11

Barer, Marshall, 176

Beaton, Cecil

contract of, 40

design ideas, 35

diaries of, 3, 40

fees of, 33

film designs of, 181

hiring of, 11, 12, 21–22, 28, 30

production of Harrison’s costumes in London, 41, 43, 46

reproduction of original costumes for 1976 revival, 183

Beaumont, Hugh

as producer of Bell, Book and Candle, 32–33, 36–39

as producer of London My Fair Lady, 177

Bell, Book and Candle, 28, 30–32, 36–39, 177

Bennett, Robert Russell, 96, 122, 169

“The Ascot Gavotte” orchestrations, 162

“Bridge after Prayer” orchestrations, 121

“Dress Ballet” orchestrations, 109, 116, 117

“The Embassy Waltz” orchestrations, 164

“Entr’acte” orchestrations, 165

“Get Me to the Church on Time” orchestrations, 153

hiring of, 40, 46

“I Could Have Danced All Night” orchestrations, 130, 131

“I’m an Ordinary Man” orchestrations, 143

“I’ve Grown Accustomed to Her Face” orchestrations, 147–49

“Just You Wait” orchestrations, 129

“On the Street” orchestrations, 132–33, 157

Overture orchestrations, 123

“The Rain in Spain” orchestrations, 161

“The Servants’ Chorus” orchestrations, 160

“Why Can’t the English?” orchestrations, 142

“With a Little Bit of Luck” revision to orchestrations, 152

“Without You” orchestrations, 133

“Wouldn’t It Be Loverly” orchestrations, 125, 126

“You Did It” orchestrations, 165–66

Bernstein, Leonard, 14, 132, 196, 201

Block, Geoffrey, 159–60, 163, 182, 196, 203–4

Bock, Jerry, 12

Boy Friend, The, 26, 27, 33, 34, 41–42

Bratton, John W., 161

Brigadoon

genesis of, 7, 8, 10, 16, 39

musical style of, 95, 192, 196

similarity of name to Fanfaroon, 44

storyline of, 191, 201

Trude Rittmann’s association with, 42

Britton, Tony, 187

Brook, Peter, 12

Burton, Richard, 181

Busoni, Ferruccio, 197

Cahn, Sammy, 183

Call Me Madam, 8, 9, 15

Call Me Mister, 15

Callow, Simon, 187

Camelot

Franz Allers as conductor of, 39

resonance with Kennedy administration, 201

Richard Burton and Julie Andrews as stars of, 181

score, 192, 196

“What Do the Simple Folk Do?” 99, 100

Carousel, 42, 100, 144, 193, 200–201

Carroll, Paul Vincent, 14, 15, 16

chiaroscuro, 154

The Chocolate Soldier, 4, 5

Chodorov, Jerome, 14, 15, 16

choreography

“Dress Ballet,” 42, 111–18

Gower Champion as possible choreographer, 26

hiring of Hanya Holm for, 40

Michael Kidd’s aptness for, 10, 22

reconstruction for 1976 and 1981 revivals, 170, 183, 185

research for, 41

sources for, 3

Chorus Line, A, 183

cockney, 70–73, 76, 78–80, 90, 112, 126

Comden, Betty, 14

“Come to the Ball,” 77, 83, 90, 112–15

cutting of, 162, 171, 206, 207

reuse in “I’ve Grown Accustomed,” 148

sources for, 105–9

Company, 183

Conran, Jasper, 187

Cooper, Gladys, 183

Coote, Robert, 44, 176, 177

hiring of, 39, 42

in 1976 revival, 183

Coward, Noël

as possible composer of Pygmalion musical, 5

as possible Henry Higgins, 10–12, 21, 26, 176

Crawford, Cheryl, 6, 12

Cukor, George, 181–83

Damn Yankees, 198, 201

dance arrangements. See choreography

A Dancin’ Day. See Saints and Sinners

Day Before Spring, The, 7, 10, 39, 191–92

“Dear Little Fool,” 97

“Decorating Eliza.” See “Dress Ballet”

Devil’s Disciple, The, 4

diegetic music, 198

Diehl, Crandall, 111, 183, 185

Doolittle, Alfred P., 28, 73–82, 89, 151–54

Doolittle, Eliza

at Ascot, 56–57

casting of, 8–10, 26–27 (See also Andrews, Julie; Martin, Mary)

cockney dialect of, 73

in early outlines, 57–72

illegitimate background of, 75

romantic relationship with Higgins, 2, 51–53, 80–87

as vehicle of Shaw’s socialism, 49–51.

See also individual song titles

“Dress Ballet”

as part of cut sequence, 71, 77, 83, 105, 162

choreographic sources, 110–13

musical sources, 90, 109, 113–18

Dryden, John, 1

Durbin, Deanna, 10

Eason, Myles, 180

“The Embassy Waltz,” 66, 78, 91, 174, 198

musical sources for, 101, 109, 163, 164, 169

Erlanger Theatre, Philadelphia, 39, 47

“Entr’acte,” 165

Evans, Laurence, 41, 42, 45

and negotiations with Harrison, 30–32, 35–37, 40

and negotiations with MGM, 38

Evans, Maurice, 12

Eynsford Hill, Clara, 59

Eynsford Hill, Freddy

casting for, 36, 39

expansion of role, 56, 203

marriage to Eliza, 51–52

new action in Lerner’s version, 53

“On the Street Where You Live,” 59, 61, 89–90, 155–58, 198

original conception of, 64, 75, 82–83, 87

feminism, 187, 201, 209

Fiddler on the Roof, 201

Fields, Joseph, 14–16

“Finale ultimo,” 149

Fisher, Lola, 179

Flower Drum Song, 201

Forbush, Nellie, 12

Fox, Edward, 187

Frankenstein, 1

Freed, Arthur, 118, 181

Garebian, Keith, 160

Gardiner, Reginald, 177, 180

Garland, Judy, 10

Garland, Patrick, 184–85

genre, 183, 193, 196–99

Gentlemen Prefer Blondes, 10, 15, 21

Gershwin, George and Ira, 9, 201

“Get Me to the Church on Time”

generic markers of, 197

musical sources for, 151–54

structural function of, 90, 97

Gigi, 16, 40–42, 181, 192, 206

“In This Wide, Wide World,” 100

“Say a Prayer for Me Tonight,” 105, 118–21

Girl Crazy, 9, 201

“God’s Green World,” 191

Goethe, Johann Wolfgang von, 1

Grammer, Kelsey, 186

Grant, Cary, 180

Green, Adolph, 14

Gray, Dolores, 10, 12

Grease, 183

Guys and Dolls, 7, 10, 24

Halliday, Richard, 9, 23, 24

Hammerstein II, Oscar

advice to Lerner, 13

See also Rodgers and Hammerstein

Harnick, Sheldon, 12, 201

Harrison, Rex

approaches to, 11, 12, 13, 22, 28

Bell, Book and Candle production, 31–33, 34, 36–39

billing, 29

“Come to the Ball,” 105–9

contractual terms of, 28, 30

costumes, 41, 43

film version, 181–82

“A Hymn to Him,” 144

“Lady Liza,” 100

London production, 176, 177

Penguin edition of Pygmalion, 45–46

record contract, 40

revivals, 183–85

vehicle for, 4

“Why Can’t the English?” 135–36

“Without You,” 133

“You Did It,” 166

Hart, Moss

as director of Saints and Sinners, 15

hiring of, 28, 35

rehearsal schedule, 45–47

shaping of My