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

type as Julie Andrews.” After all, Holloway was far more experienced than the young Andrews. Aza now also added the proviso that Holloway be given first refusal of the role of Doolittle if the show went to London.46 Five days later, Levin replied in agreement with the latter request but was firm in insisting that Holloway accept first featured billing if co-star billing could not be arranged, an argument that would continue to rancor throughout the run of My Fair Lady.47

Also on March 31, Levin was sent a letter about Harrison’s contract from his agent, Laurence (“Laurie”) Evans, who mentioned a proposed trip by Lerner and Loewe to London on June 18. They were to bring Harrison more of his songs once they had written them; Evans had already booked rooms for their trip.48 The next day, Levin wrote to Evans, though he had clearly not yet received his letter. Levin admitted that “it was awfully hectic the first week that [he] was back” but now had time to bring Evans up to date. He mentioned his forthcoming trip to the East Coast to see Michael Kidd and John Van Druten; he asked Evans to inquire as to a fair financial deal for Harrison’s role in the original cast album recording, strongly urged him to speak to Harrison about co-star billing for Holloway, and asked for an update on the business situation regarding Bell, Book and Candle (since until Harrison was able to leave the play, My Fair Lady could not go into rehearsal).49 The same day, Levin also wrote to Oliver Smith. He confirmed that a deal had been made with Harrison to play Higgins. “I feel it is ideal casting,” he added, “and I have a hunch that you will agree with me.”50 Levin also mentioned that Holloway had signed for Doolittle (“I think he will be wonderful”) and that Andrews would almost certainly play Eliza. He asked Smith to call him on Friday afternoon at the Beverly Hills Hotel to “make a date.” In a postscript, Levin also confided that Beaton had agreed to do the costumes—“but keep this under your hat. Just in case I find it too tough to make a deal with Arnold Weissberger, we may want to turn to Irene [Sharaff].”

GOING HOLLYWOOD AND PACIFYING HOLLOWAY

April–July 1955

After this, all we hear of Levin’s actions while in Hollywood is a series of telegrams between him and John Van Druten, the prospective director, who was known for writing the plays I Remember Mama and I Am a Camera, as well as for directing the original Broadway production of The King and I. His association with The King and I, which features a simmering relationship between the king of Siam and the governess Anna Leonowens that is not unlike that of Higgins and Eliza, may well have been the reason for this choice of director. On April 5, Levin wired Van Druten to confirm his arrival on the Friday and to request a meeting on the following Monday, and eventually the director agreed.51 As stated earlier, no evidence about any possible conversations with Michael Kidd has survived, but a telephone message sent to Levin on May 9 confirms that Van Druten was busy until October and could do the show only if the production were to be considerably delayed.52 Thus at the end of his trip to Hollywood, Levin returned with neither a director nor a choreographer.

In the meantime, Aza wrote to Levin again about the rehearsal date, because if Holloway were to be free until the end of October he could accept yet another film contract.53 Levin ignored the letter, so she wrote to him again fifteen days later and urged him to finalize both the rehearsal date and the contract.54 This time, Levin wrote back at length explaining the problem regarding Harrison’s contract with Bell, Book and Candle. In desperation, he pleaded for leeway from Aza on the date but confirmed that rehearsals would not begin until at least November 1 and said that if she would permit him to put a clause in Holloway’s contract to allow for Harrison’s problem, Levin would send the document immediately.55 The discussion continued for some time. On May 12, Aza asked that Holloway be allowed to be free until November 30 in order to make his film and mentioned that the opening of Harrison’s new film (The Constant Husband) had probably stimulated interest in Bell, Book and Candle.56 Five days later, Levin acknowledged Aza’s letter but said he needed more information on the situation with Harrison’s play before he could grant the permission Holloway desired.57

One has to admire Aza’s persistence. On May 31, she reported that she had checked with Harrison’s agent directly, who said it was unlikely that the play would fold before the end of October,58 then on June 13 Levin sent Aza a telegram asking her not to commit Holloway beyond November 1.59 Two weeks later, she wrote back to say that Holloway had signed to do the film because she had not heard back from Levin, and the outside shots had to be done that very week.60 Even then, though, Aza continued to badger Levin for Holloway’s contract, sending him a desperate telegram on July 13, to which he replied: “ALL HINGES [ON] HARRISON. EVANS ADVISES HOPEFUL SATISFACTORY OUTCOME THIS WEEK.”61

BELL, BOOK AND CANDLE

April–May 1955

As Levin said, everything hinged on Rex Harrison’s availability. Although the main issue was allowing him to be free to leave Bell, Book and Candle, negotiations continued as to the finer details of the contract. On April 4, Laurie Evans asked that Harrison be paid $3,000 per recording day on account of 2 percent of the gross sales of the cast album, going on to mention that the play continued to do very good business.62 Levin replied at length on April 20, after his return from Hollywood, and for the first time suggested making a deal with Hugh Beaumont, the producer of Bell, Book and Candle, to effect