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

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Author: McHugh, Dominic

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early version)

149/6: Overture and Opening (35pp, copyist’s full score)

150/1: Promenade (11pp, Bennett/Lang full score with notes and missing pages)

150/1: Promenade (10pp, Lang’s full score of original music)

150/3: The Pygmalion Waltzes (9pp, photocopy of Loewe/Rittmann’s piano score with annotations)

151/1: The Rain in Spain (14pp, copyist’s full score)

151/3: Dance: Rain in Spain (2pp, photocopy of Rittmann’s piano score)

151/5: Say a Prayer for Me Tonight (10pp, Jack Mason’s full score)

151/5: Bridge after Prayer (2pp, Bennett’s full score)

151/10: Servants (4pp, Loewe and Rittmann score; contains a lyric sheet titled “Servants”)

151/10: Servants (8pp, copyist’s choral score; contains an extra verse)

152/1: Show Me (12pp, copyist’s full score)

152/3: Show Me (front cover) (1p, Bennett’s piano score cover; contains notes indicating how the double reprise into “Show Me” is to be created)

152/5: (New) Waltz (11pp, Rittmann’s piano score [ann.])

152/6: English (Utility) (5pp, Lang’s full score)

152/8: The English (10pp, Intermediate version of “Why Can’t The English”; mixture of Loewe, Rittmann, and copyist’s score)

152/8: Why Can’t the English (10pp, old version of the song with some additions/ appendages)

152/8: Why Can’t the English (10pp, copyist’s score)

153/6: End of Without You (1p, Rittmann’s piano score for the end of the number)

153/1: With a Little Bit of Luck (18pp, copyist’s full score)

153/4: With a Little Bit of Luck Reprise (10pp, copyist’s full score)

153/5: Without You (13pp, copyist’s full score)

153/7: Without You (11 p + loose insert, copyist’s vocal score + one page of Rittmann/unknown hand)

153/7: Without You (RRB) (7pp, copyist’s conductor’s short score [ann.])

153/7: Without You (11pp, copyist’s piano score)

154/1: Without You—You Did It (23pp, Lang’s full score, original version)

154/3: Wouldn’t It be Loverly Utility (10pp, full score in unknown hand)

154/3: Wouldn’t It Be Loverly (22pp, copyist’s full score)

154/4: Flower Market (7pp); Rittmann piano score of “Flower Market” (3pp); Rittmann piano score of pre-Processional Music to Embassy Waltz (2pp); sketches in unknown hand (2pp)

154/5: Loverly (11pp, choral score)

154/5: Wouldn’t It be Loverly (6pp, copyist’s piano score)

154/5: Wouldn’t It Be Loverly (1p, choral score)

154/5: Wouldn’t It Be Loverly (1p, choral arranger’s draft choral score)

155/1: You Did It (44pp, copyist’s full score)

155/3: You Did It (23pp, copyist’s piano-vocal score, original version of number)

155/4: You Did It (Choral Score) (8pp, copyist’s chorus score, original version)

Wisconsin Historical Society

Herman Levin Collection (By Box/Folder Numbers):

19/10–12: Advertising Reports

20/1–4: Advertising Reports

20/5—23/1–4: Box Office Statements

23/5: Casting miscellany

23/6: Clippings 1956–65

23/7: Crew

23/8: Dancers

23/9: Principals

24/1: Singers

24/2: Staff

24/3: Theatres

24/4: Actors Equity correspondence

24/5: Julie Andrews correspondence

24/6: Bankers Trust Co. correspondence

24/7: Cecil Beaton correspondence

24/8: CBS correspondence

24/9: Pamela Charles correspondence

24/10: Chorus and crew correspondence

24/11: Columbia Records correspondence

24/12: Commercial rights correspondence

24/13: Costumes correspondence

24/14: Dramatists’ Guild correspondence

25/1: Equipment correspondence

25/2: Abe Feder and Joe Davis correspondence

25/3: Foreign correspondence

25/4: Form letters and memoranda

25/5–6: General correspondence

25/7: Rex Harrison correspondence

25/8: Moss Hart correspondence

25/9: Stanley Holloway correspondence

25/10: Hanya Holm correspondence

25/11: Sally Ann Howes correspondence

25/12: Richard Lamarr correspondence

25/13: Legal correspondence

25/14: License Renewal correspondence

26/1: Miscellaneous correspondence

26/2: Edward Mulhare correspondence

26/3: Musicians and conductor correspondence

26/4: Pascal arbitration correspondence

26/5: Protection of Rights correspondence

26/6: Oliver Smith correspondence

26/7: Summer tent theaters correspondence

26/8: Supporting actors correspondence

26/8–27/11: Financial Statements

26/9, 27/12–29/11: Legal records

30/1: Vocal score (ann.)

30/2: Voice parts, printed score

30/3–32/3: Payroll

32/5: Publicity correspondence

32/6: Editorial campaign

33/1: Letters from the public

33/2: Richard Maney correspondence

33/3: Thank You letters

33/4: Publicity miscellany

33/5–33/11: Royalties

34/2: Early script outlines

34/3: Mimeographed script by Lerner

34/4–6: Mimeographed scripts (ann.)

34/7: Rehearsal script

34/8: Unused/cut lyric sheets

34/9: Stage manager’s script

35/1: Technical script

35/2: Bus and truck script

35/3: Taxes 35/4–9: Technical production

60/1: Piano-conductor score

60/2–5: Act I instrumental parts

61: Act 2 instrumental parts

62/2: Light plots and hanging plots by Abe Feder

Moss Hart Collection:

12/5: My Fair Lady typescript, personal copy

Beinecke Rare Book and Manuscript Library, Yale University

Theatre Guild Collection:

Box 83: Correspondence (Alan Jay Lerner)

Box 59: Correspondence (Rex Harrison)

Box 62: Correspondence (Theresa Helburn)

Box 137: Correspondence (George Bernard Shaw)

Harold Rome Papers:

MSS 49: 65/85 and 79/57: Script and correspondence for Saints and Sinners

New York Public Library

Hanya Holm Papers:

Series 4, 21/518: Choreographic notation and correspondence on My Fair Lady

Library of St John’s College, Cambridge

Cecil Beaton Papers:

Vol. 98: Diary, 1954–45.

Harvard University Library

Harvard Theatre Collection, Houghton Library:

MS Thr 225: My Fair Lady “script prepared for publication”

Theatre Museum Collections, Victoria and Albert Museum

Michael Redgrave Papers:

TH 17/31/41/12: Redgrave’s Diary for 1955

CREDITS

The following songs are excerpted with permission:

“What Is a Woman” (from My Fair Lady)