Loverly:The Life and Times of My Fair Lady (Broadway Legacies)
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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
“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 Fair Lady, 25, 41, 44, 73, 105
Helmore, Tom, 10
Hepburn, Audrey, 180–83
Higgins, Mrs., 39–42, 51–52, 56
Higgins, Professor Henry
“Come to the Ball” (see Harrison, Rex)
“Dress ballet,” 109–13, 115, 117
in draft versions, 57–64, 69–72, 74–80
in Pygmalion, 51–52, 56
relationship with Eliza, see romantic ambiguity
roots in Ovid, 1
search for actor, 4, 8, 10–13, 21–25 (see also Harrison, Rex)
shaping of character, 45
shaping of songs, 134
song sketches, 97–99
High Tor, 41
Hirschfeld, Al, 194
Holloway, Julian, 170, 185
Holloway, Stanley
arrival for rehearsals, 41
billing of, 29–30, 32, 173
casting of, 28–29
contract, 30, 31, 37, 39
in London production, 177
in movie version, 181, 183
problems during rehearsals, 46
Holm, Hanya
choreography of ballet, 109–13
negotiations with, 26, 40
research for choreography, 40
Howes, Sally Ann, 175, 190
Hylton, Jack, 15
Hyman, Joseph H., 15, 47
“A Hymn to Him”
as late addition to show, 45, 72
musical sources for, 144–45
as part of show’s structure, 90, 91, 198
“I Could Have Danced All Night”
genesis of, 72, 100, 102, 104, 113
musical sources for, 130
original title of, “I Want to Dance All Night”
as part of Overture, 124
as part of show’s structure, 91, 92, 145, 204, 207
as romantic signifier, 208
“I’m An Ordinary Man”
genesis of, 98, 99, 134–35, 142
musical sources for, 143, 146, 148
as part of Higgins’s character development, 80, 90, 91, 197, 206
“In This Wide, Wide World,” 100
“I’ve Grown Accustomed to Her Face”
genesis of, 108, 114
musical sources for, 145–50
as part of show’s structure, 90, 91
“Just You Wait”
genesis of, 58, 64, 72, 90–93
musical sources for, 127–28
reprise of, 132
Kelly, Gene, 189
Kelly, Laura Michelle, 189
Kerr, Deborah, 181
Kidd, Michael, 9–10, 22, 24–26, 30–31, 165
The King and I, 11, 30, 42, 181, 193
and genre, 196
as precedent for Higgins–Eliza relationship, 199–200
Kiss Me, Kate, 8, 10, 15, 200
Korda, Alexander, 14, 15
Lady in the Dark, 11
“Lady Liza,” 59, 62, 100–102
Lang, Philip J.
credits, 46, 173
“Dress Ballet” orchestrations, 109
“Get Me to the Church on Time” orchestrations, 154
“A Hymn to Him” orchestrations, 145
“On the Street Where You Live” orchestrations, 157
“Opening” orchestrations, 124
“Show Me” orchestrations, 133
“Why Can’t the English?” orchestrations, 142
Langner, Lawrence, 7, 8, 10–14, 20, 48
Lawrence, Gertrude, 5, 11
Lerner, Alan Jay
approach to script, 49
collaboration with Arthur Schwartz, 16–18
enthusiasm about Mary Martin, 10
negotiations with Andrews, 42
source for genesis, 3.
See also Lerner and Loewe; individual song titles
Lerner and Loewe
abandonment of initial version, 13
casting ideas, 10
discussions with Mary Martin, 9
discussions over title, 44
initial discussions with Pascal, 7
resumption of project, 20–21
royalty discussions, 11, 12, 20
track record of, 7–8
visits to London, 27–30, 41.
See also individual song titles
Lewis, Robert, 10, 19, 28
Levin, Herman
announcement of Pygmalion musical, 20
approach to Michael Kidd, 24–25
approaches to prospective stars, 21–22
contracts, 39–41
negotiations with Beaumont, 30–33, 36–39
negotiations with Holloway’s agent, 29–31
as producer of Li’l Abner, 19
relationship with Cecil Beaton, 28