Loverly:The Life and Times of My Fair Lady (Broadway Legacies), McHugh, Dominic [fantasy books to read TXT] 📗

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

relationship with Oliver Smith, 25–27

Lieberson, Goddard, 44, 173, 178

Liff, Samuel, 46, 179

“Limehouse,” 58, 63, 69, 97

Loesser, Frank, 7, 8, 196

Loewe, Frederick

collaboration with Harold Rome, 14–16.

See also Lerner and Loewe; individual song titles

Lowe, Roy, 40, 41

Mackintosh, Sir Cameron, 187–89

Mark Hellinger Theatre, 39, 178, 183

Martin, Mary, 2, 4, 6

Lerner’s pursuit of, 10, 11–12

reaction to Lerner and Loewe’s work, 8–9

Marshall, Armina, 6, 11

Mason, Jack, 46, 96, 121, 152, 169

Menotti, Gian Carlo, 7

Merman, Ethel, 9, 40

Miller, Freda, 109, 113, 115, 116, 161

Minnelli, Vincente, 118, 181

Mordden, Ethan, 197

Morris, William, 1

The Most Happy Fella, 7

Mozart, Wolfgang Amadeus, 5

Mulhare, Edward, 176, 179

The Music Man, 201

My Square Laddie, 176, 180

Nesbitt, Cathleen, 39, 40, 176, 185

New Haven, 39, 44–47, 58, 170

Nixon, Marni, 130, 180, 181, 190

Nunn, Trevor, 57, 170, 188–90, 209

Offenbach, Jacques, 5

O’Hara, Kelli, 186

Oklahoma! 7, 42, 110, 170, 201

“On the Street Where You Live”

musical sources for, 155–58

operetta, 198, 207

original lyric for, 215

On the Town, 14, 177

One Touch of Venus, 1, 6, 9, 206

“Opening,” 69, 122–25

operetta, 130, 167, 179, 196–99

orchestrations. See Bennett, Robert Russell; Lang, Philip J.; Mason, Jack; individual song titles

“Overture,” 69, 122–25

Ovid, 1

Paint Your Wagon, 7, 12, 95, 191–92, 201

Lerner-Schwartz version of, 16–18

Pascal, Gabriel, 109, 206

as initial producer of musical, 6–11, 14, 19, 20

as producer of Pygmalion movie, 4, 23, 35, 53, 55

Pascal, Valerie, 55

Philadelphia, 4, 39, 44, 47, 130

Pickering, Colonel Hugh

as Eliza’s protector, 204, 205

observing Eliza at the ball, 164

singing role of, 198

tracking down Eliza, 144

“You Did It,” 166–67

“Please Don’t Marry Me,” 98, 102, 142, 157, 169

Porter, Cole, 7–10, 200, 201

“Processional,” 163

Previn, André, 13, 17, 182

Prince, Harold, 15

Pryce, Jonathan, 188–89

Pygmalion myth, 1, 110

Pygmalion (Shaw)

deviations from, 85, 93, 95

film, 4, 57, 64, 72

play, 3, 4–14, 49–58

“The Rain in Spain,” 76, 91, 100, 102, 122

Redgrave, Michael, 11, 12, 22, 26, 176

rehearsals, 19–22, 44–48

Richardson, Ian, 183–84

Riding, Joanna, 189

Rittmann, Trude, 96, 122, 149, 162–64, 169

and “Dress Ballet, 109, 113–17

and Entr’acte, 165

and “Get Me to the Church on Time,” 153–54

and “A Hymn to Him, 144–45

and “I’m an Ordinary Man,” 148–49

and “I’ve Grown Accustomed to Her Face,” 147

and “Just You Wait,” 129, 132

and “On the Street Where You Live,” 132

and Overture, 122–25

and “The Rain in Spain,” 160–63

and “The Servants’ Chorus,” 158–59

and “Show Me,” 133

and “Shy,” 103, 104

and “Why Can’t the English,” 136, 139

Robertson, Liz, 187

Robin, Leo, 14, 15

Rodgers and Hammerstein

Allegro, 7

Carousel, 3, 7, 144, 201

dominance in secondary literature, 193–94, 199, 200

The King and I, 9, 11

Oklahoma! 3, 7, 21, 170

Pipe Dream, 27

Pygmalion musical, 6, 23–24, 49, 95

South Pacific, 2, 9, 12

romantic ambiguity

in Higgins–Eliza relationship, 2, 80–84, 86–90

precedent of The King and I, 30

“Say a Prayer for Me Tonight,” 119

understudy, 39

Rome, Harold, 14–16, 21

Rose, George, 180, 183–84

Ross, Jerry, 13

Saints and Sinners, 14–16

Sanders, George, 10

“Say a Prayer for Me Tonight,” 47, 62, 162, 171

musical sources for, 118–21

Schwartz, Arthur, 7, 13, 16, 18, 19

“The Servants’ Chorus,” 91, 117, 121, 128, 158

settings, 88–90

Shaw, George Bernard

attitude toward operettas/musicals based on his works, 4–6, 11

relationship with Gabriel Pascal, 8

socialist outlook of, 49–51.

See also Pygmalion

Shelley, Mary, 1

“Show Me”

musical sources for, 132–33

as part of show’s structure, 78, 83, 90, 91, 93

Shubert Theatre, New Haven, 39, 46, 170

“Shy,” 72, 76, 79, 100, 102–5

Silk Stockings, 201

Sirmay, Dr. Albert, 40

Smart, Gino, 122, 154

socialism, 49, 137

“The Son of the Wooden Soldier,” 161

Sondheim, Stephen, 187, 201

South Pacific, 2, 6, 9, 12, 16

Straus, Oscar, 4, 5

Styne, Jule, 10, 15, 21, 26

Swenson, Inga, 180

Sullivan, Sir Arthur, 167, 196–97

Swain, Joseph, 54, 203

The Taming of the Shrew, 8, 200, 207

Tenderloin, 12

Theatre Guild, 3–10, 13–14, 20–22

“There’s a Thing Called Love,” 100

This Is the Army, 201

timescale, 92–94

title, 44, 125

“The Undeserving Poor,” 58, 60, 97, 206

Walker, Nancy, 177

Warner Bros., 181

Weaver, Fritz, 180

Weill, Kurt, 1, 4, 6–9, 197

West Side