Loverly:The Life and Times of My Fair Lady (Broadway Legacies), McHugh, Dominic [fantasy books to read TXT] 📗
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120. Contract of September 7, 1955, between W. Spencer Harrison of CBS and Lerner, Loewe, and Levin. The television company’s investment was recouped by November 16, 1956, whereupon Levin wrote to Spencer Harrison in great satisfaction: “From now on, it’s all gravy,” Letter of November 16, 1956, Levin to W Spencer Harrison, HLP, 27/10.
121. Letters of September 13 and 19, 1955, Levin to Evans; letter of September 15, Evans to Levin, HLP, 25/7.
122. Letter of September 19, 1955, Levin to Evans, and letter of September 29, Evans to Levin, HLP, 25/7. Roy Lowe was Harrison’s vocal coach.
123. Letters of September 27 and October 4, 1955, Levin to Evans, HLP, 25/7.
124. Letter of October 12, 1955, Levin to Evans, HLP, 25/7. In his diary for November 1955, Beaton mentions completing the Pygmalion designs during the final days of his three-month visit. Diary 1954–5, vol. 98, Papers of Sir Cecil Beaton, St. John’s College Library, Cambridge.
125. Contract of October 4, 1955, between Levin and Nesbitt; contract of October 10, 1955, between Levin and Hewett, specifying at that stage that he could be called upon to understudy Higgins, Pickering, or Doolittle, and resignation letter of mid-March 1956 (following a conversation with Lerner, Loewe, and Levin on March 13), attached, HLP, 23/9.
126. On October 21, Levin wrote to the U. S. Passport Department to support Holm’s application for passport renewal. “The purpose of Miss Holm’s trip, so far as it concerns this organization, is to collect material and study various types of Cockney life and dancing in connection with My Lady Liza.” Letter of October 21 from Levin to U.S. Passport Dept. A list from the Helene Pons costume studio of New York, addressed to Beaton on October 31 indicates the costumes to be made in London for Harrison. In addition, wigs for Eliza, costumes and wigs for the footmen, costumes for the policemen, a hat for Doolittle, and an outfit for a Street Cleaner were to be bought in London. Letter of October 31, 1955, Helene Pons Studio to Beaton, HLP, 35/4.
127. Memo to Oliver Smith from Levin, October 27, 1955, HLP, 26/6.
128. Letter of November 1, 1955, Levin to Evans, HLP, 25/7.
129. Letter of November 7, 1955, Evans to Levin. On November 17, Evans requested that Alan Jay Lerner pay Roy Lowe’s account for Harrison’s “tuition and coaching” between October 27 and November 10; Levin sent him a check for $77.30 six days later. Then on December 29, Evans requested an additional payment for Lowe’s account from November 12 to December 2, giving a clear indication of when Harrison’s vocal lessons took place. Letter of November 17, Evans to Alan Jay Lerner, and Levin’s reply of November 23; letter of December 29, Evans to Levin, HLP, 25/7.
130. Letter of November 1, 1955, Aza to Levin; letters of October 26 and November 4, Levin to Aza. Prior to this, Aza had informed Levin that “Julie Andrews had excellent publicity when she arrived in this country [i.e., returned to England after finishing The Boy Friend on Broadway]. Strangely enough her birthday is on the same day as Stanley, so they should get on well together,” letter of October 5, Aza to Levin, HLP, 25/9.
131. Letters of November 9 and December 13, Aza to Levin, HLP, 25/9.
132. Andrews, Home, 184–87.
133. Letter of November 18, 1955,, Levin to Charles Tucker, HLP, 25/5.
134. Letter of November 23, 1955,, Tucker to Levin, HLP, 22/5.
135. Letter of December 5, 1955, Lerner to Julie Andrews, HLP, 25/5.
136. Contracts of November 15 between Levin and Bevans, December 12, between Levin and Coote and December 12 between Roache and Levin, HLP, 23/9; contracts between Rod McLennan and Levin of December 5 and Olive Reeves-Smith of December 9, HLP, 23/10.
137. Press releases and clippings, HLP, 23/6.
138. Contract of November 26, 1955, between Levin and Maney; agreements of November 30, 1955, between Levin and Rittman; agreement of December 2, 1955, between Levin and Ernest Adler, HLP, 24/2.
139. For an introduction to Rittman and her work, see Steven Suskin, The Sound of Broadway Music: A Book of Orchestrators and Orchestrations (Oxford: Oxford University Press, 2009), 155 and 196.
140. Letter of November 26, 1955, Eileen J Hose on behalf of Cecil Beaton to Levin, HLP, 24/7.
141. Letter of November 28, 1955, Levin to Hose, HLP, 24/7.
142. Letter of December 6, 1955, Levin to Harrison. The reference to $450 is made in a letter of January 4, 1956, Jerry Leider of MCA Artists to Philip Adler, c/o Levin, HLP, 25/7.
143. Letter of December 6, 1955, Levin to Beaton, HLP, 24/7.
144. Estimates from Imperial Scenic Studios of December 13, 1955; TB McDonald Construction Co, Inc, of December 19; and the Nolan Brothers of December 14. On December 16, the Nolan Brothers submitted a new estimate, and on the same day Levin drew up a contract to hire them to make the sets, HLP, 35/8.
145. Letter of December 28, 1955, Levin to Coote, HLP, 26/8.
146. Lerner, Street, 75–76.
147. Ibid, 91.
148. Letter of November 29, 1955, Lerner to Harrison, HLP, 25/7.
149. December 16 is the latest date on which Levin refers to My Lady Liza (in the contract with the Nolan Brothers); the letter to Coote of December 28 is the earliest mention of My Fair Lady.
150. Letter of December 30, 1955, Levin to Lieberson, and attached billing sheet, HLP, 24/11.
151. Letter of January 4, 1955, Levin to Evans, HLP, 25/7.
152. Letter of December 29, 1955, Levin to Julie Andrews, HLP, 25/5.
153. Lerner, Street, 87.
154. Ibid.
155. Andrews, Home, 193.
156. Lerner, Street, 88.
157. Ibid., 89.
158. Ibid., 90.
159. Andrews, Home, 194–95.
160. Lerner, Street, 90.
161. Ibid.
162. Contract of January 5, 1955, between Levin and Tutrinoli; contract of January 8, between Levin and Russell Bennett, HLP, 23/6.
163. Letter of February 11, 1956, Robert Russell Bennett to Levin, HLP, 24/2.
164. Letter of January 9, 1956, Doris Prober of Decorative Plant
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