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

and I, in addition to numerous works written by her childhood friend Noël Coward—was also interested in playing the role of Eliza Doolittle, and in fact was upset at not being asked in the first place. In Langner’s letter the first mention is made of Cecil Beaton as a possible designer.

The letter also indicates that “long discussions” were taking place about Mary Martin but that negotiations with her were stuck until more of the cast and production team could be formed. “We are trying for Rex [Harrison],” writes Langner, “but if he is not interested we understand Michael Redgrave sings well and is interested.” Evidently, Martin would not consider signing the agreement to appear in the show until the following Monday, by which time it was anticipated that more artists would have committed to the show; indeed, the star’s power over the team was extraordinary. The next day, Marshall wrote to Helburn in the wake of a meeting with Barber to say that the Guild’s relationship with the Shaw estate was solid, also indicating that there was a general consensus to keep the potentially meddlesome Pascal out of the picture (everyone in London “resented him inching in,” Marshall added).24

In reply to Langner on June 20, Helburn reported that Gertrude Lawrence’s performance in The King and I was currently drawing so many complaints from audiences about her flat singing that Rodgers and Hammerstein wanted her to leave the show, and the Guild should not therefore consider her for the role of Eliza.25 Helburn also revealed that Lerner and Loewe were haggling over their royalties for the show and that they were “spreading the report that they will have the complete charge of the show and no one else will have anything to do with it!” At that time, Shaw’s Pygmalion was staged by the Guild, with Dolores Gray as Eliza; Loewe attended the opening night and was impressed with Gray by the end of the show, laying the ground for casting her as Eliza if Martin turned down the role. Finally, the letter mentions that Lerner and Loewe had already approached Rex Harrison, who was very much interested.

Then, on June 25, Langner sent a telegram to Helburn confirming that Mary Martin was attracted to the role but would do nothing until she had heard some music, just as she had heard some of Rodgers and Hammerstein’s songs for South Pacific before agreeing to play Nellie Forbush. At that time a contract was drawn up but left unsigned.26 The telegram also mentioned that Maurice Evans (an English actor noted for his Shakespearean performances and who would go on to star in Bock and Harnick’s musical Tenderloin) was interested in playing the part of Higgins and that Langner would see Michael Redgrave on the same subject the next day. Less than an hour later, Langner sent a second telegram, saying that “On second thoughts, don’t advise awaiting Mary.”27 He went on to urge Helburn to settle the deal with Lerner and Loewe at 6 percent using Dolores Gray instead of Mary Martin, since to use a male star of the caliber of Redgrave or Harrison would also cost them percentages, adding to the production’s financial risk. Eventually, this would be the cause of a rift between the producers and writers.

Langner wrote again to Helburn on June 27 to report that Lerner and Loewe were willing to go to London (though they ultimately did not go) to play some of the songs they had written, and went on to say that Maurice Evans was interested in the role of Higgins if it fitted in with his other plans (he was about to star in Dial M for Murder on the stage).28 He also intended to speak with Harrison, but Redgrave was no longer a possibility because he had commitments for the foreseeable future. Cecil Tennant of the British agency MCA was to seek out other actors for the smaller roles, and Cecil Beaton confirmed he was interested in doing the designs, though Langner “preferred the American ones better.” In terms of a director, three names are mentioned: Peter Brook, who was thought to be “a great gamble, knowing so little of American musical plays”; John C. Wilson, who was Langner’s preference; and Noël Coward, who seems to have been a suggestion of Martin’s, but who, according to Langner, “never directs any plays except his own.”

The beginning of July brought new concerns for the Guild. Helburn wrote to Langner on July 1 about her worries regarding Lerner, who had caused problems for producer Cheryl Crawford the previous year during the creation of Paint Your Wagon by making executive decisions about such issues as casting behind her back.29 The letter also reports that “The haggling still goes on over the Lerner-Loewe royalties, but they are very keen to do it and will probably come down eventually. I think they are down to 7 percent now so there is only one more percent to go.” According to David Mark D’Andre, “Soon her fears began to materialize as rumors reached her that Lerner and Loewe were claiming to be solely in charge of the production. When Helburn challenged them, both men backed down, and a nasty situation was averted.”30

On July 18 Langner relayed Rex Harrison’s remarks about the show, following the Guild’s decision to approach him for the part of Henry Higgins: “I think it is only fair to you and myself … to wait until some music and lyrics are completed, so that I can hear them and possibly record them myself. After this we could decide whether or not to continue the idea.”31 Harrison himself wrote to Langner on August 7 to say how much he was looking forward to hearing the score.32 Thus the first choice for Higgins would eventually be the last, though other names later came up in the interim.33

THE PROJECT FLOUNDERS

October 1952–January 1953

Lerner and Loewe continued to work on the show and on October 28, 1952, they signed a contract with