Loverly:The Life and Times of My Fair Lady (Broadway Legacies) (47 page)

54
. Mel Gussow, “
My Fair Lady
Returns,”
New York Times,
August 19, 1981, C17.

55
. Garland,
Incomparable Rex,
206.

56
. Ibid., 205.

57
. Glenn Collins, “On Stage and Off,”
New York Times,
July 2, 1993, C2.

58
. Bruce Weber, “Fighting for the Soul of Eliza Doolittle,”
New York Times,
December 15, 1993.

59
. David Richards, “
My Fair Lady
: A Darker Side to the Fable of a Flower Girl,”
New York Times,
December 10, 1993.

60
. Copy in the author’s collection.

61
. Sheridan Morley and Ruth Leon,
Hey, Mr Producer! The Musical World of Cameron Mackintosh
(London: Weidenfeld and Nicholson, 1998), 52–53.

62
. See Gene Lees’s
Inventing Champagne: The Musical Worlds of Lerner and Loewe.
(New York: St. Martin’s Press, 1990), 288–89.

63
. Quotation from an article on Conran’s website,
http://www.jasperconran.com/performing-arts/my-fair-lady/#nav=path_%252Fperforming-arts%252Fmy-fair-lady%252Fmy-fair-lady-press%252C7%252CSLS.html%253Fid%253D953%2526module%253Dgallery
(accessed November 19, 2010).

64
. See, for instance, Charles Spencer’s review of the production in the
Daily Telegraph,
February 19, 1992.

65
. The day before the revival opened, Nunn published an article in the
Guardian
, containing the headline “In George Bernard Shaw’s original play, Eliza and Henry don’t even get it together. No wonder My Fair Lady is miles better than Pygmalion.”
Guardian,
March 14, 2001, accessed online at
http://www.guardian.co.uk/culture/2001/mar/14/artsfeatures.georgebernardshaw
on November 19, 2010. In an article in the program booklet for the production (copy in the author’s collection), the choreographer Matthew Bourne referred to Nunn’s addition of lines from
Pygmalion
.

66
. Michael Billington, review of
My Fair Lady, Guardian,
March 17, 2001. Accessed online at
http://www.guardian.co.uk/stage/2001/mar/17/theatre.artsfeatures1
, November 23, 2010.

67
. Rhoda Koenig, review of
My Fair Lady
: “Cockney Charmer is Set Fair for Success,”
Independent,
March 2011. Accessed online at
http://www.independent.co.uk/arts-entertainment/theatredance/reviews/cockney-charmer-is-set-fair-for-success-687653.html
, November 23, 2010.

68
. See Hugh Davies, “Martine Will Soon Be Back on Song,”
Daily Telegraph,
April 13, 2001. Accessed at
http://www.telegraph.co.uk/news/uknews/1316079/Martine-will-soon-be-back-on-song.html
, November 23, 2010. Jonathan Pryce commented on the situation in an interview connected with the Drury Lane transfer: Dominic Cavendish, “Life With Lots of Doolittles,”
Daily Telegraph,
July 24, 2001.
http://www.telegraph. co.uk/culture/4724679/Life-with-lots-of-Doolittles.html
, November 23, 2010.

69
. Edward Seckerson, review of
Our House
and
My Fair Lady, Independent,
May 19, 2003. Accessed at
http://www.independent.co.uk/arts-entertainment/theatredance/reviews/our-house-cambridge-theatre-london-brmy-fair-lady-theatre-royal-druary-lane-london-590799.html
, November 24, 2010.

70
. Charles Spencer, “New Eliza is just loverly,”
Daily Telegraph,
March 26, 2003. Accessed at
http://www.telegraph.co.uk/culture/theatre/3591872/New-Eliza-is-just-loverly.html
, November 24, 2010.

1
. These characteristics can also be found in “You Wash and I’ll Dry” and “You’ve Got a Hold on Me” from
What’s Up?
, most of whose score is currently lost.

2
. Sections of “Katherine receives advice” were later reworked for “The Contract,” one of Lerner and Loewe’s new additions to the score of
Gigi
when it was adapted for the stage in 1973.

3
. MGM bought the rights to
The Day Before Spring,
but in spite of several attempts it never reached the screen.

4
. Lerner,
Street
, 35.

5
. Quoted in Steven Suskin,
Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre
(New York: Schirmer, 1990), 470.

6
. Scott McMillin,
The Musical as Drama
(Princeton, NJ: Princeton University Press, 2006), 91.

7
. Thomas L. Riis and Ann Sears, “The Successors of Rodgers and Hammerstein from the 1940s to the 1960s,” in William A Everett and Paul R Laird, eds.,
The Cambridge Companion to the Musical
(Cambridge: Cambridge University Press, 2002), 149.

8
.
Pygmalion
and
My Fair Lady
(New York: Signet Classics, 1969).
My Fair Lady
(London: Penguin Readers, 1999, repr. 2008).

9
. Quoted in Suskin,
Opening Nights
, 470.

10
. Rowland Field, “Musical Shaw:
Fair Lady
Is a Rare Inspiration,”
Newark Evening News
, March 16, 1956.

11
. Anonymous, “A Memorable Musical,”
Newsweek,
March 26, 1956; anonymous, “New Musical in Manhattan,”
Time
, March 26, 1956.

12
. Edward Jablonski,
Alan Jay Lerner: A Biography
(New York: H. Holt and Co., 1996), 106–45; Stephen Citron,
The Wordsmiths: Oscar Hammerstein 2nd and Alan Jay Lerner
(New York: Oxford University Press, 1996), 240–80; Geoffrey Block,
Enchanted Evenings
, 231–34; McMillin,
Musical as Drama
.

13
. Richard Traubner,
Operetta
, 378.

14
. Ibid., 407.

15
. Riis and Sears, “The Successors of Rodgers and Hammerstein from the 1940s to the 1960s,” in Everett and Laird,
Cambridge Companion to the Musical
, 149.

16
. Gervase Hughes,
Composers of Operetta
(London: Macmillan, 1962), 249.

17
. Zinsser,
Easy to Remember
, 229.

18
. Mordden,
Coming Up Roses
, 155.

19
. These are all in
FLC
and include “Cath’rine” (1925) (
FLC
, 8/6); “Love is Blind” (1924) (8/23); and “Sag’ ja” (1923) (8/33).

20
. See Lees, Zinsser, and Block’s accounts of Loewe’s life as typical examples of the emphasis placed on Loewe’s early life in Europe.

21
. Zinsser,
Easy to Remember
, 229.

22
. Lerner himself said that “Luck” was intended to be “an English music hall song.” Alan Jay Lerner, “Creation of a Lady,”
Alpha RHO Journal
1, no. 2 (Fall, 1960): 7.

23
. Ibid., 10.

24
. Ibid., 11.

25
. Lerner once wrote an article mentioning “the deep and true influence of
Oklahoma!
… [S]ince that spring of 1943, no musical could ever again aspire to success with a sketchbook foundation, and no amount of unrelated choreographic virtuosity could rescue a raggedy second act.” Alan Jay Lerner, “Oh What a Beautiful Musical,”
New York Times Magazine,
May 12, 1963, 29–33. When he later wrote a book on the history of the genre, Lerner devoted an entire chapter to the importance of
Oklahoma!
Alan Jay Lerner,
The Musical Theatre: A Celebration
(London: Collins, 1986), 150–53.

26
. Margaret Landon’s part-novel, part-biography
Anna and the King of Siam
was published in 1944 and filmed in 1946. The novel was based on Anna Leonowens’s two memoirs,
The English Governess at the Siamese Court
(1870) and
Romance of the Harem
(1872).

27
. Page numbers in parentheses refer to the published script. Ultimately, of course, the fact that Eliza’s desire to better herself has been over-satisfied—because she is fit to be “a consort to a king” (again Higgins’s words, 147)—means that this ambition is now too modest, and perhaps impossible now that she has entered high society. One of the tensions of the story, indeed, is that Eliza’s ambition to become a lady is realized by the end of act 1. The remainder of the story concerns the resolution of the Eliza-Higgins relationship, but in truth Eliza’s question to Higgins—“What’s to become of me?” (110)—is never really answered.

28
. Hobe Morrison, review of “
My Fair Lady,
”
Variety
, March 21, 1956.

29
. John Beaufort, “
My Fair Lady from Pygmalion
,”
Christian Science Monitor
, March 24, 1956.

30
. Letter of March 2, 1959, Levin to Kenneth Allen, ed.,
Tribune, HLP
, 33/6. The exact same wording is used in numerous letters to similar journalists and editors contained in this folder, which is marked “Editorial Campaign.”

31
. Swain,
Broadway Musical
, 199.

32
. Ibid., 197.

33
. Ibid., 200.

34
. Block,
Enchanted Evenings
, 231 and 234.

35
. Ibid., 242.

36
. Raymond Knapp,
The American Musical and the Performance of Personal Identity
(Princeton, NJ: Princeton University Press, 2006), 284–93.

37
. Lerner, “Creation of a Lady,” 9.

38
. Ibid., 12.

Lerner, Alan Jay.
My Fair Lady
. New York: Coward-McCann, 1956.

Lerner, Alan Jay.
My Fair Lady.
London: Signet, 1958.

Lerner, Alan Jay.
My Fair Lady.
London: Penguin 1999, repr. 2008.

Shaw, George Bernard, and Alan Jay Lerner.
Pygmalion and My Fair Lady.
New York: Signet Classics, 1969.

Loewe, Frederick.
My Fair Lady.
London: Warner-Chappell, 1956.

Loewe, Frederick.
My Fair Lady.
New York: Chappell/Intersong, 1969.

Altman, Rick, ed.
Genre: The Musical.
London: Routledge and Kegan Paul, 1981.

Andrews, Julie.
Home.
New York: Hyperion, 2008.

Atkinson, Brooks.
Broadway.
New York: Macmillan, 1970.

Bach, Steven.
Dazzler: The Life and Times of Moss Hart.
New York: Knopf, 2001.

Barrios, Richard.
A Song in the Dark: The Birth of the Musical Film.
New York: Oxford University Press, 1995.

Beaton, Cecil.
Cecil Beaton’s Fair Lady.
London: Weidenfeld and Nicolson, 1964.

Beaton, Cecil.
The Restless Years: Diaries 1955–63.
London: Weidenfeld and Nicolson, 1976.

Bennett, Robert Russell.
The Broadway Sound: The Autobiography and Selected Essays of Robert Russell Bennett
. Edited by George J Ferencz. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 1999.

Block, Geoffrey.
Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Webber.
New York: Oxford University Press, 1997; rev. ed., 2008.

Block, Geoffrey.
Richard Rodgers.
New Haven, CT: Yale University Press, 2003.

Brahms, Caryl, and Ned Sherrin.
Song by Song: 14 Great Lyric Writers.
London: R. Anderson Publishers, 1984.

Buckle, Richard, ed.
Self-Portrait with Friends: The Selected Diaries of Cecil Beaton
. London: Pimlico, 1981.

Bush Jones, John.
Our Musicals, Ourselves: A Social History of the American Musical Theatre.
London: Praeger, 2003.

Carter, Tim. “In the Workshop of Rodgers and Hammerstein.” In Colleen Reardon and Susan Parisi, eds.,
Music Observed: Studies in Memory of William C Holmes.
Warren, MI: Harmonie Park Press, 2004.

Carter, Tim.
Oklahoma! The Making of an American Musical
. New Haven, CT: Yale University Press, 2006.

Castle, Charles.
Noël.
London: W. H. Allen, 1972.

Citron, Stephen.
The Wordsmiths: Oscar Hammerstein 2nd and Alan Jay Lerner.
New York: Oxford University Press, 1996.

Crawford, Cheryl.
One Naked Individual
. New York: Bobbs-Merrill, 1977.

D’Andre, David Mark. “The Theatre Guild, Carousel, and the Cultural Field of American Musical Theatre.” PhD diss., Yale University, May 2000.

Day, Barry, ed.
The Letters of Noël Coward
. London: Methuen, 2007.

Drew, David.
Kurt Weill: A Handbook.
London: Faber, 1987.

Dukore, Bernard F., ed.
Bernard Shaw and Gabriel Pascal: Selected Correspondence.
Toronto: University of Toronto Press, 1996.

Dukore, Bernard F., ed.
The Collected Screenplays of Bernard Shaw
. London: Prior, 1980.

Dunne, Michael.
American Film Musical Themes and Forms
. Jefferson, NC: McFarland and Co., 2004.