Loverly:The Life and Times of My Fair Lady (Broadway Legacies) (48 page)

Emmet Long, Robert.
Broadway: The Golden Years
. New York: Continuum, 2001.

Engel, Lehman.
The American Musical Theater
. New York: Macmillan, 1967.

Engel, Lehman.
Words with Music
. New York: Macmillan, 1972.

Everett, William A., and Paul R Laird, eds.
The Cambridge Companion to the Musical.
Cambridge: Cambridge University Press, 2002.

Feuer, Jane.
The Hollywood Musical.
Bloomington: Indiana University Press, 1982.

Fordin, Hugh.
MGM’s Greatest Musicals.
New York: Da Capo Press, 1996.

Gänzl, Kurt, and Andrew Lamb.
Gänzl’s Book of the Musical Theatre.
London: Bodley Head, 1988.

Garebian, Keith.
The Making of My Fair Lady.
Toronto: ECW Press, 1993.

Garland, Patrick.
The Incomparable Rex
. London: Macmillan, 1998.

Gottfried, Martin.
Broadway Musicals.
New York: Abrams, 1979.

Green, Benny, ed.
A Hymn to Him: The Lyrics of Alan Jay Lerner.
London: Pavilion Books, 1987.

Green, Benny.
Let’s Face the Music: The Golden Age of Popular Song
. London: Pavilion Books, 1989.

Green, Stanley.
Encyclopaedia of the Musical Film.
New York: Oxford University Press, 1981.

Green, Stanley.
Encyclopaedia of the Musical Theatre.
New York: Dodd Mead 1976. Green, Stanley.
The World of Musical Comedy
. 3rd ed. New York: Da Capo, 1974.

Guernsey, Otis L. Jr., ed.
Playwrights, Lyricists, Composers on Theater.
New York: Dodd, Mead, 1974.

Harrison, Rex.
A Damned Serious Business: My Life in Comedy.
London: Bantam Press, 1990.

Harrison, Rex.
Rex: An Autobiography by Rex Harrison.
London: Macmillan, 1974.

Hart, Kitty Carlisle.,
Kitty: An Autobiography.
New York: Doubleday, 1988.

Hart, Moss.
Act One: An Autobiography.
New York: Random House, 1959.

Holloway, Stanley with Dick Richards.
Wiv a Little Bit O’ Luck: The Life Story of Stanley Holloway.
London: Frewin, 1967.

Hughes, Gervase.
Composers of Operetta.
London: Macmillan, 1962.

Inglis, Ian, ed.
Popular Music and Film.
London: Wallflower Press, 2003.

Jablonski, Edward.
Alan Jay Lerner: A Biography.
New York: Henry Holt and Co., 1996.

Kirle, Bruce.
Unfinished Business: Broadway Musicals as Works-in-Progress.
Carbondale: Southern Illinois University Press, 2005.

Knapp, Raymond.
The American Musical and the Formation of National Identity.
Princeton, NJ: Princeton University Press, 2005.

Knapp, Raymond.
The American Musical and the Performance of Personal Identity.
Princeton, NJ: Princeton University Press, 2006.

Kortus, Günter.
My Fair Lady: Musical von Friedrich Loewe.
Die Oper: Schriftenreihe über Musikalische Bühmnenwerke. Berlin: Robert Lienau Verlag, 1977.

Lambert, Gavin.
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. New York: G. P. Putnam, 1972; rev. ed. New York: Rizzoli, 2000.

Laufe, Abe.
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New York: Funk and Wagnalls, 1970.

Laurence, Dan, ed.
Bernard Shaw: Collected Letters 1898–1910.
New York: Dodd, Mead, 1972.

Laurence, Dan, ed.
Bernard Shaw: Collected Letters 1911–25.
New York, Viking, 1985.

Laurence, Dan, ed.
Bernard Shaw: Collected Letters 1926–50.
New York: Viking, 1988.

Lawson-Peebles, Robert, ed.
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Lees, Gene.
Inventing Champagne: The Worlds of Lerner and Loewe.
New York: St. Martin’s Press, 1990.

Lerner, Alan Jay.
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London: Collins, 1986.

Lerner, Alan Jay.
The Street Where I Live.
London: Hodder and Staughton, 1978.

Loney, Glenn, ed.
Musical Theatre in America.
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Gielgud’s Letters.
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Matthew-Walker, Robert.
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London: Sanctuary Press, 1996.

McMillin, Scott.
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Princeton, NJ: Princeton University Press, 2006.

Miletich, Leo N.
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Mordden, Ethan.
Beautiful Mornin’: The Broadway Musical in the 1940s.
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Mordden, Ethan.
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Mordden, Ethan.
Coming Up Roses: The Broadway Musical in the 1950s.
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Morley, Sheridan.
A Talent to Amuse: A Biography of Noël Coward.
London: Weidenfeld and Nicolson, 1975.

Nixon, Marni.
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Pascal, Valerie.
The Disciple and his Devil.
New York: McGraw-Hill, 1970.

Payn, Graham, and Sheridan Morley, eds.
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London: Macmillan, 1982.

Rodgers, Richard.
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New York: Random House, 1975.

Rosen, Jody.
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London: Fourth Estate, 2002.

Shapiro, Doris.
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New York: Wm. Morrow, 1990.

Sorrell, Walter.
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Middletown, CT: Wesleyan University Press, 1969.

Stirling, Richard.
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London: Portrait Books, 2007.

Strachan, Alan.
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London: Orion, 2004.

Steyn, Mark.
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London: Faber, 1997.

Suskin, Steven.
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New York: Schirmer, 1990.

Suskin, Steven.
The Sound of Broadway Music: A Book of Orchestrators and Orchestrations.
Oxford: Oxford University Press, 2009.

Swain, Joseph P.
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New York: Oxford University Press, 1990.

Traubner, Richard.
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New York: Doubleday, 1983.

Vickers, Hugo.
Cecil Beaton: The Authorised Biography.
London: Weidenfeld and Nicolson, 1985.

Walker, Alexander.
Fatal Charm: The Life of Rex Harrison
. London: Orion, 2002.

White, Mark.
You Must Remember This: Popular Songwriters 1900–80.
London: Frederick Warne Publishers, 1983.

Wilk, Max.
They’re Playing Our Song.
New York: Viking, 1973.

Windeler, Robert.
Julie Andrews: A Biography.
New York: St. Martin’s Press, 1983.

Zinsser, William.
Easy to Remember: The Great American Songwriters and their Songs.
Jaffrey, NH: David R. Godine Publisher, 2000.

Library of Congress, Washington DC:

Frederick Loewe Collection (by box/folder number):

5/1: Ascot Gavotte (3pp, Loewe autograph)

5/2: Come to the Ball (4pp, Loewe autograph)

5/3: Come to the Ball (11pp, Ozalid of copyist’s piano-vocal score, ann. in pencil)

5/4: Dear Little Fool (1p, Loewe autograph; lead sheet, no lyric)

5/5: Finale Act 1/(Procession—Embassy Waltz) (8pp, Loewe autograph)

5/6: Entr’acte (8pp, Loewe autograph)

5/7: Flower Market (5pp, Loewe autograph)

5/8: Get Me to the Church on Time (4pp, Loewe autograph)

5/9: A Hymn to Him (13pp, Loewe autograph)

5/10: I Could Have Danced All Night (inside cover: crossed out pp. 3–4 of early version of “Why Can’t the English?”) (7pp, Loewe autograph)

5/11: I’m an Ordinary Man (13pp, Loewe autograph)

5/12: I’ve Grown Accustomed to Her Face (13pp, Loewe autograph)

5/14: Just You Wait (8pp, Loewe autograph)

5/15: Lady Liza (1p, lead sheet); Liza—counterpoint (2pp, lead sheet) (Loewe autographs)

5/16: On the Street Where She Lives (inside cover: crossed out pp. 7–8 of early version of “Why Can’t the English”) (7pp, Loewe autograph)

5/17: Overture (2pp, Loewe autograph)

5/18: Please Don’t Marry Me (lead sheet) (3pp, Loewe autograph)

5/19: The Pygmalion Waltzes (Embassy Waltz) (7pp, Loewe autograph)

5/20: The Pygmalion Waltzes (4pp, Photocopy of copyist’s autograph piano score with ann. in pencil)

5/21: The Rain in Spain (5pp); The Servants’ Chorus (2pp) (Loewe autographs)

5/22: Show Me (inside cover: crossed out pp. 5–6 of early version “Why Can’t the English?”) (7pp, Loewe autograph)

5/23: Shy (3pp, Loewe autograph); Shy (4pp, Rittmann arrangement, Latin version)

5/24: There’s a Thing Called Love (lead sheet; typed lyric sheet laid in) (2pp, Loewe autograph)

5/25: What Is a Woman? (lead sheet) (1p, Loewe autograph)

5/26: Why Can’t the English? (inside cover: crossed out pp. 1–2 of early version of the same song, Rittmann arrangement) (10pp, Loewe autograph)

5/27: With a Little Bit of Luck (6pp, Loewe autograph)

5/29: Without You (7pp, Loewe autograph)

5/30: Wouldn’t It be Loverly? (5pp, Loewe autograph)

5/31: You Did It (23pp, Loewe autograph)

8/20: Limehouse (melody without lyric) (1p, Loewe autograph)

8/27: Over Your Head (melody without lyric) (1p, Loewe autograph)

8/36: The Son of the Wooden Soldier (1941); lyrics by John W. Bratton (5pp, published piano-vocal score)

8/37: There’s Always One You Can’t Forget (melody without lyric) (1p, Loewe autograph)

8/40: The Undeserving Poor (sketch) (1p, Loewe autograph)

8/44: What’s to Become of Me? (lead sheet; “There’s Always One” written below) (1p); Say Hello For Me (lead sheet without lyric) (1p); “What’s To Become of Me?” (sketches) (1p) (Loewe autographs)

8/45: Who Is the Lady? (lead sheet without lyric) (1p, Loewe autograph)

9/2: Say a Prayer for Me Tonight (sketch) (1p, Loewe autograph)

9/9: Who Is the Lady? (lead sheet) (1p, Loewe autograph)

9/10: Say a Prayer for Me Tonight (sketches)

Warner-Chappell Collection (By Box/Folder Number):

141/1: End of Ascot (1p, Bennett’s full score for original end of scene)

141/1: New 24 (2pp, Lang’s score for change of scene)

141/1: Ascot Gavotte (16pp, Copyist’s full score)

141/1: Ascot Gavotte (9pp, Freda Miller’s dance pianist’s piano score: mixture of copyist’s score and Rittmann’s score for the dance; intermediate stage of number)

141/1: Ascot Gavotte (3pp, photocopy of Rittmann’s piano score for ‘Intro to Gavotte’ with pencil annotations)

141/3: Intro to Gavotte (2pp, photocopy of Rittmann’s piano score (ann.))

141/3: Ascot Gavotte (7pp, copyist’s score plus Rittmann’s score (ann.); final version)