Loverly:The Life and Times of My Fair Lady (Broadway Legacies) (51 page)

Camelot

Franz Allers as conductor of, 39

resonance with Kennedy administration, 201

Richard Burton and Julie Andrews as stars of, 181

score, 192, 196

“What Do the Simple Folk Do?” 99, 100

Carousel
, 42, 100, 144, 193, 200–201

Carroll, Paul Vincent, 14, 15, 16

chiaroscuro
, 154

The Chocolate Soldier
, 4, 5

Chodorov, Jerome, 14, 15, 16

choreography

“Dress Ballet,” 42, 111–18

Gower Champion as possible choreographer, 26

hiring of Hanya Holm for, 40

Michael Kidd’s aptness for, 10, 22

reconstruction for 1976 and 1981 revivals, 170, 183, 185

research for, 41

sources for, 3

Chorus Line, A
, 183

cockney, 70–73, 76, 78–80, 90, 112, 126

Comden, Betty, 14

“Come to the Ball,” 77, 83, 90, 112–15

cutting of, 162, 171, 206, 207

reuse in “I’ve Grown Accustomed,” 148

sources for, 105–9

Company
, 183

Conran, Jasper, 187

Cooper, Gladys, 183

Coote, Robert, 44, 176, 177

hiring of, 39, 42

in 1976 revival, 183

Coward, Noël

as possible composer of
Pygmalion
musical, 5

as possible Henry Higgins, 10–12, 21, 26, 176

Crawford, Cheryl, 6, 12

Cukor, George, 181–83

Damn Yankees
, 198, 201

dance arrangements.
See
choreography

A Dancin’ Day
. See
Saints and Sinners

Day Before Spring, The
, 7, 10, 39, 191–92

“Dear Little Fool,” 97

“Decorating Eliza.”
See
“Dress Ballet”

Devil’s Disciple, The
, 4

diegetic music, 198

Diehl, Crandall, 111, 183, 185

Doolittle, Alfred P., 28, 73–82, 89, 151–54

Doolittle, Eliza

at Ascot, 56–57

casting of, 8–10, 26–27 (
See also
Andrews, Julie; Martin, Mary)

cockney dialect of, 73

in early outlines, 57–72

illegitimate background of, 75

romantic relationship with Higgins, 2, 51–53, 80–87

as vehicle of Shaw’s socialism, 49–51.

See also individual song titles

“Dress Ballet”

as part of cut sequence, 71, 77, 83, 105, 162

choreographic sources, 110–13

musical sources, 90, 109, 113–18

Dryden, John, 1

Durbin, Deanna, 10

Eason, Myles, 180

“The Embassy Waltz,” 66, 78, 91, 174, 198

musical sources for, 101, 109, 163, 164, 169

Erlanger Theatre, Philadelphia, 39, 47

“Entr’acte,” 165

Evans, Laurence, 41, 42, 45

and negotiations with Harrison, 30–32, 35–37, 40

and negotiations with MGM, 38

Evans, Maurice, 12

Eynsford Hill, Clara, 59

Eynsford Hill, Freddy

casting for, 36, 39

expansion of role, 56, 203

marriage to Eliza, 51–52

new action in Lerner’s version, 53

“On the Street Where You Live,” 59, 61, 89–90, 155–58, 198

original conception of, 64, 75, 82–83, 87

feminism, 187, 201, 209

Fiddler on the Roof
, 201

Fields, Joseph, 14–16

“Finale ultimo,” 149

Fisher, Lola, 179

Flower Drum Song
, 201

Forbush, Nellie, 12

Fox, Edward, 187

Frankenstein
, 1

Freed, Arthur, 118, 181

Garebian, Keith, 160

Gardiner, Reginald, 177, 180

Garland, Judy, 10

Garland, Patrick, 184–85

genre, 183, 193, 196–99

Gentlemen Prefer Blondes
, 10, 15, 21

Gershwin, George and Ira, 9, 201

“Get Me to the Church on Time”

generic markers of, 197

musical sources for, 151–54

structural function of, 90, 97

Gigi
, 16, 40–42, 181, 192, 206

“In This Wide, Wide World,” 100

“Say a Prayer for Me Tonight,” 105, 118–21

Girl Crazy
, 9, 201

“God’s Green World,” 191

Goethe, Johann Wolfgang von, 1

Grammer, Kelsey, 186

Grant, Cary, 180

Green, Adolph, 14

Gray, Dolores, 10, 12

Grease
, 183

Guys and Dolls
, 7, 10, 24

Halliday, Richard, 9, 23, 24

Hammerstein II, Oscar

advice to Lerner, 13

See also
Rodgers and Hammerstein

Harnick, Sheldon, 12, 201

Harrison, Rex

approaches to, 11, 12, 13, 22, 28

Bell, Book and Candle
production, 31–33, 34, 36–39

billing, 29

“Come to the Ball,” 105–9

contractual terms of, 28, 30

costumes, 41, 43

film version, 181–82

“A Hymn to Him,” 144

“Lady Liza,” 100

London production, 176, 177

Penguin edition of
Pygmalion
, 45–46

record contract, 40

revivals, 183–85

vehicle for, 4

“Why Can’t the English?” 135–36

“Without You,” 133

“You Did It,” 166

Hart, Moss

as director of
Saints and Sinners
, 15

hiring of, 28, 35

rehearsal schedule, 45–47

shaping of
My 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