Loverly:The Life and Times of My Fair Lady (Broadway Legacies) by McHugh, Dominic (e reader comics TXT) 📕

54. Harrison, Rex, 166.

55. “A Hymn to Him,” WCC, 146/4.

56. Loewe wrote “They’re nothing but exasperating, irritating, agitating, calculating, aggravating, maddening and infuriating hags,” but the published version modifies “agitating” to “vacillating” and “aggravating” becomes “agitating” instead.

57. Further discussion of Lang’s orchestration is not made here because it contains no changes or additions other than during the final four bars, which have evidently been rewritten. Since they are firmly taped down, it is not possible to see what was originally written.

58. Letter of November 29, 1955, Lerner to Harrison, HLP, 25/7.

59. Lerner, Street, 85–86.

60. “I’ve Grown Accustomed to Her Face,” copyist’s vocal score and choral score, WCC, 147/5.

61. In another difference, the original has “She rather makes the day begin” instead of the published version’s “She almost makes the day begin.”

62. “New Intro to I’ve Grown Accustomed,” WCC, 147/3.

63. There were a couple of other small differences. Later, when Higgins sings “Poor Eliza! How simply frightful! How humiliating! How delightful!” the original version had an extra exclamation, “How ghastly!” after “Poor Eliza!” The spoken section that follows was also slightly different—“How shall I react on that inevitable night … ” rather than “How poignant it will be … ”—and the underscoring was more extensive.

64. Originally it read “I will slam the door and let the villain freeze” rather than “let the hellcat freeze.”

65. The manuscript has “Finale Ultimo” on the front and “Incidental Insert Into: Accustomed to her Face” as the title inside.

66. “Tempo di Rodgers—ma molto espressivo!!” is evidently a joke (about Richard Rodgers’s preference for slightly slow tempi) between Rittmann and Bennett, both of whom worked on the musicals of Rodgers and Hammerstein.

67. Bennett’s score says “rather makes the day begin” instead of “almost,” and “villain” instead of “hellcat”; the former case has then been corrected in pencil but the latter still says “villain.”

CHAPTER 6

1. For the reprise in act 1, scene 4, the autograph full score is the only existing primary source.

2. This lyric is common to both the Warner-Chappell Collection and the rehearsal script.

3. Another example is “To tend his needs and see his food is cooked,” which becomes “To share his nest and see his food is cooked.”

4. The reprise of the song in act 1, scene 4, also contains a small deviation from the published lyric: Lerner writes “[A man was made to help support his children; /] Which is the proper thing for him to do” rather than “Which is the right and proper thing to do” (Jack Mason’s full score also uses this “original” lyric). Again, the change is small but the addition of the word “right” helps to assert the image of the “correctness” of taking fatherhood seriously in contrast to the end of the verse when Doolittle sings of his hope that “They’ll go out and start supporting you.”

5. “With a Little Bit of Luck,” FLC, 5/27.

6. It is possible that Loewe was reusing an old piece of manuscript paper, which had contained a completely different piece of music. Based on a survey of all the manuscripts in the Loewe Collection, many of which contain fragments from more than one song (sometimes from more than one show), this seems to have been standard procedure for him, either in other to save paper or because he had to use whatever paper was available.

7. This is corroborated by the copyist’s fair copy of the orchestration, which starts simply with the first fully accompanied bar and misses out “The Lord a-.” “With a Little Bit of Luck,” copyist’s full score, WCC, 153/1.

8. Also included in the folder with the song is Lang’s full score for the scene change music (No. 4a).

9. Lerner, Street, 85.

10. “Get Me to the Church on Time,” lyric sheet, WCC, 151/6.

11. “Get Me to the Church on Time,” Rittmann’s piano score and Miller’s photocopy, WCC, 145/4.

12. “Get Me to the Church II,” choral arrangement, WCC, 145/3.

13. Lerner, Street, 76.

14. Lady Liza, Brief Outline, HLP, 34/2.

15. The New Haven playbills give the song its final title, but the copyists scores in the Warner-Chappell Collection all direct the lyric to the third person.

16. Lerner, Street, 98.

17. The presentation was given on December 12, 1971, as part of the Lyrics and Lyricists series at the Kaufmann Concert Hall of the 92nd Street Y in New York. It is now available on CD as An Evening with Alan Jay Lerner, DRG Records 5175 (1977).

18. This backs up the idea of a link with “Please Don’t Marry Me,” which had been cut long before the orchestration was made.

19. Unusually for Bennett, it is written in pencil rather than in pen.

20. The other key players are, clearly, Eliza, Higgins, and Doolittle. I discount Pickering, Mrs. Pearce, and Mrs. Higgins here because they do not have a significant solo numbers and are mostly on the periphery of the drama.

21. Geoffrey Block, Enchanted Evenings (New York: Oxford University Press, 1997), 379. n.28.

22. They are written in Roman numerals, starting with “I—Gm.”

23. Keith Garebian, The Making of My Fair Lady (Toronto: ECW Press, 1993), 108. Bennett’s full score is relatively free of corrections, although the cut verse is crossed out.

24. Lerner, Street, 83–84. Harrison, Rex, 161. Block compares the accounts in Enchanted Evenings, 379, n.26.

25. “Dance—Rain in Spain,” WCC, 151/3.

26. A copy of the published sheet music (New York: Belwin, Inc.) for this song is found in FLC, 8/36.

27. “Ascot Gavotte,” FLC, 5/1.

28. “Gavotte Repr.,” Untitled manuscript starting “Presto furioso” with a message from Rittmann to Bennett, WCC, 141/3. “Intro to Gavotte” and “Gavotte Dance,” WCC, 144/1.

29. “Ascot Gavotte,” annotated “Freda” on front, with associated loose photocopies of “Intro to Gavotte” and “Gavotte Dance,” WCC, 141/1.

30. This version also appears in two separate lyric sheets in the Warner-Chappell Collection, a lyric sheet in Levin’s papers, and the rehearsal script.

31. Lyric sheet in envelope titled “Franz Allers Lyrics,” WCC, 151/6.

32. “Ascot Gavotte,” choral score, 141/6; “Gavotte,” conductor’s score, WCC, 141/3.

33. Untitled original “End of Ascot” music and “Gavotte Repr.,” WCC, 141/3.

34. This is demonstrated by the orchestration