Loverly:The Life and Times of My Fair Lady (Broadway Legacies) McHugh, Dominic (snow like ashes series txt) đź“–
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149/6: Overture and Opening (35pp, copyist’s full score)
150/1: Promenade (11pp, Bennett/Lang full score with notes and missing pages)
150/1: Promenade (10pp, Lang’s full score of original music)
150/3: The Pygmalion Waltzes (9pp, photocopy of Loewe/Rittmann’s piano score with annotations)
151/1: The Rain in Spain (14pp, copyist’s full score)
151/3: Dance: Rain in Spain (2pp, photocopy of Rittmann’s piano score)
151/5: Say a Prayer for Me Tonight (10pp, Jack Mason’s full score)
151/5: Bridge after Prayer (2pp, Bennett’s full score)
151/10: Servants (4pp, Loewe and Rittmann score; contains a lyric sheet titled “Servants”)
151/10: Servants (8pp, copyist’s choral score; contains an extra verse)
152/1: Show Me (12pp, copyist’s full score)
152/3: Show Me (front cover) (1p, Bennett’s piano score cover; contains notes indicating how the double reprise into “Show Me” is to be created)
152/5: (New) Waltz (11pp, Rittmann’s piano score [ann.])
152/6: English (Utility) (5pp, Lang’s full score)
152/8: The English (10pp, Intermediate version of “Why Can’t The English”; mixture of Loewe, Rittmann, and copyist’s score)
152/8: Why Can’t the English (10pp, old version of the song with some additions/ appendages)
152/8: Why Can’t the English (10pp, copyist’s score)
153/6: End of Without You (1p, Rittmann’s piano score for the end of the number)
153/1: With a Little Bit of Luck (18pp, copyist’s full score)
153/4: With a Little Bit of Luck Reprise (10pp, copyist’s full score)
153/5: Without You (13pp, copyist’s full score)
153/7: Without You (11 p + loose insert, copyist’s vocal score + one page of Rittmann/unknown hand)
153/7: Without You (RRB) (7pp, copyist’s conductor’s short score [ann.])
153/7: Without You (11pp, copyist’s piano score)
154/1: Without You—You Did It (23pp, Lang’s full score, original version)
154/3: Wouldn’t It be Loverly Utility (10pp, full score in unknown hand)
154/3: Wouldn’t It Be Loverly (22pp, copyist’s full score)
154/4: Flower Market (7pp); Rittmann piano score of “Flower Market” (3pp); Rittmann piano score of pre-Processional Music to Embassy Waltz (2pp); sketches in unknown hand (2pp)
154/5: Loverly (11pp, choral score)
154/5: Wouldn’t It be Loverly (6pp, copyist’s piano score)
154/5: Wouldn’t It Be Loverly (1p, choral score)
154/5: Wouldn’t It Be Loverly (1p, choral arranger’s draft choral score)
155/1: You Did It (44pp, copyist’s full score)
155/3: You Did It (23pp, copyist’s piano-vocal score, original version of number)
155/4: You Did It (Choral Score) (8pp, copyist’s chorus score, original version)
Wisconsin Historical Society
Herman Levin Collection (By Box/Folder Numbers):
19/10–12: Advertising Reports
20/1–4: Advertising Reports
20/5—23/1–4: Box Office Statements
23/5: Casting miscellany
23/6: Clippings 1956–65
23/7: Crew
23/8: Dancers
23/9: Principals
24/1: Singers
24/2: Staff
24/3: Theatres
24/4: Actors Equity correspondence
24/5: Julie Andrews correspondence
24/6: Bankers Trust Co. correspondence
24/7: Cecil Beaton correspondence
24/8: CBS correspondence
24/9: Pamela Charles correspondence
24/10: Chorus and crew correspondence
24/11: Columbia Records correspondence
24/12: Commercial rights correspondence
24/13: Costumes correspondence
24/14: Dramatists’ Guild correspondence
25/1: Equipment correspondence
25/2: Abe Feder and Joe Davis correspondence
25/3: Foreign correspondence
25/4: Form letters and memoranda
25/5–6: General correspondence
25/7: Rex Harrison correspondence
25/8: Moss Hart correspondence
25/9: Stanley Holloway correspondence
25/10: Hanya Holm correspondence
25/11: Sally Ann Howes correspondence
25/12: Richard Lamarr correspondence
25/13: Legal correspondence
25/14: License Renewal correspondence
26/1: Miscellaneous correspondence
26/2: Edward Mulhare correspondence
26/3: Musicians and conductor correspondence
26/4: Pascal arbitration correspondence
26/5: Protection of Rights correspondence
26/6: Oliver Smith correspondence
26/7: Summer tent theaters correspondence
26/8: Supporting actors correspondence
26/8–27/11: Financial Statements
26/9, 27/12–29/11: Legal records
30/1: Vocal score (ann.)
30/2: Voice parts, printed score
30/3–32/3: Payroll
32/5: Publicity correspondence
32/6: Editorial campaign
33/1: Letters from the public
33/2: Richard Maney correspondence
33/3: Thank You letters
33/4: Publicity miscellany
33/5–33/11: Royalties
34/2: Early script outlines
34/3: Mimeographed script by Lerner
34/4–6: Mimeographed scripts (ann.)
34/7: Rehearsal script
34/8: Unused/cut lyric sheets
34/9: Stage manager’s script
35/1: Technical script
35/2: Bus and truck script
35/3: Taxes 35/4–9: Technical production
60/1: Piano-conductor score
60/2–5: Act I instrumental parts
61: Act 2 instrumental parts
62/2: Light plots and hanging plots by Abe Feder
Moss Hart Collection:
12/5: My Fair Lady typescript, personal copy
Beinecke Rare Book and Manuscript Library, Yale University
Theatre Guild Collection:
Box 83: Correspondence (Alan Jay Lerner)
Box 59: Correspondence (Rex Harrison)
Box 62: Correspondence (Theresa Helburn)
Box 137: Correspondence (George Bernard Shaw)
Harold Rome Papers:
MSS 49: 65/85 and 79/57: Script and correspondence for Saints and Sinners
New York Public Library
Hanya Holm Papers:
Series 4, 21/518: Choreographic notation and correspondence on My Fair Lady
Library of St John’s College, Cambridge
Cecil Beaton Papers:
Vol. 98: Diary, 1954–45.
Harvard University Library
Harvard Theatre Collection, Houghton Library:
MS Thr 225: My Fair Lady “script prepared for publication”
Theatre Museum Collections, Victoria and Albert Museum
Michael Redgrave Papers:
TH 17/31/41/12: Redgrave’s Diary for 1955
CREDITS
The following songs are excerpted with permission:
“What Is a Woman” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Please Don’t Marry Me” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Lady Liza” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Come to the Ball” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
Dress Ballet (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Why Can’t the English” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“English, The” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“A Hymn to Him” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“I’ve Grown Accustomed to Her Face” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“On the Street Where You Live” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Son of the Wooden Soldier, The”
Lyrics by JOHN W. BRATTON Music by FREDERICK LOEWE
Copyright © 1941 (Renewed) BELWIN-MILLS PUBLISHING CORP.
All Rights Assigned to and Controlled by ALFRED MUSIC PUBLISHING CO., INC.
All Rights Reserved Used by Permission
“You Did It” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright © 1956 (Renewed) CHAPPELL & CO.
All Rights Reserved Used by Permission
“Wouldn’t It Be Loverly” (from My Fair Lady)
Words by ALAN JAY LERNER Music by FREDERICK LOEWE
Copyright ©
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