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early version)

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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