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Stanley Holloway in My Fair Lady Theatre Royal Drury Lane Programme 1958 Grab a Bargain from me whilst you can. Marvellous piece of theatrical history. Bought at Auction. Very Good condition. See pictures. They are scans of the actual items. Dispatched 2nd class large letter. If you like collectables then make sure to look at my other items as there are many more available. Look through them all!! Any issues or problems, please contact me before leaving feedback, as I will endeavour to resolve any issues amicably beforehand. My Fair Lady25 languagesArticleTalkReadEditView historyToolsFrom Wikipedia, the free encyclopedia(Redirected from My fair lady)This article is about the musical stage play. For the film, see My Fair Lady (film). For other uses, see My Fair Lady (disambiguation).My Fair LadyOriginal Broadway Poster by Al HirschfeldMusicFrederick LoeweLyricsAlan Jay LernerBookAlan Jay LernerBasisPygmalion by George Bernard ShawProductions1956 Broadway 1957 US tour 1958 West End 1976 Broadway 1978 UK tour 1979 West End 1980 US tour 1981 Broadway 1993 US tour 1993 Broadway 2001 West End 2005 UK tour 2007 US tour 2018 Broadway 2019 US tour 2022 West EndAwards1957 Tony Award for Best Musical 2002 Laurence Olivier Award for Best Musical RevivalMy Fair Lady is a musical based on George Bernard Shaw’s 1913 play Pygmalion, with a book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The story concerns Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phonetician, so that she may pass as a lady. Despite his cynical nature and difficulty understanding women, Higgins grows attached to her.The musical’s 1956 Broadway production was a notable critical and popular success, winning six Tony Awards, including Best Musical. It set a record for the longest run of any musical on Broadway up to that time and was followed by a hit London production. Rex Harrison and Julie Andrews starred in both productions. Many revivals have followed, and the 1964 film version won the Academy Award for Best Picture.Plot[edit]Act I[edit]In Edwardian London, Eliza Doolittle is a flower girl with a thick Cockney accent. The noted phonetician Professor Henry Higgins encounters Eliza at Covent Garden and laments the vulgarity of her dialect (“Why Can’t the English?”). Higgins also meets Colonel Pickering, another linguist, and invites him to stay as his houseguest. Eliza and her friends wonder what it would be like to live a comfortable life (“Wouldn’t It Be Loverly?”).Eliza’s father, Alfred P. Doolittle, stops by the next morning searching for money for a drink (“With a Little Bit of Luck”). Soon after, Eliza comes to Higgins’s house, seeking elocution lessons so that she can get a job as an assistant in a florist’s shop. Higgins wagers Pickering that, within six months, by teaching Eliza to speak properly, he will enable her to pass for a proper lady.Eliza becomes part of Higgins’s household. Though Higgins sees himself as a kindhearted man who merely cannot get along with women (“I’m an Ordinary Man”), to others he appears self-absorbed and misogynistic. Eliza endures Higgins’s tyrannical speech tutoring. Frustrated, she dreams of different ways to kill him (“Just You Wait”). Higgins’s servants lament the stressful atmosphere (“The Servants’ Chorus”).Just as Higgins is about to give up on her, Eliza suddenly recites one of her diction exercises in perfect upper-class style (“The Rain in Spain”). Though Mrs Pearce, the housekeeper, insists that Eliza go to bed, she declares she is too excited to sleep (“I Could Have Danced All Night”).For her first public tryout, Higgins takes Eliza to his mother’s box at Ascot Racecourse (“Ascot Gavotte”). Though Eliza shocks everyone when she forgets herself while watching a race and reverts to foul language, she does capture the heart of Freddy Eynsford-Hill. Freddy calls on Eliza that evening, and he declares that he will wait for her in the street outside Higgins’ house (“On the Street Where You Live”).Eliza’s final test requires her to pass as a lady at the Embassy Ball. After more weeks of preparation, she is ready. (“Eliza’s Entrance”). All the ladies and gentlemen at the ball admire her, and the Queen of Transylvania invites her to dance with the prince (“Embassy Waltz”). A Hungarian phonetician, Zoltan Karpathy, attempts to discover Eliza’s origins. Higgins allows Karpathy to dance with Eliza.[1]Act II[edit]The ball is a success; Karpathy has declared Eliza to be a Hungarian princess. Pickering and Higgins revel in their triumph (“You Did It”), failing to pay attention to Eliza. Eliza is insulted at receiving no credit for her success, packing up and leaving the Higgins house. As she leaves she finds Freddy, who begins to tell her how much he loves her, but she tells him that she has heard enough words; if he really loves her, he should show it (“Show Me”).Eliza and Freddy return to Covent Garden but she finds she no longer feels at home there. Her father is there as well, and he tells her that he has received a surprise bequest from an American millionaire, which has raised him to middle-class respectability, and now must marry his lover. Doolittle and his friends have one last spree before the wedding (“Get Me to the Church on Time”).Higgins awakens the next morning. He finds himself out of sorts without Eliza. He wonders why she left after the triumph at the ball and concludes that men (especially himself) are far superior to women (“A Hymn to Him”). Pickering notices the Professor’s lack of consideration, and also leaves the Higgins house.Higgins despondently visits his mother’s house, where he finds Eliza. Eliza declares she no longer needs Higgins (“Without You”). As Higgins walks home, he realizes he’s grown attached to Eliza (“I’ve Grown Accustomed to Her Face”). At home, he sentimentally reviews the recording he made the day Eliza first came to him for lessons, hearing his own harsh words. Eliza suddenly appears in his home. In suppressed joy at their reunion, Professor Higgins scoffs and asks, “Eliza, where the devil are my slippers?”Characters and original Broadway cast[edit]The original cast of the Broadway stage production:[2]Eliza Doolittle, a young Cockney flowerseller – Julie AndrewsHenry Higgins, a professor of phonetics – Rex HarrisonAlfred P. Doolittle, Eliza’s father, a dustman – Stanley HollowayColonel Hugh Pickering, Henry Higgins’s friend and fellow phoneticist – Robert CooteMrs. Higgins, Henry’s socialite mother – Cathleen NesbittFreddy Eynsford-Hill, a young socialite and Eliza’s suitor – John Michael KingMrs. Pearce, Higgins’s housekeeper – Philippa BevansZoltan Karpathy, Henry Higgins’s former student and rival – Christopher HewettMusical numbers[edit]Act I[2]”Overture” – The Orchestra”Busker Sequence” – The Orchestra”Why Can’t the English?” – Professor Higgins”Wouldn’t It Be Loverly?” – Eliza and Male Quartet”With a Little Bit of Luck” – Alfred Doolittle, Harry, Jamie and Company”I’m an Ordinary Man” – Professor Higgins”With a Little Bit of Luck (Reprise)” – Alfred Doolittle and Ensemble”Just You Wait” – Eliza”The Servants’ Chorus (Poor Professor Higgins)” – Mrs. Pearce and Servants”The Rain in Spain” – Professor Higgins, Eliza, and Colonel Pickering”I Could Have Danced All Night” – Eliza, Mrs. Pearce, and Servants”Ascot Gavotte” – Ensemble”On the Street Where You Live” – Freddy”Eliza’s Entrance/Embassy Waltz” – The Orchestra Act II”You Did It” – Colonel Pickering, Professor Higgins, Mrs. Pearce, and Servants”Just You Wait (Reprise)” – Eliza”On the Street Where You Live (Reprise)” – Freddy”Show Me” – Eliza with Freddy”The Flower Market/Wouldn’t It Be Loverly? (Reprise)” – Eliza and Male Quartet”Get Me to the Church on Time” – Alfred Doolittle and Ensemble”A Hymn to Him” – Professor Higgins and Colonel Pickering”Without You” – Eliza and Professor Higgins”I’ve Grown Accustomed to Her Face” – Professor Higgins”I Could Have Danced All Night (Reprise) / Finale” – The OrchestraBackground[edit]In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw’s plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. But they quickly realised that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble.[3] Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.[4]During this time, the collaborators separated and Gabriel Pascal died. Lerner had been trying to musicalize Li’l Abner when he read Pascal’s obituary and found himself thinking about Pygmalion again.[5] When he and Loewe reunited, everything fell into place. All of the insurmountable obstacles that had stood in their way two years earlier disappeared when the team realised that the play needed few changes apart from (according to Lerner) “adding the action that took place between the acts of the play”.[6] They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal’s estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by Metro-Goldwyn-Mayer, whose executives called Lerner to discourage him from challenging the studio. Loewe said, “We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us.”[7] For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.Various titles were suggested for the musical. Dominic McHugh wrote: “During the autumn of 1955, the show [was] typically referred to as My Lady Liza, and most of the contracts refer to this as the title.”[8] Lerner preferred My Fair Lady, relating both to one of Shaw’s provisional titles for Pygmalion and to the final line of every verse of the nursery rhyme “London Bridge Is Falling Down”. Recalling that the Gershwins’ 1925 musical Tell Me More had been titled My Fair Lady in its out-of-town tryout, and also had a musical number under that title, Lerner made a courtesy call to Ira Gershwin, alerting him to the use of the title for the Lerner and Loewe musical.[citation needed]Noël Coward was the first to be offered the role of Henry Higgins, but he turned it down, suggesting the producers cast Rex Harrison instead.[9] After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role.[10] Young actress Julie Andrews was “discovered” and cast as Eliza after the show’s creative team went to see her Broadway debut in The Boy Friend.[11] Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements, and the show quickly went into rehearsal.[citation needed]The musical’s script used several scenes that Shaw had written especially for the 1938 film version of Pygmalion, including the Embassy Ball sequence and the final scene of the 1938 film rather than the ending for Shaw’s original play.[12] The montage showing Eliza’s lessons was also expanded, combining both Lerner’s and Shaw’s dialogue. The artwork on the original Broadway poster (and the sleeve of the cast recording) is by Al Hirschfeld, who drew the playwright Shaw as a heavenly puppetmaster pulling the strings on the Henry Higgins character, while Higgins in turn attempts to control Eliza Doolittle.[13]Productions[edit]Original Broadway production[edit]Program from Mark Hellinger TheatreThe musical had its pre-Broadway tryout at New Haven’s Shubert Theatre. At the first preview Rex Harrison, who was unaccustomed to singing in front of a live orchestra, “announced that under no circumstances would he go on that night…with those thirty-two interlopers in the pit”.[14] He locked himself in his dressing room and came out little more than an hour before curtain time. The whole company had been dismissed but were recalled, and opening night was a success.[15] My Fair Lady then played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962, after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton.[16] Harrison was replaced by Edward Mulhare in November 1957 and Sally Ann Howes replaced Andrews in February 1958.[17][18] By the start of 1959, it was the biggest grossing Broadway show of all-time with a gross of $10 million.[19]The Original Cast Recording, released on April 2, 1956, was the best-selling album in the United States in 1956.[20]Original London production[edit]The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened on April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and a half years[21] (2,281 performances). Edwardian musical comedy star Zena Dare made her last appearance in the musical as Mrs. Higgins.[22] Leonard Weir played Freddy. Harrison left the London cast in March 1959, followed by Andrews in August 1959 and Holloway in October 1959.
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