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
Lerner and Loewe
abandonment of initial version, 13
casting ideas, 10
discussions with Mary Martin, 9
discussions over title, 44
initial discussions with Pascal, 7
resumption of project, 20–21
royalty discussions, 11, 12, 20
track record of, 7–8
visits to London, 27–30, 41.
See also individual song titles
Lewis, Robert, 10, 19, 28
Levin, Herman
announcement of Pygmalion musical, 20
approach to Michael Kidd, 24–25
approaches to prospective stars, 21–22
contracts, 39–41
negotiations with Beaumont, 30–33, 36–39
negotiations with Holloway’s agent, 29–31
as producer of Li’l Abner, 19
relationship with Cecil Beaton, 28
relationship with Oliver Smith, 25–27
Lieberson, Goddard, 44, 173, 178
Liff, Samuel, 46, 179
“Limehouse,” 58, 63, 69, 97
Loesser, Frank, 7, 8, 196
Loewe, Frederick
collaboration with Harold Rome, 14–16.
See also Lerner and Loewe; individual song titles
Lowe, Roy, 40, 41
Mackintosh, Sir Cameron, 187–89
Mark Hellinger Theatre, 39, 178, 183
Martin, Mary, 2, 4, 6
Lerner’s pursuit of, 10, 11–12
reaction to Lerner and Loewe’s work, 8–9
Marshall, Armina, 6, 11
Mason, Jack, 46, 96, 121, 152, 169
Menotti, Gian Carlo, 7
Merman, Ethel, 9, 40
Miller, Freda, 109, 113, 115, 116, 161
Minnelli, Vincente, 118, 181
Mordden, Ethan, 197
Morris, William, 1
The Most Happy Fella, 7
Mozart, Wolfgang Amadeus, 5
Mulhare, Edward, 176, 179
The Music Man, 201
My Square Laddie, 176, 180
Nesbitt, Cathleen, 39, 40, 176, 185
New Haven, 39, 44–47, 58, 170
Nixon, Marni, 130, 180, 181, 190
Nunn, Trevor, 57, 170, 188–90, 209
Offenbach, Jacques, 5
O’Hara, Kelli, 186
Oklahoma! 7, 42, 110, 170, 201
“On the Street Where You Live”
musical sources for, 155–58
operetta, 198, 207
original lyric for, 215
On the Town, 14, 177
One Touch of Venus, 1, 6, 9, 206
“Opening,” 69, 122–25
operetta, 130, 167, 179, 196–99
orchestrations. See Bennett, Robert Russell; Lang, Philip J.; Mason, Jack; individual song titles
“Overture,” 69, 122–25
Ovid, 1
Paint Your Wagon, 7, 12, 95, 191–92, 201
Lerner-Schwartz version of, 16–18
Pascal, Gabriel, 109, 206
as initial producer of musical, 6–11, 14, 19, 20
as producer of Pygmalion movie, 4, 23, 35, 53, 55
Pascal, Valerie, 55
Philadelphia, 4, 39, 44, 47, 130
Pickering, Colonel Hugh
as Eliza’s protector, 204, 205
observing Eliza at the ball, 164
singing role of, 198
tracking down Eliza, 144
“You Did It,” 166–67
“Please Don’t Marry Me,” 98, 102, 142, 157, 169
Porter, Cole, 7–10, 200, 201
“Processional,” 163
Previn, André, 13, 17, 182
Prince, Harold, 15
Pryce, Jonathan, 188–89
Pygmalion myth, 1, 110
Pygmalion (Shaw)
deviations from, 85, 93, 95
film, 4, 57, 64, 72
play, 3, 4–14, 49–58
“The Rain in Spain,” 76, 91, 100, 102, 122
Redgrave, Michael, 11, 12, 22, 26, 176
rehearsals, 19–22, 44–48
Richardson, Ian, 183–84
Riding, Joanna, 189
Rittmann, Trude, 96, 122, 149, 162–64, 169
and “Dress Ballet, 109, 113–17
and Entr’acte, 165
and “Get Me to the Church on Time,” 153–54
and “A Hymn to Him, 144–45
and “I’m an Ordinary Man,” 148–49
and “I’ve Grown Accustomed to Her Face,” 147
and “Just You Wait,” 129, 132
and “On the Street Where You Live,” 132
and Overture, 122–25
and “The Rain in Spain,” 160–63
and “The Servants’ Chorus,” 158–59
and “Show Me,” 133
and “Shy,” 103, 104
and “Why Can’t the English,” 136, 139
Robertson, Liz, 187
Robin, Leo, 14, 15
Rodgers and Hammerstein
Allegro, 7
Carousel, 3, 7, 144, 201
dominance in secondary literature, 193–94, 199, 200
The King and I, 9, 11
Oklahoma! 3, 7, 21, 170
Pipe Dream, 27
Pygmalion musical, 6, 23–24, 49, 95
South Pacific, 2, 9, 12
romantic ambiguity
in Higgins–Eliza relationship, 2, 80–84, 86–90
precedent of The King and I, 30
“Say a Prayer for Me Tonight,” 119
understudy, 39
Rome, Harold, 14–16, 21
Rose, George, 180, 183–84
Ross, Jerry, 13
Saints and Sinners, 14–16
Sanders, George, 10
“Say a Prayer for Me Tonight,” 47, 62, 162, 171
musical sources for, 118–21
Schwartz, Arthur, 7, 13, 16, 18, 19
“The Servants’ Chorus,” 91, 117, 121, 128, 158
settings, 88–90
Shaw, George Bernard
attitude toward operettas/musicals based on his works, 4–6, 11
relationship with Gabriel Pascal, 8
socialist outlook of, 49–51.
See also Pygmalion
Shelley, Mary, 1
“Show Me”
musical sources for, 132–33
as part of show’s structure, 78, 83, 90, 91, 93
Shubert Theatre, New Haven, 39, 46, 170
“Shy,” 72, 76, 79, 100, 102–5
Silk Stockings, 201
Sirmay, Dr. Albert, 40
Smart, Gino, 122, 154
socialism, 49, 137
“The Son of the Wooden Soldier,” 161
Sondheim, Stephen, 187, 201
South Pacific, 2, 6, 9, 12, 16
Straus, Oscar, 4, 5
Styne, Jule, 10, 15, 21, 26
Swenson, Inga, 180
Sullivan, Sir Arthur, 167, 196–97
Swain, Joseph, 54, 203
The Taming of the Shrew, 8, 200, 207
Tenderloin, 12
Theatre Guild, 3–10, 13–14, 20–22
“There’s a Thing Called Love,” 100
This Is the Army, 201
timescale, 92–94
title, 44, 125
“The Undeserving Poor,” 58, 60, 97, 206
Walker, Nancy, 177
Warner Bros., 181
Weaver, Fritz, 180
Weill, Kurt, 1, 4, 6–9, 197
West Side
