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Few musicals have had the impact of Lerner and Loewe's timeless classic My Fair Lady. Sitting in the middle of an era dominated by such seminal figures as Rodgers and Hammerstein, Frank Loesser, and Leonard Bernstein, My Fair Lady not only enjoyed critical success similar to that of its rivals but also had by far the longest run of a Broadway musical up to that time. From 1956 to 1962, its original production played without a break for 2,717 performances, and the show went on to be adapted into one of the most successful movie musicals of all time in 1964, when it won eight Academy Awards. Internationally, the show also broke records in London, and the original production toured to Russia at the height of the Cold War in an attempt to build goodwill. It remains a staple of the musical theater canon today, an oft-staged show in national, regional, and high school theaters across the country.
Using previously-unpublished documents, author Dominic McHugh presents a completely new, behind-the-scenes look at the five-year creation of the show, revealing the tensions and complex relationships that went into its making. McHugh charts the show from the aftermath of the premiere of Shaw's Pygmalion and the playwright's persistent refusal to allow it to be made into a musical, through to the quarrel that led lyricist Alan Jay Lerner and composer Frederick Loewe to part ways halfway through writing the show, up to opening night and through to the present. This book is the first to shed light on the many behind-the-scenes creative discussions that took place from casting decisions all the way through the final months of frantic preparation leading to the premiere in March 1956. McHugh also traces sketches for the show, looking particularly at the lines cut during the rehearsal and tryout periods, to demonstrate how Lerner evolved the relationship between Higgins and Eliza in such a way as to maintain the delicate balance of ambiguity that characterizes their association in the published script. He looks too at the movie version, and how the cast album and subsequent revivals have influenced the way in which the show has been received. Overall, this book explores why My Fair Lady continues to resonate with audiences worldwide more than fifty years after its premiere.
- Sales Rank: #706837 in eBooks
- Published on: 2012-06-08
- Released on: 2012-06-08
- Format: Kindle eBook
Review
From the Foreword by Geoffrey Block: "McHugh has produced the first comprehensive and most accurate account of how this great and perennially popular show came to be, and Loverly will give us much to talk about, just as the revered subject of this book has for generations added immeasurable wealth to the American musical treasury."
"Dominic McHugh is probably the world's leading expert on Alan Jay Lerner. My Fair Lady is indisputably one of the greatest musicals of all time. I enthusiastically endorse Dominic's study of Lerner and Loewe's masterpiece." --Tim Rice
"A captivating book due to the tremendous amount of new information supplied in its exciting narrative. While My Fair Lady seems in retrospect like an inevitably perfect musical, McHugh reveals that its creation was fraught with many potential roadblocks and creative differences. A fascinating read!" --Michael Feinstein
"Dominic McHugh has written a fine authoritative study of one of the world's greatest musicals. Anyone with an interest in the detailed history of the creation of My Fair Lady must read this book."--Liz Robertson, widow of Alan Jay Lerner
"An admirable and important book... McHugh deserves our gratitude for the immense amount of new information he provides." --TalkinBroadway.com
"A revealing look at the intricacies of writing and staging the production." --Dallas Morning News
"Presents a completely new, behind-the-scenes look at the five-year creation of the show, revealing the tensions and complex relationships that went into its making... This book is the first to shed light on the many behind-the-scenes creative discussions that took place from casting decisions all the way through the final months of frantic preparation leading to the premiere in March 1956....Overall, this book explores why My Fair Lady continues to resonate with audiences worldwide more than fifty years after its premiere." --BroadwayWorld.com
"Mr. McHugh has gone above and beyond and previous accounts, digging deep through mountains of research to present a truly comprehensive examination of the people and personalities who dedicated years into making this show sparkle on Broadway and around the world." --BroadwayCafeSociety.com
"McHugh's analysis is, on the whole, a fascinating one." --The Weekly Standard
"This beautifully written and scrupulously researched book deserves the warmest possible recommendation and it's essential reading for anyone with a serious interest in Broadway musicals." --International Record Review
"Merits the careful attention, and will make any fan of the musical happy for new reasons to love it." --The Columbus Dispatch
"[A] well-written, excellently documented, thorough account...Highly recommended." --Choice
"If you enjoy musical comedy you will enjoy Loverly. If you want or need to know something of that genre's fascinating history, you must read it. I look forward eagerly to Dominic McHugh's next publication." --Journal of Popular Culture
"McHugh has provided an entertaining and desperately needed scholarly investigation and analysis of the evolution and creation of My Fair Lady. Loverly is a must-read for any musical theatre scholar." --Studies in Musical Theatre
"[A]n indispensable reference for all scholars of Lerner and Loewe's masterpiece." --Psychology of Music
About the Author
Dominic McHugh is Lecturer in Music at The University of Sheffield.
Most helpful customer reviews
12 of 12 people found the following review helpful.
Absobloomin'lutely brill !
By Damien Slattery
The level of detail covered in this glorious document is nothing short of breathtaking! Dominic McHugh approaches the many aspects of MY FAIR LADY with the eye of an academic, presenting pages full of intelligent observation and detailed studies of the text, the score and the creation of this American musical classic.
Unusually, the author tackles the songs that were cut from the production just as extensively as the classic hits from the show that we know today. He digs deeply into the varied letters of correspondance from the collaborators, and reveals a truer version of the creative decisions and birthpangs than lyricist/bookwriter Alan Lerner had imparted in his official accounts.
There are studies of G.B. Shaw's PYGMALION, noting its comparative differences with MY FAIR LADY, the ambiguity of the romantic elements of MY FAIR LADY, and the conflicting memories of the performers in the original production. McHugh also delves into the various revivals and revisionist productions since 1956, and notes the changing concepts that still makes this astounding musical the classic that it is. The one reservation I might have is the lack of photographs from the various productions of MY FAIR LADY, as the b&w ones presented are scant, and are only from the original production.
This is a wonderfully readable publication (musical notation is kept to a minimum), and having read just about all of the other books relating to the musical masterwork (including the great Keith Garebian book) I can easily say that this is just as rewarding.
Making of My Fair Lady
7 of 8 people found the following review helpful.
By George, McHugh's done it!
By Van C. Gessel
I have studied "My Fair Lady" for well over 40 years, but McHugh's book has managed to open up incredible new vistas for me. He has delved with a scholar's precision and thoroughness into archival material, autograph manuscripts, and private sources to present as complete and compelling a picture of the creation of this musical masterpiece as we can ever hope to have.
McHugh adds to this treasure trove of material a deft and enlightening analysis of many of the critical aspects of the show: the music, the lyrics in their various stages, the personnel interactions and issues, the overall achievements of the musical. More than any other source I have examined, McHugh has helped to bring Fritz Loewe out of the shadows--where it was too easy to view him as a passive collaborator--and identify him as a fully involved musical genius. Perhaps most impressive of McHugh's contributions here, however, is the manner in which he so carefully and persuasively demonstrates the originality and creativity of "Fair Lady', taking it beyond the standard critique as a mere "expansion" of "Pygmalion" and viewing it as the extraordinarily original and creative work of musical theatre that it is. He has also provided a necessary corrective to Lerner's highly...er..."inventive" recollections of his own life and career! It has always fascinated me that he was so sublime on the micro level of writing the most intricate and thoughtful and moving of lyrics, yet at the same time so undisciplined at the macro level, especially in his personal life, but also, I think, in some of his work.
Anyone with an interest in the musical theatre--most especially the musical theatre at its zenith, with "My Fair Lady" as its greatest example of achievement--should find this book informative, fascinating, and endlessly revealing. It is also an outstanding look at the creative squabbles, struggles, compromises, revisions, and ultimate genius of the men and women who worked together to produce this masterpiece of the theatre. I recommend this book with great enthusiasm. And as for McHugh: "He did it!"
3 of 4 people found the following review helpful.
Essential Details on the Greatest Musical
By Rob Hardy
_My Fair Lady_ is perhaps the grandest musical that ever came from Broadway. It emerged from the romantic tradition of American musicals, but it is a distinctively different romance. The two main characters are not only not lovers, they do not kiss or embrace. The ambiguity of their relationship is what makes the show a success; that's one of the lessons in _Loverly: The Life and Times of My Fair Lady_ (Oxford University Press) by Dominic McHugh who lectures at the University of Sheffield. He also obviously loves the musical; he seems to have looked at every letter and memo regarding its inception, and if there is any trace of a discarded lyric, he has evaluated all its implications. The detail is at times overwhelming, but a show this beloved deserves it. Among the other lessons here is how astonishingly much work had to go into getting the show produced, and how close it came to not happening at all. Those who love _My Fair Lady_ will value it anew for this, and for the wealth of history brought by this, the first comprehensive account of the musical's origin.
Shaw fought off any attempts to make a musical of his play _Pygmalion_, which in turn was based on the myth from Ovid. It was only his death in 1950 that allowed his estate to make such decisions. Many had seen the musical potential of the play, but turning it into a musical proved too difficult for Rodgers and Hammerstein, who gave up on the task. The lyricist Alan Jay Lerner and the composer Frederick Loewe also gave up on in it 1952, but went back two years later. It was difficult to get a cast together all at one time, and even when rehearsals were underway, there was still a great deal of editing to do. McHugh has meticulously examined whatever remains of the cast-off portions, though, and finds more to the cuts than just standard editing. Lowe, after huge amounts of work, was fearless in cutting out chunks of that work (or recycling it to other later musicals). In an effort that would defy the commonsense idea of what a musical was about, the overtly romantic songs and lyrics were snipped or toned down. For all their circling of each other in the musical, by turns provoked or entranced, Higgins and Eliza do not fall in love. "Lerner and Lowe," writes McHugh, "resolve the characters' ongoing battle without defining their relationship any more explicitly than it has been earlier in the show." The famous last line, "Eliza? Where the devil are my slippers?" confirms that Eliza and Higgins have cemented a prickly friendship, and the audiences go out happy with the idea that the friendship will continue. In a traditional musical, nothing but love and marriage would have resulted, but here is instead "the perfect ambiguous conclusion: the `serenely independent' Higgins cannot love Eliza but is happy to admit that he has grown accustomed to her face."
McHugh goes heavily on the musicology, and these sections of the book will baffle most readers. (It certainly does not take being a musicologist to enjoy the show or the book; it was seldom when reading these pages that the music was not playing in my head.) There is also scads of folklore about the musical and its first production that McHugh does not include; this is not a light anecdotal read. _My Fair Lady_, however, merits the careful attention, and will make any fan of the musical happy for new reasons to love it.
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