Opera Notes My Fair Lady 12:7:18

Total Page:16

File Type:pdf, Size:1020Kb

Opera Notes My Fair Lady 12:7:18 Edited by Gene Martin MY FAIR LADY A.J. Lerner and F. Loewe CAST December 7, 2018 at 1:00 PM Audrey Hepburn as Eliza Doolittle Marni Nixon as Eliza's singing voice I will be brief because this musical is so Rex Harrison as Professor Henry Higgins well known. In its time, it was the Stanley Holloway as Alfred P. Doolittle longest running Broadway musical and Wilfrid Hyde-White as Colonel Pickering the classy songs and legendary performances made it a hit as a movie Gladys Cooper as Mrs. Higgins as well. Lerner and Lowe adapted their Jeremy Brett as Freddy Eynsford-Hill musical from the George Bernard Shaw Bill Shirley as Freddy's singing voice comedy Pygmalion. Theodore Bikel as Zoltan Karpathy Rex Harrison is repeating his stage role after Cary Grant turned down the Mona Washbourne as Mrs. Pearce, movie job. Julie Andrews originated the Higgins' housekeeper role of Eliza on Broadway but producer Isobel Elsom as Mrs. Eynsford-Hill Jack Warner felt that Andrews, at the John Holland as the Butler time unknown beyond Broadway, wasn't bankable. Hepburn's singing was Henry Daniell as British Ambassador dubbed by Marni Nixon, who also (He shot his scene and died that evening.) dubbed Natalie Wood in West Side Queenie Leonard as Cockney bystander Story (1961). Andrews instead made Moyna MacGill as Lady Boxington Mary Poppins, for which she was given the Best Actress Oscar that year, Editor’s Note beating out Hepburn. This movie, however, won Best Picture, Best The film “My Fair Lady” was shot Director, Best Actor for Harrison, and entirely in a Warner Bros. studio. This five other Oscars, and it remains one of DVD is based on the painstakingly the all-time best movie musicals. restored film created for the 30th anniversary release in 1994. Steve Schwartz✍ (Continued on Page 3) Runtime: 179minutes • Filmed at Warner Brothers 1964 , • Remastered DVD 2009 MPAA rated g • ASIN: B002HK9IDQ Page !1 of !5 MUSICAL NUMBERS 1 "Overture" – Played by Orchestra. 14 "Transylvanian March" – Played by 2 "Why Can't the English Learn to Orchestra. Speak?" – Performed by Rex 15 "Embassy Waltz" – Played by Harrison, Wilfrid Hyde-White and Orchestra. Audrey Hepburn. 16 "You Did It" – Performed by Rex 3 "Wouldn't It Be Loverly?" – Harrison, Wilfrid Hyde-White and Performed by Audrey Hepburn Chorus. (dubbed by Marni Nixon) and 17 "Just You Wait (Reprise)" – Sung Chorus. by Audrey Hepburn. 4 "An Ordinary Man" – Performed 18 "On the Street Where You by Rex Harrison. Live" (reprise) – Sung by Jeremy 5 "With a Little Bit of Luck" – Brett (dubbed by Bill Shirley). Performed by Stanley Holloway, 19 "Show Me" – Sung by Audrey John Alderson, John McLiam and Hepburn (dubbed by Marni Nixon) Chorus. and Jeremy Brett (dubbed by Bill 6 "Just You Wait" – Sung by Audrey Shirley). Hepburn (partially dubbed by 20 "Wouldn't It Be Marni Nixon) and Charles Loverly" (reprise) – Sung by Fredericks. Audrey Hepburn (dubbed by Marni 7 "Servants Chorus" – Sung by Nixon) and Chorus. Mona Washbourne and Chorus. 21 "Get Me to the Church on Time" – 8 "The Rain in Spain" – Performed Performed by Stanley Holloway, by Rex Harrison, Wilfrid Hyde- John Alderson, John McLiam and White and Audrey Hepburn Chorus. (partially dubbed by Marni Nixon). 22 "A Hymn to Him (Why Can't A 9 "I Could Have Danced All Night" – Woman Be More Like a Man?)" – Performed by Audrey Hepburn Performed by Rex Harrison and (dubbed by Marni Nixon), Mona Wilfrid Hyde-White. Washbourne and Chorus. 23 "Without You" – Sung by 10 "Ascot Gavotte" – Sung by Audrey Hepburn (dubbed by Marni Chorus. Nixon) and Rex Harrison. 11 "Ascot Gavotte (Reprise)" – Sung 24 "I've Grown Accustomed to Her by Chorus. Face" – Performed by Rex 12 "On the Street Where You Live" – Harrison. Sung by Jeremy Brett (dubbed by 25 "Finale" – Played by Orchestra. Bill Shirley). 13 "Intermission" – Played by Orchestra. Page !2 of !5 (Continued from Page 1) Extensive restoration was required Since he was not a singer and talked because CBS discarded most of the his music without a singer’s discipline basic materials according to IMDb. about timing, he never said his songs in the same tempo twice. Since his “The head of CBS, William S. Paley, numbers were wirelessly recorded as (financed) the original Broadway he did them, his lips and the music production in exchange for the rights were perfectly in sync while everyone to the cast album. When Warner else’s had the slight imperfections that bought the film rights in 1962 for the occur during lip-synced performances. then-unprecedented sum of $5 The studio thought this made the lip- million, it was agreed the rights to the syncing more obvious elsewhere in the film rights would revert to CBS.” film, so his soundtrack was edited to For example, the only surviving audio create slight imperfections in Harrison’s from the original recording is the synchronicity as well! production master, which is one A final note: the technical records of generation down from the original. The “My Fair Lady” claim that the average digital restoration of the film which camera shot length is 10 seconds! saved it from extinction took 6 months and cost $600,000 (in 1994 dollars). Next Week Another notable aspect of this film is Next week on December 14, we will the use of a wireless microphone, present Live From Red Square supposedly the first time one was used featuring solos and duets by Anna in filming a movie. Rex Harrison had Netrebko and Dmitri Hvorostovsky. persuaded Director George Cukor to let They will perform highlights from him move around on the large street Verdi’s La forza del destino, I verspri set when he ‘sang’ "I've Grown siciliani, Don Carlo, Il trovatore, Accustomed to Her Face.” Because the recordists could not follow him with a Nabucco, and Rigoletto; from microphone boom, the sound engineer, Puccini’s Tosca; Giordano’s Andrea George Groves, used a wireless Chenier; and Tchaikovsky’s Eugene “ t r a n s i s t o p h o n e ” r i g g e d u n d e r Onegin; plus encores and several Harrison’s tie. numbers by the State Academic Symphony Orchestra and Grand The sound department earned an Academy Award for its work on this film. Choir conducted by Constantine Orbelian. Other than Rex Harrison’s songs, all of the musical numbers were pre-recorded and the actors lip-synced during filming. Why not Harrison? Page !3 of !5 OPERA AT RIDERWOOD Delivery: Courtesy of Steve Schwartz GV 416 Paula & Paula Cook KC 211 Riderwood Gene Martin KC T12 Staff YOUR OPERA NOTES… For This Friday 1:00 PM at Encore Theater Page !4 of !5 Page !5 of !5.
Recommended publications
  • NYSTA January-February 2013.Pmd
    1 VOICEPrints JOURNAL OF THE NEW YORK SINGING TEACHERS’ ASSOCIATION January-- February 2013 TABLE OF CONTENTS: FEATURED EVENT and COURSE............................................................................................................. .........Page 1 Message from President David Sabella-Mills....................................................................................................Page 2 Message from Editor Matthew Hoch.............................................................................................................. Page 2 NYSTA 2013 Calendar of Events................................................................................................................. .Page 3 FEATURE ARTICLE: Getting to Know Marni Nixon by NYSTA Member Sarah Adams Hoover, DMA..........Pages 4--5 FEATURE ARTICLE: VOCEVISTA: Using Visual Real-Time Feedback by NYSTA Member Deborah Popham, DMA............................................................................Pages 6--7 NYSTA New Member..................................................................................................................................... .Page 8 Dean Williamson Master Class: October 25, 2012............................................................................................Page 8 NYSTA Board of Directors ...............................................................................................................................Page 8 OREN LATHROP BROWN PROFESSIONAL DEVELOPMENT PROGRAM FEATURED EVENT: FEATURED COURSE: WINTER 2013 ONLINE
    [Show full text]
  • Widescreen Weekend 2007 Brochure
    The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film.
    [Show full text]
  • Belita ORIGINAL LIST $119.50 Slays a SENSATION! Hollywood THOUSANDS CHEER OPENING OF
    AMUSEMENTS. AMUSEMENTS. listener of many delightful and Two Young Artists eatchy, truly Viennese tunes, not two Anti-Nazi Drama Orson Welles’ Statues % of which are alike either Please in Concert in mood "Underground," a drama of the or tempo. Because of a certain Carter Carburetors imimiiinmnniTi hmhtti secret anti-Nazi radio system oper- By ELENA DE SAYN. sameness with which Miss Finna- FOR ALL CARS com treated the ating in Germany, will go into pro- Give Him Trouble Now Two young and attractive artists, arrangement only Liberal Trade Allowance for roar Carolyn Schulte, coloratura soprano, the last of that particular collec- duction at Warner Bros. Studio old carburetor in Hercules Not Be Unadorned; and Helene Finnacom, pianist, were tion, performed keeping with the February 14. Vincent Sherman,! May given a cordial reception at the composer's intentions, reached the whose handling of "Flight From Club auditorium last audience. The artist was rewarded MIUER-DUDHYfi Washington Destiny” brought him critical com- ■ I7lfi NODTH9300 ■ Henie Would Like to Be the She Sonja night. A friendly audience filled by generous applause. displayed mendation, will direct the picture. to with the overflow her brilliant technique in this and Her Own Producer hall capacity, Two brothers, one a Nazi, the other Associate taken care of In the room. in Liszt’s "Gnomenreigen,” which °' Theft ten Having Met in tea. adjoining anti-Nazi, and a girl with whom in a she in a ACADEMY Pe&c‘a?uSd riEot‘,D,‘’ Miss Schulte, becoming gown presented masterly fashion. both brothers are in be E. Uwrencf Theatre By SHE1LAH GRAHAM.
    [Show full text]
  • Resonare 1, No. 1
    A Study in Violin Pedagogy: Teaching Techniques from Selected Works by Rachmaninoff, Prokofiev, Bartók, and Delerue Layne Vanderbeek This article is an outline and analysis of a few specific methods of composition used by the composers Sergei Rachmaninoff, Sergei Prokofiev, Béla Bartók, and Georges Delerue for the purpose of reproducing the styles and techniques for an intermediate level violinist. This will be accomplished by gathering information concerning each composer and their style and then reproducing that style in an original composition at the intermediate level. Each composer will be dealt with in a section divided into several parts: relevant biographical and historical information, stylistic analysis, and methods employed to incorporate these stylistic characteristics into the intermediate level composition. The biographical and historical information will consist of pertinent historic, social, and political events that influenced compositional style and growth of each composer. Stylistic analysis will be based upon general historical information and analysis of the specific composition in consideration. Scalar resources, chord and harmony use, texture and rhythm will be discussed and illustrated. The incorporation of these stylistic elements into an intermediate level composition will be a direct conclusion to the previous section. The information gained in the stylistic analysis will be utilized in original intermediate compositions, and it will be illustrated how this is accomplished and how these twentieth-century techniques are being employed and incorporated. Within the section titled “Methods of Stylistic Incorporation,” portions of the intermediate compositions will be used to demonstrate aspects of the composers' styles that were included. Each complete intermediate composition will be placed at the end of each section to demonstrate the results of the analysis.
    [Show full text]
  • Pioneer Concierge Celebrates 25 Years
    Pioneer concierge celebrates 25 years October 17, 2007 By SANDY THORN CLARK Back in the ‘70s when Olga Pierce was fulfilling the ego-driven requests of celebrities including Pavarotti, Sophia Loren, Rex Harrison, Paul Newman, Robert De Niro, Robert Redford and Patrick Swayze, she didn’t envision turning her skills as a concierge at the now-defunct Whitehall Hotel & Club into a successful business. Now, the founder of Concierge Unlimited International, with offices in the Opera House in the West Loop, is celebrating her 25th year as president of the 50-employee firm that provides independent concierge services in the private, corporate and residential sectors. Fostering unique relationships and performing good deeds are key elements to CUI’s success, says Pierce, enjoying a breakfast of poached eggs and an English muffin in Zest, the second-floor restaurant in the Mag Mile’s Intercontinental Hotel. A pioneer in the concierge industry, Pierce launched her concept - the first in the world - following the 1982 closing of the exclusive, members-only Whitehall. At the insistence of her faithful clients, she continued her role as problem-solver extraordinaire with a private client base that included executives from USG, Storck USA, Standard Oil (now BP America), Donahue & Associates, Frain, Camins & Schwartzchild, John Phipps & Associates, and Smith Barney. Olga Pierce Corporate real estate accounts with Fifield Companies and Bennett & Kahnweiler followed. By 1989, Pierce placed the world’s first corporate concierge at the Time-Life Building, with Time, Life, People and American Hydrotech among the clients. CUI’s corporate client roster has grown to include AT&T, Baker & McKenzie, Boeing, Citicorp, Citadel, Clifford Law Offices, Energy BBDO, General Electric, JF McKinney & Associates, J.P.
    [Show full text]
  • American Music Research Center Journal
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • To Revel in God's Sunshine
    To Revel in God’s Sunshine The Story of RSM J C Lord MVO MBE Compiled by Richard Alford and Colleagues of RSM J C Lord © R ALFORD 1981 First Edition Published in 1981 Second Edition Published Electronically in 2013 Cover Pictures Front - Regimental Sergeant Major J C Lord in front of the Grand Entrance to the Old Building, Royal Military Academy Sandhurst. Rear - Army Core Values To Revel in God’s Sunshine The Story of the Army Career of the late Academy Sergeant Major J.C. Lord MVO MBE As related by former Recruits, Cadets, Comrades and Friends Compiled by Richard Alford (2nd Edition - Edited by Maj P.E. Fensome R IRISH and Lt Col (Retd) A.M.F. Jelf) John Lord firmly believed the words of Emerson: “Trust men and they will be true to you. Treat them greatly and they will show themselves great.” Dedicated to SOLDIERS SOLDIERS WHO TRAIN SOLDIERS SOLDIERS WHO LEAD SOLDIERS The circumstances of many contributors to this book will have changed during the course of research and publication, and apologies are extended for any out of date information given in relation to rank and appointment. i John Lord when Regimental Sergeant Major The Parachute Regiment Infantry Training Centre ii CONTENTS 2ND EDITION Introduction General Sir Peter Wall KCB CBE ADC Gen – CGS v Foreword WO1 A.J. Stokes COLDM GDS – AcSM R M A Sandhurst vi Editor’s Note Major P.E Fensome R IRISH vii To Revel in God’s Sunshine Introduction The Royal British Legion Annual Parade at R.M.A Sandhurst viii Chapter 1 The Grenadier Guards, Brighton Police Force 1 Chapter 2 Royal Military College, Sandhurst.
    [Show full text]
  • Critchon's the Lavender Hill
    1 The Lavender Hill Mob Directed by Charles Critchon. Produced by Michael Balcon. Screenplay and story by T.E. “Tebby” Clarke. Cinematography by Douglas Slocombe. Art Direction by William Kellner. Original Music by Georges Auric. Edited by Seth Holt. Costumes by Anthony Mendleson. Cinematic length: 81 minutes. Companies: Ealing Studos and the Rank Organisation. Cinematic release: June 1951. DVD release: 2002 DVD/Blue Ray 60th Anniversary Release 2011. Check for ratings. Rating 90%. All images are taken from the Public Domain and Wiki derivatives with permission. Written Without Prejudice Cast Alec Guinness as Henry Holland Stanley Holloway as Alfred Pendlebury Sid James as Lackery Wood Alfie Bass as Shorty Fisher John Gregson as Detective Farrow 2 Marjorie Fielding as Mrs. Chalk Edie Martin as Miss Evesham Audrey Hepburn as Chiquita John Salew as Parkin Ronald Adam as Turner Arthur Hambling as Wallis Gibb McLaughlin as Godwin Clive Morton as the Station Sergeant Sydney Tafler as Clayton Marie Burke as Senora Gallardo William Fox as Gregory Michael Trubshawe as the British Ambassador Jacques B. Brunius, Paul Demel, Eugene Deckers and Andreas Malandrinos as Customs Officials David Davies and Meredith Edwards as city policemen Cyril Chamberlain as Commander Moultrie Kelsall as a Detective Superintendent Christopher Hewett as Inspector Talbot Patrick Barr as a Divisional Detective Inspector Ann Heffernan as the kiosk attendant Robert Shaw as a lab technician Patricia Garwood as a schoolgirl Peter Bull as Joe the Gab Review Although Ealing Studios started making comedies in the later 1930s, the decade between 1947 and 1957, after which the studio was sold to the BBC and changed direction, was their classic period.
    [Show full text]
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]
  • A Cross-Cultural Analysis of Lip-Syncing in American and Indian Film Lucie Alaimo
    Unsung Heroes? A Cross-Cultural Analysis of Lip-Syncing in American and Indian Film Lucie Alaimo Who are these unsung heroes? They are the voice-dubbers in Hollywood film. Throughout the history of Hollywood, actors and actresses have resorted to voice-dubbing in films in which they have had singing numbers. However, in American music performance practices, especially in the popular music and film industries, lip-syncing is often criticized, leading to debate over the technique. In comparison, Bollywood films also feature voice- dubbing, and although there is hostility towards this technique in Hollywood, it is perfectly acceptable in the Indian film industry. The majority of Bollywood films feature singing, and in all, it is the role of the voice-dubbers, also known as playback singers, to provide voices for the film stars. In addition, many of Bollywood’s playback singers have become as popular as, if not more than, the actors and actresses for whom they sing. Much of the reason for this stark difference in acceptance of voice-dubbers is found in the different ideologies of authenticity surrounding the use of lip-syncing. In North America, listeners expect perfection in the performances, yet are disappointed when discovering that there are elements of inauthenticity in them. Yet in India, both film producers and audiences have accepted the need for the talents of multiple people to become involved in the film production. In this paper, I will first discuss ideologies surrounding musical authenticity, then compare how these discourses have shaped and influenced the acceptance or rejection of voice-dubbers in Hollywood and Bollywood films.
    [Show full text]
  • Municipal Auditorium New Orleans, La
    MUNICIPAL AUDITORIUM NEW ORLEANS, LA. DECEMBER 14th 26th, 1959 (Matinees, 16th, 19th, 20th, 23rd and 26th) Cameras and flash bulbs not allowed in Theatre. Photographing any part of this production is prohibited by law. ® "Columbia" ® <t? Marc8s ReR'. A dlvialoD DC Columbia Broadcasting System. inc. PROUDLY OFFERS IN BOTH REGULAR HI - FI AND STEREO THE ALL TIME BEST SELLING ORIGINAL CAST RECORDING OF MY FAIR LADY STARRING REX HARRISON, JULIE ANDREWS AND STANLEY HOLLOWAY Also available on Columbia are the original cast albums from Gypsy, Porgy and Bess, Flower Drum Song, Lil' Abner, West Side Story, South Pacific, The Most Happy Pella, Kismet, and many others AND NOW JUST IN TIME FOR HOLIDAY ENJOYMENT COLUMBIA PROUDLY PRESENTS THE NEW ROGERS AND HAMMERSTEIN SHOW THE SOUND OF MUSIC STARRING MARY MARTIN All of these albums are available at a discount of $1.00 off the regular list prices (Monaural or Stereo) at the store that brought low record prices to New Orleans . • SMITH'S RECORD CENTER 2019 ST. CHARLES AVE. Open Weekdays 10 to 9 Sundays 1-5 p.M. -2- Who~ Who in the Cast Buy Me a Bow-wow." Because she sr, a flair for singing and dancing, she d MICHAEL EVANS (HENRY HIGGINS) was reputation at the local theatres. born in Kent, England, and educated at Win- Miss Todd has a large TV following in chester College in Hampshire and also at the London and has many of the best programmes Sorbonne in Paris. His first brush with the to her credit, including: "Dixon of Dock theatre was at a dramatic school, the London Green" and "O.S.S." Others are "Tonight," Theatre Studio, which was run by Michel Saint "Tele-Club," 'Whirligig," and "In Town To- Denis.
    [Show full text]
  • My Fair Lady – Pp
    SEASON Book and Lyrics by ALAN JAY LERNER Music by FREDERICK LOEWE Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion LYRIC OPERA OF CHICAGO Table of Contents MARIE-NOËLLE ROBERT / THÉÂTRE DU CHÂTELET IN THIS ISSUE My Fair Lady – pp. 23-43 6 From the General Director 12 2017/18 – Season of Delight, 32 Musical Notes and Chairman Season of Discovery 35 Director’s Note 8 17 Board of Directors Tonight’s Performance 36 After the Curtain Falls 9 19 Women’s Board/Guild Board/Chapters’ Cast 38 Aria Society Executive Board/Young Professionals/ 20 Synopsis Ryan Opera Center Board 47 Breaking New Ground 21 Musical Numbers/Orchestra 10 Administration/Administrative Staff/ 48 Look to the Future 22 Production and Technical Staff Artist Profiles 49 Major Contributors – Special Events and Project Support ALL ABOUT LYRIC’S 2017-18 SEASON pp. 14-20 51 Lyric Unlimited Contributors 53 Ryan Opera Center Contributors 54 Planned Giving: The Overture Society 55 Commemorative Gifts 56 Corporate Partnerships 57 Matching Gifts, Special Thanks and Acknowledgements REED HUMMEL/NASHVILLE OPERA 58 Annual Individual and Foundation Support 64 Facilities and Services/Theater Staff 2 | April - May, 2017 LYRIC OPERA OF CHICAGO www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Executive Editor Account Managers Lisa Middleton Rand Brichta - Arnie Hoffman - Greg Pigott Southeast Michael Hedge 847-770-4643 Editor Southwest Betsy Gugick & Associates 972-387-1347 Roger Pines East Coast Manzo Media Group 610-527-7047 Associate Editor Marketing and Sales Consultant David L.
    [Show full text]