Lerner and Loewe's My Fair Lady

Fiction & Literature, Drama, American, Nonfiction, Entertainment, Theatre
Cover of the book Lerner and Loewe's My Fair Lady by Keith Garebian, Taylor and Francis
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Author: Keith Garebian ISBN: 9781317337096
Publisher: Taylor and Francis Publication: September 13, 2016
Imprint: Routledge Language: English
Author: Keith Garebian
ISBN: 9781317337096
Publisher: Taylor and Francis
Publication: September 13, 2016
Imprint: Routledge
Language: English

"An Englishman's way of speaking absolutely classifies him,
The moment he talks he makes some other Englishman despise him." - Henry

George Bernard Shawfamously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending.

Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life.

Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

"An Englishman's way of speaking absolutely classifies him,
The moment he talks he makes some other Englishman despise him." - Henry

George Bernard Shawfamously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending.

Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life.

Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.

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