Read Online Alan Jay Lerner: A Lyricist's Letters by Dominic McHugh - Free Book Online Page A
Authors: Dominic McHugh
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catering to all the sensual pleasures. In my books, Hawaii is one of the garden spots of the world. I love it dearly.
Naturally, I’ve been giving a lot of thought to
Pygmalion
(or shall we start calling it
Lady Liza
?). 1 The more I brood upon it the more excited I become. It really can be a great musical. It’s so unusual to find high comedy on such a touching, warm level. The more I think about it, the more convinced I am that the locale should remain England and that it should be designed and styled completely modern, with no references, however, to anything contemporary. At heart, it’s a timeless fable and bigger than any period. By treating it in a stylized modern fashion it can not only be a great treat to the eye but can give Liza the opportunity to wear magnificent clothes, all of which is very important dramatically as well as visually. In other words it can be sumptuous but, of course, in infinite taste.
As far as the actual conversion into musical form is concerned, there are two basic problems that I see at this moment—both of which [are] easily overcome. The first is to get it out of the drawing room and into the open; and the second is to tighten the story. By that I mean to give characters such as Mr. Doolittle a more important role in the plot and not just be a highly amusing interlude as he is now. Too, Freddie should be developed into more attractive a fellow so that he can become more of a real threat. In the first instance of getting it out of the drawing room, Fritz and I have several ideas which we didn’t have time to discuss with you. The scene in Mrs. Higgins’s home for example—the “gin to her was mother’s milk” scene—could be played at the opening of Ascot. 2 It could be extremely colorful and lend itself to great humor both musically and otherwise. The calmness of the British aristocracy at the races I always thought very funny. Now, of course, following the motion picture, 3 there are the ball scenes and the wonderfully touching sequence when she returns to Covent Garden and nobody recognizes her. A scene like that could be developed so that the second scene at Mrs. Higgins’s when the Professor finds her after his long search couldbe obviated. The end of the first act, of course, can be one of the great moments of any musical I can remember. It should be Liza’s preparation for the ball, her excitement, her desire to please the Prof., her dressing, her rehearsing, her manners, etc. Musically it should be one of her big, big numbers—ending with her going off with the Prof. for the great and final test. 4 It could be really wonderful, don’t you think?
Of course, no matter how excited I get about the play, I always stop when I come to the question: can we get Mary Martin? Although there are undoubtedly others who could play it, I do feel anybody after Mary is second choice. Liza is one of the great parts for a woman ever written. In music it will be even greater. And Mary is obviously the greatest star the musical theater has produced—there’s no doubt about that. Somehow it seems like a perfect marriage. It doesn’t bother me at all that she is American because if the King’s English as taught to her by the Prof. doesn’t seem completely compatible with her, neither was it with Liza in the play. And the cockney she can do easily. From a show business point of view it would be a great tour-de-force for her. Then, too, Mary is the only one I know who has naturally that odd combination of the little girl and the great lady. I can’t think of another part when both these qualities could be better employed—or on the other side, when Mary could run more of a gamut of all her talents. This is one play that should be written
for
her and
with
her. If you could persuade her and Dick 5 to be as enthusiastic as we are, Fritz and I would gladly fly over and discuss it with her when we have the actual layout
Naturally, I’ve been giving a lot of thought to
Pygmalion
(or shall we start calling it
Lady Liza
?). 1 The more I brood upon it the more excited I become. It really can be a great musical. It’s so unusual to find high comedy on such a touching, warm level. The more I think about it, the more convinced I am that the locale should remain England and that it should be designed and styled completely modern, with no references, however, to anything contemporary. At heart, it’s a timeless fable and bigger than any period. By treating it in a stylized modern fashion it can not only be a great treat to the eye but can give Liza the opportunity to wear magnificent clothes, all of which is very important dramatically as well as visually. In other words it can be sumptuous but, of course, in infinite taste.
As far as the actual conversion into musical form is concerned, there are two basic problems that I see at this moment—both of which [are] easily overcome. The first is to get it out of the drawing room and into the open; and the second is to tighten the story. By that I mean to give characters such as Mr. Doolittle a more important role in the plot and not just be a highly amusing interlude as he is now. Too, Freddie should be developed into more attractive a fellow so that he can become more of a real threat. In the first instance of getting it out of the drawing room, Fritz and I have several ideas which we didn’t have time to discuss with you. The scene in Mrs. Higgins’s home for example—the “gin to her was mother’s milk” scene—could be played at the opening of Ascot. 2 It could be extremely colorful and lend itself to great humor both musically and otherwise. The calmness of the British aristocracy at the races I always thought very funny. Now, of course, following the motion picture, 3 there are the ball scenes and the wonderfully touching sequence when she returns to Covent Garden and nobody recognizes her. A scene like that could be developed so that the second scene at Mrs. Higgins’s when the Professor finds her after his long search couldbe obviated. The end of the first act, of course, can be one of the great moments of any musical I can remember. It should be Liza’s preparation for the ball, her excitement, her desire to please the Prof., her dressing, her rehearsing, her manners, etc. Musically it should be one of her big, big numbers—ending with her going off with the Prof. for the great and final test. 4 It could be really wonderful, don’t you think?
Of course, no matter how excited I get about the play, I always stop when I come to the question: can we get Mary Martin? Although there are undoubtedly others who could play it, I do feel anybody after Mary is second choice. Liza is one of the great parts for a woman ever written. In music it will be even greater. And Mary is obviously the greatest star the musical theater has produced—there’s no doubt about that. Somehow it seems like a perfect marriage. It doesn’t bother me at all that she is American because if the King’s English as taught to her by the Prof. doesn’t seem completely compatible with her, neither was it with Liza in the play. And the cockney she can do easily. From a show business point of view it would be a great tour-de-force for her. Then, too, Mary is the only one I know who has naturally that odd combination of the little girl and the great lady. I can’t think of another part when both these qualities could be better employed—or on the other side, when Mary could run more of a gamut of all her talents. This is one play that should be written
for
her and
with
her. If you could persuade her and Dick 5 to be as enthusiastic as we are, Fritz and I would gladly fly over and discuss it with her when we have the actual layout
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