My Fair Lady PDF

FREDERICK LOEWE ALAN JAY LERNER

I

Mwi by

FREDERICK LOEWE Bmk and L ~ UbyJ

ALAN JAY LERNER ADAPTED FROM BERNARD SHAW'S "WGMALION" PRODUCED ON THE SCREEN BY GABRIEL PASCAL

Vialh e Revised Edition - 1969

Applications for performance of this work, whether legitimate, stock, amateur, o r foreign, should be addressed to: TAMS-WITMARK 560 Lexington Avenue New York, N.Y., 10022

chappelllintersong8 music group-usa

For A l l Works Contained Herein: International Copyright Secured A L L RIGHTS RESERVED Printed on U.S.A. Unauthorized copying, arranging, adapting, recarding or public performance i s an infringement a f copyright. Infringers are l i a b l e under the law.

Produced by HERMAN LEVIN. First performance March 15, 1956 at the Mark Hellinger Theatre, New York Staged by MOSS HART Choreography and Musical Numbers by HANYAHOLM Production Designed by OLIVERSMITH Costumer Designed by CECILBEATON Lighting by FEDER Musical Direction by FRANZALLERS Orchestrations by ROBERTRUSSELL BENNETTand PHIL J. LANG Dance Music ~ r r a n ~ ebyd TRUDERTTMAN

CbSt of Charzten (In order of appearance) BUSKERS................ Imelda De Martin, Carl Jeffrey, Joe Rocco MRS.EYNSFORD-HILL ............................ Viola Roache ELIZADOOLITTLE.............................. Julie Andrews FREDDY EYNSFORD-HILL ...................... John Michael King COLONELPICKERING............................ Robert Coote ............................. Christopher Hewett A BYSTANDER HENRYHIGGINS................................ Rex Harrison SELSEY MAN ................................ Gordon Dilworth HOXTONMAN ................................ David Thomas ANOTHER BYSTANDER .......................... Rod McLennan FIRSTCOCKNEY................................Reid Shelton ............................... Glenn Kezer SECOND COCKNEY ................................ James Morris THIRDCOCKNEY FOURTHCOCKNEY.............................. Herb Surface .................................. David Thomas BARTENDER HARRY.................................... Gordon Dilworth JAMIE...................................... Rod McLennan ........................ Stanley Holloway ALFREDP. DOOLITTLE MRS.PEARCE................................ Philippa Bevans MRS. HOPKINS............................ Olive Reeves-Smith BUTLER...................................... Reid Shelton SERVANTS .................... Rosemary Gaines, Colleen Q'Connor Muriel Shaw, Gloria Van Dorpe, Glenn Kezer ............................... MRS.HIGGINS Cathleen Nesbitt ................................. Barton Mumaw CHAUFFEUR FOOTMEN....................... Gordon Ewing, William Krach LORDBOXMGTON............................ Gordon Dilworth LADYBOXINGTON.......................... Olive Reeves-Smith .................................. BartonMumaw CONSTABLE FLOWER GIRL ................................. Cathy Conklin ........................ Christopher Hewet ZOLTANKARPATHY FLUNKEY...................................... Paul Brown .................... Maribel Hammer QUEENO F TRANSYLVANIA ................................ Rod McLennan AMBASSADOR .................................... Paul Brown BARTENDER MRS. HICCINS'MAID.......................... Judith Williams

Synopsis of Scenes The place is London, the time is 1912.

ACT I OUTSIDE THE OPERA HOUSE, COVENT GARDEN. A cold March night. A TENEMENT SECTION -TOTTENHAM COURT ROAD. Immediately following. HIGGINS' STUDY. The following morning. TENEMENT SECTION - TOTTENHAM COURT ROAD. Three days later. HIGGINS' STUDY. Later that day. NEAR THE RACE MEETING, ASCOT. A July afternoon. INSIDE A CLUB TENT, ASCOT. Immediately following. OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Later that afternoon. HIGGINS' STUDY. Six weeks later. THE PROMENADE OF THE EMBASSY. Later that night. THE BALLROOM OF THE EMBASSY. Immediately following. ACT I1 SCENE 1. HIGGINS' STUDY. 3:00 the following morning. SCENE 2 . OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Immediately following. SCENE 3. FLOWER MARKET OF COVENT GARDEN. 5 :00 that morning. SCENE 4. UPSTAIRS HALL OF HIGGINS' HOUSE. 11 :00 that morning. SCENE 5. THE CONSERVATORY OF MRS. HIGGINS' HOUSE. Later that day. SCENE 6. OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Immediately following. SCENE 7. HIGGINS' STUDY. Immediately following.

MUSICAL PROGRAM ACT I Page 1. OVERTURE h~OPENING SCENE.

. . . . . . . . . . . . . .

. 2 . WHYCAN'TTHEENGLISH?

. . . .

. . . 3. WOULDN'T ITBELOVERLY? 4. W r r ~A L ~ ~ Brr L E OF LUCK. 4A . CHANGE OF SCENE. . . .

. . . .

. . . . . . . . . . . . . . . . . . . 5: I'M AN ORDINARY hCm . . . . . . . . . . SA.CHANGE OF SCENE. . . . . . . . . . . . 6. REPWE:W m A Lrrna Brr OF Luac . . . . . 6A. WGE OF SCENE. . . . . . . . . . . . 7. JumYou W m . . . . . . . . . . . . . 8 . THE SERVANTS' CHORUS . . . . . . . . . . 9 . THERAIN IN SPAIN . . . . . . . . . . . lo. I COULDI - ~ v EDANCED h~NIGHT . . . . . . 10A. CHANGE OF SCENE. . . . . . . . . . . . 11. ASCOTGAVOTTE . . . . . . . . . . . . . 12. END OF GAVOTTE AND BLACKOUT Musrc . . . . 13. ON THESTREET WHEREYOU L ~ .E . . . . . . . . . . . . . . . . . 14. E m ' s ENTRANCE . . . . . . . 15. INTRODUCTION TO P~~OMENADE 16. PROMENADE . . . . . . . . . . . . . . 17. E M B WALZ ~ . . . . . . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . . . . . . . . .

. . . . .

. . . . .

. . . . .

5 14 24 36

46 47

64 65 74 75 83

90 % 107 108 118 120 128 130 131 135

ACT II

.

ENTR'A~E . . . . . . . . . . . . 19. You Dm IT . . . . . . . . . . . . 20. REPWE: Jum You W m . . . . . . . 20A REPWE: ON THE STREETWHEREYOUIlVH . ~OB.SHOVME. . . . . . . . . . . . . . . . . . . . . . 21. THEFLOWERMARKET 22. GETME TO THECHURCH ON TIME. . . . 23. CKAWGE OF SCENE. . . . . . . . . . 24. A H Y T ~ O W. . . . . . . . . . 24A.CWGE OF SCENE. . . . . . . . . . You T . . . . . . . . . . . 25 W ~ ~ H O U TO HERFACE. . 26. I'VE GROVNACCUSTOMED 27. Musrc Foa C ~ R T MCALLS . . . . . . 28 . Exrr MUSIC . . . . . . . . . . . . 18

.

. . . . .

. . . . .

. . . . .

. . . . .

. . . . .

. . . . .

. . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . .

143 151 173 174 176 182 189 213 214 225 226 232 247 249

Instrumentation: 1 Flute and Piccolo. 1 Oboe and w h Hom, 2 Bb Clarinets. 1 Bassoon, 2 French Horns. 3 Trumpets. 2 Trombones. I Pacussion. Harp. Violins A & B. Violas. Glli. Bas (and Tuba)

.

.

Rchasal numbers circled on this score correspond to those in the orchestra parts T h a e m y not be amsccutive due to minor changes during the tyout period .

MY FAIR LADY Lyrics by ALAN JAY LERNER

Presto >

NO. I. >

>

Music by FREDERICK LOEWE

Overture >

Piano

CopyrightQ1956 by Alan Jay Lerner ond Frederick L o e w e Choppell (L Co., Inc., publishar ond owner of a l l i e d rights throughout the world Printed in A L L RIGHTS R E S E R V E D International Copyright Securad

U.

5. A.

Unauthorized capying, artonging, adapting, recording or public parformanca i s on infringeman9 o f copyright. Infringers ora l i a b l e under the law.

(Trpts.,Trbnssust.)

0Tempo

1

giusto, brillante

I

1

Bsn.)

Opening Scene

Piano

12 Three slrcst

~ L O L C L - T St'tlte~tai71the

L'istesso tempo

A

(W.W., Vlns.pizz.)

@

I

Tempo di Soft Shoe

crowd.

/I

I

U I

A

tenr)vo

I

(Rim ff shot)

I

I

(Tutti)

I

I

I

-

(W.W., Has,

ELIZA:

. Aoooooooow!

1

Why Can't The English? Cue: dIGGI?iS: A wjniali who utters such depressing and disgusting sounds h a s no right t o be anywhere-no r i g h t tu live. Remember that you are a human being with a sou1 and the divine g i f t of articulate speech: t h a t your native lallguage is the language of Shnkespeare and Milton and the Bible, and don't sit there crooning like a bilious p i ,vroll. .

Allegro

Piano

1

I I

I

I-

(FI., Bsn. colzu v o t e )

hung

(No Bs .)

,

# A

I

('iyoken) For the cold-blooded n u d e r of the A i g l i s h tongue! fu #

LIZA: A-o-o-o-w!

1

4

I

I 1

HIGGINS: Aoooow! Heavens, what a noise. I

I

I

--

W ,

POCO

meno mosso

This is \vhat the Brit-ish yoy - u

A

I-

calls

an

el - e

a poor example.

@ ,

-

nlcn- t'ry

ed - u

HICGINS: Did I?

vivo

Hear

themdown i n

Speak - ing

I

la-tion

PICKERIKC: Come, sir, 1 t h i n k you p i c k e d

n

'

-

Eng - lish

So - ho Square,

an - y

way

drop - ping aitch - es

they

'

ev - 'ry - where,

-

I

COCKNEY:

1

You,

A

,

sir,

did

3ou

go

to

What

.

HIGGINS:

one

1

.school?

taught

him

-

ja

tike

~iic

choir- sing - ing

flat!

Chiclr - ens

ELIZA:

in

a

barn,

"AOOOW" and "Garn"

Just

that

like

keep

her

this

one,

in

her

Garn!

caclr - ling

HIGGINS: G a p ! I a s k you,sir,ahat sort of word i s t h a t ?

It's

A

I*

~ i X e s s otempo Why

can't

Y

the

Eng - lish

an

I-

she

does,

sir,

in

-

stead

-

teach

their

chi1

dren

-

how

to

tique.

of

the

way

you

bo,

(Str. arco) I

L

-

II

'

I I

P I C K E R I N G : I bcg your pardon!

A

might

be

sell- ing flow - e r s

too.

An

-

I (Str.)

I-

fies

him.

spise him.

The

,

mo

- ment

One

he talks he

com - mon

HIGGINS:

makes some 0th - e r

1;n

- .

E n g - lish-man

- guage I'm a - fraid we'll nev -

de -

er

h,

I

set

why

a

good

ex

leave you

close

to

the

can't

-

an1 -

I

ple

to

peo

-

ple

whose

Eng

- "lish

is

fSpuke,tl: 111 America, they haven't used

can't

I

speak?

the

Nor - we

Ene: - lish

teach

their

chi1 -

- gians learn Nor - we - gian; the

dren

how

to

Greeks are taught their

France

n

Y

-

ev

(Syokr~t): The French never care what they do, actually, a s long a s they pronounce I

I

I

I

\

I

A

L C

I

I I

r

I

I"

n

r a - bi

I -

A -

"Zed"

-

II

I

- ans learn

A

-

ra - b h n

with

the

speed

of

sum

- mer

(Ob.,Cello)

light - ning;

The

He - brews

learn

it

back - wards,

which

is

gard-ed

I

learn

as

a

freak.

why

can't

speak?

the

1 -

Eng - lish

Wouldn't It Be Loverly? Cur: HIGGINS: Ah. The Church. A rernindcr.(;rh?otc.i,,g som~e~ . o i ~1,110 l s Eliza's 6aske.t.) Indian dialects have always fascinated me. I h a v e records of over f i f t y . PICKERIKG: Have you, now? Did you know there xre over two h u n d r e d ? ELIZA: Aooow! ELIZA: Aooow!

Piano

Aoooow!

Aooooow!

I

FIRST COCKKEY: Shouldn't you s t a n d up, gcntlenien? ~ e ' v egot a bloonlin' heiress in our m i d s t .

Moderato

I (CeIlo a r c o ) SECOKD COCKKEY: Would you be lookin' for a good butler, Eliza?

ELIZA:

YOU

won't do.

@ Quasi recitativo J

A

3rd COCKNEY ( ~ a r i t o n e )

Thc

11

(Cued in Cello)

r i ~ t h- er

dull

h

in

t":rn;

I

think

1'11

take

rile

tu

Pit

-

rcc.

ll111111l-

, A

11 CI

1)

1st COCKNEY enor or)

3rd COCKNEY ( ~ a r i t o n e )

mis

II

- sus wants

2nd COCKNEY

A

to

o

- pen

up

the

eas

ass)

- tle

in

Ca

- pri.

A

Cued in Vln. B

Moderato

Would

THIRD COCKNEY: Where're ya bound this spring, E l i z a

All

I

want

is

a

-

-

n't

it

Biarritz?

room some -where

be

lov

- er -

ly?

I

lov-er - lv? U

-

lots of

heat;

Lots of

choc-late for

me to

eat;

Warm face,warm hands,warrn feet, oh,

Lots of coal ma-kin'

would -

.

n't

it

be

I

lute

-

ly

I

still!

nev - er

would

1 o - ver

I

on

mv

knee:

me win - der - sill. ( ~ p . )

warm and ten- der

as

he can

be.

budge

'ti1

I

All

I

ccld night

=L

want

air.

is

Far

a

With

one

e

-

a - way

nor - nious

f rani t'he

chair;

I

Lots

of

coal mak

Lots

of

coal m i k e

Lots of choc-'llate

me -Y

eat ;-

Ah, -

d o t s of choc -'late

me -

eat; -

-

heat.

in'

lots of

lots

-

heat. -

Warn1 face, warm

War111 face, warln

I

I

4::

-

I

4

,h V

SOLO TESOR:

I

1 CI

I

II- 0I I I

\

hands,

warm

r

I

I

\ 4

A

-

1

I I

I

-

I

feet.

lov - er

(V1n.A arco, div.)

I

- ly sit -

tin' ab - so-bloom - in' - lute - 1y

*

m

-

n e v - er budge

o - vcr nleThin-der-$ill.

I

0 -ver

]lie win

- der,

Ah,

'ti1 Spririg

crept

(E.H.

colln voce

-

Who takes good

care

of

me; Oh,

Who takes good

care

of

me,

Who takes good

care

of

me,

-

I

Ah,

-

\Varm and tcn-dcr

s

she can

be,

(F1.8uu, Cl.)

I

-

would - n't

it

be lov- er-ly'?

Lov-er-ly !

Ah, -

1

7

n

\+ w.

w.

0 -3-

-

I ^ )

LB~Y-

1

A',

I I

r

I

I

- ,

r

t

01.

4 -I

-

L.

*r I

I I

I I)*

r

C

I

ir.'

I?.

Oh, would

Lov

-

- er - ly!

it

be

lov- cr - l y ?

Lov - er - ly!

( T h e scetre chatrgrs.)

I

(Thew i s cmtlplete sile?~ce. W i t h ?lerveless f ~ c e s t h e spectatom watch the progress of the race. When it is Gver, t h e y s i r g : )

PP

A

L

#

II

A

-

haust

m,

\

It

I1 I1

h

I I

I1 I1

gun!

I

gun!

II

fren- zied

mo - ment

that was! Did - n't

they main

I

fren- zied

mu - ment

that was! Did - n't

they

-

tain

an

ex -

-

ing

main -

tain

an

'ex - haust -

ing

115

II

y ace?

'T~vas

thrill

-

ing,

ab

-

so

-

lute

-

1y

a

thyill

-

ing,

ab -

so

-

lute

-

ly

V.

I-

chill - ing

run - ning

of

the

As - cot

o p - 'ning

race!

chill - ing

r u n - ning

of

the

As - cot

op - 'ning

race!

-

ing

run- ning

of

the

As

-

cot

op - 'ning

race!

chill - ing

r u n - ning

of

the

As

-

cot

op - 'ning

race!

chill

I

I '

'

I . .

Va., Cello,Hp.)

-

I

Izs

No. I 2

End Of Gavotte And Blackout Music

Cue: ELIZA: Have I s a i d a n y t h i n g I oughtn't? MRS. HIGGINS: Not a t all, m y dear. ELIZA: Well, that's a mercy, anyhow. W h a t I a l w a y s s a y i s ... PICKERING: I do