My Fair Lady PDF

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REDERICK

LOEWE

L N J Y

LERNER





M w i y

FREDERICK LOEWE

mk and L ~ U

y

L N J Y

LERNER

ADAP TED FROM BERNARD SHAW'S WG MALIO N

PRODUCED ON THE SCREEN BY GABRIEL PASCAL

Vialh

Revised Edition 969

Applications for performance of this work whether legitimate stock

amateur or foreign should be addressed to:

TAMS-WITMARK

56

Lexington Avenue

Ne w York N.Y.

1 22

chappelllintersong

music group usa

For Al l Works Contained Herein:

In te rna t iona l Copyr ight Secured A L L RIGHTS RESE RVED Pr in te d

on

U.S.A.

Una uthor iz ed copying arranging adapt ing recard ing or pub l ic per formance

is an in f r ingement a f copyr igh t. In f ringers a re l ia b le under the law.



Produced by HERMAN LEVIN. First performance

March

15,

956 at the Mark Hellinger Theatre, New York

Staged by MOSS HART

Choreog raphy and Musical Numbers by HANYA OLM

Production Designed by OLIVER MITH

Costumer Designed by

CECIL BEATO N

Lighting by

FEDER

Musical Direction by

FRANZALLERS

Orchestrations by ROBERT USSELL ENNE TTnd PHIL J. LANG

Dance M usic ~ r r a n ~ e dy T R U D E

RTTMAN

bSt

o harzten

I n order of ap pearance)

BUS KER S melda De Martin, Carl Jeffrey, Joe Rocco

MRS.EYNS FORD -HILL Viola Roache

LIZADOO LITTLE Julie Andrews

REDDYYNSFORD-HILL

John Michael King

COL ON EL ICKERING Robert Coote

BYSTA NDER Christopher Hewett

EN RY IGGINS Rex Harrison

ELSEY AN Gordon Dilworth

OXTON

MAN

David Thomas

NOTH ER YSTANDER Rod McLennan

IRSTCOCK NEY Reid Shelton

ECOND OCKN EY Glenn Kezer

HIRD

COCKNEY

James Morris

OURT H OCKNEY He rb Surface

ARTEN DER David Thomas

ARR Y Gordon Dilworth

AM IE Rod McLennan

LFRED. DO OLIT TLE Stanley Holloway

RS.PEA RCE Philippa Bevans

RS. HO PK INS Olive Reeves-Smith

UTL ER Reid Shelton

ERV AN TS Rosemary Gaines, Colleen Q Connor

Muriel Shaw, Gloria Van Dorpe, Glen n Kezer

RS. HIGGINS Cathleen Nesbitt

HA UFF EUR Barton Mumaw

OOTM EN Gordon Ewing, William Krach

ORD OXMGTO N Gordon Dilworth

ADY

BOXINGTON Olive Reeves-Smith

ONSTABLE BartonMumaw

LOW ER IRL Cathy Conklin

OLTAN ARPATHY Christopher He we t

LUN KEY Paul Brown

U E E NO F TRANSYLVANIA Maribel Hammer

MBA SSAD OR Rod McLennan

ARTEN DER Paul Brown

RS. HICCINSMA ID 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 OT TEN HA M COURT ROAD.

Immediately following.

HIGGINS STUDY.

The following morning.

TENE MEN T SECTION OTTE NHA M COURT ROAD.

Three days later.

HIGGINS STUDY.

Later that day.

NEAR THE RACE MEETING, ASCOT.

A July afternoon.

INSIDE A CLUB TENT, ASCOT.


OUTSIDE HIGGINS HOUSE, WIM POLE STREET.

Later that afternoon.

HIGGINS STUDY.

Six weeks later.

THE PROMENADE OF THE EMBASSY.

Later that night.

THE BALLROOM OF THE EMBASSY.


ACT I1

SCENE 1 HIGGINS STUDY.

3:00 the following morning.

SCENE 2 OUTSIDE HIGGINS HOUSE, WIM POLE STREET.


SCENE 3. FLOWER MARKET O F COV ENT GAR DEN .

5 00 that morning.

SCENE

4.

UPSTAIRS HALL O F HIGGINS HOUSE.

1 1 00 that morning.

SCENE

5.

TH E CONSERVATORY O F MRS. HIGGINS HOUSE.

Later that day.

SCENE

6

OUTSIDE HIGGINS HOUSE, WIMPOLE STREET.


SCENE 7 HIGGINS STUDY.




MUSICAL PROGRAM

ACT I

. . .

OVERTURE

~

PENING CENE

. . . . .

WHY

CAN T

THEENGLISH?

. . . . .

WOULDN TTBELOVERLY?

. . . .

W r r ~ L ~ ~ L Err OF LUCK

4A CHANGE

F

SCENE . .

. . . .

. . . . . .

:

I M AN ORDINARY

Cm

. . . . . . . .

A

.CHANGEF SCENE

6 REPWE:W m A Lr rn a Brr OF Luac

.

. . . . . . . .

A WG

F SCENE

. . . . . . . . .

JumYou W m

. . . . . .

THE SERVANTS

HORUS

. . . . . . .

THE

R IN

IN SPAIN

l o I COULD

~ v E

ANCED

h~

IGHT

. . . . . . . .

A

CHANGE

F

SCENE

. . . . . . . . .1

ASCOTGAVOTTE

12

END

OF GAVOTTEND BLACKOUTusrc

13 ON THESTREETWHEREYOU L ~ E .

. . . . . . . .

4 E m s ENTRANCE

5 INTRODUCTIONO P~~OMENADE

16 PROMENADE . . . . . . . . .

. . . . . . . .7.

E M B ~

ALZ

Page

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

5

. . . . . . . . . . . . 14

. . . . . . . . . . . 24

. . . . . . . . . . . . 36

. . . . . . . . . . . . 46

. . . . . . . . . . . . 47

. . . . . . . . . . . . 64

. . . . . . . . . . . . 65

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

74

. . . . . . . . . . . . 75

. . . . . . . . . . . . 83

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

9

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

. . . . . . . . . . . . 07

. . . . . . . . . . . . 108

. . . . . . . . . . . . 118

. . . . . . . . . . . . 120

. . . . . . . . . . . . 28

. . . . . . . . . . . . 130

. . . . . . . . . . . . 31

. . . . . . . . . . . . 35

ACT

II

18

ENTR A~E

. . . . . . . . . . . . . . . . . . . . . . 43

19. You

m

T . . . . . . . . . . . . . . . . . . . . . . 51

20. REPWE: Jum You W m . . . . . . . . . . . . . . . . . 173

. . . . . . . . . . .0A REPWE: ON THE

STREET

WHEREYOUIlVH

174

~OB.SHOVME

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

176

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

1 THEFLOWERMARKET 182

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

2 GETME TO THECHURCH N TIME 189

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

3

CK WGE OF SCENE

213

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

4. A H Y ~ W 214

4A

.CWGE OF SCENE

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

25

25

W ~ ~ H O U Tou . . . . . . . . . . . . . . . . . . . . .

226

26. I VE GROVNACCUSTOMED

O

HER FACE. . . . . . . . . . . . 32

27. Musrc Foa C ~ R T M LLS . . . . . . . . . . . . . . . . 247

28. xrr

MUSIC

. . . . . . . . . . . . . . . . . . . . . . 249

Instrumentation: Flute and

Piccolo. 1 Oboe and

w h

om, 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 Thae m y not

be

amsccutive due to minor changes during the tyout period.



MY F IR L DY

Music by

FREDERICK LOEWE

Lyric s by

L N J Y LERNER

NO I. O v e r t u r e

Presto

P i a n o

CopyrightQ 1956 by Alan Jay Lerner ond Frederick Loe we

Choppell L Co. Inc. publisha r ond owner of alli ed rights throughout the world

International Copyright Securad

A L L R I G H TS R E S E R V E D

Printed in

U

5. A.

Unauthori zed capying artonging adapting recordi ng or public parformanca s on infringeman9 of copyright.

Infringers ora li able under the law.



Trpts.,Trbnssust.)

empo

giusto

brillante







Bsn.







2

Three s l r cs t

~ L O L C L - T S

t l t e~ t a i 71 h e c r o w d .

L istesso

t empo

W.W.,lns.pizz.

Tempo di

o f t hoe



I ( T u t t i ) I

tenr vo ( R im

shot

(W.W.,

Has

ELIZA:

Aoooooooow



Why

Can t

The

English?

Cue

dIGGI?iS: A w j n i a li w h o u t t e r s s u c h d ep r e s si n g a n d d i s g u s t i n g s o u n d s h a s no r i g h t t o b e a n y w h e r e - n o r i g h t tu

l ive.

Remember tha t you a re

a

human be ing wi th

a

s o u 1 a n d t h e d i v i n e g i f t

o

a r t i c u l a t e

spee ch: th a t your nat ive la l lguage

vro l l .

s the language

o

Shn kesp eare and Mil ton and the Bible , and don 't s i t ther e cro oning l ike a bi l ious

p i .

llegro (FI. , Bsn. c olz u v o t e

iano

N o

s

( iyoken)

For the cold-blooded nuder LIZA: A - o - o - o - w HIGGINS: Aoooow Heavens,

of

t he A ig l i s h tongue wha t

a

noise .

I

u

I I

A

-

h u n



W

POCO meno mosso

This i s \vhat the Br i t - i sh yoy - l a - t i o n

ca l l s an e l - e nlcn- t ry ed

PICKERIKC Come,

s i r ,

t h i n k you p i c k e d

HICGINS

n

a

poor example.

Did I

@

vivo

A ,

Hear themdown i n So ho Square, drop - ping a i t ch

es ev

ry - where,

Speak

- ing ng l i s h

an -

y

way

they



COCKNEY

Y o u s i r did 3ou o

to

chool? What

j

t ike ~ i i

HIGGINS

one t a u g h t h i m



choir- sin g ing

fla t Chiclr en s caclr ling

HIGGINS:

G a p I a s k y o u , s ir , a h a t

E L IZ A: s o r t of word i s t h a t ?

in barn,

Just

like

this

one,

Garn

It's

AOOOW

and "Garn" th a t

keep

h e r

i n

her



~i essoempo

Why can t the Eng - l ish teach their

chi1 dren how to

an t ique.

I

she does,

sir,

in ste ad of th e way you bo,

Str. arco

-



P I C K E R I N G : I cg y o u r pa rdon HIGGINS:

migh t be s e l l - ing f low e r s too . An

.

Str.)

f ie s h im. The mo ment he ta lk s he makes some 0 th e r E n g - l i s h - m a n d e

sp ise h im.

One com mon 1;n gu ag e

I'm a

f raid we' l l nev er



h ,

why

can't t he

I

se t good ex

an1

ple t o peo ple whose En g lish

is

leav e you close to



fSpuke tl: Ame rica, they haven t used

can t the

Ene:

lish teach their

chi1 dren how to

speak? Nor w gians learn Nor we gian; the Greeks ar e taught the ir



France

e v

Syokr~t ) :h e F ren ch n ev er ca r e

what they

do, actually, a s long a s they pronounce

n

Y \

I I

I

r

Zed

r a b i a ns l e a r n

A

r a b h n w i t h t h e s pe ed

of

sum mer

(Ob. ,Cello)

I

l ight ning; The He brew s lea rn i t back wards , which is



g a r d - e d as freak. why can t the

1

ng lish

learn

speak



Wouldn t It Be Loverly?

Cur: HIGGINS: Ah. The Ch urc h. A rernindcr.(;rh?otc.i, ,g som~e~ o i ~ l s110 El iza ' s 6 ask e .t .) I n d ian d ia lec t s h av e a lw ay s

fasc in a ted me . I h av e r eco rd s of o v er f i f ty .

P ICKERIKG: Hav e y o u , now? D id y o u k n o w th e re x r e o v e r two h u n d r ed ?

ELIZA: Aooow

P ia n o

ELIZA: Aooow Aoooow Aooo oow

FIRST COCKKEY: Shouldn' t you s t a n d u p , g cn tl en ie n? ~ e ' v e o t

a

b loo n lin ' h e i r es s in o u r m id s t .

Moderato

( C e I lo a r c o )

SECOKD COCKKEY: Would you be lookin' for a

g o o d b u t le r , E l iza?

E L I Z A :

YOU

won't do.

Quasi rec i ta t ivo

3 r d C OC KNE Y ( ~ a r i t o n e )

( C u e d i n C e l l o )

Thc

r i ~ t h e r

du l l

in

t :rn;

I t h i n k 111 t a k e rile t u Pit rcc ll111111l



1st COCKNEY enor or

I 3rd COCKNEY (~ ar it on e)

1

m is su s wan ts to o pen up the eas

t l e

in

a

pri.

I

2nd

COCKNEY ass

Cued in Vln

oderato

Would n t it be

lov

er

ly?

THIR

COCKNEY:

Where re

ya

b o un d t h i s s p r i n g , E l i z a B i a r r i t z ?

A l l

I

want is a room some -whe re



I

lov -er lv? Lots of choc- la te for me to ea t ;

Lo ts of coa l ma-kin

lots of hea t; Warm face wa rm hands warrn fee t oh would n t t

be



lu te ly s t i l l I would nev

er

budge 'ti1

o ver

m e win de r s i l l .

~ p . )

on mv knee: warm and te n- der a s he can be.



l l I w a n t is F a r way

f r ni

t he

ccld

night

air . With

one

e nor

n i o u s

chair;

=L



L ot s of choc- llate

me eat

;

I

Ah, d o t s of choc - late me ea t;

Lot s of c oal m k in lo ts of heat. Warn1 fac e, warm

Lo ts of coal m i k e lots heat. War111 face , warln



SOLO TESOR

lov

e r -

ly sit tin

ab

-

so-bloom

in - l u t e - 1y

-

(V1n.A

arco

d i v .

:: I I -

1

-

I

-

I I

V

I

hands,

w ar m f ee t .



m -

n e v - er budge ' ti1 Spr ir ig

c rep t

o

vcr n leThin-d er- i l l

.

I

- v e r lie win der, Ah



( E . H .

c o l l n v o c e

Who ta ke s good ca re of me; Oh,

A h Who ta ke s good ca re of

me,

\Varm and tcn-dcr sh e can be,

Who ta ke s good car e of me,

F1.8uu,

C l . )

would n t i t be lov- er-ly ? Lov- er-ly

Ah,







Oh , would t

be l ov r l y ?

Lov er ly

Lov

er

ly

T h e s c e tr e c h a t rg r s .)































































































































































T h e w i s cm tlp le te s i l e ? ~ c e . W i t h ? l er v el e ss f ~ c e s t h e s p ec ta t om

w a t c h t h e p r o g r e s s o f t h e r ac e. W h e n t s G ver, t h e y s i r g : )

I h I

I I

m

t

gun

gun

I

fren - zied mo ment th a t was Did n't they main tai n an ex haust ing

I fren- zied mu ment th at was Did n t they main ta in a n

ex

haust ing



5

t h r i l l

ing

ab s o lute 1y

ace? 'T~ va s thy i ll i ng ,

ab

so

l u t e l y

V

chil l ing run ning of t he As co t o p 'ning race

c h i ll i n g r u n - n i n g of the As cot op 'ning r ace

c h i l l i n g r u n - n i n g o f t h e s cot op 'ning race

c h i l l i n g r u n - n in g o f t h e

I

As c ot op 'ning race



I I I

Va.,

Cello,Hp.





Izs End Of Gavotte nd Blackout Music

No. I

Cue: E L IZ A : H a v e I s a i d a n y t h i n g o u g h t n t ?

MRS. HIGGINS: Not a t

all

m y d e a r .

E L IZ A: Wel l , t ha t s a m e rc y, an y h o w . W h a t I a l w a y s s a y i s

...

PICKERING: I d o <t s u p p o s e t h e re \ e n o u g h t i m e b e f o r e t h e n e x t r a c e t o p l a c e a b e t ?

Piano

FREDDY: have a bet on i iumber seven. I should be so happy i f you would t ake i t . ~ ou ) l I n joy the race eve r s o much more .

E L IZ A: T ha t s ve ry k in d o f you . FRE DDIE : His name

is

D o v e r .

SOPRANO:

I LTo h e r e t h e ~re

a

gain. Lin- ing up to run.

v cresc

Now they re hold-ingstead- y ; they ar e

1 TENOR ~ h e r e t h e ~re a gain, ~ i n - i n ~p t o run .

Now they re hold-ing stezd- y ; they a r e

(Rsn. . Hn.,Ttbn. ,Cello



A g a i n c o ~ l ~ p l e t eile7 ~ e. The one I X C C ~ L Z O I L

i s E l i z a .

E L I Z A :

Come on, come on,Do ver Come 011,

Dover Mov e yo ur bloomin' arse

read y f o r i t - - - L ook I t

has

be gun

read- y for i t - Look

I t

h s

be gun

read-

y

f o r i t - L bok I t

has

be &in

I n

I:

T I L L

read-

y

for it - Look It h a s be gun



2

S o 13

On The Street W here You ive

Cue: FREDDY: Officer, I k n ow t h i s i s W i m p ol e S t r e e t , b u t c o u l d y o u t e l l m e w h e r e 2 7-A i s ?

P O LI C EM A N : R i g h t t h e r e , s i r .

F R ED D Y : T h a n k y o u ....

A r e t h o s e f o r s a l e ?

F LO W ER G I RL : Y e s , s i r . s h i l l i n g .

F R E D D IE : H e r e . F L O W E R G I R L : T h a n k y o u k i n d l y , s i r . F R E D D I E : I s n t i t

Piano

a h e a v e n l y d a y ?

Sj;POOnr S h e c b ~ n

y

e t e

ly

done me in . And my

R..

he ar t went on a jour

n y to

the

1110on

)\ hen she





h

th e chap who w as sni gge ril lg a t he r. MRS. PEARCE:Yes Sir. FREDDY And would you give her thesc?

MRS.

PEAFiCE: Ycs.rir. FREDDY: You lieedlit rus h.1 wan t t o dr ink in t h i s s t r ee t w he re she li ves .

MRS.

PEARCE: Yes sir.

of t en walked

p on tc ldcrczz

B u t

the yaie-laent al-wa ys stayed be- neath nly feet be- fore.

l l

at



Are there

l i

l ac t r ees

hea r t of to?

Can

you

h e a r l a r k i n

par t of town?



I

ev

- 'ry

door?

No, it s just on the str ee t whe re you

I

ve.

And the tow

-

e r

-

ing

I feel

- itlg

us t t o know some-how you ar e near

4 . The ,

- vbr

- p -

e r -

ing

f ie1

- ing

hat an

- y



se e - ond you

n n y

sud

den lg

ay year Peo-y l e s t op

a n d

stare.-

They don't bo th - e r

me,

or there's no-where else on e a r th th at would

Let the t ime

go by;

o o mes



MRS.PEARCE: Mr. Eyn sfor d Hi ll? FREDDY: Yes.

MRS. PEARCE : I'm t e r r ib ly s o r ry , s i r . Mis s D oo l i t t l e s ay s s he does n ' t

w a n t t o s e e a n y o n e e v e r a g a i n .

FREDDY: But why ? She MRS. PEARCE: Magnif icen t? Do you hav e

FREDDY: Of cour se . Tel l

MRS. PEARCE: B ut i t

w a s m a g ni fi c en t t h e r i g h t a d d r e s s , s i r ?

h e r I ll w a i t .

m i g h t b e d a y s , s i r . E v e n w ee ks F R ED D Y : B u t d o n' t y o u s e e ?

I l l

b e h a p p i e r h e r e .

Peo yle s to p and s t a re . They don 't both e r me.



For

there s

no

where else

on

e a r t h t h a t I

would

r a t h e r

be. L e t the

t ime

g o by, I won t



Eliza s

Entrance

Clit : P I CK E R IS G : W h a t of t h e g i r l ? Y o u

a c t

5

i f b h e d o e sn t m a t t e r a t a l l .

H J G G I S S :

R u b b i s h , P i c k e r i n g . O f c o u r s e s h e m a t t c r s . W h a t d o y o u t h i n k 1)ve b e en d o i n g a l l t h e s e m o n t h s ? W h a t

c ou ld p o ss i bl y m a t te r m o r e t h a n to t a k e a h u m a ~ ~e i n g a n d c h a n g e h e r i l l t o a d i f f e r e n t h u m a n b e i n g

b y c re a t i n g n e w s p e e c h f o r h e r ? w h y ,

it s

f i l l i ~ ~ gp t h e d e e p e s t g ul f t h a t s e p a r a t e s c l a s s f r o m c l a s s a n d

s o u l f ro m 5 0 ~ 1 . h e m a t t e r s i m m e n s e ly .

iano

P I C K B R I S G : M i s s D o o l i t t l e , )- ou l o o k b e a u t i f u l .

E L I Z A : T h a n k y o u , C o lo n el P i c k e r i n g .

H I G G I N S :

s ? N o t b a d . N o t b a d a t a l l .



.

W.W.su s t . )

C 7-BSC.

po o

pours

g l s s

o por t t



13

No 5

ntroduction T o Promenade

iano



romenade

iano

S t r . cued i n

B r . )

FOOThIXN: Sir Reg ina ld and

L a d y

T a r r i n g t o n .



FOOTMAN P r o f e s s o r Z o l t a n

a r p a l h y .

Trpt

I

I

POOT?rlAN:

C o l o n e l

Hugh P i c k c r i ~ ~ g

I

R

1

P r



PICKERIKG: Mrs H i g g i n s MRS. H I G G I K S : Excuse me.





NO 7 Embassy Waltz

Czct : 31RS. H I G G I N S : H e n r y d o y ou t h i n k i t w i s e t o s t a y ?

H I G G IS S : S t a y ? W h y n o t ?

F O O T hI A N : M i ss E l i z a D o o l i t t l e .

K A RP A TH Y : A h P r o f e s s o r y o u m u s t

in t roduce me. . .

Piano

aestoso

T ~ ~ u ~ t ~ s y L v a . ? ~ z a

n t e r

T h e y p a s s E L i z a .







l

i enno i se



ncora ben t enu to



S t r . E . H .

Bs n .

X u . y a l h y gets l o s e r a.xd l o s e r

t o Elizcl



+Br. sust .

141\) w ul t ze s w i t h h ~ , s th e c /o urd w h i ~ l s bout the s l a ~ e .





Entr acte

Piano

Str

11

JV HIIS.

b e f o r e



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S o

1

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Piano

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Bs.

e tc



@ P I CK E R IK G : H i g g i n s , i t w a s a n i m m en s e a c h i e v e m e n t . H I GG I N S: A s i I l y n o t i on . If I h a d n ) t b a c k e d

V

V l n .

1 c e ~ o ~ ~ i ; z .

f k

-1,

.I

I r 4

r I I

m y s e l f t o d o i t , I s h o u l d h a v e c h u c k e d t h e w h o l e t h i n g u p t w o m on t hs ago . P IC KERI NG : A bs o l ut e l y hn t a s t i c .

@ HIGGINS: A Lot of tomfoo lery . PICKERISG: Higgins , I sa lut e you. HIGGINS: Nossen se , th e s i l ly people do~ ; t

po o

cresc

Bsn. ,Va. )



do

i t And

i n

deed



did. YOU should g e t a med

-

a l , Or be

- ven made a

HIGGINS

-

I

k n i g h t. I t w a s n o t h - ing

a m

411 a - lone you h u r - d l e d e v - ' r y ob

-

s t a - c le

i n

HIGGINS

si gh t. Now, wait Now, wait Give cre d - i t where i t ' s

HD.)

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4 t

r m u .

I tm ur

- - -



due: A lot of th e glo ry goe s to you.

~ p . 1

s t u r dy as Gib ra sec ond did you

A1 ter , There s no doubt a bout it You



Meno mosso

did i t I

S of t S h o e t e m ~ o

N V e r

w a s

t he re a mo m e n - t a r l u l l

a t

once

we'd e s

'ly

win,

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