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 ~ . . . . . . . . . . . .
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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 . . . . . . . . . . . . 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
19. You
.
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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
r
I
I
\
hands,
warm
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
It
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
haust
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
7
Piano
I
FREDDY: I have a bet on iiumber seven. I should be s o happy if you would take i t . ~ o u ) l Ienjoy the race ever so much more.
ELIZA:
That's
v e r y k i n d of you.
FREDDIE: His
name
is
Dover.
SOPRANO:
I(aLTo:~mvh e r e ' t h are e~
a- gain.
1) TENOR: ~ h e r e ' t h are e~
a- gain,
h
I
u
cresc.
Lin- ing up to run.
Now they're hold-ingstead- y; they are L
(Rsn.. Hn.,Ttbn.,Cello)
~ i n - ' i n up ~ t o run.
Now they're hold-ing stezd- y ; they are
-
read - y
for
it---
Look!
It
has
be
read- y
for
it- - -
Look!
It
has
be - gun!
read- y
for i t - - -
Lbok!
It
has
be - &in!
gun!
A I T
I
L
L
.
read- y
for
it- - -
Look!
It
has
be - gun!
I n I I:
FLOWER GIRL: Yes, s i r . A s h i l l i n g . FREDDIE:
Here.
FLOWER GIRL: T h a n k you kindly, s i r .
FREDDIE:
Isn't
it
Piano
a heavenly d a y ?
I
V
I --
She c b ~ n- y lete - ly
Sj;POOnr
(R..
heart went
'on
a
jour
-
ney
to
done
the
me
1110on,
in.
And
)\'hen
my
she
I"
nev -
er
saw
a
en - chant
more
- ing
farce,
Than t'hc
MRS. PEARCE:
FREDDY: Is Miss Doolitile a t home?
\I
-
MRS. PEARCE: Whom s h a l l I s a y i s calling?
I
( No
Bs.)
I
I
FKEDDY: Freddy Eyiisford Hill. I i s h c doeslit renlen~berme, tell h c ~ .
1
V
I
1h the chap who w a s sniggerillg a t her. MRS. PEARCE:Yes,Sir.
FREDDY And would you give her thesc?
i MRS. PEAFiCE: Ycs.rir. FREDDY: You lieedlit rush.1 want t o drink in this street where she lives. MRS. PEARCE: Yes,sir.
@
I of - ten
I I
walked
-
p con tc)ldcrczz
-
B u t the
yaie-laent
al-ways stayed be- neath nly
feet be- fore. -
All
at
Are
there
l i - lac
trees
i I
heart
part
ot?;
of
of
Can
town? -
you
hear
a
lark
in
I
I
I"
I
V
feel
-4
I
I
1ive.
the
And
-
.
itlg -
The
,
know
Just t o
-
some-how you are
.
'
vbr - p&-
er - ing
fie1 -
I
I
tow - er - ing
near!
-
ing -
That an - y
I
see- ond you n n y
I
-
They don't
sud
-
both- er
den - lg
ay -
u
me,
-
Let the
year!
Peo-yle
For there's
time go
by;
oco m e s c
no-where else on
-
s t o p and
stare.-
earth that I would
MRS.PEARCE: Mr. Eynsford Hill? FREDDY: Yes.
FREDDY: But why? She w a s magnificent!
MRS. PEARCE: Magnificent? Do you have the right address, s i r ?
m i g h t be d a y s , sir. Even weeks!
Peo - yle
MRS. PEARCE: I'm terribly sorry, sir. Miss Doolittle s a y s s h e doesn't want to see anyone e v e r a g a i n .
stop
FREDDY:
and
B u t don't
stare.
you s e e ?
FREDDY: Of course. Tell h e r I'll wait.
MRS. PEARCE: But it
A
I'll
They
be h a p p i e r
don't
here.
both - e r
me.
-
I
"
rath - er
For
be.
there's
no - where
Let
the
else
time
earth
on
go
by,
that
I
would
I
won't
Eliza's Entrance Clit.:
PICKERISG: ...W h a t of t h e g i r l ? You a c t 3 5 if bhe doesn't m a t t e r a t all. H J G G I S S : R u b b i s h , P i c k e r i n g . Of c o u r s e s h e m a t t c r s . W h a t do you t h i n k 1)ve been d o i n g all t h e s e m o n t h s ? W h a t could p o s s i b l y m a t t e r more t h a n to t a k e a h u m a ~b ~e i n g and c h a n g e her illto a different h u m a n b e i n g by c r e a t i n g a new speech for her? w h y , it's f i l l i ~ ~up g the deepest gulf that s e p a r a t e s c l a s s from c l a s s and soul from 5 0 ~ 1 S. h e m a t t e r s immensely.
Piano
@
PICKBRISG: Miss Doolittle, )-ou look b e a u t i f u l .
'
s?
ELIZA:
T h a n k y o u , Colonel P i c k e r i n g .
HIGGINS: N o t b a d . Not b a d a t a l l .
(I
. (W.W.sust.)
I
C'7-BSC.
pours
a
a
glass
of
port. .
..
I
poco
7t
I
Piano
Piano i+
( S t r . cued i n Br.)
FOOThIXN: Sir Reginald and Lady Tarrington.
FOOTMAN: Professor Z o l t a n
I a
Karpalhy.
I
I
-
-
/
-
Trpt. I ) /
I
1
POOT?rlAN: C o l o n e l Hugh P i c k c r i ~ ~ g .
"
I
-
P'
1
I
I
-
-
L
I
R.
r
1
@ PICKERIKG: Mrs. Higgins! MRS. H I G G I K S : E x c u s e me.
PICKERIKG: Mrs. Higgins,do you think Eliza will make it?
,?II
grow^^
tcrriblp fvlld of that girl.
KAHPATHY: Ah, Matstro, hlacbtro!
(Solo
FOOT31AN: Professor
Hc~iry
HIKK~II~,
(~!ulo~~tre
introduce me...
Maestoso
Piano
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PICKERIKG: H i g- g-i n s ., it w a s a n immense a c h i e v e m e n t . HIGGINS: A s i I l y notion. If I hadn)t b a c k e d (Vln. A 1., c e ~ o ~ ~ i ; z7 . , h 7 f, $kY I
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myself t o d o i t , I should have c h u c k e d the whole t h i n g up two months ago. PICKERING: Absolutely h n t a s t i c .
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HIGGINS: A Lot of tomfoolery. PICKERISG: Higgins, I salute you. HIGGINS: Nossense, t h e silly people d o ~ ; t
(Bsn.,Va.)
I poco
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do
i t , And
in
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deed
HIGGINS:
A
I
-
knight.
It
noth - ing
was
a
,411
a - lone
you
m
-
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I
hur-dled
ob - s t a - cle
ev-'ry
in
i HIGGINS:
A
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sight.
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Now,
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wait!
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(HD.)
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urn
wait!
Give
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cred - it
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rn
where
m
it's
u
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-urn ,
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due:
A
lot
of
the
glo
as
Gib -
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ry
goes
to
you.
(~p.1
stur
A1 - ter, There's 'no
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dy
doubt
a - bout it,
ra
sec
You
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ond
did
you
I
did
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. 8 Soft .
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it!
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Shoe t e m ~ o
NCV - er
was there
a
mo -
men- t a r -
lull.
-
a t once we'd
eas - 'ly win,
And
U.S. $50.00 ISBN 0-BBLBB-036-1
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