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The common lament was Broadway will never be the same! when My Fair Lady finally ended its stellar run the night of Sunday, September 30, 1962. Millions of people had seen the show over six years and had helped break box-office records, even though Rex Harrison, Julie Andrews, Stanley Holloway, and Robert Coote did not stay with the cast throughout the six-year run. MyFair Lady used the substance and wit of George Bernard Shaw to add a new dimension to the Broadway libretto.
Confessions of a Young Man is a memoir by Irish novelist George Moore who spent about 15 years in his teens and 20s in Paris and later London as a struggling artist. The book is notable as being one of the first English writings which named important emer
The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody. My Fair Ladies considers how female automatons have been represented as objects of desire in fiction and how “living dolls” have been manufactured as real-world fetish objects. But it also examines the many works in which the “perfect” woman turns out to be artificial—a robot or doll—and thus becomes a source of uncanny horror. Finally, Wosk introduces us to a variety of female artists, writers, and filmmakers—from Cindy Sherman to Shelley Jackson to Zoe Kazan—who have cleverly crafted their own images of simulated women. Anything but dry, My Fair Ladies draws upon Wosk’s own experiences as a young female Playboy copywriter and as a child of the “feminine mystique” era to show how images of the artificial woman have loomed large over real women’s lives. Lavishly illustrated with film stills, artwork, and vintage advertisements, this book offers a fresh look at familiar myths about gender, technology, and artistic creation.
This text considers one of the most popular musicals of all time, Lerner and Loewe's 'My Fair Lady.' Using previously-unpublished letters and documents, author Dominic McHugh presents a behind-the-scenes look at the creation of the show, revealing the tensions that went into the making of this beloved musical.
A thoroughly entertaining and darkly humorous roundup of history’s notorious but often forgotten female con artists and their bold, outrageous scams—by the acclaimed author of Lady Killers. From Elizabeth Holmes and Anna Delvey to Frank Abagnale and Charles Ponzi, audacious scams and charismatic scammers continue to intrigue us as a culture. As Tori Telfer reveals in Confident Women, the art of the con has a long and venerable tradition, and its female practitioners are some of the best—or worst. In the 1700s in Paris, Jeanne de Saint-Rémy scammed the royal jewelers out of a necklace made from six hundred and forty-seven diamonds by pretending she was best friends with Queen Marie Antoinette. In the mid-1800s, sisters Kate and Maggie Fox began pretending they could speak to spirits and accidentally started a religious movement that was soon crawling with female con artists. A gal calling herself Loreta Janeta Velasquez claimed to be a soldier and convinced people she worked for the Confederacy—or the Union, depending on who she was talking to. Meanwhile, Cassie Chadwick was forging paperwork and getting banks to loan her upwards of $40,000 by telling people she was Andrew Carnegie’s illegitimate daughter. In the 1900s, a 40something woman named Margaret Lydia Burton embezzled money all over the country and stole upwards of forty prized show dogs, while a few decades later, a teenager named Roxie Ann Rice scammed the entire NFL. And since the death of the Romanovs, women claiming to be Anastasia have been selling their stories to magazines. What about today? Spoiler alert: these “artists” are still conning. Confident Women asks the provocative question: Where does chutzpah intersect with a uniquely female pathology—and how were these notorious women able to so spectacularly dupe and swindle their victims?
Nicole Jordan’s irresistible Legendary Lovers series continues in this sizzling twist on My Fair Lady, as a bewitching beauty and a rakish sea captain trade favors . . . and tempt fate. Lady Katherine Wilde believes she has crushed any lingering romantic feelings toward Brandon Deverill, who spurned her six years ago. And now that the rough-edged rogue needs polishing to claim his inheritance, she’s willing to strike a practical bargain: Kate will mold the brash privateer into an acceptable English nobleman if Deverill will safeguard her from brigands on a voyage to recover lost family treasure. However, the soul-melting kiss that seals their agreement just may reignite blazing passion. Brandon’s fortitude was sorely tested when he turned Kate away from his bed all those years ago. Even a rake such as he wouldn’t seduce an innocent beauty before sailing into battle. But now that he’s inherited a title and must take a suitable bride, he sets his sights on Kate. Though he fiercely desires her, true love is a notion that baffles him—until their adventure turns perilous and Brandon realizes he’d gladly trade his life to save the woman who has captured his heart. Praise for My Fair Lover “There’s [Nicole] Jordan’s signature humor, a high degree of sensuality, emotional depth and deep sighs galore. This is Jordan at her best.”—RT Book Reviews “With her latest entrancing tale in her Legendary Lovers series, Jordan puts a sexy twist on Pygmalion, and her flair for fusing smoldering love scenes with a plot spiked with action and danger makes her book a must-read for fans of old-school historical romances by the likes of Kathleen Woodiwiss and Judith McNaught.”—Booklist “Nicole Jordan is a powerhouse when it comes to historical romances. In this story I was expecting another fabulous Regency romance, which I got. But I also got so much more.”—Night Owl Reviews “A beautifully crafted adventure filled with passion and peril. . . . Readers will savor this splendid installment of a consistently strong series.”—Publishers Weekly (starred review) “Gay repartee and an exciting exploration of a sunken ship, My Fair Lover will hit all the high marks for an unforgettable read this month.”—Romance Reviews Today “A romantic and enjoyable read with intelligent and likable protagonists, and it makes for a satisfying and entertaining read.”—Fresh Fiction
"The Man of Destiny" is a comedic play written by George Bernard Shaw, first performed in 1897. Set in Italy in 1796, the play is a fictionalized account of an encounter between Napoleon Bonaparte and a mysterious woman known as the Lady. The plot revolves around Napoleon, who is depicted as a young and ambitious military leader on the brink of greatness. He finds himself ensnared in a battle of wits with the Lady, a cunning and enigmatic figure who challenges his perception of himself and his place in history. As the play unfolds, Napoleon and the Lady engage in a series of verbal sparring matches, revealing their true characters and motivations. Through their interactions, Shaw explores themes of power, ego, and the nature of destiny, questioning whether individuals truly have control over their own fates.
Eliza Doolittle is a poor flower-seller in Victorian London who has a very strong London accent. Professor Higgins chooses her for an experiment. He decides to teach her to speak like an upper class lady but things don't happen exactly as he plans ... This wonderful story was first a play called Pygmalion by the famous writer George Bernard Shaw. It was made into a musical, perhaps the best-known of all, and then a film starring Audrey Hepburn.
“Well-thought-out characters, madcap adventures, and London’s cunning, cagey elite . . . A fun ride with a colorful, adventurous heroine.” —Publishers Weekly First, USA Today–bestselling author Vanessa Kelly brought readers The Renegade Royals. Now, in a delightfully witty new series, she introduces The Improper Princesses—three young women descended from royalty, each bound for her own thrilling adventure . . . Despite being the illegitimate daughter of a prince, Gillian Dryden is happily ignorant of all social graces. After growing up wild in Italy, Gillian has been ordered home to England to find a suitable husband. And Charles Valentine Penley, the excessively proper, distractingly handsome Duke of Leverton, has agreed to help transform her from a willful tomboy to a blushing debutante. Powerful and sophisticated, Charles can make or break reputations with a well-placed word. But his new protégée, with her habit of hunting bandits and punching earls, is a walking scandal. The ton is aghast . . . but Charles is thoroughly intrigued. Tasked with taking the hoyden in hand, he longs to take her in his arms instead. Can such an outrageous attraction possibly lead to a fairytale ending? Praise for Vanessa Kelly’s Renegade Royals series “Will definitely resonate with fans of Mary Jo Putney and Joanna Bourne.” —Booklist “Kelly combines diverting dialogue, delightful surprises and finely tuned pacing to make this a winner.” —Publishers Weekly, starred review
Eliza Doolittle and Henry Higgins make an incomparable pair of sleuths in the start of a delightful new series Following her successful appearance at an Embassy Ball—where Eliza Doolittle won Professor Henry Higgins' bet that he could pass off a Cockney flower girl as a duchess—Eliza becomes an assistant to his chief rival Emil Nepommuck. After Nepommuck publicly takes credit for transforming Eliza into a lady, an enraged Higgins submits proof to a London newspaper that Nepommuck is a fraud. When Nepommuck is found with a dagger in his back, Henry Higgins becomes Scotland Yard's prime suspect. However, Eliza learns that most of Nepommuck's pupils had a reason to murder their blackmailing teacher. As another suspect turns up dead and evidence goes missing, Eliza and Higgins realize the only way to clear the Professor's name is to discover which of Nepommuck's many enemies is the real killer. When all the suspects attend a performance of Hamlet at Drury Lane, Eliza and Higgins don their theatre best and race to upstage a murderer. This reimagining of George Bernard Shaw's beloved characters is sheer pleasure. Wouldn't It Be Deadly transports readers to Edwardian London, from the aristocratic environs of Mayfair to the dangerous back alleys of the East End. Eliza and Henry steal the show in this charming traditional mystery.
Lerner and Loewe's My Fair Lady by Keith Garebian Pdf
"An Englishman's way of speaking absolutely classifies him, The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously 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.
Keith Garebian peers behind the curtain of My Fair Lady to reveal the story behind the making of the musical. Beginning with George Bernard Shaw's Pygmalion, Garebian traces the development of the musical idea. We read with interest about Lerner and Loewe's writing difficulties, and about how Julie Andrews and Rex Harrison were selected as leads. Then it's on to a full-dress reconstruction of opening night on Broadway. Garebian's next chapter follows My Fair Lady after its Broadway start, and he concludes with a close analysis of the structure, words, and music of the play.
Describing how people talk requires recording and analyzing phonetic data. This is true for researchers investigating the variant pronunciations of street names in Los Angeles, missionaries translating the Bible into a little-known tongue, and scholars obtaining data from a carefully controlled group in a laboratory experiment. Phonetic Data Analysis examines the procedures involved in describing the sounds of a language and illustrates the basic techniques of experimental phonetics, most of them requiring little more than a tape recorder, a video camera, and a computer. This book enables readers to work with a speaker in a classroom setting or to go out into the field and make their own discoveries about how the sounds of a language are made. Peter Ladefoged, one of the world’s leading phoneticians, introduces the experimental phonetic techniques for describing the major phonetic characteristics of any language. Throughout the book there are also comments, written in a more anecdotal fashion, on Ladefoged’s own fieldwork.
