Fifty-nine years ago this month, My Fair Lady made its debut on Broadway to a rapturous critical response. It became the longest-running musical to date, and was a landmark in the genre.
This final post on my collection of the lyricist Alan Jay Lerner focuses on another exciting series of letters: correspondence with famous composers with whom Lerner hoped to work, but never completed a musical. Some of these letters reveal how certain figures – such as Hoagy Carmichael – wrote to Lerner but were politely declined.
Amongst the many famous people Lerner corresponded with, Frederick Loewe is naturally the most important in terms of musical collaborators. Yet sadly, correspondence between Lerner and Loewe is quite rare. I found only a few letters between them during the course of the research for the book, and was particularly disappointed by the lack of letters from their early years.
One of the joys of editing the correspondence of Alan Jay Lerner has been discovering his letters to and from the major stars with whom he worked. As the lyricist, librettist, and screenwriter of Brigadoon, Paint Your Wagon, An American in Paris, My Fair Lady, Gigi, Camelot, On a Clear Day You Can See Forever, and many more, he worked with the finest performers of his time.