My Fair Lady [Vocal Score - 1969] by carol c

FREDERICK LOEWE ALAN JAY LERNER

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

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

giusto, brillante

Bsn.)

Opening Scene

Piano

12 Three slrcst

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

L'istesso tempo

(W.W., Vlns.pizz.)

Tempo di Soft Shoe

crowd.

U I

tenr)vo

(Rim ff shot)

(Tutti)

(W.W., Has,

ELIZA:

. Aoooooooow!

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

I I

I-

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

hung

(No Bs .)

# A

('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!

I 1

HIGGINS: Aoooow! Heavens, what a noise. I

W ,

POCO

meno mosso

This is \vhat the Brit-ish yoy - u

I-

calls

el - e

a poor example.

@ ,

nlcn- t'ry

ed - u

HICGINS: Did I?

vivo

Hear

themdown i n

Speak - ing

la-tion

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

Eng - lish

So - ho Square,

an - y

way

drop - ping aitch - es

they

ev - 'ry - where,

COCKNEY:

You,

sir,

did

3ou

What

HIGGINS:

one

.school?

taught

him

tike

~iic

choir- sing - ing

flat!

Chiclr - ens

ELIZA:

barn,

"AOOOW" and "Garn"

Just

that

keep

her

this

one,

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

~ i X e s s otempo Why

can't

the

Eng - lish

I-

she

does,

sir,

stead

teach

their

chi1

dren

how

tique.

the

way

you

bo,

(Str. arco) I

I I

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

might

sell- ing flow - e r s

too.

I (Str.)

I-

fies

him.

spise him.

The

- 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 -

set

why

good

leave you

the

can't

an1 -

ple

peo

ple

whose

Eng

- "lish

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

can't

speak?

the

Nor - we

Ene: - lish

teach

their

chi1 -

- gians learn Nor - we - gian; the

dren

how

Greeks are taught their

France

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

L C

I I

r a - bi

I -

A -

"Zed"

- ans learn

ra - b h n

with

the

speed

sum

- mer

(Ob.,Cello)

light - ning;

The

He - brews

learn

back - wards,

which

gard-ed

learn

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!

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

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

Thc

(Cued in Cello)

r i ~ t h- er

dull

t":rn;

think

1'11

take

rile

Pit

rcc.

ll111111l-

, A

11 CI

1st COCKNEY enor or)

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

mis

- sus wants

2nd COCKNEY

- pen

the

eas

ass)

- tle

- pri.

Cued in Vln. B

Moderato

Would

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

All

want

n't

Biarritz?

room some -where

lov

- er -

ly?

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

lute

still!

nev - er

would

1 o - ver

knee:

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

warm and ten- der

he can

be.

budge

'ti1

All

ccld night

want

air.

Far

With

one

a - way

nor - nious

f rani t'he

chair;

Lots

coal mak

Lots

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

4::

,h V

SOLO TESOR:

1 CI

II- 0I I I

hands,

warm

\ 4

I I

feet.

lov - er

(V1n.A arco, div.)

- ly sit -

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

n e v - er budge

o - vcr nleThin-der-$ill.

0 -ver

]lie win

- der,

Ah,

'ti1 Spririg

crept

(E.H.

colln voce

Who takes good

care

me; Oh,

Who takes good

care

me,

Who takes good

care

me,

Ah,

\Varm and tcn-dcr

she can

be,

(F1.8uu, Cl.)

would - n't

be lov- er-ly'?

Lov-er-ly !

Ah, -

\+ w.

0 -3-

I ^ )

LB~Y-

A',

I I

- ,

01.

4 -I

*r I

I I

I I)*

ir.'

I?.

Oh, would

Lov

- er - ly!

lov- cr - l y ?

Lov - er - ly!

( T h e scetre chatrgrs.)

(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 : )

haust

I1 I1

I I

I1 I1

gun!

fren- zied

mo - ment

that was! Did - n't

they main

fren- zied

mu - ment

that was! Did - n't

they

tain

ex -

ing

main -

tain

'ex - haust -

ing

115

y ace?

'T~vas

thrill

ing,

lute

thyill

ing,

ab -

lute

I-

chill - ing

run - ning

the

As - cot

o p - 'ning

race!

chill - ing

r u n - ning

the

As - cot

op - 'ning

race!

ing

run- ning

the

cot

op - 'ning

race!

chill - ing

r u n - ning

the

cot

op - 'ning

race!

chill

I '

I . .

Va., Cello,Hp.)

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<t suppose there\ enough time b e f o r e the n e x t r a c e to p l a c e a b e t ?

Piano

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

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,

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

Again co,~l~plete sile7~ce. The one I X C C ~ L Z ' O I L i s Eliza. E L I Z A : Come on, come on,Dover .... Come 011, Dover!!! Move y o u r bloomin' arse!!!!

read - y

for

it---

Look!

has

read- y

for

it- - -

Look!

has

be - gun!

read- y

for i t - - -

Lbok!

has

be - &in!

gun!

A I T

read- y

for

it- - -

Look!

has

be - gun!

I n I I:

120

On The Street Where You Live

S o . 13

Cue: FREDDY: Officer, I know t h i s i s Wimpole Street, but could you t e l l me where 27-A i s ? POLICEMAN: Right t h e r e , s i r . Are t h o s e for s a l e ? FREDDY: T h a n k y o u 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

Piano

a heavenly d a y ?

I --

She c b ~ n- y lete - ly

Sj;POOnr

(R..

heart went

'on

jour

ney

done

the

1110on,

in.

And

)\'hen

she

nev -

saw

en - chant

- ing

farce,

Than t'hc

MRS. PEARCE:

FREDDY: Is Miss Doolitile a t home?

MRS. PEARCE: Whom s h a l l I s a y i s calling?

( No

Bs.)

FKEDDY: Freddy Eyiisford Hill. I i s h c doeslit renlen~berme, tell h c ~ .

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 before. -

All

Are

there

l i - lac

trees

i I

heart

part

ot?;

Can

town? -

you

hear

lark

ev - 'ry

1ive.

No,

door?

feel

-4

it's

just

the

And

itlg -

The

know

Just t o

vbr - p&-

er - ing

fie1 -

where you

tow - er - ing

some-how you are

street

near!

ing -

That an - y

see- ond you n n y

They don't

sud

both- er

den - lg

ay -

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

I'll

They

be h a p p i e r

don't

here.

both - e r

me.

rath - er

For

be.

there's

no - where

Let

the

else

time

earth

by,

that

would

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 .

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 .

. (W.W.sust.)

C'7-BSC.

pours

glass

port. .

poco

130

No. 15

Piano

Introduction To Promenade

Promenade

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.

Trpt. I ) /

POOT?rlAN: C o l o n e l Hugh P i c k c r i ~ ~ g .

@ 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<S.I I I G G I S F : O h , I hopc so! l've

grow^^

tcrriblp fvlld of that girl.

KAHPATHY: Ah, Matstro, hlacbtro!

(Solo

FOOT31AN: Professor

Hc~iry

HIKK~II~,

(~!ulo~~tre

Embassy Waltz

NO. 17

Czct!: 31RS. H I G G I N S : H e n r y , do you t h i n k i t w i s e t o s t a y ? HIGGISS: S t a y ? Why not? FOOThIAN: Miss E l i z a D o o l i t t l e . KARPATHY: Ah, P r o f e s s o r , y o u must introduce me...

Maestoso

Piano

T ~ ~ u ~ t ~ s y L v a . e?n~tze' ra. T h e y pass E L i z a .

A la Viennoise

Ancora ben tenuto

(Str. E.H. Bsn.

I @

Xu.,yalhy gets c l o s e r a.xd c l o s e r t o Elizcl.

(+Br. sust.)

(141\) w u l t z e s w i t h h ' ~ a, s t h e c./o.urd w h i ~ l sabout the s l a ~ e .

Entr'acte

Piano

Str. 11! JV. HIIS.aa before!

(W.w..

You Did It

S o . 10

Moderato tranquillo

Piano

(Bsn., staccalo

Bs.)

Y etc.

@ V

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

-1, 4

.I&

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 .

HIGGINS: A Lot of tomfoolery. PICKERISG: Higgins, I salute you. HIGGINS: Nossense, t h e silly people d o ~ ; t

(Bsn.,Va.)

I poco

cresc.

i t , And

deed

did.

should

get

med - a l ,

ven

made

HIGGINS:

YOU

knight.

noth - ing

was

,411

a - lone

you

hur-dled

ob - s t a - cle

ev-'ry

i HIGGINS:

sight.

Now,

I C

wait!

Now,

(HD.)

urn

wait!

Give

* I

4t-

4tm

cred - it

I L.

where

it's

-urn ,

due:

lot

the

glo

Gib -

goes

you.

(~p.1

stur

A1 - ter, There's 'no

doubt

a - bout it,

sec

You

ond

did

you

Meno mosso

did

\A-

. 8 Soft .

I-

it!

Shoe t e m ~ o

NCV - er

was there

mo -

men- t a r -

lull.

a t once we'd

eas - 'ly win,

And

U.S. $50.00 ISBN 0-BBLBB-036-1

chappelllintersong 8 music group-usa

7777 W. BLUEMOUND R D . P.O.BOX 13819 MILWAUKEE,W153213