document_title: Elmer Fudd

question_text: what does bugs bunny say to elmer fudd

question_tokens: what does bugs bunny say to elmer fudd

text: Elmer Fudd

text: Egghead

text: Tex Avery introduced a new character in his cartoon short Egghead Rides Again, released July 17, 1937.[2] Egghead initially was depicted as having a bulbous nose, funny/eccentric clothing, a voice like Joe Penner (provided either by radio mimic Danny Webb[3] or actor Cliff Nazarro)[2] and an egg-shaped head. Many cartoon historians believe that Egghead evolved into Elmer over a period of a couple of years.[1] However, animation historian Michael Barrier asserts, "The Egghead-Elmer story is actually a little messy, my sense being that most of the people involved, whether they were making the films or publicizing them, not only had trouble telling the characters apart but had no idea why they should bother trying."[4] Egghead made his second appearance in 1937's Little Red Walking Hood and then in 1938 teamed with Warner Bros.' newest cartoon star Daffy Duck in Daffy Duck and Egghead.[1] Egghead continued to make appearances in the Warner cartoons in 1938, such as in The Isle of Pingo Pongo and A-Lad-In Bagdad.[1] In A Feud There Was (1938), Egghead made his entrance riding a motor scooter with the words "Elmer Fudd, Peacemaker" displayed on the side, the first onscreen use of that name. Egghead shifts from having a Moe Howard haircut to being bald, and wears a brown derby, a baggy suit, and a high-collared shirt. Egghead returned decades later in the compilation film Daffy Duck's Quackbusters. More recently, he also made a cameo appearance at the end of Looney Tunes: Back in Action and was also given in his own story, which starred him alongside Pete Puma, in the Looney Tunes comic book.

text: One animation history suggests that the Egghead character was based on Ripley's Believe It or Not! cartoonist and entertainer Robert Ripley,[5] while the name Elmer Fudd might have been a reference to the then-popular hunter Elmer Keith.[citation needed]

text: Egghead has the distinction of being the first recurring character created for Leon Schlesinger's Merrie Melodies series (to be followed by such characters as Sniffles, Inki, and even Bugs Bunny), which had previously contained only one-shot characters, although during the Harman-Ising era, Foxy, Goopy Geer, and Piggy each appeared in a few Merrie Melodies.

text: One of Egghead's final appearances is A Day at the Zoo, which ends with Egghead being swallowed by a lion he had been taunting. Whether intentional or coincidental, this was the end for the Egghead character.

text: In the 1939 cartoon Dangerous Dan McFoo, a new voice actor, Arthur Q. Bryan, was hired to provide the voice of the hero dog character.[citation needed] It was in this cartoon that the popular "milk-sop" voice of Elmer Fudd was created.[citation needed] Elmer Fudd has since been the chief antagonistic force in the majority of the Bugs Bunny cartoons, initiating one of the most famous rivalries in the history of American cinema. Barrier notes, "Elmer Fudd was not a modified version of his fellow Warner Bros. character Egghead" and that "the two characters were always distinct. That was evidenced ... by Elmer's being identified in a Warner publicity sheet for Cinderella Meets Fella (filed with the Library of Congress as a copyright description) as 'Egghead's brother.'"[4]

text: Elmer emerges

text: In 1940, Egghead–Elmer's appearance was refined, giving him a chin and a less bulbous nose (although still wearing Egghead's clothing) and Arthur Q. Bryan's "Dan McFoo" voice in what most people consider Elmer Fudd's first true appearance: a Chuck Jones short entitled Elmer's Candid Camera. The rabbit drives Elmer insane. Later that year, he appeared in Friz Freleng's Confederate Honey (where he's called Ned Cutler) and The Hardship of Miles Standish where his voice and Egghead-like appearance were still the same. Jones would use this Elmer one more time, in 1941's Elmer's Pet Rabbit; its other title character is labeled as Bugs Bunny, but is also identical to his counterpart in Camera. In the interim, the two starred in A Wild Hare. Bugs appears with a carrot, New York accent, and "What's Up, Doc?" catchphrase all in place for the first time, although the voice and physique are as yet somewhat off. Elmer has a better voice, a trimmer figure (designed by Robert Givens, which would be reused soon later in Jones' Good Night Elmer, this time without a red nose) and his familiar hunting clothes. He is much more recognizable as the Elmer Fudd of later cartoons than Bugs is here. In his earliest appearances, Elmer actually "wikes wabbits", either attempting to take photos of Bugs, or adopting Bugs as his pet. The rascally rabbit has the poor Fudd so perplexed that there is little wonder as to why Elmer would become a hunter and in some cases actually proclaim, "I hate wittle gway wabbits!" after pumping buckshot down a rabbit hole.

text: Elmer's role in these two films, that of would-be hunter, dupe and foil for Bugs, would remain his main role forever after, and although Bugs Bunny was called upon to outwit many more worthy opponents, Elmer somehow remained Bugs' classic nemesis, despite (or because of) his legendary gullibility, small size, short temper, and shorter attention span. In Rabbit Fire, he declares himself vegetarian, hunting for sport only.[6]

text: Elmer was usually cast as a hapless big-game hunter, armed with a double-barreled shotgun (albeit one which could be fired much more than twice without being reloaded) and creeping through the woods "hunting wabbits". In a few cartoons, though, he assumed a completely different persona—a wealthy industrialist type, occupying a luxurious penthouse, or, in one episode involving a role reversal, a sanitarium—which Bugs would of course somehow find his way into. In Dog Gone People, he had an ordinary office job working for demanding boss "Mister Cwabtwee". In another cartoon (Mutt in a Rut) he appeared to work in an office and had a dog he called "Wover Boy", whom he took hunting, though Bugs did not appear. (Elmer also has a hunting dog in To Duck or Not to Duck; in that film, the dog is named Laramore.)

text: Several episodes featured Elmer differently. One (What's Up, Doc?, 1950) has Bugs Bunny relating his life story to a biographer, and recalling a time which was a downturn for the movie business. Elmer Fudd is a well-known entertainer who, looking for a new partner for his act, sees Bugs Bunny (after passing caricatures of many other famous 1940s actors (Al Jolson, Jack Benny, Eddie Cantor, Bing Crosby) who, like Bugs, are also out of work). Elmer and Bugs do a one-joke act cross-country, with Bugs dressed like a pinhead, and when he does not know the answer to a joke, Elmer gives it and hits him with a pie in the face. Bugs begins to tire of this gag and pulls a surprise on Fudd, answering the joke correctly and bopping Elmer with a mallet, which prompts the man to point his rifle at Bugs. The bunny asks nervously: "Eh, what's up doc?", which results in a huge round of applause from the audience. Bugs tells Elmer they may be on to something, and Elmer, with the vaudevillian's instinct of sticking with a gag that catches on, nods that they should re-use it. According to this account, the common Elmer-as-hunter episodes are entirely staged.

text: One episode where Bugs "lost" in the hunting was Hare Brush (1956). Here, Elmer has been committed to an insane asylum because he believes he is a rabbit (though it is also revealed that he is a millionaire and owns a mansion and a yacht). Bugs Bunny enters Fudd's room and Elmer bribes him with carrots, then leaves the way the real rabbit entered. Bugs acts surprisingly (for him) naïve, assuming Elmer just wanted to go outside for a while. Elmer's psychiatrist arrives, and thinking Fudd's delusion has affected his appearance, drugs Bugs and conditions him into believing that he is Elmer Fudd 'after which Bugs starts wearing hunting clothes and acting like Elmer, hunting the rabbit-costumed Fudd, who is in turn acting like Bugs. Their hunt is cut short when Bugs is arrested by a government agent as Elmer Fudd is wanted for tax evasion. After Bugs is hauled away trying to explain that the rabbit is Elmer Fudd, Fudd breaks the fourth wall and tells the audience "I may be a scwewy wabbit, but I'm not going to Alcatwaz" as he hops away as if he had planned the whole thing.

text: Elmer Fudd has occasionally appeared in other costumes, notably as Cupid. He tries to convince Bugs about love, but Bugs is reluctant, thinking to himself "Don't you look like some guy who's always after me?" and pictures the Elmer in hunter's clothes. The Cupid Elmer plots to get even with Bugs, using his love arrows to make Bugs fall in love with an artificial rabbit at a dog track. Elmer also appeared in this form opposite Daffy Duck in The Stupid Cupid (1944).

text: The Bugs–Elmer partnership was so familiar to audiences that in a late 1950s cartoon, Bugs' Bonnets, a character study is made of what happens to the relationship between the two when they each accidentally don a different selection of hats (Native American wig, pilgrim hat, military helmets, bridal veil and top hat, to name a few). The result is comic mayhem; a steady game of one-upmanship that ultimately leads to matrimony.

text: Fat Elmer

text: For a short time in the 1941–1942 season, Elmer's appearance was modified again, for five cartoons: Wabbit Twouble; The Wacky Wabbit; The Wabbit Who Came to Supper; Any Bonds Today?; and Fresh Hare. He became a heavy-set, beer-bellied character, patterned after Arthur Q. Bryan's real-life appearance, and still chasing Bugs (or vice versa). However, audiences did not accept a fat Fudd, so ultimately the slimmer version returned for good.

text: This time period also saw a temporary change in Elmer's relationship with Bugs Bunny. Instead of being the hunter, Elmer was the victim of unprovoked pestering by Bugs. In Wabbit Twouble, Bugs plays a number of gags on Elmer, advising the audience, "I do dis kind o' stuff to him all t'wough da picture!" (A line somewhat ironically would later be said by Cecil Turtle as he and his friends cheat Bugs out of winning a race). Another short, The Wacky Wabbit, finds Elmer focused on prospecting for gold which would be used to fund the World War II effort. Elmer sings a variation of the old prospector's tune "Oh! Susanna" made just for this cartoon (complete with the phrase "V for Victory"), with Bugs joining in just before starting to hassle Elmer. He made a later appearance in an episode of The Sylvester and Tweety Mysteries as a Russian version with a simple name "Boris" who owns another comedy club in Russia.

text: Elmer-speak

text: He nearly always vocalised consonants [r] and [l], pronouncing them as [w] instead (a trait that also characterized Tweety Bird) when he would talk in his slightly raspy voice. This trait was prevalent in the Elmer's Candid Camera and Elmer's Pet Rabbit cartoons, where the writers would give him exaggerated lines such as, "My, that weawwy was a dewicious weg of wamb." to further exaggerate his qualities as a harmless nebbish. That characteristic seemed to fit his somewhat timid and childlike persona. And it worked. The writers often gave him lines filled with those letters, such as doing Shakespeare's Romeo as "What wight thwough yonduh window bweaks!" or Wagner's Ride of the Valkyries as "Kiww the wabbit, kiww the wabbit, kiww the wabbit...!" or "The Beautifuw Bwue Danube, by Johann Stwauss", Stage Door Cartoon's line "Oh, you dubbuh-cwossing wabbit! You tweachewous miscweant!" or the name of actress "Owivia deHaviwwand". Elmer's speech impediment is so well known that Google allows the user to change the search engine language to "Elmer Fudd." Comedian Robin Williams often referred to the impediment as "Fudd syndrome" whenever he accidentally slipped up and replaced an "l" or "r" with a "w" sound in a word.

text: Part of the joke is that Elmer is presumably incapable of pronouncing his own first name correctly. Occasionally Elmer would properly pronounce an "r" or "l" sound, depending on whether or not it was vital for the audience to understand what the word was. (For example, in 1944's The Old Grey Hare, he clearly pronounces the "r" in the word "picture".) Usually, Elmer pronounces the "r" and "l" when one of those letters is in the last syllable of the word (such as "rascal", which he says as "wascal"). This doesn't occur in one-syllable words like "last" ("wast") or in common words like "hello" ("hewwo").

text: Later appearances

text: Elmer Fudd made appearances in several television specials in the 1970s and 1980s, and some cameo roles in two of the Looney Tunes feature-film compilations.

text: Elmer would also appear frequently on the animated series Tiny Toon Adventures as a teacher at Acme Looniversity, where he was the idol and favorite teacher of Elmyra Duff, the slightly deranged animal lover who resembles Elmer in basic head design, name and lack of intellect. On the other hand, a younger version of him makes a single appearance in the episode Plucky's Dastardly Deed, and is named "Egghead Jr", the "smartest kid in class".

text: Elmer also made cameos on Animaniacs, one in Turkey Jerky, another in the Pinky and the Brain short, Don't Tread on Us.

text: Elmer also had a guest starring appearance on Histeria! in the episode "The Teddy Roosevelt Show", in a sketch where he portrayed Gutzon Borglum. This sketch depicts Elmer/Gutzon's construction of Mount Rushmore, accompanied by Borglum's son Lincoln, portrayed by Loud Kiddington. Elmer made another appearance on Histeria!, this time in his traditional role, during a sketch where the bald eagle trades places with the turkey during Thanksgiving weekend, featured in the episode "Americana".

text: Fudd also appeared on The Sylvester and Tweety Mysteries in the first-season episode A Ticket to Crime as detective Sam Fudd; at the end he took off his clothes and turned into Elmer.

text: Elmer appears as part of the TuneSquad team in Space Jam. In one part of the game he and Yosemite Sam shoot down the teeth of one of the Monstars dressed in black suites while Misirlou is heard in the background.

text: Elmer took on a more villainous role in Looney Tunes: Back in Action, in which he is a secret agent for the Acme Corporation. In his scene, Elmer chases Bugs and Daffy through the paintings in the Louvre museum, taking on the different art styles as they do so. At the end, Elmer forgets to change back to his normal style after jumping out of the pointillism painting Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat, allowing Bugs to easily disintegrate Elmer by blowing a fan at him.

text: A four-year-old version of Elmer was featured in the Baby Looney Tunes episode "A Bully for Bugs", where he kept taking all of Bugs' candy, and also bullied the rest of his friends. He was also shown with short blond hair. He appeared in most of the songs.

text: An even more villainous Elmer appeared in two episodes of Duck Dodgers as The Mother Fudd, an alien who would spread a disease that caused all affected by it to stand around laughing like Elmer (a parody of the Flood in Halo and the Borg in Star Trek).

text: In Loonatics Unleashed, his descendant, Electro J. Fudd, tried to prove himself the universe's greatest hunter by capturing Ace Bunny, but settled for Danger Duck instead. Elmer himself also makes an appearance in the form of a photo which shows he presumably died at the hands of a giant squirrel.[citation needed]

text: In December 2009, Elmer made an appearance in a Geico commercial where the director tells him to say rabbits instead of "wabbits". He was again voiced by Billy West.

text: Elmer Fudd appears in The Looney Tunes Show voiced by Billy West. Portrayed as a wealthy businessman coming home after a hard day's work in the "Merrie Melodies" part of the episode "Best Friends," he sings about his love of "gwiwwed cheese" sandwiches. He later had a brief cameo appearance in "Fish and Visitors" as a weather forecaster briefly exclaiming about the rainy weather and doing his famous chuckle at the end. In "Working Duck," Elmer Fudd appeared as a newsman where he reports that Daffy Duck was fired from his position as a security guard after falling asleep during a nighttime bank robbery where $10,000,000.00 were stolen. Later on, Elmer Fudd reports that EnormoCorp went out of business due to the worst business decision in the history of business decisions caused by its CEO Daffy Duck (who succeeded the previous CEO Foghorn Leghorn who retired) where he went with the "Proceed as Planned" choice instead of the "Delay the Merger" choice when he mistook Pete Puma as the new muffin man. As a result of this, Elmer mentioned that 10,000 of its workers are now out of a job and states that experts fear that the world economy could collapse. Elmer also states that disgraced CEO Daffy Duck could not be reached for a comment. In "A Christmas Carol," Elmer Fudd reports on Foghorn Leghorn's plans to end the heat wave on Christmas. Elmer Fudd later joins the other characters in the Christmas song called "Christmas Rules" at the end of the episode. In "Dear John," Elmer Fudd reports on Daffy Duck winning a spot on the city council. Elmer Fudd later reports on Daffy Duck's apparent death where he supposedly lost control of his parade float and drove into the St. Bastian River. In "The Black Widow," Elmer Fudd reports on the theft of the Hillhurst Diamond from the museum caused by someone called "The Black Widow."

text: On June 8, 2011, Elmer starred in the 3-D short "Daffy's Rhapsody" with Daffy Duck, that short was going to precede the film Happy Feet Two,[7] but was instead shown with Journey 2: The Mysterious Island.

text: Elmer Fudd appears in Looney Tunes: Rabbits Run voiced again by Billy West. He appears as a spy working for the Mexican general Foghorn Leghorn.

text: In the 2017 DC Comics/Looney Tunes crossover books, an alternate version of Elmer Fudd was created for a story in which the character was designed more for the DC Universe and was pitted against Batman in the Batman/Elmer Fudd Special. In the story, Elmer is a bounty hunter that originated from the country side before he moved to Gotham to make ends meet. He considered putting the shotgun away for good when he fell in love with Silver St. Cloud, but she was killed by hitman Bugs "The Bunny". He goes to a bar called Porky's (which has attendants that are humanoid versions of other famous Looney Tunes stars) to kill Bugs. Bugs confesses to killing Silver, but avoids death by telling Elmer that Bruce Wayne hired him to do it. Elmer believes Bugs as Bruce was Silver's former lover and shoots Bruce at a party for vengeance. Batman confronts Elmer in his apartment and defeats the gunman in a fight, where Elmer tells Batman about Silver's death and Bugs. Elmer and Batman return to Porky's and take out most of the crowd before confronting Bugs. The three are shocked to find Silver in the bar herself, where she revealed that she left Bruce and Elmer because of their dangerous lifestyles and had Bugs fake her death. The story ends with all three of the men requesting a glass of carrot juice from Porky. In the issue's backup story, Bugs, Elmer, and Batman re-enact the famous "Rabbit Season, Duck Season" sketch with Batman replacing Daffy as Bugs tells Elmer it's "Bat Season." After getting shot by Elmer too many times, Batman takes Bugs' advice and makes it Robin season, causing Elmer to pursue the Dark Knight's sidekicks instead.[8]

text: Portrayal

text: Fudd was originally voiced by radio actor Arthur Q. Bryan, but three times in Bryan's lifetime the voice was provided by the versatile Mel Blanc: in To Duck or Not to Duck, Blanc spoke as Fudd saying "that one", in The Scarlet Pumpernickel (1950), only a single line was needed, and bringing in Bryan was not cost effective, and in What's Opera, Doc?, Elmer's furious scream "SMOG!" was dubbed by Mel Blanc, although Bryan had voiced the rest of the part. Later, during the musician's union strike of 1958, another artist did the voice for Elmer's co-starring appearance in Pre-Hysterical Hare. There is no documented reason for Bryan's absence, leaving some fans to speculate that he refused to cross the picket lines.

text: In 1959, Bryan died aged 60, and Hal Smith was selected to replace him as Elmer, but after just two cartoons were recorded by the new actor, and another was made in which Fudd has no lines and therefore no voice, the character was soon retired. Although in more recent years other voice actors have alternated as Elmer's voice, Bryan's characterization remains the definitive one. He was never credited onscreen, because Blanc had a clause in his contract that required him to receive a screen credit and, perhaps inadvertently, denied the same to other voice performers.

text: Blanc would take on the role regularly in the 1970s and 1980s, supplying Elmer's voice for new footage in compilation feature films and similar TV specials, as well as some all-new specials. He admitted in his autobiography that he found the voice difficult to get "right", never quite making it his own. In Speechless, the famous lithograph issued following Blanc's death, Elmer is not shown among the characters bowing their heads in tribute to Blanc.

text: Other voice actors

text: Besides Arthur Q. Bryan, other actors have voiced Elmer:

text:
Danny Webb or Cliff Nazarro (as Egghead; 1937–1939; sources differ)
Roy Rogers (singing voice in A Feud There Was)
Mel Blanc (Saying "That one" in the hand-shaking scene in To Duck or Not To Duck, The Scarlet Pumpernickel, screaming "SMOG!" in What's Opera, Doc?, Daffy Duck and Porky Pig Meet the Groovie Goolies, Bugs Bunny's Valentine, A Connecticut Rabbit in King Arthur's Court, Portrait of the Artist as a Young Bunny, Bugs Bunny's Bustin' Out All Over, The Bugs Bunny Mystery Special, Bugs Bunny's Wild World of Sports)
Dave Barry (Pre-Hysterical Hare)
Hal Smith (Dog Gone People, What's My Lion?, 1961 Post Cereal Alpha-Bits commercial)
Roy Firestone (as Egghead; Daffy Duck's Quackbusters)
Jeff Bergman (Tiny Toon Adventures, Happy Birthday, Bugs!: 50 Looney Years, Bugs Bunny's Overtures to Disaster, Box-Office Bunny, (Blooper) Bunny, Bugs Bunny's Creature Features, Invasion of the Bunny Snatchers, The 1st 13th Annual Fancy Anvil Awards Show Program Special...Live!...In Stereo)
Greg Burson (Tiny Toon Adventures, The Sylvester and Tweety Mysteries, Sheep, Dog 'n' Wolf)
Joe Alaskey (Tiny Toon Adventures: How I Spent My Vacation)
Tom Kenny (as Egghead; The Sylvester and Tweety Mysteries, as Fudd; Looney Tunes webtoons)
Frank Welker (Animaniacs)
Billy West (Space Jam, Quest for Camelot Sing-A-Longs, Looney Tunes Sing-A-Longs, Looney Tunes: Reality Check, Looney Tunes: Stranger Than Fiction, Looney Tunes: Back in Action, Bah, Humduck! A Looney Tunes Christmas, The Looney Tunes Show, Daffy's Rhapsody, Looney Tunes: Rabbits Run, GEICO commercials and various video games)
Brian Drummond (Baby Looney Tunes)
Chris Edgerly (Drawn Together)
Noel Blanc (Family Guy Presents Stewie Griffin: The Untold Story)
Quinton Flynn (Robot Chicken)

text: In popular culture

text: The search engine Google has been translated into many languages, some of them for sheer comedic purposes. One of the novelty languages is "Elmer Fudd."[9] Comedian and actor Robin Williams also performed a famous sketch where he sang the Bruce Springsteen song "Fire" as Elmer Fudd.

text: In the film Fletch Lives, the eponymous character (while in disguise) gives his name as "Elmer Fudd Gantry".[citation needed]


document_title: My Fair Lady

question_text: who played professor higgins in my fair lady

root

text: My Fair Lady

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (January 2017) (Learn how and when to remove this template message)

tag: table

text: On a rainy night in Edwardian London, opera patrons are waiting under the arches of Covent Garden for cabs. Eliza Doolittle, a Cockney flower girl, runs into a young man called Freddy. She admonishes him for spilling her bunches of violets in the mud, but she cheers up after selling one to an older gentleman. She then flies into an angry outburst when a man copying down her speech is pointed out to her. The man explains that he studies phonetics and can identify anyone's origin by their accent. He laments Eliza's dreadful speech, asking why so many English people don't speak properly and explaining his theory that this is what truly separates social classes, rather than looks or money ("Why Can't the English?"). He declares that in six months he could turn Eliza into a lady by teaching her to speak properly. The older gentleman introduces himself as Colonel Pickering, a linguist who has studied Indian dialects. The phoneticist introduces himself as Henry Higgins, and, as they both have always wanted to meet each other, Higgins invites Pickering to stay at his home in London. He distractedly throws his change into Eliza's basket, and she and her friends wonder what it would be like to live a comfortable, proper life ("Wouldn't It Be Loverly?").

tag: p

text: Eliza's father, Alfred P. Doolittle, and his drinking companions, Harry and Jamie, all dustmen, stop by the next morning. He is searching for money for a drink, and Eliza shares her profits with him ("With a Little Bit of Luck"). Pickering and Higgins are discussing vowels at Higgins's home when Mrs. Pearce, the housekeeper, informs Higgins that a young woman with a ghastly accent has come to see him. It is Eliza, who has come to take speech lessons so she can get a job as an assistant in a florist's shop. Pickering wagers that Higgins cannot make good on his claim and volunteers to pay for Eliza's lessons. An intensive makeover of Eliza's speech, manners and dress begins in preparation for her appearance at the Embassy Ball. Higgins sees himself as a kindhearted, patient man who cannot get along with women ("I'm an Ordinary Man"). To others he appears self-absorbed and misogynistic.

text: Alfred Doolittle is informed that his daughter has been taken in by Professor Higgins, and considers that he might be able to make a little money from the situation ("With a Little Bit of Luck" [Reprise]).

text: Doolittle arrives at Higgins's house the next morning, claiming that Higgins is compromising Eliza's virtue. Higgins is impressed by the man's natural gift for language and brazen lack of moral values. He and Doolittle agree that Eliza can continue to take lessons and live at Higgins's house if Higgins gives Doolittle five pounds for a spree. Higgins flippantly recommends Doolittle to an American millionaire who has written to Higgins seeking a lecturer on moral values. Meanwhile, Eliza endures speech tutoring, endlessly repeating phrases like "In Hertford, Hereford and Hampshire, hurricanes hardly ever happen” (initially, the only "h" she aspirates is in "hever") and "The rain in Spain stays mainly in the plain" (to practice the "long a" phoneme). Frustrated, she dreams of different ways to kill Higgins, from sickness to drowning to a firing squad ("Just You Wait"). The servants lament the hard "work" Higgins does ("The Servants' Chorus"). Just as they give up, Eliza suddenly recites "The rain in Spain stays mainly in the plain" in perfect upper-class style. Higgins, Eliza, and Pickering happily dance around Higgins's study ("The Rain in Spain"). Thereafter she speaks with impeccable received pronunciation. Mrs. Pearce, the housekeeper, insists that Eliza go to bed; she declares she is too excited to sleep ("I Could Have Danced All Night").

text: For her first public tryout, Higgins takes Eliza to his mother's box at Ascot Racecourse ("Ascot Gavotte"). Henry's mother reluctantly agrees to help Eliza make conversation, following Henry's advice that Eliza should stick to two subjects: the weather and everybody's health. Eliza makes a good impression at first with her polite manners but later shocks everyone when she forgets herself while watching a race and reverts to Cockney slang. She does, however, capture the heart of Freddy Eynsford-Hill, the young man she ran into in the opening scene. Freddy calls on Eliza that evening, but she refuses to see him. He declares that he will wait for her as long as necessary in the street outside Higgins's house ("On the Street Where You Live").

text: Eliza's final test requires her to pass as a lady at the Embassy Ball, and after weeks of preparation, she is ready. All the ladies and gentlemen at the ball admire her, and the Queen of Transylvania invites her to dance with her son, the prince ("Embassy Waltz"). Eliza then dances with Higgins. A rival and former student of Higgins, a Hungarian phonetician named Zoltan Karpathy, is employed by the hostess to discover Eliza's origins through her speech. Though Pickering and his mother caution him not to, Higgins allows Karpathy to dance with Eliza.

text: The event is revealed to have been a success, with Zoltan Karpathy having concluded that Eliza is "not only Hungarian, but of royal blood. She is a princess!" After the ball, Pickering flatters Higgins on his triumph, and Higgins expresses his pleasure that the experiment is now over ("You Did It"). The episode leaves Eliza feeling used and abandoned. Higgins completely ignores Eliza until he mislays his slippers. He asks her where they are, and she lashes out at him, leaving the clueless professor mystified by her ingratitude. When Eliza decides to leave Higgins, he insults her in frustration and storms off. Eliza cries as she prepares to leave ("Just You Wait" [Reprise]). She finds Freddy still waiting outside ("On the Street Where You Live" [Reprise]). He begins to tell her how much he loves her, but she cuts him off, telling him that she has heard enough words; if he really loves her, he should show it ("Show Me"). She and Freddy return to Covent Garden, where her friends do not recognize her with her newly refined bearing ("The Flower Market/Wouldn't It Be Loverly?" [Reprise]). By chance, her father is there as well, dressed in a fine suit. He explains that he received a surprise bequest of four thousand pounds a year from the American millionaire, which has raised him to middle-class respectability, and now must marry Eliza's "stepmother", the woman he has been living with for many years. Eliza sees that she no longer belongs in Covent Garden, and she and Freddy depart. Doolittle and his friends have one last spree before the wedding ("Get Me to the Church on Time").

text: Higgins awakens the next morning to find that, without Eliza, he has tea instead of coffee, and cannot find his own files. He wonders why she left after the triumph at the ball and concludes that men (especially himself) are far superior to women ("A Hymn to Him"). Pickering, becoming annoyed with Higgins, leaves to stay with his friend at the Home Office. Higgins seeks his mother's advice and finds Eliza having tea with her. Higgins's mother leaves Higgins and Eliza together. Eliza explains that Higgins has always treated her as a flower girl, but she learned to be a lady because Pickering treated her as one. Higgins claims he treated her the same way that Pickering did because both Higgins and Pickering treat all women alike. Eliza accuses him of wanting her only to fetch and carry for him, saying that she will marry Freddy because he loves her. She declares she no longer needs Higgins, saying she was foolish to think she did ("Without You"). Higgins is struck by Eliza's spirit and independence and wants her to stay with him, but she tells him that he will not see her again.

text: As Higgins walks home, he realizes he's grown attached to Eliza ("I've Grown Accustomed to Her Face"). He cannot bring himself to confess that he loves her, and insists to himself that if she marries Freddy and then comes back to him, he will not accept her. But he finds it difficult to imagine being alone again. He reviews the recording he made of the morning Eliza first came to him for lessons. He hears his own harsh words: "She's so deliciously low! So horribly dirty!" Then the phonograph turns off, and a real voice speaks in a Cockney accent: "I washed me face an' 'ands before I come, I did". It is Eliza, standing in the doorway, tentatively returning to him. The musical ends on an ambiguous moment of possible reconciliation between teacher and pupil, as Higgins slouches and asks, "Eliza, where the devil are my slippers?"

text: Characters and original Broadway cast[edit]

text: The original cast of the Broadway stage production:[2]

text:
Henry Higgins, a professor of phonetics – Rex Harrison
Eliza Doolittle, a young Cockney flowerseller – Julie Andrews
Alfred P. Doolittle, Eliza's father, a dustman – Stanley Holloway
Mrs. Higgins, Higgins's socialite mother – Cathleen Nesbitt
Colonel Hugh Pickering, Higgins's friend and fellow phoneticist – Robert Coote
Freddy Eynsford-Hill, a young socialite and Eliza's suitor – John Michael King
Mrs. Pearce, Higgins's housekeeper – Philippa Bevans
Mrs. Eynsford-Hill, Freddy's mother – Viola Roache
Zoltan Karpathy, Higgins's former student and rival – Christopher Hewett

tag: ul

text: Musical numbers[edit]

text:
Act I[2]

"Overture" – The Orchestra
"Busker Sequence" – The Orchestra
"Why Can't the English?" – Professor Higgins
"Wouldn't It Be Loverly?" – Eliza and Male Quartet
"With a Little Bit of Luck" – Alfred Doolittle, Harry, and Jamie
"I'm an Ordinary Man" – Professor Higgins
"With a Little Bit of Luck (Reprise)" – Alfred Doolittle and Ensemble
"Just You Wait" – Eliza
"The Servants' Chorus (Poor Professor Higgins)" – Mrs. Pearce and Servants
"The Rain in Spain" – Professor Higgins, Eliza, and Colonel Pickering
"I Could Have Danced All Night" – Eliza, Mrs. Pearce, and Servants
"Ascot Gavotte" – Ensemble
"On the Street Where You Live" – Freddy
"Eliza's Entrance/Embassy Waltz" – The Orchestra

Act II

"You Did It" – Colonel Pickering, Professor Higgins, Mrs. Pearce, and Servants
"Just You Wait (Reprise)" – Eliza
"On the Street Where You Live (Reprise)" – Freddy
"Show Me" – Eliza and Freddy
"The Flower Market/Wouldn't It Be Loverly? (Reprise)" – Eliza and Male Quartet
"Get Me to the Church on Time" – Alfred Doolittle and Ensemble
"A Hymn to Him" – Professor Higgins and Colonel Pickering
"Without You" – Eliza and Professor Higgins
"I've Grown Accustomed to Her Face" – Professor Higgins
"I Could Have Danced All Night (Reprise) / Finale" – The Orchestra

text: Background[edit]

text: In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw's plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. They quickly realized, however, that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble.[3] Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.[4]

text: During this time, the collaborators separated and Gabriel Pascal died. Lerner had been trying to musicalize Li'l Abner when he read Pascal's obituary and found himself thinking about Pygmalion again.[5] When he and Loewe reunited, everything fell into place. All the insurmountable obstacles that stood in their way two years earlier disappeared when the team realized that the play needed few changes apart from (according to Lerner) "adding the action that took place between the acts of the play".[6] They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal's estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by Metro-Goldwyn-Mayer, whose executives called Lerner to discourage him from challenging the studio. Loewe said, "We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us."[7] For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.

text: Lerner settled on the title My Fair Lady, relating both to one of Shaw's provisional titles for Pygmalion, Fair Eliza, and to the final line of every verse of the nursery rhyme "London Bridge Is Falling Down". Recalling that the Gershwins' 1925 musical Tell Me More had been titled My Fair Lady in its out-of-town tryout, and also had a musical number under that title, Lerner made a courtesy call to Ira Gershwin, alerting him to the use of the title for the Lerner and Loewe musical.

text: Noël Coward was the first to be offered the role of Henry Higgins, but turned it down, suggesting the producers cast Rex Harrison instead.[8] After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role.[9] Young actress Julie Andrews was "discovered" and cast as Eliza after the show's creative team went to see her Broadway debut in The Boy Friend. Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements and the show quickly went into rehearsal.

text: The musical's script used several scenes that Shaw had written especially for the 1938 film version of Pygmalion, including the Embassy Ball sequence and the final scene of the 1938 film rather than the ending for Shaw's original play. The montage showing Eliza's lessons was also expanded, combining both Lerner and Shaw's dialogue. The artwork on the original playbill (and sleeve of the cast recording) is by Al Hirschfeld, who drew the playwright Shaw as a heavenly puppetmaster pulling the strings on the Henry Higgins character, while Higgins in turn attempts to control Eliza Doolittle.

text: Productions[edit]

text: Original Broadway production[edit]

text: The musical had its pre-Broadway tryout at New Haven's Shubert Theatre. At the first preview Rex Harrison, who was unaccustomed to singing in front of a live orchestra, "announced that under no circumstances would he go on that night...with those thirty-two interlopers in the pit".[10] He locked himself in his dressing room and came out little more than an hour before curtain time. The whole company had been dismissed but were recalled, and opening night was a success.[11] In 1973, on an episode of her Emmy Award-winning ABC-TV variety series, Julie Andrews recalled that during the New Haven tryout, one of the songs written for the show, "Say A Prayer For Me Tonight" was dropped and then used two years later for the 1958 MGM musical Gigi. My Fair Lady then played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.

text: The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962, after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton.[12] Harrison was replaced by Edward Mulhare in November 1957 and Sally Ann Howes replaced Andrews in February 1958.[13][14] The Original Cast Recording went on to become the best-selling album in the country in 1956.[15] The original costumes were designed by Cecil Beaton and are on display at the Costume World Broadway Collection in Pompano Beach, Florida, along with many of the original patterns.

text: Original London production[edit]

text: The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened on April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and a half years[16] (2,281 performances). Edwardian musical comedy star Zena Dare made her last appearance in the musical as Mrs. Higgins.[17] Leonard Weir played Freddy. On May 5, 1958, Queen Elizabeth II, along with Prince Philip, Duke of Edinburgh, attended a performance. Harrison left the London cast in March 1959, followed by Andrews in August 1959 and Holloway in October 1959.

text: 1970s revivals[edit]

text: The first revival opened at the St. James Theatre on Broadway on March 25, 1976, and ran there until December 5, 1976; it then transferred to the Lunt-Fontanne Theatre, running from December 9, 1976, until it closed on February 20, 1977, after a total of 377 performances and 7 previews. The director was Jerry Adler, with choreography by Crandall Diehl, based on the original choreography by Hanya Holm. Ian Richardson starred as Higgins, with Christine Andreas as Eliza, George Rose as Alfred P. Doolittle and Robert Coote recreating his role as Pickering.[12] Both Richardson and Rose were nominated for the Tony Award for Best Actor in a Musical, with the award going to Rose.

text: A London revival opened at the Adelphi Theatre in October 1979, with Tony Britton as Higgins, Liz Robertson as Eliza, Dame Anna Neagle as Higgins' mother, Peter Bayliss, Richard Caldicot and Peter Land. The revival was produced by Cameron Mackintosh and directed by the author, Alan Jay Lerner. A national tour was directed by Robin Midgley.[18][19][20] Gillian Lynne choreographed.[21] Britton and Robertson were both nominated for Olivier Awards.[22]

text: 1981 and 1993 Broadway revivals[edit]

text: Another Broadway revival of the original production opened at the Uris Theatre on August 18, 1981, and closed on November 29, 1981, after 120 performances and 4 previews. Rex Harrison recreated his role as Higgins, with Jack Gwillim, Milo O'Shea, and Cathleen Nesbitt, at 93 years old reprising her role as Mrs. Higgins. The revival co-starred Nancy Ringham as Eliza. The director was Patrick Garland, with choreography by Crandall Diehl, recreating the original Hanya Holm dances.[12][23]

text: A new revival directed by Howard Davies opened at the Virginia Theatre on December 9, 1993, and closed on May 1, 1994, after 165 performances and 16 previews. The cast starred Richard Chamberlain, Melissa Errico and Paxton Whitehead. Julian Holloway, son of Stanley Holloway, recreated his father's role of Alfred P. Doolittle. Donald Saddler was the choreographer.[12][24]

text: 2001 London revival; 2003 Hollywood Bowl production[edit]

text: Cameron Mackintosh produced a new production on March 15, 2001, at the Royal National Theatre, which transferred to the Theatre Royal, Drury Lane on July 21. Directed by Trevor Nunn, with choreography by Matthew Bourne, the musical starred Martine McCutcheon as Eliza and Jonathan Pryce as Higgins, with Dennis Waterman as Alfred P. Doolittle. This revival won three Olivier Awards: Outstanding Musical Production, Best Actress in a Musical (Martine McCutcheon) and Best Theatre Choreographer (Matthew Bourne), with Anthony Ward receiving a nomination for Set Design.[25] In December 2001, Joanna Riding took over the role of Eliza, and in May 2002, Alex Jennings took over as Higgins, both winning Olivier Awards for Best Actor and Best Actress in a Musical respectively in 2003.[26] In March 2003, Anthony Andrews and Laura Michelle Kelly took over the roles until the show closed on August 30, 2003.[27]

text: A UK tour of this production began September 28, 2005. The production starred Amy Nuttall and Lisa O'Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Alfred Doolittle, and Honor Blackman[28] and Hannah Gordon as Mrs. Higgins. The tour ended August 12, 2006.[29]

text: In 2003 a production of the musical at the Hollywood Bowl starred John Lithgow as Henry Higgins, Melissa Errico as Eliza Doolittle, Roger Daltrey as Alfred P. Doolittle and Paxton Whitehead as Colonel Pickering.[30]

text: 2018 Broadway revival[edit]

text: Lincoln Center Theater and Nederlander Presentations Inc. have announced plans to mount a new Broadway revival in 2018. It is to be directed by Bartlett Sher and begin previews March 15, 2018, at the Vivian Beaumont Theater, with an opening night scheduled for April 19, 2018.[31] The cast will star Lauren Ambrose as Eliza, Harry Hadden-Paton as Professor Henry Higgins, Diana Rigg as Mrs. Higgins and Norbert Leo Butz as Alfred P. Doolittle.[32]

text: Other major productions[edit]

text: Berlin, 1961[edit]

text: A German translation of My Fair Lady opened on October 1, 1961, at the Theater des Westens in Berlin, starring Karin Hübner and Paul Hubschmid (and conducted, as was the Broadway opening, by Franz Allers). Coming at the height of Cold War tensions, just weeks after the closing of the East Berlin–West Berlin border and the erection of the Berlin Wall, this was the first staging of a Broadway musical in Berlin since World War II. As such it was seen as a symbol of West Berlin's cultural renaissance and resistance. Lost attendance from East Berlin (now no longer possible) was partly made up by a "musical air bridge" of flights bringing in patrons from West Germany, and the production was embraced by Berliners, running for two years.[33][34]

text: 2007 New York Philharmonic concert and US tour[edit]

text: In 2007 the New York Philharmonic held a full-costume concert presentation of the musical. The concert had a four-day engagement lasting from March 7–10 at Lincoln Center's Avery Fisher Hall. It starred Kelsey Grammer as Higgins, Kelli O'Hara as Eliza, Charles Kimbrough as Pickering, and Brian Dennehy as Alfred Doolittle. Marni Nixon played Mrs. Higgins; Nixon had provided the singing voice of Audrey Hepburn in the film version.[35]

text: A U.S. tour of Mackintosh's 2001 West End production ran from September 12, 2007, to June 22, 2008.[36] The production starred Christopher Cazenove as Higgins, Lisa O'Hare as Eliza, Walter Charles as Pickering, Tim Jerome as Alfred Doolittle[37] and Nixon as Mrs. Higgins, replacing Sally Ann Howes.[38]

text: 2008 Australian tour[edit]

text: An Australian tour produced by Opera Australia commenced in May 2008. The production starred Reg Livermore as Higgins, Taryn Fiebig as Eliza, Robert Grubb as Alfred Doolittle and Judi Connelli as Mrs Pearce. John Wood took the role of Alfred Doolittle in Queensland, and Richard E. Grant played the role of Henry Higgins at the Theatre Royal, Sydney.[39]

text: 2010 Paris revival[edit]

text: A new production was staged by Robert Carsen at the Théâtre du Châtelet in Paris for a limited 27-performance run, opening December 9, 2010, and closing January 2, 2011. It was presented in English. The costumes were designed by Anthony Powell and the choreography was by Lynne Page. The cast was as follows: Sarah Gabriel / Christine Arand (Eliza Doolittle), Alex Jennings (Henry Higgins), Margaret Tyzack (Mrs. Higgins), Nicholas Le Prevost (Colonel Pickering), Donald Maxwell (Alfred Doolittle), and Jenny Galloway (Mrs. Pearce).[40]

text: 2012 Sheffield production[edit]

text: A new production of My Fair Lady opened at Sheffield Crucible on December 13, 2012. Dominic West played Henry Higgins, and Carly Bawden played Eliza Doolittle. Sheffield Theatres' Artistic Director Daniel Evans was the director. The production ran until January 26, 2013.[41][42]

text: 2016 Australian production[edit]

text: The Gordon Frost Organisation, together with Opera Australia, presented a production at the Sydney Opera House from August 30 to November 5, 2016. It was directed by Dame Julie Andrews and featured the set and costume designs of the original 1956 production by Oliver Smith and Cecil Beaton.[43] The production sold more tickets than any other in the history of the Sydney Opera House.[44] The show is then planned to tour to Brisbane from March 12 and Melbourne from May 11. The show's opening run in Sydney was so successful that in November 2016, ticket pre-sales were released for a re-run in Sydney, with the extra shows scheduled between August 24 and September 10, 2017, at the Capitol Theatre.

text: Critical reception[edit]

text: According to Geoffrey Block, "Opening night critics immediately recognized that 'My Fair Lady' fully measured up to the Rodgers and Hammerstein model of an integrated musical...Robert Coleman...wrote 'The Lerner-Loewe songs are not only delightful, they advance the action as well. They are ever so much more than interpolations, or interruptions.'"[45] The musical opened to "unanimously glowing reviews, one of which said 'Don't bother reading this review now. You'd better sit right down and send for those tickets...' Critics praised the thoughtful use of Shaw's original play, the brilliance of the lyrics, and Loewe's well-integrated score."[46]

text: A sampling of praise from critics, excerpted from a book form of the musical, published in 1956.[47]

text:
"My Fair Lady is wise, witty, and winning. In short, a miraculous musical." Walter Kerr, New York Herald Tribune.
"A felicitous blend of intellect, wit, rhythm and high spirits. A masterpiece of musical comedy ... a terrific show." Robert Coleman, New York Daily Mirror.
"Fine, handsome, melodious, witty and beautifully acted ... an exceptional show." George Jean Nathan, New York Journal American.
"Everything about My Fair Lady is distinctive and distinguished." John Chapman, New York Daily News.
"Wonderfully entertaining and extraordinarily welcomed ... meritorious in every department." Wolcott Gibbs, The New Yorker.
"One of the 'loverliest' shows imaginable ... a work of theatre magic." John Beaufort, The Christian Science Monitor.
"An irresistible hit." Variety.
"One of the best musicals of the century." Brooks Atkinson, The New York Times.

text: The reception from Shavians was more mixed, however. Eric Bentley, for instance, called it "a terrible treatment of Mr. Shaw's play, [undermining] the basic idea [of the play]", even though he acknowledged it as "a delightful show".[48]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text: Sources: BroadwayWorld[49] TheatreWorldAwards[50]

text:
Year
Award
Category
Nominee
Result

1956
Theatre World Award
Outstanding New York City Stage Debut Performance
John Michael King
Won

1957
Tony Award
Best Musical
Won

Best Performance by a Leading Actor in a Musical
Rex Harrison
Won

Best Performance by a Leading Actress in a Musical
Julie Andrews
Nominated

Best Performance by a Featured Actor in a Musical
Robert Coote
Nominated

Stanley Holloway
Nominated

Best Direction of a Musical
Moss Hart
Won

Best Choreography
Hanya Holm
Nominated

Best Scenic Design
Oliver Smith
Won

Best Costume Design
Cecil Beaton
Won

Best Conductor and Musical Director
Franz Allers
Won

text: 1976 Broadway revival[edit]

text: Sources: BroadwayWorld[51] Drama Desk[52]

text:
Year
Award
Category
Nominee
Result

1976
Tony Award
Best Performance by a Leading Actor in a Musical
Ian Richardson
Nominated

George Rose
Won

Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Actor in a Musical
Ian Richardson
Won

Outstanding Featured Actor in a Musical
George Rose
Won

Outstanding Director of a Musical
Jerry Adler
Nominated

text: 1979 London revival[edit]

text: Source: Olivier Awards[53]

text:
Year
Award
Category
Nominee
Result

1979
Laurence Olivier Award
Best Actor in a Musical
Tony Britton
Nominated

Best Actress in a Musical
Liz Robertson
Nominated

text: 1981 Broadway revival[edit]

text: Source: BroadwayWorld[54]

text:
Year
Award
Category
Nominee
Result

1982
Tony Award
Best Revival
Nominated

text: 1993 Broadway revival[edit]

text: Source: Drama Desk[55]

text:
Year
Award
Category
Nominee
Result

1993
Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Actress in a Musical
Melissa Errico
Nominated

Outstanding Costume Design
Patricia Zipprodt
Nominated

text: 2001 London revival[edit]

text: Source: Olivier Awards[56]

text:
Year
Award
Category
Nominee
Result

2002
Laurence Olivier Award
Outstanding Musical Production
Won

Best Actor in a Musical
Jonathan Pryce
Nominated

Best Actress in a Musical
Martine McCutcheon
Won

Best Performance in a Supporting Role in a Musical
Nicholas Le Prevost
Nominated

Best Theatre Choreographer
Matthew Bourne
Won

Best Set Design
Anthony Ward
Nominated

Best Costume Design
Nominated

Best Lighting Design
David Hersey
Nominated

2003
Best Actor in a Musical
Alex Jennings
Won

Best Actress in a Musical
Joanna Riding
Won

text: Adaptations[edit]

text: 1964 film[edit]

text: An Oscar-winning film version was made in 1964, directed by George Cukor and with Harrison again in the part of Higgins. The casting of Audrey Hepburn instead of Julie Andrews as Eliza was controversial, partly because theatregoers regarded Andrews as perfect for the part and partly because Hepburn's singing voice was dubbed (by Marni Nixon). Jack L. Warner, the head of Warner Bros., which produced the film, wanted "a star with a great deal of name recognition", but since Julie Andrews did not have any film experience, he thought a movie with her would not be as successful.[57] (Andrews went on to star in Mary Poppins that same year for which she won both the Academy Award and the Golden Globe for Best Actress.) Lerner in particular disliked the film version of the musical, thinking it did not live up to the standards of Moss Hart's original direction. He was also unhappy with the casting of Hepburn as Eliza Doolittle and that the film was shot in its entirety at the Warner Bros. studio rather than, as he would have preferred, in London.[58] Despite the controversy, My Fair Lady was considered a major critical and box office success, ultimately going on to win eight Academy Awards, including Best Picture of the Year, Best Actor for Rex Harrison, and Best Director for George Cukor.

text: Unrealized film in 2000s[edit]

text: A new film adaptation was announced by Columbia Pictures in 2008,[59] but as of May 5, 2014, the project had been shelved.[60] The intention was to shoot on location in Covent Garden, Drury Lane, Tottenham Court Road, Wimpole Street and the Ascot Racecourse.[61] In December 2009, it was announced that John Madden had been signed to direct it and in 2011 it was reported that Colin Firth and Carey Mulligan were possible choices for the leading roles. Emma Thompson wrote a new screenplay adaptation for the project.[62]


document_title: Vivo (smartphone)

question_text: in which year vivo launch its first phone in india

text: Vivo (smartphone)

text: Brand growth[edit]

text: Registered for the first time in 2009, Vivo has since become registered in over 100 countries around the world. Vivo began its international expansion in 2014 when it entered the Thai market.[6] The company quickly followed this up by launching in India, Malaysia, Indonesia, Vietnam, Myanmar, and the Philippines.[7][8][9][10]

text: In June, 2017 Vivo officially entered the Pakistan mobile phone market and currently it is one of the fastest growing smartphone brand in the country. [11][12]

text: Marketing[edit]

text: In October 2016, Vivo became the title sponsor of the Indian Premier League under a two-year deal starting in the 2016 season.[13][14] In July 2017, the deal was extended until 2022.[15]

text: In June 2017, Vivo reached a sponsorship deal with FIFA to become the official smartphone brand of the 2018 and 2022 FIFA World Cups.[16] The company also became title sponsor of India's Pro Kabaddi.[17]

text: Vivo currently has a sponsorship deal with the U.S. National Basketball Association in China, with Golden State Warriors player Stephen Curry endorsing the brand in China and the Philippines.[18]


document_title: Alice Through the Looking Glass (2016 film)

question_text: who plays the mad hatter in the new alice in wonderland

text: Plot[edit]

text: Alice Kingsleigh has spent the past three years following in her father's footsteps and sailing the high seas. Upon her return to London from China, Alice discovers that her ex-fiancé, Hamish Ascot, has married her look-alike and taken over her father's company and plans to have her sell him her father's ship, "the Wonder", in exchange for her family home. Unable to make a choice, Alice runs away, and comes across her butterfly friend Absolem, who disappears through a mysterious mirror in one of the upstairs rooms, returning to Wonderland.

text: There, Alice is greeted by Mirana of Marmoreal the White Queen, Nivens McTwisp the White Rabbit, the Tweedles, Mallymkun the Dormouse, Thackery Earwicket the March Hare, Bayard, and the Cheshire Cat. They inform her that Tarrant Hightopp the Mad Hatter is in poor health because his family is missing following the Attack of the Jabberwocky. The attack occurred shortly after his father, Zanik, a hat retailer, seemed to reject Tarrant's gift of a hat creation.

text: The White Queen persuades Alice to convince Time himself to save the Mad Hatter's family in the past, believing her to be the only one who can save the Hatter. However, she cautions Alice about Time, and that if her past self sees her future self, everything will be history. As Alice sets out, she ends up in a dreary castle, where Time himself, a demigod that is part-human, part-clock, resides. As Alice tries to consult Time, she finds the Chronosphere, an object that powers all time in Wonderland and will allow her to travel to any time in the past.

text: Alice ignores Time's warning that the past is unchangeable, and steals the Chronosphere, shortly after finding Iracebeth of Crims, the exiled Red Queen, in the care of Time. Alice accidentally flies to the day of Iracebeth's coronation, where a younger Mad Hatter mocks the Red Queen when the royal crown doesn't fit on her abnormally large head. This causes Iracebeth to melt down, and her father deems her emotionally unqualified to rule and passes the title of queen to her younger sister, the White Queen.

text: Alice learns of an event in Iracebeth's and Mirana's past that caused friction between the two and travels back in time again, hoping it will change Iracebeth's ways and stop the Jabberwocky from killing the Hatter's family. She learns that the hat that the Mad Hatter thought his father threw away was actually treasured by him. Meanwhile, at the White Queen and Red Queen's castle, at the time they are children, Mirana steals a tart from her mother and eats it. When confronted by their mother, Mirana lies about eating the tart, and Iracebeth is accused, causing her to run out of the castle. Alice sees that Iracebeth is about to run into a clock, thinking that's the event that deforms her head and personality. Alice prevents that collision but fails to change the past, as Iracebeth trips and slams her head into a stone wall instead.

text: A weakened Time then confronts Alice after relentless searching, and scolds her for putting all of time in danger. Out of panic, Alice runs into a nearby mirror back in the real world, where she wakes up in a mental hospital, diagnosed with female hysteria. As Dr. Addison Bennett, a psychiatric doctor, tries to inject her with a sedative, with her mother Helen's encouragement and help, she escapes and returns to Wonderland via the mirror, where she travels to Horevendush Day, when the Hightopp family was killed. Alice discovers that the Mad Hatter's family was captured by the Red Queen instead and never died. Returning to the present, however, Alice discovers that the Mad Hatter is on the brink of death.

text: Alice, close to tears, says that she believes him, and Tarrant transforms back to his normal self. The Wonderlandians go to the Red Queen's new organic plant castle, where the Mad Hatter finds his family shrunk and trapped in an ant farm. However, the Red Queen apprehends them and steals the Chronosphere from Alice. Ignoring Time's warning, she takes her sister back to the day she lied about the tart. By the time the Mad Hatter and Alice get there, the Red Queen and her younger self have seen each other. Time becomes a paradox, and Wonderland begins to freeze in rust. As a powerless Time's pleas, Alice and the Mad Hatter, with the White Queen and now-frozen Red Queen, use the Chronosphere to race back to the present as the rust proceeds to spread all over the ocean of Time and the castle, where Alice places the Chronosphere in its original place in time.

text: With the Chronosphere stabilized, Wonderland, including those frozen, are reverted to normal. The Mad Hatter reunites with his family, and the White Queen and Red Queen make amends, while Time forgives Alice for the trouble she caused, but forbids her to return. Alice bids farewell to her friends and returns to the real world through another mirror. Alice finds her mother, Helen, about to sign over the Wonder to Hamish and reassures her that it's only a ship. Helen decides to support her daughter regardless. Hamish seizes the Kingsleigh family home but not the ship. Alice and her mother set out to travel the world together with their own shipping company.

text: Cast[edit]

text:
Johnny Depp as Tarrant Hightopp, the Mad Hatter[3]

Louis Ashbourne Serkis as a young Tarrant Hightopp[4]

Anne Hathaway as Mirana of Marmoreal, the White Queen[3]

Amelia Crouch as a young Mirana[5]

Mia Wasikowska as Alice Kingsleigh[3]
Helena Bonham Carter as Iracebeth of Crims, the Red Queen.[3]

Leilah de Meza as a young Iracebeth[6]

Sacha Baron Cohen as Time, a powerful Father Time-godlike human clockwork hybrid who speaks in a German accent and rules over of time in Underland using the Chronosphere in his castle[3]
Rhys Ifans as Zanik Hightopp, the Hatter's father[3]
Matt Lucas as Tweedledum and Tweedledee[3]
Lindsay Duncan as Helen Kingsleigh, Alice's mother
Leo Bill as Hamish Ascot, now "Lord Ascot" following his father's death
Geraldine James as Lady Ascot, Hamish's mother
Andrew Scott as Dr. Addison Bennett,[7] a cruel psychiatric doctor
Ed Speleers as James Harcourt,[3] an employee of the Ascots
Richard Armitage as King Oleron, Iracebeth and Mirana's father
Hattie Morahan as Queen Elsemere, Iracebeth and Mirana's mother
Joanna Bobin as Lady Alexandra Ascot, Hamish's wife
Simone Kirby as Tyva Hightopp, the Hatter's mother
Joe Hurst as Bim Hightopp

Oliver Hawkes as a young Bim Hightopp

Siobhan Redmond as Bumalic Hightopp
Frederick Warder as Poomally Hightopp
Eve Hedderwick Turner as Baloo Hightopp
Tom Godwin as Pimlick Hightopp

text: Voice cast[edit]

text:
Alan Rickman as Absolem, the Butterfly[3]
Stephen Fry as Cheshire, the Cheshire Cat[3]
Michael Sheen as Nivens McTwisp, the White Rabbit[3]
Timothy Spall as Bayard, the Bloodhound[3]

Kyle Hebert as a young Bayard[8]

Barbara Windsor as Mallymkun, the Dormouse[3]
Matt Vogel as Wilkins, Time's long-suffering manservant. Toby Jones was originally announced in the role[9]
Paul Whitehouse as Thackery Earwicket, the March Hare[3]
Wally Wingert as Humpty Dumpty. John Sessions was originally slated to voice the character[10]
Meera Syal as Nobody
Edward Petherbridge as Gentleman Fish
Owain Rhys Davies as Delivery Frog
Paul Hunter as the White Chess King, a chess piece

text: Production[edit]

text: The film was announced via Variety in December 2012.[11] Bobin was first approached about the project while doing post-production work on Muppets Most Wanted,[12] Of being asked, Bobin has said that "I just couldn't pass it up", as he has a passion for the works of Lewis Carroll as well as history in general.[13] In July 2013, it was announced that Johnny Depp would return as the Hatter,[14] with Mia Wasikowska's return confirmed the following November.[15] In January 2014 Sacha Baron Cohen joined the cast to play Time.[16] In May 2014, Rhys Ifans joined the cast to play Zanik Hightopp, the Mad Hatter's father.[17] In developing the character of "Time", Bobin sought to avoid creating a "straight-up bad guy", noting that it would be "a bit dull", and also that the role in that universe already existed in the form of The Red Queen.[12] Instead, Bobin sought to make Time a "Twit", further explaining that "There's no one better at playing the confident idiot trope than Sacha Baron Cohen", and adding that "it was very much with Sacha in mind".[12]

text: Principal photography began on August 4, 2014, at Shepperton Studios.[18] In August 2014, filming took place in Gloucester Docks, which included the use of at least four historic ships: Kathleen and May, Irene, Excelsior, and the Earl of Pembroke, the last of which was renamed The Wonder for filming.[19][20][21][22][23] Principal photography ended on October 31, 2014.[24]

text: Soundtrack[edit]

text:
Alice Through the Looking Glass: Original Motion Picture Soundtrack

Film score by Danny Elfman

Released
May 27, 2016

Recorded
2016

Studio
Abbey Road Studios

Genre
Orchestral, pop rock

Length
76:53

Label
Walt Disney

Producer
Danny Elfman

Danny Elfman film scores chronology

Goosebumps
(2015)Goosebumps2015
Alice Through the Looking Glass
(2016)
Before I Wake
(2016)Before I Wake2016

Singles from Alice Through the Looking Glass: Original Motion Picture Soundtrack

"Just Like Fire"
Released: April 15, 2016
"Alice"
Released: May 27, 2016
"Saving the Ship"
Released: May 27, 2016
"Looking Glass"
Released: June 1, 2016
"Truth"
Released: July 28, 2016
"Story of Time"
Released: August 7, 2016
"The Red Queen"
Released: October 18, 2016
"The Chronosphere"
Released: October 20, 2016

text: The film’s score was composed by Danny Elfman. The soundtrack was released on May 27, 2016, by Walt Disney Records. Pink recorded the song "Just Like Fire" for the film, and also covered Jefferson Airplane's "White Rabbit", only used in the film's promotional material.

text: Track listing[edit]

text: All music composed by Danny Elfman.

text:
No.
Title
Length

1.
"Alice"
6:35

2.
"Saving the Ship"
3:40

3.
"Watching Time"
5:10

4.
"Looking Glass"
3:30

5.
"To the Rescue"
0:56

6.
"Hatter House"
3:47

7.
"The Red Queen"
2:29

8.
"The Chronosphere"
4:15

9.
"Warning Hightopps"
2:23

10.
"Tea Time Forever"
1:45

11.
"Oceans of Time"
1:15

12.
"Hat Heartbreak"
2:27

13.
"Asylum Escape"
4:06

14.
"Hatter's Deathbed"
3:22

15.
"Finding the Family"
2:04

16.
"Time Is Up"
4:24

17.
"World's End"
1:50

18.
"Truth"
4:09

19.
"Goodbye Alice"
2:13

20.
"Kingsleigh & Kingsleigh"
1:19

21.
"Seconds Song"
0:11

22.
"Friends United"
1:06

23.
"Time's Castle"
1:49

24.
"The Seconds"
1:55

25.
"Clock Shop"
0:50

26.
"They're Alive"
2:23

27.
"Story of Time"
3:03

28.
"Just Like Fire" (performed by Pink)
3:35

Total length:
76:53

text: Release[edit]

text: Alice Through the Looking Glass premiered in London on May 10, 2016, and was theatrically released on May 27, 2016, in the United States by Walt Disney Pictures.

text: Home media[edit]

text: Alice Through the Looking Glass was released on Blu-ray, DVD and digital download on October 18, 2016, by Walt Disney Studios Home Entertainment.[25][26] It debuted at No. 2 in the Blu-ray Disc sales charts.[27]

text: Reception[edit]

text: Box office[edit]

text: Alice Through the Looking Glass grossed $77 million in the United States and Canada and $222.4 million in other territories for a worldwide total of $299.5 million, against a budget of $170 million.[1]

text: North America[edit]

text: Alice Through the Looking Glass opened in the United States and Canada on May 27, 2016, alongside X-Men: Apocalypse, and was initially projected to gross $55–60 million from 3,763 theaters over its four-day Memorial Day opening weekend, but projections were continuously revised downwards due to poor word of mouth.[28] It had the added benefit of playing in over 3,100 3D theaters, 380 IMAX screens, 77 premium large formats and 79 D-box locations.[29][30] It made $1.5 million from Thursday previews (to the first film's $3.9 million)[31] and just $9.7 million on its first day, compared to the $41 million opening Friday of its predecessor.[32] Through its opening weekend, it earned $27 million, which when compared to its predecessor's $116 million opening is down 70%.[28] While 3D represented 71% ($82 million) of the original film's opening gross, 3D constituted only 41% ($11 million) for this sequel, with 29% coming from traditional 3D shows, 11% from IMAX, and 1% from premium large formats.[33] It became the studio's third Memorial Day opening flop following Tomorrowland in 2015 and Prince of Persia: The Sands of Time in 2010.[33] During its first week, the film grossed $40.1 million.[34] In its second weekend, the film grossed $11.3 million (a 55.1% drop), finishing 4th at the box office.[35]

text: Other countries[edit]

text: The film was released across 43 countries (72% of its total market place) the same weekend as the US, and was estimated to gross $80–100 million in its opening weekend. It faced competition from Warcraft and X-Men: Apocalypse.[36] It ended up grossing $62.7 million, which is well below the projections of which $4.1 million came from IMAX shows.[37] It had an opening weekend gross in Mexico ($4.5 million), Brazil ($4.1 million), and Russia ($3.9 million).[37] In the United Kingdom and Ireland, it had an unsuccessful opening by grossing just £2.23 million ($3.1 million) during its opening weekend, a mere 21% of the first film's £10.56 million ($15.2 million) opening from 603 theaters. It debuted in second place behind X-Men: Apocalypse which was on its second weekend of play.[38] In China, it had an opening day of an estimated $7.3 million[39] and went on to score the second biggest Disney live-action (non-Marvel or Lucasfilm) opening ever with $26.6 million, behind only The Jungle Book.[37] However, this was down from its $35–45 million projections.[40] It debuted at the No. 1 spot among newly released film in Japan with $5.2 million and $4.1 million on Saturday and Sunday. By comparison, the first film opened with $14 million on its way to a $133.6 million a total.[41][42]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 29% based on 234 reviews, and an average rating of 4.6/10. The site's critical consensus reads, "Alice Through the Looking Glass is just as visually impressive as its predecessor, but that isn't enough to cover for an underwhelming story that fails to live up to its classic characters."[43] On Metacritic, the film has a score of 34 out of 100 based on 42 critics, indicating "generally unfavorable reviews".[44] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same grade earned by its predecessor.[45]

text: Stephen Holden of The New York Times wrote in his review, "What does all this have to do with Lewis Carroll? Hardly anything" and that overall, "It's just an excuse on which to hang two trite overbearing fables and one amusing one".[46] Ty Burr of The Boston Globe gave the movie 1.5 out of 4 stars and called the film, "gaudy, loud, complacent, and vulgar."[47] Stephen Whitty of New York Daily News called the film "hugely expensive and extravagantly stupid" and that, overall, the movie "is just one more silly Hollywood mashup, an innocent fantasy morphed into a noisy would-be blockbuster".[48]

text: Matt Zoller Seitz of RogerEbert.com was deeply critical of Through the Looking Glass, describing it as "the most offensive kind of film...one that spends an enormous amount of money yet seems to have nothing on its mind but money. You give it, they take it. And you get nothing in return but assurances that you're seeing magic and wonder. The movie keeps repeating it in your ear, and flashing it onscreen in big block letters: MAGIC AND WONDER. MAGIC AND WONDER. But there is no magic, no wonder, just junk rehashed from a movie that was itself a rehash of Lewis Carroll, tricked out with physically unpersuasive characters and landscapes and 'action scenes', with blockbuster 'journey movie' tropes affixed to every set-piece as blatantly as Post-It Notes."[49]

text: Kyle Smith of New York Post gave the film a positive review: "The screenplay (by Linda Woolverton) isn't exactly heaving with brilliant ideas, but it works well enough as a blank canvas against which the special-effects team goes bonkers".[50] Matthew Lickona of San Diego Reader said that while he found the visual effects to be "stupidly expensive" and the story familiar, he called it, "a solid kids’ movie in the old style".[51]

text: Accolades[edit]

text:
List of awards and nominations

Award
Category
Recipient(s)
Result
Ref(s)

Golden Raspberry Awards
Worst Prequel, Remake, Rip-off or Sequel
Alice Through the Looking Glass
Nominated
[52]

Worst Supporting Actor
Johnny Depp

Worst Screen Combo
Johnny Depp and His Vomitously Vibrant Costume

Golden Trailer Awards
Best Animation Family
"Poem"
[53]

The Don LaFontaine Award for Best Voice Over
"Poem"

Best Fantasy Adventure TV Spot
"Grammys"

Best Original Score TV Spot
"Grammys"

Grammy Awards
Best Song Written For Visual Media
"Just Like Fire" – Oscar Holter, Max Martin, Pink and Shellback
[54]

Hollywood Music in Media Awards
Best Song – Sci-Fi/Fantasy Film
"Just Like Fire" – Oscar Holter, Max Martin, Pink and Shellback
Won
[55][56]

People's Choice Awards
Favorite Family Movie
Alice Through the Looking Glass
Nominated
[57]

Satellite Awards
Best Art Direction and Production Design
Dan Hennah
[58]

Best Costume Design
Colleen Atwood

Saturn Awards
Best Costume Design
Colleen Atwood
[59]

Teen Choice Awards
Choice Music: Song from a Movie or TV Show
"Just Like Fire" by Pink
[60]

Visual Effects Society Awards
Outstanding Effects Simulations in a Photoreal Feature
Jacob Clark, Joseph Pepper, Klaus Seitschek and Cosku Turhan
[61]


document_title: 67th Tony Awards

question_text: who wrote the opening number for the 2013 tony awards

text: 67th Tony Awards

text: Eligibility[edit]

text: Shows that opened on Broadway during the 2012–13 season before April 25, 2013 were eligible for consideration.[1]

text: The ceremony[edit]

text: The ceremony featured performances from Tony-nominated musicals in this season:[6]

text:
Annie – "It's the Hard Knock Life" and "Little Girls"
Bring It On: The Musical – "It's All Happening"
A Christmas Story: The Musical – "You'll Shoot Your Eye Out"
Rodgers and Hammerstein’s Cinderella – "In My Own Little Corner," "Impossible," and "Ten Minutes Ago"
Kinky Boots – "Everybody Say Yeah"
Matilda The Musical – medley; "Naughty," "Revolting Children," and "When I Grow Up"
Motown: The Musical – medley
Pippin – medley; "Corner of the Sky" and "Magic to Do"

text: The casts of musicals currently running on Broadway introduced the musical nominees, including Chicago; Jersey Boys; Newsies; Once; Mamma Mia!; Rock of Ages; Spider-Man: Turn Off the Dark; The Lion King'. The casts of Once, The Phantom of the Opera, and The Rascals performed.[7][8]

text: The Emmy-winning opening number, written by Lin-Manuel Miranda and Tom Kitt,[9] starred Neil Patrick Harris and "featured neophyte cheerleaders, contortionists, chirpy newsies, a scene-hogging Mike Tyson and, in a Broadway season notable for the number of children in its shows, enough pint-size performers to fill, as Harris aptly quipped, a Chuck-E-Cheese."[8][10] During the ceremony, three Broadway performers, Andrew Rannells, Megan Hilty and Laura Benanti, whose television shows have been cancelled, sang a comic "failed TV career" medley with Harris.[8] The lyrics were written by Michael John LaChiusa and based on several familiar Broadway melodies, including "America", "What I Did For Love", and "The Ladies Who Lunch".[11]

text: During the "In Memoriam" tribute, Cyndi Lauper performed her 1986 hit True Colors.[6]

text: The closing number featured Harris and Audra McDonald singing special lyrics to Empire State of Mind, mentioning the winners.[12]

text: Nominees and winners[edit]

text: The nominees were announced on April 30, 2013.[13][14] Source for winners: Playbill[15]

text:
Best Play
Best Musical

Vanya and Sonia and Masha and Spike – Christopher Durang

The Assembled Parties – Richard Greenberg
Lucky Guy – Nora Ephron
The Testament of Mary – Colm Tóibín

Kinky Boots

Bring It On: The Musical
A Christmas Story: The Musical
Matilda the Musical

Best Revival of a Play
Best Revival of a Musical

Who's Afraid of Virginia Woolf?

Golden Boy
Orphans
The Trip to Bountiful

Pippin

Annie
The Mystery of Edwin Drood
Rodgers & Hammerstein's Cinderella

Best Performance by a Leading Actor in a Play
Best Performance by a Leading Actress in a Play

Tracy Letts – Who's Afraid of Virginia Woolf? as George

Tom Hanks – Lucky Guy as Mike McAlary
Nathan Lane – The Nance as Chauncey
David Hyde Pierce – Vanya and Sonia and Masha and Spike as Vanya
Tom Sturridge – Orphans as Phillip

Cicely Tyson – The Trip to Bountiful as Miss Carrie Watts

Laurie Metcalf – The Other Place as Juliana Smithton
Amy Morton – Who's Afraid of Virginia Woolf? as Martha
Kristine Nielsen – Vanya and Sonia and Masha and Spike as Sonia
Holland Taylor – Ann as Ann Richards

Best Performance by a Leading Actor in a Musical
Best Performance by a Leading Actress in a Musical

Billy Porter – Kinky Boots as Lola

Bertie Carvel – Matilda the Musical as Miss Trunchbull
Santino Fontana – Rodgers & Hammerstein's Cinderella as Prince Topher
Rob McClure – Chaplin as Charlie Chaplin
Stark Sands – Kinky Boots as Charlie Price

Patina Miller – Pippin as The Leading Player

Stephanie J. Block – The Mystery of Edwin Drood as Edwin Drood / Miss Alice Nutting
Carolee Carmello – Scandalous as Aimee Semple McPherson
Valisia LeKae – Motown: The Musical as Diana Ross
Laura Osnes – Rodgers & Hammerstein's Cinderella as Ella

Best Performance by a Featured Actor in a Play
Best Performance by a Featured Actress in a Play

Courtney B. Vance – Lucky Guy as Hap Hairston

Danny Burstein – Golden Boy as Tokio
Richard Kind – The Big Knife as Marcus Hoff
Billy Magnussen – Vanya and Sonia and Masha and Spike as Spike
Tony Shalhoub – Golden Boy as Mr. Bonaparte

Judith Light – The Assembled Parties as Faye

Carrie Coon – Who's Afraid of Virginia Woolf? as Honey
Shalita Grant – Vanya and Sonia and Masha and Spike as Cassandra
Judith Ivey – The Heiress as Lavinia Penniman
Condola Rashād – The Trip to Bountiful as Thelma

Best Performance by a Featured Actor in a Musical
Best Performance by a Featured Actress in a Musical

Gabriel Ebert – Matilda the Musical as Mr. Wormwood

Charl Brown – Motown: The Musical as Smokey Robinson
Keith Carradine – Hands on a Hardbody as JD Drew
Will Chase – The Mystery of Edwin Drood as John Jasper / Mr. Clive Paget
Terrence Mann – Pippin as King Charles

Andrea Martin – Pippin as Berthe

Annaleigh Ashford – Kinky Boots as Lauren
Victoria Clark – Rodgers & Hammerstein's Cinderella as Marie/Fairy Godmother
Keala Settle – Hands on a Hardbody as Norma Valverde
Lauren Ward – Matilda the Musical as Miss Jennifer "Jenny" Honey

Best Book of a Musical
Best Original Score (Music and/or Lyrics) Written for the Theatre

Matilda the Musical – Dennis Kelly

A Christmas Story, The Musical – Joseph Robinette
Kinky Boots – Harvey Fierstein
Rodgers & Hammerstein's Cinderella – Douglas Carter Beane

Kinky Boots – Cyndi Lauper (music and lyrics)

A Christmas Story, The Musical – Benj Pasek and Justin Paul (music and lyrics)
Hands on a Hardbody – Trey Anastasio (music) and Amanda Green (music and lyrics)
Matilda the Musical – Tim Minchin (music and lyrics)

Best Scenic Design of a Play
Best Scenic Design of a Musical

John Lee Beatty – The Nance

Santo Loquasto – The Assembled Parties
David Rockwell – Lucky Guy
Michael Yeargan – Golden Boy

Rob Howell – Matilda the Musical

Anna Louizos – The Mystery of Edwin Drood
Scott Pask – Pippin
David Rockwell – Kinky Boots

Best Costume Design of a Play
Best Costume Design of a Musical

Ann Roth – The Nance

Soutra Gilmour – Cyrano de Bergerac
Albert Wolsky – The Heiress
Catherine Zuber – Golden Boy

William Ivey Long – Rodgers & Hammerstein's Cinderella

Gregg Barnes – Kinky Boots
Rob Howell – Matilda the Musical
Dominique Lemieux – Pippin

Best Lighting Design of a Play
Best Lighting Design of a Musical

Jules Fisher and Peggy Eisenhauer – Lucky Guy

Donald Holder – Golden Boy
Jennifer Tipton – The Testament of Mary
Japhy Weideman – The Nance

Hugh Vanstone – Matilda the Musical

Kenneth Posner – Rodgers & Hammerstein's Cinderella
Kenneth Posner – Kinky Boots
Kenneth Posner – Pippin

Best Sound Design of a Play
Best Sound Design of a Musical

Leon Rothenberg – The Nance

John Gromada – The Trip to Bountiful
Mel Mercier – The Testament of Mary
Peter John Still and Marc Salzberg – Golden Boy

John Shivers – Kinky Boots

Jonathan Deans and Garth Helm – Pippin
Peter Hylenski – Motown: The Musical
Nevin Steinberg – Rodgers & Hammerstein's Cinderella

Best Direction of a Play
Best Direction of a Musical

Pam MacKinnon – Who's Afraid of Virginia Woolf?

Nicholas Martin – Vanya and Sonia and Masha and Spike
Bartlett Sher – Golden Boy
George C. Wolfe – Lucky Guy

Diane Paulus – Pippin

Scott Ellis – The Mystery of Edwin Drood
Jerry Mitchell – Kinky Boots
Matthew Warchus – Matilda the Musical

Best Choreography
Best Orchestrations

Jerry Mitchell – Kinky Boots

Andy Blankenbuehler – Bring It On: The Musical
Peter Darling – Matilda the Musical
Chet Walker – Pippin

Stephen Oremus – Kinky Boots

Christopher Nightingale – Matilda the Musical
Ethan Popp and Bryan Crook – Motown: The Musical
Danny Troob – Rodgers & Hammerstein's Cinderella

text: Multiple nominations[edit]

text:
13: Kinky Boots
12: Matilda the Musical
10: Pippin
9: Rodgers & Hammerstein's Cinderella
8: Golden Boy
6: Lucky Guy, Vanya and Sonia and Masha and Spike
5: The Mystery of Edwin Drood, The Nance, Who’s Afraid of Virginia Woolf?
4: Motown: The Musical, The Trip to Bountiful
3: The Assembled Parties, A Christmas Story, The Musical, Hands on a Hardbody, The Testament of Mary
2: Bring It On: The Musical, The Heiress, Orphans

text: Multiple wins[edit]

text:
6: Kinky Boots
4: Matilda the Musical, Pippin
3: The Nance, Who's Afraid of Virginia Woolf?
2: Lucky Guy

text: Note: The four child actresses who created the title role in Matilda were also recognized with a special Tony Honor for Excellence in the Theatre.

text: Non-competitive awards[edit]

text: The Special Tony Award for Lifetime Achievement in the Theatre was awarded to Bernard Gersten, executive producer of Lincoln Center Theater; scenic designer Ming Cho Lee; and Paul Libin, executive vice president of Jujamcyn Theaters.[16]

text: The Tony Honors for Excellence in Theatre was awarded to New York City Mayor Michael Bloomberg, Career Transition For Dancers, William "Bill" Craver, Peter Lawrence (Production Stage Manager) and The Lost Colony (Roanoke Island, Manteo, North Carolina).[17] The Tony Honors for Excellence in Theatre was given jointly to Sophia Gennusa, Oona Laurence, Bailey Ryon and Milly Shapiro, who share the lead role in Matilda, The Musical. They were not eligible in the Best Performance by an Actress in a Musical category. The Tony Awards Administration Committee stated that they "recognize their outstanding performances this season."[18] The awards were presented at the Tony Eve Cocktail Party, a private cocktail reception, held on June 8, 2013, one day prior to the main ceremony.[19]

text: Larry Kramer received the Isabelle Stevenson Award. He was "recognized for his work as the co-founder of Gay Men's Health Crisis".[20]

text: The Huntington Theater Company in Boston, Massachusetts received the Regional Theatre Tony Award.[21]

text: In Memoriam[edit]

text: During the tribute Cyndi Lauper sang the song True Colors.

text:
Jean Stapleton
Richard Adler
Richard Briers
Hal David
Nora Ephron
Charles Durning
Bonnie Franklin
Joan Stein
Milo O'Shea
Jack Klugman
Martin Richards
Martin Pakledinaz
Porter Van Zandt
Virginia Gibson
Arthur Storch
Andy Griffith
Victor Spinetti
Richard Griffiths
Gore Vidal
John Kerr
Roy Miller
Mark O'Donnell
Larry L. King
Celeste Holm
Eugene V. Wolsk
Larry Payton
Gloria Hope Sher
Manheim Fox
Albert Marre
James Grout
Sam Crothers
Marvin Hamlisch

text: Broadcast ratings[edit]

text: The ceremony's original live broadcast on CBS was watched by 7.3 million viewers and received a 1.2/4 rating/share in the 18-49 demographic.[22] The 2013 viewers increased over the 2012 Tony Awards broadcast, which had approximately 6.01 million viewers.[23]


document_title: 747 Wing House

question_text: how much did it cost to build the wing house

text: 747 Wing House

text: History[edit]

text: Site[edit]

text: Former Mercedes Benz dealer Francie Rehwald spent $26,000 on the jet and searched for 15 years before finding the ideal location.[1]The house was built on a 55-acre (22 ha) property off of Cotharin Road in Ventura County at the western edge of the Santa Monica Mountains, northwest of Malibu, California[1] The property was formerly owned and occupied by famous artist and Hollywood set designer Tony Duquette. Duquette's property was burned in the Green Meadow fire of 1993, which resulted in the complete destruction of over twenty-one of the structures that he and his wife had created from recycled objects and movie sets.[2][3]

text: Concept[edit]

text: While standing on the property, Hertz imagined a floating roof that would hang over the site to minimize structural obstructions of the views of a nearby mountain ridge. Hertz's initial concept sketches showed a site section with a curved ceiling and a roof form that reminded him of the wing section of an airplane. The wing, a self-supporting structure, cantilevers off the fuselage of an airplane like an outstretched arm. This requires little vertical support and only a few walls, which is ideal for a structure to minimize obstructions and maximize views.[4] Creating a wing foil shaped roof would be complex and difficult to build conventionally.[4] Through examining and exploring a variety of actual wing dimensions, Hertz determined that the wings from a 747 would fit on the existing pads and that they were already oriented to keep the views. The low profile of the wings was integrated into the ridge top, and the wing made to appear to cascade down and float above the ground. Utilizing the wings as 100% post-consumer recycled components and appropriating them in creative new ways is consistent with the existing context of Duquette’s structures of found objects and emblematic of Hertz's thoughts on the "disposable" nature of our society.[5]

text: Design[edit]

text: The main house comprises two separate buildings linked together on three levels and uses two wings and two horizontal stabilizers from a Boeing 747-100. The lower house is partially open air and has 18-foot-tall (5.5 m) ceilings topped with the left 747 wing. The upper structure creates the main house and uses the right wing as the main roof and two horizontal stabilizers as the roofs of the master bedroom and bathroom.

text: Execution[edit]

text: Hertz convinced the client to purchase the 747 airplane, originally worth about $25 million when Boeing completed it in 1970, for US $30,000. Mark Thompson of Thompson Aviation sold the airplane and his team detoxified, cut apart, and transported the plane for airlift. Using a laser and the cut-off saws at the Victorville Airport, home of the second largest airplane graveyard in the nation, the cockpit and tail were removed and the fuselage cut longitudinally. Next, transverse sectioning reduced large segments of fuselage and the wings to a manageable size for transport. A truck carried the parts, measuring 47 ft. by 125 ft., successfully without damage. Seven California Highway Patrol vehicles escorted the truck during the night and closed multiple lanes of three major freeways, State Routes 2 and 15, and US Route 101, to accommodate the vehicle. The wings traveled from the Southern California Logistics Airport aircraft boneyard to Camarillo Airport in Oxnard, California, located 10 miles from the site. At that point, because each wing weighed approximately 20,000 pounds and the only way to transport such heavy, unwieldy sections to a remote destination was from above (navigation by truck was deemed impossible), the wings needed to be cut in two for proper positioning for transport by helicopter, which was completed by a Columbia Model 234 operated by Columbia Helicopters Inc. of Portland, Oregon and took over two hours to complete. The helicopter positioned the wings on a large pile of tires at the site. The wings were then spliced back together and lifted onto columnar supports, attaching the custom fabricated steel brackets on the columns to the engine mounts on the wings. The wings touched the ground at few points creating minimal foundation requirements.

text: Environmental features[edit]

text: Hundreds of airplanes had been retired to sit in the deserts of California and sold at the price of their principal raw material, aluminum. The idea of utilizing recycled components and appropriating them in creative new ways was certainly consistent with the existing context of the original Tony Duquette structures and envisioned by architect Hertz as a continuum of that concept as appropriated to today's concerns regarding minimizing primary raw material use in buildings.[6]

text: The building is extremely light weight and features very few conventional materials. The main roof structure is almost entirely composed of the recycled wings. The use of the wings makes for a structure that uses materials more efficiently to achieve higher strength with less weight. Using the wings to achieve the curvilinear roof structure desired by the client saved a substantial amount of embodied energy, carbon dioxide output, and construction waste, compared to building a similar sized house made from conventional materials that would have to be transported up and down the mountain to the same location. Using the wing was also a substantial cost reduction. Even at $8–18,000[7] per hour for the helicopter and $30,000 for the 747, it was still a fraction of the cost of building a similarly shaped roof with conventional materials.[8]

text: The 747 Wing House was built on the site where existing Duquette structures had burned. Some of the materials from the previous building were used as walkways.[9] The use of the existing pad minimized site grading. The foundation used many of the existing concrete retaining walls but they were rebuilt and reinforced as required to meet new code regulations. This greatly reduced the amount of concrete needed to make the foundation and new walls. Because the wings are only supported in four primary places to the ground, the foundation was further minimized. Both main wings are held up entirely by the four large mounts that the engines originally hung from. By designing the weight distribution on the mounts, it allowed for the outside walls of the building to be made of high efficiency self-supporting glass instead of conventional load-bearing wooden walls. This maximizes solar gain for heating and allows the entire building to be opened to the outside. This also keeps it cool in the summers and minimizes the need for artificial light.[6]

text: The home features an eight kilowatt solar array and a vacuum insulated hot water system as well as thermal solar systems for heating water. High performance glass and cellulose insulation is used in the wings to create an energy efficient building envelope.

text: Future structures[edit]

text: The finished main house incorporates only the wings of the 747-100. Hertz also designed many outlying buildings that use the remaining portions of the 747 fuselage. An art studio building will use a 50 ft. long section of the upper fuselage as a roof, while the remaining front portion of the fuselage and upper first class cabin deck will be used as the roof of a guest house. The lower half of the fuselage, which forms the cargo hold, will form the roof of a barn. A meditation pavilion will be made from the entire front of the airplane, measuring 28 ft. in diameter and 45 ft. tall, in which the cockpit windows will form a skylight.

text: Plane[edit]

text: The Boeing 747-100 was a Trans World Airlines (TWA) aircraft (N93106). Its construction number was 19672 and it was the twenty-eighth 747 built.[10] Boeing delivered the 747 to TWA on April 3, 1970, at a cost of approximately $25,000,000. It flew with TWA until 1992, when it was retired to the old El Mirage Air Force Base, before being purchased by Tower Air for its scrap value of $30,000.[11]

text: Gallery[edit]