Alan Jay Lerner: A Lyricist's Letters (38 page)

    
Shrugging his shoulders, Lerner lost no time in choosing a new movie project, namely, a musical adaptation of Antoine de Saint-Exupéry’s short novel
The Little Prince
(1943). To appear as the pilot, Lerner’s thoughts immediately went to his favorite actor, Richard Burton, who had not only excelled in
Camelot
but whom Lerner had also wanted to appear in
Clear Day
. He wrote to Burton in early August and received a reply that indicated the star’s interest. “Am fascinated and always have been by
Le Petit Prince
,” he wrote, “and am even more fascinated by the idea of your treatment of it. Will it take long to do? What form will it take and a myriad other questions?” While developing the film, Lerner also started to develop a new stage musical.
Lolita, My Love
was the most daring show of Lerner’s career. Based on Vladimir Nabokov’s controversial novel
Lolita
(1955) and its equally contentious film version by Stanley Kubrick
¹²
(1962), the musical was Lerner’s attempt to deal with a more mature subject matter in line with Broadway’s increasing trend toward gritty themes. Working on the show during the fall of 1970, Lerner turned to a new composer to write the score. John Barry
¹³
was well known at the time for his connection with the James Bond franchise, and although he was still in his thirties, he had already won two Academy Awards. His theatrical pedigree was less established: his only professional credit was the score for
Passion Flower Hotel
(1965), which had a brief run (148 performances) in London. The partnership had potential though, and they completed most of the score by November.

    
Norman Twain
¹⁴
was in charge of the production, and rehearsals were slated to start on January 4, 1971.
¹⁵
At the end of November, Lerner and Barry chose
Tito Capobianco,
¹⁶
best known for his work in the opera world, to direct the show. As with
Little Prince
, Burton was Lerner’s first choice to star in the show,
¹⁷
but he turned it down, as did Michael Redgrave (Lerner had previously offered him Higgins in
Fair Lady
, of course).
¹⁸
British actor John Neville
¹⁹
was signed instead.
²⁰
During this period, Lerner’s correspondence is sparse, but he did find time to write to two good friends. For Christmas 1970, Irving Berlin had sent Lerner another painting, and he wrote profusely in January to thank his hero:

    
To Irving Berlin

    
[undated; c. January 1971]

    
Dear Irving:

    
The painting at Christmas just simply made me cry. How incredibly kind you are! And as for the painting itself, it is a joy—so original and gay and young—and decorative. I really love it more than you can imagine. You share so much with me and I feel so inadequate about being able to tell you what it means to me and how proud I am by your attention and thoughtfulness.

        
One day when I come back from the road—March 30—could I call you or call on you? God, I would love to see you again.

        
We’ll be opening March 30th with
Lolita, My Love
. Would you come to the opening or the preview? I’ll be in touch from Philadelphia for your answer.

        
Thank you again, dear, dear Irving.

Always,

Alan

While rehearsing the show, he also wrote a brief note of thanks to Robert Lewis, who had sent Lerner a book on Nabokov:

    
To Robert Lewis

    
[Undated; early February 1971]

    
Dearest Bobby:

    
I was re-reading the book you sent me on Nabokov and I suddenly had the sickening feeling that the letter I had written in my head I had never put on paper—i.e., the letter to thank you for 1st thinking of me and 2nd and much more important, the book. It’s the gift not the thought that counts, I always say.

        
Seriously, it was so kind of you and I appreciate it more than I can say.

        
We are in the middle of rehearsals and—and—well, what can I tell you about rehearsals you haven’t had ulcers about. Will you come to the opening? March 30. Will be in Philadelphia from the 15th [February] to March 15th if you’re in the mood. I’ll be staying at the Barclay.

        
Thank you again—and

Much love always,

Alan

    
This letter hints at the trouble the show was in, and unfortunately Lerner’s ulcers anticipated what was doomed to be his biggest flop. The main problem was the story, which was regarded as distasteful: a European professor called Humbert Humbert falls in love with his landlady’s teenaged daughter. Commenting at the time of casting, producer Twain optimistically declared that the show would be “the epitome of tastefulness.” But ultimately the situation that had been acceptable as an abstract thought in Nabokov’s novel became unpleasant when acted out on stage (though, of course, Kubrick’s film had shown that a dramatized version could be successful). In mid-February, Capobianco resigned as the director and was replaced by British actor-director Noel Willman, who had previously directed the unsuccessful musicals
Darling of the Day
and
Love Match
, as well as hit plays like
A Man for All Seasons
and
A Lion in Winter
.
²¹
Things did not seem to improve. After the Philadelphia tryout, the show was closed down for ten days, returned to New York for an extra rehearsal period, and then re-opened at Boston’s Shubert Theater on March 15. The planned Broadway opening was delayed to April 13, and Annette Ferra
²²
was replaced in the role of Lolita by Denise Nickerson.
²³

    
In spite of all the problems, one of the few aspects of the show that everyone agreed was successful was the song “Sur Les Quais de Ramsdale, Vermont,” performed by Dorothy Loudon
²⁴
as Lolita’s mother, Charlotte.
Variety
called it “the only song rouser…a Piaf-style lilt,” and the
Boston Herald Traveler
noted that Loudon’s “massive contribution to the excellent first act makes you sorely miss her in the second.”
²⁵
Lerner obviously appreciated her too, as can be seen from the following note, apologizing for the difficult time she had endured in the production:

    
To Dorothy Loudon

    
[Undated; March 1971]

    
Dearest Dorothy,

    
There’s a conspiracy somewhere against decent people.

        
I can offer nothing—damn it—except a shoulder, my prayers, my affection—and a blanket offer to do whatever you wish to do.

Always,

Alan

Another nine performances took place, but it was no good: on March 27
Lolita
closed down in Boston, never to re-open.
²⁶
The show left a deficit of $900,000 according to
Variety
, which probably put a stop to Lerner’s hopes to “revise the show for a possible New York opening in late spring or early fall.”
²⁷

    
In April, Lerner heard from composer Jule Styne (
Gypsy, Funny Girl
), who had the idea of turning Shaw’s
Major Barbara
into a musical. After the severance of his working relationships with Previn, Lane, and now Barry, Styne was perhaps another obvious partner for Lerner. It was also natural to look to another Shaw play in an attempt to emulate Lerner’s biggest success (which was still
My Fair Lady
, of course). But Lerner was slow to respond, much to Styne’s irritation. “I haven’t heard from you, so I am going to assume that you aren’t interested,” he wrote. “As I have first-rate other talent who want to work with me, who I know would be excited about this fascinating project, I intend to pursue it with them.” On receiving this, Lerner finally replied:

    
To Jule Styne

    
April 20, 1971

    
Dear Jule,

    
First off, I’m dying to work with you. You have fewer bigger fans than I.

        
The problem for me is
Major Barbara
—not because it wouldn’t make a good musical. I think it could make a great musical. It’s trying to reconcile myself to doing another Shaw play. I’m afraid it would be begging comparison for me, for you, too.

        
What I have been turning over in my mind the last few days was trying to see if I could get it out of that period, at least. But Shaw is deceptively stubborn. It is for this reason, and this reason only, that I have been slow getting back to you; and it is for this reason, and this reason only I have decided I cannot do it.

        
But if you ever say I don’t want to work with you again, I’ll sue you for libel.

        
Thank you for asking me and merde for
Some Like It Hot
.

Faithfully,

Alan

Styne’s reply was much more cordial:

    
From Jule Styne

    
April 22, 1971

    
Dear Alan:

    
Since you write such beautiful letters and I get such prompt answers, I have decided that even if we never work together—one day someone may do a musical based on our letters to one another. It will be called “THE LERNER-STYNE LETTERS.”

        
I am very happy to know that you feel about me as I do about you. Somewhere…sometime…there has to be a great work yet to be accomplished by us.

        
I admire your working so hard on
Lolita
and know that something good will come out of it since you feel as you do about it.

        
Let’s keep these letters coming.

Obediently,

Jule

    
For the first time in years, Lerner was now without a partner (he didn’t explore other properties with Styne), and he launched himself fully into finishing his screenplay for
The Little Prince
without a composer. Previously, the project had been linked with Previn, Barry, and even Burt Bacharach,
²⁸
but after a decade of flops and near-misses without his old partner, it was time for Lerner’s reunion with his greatest collaborator, Fritz Loewe. During the summer of 1971,
Loewe was persuaded by Lerner’s agent to come out of retirement for one last musical, and in late August it was confirmed that not only would he and Lerner write the score for
Little Prince
together, but they would also revise and expand their songs for
Gigi
and bring it to the stage for the first time.
²⁹
The
Gigi
project had been rumored in 1969, but it was only now that work was to begin.
³⁰
In late September, the composer left for London, where he and Lerner started to write together again, and returned to the United States to complete
Little Prince
in the winter.
³¹
Among many friends who were delighted by the re-teaming, Lerner heard from his old friend, actor Douglas Fairbanks Jr., who said “I have just dashed off a quick, happy note to Fritz wherein I proclaim with my own form of ‘hosannas’ at the news of you both collaborating once again. What with the President’s concessions on the International Monetary Debate being announced, the formal end of the India-Pakistan war being proclaimed, a slight improvement in Ulster terrorism and the Stock Market being up, this news is about as good a Christmas present as the world could find.”
³²

    
Back in New York, Lerner took time out to inaugurate the second series of the “Lyrics and Lyricists” program at the 92nd Street “Y,” at which he spoke about and performed a range of his songs, including “You Haven’t Changed at All” from
The Day before Spring
and “I Talk to the Trees” from
Paint Your Wagon
. (The event was recorded live and later released on record and CD.)
³³
Then it was on to Loewe’s house at Palm Springs, where work was completed. In March 1972, they were interviewed for a feature on their re-pairing, in which they played down their previous differences and focused on their artistic harmony. Loewe commented that “I’ve always thought
The Little Prince
could only be done by Lerner.…He has a poetry, a knowledge of a treatment for a musical that’s his personal, magnificent talent.” For his part, Lerner said “We continue with the same kind of enthusiasm we had in the beginning, tempered by a little experience.…The main difference in working with Fritz as to compared with working with anyone else—the real difference, which I never appreciated until now—is enthusiasm.”
³⁴