Bella

Also credited on4 works

Kiss Me, Kate
Kiss Me, Kate (1999 Revival)
Kiss Me, Kate (2019 Revival)
Leave It to Me!

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• When comparing stage musicals with their literary origins, the chapter on Kiss Me, Kate (chapter 10 ) will discuss how Sam and Bella Spewack’s original libretto differs from the final Broadway version as well as with Shakespeare’s The Taming of the Shrew , and in the process suggest that Porter may have learned as much from his own Anythi…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• One Touch of Venus is based on Thomas Anstey Guthrie’s novella The Tinted Venus (1885). 16 Sources disagree as to how Weill learned about this relatively obscure work of fiction by the man who published under the pseudonym F. Anstey, but most credit him as the person who persuaded Cheryl Crawford to produce the show. 17 Crawford then aske…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• Crawford articulates the causes for her dissatisfaction with Bella Spewack’s libretto: “The idea that had enticed me was the irreconcilable differences between the world of mundane, conventional human beings and the free untrammeled world of the gods. But this theme had not been developed.” 19 In Perelman’s rewrite Anstey’s Victorian Engl…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• All available witnesses corroborate the story that it was not an easy task for Bella Spewack, herself only a recent convert to the somewhat heretical notion of setting Shakespeare’s Taming of the Shrew musically, to convince her former collaborator on Leave It to Me that a Shakespeare musical would not be “too esoteric, too high-brow for…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• After Rodgers and Hammerstein, the second tough act for Porter and his collaborators Bella and Sam Spewack to follow was “the bard of Stratford-on-Avon” himself, Shakespeare. As Bella Spewack writes in the introduction to the published libretto, “We hated to cut Shakespeare.” 18 But when she received an unexpected and unwelcome new song f…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• Bella Spewack fought and won a battle with the producers to retain “Were Thine That Special Face” and persuaded Porter himself to leave “Tom, Dick or Harry” in the show. Nevertheless, the libretto that the Spewacks originally sent to Porter contained far more of Shakespeare’s The Taming of the Shrew than audiences would eventually see in…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

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