Also credited on23 works
Sweet Charity
Annie Get Your Gun
Blackbirds Of 1928
Shoot the Works
Let’s Face It
Mexican Hayride
Up in Central Park
Arms and the Girl
A Tree Grows in Brooklyn
A Tree Grows in Brooklyn “A New Musical”
By the Beautiful Sea “The New Musical”
Redhead
Seesaw
Sugar Babies
Annie Get Your Gun (1999 Revival)
By the Beautiful Sea
Hello, Daddy
Never Gonna Dance
Something for the Boys
Stars in Your Eyes
Fosse
Swing!
Sweet Charity
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
- “American Popular Song: Great American Songwriters” (clockwise from left): Richard Rodgers, Lorenz Hart, Cole Porter, Harold Arlen, Dorothy Fields, Jerome Kern, Johnny Mercer, Ira Gershwin, Irving Berlin, Hoagy Carmichael, George Gershwin, and Duke Ellington. 1983. © AL HIRSCHFELD. Reproduced by arrangement with Hirschfeld’s exclusive rep…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
- 71 . The Annie Oakley property turned out to be Berlin’s greatest book show, Annie Get Your Gun , in 1946 with a book by Herbert and Dorothy Fields.ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
- Unlike A Tree Grows in Brooklyn , which had perhaps too much plot, Herbert Fields and Dorothy Fields’ wispy storyline for By the Beautiful Sea was hardly enough to fill a mini-musical. The short-changed story centered on Coney Island boarding-house owner and vaudeville performer Lottie Gibson (Shirley Booth) and her love for down-and-out…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
- Cy Coleman and Dorothy Fields, who’d had a success with Sweet Charity seven years earlier, and an unproduced musical about Eleanor Roosevelt, followed Stewart’s lead. They wrote for Sophie “Ride out the Storm,” which she’d sing to Gittel, who feared that Jerry might return to his wife. They also took one of their Eleanor Roosevelt songs,…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
- Coleman’s first four Broadway musicals had female lyricists: Wildcat and Little Me with Carolyn Leigh; Sweet Charity and Seesaw with Dorothy Fields. One could argue that Coleman was the lucky one to get the chance to work with Fields, who had written such standards as “I Can’t Give You Anything but Love,” “On the Sunny Side of the Street,…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
- “Nobody’s goin’ anywhere. Nobody’s gettin’ anywhere,” the usually perky Dorothy Fields dourly expressed in her opening song. Had she written these lines in Detroit after Seesaw had opened to lackluster reviews? By the time it reached New York, Michele Lee, not Lainie Kazan, was playing dancer-drifter Gittel Mosca.ebooks/Filichia, Peter/Strippers, Showgirls, and Sharks - Peter Filichia.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
- What this person played. No cast list we hold records a character against a performer.
- Any staging. This name appears in no production cast list we hold — 1,877 of 7,139 people are in that position, most of them writers, composers and designers rather than performers.
- Which of the credits above the roles on this record — composer, lyricist, book writer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.