Herbert Fields

On stage 2 productions, 2 years

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Also credited on20 works

A Connecticut Yankee
America's Sweetheart
Annie Get Your Gun
Annie Get Your Gun (1999 Revival)
Arms and the Girl
By the Beautiful Sea
By the Beautiful Sea “The New Musical”
Chee-Chee
Dearest Enemy
Du Barry Was a Lady
Fifty Million Frenchmen
Garrick Gaieties
Hello, Daddy
Hit The Deck!
Panama Hattie
Peggy-Ann
Present Arms
Something for the Boys
The Girl Friend
The New Yorkers

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

• During the musical’s long and painful tryout, George Oppenheimer and Herbert Fields were the authors of the book, which was later credited to Preston Sturges, who also took over the direction from Bretaigne Windust. Elie Siegmeister was credited for both the dance music and the vocal arrangements, but by the time the musical reached Broad…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.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
• Pardon My English, it turned out, had a wonderfully silly book by Herbert Fields and Morrie Ryskind (to which David Ives, who did the adaptation, contributed much of his own wit.) In the context of a plot that was akin to the contemporaneous absurdist movie Million Dollar Legs, the high-spirited score, which had been shaped with extraordi…ebooks/Engel, Lehman/Words with Music_ Creating the Broadway Musical Libretto - Lehman Engel.txt
• Dearest Enemy, the first of eight book musicals written together by songwriters Rodgers and Hart and librettist Herbert Fields, found the trio going back to the unlikely subject of the American Revolution for inspiration. Set in 1776 in the mansion of Mrs. Robert Murray — of the Murray Hill Murrays — the saga tells how the wily patriot an…ebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
• Long before winning notice with their songs for The Garrick Gaieties , Rodgers and Hart — along with librettist Herbert Fields — had tried unsuccessfully to interest producers in their version of Mark Twain’s A Connecticut Yankee in King Arthur’s Court. By 1927, however, they had little trouble getting Lew Fields to present it at the Vand…ebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
• The libretto of Annie Get Your Gun by Dorothy and Herbert Fields is as straightforward as they come, a girl-meets-boy-meets-firearms sort of tale. Annie Oakley, a backwoods sharpshooter, stumbles into the world of impresario Buffalo Bill and is quickly signed to his Wild West show, where she becomes a star. Annie falls in love with Frank…ebooks/Hoffman, Warren/Great White Way_ Race and the Broadway Musical, The - Warren Hoffman.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.
• Which of the credits above the roles on this record — book writer, choreographer — 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.