Welcome to the
Frederick Nolan website
(a sort of autobiography in the making)
Larry Hart, 1939.
My Hart and I
“Just because you’re paranoid doesn’t mean the bastards aren’t out to get you.”
-- Lorenz Hart.
In my middle teens I fell in love with Al Jolson.
Well, his story, anyway – as portrayed in the movies starring Larry Parks
rather than the by-all-accounts rather unpleasant real-life Jolie
who was enjoying worldwide fame all over again thanks to that marvellous movie The Jolson Story.
I bought all his records—the old 78 rpm sort, with the
Then at a Saturday night dance all us kids went to, they had a sort of talent contest in the interval.
I stepped up and did a Jolson impersonation and it brought the house down.
After that I became a regular Saturday night feature (ah, the applause!).
Then one night this smooth-looking guy came over to me and said,
just like I had always known someone would,
“Hey, kid, you want to be in a show?”
As proof of how barmy I was, here’s a photo of me as “Liverpool’s own Al Jolson”
as I appeared in such scintillatingly glamorous venues as Skelmersdale, Huyton, Garston, Wigan …
Punchline: at the end of the show’s “tour”
(which included me, a ventriloquist, a magician and a Wagnerian lady soprano)
the enterpreneur who'd put the package together skipped with the takings
... and none of us got a cent.
He even stole the cup that was supposed to be presented to Miss Wigan.
So I traded all my Jolson records for a racing bike and found solace at the movies.
In those days they had continuous performances, so you could see the entire programme twice --
a short feature, a March of Time, a newsreel, a swatch of trailers and the main attraction --
a shilling (5p) for adults, sixpence (2.5p) for kids.
And right here, in the drab, post-war, black and white austerity of the 1950s ...
at the (not-so) Grand Cinema in Smithdown Road
and, after it closed in 1956, in the Art-Deco luxury of
theAbbey Cinema in Tuebrook (now the oldest cinema in Liverpool),
where I got totally, permanently hooked on songwriters.
The movie that hooked me wasn't a full-length feature,
but one of a series of 'shorts' called The Passing Parade,
the story of Stephen Collins Foster, played by Douglass Montgomery
(my God, the stuff you have stored in your head!).
From it I discovered that although he won success and fame
with “Beautiful Dreamer” and “Jeannie With the Light Brown Hair,”
Foster's life had been a truly tragic one.
Many, many years later I would try to find
the building in the New York Bowery where he died;
but all that was at that address was a parking lot.
From then on, I was a gone-r.
And you know, in the 1950s it was almost as if someone in Hollywood
had heard I was interested in songwriters
and decided to do nothing else but produce films about them for me —
George Gershwin in Rhapsody in Blue, Jerome Kern in Till the Clouds Roll By,
Cole Porter in Night and Day,
DeSylva, Brown and Henderson in The Best Things in Life Are Free,
Bert Kalmar & Harry Ruby in Three Little Words …
and best of all (for me, anyway) …
Rodgers and Hart in Words and Music.
a determination to get to know more, and then more,
and then to perhaps even meet some of these fabulous people.
But how was a street kid from Liverpool ever going to get to Hollywood?
Convincing myself that somehow some day I was going to do it,
I read and I learned and I waited; I made lists of their songs --
Jerome Kern songs, Cole Porter songs, Harold Arlen songs, George Gershwin songs --
and I read everything I could find -- not much back then -- about their lives.
So much did I love those songwriters and their songs, I even taught myself--
in the process inflicting what agonies upon my parents and our neighbours no one will ever know--
to play the piano.
And then, half a lifetime later when life took me to work in Manhattan,
I tried very hard indeed to obtain an interview with Richard Rodgers
but was told that he would not talk about Larry Hart with anyone,
(and especially not, they might have added, with a nobody like me).
So, unable to get in by the front door, I tried the back door,
and set off to interview anyone who would talk to me,
anyone who had ever been involved with Rodgers & Hart and/or Hammerstein.
I had no aim, no ambition to publish, I just wanted to know.
And I got lucky. Very lucky.
The first person who agreed to see me was a wonderful man named Joshua Logan
who had directed shows by both Rodgers & Hart and Rodgers & Hammerstein.
A brilliant conversationalist, a born storyteller, and a marvellously piquant gossip,
he told me more about musical theatre in one afternoon
than I had learned in the preceding decade.
And not only did he educate me,
he passed me on to another fabulous raconteur,
composer Arthur Schwartz, who as a teenager
had gone to summer camp with Larry Hart
and even written songs with him there.
a whole address-bookful of artists, musicians, dancers and singers
who had featured in Rodgers and Hart musicals,
from dear, diminutive Helen Ford—an archetypical little old lady in tennis shoes in Pasadena --
who could still sing like a nightingale—to Larry Hart’s favourite woman, Broadway star Vivienne Segal.
One by one I talked with Broadway legend after
Gene Kelly, Irving Berlin, Sammy Cahn, Benay Venuta, Edith Meiser,
Celeste Holm, Dorothy Fields, Howard Dietz, George Abbott ... and many more.
And finally, I even got to talk with Richard Rodgers,
who in 1973 gave me the longest interview he had granted anyone
for many, many years.
In fact, when I said I'd like to talk to him about Oscar,
he even invited me back for a further couple of hours
and got Bill Hammerstein to join us …
Sorry, I’m name-dropping. And you know what? I don't care!
Then Alec Wilder, a classy songwriter who lived at the Algonquin Hotel,
introduced me to Larry's sister-in-law Dorothy Hart,
who was writing a book about Larry.
In deference to what I saw as her prior family claim, I backed off
from the idea of writing my book and gave her a great deal of my material.
Generous? Or stupid?
I guess both, although I didn't see it that way then.
All I was interested in was making sure that
Lorenz Hart received the kind of salute to his talents
that life seemed somehow to have forgotten to give him.
I learned that Samuel Marx, onetime story editor at MGM,
was working on a book about R&H.
Not only had he known, not only did he still know,
anyone who was anything in show business,
and in addition, turned out to be another marvellous raconteur —
and that’s no small praise, because as you can see from the above,
and I’ve schmoozed with some of the best.
As if that were not enough, Sam’s collaborator on the book
was a delightful actress named Jan Clayton,
who had not only been the original Julie Jordan
in Rodgers & Hammerstein’s Carousel,
but also hailed from Roswell, New Mexico,
smack-bang in the heart of Billy the Kid country.
So I helped them out with material for their book
and they helped me out with mine,
Jan with stories about Dick Rodgers and Oscar Hammerstein,
Sam with great anecdotes about the glory days
when MGM had “more stars than there are in Heaven”
(with whom I was still in friendly correspondence)
had learned their ‘anecdotal history’ was going to discuss Larry’s homosexuality,
which put them beyond the pale.
And when she found out
that I had not only talked with, but helped them,
she terminated our friendship in a trice,
and -- because she could -- she made my name a dirty word with R&H.
So ... to cut to the chase ...
Mrs. Hart's book, Thou Swell, Thou Witty,
and the Marx-Clayton Rodgers and Hart, Bewitched, Bothered and Bedevilled,
appeared within months of each other in 1976.
By which time, figuring it was a shame to let all my unused interviews rot,
I had contacted the BBC who, when I told them what I had on tape,
commissioned me to write the whole “Richard Rodgers Story."
The series -- six one-hour programmes presented by Jessie Matthews
(another alumna of R&H musicals) --
was broadcast in October and November of 1976,
and while it was running, London publisher, J. M. Dent asked me
if I would be interested in turning them into a book?
Within a year I had completed and delivered
The Sound of Their Music: The Story of Rodgers & Hammerstein
(actually, it was the story of Rodgers, Hammerstein, Hart and just about everyone else
who worked in the musical theatre between 1918 and the 1970s)
which was published by Dent in May, 1973 and by Walker & Co. in New York.
It's a book that holds many wonderful memories for me,
and I was delighted when a revised and expanded edition
was published by Applause Books in New York
to mark the Richard Rodgers centenary in 2002 --
and here it is: the original and the later edition:
Gosh, I loved--I still love-- that (since expanded) book!
And I was all the more delighted when a lot of other people did, too.
In fact Richard Rodgers himself wrote to me personally to say how much he liked it,
and from where I'm sitting, that's just about as good as an accolade can get.
But it wasn't just Richard Rodgers who liked it. Here are some of the others:
If you have any love for the American musical comedy, this is your book -
lots of fact, gossip and the intimate details of the working methods
of this genre’s greatest creators fill the pages.
Fascinating items that have been left out of
or suppressed from other books are here in profusion.
I lapped it up.
- Joshua Logan
Informative without being boring, it is a treasury of facts and insights
all theatre lovers will enjoy. - Arthur Schwartz
and who themselves were extraordinary human beings.
- Yul Brynner
Of all that has been written about Larry Hart and Dick and Oscar this is the best.
Congratulations. I know the book will be a tremendous success
-- Helen Ford
- Larry Adler
is grand reading, and we are doubly lucky in that the author’s fascination with
Rodgers’s earlier partner, Lorenz Hart, leads him to portray the Rodgers and Hart years
as well as Rodgers’s fabulously successful partnership with Hammerstein.
This story of the lyrics, the shows, the people involved, the hits and the flops
is a backstage yarn that will delight star-watchers.
It brings back memories of some enchanted evenings
and makes clear why the Rodgers and Hammerstein era
was what it was from the day “Oklahoma!” kicked musical comedy convention out the window …
and nothing was ever the same again.
Look for SRO at the bookstores. Photos, chronology, index, etc.
- Publishers Weekly April 10 1978.
“An Encyclopedia of 20thCentury Show Biz.”
Here is not another recounting of a series of anecdotes
about Richard Rodgers and Oscar Hammerstein II.
It is a sweep of American theater taking in 75 years of entertainment,
adhering closely to the mainstream,
which no one has done up to now.
Frederick Nolan has not employed R&H
as two platforms to spin off into side alleys.
Instead he has connected them with
most of the major names in the entertainment world
who lived during the first three quarters of this century …
Nolan has documented his research yet kept it lively.
For theater buffs there could be no better reading.
out of the theater whistling their infectious tunes?
Well, even if you’re too young for that experience,
you’ll still enjoy Frederick Nolan’s THE SOUND OF THEIR MUSIC
a vivacious account of the legendary Broadway team.
Mr Nolan proves a talented hand at chronicling the story
of the fabulous partnership,
complete with the lyrics, the shows, the people, the hits and the turkeys.
He writes from the perspective of backstage and those enchanted evenings emerge +
as if they happened just last night.
Mr Nolan’s book is chockablock with photographs,
treasures that alone are worth two on the aisle.
this book is a million words longer than its text allows …
Despite the dramatic manipulation that chooses to celebrate
more readily than it chooses the cool, hard look, this book is just a lot of fun to read.
With all the quotes, lyrics and backstage antics revealed “I Cain’t Say No.”
but ‘The King and I’ ‘Carousel’ ‘Annie Get Your Gun’ and all the rest.
A must for musical fans.” - Daily Mirror.
and the stars, directors and writers have contributed their on-the-spot recollections.
Names that glittered on the marquees of Broadway theatres,
THE SOUND OF THEIR MUSIC is a warm and witty
and sometimes sad story of the two men
who gave the world its favorite songs to sing.
infinitely successful in explaining what his subjects and their work meant to the theater
and nation for which they worked." -
By this time I had met Dennis Moore, another of Dorothy Hart’s “castaways”
who had slaved for over two years in her behalf,
finding unfindable, forgotten or discarded songs to be included in The Complete Lyrics of Lorenz Hart,
another project she had attached herself to
with the compiler of a number of such books, musicologist Robert Kimball.
To cut [what is becoming] a very long story short,
Dennis and I and my friend Bill Barrow (another musical comedy maven)
put together a singing ensemble headed up by
John Diedrich, then playing Curly in a London revival of Oklahoma!,
and made a complete recording of the score
of the very first Rodgers & Hart musical Dearest Enemy.
Shortly thereafter we went back into the studio to make an LP of the score
(most of which had been abandoned by MGM)
for the 1933 movie Hollywood Party, famous for having been the vehicle +
for which the song that became "Blue Moon" was written as "Make Me a Star,"
the lament of a stenographer who's a wannabe movie queen.
I was still gainfully employed as a thriller writer,
with four books of a series called The Garrett Dossier
(originally six were planned,
but the US (paperback) publisher went bankrupt
and the series was terminated at book four)
at which time I met and agreed to collaborate on some legal thrillers
with Christine McGuire, an assistant district attorney in Santa Cruz, California.
But you can find that sad tale elsewhere (Mirabile Dictu).
This is Larry Hart’s page;
I had become aware that a stream of fine showbiz books
was coming from Oxford University Press in
The editor of these books was Sheldon Meyer,
and soon after that I dropped him a line suggesting we meet.
A great Rodgers & Hart fan, he was hugely enthusiastic about the idea
of a full-length, carefully researched biography
of my favourite lyricist, timed to be published in time for
the centenary of Hart’s birth in 1995.
By April 1992 (I’d also written some fiction alongside) I’d completed the book
and sent it to Sheldon.
While it was being edited I began the laborious -- and stunningly expensive -- task
of getting permissions for the reproduction of photographs
and the something like sixty or seventy songs I had examined,
including some twenty unpublished ones I had located in the course of my research.
And ran into an unexpected stone wall:
everyone I approached for material told me the same story:
they could not grant permission to reproduce any of the lyrics
absent the approval of the Rodgers & Hammerstein Organization.
I could only assume there had been some sort of mistake.
No, said R&H, there had not.
But if you'd like to let us see the manuscript we’ll let you know.
Oh, and Merry Christmas.
I couriered a copy of the ms. to them. Four months passed, and no reply.
Phone calls were not returned, faxes not answered.
It having become apparent I wasn’t going to get an “official” response,
I asked some off-the-record questions
and got some off-the-record answers via the late Jamie Hammerstein.
No use waiting, I was told, permission would never be granted, full stop.
I couldn’t even reproduce the unpublished lyrics which, until they saw my ms.,
R&H had not even known existed
(although—you bet—they copyrighted them within a few days of receipt).
with a biography of one of the finest lyricists who ever graced the Broadway stage
that would not contain a single example of his work.
To his credit, Sheldon Meyer determined to go ahead,
a decision which necessitated a complete rewrite,
a complete re-edit and a year’s delay in publication.
Twisting the knife in the wound,
R&H also withheld permission to cite Rodgers’s autobiography
or the Dorothy Hart picture book,
for which I had supplied about a half of the material in it.
Much, much later I learned the bans had been imposed by Mrs. Hart,
a trustee of Larry’s estate,
who had taken exception to the book’s “revelation” that Larry Hart was homosexual,
and who angrily scrawled the words “Lies, lies, lies” across my manuscript.
She died in 2000, having lived off Larry Hart’s lyrics—
and very handsomely indeed—for nearly sixty years.
She claimed that she had adored him.
Yet she simply couldn’t face the truth.
There is, thank goodness, a happier ending.
Lorenz Hart, A Poet on Broadway
was published handsomely in 1994,
and despite the absence of any of Larry’s lyrics,
it won warm praise
from the kind of people whose praise means something
and is still in [electronic] print.
Much, much later, Dennis Moore and I provided Bob Kimball
(and the R&H Organization!)
with about twenty unpublished Hart lyrics for
the revised, expanded 1995 Da Capo paperback edition of
The Complete Lyrics.
These days practically every singer worth the name
has a Rodgers & Hart song or two in their repertoire,
so Larry Hart is remembered in a way that pleases me --
and I feel pretty sure would have pleased him.
"Written with honesty, integrity and charm ...
an important document of the Golden Age of musical theater."
- Jerry Herman, composer-lyricist of Mack & Mabel, Hello, Dolly! and Mame.
“Superb. I don’t think I’ve ever enjoyed a book more,
nor have I ever felt myself yearning to have it not end!”
– Hugh Martin, composer of Meet Me in
"An exhilarating and moving biography of one of Broadway's greatest."
- John Kander, composer of Cabaret and Kiss of the Spider Woman.
Mr. Nolan, the author of The Sound of Their Music,
ably traverses the rocky slide of the clever little boy who
became a great big success and then imploded upon himself."
- Miles Donald, Literary Review.
David Hajdu, The
"Frederick Nolan's book ... is an excellent one of its kind --
intelligent, well-organised, packed with absorbing detail.
Nolan does what justice he can to Hart's lyrics but he is heavily handicapped
by the copyright holders' refusal to use anyof them,
a decision which seems both unfair and unaccountable."
- John Gross,
shows, and genius of the saddest, wittiest ...
and most literately idiomatic lyricist of the 20th century.
Racily written, and almost encyclopaedic in scope,
"Lorenz Hart" is a sweet-and-sour cocktail of
the crowded golden age of popular music."
- Tony Mallerman, Jewish Chronicle.
Frederick Nolan tells Hart's story elegantly and with considerable panache."
- Ben Macintyre, The
It's a thrilling account, with loads of anecdotes, interviews and cross-references
to both historical and show-business personalities and events ...
Nolan's treatment of his subject is sensitive, sympathetic and even-handed.
-- John J.D. Sheehan, Opera News.
Nolan vividly captures the personality of this talented and unstable man,
as well as the spirit of the entertainment world."
- Publishers Weekly.
Nolan's account of Hart's life provides a wonderful look at Broadway's golden age."
he conducted with those who knew and worked with Hart ...
Those interviews result in a series of anecdotes that help bring Hart to life."
-- John Davis,
- Gerald Kaufman,
in the late 1920s through the 1930s."
- Mark Dundas Wood,
- Brad Leithauser, NewYork Times Book Review, December 1, 2012.