Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913.

The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody. My Fair Ladies considers how female automatons have been represented as objects of desire in fiction and how “living dolls” have been manufactured as real-world fetish objects. But it also examines the many works in which the “perfect” woman turns out to be artificial—a robot or doll—and thus becomes a source of uncanny horror. Finally, Wosk introduces us to a variety of female artists, writers, and filmmakers—from Cindy Sherman to Shelley Jackson to Zoe Kazan—who have cleverly crafted their own images of simulated women. Anything but dry, My Fair Ladies draws upon Wosk’s own experiences as a young female Playboy copywriter and as a child of the “feminine mystique” era to show how images of the artificial woman have loomed large over real women’s lives. Lavishly illustrated with film stills, artwork, and vintage advertisements, this book offers a fresh look at familiar myths about gender, technology, and artistic creation.

The common lament was Broadway will never be the same! when My Fair Lady finally ended its stellar run the night of Sunday, September 30, 1962. Millions of people had seen the show over six years and had helped break box-office records, even though Rex Harrison, Julie Andrews, Stanley Holloway, and Robert Coote did not stay with the cast throughout the six-year run. MyFair Lady used the substance and wit of George Bernard Shaw to add a new dimension to the Broadway libretto.

Few musicals have had the impact of Lerner and Loewe's timeless classic My Fair Lady. Sitting in the middle of an era dominated by such seminal figures as Rodgers and Hammerstein, Frank Loesser, and Leonard Bernstein, My Fair Lady not only enjoyed critical success similar to that of its rivals but also had by far the longest run of a Broadway musical up to that time. From 1956 to 1962, its original production played without a break for 2,717 performances, and the show went on to be adapted into one of the most successful movie musicals of all time in 1964, when it won eight Academy Awards. Internationally, the show also broke records in London, and the original production toured to Russia at the height of the Cold War in an attempt to build goodwill. It remains a staple of the musical theater canon today, an oft-staged show in national, regional, and high school theaters across the country. Using previously-unpublished documents, author Dominic McHugh presents a completely new, behind-the-scenes look at the five-year creation of the show, revealing the tensions and complex relationships that went into its making. McHugh charts the show from the aftermath of the premiere of Shaw's Pygmalion and the playwright's persistent refusal to allow it to be made into a musical, through to the quarrel that led lyricist Alan Jay Lerner and composer Frederick Loewe to part ways halfway through writing the show, up to opening night and through to the present. This book is the first to shed light on the many behind-the-scenes creative discussions that took place from casting decisions all the way through the final months of frantic preparation leading to the premiere in March 1956. McHugh also traces sketches for the show, looking particularly at the lines cut during the rehearsal and tryout periods, to demonstrate how Lerner evolved the relationship between Higgins and Eliza in such a way as to maintain the delicate balance of ambiguity that characterizes their association in the published script. He looks too at the movie version, and how the cast album and subsequent revivals have influenced the way in which the show has been received. Overall, this book explores why My Fair Lady continues to resonate with audiences worldwide more than fifty years after its premiere.

The text of the Broadway musical adapted from George Bernard Shaw's Pygmalion.

When non-Orthodox Jews become frum (religious), they encounter much more than dietary laws and Sabbath prohibitions. They find themselves in the midst of a whole new culture, involving matchmakers, homemade gefilte fish, and Yiddish-influenced grammar. Becoming Frum explains how these newcomers learn Orthodox language and culture through their interactions with community veterans and other newcomers. Some take on as much as they can as quickly as they can, going beyond the norms of those raised in the community. Others maintain aspects of their pre-Orthodox selves, yielding unique combinations, like Matisyahu’s reggae music or Hebrew words and sing-song intonation used with American slang, as in “mamish (really) keepin’ it real.” Sarah Bunin Benor brings insight into the phenomenon of adopting a new identity based on ethnographic and sociolinguistic research among men and women in an American Orthodox community. Her analysis is applicable to other situations of adult language socialization, such as students learning medical jargon or Canadians moving to Australia. Becoming Frum offers a scholarly and accessible look at the linguistic and cultural process of “becoming.”