The chapter in Marni Nixon’s book is aptly titled, “Which Fair Lady?”
Audrey Hepburn may have danced all night, but it was Nixon who sang the role of Eliza all through the classic 1964 Lerner & Loewe film.
When reporters then exposed the longstanding Hollywood practice of dubbing stars’ voices, the woman now affectionately known as “The Voice” finally found herself in the spotlight she had been denied for years. But this was not how she wanted it. This was a full-out scandal.
“It was a terrible position to be in, and it was very untenable after a while,” recalls Nixon, now a proud 78 and starring in, of all things, the 50th anniversary revival “My Fair Lady,” opening Wednesday at the Buell Theatre.
Only now, the woman once denied the chance to be seen as Eliza is now being seen as Mrs. Higgins.
“Well, it’s like being kicked upstairs, isn’t it?” she said with a laugh.
But how’s this for irony: “The Voice” still doesn’t get to sing. Mrs. Higgins is strictly a speaking role.
“It’s very strange that I don’t have a song, and I almost did not accept the role because of that,” she said. “But I’ve been wanting to do more straight plays, so I thought, why not? It’s like being in a straight play that happens to be in a musical.”
Nixon has one of the most prolific but chameleonic voices in film history. In addition to “My Fair Lady,” she’s the voice of Natalie Wood in “West Side Story,” Deborah Kerr in “The King & I,” and she hit the high notes for Marilyn Monroe in “Gentlemen Prefer Blondes.”
Nixon takes pride that her work is virtually unrecognizable from one film to another. She meticulously mimicked the vocal personalities of each actress, emulating their speech and breathing patterns. For “My Fair Lady,” she channeled Hepburn’s accent, her femininity, her sexy, semi-hoarse vocal quality.
Nixon earned royalties, if not credit, for her work, which came at a high personal cost. She lived in forced anonymity. She was a ghost.
“It’s a double-edged sword,” Nixon said. “At first it was very hard to swallow, not to have any credit. But gradually, I became more and more aware of how important my job was to those pictures.”
Nixon understood why studios routinely had their stars mime to recorded voices. It was their job to make sure their highly paid and bankable stars were well-represented on film, she said, and to present some of the most difficult scores ever written in the best possible light. “This they did,” she said, “and they did it well.”
When reporters finally lifted the veil of secrecy following the release of “My Fair Lady,” Nixon was surprised by the hurly-burly that ensued. When reporters confronted her, she didn’t want to lie, but she could not tell the truth. She was not only sworn to secrecy — it was written in her contract.
“But when somebody comes to you and says, ‘We heard you did the dubbing for Deborah Kerr,’ what do you say?” she asked.
Nixon said, “I’ll take the Fifth Amendment,” — “and what does that sound like?” she said. “It sounds like, you’re saying, ‘Of course I did it — but I can’t say anything.’ ”
If Hepburn had any chance of topping Julie Andrews (“Mary Poppins”) for best actress that year, the scandal wiped it out. The era of dubbing as a standard Hollywood practice was soon over.
For years, Nixon had wondered if anyone would ever know her name or her face. Funny how things work out. More than 40 years later, she’s working in a major national touring production and her place in American pop culture history is assured.
But to this day, people don’t say to her, “I recognize that face.” They say, “I recognize that voice.”
“It’s a unique position,” she said, “It just happened that way, and now I’m trying to make the best of it, that’s all. I realize this is going to be following me the rest of my life.
“I still love performing, so who knows where it all will lead next, as long as you can keep your wits about you — which at my age, is getting harder and harder.”
John Moore: 303-954-1056 or jmoore@denverpost.com
“My Fair Lady”
Family musical. National touring production at the Buell Theatre, Denver Performing Arts Complex. Starring Christopher Cazenove, Lisa O’Hare and Marni Nixon. March 26-April 6. 8 p.m. Tuesdays-Fridays, 2 and 8 p.m. Saturdays, 2 and 7:30 p.m. Sundays. $15-$95. 303-893-4100, all King Soopers or .
This week, Denver Post theater critic John Moore speaks with , who is appearing in the national touring production of “My Fair Lady” through April 6. (He’s also the brother of KCUV 102.3 FM DJ G. Brown).
To access the podcast, click on . You”ll be taken to a miniplayer. Once there, click its triangular “play” button, and the podcast will begin, with no downloading necessary. Or right-click on the download option to keep your own copy.
This week’s theater openings
“Fuddy Meers” Pulitzer-winning playwright David Lindsay-Abaire (“Rabbit Hole”) is best known for this darkly comic, bizarre comedy. The main character’s memory is erased whenever she goes to sleep. A limping, lisping, half-blind, half-deaf man in a ski mask pops out from under her bed and claims to be her brother. Zaniness ensues. Through April 6. Fine Arts Center, 30 W. Dale St., Colorado Springs, 719-634-5583 or
“Gee’s Bend” Stories of the impoverished women who create the renowned Gee’s Bend quilts. Story, Page 1D. Denver Center Theatre Company, Space Theatre,Denver Performing Arts Complex, 14th and Curtis streets, 303-893-4100 or .
“I Love a Piano” This Irving Berlin revue was birthed by Denver Center Attractions in 2002, and returns for one night only at 8 p.m. Monday, March 24. Ellie Caulkins Opera House, Denver Performing Arts Complex, 303-893-4100 or .
“My Fair Lady” National touring production of the Lerner & Loewe 50th anniversary revival, starring Christopher Cazenove and Lisa O’Hare. Through April 6. Buell Theatre, Denver Performing Arts Complex, 303-893-4100 or .
“9 Parts of Desire” Karen Slack brings nine disparate Iraqi women to life in a heartbreaking and eye-opening attempt to explore the resilience, ambitions, warmth, humor and history of women who have struggled for self-identity and liberation since long before the U.S. ever found Iraq on a map. Through April 5, in repertory with “Dar al-Harb.” TheatreWorks, 3955 Cragwood Drive, Colorado Springs, 719-262-3232 or
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“Oleanna” David Mamet’s intense, engaging drama of nasty gender politics pits a college professor against a student who has accused him of sexual misconduct. Starring Dan O’Neill and Elgin Kelley. Through April 19. The Avenue Theater, 417 E. 17th Ave., 303-321-5925 or .
“Present Future” This new comedy by Niwot’s Don Fried is in the tradition of British farce. It’s the story of a couple expecting a visit from Aunt Judy, who has given them a present — a clock in the shape of a slot machine — they don’t want displayed in their home. Through April 19. California Actors Theatre, 1250 Hover Drive, in the Twin Peaks Mall, Longmont, 303-774-1842 or .
“A Tribute to Miss Peggy Lee” Alex Ryer and Lannie Garrett, two of our most formidable chanteuses, come together for a cabaret tribute. Ryer created an indelible portrait of Edith Piaf, while Garrett’s alter ego is the popular Patsy DeCline. Featuring Garrett’s in-house orchestra quintet. Through May 3. Lannie’s Clocktower Cabaret, 16th and Arapahoe streets, 303-293-0075 or .
Complete theater listings Go to our complete list of every currently running production in Colorado, including summaries, run dates, addresses, phones and links to every company’s home page.
