Eleanor was a project which Dorothy
Fields worked on with Cy Coleman in 1970; the subject was Eleanor
Roosevelt. The project was inspired by the play written by Jerome
Coopersmith, also called "Eleanor", about the life of
Mrs Roosevelt when she was 20 years old and working as a volunteer
at the University Settlement on the lower East Side.
Jerome Coopersmith, whose other musical theatre credits include
the books for The Apple Tree and
Baker Street, was to adapt his own
play. Alexander H. Cohen offered to produce the show, Morton DaCosta
agreed to direct, and Fields and Coleman wrote an entire score.
However Fields and Coopersmith did not see eye to eye on the story
line and he decided to withdraw from the collaboration.
( Thanks to Jerome Coopersmith for the above information. )
Years later Cy Coleman spoke of his disappointment describing the
show as having ďone of our best scoresď.
He said: ďThe score didnít completely die, however. I raided
it. We used Itís Not Where You Start
and put it into Seesaw. I
put a song called Scream into
Seesaw. In Barnum,
the music to Out There is
the Teddy Roosevelt song . Thereís a lot more. I hated doing it
but I just figured it was good, and I wanted to do something with
Of the songs written for Eleanor
which were not incorporated into later shows, there was a recording
of After Forty, Itís Patch, Patch, Patch
by Kaye Ballard on the Ladies Don't Write
Julie Wilson's disc includes two songs
with Eleanor connections. I Can't Let You
Go is said to have been written for Sweet
Charity, but the Deborah Grace Winer songlist indicates that
it was used in Eleanor. More significantly,
Julie Wilson unearthed the splendid Do Be
A Darling which features a product of the upper crust requesting
an increasingly outrageous series of favours from a put-upon friend.
Do be a darling,
Do be a dear.
I bought a gondola in Venice last year
Could you pick it up
And pack it up
Then carry it back here?
Do be a darling, dear.