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Bob Merrill

Bob Merrill (May 17, 1921 – February 17, 1998) was an American songwriter, lyricist, and composer best known for his novelty hits and contributions to musicals. Born Henry Robert Merrill Levan in , he grew up in and served in the U.S. Army during . After the war, Merrill began his career as a club singer before transitioning to songwriting, achieving early success with Tin Pan Alley-style compositions. In the late 1940s and 1950s, Merrill penned over 25 top-10 hits, including the 1950 novelty song "If I Knew You Were Comin' I'd've Baked a Cake," which sold millions, and the 1953 chart-topper "How Much Is That Doggie in the Window?" recorded by Patti Page. He also worked as CBS's first casting director in 1948 and as a dialogue director at Columbia Pictures in Hollywood. Transitioning to Broadway, Merrill co-wrote lyrics for musicals such as New Girl in Town (1957, based on Eugene O'Neill's Anna Christie), Take Me Along (1959, adapted from O'Neill's Ah, Wilderness!), and Carnival (1961), which earned him the New York Drama Critics' Circle Award for best musical. His most celebrated work was the 1964 musical Funny Girl, for which he provided lyrics to Jule Styne's music, including iconic songs like "People" and "Don't Rain on My Parade"; the show starred Barbra Streisand and became a long-running hit, later adapted into a 1968 film. Other notable projects included Sugar (1972, based on the film Some Like It Hot) and the screenplay for the 1975 film Mahogany. Later in his career, Merrill taught songwriting at UCLA and continued creating works like We're Home and Hannah... 1939. He was married twice, lastly to Suzanne Reynolds in 1976, and was survived by her and his brother Lawrence. Merrill died by suicide on February 17, 1998, in , at age 76, after struggling with prolonged and gastrointestinal health issues; he was found in his car with a self-inflicted .

Early Life

Birth and Family Background

Bob Merrill was born Henry Robert Merrill Levan on May 17, 1921, in . His family came from a modest working-class background, with his father working as a candy manufacturer who owned a shop and soda fountain in . Soon after his birth, the Levan family relocated to , where Merrill spent most of his childhood and formative years immersed in the daily operations of the family business. This environment provided a stable yet unpretentious upbringing, shaping his early perspectives amid the bustling urban life of the city. He had at least one sibling, a brother named . In early adulthood, as Merrill pursued opportunities in the entertainment industry, he legally changed his surname from Levan to and adopted the professional moniker , partly to avoid confusion with the renowned baritone . This transition marked a deliberate step toward establishing his identity in the competitive world of . During this period, he began showing an early interest in music as a pathway to his ambitions.

Education and Early Influences

Merrill grew up in , the son of a candy manufacturer, which immersed him in the city's working-class urban culture and its lively entertainment districts. He attended a local high school, graduating in 1938. Following his graduation, he briefly enrolled at before pursuing performance opportunities. After high school, he worked at the Bucks County Playhouse in 1939, studying acting under Richard Bennett. From his teenage years, Merrill harbored strong aspirations for a career, actively participating in local talent contests and securing early gigs as a singer, impressionist, and at small-town , often across the country to perform. These experiences provided his initial theatrical training and honed his stage presence in informal venues. He also toured in circuits as a singer and , gaining exposure to live performance traditions. The landscape of and profoundly shaped Merrill's early influences, with radio broadcasts featuring crooners and big bands captivating him as a youth in . acts, encountered through local theaters and his budding performances, further inspired his appreciation for witty , , and audience engagement. While his formal songwriting emerged later, these formative exposures sparked his lifelong interest in crafting tunes that blended humor and heartfelt emotion.

World War II Service

Bob Merrill's early ambitions to pursue a singing career were interrupted when he was drafted into the U.S. Army during in his early twenties. During his military service, Merrill contributed to troop morale by writing and producing entertainment shows, an experience that provided him with practical training in creative scripting and performance under demanding conditions. Following his discharge from the Army at the end of , Merrill transitioned back to civilian life by relocating to , where he took on several entry-level roles in the entertainment industry to establish himself. These included a position as dialogue director at , casting director at , and acting appearances in B films and westerns, which served as stepping stones before he fully committed to songwriting in the late 1940s.

Career

Early Songwriting Successes

Following his discharge from the Army at the end of , Bob Merrill took on various roles in radio and film before committing to songwriting full-time in the late 1940s, including a position as 's first casting director in 1948. Merrill quickly established himself as a leading figure in the music scene, crafting humorous and catchy tailored to novelty and pop genres that captured America's lighthearted spirit. His style emphasized playful wordplay and infectious hooks, often drawing from everyday scenarios to create relatable, upbeat tunes that appealed to a broad audience through collaborations with prominent artists and publishers like those at and . This approach led to rapid industry recognition, with Merrill penning 17 chart hits in his first three years as a professional songwriter, generating royalties of $250,000 by the mid-1950s. One of Merrill's earliest breakthroughs came in 1950 with "If I Knew You Were Comin' I'd've Baked a Cake," co-written with and Clem Watts, which became a massive novelty when recorded by . The song topped the Best Sellers chart for two weeks and remained on the charts for 15 weeks, selling over a million copies and exemplifying Merrill's knack for whimsical domestic humor. Building on this momentum, "(How Much Is) That Doggie in the Window?" in 1953, recorded by , soared to number one on the for eight consecutive weeks, becoming one of the decade's top-selling singles with its charming, childlike narrative. The following year, "Mambo Italiano," tailored for , peaked at number 10 on the US while reaching number one in the UK for three weeks, blending ethnic flair with Merrill's signature catchy rhythm to drive substantial sales and radio play. These successes solidified Merrill's reputation as a pop songwriting powerhouse, influencing the era's novelty trend and paving the way for his broader career.

Broadway Compositions and Collaborations

Bob Merrill transitioned to Broadway in the late 1950s, building on his earlier pop song successes to contribute lyrics and music for musical theater adaptations. His debut Broadway production was New Girl in Town (1957), an adaptation of Eugene O'Neill's play Anna Christie, for which Merrill wrote both the music and lyrics. The show starred Gwen Verdon and Thelma Ritter and ran for 431 performances, earning a Tony Award nomination for Best Musical. Merrill followed with Take Me Along (1959), another O'Neill adaptation, this time of Ah, Wilderness!, where he provided the music and lyrics alongside a book by and Robert Russell. Starring and , the musical comedy ran for 448 performances and received a Tony nomination for Best Musical, highlighting Merrill's skill in blending nostalgic Americana with song-driven storytelling. Merrill's major breakthrough came with Carnival! (1961), a whimsical musical incorporating puppets, for which he wrote the music and lyrics to a book by Michael Stewart, based on the film Lili. The production, directed by and starring , ran for 719 performances and garnered multiple nominations, including for Best Musical, as well as the Award for Best Musical. In 1964, Merrill collaborated with composer on Funny Girl, providing lyrics for the book by , which chronicled the life of . Starring the then-unknown in her breakout role, the show became a landmark hit, running for 1,348 performances and earning Tony nominations for Best Musical and Best Composer and Lyricist. Merrill's lyrics, such as those for "" and "," were praised for their emotional depth and integration into the narrative, advancing character arcs through personal reflection and humor. Later works included the unproduced Breakfast at Tiffany's (1966), an adaptation of Truman Capote's novella for which Merrill composed both music and lyrics, intended to star but closed during previews after four performances following disastrous tryouts, never officially opening on . In 1972, he reunited with Styne for , providing lyrics to the book by Peter Stone in this adaptation of the film ; the show ran for 505 performances, featuring songs that captured the era's comedic drag elements and chase dynamics. Throughout these projects, Merrill's collaborations, particularly with Styne, emphasized lyrics that seamlessly wove into dramatic structures, often drawing from literary sources like O'Neill to heighten emotional and thematic resonance in musical form.

Film, Television, and Later Projects

Merrill extended his songwriting talents to film with the 1968 adaptation of Funny Girl, where he provided for new songs including the title track "Funny Girl," composed by , which earned an Academy Award nomination for Best Original Song. The film, directed by and starring , retained many elements from the production while incorporating Merrill's contributions to enhance its cinematic appeal. In 1976, Merrill ventured into screenwriting with , a biographical drama based on the memoir of Fields' longtime companion ; the film, directed by and starring , explored the comedian's personal life and career struggles. He also wrote the screenplay for the 1975 film , directed by and starring . On television, Merrill collaborated again with Jule Styne to supply lyrics for the animated holiday special Mister Magoo's Christmas Carol in 1962, which featured songs like "We're Despicable" and marked one of the earliest animated musical specials on TV. He followed this with lyrics for the 1965 NBC special The Dangerous Christmas of Red Riding Hood, a whimsical musical retelling of the fairy tale starring Liza Minnelli and Vic Damone, blending comedy and holiday themes in a live-action format. These projects showcased Merrill's versatility in adapting his lyrical style for shorter, family-oriented broadcasts. In his later career during the and , Merrill's output shifted toward revisions and unproduced endeavors amid personal health challenges. He contributed lyrics under the pseudonym Paul Stryker to the 1993 musical adaptation of The Red Shoes, with music by and book by ; the production, which drew from the 1948 film, underwent extensive rewrites during its pre-Broadway tryout in but closed without reaching . Earlier setbacks, such as the 1966 musical Breakfast at Tiffany's—for which Merrill wrote both music and lyrics—proved particularly damaging; despite high expectations based on Truman Capote's and the hit film, it closed during previews after just four performances, tarnishing Merrill's reputation and limiting subsequent opportunities. These unfulfilled projects highlighted the obstacles Merrill faced in sustaining his earlier momentum, though his film and TV work endured as key facets of his legacy.

Awards and Recognition

Bob Merrill received five nominations for the for his contributions to New Girl in Town (1958), Take Me Along (1960), Carnival! (1962), Funny Girl (1964), and (1973), though none resulted in a win. He also earned a nomination for Best Original Score for Funny Girl. For his score to Carnival!, Merrill shared the 1961 Award for Best Musical with book writer Michael Stewart. In film, Merrill received an Academy Award nomination for Best Original Song for "Funny Girl" from the 1968 motion picture of the same name, with music by . He was similarly nominated for a Golden Globe Award for Best Original Song – Motion Picture for the same track. Merrill was inducted into the in 1987, recognizing his lifetime contributions to popular music and theater. Critics praised Merrill's lyrics for their skillful blend of humor and emotional depth, as seen in songs like "" and "" from Funny Girl, which captured the complexities of performance and romance.

Notable Works

Stage Musicals

Bob Merrill's contributions to Broadway stage musicals spanned over three decades, beginning with his debut as a composer-lyricist in the late and culminating in late-career collaborations. His works often drew from literary sources, particularly Eugene O'Neill's plays, and featured heartfelt, melodic scores that blended pop sensibilities with theatrical storytelling. Merrill typically provided both for his early shows, transitioning to lyrics-only roles in later collaborations with composers like . These musicals achieved varying degrees of commercial success, with several earning Tony Award nominations and long runs that highlighted Merrill's ability to craft emotionally resonant songs within narrative-driven productions. Merrill's first Broadway musical, (1957), marked his entry into theater composing. With a book by based on Eugene O'Neill's , Merrill supplied both the music and lyrics for this tale of a former prostitute seeking redemption in a waterfront community. The show starred as the lead, whose performance earned her a Tony Award for Best Featured Actress in a Musical. Key songs included the wry "On the Farm" and the poignant "If That Was Love," which captured the protagonist's inner turmoil through earthy, tuneful melodies. The production ran for 431 performances at the 46th Street Theatre, receiving praise for Merrill's bright score despite mixed notices on the adaptation's somber tone; of noted the lyrics' witty integration with O'Neill's drama. In 1959, Merrill followed with Take Me Along, again adapting O'Neill—this time his comedy Ah, Wilderness!—with a book by and Robert Russell. Merrill composed the music and wrote the lyrics, focusing on a coming-of-age story in early-20th-century , starring and . Standout numbers like the nostalgic title song "Take Me Along" and the lively "Oh, Please" underscored themes of family and romance with buoyant energy. The musical enjoyed a solid run of 448 performances at the Shubert Theatre, buoyed by Gleason's charismatic portrayal, which won him a for Best Featured Actor in a Musical. Critics lauded Merrill's charming, period-appropriate score for its warmth and accessibility, though some, like Louis Calta in , found the book occasionally uneven. Merrill achieved his first major hit with Carnival! (1961), a whimsical adaptation of the film Lili featuring puppets and carnival performers. He provided both music and lyrics, with a book by Michael Stewart, in a story of an orphan's romance with a puppeteer. Directed and choreographed by Gower Champion, the production starred Anna Maria Alberghetti and Jerry Orbach, the latter earning a Tony for Best Featured Actor in a Musical. Iconic songs such as "Love Makes the World Go 'Round" and "Mira" blended romance and fantasy, contributing to the show's enchanting atmosphere. It ran for 719 performances at the Imperial Theatre, a commercial and critical success; Howard Taubman of The New York Times praised Merrill's lilting melodies and clever lyrics for elevating the fairy-tale narrative. The pinnacle of Merrill's Broadway career came with Funny Girl (1964), where he wrote the lyrics to Jule Styne's music, alongside a book by chronicling comedian Fanny Brice's rise. Starring in her breakthrough role, the blockbuster explored ambition and heartbreak through Brice's turbulent romance. Merrill's lyrics shone in hits like "People," an anthem of connection that became a standard, and the defiant "Don't Rain on My Parade." The show amassed 1,348 performances at the , grossing over $18 million in its era and earning eight nominations, including for Best Musical. Reviews highlighted Merrill's witty, character-driven words as a perfect foil to Styne's soaring tunes; Howard Taubman commended the lyrics' humor and emotional depth in capturing Brice's spirit. Merrill's final produced Broadway musical was Sugar (1972), reuniting him with Styne for music and Peter Stone for the book, adapting the film . The comedy followed two musicians in drag fleeing the mob during , emphasizing and hijinks. Key songs included the upbeat "Penniless Bums" and the romantic "It's Always Love," with Merrill's lyrics adding playful innuendo. Starring and Roberts, it ran for 505 performances at the Majestic Theatre, achieving moderate success amid the era's economic challenges. Critics were divided; Clive Barnes of appreciated the score's catchiness but critiqued the adaptation's uneven pacing, while the show's lively energy sustained its run. Merrill's last Broadway involvement was with The Red Shoes (1993), a troubled adaptation of the 1948 film with a book by , music by , and by Norman and Merrill (credited as Paul Stryker). Development began in the early 1990s under producer Martin Starger, with initial direction by and later , focusing on a ballerina's obsessive pursuit of art and love. Merrill contributed remotely from amid production turmoil, including Norman's dismissal and multiple script revisions. The show had 51 previews beginning November 2, 1993, opened officially on December 16, 1993, at the , and closed after 5 performances on December 19, 1993, due to creative disputes and poor audience response.

Popular Songs

Bob Merrill's standalone popular songs, primarily from the late through the , achieved widespread commercial success on the , often blending novelty elements with accessible, humorous lyrics that captured everyday American life. These works, written under his ASCAP affiliation, emphasized simple, catchy phrasing to ensure broad appeal, with Merrill reportedly using a child's to craft uncomplicated melodies that prioritized singability over complexity. One of Merrill's earliest breakthroughs was "(If I Knew You Were Comin' I'd've Baked a Cake)," co-written with and Clem Watts and first recorded by in 1950, which topped the US Billboard charts for two weeks and remained on the chart for 24 weeks. The song's lighthearted, conversational humor about impromptu hospitality exemplified Merrill's novelty style, making it a staple of post-war optimism; it received numerous covers, including versions by and in 1950, and later interpretations like Lisa Loeb's in the 1990s. "How Much Is That Doggie in the Window," a 1953 novelty hit solely credited to Merrill and recorded by , reached number one on the US Billboard charts for three weeks, selling over two million copies and becoming one of the decade's top-selling singles. Its playful theme of childhood longing and pet ownership, delivered through Page's wistful vocals, highlighted Merrill's knack for romanticizing simple joys with rhythmic accessibility; the song inspired covers such as Lita Roza's UK number-one version in 1953 and later revivals in collections. Wait, avoid wiki, but from secondhandsongs. "Mambo Italiano," written by Merrill in 1954 for Rosemary Clooney, peaked at number 10 on the US charts but topped the UK charts, infusing humor through its exaggerated portrayal of Italian-American culture and mambo dance fusion. The lyrics' rhythmic, phonetic playfulness—repeating phrases like "go, go, Joe" for comedic effect—demonstrated Merrill's technique of using repetition and cultural caricature for instant memorability; notable covers include Dean Martin's 1954 release and Bette Midler's 1977 revival, which reintroduced it to new audiences via her debut album. Other enduring hits like "" (1957, number one US for ) and "Pittsburgh, Pennsylvania" (1952, number six US for ) further showcased Merrill's romantic and humorous themes, often drawing from regional pride or whimsical , with publishing rights managed through his longstanding ASCAP membership. These songs' chart dominance and frequent revivals underscore Merrill's influence in making approachable and entertaining for mainstream listeners.

Key Recordings and Performances

Bob Merrill's songs achieved significant commercial success through recordings by in the early 1950s, particularly under the production of at . Mitchell's version of "Sparrow in the Treetop," released in 1951, reached number 8 on the , marking one of Merrill's early breakthroughs in . This recording, featuring Miller's orchestra and chorus, exemplified Merrill's knack for catchy, lighthearted tunes that resonated on radio airwaves and jukeboxes, contributing to Mitchell's string of hits. Another standout was Mitchell's 1951 recording of "My Truly, Truly Fair," which climbed to number 2 on the , showcasing Merrill's romantic ballad style and boosting the singer's popularity through frequent radio plays. In 1953, Mitchell's rendition of "She Wears Red Feathers" topped the for four weeks, reaching number 1 and introducing Merrill's whimsical narratives to international audiences via live performances and broadcasts. These tracks were part of a series of exclusive sessions where Mitchell focused heavily on Merrill's material, including albums like Sings the Songs of Bob Merrill, which highlighted the songwriter's exclusive contributions to the artist's early career. Beyond Mitchell, Merrill's compositions found success with other artists, notably Patti Page's 1953 recording of "(How Much Is) That Doggie in the Window," which hit number 1 on the and became a novelty staple in live variety shows and radio programs. Dean Martin's 1955 cover of "Mambo Italiano" further popularized Merrill's playful, culturally infused song, achieving widespread airplay and performance in television appearances that amplified its cross-genre appeal. International versions, such as adaptations of "She Wears Red Feathers" in , extended the songs' reach through localized recordings and stage revues, solidifying Merrill's global impact in the pop landscape. These recordings not only drove chart success but also enhanced Merrill's reputation during his pop songwriting phase, with live renditions and radio exposure sustaining their popularity into the decade.

Personal Life and Legacy

Marriages and Relationships

Bob Merrill's first marriage was to singer Dolores Marquez in 1964; the union ended in divorce several years later. In 1976, Merrill married Suzanne Reynolds, a former anchor at a all-news radio station, and the couple remained together for the rest of his life. This marriage coincided with Merrill's relocation to , where he later taught songwriting at UCLA, allowing for a more settled lifestyle amid his later career endeavors. Earlier in his life, Merrill had a romantic relationship with actress that ended badly prior to 1962; this personal fallout publicly influenced Bancroft's withdrawal from the starring role in the original production of Funny Girl, for which Merrill wrote the . No children resulted from either of Merrill's marriages. He was survived by his wife Suzanne and brother Lawrence.

Health Struggles and Death

In the , Bob Merrill experienced a decline in his professional output, marked by limited theatrical successes such as the musical Hannah...1939 in 1990, which ran for only 46 performances, and several unproduced projects that contributed to his growing frustrations with the industry. These career setbacks coincided with the onset of physical ill health, including , a chronic gastrointestinal disorder that caused prolonged suffering. Merrill's struggles intensified, leading to severe linked to his various non-life-threatening ailments. On February 17, 1998, at the age of 76, he died by in , shooting himself with a while sitting in his outside his in Culver ; his death was ruled a by authorities. His wife, Suzanne Merrill, to whom he had been married since 1976, stated that the act followed prolonged exacerbated by his issues, noting that their long-term had offered him support during these difficult years. Following his death, Merrill's estate, with Suzanne as the sole heir, managed his extensive catalog of musical s, including those from Funny Girl. In 2022, the estate was involved in a federal lawsuit attempting to terminate a 1963 royalty agreement Merrill had made for the show, though the court ruled against cancellation, affirming the deal's validity as a financial interest rather than a transfer, which was affirmed by the Second Circuit in January 2024. No public details emerged regarding a or service.

Influence and Posthumous Recognition

Following Merrill's death, his work experienced renewed interest through revivals of Funny Girl, the Broadway musical for which he wrote the lyrics. The production's score, including standards like "" and "," continued to draw audiences in regional and international stagings. For instance, a 1999 production at the Arts Centre Melbourne featured Caroline O'Connor as , marking an early post-death mounting that highlighted the show's enduring appeal. This was followed by further regional efforts, such as a 2016 revival and a 2018 concert version at the , where the Merrill-Styne songs were central to the performances. The most significant posthumous revival came with the 2022 Broadway production at the , the first full-scale return to Broadway since the original run. Directed by Michael Mayer with a revised book by , it starred (later replaced by ) and ran for nearly a year, from October 2022 to September 2023, grossing over $90 million and reaffirming the timelessness of Merrill's contributions to the musical's emotional core. A national tour of this revival launched in 2024 and continued into 2025, bringing the show to venues like Bass Concert Hall and the , where Merrill's lyrics were praised for their blend of whimsy and poignancy in capturing Brice's vulnerability. Merrill's songs have also seen ongoing use in media and by contemporary performers, extending his legacy beyond theater. The ballad "People," co-written with , appeared in jazz reinterpretations, such as Ahmad Jamal's 2013 recording, which infused the lyrics with improvisational depth, and clarinetist David Krakauer's 2014 klezmer-inflected version on his album Tablet. These covers, alongside performances in recent Funny Girl iterations, demonstrate the ' adaptability across genres. Critical assessments of Merrill's work, such as in a 2022 Hudson Review analysis of the Broadway revival, note that while his lyrics can feel generic and pop-oriented—lacking the character-specific nuance of peers like —they effectively convey universal themes of connection and aspiration, contributing to the score's lasting popularity. His lifetime induction into the in 1987 laid the groundwork for this sustained appreciation, though documentation of his later 1980s and 1990s projects remains sparse, with no dedicated biographies or documentaries emerging to catalog his full oeuvre comprehensively.

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