The Letters of Cole Porter
Page 37
I am delighted that this matter is settled and feel very happy that I am sure of at least four years more in that pet house of mine.
The bad news about Kitty* breaking her hip, added to the serious illness† that you have had, is really too much, and I am so sorry for both you and Allen.
My show‡ goes into rehearsal on November 1st. We move to Boston on November 28th, open in Boston on December 2nd. We play there until Christmas night and then open in New York on December 30th. This is one day earlier than I predicted we would open when the first talks about the show began in March – so you owe me a pat on the back for being a good guesser.
Little Bobbie§ has left Heller’s employment and has the choice of two jobs, beginning next week. I don’t believe he knows how much these jobs will pay yet. I also don’t believe that he likes New York very much, and I shouldn’t be at all surprised if he returned to California, although that has not entered his head yet. He has had an awful time trying to find a room in which to live without spending every cent that he has made. He finally doubled up with a young man called Swope, but he is living in discomfort and has a rather sad expression on his face constantly. He goes with me to Williamstown on Friday for the week-end, and Harry [Krebs] joins us on Saturday.
Linda is in grand form but, alas, my mother is not. She hadn’t written me for so long that I telephoned her today, and she has been ill in bed for the last week, with very exaggerated colitis. She said on the ‘phone: “I am such a bother to other people that I really ought to shoot myself – but that would mean another scandal in the family.”
When you feel well enough to write, do so. Robert [Bray] will probably call you soon. He tried to get the Laguna house last week but there was no answer.
Lots of love to you, dear Sammy, and to Allen. I do hope that from now on you will all have continued better news.
[signed:] Cole.
29 September 1948: Cole Porter to Sam Stark40
Dear Sam,
After writing to you today the details of my settlement with Haines about the Rockingham house, Bill O’Connor* suddenly called up from the coast saying that Haines had changed his mind and would not settle with me on the terms about which I wrote you unless I would pay the fifteen per cent difference in rent from Oct. 1, 1946 until Oct. 1, 1948. Bill refused absolutely and said he would not settle under these new terms and that unless Haines would stick to his verbal agreement, he, Bill, would fight this case to the Supreme Court of the United States which would take at least a period of five years. Haines is thinking it over.
I simply wanted to keep you posted.
This letter has been typed by none other than little Bobby Raison.
Love,
[signed:] Cole
On 2 October, the New York Times reported that Lisa Kirk,† who had made her Broadway debut the previous year in Rodgers and Hammerstein’s Allegro (in which she sang ‘The Gentleman is a Dope’ to acclaim), would play one of the lead roles in Kiss Me, Kate. Despite the fact that Holm had already signed to create the dances for the production, the article continued: ‘Although rehearsals of the show are scheduled to get under way on Nov. 1, a choreographer is still lacking. The sponsors are hopeful, however, of settling that matter next week. The Messrs. Ayers and Subber also must find an actress for the title part. Thus far only Alfred Drake and Harold Lang, the young dancing star of last season’s “Look, Ma, I’m Dancin’!”, are certain for the company. Present plans call for a New York opening on Dec. 29.’41 In fact, Holm had agreed to be the choreographer in September (as noted above) and a letter in her papers from 5 October shows that she wanted to engage Ray Harrison as her assistant; the New York Times was not always up to speed on what was going on behind the scenes.42
The following day, Porter wrote to Stark from New York:
6 October 1948: Cole Porter to Sam Stark43
Dear Sammie: –
Your letter, dated “Friday”, arrived. What smart writing paper! Is it yours, or does it come from the Carmelita Hotel?
I am so glad to hear that you are feeling much better. As for your suggestion that you might go to Arizona, Linda had already talked to me last week, asking me to find out whether you would consider going to Arizona for a while with her during the winter. She doesn’t want to go to Tucson; she wants to go to a Dude Ranch, and I think [Howard] Sturges knows of an excellent one. I imagine she would like to go for January and February, or perhaps for February and March. In the old days Sturges always went with her but he has become such an international butterfly that you can’t pin him down any more to one spot. Also, he has discovered Palm Beach. Think this over before you give me an absolute negative reply.
I can’t tell you about Heaven on Earth,* because it folded before I saw it. Edward, My Son,† however, is wonderful. I went to the opening; it was one of those great electric nights like the night of the opening of A Street Car [sic] Named Desire.‡ Tomorrow night I go to the opening of the Kurt Weill show, Love Life.§ There are excellent reports on this show from Boston, and it looks like a winner.
That is all my news for now, dear Sam. Please take excellent care of yourself, and write when you have time.
Love,
[signed:] Cole.
Among Holm’s papers is an announcement of an audition for backers on 7 October, which provides numerous details of the costs and current state of the casting for the show, a list of songs in the score, and budget issues. Excerpts from the document44 include:
AUDITION – At the audition Mr Wilson will tell the story of KISS ME KATE, [sic] which is based on TAMING OF THE SHREW by William Shakespeare, and describe some of the dialogue. He will present Alfred Drake who will play the leading role and Lisa Kirk who plays the second female leading role. They will sing the songs in the score such as ANOTHER OPENING, ANOTHER SHOW, WUNDERBAR, IT WAS GREAT FUN THE FIRST TIME, WHY CAN’T YOU BEHAVE, SO IN LOVE WITH YOU AM I, WE OPEN IN VENICE, TOM, DICK AND HARRY, I’VE COME TO WIVE IT WEALTHILY IN PADUA, TOO DARN HOT, WHERE IS THE LIFE THAT LATE I LED, BUT I’M ALWAYS TRUE TO YOU (DARLIN’ IN MY OWN FASHION) etc., etc. Mr Joseph Moon will accompany at the piano.
[. . .]
FINANCING: Cost of the production is budgeted at $180,000 and weekly profit, based on $40,000 weekly gross, is estimated at $9,400. This profit will first be used to repay subscribers who put up $180,000. Accordingly, on the estimates, subscribers should be paid out in approximately 20 weeks. Thereafter, this profit will be divided equally between subscribers and producers. Thus, on the estimates, for every week the show runs to a full house after 20 weeks, when the original subscriptions are repaid, approximately $5000 will be paid to subscribers in proportion to their subscriptions, or approximately 2.8% weekly return. [. . .]
PRODUCTION BUDGET
WEEKLY PROFIT ESTIMATE
Scenery
$36,550
Weekly Gross
$40,000
Properties
$15,000
Electrical Equip.
$5,600
Theater Rent
$12,000
Costumes
$35,500
Royalties
$4,000
Rehearsal Expense
$24,500
Salaries
$11,600
Sundries
$16,000
Advertising
$1,350
Orchestrations
$9,500
Sundries
$1,650
Deposits & Adv.
$20,000
$30,600
______
$162,550
Weekly profit
$9,400
Although money still had to be raised, the production was well underway by the second week of October. Telegrams from Saint Subber in the Hanya Holm papers show that the first call for singers and dancers was 14 October and auditions for ‘special singers and dancers – the ones I have a list for’ were set for a day later.45 On 16 October, the New York Times announced that
Patricia Morison was about to sign her contract to play Lilli in the show.46 With the word out that Kiss Me, Kate was soon to appear, various parties came forward to offer themselves or their friends to work on the production. The following letter from Porter to the American conductor Robert Shaw (1916–99) gives an example:
18 October 1948: Cole Porter to Robert Shaw47
Dear Bob: –
Thank you very much for the letter regarding Mr. Maurise [sic] Levine.* I am sorry, but I have already engaged Pem [sic] Davenport† to do the choral work for our new show.
I can’t tell you how much I have enjoyed your broadcasts.
All my best,
[signed:] Cole Porter
Confidence in the new show was high. A report in the New York Times on 28 October revealed that Saint Subber and Ayers thought the production was so advanced that it was unnecessary to spend more than two and a half weeks on the road, so the New Haven tryout had been cancelled.48 Porter wrote to Stark to encourage him to attend the opening in Philadelphia:
10 November 1948: Cole Porter to Sam Stark49
Dear Sam: –
I haven’t time to write to you now. Are you coming East to go with us to the opening of Kiss Me Kate December 30th? You must let me know at once.
Love,
[signed:] Cole.
22 November 1948: Cole Porter to Sam Stark50
Dear Sam: –
I received your very nice letter of Nov. 17th. Please forgive me if I can’t answer you now, as I am too damned busy.
I think it is a wicked shame that you can’t come to the opening. The house will seem empty without you.
Love,
[signed:] Cole
Optimism seemed justified when, on 23 November, the New York Times announced a change of venue and pre-opening sales: ‘Contracts were signed yesterday for “Kiss Me, Kate,” to make its Broadway debut at the [New] Century Theatre on Dec. 30. The Cole Porter-Bella Spewack musical, written around Shakespeare’s “The Taming of the Shrew,” already has amassed $150,000 in advance sales, thanks to about thirty-five theatre parties. For a while the Broadhurst had been mentioned as a possible show case for the attraction, but the producers decided on the Century because of its larger seating capacity.’51 (The Broadhurst’s capacity is roughly 1,150 seats versus the New Century’s 1,700.) The show opened on 2 December at the Shubert Theatre in Philadelphia. Porter’s telegram report to Stark was plain:
3 December 1948: Cole Porter to Sam Stark52
SMASH=
COLE=
Five days later, he wrote again to Stark to relay the news that Linda’s health was once more in decline:
8 December 1948: Cole Porter to Sam Stark53
Dear Sam: –
I rolled on the floor at your clipping about the debutante and Beethoven’s piano.
On top of my wonderful show news, I have terrible news about Linda. Night before last she got congestion of the lungs – nearly died during the night. Since then, she is being kept alive by oxygen. Se [sic] is very seriously ill.
Love,
[signed:] Cole
Two days later, the immediate panic over her health was over and Porter was able to make plans for Christmas. Kiss Me, Kate was set to open on Broadway on 30 December and he intended to gather many of his closest friends around him:
10 December 1948: Cole Porter to Sam Stark54
LINDA AND I WILL BE HERE AT THE WALDORF ON CHRISTMAS DAY AND WE HAVE OUR CHRISTMAS TREE PARTY ON CHRISTMAS NIGHT AT [HOWARD] STURGES APARTMENT[.] LINDA IS SUDDENLY OUT OF DANGER[.] LOVE FROM US BOTH= COLE.
13 December 1948: Cole Porter to Sam Stark55
Dear Sam: –
I have seats for you, Robert [Bray], Sturge [Howard Sturges] and myself for the night of Wednesday, Dec. 29th, for Edward, My Son. I hope you approve of this. If you don’t, let me know and I will get seats for something else – but, to me, this is by far the best show of the season.
I received your letter of Dec. 9th with the details of your arrival and departure, for which I thank you.
I wrote a few days ago that Linda was much better, but she seems to have had a relapse, and yesterday was a terrible day. I went up to see her this morning and she is much better. She had a fairly good night and today, for the first time, talks in her normal voice. She said to me this morning, with that great calm of her’s, [sic], “This is the first day that I think I will live.”
Love,
[signed:] Cole
P.S. – Thanks a lot for the charming letter from Sam, the second.*
A week before Christmas, Porter wrote to Jean Howard about a mutual acquaintance and also updated her on Linda’s health and the triumphant Philadelphia tryout of Kiss Me, Kate:
17 December 1948: Cole Porter to Jean Howard56
Dear Jeannie: –
Michael [Pearson] tells me that you have become a friend of Leslie Bradley and his wife. Probably Leslie doesn’t want his beginnings known, but for several years he was my valet, and an excellent one. Then he went to the Riviera on vacation and came back from it looking like Adonis, and left me to go into pictures in England. It makes me very happy to know that he has done so well, as he is one of the nicest people I ever knew. Give him my best, and lots of love to you and Slim.†
[signed:] Cole
P.S. My new show opened in Philadelphia and is the biggest hit of my life. But all the fun has been spoiled as, immediately after the opening, Linda contracted pneumonia and is living at the Doctors Hospital in an oxygen tent. She is better, however, and will definitely recover.
Among Stark’s papers is an invitation dated 22 December 1948 from Sophie and Van Schley (identities unknown) to Mr and Mrs Cole Porter to a party after the opening of Kiss Me, Kate, on which Stark noted: ‘Sam Stark attended also.’57 On opening night Alfred Drake, who was playing Fred/Petruchio, wrote a good luck message to Porter, though he noted it was probably not needed: ‘It has been a great pleasure. It will be a great pleasure. Thank you for writing such a wonderful score. Thank you for writing such wonderful songs for me. Thank you for your many kindnesses. I can think of no other production wherein I have been the recipient of so much consideration and thoughtfulness – so much of it from you . . . There’s no need to wish you luck.’58 Drake’s prediction came true the following day when the unanimously positive reviews declared the show a hit. Brooks Atkinson in the New York Times was especially full of praise for Porter’s achievement: ‘Cole Porter has written his best score in years, together with witty lyrics,’ he declared. The review continued:
Occasionally by some baffling miracle, everything seems to drop gracefully into its appointed place, in the composition of a song show, and that is the case here . . .
The Italian setting has practical advantage. It gives Mr. Porter an opportunity to poke beyond Tin Pan Alley into a romantic mood. Without losing his sense of humor, he has written a remarkable melodious score with an occasional suggestion of Puccini, who was a good composer, too. Mr. Porter has always enjoyed the luxury of rowdy tunes, and he has scribbled a few for the current festival – “Another Op’nin, Another Show,” “We Open in Venice,” “Too Darn Hot” and “Brush Up Your Shakespeare,” which is fresh out of the honky-tonks. All his lyrics are literate, and as usual some of them would shock the editorial staff of The Police Gazette.
But the interesting thing about the new score is the enthusiasm Mr. Porter has for romantic melodies indigenous to the soft climate of the Mediterranean. Although “Wunderbar” is probably a little north of the Mediterranean Sea, the warm breezes flow through it; and “So In Love Am I” has a very florid temperature, indeed.*
* Rodgers and Hammerstein’s third Broadway musical, Allegro, opened on 10 October 1947.
* Morgan Harjes & Co. was a Paris-based investment bank founded in 1868 by John H. Harjes.
† Robert Bray.
‡ A severe outbreak of influenza, reported in The Stanford Daily: https://stanforddailyarchive.com/cgi-bin/stanford?a=d&d=stanford19480109-0
1.2.5 (accessed 11 September 2018).
§ Michael Pearman, a friend of the Porters from the mid-1930s.
¶ Williamstown.
** Perhaps Lord Stanley, Sylvia Stanley Alderley’s ex-husband, though references to ‘Stannie’ in Porter’s letters to Stark normally relate to Stanley Musgrove.
†† The actress, model and socialite Sylvia Stanley Alderley, Lady Ashley, widow of Douglas Fairbanks Sr. (1904–77).
‡‡ Presumably the movie star Clark Gable.
* Kiss Me, Kate.
† The City and the Pillar was Gore Vidal’s third novel, published on 10 January 1948.
‡ On 27 January 1948, Porter also sent an impatient telegram to Stark: ‘WHY DONT YOU ANSWER QUICK MY LONG LETTER OR TELEPHONE REVERSE CHARGES=COLE.’ Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1948 (TLS on Waldorf stationery), 1–6.
* Porter’s worries about tax continued throughout his adulthood; see various letters in Chapters 4 and 5 where he expresses concern on the topic.
* Al Jolson (1886–1950), a prolific actor and singer, perhaps best remembered for his appearance in the early talking film The Jazz Singer (1927).
* Lemuel Ayers (1915–55), a prominent set designer of major Broadway (e.g. Oklahoma!, 1943) and Hollywood (Meet Me in St Louis, 1944) musicals. He also designed Kiss Me, Kate.
† Arnold Saint Subber (1918–94), producer of numerous Broadway productions. He was especially successful, later in his career, in producing seven of Neil Simon’s plays.
‡ Anything Goes, Red, Hot and Blue!, Du Barry Was a Lady, Panama Hattie and Something for the Boys.
* Presumably a reference to Richard Wagner’s Parsifal.
† The high-class French restaurant at the Ritz Tower Hotel in New York that the Porters regularly frequented.