The Letters of Cole Porter
Page 44
* Handwritten note at bottom: ‘We will have all the items listed for Mr Cole Porter on the morning of Oct 30, 1950. Thanking you for your order we remain, / Yours very truly / M. A. Menna.’
* Orry Kelly (1897–1964) was an Australian-American costume designer, whose formidable credits include over 300 films and three Academy Awards.
† A British play by Lesley Storm, which had opened on 27 September.
‡ A play that had opened on Broadway on 28 September. Gibbs was known as a journalist, hence Porter’s subsequent remarks.
§ Irving Berlin’s new musical, which opened on Broadway on 12 October. Lindsay and Crouse had written the book, a function they also performed for Porter’s Anything Goes and Red, Hot and Blue!
¶ Martha Raye (1916–94) was a popular comic actress of numerous films (including several musicals). Later, she had her own television show.
* The Philadelphia tryout came before Boston.
† One of the songs from Out of This World.
‡ George Abbott (1887–1995), perhaps the most respected and prolific director of Broadway musicals of the twentieth century.
* Agnes de Mille (1905–93), known primarily for her enormous impact as a choreographer (such as on Rodgers and Hammerstein’s Oklahoma! and Carousel) but also a prolific director.
† F. Hugh Herbert (1897–1958) was a veteran screenwriter and occasional playwright.
* Perhaps Robert Bray.
CHAPTER EIGHT
FROM LIMBO TO THE WRITING OF CAN-CAN, 1951–1952
Having survived the mixed reception of Out of This World, Porter was now without work for the first time in several years. In a letter to Sam Stark of 14 January 1951, Linda reported: ‘Cole is in the country, he only left yesterday as he was on Television Friday night – ‘We the People’ – + I am told he was excellent. The country does him great good – he rests + sleeps which is impossible in N.Y. – he got so tired, poor darling!’1 Writing to Stark himself ten days later, Porter expressed a hunger for a new project, evidently undaunted by the experience of the previous autumn:
24 January 1951: Cole Porter to Sam Stark2
Dear Sam: –
Thank you a lot for your letter of Jan. 20, 1951, enclosing the new notice on Kiss me, Kate in Los Angeles. It goes into my Scrap Book quick.
I have no idea when I am coming out. At the present moment I am looking for work, which means that I am hunting for a Broadway show for next season. I have one fairly well lined up for the season following,* but I don’t want to wait that long before going to work again.
You will receive shortly the album of Out of this World which is being sent to you by Columbia direct. It seems to me that it is rather good.
I received a strange card from you, advertising the Fish Shanty Restaurant.† Why should I like the Fish Shanty Restaurant?
[Howard] Sturges just arrived back from Palm Beach. His accounts of it make me long for Los Angeles all the more.
I am sending you, under separate cover, a novel called “The Night Air”,* which I want you to explain to me after you have read it. After you have finished it, please give it to Stan Musgrove, and ask him to give it to Bobbie Raison when he has finished it.
All of New York sends you love,
[signed:] Cole
Among the possible projects on offer to Porter was The Sobbin’ Women (a property that later became MGM’s Seven Brides for Seven Brothers with a score by Gene de Paul and Johnny Mercer):
24 January 1951: Cole Porter to Leland Hayward3
Dear Leland: –
Thank you very much for sending me “The Sobbin’ Women”. I shall take it to the country over the week-end, and report on my arrival back.
All my best,
Sincerely,
[signed:] Cole
He also received a suggestion of a show from Bella Spewack, who was no doubt keen to continue their collaboration after Kiss Me, Kate:
13 February 1951: Cole Porter to Bella Spewack4
Dear Bella: –
I am very sorry, but I can’t possibly imagine a musical made our [sic] of The Night was Young.†
Best,
[signed:] Cole
Nothing came of either suggestion, but Porter had at least a small job to keep him occupied: providing new lyrics for the London production of Kiss Me, Kate to address both the needs of the censor (the Lord Chamberlain) and the need to clarify a few cultural references for the British audience:
31 January 1951: Cole Porter to Jack Hylton*5
Dear Jack: –
I enclose altered lyrics for the English production of Kiss me, Kate. You will note that all the lyrics which have been altered are written in red ink.
All my best – and good luck to you.
Sincerely,
[unsigned]
Apparently, the new lyrics did not arrive on the first attempt at sending, because the choreographer Hanya Holm, who was to reproduce her Broadway choreography for the London production, wrote to Porter on 4 February: ‘During the first 4 days I was here, I auditioned 1400 dancers + singers . . . 20 dancers and 20 singers were picked. This is not the land of raving beauties but I did my best to combine talent with looks . . . By the end of this week, we will have the main outline of the show under control. There is nothing to worry as far as music concerns . . . Have you thought about the Bianca lyrics?’6 Porter replied:
8 February 1951: Cole Porter to Hanya Holm, London7
Dearest Hanya: –
I was very surprized [sic] to read your letter of Feb. 4, 1951, saying that you had not yet received the altered lyrics for the London production of Kiss me, Kate. I am sending you herewith a copy of all alterations which I have made. These were sent to Jack Hylton, by Air Mail, over a week ago. Will you please see to it that these alterations are made during rehearsal.
All the rest of your news is wonderful, and it sounds as if we are going to have a fine show.
We miss you here in New York.
Lots of love [unsigned]
[underneath:]
Dear Miss Holm:
The alterations for English production are the lines typed in red. Good wishes to you, and good luck – wish I were in London too.
Secretary. [Madeline Smith]
Kiss Me, Kate had also opened on the West Coast, and Sam Stark had gone to see the opening night with Robert Raison. Porter wrote to thank Stark for his report:
1 February 1951: Cole Porter to Sam Stark8
Dear Sam: –
Your letter dated “Sunday” arrived; I take it that it means last Sunday. I was delighted to hear that you and Bobbie [Raison] went to see the road company of Kiss me, Kate. I immediately notified the producers that Marc Platt’s* tights were dirty and that his shoes were unshined, and their retort was that they had received long letters from Edwin Lester† and Louis Shurr‡ in Los Angeles, who had gone to the opening night of Kiss me, Kate, both of whom reported on the fact that the production was immaculate. Could you possibly have gone to the wrong show?
I enclose a wire from Eddie Davis,§ as I have no idea where he lives. Will you kindly call him up and thank him for his thoughtfulness?
The Barberry Room is in the Hotel Berkshire. It is rather smart and gloomy. Michael [Pearman] seems to like his job very much, but I worry for him as I am so afraid that he will insult some of the customers, as not all of them belong either in the Social Register or to Burke’s Peerage.
Gracie¶ sends love,
[signed:] Cole
These letters suggest Porter was perfectly cheerful despite the critical reaction to Out of This World, which closed on 5 May after only 157 performances. Linda reported to Stark on 5 February that ‘Cole is in the country + returns today. His week ends do him endless good – no telephones, nobody can bother him – a real Ivory Tower. [Howard] Sturges goes with him next week end; on the 23rd he flies to Paris + Cole + I will miss him terribly. No one could have a nicer companion.’9 Without his closest friend Sturges at his side, Porter p
lanned to fly to California, partly to see the road company of Kiss Me, Kate, no doubt:
13 February 1951: Cole Porter to Sam Stark10
CAN YOU LUNCH WITH ME SUNDAY FEBR 18 AT 416 I MAY NEED YOU FOR SATURDAY NIGHT ALSO BUT CANT TELL YET. PLEASE LEAVE ANSWER WITH MAX. COLE
The next sequence of letters provides a detailed insight into Porter’s business affairs and in particular his partial lack of awareness as to his wealth and position. His lawyer, John Wharton, had taken over his business affairs in addition to his legal affairs in 1949, but Porter seemed concerned by the rise in the fee being requested:
14 February 1951: Cole Porter to John Wharton11
Dear John:
Correct me if I’m wrong, but I seem to recall that when we discussed the advisability of your office’s managing my business affairs during the early part of 1949, that you told me the fee would be $15,000. during a “show year.”
Although there was no show produced during 1949, your constant and expert advice during the building of OUT OF THIS WORLD, and in other business connections was invaluable, and there was no question in my mind but that you were fully entitled to the $15,000. fee. However, I do feel that the proposed fee of $25,000. for 1950 is a bit rough on me. Your explanation that the $25,000. actually costs me only 2,500. would relegate this business deduction to the top bracket and make other business deductions subject to a lesser tax deduction.
Don’t feel that I am underestimating your help or Ben’s . . . . . . . but do you think you can shave the fee somewhat?
With kindest regards,
Sincerely,
[signed:] Cole
Cole Porter
Wharton replied to Porter on 15 February12 explaining why he felt $25,000 was an appropriate fee for 1950, noting that his firm had taken on extra responsibilities – previously handled by his agent Dick Madden. But he added that after his explanation, Porter could ‘name the amount’ because ‘[c]omplete confidence between’ them was his priority.
Alongside this correspondence, Porter also wrote to Wharton’s firm to recommend a friend, the pianist and composer Lew Kesler. The letter, and a subsequent mention of Kesler in the letter of 7 March below, demonstrates Porter’s loyalty towards his friends:
[n.d.] February 1951: Cole Porter to John Wharton13
Dear John:
I am writing you in reference [sic] to a friend of mine, Lew Kesler, who has discussed his situation with me carefully and he wishes to connect himself with television. Because I think so highly of his talent, I feel free to prevail upon you with a letter of recommendation.
The following resume will acquaint you with his background. He was associated in an advisory capacity on the Production Staffs of:
“Jubilee”
Mary Boland
“As Thousands Cheer”*
Marilyn Miller and Clifton Webb
“I’d Rather Be Right”†
Geo. M. Cohan
“Hot Mikado”‡
Bill Robinson
“DuBarry Was A Lady”
Ethel Merman
“Panama Hattie”
Ethel Merman
“Let’s Face It”
Danny Kaye
“Something for the Boys”
Ethel Merman
“Mexican Hayride”
Bobby Clark
“Up in Central Park”*
“As The Girls Go”†
Bobby Clark
He also has to his credit two major night club shows produced in Florida which he staged and directed, featuring such personalities as – The Goldwyn Girls, Jack Cole Dancers, Jane Frohman [sic], Carmen Miranda, Ray Bolger and Joe E. Lewis.
Aside from his ability to direct, coordinate and organize, he is an accomplished pianist and musician and was associated with me on my shows for six years. If you would see him personally and talk to him, I am sure you would be convinced of his value.
Best regards
[unsigned]
Further correspondence with Wharton’s colleague Ben Schankman addresses other business matters, such as a possible regional production of Anything Goes and a radio show:
24 February 1951: Cole Porter to Ben Schankman14
Dear Ben:
Gene Mann just called me up, saying that he would like to produce ANYTHING GOES this summer at the Greek Theatre here and later take it to San Francisco, but he says that Edwin Lester‡ has the stage rights for ANYTHING GOES tied up and what is even worse, Lester has decided not to do it this summer.
I cannot believe that this is true, as I have never heard of the matter. Can you enlighten me?
In regard to your letter of February 21, 1951, concerning the proposed Cole Porter radio program, don’t you think that considering my very big income and my terrifying taxes for 1951, that it would be wiser to put this whole matter off until 1952, when in all probability my income will be much smaller?
If you agree with me about this, I still could start work on it here, although I should not like to spend more than four hours a week on it.
All my best.
Sincerely,
[signed:] Cole
Cole Porter
Porter’s next letter to Schankman mentions another musical he was considering – an adaptation of the French comedy film La Kermesse héroïque (Carnival in Flanders):*
7 March 1951: Cole Porter to Ben Schankman15
Dear Ben:
Thank you for your letter of February 23rd, 1951, regarding Mr. Geller. I have noted its contents.
In another letter from you, dated February 23rd, 1951, I talked to George Oppenheimer† on the telephone yesterday and he promised me an outline shortly. The night before talking to him, I discussed him and Harry Kurnitz‡ with Sam Goldwyn. Sam thinks that Oppenheimer might turn in an excellent script, but as for Mr. Kurnitz, he said “He can tell a good story, but he can’t write it.”
I enclose copies of letters I sent to Tams-Witmark and to Dick Madden.16 I hope these are correct.
In regard to the proposed Cole Porter transcription radio program, I am at the present moment not interested, mainly because after arriving here I suddenly realized how mentally tired I was and this mental fatigue continues; but I shall keep an open mind. I also received from you the letter which Martin Poll* wrote to you regarding this radio transcription program, and I shall keep it in my files.
Have you been able to see my friend, Lew Kesler[,] yet regarding his embarking upon a television career? In case you have lost his address, it is 155 East 48th Street. His telephone number is Plaza 5-4721 and he is usually in at 11:00 A.M. or at 6:30 P.M.
Sincerely
[signed:] Cole
Various offers continued to pour in for Porter to write a musical. For example, on 13 March a young writer called Allen Keith offered to send him a synopsis of a musical play he had written called Love or Money, but Porter seems not to have pursued the idea.17 On 14 March he wrote again to Ben Schankman, revealing his disappointment in the Carnival in Flanders material:
14 March 1951: Cole Porter to Ben Schankman18
Dear Ben:
In answer to your letter of March 8, 1951, in which you enclosed a letter from Martin Poll, my reaction is that perhaps I have been too quick in turning down this radio job. I might very easily be interested if you and John can assure me that you can make a deal by which I can get capital gain. Otherwise, I do not think it is practical.
In answer to your letter of March 9, 1951, I had already voted for Fred Ahlert† before receiving your letter.
In answer to your letter of March 12, 1951, I received the first draft from George Oppenheimer on Carnival in Flanders. My first reaction is that the story line is clear, but that it is totally lacking in humor. I have written asking him to send me some dialogued scenes before I turn it completely down. This is a great disappointment to me.
Regarding the letter to Tams-Witmark,* I take it that you first received the copy of my letter for your own files and that later the actual letter
to Tams-Witmark, care of you, arrived with the notation on the envelope “Please Forward”. This was done because I did not know the address of Tams-Witmark; in fact, I don’t know today what Tams-Witmark is.
Isn’t there any way, beside the letter which I wrote to Dick Madden, to stop him from making future deals without consulting your office and me? Has he the legal right to do this? I can’t believe that he has.
I appreciate deeply all the trouble that you have taken about my friend, Lew Kesler. I know how difficult it is to get a job for anybody. For years I have tried and for so many people, but usually without success.
All my best.
Sincerely,
[signed:] Cole
Cole Porter
P.S. the We, The People† broadcast recording arrived and I like it immensely.
The London production of Kiss Me, Kate opened on 8 March to mostly excellent reviews, which Porter’s mother Kate was pleased to note in a letter to his secretary, Madeline Smith:
n.d. [c. March 1951]: Kate Porter to Madeline Smith19
Dear Mrs Smith:
Thank you so much for the clippings about the London success of ‘Kiss Me Kate’. I read each and all greedily. I noticed some criticisms by sour Puss reporters but who cares? I believe they are plain jealous. I hear my son Cole shush me, and say “Ma every one has a right to his opinion”[.]
I know that you and Mrs. Pane are holding the fort alone and gallantly – and so am I, after a fashion –, for instance I have attended several little social gatherings, been to a Church Missionary Meeting (of all things!) and looked after household duties. Just now I am interesting in turning in my old five year car for a new one, that is always exciting. We still have Winter in Indiana and one Spring is [illegible]: the fields are brown and bare, I do understand there has been a bit of clover seed sowing –, but nothing else on account of weather conditions.