by Cole Porter
3 August 1952: Cole Porter to Madeline P. Smith92
DEAR MRS. SMITH: THE GREAT KATIE DIED LAST NIGHT AUGUST 2. AFTER HER STROKE SHE SUFFERED NO PAIN. I THOUGHT YOU WOULD WANT TO KNOW. PLEASE NO FLOWERS. MY BEST REGARDS=COLE PORTER
Considering Porter was so close to his mother, it is perhaps surprising that he resumed work on Can-Can so quickly. In the next letter he sends Burrows what must have been the lyrics to the title song:
12 August 1952: Cole Porter to Abe Burrows93
Dear Abe:
I am enclosing the lyrics to a new song which could easily be the most important in the Show. As far as numbers go, this song could be sung by a solist [sic] alone on stage or to several other people on stage. It need not be danced to immediately after the vocal is finished, but could be used as a dance number later in the Show. This is a real Can-Can in its tempo and in its feeling. I shall send you the music to this shortly.
I am already working on two other sets of lyrics which will become the fourth and fifth refrains. I hope to write even more lyrics, as this song can easily become a national game, such as was “Your [sic] The Top” and “Let’s Do It”.
Ci [sic, Cy Feuer] has asked me not to write any more, but merely to clear up what I have written so far. This I shall do so as not to encumber your book any more.
All my best –
Sincerely
[signed:] Cole
On 23 August, Michael Kidd (of Feuer and Martin’s Guys and Dolls) was signed to choreograph Can-Can, but the show is only occasionally mentioned in the extant correspondence of the rest of 1952. For example, Porter wrote the following note to Feuer and Martin about rehearsal pianists for the production, providing an insight into his musical sensitivity towards his choice of collaborators:
10 September 1952: Cole Porter to Cy Feuer and Ernest Martin94
Dear Cy and Ernie: –
I enclose the addresses of the two best pianists I know for rehearsal, to teach singers. I prefer Alan Moran to Irving Schlein but I have worked with them both and they are excellent.
Sincerely,
[signed:] Cole
Alan Moran
111 Adams St.
Sea Cliff, L.I.
Irving Schlein
266 Lenox Road
Brooklyn 26, N.Y.
But the majority of the other letters to the end of 1952 deal with personal or business issues. For example, this letter unexpectedly reveals the marriage of Sam Stark:
21 August 1952: Cole Porter to Sam Stark95
Sammy –
When you said on the phone “Oh Cole, I’m going to be so happy” I began to bawl like a baby for your happiness is vital to mine. I can’t tell you how delighted I am at this beautiful news, dear Sam.
My love to your bride.
Your devoted
Cole
On 3 September it was agreed that Knopf would publish the libretto of Kiss Me, Kate; the agreement was signed in November.96 Then on 13 September, Porter started to deal with issues related to his mother’s estate, for example forwarding a bill for flowers to his cousin Harvey to pay from Kate’s money:
13 September 1952: Cole Porter to [Albert] Harvey Cole97
Dear Al: –
This should be paid from my Mother’s estate, under the item of “funeral expenses.”
Best,
[signed:] Cole
In another update to Stark, Porter reveals his lively social life, which he resumed after the hard work of writing the score for Can-Can. He seems not to have been entirely enthusiastic about Stark’s engagement at this point:
17 September 1952: Cole Porter to Sam Stark98
Dear Sam: –
I died laughing at your letter from Palm Springs. I am more convinced than ever that the sooner you can get out of that tie-up gracefully, and the sooner you can stop kidding the Pope, the happier you will be. During all of your latter visits to me before I left, I felt that you had been drugged, and I think you owe it to everyone, especially Allen [Walker], to become your old delightful self again.
You ask me what I am doing. I continue to give small dinners in my little apartment here at the Waldorf. Last night, I had Charlie Chaplin and Harry Crocker* (Oona was ill),† the Bob Sherwoods‡ and the Bill Paleys;§ and we had a wonderful time, as Chaplin took the stage and went on and on. You would have liked it.
Tonight, Niki de Gunzberg¶ [sic] and I go to see the Balinese Dancers, who opened only last night.** The papers are full of rave notices.
By the way, Noel Coward’s play†† for the Lunts is one of the biggest hits of his life, and they all believe that it will continue for quite a few years, but it opened last night in London to unanimous panning by the London critics. The play, however, is so strong that it can survive and do beautifully.
Thank you so much for sending me the article from the New Yorker on the Saucers.99 For some reason, I had missed it and shall read it with great interest over the week-end. I sent you Hedda Hopper’s book.100 It is entertaining. I also ordered for you, to be sent as soon as it comes out, Tallulah Bankhead’s book.101 I have an advance copy. It is synthetic trash and I believe Dick Maney* must have written most of it.
[Howard] Sturges and Brother Warren are both up with Linda, and I return on Friday, as usual.
Love,
[signed:] Cole
The next letter from Porter was written in acknowledgement of a present from Stark of Hammond’s Nature Atlas of America, a hardcover atlas by E. L. Jordan, which contained 320 colour plates:
30 September 1952: Cole Porter to Sam Stark102
Dear Sam: –
Hammond’s Nature Atlas of America just arrived. What a beauty! This will give me years of pleasure, and I thank you so much.
Also, I thank you for the clipping from your old pet, Durling.†
I just motored down from the country with [Howard] Sturges. Jean Feldman [Howard] was there with us too, and we had a lovely time, as Linda seemed slightly better. The leaves become more beautiful every week-end and I only wish that you were a free man so that you could hop on a plane and come to stay with us until we close the house.
Love,
[signed:] Cole
Although most of the score of Can-Can had been completed over the summer, the next letter shows that Burrows and Porter were still corresponding about it:
3 November 1952: Abe Burrows to Cole Porter103
Dear Cole:
Here are some possible content for the special material section of the “If You Loved Me Truly” sequence:
CLAUDINE
Dancing makes her happy.
Dancing makes her feel like a bird.
Dancing makes her feel like a queen.
Dancing makes her feel beautiful.
Dancing makes her feel loved.
BORIS
When a woman has a man she should think of nothing else but him.
Her career should be secondary to his.
She should be happy to die for him, if necessary.
She should be a sweetheart and a mother.
Other great artists’ sweethearts have always looked after them.
Rembrandt’s girl wasn’t a dancer.
Beethoven’s girl looked after him.
Dancing is not an art -- it is just something to do with your feet.
Boris can refer to Claudine as “My dear Mademoiselle Premiere Ballerina.”
GABRIELLE AND/OR CELESTINE
She agrees with Claudine.
Maybe a girl can get famous and rich from dancing.
She can have a mansion with a chaise longue and a bed.
Maybe a girl can meet rich men.
Maybe she can become a mistress of a member of the Ministry.
Maybe she can become attached to a handsome attache.
Maybe she can meet a banker, American or Swiss.
Maybe one can have a bathtub of one’s own.
All the above male things can be used interchangeably for Boris or the Quatz’ Arts boys and similar
things can be used interchangeably by the girls except that Claudine is the only one who should not have lines about other men, etc.
I think it will be a good idea if the three other girls and the Quatz’ Arts boys are brought into the song through the fact that they “butt in” on the discussion between Boris and Claudine.
I am enclosing the last section of Scene 3 which follows what you have and which leads up to the “If You Loved Me Truly” sequence. You will notice that the last two lines of dialogue establish the “you do not love me” business. I thought from here you would go into the special material argument, then into your verse and song, but the fact that the argument came out of the “you do not love me” construction means that your two lines of dialogue provide a headline which makes a solid unit out of the whole sequence.
I’ll be home all day tomorrow, Tuesday. Will you call me as soon as you have a chance to digest this.
Best,
[unsigned]
The final letter of 1952 shows Porter bringing Stark up to date with his social life, though he also mentions that he is still working hard on Can-Can:
11 November 1952: Cole Porter to Sam* Stark104
Dear Sam: –
Mrs. [Madeline P.] Smith thanks you infinitely for the stickers which you sent to make her life easier,∗ and I add my gratitude.
Thank you for the clippings from your pet, Durling.*
Thank you very much for the vintage chart of French wines, with the calendar on the back.
I was distressed to hear the news about Paula Holmes and I shall write her a note at once.
You sound very happy indeed in your letter and this is, as you know, what I always want most for you. The only time I see red is when you let me know that you are not happy.
I am working very hard over every week-end, and leading a wild life in New York. I’ve taken up cocktail parties. I never thought that I should sink that low. Tonight, [Howard] Sturges, Helen Hull,† Fulco‡ and I go to the City Center Ballet, and we shall miss you.
Love to all the gang, and especially to Allen [Walker]. Tell Allen that I have sent a book to Stanley Musgrove, asking him to forward it to Allen after he has finished reading it. I believe it will interest Allen a great deal. It’s [sic] title is Look Down in Mercy.*
Love,
[signed:] Cole
P.S. – Linda has a new neck piece of the four most beautiful and fattest sables I have ever seen, and it has made her radiant. After all it’s the little things that count.
---------
* I do. Cleverest and useful-est idea that has come my way in a long time.
[signed:] M.P.S.†
* Can-Can.
† A seafood restaurant in Los Angeles that opened in 1950. For more information, see http://martinostimemachine.blogspot.com/2014/06/fish-shanty-and-kooky-world-of-la.html (accessed 11 September 2018).
* The Night Air (The Dial Press, 1950) was a recent novel by Harrison Dowd, dealing with homosexuality.
† A play that the Spewacks had written. It was registered for copyright in 1932 (renewed 1959) but seems not to have been produced.
* Jack Hylton (1892–1965) was a bandleader and later a producer of musicals in London, including the West End production of Kiss Me, Kate.
* The dancer Marc Platt played Bill in the national tour of Kiss Me, Kate.
† Edwin Lester (1895–1990) was a major producer of musicals on the West Coast.
‡ Louis Shurr (?–1967) was a prominent Hollywood agent, with clients including Bob Hope and Betty Grable.
§ Porter probably means the saxophonist Eddie Davis (1922–86).
¶ Linda’s dog.
* Irving Berlin’s Broadway musical of 1933.
† Rodgers and Hart’s show of 1937.
‡ An African-American Broadway version of Gilbert and Sullivan’s The Mikado from 1939.
* A Broadway musical (1945) by Sigmund Romberg and Dorothy and Herbert Fields.
† A musical comedy by Jimmy McHugh and Harold Adamson (1948).
‡ Edwin Lester (1895–1990) was a director and producer of numerous productions, most notably overseeing the Los Angeles Light Opera Company for many years.
* The film – known in English as Carnival in Flanders – was released in 1935. In 1953 a Broadway musical adaptation appeared with a score by Johnny Burke and Jimmy Van Heusen. It was a flop at only six performances but gave rise to the standard ‘Here’s that Rainy Day’.
† The screenwriter George Oppenheimer’s (1900–77) projects included the Marx Brothers movie A Day at the Races (1937).
‡ Harry Kurnitz (1908–68) was best known for writing material for Errol Flynn but also wrote the screenplay for such musicals as Ship Ahoy (1952) and One Touch of Venus (1948).
* Martin Poll (1922–2012) was a prolific producer for film and television, including The Lion in Winter (1968).
† Frederick Ahlert (1892–1953) was a prolific songwriter of such standards as ‘Mean to Me’ and ‘I’m Gonna Sit Right Down and Write Myself a Letter’.
* The Tams-Witmark theatrical rentals company.
† Porter’s appearance on We, the People was Season 4, Episode 2, and aired on 12 January 1951.
* Lou Bearss, an old friend of the Porter family.
† Madeline Smith’s daughter.
‡ Joseph A. Fields (1895–1966) and Jerome Chodorov (1911–2004), playwrights; they won the Tony Award for writing the book for Wonderful Town (1953).
* Gloria Safier (1921/2–85), writers’ agent and representative for actors including Elaine Stritch and Mary Astor.
† Irene Sharaff (1910–93), a celebrated costume designer. She later won a Tony Award for The King and I in the 1952 awards ceremony.
* Berkeley Square was a play by John L. Balderston from 1926 whose Broadway (1929) and film (1933) versions both starred Leslie Howard.
* James Donahue Jr. (1915–66) was an heir to the Woolworth fortune.
† Wallis, Duchess of Windsor.
* A Tree Grows in Brooklyn had recently opened on Broadway, with a score by Arthur Schwartz and Dorothy Fields.
* Frances Goldwyn (1903–76) was a Hollywood actress from 1925 to 1935 and became the second wife of legendary producer Samuel Goldwyn in 1925.
† A reference to Kiss Me, Kate.
* It has not been possible to identify Dud or Christos in this letter.
† Whitney Warren Jr. (1898–1986), son of the architect Whitney Warren (1864–1943), was a horticulturalist who lived in San Francisco.
* Perhaps Robert Bray.
* Harry Cohn (1891–1958), co-founder of Columbia Pictures.
* A play of 1923 by Harry James Smith, which was adapted into a film in 1931 starring William Haines (Porter’s landlord in California).
† Schwab’s Pharmacy was a famous drugstore where movie actors could often be found. Thanks to Ian Marshall Fisher for this observation.
* The Authors League was founded in 1912 to promote writers’ rights, including freedom of expression and copyright.
† Sam H. Harris (1872–1941) was a prolific theatre producer whose credits included Jubilee (1935).
‡ Dorothy Kilgallen (1913–65) was a journalist and was a regular panellist on What’s My Line? from 1950.
* Hart was in California with his film Hans Christian Andersen.
* Linda’s dog.
* The General Hospital in Boston.
† Curare, a common drug treatment of the period that aided muscle relaxation.
* Elsa Maxwell.
† The Fourposter was a play by Jan de Hertog. As Porter intimates, there were only two actors in the cast.
* Allen Walker, Stark’s partner, who was thinking of moving to Mexico for work.
† Porter signed his contract for the programmes on 18 February. Source: contract with Marlow Lewis, executive producer at CBS, for two appearances on the Ed Sullivan Toast of the Town show on 24 February and 2 March 1952 (it was broadcast a day after filming on each occasion). A photograph i
s available at https://commons.wikimedia.org/wiki/File:Ed_Sullivan_Cole_Porter_Toast_of_the_Town_1952.JPG.
‡ Porter’s landlord in California.
* Probably an article by Porter’s critical nemesis, George Nathan.
* Mentioned in Sam Zolotow, ‘“Seventh Heaven” Bought by Lesser’, New York Times, 18 February 1952, 14. Seventh Heaven was eventually produced in 1955 with a score by Victor Young. Austin Strong (1881–1952) was an American writer of plays and films.
† Robert Montgomery (1923–2000) was an associate at Wharton’s firm at the time, though he went on to become a senior partner and later became the trustee of Porter’s estate.
* Porter’s phonograph.
* A dance popular in France during the first half of the twentieth century.
* Burrows’s wife was called Carin.
† Feuer’s producing partner.
* The Bal des Quat’z’Arts was an annual ball held in Paris between 1892 and 1966.
* See also the letter of 11 October 1952 from John Wharton to Irving Lazar (CPT, Correspondence 1952): Wharton writes to Lazar concerning the possibility of a movie version of Jubilee. Lazar wanted to act as Porter’s agent in Hollywood for the project, but Wharton wanted to be sure that none of the people who represented Porter at the time of the Broadway show would want to add commission. Nothing came of the project.
* Ray Stark (1915–2004) was one of the most successful movie producers of the twentieth century, with important titles including West Side Story (1961), Lolita (1962), and Funny Girl (1968).
† The Barretts of Wimpole Street (1930) is a play by Rudolf Besier. It was later turned into a musical, Robert and Elizabeth (1964), with a score by Ron Grainer.
‡ The cocker spaniel Flush plays a major part in the plot of the film.
* CPT, Correspondence 1952. On 23 July it was also announced that Lilo, ‘a French entertainer’, would play the role originally designed for Carol Channing in Can-Can. See Sam Zolotow, ‘“I Am a Camera” Will Not Reopen’, New York Times, 23 July 1952, 20.
* Harry Crocker (1893–1958) was a journalist for the Los Angeles Examiner, but earlier in his life he had appeared in a number of Hollywood films, including Charlie Chaplin’s The Circus (1928). He was also Chaplin’s assistant for a period.
† Charlie Chaplin’s fourth wife.
