by Cole Porter
‡ i.e. Mr and Mrs Robert Sherwood.
§ William S. Paley (1901–90) was the chief executive of CBS and one of Porter’s closest friends. His wife, Barbara Cushing (1915–78), known as Babe, was a socialite and fashion icon who worked for Vogue for a period before her marriage.
¶ Baron Nicolas de Gunzburg (1904–81) was a French-born magazine editor of publications such as Town and Country, Vogue and Harper’s Bazaar.
** A troupe of Balinese dancers played New York’s Fulton Theatre from September 1952. John Martin in the New York Times described it as ‘a perfectly beautiful show’. John Martin, ‘Balinese Troupe Shows its Wares at the Fulton’, New York Times, 17 September 1952, 34.
†† Quadrille, which opened in London on 12 September 1952 and played Broadway in 1955.
* The famous press agent, Richard Maney.
† Perhaps the film journalist E. V. Durling (1893–1957).
* Perhaps E. V. Durling.
† Probably Helen Huntington Hull (1893–1976), arts patron, who was on the board of directors of the New York City Ballet.
‡ The Duke of Verdura.
* Walter Baxter’s best-selling novel Look Down in Mercy, dealing with the experiences of a British army officer in Burma during World War II, was published in New York in 1951.
† Madeline P. Smith.
CHAPTER NINE
TWO LAST BROADWAY HITS, CAN-CAN AND SILK STOCKINGS, 1953–1954
The first two letters of 1953 address business matters regarding ASCAP royalties and a legal case (valued at $150 million) being developed by ASCAP composers led by Arthur Schwartz against an alleged radio-television-record label monopoly, including the licensing agency BMI:*
8 January 1953: Cole Porter to John Wharton1
Dear John: –
I enclose two pages from the anniversary issue of Variety.
1. Why doesn’t Chappell mention Buxton Hill† in its list of publishing companies?
2. Is Irving Berlin also giving 5% of his ASCAP earnings to which I am asked to subscribe my 5%?
The reason I ask about this second item is not because I doubt your advice, but because more and more demands seem to be made upon me and I begin to worry about having adequate cash on hand in the future.
Best,
[signed:] Cole
15 January 1953: Arthur Schwartz to Cole Porter2
Dear Cole,
I want to thank you for your check. We are rapidly reaching our goal, and your contribution is a most substantial help.
Some day I’d like to tell you what we are doing. The conspiracy against all ASCAP writers is shocking.
Sincerely,
Arthur
In these matters, Porter was eager to be recompensed appropriately for his work, but equally he recognized the need to participate fully in issues affecting Broadway composers, of which he was one of the two or three most prominent. Nevertheless, business was not his milieu and a letter from Cy Feuer, regarding the actress Gwen Verdon’s (ultimately successful) audition for Can-Can, must have been of much more interest to him: ‘I have made arrangements for Gwen Verdon to fly into New York, arriving Saturday, the 24th. She’ll be ready to audition for us on Sunday, the 25th, at the 46th Street Theatre at 3 o’clock. It was necessary to make this arrangement because Miss Verdon has to leave here Sunday night to be back at 20th Century Fox Monday morning. Will you please make arrangements to be at the theatre at that time.’3 The correspondence of late January also suggests the possibility of a new musical. A letter from Fred Lounsberry to Porter of 28 January suggests that Lounsberry would produce and Norman Corwin* would direct and write the show, with a score by Porter. The titles mentioned are ‘The Undecided Molecule’† and ‘Descent of the Gods’.4 Porter wrote to John Wharton to keep him informed:
30 January 1953: Cole Porter to John Wharton5
Dear John: –
When Fred Lounsberry was here last week and saw me in regard to his book on my lyrics, he asked me whether I would be interested in writing an original musical score for television, with a book by Norman Corwin, and with him (Lounsberry) and his partner, Ray Wander, as co-producers. I said that I would be interested.
By the copy of the letter which I have just received from him, copy of which I enclose, you will see how far he has gone. I simply want you to be au courant about all this.
Best,
[signed:] Cole
The following letter to Sam Stark summarizes Porter’s activities over the Christmas period, including his continuing work on Can-Can, and also reveals a recent ailment:
31 January 1953: Cole Porter to Sam Stark6
Dear Sam: –
Thank you so much for your letter marked “Thursday”.
The Christmas holidays were a riot of cocktail parties, dinners and wonderful balls. But, finally, the gods caught up with me and gave me a strange skin disease* which has now been solved, but which is maddening as it is an itch, due to iodine poisoning. Luckily, I am at least in the hands of a great dermatologist who found the secret of my trouble, and by persistent injections of arsenic I shall either get well or go to my grave.
I continue writing for the show.† It looks as if I should never finish. The dancers go into rehearsal on Feb. 16th, and everybody else a week later. Then, after four weeks, we open in Philadelphia for a month’s run, and then to the critics of New York. It looks as if I should come West during the last week of April and oh, how I shall welcome it. What a joy it will be to sit in my little back yard again by the pool. I have an added reason for longing for this, as somebody gave me a bird whistle for Christmas. By means of this whistle, I can imitate the songs of all the different birds and attract them to my side. The only thing left for me to do is to be converted into the Catholic church and become another Saint Francis of Assisi.*
It was grand to hear that your book is beginning to take shape and to please you. I don’t agree with you that everybody else is bored with this book. I think it will be a “must”, and I can’t wait to buy a copy.
Love,
[signed:] Cole.
4 February 1953: Cole Porter to Sam Stark7
Dear Sam: –
The Reader’s Encyclopedia just arrived, and I thank you very much indeed. It looks to me like an excellent reference book and I wouldn’t think of letting Linda even touch it.
Forgive me if I don’t write at length, but I am harassed with work. Everybody here is fine; in fact, Linda is so well that often I invite people to my sitting-room for dinner instead of to the Pavillon, so that Linda can dine with us – and its [sic] so much more pleasant thus.
We both send love.
[signed:] Cole
While being harassed to complete Can-Can, Porter also received an offer of a further (unknown) project, which did not prove tempting:
4 February 1953: Cole Porter to Robert Montgomery8
Dear Bob: –
I am returning to you the synopsis which Jack Hylton† asked me to read. It seems to me that it is beneath contempt.
Best
[unsigned]
Other matters had to be attended to as well. He received the first draft of the screenplay of Kiss Me Kate (the movie dropped the comma from the title) on 12 February in order to approve the addition of an opening scene in which Porter himself was depicted as a character. Then on 9 March he also received a request from RCA to have his own performance of ‘You’re the Top’ included on an album to accompany a book called Show Biz by Abel Green and Joe Laurie.9
On 1 March, Sam Zolotow made an announcement in the New York Times:
Acting on the entirely laudable theory that no one should permit Cole Porter to be idle for too long, the firm of Cy Feuer and Ernest Martin disclosed the other day that they had reached an agreement with Mr. Porter to compose a score for a musical to be offered sometime next season. Just what the subject will be, the gentlemen who sponsored “Where’s Charley?” and “Guys and Dolls” would not say. It will, however, be modern in concept as compared with
their currently rehearsing “Can-Can,” which is set in the Paris of the Nineties and for which Mr. Porter provided the words and notes to a book by Abe Burrows . . . In any event, this is the schedule for Mr. Porter: He will, of course, be present hereabouts until the opening of “Can-Can” at the Shubert on April 23. Following that he heads for Hollywood to attend the filming of “Kiss Me, Kate,” the musical he wrote with Bella and Samuel Spewack.* The chore completed, he will put on his composer’s cap and begin picking out the melodies for the contemplated musical.10
Evidently Porter’s relationship with Feuer and Martin was so strong that they already had further plans to work together, but first they had to see Can-Can through to its Broadway opening. Madeline P. Smith wrote ahead to Porter’s preferred hotel in Philadelphia to ask them to make preparations for his visit:
6 March 1953: Madeline P. Smith to Barclay Hotel, Philadelphia
ROOM SERVICE CAPTAIN(S)
Mr Arthur Pieri - or successor (and associates)
BARCLAY HOTEL
Philadelphia, PA
Dear Sir: –
Herewith enclosed is a list of Mr. Cole Porter’s needs in his suite during his stay at the Barclay Hotel while his new show (“Can-Can”) is playing in Philadelphia.
He will greatly appreciate it if you will kindly see that these supplies are on hand at the time of his arrival: Tuesday, March 17th, 1953.
Thanking you in anticipation of your usual excellent service,
Yours very truly,
[unsigned]
Secretary to COLE PORTER
TO BE PUT IN PANTRY OF COLE PORTER’S SUITE
2 Ice buckets filled with ice cubes (to be put in bottom of ice box)
1 Dinner Table – (put in second bedroom)
1 breakfast table “ “ “ “
1 breakfast bed tray
2 large serving trays
2 dozen linen napkins
6 coffee cups & saucers
6 dessert plates
6 fish plates
6 Dinner plates
6 bread & butter plates
6 finger bowls
6 demi-tasse cups & saucers
12 white wine glasses (long stems)
12 High ball glasses
12 cocktail glasses
6 old fashioned glasses
3 sherry wine glasses
10 dessert spoons
10 coffee spoons
10 dinner knives
10 dinner forks
10 fish forks
6 butter knives
6 serving spoons
6 demi-tasse spoons
10 glass tumblers
6 cereal bowls
10 Tall, slim beer glasses
1 12-inch silver platter
6 cordial liqueur glasses
In addition, Madeline Smith wrote to the Libros Apothecary in Philadelphia with a list of items to be placed in Porter’s suite in time for his arrival:
2 large bottles Witch Hazel
3 Bromo Selzer Dispenser
2 Large Eno Fruit Salts
2 large Phillips Milk of Magnesia
1 large Nivea Skin Oil
2 l-lb Anhydrous Lanolin
2 4-oz Noxema Shaving Cream
6 Aromettes – assorted scents
1 carton pocket Kleenex
2 Tubes Toilet Lanolin
12 pkgs Dr. Scholl’s Calous Pads - K 31
1 Carter’s Little Liver Powder
2 Roger Gallet White Pomade
1 Carton Gillette Red Razor Blades – 20 pkg. size
1 pint Alcohol – 90% proof
1 pint Hydrogen Peroxide
2 Pkgs. EOETS
1 4-oz Boric Acid Solution
2 Small PRIVINE
12 large KLEENEX
In the middle of the tryouts of Can-Can, Porter wrote to his friend Gerald Murphy to thank him for sending some records of the music of J. S. Bach, a reminder of Porter’s interest in a range of musical genres. In return, he sent Murphy a copy of Bob Merrill’s ‘How Much Is That Doggie in the Window?’ that had been released in January in a hit recording by Patti Page (it reached No. 1 in the charts):
Cole Porter to Gerald Murphy, 1 April 1953*
Dear Gerald: –
I played the Bach recordings over and over again. They are very beautiful. I also had great difficulty understanding what the crowd was singing when they sang “Tais-toi”. Could they possibly have been addressing God? And, if so, why?
I am sending you, from Liberty Music Shop, the most popular record in the country, titled “Doggie in the Window”. To me, this is the most repulsive song that has ever been written. Please send me your comment.
Love to you both,
[signed:] Cole
The first performance of Can-Can in Philadelphia at the Shubert Theatre took place on 23 March and Porter’s initial reaction by telegram to Sam Stark was positive:
25 March 1953: Cole Porter to Sam Stark11
MANY THANKS FOR WIRE EVERYTHING IS GRAND LOVE=COLE=
In the event, the tryouts of Can-Can were extended, for reasons Porter later disclosed to his friend Jean Howard:
9 April 1953: Cole Porter to Jean Howard12
Dearest Jean: –
Thank you for your letter dated “Sunday” – which Sunday?
Please plan to stay longer in California. At present, it looks as if I would hit the Coast around the 10th of May, as I believe Can-Can will be put off another week before opening in New York. We are going through constant re-writing in Philadelphia, and cutting. On the opening night in Philadelphia, the show was 45 minutes too long, and it is very tough to take 45 minutes out of a show and still have a show left. In any case, we are all working very well together and I am devoted to Abe Burrows and the two producers.
I took Linda out for a drive last Sunday, as it was such a glorious day here. I took her up to Harlem to see the Easter hats on parade, and suddenly she began to suffocate. I got her back here as soon as possible, and she went into her oxygen tent. By evening her temperature was three degrees over normal, and the nurses had to be called again, to be there around the clock. This is most discouraging for her as it looked as if she had entirely recovered two weeks ago, after having been seriously ill since February 1st. I wonder constantly at her great courage.
I have no idea why [Howard] Sturges hung up so suddenly when I called you the other night from Williamstown. Perhaps it was because I hadn’t warned him that I was calling you and he was already too sleepy to make sense. He flew off to Switzerland last Sunday, to be met by Christos, who drove him immediately to Cannes. This proves once again what Linda and I have always maintained, which is that he hates Paris and always devises some means of being elsewhere.
I pine to see you and I do hope that when I arrive you will give me a little of your precious time.
My love to you both,
Your fan,
[signed:] Cole
Despite the problems with the length of the show, it contained several hits, including ‘I Love Paris,’ ‘C’est Magnifique’ and ‘It’s All Right With Me’. As always, Stark requested copies of the sheet music for his collection from Porter, who wrote back, teasing him about it:
7 April 1953: Cole Porter to Sam Stark13
Dear Sam: –
Your gay little letter of March 31st arrived and it was nice to hear from you. I have notified Dr. Sirmay, at Chappell’s, to send you the sheet music. I have already sent this music to several people, and I hesitated to send it to you until you mentioned it, as I thought that probably by now you were only interested in Gregorian chants.
Love,
[signed:] Cole
While Can-Can was still undergoing changes, Porter also had to accept changes to some of his lyrics for the screen version of Kiss Me, Kate due to the censor’s office:
10 April 1953: Saul Chaplin to Cole Porter14
Dear Cole Porter:
In the song WE OPEN IN VENICE, it was necessary to change the reference to L. B
. Mayer. We are using the following lines:
“. . . A group of strolling players are we.
Shakespearean portrayers are we . . .”
The rest of the lyrics remain intact.
In the song I HATE MEN, the censors objected to certain lines. We are using therefor: [sic]
“. . . I Hate Men.
They should be kept like piggies in a pen.
Don’t wed a traveling salesman,
Though a tempting Tom he may be.
For on your wedding night he may be off to far Araby.
While he’s away in Mandalay,
It’s thee who’ll have the baby.
Oh, I Hate Men.
“If Thou shouldst wed a businessman,
Be wary, oh, be wary.
He’ll tell you he’s detained in town on business necessary.
His business is the business with his pretty secretary.
Oh, I Hate Men. . .”
The above lyrics are acceptable to the censors. We will, of course, welcome any suggestions or improvements. [. . .]
13 April 1953: Cole Porter to Saul Chaplin15
Dear Mr. Saul Chaplin: –
Thank you for your letter of April 10, 1953, which contained the revision on the Kiss Me, Kate lyrics. I congratulate whoever did them, and I highly approve.
One day I want to give a big party and invite nothing but Censors, to find out how their minds work.
Yours
[unsigned]
Another aspect of the screen adaptation of Kiss Me, Kate was the decision to interpolate ‘From This Moment On’, which had been cut from Out of This World in 1950, into the score, rather than having Porter write three new songs (which had originally been agreed). John Wharton wrote to Porter to explain a hitch with the plan:
21 April 1953: John Wharton to Cole Porter16
Dear Cole:
I wanted to explain the following rather complicated matter to you in person, but Mrs. Smith says that you may not be in New York until next week. Consequently, I shall try to make it clear in this letter.
As you of course know, Metro has offered to pay you $7500 for the right to use “From This Moment On” in KISS ME KATE and terminate your obligation to write from one to three additional songs for the picture. Max Dreyfus feels that Buxton Hill should receive a synchronization fee of $2500 from Metro for this use. He has, I think, a legal right to ask for a synchronization fee.
