Kiss Me Kate (Broadway Cast Recording) by Cole Porter on Apple Music by theatergeek this version is probably one of the best of cole porter's kiss me kate. the vocals are less operatic than many of the earlier recordings while the beautiful melodies are still brilliantly shown. another op'nin' another show, too darn hot, and so in love are standards that lasted that test of time. a great buy for anyone who loves broadway One of the greatest revivals of all time! by DCI Tupolski Brian Stokes Mitchell, Marin Mazzie, and others have revived one of the greatest musicals of all time. Cole Porter would be proud! Brian Stokes Mitchell has the power behind Fred Graham's character and voice. Marin Mazzie puts Lilli Vanessi's relationship with Fred on MANY levels and has wonderful energy along with the entire chorus. Our school did "Kiss Me, Kate" and definetely took pointers from this recording, I FULLY recommend it! Another Amazing Show by Cole Porter by musicmaker33 This version of Kiss Me Kate is arguably the best soundtrack out there right now.

Marin Mazzie is absolutely wonderful in the song So In Love and I Hate Men, and Brian Stokes Mitchell's strong baritone voice resounds throughout the song Were Thine That Special Face and Where is the Life That Late I Led? Kiss Me Kate has some great songs. May I also recommend buying the DVD of the production with Rachel York and Brent Barrett. Biography Born: June 9, 1891 in Peru, IN Genre: Jazz Years Active: '10s, '20s, '30s, '40s, '50s, '60s Many arguments could be generated over whether Cole Porter or Irving Berlin should be considered America's greatest tunesmith. Both wrote music and lyrics; it's clearly a pick 'em situation. Porter had violin and piano lessons as a child, pursued undergraduate studies at Yale (where he penned fight songs that endure to this day such as "Bulldog"), and studied law and music at Harvard, all courtesy of a rich grandfather. His grandfather was appalled Porter would consider music as a career and never... Top Albums and Songs by Cole Porter 1.

Cole Porter - Biography - IMDb Cole Porter Biography Showing all 34 items Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trivia (23) | Personal Quotes (3) | Salary (2) Overview (4) 5' 6" (1.68 m) Mini Bio (1) Cole Porter was born June 9, 1891, at Peru, Indiana, the son of pharmacist Samuel Fenwick Porter and Kate Cole. Cole was raised on a 750-acre fruit ranch. Kate Cole married Samuel Porter in 1884 and had two children, Louis and Rachel, who both died in infancy. Porter's grandfather, J.G. Cole, was a multi-millionaire who made his fortune in the coal and western timber business. His mother introduced him to the violin and the piano. Cole started riding horses at age six and began to studying piano at eight at Indiana's Marion Conservatory. By age ten, he had begun to compose songs, and his first song was entitled "Song of the Birds".

He attended Worcester Academy in Worcester, Massachusetts, in 1905, an elite private school from which he graduated in 1909 as class valedictorian. That summer he toured Europe as a graduation present from his grandfather. That fall, he entered Yale University and lived in a single room at Garland's Lodging House at 242 York Street in New Haven, CT, and became a member of the Freshman Glee Club. In 1910, he published his first song, "Bridget McGuire". While at Yale, he wrote football fight songs including the "Yale Bulldog Song" and "Bingo Eli Yale," which was introduced at a Yale dining hall dinner concert. Classmates include poet Archibald Macleish , Bill Crocker of San Francisco banking family and actor Monty Woolley . Dean Acheson , later to be U.S. Secretary of State, lived in the same dorm with Porter and was a good friend of Porter. In his senior year he was president of the University Glee club and a football cheerleader. Porter graduated from Yale in 1913 with a BA degree.

He attended Harvard Law school from 1913 to 1914 and the Harvard School of Music from 1915 to 1916. In 1917 he went to France and distributed foodstuffs to war-ravaged villages. In April 1918 he joined the 32nd Field Artillery Regiment and worked with the Bureau of the Military Attache of the US. During this time he met the woman who would become his wife, Linda Lee Thomas, a wealthy Kentucky divorcée, at a breakfast reception at the Ritz Hotel in Paris. He did not, as is often rumored, join the French Foreign Legion at this time, nor receive a commission in the French army and see combat as an officer. In 1919 he rented an apartment in Paris, enrolled in a school specializing in music composition and studied with Vincent D'indy. On December 18, 1919, married Linda Lee Thomas, honeymooning in the south of France. This was a "professional" marriage, as Cole was, in fact, gay.

Linda had been previously married to a newspaper publisher and was described as a beautiful woman who was one of the most celebrated hostesses in Europe. The Porters made their home on the Rue Monsieur in Paris, where their parties were renowned as long and brilliant. They hired the Monte Carlo Ballet for one of their affairs; once, on a whim, they transported all of their guests to the French Riviera. In 1923 they moved to Venice, Italy, where they lived in the Rezzonico Palace, the former home of poets Elizabeth Barrett Browning and Robert Browning . They built an extravagant floating night club that would accommodate up to 100 guests. They conducted elaborate games including treasure hunts through the canals and arranged spectacular balls. Porter's first play on Broadway featured a former ballet dancer, actor Clifton Webb . He collaborated with E. Ray Goetz , the brother-in-law of Irving Berlin , on several Broadway plays, as Goetz was an established producer and lyricist. His ballad "Love For Sale" was introduced on December 8, 1930, in a revue that starred Jimmy Durante and was introduced by Kathryn Crawford .

Walter Winchell , the newspaper columnist and radio personality, promoted the song, which was later banned by many radio stations because of its content. In 1934, his hit "Anything Goes" appeared on Broadway. During the show's hectic rehearsal Porter once asked the stage doorman what he thought the show should be called. The doorman responded that nothing seemed to go right, with so many things being taken out and then put back in, that "Anything Goes" might be a good title. Porter liked it, and kept it. In 1936, while preparing for "Red, Hot and Blue" with Bob Hope and Jimmy Durante , Ethel Merman was hired to do stenographic work to help Porter in rewriting scripts of the show. He later said she was the best stenographers he ever had.

Porter wrote such classic songs as "Let's Do It" in 1928, "You Do Something To Me" in 1929, "Love For Sale" in 1930, "What Is This Thing Called Love?" in 1929, "Night and Day" in 1932, "I Get A Kick Out Of You" in 1934, "Begin the Beguine" in 1935, "My Heart Belongs to Daddy" in 1938, "Don't Fence Me In" in 1944, "I Love Paris" in 1953, "I've Got You Under My Skin", In the Still of The Night", "You'd Be So Nice To Come Home To", "True Love", "Just One Of Those Things", "Anything Goes", "From This Moment On", "You're The Top", "Easy to Love" and many, many more.

On October 24, 1937, taking a break from a re-write of what would be his weakest musical, "You Never Know", visiting as a guest at a countess' home, Piping Rock Club in Locust Valley, New York, he was badly injured in a fall while horseback-riding. Both of his legs were smashed and he suffered a nerve injury. He was hospitalized for two years, confined to a wheelchair for five years and endured over 30 operations to save his legs over the next 20 years. During his recuperation he wrote a number of Broadway musicals. On August 3, 1952, his beloved mother died of a cerebral hemorrhage. His wife, Linda, died of cancer on May 20, 1954. On April 3, 1958, he sustained his 33rd operation, and still suffering from chronic pain, his right leg was amputated. He refused to wear an artificial limb and lived as a virtual recluse in his apartment at the Waldorf-Astoria in New York City. He sought refuge in alcohol, sleep, self-pity and sank into despair.

He even refused to attend a "Salute to Cole Porter" at the Metropolitan Opera on May 15, 1960, and the commencement exercises at Yale University in June of 1960 when he was conferred with an Honorary Doctorate of Humane Letters, or his 70th birthday party arranged by his friends at the Orpheum Theater in New York City in June 1962. After what appeared to be a successful kidney stone operation at St. John's hospital in Santa Monica, California, he died very unexpectedly on October 15, 1964. His funeral instructions were that he have no funeral or memorial service and he was buried adjacent to his mother and wife in Peru, Indiana. - IMDb Mini Biography By: Mike McKinley <songsinc@aol..com> Spouse (1) Trivia (23) Older brother and sister (Louis and Rachel) died in infancy Pictured on a 29¢ US commemorative postage stamp in the Performing Arts series, issued 22 May 1991, celebrating the 100th anniversary of his birth.

His musical Kiss Me Kate, performed at the Open Air Theatre, was nominated for a 1998 Laurence Olivier Theatre Award as Outstanding Musical Production of 1997. His musical High Society, performed at the Open Air Theatre, was nominated for a 2004 Laurence Olivier Theatre Award as Outstanding Musical Production of 2003. His musical, Anything Goes performed at the Royal National Theatre: Olivier in 2002, was awarded the 2003 Laurence Olivier Theatre Award for Outstanding Musical Production. His musical Anything Goes, performed at the Royal National Theatre in London, England was awarded the 2002 London Critics Circle Award (Drama) for Best Musical. His musical, Kiss Me Kate, performed at the Victoria Palace Theatre in London, was awarded the 2001 London Critics Circle Theatre Award for Best Musical. Referenced in the song 'The Call of the Wild (Merengue)' by David Byrne on his 1989 album, 'Rei Momo'. In 1949, won two Tony Awards for "Kiss Me, Kate": Best Composer and Lyricist, and for music and lyrics as part of the Best Musical Award.

It is said that while on his honeymoon in Ravenna (Italy), he was so impressed by the mood of the small Mausoleum of Galla Placidia that he wrote his famous song "Night and Day" while thinking of the starry sky mosaic under Mausoleum's cupola. Class valedictorian of Worcester Academy in Worcester, Massachusetts - an elite prep school. Alums include 1960s icon Abbie Hoffman , "Durango Kid" cowboy actor Charles Starrett and screenwriter Caitlin McCarthy . A member of the Delta Kappa Epsilon fraternity, from his undergraduate days. Lived at the Waldorf-Astoria Tower in New York City from 1939 through 1964. A young hotel worker named Glory Santos was assigned to his suite as room service concierge soon after he moved in. He befriended her and would play new compositions he was working on to get her opinion. Among the first of these compositions was the song called "I Concentrate on You". Was portrayed by Cary Grant in Night and Day (1946) Kevin Kline in the movie, De-Lovely (2004), both based (to some degree) on his life.

He was considered somewhat "washed up" at the time that he wrote what would become his greatest musical "Kiss Me, Kate". Although many of the musicals that he wrote songs for between 1937 and 1948 achieved respectable runs, none of them contained any truly classic hit songs. That changed when he wrote the score for "Kiss Me, Kate", which contained "So In Love", "Wunderbar", "Too Darn Hot", "Brush Up Your Shakespeare", "Were Thine That Special Face", and others. However, because "Kate" was written in 1948, there is no mention of it at all in the Cole Porter biographical film "Night and Day". Inducted into the Songwriters Hall of Fame in 1970. His estate continues to earn revenue in excess of $3 million per year, which is disbursed among numerous relatives. When he died he gave his 350 acre estate, known as Buxton Hill, to Williams College. He was awarded a Star on the Hollywood Walk of Fame for Recording at 7080 Hollywood Boulevard in Hollywood, California.

The lyrics to "I Get A Kick Out Of You", which first appeared in the Broadway musical "Anything Goes" (1936), were changed in the aftermath of the kidnapping of the Lindbergh child in 1932. The lines, "I Never cared for those nights in the air or the fair (ordeal) Mrs. Lindbergh went through" became "flying too high with some guy in the sky is my idea of nothing to do". Some 900 songs are attributed to him. In his series 20th Century Greats (2004), British composer and presenter Howard Goodall made a case for Porter as one of the four most important composers of the 20th century, along with Leonard Bernstein , Bernard Herrmann and the Lennon ( John Lennon )\McCartney ( Paul McCartney ) songwriting partnership. Cole Porter was so fond of the "So Good Fudge" made in his hometown of Peru, Indiana, at Louis Arnold's Candy Kitchen, that he had nine pounds sent to him each month wherever he was in the world. Personal Quotes (3) I am the most enthusiastic person in the world. I like everything as long as it's different.

[on the official studio response to 'In The Still of the Night'] Imagine making Louis B. Mayer cry! What could possibly top that? It seems strange to me that changes in my lyrics are often made, and even changes to the music, without anyone even asking my permission. Salary (2) Kiss Me Kate, musical | Details | AllMusic Kiss Me Kate, musical google+ Description by Adrian Corleonis Broadway moves in mysterious ways. Kiss Me, Kate is said to have had its origin when a young stage manager, Arnold Saint Subber, overheard a backstage quarrel between Alfred Lunt and Lynne Fontanne during their 1935 appearance in The Taming of the Shrew. Years later, teamed with costume and set designer Lemuel Ayers, Saint Subber approached Bella Spewack with the notion of adapting Shakespeare in a life-imitates-art play-within-a-play setting which would follow the maneuvers of a newly divorced couple as they take the leads in a musical adaptation of The Taming of the Shrew. Spewack took but six weeks to come up with a promising book. Burton Lane , composer of Finian's Rainbow, was first choice for the music, but proved unavailable.

Spewack then proposed Cole Porter , a suggestion no one cared for--least of all, Porter himself. His last two musicals had flopped, and flagging inspiration left him fearful about embarking on another ambitious--and seemingly unlikely--project. Despite his eminence as one of the miracle workers of the pop song--"Just One of Those Things," "Begin the Beguine," "Night and Day"--to say nothing of his lyrics and score for the Broadway classic Anything Goes (1934), the consensus was that Porter was a spent force, a has-been, a relic from another age. But Spewack was adamant with her producers and charmingly persistent with the composer. And when he relented, he took the bit with a zest he had not known for a decade or more.

The upshot is generally acknowledged as Porter's masterpiece, his richest score, strutting elaborate song and dance numbers (arranged by Genevieve Pitot and orchestrated by Robert Russell Bennett ), in a variety of pop styles, with plot development realism, combining (as does Shakespeare) gags and knockabout with character ("I Hate Men"), and brandishing his trademark naughty lyrics ("Too Darn Hot," "Where is the Life That Late I Led") cheek-by-jowl with ravishing love songs ("Were Thine That Special Face," "So In Love"). "Wunderbar," rescued from a 1933 show which never saw production, here found its place to become an enduring hit. And "Brush Up Your Shakespeare" offers a satirical yet liltingly persuasive highbrow/lowbrow gloss on the Bard. Kiss Me, Kate shuffles these oddments with a deftness not only riveting but nearly surreal. So keen was Porter to triumph that he composed several scenes twice--the six viable songs he replaced with ones even better remained unknown until John McGlinn 's EMI recording with Josephine Barstow and Thomas Hampson gave them currency. From the beginning, Alfred Drake was the intended lead.

Patricia Morison, on the other hand, was a virtual unknown, though she so wowed Porter at the auditions that she was engaged immediately for Kate. The two other principal roles were taken by Lisa Kirk and Harold Lang. Funding was slow in coming and Kiss Me, Kate opened on a slender budget--the generally admired costumes (designed to resemble playing card suits) had been made from upholstery fabric. The Philadelphia première, on December 2, 1948, was enthusiastically received by an adoring public and critically acclaimed, beginning a groundswell which had attained seismic proportions by the time the show reached Broadway on December 30. The New York press was rapturous; Kiss Me, Kate carried off five Tony Awards the following year (best musical, best script, best produced, best costumes, and best score), and the public kept coming for 1,077 performances. In a Broadway season recalled as especially brilliant, Kiss Me, Kate's only real rival was the very different South Pacific. Appears On Broadway Musical Home - Cole Porter Broadway Musical Home Who starred in the original cast? Where can I buy the music? What’s the buzz on Broadway?

Find out at Broadway Musical Home Cole Porter Du Barry Was a Lady Leave It to Me! I Get a Kick Out of You You're the Top Always True to You (In My Fashion) Brush Up Your Shakespeare Who Wants to Be a Millionaire? True Love Just One of Those Things Well Did You Evah?/You're Sensational It's All Right With Me CDs 1987 Anything Goes Broadway Cast Album Kiss Me Kate Original Broadway Cast Album Sheetmusic The Cole Porter Song Collection Volume One: 1912-1936 The Cole Porter Song Collection Volume Two: 1937-1958 Videos Kiss Me Kate Live Version DVD High Society Original Hollywood Version DVD Books Cole Porter by William McBrien Other Cole Porter Cole Porter Cole Porter Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre.

After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate . It won the first Tony Award for Best Musical. Porter’s other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes , Can-Can and Silk Stockings. His numerous hit songs include “Night and Day”, “I Get a Kick Out of You”, “Well, Did You Evah!”, “I’ve Got You Under My Skin”, “My Heart Belongs to Daddy” and “You’re the Top”.

He also composed scores for films from the 1930s to the 1950s, including Born to Dance (1936), which featured the song “You’d Be So Easy to Love”, Rosalie (1937), which featured “In the Still of the Night”; High Society (1956), which included “True Love”; and Les Girls (1957). Life and Career Porter was born in Peru, Indiana, the only child of a wealthy family.[1] His father, Samuel Fenwick Porter, was a druggist by trade.[2][3] His mother, Kate, was the indulged daughter of James Omar “J. O.” Cole, “the richest man in Indiana”, a coal and timber speculator who dominated the family.[4][5] J. O. Cole built the couple a home on his Peru-area property, known as Westleigh Farms.[6] After high school, Porter returned to the property only for occasional visits.[7] Porter’s strong-willed mother doted on him[8] and began his musical training at an early age.

He learned the violin at age six, the piano at eight and wrote his first operetta (with help from his mother) at ten. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious.[4] His father, who was a shy and unassertive man, played a lesser role in Porter’s upbringing, although as an amateur poet he may have influenced his son’s gifts for rhyme and meter.[2] Porter’s father also had musical talent as a vocalist and pianist, but the father-son relationship was not close.[8] J. O. Cole wanted his grandson to become a lawyer,[4] and with that career in mind, he sent him to Worcester Academy in Massachusetts in 1905.

Porter brought an upright piano with him to school[9] and found that music, and his ability to entertain, made it easy for him to make friends.[9] Porter did well in school and rarely came home to visit.[10] He became class valedictorian[4] and was rewarded by his grandfather with a tour of France, Switzerland and Germany.[11] Entering Yale University in 1909, Porter majored in English, minored in music, and also studied French.[12] He was a member of Scroll and Key, Delta Kappa Epsilon fraternity and contributed to the humor magazine The Yale Record.[13] He was an early member of the Whiffenpoofs a capella singing group and participated in several other music clubs;[14] in his senior year, he was elected president of the Yale Glee Club and was its principal soloist.[12] Porter wrote 300 songs while at Yale,[4] including student songs such as the football fight songs “Bulldog”[15] and “Bingo Eli Yale” (aka “Bingo, That’s The Lingo!”) that are still played at Yale today.[16] During college

, Porter became acquainted with New York City’s vibrant nightlife, taking the train to New York City to enjoy dinner, theater, and a night on the town with his classmates, before returning to New Haven, Connecticut, early in the morning.[14] He also wrote musical comedy scores for his fraternity, the Yale Dramat (the Yale dramatic society), and as a student at Harvard—Cora (1911); And the Villain Still Pursue Her (1912); The Pot of Gold (1912); The Kaleidoscope (1913); and Paranoia (1914)—which helped prepare him for a career as a Broadway and Hollywood composer and lyricist.[12] After graduating from Yale, Porter enrolled in Harvard Law School in 1913.

He soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, Porter switched to Harvard’s music faculty, where he studied harmony and counterpoint with Pietro Yon.[2] Kate Porter did not object to this move, but it was kept secret from J. O. Cole.[4] In 1915, Porter’s first song on Broadway, “Esmeralda”, appeared in the revue Hands Up. The quick success was immediately followed by failure: his first Broadway production, in 1916, See America First, a “patriotic comic opera” modeled on Gilbert and Sullivan, with a book by T.

Lawrason Riggs, was a flop, closing after two weeks.[17] Porter spent the next year in New York City before going overseas during World War I.[12] Paris and Marriage In 1917, when the United States entered World War I, Porter moved to Paris to work with the Duryea Relief organization.[18][19] Some writers have been sceptical about Porter’s claim to have served in the French Foreign Legion,[4][17] although the Legion itself lists Porter as one of its soldiers[20] and displays his portrait at its museum in Aubagne.[21] By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers.[22] An obituary notice in The New York Times said that, while in the Legion, “he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs.”[23] Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, but, according to his biographer Stephen Citron, there is no record of his joining this

 or any other branch of the forces.[24] Porter maintained a luxury apartment in Paris, where he entertained lavishly.

His parties were extravagant and scandalous, with “much gay and bisexual activity, Italian nobility, cross-dressing, international musicians, and a large surplus of recreational drugs”.[4] In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorcée eight years his senior.[1][25] She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter’s confidant and companion.[26] The couple married the following year. She was in no doubt about Porter’s homosexuality,[27] but it was mutually advantageous for them to marry. For Linda it offered continued social status and a partner who was the antithesis of her abusive first husband.[28] For Porter, it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged.

They were, moreover, genuinely devoted to each other and remained married from December 19, 1919, until her death in 1954.[4] Linda remained protective of her social position, and believing that classical music might be a more prestigious outlet than Broadway for her husband’s talents, she tried to use her connections to find him suitable teachers, including Igor Stravinsky, but was unsuccessful. Finally, Porter enrolled at the Schola Cantorum in Paris where he studied orchestration and counterpoint with Vincent d’Indy.[2] Meanwhile, Porter’s first big hit was the song “Old-Fashioned Garden” from the revue Hitchy-Koo in 1919.[1] In 1920, he contributed the music of several songs to the musical A Night Out.[29] Marriage did not diminish Porter’s taste for extravagant luxury. The Porter home on the rue Monsieur near Les Invalides was a palatial house with platinum wallpaper and chairs upholstered in zebra skin.[23] In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice.

He once hired the entire Ballets Russes to entertain his house guests, and for a party at Ca’ Rezzonico, which he rented for $4,000 a month ($55,000 in current value), he hired 50 gondoliers to act as footmen and had a troupe of tight-rope walkers perform in a blaze of lights.[23] In the midst of this extravagant lifestyle, Porter continued to write songs with encouragement from his wife.[30] Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers’ revues in England and the U.S. For a C. B. Cochran show in 1921, he had two successes with the comedy numbers “The Blue Boy Blues” and “Olga, Come Back to the Volga”.[31] In 1923, in collaboration with Gerald Murphy, he composed a short ballet, originally titled Landed and then Within the Quota, satirically depicting the adventures of an immigrant to America who becomes a film star.[32] The work, written for the Swedish Ballet company, lasts about 16 minutes.

It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud’s La création du monde.[33] Porter’s work was one of the earliest symphonic jazz-based compositions, predating George Gershwin’s Rhapsody in Blue by four months, and was well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923.[33][34] After a successful New York performance the following month, the Swedish Ballet company toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter’s and Koechlin’s manuscripts between 1966 and 1990, with help from Milhaud among others.[35] Porter had less success with his work on Greenwich Village Follies (1924).

He wrote most of the original score, but his songs were gradually dropped during the Broadway run, and by the time of the post-Broadway tour in 1925, all his numbers had been deleted.[36] Frustrated by the public response to most of his work, Porter nearly gave up songwriting as a career, although he continued to compose songs for friends and perform at private parties.[30] Broadway and West End Success At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical Paris, his first hit.[37] It was commissioned by E. Ray Goetz at the instigation of Goetz’s wife and the show’s star, Irène Bordoni.[37] She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter’s agent persuaded Goetz to hire Porter instead.[38] In August 1928, Porter’s work on the show was interrupted by the death of his father. He hurried back to Indiana to comfort his mother before returning to work.

The songs for the show included “Let’s Misbehave” and one of his best-known list songs, “Let’s Do It”, which was introduced by Bordoni and Arthur Margetson.[39] The show opened on Broadway on October 8, 1928. The Porters did not attend the first night because Porter was in Paris supervising another show for which he had been commissioned, La Revue, at a nightclub.[40] This was also a success, and, in Citron’s phrase, Porter was finally “accepted into the upper echelon of Broadway songwriters”.[41] Cochran now wanted more from Porter than isolated extra songs; he planned a West End extravaganza similar to Ziegfeld’s shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The revue, Wake Up and Dream, ran for 263 performances in London, after which Cochran transferred it to New York in 1929. On Broadway, business was badly affected by the 1929 Wall Street crash,[42] and the production ran for only 136 performances.

From Porter’s point of view, it was nonetheless a success, as his song “What is This Thing Called Love?” became immensely popular.[43] Porter’s new fame brought him offers from Hollywood, but as his score for Paramount’s The Battle of Paris was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success.[44] Citron expresses the view that Porter was not interested in cinema and “noticeably wrote down for the movies.”[45] Still on a Gallic theme, Porter’s last Broadway show of the 1920s was Fifty Million Frenchmen (1929), for which he wrote 28 numbers, including “You Do Something to Me”, “You’ve Got That Thing” and “The Tale of the Oyster”.[46] The show received mixed notices. One critic wrote, “the lyrics alone are enough to drive anyone but P. G. Wodehouse into retirement”, but others dismissed the songs as “pleasant” and “not an outstanding hit song in the show”. As it was a lavish and expensive production, nothing less than full houses would suffice, and after only three weeks the producers announced that they would close it.

Irving Berlin , who was an admirer and champion of Porter, took out a paid press advertisement calling the show “The best musical comedy I’ve heard in years…. One of the best collections of song numbers I have ever listened to”. This saved the show, which ran for 254 performances, considered a successful run at the time.[47] 1930s Ray Goetz, producer of Paris and Fifty Million Frenchmen, whose success had kept him solvent when other producers were bankrupted by the post-crash slump in Broadway business, invited Porter to write a musical show about the other city that he knew and loved: New York. Goetz offered the team with whom Porter had last worked, Herbert Fields writing the book and Porter’s old friend Monty Woolley directing.[48] The New Yorkers (1930) acquired instant notoriety for including a song about a streetwalker, “Love for Sale”. Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elizabeth Welch in a nightclub scene.

The lyric was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard.[49] Porter often referred to it as his favorite of his songs.[50] The New Yorkers also included the hit “I Happen to Like New York”.[51] Next came Fred Astaire’s last stage show, Gay Divorce (1932). It featured a hit that became Porter’s best-known song, “Night and Day”.[52] Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele), the show ran for a profitable 248 performances, and the film rights were sold to RKO Pictures.[53] Porter followed this with a West End show for Gertrude Lawrence, Nymph Errant (1933), presented by Cochran at the Adelphi Theatre , where it ran for 154 performances. Among the hit songs Porter composed for the show were “Experiment” and “The Physician” for Lawrence, and “Solomon” for Elizabeth Welch.[54] In 1934, producer Vinton Freedley came up with a new approach to producing musicals.

Instead of commissioning book, music and lyrics and then casting the show, Freedley sought to create an ideal musical with stars and writers all engaged from the outset.[55] The stars he wanted were Ethel Merman , William Gaxton and comedian Victor Moore. He planned a story around a shipwreck and a desert island, and for the book he turned to P. G. Wodehouse and Guy Bolton. For the songs, he decided on Porter. By telling each of these that he had already signed the others, Freedley gathered his ideal team together.[56] A drastic last-minute rewrite was necessitated by a major shipping accident, which dominated the news and made Bolton and Wodehouse’s book seem tasteless.[57][58] Nevertheless, the show, Anything Goes , was an immediate hit. Porter wrote what is thought by many to be his greatest score of this period. The New Yorker magazine said, “Mr.

Porter is in class by himself”,[59] and Porter himself subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate .[59] Its songs include “I Get a Kick out of You”, “All Through the Night”, “You’re the Top” (one of his best-known list songs), and “Blow, Gabriel, Blow”, as well as the title number. [60] The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London.[61] Porter, despite his lessons in orchestration from d’Indy, did not orchestrate his musicals. Anything Goes was orchestrated by Robert Russell Bennett and Hans Spialek.[62] Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he would make a grand entrance and sit in front, apparently relishing the show as much as any audience member.

Russel Crouse commented, “Cole’s opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding.”[59] Anything Goes was the first of five Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that featured her strengths.[63] Jubilee (1935), written with Moss Hart while on a cruise around the world, was not a major hit, running for only 169 performances, but it featured two songs that have since become standards, “Begin the Beguine” and “Just One of Those Things”.[64] Red Hot And Blue (1936), featuring Merman, Jimmy Durante and Bob Hope, ran for 183 performances and introduced “It’s De-Lovely”, “Down in the Depths (on the Ninetieth Floor)”, and “Ridin’ High”.[65] The relative failure of these shows convinced Porter that his songs did not appeal to a broad enough audience.

In an interview he said, “Sophisticated allusions are good for about six weeks … more fun, but only for myself and about eighteen other people, all of whom are first-nighters anyway. Polished, urbane and adult playwriting in the musical field is strictly a creative luxury.”[66] Porter also wrote for Hollywood in the mid-1930s.

His scores include those for the Metro-Goldwyn-Mayer films Born to Dance (1936), with James Stewart, featuring “You’d Be So Easy to Love” and “I’ve Got You Under My Skin”, and Rosalie (1937), featuring “In the Still of the Night”.[67] He wrote the score of the short film Paree, Paree, in 1935, using some of the songs from Fifty Million Frenchmen.[68] Porter also composed the cowboy song “Don’t Fence Me In” for Adios, Argentina, an unproduced movie, in 1934, but it did not become a hit until Roy Rogers sang it in the 1944 film Hollywood Canteen.[69] Bing Crosby, The Andrews Sisters, and other artists also popularized it in the 1940s.

The Porters moved to Hollywood in December 1935, but Porter’s wife did not like the movie environment, and Porter’s homosexual peccadillos, formerly very discreet, became less so; she retreated to their Paris house.[70][71] When his film assignment on Rosalie was finished in 1937, Porter hastened to Paris to make his peace with Linda, but she remained cool. After a walking tour of Europe with his friends, Porter returned to New York in October 1937 without her.[72] They were soon reunited by an accident suffered by Porter.[73] On October 24, 1937, Porter was riding with Countess Edith di Zoppola and Duke Fulco di Verdura at Piping Rock Club in Locust Valley, New York, when his horse rolled on him and crushed his legs, leaving him substantially crippled and in constant pain for the rest of his life. Though doctors told Porter’s wife and mother that his right leg would have to be amputated, and possibly the left one as well, he refused to have the procedure.

Linda rushed from Paris to be with him, and supported him in his refusal of amputation.[74] He remained in the hospital for seven months and was then allowed to go home to his apartment at the Waldorf Towers.[75] He resumed work as soon as he could, finding it took his mind off his perpetual pain.[76] Porter’s first show after his accident was not a success. You Never Know (1938), starring Clifton Webb, Lupe Vélez and Libby Holman, ran for only 78 performances.[77] The score included the songs, “From Alpha to Omega” and “At Long Last Love”.[78] He returned to success with Leave It to Me!

(1938); the show introduced Mary Martin, singing “My Heart Belongs to Daddy”, and other numbers included “Most Gentlemen Don’t Like Love” and “From Now On”.[79] Porter’s last show of the 1930s was DuBarry Was a Lady (1939), a particularly risqué show, starring Merman and Bert Lahr.[80] After a pre-Broadway tour, during which it ran into trouble with the Boston censors,[81] it ran for 408 performances, beginning at the 46th Street Theatre.[82] The score included “But in the Morning, No” (which was banned from the airwaves), “Do I Love You?”, “Well, Did You Evah!”, “Katie Went to Haiti” and another of Porter’s up-tempo list songs, “Friendship”.[83] At the end of 1939, Porter contributed six songs to the film Broadway Melody of 1940 for Fred Astaire, George Murphy and Eleanor Powell.[84] Meanwhile, as political unrest increased in Europe, Porter’s wife closed their Paris house in 1939,

 and the following year, purchased a country home in the Berkshire mountains, near Williamstown, Massachusetts, which she decorated with elegant furnishings from their Paris home.

Porter spent time in Hollywood, New York, and their home in Williamstown.[85] 1940s and Postwar Panama Hattie (1940) was Porter’s longest-running hit so far, running in New York for 501 performances, despite the absence of any enduring Porter songs.[86] It starred Merman, with Arthur Treacher and Betty Hutton. Let’s Face It! (1941), starring Danny Kaye, had an even better run, with 547 performances in New York.[87] This, too, lacked any numbers that became standards, and Porter always counted it among his lesser efforts.[88] Something for the Boys (1943), starring Merman, ran for 422 performances, and Mexican Hayride (1944), starring Bobby Clark, with June Havoc, ran for 481 performances.[89] These shows, too, are short of Porter standards.

The critics did not pull their punches; they complained about the lack of hit tunes and the generally low standard of Porter’s scores.[90] After two flops, Seven Lively Arts (1944) (which featured the standard “Ev’ry Time We Say Goodbye”) and Around the World (1946), many thought that Porter’s best period was over.[91] Between Broadway musicals, Porter continued to write for Hollywood. His film scores of this period were You’ll Never Get Rich (1941) with Astaire and Rita Hayworth, Something to Shout About (1943) with Don Ameche, Janet Blair and William Gaxton, and Mississippi Belle (1943–44), which was abandoned before filming began.[92] He also cooperated in the making of the film Night and Day (1946), a largely fictional biography of Porter, with Cary Grant implausibly cast in the lead.

The critics scoffed, but the film was a huge success, chiefly because of the wealth of vintage Porter numbers in it.[93] The success of the biopic contrasted severely with the failure of Vincente Minnelli’s film The Pirate (1948), with Judy Garland and Gene Kelly,[94] in which five new Porter songs received little attention.[95] From this low spot, Porter made a conspicuous comeback, in 1948, with Kiss Me, Kate . It was by far his most successful show, running for 1,077 performances in New York and 400 in London.[96] The production won the Tony Award for best musical (the first Tony awarded in that category), and Porter won for best composer and lyricist.

The score includes “Another Op’nin’, Another Show”, “Wunderbar”, “So In Love”, “We Open in Venice”, “Tom, Dick or Harry”, “I’ve Come to Wive It Wealthily in Padua”, “Too Darn Hot”, “Always True to You (in My Fashion)”, and “Brush Up Your Shakespeare”.[97] Porter began the 1950s with Out Of This World (1950), which had some good numbers but too much camp and vulgarity,[98] and was not greatly successful. His next show, Can-Can (1952), featuring “C’est Magnifique” and “It’s All Right with Me”, was another hit, running for 892 performances.[99] Porter’s last original Broadway production, Silk Stockings (1955), featuring “All of You”, was also successful, with a run of 477 performances.[100] Porter wrote two more film scores and music for a television special before ending his Hollywood career.

The film High Society (1956), starring Bing Crosby, Frank Sinatra and Grace Kelly, included Porter’s last major hit song, “True Love”.[1] The film was later adapted as a stage musical of the same name. Porter also wrote numbers for the film Les Girls (1957), which starred Gene Kelly. His final score was for a CBS television color special, Aladdin (1958).[101] Last Years Porter’s mother died in 1952, and his wife died from emphysema in 1954.[102] By 1958, Porter’s injuries caused a series of ulcers on his right leg. After 34 operations, it had to be amputated and replaced with an artificial limb.[103] His friend Noël Coward visited him in the hospital and wrote in his diary, “The lines of ceaseless pain have been wiped from his face….

I am convinced that his whole life will cheer up and that his work will profit accordingly.”[104] In fact, Porter never wrote another song after the amputation and spent the remaining six years of his life in relative seclusion, seeing only intimate friends.[103] He continued to live in the Waldorf Towers in New York in his memorabilia-filled apartment. On weekends he often visited an estate in the Berkshires, and he stayed in California during the summers.[23] Porter died of kidney failure on October 15, 1964, in Santa Monica, California, at the age of 73. He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father.[105] Tributes and Legacy Many artists have recorded Porter songs, and dozens have released entire albums of his songs.[106] In 1956 American jazz singer Ella Fitzgerald released Ella Fitzgerald Sings the Cole Porter Songbook. In 1972 she released another collection, Ella Loves Cole.

Among the many album collections of Porter songs are the following: Oscar Peterson Plays the Cole Porter Songbook (1959); Anita O’Day Swings Cole Porter with Billy May (1959); All Through the Night: Julie London Sings the Choicest of Cole Porter (1965); Rosemary Clooney Sings the Music of Cole Porter (1982); and Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter (1989).[106] In 1990 Dionne Warwick released Dionne Sings Cole Porter.[107] In that same year, Red Hot + Blue was released as a benefit CD for AIDS research and featured 20 Cole Porter songs recorded by artists such as U2, Annie Lennox, and Shane MacGowan.[108] Additional recording collections include Frank Sinatra Sings the Select Cole Porter (1996)[109] and John Barrowman Swings Cole Porter (2004; Barrowman played “Jack” in the 2004 film De-Lovely.[110] Other singers who have paid tribute to Porter include the Swedish pop music

 group Gyllene Tider, which recorded a song called “Flickan i en Cole Porter-sång” (“That Girl from the Cole Porter Song”) in 1982.

He is referenced in the merengue song “The Call of the Wild” by David Byrne on his 1989 album Rei Momo. He is also mentioned in the song “Tonite It Shows” by Mercury Rev on their 1998 album Deserter’s Songs. In 1965, Judy Garland performed a medley of Porter’s songs at the 37th Academy Awards shortly after Porter’s death.[111] In 1980, Porter’s music was used for the score of Happy New Year, based on the Philip Barry play Holiday.

The cast of the The Carol Burnett Show paid a tribute to Porter in a humorous sketch in their CBS television series.[112] “You’re the Top: The Cole Porter Story”, a video of archival material and interviews, and “Red, Hot, and “Blue”, a video of artists performing Porter’s music, were released in 1990 to celebrate the one hundredth anniversary of Porter’s birth.[113] In contrast to the highly embellished 1946 screen biography Night and Day,[114] Porter’s life was chronicled more realistically in De-Lovely, a 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda.[115] The soundtrack to De-Lovely includes Porter songs sung by Alanis Morissette, Sheryl Crow, Elvis Costello, Diana Krall and Natalie Cole, among others.[116] Porter also appears as a character in Woody Allen’s 2011 film Midnight in Paris.[117] Many events commemorated the centenary of Porter’s birth, including the halftime show of the 1991 Orange Bowl.[118][119] Joel Grey and a

 large cast of singers, dancers and marching bands, performed a tribute to Porter in Miami, Florida, during the 57th King Orange Jamboree parade, whose theme was “Anything Goes”.[120][121] The Indianapolis Symphony Orchestra performed a program of Cole Porter music at the Circle Theatre in Indianapolis, which also featured clips of Porter’s Hollywood films.[119] “A Gala Birthday Concert” was held at New York City’s Carnegie Hall, with more than 40 entertainers and friends paying tribute to Porter’s long career in theater and film.[113] In addition, the U.S.

Postal Service issued a commemorative postage stamp honoring Porter’s birth.[122] The Indiana University Opera performed Porter’s musical, “Jubilee”, in Bloomington, Indiana.[123] In May 2007, a star on the Hollywood Walk of Fame was dedicated to Cole Porter.[124] In December 2010, his portrait was added to the Hoosier Heritage Gallery in the office of the Governor of Indiana.[125] Numerous symphony orchestras have paid tribute to Porter in the years since his death[126][127] including Seattle Symphony Orchestra, with Marvin Hamlisch as conductor[128] and the Boston Pops, both in 2011.[129][130] In 2012, Marvin Hamlisch, Michael Feinstein, and The Dallas Symphony Orchestra honored Porter with a concert that included his familiar classics.[131] The Cole Porter Festival is held every year in June in his hometown of Peru, Indiana, to foster music and art appreciation.[132] Porter’s Steinway piano is in the lobby of the Waldorf-Astoria Hotel in New York City.[133][134

] Porter is a member of the American Theater Hall of Fame.[135] (1919) Hitchy-Koo of 1919—”Old-Fashioned Garden” (1928) Paris—”Let’s Do It, Let’s Fall in Love” (1929) Wake Up and Dream—”What Is This Thing Called Love?” (1929) Fifty Million Frenchmen—”You Do Something to Me” (1930) The New Yorkers—”Love for Sale”, “I Happen to Like New York”, “Where Have You Been?” (1932) Gay Divorce—”After You, Who?”, “Night and Day” (adapted as The Gay Divorcee, 1934) (1933) Nymph Errant—”Experiment”, “The Physician”, “It’s Bad for Me” (1934) Anything Goes—”All Through the Night”, “Anything Goes”, “Blow Gabriel, Blow”, “I Get a Kick Out of You”, “You’re the Top” (1934) Adios Argentina (un-produced film)—”Don’t Fence Me In” (19

35) Jubilee—”Begin the Beguine”, “Just One of Those Things” (1936) Red, Hot and Blue—”Down in the Depths (on the Ninetieth Floor)”, “It’s De-Lovely” (1936) Born to Dance (film)—”You’d Be So Easy to Love”, “I’ve Got You Under My Skin” (1937) Rosalie (film);”In the Still of the Night” (1937) You Never Know—”At Long Last Love”, “From Alpha to Omega”, “Let’s Misbehave” (1938) Leave It to Me!—”From Now On”, “My Heart Belongs to Daddy” (1939) Broadway Melody of 1940—”Between You and Me”, “I Concentrate on You”, “I’ve Got My Eyes on You”, “I Happen to Be in Love”, “Begin the Beguine” (1939) Dubarry Was A Lady—”Do I Love You?”, “Well, Did You Evah!”, “Friendship” (1940) Panama Hattie—”Let

’s Be Buddies” (1941) You’ll Never Get Rich (film)—”Dream Dancing”, “So Near and Yet So Far” (1941) Let’s Face It!—”I Hate You, Darling” (1942) Something for the Boys—”Could It Be You” (1942) Something to Shout About—”You’d Be So Nice to Come Home To” (1943) Mexican Hayride—”I Love You” (1944) Seven Lively Arts—”Ev’ry Time We Say Goodbye” (1946) Around the World—”Look What I Found” (1947) The Pirate (film)—”Be a Clown” (1948) Kiss Me, Kate—”Another Op’nin’, Another Show”, “Brush Up Your Shakespeare”, “I Hate Men”, “So in Love”, “Tom, Dick or Harry”, “Too Darn Hot” (1950) Out of This World—”From This Moment On”, “I Am Loved” (1950) Stage Fright (film)—”The Laziest Gal in Town” (1953) Can

-Can—”I Am in Love”, “I Love Paris”, “C’est Magnifique”, “It’s All Right With Me” (1954) Silk Stockings—”All of You”, “Paris Loves Lovers” (1955) High Society (film)—”Mind if I Make Love to You?”, “True Love”, “Who Wants to Be a Millionaire?”, “You’re Sensational” (1956) Les Girls—”Ça, C’est L’amour”, “You’re Just Too, Too” (1958) Aladdin (television)—”Come to the Supermarket (In Old Peking)” A far more comprehensive list of Cole Porter songs, along with their date of composition and original show, is available online at the “Cole Porter Songlist Page”.[137] Derbyshire, John.

“Oh, the Songs!” , National Review Online, July 28, 2004, accessed May 27, 2010 Shaftel, Matthew. “From Inspiration to Archive: Cole Porter’s ‘Night and Day'”, Journal of Music Theory, Duke University Press, Volume 43, No. 2 (Autumn, 1999), pp. 315–47, accessed March 7, 2011 (subscription required) Porter’s father came to Peru, Indiana, from Vevay, Indiana. He eventually owned three drugstores in Peru: see McBrien, p. 8. Bell, J. X. “Cole Porter Biography” , The Cole Porter Resource Site, accessed March 7, 2011 Porter’s great-grandfather, A. A. Cole, had come to Peru, Indiana, in 1834 from Connecticut, as a child. J. O. Cole grew up in Peru but moved west during the Gold Rush of 1849. He made his fortune in California but invested it in Indiana farmland and West Virginia timber, coal, and oil: see McBrien, pp. 4–5.

Schwartz, p. 11 “Cole Porter Songlist Page” . Accessed May 27, 2010 Citron, Stephen (2005). Noel & Cole: the Sophisticates. Milwaukee: Hal Leonard Corporation. ISBN 0634093029. Coward, Noël; Graham Payn and Sheridan Morley (eds.) (1982). The Noël Coward Diaries (1941–1969). London: Methuen. ISBN 0-297-78142-1. Cite uses deprecated parameters (help) Kimball, Robert (ed.) (1984). The Complete Lyrics of Cole Porter. New York: Vintage Books. ISBN 0-394-72764-9. Kimball, Robert (1991). Cole Porter: Overtures and Ballet Music, Liner note to EMI CD CDC 7 54300 2. London: EMI Records. OCLC 315563881. Kimball, Robert (1992). “Cole Porter”.

You’re the Top: Cole Porter in the 1930s. Indianapolis: Indiana Historical Society. ISBN 0-871-95089-8. Kimball, Robert (1999). “Cole Porter”. You’re Sensational: Cole Porter in the ’20s, ’40s, & ’50s. Indianapolis: Indiana Historical Society. ISBN 0-871-95129-0. McBrien, William (1998). Cole Porter: A Biography. New York: Alfred A. Knopf. ISBN 0-394-58235-7. Schwartz, Charles (1977). Cole Porter: A Biography. New York: Da Capo Press. ISBN 0-306-80097-7. Seuss, Dr (2012). Richard Marschall, ed. Just What the Doctor Disordered: Early Writings and Cartoons of Dr. Seuss. Mineola, NY: Dover. ISBN 0486498468.

Question: From which Cole Porter musical do the songs Wunderbar and Too Darn Hot come?
Answer: Kiss Me Kate