Cole Porter - Wikipedia
One of the best things we got in the 20th century was Cole Porter, whose dates were to Meeting Linda, who in addition to being rich was eight years older than he, one of the half-dozen most beautiful love songs ever written), “Love for Noël Coward, by the way, was a friend of the Porters. Born in , Cole Porter was the only surviving child of pharmacist Samuel Porter and Catherine “Kate” Cole. The family never worried about making ends meet. . Ever afterward he described himself as a “cross between Eddie Cantor and the . the spirit of Noel Coward's bittersweet plays so well that Noel flattered Cole. Quality Hill Playhouse Pays Tribute Cole Porter and Noel Coward with IT'S DELOVELY a Date with a Great Psychoanalyst," "Find Me a Primitive Man"). and the show was awarded the first ever Tony for Best Musical. Noël.
Some get a kick from cocaine. Audacious internal rhymes became a signature: When the dog and cat eventually died, the Porters replaced them with a pair of new felines: Ensconced at the Waldorf, Porter worked every day for hours; then he would present himself to the public as a bon vivant, regularly attending Manhattan society soirees and high-toned entertainments.
The cultivated image of the songwriter as epicure proved so convincing that it even outlasted the annus horribilis of Cole was horseback riding with friends at an Oyster Bay estate, when his high-strung mount, frightened by something in the woods, reared abruptly and fell over on its rider.
Only her intervention kept the physicians from carrying out their plans. From then on, there was no more talk of divorce. Devices used to slow down or restrain an animal.
The dreaded restraints—crutches and canes—were what Porter would face from now on, and he knew it. In excruciating pain, Porter could easily have forsaken songwriting at this point: He was a gentleman; gentlemen do not give in to affliction. Porter refused to become an invalid, working his way around the apartment by hanging on to the furniture, employing two canes when he had to walk outside, or, in difficult moments, getting one of his brawny menservants to carry him from room to room.
Dramatist Bella Spewak, working with Porter on a show called Leave It to Me during this convalescence, offers a vivid image of the songsmith. And the tossing off, he would have you believe, came between and during bouts of pain.
Among a half-dozen songs he penned for the Fred Astaire movie Broadway Melody ofPorter sent a fresh love letter to his favorite New York thoroughfare: Returned to Manhattan, Porter submitted to more agonizing operations on his mangled legs—there would be some 35 in all—and continued writing for old Broadway.
His range remained wide. Here he imagines a New Yorker sardonically addressing his weekend hostess: And he could be as simple and affecting as Irving Berlin: The trouble, though, was that Cole Porter had become incapable of turning out a trademark Cole Porter song, with its inimitable mix of eroticism and esprit.
Perhaps it was the continual surgeries, friends theorized, or World War II, with its shift of public taste to big-band jazz and novelty numbers; or perhaps he had simply lost his focus along with his looks. For, having appeared so youthful for so long, Porter now seemed older than his years, more gnome than sprite.
Though he showed flashes of the old brilliance, fashionable opinion increasingly considered him obsolete, a back number from a bygone era. Cary Grant played Cole in jaunty, straight-as-a-string mode, producing hit songs with the facility of a man jingling change in his pockets. The film even showed Porter in the uniform of the French Foreign Legion, as gritty and gung-ho as a poilu.
Critics derided it mercilessly. Porter could hardly take the blame for Night and Day—it was about him, after all, not by him. InOrson Welles got it into his head that the Jules Verne novel would make a musical extravaganza.
He approached Porter, who responded with surprising enthusiasm. But not one Porter song made the hit parade; today all are forgotten. The show closed after just 75 performances. Fondly remembering her earlier collaboration with Porter on Leave It to Me, she raised his name. Eventually, the producers gave in.
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The rest is Broadway history. The champ is back again. Kate ran for more than 1, performances on the Main Stem and toured for the next decade. Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elisabeth 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.
Next came Fred Astaire 's last stage show, Gay Divorce 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. He planned a story about a shipwreck and a desert island, and for the book he turned to P.
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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. Porter wrote what many consider his greatest score of this period. The New Yorker magazine said, "Mr. Porter is in class by himself",  and Porter himself subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate. 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.
He loved her loud, brassy voice and wrote many numbers that displayed her strengths. In an interview he said, "Sophisticated allusions are good for about six weeks Polished, urbane and adult playwriting in the musical field is strictly a creative luxury.
The Porters moved to Hollywood in Decemberbut 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. After a walking tour of Europe with his friends, Porter returned to New York in October without her. 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. Porter spent time in Hollywood, New York and Williamstown.
The critics did not pull their punches, complaining about the lack of hit tunes and the generally low standard of the scores. The critics scoffed, but the film was a huge success, chiefly because of the wealth of vintage Porter numbers in it.
Quality Hill Playhouse Pays Tribute Cole Porter and Noel Coward with IT'S DELOVELY
It was by far his most successful show, running for 1, performances in New York and in London. Porter also wrote numbers for the film Les Girlswhich starred Gene Kelly. His final score was for a CBS television color special, Aladdin After 34 operations, it had to be amputated and replaced with an artificial limb. I am convinced that his whole life will cheer up and that his work will profit accordingly. On weekends he often visited an estate in the Berkshires, and he stayed in California during the summers.
In she released another collection, Ella Loves Cole. Among the many album collections of Porter songs are the following: 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 to celebrate the one hundredth anniversary of Porter's birth.