The Letters of Cole Porter

by Cole Porter

  Harry Krebs is here with me + are temporarily snowbound. It’s fun.

  Love to Allen [Walker] + my best to you.

  Cole.

  11 January 1950: Cole Porter to Sam Stark68

  Dear Sam: –

  I am sending you two sides of the incidental music from The Third Man.† This music has not been released yet in this country, but it has taken England by storm on account of the use of the zither. You probably won’t like this music much, but it will be nice to have when you hear all your friends trying to buy it, so that you can turn up your famous nose.

  Love,

  [signed:] Cole

  17 January 1950: Cole Porter to Sam Stark69

  Dear Sam: –

  I received the Rustcraft* [sic] calendar for 1950. On the back of this there are columns concerning: (1) Flowers and birthstones by months; (2) important greeting card dates for 1950 and 1951; and (3) wedding anniversaries and their meanings. Why did you send this to me?

  I received the Theatre Magazine books quite a long while ago. I am sorry not to have acknowledged this sooner.

  Linda is so much better that she has been to Mainbocher’s† once; and last week she felt so well that she lunched with her niece, Linda Lee, at her niece’s apartment, in spite of the fact that her niece always has a very bad cook and Linda doesn’t like her niece.

  Love from us all to the Postman, and our best to you,

  [signed:] Cole

  [in bottom left corner:]

  P.S. I know what to do with the useful calendar! And I will still know when they casually ask me, “What does one give for a Tenth Wedding Anniversary”, or “Can I only give diamonds to girls born in April?” etc.

  [signed:] M. Smith

  Secretary

  The postscript to the last letter is a reminder of the important role played by Madeline P. Smith, Porter’s secretary, in his life: most of his letters from his last decade and a half appear to have been typed by her.

  Linda’s health certainly improved as 1950 wore on: in a letter of 7 February she revealed to Sam Stark that she intended to go and see Kiss Me, Kate, thus resuming the kinds of activities that her condition had made impossible in 1949.70 Porter himself seems to have regained something of his former levity in the next four letters and one telegram to Stark, none of which reveals much about his activities but all of which depict his personality vividly:

  9 February 1950: Cole Porter to Sam Stark71

  Dear Sam: –

  I am sending you, under separate cover, a museum piece. It is a record made in the interior of New Zealand by Lawrence C. Thaw* and, as the label indicates, it is sung by some very sweet sounding Maoris.

  That’s all.

  [signed:] Cole

  10 February 1950: Cole Porter to Sam Stark72

  Dear Sam: –

  How dare you send a chain letter to Linda and to me!

  [signed:] Cole

  11 February 1950: Cole Porter to Sam Stark73

  Dear Sam –

  I’m sending you a book named Special Friendships.† It deals with a nasty little boy in a Catholic boarding-school in La Belle France. It won a big prize. I read 135 pages because Saint Subber gave it to me, telling me how fine it was. I find it a bore.

  Love to Allen [Walker],

  Cole

  17 February 1950: Cole Porter to Sam Stark74

  Dear Sam –

  I hit Brentwood, a week from tonight. I shall telephone you quick.

  Best,

  Cole.

  21 February 1950: Cole Porter to Sam Stark75

  DEAR SAM CAN YOU LUNCH WITH ME NEXT SUNDAY[,] USUAL TIME[?] PLEASE LEAVE ANSWER WITH MAX [annotation by Stark: “AYOT (Butler)”][.] JAR OF JASMINE FLOATING SOAP JUST ARRIVED=

  COLE=

  By April, there was still no completion in sight for Out of This World. The following letter makes it clear that it had now been postponed for another six months:

  22 April 1950: Cole Porter to John Beal*76

  Dear John:

  Thank you for your letter of April 18th, 1950.

  The book of the new show which we have in preparation is still in such a vague state that I can tell you nothing now as to whether there will be a good part for you or not, but we all remember you well and have you in mind. The present plan is to go into rehearsal on October 1st, 1950.

  Sincerely,

  [signed:] Cole

  With the show on hold, Porter naturally explored other projects. The following letter to one of his lawyers is a response to a proposal that he should write the score of a musical version of Reunion in Vienna, a 1931 play by Robert E. Sherwood (1896–1955) (MGM had made a film version starring John Barrymore in 1933). The letter also addresses the size of the orchestra in relation to a proposed move of theatre for Kiss Me, Kate, which was still running on Broadway:

  6 May 1950: Cole Porter to Ben Schenkman (Paul, Weiss, Wharton & Garrison)77

  Dear Ben:

  Will you please communicate with Mr. James Russo* and tell him that I have read REUNION IN VIENNA very carefully and cannot see how a musical version of it could be made without destroying it? I am writing this same answer to Bob Sherwood† in England.

  Will you kindly call up Dr. [Albert] Sirmay, at Chappells, with reference to the number of musicians who could be put in the pit in the Shubert Theatre? My information from him was that this pit would hold 28 musicians, but your information is quite different. I should like to have this settled before the matter comes up. At present the producers tell me that they intend to move to the Shubert Theatre in July.

  After I wrote to you, suggesting that I communicate with Sam and Bella Spewack, in regard to doing a musical, I received a telephone call the following day from Saint Subber, saying that they had approached him and asked him to telephone me to find out if I would be interested in doing a musical with them sometime in the future. I replied that I would be if I felt that the subject matter would be a good spring board for me.

  Sincerely,

  COLE

  On 9 June, Porter celebrated his fifty-ninth birthday, which Sam Stark had apparently marked with a provocative telegram:

  15 June 1950: Cole Porter to Sam Stark78

  Dear Sam: –

  The birthday wire arrived. You’re not so damn young yourself.

  [signed:] Cole

  Perhaps a birthday celebration or other event brought Luella Gear* out to perform ‘Mr. and Mrs. Fitch’, which she had introduced in Gay Divorce in 1932. Porter wrote to thank her:

  16 June 1950: Cole Porter to Luella Gear79

  Dear Luella: –

  I can’t tell you how touched I was at your kindness in coming in and singing the melody of Mr. & Mrs. Fitch. Such kindness is mighty rare.

  All my best to you,

  Sincerely,

  [signed:] Cole Porter

  Over the next couple of months, Linda’s health improved. Signs of her revived spirits can be seen in several letters of this period, for example the following telegram from Linda’s dog to Sam Stark’s dog:

  19 June 1950: Gracie Porter to Miss Judy Stark80

  THANKS FOR YOUR BIRTHDAY GREETINGS. YOU ARE BEAUTIFUL SO AM I LOVE. GRACE PORTER

  A further letter from Linda to Stark on 11 July showed further signs that she was on the mend, and another from 1 August reiterated that her health was much better.† At the end of August, Porter wrote to Bernard Berenson, an old friend of the Porters, and again mentioned Linda’s health, as well as the forthcoming rehearsals and tryouts of Out of This World:

  31 August 1950: Cole Porter to Bernard Berenson81

  Dear B.B.: –

  Thank you very much indeed for your charming letter of August 20th. Alas, the rumor that I am coming to Italy is entirely untrue, as I have a new show going into rehearsal the beginning of October, and after the opening in New York at the end of November I shall probably have to go to Hollywood to seek more talent for a touring company.

  I envy you a great deal your visit to Paris. I have
n’t been there since 1937 and I constantly pine for it.

  I spend long week-ends with Linda in the country. Her improvement goes on and she is gaining a great deal of strength. I think that when she returns to New York at the end of October she will be able to lead a fairly normal life again after nearly two years of being so seriously ill.

  We talked about you a lot and would love so to see you.

  Lots of love from us both,

  Your devoted

  [signed:] Cole

  When Porter needed to spend an extended period of time out of town with the tryouts of a new musical, preparations for his stay were elaborate. The following sequence of documents shows what seems to have been his typical requirements. First, he wrote in mid-September to the Barclay Hotel in Philadelphia to reserve several rooms:

  [Undated but before 22 September 1950]: Cole Porter to Arthur T. Murray, manager of the Barclay Hotel, Philadelphia82

  Dear Sir: –

  Can you make the following reservations for me:

  AN APARTMENT FOR MYSELF WITH A

  SITTING ROOM;

  KITCHEN OR KITCHENETTE;

  2 BEDROOMS, EACH WITH BATH

  This apartment should be in some spot of the hotel where I shan’t bother your other guests, as I shall need a piano in my sitting-room [sic] during my whole stay in Philadelphia.

  Also, as near by as possible, a ROOM AND A BATH FOR MY VALET, PAUL SYLVAIN.

  I shall arrive on MONDAY, OCTOBER 30th, and will need the apartment, in all probability, until SATURDAY, NOVEMBER 25th.

  Also, could I have a room and bath for my SECRETARY, MRS. MADELINE SMITH, from Tuesday Oct. 31 until Sunday, Nov. 5.

  If I can make the above reservations will you also see to it that I have a very good BLACK BABY GRAND STEINWAY PIANO, in my sitting room for the duration of my stay. Two years ago, when I stopped at the Barclay, the piano was black it [sic] was also a Steinway – but it was not good; so I hope you can arrange that I get a really excellent one.

  I look forward very much to being with you again.

  Yours very truly,

  COLE PORTER

  The exchange continued with clarification of the needs of his valet:

  26 September 1950: Cole Porter to Arthur T. Murray83

  Dear Mr. Murray: –

  Thank you for your letter of September 22nd, relative to room for my valet, PAUL SYLVAIN.

  Rather than the arrangement of which you write, namely, servants quarters connected with my suite – my valet prefers to have the same arrangement as last time: a separate regular guest bedroom with bath, if possible on the same floor. I hope you may be able to make this arrangement.

  Your sincerely,

  COLE PORTER

  On 3 October, Madeline P. Smith then wrote to the Barclay Hotel asking for an additional room and bath for Porter’s ‘Musical Assistant’ Albert Sirmay, who was scheduled to arrive on 30 October and stay for approximately one week.84 On 23 October, Porter informed the hotel of a list of additional requests:

  [23 October 1950]: List of items to be sent to Porter at the Barclay Hotel, Philadelphia, on the morning of 30 October85

  3 cans Sturgeon

  3 Quarts Grade A Milk

  2 1 lbs. sweet Butter

  COLD CUTS:

  ½ lb. each of:

  Roast Beef

  Ham

  all

  Liverwurst

  sliced

  Salami

  very thin

  Bologna

  1 pint jar sour cream

  1 box ginger (ground)

  3 lbs Beef for Pot Roast

  24 cans Pabst Blue Ribbon Beer

  ½ lb. white onions – medium

  1 2 doz. Fresh eggs

  [handwritten:] [‘1’ changed to:] 2 White Bread Sliced*

  Evidently, Porter was keen to make his hotel suite as much like home as possible.

  Awaiting the opening of Out of This World at the end of October, Porter temporarily resumed normal life. In the following letter to Stark he outlines his recent news, including a typical jab at a journalist, Wolcott Gibbs (1902–58) of the New Yorker, who had written a well-received play:

  5 October 1950: Cole Porter to Sam Stark86

  Dear Sam: –

  Thanks a lot for your letter of Sept. 28th. Linda’s reaction to your story about Roger [Davis] taking shots which were meant only for a pregnant woman who had nausea was, “I am not at all sure that he is not a woman, and he might even be pregnant.”

  I lunched yesterday with Orry Kelly,* who is here for a month, and he gave me all the lowdown on Hollywood, which was fun to hear.

  Linda becomes better and better. I leave for the country again tomorrow to stay over the week-end.

  [Howard] Sturges arrives on October 16th, and will come up immediately to Williamstown for a few days.

  The best show I have seen so far is Black Chiffon.† The Wolcott Gibbs play, Season in the Sun,‡ received the most wonderful press possible. I suppose this is because all the critics felt that, one day, one of them might also write a play. But the play is a great disappointment and not worth the price.

  Russell [sic] Crouse and Howard Lindsay put their new second act in Call Me Madam§ last Friday night, and it appears that it is no good. But, with an advance sale of a million dollars and an excellent first act, the show will have a fine run.

  Love to the entire Coast.

  [sic:] Cole

  On 2 October the actress Martha Raye¶ appeared in a TV adaptation of Anything Goes, but it received a mixed report from the New York Times, as Porter informed his lawyer, Ben Schankman:

  9 October 1950: Cole Porter to Ben Schankman87

  Dear Ben: –

  Thank you for your letter of October 6, 1950 with the Tribune clipping on the TV “Anything Goes”.88

  This is a very nice notice from John Crosby – but I ask you to look up the notice in the New York Times89 about it and you will be less encouraged.

  Sincerely, [unsigned]

  Considerably more impressive were the reviews of Call Me Madam, the latest show of Porter’s favourite songwriter (Irving Berlin) and star (Ethel Merman). The show opened on 12 October and the following telegrams from Porter to Berlin show that he had been treated to the best seats in the house:

  12 October 1950: Cole Porter to Irving Berlin90

  DEAR IRVING. THANK YOU SO MUCH FOR MY WONDERFUL SEATS I SHALL BE THERE TO CHEER YOU TONIGHT. LOVE COLE

  13 October 1950: Cole Porter to Irving Berlin91

  DEAR IRVING. DUE TO YOUR KINDNESS JEAN FELDMAN AND I SAT IN THE FIRST ROW LAST NIGHT AND HAD A WONDERFUL TIME. YOUR SCORE IS SIMPLY DELIGHTFUL AND I CONGRATULATE YOU. ALL MY BEST COLE

  Porter’s own new show, Out of This World, was now well into rehearsal and he was cranking up his efforts to prepare for it. For example, on 16 October he wrote to the producers to ask for tickets for key music personnel:

  16 October 1950: Cole Porter to Saint Subber and Lemuel Ayers92

  Dear Saint and Lem: –

  I enclose two requests from Stan Stanley, who is plugging the music from Out of This World, and also a letter from Dr. Sirmay.

  I would appreciate it very much if you could grant these requests, especially as it is no longer a question of doing a favor for Chappell, but of doing one for me personally, as I am now a partner with Max Dreyfus in the publication of the present score.

  Sincerely,

  [unsigned]

  The reference in this letter to being a partner is important: Porter had finally decided to become more closely involved in the business side of publishing his music, following in the footsteps of Berlin.

  The Porters knew the show was in trouble: it had been through so many permutations and changes of book writer and personnel that it was unlikely to become an outright hit. Still, they tried to keep as upbeat as possible. On 19 October, Linda wrote to Jean Howard: ‘Cole leaves Sunday for Boston [sic]* where the new show opens Friday of that week. Pray for a success.’93 Six days lat
er, Madeline P. Smith wrote to Sam Stark to confirm his room reservations for the opening of Out of This World in Boston and gave him the dates for the tryouts (which would prove inaccurate when the tryouts were extended). She commented that the show ‘will, of course, be a BIG success’.94 Contrary to Smith’s optimism, Porter wrote to Berlin to report that the dress rehearsal had been disappointing:

  30 October 1950: Cole Porter to Irving Berlin95

  Dear Irving: –

  I came back from a most discouraging run-through of Out of This World last night, to find a charming message from you saying that you like Dinah Shore’s recording of Nobody’s Chasing Me.† This was a nice finish to a discouraging day.

  All my best,

  [signed:] Cole

  A few days later, he was able to wire Stark more positively:

  4 November 1950: Cole Porter to Sam Stark96

  SHOW OPENING TO MILD RECEPTION BUT I DON’T BELIEVE IT IS A FLOP. COLE.

  Quickly, it became clear that the show had potential but drastic change would be needed. Therefore, the veteran George Abbott‡ was brought in to redirect the show, replacing Agnes de Mille,* and the replacement was announced in the New York Times on 17 November: ‘Henceforth the directorial department will be supervised by George Abbott while F. Hugh Herbert† has been drafted to clarify the story line . . . A spokesman for Agnes de Mille said she didn’t see eye to eye with the management, her casting suggestions were ignored and she wasn’t given the proper cooperation. One of the conditions stipulated by Mr. Abbott was that he be permitted to make whatever cast changes deemed necessary . . . Until the Messrs. Abbott and Herbert entered the picture, no real rewriting had been accomplished, the show was speeded up by 15 minutes and some slight changes had been made in a couple of dances. When Miss de Mille’s departure was announced to the company yesterday, the players were visibly affected at her departure, it was reported.’97 As a result of the revisions, the tryouts were extended by two weeks: