In that wonderful period covering the late twenties, thirties and early forties, America produced a great many popular composers whose songs (and shows) are still performed today. Of these, perhaps four stand out George Gershwin, Jerome Kern, Irving Berlin and Cole Porter. However Berlin and Porter differ from most other songwriters in that they not only wrote the music but also supplied their own lyrics. Berlin wrote over 1000 songs, and Porter about 800. However the main difference was that whilst Berlin seems to have written for the masses, Porter's lyrics were much more sophisticated and possibly appealed to the upper and middle classes of America. The other difference between these two giants of popular music, is that whilst Berlin came from a poor immigrant family, Porter was the grandson of a millionaire, was well educated and played the piano well, unlike Berlin who could only play in one key and had to have his piano specially adapted. It is perhaps interesting that they both wrote the music for some twenty-two shows, some of which are still being performed today. Although it is true that other collaborators wrote the book for these shows.
Porter's life was filmed in 1945 starring Gary Grant and was a very much-sanitised biography that did not mention (oh horror) the fact that he was a homosexual, which in those days would have been kept quiet. He wrote some wonderful songs, as well as some that are probably best forgotten (as with all composers, both popular and classical). But others that will remain in the popular repertoire for years to come.
There was no indication in the programme as to who is/was responsible for the compilation/dialogue of this terrific show as performed by this very talented company. Suffice it to say that with a very minimalist set comprising of rostra, a bar on stage left and a backdrop of mufti coloured curtains and “stools” that were only occasionally used, the effect was tremendous. John Saxon-Jones is to be congratulated on his design.
There were six main singers/characters and is not really the intention in this report to put against each name their individual contributions to the evenings entertainment, with one exception: Chris Clarke took on the part of Cole Porter with such assurance and panache, that he more than held the show together. He was so very laid back in his performance, delivering his dialogue brilliantly, leading us through the sometimes difficult life Porter had had in his later years after his dreadful accident.
He was extremely well supported by Bill Baynes, Sue Brodie, David Rees, Sue Reynolds and Marie-Louise Williams, all of who helped to tell the story of Porter's life by acting out various characters he had been associated with. A chorus of fifteen singers, amongst who were six dancers (plus one man) helped to flesh out this musical biography. In that context, although the use of a male and female dancer was used to perform a very nice slinky dance to the song “Begin the Beguine”, it seemed rather a shame that the dancers were not listed separately in the programme as they played such an important part in many of the songs.
Of all the songs sung, perhaps one of the most interesting was “Love for Sale” written in 1930 for a show called “The New Yorkers” and sung then by Kathryn Crawford. For some time afterwards, this song was banned from being broadcast perhaps because of its content. What made it particularly interesting in this show, is that is was performed by a man!! Was this perhaps pointing out Porter's sexuality? Or had the director decided to have it sung that way?
With some 45 songs, (plus two that were not listed), the performance went with a swing, helped along by the excellence of the two piano accompaniment played with great style by Clive Swan and Steve Povey. The sound quality (Roger Knight and Craig Marshall) varied somewhat. Certainly it was a great improvement on HLOC's last show, but still was not always consistent. There was a slight problem with the lighting too (Ian Maclean). The spots were sometimes late in picking up the soloists, and in one particular case the lighting was too dark throughout the number. Janet Williams' choreography was a delight, and very well danced by the dancers. Stage Manager James McCann and his DSM Christine Morris together with their crew made certain everything ran smoothly. The costumes (supplied by Rickmansworth Players and Marguerite Ray) were excellent, as were the props (Jo Taylor). All praise to the Director, Gillianne Morris-Monk, for directing a most entertaining, first class show.
Thank you Tony Austin for inviting Sylvia and myself, and thank you Mike Monk for looking after us. All in all it was “A Swell Party”.
Finally it's good news to hear that HLOC will be going back to Watersmeet Theatre next autumn.