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159-463: Georgia Shakespeare was founded in 1985 by Lane Anderson, Richard Garner, and Robert Watson under the name Georgia Shakespeare Festival . The company produced two plays each year, with its first offering being productions of The Taming of the Shrew and King Lear in rotating repertory starting July 10, 1986. The rising theatre company went through several locations in its first years. Its first season

318-587: A "patriotic comic opera" modeled on Gilbert and Sullivan , with a book by T. Lawrason Riggs , was a flop, closing after two weeks. Porter spent the next year in New York City before going overseas during World War I. In 1917, when the United States entered World War I , Porter moved to Paris to work with the Duryea Relief organization. Some writers have been skeptical about Porter's claim to have served in

477-609: A 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda. The soundtrack to De-Lovely includes Porter songs sung by Alanis Morissette , Sheryl Crow , Elvis Costello , Diana Krall and Natalie Cole , among others. Porter also appears as a character in Woody Allen 's 2011 film Midnight in Paris . Many events commemorated the centenary of Porter's birth, including

636-473: A Knave as supporting a date of composition prior to June 1592. Stephen Roy Miller, in his 1998 edition of A Shrew for the New Cambridge Shakespeare, agrees with the date of late 1591/early 1592, as he believes The Shrew preceded A Shrew (although he rejects the reported text theory in favour of an adaptation/rewrite theory). In William Shakespeare: A Textual Companion Gary Taylor argues for

795-566: A Lady , Anything Goes , Can-Can and Silk Stockings . His numerous hit songs include " Night and Day ", " Begin the Beguine ", " 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

954-671: A Shrew (published in quarto in May 1594). Oliver says it is a "natural assumption" that these publications were sold by members of Pembroke's Men who were broke after the failed tour. Oliver assumes that A Shrew is a reported version of The Shrew , which means The Shrew must have been in their possession when they began their tour in June, as they didn't perform it upon returning to London in September, nor would they have taken possession of any new material at that time. Ann Thompson considers A Shrew to be

1113-500: A bad quarto. Instead, he argues it is an adaptation by someone other than Shakespeare. Miller believes Alexander's suggestion in 1969 that the reporter became confused is unlikely, and instead suggests an adapter at work; "the most economic explanation of indebtedness is that whoever compiled A Shrew borrowed the lines from Shakespeare's The Shrew , or a version of it, and adapted them." Part of Miller's evidence relates to Gremio, who has no counterpart in A Shrew . In The Shrew , after

1272-610: A brief time at the New York Historical Society , his 1908 Steinway grand piano, which he had used when composing since the mid-1930s, has been displayed and often played in the lobby of the Waldorf-Astoria Hotel . Porter is a member of the American Theater Hall of Fame and Great American Songbook Hall of Fame, which recognized his "musically complex [songs] with witty, urbane lyrics". In 2014, Porter

1431-546: A concert that included his familiar classics. The Cole Porter Festival is held every year in June in his hometown of Peru, Indiana, to foster music and art appreciation. Costumed singers in the cabaret-style Cole Porter Room at the Indiana Historical Society 's Eugene and Marilyn Glick Indiana History Center in Indianapolis take requests from visitors and perform Porter's hit songs. Since Porter's death, except for

1590-880: 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. 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". Porter began

1749-628: A date of composition around 1590–1591, noting much of the same evidence cited by other scholars but acknowledging the difficulty of dating the play with certainty. Keir Elam, however, has argued for a terminus post quem of 1591 for The Shrew , based on Shakespeare's probable use of two sources published that year: Abraham Ortelius ' map of Italy in the fourth edition of Theatrum Orbis Terrarum , and John Florio 's Second Fruits . Firstly, Shakespeare errs in putting Padua in Lombardy instead of Veneto , probably because he used Ortelius' map of Italy as

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1908-555: A humorous sketch in their CBS television series. 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. In contrast to the highly embellished 1946 screen biography Night and Day , Porter's life was chronicled more realistically in De-Lovely ,

2067-408: A large surplus of recreational drugs ". In 1918, he met Linda Lee Thomas , a rich, Louisville, Kentucky -born divorcée eight years his senior. She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter's confidante and companion. The couple married the following year. She was in no doubt about Porter's homosexuality, but it

2226-455: A medley of Porter's songs at the 37th Academy Awards shortly after Porter's death. The biographical show Cole , by Alan Strachan and Benny Green , featuring Porter hits, ran in 1974 at London's Mermaid Theatre . 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 Carol Burnett Show paid a tribute to Porter in

2385-500: A more prestigious outlet than Broadway for her husband's talents, 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 . Meanwhile, Porter's first big hit was the song "Old-Fashioned Garden" from the revue Hitchy-Koo of 1919 . In 1920, he contributed

2544-421: 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. The stars he wanted were Ethel Merman , William Gaxton and comedian Victor Moore . He planned a story about a shipwreck and a desert island, and for the book he turned to P. G. Wodehouse and Guy Bolton . For

2703-501: A now-lost early draft of the play. Upon returning to London, they published A Shrew in 1594, sometime after which Shakespeare rewrote his original play into the form seen in the First Folio . Duthie's arguments were never fully accepted at the time, as critics tended to look at the relationship between the two plays as an either-or situation; A Shrew is either a reported text or an early draft. In more recent scholarship, however,

2862-417: A possible literary source for the wager scene may have been William Caxton 's 1484 translation of Geoffroy IV de la Tour Landry 's Livre pour l'enseignement de ses filles du Chevalier de La Tour Landry (1372). Written for his daughters as a guide on how to behave appropriately, de la Tour Landry includes "a treatise on the domestic education of women" which features an anecdote in which three merchants make

3021-459: A pre-Broadway tour, during which it ran into trouble with Boston censors, it achieved 408 performances, beginning at the 46th Street Theatre . 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 ". At the end of 1939, Porter contributed six songs to

3180-460: A production-to-production basis). In 2005, he published a book, The Shakespearean Dramaturg: A Theoretical and Practical Guide , based on his eight years experience dramaturging in the American southeast. In 2011, mired in debt, the theatre launched a 'Save Georgia Shakespeare' campaign which was successful in raising over $ 500,000. When Georgia Shakespeare was still performing under a tent, patrons of

3339-567: A reported text in her 1984 and 2003 editions of the play for the New Cambridge Shakespeare . She focuses on the closure of the theatres on 23 June 1592, arguing that the play must have been written prior to June 1592 for it to have given rise to A Shrew . She cites the reference to "Simon" in A Shrew , Anthony Chute's allusion to The Shrew in Beauty Dishonoured and the verbal similarities between The Shrew and A Knack to Know

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3498-470: A reported text of a now lost early draft. Alexander returned to the debate in 1969, re-presenting his bad quarto theory. In particular, he concentrated on the various complications and inconsistencies in the subplot of A Shrew , which had been used by Houk and Duthie as evidence for an Ur-Shrew , to argue that the reporter of A Shrew attempted to recreate the complex subplot from The Shrew but got confused; "the compiler of A Shrew while trying to follow

3657-416: A revised form, and that, consequently, the play which Marlowe imitated might not necessarily have been that fund of life and humour that we find it now." Hickson is here arguing that Marlowe's A Shrew is not based upon the version of The Shrew found in the First Folio , but on another version of the play. Duthie argues this other version was a Shakespearean early draft of The Shrew ; A Shrew constitutes

3816-434: A run of 477 performances. 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 ". It was 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

3975-445: A rush-candle,/Henceforth I vow it shall be so for me" (4.5.14–15). Along the way, they meet Vincentio, who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her that he is a man. Back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista

4134-745: 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. Porter's father was also a talented singer and pianist, but the father-son relationship was not close. J. O. Cole wanted his grandson to become a lawyer, and with that in mind, sent him to Worcester Academy in Massachusetts in 1905. Porter brought an upright piano with him to school and found that music, and his ability to entertain, made it easy for him to make friends. Porter did well in school and rarely came home to visit. He became class valedictorian and

4293-571: 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 also is mentioned in the song "Tonite It Shows" by Mercury Rev on their 1998 album Deserter's Songs . After Can-Can was adapted as a film , the soundtrack won the 1960 Grammy Award for Best Sound Track Album . In 1965, Judy Garland performed

4452-476: A source, which has "Lombardy" written across the entirety of northern Italy . Secondly, Elam suggests that Shakespeare derived his Italian idioms and some of the dialogue from Florio's Second Fruits , a bilingual introduction to Italian language and culture. Elam argues that Lucentio's opening dialogue, Tranio, since for the great desire I had To see fair Padua, nursery of arts, I am arrived for fruitful Lombardy, The pleasant garden of great Italy. (1.1.1–4)

4611-480: A state of flux. As such, audiences may not have been as predisposed to tolerate the harsh treatment of Katherina as is often thought. Evidence of at least some initial societal discomfort with The Shrew is, perhaps, to be found in the fact that John Fletcher , Shakespeare's successor as house playwright for the King's Men , wrote The Woman's Prize , or The Tamer Tamed as a sequel to Shakespeare's play. Written c. 1611,

4770-424: A suitor for Katherina. He also has Petruchio present him (Hortensio) to Baptista disguised as a music tutor named Litio. Thus, Lucentio and Hortensio attempt to woo Bianca while pretending to be the tutors Cambio and Litio respectively. To counter Katherina's shrewish nature, Petruchio pretends that any harsh things she says or does are actually kind and gentle. Katherina agrees to marry Petruchio after seeing that he

4929-408: A wager as to which of their wives will prove the most obedient when called upon to jump into a basin of water. The episode sees the first two wives refuse to obey (as in the play), it ends at a banquet (as does the play) and it features a speech regarding the "correct" way for a husband to discipline his wife. In 1959, John W. Shroeder conjectured that Chevalier de La Tour Landry ' s depiction of

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5088-509: A wealthy family in Indiana , Porter defied his grandfather's wishes for him to practice law and took up music as a profession. Classically trained, he was drawn to 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

5247-426: Is Mostellaria by Plautus , from which Shakespeare probably took the names of Tranio and Grumio. Efforts to date the play's composition are complicated by its uncertain relationship with another Elizabethan play entitled A Pleasant Conceited Historie, called the taming of a Shrew , which has an almost identical plot but different wording and character names. The Shrew ' s exact relationship with A Shrew

5406-424: Is an example of Shakespeare's borrowing from Florio's dialogue between Peter and Stephan, who have just arrived in the north: PETER I purpose to stay a while, to view the fair Cities of Lombardy. STEPHAN Lombardy is the garden of the world. Elam's arguments suggest The Shrew must have been written no earlier than 1591, which places the date of composition around 1591–1592. The 1594 quarto of A Shrew

5565-832: Is aware is also a suitor, is never mentioned. In Act 3, Scene 1, Lucentio (as Cambio) tells Bianca "we might beguile the old Pantalowne " (l.36), yet says nothing of Hortensio's attempts to woo her, instead implying his only rival is Gremio. In Act 3, Scene 2, Tranio suddenly becomes an old friend of Petruchio, knowing his mannerisms and explaining his tardiness prior to the wedding. However, up to this point, Petruchio's only acquaintance in Padua has been Hortensio. In Act 4, Scene 3, Hortensio tells Vincentio that Lucentio has married Bianca. However, as far as Hortensio should be concerned, Lucentio has denounced Bianca, because in Act 4, Scene 2, Tranio (disguised as Lucentio) agreed with Hortensio that neither of them would pursue Bianca, and as such, his knowledge of

5724-419: Is evidence of an adaptation rather than a faulty report; while it is difficult to know the motivation of the adapter, we can reckon that from his point of view an early staging of The Shrew might have revealed an overly wrought play from a writer trying to establish himself but challenging too far the current ideas of popular comedy. The Shrew is long and complicated. It has three plots, the subplots being in

5883-410: Is found to be pregnant, Damon has Dulipo imprisoned (the real father is Erostrato). Soon thereafter, the real Philogano arrives, and all comes to a head. Erostrato reveals himself, and begs clemency for Dulipo. Damon realises that Polynesta is truly in love with Erostrato, and so forgives the subterfuge. Having been released from jail, Dulipo then discovers he is Cleander's son. An additional minor source

6042-419: Is good enough for her; he claims that perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable. He also disagrees with everything that she says, forcing her to agree with everything that he says, no matter how absurd; on their way back to Padua to attend Bianca's wedding, she agrees with Petruchio that the sun is the moon, and proclaims "if you please to call it

6201-399: Is happy for Bianca to wed Lucentio (still Tranio in disguise). Bianca, aware of the deception, then secretly elopes with the real Lucentio to get married. However, when Vincentio reaches Padua, he encounters the pedant, who claims to be Lucentio's father. Tranio (still disguised as Lucentio) appears, and the pedant acknowledges him to be his son Lucentio. In all the confusion, the real Vincentio

6360-580: Is in a class by himself", and Porter subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate . 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 . The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London. Porter, despite his lessons in orchestration from d'Indy, did not orchestrate his musicals. Anything Goes

6519-531: Is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father. Many artists have recorded Porter songs, and dozens have released entire albums of his songs. In 1956, 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

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6678-550: Is invariably to be found" in The Shrew . His explanation was that A Shrew was written by Christopher Marlowe , with The Shrew as his template. He reached this conclusion primarily because A Shrew features numerous lines almost identical to lines in Marlowe's Tamburlaine and Dr. Faustus . In 1926, building on Hickson's research, Peter Alexander first suggested the bad quarto theory. Alexander agreed with Hickson that A Shrew

6837-495: Is on the lookout for tutors for his daughters, Lucentio devises a plan in which he disguises himself as a Latin tutor named Cambio in order to woo Bianca behind Baptista's back and meanwhile has his servant Tranio pretend to be him. In the meantime, Petruchio , accompanied by his servant Grumio, arrives in Padua from Verona . He explains to Hortensio, an old friend of his, that since his father's death, he has set out to enjoy life and wed. Hearing this, Hortensio recruits Petruchio as

6996-419: Is possible to narrow the date further. A terminus ante quem for A Shrew could be August 1592, as a stage direction at 3.21 mentions "Simon," which probably refers to the actor Simon Jewell, who was buried on 21 August 1592. Furthermore, The Shrew seems to have been written earlier than 1593, as Anthony Chute 's Beauty Dishonoured, written under the title of Shore's wife (published in June 1593) contains

7155-425: Is seen as the "ideal" woman. The question of whether the play is misogynistic has become the subject of considerable controversy. The Taming of the Shrew has been adapted numerous times for stage, screen, opera, ballet, and musical theatre, perhaps the most famous adaptations being Cole Porter 's Kiss Me, Kate ; McLintock! , a 1963 American Western comedy film, starring John Wayne and Maureen O'Hara ; and

7314-416: Is set to be arrested, when the real Lucentio appears with his newly betrothed Bianca, revealing all to a bewildered Baptista and Vincentio. Lucentio explains everything, and all is forgiven by the two fathers. Meanwhile, Hortensio has married a rich widow. In the final scene of the play, there are three newly married couples; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio. Because of

7473-521: Is strictly a creative luxury." 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 ". He wrote the score of the short film Paree, Paree , in 1935, using some of

7632-515: Is the only man willing to counter her quick remarks; however, at the ceremony, Petruchio makes an embarrassing scene when he strikes the priest and drinks the communion wine . After the wedding, Petruchio takes Katherina to his home against her will. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win, he promises much more than Lucentio possesses. When Baptista determines that once Lucentio's father confirms

7791-470: Is tricked into believing that he is a lord. The play is performed in order to distract Sly from his "wife," who is actually Bartholomew, a servant, dressed as a woman. In the play performed for Sly, the "shrew" is Katherina, the elder daughter of Baptista Minola, a lord in Padua . Numerous men, including Tranio, deem Katherina an unworthy option for marriage because of her notorious assertiveness and willfulness. On

7950-628: Is unknown. Different theories suggest A Shrew could be a reported text of a performance of The Shrew , a source for The Shrew , an early draft (possibly reported) of The Shrew , or an adaptation of The Shrew . A Shrew was entered in the Stationers' Register on 2 May 1594, suggesting that whatever the relationship between the two plays, The Shrew was most likely written somewhere between 1590 (roughly when Shakespeare arrived in London) and 1594 (registration of A Shrew ). Some writers suggest, that it

8109-822: The French Foreign Legion , but the Legion lists Porter as one of its soldiers and displays his portrait at its museum in Aubagne . By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau , teaching gunnery to American soldiers. An obituary notice in The New York Times stated 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

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8268-533: The Queen Vastis story may also have been an influence on Shakespeare. In 1964, Richard Hosley suggested the main source for the play may have been the anonymous ballad "A merry jeste of a shrewde and curst Wyfe, lapped in Morrelles Skin, for her good behauyour". The ballad tells the story of a marriage in which the husband must tame his headstrong wife. Like Shrew , the story features a family with two sisters,

8427-622: The Théâtre des Champs-Élysées in October 1923. After a successful New York performance the following month, the Ballets suédois 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 and others. Porter had less success with his work on The Greenwich Village Follies (1924). He wrote most of

8586-442: The courtship of Petruchio and Katherina , the headstrong, obdurate shrew . Initially, Katherina is an unwilling participant in the relationship; however, Petruchio "tames" her with various psychological and physical torments, such as keeping her from eating and drinking, until she becomes a desirable, compliant, and obedient bride. The subplot features a competition between the suitors of Katherina's younger sister, Bianca , who

8745-408: The dowry , Bianca and Tranio (i.e., Lucentio) can marry, Tranio decides that they will need someone to pretend to be Vincentio, Lucentio's father. Meanwhile, Tranio persuades Hortensio that Bianca is not worthy of his attention, thus removing Lucentio's remaining rival. In Verona, Petruchio begins the "taming" of his new wife. She is refused food and clothing because nothing – according to Petruchio –

8904-441: The 1623 folio text. W.W. Greg has demonstrated that A Shrew and The Shrew were treated as the same text for the purposes of copyright , i.e. ownership of one constituted ownership of the other, and when Smethwick purchased the rights from Ling in 1609 to print the play in the First Folio , Ling actually transferred the rights for A Shrew , not The Shrew . This has led Darren Freebury-Jones to contend that Shakespeare's play

9063-409: The 1950s with Out of This World (1950), which had some good numbers but too much camp and vulgarity, 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. Porter's last original Broadway production, Silk Stockings (1955), featuring " All of You ", was also successful, with

9222-480: The 1967 film of the play, starring Elizabeth Taylor and Richard Burton . The 1999 high-school comedy film 10 Things I Hate About You and the 2003 romantic comedy Deliver Us from Eva are also loosely based on the play. Characters appearing in the Induction: Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who

9381-446: The Boys (1943), starring Merman, ran for 422 performances, and Mexican Hayride (1944), starring Bobby Clark , with June Havoc , ran for 481 performances. These shows, too, are short of Porter standards. The critics did not pull their punches, complaining about the lack of hit tunes and the generally low standard of the scores. After two flops, Seven Lively Arts (1944) (which featured

9540-652: The Christopher Sly framework is only featured twice; at the opening of the play, and at the end of Act 1, Scene 1. However, in A Shrew , the Sly framework reappears a further five times, including a scene which comes after the final scene of the Petruchio/Katherina story. Pope added most of the Sly framework to The Shrew , even though he acknowledged in his preface that he did not believe Shakespeare had written A Shrew . Subsequent editors followed suit, adding some or all of

9699-523: The Depths (on the Ninetieth Floor) ", and " Ridin' High" . 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

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9858-520: The Duke of Burgundy story because although De Rebus was not translated into French until 1600 and not into English until 1607, there is evidence the story existed in English in a jest book (now lost) by Richard Edwardes , written in 1570. Regarding the Petruchio/Katherina story, there are a variety of possible influences, but no one specific source. The basic elements of the narrative are present in tale 35 of

10017-486: The Induction so the audience wouldn't react badly to the misogyny in the Petruchio/Katherina story; he was, in effect, defending himself against charges of sexism . G.R. Hibbard argues that during the period in which the play was written, arranged marriages were beginning to give way to newer, more romantically informed unions, and thus people's views on women's position in society, and their relationships with men, were in

10176-514: The League of Resident Theaters and Shakespeare Theatre Association of America. At the time, it was one of only two theatres in the state of Georgia to be a part of this league. In 2004, Professor Andrew James Hartley, Distinguished Professor of Shakespeare Studies at the University of North Carolina at Charlotte , was appointed the company's first resident dramaturg (having served a similar long0time role in

10335-492: The Shrew The Taming of the Shrew is a comedy by William Shakespeare , believed to have been written between 1590 and 1592. The play begins with a framing device , often referred to as the induction , in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly's diversion. The main plot depicts

10494-402: The Sly framework to their versions of The Shrew ; Lewis Theobald (1733), Thomas Hanmer (1744), William Warburton (1747), Samuel Johnson and George Steevens ( 1765 ) and Edward Capell (1768). In his 1790 edition of The Plays and Poems of William Shakespeare , however, Edmond Malone removed all A Shrew extracts and returned the text to the 1623 First Folio version. By the end of

10653-514: The Still of the Night "; High Society (1956), which included " True Love "; and Les Girls (1957). Porter was born in Peru, Indiana , on June 9, 1891, the only surviving child of a wealthy family. His father, Samuel Fenwick Porter, was a pharmacist by trade. 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

10812-572: The adventures of an immigrant to America who becomes a film star. The work, written for the Ballets suédois , lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud 's La création du monde . 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

10971-631: The amputation and spent the remaining six years of his life in relative seclusion, seeing only intimate friends. 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. Porter died of kidney failure at age 73 on October 15, 1964, in Santa Monica , California. He

11130-551: The bad quarto theory, with Oliver tentatively arguing for Duthie's bad quarto/early draft/ Ur-Shrew theory. Perhaps the most extensive examination of the question came in 1998 in Stephen Roy Miller's edition of A Shrew for the New Cambridge Shakespeare: The Early Quartos series. Miller agrees with most modern scholars that A Shrew is derived from The Shrew , but he does not believe it to be

11289-454: 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. Ray Goetz, producer of Paris and Fifty Million Frenchmen , the success of which 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

11448-539: The character of Hortensio, and suggest that in an original version of the play, now lost, Hortensio was not a suitor to Bianca, but simply an old friend of Petruchio. When Shakespeare rewrote the play so that Hortensio became a suitor in disguise (Litio), many of his lines were either omitted or given to Tranio (disguised as Lucentio). Oliver cites several scenes in the play where Hortensio (or his absence) causes problems. For example, in Act 2, Scene 1, Tranio (as Lucentio) and Gremio bid for Bianca, but Hortensio, who everyone

11607-402: The company has performed between three and seven plays per season. Georgia Shakespeare opened its 1997 season in the $ 5.7 million John A. and Miriam H. Conant Performing Arts Center with The Tempest . The Conant Center has a 509-seat modified thrust stage and it was this move that allowed the addition of a fall performance to the season schedule. In 2001, Georgia Shakespeare became a member of

11766-421: The compiler seems to wish to produce dialogue much like his models, but not the same. For him, adaptation includes exact quotation, imitation and incorporation of his own additions. This seems to define his personal style, and his aim seems to be to produce his own version, presumably intended that it should be tuned more towards the popular era than The Shrew ." As had Alexander, Houk and Duthie, Miller believes

11925-593: The context of current anxieties, desires and beliefs, Shakespeare's play seems to prefigure the most oppressive modern assumptions about women and to validate those assumptions as timeless truths." Stevie Davies says that responses to Shrew have been "dominated by feelings of unease and embarrassment, accompanied by the desire to prove that Shakespeare cannot have meant what he seems to be saying; and that therefore he cannot really be saying it." Philippa Kelly asks: Do we simply add our voices to those of critical disapproval, seeing Shrew as at best an "early Shakespeare",

12084-493: The eighteenth century, the predominant theory had come to be that A Shrew was a non-Shakespearean source for The Shrew , and hence to include extracts from it was to graft non-authorial material onto the play. This theory prevailed until 1850 when Samuel Hickson compared the texts of The Shrew and A Shrew , concluding The Shrew was the original, and A Shrew was derived from it. By comparing seven passages which are similar in both plays, he concluded "the original conception

12243-416: The entire Ballets Russes to entertain his guests, and for a party at Ca' Rezzonico , which he rented for $ 4,000 a month ($ 72,000 in current value), he hired 50 gondoliers to act as footmen and had a troupe of tightrope walkers perform in a blaze of lights. In the midst of this extravagant lifestyle, Porter continued to write songs with his wife's encouragement. Porter received few commissions for songs in

12402-522: The family. J. O. Cole built the couple a house on his Peru-area property, known as Westleigh Farms. After high school, Porter returned to his childhood home only for occasional visits. Porter's strong-willed mother doted on him 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. His father,

12561-608: The film Broadway Melody of 1940 for Fred Astaire, George Murphy and Eleanor Powell . Meanwhile, as political unrest increased in Europe, Porter's wife closed their Paris house in 1939, and the next year bought 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 Williamstown. Panama Hattie (1940)

12720-688: 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); Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter (1989) and Love for Sale ( Tony Bennett and Lady Gaga , 2021). In 1990 Dionne Warwick released Dionne Sings Cole Porter . In that same year, Red Hot + Blue

12879-496: The fourteenth-century Spanish book Libro de los ejemplos del conde Lucanor y de Patronio by Don Juan Manuel , which tells of a young man who marries a "very strong and fiery woman." The text had been translated into English by the sixteenth century, but there is no evidence that Shakespeare drew on it. The story of a headstrong woman tamed by a man was well known, and found in numerous traditions. For example, according to The Canterbury Tales by Geoffrey Chaucer , Noah 's wife

13038-409: The general opinion that Petruchio is married to a shrew, a good-natured quarrel breaks out amongst the three men about whose wife is the most obedient. Petruchio proposes a wager whereby each will send a servant to call for his wife, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. She then hauls

13197-605: The halftime show of the 1991 Orange Bowl . 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". 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. "A Gala Birthday Concert"

13356-453: The key to the debate is to be found in the subplot, as it is here where the two plays differ most. He points out that the subplot in The Shrew is based on "the classical style of Latin comedy with an intricate plot involving deception, often kept in motion by a comic servant." The subplot in A Shrew , however, which features an extra sister and addresses the issue of marrying above and below one's class, "has many elements more associated with

13515-509: The kind of discomfort that Shrew has characteristically provoked in men and why its many revisions since 1594 have repeatedly contrived ways of softening the edges." Cole Porter Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Many of his songs became standards noted for their witty, urbane lyrics, and many of his scores found success on Broadway and in Hollywood films . Born to

13674-399: The legitimate texts from which they were memorised. The nomenclature , which at least a memoriser can recall, is entirely different. The verbal parallels are limited to stray phrases, most frequent in the main plot, for which I believe Shakespeare picked them up from A Shrew ." He explained the relationship between I Suppositi / Supposes and the subplots by arguing the subplot in The Shrew

13833-476: The line "He calls his Kate, and she must come and kiss him." This must refer to The Shrew , as there is no corresponding "kissing scene" in A Shrew . There are also verbal similarities between both Shrew plays and the anonymous play A Knack To Know A Knave (first performed at The Rose on 10 June 1592). Knack features several passages common to both A Shrew and The Shrew , but it also borrows several passages unique to The Shrew . This suggests The Shrew

13992-702: The main source for the play was not literary, but the oral folktale tradition. He argued the Petruchio/Katherina story represents an example of Type 901 ('Shrew-taming Complex') in the Aarne–Thompson classification system . Brunvand discovered 383 oral examples of Type 901 spread over thirty European countries, but he could find only 35 literary examples, leading him to conclude that "Shakespeare's taming plot, which has not been traced successfully in its entirety to any known printed version, must have come ultimately from oral tradition." Most contemporary critics accept Brunvand's findings. A source for Shakespeare's subplot

14151-545: The marriage of who he supposes to be Lucentio and Bianca makes little sense. From this, Oliver concludes that an original version of the play existed in which Hortensio was simply a friend of Petruchio's, and had no involvement in the Bianca subplot, but wishing to complicate things, Shakespeare rewrote the play, introducing the Litio disguise, and giving some of Hortensio's discarded lines to Tranio, but not fully correcting everything to fit

14310-467: The movie environment, and Porter's closeted homosexual acts, formerly very discreet, became less so; she retreated to their Paris house. When his film assignment on Rosalie was finished in 1937, Porter hastened to Paris to make 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. They were soon reunited by an accident Porter suffered. On October 24, 1937, Porter

14469-473: 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 1930s, 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

14628-452: The music of several songs to the musical A Night Out . 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. In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice. He once hired

14787-466: The musical Paris , his first hit. It was commissioned by E. Ray Goetz at the instigation of Goetz's wife and the show's star, Irène Bordoni . She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter's agent persuaded Goetz to hire Porter instead. 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

14946-426: 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. 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. At the age of 36, Porter reintroduced himself to Broadway in 1928 with

15105-420: The original, with A Shrew derived from it; as H.J. Oliver suggests, there are "passages in [ A Shrew ] [...] that make sense only if one knows the [Follio] version from which they must have been derived." The debate regarding the relationship between the two plays began in 1725, when Alexander Pope incorporated extracts from A Shrew into The Shrew in his edition of Shakespeare's works. In The Shrew ,

15264-439: The other hand, men such as Hortensio and Gremio are eager to marry her younger sister Bianca . However, Baptista has sworn Bianca is not allowed to marry until Katherina is wed; this motivates Bianca's suitors to work together to find Katherina a husband so that they may compete for Bianca. The plot thickens when Lucentio, who has recently come to Padua to attend university, falls in love with Bianca. Overhearing Baptista say that he

15423-517: The other two wives into the room, giving a speech on why wives should always obey their husbands. The play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew. Although there is no direct literary source for the induction, the tale of a commoner being duped into believing he is a lord is one found in many literary traditions. Such a story is recorded in Arabian Nights where Harun al-Rashid plays

15582-485: The play is set in Athens instead of Padua, the Sly framework forms a complete narrative, and entire speeches are completely different, all of which suggests to Miller that the author of A Shrew thought they were working on something different from Shakespeare's play, not attempting to transcribe it for resale; "underpinning the notion of a 'Shakespearean bad quarto' is the assumption that the motive of whoever compiled that text

15741-407: The play tells the story of Petruchio's remarriage after Katherina's death. In a mirror of the original, his new wife attempts (successfully) to tame him – thus the tamer becomes the tamed. Although Fletcher's sequel is often downplayed as merely a farce, some critics acknowledge the more serious implications of such a reaction. Lynda Boose, for example, writes, "Fletcher's response may in itself reflect

15900-457: The possibility that a text could be both has been shown to be critically viable. For example, in his 2003 Oxford Shakespeare edition of 2 Henry VI , Roger Warren makes the same argument for The First Part of the Contention . Randall Martin reaches the same conclusion regarding The True Tragedy of Richard Duke of Yorke in his 2001 Oxford Shakespeare edition of 3 Henry VI . This lends support to

16059-523: The presence of a new suitor. This is important in Duthie's theory of an Ur-Shrew insofar as he argues it is the original version of The Shrew upon which A Shrew is based, not the version which appears in the 1623 First Folio . As Oliver argues, " A Shrew is a report of an earlier, Shakespearian, form of The Shrew in which Hortensio was not disguised as Litio." Oliver suggests that when Pembroke's Men left London in June 1592, they had in their possession

16218-563: The procedure. Linda rushed from Paris to be with him, and supported him in his refusal of amputation. He remained in the hospital for seven months before being allowed to go home to his apartment at the Waldorf Towers . He resumed work as soon as he could, finding it took his mind off his perpetual pain. 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. The score included

16377-524: The question of the relationship between the two plays; Brian Morris ' 1981 edition for the second series of the Arden Shakespeare , H.J. Oliver's 1982 edition for the Oxford Shakespeare and Ann Thompson's 1984 edition for the New Cambridge Shakespeare. Morris summarised the scholarly position in 1981 as one in which no clear-cut answers could be found; "unless new, external evidence comes to light,

16536-439: The real Dulipo pretends to be Erostrato. Having done this, Erostrato is hired as a tutor for Polynesta. Meanwhile, Dulipo pretends to formally woo Polynesta so as to frustrate the wooing of the aged Cleander (Gremio). Dulipo outbids Cleander, but he promises far more than he can deliver, so he and Erostrato dupe a travelling gentleman from Siena into pretending to be Erostrato's father, Philogano (Vincentio). However, when Polynesta

16695-488: The relationship between The Shrew and A Shrew can never be decided beyond a peradventure. It will always be a balance of probabilities, shifting as new arguments and opinions are added to the scales. Nevertheless, in the present century, the movement has unquestionably been towards an acceptance of the Bad Quarto theory, and this can now be accepted as at least the current orthodoxy." Morris himself, and Thompson, supported

16854-559: The reporter knows have been left. He also argued the subplot in The Shrew was closer to the plot of I Suppositi / Supposes than the subplot in A Shrew , which he felt indicated the subplot in The Shrew must have been based directly on the source, whereas the subplot in A Shrew was a step removed. In their 1928 edition of the play for the New Shakespeare, Arthur Quiller-Couch and John Dover Wilson supported Alexander's argument. However, there has always been critical resistance to

17013-417: The romantic style of comedy popular in London in the 1590s." Miller cites plays such as Robert Greene 's Friar Bacon and Friar Bungay and Fair Em as evidence of the popularity of such plays. He points to the fact that in The Shrew , there are only eleven lines of romance between Lucentio and Bianca, but in A Shrew , there is an entire scene between Kate's two sisters and their lovers. This, he argues,

17172-554: The same opinion; "the relation of the early quarto to the Folio text is unlike other early quartos because the texts vary much more in plotting and dialogue [...] the differences between the texts are substantial and coherent enough to establish that there was deliberate revision in producing one text out of the other; hence A Shrew is not merely a poor report (or 'bad quarto') of The Shrew ." Character names are changed, basic plot points are altered (Kate has two sisters for example, not one),

17331-623: The same trick on a man he finds sleeping in an alley. Another is found in De Rebus Burgundicis (1584) by the Dutch historian Pontus de Huyter , where Philip, Duke of Burgundy , after attending his sister's wedding in Portugal, finds a drunken "artisan" whom he entertains with a "pleasant Comedie." Arabian Nights was not translated into English until the mid-18th century, although Shakespeare may have known it by word of mouth. He could also have known

17490-533: The show included " Let's Misbehave " and one of his best-known list songs , " Let's Do It, Let's Fall in Love ", which was introduced by Bordoni and Arthur Margetson . 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. This was also a success, and, in Citron's phrase, Porter

17649-553: The show ran for a profitable 248 performances, and the rights to the film, retitled The Gay Divorcee , were sold to RKO Pictures . 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 Elisabeth Welch. In 1934, producer Vinton Freedley came up with

17808-470: The shrew is beaten with birch rods until she bleeds and is then wrapped in the salted flesh of a plough horse (the Morrelle of the title). "Merry Jest" was not unknown to earlier editors of the play, and had been dismissed as a source by A.R. Frey, W.C. Hazlitt , R. Warwick Bond and Frederick S. Boas . Modern editors also express doubt as to Hosley's argument. In 1966, Jan Harold Brunvand argued that

17967-515: The socially provocative effort of a dramatist who was learning to flex his muscles? Or as an item of social archaeology that we have long ago abandoned? Or do we "rescue" it from offensive male smugness? Or make an appeal to the slippery category of " irony "? Some scholars argue that even in Shakespeare's day the play must have been controversial, due to the changing nature of gender politics. Marjorie Garber , for example, suggests Shakespeare created

18126-403: The songs "From Alpha to Omega" and " At Long Last Love ". 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". Porter's last show of the 1930s was DuBarry Was a Lady (1939), a particularly risqué show starring Merman and Bert Lahr . After

18285-400: 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 admired and championed Porter, took out a paid press advertisement calling the show "The best musical comedy I've heard in years. ... One of

18444-472: The songs from Fifty Million Frenchmen . 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 . 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

18603-481: The songs, he decided on Porter. By telling each of these that he had already signed the others, Freedley gathered his ideal team together. A drastic last-minute rewrite was necessitated by a major shipping accident that dominated the news and made Bolton and Wodehouse's book seem tasteless. Nevertheless, the show, Anything Goes , was an immediate hit. Porter wrote what many consider his greatest score of this period. The New Yorker magazine's review said, "Mr. Porter

18762-541: The sort of material currently in demand in popular romantic comedies. Miller believes the compiler "appears to have wished to make the play shorter, more of a romantic comedy full of wooing and glamorous rhetoric , and to add more obvious, broad comedy." H.J. Oliver argues the version of the play in the 1623 First Folio was likely copied not from a prompt book or transcript, but from the author's own foul papers , which he believes showed signs of revision by Shakespeare. These revisions, Oliver says, relate primarily to

18921-426: The speeches of Polidor and Phylema and gave them to a character he resurrected from Supposes . This is a less economical argument than to suggest that the compiler of A Shrew , dismissing Gremio, simply shared his doubts among the characters available." He argues there is even evidence in the play that the compiler knew he was working within a specific literary tradition; "as with his partial change of character names,

19080-477: The standard " Ev'ry Time We Say Goodbye ") and Around the World (1946), many thought that Porter's best period was over. 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

19239-427: The subplot of The Shrew gave it up as too complicated to reproduce, and fell back on love scenes in which he substituted for the maneuvers of the disguised Lucentio and Hortensio extracts from Tamburlaine and Faustus , with which the lovers woo their ladies." After little further discussion of the issue in the 1970s, the 1980s saw the publication of three scholarly editions of The Shrew , all of which re-addressed

19398-435: The swift Latin or Italianate style with several disguises. Its language is at first stuffed with difficult Italian quotations, but its dialogue must often sound plain when compared to Marlowe's thunder or Greene's romance, the mouth-filling lines and images that on other afternoons were drawing crowds. An adapter might well have seen his role as that of a 'play doctor' improving The Shrew – while cutting it – by stuffing it with

19557-417: The team with whom Porter had last worked: Herbert Fields writing the book and Porter's old friend Monty Woolley directing. 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 Elisabeth Welch in a nightclub scene. The lyric

19716-726: The theatre started bringing pre-show picnics. This became a tradition and when the Conant Performing Arts Center was built, a covered area with tables and chairs was set aside for picnics. In 2014, the grounds underwent a renovation funded through several Atlanta-area private foundations. In 2014, the theatre company closed for good in the middle of its 29th season, unable to stay open due to its high debts. 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 (Final Season) The Taming of

19875-507: The theory that A Shrew could be both a reported text and an early draft. The Taming of the Shrew has been the subject of critical controversy. Dana Aspinall writes "Since its first appearance, some time between 1588 and 1594, Shrew has elicited a panoply of heartily supportive, ethically uneasy, or altogether disgusted responses to its rough-and-tumble treatment of the 'taming' of the 'curst shrew' Katherina, and obviously, of all potentially unruly wives." Phyllis Rackin argues that "seen in

20034-556: The theory. An early scholar to find fault with Alexander's reasoning was E.K. Chambers , who reasserted the source theory. Chambers, who supported Alexander's bad quarto theory regarding The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster and The True Tragedy of Richard Duke of Yorke , argued A Shrew did not fit the pattern of a bad quarto; "I am quite unable to believe that A Shrew had any such origin. Its textual relation to The Shrew does not bear any analogy to that of other 'bad Quartos' to

20193-799: The town with his classmates, before returning to New Haven , Connecticut, early in the morning. He also wrote musical comedy scores for his fraternity, the Yale Dramatic Association , and as a student at Harvard – Cora (1911), And the Villain Still Pursued 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. After graduating from Yale, Porter enrolled in Harvard Law School in 1913, where he roomed with future Secretary of State Dean Acheson . He soon felt that he

20352-576: The troops in their bivouacs ." 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. 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

20511-406: The wedding, Gremio expresses doubts as to whether or not Petruchio will be able to tame Katherina. In A Shrew , these lines are extended and split between Polidor (the equivalent of Hortensio) and Phylema (Bianca). As Gremio does have a counterpart in I Suppositi , Miller concludes that "to argue the priority of A Shrew in this case would mean arguing that Shakespeare took the negative hints from

20670-573: The years immediately after his marriage. He had the occasional number interpolated into other writers' revues in Britain 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". In 1923, in collaboration with Gerald Murphy , he composed a short ballet, originally titled Landed and then Within the Quota , satirically depicting

20829-432: The younger of whom is seen as mild and desirable. However, in "Merry Jest", the older sister is obdurate not because it is simply her nature, but because she has been raised by her shrewish mother to seek mastery over men. Ultimately, the couple returns to the family house, where the now-tamed woman lectures her sister on the merits of being an obedient wife. The taming in this version is much more physical than in Shakespeare;

20988-494: 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. 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. Linda remained protective of her social position and, believing that classical music might be

21147-424: Was Porter's longest-running hit so far, running in New York for 501 performances despite the absence of any enduring Porter songs. It starred Merman, Arthur Treacher and Betty Hutton . Let's Face It! (1941), starring Danny Kaye , had an even better run, with 547 performances in New York. This, too, lacked any numbers that became standards, and Porter always counted it among his lesser efforts. Something for

21306-473: Was a financial failure, and the company returned to London on 28 September, financially ruined. Over the next three years, four plays with their name on the title page were published; Christopher Marlowe 's Edward II (published in quarto in July 1593), and Shakespeare's Titus Andronicus (published in quarto in 1594), The True Tragedy of Richard Duke of York (published in octavo in 1595) and The Taming of

21465-472: Was a memorial reconstruction of Ur-Shrew , a now lost early draft of The Shrew ; " A Shrew is substantially a memorially constructed text and is dependent upon an early Shrew play, now lost. The Shrew is a reworking of this lost play." Hickson, who believed Marlowe to have written A Shrew , had hinted at this theory in 1850; "though I do not believe Shakspeare's play to contain a line of any other writer, I think it extremely probable that we have it only in

21624-556: Was abandoned before filming began. 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. The biopic's success contrasted starkly with the failure of Vincente Minnelli 's film The Pirate (1948), with Judy Garland and Gene Kelly , in which five new Porter songs received little attention. From this low spot, Porter made

21783-411: Was badly affected by the 1929 Wall Street crash , 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. Porter's new fame brought him offers from Hollywood , but because his score for Paramount 's The Battle of Paris was undistinguished, and its star, Gertrude Lawrence ,

21942-628: Was based upon both the subplot in A Shrew and the original version of the story in Ariosto/Gascoigne. In 1938, Leo Kirschbaum made a similar argument. In an article listing over twenty examples of bad quartos, Kirschbaum did not include A Shrew , which he felt was too different from The Shrew to come under the bad quarto banner; "despite protestations to the contrary, The Taming of a Shrew does not stand in relation to The Shrew as The True Tragedie , for example, stands in relation to 3 Henry VI ." Writing in 1998, Stephen Roy Miller offers much

22101-530: Was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard. Porter often referred to it as his favorite of his songs. The New Yorkers also included the hit " I Happen to Like New York ". 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 ". Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele ),

22260-736: Was dedicated to Porter. In December 2010, his portrait was added to the Hoosier Heritage Gallery in the office of the Governor of Indiana . Numerous symphony orchestras have paid tribute to Porter in the years since his death including Seattle Symphony Orchestra , with Marvin Hamlisch as conductor and the Boston Pops , both in 2011. In 2012, Marvin Hamlisch, Michael Feinstein, and the Dallas Symphony Orchestra honored Porter with

22419-477: Was derived from The Shrew , but he did not agree that Marlowe wrote A Shrew . Instead, he labelled A Shrew a bad quarto. His main argument was that, primarily in the subplot of A Shrew , characters act without motivation, whereas such motivation is present in The Shrew . Alexander believed this represents an example of a "reporter" forgetting details and becoming confused, which also explains why lines from other plays are used from time to time; to cover gaps which

22578-469: Was elected president of the Yale Glee Club and was its principal soloist. Porter wrote 300 songs while at Yale, including student songs such as the football fight songs "Bulldog" and "Bingo Eli Yale" (aka "Bingo, That's The Lingo!") that are still played at Yale. During college, Porter became acquainted with New York City's vibrant nightlife, taking the train there for dinner, theater, and nights on

22737-460: Was finally "accepted into the upper echelon of Broadway songwriters". 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

22896-409: Was first identified by Alfred Tolman in 1890 as Ludovico Ariosto 's I Suppositi , which was published in 1551. George Gascoigne 's English prose translation Supposes was performed in 1566 and printed in 1573. In I Suppositi , Erostrato (the equivalent of Lucentio) falls in love with Polynesta (Bianca), daughter of Damon (Baptista). Erostrato disguises himself as Dulipo (Tranio), a servant, whilst

23055-611: Was for the CBS television special Aladdin (1958). Porter's mother died in 1952, and his wife died of emphysema in 1954. 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. 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." In fact, Porter never wrote another song after

23214-508: 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. In addition, the U.S. Postal Service issued a commemorative postage stamp honoring Porter's birth. The Indiana University Opera performed Porter's musical, Jubilee , in Bloomington, Indiana . In May 2007, a star on the Hollywood Walk of Fame

23373-593: Was miscast, the film was not a success. Citron expresses the view that Porter was not interested in cinema and "noticeably wrote down for the movies." 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". 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

23532-484: Was not destined to be a lawyer, and, at the suggestion of the dean of the law school, switched to Harvard's music department, where he studied harmony and counterpoint with Pietro Yon . His mother did not object to this move, but it was kept secret from J. O. Cole. 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 ,

23691-442: Was on stage prior to June 1592. In his 1982 edition of the play for The Oxford Shakespeare , H.J. Oliver suggests the play was composed no later than 1592. He bases this on the title page of A Shrew , which mentions the play had been performed "sundry times" by Pembroke's Men . When the London theatres were closed on 23 June 1592 due to an outbreak of plague , Pembroke's Men went on a regional tour to Bath and Ludlow . The tour

23850-634: Was on the Oglethorpe University front athletic field in a rectangular, white 60' X 90' tent with a seating capacity of 300. The theatre changed tents for its second season and was housed in a circular tent with a 90' diameter. This new tent increased the seating capacity by 50. For the theatre's fifth season, it moved into a 110' diameter circular tent that seated 400. In 1991, Georgia Shakespeare expanded to three plays annually, and performed an adaptation of The Three Musketeers as its first work not written by William Shakespeare . In later years,

24009-420: Was orchestrated by Robert Russell Bennett and Hans Spialek . Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he made grand entrances and sat 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." Anything Goes

24168-467: Was originally titled A Shrew but that the Folio compilers altered the title to distinguish it from what he sees as an adaptation. One of the most fundamental critical debates surrounding The Shrew is its relationship with A Shrew . There are five main theories as to the nature of this relationship: The exact relationship between The Shrew and A Shrew is uncertain, but many scholars consider The Shrew

24327-457: Was printed by Peter Short for Cuthbert Burbie . It was republished in 1596 (again by Short for Burbie), and 1607 by Valentine Simmes for Nicholas Ling . The Shrew was not published until the First Folio in 1623. The only quarto version of The Shrew was printed by William Stansby for John Smethwick in 1631 as A Wittie and Pleasant comedie called The Taming of the Shrew , based on

24486-566: Was released as a benefit CD for AIDS research and featured 20 Cole Porter songs recorded by artists such as U2 and Annie Lennox . Additional recording collections include Frank Sinatra Sings the Select Cole Porter (1996) and John Barrowman Swings Cole Porter (2004); Barrowman played "Jack" in the 2004 film De-Lovely . Other singers who have paid tribute to Porter include the Swedish pop music group Gyllene Tider , which recorded

24645-520: Was rewarded by his grandfather with a tour of France, Switzerland and Germany. Entering Yale College in 1909, Porter majored in English, minored in music, and also studied French. He was a member of Scroll and Key and Delta Kappa Epsilon fraternity, and contributed to campus humor magazine The Yale Record . He was an early member of the Whiffenpoofs a cappella singing group and participated in several other music clubs; in his senior year, he

24804-455: 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

24963-558: Was such a woman ('"Hastow nought herd," quod Nicholas, "also/The sorwe of Noë with his felaschippe/That he had or he gat his wyf to schipe"'; The Miller's Tale , l. 352–354), and it was common for her to be depicted in this manner in mystery plays . Historically, another such woman was Xanthippe , Socrates ' wife, who is mentioned by Petruchio himself (1.2.70). Such characters also occur throughout medieval literature , in popular farces both before and during Shakespeare's lifetime and in folklore . In 1890, Alfred Tolman conjectured

25122-542: Was the first of five Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that displayed her strengths. 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 ". Red, Hot and Blue (1936), featuring Merman, Jimmy Durante and Bob Hope , ran for 183 performances and introduced " It's De-Lovely ", " Down in

25281-519: Was to produce, differentially, a verbal replica of what appeared on stage." Miller believes that Chambers and Kirschbaum successfully illustrate A Shrew does not fulfil this rubric. Alexander's theory continued to be challenged as the years went on. In 1942, R.A. Houk developed what came to be dubbed the Ur-Shrew theory; both A Shrew and The Shrew were based upon a third play, now lost. In 1943, G.I. Duthie refined Houk's suggestion by arguing A Shrew

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