Television adaptations of vintage Broadway musicals are prone to disappoint. They often sound intriguing, and sometimes offer an element or three that make them worth tracking down. But the restrictions of live television, the lack of rehearsal time, and the inevitable cutting of an hour or more's worth of musical too often take their toll. Which leads us to 1950s servings of Cole Porter's two greatest hits.
The 1958 Kiss Me, Kate [VAI], starring Alfred Drake and Patricia Morison, is altogether pretty wonderful.
Start with the stars. Drake, at his best, was an actor of tremendous power; and here he is at his best. The actor was 34 when he starred in Kate on Broadway, and 44 at the time of the telecast. We know from the original Broadway cast album how good he was singing Porter's finest theatre score. Watching him in this Hallmark presentation, which aired on Nov. 20, 1958, we are struck not only by his singing but by his acting. He believes every word of it, down to every conceitedly obnoxious phrase. He also looks like he is gonna swallow the camera altogether. Drake positively sparkles; for once, a Broadway performance of the 1940s has been captured. Those of us who weren't born in time to see Drake in Kate or the 1953 Kismet can get a good idea of what he must have been like, back then, on stage.
Here in the television Kate, Morison matches Drake every step of the way. She gives a clever and knowing performance, singing the daylights out of the score and hamming it up as she goes along. Just watch her smash the crockery in "I Hate Men"; aye, there's a wench! The chemistry between the two is impeccable; you can see in "Wunderbar" how much the actors enjoy each other while their characters warily eye the competition for vulnerability. Or perhaps, even, a rekindling of the romance suggested by Porter's potent but sarcastic Viennese waltz.
A third stage Kate veteran is Julie Wilson. Not the Julie Wilson we know, mind you; yes, this is the same Julie Wilson, but the grandly sophisticated cabaret artist of the recent past was — in her days playing the Kate ingenue Lois Lane — a Betty Huttonish hoyden. This takes a bit of getting used to, but by the time she reaches "Always True to You in My Fashion" we see what she is at, and it pays off. "Fashion" is done impeccably well; it's a battle of manners, of sincerity versus the raised eyebrow, and Wilson revels in it. No stranger to Kate, she played the role in the National Company and took her performance to London as well. Wilson returned to Broadway to replace Joan Diener in Kismet and Janis Paige in The Pajama Game, before revisiting Lois for the TV version.
The Bill Calhoun of the occasion is Bill Hayes, of Rodgers & Hammerstein's Me and Juliet (where he introduced "No Other Love"). He also had a No. 1 Billboard hit in 1955, "The Ballad of Davy Crockett." Hayes has little to do, here, though, as his big number — "Bianca" — is cut. Reducing the playing time from 150 minutes to 78 does have consequences, of course. Most of the dance — and Kate was a big dance show — is gone. Besides "Bianca," Fred loses his most beautiful ballad, the tempestuous "Were Thine That Special Face."
The other big loss is "Too Darn Hot." Lorenzo Fuller, who played Fred's dresser Paul — and is the only Broadway cast member besides Drake and Morison on the DVD — led the number onstage. Here, he is instead given "Another Op'nin', Another Show" (albeit in a truncated version). The Hattie of the occasion is not from the original cast of Kate; she is, however, a veteran of the original Porgy and Bess. Gershwin's 1935 opera featured the Eva Jessye Choir, and here on the Kiss Me, Kate video is Porgy's choral director Eva Jessye herself.
The cast is rounded out by the two Gangsters, as all productions of Kate must be. And they are a great pair, although considerably younger than what you usually get. Harvey Lembeck was already well-known, by virtue of his performances in Mister Roberts, Stalag 17, and TV's "Sergeant Bilko." His partner in crime is Jack Klugman, who was all but unknown at the time; he had only just made his first step to prominence, in the 1957 film version of "Twelve Angry Men." The TV Kiss Me, Kate was telecast in November 1958; Klugman then moved on to the role of Herbie in Gypsy, the following May. Jack isn't much of a singer, no, but he does a mean clog dance in "Brush Up Your Shakespeare."
Kate was directed for TV by George Schaefer, who specialized in theatre-on-TV. (Choreography was by Ernest Flatt, with Franz Allers conducting.) My guess, though, is that Drake, Morison and Wilson pretty much recreated their stage blocking. Especially during the songs; these performances are so rich and full — and so good — that they look like the result of hundreds of performances-worth of sharpening before appreciative audiences.
Kiss Me, Kate, though, is an exception among television adaptations of vintage Broadway musicals. A case in point is the Feb. 28, 1954, television adaptation Anything Goes [e one]. This was devised by Leland Hayward, who was asked by NBC to come up with something special. Hayward, producer of the Ethel Merman vehicle Call Me Madam and the Merman & Martin segment of the Ford 50th Anniversary Show, decided that Merman should recreate her 1934 stage hit on the small screen. Merman — at the height of her bankability on the heels of the Call Me Madam film and the record-breaking Ford show — in Cole Porter's Anything Goes? No sooner said than embraced.
Hayward turned to Jule Styne, who had just then produced the successful Broadway revival of Rodgers and Hart's Pal Joey. Jule knew Ethel — he had served as her vocal coach in Hollywood days — and immediately went home and asked his housemate what he thought; his housemate being Frank Sinatra. Merman and Sinatra in Anything Goes? That sounded big, even if ol' blue eyes — or young blue eyes, at the time — was just coming out of a career slump.
Who to get for "Moonface Martin," the third of the trio of stars? Victor Moore, who originated the role, didn't have a bankable name to the TV public, and he was already 78; what's more, his presence would only serve to highlight the absence of original leading man William Gaxton. So Styne went to Merman's co-star from the 1939 Cole Porter hit DuBarry Was a Lady, Bert Lahr. Merman and Lahr together again made it inevitable that they reprise "Friendship," their hit duet from DuBarry. And if they were interpolating "Friendship" for Bert, why not "Just One of Those Things" and "You Do Something to Me" for Frank? I think you see where we are going, here. The Colgate Comedy Hour, the weekly series on which the show was telecast, ran 53 minutes. Taking out time for the "Ethel-in-her-dressing-room" introduction and the bows, this Anything Goes was over after only 47 minutes. As the show ended, the actors were clearly signaled that they were several minutes short — ah, live television! — so they stood there offering thank yous and eventually singing another reprise of the title song. (Sinatra gave up after the first phrase, saying "I wish I knew the words.")
So you have 47 minutes of Anything Goes, and you've added the three aforementioned song hits. And you gotta give Frank a chance to sing a tag of Ethel's song "I Get A Kick Out of You." ("You give me a boot," he sings.) And Ethel needs to sing a tag to Frank's "Just One of Those Things." Plus reprises of "Anything Goes" and "I Get a Kick Out of You." Does anyone have a stopwatch? How many Anything Goes songs? Five. The two mentioned above, "You're the Top" (in which Sinatra dances in such a manner that I suppose the boys at Jilly's would have thrown him on the street if they saw it), "All Through the Night," and "Blow, Gabriel, Blow." The plot? Missing in action, mostly. Moonface is there with Reno Sweeney, albeit in cut-down style, but Frank is Harry Dane, Ethel's agent and ex-lover. (Frank looks 15 years younger than Ethel. At least.) The fourth principal is Bonnie, Moonface's moll, played by Sheree North; she had attracted attention in Styne's 1953 musical Hazel Flagg, and was being groomed by 20th Century Fox to replace Marilyn Monroe. North slinks around a lot and does some dancing. Hope Harcourt, the romantic lead central to Anything Goes, is gone altogether.
So this is an extremely slender Anything Goes. It does give us Merman, doing some of her songs; it gives us Sinatra, looking uninterested and under-rehearsed; and it gives us Lahr, shortly before he turned to Beckett and the original Broadway production of Waiting for Godot.
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