Also credited on6 works
Of Thee I Sing
Red, Hot, and Blue
Strike Up the Band
Watch Your Step
Ziegfeld Follies
Take A Chance
These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.
In the literature8 passages
- The first stage production at the Broadway Theatre (on 53rd Street), The New Yorkers was something of a forerunner of Pal Joey in its amoral characters, cynical outlook, and flashy nightclub atmosphere. Just as Cole Porter and Herbert Fields’ previous Fifty Million Frenchmen had offered a musical tour of Paris, so the new outing (with the…ebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- The New Yorkers who loved Ethel could hardly be blamed for feeling that perhaps she stood for the best part of themselves—the most democratic of stars, born and bred in the most democratic of American cities, a woman who could bring an audience to its feet one night and be glimpsed the next day shopping at Lamston’s or enjoying a bowl of…ebooks/Kellow, Brian/Ethel Merman_ A Life - Brian Kellow.txt
- Porter’s next show, Gay Divorce (1932), was less raucous than The New Yorkers , soothed by the English setting, mostly English characters, and the democratic suave of Fred Astaire, working without his sister for the first time and on the stage for the last. Yet an air of libertine recklessness pervades. Astaire played a novelist caught up…ebooks/Mordden, Ethan/Anything Goes_ A History of American Musical Theatre - Ethan Mordden.txt
- Of Manhattan Theater Club's three musicals, The New Yorkers actually was the most diverting. Like many revues, its score and sketches were terribly uneven. But at its best, the lyric work of young Glenn Slater was impressive. Unsurprisingly, Disney already had Slater's number, having hired him to work on a new animated feature called Home…ebooks/Singer, Barry/Ever After_ The Last Years of Musical Theater and Beyond - Barry Singer.txt
- It’s said that Porter, who considered it his favourite song, wrote it about a rent boy. At any rate, for The New Yorkers (1930), it was felt that it would be more acceptable if sung by ‘a coloured girl’, Elisabeth Welch. I’m told ‘I’ve Got You Under My Skin’ was also popular with homosexuals in the 1930s. But, gay or straight, sex was rar…ebooks/Steyn, Mark/Broadway Babies Say Goodnight_ Musicals Then and Now - Mark Steyn.txt
- PENNINGTON, FRED WARING, FRANCES WILLIAMS, CHARLES KING, HOPE WILLIAMS, RICHARD MARIE CAHILL, LOU CLAYTON, JIMMY DURANTE, EDDIE JACKSON in “THE NEW YORKERS”theatre-pdfs/A Pictorial History of the American Theatre, 1860-1985 (Blum).txt
Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Any staging. This name appears in no production cast list we hold — 1,877 of 7,139 people are in that position, most of them writers, composers and designers rather than performers.
- Birth or death year. Neither is on the record.
- Any biography.
- Which of the credits above the roles on this record — composer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.