Kiss Me, Kate
VIDEO of Kiss me Kate – London
|Kiss Me, Kate|
|Book||Samuel and Bella Spewack|
The Taming of the Shrew
1951 West End
1999 Broadway revival
2001 West End revival
2007 Italian Version
2012 Chichester / West Endrevival
2015 Shakespeare Theatre Company, Washington D.C.
|Awards||Tony Award for Best Musical
Tony Award for Composer and Lyricist
Tony Award for Best Author
Tony Award for Best Revival
Drama Desk Award for Outstanding Revival
Evening Standard for Best Musical
Critics Circle for Best Musical
The story involves the production of a musical version of William Shakespeare‘s The Taming of the Shrew and the conflict on and off-stage between Fred Graham, the show’s director, producer, and star, and his leading lady, his ex-wife Lilli Vanessi. A secondary romance concerns Lois Lane, the actress playing Bianca, and her gambler boyfriend, Bill, who runs afoul of some gangsters. The original production starred Alfred Drake, Patricia Morison, Lisa Kirk and Harold Lang and won the Tony Award.
Kiss Me, Kate was Porter’s response to Rodgers and Hammerstein‘s Oklahoma! and other integrated musicals; it was the first show he wrote in which the music and lyrics were firmly connected to the script, and it proved to be his biggest hit and the only one of his shows to run for more than 1,000 performances on Broadway. In 1949, it won the first Tony Award presented for Best Musical.
On March 25, 2015 it was announced that the 1949 original cast recording will be inducted into the Library of Congress’s National Recording Registry for the album’s “cultural, artistic and/or historical significance to American society and the nation’s audio legacy”.
- 4Song list
- 5Film and television
- 6Awards and nominations
- 9External links
The musical was inspired by the on-stage/off-stage battling of husband-and-wife actors Alfred Lunt and Lynn Fontanne during their 1935 production of Shrew, witnessed by future Broadway producer Arnold Saint-Subber. In 1947 he asked the Spewacks (undergoing their own marital woes at the time) to write the script; Bella Spewack in turn enlisted Cole Porter to write the music and lyrics.
Original Broadway production
After a 3½-week pre-Broadway tryout at the Shubert Theatre in Philadelphia starting December 2, 1948, the original Broadway production opened on December 30, 1948, at the New Century Theatre, where it ran for nineteen months before transferring to the Shubert, for a total run of 1,077 performances. Directed by John C. Wilson with choreography by Hanya Holm, the original cast included Alfred Drake, Patricia Morison, Lisa Kirk,Harold Lang, Charles Wood and Harry Clark.
Original London production
The original West End production opened on March 8, 1951 at the Coliseum Theatre, and ran for 400 performances. Directed by Sam Spewack with choreography again by Holm, this production starred Patricia Morison, Bill Johnson, Adelaide Hall and Julie Wilson.
1970 London revival
A London revival opened in December 1970 at the London Coliseum, in a production by the Sadler’s Wells Opera. The cast featured Emile Belcourt (Petruchio), Judith Bruce, Eric Shilling, Ann Howard (Kate), Francis Egerton, Robert Lloyd, with direction by Peter Coe and choreography by Sheila O’Neill. Coe did a translation for British audiences, including having “a tea wagon”, and included “traditional English music hall jokes”. This revival had a “brief run”, according to the Encyclopedia of the Musical Theatre.
1987 London revival
The Royal Shakespeare Company staged a production at London’s Old Vic Theatre, which opened 19 May 1987. Directed by Adrian Noble and staged by Ron Field, the production starred Nichola McAuliffe and Paul Jones as Lilli/Kate and Fred/Petruchio, with Tim Flavin and Fiona Hendley as Bill/Lucentio and Lois/Bianca. The gangsters were played by Emil Wolk and John Bardon. The cast recorded a CD album which is available on First Night Records in their Cast Masters range.
1999 Broadway revival
A Broadway revival opened at the Martin Beck Theatre on November 18, 1999 and closed on December 30, 2001 after 881 performances and 28 previews. Directed by Michael Blakemore and choreographed by Kathleen Marshall and Rob Ashford, the opening night cast includedMarin Mazzie, Brian Stokes Mitchell, Amy Spanger, Michael Berresse, Ron Holgate, Lee Wilkof, and Michael Mulheren. This production won the Tony Awards for Best Revival of a Musical and Best Actor in a Musical for Mitchell; Marin Mazzie received a Tony nomination for Best Actress in a Musical, and Michael Berresse, Lee Wilkof and Michael Mulheren received Tony nominations for Best Featured Actor in a Musical.
2001 London revival
A West End revival opened at the Victoria Palace Theatre on October 30, 2001, and closed on August 24, 2002. As with the 1999 Broadway revival, Michael Blakemore was the director with choreography by Kathleen Marshall. Brent Barrett and Marin Mazzie co-starred.
2012 London revival
Chichester Festival Theatre‘s 2012 revival of the show transferred to the Old Vic Theatre on London’s South Bank in November 2012, with an official opening in December. It starred Hannah Waddingham as Lili/Kate and Alex Bourne as Fred Graham. The production was directed by Trevor Nunn. The show received positive reviews from critics and audiences.Hannah Waddingham and Alex Bourne were both nominated for the 2013 Olivier Awards as Best Actress/Actor in a Musical for their performances.
The cast of a musical version of William Shakespeare‘s The Taming of the Shrew is rehearsing for the opening of the show that evening (“Another Op’nin’, Another Show“). Egotistical Fred Graham is the director and producer and is starring as Petruchio, and his movie-star ex-wife, Lilli Vanessi, is playing Katherine. The two seem to be constantly arguing, and Lilli is particularly angry that Fred is pursuing the sexy young actress Lois Lane, who is playing Bianca. After the rehearsal, Lois’s boyfriend Bill appears; he is playing Lucentio, but he missed the rehearsal because he was gambling. He tells her that he signed a $10,000 IOU in Fred’s name, and Lois reprimands him (“Why Can’t You Behave?“).
Before the opening, Fred and Lilli meet backstage, and Lilli shows off her engagement ring from Washington insider Harrison Howell, reminding Fred that it’s the anniversary of their divorce. They recall the operetta in which they met, which included “Wunderbar”, a Viennese waltz; they end up fondly reminiscing and singing and dancing. Two gangsters show up to collect the $10,000 IOU, and Fred replies that he never signed it. The gangsters obligingly say they will give him time to remember it and will return later. In her dressing room, Lilli receives flowers from Fred, and she declares that she is still “So In Love” with him. Fred tries to keep Lilli from reading the card that came with the flowers, which reveals that he really intended them for Lois. However, Lilli takes the card with her onstage, saying she will read it later.
The show begins (“We Open in Venice”). Baptista, Katherine and Bianca’s father, will not allow his younger daughter Bianca to marry until his older daughter Katherine is married. However, she is shrewish and ill-tempered, and no man desires to marry her. Three suitors – Lucentio, Hortensio, and Gremio – try to woo Bianca, and she says that she would marry any of them (“Tom, Dick, or Harry“). Petruchio, a friend of Lucentio, expresses a desire to marry into wealth (“I’ve Come to Wive it Wealthily in Padua”). The suitors hatch a plan for him to marry Kate, as Baptista is rich. Kate, however, has no intentions of getting married (“I Hate Men”). Petruchio attempts to woo her (“Were Thine That Special Face”). Offstage, Lilli has an opportunity to read the card. She walks on stage off-cue and begins hitting Fred, who, along with the other actors, tries to remain in character as Baptista gives Petruchio permission to marry Kate. Lilli continues to strike Fred, and he ends up spanking her. Offstage, Lilli furiously declares she is leaving the show. However, the gangsters have reappeared, and Fred tells them that if Lilli quits, he’ll have to close the show and won’t be able to pay them the $10,000. The gangsters force her to stay at gunpoint. Back onstage, Bianca and Lucentio dance while the chorus performs “We Sing of Love”, covering a scene change. The curtain opens, revealing the exterior of a church; Petruchio and Kate have just been married, and they exit the church; the gangsters, dressed in Shakespearean costume, are onstage to make sure that Lilli stays. Petruchio implores for Kate to kiss him, and she refuses. He lifts her over his shoulder and carries her offstage while she pummels his shoulder with her fists (“Kiss Me Kate”).
During the show’s intermission, the cast and crew relax in the alley behind the theater. Paul (Fred’s assistant), along with a couple other crew members, lament that it’s “Too Darn Hot” to meet their lovers that night. The play continues, and Petruchio tries to ‘tame’ Katherine and mourns for his now-lost bachelor life (“Where Is the Life That Late I Led?”). Off-stage, Lilli’s fiancé Harrison Howell is looking for Lilli. He runs into Lois, and she recognizes him as a former lover but promises not to tell Lilli. Bill is shocked to overhear this, but Lois tells him that even if she is involved with other men, she is faithful to him in her own way (“Always True to You in My Fashion“). Lilli tries to explain to Howell that she is being forced to stay at the theatre by the gangsters, but Howell doesn’t believe her and wants to discuss wedding plans. Fred insidiously points out how boring Lilli’s life with Howell will be compared to the theatre. Bill sings a love song he has written for Lois (“Bianca”).
The gangsters discover that their boss has been killed, so the IOU is no longer valid. Lilli leaves—without Howell—as Fred unsuccessfully tries to convince her to stay (“So in Love” (Reprise)). The gangsters get caught on stage and improvise a tribute to Shakespeare in which they explain that knowing Shakespeare is the key to romance (“Brush Up Your Shakespeare”). The company prepares for the conclusion of the play, the wedding of Bianca and Lucentio, even though they are now missing one of the main characters. However, just in time for Katherine’s final speech, Lilli arrives onstage (“I Am Ashamed That Women Are So Simple”). Fred and Lilli wordlessly reconcile on stage, and the play ends (“Kiss Me Kate” (Finale)) with them, as well as Bill and Lois, kissing passionately.
- For the 1999 revival,”From This Moment On“, originally from Porter’s 1951 musical Out of This World, was added to Act II between “Always True to You in My Fashion” and “Bianca”.
- In 1998, the original cast recording of the 1948 Broadway production was inducted into the Grammy Hall of Fame.
Film and television
A film version of the same name was released in 1953. There have been at least four television productions, the first on Hallmark Hall of Fame in 1958, with Drake and Morison reprising their Broadway roles, the second recorded for the launch of BBC Two in the UK in 1964, starringHoward Keel, Patricia Morison and Millicent Martin, the third in 1968 with then husband-and-wife team Robert Goulet and Carol Lawrence, and the fourth in 2003 on Great Performances, a high-definition shot performance of the London revival with Brent Barrett and Rachel York.
Awards and nominations
Original Broadway production
|1949||Tony Award||Best Musical||Won|
|Best Author (Musical)||Samuel and Bella Spewack||Won|
|Best Original Score||Cole Porter||Won|
|Best Costume Design||Lemuel Ayers||Won|
|Best Producer of a Musical||Saint Subber and Lemuel Ayers||Won|
1999 Broadway revival
2001 London revival
|2002||Laurence Olivier Award||Best Musical Revival||Nominated|
|Best Actor in a Musical||Brent Barrett||Nominated|
|Best Actress in a Musical||Marin Mazzie||Nominated|
|Best Performance in a Supporting Role in a Musical||Nancy Anderson||Nominated|
|Best Director of a Musical||Michael Blakemore||Nominated|
|Best Theatre Choreographer||Kathleen Marshall||Nominated|
|Best Set Design||Robin Wagner||Nominated|
|Best Costume Design||Martin Pakledinaz||Nominated|
|Evening Standard Award||Best Musical||Won|
|Critics Circle Award||Best Musical||Won|
2012 London revival
|2013||Laurence Olivier Award||Best Musical Revival||Nominated|
|Best Actor in a Musical||Alex Bourne||Nominated|
|Best Actress in a Musical||Hannah Waddingham||Nominated|
|Best Performance in a Supporting Role in a Musical||Adam Garcia||Nominated|
|Best Theatre Choreographer||Stephen Mear||Nominated|
- Stempel, 322-324
- “National Recording Registry To ‘Ac-Cent-Tchu-Ate the Positive'”. Library of Congress. 25 March 2015. Retrieved 25 March 2015.
- Royston, Peter. “Kiss Me, Kate: The Love Connection” portwashington.com (Center Stage Magazine, Winter/Spring 2002), accessed October 5, 2015
- Gilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (audiobook). ISBN 978-1-55935-147-8.OCLC 31611854. Tape 4, side B.
- Lewis, Anthony. “Sadler’s Wells Scores Triumph With Kiss Me, Kate in London”, The New York Times, December 26, 1970, p. 10
- Green, Stanley.Encyclopedia of the Musical Theatre, Da Capo Press, 1980, ISBN 0-306-80113-2, p. 237
- “Musicals – 1970s”.
- “Kiss Me, Kate listing, Victoria Palace Theatre, 2001. albemarle-london.com (archive), retrieved August 27, 2010
- “Kiss Me, Kate“. Old Vic Theatre. Retrieved 20 January 2013.
- “Kiss Me, Kate“. Daily Telegraph. Retrieved 19 January 2014.
- “2014 New Musical – Official Site”. Archived from the original on October 16, 2014.
- McBrien, William (2000). Cole Porter. Reprint edition. New York: Knopf. ISBN 0-679-72792-2
- Stempel, Larry (2010). Showtime: A History of the Broadway Musical Theater. New York: W.W. Norton and Company. ISBN 0-393-92906-X
- Information from the TamsWitmark website
- Information from the Imagination website