The creation of a Broadway musical is often a complex process, filled with revisions, collaborations, and occasional conflicts. Cole Porter's "Red, Hot and Blue," which premiered in 1936, is a prime example of this intricate journey. From its initial working titles to the challenges faced during its pre-Broadway tryouts, the musical underwent significant transformations before reaching its final form. The interplay between the composer, lyricist,
book writers, and producers shaped the production, highlighting the dynamic nature of theatrical development.
Early Concepts and Title Changes
Before it became known as "Red, Hot and Blue," the musical went through several conceptual phases and title changes. Initially, the production was titled "But Millions!" and later, "Wait for Baby!" These early titles suggest different thematic directions or focal points that the creators might have considered before settling on the more evocative "Red, Hot and Blue." Such changes are common in the development of stage works, as creators refine their vision and adapt to the evolving narrative and musical elements.
The book for the musical was written by Howard Lindsay and Russel Crouse, while Cole Porter was responsible for both the music and lyrics. This collaborative structure meant that the story, characters, and songs had to be meticulously woven together to create a cohesive and entertaining experience for the audience. The evolution of the title itself reflects the iterative process of finding the perfect identity for a new theatrical piece.
Pre-Broadway Tryouts and Production Hurdles
The path to Broadway for "Red, Hot and Blue" included crucial pre-Broadway tryouts in Boston and New Haven. These tryouts, which began on October 7, 1936, at the Colonial Theatre in Boston and on October 19, 1936, at the Shubert Theatre in New Haven, served as vital opportunities to test the show in front of live audiences and make necessary adjustments. It was during this period that significant production hurdles emerged.
According to Cole Porter's biography, the book was deemed too long and did not blend effectively with the music. Producer Vinton Freedley played a pivotal role in addressing these issues, making numerous suggestions for overhauling the show. While these suggestions were eventually accepted, Porter initially expressed resistance, telling Freedley to communicate through his agent. This anecdote illustrates the creative tensions that can arise when different artistic visions converge on a single project. Freedley had assembled a cast and creative team hoping to replicate the success of "Anything Goes," which also contributed to the high expectations and pressures on the production.
Casting Decisions and Star Power
Casting was another area that presented challenges and ultimately shaped the final production. William Gaxton, who was initially part of the cast, withdrew from "Red, Hot and Blue." His departure was reportedly due to the significant size of Ethel Merman's role, suggesting a potential imbalance in the spotlight. This led to Bob Hope being cast in the production, joining Merman to form a memorable duo.
Further conflict arose over the billing of two of the show's major stars, Jimmy Durante and Ethel Merman. Such disputes were not uncommon in an era where star power heavily influenced a show's appeal. The resolution, which involved having their names crisscrossed above the title, was a creative compromise that acknowledged the prominence of both performers. These casting and billing decisions were integral to the show's identity and contributed to its eventual success on Broadway, showcasing the star power that drew audiences to the theater.
