FI F T Y MI L L I O N FR E N C H M E NMUSIC & LYRICS BY COLE PORTER

BOOK BY HERBERT FIELDS

CASTIn Order of Appearance

Peter Forbes........................................................................................................................Howard McGillinLooloo Carroll .......................................................................................................................... Susan PowellMichael Cummins .......................................................................................................................Jason GraaeMay DeVere ..............................................................................................................................Kim CriswellBilly Baxter .................................................................................................................................Scott WaaraMr. Emmit Carroll..................................................................................................................... James HarderJoyce Wheeler .........................................................................................................................Karen ZiémbaMrs. Gladys Carroll ......................................................................................................................Peggy CassViolet Hildegarde .................................................................................................................Kay McClellandLouis Pernasse ...........................................................................................................................Jean LeClercQuartet ...........................................................................................................................JQ and The Bandits

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NEW WORLD RECORDS

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FI F T Y MI L L I O N FR E N C H M E N

OVERTURE (3:27)

ACT ONE

YOU DO SOMETHING TO ME (3:O6)

Howard McGillin, Susan Powell

THE AMERICAN EXPRESS (1:10)

Company

YOU'VE GOT THAT THING (2:54)

Jason Graae

FIND ME A PRIMITIVE MAN (3:03)

Kim Criswell, JQ and The Bandits

I WORSHIP YOU (2:32)

Scott Waara

DO YOU WANT TO SEE PARIS? (3:35) Howard McGillin, Peggy Cass, Kim Criswell, James Harder, Karen Ziémba, JQ and the Bandits

WHERE WOULD YOU GET YOUR COAT? (2:58)

Kay McClelland

AT LONGCHAMPS TODAY (1:50)

Company

THE BOYFRIEND BACK HOME (3:09)

Kim Criswell

I'M IN LOVE (2:28)

Susan Powell

PLEASE DON'T MAKE ME BE GOOD (3:11)

Karen Ziémba

YOU DON'T KNOW PAREE (2:25)

Howard McGillin

ACT TWO

ENTR'ACTE (:50)

JQ and The Bandits

Opening Act Two

SOMEBODY'S GOING TO THROW A BIG PARTY (1:02)

IT ISN'T DONE (1:27)

Jean LeClerc, JQ and The Bandits

THE QUEEN OF TERRE HAUTE (2:27)

Peggy Cass

LET'S STEP OUT (2:29) *

Susan Powell, Karen Ziémba

THE TALE OF THE OYSTER (2:35)

Kay McClelland

I'M UNLUCKY AT GAMBLING (3:09)

Kim Criswell

WHY SHOULDN'T I HAVE YOU? (1:37)

Jason Graae, Scott Waara, Kay McClelland, Karen Ziémba

PAREE,WHAT DID YOU DO TO ME? (1:37)

Company

*Piano solo, Evans Haile

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HOWARD McGILLINstarred in the Broadwayand London productionsof Anything Goes, forwhich he received bothTony and Drama DeskAward nominations. Hewas also nominated forthese awards and won aTheatre World Award forhis portrayal of JohnJasper in The Mystery ofEdwin Drood. McGillinmade his Broadway debutin Sunday in the ParkWith George andappeared in StephenSondheim's Follies: InConcert. For his role inLa Bohème with LindaRonstadt at New YorkCity's Public Theater hereceived a Drama DeskAward nomination. Inaddition to the stage, hehas appeared extensivelyon television and in film.

SUSAN POWELL madeher debut with the SeattleOpera as Adele in DieFledermaus two weeksafter ending her reign asMiss America 1981. Sincethen she has starred intheaters, opera houses,and concert hallsthroughout the UnitedStates. She made her NewYork City Opera debut asJoanna in Harold Prince'sproduction of SweeneyTodd. Powell alsoappeared in and is on thecast recording of Off-Broadway's Olympus OnMy Mind. She has per-formed in national toursof Showboat; Promises,Promises, and The DesertSong . Other creditsinclude the title role inThe Merry Widow,Musetta in La Bohème,Sarah in Guys and Dolls,Yum Yum in The Mikado,and Julie in Carousel.

JASON GRAAE hasappeared on Broadway inStardust, Snoopy, and DoBlack Patent LeatherShoes Really Reflect Up?His Off-Broadway creditsinclude Forever Plaid, AFunny Thing Happenedon the Way to the Forum,Olympus On My Mind,Showing Off, and Just So.Graae was featured twiceon PBS' Evening at Popsand performed with TheAmerican Ballet Theateras a vocal soloist in TwylaTharp's Everlast. He hasalso been a guest artist forfour seasons with theMinnesota Orchestra.Graae is featured on theNew World recordings ofBabes in Arms andSitting Pretty. Otherrecordings include StrikeUp the Band (Elektra-Nonesuch), Annie GetYour Gun (EMI-Angel),and Forever Plaid (RCA).

KIM CRISWELL hasappeared around theworld in recital, in the-atrical engagements, andas a soloist with numer-ous orchestras. For EMI-Angel she has recordedprincipal roles in Any-thing Goes; Kiss Me, Kate,and the title role in AnnieGet Your Gun. On Broad-way she has appeared inNine, Baby, Stardust, TheFirst, with Sting in TheThreepenny Opera, and inLos Angeles as Grizabellain Cats. Her one-womanshow, Doin' What ComesNaturally, premiered atthe Shaw Theater in Lon-don in September 1991.For her performance inSide by Side by Sondheimshe received the HelenHayes Award for BestMusical Actress. Criswellappeared in the concertversion of Sitting Pretty atCarnegie Hall and GirlCrazy at Alice Tully Hall.

SCOTT WAARA was fea-tured in the role of JimmyPowers in the TonyAward-winning Broadwayshow City of Angels. Hehas also appeared onBroadway in Welcome tothe Club and The Wind inthe Willows. Off-Broadwayhe starred as Marvin inthe William Finn/JamesLapine musical Fal-settoland, and madeappearances in TheDining Room, The Giftsof the Magi, and The Riseand Rise of DanielRocket, which he repeat-ed for PBS' AmericanPlayhouse. Waara touredas Lt. Cable in SouthPacific with RobertGoulet, played Candide inBoston at the HuntingtonTheater, and originatedtitle roles in the pre-mieres of Lucky Guy andJohnny Pye and theFoolkiller.

JAMES HARDER hasappeared in over 140Broadway, Off-Broadway,and stock productionsover the past 32 years. Forhis performance as thelead in the Broadway pro-duction of Very GoodEddie, he received aDrama Desk Award nomi-nation. Off-Broadwayroles include Frank in TheKitchen, the Captain inBonds of Interest, Simonin Isn't It Romantic, andMichael Flaherty inPlayboy of the WesternWorld. Harder has beenseen in numerous films,including Bananas;Author Author; Paternity;and The Night TheyRaided Minsky's. His tele-vision credits includeSearch for Tomorrow;Stop, Thief; CaptainKangaroo, and TheDoctors.

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KAREN ZIÉMBA made herBroadway debut in AChorus Line and laterstarred as Peggy Sawyer in42nd Street. She appearedin Stardust at Was-hington's Kennedy Center,played Alice Roosevelt inBroadway's Teddy andAlice, and portrayed fivedifferent roles in JeromeRobbins' Broadway dur-ing its Los Angeles run. Shehas appeared with theNew York City Opera inCandide, The PajamaGame, and The MostHappy Fella. Off-Broad-way, she has been seen inNunsense and The GayDivorce. Regional creditsinclude the title role inAnnie Get Your Gun atConnecticut's IvorytonPlayhouse. For her perfor-mance in Off-Broadway'sKander and Ebb revueAnd The World Goes'Round, she received the1991 Drama Desk Award.

PEGGY CASS made herBroadway debut in Touchand Go. Since then shehas appeared in numer-ous productions, includ-ing Bernardine and Oh,Men, Oh Women. For herrole of Agnes Gooch inAuntie Mame, Cass wona Tony Award; she wasalso nominated for anOscar for her portrayal ofthe same role in the filmversion. Recently she hasbeen seen in majorrevivals of Light Up theSky and The Front Page.Other production creditsinclude leading roles in AThurber Carnival, YouKnow I Can't Hear YouWhen the Water'sRunning, and PlazaSuite. She also appearedin 42nd Street at NewYork City's Majestic Thea-ter. Cass is well known totelevision audiences forher appearances on ToTell the Truth.

KAY McCLELLAND origi-nated the role ofBobbi/Gabby in Broad-way's Tony Award-win-ning City of Angels. Herprevious Broadwayappearance was in theleading role of theBaker's Wife in the TonyAward-winning Into theWoods. She also appearedin the national tour ofSugar Babies with MickeyRooney and Ann Miller,and No Way to Treat aLady at the Hudson GuildTheatre. In regional the-ater, she has been seen ina wide variety of roles,including Petra in A LittleNight Music, CountessAlmaviva in The Marriageof Figaro, and Katherinein The Taming of theShrew. Film and televisioncredits include TheEqualizer, Another World,and Neil Simon's TheSlugger's Wife.

JEAN LeCLERC is bestknown for his portrayal ofJeremy Hunter on ABC-TV's All My Children. OnBroadway, he made hisdebut as the lead inDracula. In his nativeCanada, he has performedin major productions ofThe Lion In Winter,Becket, and Waiting forGodot. He has alsoappeared with theHouston Symphony inBerlioz's Lelio and in theconcert version of Babesin Arms at New YorkCity's Avery Fisher Hall,His film credits includeDean Koontz's Whispersand the made-for-cable-television suspensethriller Justice Express.On television, LeClerc hasbeen seen in T.J. Hooker,The Greatest AmericanHero, The Devlin Con-nection, One Life to Live,and As the World Turns.

JQ AND THE BANDITS(Michael Taronto,Christopher May, DavidMontgomery, and StevenKatz) began singing acapella doo-wop on aGreenwich Village streetcorner more than fiveyears ago. Since that time,their music has takenthem around the world inover a thousand appear-ances, including perform-ing for President and Mrs.Bush at the White Houseand the Duchess of Yorkat London's BerkeleySquare Ball. They haveappeared in two featurefilms and numerous tele-vision commercials,including two for Levi's501 Blues. Their musicvideo, Bandits of Love,was the winner of theMTV Basement Tapescompetition. The Banditsalso appear on the NewWorld recording of Babesin Arms.

EVANS HAILE hasreceived internationalacclaim for both his the-atrical productions andconcert work. Haile pro-duced and conducted the1991 concert perfor-mance of Fifty MillionFrenchmen at the FrenchI n s t i t u t e / A l l i a n c eFrancaise. A graduate ofthe Juilliard School, Hailehas conducted ensemblesand appeared as a soloistthroughout the world,including two tours of theSoviet Union. He cofound-ed the award-winningNew Amsterdam TheaterCompany, and has beenactive as both dramaturgand conductor with manyof the major opera com-panies in America. Haile'sconcert version of HeitorVilla-Lobos's Magdalenais available on CBSMasterworks, and his pro-duction of Rodger's andHart's Babes in Arms canbe found on New World.

ORCHESTRA NEW ENGLAND, based in New Haven,Connecticut, is one of the Northeast's finest andbusiest orchestras. O.N.E. has performed throughoutthe New England states, New York, New Jersey, and inWashington D.C.The group was founded in 1975 byits present music director, James Sinclair, a specialistand scholar of the music of Charles Ives. TheOrchestra has recorded Villa-Lobos's opera Magdal-ena (with Evans Haile conducting) for CBS Records,and two Ives discs, one for Columbia Masterworksand a recent one for Koch International Classics(with James Sinclair conducting), as well as a numberof soundtracks for PBS television docudramas.

James Sinclair, Music Director

Members of the Orchestra performing on this recording:

VIOLINRaphael Ryger, ConcertmasterArtemis Theodos,Ass't. ConcertmasterDaniel CherDiane OrsonSpring Berv

Robert Zubrycki, PrincipalKathleen Thomson

Heather BixlerSvend Rönning

VIOLADonna Randall,Acting PrincipalKatrina Smith

CELLOEliot Bailen, Co-PrincipalSteven Thomas, Co-Principal

BASSJoseph Russo, Principal

FLUTE /PICCOLO

Adrianne Greenbaum, Principal

OBOENobuo Kitagawa

SAXOPHONESCLARINETS

David Bixler Woody SadlonTimothy Moran

HORNLisa Pike,Acting Principal

TRUMPETCharles Bumcrot PrincipalRichard ClymerDan D'Addio

TROMBONEDavid Kayser

DRUM SET PERCUSSIONPatrick Smith

BANJOSue Burkhart

PIANOLawrence Yurman

ORCHESTRA ADMINISTRATION:Sharon M. Desmond, General Manager Marjan Wackers, Development Director

Joseph Russo, Personnel ManagerAlice Burnap, Administrative Assistant

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HISTORYWhen Fifty Million Frenchmen, "a musical comedy

tour of Paris," opened in New York City onThanksgiving Eve 1929, it instantly became one ofBroadway's biggest hits. Robert Garland in TheTelegram found it "rich, rowdy, and resourceful," whileBrooks Atkinson in The Times pronounced it "brisk,crack-brained, smartly accoutred and modishly sala-cious." To critic Gilbert W Gabriel, it was "just the bestthing of its sort in seven or so years.”

The reviewers had high praise for the efforts of thecast—from the energetic slapstick of leading manWilliam Gaxton to the deadpan quips of comedienneHelen Broderick to the song stylings of cabaret artistEvelyn Hoey.There were similar accolades for the snap-py book by Herbert Fields and the impressive settingsby Norman Bel Geddes, which included a huge slice ofthe Longchamps racetrack and a full-stage rendering ofthe Café de la Paix sidewalk. But the best notices werereserved for songwriter Cole Porter, who at the age ofthirty-eight was enjoying his first musical comedy hit.

Although Porter was no stranger to Broadway in1929, his theatrical career had been unorthodox andunsatisfying. Following the failure of his first Broadwaymusical, a misguided Americanization of Gilbert andSullivan called See America First (1916), Porter hadsailed abroad to participate in the work of the DuryeaRelief Organization. In April 1918 he enlisted in theFrench Foreign Legion, and during most of the nextdecade, he lived primarily in Europe.

Much of Porter's songwriting during these years wasdone for the amusement of his friends, but occasional-ly some of his distinctive tunes would find their wayback to New York. While sailing to the States in 1919,Porter was approached by producer RaymondHitchcock, who had heard him playing the piano inthe ship's saloon. Hitchcock immediately engagedPorter to provide the score for his annual Broadwayrevue. The Hitchy-Koo of 1919 gave Porter his firstsong hit, "An Old-Fashioned Garden," but future out-ings proved less successful. A Hitchy-Koo follow-up in1922 closed out of town, and Porter's contributions tothe Greenwich Village Follies of 1924, largely over-looked by the critics, were all replaced by the time theshow went on tour.

By the mid-1 920s, Porter's Broadway prospects hadscarcely improved.With a couple of flop shows to hiscredit and only one new hit song (the ebullient "I'm inLove Again"), he and his wife, Linda, contented them-selves with more pleasure-seeking pursuits abroad.During that time, producer E. Ray Goetz encounteredPorter at the Lido in Venice and persuaded him to

write a handful of songs for a "comedy with music" fea-turing Goetz's wife, Irene Bordoni. The half-dozentunes that Porter contributed to the Bordoni vehicle,Paris, sparkled with originality, and instantly gave himnew stature as a songwriter. (One of these, "Let'sMisbehave," became a hit during the pre-Broadwaytour; it was replaced prior to the New York opening byan even more successful number, "Let's Do It.") Thesame critics who had barely noticed Porter's Broadwaycontributions of the previous ten years now pro-claimed him a significant force in the musical theater.Richard Watts, Jr. lamented, "It is the misfortune ofmusical comedy that [Porter] writes them so seldom,"while Roland Kilbon predicted, "Someday. . . ColePorter is going to give Broadway an entire musicalshow and, when he does, the Messrs. Rodgers and Harthad best look to their laurels."

That day came with Fifty Million Frenchmen, asPorter turned out a versatile and winning musical com-edy score. In love songs such as "You Do Something toMe," he found a fresh approach to familiar sentiments,while his comedy numbers—including "Where WouldYou Get Your Coat?" and "I'm Unlucky at Gambling"—were as novel in premise as in execution. Fields's scriptcentered around a group of rich American touristsunleashed in the Gallic capital, and Porter, who hadlong been one of the city's most hedonistic expatri-ates, responded with songs that celebrated Paris joyful-ly ("Paree, What Did You Do to Me?"), ruefully ("YouDon't Know Paree"), and geographically ("Do You Wantto See Paris?").

Porter's score contained, in fact an embarrassment ofriches. Six songs (including "I Worship You," "PleaseDon't Make Me Be Good," and "The Queen of TerreHaute") were dropped during the pre-Broadway tryoutwhile several new ones ("I'm in Love," "The Tale of theOyster," and "You Don't Know Paree") were added.Musical changes continued even after the New Yorkopening. As late as March 13, 1930, the ClevelandPlain Dealer reported, "Unable to amuse himself muchin Africa, Cole Porter, loafing his way around the world,sat himself down and composed a new song, called'Stepping Out. "'"Let's Step Out," as the number waseventually retitled, was added to the show within afortnight.

Fifty Million Frenchmen achieved a run of 254 per-formances on Broadway and was filmed twice, first in1931 as a nonmusical feature and again in 1934 as amusical two-reeler starring Bob Hope. Yet possiblybecause of the size of the original production (in addi-tion to its twenty-three speaking roles, there were sev-enty-five in the chorus—plus several specialty acts),the show was never acquired by a theatrical rentallibrary to be made available to stock and amateur com-

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panies. Through the years, most of the original FiftyMillion Frenchmen materials were thought lost—untilthe orchestrations surfaced in 1987 at the Tams-Witmark Music Library in New York City.

This discovery prompted a renewed interest in theshow that culminated in a concert at the FrenchInstitute/Alliance Francaise in the spring of 1991. Theconcert included not only the songs performed onBroadway, but also many that were dropped inrehearsal and out of town.A script was pieced togetherfrom several drafts of Fields's libretto, preserving theoriginal plot and dialogue while presenting Porter'sscore in its most complete New York showcase. Thisnew adaptation, featured on this recording, downplaysthe original's lavish production values and emphasizesinstead its remarkable score, which, as one critic notedin 1929, is indeed "a Cole Porter field day."

SYNOPSISThe year is 1929, the month is June: the season when

thousands of Americans invade Paris—and all theParisians leave town. Among the first arrivals are Mr.and Mrs. Emmit Carroll, a pair of vulgar social climbersfrom Terre Haute, Indiana. On holiday with their daugh-ter, Looloo, and her school chum, Joyce Wheeler, theCarrolls waste no time storming the Ritz Bar, the placewhere, according to Mrs. Carroll, everybody meetseverybody else. Alas, the Carrolls arrive a full hourbefore cocktail time, and the bar is empty—except forthree thirsty college boys on vacation. One of them,Peter Forbes, has been dragging his buddies, MichaelCummins and Billy Baxter, to every tourist trap in Parisin search of a beautiful girl he spotted on the boatcoming over. Peter glances across the bar; andbehold!—it's the girl from the boat: Looloo Carroll.

Before Peter has a chance to make his move, howev-er, his pal Billy suggests a little wager: He bets Peterfifty thousand francs that he can't live in Paris withouthis line of credit and, at the same time, win Looloo’shand in marriage. At the end of one month—thatwould be July 4th—he must throw a party at theChateau Madrid and announce his engagement. Peter,confident that his charm matters more to a girl likeLooloo than his family fortune, accepts the bet. Hethen rushes to Looloo, introduces himself, and propos-es marriage (You Do Something to Me). Much to hersurprise, Looloo agrees to take his offer seriously.

Within a few days, Peter has found work as a tourguide (The American Express), but unfortunately, hisschedule allows no time to call on Looloo. Michael,meanwhile, has taken a shine to Joyce and insists on

following her all over town (You've Got That Thing).Stopping at the American Express Company, he findshis friend Peter much in demand: first, by a discerningAmerican lady named Violet Hildegarde, who's comeabroad hoping to be shocked; then by an aspiringcabaret artist, May DeVere, whose mind is definitelynot on her work (Find Me a Primitive Man).

Nearly a week passes before Peter catches up withLooloo, who, in his absence, has taken up with Billy.Forced by the conditions of the bet to keep his job asecret, he explains to Looloo that he has been busy tak-ing people to places of interest. Looloo suggests someactivities that appeal to her: the new revue at theCasino de Paris—or perhaps tea at the Crillon; or adrive through the Bois in an open barouche. But Peter,reaching into his empty pockets, realizes that he canonly afford to meet Looloo on the corner later, a sug-gestion that sends her off in a huff. Seething, she allowsBilly to f lirt with her (I Worship You) while Peterreturns to work (Do You Want to See Paris?).

At a bookstall along the Left Bank, Violet is huntingfor a copy of a novel that's been banned in the States:Ulysses. Billy appears and turns on the charm, but hisplea for companionship falls on deaf ears. He moveson, and Violet is left to reflect on the loose morals ofthe modern world (Where Would You Get Your Coat?).

The following Sunday, everybody is off to the races(At Longchamps Today). An American horse, YankeeDoodle, seems unbeatable, but Louis Pernasse, managerof the Hotel Claridge, informs Peter that the final racehas been fixed: Horse number six, Toujours Moi, willwin. May enters and spots Pernasse; knowing that hesometimes moonlights as maitre d' at the ChateauMadrid, she decides to audition her act for him (TheBoyfriend Back Home). Pernasse offers her a job, thentakes her money, along with Peter's remaining fiftyfrancs, to place a bet on Toujours Moi.

Looloo has also chosen Toujours Moi to win the nextrace. When she bumps into Peter, and realizes that hehas only fifty francs to his name, she gives him an addi-tional two thousand to bet and assures him that he canpay her back at a later date. Peter wonders how Looloocan be so generous, and she confesses the reason (I'min Love). As Peter heads for the betting booth, Joyceappears with a dilemma. Michael has proposed to herand told her that if she doesn't accept he'll commit sui-cide. Should she let him? Or marry him, and kill her-self? Looloo insists that it's Joyce's decision, butexpresses confidence that her friend will do the rightthing (Please Don't Make Me Be Good).

At the starting gate, Toujours Moi is unveiled andrevealed to be a scrawny old nag. As the race begins,Billy takes great pleasure in announcing how poorlyToujours Moi is running: a bad third, then a bad fourth,

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then—suddenly all the other horses turn and run inthe wrong direction. Toujours Moi gains the lead. Asthe horses head for the home stretch,Toujours Moi andYankee Doodle are neck and neck, and as they ap-proach the finish mark, the winner is—Yankee Doodle.Peter, more depressed than ever, tears up the tickets—but wait! Yankee Doodle is disqualified for running infront of Toujours Moi. Peter has a winning ticket—torninto bits. Looloo rushes in to celebrate their victory,but when Peter reveals his blunder, she refuses tobelieve him. It's true what her friends have said—he'smerely after her money: He was planning on keepingthe winnings for himself. Looloo rushes off, leavingPeter alone and inconsolable (You Don't Know Paree).

One week later, Pernasse and his staff are preparing alavish reception for Mrs. Carroll (Somebody's Going toThrow a Big Party/It Isn't Done), who is scheming toimprove her social status by marrying Looloo to animpoverished Grand Duke (The Queen of TerreHaute). When Mr. Carroll learns the cost of the festivi-ties, he stumbles off to the nearest bar. Looloo, mean-while, is as troubled as her father. Try as she may, shecan't stop thinking about Peter—and certainly has nodesire to wed a Russian aristocrat. She corners Joyceand suggests an alternative (Let's Step Out).

Later that evening, Mrs. Carroll bemoans the botchedreception: Her husband arrived an hour late, drunk,and Looloo didn't bother to show up at all. Now she'llnever get into proper society. Violet, amused by theevening's events, recalls another social climber sheonce knew (The Tale of the Oyster).

The Fourth of July arrives, and Peter; now working asa dancing man at the Chateau Madrid, is busily prepar-ing a party there that will be the culmination of hismonth-long travails.The evening begins with May's tri-umphant debut (I'm Unlucky at Gambling). ThenBilly and Michael arrive, still trailing after Violet andJoyce (Why Shouldn't I Have You?); this time, howev-er; the ladies acquiesce. Finally, Looloo appears, andPeter, with only a few minutes till midnight proposesonce again. Looloo struggles for an answer—untilPernasse appears and insists that Peter dance with oneof the customers. With Peter's menial occupationrevealed, Looloo steps away, hurt and embarrassed.Peter turns on Pernasse, but the Frenchman is primedfor a fight: He is still smarting over the race tickets thatPeter tore up. Looloo overhears and realizes that Peterwas indeed telling her the truth that day about tearingup the tickets. She can trust him after all.As the clockstrikes midnight, Looloo and Peter celebrate theirengagement—and Peter collects fifty thousand francs(Paree, What Did You Do to Me?).

—TOMMY KRASKERTommy Krasker is a musical-theater archivist who specializes in restoring shows of

the Twenties and Thirties. In 1988, he received a grant from the National Endowmentfor the Arts to prepare a performing edition of Fifty Million Frenchmen.

SELECTED BIBLIOGRAPHY

Ewen, David. The Cole Porter Story. New York: Holt,Rinehart, and Winston, 1965.

Kimball, Robert, ed. The Complete Lyrics of ColePorter. New York: Knopf, 1986.

Krasker, Tommy and Robert Kimball. Catalog of theAmerican Musical. Washington, D.C.: NationalInstitute for Opera and Music Theater; 1988.

Porter, Cole and Robert Hubler. The Cole Porter Story.Cleveland:World, 1965.

Schwartz, Charles. Cole Porter. New York: Do Capo, 1979.

ORCHESTRATIONS

Robert Russell Bennett: Find Me a Primitive Man

Maurice B. DePackh: I'm Unlucky at Gambling

F. Henri Klickmann: Overture; At Longchamps Today; I'm inLove; Please Don't Make Me Be Good;Why Shouldn't IHave You?

Charles Miller:Where Would You Get Your Coat?

Larry Moore: The Boyfriend Back Home (original orchestra-tion was lost)

Hans Spialek: You Do Something to Me; You've Got ThatThing; I Worship You; Do You Want to See Paris?;Entr'acte; Somebody's Going to Throw a Big Party; ItIsn't Done; Let's Step Out; Paree,What Did You Doto Me?

Unknown: The American Express; You Don't Know Paree;The Queen of Terre Haute;The Tale of the Oyster

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