ABSTRACT
From the little-known revue Mayfair and Montmartre (1922) to the hit stage musical Can-Can (1953), Paris has frequently featured in the work of beloved composer and lyricist Cole Porter. His stage musicals You Never Know (1938), Can-Can and Silk Stockings (1955) are all predominantly set in Paris, and the city is passingly represented in two scenes in Nymph Errant (1933). Hollywood has made regular use of Porter’s talent, either in original film musicals or in screen adaptations of his stage hits. His songs have also lived on in the soundtracks of films, particularly those set in Paris. This chapter considers the intersection of Porter’s personal and domestic life with his musical output. While he certainly referred to Paris in numerous ways, Porter was not consistently resident in the city from his rise to fame until his death. Therefore, this chapter begins by considering the role Paris played in our perception of the first half of Porter’s career, especially in the context of his relationship with his wife, Linda, and their social circle. It then considers how Porter and his collaborators used Paris within their works and how this interacts with our perceptions of Paris, the city.
