Sid Ramin and Red Ginzler’s Overture to Gypsy: John Wilson Conducting The John Wilson Orchestra, BBC Proms 2012

The indication “burlesque strip stylewas actually written on the music right around 4:00. Both Ramin and Ginzler cut their teeth writing swing arrangements; lead trumpet in the original Gypsy pit was Dick Perry, late of the Tommy Dorsey Orchestra. Solo trumpet Mike Lovatt here lays it down fine. Some people obviously know something about burlycue. Composer Jule Styne was pleased with this orchestration. Once again, the BBC Proms program The Broadway Sound, 2012.

John Wilson Gypsy Overture

Also at 4:00 John Wilson shimmying like a brazen hussy. This is the moment one year ago today when I fell in love with you my bonny, that lovely luscious moment when I stumbled onto that clip above of you at the RAH and got your number

“I’ve Got Your Number” by Cy Coleman and Carolyn Leigh from the 1962 Musical Little Me

I’ve got your number
I know you inside out
You ain’t no Eagle Scout
You’re all at sea
Oh yes you brag a lot
Wave your own flag a lot
But you’re unsure a lot
You’re a lot like me

Dick Van Dyke and Mary Tyler Moore, The Dick Van Dyke Show. Season 4, episode 2, CBS-TV, 1964.

I've Got Your NumberBetter Mary Tyler Moore should sing this song to you, John my love, rather than that guy who thinks he’s Sinatra.

Kiss Me, Kate: Another Cole Porter Musical with Dirty Lyrics, Played by The John Wilson Orchestra and Conducted by John Wilson, BBC Proms 2014

John and O don’t always perform semi-staged fully-voiced musicals badly at their BBC Proms appearances at the Royal Albert Hall—their 2012 My Fair Lady was pretty much all right, no shenanigans there (pronounced The Guardian, “John Wilson’s adapted score—which borrows from Andre Previn’s movie arrangement—adds a sparkle to even the most drearily expository songs: the flutes somehow sound cheekier, the brass ruder, the strings zingier”). And in fact their 2014 Kiss Me Kate was as it was meant to be: big, sexy and playful. Winsome John even gets a speaking part!

Kiss Me Kate
That’s the hilarious Louise Dearman as singer/sexworld adventuress Lois Lane. (Yes I swear to God, that’s the name the writers of this classic 1948 Broadway musical gave her.)

Now, we all know about “Too Darn Hot” with its descriptions of nice normal congress (“I’d like to sup with my baby tonight / Play the pup with my baby tonight”) and “Tom, Dick or Harry” with its lyrics “I’m a maid mad to marry and would take double quick / Any Tom, Dick or Harry, any Tom, Harry or Dick” and the lilting refrain “A-dick-a-dick dick dick, a-dick-a-dick dick dick”…

But did you ever stop to think about the song “Always True to You in My Fashion”? Which was one of my party pieces years and years ago (alternating with “I Cain’t Say No” from Oklahoma). I once gave it some thought and what I worked out is this: Lois isn’t just your ordinary sex supplier—no, she specializes in those extra-special somethings that make a man (well, certain men) happy and willing to pay top dollar for them. Not to mention that in every verse she pretty much announces her rates:

  • There’s a madman known as Mac
    Who is planning to attack
    If his mad attack means a Cadillac, okay!…
  • I would never curl my lip
    To a dazzling diamond clip
    If a clip meant “Let ‘er rip!”
    I’d not say nay…
  • There’s an oilman known as Tex
    Who is keen to give me checks
    And his checks I fear
    Means that sex is here to stay…

…ending always with the last line, “But I’m always true to you darling in my fashion / Yes I’m always true to you darling in my way.” Which to me is the number-one indication she keeps it hot with her boyfriend because with him it’s, like I said, nice normal congress. You know, vanilla. But with her clients? As you may recall I was in the business, where scenarios abound. (Remember Basingstoke?) All this to say it amuses me to no end to watch Lois size up within two seconds The Conductor, cunningly portrayed by my beloved John Wilson. Because I know exactly what’s going on in her head, in descending order:

  • How much do orchestra conductors make, anyway?
  • Tell mama what your kinks are.
  • Hey, he’s kinda cute. Skinny, but cute.

But don’t blame me, take it up with Cole Porter. Kiss Me, Kate is available in its entirety here.

Sean Hayes and Kristin Chenoweth’s Deep-Tongue Kiss at the Tonys, 2010

You all remember the flap behind this. But that kiss at the Tonys (starts at :40) was awfully convincing. Hey, my hormones percolated…

kristen-chenoweth-sean-hayes.jpg

…But to get on with this posting. One of the nominees at the 64th Tony Awards was the revival of Promises, Promises with a score by Burt Bachrach, including some of his interpolated standards (like “A House is Not a Home” and “I Say a Little Prayer”, neither of which were in the original production), so I’m thinking that this bootleg vidcomp from an actual performance would be a good introduction to the work of this (as my beloved John Wilson, Conductor might deem him) “top-drawer American tunesmith”. The connection to my posting on Milhaud above? Bachrach was a student of Darius Milhaud, and you can hear what he retained from the modernist master in his distinctive, almost Latin, rhythms—think of “Always Something There to Remind Me” or “Twenty-four Hours from Tulsa”.

Here’s Sean Hayes singing the title song at 23:18, and a surprisingly good job he does too. No Jerry Ohrbach, but the kid’s got pipes.