Above: Left image: Todd Duncan (Porgy) and Anne Brown (Bess), in the 1935 Broadway production of Porgy and Bess. Right image: John Bubbles (Sportin’ Life) and Brown. (Photos courtesy the Ira & Leonore Gershwin Trusts)
The 1935 Broadway production of Porgy and Bess is widely regarded as one of the most successful American operas of the twentieth century, but when it opened at the Alvin Theatre on Oct. 10, 1935, reviews were mixed, including the one penned by Wolcott Gibbs.
Now you would think a work by composer George Gershwin, with a libretto written by DuBose Heyward (author of the 1925 novel Porgy) and lyricist Ira Gershwin, would be a sure hit. Some critics did praise the production, which ran for 124 performances, but others criticized themes and characterizations of Black Americans that were created by white artists.
This wasn’t the first time Porgy was adapted to the stage. It was originally produced in 1927 by Heyward and his wife, Dorothy, at the Guild Theatre in New York. The Heywards insisted on an African-American cast—an unusual decision at the time—and enlisted newcomer Rouben Mamoulian to direct. The play ran a total of fifty-five weeks.
Gibbs preferred the original Porgy to the Gershwin–Heyward production, admitting that he simply did not care for “the operatic form of singing a story.”
continued…
The Moss Hart/Cole Porter musical comedy Jubilee! premiered at Broadway’s Imperial Theatre on Oct. 12, 1935, just two days after the Porgy and Bess premiere. Gibbs dubbed this show “heat-warming and beautiful.”
Note: In the last issue (Oct. 12) we saw an ad for an around-the-world luxury cruise on the Franconia. Cole Porter and Moss Hart—with their families, friends, and assistants—sailed on a previous Franconia cruise, possibly in 1934, with the intention to write a new musical while on the trip. Apparently some of the songs and scenes in Jubilee! were inspired by their ports of call.
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Steering Clear
“The Talk of the Town” commented on the “steer-wrestlers” that were featured at the Madison Square Garden rodeo. Since steer-wrestling was also called “bulldogging,” it caused considerable consternation among New York animal lovers.
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Much Ado About FDR
The Conference on Port Development of the City of New York took issue with President Franklin D. Roosevelt’s foreign trade policies, particularly his strict stance on neutrality, which the Conference believed was detrimental to foreign trade. This was likely related to the October 1935 Italian invasion of Ethiopia. E.B. White offered this satirical poem in reaction to the trade spat.
Howard Brubaker also chimed in on the trade issue, and on other unsettling developments in Europe:
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Puppy Love
Critic and poet Cuthbert Wright (1892–1948) was moved to write poetry after visiting a dog cemetery that also welcomed animals of all stripes. Here are excerpts of the opening and closing lines:
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Man and Machine
Art and culture critic Lewis Mumford is back this week, this time taking a look at the work of French artist Fernand Léger (1881–1955), who created a form of cubism known as “tubism,” regarded today as a forerunner of the pop art movement of the mid-1950s and the 1960s.
It is no surprise that the humanist Mumford, who sought an “organic balance” in everyday design, found Léger’s machine-like works alienating and sterile, representing an “aesthetic poverty.”
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Disappointment in O’Hara
That is how Clifton Fadiman titled his “Books” column after reviewing John O’Hara’s latest novel, Butterfield 8.
O’Hara (1905–1970) wasn’t just any old scribbler. A prolific short-story writer, he has often been credited with helping to invent The New Yorker’s short story style. Praised by the likes of F. Scott Fitzgerald and Ernest Hemingway, O’Hara cranked out two bestsellers before the age of thirty. One was the acclaimed Appointment in Samarra (which was praised by Fadiman). The other was BUtterfield 8, the novel Fadiman found disappointing (Hemingway, on the other hand, blurbed, “John O’Hara writes better all the time.”). Here are a couple of brief excerpts from Fadiman’s review:
Fadiman concluded his review with a note to the author: “Why not let Jean Harlow have it, Mr. O’Hara, and start a fresh page?”
Well, Harlow didn’t get it, but twenty-five years later Elizabeth Taylor would reluctantly take on the role of Gloria Wandrous, and win the Academy Award for Best Actress.
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At The Movies
We begin this section with an excerpt from “The Talk of the Town,” which covered the “International World Première” of the Warner Brother’s adaptation of A Midsummer Night’s Dream. The film opened worldwide on October 9, 1935 in London, Sydney, Vienna and at New York’s Hollywood Theatre, where crowds turned out to get a glimpse of the stars.
Film critic John Mosher praised Joe E. Brown’s performance as Flute, as well James Cagney’s portrayal of Bottom, and lauded the “magnificent group of clowns” that formed the remainder of The Players. Here are excerpts from his review (note I included the entirety of Otto Slogow’s delightful spot drawing):
Mosher also reviewed the romantic comedy I Live My Life, which he found to be a satisfying satire on the lives of the rich.
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From Our Advertisers
Readers ninety years ago opened the Oct. 19 issue to this two-page spread featuring the latest in fall/winter fashions…the ad on the right from Bergdorf Goodman featured stage and screen actress Gladys George donning a full-length silver fox fur…
…George (1904–1954) was appearing at Henry Miller’s Theatre in the play Personal Appearance…she was featured in this testimonial ad for Schrafft’s in the theatre’s Playbill…
…the folks at Packard took out this colorful two-page spread to promote their more affordable model, the 120…the move to more affordable models helped the luxury carmaker weather the lean years of the Depression…
…there is a strange quality to these Arrow Shirt advertisements…what are the they looking at?…apparently something amusing as the man applies mustard to a hotdog, but it isn’t the vendor, who looks down at his cart…
…R.J. Reynolds continued its Camel campaign featuring accomplished athletes who got a “lift” from smoking…the ad also included a couple of regular folks at the bottom, who claimed the cigarettes were so mild “You can smoke all you want”…
…Old Gold continued to enlist the talents of George Petty to illustrate their full-page ads…
…here’s a couple of back of the book ads touting Irish whisky and Ken-L-Ration dog food…note how the Scottish terriers speak in “dialect”…Ken-L-Ration was a leading dog food brand in the 1930s, thanks to their use of horse meat rather than “waste meat”…
…on to our cartoonists, we start with Al Frueh enhancing the “Theatre” page…
…James Thurber showed us a man at odds with the times…
…Barbara Shermund kept us up to date on the modern woman…
…Whitney Darrow Jr offered a challenge to Helena Rubinstein (note the woman on the right—she could have been drawn by Helen Hokinson)…
…Gluyas Williams checked in on the lively proceedings of a book club…
…Helen Hokinson went looking for a good winter read…
…Gilbert Bundy offered an alarming scenario on the top of p. 31…
…and we close with Peter Arno, and an eye-raising encounter…
New Time: It Can’t Happen Here…
A New Yorker State of Mind 