Cole Porter in Paris / Feathertop

COLE PORTER IN PARIS / FEATHERTOP COLE PORTER IN PARIS FEATHERTOP Sadly, most of these shows and spe- cials are lost to the public, although Cole Porter in Paris was an NBC There was a time when TV present- thankfully some of them have been TV/Bell System Family Theatre mu- ed musicals especially written for saved by the Paley Center for Me- sical special that aired on January the medium with regularity, written dia. But amazingly, a few did promo- 17, 1973. The producers assembled by the likes of Cole Porter, Rodgers tional recordings that were used for an all-star cast including Diahann and Hammerstein, Stephen Sond- advertising the show, not for sale to Carroll, Perry Como, Louis Jour- heim, Livingston and Evans, Bock the public. And so we have these two dan, Connie Stevens, with special and Harnick, Jule Styne and Com- delights for your listening pleasure. performances by Charles Aznavour den and Green, Bob Merrill, and and Twiggy, and the dance trio many others. — Bruce Kimmel comprised of choreographer Alan Johnson, Graciela Daniele, and Bar- Feathertop, based on the story by bara Alston. Shot on soundstages Nathaniel Hawthorne, aired on Oc- and various locations, including, of tober 19, 1961 as a one-hour special course Paris. on the ABC Network. The adaptation and teleplay was by John Marsh, The impressive creative team in- and the music by Mary Rodgers, cluded directors Walter C. Miller and who’d had a big success with Once Martin Charnin, with settings by Don Upon a Mattress, which had proved Shirley, Jr., costumes by Theoni V. her to be a chip off the old Richard Aldredge, musical direction by El- Rodgers, her father. The lyrics were liot Lawrence, and arrangements by by an up-and-comer named Martin Nick Perito. In the end, it was a rath- Charnin, the same Martin Char- er typical special of that era – noth- nin that would produce Cole Porter ing too creative, an eclectic cast, in Paris, but more importantly the without much point at all. The New same Martin Charnin who would do York Times began its review with, the lyrics for and direct a little show “Television’s absurdity can almost called Annie. be charming – sometimes.” The review went on to opine, “And then, The producer and choreographer not too surprisingly, two-thirds of the was TV staple Tony Charmoli, the program had absolutely nothing to director was Dean Whitmore, and a do with Paris.” But the reviewer did stellar cast was assembled, includ- go on to praise Diahann Carroll, the ing the wonderful Jane Powell, TV’s sets and costumes and ended the Wyatt Earp, Hugh O’Brian, Cathleen review with, “For all its more curious Nesbitt, Hans Conried, and in sup- aspects, the hour had its respectable port, Jackie Joseph, Shirley Mills, quotient of pleasantness.” Pat Lloyd, and Anthony (Scooter) Teague. The setting was changed It would not be too far into the future from Hawthorne’s Salem, Massachu- when this type of TV spectacular setts to the more colorful New Orle- would go the way of the dodo bird, ans. The musical fantasy scored with and for all the kitschy qualities of critics. The New York Times said, “A some of them, looking back at them lovely touch of theatre was brought they have a wacky charm to them to television Thursday night… a mu- and maybe someday nostalgia will sical fantasy of beguiling and tuneful kick in and some enterprising per- gentleness that illumed Channel 7 son will do one and the genre will with a glow of charming make be- come back. lieve for very nearly a full hour.” The New York World Telegram raved, “A bright, original musical comedy bursting forth from that tired, blinking little screen.” .

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