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Born to a wealthy family in Indiana, Porter defied his grandfather's wishes for him to practice law and took up music as a profession. Classically trained, he was drawn to musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics as well as the music for his songs.

Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings. His numerous hit songs include "Night and Day", "Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top". He also composed scores for films from the 1930s to the 1950s, including Born to Dance (1936), which featured the song "You'd Be So Easy to Love"; Rosalie (1937), which featured "In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls (1957).

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Porter maintained a luxury apartment in Paris, where he entertained lavishly. His parties were extravagant and scandalous, with "much gay and bisexual activity, Italian nobility, cross-dressing, international musicians and a large surplus of recreational drugs".[5] In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorce eight years his senior.[2][n 5] She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter's confidante and companion.[28] The couple married the following year. She was in no doubt about Porter's homosexuality,[n 6] but it was mutually advantageous for them to marry. For Linda, it offered continued social status and a partner who was the antithesis of her abusive first husband.[27] For Porter, it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged. They were, moreover, genuinely devoted to each other and remained married from December 19, 1919, until her death in 1954.[5] Linda remained protective of her social position and, believing that classical music might be a more prestigious outlet than Broadway for her husband's talents, tried to use her connections to find him suitable teachers, including Igor Stravinsky, but was unsuccessful. Finally, Porter enrolled at the Schola Cantorum in Paris, where he studied orchestration and counterpoint with Vincent d'Indy.[3] Meanwhile, Porter's first big hit was the song "Old-Fashioned Garden" from the revue Hitchy-Koo of 1919.[2] In 1920, he contributed the music of several songs to the musical A Night Out.[30]

Marriage did not diminish Porter's taste for extravagant luxury. The Porter home on the rue Monsieur near Les Invalides was a palatial house with platinum wallpaper and chairs upholstered in zebra skin.[25] In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice. He once hired the entire Ballets Russes to entertain his guests, and for a party at Ca' Rezzonico, which he rented for $4,000 a month ($69,000 in current value), he hired 50 gondoliers to act as footmen and had a troupe of tightrope walkers perform in a blaze of lights.[25] In the midst of this extravagant lifestyle, Porter continued to write songs with his wife's encouragement.[31]

Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers' revues in Britain and the U.S. For a C. B. Cochran show in 1921, he had two successes with the comedy numbers "The Blue Boy Blues" and "Olga, Come Back to the Volga".[32] In 1923, in collaboration with Gerald Murphy, he composed a short ballet, originally titled Landed and then Within the Quota, satirically depicting the adventures of an immigrant to America who becomes a film star.[33] The work, written for the Ballets sudois, lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud's La cration du monde.[34] Porter's work was one of the earliest symphonic jazz-based compositions, predating George Gershwin's Rhapsody in Blue by four months, and was well received by both French and American reviewers after its premiere at the Thtre des Champs-lyses in October 1923.[34][n 7]

After a successful New York performance the following month, the Ballets sudois toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter's and Koechlin's manuscripts between 1966 and 1990, with help from Milhaud and others.[36] Porter had less success with his work on The Greenwich Village Follies (1924). He wrote most of the original score, but his songs were gradually dropped during the Broadway run, and by the time of the post-Broadway tour in 1925, all his numbers had been deleted.[37] Frustrated by the public response to most of his work, Porter nearly gave up songwriting as a career, although he continued to compose songs for friends and perform at private parties.[31]

At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical Paris, his first hit.[38] It was commissioned by E. Ray Goetz at the instigation of Goetz's wife and the show's star, Irne Bordoni.[38] She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter's agent persuaded Goetz to hire Porter instead.[39] In August 1928, Porter's work on the show was interrupted by the death of his father. He hurried back to Indiana to comfort his mother before returning to work. The songs for the show included "Let's Misbehave" and one of his best-known list songs, "Let's Do It, Let's Fall in Love", which was introduced by Bordoni and Arthur Margetson.[40] The show opened on Broadway on October 8, 1928. The Porters did not attend the first night because Porter was in Paris supervising another show for which he had been commissioned, La Revue, at a nightclub.[41] This was also a success, and, in Citron's phrase, Porter was finally "accepted into the upper echelon of Broadway songwriters".[42] Cochran now wanted more from Porter than isolated extra songs; he planned a West End extravaganza similar to Ziegfeld's shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The revue, Wake Up and Dream, ran for 263 performances in London, after which Cochran transferred it to New York in 1929. On Broadway, business was badly affected by the 1929 Wall Street crash,[n 8] and the production ran for only 136 performances. From Porter's point of view, it was nonetheless a success, as his song "What Is This Thing Called Love?" became immensely popular.[44] Porter's new fame brought him offers from Hollywood, but because his score for Paramount's The Battle of Paris was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success.[45] Citron expresses the view that Porter was not interested in cinema and "noticeably wrote down for the movies."[46]

Still on a Gallic theme, Porter's last Broadway show of the 1920s was Fifty Million Frenchmen (1929), for which he wrote 28 numbers, including "You Do Something to Me", "You've Got That Thing" and "The Tale of the Oyster".[47] The show received mixed notices. One critic wrote, "the lyrics alone are enough to drive anyone but P. G. Wodehouse into retirement", but others dismissed the songs as "pleasant" and "not an outstanding hit song in the show". As it was a lavish and expensive production, nothing less than full houses would suffice, and after only three weeks, the producers announced that they would close it. Irving Berlin, who admired and championed Porter, took out a paid press advertisement calling the show "The best musical comedy I've heard in years. ... One of the best collections of song numbers I have ever listened to". This saved the show, which ran for 254 performances, considered a successful run at the time.[48]

Ray Goetz, producer of Paris and Fifty Million Frenchmen, the success of which had kept him solvent when other producers were bankrupted by the post-crash slump in Broadway business, invited Porter to write a musical show about the other city that he knew and loved: New York. Goetz offered the team with whom Porter had last worked: Herbert Fields writing the book and Porter's old friend Monty Woolley directing.[49] The New Yorkers (1930) acquired instant notoriety for including a song about a streetwalker, "Love for Sale". Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elisabeth Welch in a nightclub scene. The lyric was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard.[50] Porter often referred to it as his favorite of his songs.[51] The New Yorkers also included the hit "I Happen to Like New York".[52]

Next came Fred Astaire's last stage show, Gay Divorce (1932).[53] It featured a hit that became Porter's best-known song, "Night and Day".[n 9] Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele), the show ran for a profitable 248 performances, and the rights to the film, retitled The Gay Divorcee, were sold to RKO Pictures.[n 10] Porter followed this with a West End show for Gertrude Lawrence, Nymph Errant (1933), presented by Cochran at the Adelphi Theatre, where it ran for 154 performances. Among the hit songs Porter composed for the show were "Experiment" and "The Physician" for Lawrence, and "Solomon" for Elisabeth Welch.[55]

In 1934, producer Vinton Freedley came up with a new approach to producing musicals. Instead of commissioning book, music and lyrics and then casting the show, Freedley sought to create an ideal musical with stars and writers all engaged from the outset.[56] The stars he wanted were Ethel Merman, William Gaxton and comedian Victor Moore. He planned a story about a shipwreck and a desert island, and for the book he turned to P. G. Wodehouse and Guy Bolton. For the songs, he decided on Porter. By telling each of these that he had already signed the others, Freedley gathered his ideal team together.[n 11] A drastic last-minute rewrite was necessitated by a major shipping accident that dominated the news and made Bolton and Wodehouse's book seem tasteless.[n 12] Nevertheless, the show, Anything Goes, was an immediate hit. Porter wrote what many consider his greatest score of this period. The New Yorker magazine's review said, "Mr. Porter is in a class by himself",[59] and Porter subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate.[59] Its songs include "I Get a Kick Out of You", "All Through the Night", "You're the Top" (one of his best-known list songs), and "Blow, Gabriel, Blow", as well as the title number.[60] The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London.[61] Porter, despite his lessons in orchestration from d'Indy, did not orchestrate his musicals. Anything Goes was orchestrated by Robert Russell Bennett and Hans Spialek.[62][n 13] Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he made grand entrances and sat in front, apparently relishing the show as much as any audience member. Russel Crouse commented "Cole's opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding."[59] e24fc04721