Key Songs/dance Routines
Dance director was Robert Alton, Astaire's second-most-frequent choreographic collaborator after Hermes Pan. As Astaire generally choreographed his own and his partner's routines, Alton concentrated on the choruses. The choreography explores a diverse range of musical rhythms some of which are artfully juxtaposed in Cole Porter's score.
- Rehearsal Duet: Short but virtuosic tap number with Astaire and Hayworth dancing side by side.
- "Boogie Barcarolle": Porter number which, not unlike Robert Russell Bennett's Waltz In Swing Time from Swing Time, overlays two very different musical rhythms. Astaire leads the chorus which includes Hayworth in an exhilarating and, for Astaire, unusual routine.
- "Shootin' the Works for Uncle Sam": Song and dance number where Astaire and chorus march through a train station. The choreography expresses the notion that Broadway-style dance rehearsals and army camp drills have much in common. The music and dance contrast march and jazz rhythms.
- "Since I Kissed My Baby Goodbye": Haunting and melancholy Porter standard introduced by the Four Tones - an African-American quartet (lead singer Lucius "Dusty" Brooks, Leon Buck, Rudolph Hunter, and John Porter) - followed by a short Astaire solo, and all executed in the unrealistic - for its time - setting of an unsegregated guard house. Astaire also made a successful recording of this number with Decca in September 1941, backed in this instance by the Delta Rhythm Boys.
- "March Milastaire (A-Stairable Rag)": Another Porter number contrasting march and jazz rhythms, danced in a "tour de force" tap solo by Astaire, who expresses his sudden joy of being in love by using his taps to make as much noise as possible. This time the purely instrumental African-American backing group comprised the twenty-year-old Chico Hamilton on drums, Buddy Collette (clarinet), Red Mack (trumpet), Alfred Grant (guitar) and Joe Comfort (jug).
- "So Near and Yet So Far": Porter's rumba melody is set to lyrics (sung by Astaire), which sum up the nature of Hayworth's irresistible allure. Astaire, clearly inspired by Hayworth's exceptional Latin dance pedigree, delivers his first on-screen synthesis of Latin-American and ballroom dance steps in a celebrated romantic partnering.
- "The Wedding Cake Walk": Liltin' Martha Tilton's rendition of this cheerful song is followed by a routine involving Astaire, Hayworth and a large chorus, the former pair ending up dancing on a wedding cake in the shape of a tank.
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Famous quotes containing the words key, songs, dance and/or routines:
“Sunshine of late afternoon—
On the glass tray
a glass pitcher, the tumbler
turned down, by which
a key is lying—And the
immaculate white bed”
—William Carlos Williams (1883–1963)
“And songs climb out of the flames of the near campfires,
Pale, pastel things exquisite in their frailness
With a note or two to indicate it isn’t lost,
On them at least. The songs decorate our notion of the world
And mark its limits, like a frieze of soap-bubbles.”
—John Ashbery (b. 1927)
“We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.”
—Martha Graham (1894–1991)
“Finding the perfect balance is getting harder and harder. We need to teach our children to be cautious without imparting fear, to learn right from wrong without being judgmental, to be assertive but not pushy, to stick to routines without sacrificing spontaneity, and to be determined but not stubborn.”
—Fred G. Gosman (20th century)