George Forrest & Robert Wright

Robert Wright (1914-2005) and George Forrest (1915-1999, b. George Forrest Chichester, Jr.) were professional and life partners for over seventy years. They worked as a team writing music and lyrics for film, stage and club acts. While both men were credited equally as composer-lyricists, it was George who worked chiefly with the music. Although their specialty was providing lyrics for melodies from classical compositions, their output also included much original musical material, such as their score for Grand Hotel (1989). They worked exclusively with each other throughout their careers, and the peak of their creative output was during the late 1930s while under contract with M-G-M.

However, Wright and Forrest were best known for the 1953 Broadway musical and 1955 musical film Kismet, for which they had adapted musical themes by Alexander Borodin. Enduring songs from that show include Baubles, Bangles and Beads, Stranger In Paradise and And This Is My Beloved. The pair won a Tony award for their work on Kismet, and in 1995 they were awarded the ASCAP Foundation Richard Rodgers Award. They also received three Academy Award nominations for Best Song.

Wright and Forrest provided scores for dozens of films, chief among them After the Thin Man (1936), Boystown (1938), Marie Antoinette (1938), Our Gang Follies (1938), The Women (1939), I Married an Angel (1941) and Song of Norway (1970, adapting the music of Edvard Grieg). They wrote the hit song The Donkey Serenade (based on a musical theme by Rudolf Friml) along with composer Herbert Stothart. In total they worked together on over 50 films, 18 stage productions, and 13 TV specials, writing 2,000 songs during the course of their careers.

The two men met as Miami High School classmates in 1929. While still a teenager Wright was working as a pianist accompanying silent films, and he conducted his own high school orchestra. He met fourteen-year-old Forrest when George auditioned for the school’s glee club, and the two soon became lovers. They later auditioned as a pair for M-G-M in the mid-1930s and moved to Hollywood for the duration of their contract, which lasted until 1942.

The Wright and Forrest relationship represents the longest-running songwriting collaboration in the history of American show business.

Alfie Boe, who starred in a 2007 revival of Kismet, sings Stranger in Paradise. For those impatient types, the music starts at the 0:45 timing mark:

Maurice Ravel

Best remembered today for Bolero, Ravel (1875-1937) was a popular classical composer during his lifetime. Born in the Basque village of Ciboure, practically on the border with Spain, he grew up in Paris, where he gave his first public piano recital at age 14. Many speculate that he carried on affairs with Spanish pianist Ricardo Viñes and Spanish composer Manuel de Falla, although he did not flaunt his homosexuality in public. Viñes, known as the teacher of gay composer Francis Poulenc, championed the piano compositions of Ravel, performing the premieres of many of them.

Ravel collected books about bizarre sexual practices and hid a secret stash of pornography. He would sometimes entertain the members of the all-male “Les Apaches”(hooligans) society by dressing as a ballerina, complete with tutu and falsies, while dancing on pointe. Still, there is no evidence that he had a lasting personal relationship with anyone of either sex. Several biographers claim that his sole emotional relationship was with his mother.

Extremely closeted, Ravel was somewhat shy, dignified and retiring in public, always carefully observing the men dancing together at Le Boeuf sur le Toit, a Parisian cabaret-bar, but never joining in himself. Jean Cocteau and Francis Poulenc were regulars there. Friends say that Ravel had a prized collection of gay pornography, which he amassed after his service in the French Army during WW I.

Although handsome, Ravel was sensitive about his short physical stature (5'2" tall on a good day), and was often teased for dressing like a dandy. He shared a sharp and keen wit with his close companions, although he had the reputation of a somewhat snobbish intellectual. Ravel studied composition with Gabriel Fauré at the Paris Conservatory, abandoning a career as a concert pianist, but he was a poor student and was subsequently dismissed. One of his major musical talents was as an orchestrator, and he became known for compositions depicting Spanish landscapes and folk melodies. Igor Stravinsky called Ravel’s ballet music for Daphnis et Chloé "one of the most beautiful products of all French music", and other critics claimed it was Ravel's “most impressive single achievement, as it is his most opulent and confident orchestral score". The work is notable for its rhythmic diversity, lyricism, and evocations of nature.

With Claude Debussy’s death, Ravel became the foremost composer of French classical music. As Fauré stated in a letter to Ravel in October 1922, “I am happier than you can imagine about the solid position which you occupy and which you have acquired so brilliantly and so rapidly. It is a source of joy and pride for your old professor.” Around that time Ravel completed his famous orchestral arrangement of Mussorgsky’s Pictures at an Exhibition, and its widespread popularity brought Ravel great fame and substantial profit.

Jeux d’eau (Fountains), a landmark piano composition. Its influence on Poulenc is obvious, even to an untrained ear. Martha Argerich is the pianist.



In 1928 Ravel made a wildly successful four-month conducting tour of 25 U.S. cities, where he was greeted with standing ovations and much adulation, in pointed contrast to his rather tepid reception at his premieres in Paris. The solid success of this American tour cemented Ravel’s international reputation as a serious composer. While in NYC he met American composer George Gershwin. There is a story that when Gershwin met Ravel, he mentioned that he would like to study with the French composer. According to Gershwin, the Frenchman retorted, "Why do you want to become a second-rate Ravel when you are already a first-rate Gershwin?" Ravel asked Gershwin how much money he made. Upon hearing Gershwin's reply, Ravel suggested that maybe he should study with Gershwin. In the jazz clubs of Harlem and New Orleans Ravel soaked up the sounds of jazz, which he incorporated into later compositions, particularly the pianos concertos.

Upon his return to France, Ravel was bemused by the change in his reception by the French public and critics (all for the better). He began recording or supervising the recording of his major works, so today we have a direct link to the composer’s intentions. He wrote Bolero, his most famous composition, in 1928, immediately after his American tour. He intended it as ballet music, and intentionally meant for there to be no musical development, just a protracted crescendo of a single theme repeated to great effect. It was a tour de force of orchestration, distinctive in its incorporation of saxophones in a symphony orchestra.

Four years later Ravel received a blow to the head in a taxi accident, which he brushed off as not serious at the time. However, symptoms of absentmindedness and difficulty with speaking and communicating soon became evident. Five years after the 1932 accident he consented to experimental brain surgery, because he was no longer able to write down his musical ideas. Tragically, he died from complications from the surgery.

In this excerpt from his Piano Concerto in G (Movement 1), Leonard Bernstein conducts from the keyboard. By the 1:35 mark, the influence of Gershwin is undeniable, both rhythmically and harmonically.

Henri III of France

The twenty-three-year-old dandy Henryk Walezy (1551-1589) had served only two years as King of Poland and Grand Duke of Lithuania when he received news that forever changed his life. His brother Charles IX (Henryk’s bitter enemy), who happened to be king of France, had just died, leaving Henryk with a much better prospect. King of France trumped King of Poland any day of the week. Born Alexandre-Édouard de Valois-Angoulèm in the Royal Château de Fontainebleau (built by his grandfather, François I of France), the outrageously vain and effeminate Henryk took a leave of absence from Poland* to hie himself to Reims, where he was crowned Henri III, King of France, on February 13, 1575.

*The Polish population soon realized that the leave of absence was permanent, and the Polish throne was declared vacant.

The day after his coronation as the king of France, Henri participated in an arranged marriage to Louise of Lorraine, and it was expected that they would conceive a child. Never happened. Though Louise fell deeply in love with Henri, the sexual feelings were not reciprocated. Henri treated his wife as a doll, dressing her up, applying makeup to her face, teaching her how to flirt. Her mild and gentle virtues contrasted her husband’s vice, vulgarity and coarseness. Louise soon learned that her husband was a flamboyant omni-sexual given to wild sadomasochistic orgies while dressed in drag. Among the passions he was unable to restrain was an obsession for outrageous jewelry. He surrounded himself with legions of twenty-something boyfriends, favorites known as “mignons de cœur” (darlings of the heart), and they scandalized the public with their effeminate mannerisms. They also copied their king’s fashion innovations, protecting their hands by carrying small muffs, wearing outsized earrings and keeping pet parrots and monkeys. Even the king’s fondness for lapdogs – especially small spaniels – was copied by his mignons. When Henri changed the style of his beard or moustache, his mignons followed suit. I kid you not.

A real fashionista, Henri changed his garments, jewelry and perfumes several times a day. He showed little interest in typically masculine pursuits such as hunting, preferring masked balls, parlor games and the intrigues of court life and etiquette (he introduced the use of a fork to the tables of France, an item of cutlery that had been in use while he was king of Poland).

In fact, the contemporary reports of Henri’s untempered homosexual activity and effeminate mannerisms were so numerous and blatant that some historians dismiss many of them as politically motivated exaggerations. However, seldom in history had the homosexual activity of a monarch been so public and undisguised. His harem of young male mignons was not confined to the royal palaces; when the king attended public fairs and carnivals, his fawning favorites accompanied him in full force. Not only did Henri dress in women’s clothes, he did so in public.

Henri III (seated) amongst his mignons:

Throughout his life Henri had been controlled by his power-mad mother, Catherine of Medici, whose pet name for her son was “chers yeux” (precious eyes). She was responsible for setting him up on the throne of Poland. She had been the one to embroil her children in the hideous crimes of the St. Bartholomew Massacre of Protestants. Catherine was content to watch her son Henri occupy himself with frivolous fashion and childish games, allowing herself to control many affairs of state, marked by religious animosity between Catholics and Protestants. However, Henri’s inability to produce an heir resulted in a succession crisis.

For King Henri III, it all came to an early and ignominious end. Just shy of his thirty-eighth birthday he was assassinated by a young fanatical Dominican friar, Jacques Clément, who was carrying false papers. Clément was granted access to deliver important documents to the King. The monk gave Henri a bundle of papers and stated that he had a secret message to deliver. The King signaled for his attendants to step back for privacy, and Clément whispered in his ear while plunging a knife into his abdomen. Clément was killed on the spot by the guards, but Henri did not die until the following day. Thus Henry of Navarre, the legitimate heir to the French throne because Henri III remained childless, became his successor as Henri IV, one of the great kings of France.