Quotes from Geoffrey Block

Although the degree to which Kiss Me, Kate employs the major-minor juxtapositions is perhaps unprecedented in a Porter show, the roots of this idea can be found in Porter's pre–Rodgers and Hammerstein musical Anything Goes (and many other songs;

the extant manuscript evidence reveals that from the time he began work on Kiss Me, Kate Porter was greatly concerned with creating a musical that integrated music with the book.

the song and dance musical comedies that prevailed in the 1920s and '30s and the integrated musicals that became more influential in the 1940s and '50s both allow a meaningful dramatic relationship between songs and their shows.

the struggle between authenticity and accessibility

his analysis of Kiss Me, Kate, Joseph P. Swain notes Porter's technique of moving from the major mode to the minor mode or vice versa to distinguish the Padua songs from their Baltimore counterparts.