Welcome to

Cafe Songbook

Internet Home of the
Songs, Songwriters and Performers of

The Great American Songbook

Madison Square logo, top of page cafe songbook sign for logo

Search Tips: 1) Click "Find on This Page" button to activate page search box. 2) When searching for a name (e.g. a songwriter), enter last name only. 3) When searching for a song title on the catalog page, omit an initial "The" or "A". 4) more search tips.

Miss Otis Regrets

1933 or 1934

Words and Music by: Cole Porter

Written for: Ever Yours
(unproduced show)

Page Menu
Main Stage || Record/Video Cabinet || Reading Room || Posted Comments || Credits

On the Main Stage at Cafe Songbook

Double Feature: Patti Austin (2007) and Bobby Short (1994)

Patti Austin


"Miss Otis Regrets"

live at Avo Session, Basel, Switzerland, November 7, 2007 with Olaf Polziehn, piano; Christian Von Kaphengst; Martijn Vink, drums.

Patti Austin recorded Miss Otis Regrets on her
2002 album For Ella.

More Performances of "Miss Otis Regrets"
in the Cafe Songbook Record/Video Cabinet
(Video credit )

(Please complete or pause one
video before starting another.)

Bobby Short


"Miss Otis Regrets"

live on the Larry King Show
with singers Julie Wilson and Karen Akers
by the piano.
Jan. 1994

A Bobby Short recording of "Miss Otis Regrets"
can be found on his album Live at the Cafe Carlyle.

More Performances of "Miss Otis Regrets" in the Cafe Songbook Record/Video Cabinet (Video credit )

Cafe Songbook Reading Room

"Miss Otis Regrets"

Critics Corner || Lyrics Lounge

About the Origins of the Song

Other songs written for Ever Yours currently included in the Cafe Songbook Catalog of The Great American Songbook: none.


A list of the songs, with lyrics, written for this show along with some details about it can be found in Complete Lyrics.


book cover: Cole Porter, a biography by William McBrien
William McBrien
Cole Porter
New York: Alfred A. Knoph, 1998,
(Vintage Paperback Ed., 2000 shown).


Eric Partridge
A Dictionary of
Catch Phrases

2nd Edition
New York: Routledge,


Early recordings of "Miss Otis Regrets" that made the charts


Ethel Waters (label and#): first charted 12/08/34, remained on charts for one week peaking at number #19.


Source: Joel Whitburn,
Pop Memories 1890-1954: The History of American Popular Music
, 1986



Porter's biographer William McBrien states unequivocally that Porter wrote "Miss Otis Regrets" for the the unproduced musical Ever More, which had Music and lyrics by Cole Porter, book by Guy Bolton and was based on the stage play "The Spell" by Lilli Hatvany. Other sources seem less certain that it was written for this would-be show. In any event, the song was eventually used in a show, having been interpolated into a London production, Hi Diddle Diddle (not a Porter show), which opened in The West End in October, 1934, where it was sung by Douglas Byng playing a stuffy butler who dryly announces that Miss Otis will not lunch today. This is because, he explains even more dryly that on the previous evening she shot her lover and was lynched. What distinguishes the song more than anything else is the wry tone which Porter employs to tell the story of a society lady's down and dirty demise in the most polite terms with a demure melody to go with it. The song had already been published in April of 1934, and Ethel Waters recorded it in New York on August 20, 1934 (Decca 140 A), both before Hi Diddle Diddle opened in London.

Several accounts of the inspiration for the song are in circulation. Robert Kimball in his Complete Lyrics tells the story about how it is a parody of a country and western song that Porter heard on the radio while at a party. Another account has Porter's friend Monty Woolley betting the songwriter that he could not create a lyric to fit the title "Miss Otis Regrets." Eric Partridge in his Dictionary of Catch Phrases: British and American gives the title the status of having become a catch phrase by including it as an entry in his reference work. His research reveals that Porter wrote it "not for one of his musical comedies but for the private entertainment of his friends" and confirms the Woolley connection by noting that the actor was fond of dressing up as a butler and singing the song, often at parties with Porter at the piano. He adds that the song at some point was dedicated to Elsa Maxwell, and was indeed first presented publicly in London by Byng in an apparently Woolleyesque performance in Hi Diddle Diddle. (Partridge, p. 310).

McBrien, however, muddying the waters a bit more, says that several performers have claimed that Porter wrote "Miss Otis Regrets," specifically for them. Most notably was the African American chanteuse Bricktop (Ada Smith) whose nightclub in Paris was a popular hangout for the avant-garde claimed that "one evening in Paris Cole came to her club and said, 'Brick, I've written a song for you.' It was 'Miss Otis Regrets'." Maybe he did or maybe he just wanted a good table. Partridge suggests that the song was written not so much for but about Bricktop. The country and western angle is supported by McBrien reporting that a newspaper clipping found among Porter's papers said the song was inspired by "a bad cowboy lament" the songwriter heard at a party. And finally McBrien quotes Porter as follows: "You haven't heard anything until you've heard Monty Woolley sing ['Miss Otis Regrets']. In fact he was the first one ever to sing it. I gave it to him and he did it at one of Elsa Maxwell's parties, and he was the life of the party for the evening thereafter." Whatever the origins/first performance etc. "Miss Otis Regrets" is now a standard with a life completely its own. (See McBrien, pp. 238-240 and Kimball, p. 193, hard cover Ed.

In this video clip from Night and Day, the 1946 biopic of Cole Porter, Monty Woolley, playing himself, sings "Miss Otis Regrets" as Cary Grant, playing Porter, is at the piano.

Before she sings "Miss Otis Regrets," Natalie Douglas elaborates on the Bricktop story referenced above. Douglas performance above is part of her show dedicated to Cafe Society, a legendary club in NYC that during the late Thirties was the first to integrate both performers on stage as well as members of the audiences for which they performed. Douglas' performance took place April 14, 2008 at Birdland, NYC, with Michael Croiter, drums; Patience Higgins, tenor saxophone; Debbie Kennedy, bass.



back to top of page
Critics Corner

You're the Top: Cole Porter in the 1930s
Susan Elliot, Robert Kimball and Richard M. Sudhalter
You're The Top: Cole Porter In The 1930s - Cole Porter Centennial Collection
Indiana Historical Society
(This is a 4 CD plus book set.)

Richard Sudhalter envisions the creation of "Miss Otis Regrets" as an example of how the spigot of Porter's creative juices were often opened in social situations. In this case the song apparently came into being at a party hosted by the songwriter's Yale classmate, Leonard Hanna. The guests became aware of a sad cowboy song playing on the radio and Porter's awareness led him to the piano where he began to noodle out a tune. As Sudhalter describes it he accompanied himself by "yodeling a parody, broad and rather wicked" of the radio cowboy's lament. Porter then enlisted his friend and fellow guest Monty Woolley in the process and the two of them bounced lines off one another until something like a song emerged. Woolley, never strong on resisting the chance for a dramatic exhibition, donned a butler's jacket and borrowed a maid's serving tray. In the blink of an inebriated eye the first performance of "Miss Otis" took shape as the sad but somehow comic story of an upper class matron who must forgo her luncheon ap pointment because she has a date with the gallows -- after murdering her partner in a brief fling gone wrong. (Elliot, Kimball and Sudhalter, p. 37).

"Miss Otis" came to be dedicated to party-giver extraordinaire Elsa Maxwell after she made a regular things of having one or another of her talented guests sing it at her Manhattan siorées.

book cover: "The Tin Pan Alley Song Encyclopedia" by Thomas Hischak

Thomas Hischak, The Tin Pan Alley Song Encyclopedia, Westport CT: Greenwood Press, 2002

Thomas Hischak calls "Miss Otis Regrets" "a droll and ridiculous ditty" that "mocks the good manners of high society." It manages this through a "farcical lyric" sung in a "dispassionate tone and is all the more amusing because the music is so delicate and formal" (Hischak, p. 240).

book cover: Gerald Mast "Can't Help Singin'"
Gerald Mast. Can't Help Singin' The American Musical on Stage and Screen. Woodstock, NY: Overlook Press, 1987.

Gerald Mast classifies Porter as songwriter who told stories not a writer for shows that told stories, "like Irving Berlin . . . a songwriter not a musical dramatist." "Miss Otis Regrets" was the Porter equivalent of a Browning poem such as "My Last Duchess" or "Adrea del Sarto" converted into an American song that like those poems is a dramatic monologue. Mast reminds us that the song was written to win a bet with his friend Monte Woolley who claimed he could not write a song with such a title as "Miss Otis Regrets." Porter's easy solution to the problem was to create a dramatic situation derived from the title line, a situation reminiscent of the Frankie and Johnny story of a man who has been murdered by his lover to whom he has been false. Here however, Porter adds a devilishly ironic twist by creating a woman character whose entire persona is, unlike Frankie's, embodied by restraint, which stands in sharp contrast to her passionate action:

The song is delivered by the butler of the title's Miss Otis, dignified, polite, terribly correct, unmoved by passion. He explains the recent difficulties of his employer as an apology to someone who has come to the Otis manse expecting lunch. The regrettable events of the evening before making it impossible for Miss Otis to keep her appointment. (Mast, pp. 193-4)

Like Frankie, Miss Otis upon feeling the brunt of her lover's treachery, "drew a gun from under her velvet gown and shot her false lover down." Nevertheless, "with her last gasp" before she is strung up by a lynch mob, she delivers her final line (the one that makes a stronger impression on us than her last action) in the language of her (and Porter's) upbringing:

Miss Otis regrets she is unable to lunch today.


The Performances

According to Gerald Mast, Porter would never have been able to write Miss Otis Regrets" and win his bet with Woolley if he had not been able to picture his "dry, droll" friend as the character he would invent to present the song. Mast goes on to say, "Woolley's reading of the song in Night and Day (Listen and view above) remains its definitive version" (Mast, p. 194).

Perhaps Woolley's satirical take on the song is definitive in the sense of capturing what Porter had in mind at the moment he was creating it, but to listen to the other performances available on this page, suggests that the songwriter created a work of art that had possibilities beyond the songwriter's immediate intentions. (The performance by Woolley from the Porter biopic Night and Day cam be viewed in the Cafe Songbook Record-Video Cabinet, this page. Hearing Ethel Waters sing "Miss Otis Regrets" eliminates the possibility of the song as being "dry" or "droll." Waters, who made the recording that first put the song before the American public, gives us a traditional ballad at the center of which is a tragic story the full force of which is invested in her voice. She recognizes that Miss Otis was more than a superficial society lady, all manners and no heart. She was one who dreamed of love, a dream that once it was irretrievably lost led her to previously unimaginable feelings and actions. Josh White, Jr. brings a similar tone augmented by his Delta blues guitar that gives the story an American regional locus that is anything beside snooty, Boston drawing room. And without having to understand Dietrich's German, it is clear she keeps the song in the same vein, laden with sadness and loss.

Although it may be easier to hear Ella Fitzgerald and Bobby Short as delivering a bit of bad news to an unsuspecting luncheon guest in a household where she or he is employed, there is no escaping the sadness in their conveyance of the tale. Once they proceed to the more shocking details of the story both of their voices subtly reveal their own sadness at what has happened. Of all the performers here these two may be the best actors, sticking to their assigned tasks while at the same time revealing their inner feelings. As Richard Sudhalter says of Ella's performance, it may the the same aloofness that critics have often called her out for that gives her "Miss Otis" its poignancy: "Her [Fitzgerald's] approach is simple, even innocent -- she tells the story and accepts it on its terms. Even the rather girlish quality of her voice seems to lend truth to the fable of love, betrayal, and revenge" (Porter in the 1930s, p. 39 -- Click here to hear Ella's version.). Pattie Austin also portrays the distinction between a character's demeanor and outer feelings, but more broadly. Her heart leaps more obviously to her sleeve as she drags us out of a stuffy foyer to the pulpit of a church where she is the preacher bearing her soul over the demise of a member of her flock. Miss Otis' inability to "lunch today" is for Austin, and must, at some hidden level have been for Porter, a preacherly rhetorical device, a metaphor for the fact that Miss Otis' emotional life as well as her physical one has been violently destroyed.

Natalie Douglas prefaces her performance with an iffy account of how the song was conceived, but after admitting its iffiness announces what matters to her is that Porter took a high-brow pharase he had heard and turned it into a low-brow song, which locates her with most of the performers here who all take us to the intersection of love and murder in order to witness humanity at its best and worst inextricably interwoven.

Only Bette Midler abandons the tone of deeply felt loss. Her rendition seems to ignore what all the other performers have found in the song as she makes Porter's words and music more of a vehicle for her own zaniness than anything else -- and in doing so may have more in common with Porter's mood as he wrote the song and Woolley's original performance of it.

back to top of page
Lyrics Lounge

Click here
to read the lyrics for "Miss Otis Regrets" as sung by Ella Fitzgerald
on the 1956 album Ella Fitzgerald Sings the Cole Porter Songbook
(with arrangements by Buddy Bregman). Although Ella often sings the verses on
her recordings, Porter did not create a verse for "Miss Otis Regrets."

Click the video below to listen to Ella sing the lyrics
accompanied by Paul Smith on piano.

This is the same track found on the album Ella Fitzgerald Sings the Cole Porter Songbook.


book cover: The Complete Lyrics of Cole Porter
The Complete Lyrics Of Cole Porter
Robert Kimball, Ed.
(with an Intro. by John Updike),
New York: Alfred A Knoph, 1983
(Da Capo Press paperback ed., 1992, shown).

Click here to read Cafe Songbook lyrics policy.

back to top of page

Visitor Comments

Submit comments on songs, songwriters, performers, etc.
Feel free to suggest an addition or correction.
Please read our Comments Guidelines before making a submission.
(Posting of comments is subject to the guidelines.
Not all comments will be posted.)

To submit a comment, click here.

Posted Comments on "Miss Otis Regrets":


From Scamper 12/20/2018: I know I've heard this with a prologue, but I can't remember whose version OR the lyrics. Anyone?

Cafe Songbook responds: The term used for the part of a popular songs' lyric that would be the equivalent of "prologue" or "introduction" is the verse; however, Cole Porter did not write a verse for "Miss Otis Regrets," so we would also be interested in knowing if anyone knows the version of the song with "prologue" heard by Scamper. In the meantime, the lyric as written by Porter can be found in The Complete Lyrics of Cole Porter See above -- for copyright reasons, we cannot reproduce the lyric here.

back to top of page


("Miss Otis Regrets" page)


Credits for Videomakers of videos used on this page:

Borrowed material (text): The sources of all quoted and paraphrased text are cited. Such content is used under the rules of fair use to further the educational objectives of CafeSongbook.com. CafeSongbook.com makes no claims to rights of any kind in this content or the sources from which it comes.


Borrowed material (images): Images of CD, DVD, book and similar product covers are used courtesy of either Amazon.com or iTunes/LinkShare with which CafeSongbook.com maintains an affiliate status. All such images are linked to the source from which they came (i.e. either iTunes/LinkShare or Amazon.com).


Any other images that appear on CafeSongbook.com pages are either in the public domain or appear through the specific permission of their owners. Such permission will be acknowledged in this space on the page where the image is used.


For further information on Cafe Songbook policies with regard to the above matters, see our "About Cafe Songbook" page (link at top and bottom of every page).

This section is currently incomplete.

The Cafe Songbook
Record/Video Cabinet:
Selected Recordings of

"Miss Otis Regrets"

(All Record/Video Cabinet entries below
include a music-video
of this page's featured song.
The year given is for when the studio
track was originally laid down
or when the live performance was given.)

Performer/Recording Index

Ethel Waters
album: Stormy Weather

same track as on album referenced above


Notes: According to Richard Sudhalter, "Miss Otis Regrets" was the only Cole Porter song Ethel Waters ever recorded. Sudhalter notes that Waters was taken to task by some jazz aficionados for affecting a sophisticated white persona in her Decca recording, but insists that she could be as much a savvy theater singer as a lady of the blues doing what her material required more than pandering. For Sudhalter her performance of "Miss Otis" "straddles the fence between the worlds of jazz and blues on one side, and the rather more formal conventions of musical theater on the other" (Porter in the 1930s, p. 39).
(Please complete or pause one
video before starting another.)

back to top of page

Douglas Byng
album: The Great Songwriters
Cole Porter


Notes: The original performance of the song was on stage in the 1934 London show Hi Diddle Diddle. The song was not, by all accounts, written for this show but interpolatedinto it shortly after "Miss Otis Regrets" was composed. The little intro. and afterward are not part of the song or the recording, only of the video. Otherwise it is the same track as on the album referenced above.

back to top of page

Josh White
album: Josh White Volume 5 (1944)

same track as on album referenced above


Notes: This fine 26-song compilation (from iTunes] of material was recorded by folklorist Moses Asch in the 1940s, at a time when Josh White was beginning to reach an urban, educated audience with his mixture of blues, folk, and pop styles. What comes across particularly strong in this set is his versatility and all-around appeal; he handles topical songs about discrimination and war, spirituals, covers of blues by Leroy Carr and Victoria Spivey, folk ballads, and theatrical pieces, even extending to a cover of Cole Porter's "Miss Otis Regrets (from iTunes review)."
(Please complete or pause one
video before starting another.)

back to top of page

Marlene Dietricht
album: Lili Marlene

same track as on album referenced above


Notes: Dietrich's German language version ("Mein Mann ist Verhindert")
(Please complete or pause one
video before starting another.)

back to top of page

Frances Faye
album: No Reservations

same track as on album referenced above


Notes: Despite her Fifth Avenue looks, Frances Faye exploded the stereotype of the standards singer — the type of vocalist apt to reverently croon a Cole Porter song as though she were a rector bowing her head while reciting from the Book of Common Prayer. Granted, No Reservations is indeed packed with Cafe Society standards, but Faye was a garrulous singer, and rarely so entertainingly indelicate as she is here. She opens on a high note, "Drunk with Love" — "Rotten liquor, mostly gin, in all the clubs that I stagger in, and 'round and 'round because I've found, he loves me drunk . . . with love." And she rarely received arrangements as sympathetic as what Dave Cavanaugh brings here, whether it's the reinvention of the hoary "Summertime" as swing-meets-R&B with Latin percussion and tearing sax or a warhorse like "Miss Otis Regrets" getting a rewrite as a loose '50s swinger (from iTunes review).
(Please complete or pause one
video before starting another.)

back to top of page

Nat King Cole
album: At the Sands

same track as on album referenced above


Notes: The first twelve tracks of this album were recorded live at The Sands hotel in Las Vegas, January 14, 1960, the last two tracks at Capitol Studios, LA, September 2, 1959. The orchestra is conducted by Antonio Morelli and for "Miss Otis Regrets" only, the arrangement is by Nelson Riddle.

back to top of page

Bobby Short
album: Live at the Cafe Carlyle

same track as on album referenced above


Notes: "After springing for three double-LP songbook albums in three years devoted to Cole Porter, Noël Coward, and George Gershwin, Atlantic Records tracked Bobby Short to his lair for a fourth two-disc collection in December 1973, setting up recording equipment in the tiny confines of the Cafe Carlyle where Short had maintained a permanent residency since 1968. There, over two nights, the tapes picked up a typical selection of standards by Porter, Harold Arlen, Vernon Duke, and other interwar songwriting masters, plus some more recent material, played by Short's piano trio, which also featured Beverly Peer on bass and Richard Sheridan on drums" (from iTunes review).
Video: See Bobby Short on the Cafe Songbook Main Stage (not the same track as on this album, though both are live performances).
(Please complete or pause one
video before starting another.)

back to top of page

1962 and 1992
Rosemary Clooney
albums: Thanks for Nothing and Girl Singer

album cover: Rosemary Clooney Girl Singer


Notes: Not only does the performance of "Miss Otis Regrets" on the 1992 album above differ from Clooney's 1962 recording of the song (listen below) on her album Thanks for Nothing where she takes the song at a slower pace and is accompanied by a guitar,

1962 Clooney version from her album
Thanks For Nothing

but Girl Singer also differs a bit from Clooney's previous jazz inflected Concord albums: "For the first time, tenor saxophonist Scott Hamilton is not in the supporting cast and Clooney is joined by a big band. She celebrates the legacy of the 'girl singers' of the swing era in style although some of the selections (such as Dave Frishberg's "Sweet Kentucky Ham," "Let There Be Love" and "Wave") were certainly not around during the big-band era. With such soloists as trumpeter Warren Luening, trombonist Chauncey Welsch, flutist Gary Foster and tenors Bob Cooper and Pete Christlieb having short spots, Clooney performs a fine program (from iTunes review).

back to top of page

Patti Austin
album: For Ella

same track as on album referenced above


Notes: "Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988, she even recorded an album of standards that she tellingly titled The Real Me. For Ella easily could be the sequel to that collection. Austin traveled to Köln, Germany, to record a program of songs associated with Fitzgerald with the WDR Big Band conducted by Patrick Williams" (from iTunes review). The album version is a studio recording. See Cafe Songbook Main Stage above for 2007 live performance.
(Please complete or pause one
video before starting another.)

back to top of page
back to top of page