Arthur Askey was, as far as I know, extremely straight - his preferred mode of leaving the world was "to be shot in bed by a jealous husband". A lot of his act was pretty twee by today's standards but at 5' 2" or thereabouts he was never going to be an obvious choice as a leading man.
Julian and Sandy aka Hugh Paddick and Kenneth Williams were openly camp in Round the Horne but the fact that few of the listeners could ever be sure whether what they were hearing was "real" polari or one of Willliams' inventions was one of the main sources of its success. (See Mornington Crescent for a "modern" parallel.)
Cole Porter and Noel Coward, however, were more to the point. Songs like "Mad About the Boy" and "Matelot", "You'd be so nice to come home to" and "Easy to Love" were all written for other men, no matter who sang them to who on stage.