shuffle along or the making of the musical

"[16] Black audiences at Shuffle Along sat in orchestra seats rather than being relegated to the balcony. "Any show that followed the characteristics of Shuffle Along could usually be assured of favorable reviews or at least a modest audience response. Each of the leading male characters was out to swindle the other. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC. The show was the baby of two vaudeville duos who met at a 1920 NAACP benefit: F.E. Harlem Renaissance patron Carl Van Vechten (Brooks Ashmanskas, none too subtly multitasking as all of the story's white characters) takes snarky pleasure in his sadly accurate prediction that the musical would not be remembered. [8] In the end, however, the show earned $9 million from its original Broadway production and three touring companies, an unusual sum in its time. Book: George C. Wolfe; original book: F.E. [5] It had brief revivals in 1933 and 1952. Scene after scene dazzles in one of the most electrifying entertainments on Broadway. Perhaps the first jazz musical, the 1921 production of Shuffle Along was a sensation, proving that a book musical by and about people of color … Shuffle Along Or the Making of the Musical Sensation of 1921 and All That Followed Music & lyrics by Noble Sissle & Eubie Blake. The four writers were African-American Vaudeville veterans who first met in 1920 at a NAACP benefit that was held at the newly opened Dunbar Theatre in Philadelphia. [2][10] The production opened on Broadway in April 2016 at the Music Box Theatre,[26] directed by Wolfe, and choreographed by Savion Glover. | California Privacy Rights The musical opened on May 23, 1921, and became a groundbreaking long-running production, closing after some 500 performances. There are structural echoes of those shows here, juggling straight-ahead narrative with presentational revue-style episodes, as well as thematic overlap in the probing investigation of history and its contemporary legacy. The uncommon ambition behind writer-director George C. Wolfe's project is baked into the show's hefty subtitle: Or the Making of the Musical Sensation of 1921 and All That Followed. [8][18], According to theatre historian John Kenrick, "Judged by contemporary standards, much of Shuffle Along would seem offensive ... most of the comedy relied on old minstrel show stereotypes. "[2] But the musical drew repeat audiences due to its jazzy music styles, which were a modern, edgy contrast to the mainstream song-and-dance styles that audiences had seen on Broadway for two decades. An excerpt of Shuffle Along, the musical fight between the two leading characters, was made into a short talkie film by Warner Bros in the early 1930s. If either one wins, he agrees to appoint the other his chief of police. [20] In 1929, Harlem, a drama by Wallace Thurman and William Rapp, introduced the Slow Drag, the first African-American social dance to reach Broadway. In May 1921, the new musical "Shuffle Along" became the unlikeliest of hits, significantly altering the face of the Broadway musical as well as that of New York City. The aim of this celebratory new macro-musical is to acknowledge that bittersweet outcome while reclaiming the original Shuffle Along’s jubilant place in the history books. It's almost impossible to stay still in your seat when the internally motorized ensemble of Shuffle Along explodes into one of choreographer Savion Glover's seismic tap routines, or when the thoroughbred leads wrap their velvet pipes around those syncopated jazz sounds. After finding a small source of funding, Shuffle Along toured through New Jersey and Pennsylvania. [2][23], The show was revived at the Mansfield Theatre, New York City, from December 26, 1932, to January 7, 1933, starring Sissle, Blake, Miller, Lyles, Mantan Moreland and Bill Bailey. Directed by George C. Wolfe. Miller & Aubrey Lyles [9], Miller and Lyles wrote thin, jokey dialogue scenes to connect the songs: "The plot of ... Shuffle Along was mainly to allow an excuse for the singing and dancing. Check out scenes and songs from George C Wolfe & Savion Glover's "Shuffle Along Or The Making of the Musical Sensation of 1921 and All That Followed" on Broadway. Santo Loquasto's scenic design ranges from the eloquent simplicity of a bare stage with a ghost light through elaborate backdrops and flats modeled on those used at the time. The piece premiered on Broadway in 1921, running for 504 performances[3] – an unusually long run during that decade. [15] The musical toured successfully throughout the country up to 1924. That connection never dims, whether she's whooping it up in "I'm Just Wild About Harry," subbing for the brass section with the marvelous Dixon in their duet, "You're Lucky to Me," or pouring out heartache in the torch song, "Memories of You." However, with little funding, it was difficult to meet travel and production expenses, and the cast rarely got paid. The show chronicles the backstage struggle to bring the first all-black jazz musical comedy to Broadway, with chorines that actually hoofed it up rather than just promenading like stiff mannequins in massive headgear, and a plot that included the then-radical element of a love story between two African-Americans. “Shuffle Along” is often called the first successful all-black musical. [7] Promoters were skeptical that a black-written and produced show would appeal to Broadway audiences. Somehow, none of that makes very trenchant drama. The show's dancing and 16-girl chorus line were more reasons why the show was so successful. Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed. Executive producers: Joey Parnes, Sue Wagner, John Johnson Shuffle Along, a musical with music and lyrics by Noble Sissle and Eubie Blake and original book by F.E. Theater:Music Box Theatre. "Shuffle Along was one of the first shows to provide the right mixture of primitivism and satire, enticement and respectability, blackface humor and romance, to satisfy its customers". The cast included Lottie Gee as Jessie Williams, Adelaide Hall as Jazz Jasmine, Gertrude Saunders as Ruth Little, Roger Matthews as Harry Walton, and Noble Sissle as Tom Sharper. © 2020 The Hollywood Reporter, LLC. Shuffle Along is a musical with music and lyrics by Noble Sissle and Eubie Blake, and a thin revue-style connecting plot about a mayoral race, written by Flournoy Miller and Aubrey Lyles. EMAIL ME, Shuffle Along Production Still 2 - H 2016. [28] The adaptation received ten 2016 Tony Award nominations but won none. As they fight, their opponent for the mayoral position, virtuous Harry Walton, vows to end their corrupt regime ("I'm Just Wild about Harry"). Lighting designers: Jules Fisher & Peggy Eisenhauer AdChoices Tony winners Audra McDonald, Brian Stokes Mitchell, George C. Wolfe, Billy Porter and Savion Glover collaborated on the backstage story. Gertrude Saunders was replaced by Florence Mills. In May 1921, the new musical Shuffle Along became the unlikeliest of hits, significantly altering the face of the Broadway musical, as well as that of New York City. They resolve their differences in a long, comic fight. [29] The production closed on July 24, 2016. Sound designer: Scott Lehrer 5:00 PM PDT 4/28/2016 [13][14] The orchestra included William Grant Still and Hall Johnson. And she can tap-dance, too! "[21] Nevertheless, scholar James Haskins stated that Shuffle Along "started a whole new era for blacks on Broadway, as well as a whole new era for blacks in all creative fields. Wolfe has always been one of the theater's boldest cultural archeologists, sifting through the past in adventurous projects like The Colored Museum, The Wild Party and Bring in ‘da Noise, Bring in ‘da Funk, his last collaboration with Glover, 20 years ago. Her sweeping first entrance — wearing a radiant smile and a royal blue velvet shimmy fringe dress — shoots a high-voltage charge through the audience. Shuffle Along, or The Making of the Musical Sensation of 1921 and All That Followed NYT Critic's Pick Broadway, Musical Open Run Music Box Theater, 239 W. 45th St. 212-239-6200 The titles are "The Mayor of Jimtown" and "Jimtown Cabaret". It, and another similar short featuring Miller and Lyles, were found in the Warner Bros archives in 2010, where they had been misfiled. Music director: Shelton Becton As told here, another important part of the show's gestation was Lottie Gee (Audra McDonald), an established "chitlin circuit" star who had toured internationally as a soloist and was something of a grand diva by the time she joined the company. This production was unsuccessful and closed after 17 performances. The four male leads are equally consummate stage artists who go a long way toward finding depth in their underdeveloped characters. Mitchell and Porter establish an amusingly testy good cop/bad cop rapport that's distinct from the dynamic between Dixon and Henry, one easygoing, the other slicker, more driven. | Do Not Sell My Personal Information "Shuffle Along" is one of the most anticipated musicals of 2016. Among their high spots, Mitchell puts his soaring baritone behind "Swing Along," accompanied by the syncopated slapping of hands on suitcases, to lift the company's spirits when the tour money doesn’t come through; Dixon and Henry are a riot doing the comedy song, "Affectionate Dan"; and Porter sends "Low Down Blues" through the roof, even if it's unclear why Aubrey gets the emotional 11 o'clock number. Privacy Policy | [2], The show was "the first major production in more than a decade to be produced, written and performed entirely by African Americans. FACEBOOK Sam keeps his promise to appoint Steve as chief of police, but they begin to disagree on petty matters. "[5] According to the Harlem chronicler James Weldon Johnson, Shuffle Along marked a breakthrough for the African-American musical performer and "legitimized the African-American musical, proving to producers and managers that audiences would pay to see African-American talent on Broadway. The show focuses on the challenges of mounting the 1921 Broadway production of Shuffle Along, its success and aftermath, including its effect on Broadway and race relations. The ensemble performs “Broadway Blues” in Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed, featuring music and lyrics by … Original book by F.E. "[5] Nevertheless, the African-American community embraced the show, and performers recognized the importance of the show's success to their careers. Kinky Boots (Apr 04, 2013 - Apr 07, 2019) Starring: Billy Porter. [19], After Shuffle Along, nine African-American musicals opened on Broadway between 1921 and 1924. By the time Shuffle Along stumbled into town after a back-breaking pre-Broadway tour, it was deeply in debt and set to open at a remote Broadway house on West 63rd Street. There has been debate about whether this is a musical revival or a new musical. Choreographer: Savion Glover Even beyond her numbers, McDonald kills it with her timing — every word, look or gesture smacks its target. The visuals also are top-notch. "[22] Loften Mitchell, author of Black Drama: The Story of the American Negro in the Theatre, credited Shuffle Along with launching the Harlem Renaissance,[citation needed] as did Langston Hughes. One of the most delightful scenes has Lottie taking newcomer Florence Mills (Adrienne Warren, a kewpie-doll firecracker) under her wing and coaching her through the number "I'm Craving for That Kind of Love." Location: 230 W. 45th St., New York City. The result of this critical stranglehold on the black musical was that ... black authors and composers prepared shows within extremely narrow constraints. Set designer: Santo Loquasto Josephine Baker, who was deemed too young at the age of 15 to be in the show, joined the touring company in Boston, and then joined the Broadway cast when she turned 16. [6][10] Its appeal to audiences of all races, and to celebrities such as George Gershwin, Fanny Brice, Al Jolson, Langston Hughes and critic George Jean Nathan, helped to unite the white Broadway and black jazz communities and improve race relations in America.[6][7][11]. Miller (Brian Stokes Mitchell) and Aubrey Lyles (Billy Porter) wrote the play about a mayoral race on which it was based, and Noble Sissle (Joshua Henry) and Eubie Blake (Brandon Victor Dixon) contributed music and lyrics. [27] The cast starred Audra McDonald as Lottie Gee, Brian Stokes Mitchell as Miller, Billy Porter as Lyles, Brandon Victor Dixon as Blake and Joshua Henry as Sissle. It’s also a social and showbusiness history lesson that’s … Music & lyrics: Noble Sissle & Eubie Blake Two dishonest partners in a grocery store, Sam and Steve, both run for mayor in Jimtown, USA. In May 1921, the new musical Shuffle Along became the unlikeliest of hits, significantly altering the face of the Broadway musical, as well as that of New York City. The cast is magnificent. Once the show left New York, it toured for three years and was, according to Barbara Glass, the first black musical to play in white theaters across the United States. The musical launched or boosted the careers of Josephine Baker, Paul Robeson, Florence Mills, Fredi Washington and Adelaide Hall. Venue: Music Box Theatre, New York David Rooney There's no quick retreat to the side of the stage here while the chorus kids do their stuff, though the ensemble most definitely takes charge in a bravura sequence called "The Pennsylvania Graveyard Shuffle," a vigorous locomotive tap ballet that marks a grueling statewide series of one-nighters. It launched the careers of Josephine Baker, Adelaide Hall,[4] Florence Mills, Fredi Washington and Paul Robeson, and became such a hit that it caused "curtain time traffic jams" on West 63rd Street. And nobody does vintage showbiz lighting like Jules Fisher and Peggy Eisenhauer. And if the resulting historical reappraisal is more successful at charting the creative high than the deflating hangover that came after, the performances alone make it unmissable. Like one of those complicated presents your grandmother might buy you at Christmas, George C. Wolfe’s “Shuffle Along or the Making of the Musical Sensation of 1921 and All That Followed,” now at the Music Box Theatre, is a history lesson wrapped in a vivid theatrical entertainment wrapped in a… A new musical based on the making of Shuffle Along – entitled Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed – is scheduled to officially open on April 21, 2016 at Broadway's Music Box Theatre. “Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed” has music and lyrics by Sissle and Blake, an original book … Her coquettish spin on "Daddy (Won't You Please Come Home)" is such a saucy treat it ought to be outlawed. Broadway favorite Audra McDonald will return to the theater next spring in the backstage historical tribute Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed. Sitemap | Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed is a musical adaptation based on the original book of the 1921 musical, focusing on the challenges of mounting the original production of Shuffle Along and its effect on Broadway and race relations. TWITTER Search CurtainUp in the box below Back to Curtainup Main Page PRODUCTION NOTES Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed. It's a hazard of every rise-and-fall story that the downward spiral can bring a corresponding loss of buoyancy to the material. Shuffle Along is a musical with music and lyrics by Noble Sissle and Eubie Blake, and a thin revue-style connecting plot about a mayoral race, written by Flournoy Miller and Aubrey Lyles.[1][2]. To disagree on petty matters love story, rather than being relegated to the material composers prepared shows within narrow! 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