Shop Brand New Color Playbill from Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed starring Audra McDonald Brian Stokes Mitchell Billy Porter Brandon Victor Dixon Joshua Henry Book by George C. Wolfe, Music by Eubie Blake, Lyrics by Noble Sissle and more music, movie, and TV memorabilia at Amazon's Entertainment Collectibles Store. The musical launched or boosted the careers of Josephine Baker, Paul Robeson, Florence Mills, Fredi Washington and Adelaide Hall. Privacy Policy | [2], President Harry Truman chose the show's song "I'm Just Wild About Harry" for his campaign anthem. 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. 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. Cast: Audra McDonald, Brian Stokes Mitchell, Billy Porter, Brandon Victor Dixon, Joshua Henry, Brooks Ashmanskas, Adrienne Warren, Amber Iman, Phillip Attmore, Darius de Haas, Afra Hines, Curtis Holland, Adrienne Howard, Kendrick Jones, Lisa LaTouche, J.C. Montgomery, Erin N. Moore, Janelle Neal, Brittany Parks, Arbender Robinson, Christian Dante White, Joseph Wiggan, Pamela Yasutake, Richard Riaz Yoder 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. 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. Her sweeping first entrance — wearing a radiant smile and a royal blue velvet shimmy fringe dress — shoots a high-voltage charge through the audience. The exchange (between Broadway royalty and a gifted young talent) is a concentrated master class, as Lottie hijacks the song, airborne on her own glorious sounds, before stepping back with a sinking face as she realizes the girl is a serious threat. [5] It had brief revivals in 1933 and 1952. © 2020 The Hollywood Reporter, LLC. 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. Full title: "Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed." 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. Musical supervision, arrangements & orchestrations: Daryl Waters Music & lyrics: Noble Sissle & Eubie Blake That said, Shuffle Along is a most enjoyable, invigorating new look at a savory and worth thinking about slice of musical history. Book by George C. Wolfe. "Shuffle Along," the final new Broadway musical of the 2015-16 season has achieved all of this. The four male leads are equally consummate stage artists who go a long way toward finding depth in their underdeveloped characters. And the rich vocal arrangements and orchestrations of Daryl Waters make the musical numbers sizzle. [29] The production closed on July 24, 2016. The detailed attention to period performance styles is exceptional, as is the degree to which the stars all pull their weight in the galvanic dance numbers. There's interesting evidence of cultural appropriation (George Gershwin allegedly stole the signature bars of "I Got Rhythm" from Shuffle Along pit musician William Grant Still), and poignancy in the discovery that many of the show's strutting stars had to return to civilian jobs after their time in the spotlight. "[5] Nevertheless, the African-American community embraced the show, and performers recognized the importance of the show's success to their careers. This is a show that spreads its focus among five principal characters, leaving it without a strong protagonist or a unifying point of view. Harry gets the people behind him and wins the next election, as well as the lovely Jessie, and runs Sam and Steve out of town. "[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. The show premiered on Broadway at the Daly's 63rd Street Theatre on May 23, 1921, and closed on July 15, 1922, after 504 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 cast is magnificent. [19], After Shuffle Along, nine African-American musicals opened on Broadway between 1921 and 1924. Sound designer: Scott Lehrer "[16] Black audiences at Shuffle Along sat in orchestra seats rather than being relegated to the balcony. David Rooney Set designer: Santo Loquasto 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… Her wacky creations for a Chinese restaurant scene are inspired, as are her flashy threads for the guys when they become suddenly flush with success. [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. Two dishonest partners in a grocery store, Sam and Steve, both run for mayor in Jimtown, USA. However, while the showmanship is extraordinary, Shuffle Along could have benefited from a pre-Broadway developmental run to hone the fluidity of its storytelling. Somehow, none of that makes very trenchant drama. Shuffle Along Or the Making of the Musical Sensation of 1921 and All That Followed Music & lyrics by Noble Sissle & Eubie Blake. 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. 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. One character remarks that the lighter the skin, the more desirable an African-American woman is. The piece premiered on Broadway in 1921, running for 504 performances[3] – an unusually long run during that decade. [2], The show was "the first major production in more than a decade to be produced, written and performed entirely by African Americans. 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 … February is Black History Month, a time to celebrate the accomplishments of African-Americans in all areas of life, including on Broadway. Sam wins with the help of a crooked campaign manager. A 1952 revival, starring Sissle and Blake, Avon Long and Thelma Carpenter and choreographed by Henry LeTang, was also unsuccessful. After finding a small source of funding, Shuffle Along toured through New Jersey and Pennsylvania. [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. Scene after scene dazzles in one of the most electrifying entertainments on Broadway. [24], During World War II, Sissle and Blake adapted and performed Shuffle Along for USO shows, with an ensemble that included pianist and vibraphonist Sylvester Lewis.[25]. 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. Miller & Aubrey Lyles | California Privacy Rights EMAIL ME, Shuffle Along Production Still 2 - H 2016. 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. 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. And she can tap-dance, too! TWITTER Presented by Scott Rudin, Roy Furman, Columbia Live Stage, Center Theater Group, Roger Berlind, William Berlind, Broadway Across America, Heni Koenigsberg, The Araca Group, Peter May, Jon B. Platt, Color Mad Productions, Daryl Roth, Jay Alix & Una Jackman, Scott M. Delman, Sonia Friedman, Ruth Hendel, Independent Presenters Network, Tulchin Bartner Productions, Len Blavatnik, Spring Sirkin, Eli Bush. [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. Director: George C. Wolfe It opened at the Broadway Theatre on May 8, 1952, and closed after four performances, but was recorded in an abridged form by RCA Victor, combined with selections from Blackbirds of 1928. 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. [13][14] The orchestra included William Grant Still and Hall Johnson. [12] Bessie Allison's first professional performance was in Shuffle Along. However, even if the structural limitations of Wolfe's undertaking are unable to support the scope of his noble intentions, it's a genuine thrill to watch this outrageously talented cast herald the achievements of a team that brought innovative black artistry to mainstream American theater. Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed (Apr 28, 2016 - Jul 24, 2016) Starring: Billy Porter [Aubrey Lyles] MusicalOriginal. 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 [2][10] The production opened on Broadway in April 2016 at the Music Box Theatre,[26] directed by Wolfe, and choreographed by Savion Glover. That beautifully played romance wants to be the heart of the show, even if Wolfe's overstuffed shambles of a book too seldom lets it. The result of this critical stranglehold on the black musical was that ... black authors and composers prepared shows within extremely narrow constraints. Shuffle Along or The Making of the Musical Sensation of 1921 and All That Followed —that’s the full title—is a meta-musical about the creation … 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. Venue: Music Box Theatre, New York 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 | Ann Roth's costumes replicate the styles of the day with wit and flair. For the past few months Wolfe has been racing to finish his own Broadway musical–titled, not so simply, Shuffle Along, or The Making of the Musical … Choreographer: Savion Glover They resolve their differences in a long, comic fight. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC. [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. 5:00 PM PDT 4/28/2016 "Nothing but high notes and bad attitude" is how the very smooth Sissle describes her before launching an ill-considered charm offensive that gets a withering reception. The show's dancing and 16-girl chorus line were more reasons why the show was so successful. There are issues with exposition overload and timeline confusion in the first act, and then an increasingly unwieldy sprawl of multiple narrators and digressive subplots in the second, hitched together at the end with contextual considerations and footnotes. The titles are "The Mayor of Jimtown" and "Jimtown Cabaret". Miller and Aubrey Lyles, was a groundbreaking Broadway show that changed the way that theatre audiences saw relationships in the black community.Historians agree that it was not only a big hit in 1921, but that it helped to lead the way towards a new Broadway. If either one wins, he agrees to appoint the other his chief of police. AdChoices Wolfe's book exacerbates that by attempting to cover too much and sacrificing focus as tensions flare, rivalries erupt, opportunities are botched and bitter disappointments ensue. | Do Not Sell My Personal Information This production was unsuccessful and closed after 17 performances. But the troupe refused to give up, and the show became the talk of the town, running almost 500 performances. 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. [7] Promoters were skeptical that a black-written and produced show would appeal to Broadway audiences. Gertrude Saunders was replaced by Florence Mills. As they fight, their opponent for the mayoral position, virtuous Harry Walton, vows to end their corrupt regime ("I'm Just Wild about Harry"). Shuffle Along, a musical with music and lyrics by Noble Sissle and Eubie Blake and original book by F.E. 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 … | EU Privacy Preferences. Shuffle Along yielded Sissle and Blake’s best-known song, “I’m Just Wild About Harry,” as… Executive producers: Joey Parnes, Sue Wagner, John Johnson The energy and elasticity of Glover's work is simply astonishing, as are the skills of his athletic dancers, who effortlessly evoke the heyday of the Nicholas Brothers. The musical opened on May 23, 1921, and became a groundbreaking long-running production, closing after some 500 performances. FACEBOOK [8] It introduced musical hits such as "I'm Just Wild about Harry", "Love Will Find a Way", and "In Honeysuckle Time". In a Broadway season notable for making the Great White Way a full spectrum of onstage diversity, it's good to honor the pioneers. …and Aubrey Lyles to produce Shuffle Along, the first all-black Broadway show to play for full Broadway prices. 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]. [17] It was the first Broadway musical to feature a sophisticated African-American love story, rather than a frivolous comic one. 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. 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. Whether it’s considered a revival or a new musical, Shuffle Along or the Making of the Musical Sensation of 1921 and All That Followed is for most of its overstuffed duration an exuberant entertainment. The visuals also are top-notch. Book: George C. Wolfe; original book: F.E. Miller & Aubrey Lyles. The show was the baby of two vaudeville duos who met at a 1920 NAACP benefit: F.E. When the show came back to New York, about a year later, during the Depression of 1920–21, the production owed $18,000 and faced strong competition on Broadway in a season that included Florenz Ziegfeld's Sally and a new edition of George White's Scandals. 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. 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. [3] It was directed by Walter Brooks, with Eubie Blake playing the piano. All rights reserved. [6][10] According to Time magazine, Shuffle Along was the first Broadway musical that prominently featured syncopated jazz music and the first to feature a chorus of professional female dancers. Original book by F.E. But while a production number is fashioned around that forecast, too much of the concluding information is imparted documentary-style, resulting in a limp ending. [6] None of the four had ever written a musical, or even appeared on Broadway. Despite two subsequent revivals, however, it was largely forgotten, eclipsed by more sophisticated black musicals that followed. Even beyond her numbers, McDonald kills it with her timing — every word, look or gesture smacks its target. 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. Her coquettish spin on "Daddy (Won't You Please Come Home)" is such a saucy treat it ought to be outlawed. It goes without saying at this point that there's nothing the superhuman McDonald can't do onstage, but rarely do we get to see her cut loose in exuberant comedic mode to the extent she does here. Terms of Use | However, the married Blake's more aw-shucks manner wins Lottie over, and they begin a long affair. “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 … After touring for almost a year around neighboring states with minimal backing, the production arrived in New York $18,000 in debt and landed at a 63rd Street dive with no orchestra pit or dressing rooms. [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. Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed. Yet, if a show strayed from what had become the standard formula for the black musical, disastrous reviews became almost inevitable. 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. 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." "[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. 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. Lighting designers: Jules Fisher & Peggy Eisenhauer "Shuffle Along" is one of the most anticipated musicals of 2016. by 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. It’s also a social and showbusiness history lesson that’s … Kinky Boots (Apr 04, 2013 - Apr 07, 2019) Starring: Billy Porter. However, with little funding, it was difficult to meet travel and production expenses, and the cast rarely got paid. Sam keeps his promise to appoint Steve as chief of police, but they begin to disagree on petty matters. 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. "[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. Directed by George C. Wolfe. But even if it works better as the reanimation of a lost Broadway milestone than a portrait of the creative team behind it, the project's strengths far outweigh its flaws. 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." 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. Each of the leading male characters was out to swindle the other. "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". [citation needed], A stage adaptation, titled Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed, featured the original music from Shuffle Along and other songs by its creators, with a book written by George C. Wolfe based on the original by Miller and Lyles and historical events. Theater:Music Box Theatre. [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. [30], Sheet music for "Love Will Find a Way", a song from the show, Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed, "Shuffle Along: The Musical at the Center of the Harlem Renaissance", "Shuffling Roles: Alterations and Audiences in Shuffle Along", "History of The Musical Stage, 1920s Part III: Black Musicals", "Black History Month – Innovative Musical Contributions: Eubie Blake", "Little Known Black History Fact: Shuffle Along", "The Verdict: Critics Review Broadway's 'Shuffle Along'", "Audra McDonald to Star in New Broadway Musical With Savion Glover", "Brian Stokes Mitchell and Audra McDonald Will Reunite on Broadway in, "See Full List of 2016 Tony Award Nominations", "Broadway’s ‘Shuffle Along’ To Close in July, When Audra McDonald Exits",, Articles with unsourced statements from January 2013, Articles with unsourced statements from February 2019, Creative Commons Attribution-ShareAlike License, "I'm Simply Full of Jazz" - Ruth Little and Syncopation Steppers, "Love Will Find a Way" - Jessie Williams and Harry Walton, "Sing Me to Sleep, Dear Mammy" - Harry Walton and Board of Aldermen, "(In) Honeysuckle Time (When Emmaline Said She'd Be Mine)" - Tom Sharper, "Gypsy Blues" - Jessie Williams, Ruth Little and Harry Walton, "Shuffle Along" - Jimtown Pedestrians and Traffic Cop, "Good Night Angeline" - Board of Aldermen, "If You Haven't Been Vamped by a Brownskin, You Haven't Been Vamped at All" - Steve Jenkins, Sam Peck and Jimtown Vamps, "Uncle Tom and Old Black Joe" - Uncle Tom and Old Black Joe, "Everything Reminds Me of You" - Jessie Williams and Harry Walton, "Oriental Blues" - Tom Sharper and Oriental Girls, "I Am Craving for That Kind of Love"/ "Daddy (Won't You Please Come Home)" - Ruth Little, "Baltimore Buzz" - Tom Sharper and Jimtown's Jazz Steppers, "African Dip" - Steve Jenkins and Sam Peck, This page was last edited on 14 August 2020, at 05:28. 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. [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]. [2] The show also contributed to the desegregation of theaters in the 1920s, giving many black actors their first chance to appear on Broadway. It, and another similar short featuring Miller and Lyles, were found in the Warner Bros archives in 2010, where they had been misfiled.

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