From Broadway To 52nd Street
Heading into a new era of entertainment as bootleggers came to prominence, more and more New Yorkers patronized the emerging speakeasies due to the ratification of the 18th Amendment and the Volstead Act. However, strict the government became during the thirteen-year period of Prohibition, patrons continued their outings to the theater. On December 12, 1924 the audience filled the Liberty Theatre for the successful opening night of Lady Be Good and the show ran for 330 performances. The show starred brother and sister team, Fred and Adele Astaire, Walter Catlett and Jayne Auburn performing to the music of George and Ira Gershwin, that produced the tune Fascinatin’ Rhythm.
The Story: In this play we follow Dick Trevor rebuffing his landlady, Josephine Vanderwater. She evicts him and his sister Susie from an apartment she owns. By coincidence, both have the same lawyer, Jack Watty. So Dick sets about righting matters and as Watty is in a jam, his fee to the moneyless Trevors is that Susie poses as a Mexican. In the end, Susie marries Jack and Dick ditches Josephine permanently for his true love, Shirley.
Broadway History: As American ventured further into the early 20th century, in 1910, Flo Ziegfeld took one of the greatest gambles of his career and offered a contract to Bert Williams, who became an instant hit in the Follies that year and continued to delight audiences for seven nearly consecutive editions. Bringing an enormous body of comic material to the Follies, Williams separated himself from the plethora of black comedians by bringing a quiet dignity to his characters and to himself, on and off the stage.
Although considered one of the gang by his fellow entertainers, Bert understood the tenor of the country at that time and stipulated in his contract that he would never appear on stage alone with a white woman and in turn Ziegfeld released him from touring the South. It was W. C. Fields who said, “Bert Williams was the funniest man I ever saw and the saddest man I ever knew.”
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Daily Dose Of Jazz…
Helen Ward was born September 19, 1913 in New York City and was taught her piano by her father, appeared on WOR and WNYC radio broadcasts and also worked as a staff musician at the latter. Helen started singing in Benny Goodman’s first band in 1934 and became one of the first popular swing “girl singers”, as they were then called, and among Goodman’s most popular.
Ward and Benny had a brief romance and he came very close to proposing marriage to her in either 1935 or 1936. However, according to Ward in the documentary, Adventures in the Kingdom of Swing, he called it off at the last minute, citing his career. She married financier Albert Marx the following year and left the band.
In 1938, Marx arranged for Goodman’s Carnegie Hall concert to be recorded for her as an anniversary present. That recording was later released as a dual LP set by Columbia Records in 1950. During the 1940s, Ward worked with the bands of Hal McIntyre and Harry James and became a radio show producer for WMGM in 1946-1947.
Following her divorce to Marx, Ward later married the audio engineer William Savory, who was part of the team that invented the 33⅓ rpm long-playing record. She sporadically did studio work, occasionally toured with Goodman, worked briefly with Peanuts Hucko but effectively retired in 1960. A brief return in the late 70s and early 80s saw her singing in New York clubs and released her final album The Helen Ward Song Book Vol. I. Vocalist Helen Ward died April 21, 1998 in Arlington, Virginia.
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From Broadway To 52nd Street
The Girl From Utah, a British import to Broadway, opened at the Knickerbocker Theater on August 24, 1914 and ran for 120 performances. J. A. E. Malone directed this musical that starred Julia Sanderson, Donald Brian, Joseph Cawthorn, Queenie Vassar and Venita Fitzhugh. Composer Jerome Kern was asked to give it an American flavor and along with lyricist Herbert Reynolds they composed “They Didn’t Believe Me”. History contends that this was Kern’s career-making opportunity to express himself and this musical would hint at the emerging American style of musical comedy.
The Story: In London, an American girl named Una is pursued across the Atlantic Ocean to London by a Mormon but is saved from a bigamous marriage when she falls in love with a handsome hoofer.
Broadway History: It was during 19th century that the development of not only the American theatre took place throughout the country but the all powerful “Syndicate” – the cartel of theatre owners who joined forces under the influence of one of Broadway’s early great producers, Abraham Lincoln Erlanger. One of the great stars of theatre in the early twentieth century was George M. Cohan. Rising through the ranks of vaudeville from a child star to adulthood, he flaunted his patriotism not for those born in America but those immigrating to this great country to become citizens and patriots. Cohan epitomized the sense of the country by self-proclaiming himself as a real live nephew of Uncle Sam.
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Daily Dose Of Jazz…
Jeffery Smith was born on September 14, 1955 in Queens, New York and began honing his voice at a very early age, under the influence of his mother, a classical singer. At the age of 18, he moved to Los Angeles and worked as a singer, actor and artist, landing several bit parts in television, and film, while performing in the local clubs.
In 1980 he starred in the production of “Hollywood & Highland” and was awarded the coveted 1981 Drama Critic’s Award, from Drama Logue Magazine. Returning to New York in 1985, the baritone co-starred on stage in “Jesus Christ Superstar”, “Hair” and “Capitol Cakewalk”, as well as performing in most of the city’s major clubs through 1991.
By 1991, Smith’s visit to Paris lasted for 7 years and while working with Claude Bolling, he recorded four albums, had two world tours with the big band, sang commercial jingles, and was signed with Universal/Verve for a 3-album deal, all of which received international acclaim. His 1995 debut recording “Ramona” was dedicated to his mother, and his U.S. debut came in 1998 with the release of “A Little Sweeter” on the Verve label.
Jeffery Smith has worked with Wynton Marsalis, the LCJ Orchestra, Dianne Reeves, Kenny Barron, Regina Carter, Ernie Watts, Pete Levin, Winard Harper, Joe Lovano, Dee Dee Bridgewater and TK Blue. He was the founder of the jazz cultivation not-for-profit Tri-Loxodonta Productions, a not-for-profit music organization cultivating jazz in upstate New York. Vocalist Jeffery Smith continued to perform internationally and record until he passed away on July 5, 2012..
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From Broadway To 52nd Street
In Dahomey opened on February 18, 1903 at the New York Theater and ran for 53 performances, then considered a successful run. It was a landmark American musical comedy, in that it was “the first full-length musical written and played by blacks significantly marked the first full-length Black to be staged in an indoors venue at a major Broadway house and the first black musical to have its score published, albeit in England. As one of the most successful musical comedies of its era, it propelled composer Will Marion Cook, lyricist Paul Lawrence Dunbar and leading performers Bert Williams, James Smith and George Sisay to become household names. It was “the first African American show that synthesized successfully the various genres of American musical theatre popular at the beginning of the twentieth century—minstrelsy, vaudeville, comic opera and musical comedy.
Though a jazz standard did not emanate from this musical either, the In Dahomey poster features the famous “cake walk” with the character portrayed by Bert Williams and prompted Percy Grainger to write a highly virtuosic concert “rag” titled In Dahomey (Cakewalk Smasher), that he completed in 1909.
The Story: A tale of a group of Blacks, who, having found a pot of gold, move to Africa and become rulers of Dahomey (present-day Benin).
Broadway History: One of the most influential sources of the American musical was one of its most shameful. The minstrel show got its start in the early nineteenth century when a number of white entertainers, mostly of Irish descent, found they could connect with their more raucous audiences by applying burnt cork to their skin and caricaturing black people in various songs, dances and skits. However, the portrayals by white entertainers created a dialogue that became very fashionable, even though they perpetuated negative stereotypes. Black entertainers knew they didn’t speak like that and formed a troupe, and out of that came comic duos on Broadway like Flournoy Miller and Aubrey Lyles in the 20’s, William Gaxton and Victor Moore in the 30’s. But one man transcended minstrelsy’s denigration of his race and became not only the most popular comedian of his day, but the most famous African American since Frederick Douglass. He was Bert Williams, who denied entrance into Stanford University, worked as a banjo player in saloons and minstrels until he teamed up with George Walker. The team gained fame, which led them to head the cast of “In Dahomey” in 1903, the first full-length musical written and played by blacks performed at a major Broadway house.
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