Ain't misbehavin' reveals a new force on the local theatre scene | The Royal Gazette:Bermuda Lifestyle Ain't misbehavin' reveals a new force on the local theatre scene Published Jun 17, 1992 at 12:01 am (Updated Feb 9, 2011 at 10:56 pm) AIN'T MISBEHAVIN' -- Black Box Performance Workshop at City Hall -- June 11,12 and 13. A non-stop medley of music by American jazz great, Thomas Wright (Fats) Waller, AIN'T MISBEHAVIN' -- Black Box Performance Workshop at City Hall -- June 11,12 and 13. A non-stop medley of music by American jazz great, Thomas Wright (Fats) Waller, performed with near-professional polish by the cast and superbly backed by a `rhythm band' ensemble, provided an exhilarating and unusual evening of entertainment at City Hall last week.

Ain't Misbehavin', which may best be described as a musical revue in which three couples sing and dance their way through a dizzying 24 numbers, received rave reviews when it opened on Broadway in the late '70s. Set in a dimly lit New York nightclub during Prohibition, there is no real story line -- merely the customers who react to the melodic and often comic songs that poured from the prolific composer/pianist. As such, a total reliance on performers with technical stamina as well as strong stage personalities to carry a show merely on its music, made producer Patricia Pogson's decision to mount it here something of a gamble. Happily, the cast, which was obviously hand-picked, came through and Black Box's production proved to be a sheer delight. This was certainly a show that called for team effort, but the bonus on this occasion was that each member of the cast had the necessary versatility and personality to bring a new freshness and wit to old and tried hit tunes.

From the moment they launched into the opening ensemble number that became Fats Waller's signature tune, Ain't Misbehavin', they had the audience with them and in a virtuoso feat, managed to keep them to the very end without the "breather'' of an interval. Director Suzette Harvey kept the show moving at a cracking pace with contrasting mood changes nicely shaded. Her choreography, while capturing that marvellous era when jazz and rag-time blossomed and the Charleston and tap routine reigned supreme, was kept artfully simple. Although the cast was primarily one of singers, they coped extremely well with dance routines that added an extra fillip to the proceedings. In a piece of straight type-casting, multi-talented Ron Lightbourne took on the role of Mr. Waller, remaining onstage throughout at his piano, arising only to join Patricia Pogson in a suitably relaxed version of Two Sleepy People. His presence emphasised the casual genius of Fats Waller and lent an air of authenticity to the nightclub venue, further suggested by city sky-scrapers silhouetted against the back of the stage.

Denise Whitter, with a voice made for jazz that slides from plaintive high key to sumptuous low with consummate ease, looked great and revealed a real talent for humour, especially in her solo, I've Got a Feeling I'm Fallin'. Khalilah Smith, who is only 16 years old and still a student at St. George's Secondary School, already has a voice of impressive range and power. Patricia Pogson's strong background in theatre was always apparent in this production. Besides producing the revue, she confirmed her abilities as an all-round performer, tackling music and drama with apparently equal ease. Already well known to BMDS and Gilbert & Sullivan audiences, Edward Christopher gave what was possibly his best performance yet in a dazzling array of numbers, ranging from a tender rendition of Honeysuckle Rose with Khalilah Smith and a hilariously convincing sketch of a reeling, but amiable drunk in How Ya Baby. Last, but definitely not least in this talented line-up was Danjou Anderson, whose fine baritone voice was in strong competition with his outstanding comedic ability. His Fat and Greasy duet with Edward Christopher was a show-stopper, as was his interpretation of Your Feets Too Big.

Musical director, Gloria McCully, also playing keyboards, led a band that was an integral part of this show's success. Jack Kripl on reeds, Clarence Burrows on bass, Hiram Edwards on trumpet and Kenny Harris on drums, are some of the best musicians Bermuda has to offer and they formed a sympathetic and lively rapport with their colleagues on stage. With this production, indications are that the Black Box Performance Workshop will provide an exciting new force on the theatre scene. -- Patricia Calnan AIN'T MISBEHAVIN' -- A musical tribute to the art of `Fats' Waller was staged at City Hall. Cast members included, from left: Khalilah Smith, Danjou Anderson, Denise Whitter, Edward Christopher and Patricia Pogson. Ain't misbehavin' at North Coast Repertory Theatre in Solana Beach, CA 08-03-2016 Conceived by Richard Maltby, Jr. & Murray Horwitz Directed by Yvette Freeman AIN’T MISBEHAVIN is a roof-raising musical tribute to the black musicians of the ‘20s and ‘30s.

Based on the signature Fats Waller song, this rousing musical revue takes audiences back to the glory days of the Harlem Renaissance when the Cotton Club and Savoy Ballroom served as playgrounds for high society. Delight in such favorites as “Honeysuckle Rose,” “I’m Gonna Sit Right Down and Write Myself a Letter,” “I Can’t Give You Anything But Love,” and dozens more. You’ll be tapping your feet as five performers take you on a journey, presenting an evening of rowdy, raunchy, and humorous songs. Recommended for you... Stormy Weather Reviews & Ratings - IMDb IMDb 35 out of 39 people found the following review useful: Rare Glimpse of Early 1940s Black Entertainers from Biloxi, Mississippi 4 May 2005 Vaguely based on the life of Bill "Bojangles" Robinson himself, STORMY WEATHER offers the story of a WWI vet who falls in love with a singer--and under her influence goes into show business, only to find that their careers draw them in different directions. As a story, it is pretty slim stuff...

but as a collection of musical turns by some of the early 1940s best black talent, it simply can't be beat. Robinson was, of course, one of the truly great dancers of his era. Made late in his career, this film doesn't really manage to capture the scope of his talents, but he remains a constant joy to watch. A very young and remarkably beautiful Lena Horne also offers several enjoyable songs, including one that she would go on to perform with increasing sophistication and ultimately make entirely her own: the title tune "Stormy Weather." In addition to Calloway and Horne, STORMY WEATHER offers great performances by such under-filmed artists as Cab Calloway, Katherine Dunham, Fats Waller (performing his signature tune, "Ain't Misbehaving"), the brilliant Nicholas Brothers, and Ada Brown, as well as the popular comic actor Dooley Wilson. Expect nothing from the story or production values, but you won't be disappointed by this rare glimpse at some truly remarkable talents. Gary F. Taylor, aka GFT, Amazon Reviewer Was the above review useful to you?

28 out of 29 people found the following review useful: singin in the rain from Australia 6 April 2004 A sensational treat for anyone who does NOT love musicals to re wire their brain into why 40s dance musicals are often a major discovery. In Australia in 1944 - and I am sure many other Anglo countries, this awesome musical was NOT released! It was considered 'not for us' by the dim censorship board of the time. It was seen in a major release in Sydney in the late 80s and scored a bullseye with modern audiences immediately. Other commenters here will fill you in on the storyline and some sneer pointlessly, but take the general consensus that this is the major showcase of black talent on film from the time. Seen in a cinema the audience nearly loses their mind (and seats ) during the finale with the Nicholas Brothers. I like the woman listed here who showed it to high school kids who loved it...and that is the real test of a great old' film. I have had the same unforgettable experience in cinemas showing this film. It is absolute dynamite!

Teenage boys especially watching this get the shock of their young minds at a genuine 1943 rap scene on board a paddleboat. The 90s rap performer EEK-A-MOUSE definitely got his look from this film! Was the above review useful to you? 23 out of 24 people found the following review useful: Thanks for the memories Author: jaykay-10 30 June 2000 To criticize this picture for its lack of plot, strained dialogue and (some) stiff performances is, I think, to miss the point. Here are a number of legendary performers captured for the ages on film. As great as they were, none appeared in more than a handful of movies - and performed "specialty" numbers in virtually all of those. Their greatest work was doubtless performed in stage shows and night clubs, but at least we have "Stormy Weather" - a variety show with its acts strung together by the thinnest of plots (typical, by the way, of many musicals of its time) and featuring the most talented black entertainers of generations. Was the above review useful to you?

26 out of 34 people found the following review useful: Entertainment Is The Name Of This Tune from United States 23 December 2005 Music, not story, is the name of the game here. The film provides an avenue for black singers, dancers and musicians of the mid-1940s to show off their talents. Too bad it was that way but at least putting these acts on screen in a movie format wasn't just black folks "preaching to the choir." This film gave a lot of white folks a chance to see some great talent they might never have seen and, hopefully, helped some of these entertainers in their careers. Bill Robinson and Lena Horne are the stars of the film, or should I say the main entertainers. Robinson is wonderful to watch throughout. He's not just a great dancer but an extremely likable guy. He comes across that way, anyway, and has in every film I've seen him. Horne has a good voice and a pretty face that became famous for almost never aging, but her songs are too slow and boring for my tastes, frankly.

Since I prefer a little more up-tempo, Fats Waller, Cab Calloway and The Nicholas Brothers filled the bill nicely. They were awesome. What little story there is centers around Robinson's character trying to break into show business. En route are also some funny lines and characters. I'm glad to hear this is being put out on DVD in a few months. I'll pick up a copy. Was the above review useful to you? 16 out of 16 people found the following review useful: Stormy Weather from United States 9 May 2006 After watching the film Stormy Weather (1943), it was clear that the Hollywood movie making industry was headed toward a new era. The new era being that colored actors were recognized and not only that, spiced up the industry. This movie shied away from the usual parts actors of color would normally play, parts in which they were slaves or butlers and servants. This truly showed the breakthrough of African Americans in entertainment and paved the way for how successful many have presently become. Specifically in this movie, it told the story of how a man of color worked his way literally from the bottom up.

It began with Bill Williamson who came home from war in France, and was working in a basement restaurant when fate stepped in and reunited him with his love interest. It was because of Selina that he was working in the city hoping to step foot into the dancing business. When she recognized him, she insisted to the show's producer that he be put in the show. This was Bill's break that got him out of a basement restaurant to the "top" of a tree in production. This is where Bill made the most of this opportunity and showed off his abilities but in turn got him fired from the show. But that was all he needed and he was on his way to stardom. Twentieth Century Fox really broke the mold with this movie in response to FDR's urging. It finally gave actors of color the chance to show off their tremendous talent also allowing them to have more of an equal role in society. Although there still were laws restricting the interaction between whiles and blacks in films, it certainly brought them out of the repetitive demeaning roles of slaves and servants. It was thrilling to be able to see the talents of these actors and all the skills offered through their dancing and singing abilities. All of the dance numbers and costumes really represented the time period.

The way the dancers moved were both creative and unique, especially the indisputably impressive Nicholas Brothers. Was the above review useful to you? 20 out of 24 people found the following review useful: A gem from Jacksonville, FL 20 May 2001 I remember watching this for the first time when I was a kid. I was blown away by the Nicholas Brothers' dance, especially when they jumped down those stairs . . . and it still blows me away! Slim storyline, and Bill Robinson was way too old to play a romantic interest of the young Lena Horne, but a great look at some of the biggest African-American stars of the day: Katherine Dunham, the great Fats Waller (who died later that same year,) Cab Calloway. I could have done without the blackface makeup of the comedy team, even though their skit was amusing. And look for a young adult Stymie Beard (of the Little Rascals) with two lines as a stagehand who is directed by Bill Robinson to call half hour to showtime for the performers. Was the above review useful to you?

17 out of 19 people found the following review useful: Great music makes a great movie from Oakland, California 19 August 2000 Stormy Weather is a must see, if for no other reason than to view our past. The music is tops - the story line corny - the dancing is fantastic. Lena Horne's costumes are truly amazing - it would be nice if the movie has been in color to see this beautiful lady. Was the above review useful to you? 14 out of 15 people found the following review useful: Full of Music and Dance. A Real Treat. from USA 1 May 2003 Stormy Weather with Lena Horne, Cab Calloway, Katherine Dunham, and the Nicholas brothers is a wonderful "dance vacation" for Vintage, Swing and Tap dancers. It was also a rather rare opportunity to see Katherine Dunham on Video. The video I watched was clear and had excellent sound. It was an uplifting and delighful "Smorgasbord" of music and dance of the highest order. I presented it to a high school group for an historical event. They were amazed and fascinated with the performances. The guys especially were impressed by the Nicholas brothers dancing.

Was the above review useful to you? 15 out of 19 people found the following review useful: My Review for the Totally Confused from New York City 14 February 2007 OK, I admit it. I have no cultural class. I don't recognize any of the performers in this movie except for Dooley Wilson (who played/sang the role of "Sam" in Casablanca) and Lena Horne whom I had the rare treat of seeing in Philadelphia when I was a tot. So I can't give you an educated critical review of this film. But I can tell you there's some GREAT talent showcased. There are some tap dancing scenes that would make Fred Astaire hang up his hardshoes in shame. And for those of you sticklers who always stare at the musicians' fingers to see if they actually know how to play, THEY DO. Sure, the plot is weak and cursory. But since when are musicals supposed to have a plot? The story was just enough to chain these performances together while not distracting from the show. And that's what this movie is all about; consider it an early American version of "American Idol" except with talent.

Most of all, it's just a fun ride. Lotta smiles throughout. It's a highly nostalgic trip through a sadly-overlooked corner of early American music (blues, ragtime, jazz). And from a cinematic standpoint, the presentation is very nice. The scene of trombonists with their long shadows cast against the stage walls is very memorable to me, as is the rousing title performance of "Stormy Weather" which, in Picasso-like cubist fashion, passes through 3 different planes of existence: the stage, the backstage, and the backstage dream. Very artistic. If you weren't totally confused when you began reading my review, I hope you are now. Go watch the film already, you dork. Was the above review useful to you? 9 out of 9 people found the following review useful: A Trove of Classic 1940's Musical Numbers from Alexandria, VA 17 May 2010 Admirers expected Lena Horne to live forever, and her recent passing shocked those who thought she would always be with us. Thanks to her films, especially "Stormy Weather," she will be there whenever we spin the DVD of that 1943 Fox musical.

A loose pastiche of musical numbers hanging from a thin thread of Bill Robinson's reminiscences, "Stormy Weather" is a priceless trove of talent. Director Andrew Stone wisely lets the performances play out without intrusion, and what performances they are. Beyond Lena Horne's unforgettable rendition of the title song, which became her signature, the film showcases Bill Robinson's incomparable dancing, Cab Calloway's song and dance routines, and Fats Waller's "Ain't Misbehavin'." Left breathless after these great musical numbers, viewers will gasp when the incomparable Nicholas Brothers top everyone and stop the show with one of their best performances on film. Only Astaire and Kelly were in the same league with Fayard and Harold Nicholas, arguably the finest sibling dancers ever. Fortunately, DVDs do not wear out and allow countless replays of the brothers' stylish and effortless dancing up, down, and around two flights of stairs. Lena Horne surmounted the occasionally unflattering hairstyles in vogue during World War II and remained luminescent throughout the film. Her dazzling smile and comforting voice are missed when she is off screen.

Although Bill Robinson is not a convincing romantic partner for Horne, small quibbles do not spoil this musical delight, whose only major flaw is its short 72-minute running time. With legendary performers at their peaks, "Stormy Weather" should have been twice as long. If 20th Century Fox could unearth outtakes from this film, the discovery would be the find of the century and a fitting coda to this plethora of now-gone talent that was sadly under-utilized during Hollywood's heyday. Was the above review useful to you? Page 1 of 4: Bursting with Song!--Black Musicals Ain't Misbehavin' (Music by Fats Waller, lyrics by various) The first really successful revue of a single composer's music since god knows when, Ain't Misbehavin' paved the way for a whole bunch of similar shows built around similar individuals. There's no real plot, but the whole show is set in a 1930s Harlem nightclub (which might explain why, when I saw the revival some years ago, the audience was entirely white).

This show reminds us how good the composer's music is, and what a shame it is that so many people are unaware of it these days. Billy No-Name (Music and lyrics by ) Off-Broadway, semi-autobiographical story of a young writer born in Harlem and what he encounters as he grows up. Sort of a pocket history of the civil rights movement and the black experience from the 20s to the late 60s. The ending is particularly interesting, as it provides three possible paths for the protagonist to take: the peaceable Martin Luther King Jr. route, the angry Black Panther route, and the me-first grab-what-you-can-as-you-assimilate route. None of the routes is presented as the "best" or the "worst," and the protagonist does not choose by the end of the show. Black and Blue: A Musical Revue (Music and lyrics by various) A 1989 revue using material from both black and white composers (e.g., Fats Waller, Duke Ellington, W.C. Handy, Harold Arlen, Jimmy McHugh).

The booklet calls it "a celebration, indeed an epiphany, of a great and marvelous cultural legacy: the classic African-American tradition of dance, song, and music." It's set in Paris, or at least "reflects a Parisian affection for the exotic" (the booklet is not clear on this, though the show originated in Paris), during the period between the wars. I can't tell if there's a thread running through the music or whether this is a sort of Bubbling Brown Sugar update revue. Bring In 'Da Noise, Bring In 'Da Funk (Music by Daryl Waters, Zane Mark, and Ann Duquesnay; lyrics by Reg E. Gaines) One of the most original shows on Broadway in years, this innovative musical told the history of blacks in America through sharply sarcastic songs and rhythm, most specifically tap dancing, which becomes a language all its own, capable of expressing a wide range of emotions. It is an angry, proud, and deeply moving show that reminds us how far we've come and how far we still have to go. This is one of the very few rock/funk/rap musicals where the beat doesn't get in the way of the songs.

Bubbling Brown Sugar (Music and lyrics by various) The late Rosetta LeNoire conceived this show, which was a revue of the work of composers such as Eubie Blake and Fats Waller before those individuals got whole shows devoted to them. Some of the material is very early, and there's more gospel and religious music than is typical for such productions. I believe the show was set in a Harlem nightclub (the concept predated Ain't Misbehavin' by a couple of years). Cabin in the Sky (Music by Vernon Duke, lyrics by John Latouche) Little Joe Jackson is dying and destined to go to hell because of his wicked ways, but his wife Petunia intervenes, and Joe is granted six months to straighten himself out, though of course he faces many temptations along the way. A classic, with a number of hit songs in its day, but too religious for my tastes, and these days it has a rather patronizing feel towards its characters. The original (and the movie) featured the incomparable Ethel Waters; the off-Broadway revival, which according to my father sucks big time, had Rosetta Le Noire.

Carmen Jones (Music by Georges Bizet, lyrics by Oscar Hammerstein II) An all-black, updated version of Carmen set in the South. Carmen is a worker in a parachute factory; Don Jose is now Don, an army corporal; Micaela is now Cindy Lou, Joe's lover; and Escamillo is now Husky Miller, a boxer. When Hammerstein first conceived this show, he had immense trouble finding suitable actors for it because back then, black singers were discouraged (or actively barred) from becoming opera singers. With the help of a white empresario who was enthusiastic about discovering black talent, they plucked people from all kinds of non-acting positions--film scraper, cop, etc. Chocolate Dandies (Music and lyrics by ?) Read about this one in Ain't Misbehavin': The Story of Fats Waller. All I know about it is that it appeared in the 1920s. The Civil War (Music and lyrics by Frank Wildhorn with Larry Gatlin) This godawful show purported to tell the story of the Civil War from three different points of view: Northern, Southern, and slave.

In practice it was a muddled and washed-out mess, a concert rather than a story. Frederick Douglass was one of only three named individuals in the entire show; everyone else was nameless and personality-less, which made it impossible to care when the slave family got torn apart. I wonder how the black cast members felt when, at the end of the touring production my parents and I saw (or, in my case, half-saw), the Confederate flag was given equal honors with the American flag. Dinah (Music and lyrics by ?) Read about this one in Ain't Misbehavin': The Story of Fats Waller. All I know about it is that it appeared in the 1920s. Doctor Jazz (Music and lyrics by Buster Davis and others) 1975 flop musical about a black singer, her boyfriend, and her white manager during the rise of jazz. Lola Falana starred. Dreamgirls (Music by Henry Krieger, lyrics by Tom Eyen) Based on the story of the Supremes, Dreamgirls tells the story of a trio of great R&B singers whose lead singer is fat and unattractive.

In order to present a more glamourous image and cross over to the pop mainstream, a sleazy producer elevates one of the backup singers to lead status, and the original lead is pushed out. In real life, the original lead never did much and died at 32; in the musical, she goes on to achieve stardom on her own. This show made a star out of Jennifer Holliday; someone told me that when she sang her showstopper, "And I Am Telling You I'm Not Going," the audience was screaming in the aisles. Eubie! (Music by Eubie Blake, lyrics by Noble Sissle) The only thing I know about this show is that it existed and that it was produced in 1978. Can anyone help me out here? Was it more than a revue? Apparently there was a record and a TV presentation with nearly the entire original cast; maybe someday someone will rerelease these on CD/DVD.

Five Guys Named Moe (Music by Louis Jordan, lyrics by various) A near-revue of Jordan' music; there's an attempt at stringing the songs together to tell a story about a guy named Nomax, who's having girl troubles, but the show is really just an excuse to stage a whole bunch of terrific songs. The version of "Is You Is Or Is You Ain't My Baby" as performed in Hey! Mr. Producer is an orgasmic moment, and in general this show was one of the snappiest evenings in the theater that I can remember. The final song of the first act is a conga line that the audience joins, and everyone congas out to the lobby and the bar for drinks. Golden Boy (Music by Charles Strouse, lyrics by Lee Adams) The original source material was about an Italian boxer, but the musical changed the character into a black boxer so it could deal with issues about Harlem and exploitation (and so it could star Sammy Davis, Jr.).

See also "The Happiest Corpse I've Ever Seen: Everything Goes to Hell in the Second Act." The Gospel at Colonus (Music by Bob Telson, lyrics by Lee Breuer) I may have seen this show at the Denver Botanic Gardens about ten years ago. It's a reconception of Sopocles' Oedipus at Colonus through the framework of a Black Pentecostal church; most of the incidents in the story are "parable-like sermons." Lots of nice gospel chorus work, and Morgan Freeman provided some of the dialogue--dunno if it's the Morgan Freeman, though I assume so. Grind (Music by Larry Grossman, lyrics by Ellen Fitzhugh) Ben Vereen headed this very interesting flop show about a burlesque house at the early part of the century. Because of local laws, the only way the house can show both black and white performers on the stage is if the two casts perform separately and never interact backstage. The issues of racism and race relations pervade the entire show, and the black cast gets more to do than the white cast. After a series of setbacks, the two casts decide that they're one family and group together to defend one of their number.

Hallelujah, Baby! (Music by Jule Styne, lyrics by Betty Comden and Adolph Green) Ironically, this flop show would produce Jule Styne's only Tony, as well as a shared Best Actress Tony for Leslie Uggams . The three main characters do not age as they take part in American history, from post-slavery times to the Civil Rights period in which this show was created (1968), along the way dealing with race relations, limited opportunities for blacks, and the price of selling out to white audiences for money. A telling moment occurs when Uggams's character, having succeeded as a singer, attends a party where she is the only black person there. Her mother arrives and is mistaken for the maid. The show is not nearly as patronizing as it could have been, thanks in part to Robert Hooks's careful examination of the lyrics to ensure that they weren't racist. (He was the leading man.) Harlem Song (Music and lyrics by various, book by George C. Wolfe) A 2002 celebration of Harlem: its residents, history, anger, and hope, that was staged at the Apollo Theater. The music ranges from old classics to new material from George C.

Wolfe and others. House of Flowers (Music by Harold Arlen, lyrics by Truman Capote and Harold Arlen) Another flop show, this one dealt with prostitutes in Haiti (the bordello is called the House of Flowers, and the madames are known as horticulturalists). Pearl Bailey headed the distinguished cast and, according to Ken Mandelbaum , she apparently made lots of trouble backstage; the show also apparently had a gayer sensibility than 1954 audiences were prepared to accept. It Ain't Nothin' but the Blues (Music and lyrics by various) The title says it all: this is a historical revue of the blues in America, starting with African music. It focuses somewhat on white blues but is primarily concerned with black blues (there are five black and two white cast members). I saw this in its 1995 incarnation at the Denver Center for the Performing Arts, and I liked that relatively simple production better than the big Broadway version of 1999; too bad only the latter is available on CD. Jamaica (Music by Harold Arlen, lyrics by E. Y.

Harburg) Arlen followed up his Haitian House of Flowers with this Caribbean tale of a woman who lives with her fisherman husband on a quiet little island but longs for the glamour of Manhattan. Of course, she ultimately chooses her quiet little island and her husband. The show starred Lena Horne, and if they'd been able to get Harry Belafonte as her husband (as was intended), instead of Ricardo Montalban, this would have been some powerhouse recording! Jelly's Last Jam (Music by Jelly Roll Morton, with adaptation and additional material by Luther Henderson; lyrics by Susan Birkenhead) One of the only such shows with an actual storyline, Jelly's Last Jam combined Ferdinand Joseph Le Menthe Morton's music (and altered lyrics) with the life story of the man himself. Seems that as a light-skinned Creole, he didn't consider himself black and was actively racist towards darker-skinned individuals, so the main goal of the story is getting him to acknowledge his African roots--and admitting he didn't invent jazz--after he dies but before he goes to hell. Too much ego and a disastrous move to New York City destroyed his career and his personal life, but oh, what a legacy he left!

Kwamina (Music and lyrics by Richard Adler) 1961 flop musical about a London-educated West African chief's son (Terry Carter) who falls in love with a white female doctor (Sally Ann Howes) while, behind them, cultures clash. Whatever book problems it had were probably overshadowed by the love affair, which was too daring for the audiences of the time (yet by today's standards would seem unbelievably tepid, with Carter showing his love by pushing his arm bracelet up Howes's arm--hoo ha!). The Life (Music by Cy Coleman, lyrics by Ira Gasman, and book by David Newman, Gasman, and Coleman) Though the prostitutes of this story belong to various races, and there's a subplot with a white chick from Minnesota, the main characters are black. Little Ham (Music by Judd Woldin, lyrics by Richard Engquist and Judd Woldin) This very recent off-Broadway offering by the composer of Raisin "is a musical story of love and loyalty set in the heyday of the Harlem Renaissance." It ran from the fall of 2001 until December 2002.

Liza (Music and lyrics by ?) I read about this one in Ain't Misbehavin': The Story of Fats Waller. All I know about it is that it appeared in the 1920s. Look to the Lilies (Music by Jule Styne, lyrics by Sammy Cahn) Flop musical based on Lilies of the Field. Lost in the Stars (Music by Kurt Weill, lyrics by Maxwell Anderson) One of only a small number of musicals set in Africa ( Kwamina , Aida, Sarafina! , and The Lion King being the others), this one was based on the novel Cry, the Beloved Country. The main character is a black South African minister whose son participated in the robbery and accidental murder of the son of a white bigot. The bigot, who supports apartheid, eventually is won over by the minister's courage and they become friends. Weill's last musical. Memphis Bound!

(Adapted by Don Walker and Clay Warnick) A flop musical of the 1940s based on HMS Pinafore, it starred Bill "Bojangles" Robinson, Avon Long, Frank Wilson, Billy Daniels, Sheila Guyse, and Thelma Carpenter; the choreographer was Al White. Definitely an A-level cast in a musical with a D-level book. Once on This Island (Music by Stephen Flaherty, lyrics by Lynn Ahrens) French Antilles fairy tale about a young island girl, Ti Moune, who falls in love with the mulatto son of a wealthy landowner. When he's injured, she makes a pact with the gods: her life for his. He survives and is grateful but rejects her love, and the gods, by way of reward or compensation for her sacrifice and disappointment, grant her eternal life by turning her into a tree. One Mo' Time (Music and lyrics by various) This new show "recreates a hot, sultry night at New Orleans' Lyric Theatre in 1926, home to Bessie Smith and Ma Rainey among others." Dunno if it's been recorded.

Porgy and Bess (Music by George Gershwin, lyrics by DuBose Heyward and Ira Gershwin) The classic Gershwin musical that has since entered the opera repertoire, and one of the greatest pieces of musical theatre ever written. It gave us a number of standards ("I Got Plenty o' Nuttin," "Summertime," "Bess, You Is My Woman Now," and "It Ain't Necessarily So"). Purlie (Music by Gary Geld, lyrics by Peter Udell) If you ever wondered where Cleavon Little came from that he got the lead role in Blazing Saddles when it was originally earmarked for Richard Pryor, this is the place. He played the exuberant minister Purlie who overcomes a nasty white guy or two to buy a church for his flock in rural post-WWII Georgia, and also gets married in the process. Ragtime (Music by Stephen Flaherty, lyrics by Lynn Ahrens) The major thread in this three-thread story is that of Coalhouse Walker, Jr., a ragtime musician with a car and a fiance, Sarah.

He loses both, the first to bigoted white firemen, the second to murderous presidential bodyguards. Sarah's death pushes him over the edge, and he goes on a rampage, killing firemen in the name of justice. He's ultimately killed, but he and Sarah have left a legacy in the form of their small son, who will be raised by a white family. Raisin (Music by Judd Woldin, lyrics by Robert Brittan) Based, of course, on Raisin in the Sun, this is the story of Walter Lee Younger, a poor man with a dream: he wants to open his own liquor store with the money from his newly dead father's insurance. His mother, however, wants to use the money to buy a house in a nice white neighborhood. The liquor store business never works out because Walter Lee's partner absconds with the money, but enough is left to buy the house. This being the 1950s, the white folks in the neighborhood try to get the family to change their minds about moving in by offering to buy back the house. Walter Lee is tempted, but ultimately the family refuses to be bought out.

Runnin' Wild (Music and lyrics by ?) I read about this one in Ain't Misbehavin': The Story of Fats Waller. All I know about it is that it appeared in 1923, it was produced by Flournoy E. Miller and Aubrey Lyles (both black), who produced Shuffle Along , and it introduced the Charleston to the North. Friendly reader D. Grapes supplied this information: "The music in Runnin' Wild (1923) was by James P. Johnson. Its most important contribution was the inclusion of the dance we know of as "The Charleston," as it introduced it to American society, thereby setting the stage for the Charleston dance craze." (information available in Eileen Southern's The Music of Black Americans: a history, 3rd edition) Sarafina! The Music of Liberation (Music and lyrics by Mbongeni Ngema, with additional songs by Hugh Masekela) This stirring show is set in 1976 in Soweto, South Africa, when 200,000 black students protested the official decree that they had to use Afrikaans in their classrooms instead of Zulu.

The brutal suppression of these students sparked the violents struggles that typified South Africa for many years, until apartheid was overturned. The show follows a fictional class of students, centered around the political activist Sarafina, who experience considerable brutality but maintain hope for the future. This is one of the very few musicals where a substantial number of the songs are sung in another language--in this case, Zulu. Show Boat (Music by Jerome Kern, lyrics by Oscar Hammerstein II) The one exception to my rule: Although the main characters in Show Boat are white, the most interesting ones are black or part-black, and they get all the best songs. Anyway, after having heard Michel Bell as Joe, I can't possibly leave this one out. Besides, the bits about miscegenation and the hard life of black stevedores are still relevant-ish--they were painfully relevant in 1927, when this show first came out, and marked the most serious themes in a musical up to that time. Shuffle Along (Music by Eubie Blake, lyrics by Noble Sissle) Apologies for the title, which was acceptable back in 1921.

This was the first successful musical entirely created, produced, and acted by blacks. The plot dealt with two mayoral candidates in Jimtown, Dixieland: venal Steve Jenkins and virtuous Harry Walton (prompting the song "I'm Just Wild About Harry"), plus a corrupt police chief. The bad guys are elected, but the good guys eventually get them thrown out of office. I believe there has been an attempt to update this show to bring it in tune with today's attitudes, and I suspect that Eubie! was also an attempt to divorce the wonderful songs from their embarrassing source material. There were three titular sequels to this show, the last being staged in 1952. Simply Heavenly (Music by David Martin, lyrics by Langston Hughes) Hughes adapted several stories he wrote about the character Jess Simple into this unappreciated flop show, which is considered by Ken Mandelbaum "perhaps the best black musical ever." The plot has to do with Jess's attempt to raise money to pay for his divorce from his estranged wife, so that he can marry his sweetheart Joyce.

There are several interesting points made; for one, Jess ends up refusing to let his color be his excuse for his problems, and for another, he rejects Joyce until he can solve his problems. Sophisticated Ladies (Music by Duke Ellington, lyrics by various) Revue of the music of Duke Ellington. I know almost nothing about this one, save that it was far more elaborate a production than the other composer-tribute-revues in this list, with a big cast, lots of dancing, flashy costumes, and a 21-piece onstage orchestra. Why is this not available on CD? [It is, but it's rare--just got it.] St. Louis Woman (Music by Harold Arlen, lyrics by Johnny Mercer) Arlen had a thing for black-related musicals; this is his third on this list. Conceptually similar to Porgy and Bess , this mostly forgotten show had one of those Encores Cast Recordings in 1998, but the original is also available on CD. The out-of-print OCR is better than the concert cast recording; the original stars were the Nicholas Bros., Pearl Bailey, and Ruby Hill; get it if you can.

Della Green falls for Li'l Augie, a jockey with a winning streak, though she's already the woman of Biglow Brown, a saloon owner. Brown is eventually killed, but he puts a curse on Li'l Augie that ends the streak and Della's affection for the jockey. The two eventually come back together, though. The Tap Dance Kid (Music by Henry Krieger, lyrics by Robert Lorick) In a turnabout of the "dreams will get me out of poverty" theme that many of these musicals have, this one concerns an upper-middle-class black family whose son wants to be a tap dancer. It was based on a TV play, which in turn was based on a children's novel, Nobody's Family Is Going to Change, by Louise Fitzhugh (author of the better-known Harriet the Spy). Savion Glover made his Broadway debut in this show at the age of 10. That's all I know about this one; anyone have any more info?

Timbuktu (Music and lyrics by George Forrest and Robert Wright, book by Luther Davis) Retooled all-black version of Kismet set in Timbuktu in the Ancient Empire of Mali, West Africa, in the year 1361 (of Islam 752). The Wiz (Music and lyrics by Charlie Smalls) The Wizard of Oz done funk-style. This was one of the first musicals I ever saw, way the hell back in the mid-1970s on New Year's Eve. Even if Stephanie Mills, the original Dorothy, toured with it, I didn't see her, but some understudy instead. From the picture in Broadway Musicals Show by Show , it appears that the costumer designer for Starlight Express substantially based that show's train costumes on the costume for the Tin Man in The Wiz. Honorable Mention Black Broadway (Music and lyrics by...?) I had never even heard of this show until I got a big book of backstage photos of Broadway folks and saw several pictures of participants. I have no idea whether it was a special short-term production or one that was intended to run for a while. Can anyone enlighten me?

A Broadway Musical (Music by Charles Strouse, lyrics by Lee Adams) Flop musical about sleazy white producers who want to turn a black writer's serious play into a musical. Big River (Music and lyrics by Roger Miller) Based on The Adventures of Huckleberry Finn, so there's some pertinent stuff with the runaway slave Jim. Guys and Dolls (Music and lyrics by Frank Loesser) There was a well-received all-black cast for this show. Hair (Music by Galt McDermot, lyrics by Gerome Ragni and James Rado) The main characters are white, but there are important subthreads dealing with racism, dying for a government that treats your people like crap, and loving people of different colors ("White Boys" is sung by black women, and "Black Boys" is sung by white women). The character of Abraham Lincoln is traditionally played by a black woman. Hello, Dolly! (Music and lyrics by Jerry Herman) The all-black version of this show, headed by Pearl Bailey and Cab Calloway, revitalized it and was successful enough to merit its own cast recording. The Hot Mikado (Music by W. S.

Gilbert, lyrics by Arthur Sullivan; adapted by David Bell and Rod Bowman) This is a swing/jazz/blues reinterpretation of the classic light opera, set in the 1940s. I can't tell if the original show had an all-black cast--revivals seem to be mixed casts--but I know Rosetta Le Noire was part of the original cast. This looks like a show desperately in need of a full-scale Broadway revival and an American cast recording. The only cast recording I could find was a London one from 1995. Ma Rainey's Black Bottom (Music and lyrics by various?) This is a musical play rather than a musical, as far as I can tell, but I'd be willing to reclassify this on the advice of someone who's seen it and can enlighten me. No Strings (Music and lyrics by Richard Rodgers) The first black-white love affair in a Broadway musical, but the issue of race is barely dealt with.

Parade (Music and lyrics by Jason Robert Brown) Although the story is about a Jewish man wrongly accused of murder in Georgia, the show has some telling moments by the black characters, who are A) gleeful that anti-Semitism rather than racism drives the trial, since there are several black suspects, and B) hopeful that, because of the Northern outcry over this obvious travesty of justice, officials will also start to notice the legal abuses perpetuated against black individuals as well. 1600 Pennsylvania Avenue (Music by Leonard Bernstein, lyrics by Alan Jay Lerner) With a creative team like this, how could this show have failed so miserably? Easy: it tried to encapsulate all the presidents up to that time (1976) and their First Ladies in a single evening--and having a single actor and actress play each role. The presidents play against a pair of black servants who, like the characters in Hallelujah, Baby! , never age (except to have a baby, who is born into freedom during Andrew Johnson's term). Apparently, part of the book deals with the presidents and their effect on black history.

The Wild Party (Music and lyrics by Michael John LaChiusa or by Andrew Lippa) From everything I can gather, the focus of the original poem was on two white characters, but it's set in Harlem and has a number of important black characters as well. Dishonorable Mention My Darlin' Aida (Music by , Lyrics by ) A1989 flop musical that tried to do for Aida what Carmen Jones did for Carmen, transplanting the story to the Civil War era and transforming Aida into a half-black slave. Too bad they cast a white actress (Elaine Malbin) in the role. Nefertiti (Music by David Spangler, lyrics by Christopher Gore) This mid-70s flop musical also cast a white actress (Andrea Marcovicci) in the title role.... All non-lyric material copyright 2002-2003, D. Aviva Rothschild. All rights reserved I invite additions and corrections to this list , or comments about the examples above. If I like your whole letter I'll ask if I can publish it on my letters page .

Question: Which American entertainer's signature tune was 'Ain't Misbehavin'?
Answer: FATS WALLER