Shuffle Along
Shuffle Along,
or the Making of the Musical Sensation
of 1921 and All That Followed
Music Box Theatre, NYC, May 5, 2016
Reviewed by Elizabeth Ahlfors for Cabaret Scenes
Brian Stokes Mitchell, with Adrienne Warren (fourth from left), Billy Porter, Audra McDonald and ensemble.
Photo: Julieta Cervantes
The current theater season rockets to a rousing, vivacious, rhythmic finale with Shuffle Along, or the Making of the Musical Sensation of 1921 and All That Followed, a tap-dancing romantic documentary that speeds along for almost three hours. It is a high caliber slice of theater history, packed with details, punctuated with big names, embroidered by style and driven by energy that never stops.
Yet, the driving plot leaves you slightly dizzy. Just as you are introduced to one musical legend, the production has moved on. As the title indicates, the conceit is not only about Shuffle Along in 1921, the first all-African-American theater production of the 20th century, but also the trend of African-American musical theater to come. This was a challenge, but playwright-director George C. Wolfe took it on, re-created the plot and enticed leading Broadway glitterati of today to play some of the great musical legends of the era.
For 90 minutes, the first act is a blockbuster backstory of the landmark musical Shuffle Along, which was originally scripted, produced and narrated by two ex-vaudevillians, F.E. Miller (Brian Stokes Mitchell) and Aubrey Lyles (Billy Porter). They partner up with composer Eubie Blake (Brandon Victor Dixon) and lyricist Noble Sissle (Joshua Henry) and Savion Glover’s choreography ignites their songs. Wolfe set up a fictional romance between Blake and the diva of the play-within-the-play, Lottie Gee, who is played by glamorous and sensationally multi-talented Audra McDonald.
Performing the songs of Sissle and Blake are the leads as well as The Harmony Kings, the Jazz Jasmines, the Dancin’ Boys, the Jimtown Flappers and Dancing Waiters. Wide-eyed Annette Warren is a charmer as Gertrude Saunders and later Florence Mills. Amber Iman plays Eva, Mattie Wilkes and Madame-Madame. Glover (Bring in ‘da Noise, Bring in ‘da Funk) designed a miraculous panoply of rhythm tap and acrobatic leaps and twists that start right out with an exhilarating “Broadway Blues.” The frantic “Pennsylvania Graveyard Shuffle” features plucky dancers laden with suitcases speeding through Pennsylvania toward New York. Another dazzling number proves that Shuffle Along finally made it, as Miller, Lyles, Blake and Sissle parade in high finery into a bright red convertible.
In between, the romance between Lottie and Eubie blooms, struggles and fades. If many of the Sissle and Blake songs are not well remembered today, McDonald delivers some knock-out renditions. Ending Act One is Lottie’s come-hither tease, “Daddy, Won’t You Please Come Home,” and she joins the company for “I’m Just Wild About Harry.” She is later splendid with “Memories of You.”
McDonald portrays Lottie’s refined demeanor, and costume designer Ann Roth dresses her in glamorous furs and graceful dresses plus a pair of white flowing pants that shows off Lottie’s sassier sides, her sex appeal and sharp comic timing. Brandon Victor Dixon is a likeable and impressive Eubie and he partners smoothly with Joshua Henry’s elegant Noble. As the show’s commanding narrators, Brian Stokes Mitchell and appealing Billy Porter do not have enough individual musical moments, although Porter sings a blistering “Low Down Blues.” Uncomfortable is the duo’s re-enactment of how they had to apply blackface in their vaudeville days. Brooks Ashmanskas ably takes on all the white roles, including Carl Van Vechten’s discouraging comments.
By the second act, the momentum slows. Successes fade and the partners move on their way. While the act is disappointing, a touching finale salutes the African-American theater entertainers who inspired others yet to come and, one by one, everyone relates his or her personal post-Shuffle Along story.
Unfortunately, while cramming so much history into the production, some of the personal stories of the era were cut out. Nevertheless, congratulations are well deserved by George C. Wolfe and his stellar cast for recalling with such class this rich story of theater history and its racial barriers.
Santo Loquasto created imaginative sets enhanced by Jules Fisher and Peggy Eisenhower’s lighting.
Category: Broadway Reviews, Musical Theatre Reviews, New York City, New York City Musical Theatre Reviews, Regional
