Read Online Jews on Broadway: An Historical Survey of Performers, Playwrights, Composers, Lyricists and Producers by Stewart F. Lane - Free Book Online Page A
Authors: Stewart F. Lane
Tags: Drama, United States, General, History, 20th Century, Theater, New York, New York (State), Performing Arts, Jewish, Jews in Popular Culture - United States, Theater - New York (State) - New York - History - 20th Century, Jewish Entertainers, Jews in Popular Culture, Jewish Entertainers - New York (State) - New York - History - 20th Century, Musicals - New York (State) - New York - History - 20th Century, Musicals, Broadway (New York; N.Y.), Jews in the Performing Arts, Jews in the Performing Arts - New York (State) - New York - History - 20th Century
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1908. Cantor would be a comic regular on the Broadway revues, working with performers of all ethnic backgrounds, such as W.C. Fields and Will Rogers, among others. Brice, a staple of the Follies, would become a show favorite through both her comedy and song, including “Second Hand Rose,” playfully lamenting her early years in the Jewish ghetto. On one particular night, Brice added an unexpected twist to the show. After being accused by co-star Lillian Lorraine of trying to steal her boyfriend, the two performers began brawl-ing in the wings of the theater. The fight culminated with Brice knocking Lorraine to the ground and dragging her by the hair across the stage to a stunned, but amused, audience. No, not even the shocked Ziegfeld himself dared to even attempt to work the scene into the regular show.
For Cantor, Brice and Bayes, the transformation from second-generation immigrants to mainstream entertainers was complete. They never lost sight of their Jewish roots or heritage, as exemplified by Brice, who after a few years away from the Follies returned as The Yiddish Bride .
Jewish performers were now accepted into the mainstream entertainment community as part of Ziegfeld’s world, a world that turned a 40
2. Part of the Melting Pot
blind eye toward ethnic and racial discrimination. In fact, Ziegfeld refused to cave under pressure to oust Bert Williams from the Follies.
Wil liams was the first African American to co-star with white performers on the Broadway stage, and Ziegfeld held firm that whoever did not want to work with him did not have to be part of the show. Few, if any, performers left.
Sophie Tucker was also in the Follies for a short time, but left, reportedly over disputes regarding her songs and her billing. Ed Wynn was also one of the notable Jewish performers who gained attention in the Follies. Meanwhile, the music was supplied by a variety of songwriters including Irving Berlin, while a 19-year-old piano player named Gershwin accompanied rehearsals in later renditions of the ongoing show.
One notable exception, who was not part of the Ziegfeld universe, was arguably the most highly acclaimed performer of the era, Al Jolson.
In 1908, Jolson left vaudeville to become part of a successful traveling min strel troupe, which drew rave reviews when they hit New York. It was at this point that Ziegfeld asked Jolson to audition for his upcoming Follies. Jolson, however, refused to audition for anyone. This was the beginning and end of his connection with the long-running follies.
Nonetheless, the Shubert Brothers had other plans for Jolson to make his Broadway debut.
THE SHUBERTS BRING JOLSON TO BROADWAY
It was a lavish Broadway production entitled La Belle Paree in 1911
that brought Jolson to Broadway at the new Winter Garden Theatre.
After an inauspicious start, the show, trimmed from a painful four hours to a more manageable three, was also rearranged to feature more Jolson, In fact, over time, his comedy and music took center stage. And that was just the beginning. Jolson would go on to star in a number of Broadway shows, including Vera Violetta , The Honeymoon Express , Robinson Crusoe Jr . and perhaps the best known, Sinbad , in 1918. All of the shows, featuring Jolson in blackface, became vehicles to showcase the star’s talent, which continued to grow until the Shuberts began billing Jolson as
“America’s Greatest Entertainer,” which at the time he had arguably become.
Jolson would have more than a light hand in each show, rewriting 41
Jews on Broadway
scripts and lyrics, while launching into musical numbers that weren’t initially even part of the show. Much to the chagrin of the playwright, librettist or the remaining cast, he would typically ask the audience if they wanted to see more of the show, or hear him sing. They would typically opt for more of Jolson. His command of the stage and the sheer presence and magnetism of Jolson would influence numerous performers for
For Cantor, Brice and Bayes, the transformation from second-generation immigrants to mainstream entertainers was complete. They never lost sight of their Jewish roots or heritage, as exemplified by Brice, who after a few years away from the Follies returned as The Yiddish Bride .
Jewish performers were now accepted into the mainstream entertainment community as part of Ziegfeld’s world, a world that turned a 40
2. Part of the Melting Pot
blind eye toward ethnic and racial discrimination. In fact, Ziegfeld refused to cave under pressure to oust Bert Williams from the Follies.
Wil liams was the first African American to co-star with white performers on the Broadway stage, and Ziegfeld held firm that whoever did not want to work with him did not have to be part of the show. Few, if any, performers left.
Sophie Tucker was also in the Follies for a short time, but left, reportedly over disputes regarding her songs and her billing. Ed Wynn was also one of the notable Jewish performers who gained attention in the Follies. Meanwhile, the music was supplied by a variety of songwriters including Irving Berlin, while a 19-year-old piano player named Gershwin accompanied rehearsals in later renditions of the ongoing show.
One notable exception, who was not part of the Ziegfeld universe, was arguably the most highly acclaimed performer of the era, Al Jolson.
In 1908, Jolson left vaudeville to become part of a successful traveling min strel troupe, which drew rave reviews when they hit New York. It was at this point that Ziegfeld asked Jolson to audition for his upcoming Follies. Jolson, however, refused to audition for anyone. This was the beginning and end of his connection with the long-running follies.
Nonetheless, the Shubert Brothers had other plans for Jolson to make his Broadway debut.
THE SHUBERTS BRING JOLSON TO BROADWAY
It was a lavish Broadway production entitled La Belle Paree in 1911
that brought Jolson to Broadway at the new Winter Garden Theatre.
After an inauspicious start, the show, trimmed from a painful four hours to a more manageable three, was also rearranged to feature more Jolson, In fact, over time, his comedy and music took center stage. And that was just the beginning. Jolson would go on to star in a number of Broadway shows, including Vera Violetta , The Honeymoon Express , Robinson Crusoe Jr . and perhaps the best known, Sinbad , in 1918. All of the shows, featuring Jolson in blackface, became vehicles to showcase the star’s talent, which continued to grow until the Shuberts began billing Jolson as
“America’s Greatest Entertainer,” which at the time he had arguably become.
Jolson would have more than a light hand in each show, rewriting 41
Jews on Broadway
scripts and lyrics, while launching into musical numbers that weren’t initially even part of the show. Much to the chagrin of the playwright, librettist or the remaining cast, he would typically ask the audience if they wanted to see more of the show, or hear him sing. They would typically opt for more of Jolson. His command of the stage and the sheer presence and magnetism of Jolson would influence numerous performers for
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