Book contents
- The Year that Made the Musical
- Reviews
- The Year that Made the Musical
- Copyright page
- Dedication
- Contents
- Plates
- Figures
- Acknowledgements
- Chronology
- Abbreviations
- Part I From One Year to the Next
- Part II From Winter to Spring
- Part III From Summer to Autumn
- 9 Summertime Frolics
- 10 September Sensibilities
- 11 An Abundant Autumn
- 12 November Pairings
- Part IV From December Onwards
- Select Discography and Videography
- Permissions
- Select Bibliography
- Index
- Plate Section (PDF Only)
10 - September Sensibilities
from Part III - From Summer to Autumn
Published online by Cambridge University Press: 26 September 2024
- The Year that Made the Musical
- Reviews
- The Year that Made the Musical
- Copyright page
- Dedication
- Contents
- Plates
- Figures
- Acknowledgements
- Chronology
- Abbreviations
- Part I From One Year to the Next
- Part II From Winter to Spring
- Part III From Summer to Autumn
- 9 Summertime Frolics
- 10 September Sensibilities
- 11 An Abundant Autumn
- 12 November Pairings
- Part IV From December Onwards
- Select Discography and Videography
- Permissions
- Select Bibliography
- Index
- Plate Section (PDF Only)
Summary
On the first two days of September, two musicals opened that offered descriptions of different peoples of colour for white Broadway audiences: Sissle and Blake’s The Chocolate Dandies (African Americans); and Friml, Stothart, Harbach and Hammerstein’s Rose-Marie (Indigenous peoples of Canada). Problematic stereotypes were performed in both instances, though The Chocolate Dandies featured Josephine Baker and Elisabeth Welch in its cast. Musicals opening later in the month included a new edition of The Passing Show and George Gershwin’s musical written expressly for London, Primrose, with a book by Guy Bolton supervised by George Grossmith, Jr.
- Type
- Chapter
- Information
- The Year that Made the Musical1924 and the Glamour of Musical Theatre, pp. 139 - 156Publisher: Cambridge University PressPrint publication year: 2024