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2), Sleeping Beauty and the Beast ( 1901-2), Sally in Our Alley ( 1902), Nancy
Brown ( 1903), An English Daisy ( 1904), and ten editions of the Ziegfeld Follies
( 1910-22). White librettists, composers, and lyricists created such memorable
shows for black performers as the famous Blackbirds revues ( 1926, 1928, 1930,
1933, and 1939), Four Saints in Three Acts ( 1934), Porgy and Bess ( 1935-36),
Cabin in the Sky ( 1940-41), Carmen Jones ( 1943-46), Lost in the Stars ( 1949-
50), House of Flowers ( 1954-55), Mr. Wonderful ( 1956), and Jamaica ( 1957-
58). Blacks and whites collaborated in the creation of such Broadway shows as
Early to Bed ( 1943-44), St. Louis Woman ( 1933, 1935, 1946), Beggar's Holiday
( 1946-47), Street Scene ( 1947), Purlie ( 1970-74), Raisin ( 1973-81), and The
Wiz ( 1975-76). Black stars have shone brightly in such otherwise predominantly-
white shows as The Gold Bug ( 1896), As Thousands Cheer ( 1933), At Home
Abroad ( 1935), Golden Boy ( 1964-65), Jesus Christ Superstar ( 1971-73), Two
Gentlemen of Verona ( 1973), and Big River ( 1985-89). And, finally, blacks
have independently created, produced, and performed in such successful all-
black shows as Clorindy, The Origin of the Cakewalk ( 1898), Silas Green from
New Orleans (c. 1903-c. 1953), Abyssinia ( 1906-7), The Darktown Follies
( 1910-16), Shuffle Along ( 1921-23), Liza ( 1922-24), Runnin' Wild ( 1923-25),
The Chocolate Dandies ( 1924-25), Africana ( 1927), Run, Little Chillun! ( 1933,
1938-39), Hot Chocolates ( 1929), Simply Heavenly ( 1957-59), Ballad for Bim-
shire ( 1963), Don't Bother Me, I Can't Cope ( 1970-73), Ain't Supposed to Die
a Natural Death ( 1971-72), Bubbling Brown Sugar ( 1975-78), Mama, I Want
to Sing ( 1980-91), and Jelly's Last Jam ( 1992).The aim of the writer in compiling this encyclopedia has been toward inclu-
siveness, and unlike many other reference books of a similar nature, wide latitude
has been used in choosing shows for inclusion. With the single exception of
minstrel shows, all other types of musical shows produced since the 1870s are
fully represented: tent and outdoor shows, vaudeville (or variety) shows, oper-
ettas, operas, musical comedies and farces, musical plays, musical spectacles,
revues, cabaret and nightclub shows, children's musicals, musical skits and one-
act musicals, retrospectives of early black music and musicians, one-man and
one-woman shows, dance revues, and even a musical without songs!Aiming at inclusiveness, the author has adopted three entry styles: Long entries
of several paragraphs mark the most important and noteworthy shows, especially
those significant in the history of the black American musical stage. Entries for
the majority of shows consist of one full paragraph, providing, wherever possible,
succinct but relatively complete information. Shows for which only scant in-
formation has been located are identified in short entries of one or two sentences.Depending upon information available, the following format is loosely fol-
lowed for each type of musical stage work included in this encyclopedia:
1. Present tite of musical. If the title is in a foreign language, or in dialect, the standard
English equivalent is given in quotation marks, within parentheses.
2. Other titles by which the musical has been known, such as original title, revised
title, or alternate title.

-x-

Questia, a part of Gale, Cengage Learning. www.questia.com

Publication Information: Book Title: A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, or Involving African Americans. Contributors: Bernard L. Peterson Jr. - author. Publisher: Greenwood Press. Place of Publication: Westport, CT. Publication Year: 1993. Page Number: x.
    
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