Shuffle Along (play)
"Shuffle Along" is a groundbreaking musical that made history as the first full-length production written, directed, and performed by African Americans to achieve major success on Broadway. Premiering in 1921, it played a significant role in revitalizing black musical theater and breaking racial barriers during a period when such opportunities were scarce. The story revolves around two grocers, Sam and Steve, who enter into a comical and corrupt mayoral race, ultimately leading to their ousting from power. The show features a lively score, including the iconic song "I'm Just Wild About Harry," which gained further fame when it was used by presidential nominee Harry S. Truman in his campaign.
The original cast included notable performers like Flournoy Miller and Aubrey Lyles, and the production introduced emerging talents such as Paul Robeson and Josephine Baker to Broadway. "Shuffle Along" not only ran for an impressive 504 performances before closing in 1922 but also toured successfully across the United States, drawing diverse audiences. Its success encouraged future generations of black composers and performers, establishing a legacy that influenced both black and white artists in the realm of musical theater. Ultimately, "Shuffle Along" stands as a pivotal work that reshaped the landscape of Broadway and provided new pathways for African American talent.
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Shuffle Along (play)
Identification: Musical about two grocers and their rise and subsequent fall in small-town politics
Authors: Music by Eubie Blake; lyrics by Noble Sissle
Date: 1921
Shuffle Along stands out as the first full-length musical written, directed, and performed by African Americans to become a major hit on Broadway. Subsequent renewed interest in black musical theater ended a ten-year unofficial moratorium, broke color barriers, and set the trend for the ensuing decade on Broadway. In 1948, presidential nominee Harry S. Truman would select the production’s hit song “I’m Just Wild About Harry” for his campaign.
After desperately trying to sell songs to disinterested publishers for five years, vaudeville partners James Hubert “Eubie” Blake and Noble Sissle decided to create a musical around their unwanted wares. The resulting musical, Shuffle Along, contained only three newly composed songs. Blake and Sissle convinced a white theater owner, John Court, to offer them the 63rd Street Theatre in New York City, and as was the custom at the time, the show went on a road tour before opening on Broadway.
The original cast included Blake and Sissle and starred Flournoy Miller, Aubrey Lyles, and Roger Matthews. During its run, Shuffle Along introduced singer Paul Robeson and dancer Josephine Baker to the Broadway stage. Notably, jazz performer Adelaide Hall and composer William Grant Still performed in the thirteen-piece band. The lively jazz-infused production became an instant hit with the public and saw an astonishing 504 shows before its close on Broadway on July 15, 1922. The show continued to perform throughout the country for another year, playing to mixed-race audiences.
The plot revolves around two grocers, Sam and Steve, who both run for mayor with the agreement that the winner will appoint his opponent chief of police. Sam wins the election and appoints Steve as agreed; however, their rule deteriorates into dishonesty, and their disagreements devolve into a humorous fight scene. An opposing candidate, Harry Walton, vows to end the pair’s corrupt rule, and the chorus sings, “I’m Just Wild About Harry.” In the end, Sam and Steve are ousted.
Impact
The unprecedented success of Shuffle Along legitimized the African American musical, became an inspiration for black composers and librettists who might have otherwise been discouraged to write for Broadway, and served as a model for white artists to write for all-black casts. The musical also changed perspectives and provided opportunities for performers such as Paul Robeson and Florence Mills to take on more important roles in integrated casts and for musicians such as Eubie Blake to write for white productions throughout the 1920s.
Bibliography
Kimball, Robert, and William Bolcom. Reminiscing with Noble Sissle and Eubie Blake. New York: Cooper Square Press, 2000.
King, Bobbi, et al. “A Legend in His Own Lifetime.” Black Perspective in Music 1 (Fall, 1973): 151–156.
Southern, Eileen. The Music of Black Americans: A History. 3d ed. New York: W. W. Norton, 1997.