Arts and Culture

BOOK REVIEW: “Black Broadway: African Americans on the Great White Way”

Published

9 years ago

March 10, 2015

A remote control and five hundred channels.

That’s what you’ve got for entertainment, and there’s still nothing on TV. That doesn’t keep you from looking, though, and wishing for something different.

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Finding entertainment shouldn’t be such a big production – but in decades past, that’s exactly what it took for African Americans, in more ways than one. In the new book “Black Broadway” by Stewart F. Lane, you’ll find out why.

When William Alexander Brown decided to retire, he knew where he’d do it: in the two-story home he’d purchased in lower Manhattan.

It was 1821 and Brown, a free Black man, knew that there were few places for Black actors to perform for Black audiences, and he planned to allow performances there.

The popularity of those performances spurred Brown and a friend to “go a step further” with a 300-seat establishment they named the African Grove Theatre. It, too, was successful, until Brown was forced out of business by a local white theatre owner who feared competition.

Not long after the African Grove Theatre was closed, minstrel shows began attracting crowds of both races. Many shows featured white and Black entertainers in burnt-cork blackface, as well as comedy sketches and dancing – including many skits satirizing Black life and culture.

“It’s not clear,” says Lane, “why the African Americans of the era turned out to see” those shows – but they did, perhaps to laugh “at the absurdity of the caricatures…”

By the late 1800s, vaudeville and burlesque had become popular, and that added increasing diversity to shows. Black entertainers were often included on-stage, and entire productions were created with black troupes, for Black audiences.

White people, of course, were welcome and did attend; one theatre owner even gave them their own section… in the back of the house.

Throughout the years, African Americans – both performers and audience members – made strides, but slowly and with help from the NAACP and the Harlem Renaissance. By the 1930s, Broadway shows included racial issues; by the 1940s, interracial marriage was a common theme. In the 1950s, audiences enjoyed performances dealing with poverty and racism – but it wasn’t until well past the Civil Rights years that Black faces became a non-issue on the Great White Way.

Loaded with pictures, playbill reproductions, advertisements, and drawings, “Black Broadway” is a theatregoer’s delight.

But I was equally happy to see that there’s plenty for the historian, too: in addition to a rich narrative on equality for African Americans on Broadway (and off), author Stewart F. Lane includes a running timeline of national and world history to put the main body of this book into perspective.

We’re also treated to dozens of short-but-comprehensive profiles of influential performers and people who, though many haven’t graced a stage in decades, are still familiar to followers of theatre, jazz, dance, and music.

With all that’s inside this book, give yourself time to browse, read awhile, then browse again and enjoy. “Black Broadway” is perfect for fans of stage and screen and, of course, when there’s nothing on TV.

“Black Broadway: African Americans on the Great White Way ” by Stewart F. Lane, c. 2015, Square One Publishers, $39.95, 288 pages.

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Arts and Culture

Faces Around the Bay Dr. Carl Blake, Pianist

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999. One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Published

2 days ago

April 17, 2024

Oakland Post

Dr. Carl Blake

By Barbara Fluhrer

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999.

One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Blake obtained a Bachelor of Music from Boston University and continued post-baccalaureate studies in Jamaica before earning a Master of Arts in Music at San Jose State University. He was the recipient of two Fulbright residencies in Honduras and completed a third residency at the University of St. Petersburg in Russia. He has a Doctor of Musical Arts from Cornell University.

At age 19, Blake, then an undergraduate piano major at Boston University, was “discovered” by Impresario Dr. W. Hazaiah Williams, who is the Founder and Director of Today’s Artists/Four Seasons Arts.

Williams honored Blake by awarding him the first Marian Anderson Young Artist Award. Anderson personally presented the award at the Masonic Auditorium in S.F. Subsequently, Blake was presented by Dr. Williams in his San Francisco debut at The Herbst Theatre. Williams subsidized a year of study abroad for Blake at the Paris Conservatory of Music. Additionally, Williams sponsored Blake’s New York Weill Hall debut, where he has performed twice since. Blake performed several times at the Yachats Music Festival in Oregon.

Blake continues to perform nationally and abroad. His hobbies are reading, baking and travel. He says, “I’m still pumping ivories, as Belgian pianist Jeanne Stark described the disciplined practice of concert piano.”

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Arts and Culture

Oakland Jazz Great Offers Master Class as City Declares “John Handy Day”

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city. Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

Published

2 months ago

February 24, 2024

Oakland Post

(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.

By Conway Jones

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city.

Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

“John Handy is a jazz icon and an inspiration to musicians everywhere,” said Ayo Brame, a 16-year-old Oakland tenor saxophone player who is enrolled at the Oakland School for the Arts.

In celebration of this day, the reception in downtown Oakland at Geoffrey’s Inner Circle was a gathering of artists, young and old, coming together in his honor and celebrating his 91st birthday.

Handy presented a Saxophone Colossus free masterclass for musicians. This class afforded a rare opportunity to learn about the saxophone from an aficionado. The class was free and open to all – saxophonists, vocalists, aficionados, students, and casual listeners.

“As a longtime friend for over 60 years, and fellow musician who has had numerous opportunities to share the stage with John, it has always been a pleasure performing with him and hearing his creative interpretations of the music and his gift of ease inspiring the next generation of jazz musicians,” said Roger Glenn, a multi-instrumentalist.

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Arts and Culture

Musical Chronicling Life of Betty Reid Soskin Set for Bay Area Debut

Betty Reid Soskin’s storied 102 years includes time spent as a WWII defense worker, activist, business owner, songwriter, National Park Service park ranger and so much more. Now the Richmond icon is the subject of a musical based on her incredible life.

Published

2 months ago

February 24, 2024

Oakland Post

Betty Reid Soskin. Photo courtesy of Rosie the Riveter/WWII Home Front National Historical Park in Richmond.

The Richmond Standard

“Sign My Name to Freedom,” a San Francisco Bay Area Theatre Company (SFBATCO) production which will focus on the life, music and writing of Ms. Soskin, will premiere at San Francisco’s Z Space Friday, March 29 and continue through Saturday, April 13. Tickets range from $15–$65 and can be purchased online at https://www.sfbatco.org/smntf

The musical is directed by Elizabeth Carter, while playwright Michael Gene Sullivan integrates Ms. Soskin’s own music throughout dialogue between what SFBATCO calls “The Four Bettys” as they progress through a century of experiences of this awe-inspiring American woman.

The cast of “Sign My Name to Freedom” features Tierra Allen as Little Betty, Aidaa Peerzada as Married Betty, Lucca Troutman as Revolutionary Betty and Cathleen Riddley as Present Betty Reid Soskin, according to Artistic Director Rodney Earl Jackson Jr. and Managing Director Adam Maggio. Other casting will be announced in the future.

Jackson said that having Soskin’s blessing to steward her life’s story is an honor and career highlight for him and that her journey stands as “a beacon for Black Americans, women and people of color all across the world [and] is a testament to the strength of the human spirit.”