For the 1891 musical of the same name, see Sinbad Sinbad is a Broadway musical with a book and lyrics by Harold R. Atteridge and music by Sigmund Romberg, Al Jolson and others. Jolson plays a porter in old Bagdad where he meets a series of characters from the Arabian Nights, including Sinbad, he is transported to various exotic settings. The musical was produced by Lee Shubert and J. J. Shubert and staged by J. C. Huffman and J. J. Shubert. After a tryout in New Haven, the Broadway production opened on February 14, 1918 at the Winter Garden Theatre, where it ran for 164 performances; the cast included Kitty Doner, Constance Farber and Forrest Huff. This show was a “musical comedy” with little purpose other than to provide a vehicle for Jolson, who sang specialty songs that were written for him by himself and others, while Romberg's songs held the show together; as with Jolson’s previous shows, songs were interpolated during the run and for the national tour, which ran for nearly two years. At a Long Island country club, Nan Van Decker, a wealthy socialite, struggles to choose which of two men to entrust with a financial matter.
She consults a crystal ball, the ball reveals to her exotic Arabian scenes and people, including Inbad the porter and a middle-eastern version of the Long Island valet, Gus. Fantasy sequences follow, Inbad meets a series of characters from the Arabian Nights, including Sinbad the Sailor. Music by Romberg and lyrics by Atteridge, except as otherwise indicated: Sinbad at the Internet Broadway Database Sinbad at Ovrtur.com, listing interpolated songs
Louis "Lou" Silvers was an American film score composer whose work has been used in more than 250 movies. In 1935, he won an Academy Award for Best Original Score for One Night of Love. Born in New York City, Silvers scored a D. W. Griffith film with sound sequences Dream Street and the part-talking feature film The Jazz Singer, he was music director for Lux Radio Theater for most of its long run. He is the composer of "April Showers". Silvers was married to Janet Adair. On March 26, 1954, Silvers died of a heart ailment in California. Sonny Boy No Greater Glory A Message to Garcia Private Number Wright, H. Stephen. Keeping Score. Film and Television Music, 1980–1988. With Additional Coverage of 1921–1979, Metuchen, N. J. Scarecrow Press, 1991. Louis Silvers on IMDb Louis Silvers at Find a Grave
J. C. Huffman
Jesse C. Huffman was an American theatrical director. Between 1906 and 1932 he directed or staged over 200 shows for the Shubert Brothers. Many of them were musical musicals or operettas, he is known for The Passing Show series of revues that he staged from 1914 to 1924 at the Winter Garden Theatre on Broadway, daring alternatives to the Ziegfeld Follies. Jesse C. Huffman was born in Bowling Green, Ohio, in 1869, his father had been a general in the American Civil War. Huffman became a boy actor at the age of twelve, he became stage director for the Harry Davis Stock Company in Pittsburgh, Pennsylvania. He was introduced to the New York theater scene by the actor Richard Mansfield. Huffman soon showed he had a talent as a director of book musicals with loose plots, of musical revues. In 1911 Huffman was made general director for the shows staged by the Shubert brothers in New York and on the touring circuit; the Shuberts had the largest chain of theaters in the USA. Shows would first be played on Broadway, sometimes for just one day at the Ambassador Theatre so they could be advertised as "direct from Broadway" sent on the road.
The Shuberts arranged shows on a production line system. Sigmund Romberg arranged the music. Huffman was responsible for The Passing Show series of revues from 1914 to 1924; the Shuberts first staged The Passing Show in 1912 in competition with the Ziegfeld Follies. Extravagant musical numbers and comedy sketches were linked into an overall narrative; the Shubert staff writer Harold Atteridge prepared the book for the Passing Show of 1914, continued with several subsequent shows. Huffman was credited with staging the revue, which meant he handled overall direction, including blocking, was involved in set design and lighting; the Passing Show continued to compete with the Follies into the 1920s, offering a more risqué alternative where the girls came closer to being nude. The last Passing Show ran for 106 performances. Huffman was director, other Shubert staff including Romberg and Barret supplied music and sets; the show featured the song Nothing Naughty in a Nightie. In February 1914 Huffman drew praise for the modern stage settings used for Percy MacKaye's fantastic romance A Thousand Years Ago.
Huffman directed Al Jolson vehicles such as Robinson Crusoe, Jr. Sinbad and Big Boy. Huffman was involved in many other Shubert musicals revues. In 1922 he staged Make It Snappy, a revue that starred Eddie Cantor; this was one of the "miscellaneously titled collations of froth" used to fill the Winter Garden Theatre while The Passing Show was away. As the Roaring Twenties progressed, shows became more daring. Huffman acquiesced in J. J. Shubert's demand that the girls in the 1923 revue Models show their bare breasts. There were two nude scenes in this show, drawing comment from the local papers. One critic wrote, "Never before in an American revue has a similar degree of nudity been obtained." Out of town papers described the show in considerable detail. The show reopened the Winter Garden on 15 November 1927, staged by Huffman, with arrangements of one hundred nude chorus girls as a bracelet and as a cathedral, it ran for nineteen weeks. In the 1920s Huffman directed many operettas for the Shuberts.
These included The Rose of My Maryland, The Circus Princess and Countess Maritza. Other original Broadway productions of operettas included The Student Prince; the operetta Blossom Time, with music by Franz Schubert arranged by Sigmund Romberg and lyrics and book by Dorothy Donnelly, opened at the Ambassador Theatre in New York on 29 September 1921 and ran for 592 performances. Huffman was the director; this was the second longest running musical of the 1920s. At one point Blossom Time was running at the Shubert Theatre and at the 44th Street Theatre; the Student Prince in Heidelberg had music by Sigmund Romberg and book and lyrics by Dorothy Donnelly, based on the play Old Heidelberg by Rudolf Bleichman. The show, directed by Huffman, opened at Jolson's 59th Street Theatre in New York on 2 December 1924, ran for 608 performances; the Student Prince opened at His Majesty's Theatre in London on 3 February 1926, again directed by Huffman, ran for 96 performances. It was the longest-running musical of the 1920s.
Huffman directed shows into the start of the 1930s. Nina Rosa, a musical play, ran for 137 performances at the Majestic Theatre in New York from 20 September 1930 to 17 January 1931. Lee and J. J. Shubert produced the show, Huffman was credited with staging the entire production. Busby Berkeley said he had worked on the show, but was not credited due to a disagreement with the Shuberts. Jesse C. Huffman died in 1935, it has been estimated that he staged over 200 shows during his career. Broadway shows directed or staged by Huffman included
The Passing Show of 1918
The Passing Show of 1918 is a Broadway musical revue featuring music of Sigmund Romberg and Jean Schwartz, with book and lyrics by Harold R. Atteridge; the show introduced the hit songs "I'm Forever Blowing Bubbles" and "Smiles". Staged by J. C. Huffman and choreographed by Jack Mason, the show debuted at the Winter Garden Theater on July 25, 1918. Playing for 142 performances, it closed on November 9 of the same year; the show was produced by Jacob J. Shubert; the production featured an early appearance of Fred Astaire. The New York Times called it "rattling good entertainment" and praised the "vaudeville team" of Fred and Adele Astaire, as well as the brothers Willie and Eugene Howard; the original The Passing Show was presented in 1894 by George Lederer at the Casino Theatre. It featured spoofs of theatrical productions of the past season, it led the fashion for such productions. The Casino Theatre produced a revue each summer thereafter for several seasons. In 1912, Lee and Jacob J. Shubert began an annual series of twelve elaborate Broadway revues at the Winter Garden Theatre, using the name The Passing Show of 19XX, designed to compete with the popular Ziegfeld Follies.
They featured libretti by Atteridge and music by Romberg, George Gershwin or Herman Finck. Willie and Eugene Howard starred in many editions of the series and in the many editions of the George White's Scandals. Other stars included Charlotte Greenwood, Marilyn Miller, Ed Wynn, De Wolf Hopper, Charles Winninger, Fred Astaire and his sister Adele, Marie Dressler, Fred Allen, George Hassell, Violet Englefield. Most of the Shubert shows, including the 1918 show, were staged by J. C. Huffman; the revue was structured into thirteen scenes, tied together by parodies of the previous season's shows including The Squab Farm. Act 1I Can't Make My Feet Behave War Stamps My Baby Talking Girl Go West, Young Girl Trombone Jazz My Vampire Girl Squab Farm The Shimmy Sisters On the Level, You're a Devil, But I'll Soon Make An Angel Out of You Serenade Bring on the GirlsAct 2Twit, Twit My Holiday Girls Quick Service Galli Curci Rag Smiles I'm Forever Blowing Bubbles My Duchess of the Long Ago Boots Dress, Dress The Passing Show of 1916 The Passing Show of 1918 on Internet Broadway Database
Lew Brown was a lyricist for popular songs in the United States. During World War I and the Roaring Twenties, he wrote lyrics for several of the top Tin Pan Alley composers Albert Von Tilzer. Brown was one third of a successful songwriting and music publishing team with Buddy DeSylva and Ray Henderson from 1925 until 1931. Brown wrote or co-wrote many Broadway shows and Hollywood films. Among his most-popular songs are "Button Up Your Overcoat", "Don't Sit Under the Apple Tree", "Life Is Just a Bowl of Cherries", "That Old Feeling", "The Birth of the Blues". Brown was born December 1893, in Odessa, Russian Empire, part of today's Ukraine; when he was five, his family settled in New York City. He attended DeWitt Clinton High School but, at the suggestion of a teacher, he left to pursue his songwriting career without graduating. Lew Brown was married first to Sylvia Fiske to Catherine "June" Brown until his death, he had two daughters from Naomi Brown Greif and Arlyne Brown Mulligan. The latter was married to the prominent jazz saxophonist Gerry Mulligan.
Brown started writing for Tin Pan Alley in 1912 and collaborated with established composers, like Albert Von Tilzer. Two of their well-known works that year were " Kentucky Sue" and "I'm the Lonesomest Gal in Town". Brown wrote a string of popular World War I songs during 1914–1918, teaming with Von Tilzer, Al Harriman, other composers. In 1925, Brown formed his most-successful songwriting partnership with Buddy DeSylva and Ray Henderson, their cheerful hits, such as "Button Up Your Overcoat" and "The Birth of the Blues", earned lasting appreciation for "the rich variety of verbal mosaics" and "the suggestive imagery, their trademark". DeSylva left in 1931 but Brown and Henderson continued scoring Broadway shows. Brown worked with other composers, like Sammy Fain. "Brown in 1939 estimated that he had written or collaborated on about 7,000 songs."Brown wrote the lyrics to "Don't Sit Under the Apple Tree", which appeared in the film Private Buckaroo. Recordings by Glenn Miller and by the Andrews Sisters popularized the song with World War II soldiers and radio audiences.
Not long after this hit, Brown retired from songwriting. Brown and Fain's "That Old Feeling". "Don't Sit Under the Apple Tree" was inducted into the Grammy Hall of Fame. Von Tilzer, DeSylva and Henderson were all included in the inaugural class of the Songwriters Hall of Fame; the DeSylva and Henderson songwriting team was the subject of the 1956 musical biopic: The Best Things in Life Are Free. Brown was portrayed by Ernest Borgnine. Brown died of a heart attack at home in New York City on February 5, 1958. Cecil Mack and Lew Brown, "Shine". Music: Ford Dabney. 1910. Albert Von Tilzer and Lew Brown. " Kentucky Sue". New York: The York Music Co. 1912. OCLC 16992118 Albert Von Tilzer and Lew Brown. "I'm The Lonesomest Gal In Town". New York: The York Music Co. 1912. Edgar Leslie and Lew Brown. "They Start in to Battle Again". New York, 1914. Albert Von Tilzer and Lew Brown. "Au Revoir But Not Good Bye, Soldier Boy". Broadway Music, 1917. OCLC 459552706 Albert Von Tilzer and Lew Brown. "I May Be Gone for a Long, Long Time".
Broadway Music, 1917. OCLC 20119729 Albert Von Tilzer, Charles McCarron, Lew Brown. "What Kind of an American are You?". Broadway Music, 1917. OCLC 72437572 Darl MacBoyle and Lew Brown. "Since Johnny Got His Gun". Music: Albert Von Tilzer. New York, 1917. "I'll Come Back to You When It's All Over". Music: Kerry Mills. 1917. Al Harriman and Lew Brown. "I'm Writing to You, Sammy". New York, 1917. Al Harriman and Lew Brown. "I Can't Stay Here While You're Over There". New York, 1918. Lew Brown and Al Harriman. "I Wonder What They're Doing To-Night". Music: Jack Egan. New York, 1918. Al Harriman and Lew Brown. "We'll Do Our Share". Music: Jack Egan. New York, 1918. Will Clayton and Lew Brown. " Little Girl". New York, 1918. Albert Von Tilzer and Lew Brown. "I May Stay Away a Little Longer". New York, 1918. Albert Von Tilzer and Lew Brown. "Oh By Jingo!" 1919. Max Friedman, Lew Porter and Lew Brown. "Tillie Don't Be So Silly". New York, 1919. Albert Von Tilzer and Lew Brown. "Dapper Dan", 1921. "Last Night on the Back Porch". Music: Carl Schraubstader.
1923. Lew Brown and Sidney Clare. "Then I'll Be Happy". Music: Cliff Friend. 1925. Buddy DeSylva and Lew Brown. "The Birth of the Blues". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "It All Depends on You". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "Lucky Day". Music: Ray Henderson. 1926. Buddy DeSylva and Lew Brown. "The Best Things in Life Are Free". Music: Ray Henderson. 1927. Buddy DeSylva and Lew Brown. "So Blue". Music: Ray Henderson. 1927. Buddy DeSylva and Lew Brown. "The Varsity Drag". Music: Ray Henderson. 1927. OCLC 223326831 Buddy DeSylva and Lew Brown. "Button Up Your Overcoat". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "You're the Cream in My Coffee". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "Sonny Boy". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "Together". Music: Ray Henderson. 1928. Buddy DeSylva and Lew Brown. "I'm A Dreamer, Aren't We All?". Music: Ray Henderson. 1929. Buddy DeSylva and Lew Brown. "Sunny Side Up". Music: Ray Henderson. 1929. Buddy DeSylva and Lew Brown.
"One More Time". Music: Ray Henderson. 1931. "Life Is Just a Bowl of Cherries". Music: Ray Henderson. 1931. "That's Why Darkies Were Born". Music: Ray Henderson. 1931. "Stand Up and Cheer". Music: Harry Akst. 1934. "That Old Feeling". Mus
Al Jolson was a Russian-born American singer and actor. At the peak of his career, he was dubbed "The World's Greatest Entertainer", his performing style was brash and extroverted, he popularized many songs that benefited from his "shamelessly sentimental, melodramatic approach." In the 1920s, Jolson was America's most highest-paid entertainer. Although best remembered today as the star of the first talking picture, The Jazz Singer, he starred in a series of successful musical films during the 1930s. After the attack on Pearl Harbor, he was the first star to entertain troops overseas during World War II. After a period of inactivity, his stardom returned with The Jolson Story, for which Larry Parks played Jolson, with the singer dubbing for Parks; the formula was repeated in Jolson Sings Again. In 1950, he again became the first star to entertain GIs on active service in the Korean War, performing 42 shows in 16 days, he died weeks after returning to the U. S. owing to the physical exertion of performing.
Defense Secretary George Marshall posthumously awarded him the Medal of Merit. According to music historian Larry Stempel, "No one had heard anything quite like it before on Broadway." Author Stephen Banfield wrote that Jolson's style was "arguably the single most important factor in defining the modern musical". Jolson has been dubbed "the king of blackface" performers, a theatrical convention since the mid-19th century. With his dynamic style of singing jazz and blues, he became successful by extracting traditionally African-American music and popularizing it for white American audiences who were otherwise not receptive to the originators. Despite his promotion and perpetuation of black stereotypes, his work was sometimes well-regarded by black publications and he has sometimes been credited for fighting against black discrimination on Broadway as early as 1911. In an essay written in the 21st century, Ted Gioia of the Jim Crow Museum of Racist Memorabilia remarked, "If blackface has its shameful poster boy, it is Al Jolson", showcasing Jolson's complex legacy in American society.
Al Jolson was born Asa Yoelson in the Jewish village of Srednike now known as Seredžius, near Kaunas in Lithuania part of the Russian Empire. He was the youngest child of Nechama "Naomi" and Moses Rubin Yoelson. Jolson did not know his date of birth, as birth records were not kept at that time in that region, he gave his birth year as 1885. In 1891, his father, qualified as a rabbi and cantor, moved to New York City to secure a better future for his family. By 1894, Moses Yoelson could afford to pay the fare to bring Nechama and their four children to the U. S. By the time they arrived—as steerage passengers on the SS Umbria arriving at the Port of New York on April 9, 1894—he had found work as a cantor at Talmud Torah Congregation in the Southwest Waterfront neighborhood of Washington, D. C. where the family was reunited. Jolson's mother, died at 37 in early 1895, he was in a state of withdrawal for seven months, he spent time at the St. Mary's Industrial School for Boys, a progressive reformatory/home for orphans run by the Xaverian Brothers in Baltimore.
After being introduced to show business in 1895 by Al Reeves and Hirsch became fascinated by it, by 1897 the brothers were singing for coins on local street corners, using the names "Al" and "Harry". They used the money to buy tickets to the National Theater, they spent most of their days working different jobs as a team. In the spring of 1902, Jolson accepted a job with Walter L. Main's circus. Although Main had hired him as an usher, Main was impressed by Jolson's singing voice and gave him a position as a singer during the circus's Indian Medicine Side Show segment. By the end of the year, the circus had folded and Jolson was again out of work. In May 1903, the head producer of the burlesque show Dainty Duchess Burlesquers agreed to give Jolson a part in one show, he performed "Be My Baby Bumble Bee", the producer agreed to keep him, but the show closed by the end of the year. He avoided financial troubles by forming a vaudeville partnership with his brother Hirsch, a vaudeville performer known as Harry Yoelson.
The brothers worked for the William Morris Agency. Jolson and Harry formed a team with Joe Palmer. During their time with Palmer, they were able to gain bookings in a nationwide tour. However, live performances were falling in popularity. While performing in a Brooklyn theater in 1904, Jolson began performing in blackface, which boosted his career, he began wearing blackface in all of his shows. In late 1905, Harry left the trio after an argument with Jolson. Harry had refused his request to take care of Joe Palmer, in a wheelchair. After Harry's departure and Palmer worked as a duo but were not successful. By 1906 they agreed to separate, Jolson was on his own, he became a regular at the Globe and Wigwam Theater in San Francisco and was successful nationwide as a vaudeville singer. He took up residence in San Francisco, saying the earthquake-devastated people needed someone to cheer them up. In 1908 Jolson, needing money for himself and his new wife, returned to New York. In 1909, his singing caught the attention of Lew Dockstader, the producer and star of Dockstader's Minstrels.
Jolson accepted Dockstader's offer and became a blackface perf
Maytime is a musical with music by Sigmund Romberg and lyrics and book by Rida Johnson Young, with additional lyrics by Cyrus Wood. The story is based on the 1913 German operetta Wie einst im Mai, composed by Walter Kollo, with words by Rudolf Bernauer and Rudolph Schanzer; the story, set in New York, is told in episodes covering a long period, from 1840 to the 20th century. Wealthy young Ottillie is in love with Dick. Years their descendants marry. Maytime introduced songs such as "The Road to Paradise", "Will You Remember?" and "Jump Jim Crow". The musical ran on Broadway from 1917 to 1918, it was the second longest-running book musical in the 1910s, it established Romberg as one of the leading creators of operettas. The beautiful Ottilie van Zandt is the daughter of a wealthy colonel, she loves Richard "Dick" Wayne, the son of her father's foreman, but her father wishes her to marry her cousin, a drunken libertine. Dick travels and becomes a success, but when he returns, he finds his beloved betrothed, so he marries another woman.
After many years, both are single again. Dick saves Ottilie from bankruptcy by purchasing her home. Still the couple's grandchildren meet and marry happily; the original Broadway production opened at the Shubert Theatre on August 16, 1917, moved to the 44th Street and Lyric Theatres, running for a total of 492 performances. It starred Peggy Wood and Charles Purcell and featured Ralph Herbert, William Norris and Gertrude Vanderbilt; the New York Times gave the show a rave review, saying that it had "delicate charm" and blended "the tragedy of the individual" with "the eternal comedy of living". Ohio Light Opera revived the musical in 2005, with a book revised by Steven Gaigle, it released a recording of the musical the same year. Act 1In Our Little Home, Sweet Home – Ottillie and Richard Wayne It's a Windy Day at the Battery – Matthew Van Zandt, Alice Tremaine and Girls Gypsy Song – Rudolfo Will You Remember? – Signor Vivalla, Dicky Wayne and RichardAct 2Jump Jim Crow – Matthew and Chorus The Road to Paradise – Ottillie and Matthew Spanish Dance – Estrella Amorita Will You Remember?
– Signor Vivalla, Ottillie and RichardAct 3Odd Lots, Job Lots – Ensemble Reminiscence – Little Dick WayneAct 4Selling Gowns – Ottillie and Girls Dancing Will Keep You Young – Ermintrude D'Albert and Matthew Only One Girl for Me – Dicky and Girls Will You Remember? – Signor Vivalla, Ottillie and Richard Act 1 - 1840 - The Van Zandt home in Washington Square, New York City. John Wayne, Colonel van Zandt, Richard Wayne, Mathilda van Zandt, Alice Tremaine, Claude van Zandt, Matthew van Zandt, Rudolfo Act 2 - 1855 - Mme. Delphine's Night Club. Madame Delphine, Stuyvesant, Claude van Zandt, Matthew van Zandt, P. T. Barnum, Estrella Amorita, Signor Vivalla, Ottillie van Zandt, Alice Tremaine, Richard Wayne Act 3 - In the 1880s - The Back Parlor of the Van Zandt house in Washington Square. Madame Delphine, Matthew van Zandt, Little Dick Wayne, Richard Wayne, John Rutherford, Mr. Hicks, Ottillie Act 4 - Twentieth Century - Mlle. Brown's Dressmaking Establishment. Ottillie, Letty, Ermintrude d'Albert, Winifred St. Albans, Matthew van Zandt, Dicky Wayne Maytime was adapted to film twice, in 1923 and again in 1937.
The earlier version was thought to have been lost, but was found in 2009 in the New Zealand Film Archive and is undergoing restoration. The 1937 version, starring Jeanette MacDonald and Nelson Eddy, had score. Images from the original production: Score to Maytime