The Cotton Club Archives

Get Happy: Harold Arlen’s Early Years

01/25/2017

…Forget your troubles/Come on get happy/You better chase all you cares away… Harold Arlen’s American standard (lyrics – Ted Koehler) introduces an entertaining look at the composer’s oeuvre between 1930 and 1939, from that first hit song through his beloved (and favorite) movie musical, The Wizard of Oz. (lyrics – EY Harburg.)

Discouraged from being a cantor by his parents, Hyman Arluck (1905-1986) was, by 15, forming one band after another. Prominent among these was The Buffalodians on whom intrepid archivists of this show managed to find 1926 film. As we watch the enthusiastic youngsters, onstage, Vince Giordano and The Nighthawks play an infectious “Buffalo Rhythm.” (Arluck with Ivan Beaty, Marvin Smolev.)

“Get Happy”

The celebrated composer changed his name to Arlen while an accompanist in vaudeville. He had aspired to be a vocalist. (Later, we hear a bit of recorded croon.) From Arlen’s first show, You Said It (lyrics – Jack Yellen), Host Klea Blackhurst sassily sings “Sweet and Hot”: I don’t like highbrows/Who arch their eyebrows… Andy Stein’s terrific violin adds distinctive texture (throughout the evening).

Later, our host performs “Satan’s L’il Lamb” (lyrics – EY Harburg and Johnny Mercer) which was bumped from three films, but successfully recorded. Vocal is expansive without going too far, phrasing right on the money, arrangement sheer striptease. A professional in both theater and cabaret, Blackhurst draws in her audience rather than looking over our heads.

Catherine Russell

Unexpected success with “Get Happy” propelled Arlen into composing – at first – for revues at The Cotton Club. Catherine Russell delivers an as-if-we-were-there, cheeky, horn-centric rendition of “Between the Devil and the Deep Blue Sea.” “Ill Wind” arrives hot and sultry, low key, but insidious, getting under one’s skin, rather than toppling barrels. Russell holds one hand up as if trying to hold off the inevitable. She never stresses vocals. Even the often histrionic “Stormy Weather,” introduced by Ethel Waters, is presented as if rife anticipation, low key and soulful. The song apparently took 30 minutes to write. (All lyrics -Ted Koehler.)

Stephen DeRosa and Klea Blackhurst

Stephen DeRosa, emphatically in the period, offers a jaunty, light-footed “Happy As the Day is Long,” (lyrics – Ted Koehler), a lyrically novel “I Love to Sing-A” (lyrics – EY Harburg), and a cute duet (with ably animated Blackhurst) of “Calabash Pipe.” (lyrics – Lew Brown.) A wonderfully expressive performer, DeRosa wiggles, bounces, dances and gestures in shades of Jolson and Cantor. His vocals, several with decidedly New York accents, are good. The artist is thoroughly engaging. And he looks at us.

Stephen DeRosa and Erin Dilly

“I’ve Got the World on a String” and “Let’s Fall in Love” (lyrics – Ted Koehler) are among those numbers presented by Erin Dilly with solid acting instincts and a pretty voice that tends to get stressed changing octaves. Nathaniel Stampley’s songs include “Down With Love” (lyrics – EY Harburg) which emerges without innate buoyancy, from – wait for it – Hooray For What! with Ed Wynn as a man who invents a gas that ends war, and the effective “Last Night When We Were Young” (lyrics – EY Harburg) during which Stampley looks sympathetically dazed and abandoned.

Nathaniel Stampley

Vince Giordano and The Nighthawks are given ample showcase for their terrific mostly 1920s arrangements. During the playful, gyrating “Tickeration” (lyrics – Ted Koehler), we even briefly hear the band leader’s own inimitable scat.

A sing-along of “It’s Only a Paper Moon” (lyrics – Billy Rose and EY Harburg) ends the evening on an up note. The well produced tribute is an auspicious beginning to this year’s eminent Lyrics and Lyricists Series.

Klea Blackhurst and Co Artistic Director and author Robert Kimball deliver illuminating, economic narrative about the celebrant. Both do a swell job. The evening is well written. Gary Griffin’s Stage Direction has charm without seeming showy. Pacing is surefooted.
As always, film and stills add dimension.

Photos by Richard Termine
Opening: Nathaniel Stampley, Klea Blackhurst, Erin Dilly, Stephen DeRosa

92Y Lyrics & Lyricists presents
Get Happy: Harold Arlen’s Early Years
Robert Kimball: Co-Artistic Director
Vince Giordano: Co-Artistic Director, Co-Music Director, Arrangements
Klea Blackhurst: Co-Artistic Director, Vocals, Host
Gary Griffin: Stage Director
Peter Yarin: Co-Music Director, Piano
Featuring Vince Giordano And the Nighthawks
92Y
92^nd Street at Lexington Avenue
January 22, 2017
NEXT: Let’s Misbehave- The Sensational Songs of Cole Porter
February 11, 12 13, 2017

RSS Feed

Marie and Rosetta –There’s A Whole Lotta Gospel Goin’ On

09/19/2016

In the 1930s and 40s, the infectiously joyful Sister Rosetta Tharpe took gospel music out of churches, into nightclubs and on to concert stages backed by big bands. What had been strictly religious became mainstream. The groundbreaking performer appealed to rhythm and blues audiences influencing not only fellow purveyors of the material but also the likes of Elvis Presley and Jerry Lee Lewis.

Tharpe heard Marie Knight singing backup for Mahalia Jackson in New York and invited her to go on the road. They toured almost ten years before popularity waned and her protégé tried to crossover to popular music. It would be another ten years before a resurgence of the blues, including gospel, saw Tharpe once again in demand. She died in 1973 of diabetes complications and according to this play, was buried in an unmarked grave. I can find no confirmation of this.

Marie and Rosetta is a fictionalized account of the relationship between Knight and Tharpe, with some sketchy biography and a great deal of gospel performance, soulful and rousing. Both Kecia Lewis (Marie) and Rebecca Naomini Jones (Tharpe) sing (well) to invisible accompaniment by the excellent Felicia Collins-guitar and Deah Harriott-piano. It should be noted to their credit the onstage actresses actually appear to be playing.

As written, Marie is a young wife with a husband and two children whose high church background makes her at first object to the new employer’s take on disseminating the word of God. She’s been raised with the threat of sin, feels Tharpe makes the music sound “dirty”, and is more accustomed to traditional artists like Jackson whose name comes up more than once. The supposition plays well. Both women have genuine faith. Tharpe gradually wins Marie over to what her mother calls music “with hips” and they have a helluva time performing some of her best known numbers together.

We hear about Tharpe’s childhood start with an evangelistic singing group in which “Mother Bell” (Katie Bell Nubin) performed. Allusions to such as The Dorsey Band and The Cotton Club are alas, given short shrift. Prejudice is well illustrated not only by dialogue, but also a funeral home in Mississippi where they find themselves bunking for lack of accommodations. Tharpe, ready to curl up in a coffin, appreciates space and silence. Knight’s reaction elicits the reality of touring in a segregated south.

Reference to a succession of unsuccessful marriages, including a preacher with whom Tharpe travelled gives Knight an opportunity to admit she did the same and for her boss to be maternal. They grow close.

Then there’s a sea change. We’re not exactly where or when we thought we were. The idea is good, the transition bumpy, dialogue less secure. Marie and Rosetta is musically entertaining and well written to that point. Both actresses do a fine job, with Rebecca Naomi Jones excelling in the outsized, yet devout role. Lyrics resonate. Jones can be as moving as she can be irresistibly euphoric.

Director Neil Pepe does an adroit job of giving the women small natural business and of indicating changes in their relationship. Maria’s lightening switch from being awed to obstreperous is a bit unbelievable, while her unexpectedly taking to the new musical approach feels real. Rosetta is warm and well etched. Pacing is deft.

The preparation room of Walter’s funeral home Set by Riccardo Hernandez manages to seem accurate, ignominious, and innately spooky. Dede M. Ayite’s Costumes seem exactly right. SCK Sound does an excellent job with dense music emanating from elsewhere.

Photography by Ahron R. Foster

Marie and Rosetta by George Brant
Directed by Neil Pepe
Featuring Rebecca Naomi Jones and Kecia Lewis
Atlantic Theater Company
330 West 20^th Street
Through October 16, 2016

RSS Feed

Podcasts

The Cotton Club