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This look at Progressive-era women and innovative cultural practices “blazes a new trail in dance scholarship” (Choice, Outstanding Academic Book of the Year). From salons to dance halls to settlement houses, new dance practices at the turn of the twentieth century became a vehicle for expressing cultural issues and negotiating matters of gender. By examining master narratives of modern dance history, this provocative and insightful book demonstrates the cultural agency of Progressive-era dance practices. “Tomko blazes a new trail in dance scholarship by interconnecting U.S. History and dance studies . . . the first to argue successfully that middle-class U.S. women promoted a new dance practice to manage industrial changes, crowded urban living, massive immigration, and interchange and repositioning among different classes.” —Choice
The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene. In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France’s complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.
Sam S. Shubert Theatre, David Merrick, in association with Bernard Delfont presents Anthony Newley in "Stop the World, I Want to Get Off," with Anna Quayle, Jennifer Baker, Susan Baker, a new-style musical, book, music and lyrics by Leslie Bricusse and Anthony Newley, setting and lighting by Sean Kenny, musical supervision by Ian Fraser, musical director Milton Rosenstock, orchestrations by Ian Fraser with David Lindup, Burt Rhodes, Gordon Langford, John Broome's choreography restaged by Virginia Mason, directed by Anthony Newley.