Shuffle Along previews- Page 27

[bear88]

Posted: 4/27/16 at 3:43am

Thanks for the updates on the changes to the second act. I have never seen a show in previews before, so hearing about how Wolfe and company are tweaking the show is rather fascinating. Some of the changes sound like good ideas, others I'm not sure about, but it's just interesting to monitor what this group of talented people are doing to fix problems, especially when some of the "fixes" are pretty major.

I saw it April 4th, so the second half of Act 2 sounds quite a bit different. The show has its flaws, and suffered because we saw Hamilton the next night. Both are historical; Shuffle Along feels too much like a lesson. But I enjoyed a lot about the show, and I was struck by the enthusiastic reception it received. Whatever happened to the aloof Broadway audiences of my youth? 

I really did appreciate the show's ambition, and as others have said, I would see it again just to watch that amazing "suitcase dance" and Mitchell's first act song. And yeah, Audra McDonald was wonderful. Brandon Victor Dixon doesn't get enough credit as Eubie. He deserves more Tony consideration than he seems to be getting.

[marknyc]

Posted: 4/28/16 at 3:49pm

Saw it last night and had mixed feelings.  The cast is great, of course.  But it was strange to hear all the exposition about how great SA was and then to see nothing of the actual show. 

Crucify me, but I felt Audra was miscast - it felt like an opera singer doing jazz, and she didn't do it as well as she did as Billie Holiday.  Billy Porter's solo in Act 2 was the first time I felt I was hearing these songs the way they were meant to be heard.

Glover's choreography had a sameness to it - it was all group tap, and he gave few individual dancers  opportunities to solo or duet.  He also offered few of the big moments that make an audience burst into applause, like a kick line does  (Inappropriate for this show, of course, but just an example of how that can happen).

I thought making Carl Van Vechten the bad guy was uncalled for - he was a champion of Harlem and blacks in the arts, and his criticisms of the SA book were correct, as shown by the fact that not a single word of it is used in this show.

I'll be curious to read the reviews tomorrow!

[Trish2]

Posted: 4/28/16 at 4:01pm

Audra was out again for yesterday's matinee! My second attempt at seeing the show. Ugh. I wonder if she'll play tonight?

[neonlightsxo]

Posted: 4/28/16 at 4:05pm

She has to, for Tony eligibility.

[wonderfulwizard11]

Posted: 4/28/16 at 4:14pm

"Billy Porter's solo in Act 2 was the first time I felt I was hearing these songs the way they were meant to be heard."

I'm surprised to hear that- when I saw the show, I thought Porter's acting was excellent, but I didn't care for his solo at all. He without a doubt has an impressive voice, but at the end of the number it sounded like it was ready to give out because of all the vocal pyrotechnics he was using. At a certain point, it didn't feel like an actor connecting with the number and it just became an actor showing off. I found Audra's voice better suited to the part then you did, but I never found her to be self-indulgent in her singing. 

[Trish2]

Posted: 4/28/16 at 4:16pm

neonlightsxo said: "She has to, for Tony eligibility.

 

I was kidding, of course.

 

[FlySkyHigh]

Posted: 4/28/16 at 4:27pm

marknyc said: Crucify me, but I felt Audra was miscast - it felt like an opera singer doing jazz, and she didn't do it as well as she did as Billie Holiday.  Billy Porter's solo in Act 2 was the first time I felt I was hearing these songs the way they were meant to be heard."

 

 

The operatic sound is intentional. I have not seen the show yet, but I do remember watching a Times talk interview with Audra and George. Based on press clippings they were able to find regarding the original show, Lottie Gee was known for not having a traditional jazz sound. I can't quite remember if her voice was described as being operatic but she definitely was a soprano. Here's the interview if you're interested: https://www.youtube.com/watch?v=oJDbK03o6d8

 

Updated On: 4/28/16 at 04:27 PM

[neonlightsxo]

Posted: 4/28/16 at 4:29pm

Trish2 said: "neonlightsxo said: "She has to, for Tony eligibility.

 

I was kidding, of course."

 

It wasn't clear.

 

[maxkko]

Posted: 3/6/17 at 10:13pm

I was looking through my Shuffle Along preview playbill and saw Felicia Boswelll's headshot on the principle page, and then later listed as "Red Hot Mama". In my playbill from July, however; her and the role are both not listed. Was she/ her role once in the show, then cut during previews? I never knew she was in the show, and I'm very confused. 

[whatdoesntkillme]

Posted: 3/6/17 at 11:11pm

Interesting situation. IBDB lists the credit, but Playbill does not. It's on her website, though as Josephine Baker. The Times review lists her in the cast, though. I don't know anything other than these preliminary searches and am intrigued to learn more if anyone has any more information. 

[JBroadway]

Posted: 3/7/17 at 3:09am

Please correct me if I'm wrong, or if anyone has more detailed information, but as I understand it:

Felicia Boswell had a supporting role in the show originally. She played "Freda," who later becomes Josephine Baker. She had a whole number/sequence in Act 2 showing her rise to success. It seems that the character and entire story tangent were cut, and as a result, Boswell was out of a job. I remember the same thing happening to some actors in Spider-Man. In retrospect, I'm surprised they didn't offer her a role in the ensemble. Although, maybe they did and she just turned it down. In any case, it's still a legitimate Broadway credit for her to put on her resumé, as she did perform the role on Broadway. But at the same time, the role was not in the show in its completed form, nor was it in the Playbill after opening night, which I'm guessing is why the Playbill Vault doesn't have it. 

[maxkko]

Posted: 3/7/17 at 7:51am

JBroadway said: "Please correct me if I'm wrong, or if anyone has more detailed information, but as I understand it:

Felicia Boswell had a supporting role in the show originally. She played "Freda," who later becomes Josephine Baker. She had a whole number/sequence in Act 2 showing her rise to success. It seems that the character and entire story tangent were cut, and as a result, Boswell was out of a job. I remember the same thing happening to some actors in Spider-Man. In retrospect, I'm surprised they didn't offer her a role in the ensemble. Although, maybe they did and she just turned it down. In any case, it's still a legitimate Broadway credit for her to put on her resumé, as she did perform the role on Broadway. But at the same time, the role was not in the show in its completed form, nor was it in the Playbill after opening night, which I'm guessing is why the Playbill Vault doesn't have it. "

Do you know what the number was called?

 

[LaneBryant]

Posted: 3/8/17 at 3:49am

Her role was written out. She also played Eubie Blake's wife (a role that was cut early in previews), and another male character "Onions", who was also subsequently cut. It wouldn't make sense to offer her a role in a "dancing ensemble" when she's an actress/singer, that would be a huge slap in the face. They wrote out her role, probably gave her a lovely settlement, and kept moving. Sad business. Her number was called, "That Comedy Chorus Gal".

[jacobsnchz14]

Posted: 6/2/24 at 10:58am

Fellow user Sally Durant Plummer and I were discussing this thread in the Audra Gypsy one, so I thought I would bump it in case anyone wanted to relive some memories of this incredible production! We’ve started to discuss this show in that Gypsy thread now! Haha. 

Updated On: 6/2/24 at 10:58 AM

[ErmengardeStopSniveling]

Posted: 6/2/24 at 12:47pm

LaneBryant said: "Her role was written out. She also played Eubie Blake's wife (a role that was cut early in previews), and another male character "Onions", who was also subsequently cut. It wouldn't make sense to offer her a role in a "dancing ensemble" when she's an actress/singer, that would be a huge slap in the face. They wrote out her role, probably gave her a lovely settlement, and kept moving. Sad business. Her number was called, "That Comedy Chorus Gal"."

Just chiming in (7 years later) to say that the same happened to Stephen McKinley Henderson in MOCKINGBIRD: He had a one-scene role that was cut between the time casting was announced and Broadway rehearsals began. These things do happen and it's a shame that sometimes those things aren't ironed out before casting begins...not that SMH has ever been hurting for work in the past 15 years.

Anyway, I adored Shuffle Along. I saw it twice (once in previews, once after closing was announced) and in hindsight I wish I had seen it 5 times. A flawed, beautiful, entertaining, heartbreaking musical.

[Kad]

Posted: 6/2/24 at 2:18pm

Threads like these are really an underappreciated element of this message board. Dozens of informed and knowledgeable theatergoers, giving firsthand accounts and reactions to a production that was actively changing throughout its preview period- and in this case, for a production that closed after 100 performances and has almost no public documentation. Threads like these would be primary historical sources for any theater historians. 

[Sally Durant Plummer]

Posted: 6/2/24 at 2:27pm

Kad, it's incredible that this thread was just a google search away when I hadn't thought of this show in 8 years. And now, after re-reading through 27 pages, it's like I just saw it!

And who can forget when after every first preview we would get Whizzer's take...

Memories of You

[Robbie2]

Posted: 6/2/24 at 10:27pm

Don't forget Adrienne Warren's star turn and Tony nominated performance:

Kiss Me https://www.youtube.com/watch?v=_nN8WUZB8-E

I'm simply filled with Jazz https://www.youtube.com/watch?v=C0kZleE4dh8

More Audra: 

You're lucky to me  https://www.youtube.com/watch?v=NhD_P9oudAE

In Honeysuckle time https://www.youtube.com/watch?v=XnytvhFvJvU

TONY Awards peformance 

https://www.youtube.com/watch?v=jMUgUc8vqAA&list=PLe1q0z600YH0qw6AxlGgUlTpvlt3bMkhz&index=9
 **********This opened the same time-season with Hamilton and all the attention was on that show AND then Audra was pregnant! Also, forgot that Amber Iman was in this!

Updated On: 6/2/24 at 10:27 PM

[BoringBoredBoard40]

Posted: 6/2/24 at 10:59pm

truly bizarre how this show is going to sink into memory just like the show it is about...

life and time are weird creatures

[uncageg]

Posted: 6/2/24 at 11:44pm

I am still so, so glad I got to see this show. I don't buy window cards but bought one for this show that hangs above my home desk. And I got three of those special Playbill inserts with the replica from the original production.

Updated On: 6/3/24 at 11:44 PM

[Fan123]

Posted: 6/3/24 at 5:09am

I can't remember if I previously posted this years ago, but if anyone is interested, this past New York Public Library blog post includes an option to legally read the 1921 Shuffle Along libretto (not the 2016 George C Wolfe version):

https://www.nypl.org/blog/2012/02/10/musical-month-shuffle-along

[binau]

Posted: 6/3/24 at 5:32am

Was Audra not getting nominated considered an upset? 

[theatreguy12]

Posted: 6/3/24 at 12:01pm

I really like Kad’s take that bringing back threads like this really help us to relive certain moments in time, and can even provide a historical element that might otherwise be lost on special shows like this. 
There were a lot of stories surrounding this show and questions regarding Audra’s departure and if it could sustain until her return. If that was even in the cards. 
Personally this was maybe my favorite musical of that year. Even with that juggernaut that was Hamilton. 
Some described it as messy and flawed, but for me the performances and that choreography were so otherworldly that any flaws that might have existed were outshone by the overall passion and exuberance of this show. 
Savion’s choreography was referred to by someone on the boards here as being one of “sameness,” but for me what I saw happening on that stage was brilliant. If “sameness” is brilliant, then hell, let it stay the same. And bury me with “sameness”!  I loved seeing Savion as a performer in Jelly’s Last Jam. And I love his choreography. 
Shuffle Along, despite its so-called flaws, will remain one of my most memorable nights in almost 60 years of theater going.
It was special. And the audience ate it up!!

[Someone in a Tree2]

Posted: 6/3/24 at 1:32pm

I haven't waded back through this thread to read my own reaction to SA when we saw it twice back 2017, once without and then with Audra. My memory is the show failed to click together as a whole for me, but the PARTS they had could be astonishing. The tale was so important to tell, but they never found the right structure to get all the facts out succinctly. The men in the cast were dazzling one and all. Yet this may surprise some on here, but I found Audra oddly miscast in the show, way too mature in voice and demeanor for the character she was playing. 

Ah but glorious of all, Savion Glover's choreography was like lightning on that stage, thrilling and shocking and let us see the art form anew. 

[JoeW4]

Posted: 6/3/24 at 5:51pm

binau said: "Was Audra not getting nominated considered an upset?"

 

I'm sure there were plenty of people who saw it as an upset, and reasonably so; her performance was up to her usual standard of brilliance, and I personally preferred it over several of the nominees.

But my memory is that, once the surprise wore off, people understood. It was a competitive lineup, and I think many people felt that the first-time, breakout nominations for Phillipa Soo and Carmen Cusack were more meaningful than yet another nomination for Audra.

At least that was my impression at the time -- maybe others would characterize it differently.