African American Musical Theater
Before the late 1890s, the image portrayed of African-Americans on Broadway was a "secondhand vision of black life created by European-American performers." Stereotyped "coon songs" were popular, and blackface was common.
Will Marion Cook and Bob Cole brought black-written musical comedy to Broadway in 1898. Cook's Clorindy: The Origin of the Cakewalk, an hour-long sketch that was the first all-black show to play in a prestigious Broadway house, Casino Theatre's Roof Garden. Cole's A Trip to Coontown was the first full-length New York musical comedy written, directed and performed exclusively by blacks. The approach of the two composers were diametrically opposed: Cole believed that African Americans should try to compete with European Americans by proving their ability to act similarly on- and offstage, while Cook thought African Americans should not imitate European Americans but instead create their own style.
Bob Cole and brothers John Rosamond Johnson and James Weldon Johnson focused on elevating the lyrical sophistication of African American songs. Their first collaboration was Louisiana Lize, a love song written in a new lyrical style that left out the watermelons, razors, and "hot mamas" typical of earlier "coon songs."
Cole and the Johnson brothers went on to create musicals such as The Belle of Bridgeport, The Red Moon (with Joe Jordan), The Shoo-Fly Regiment, In Newport, Humpty Dumpty, and Sally in Our Alley (featuring Bob Cole's "Under The Bamboo Tree"). Bob Cole's suicide in 1911 ended "one of the promising musical comedy teams yet seen on Broadway".
Read more about African American Musical Theater: National Recognition, Crossover Shows, Lew Leslie's Blackbirds, Porgy and Bess, The WPA, The Swing Mikado, and Carmen Jones
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—Claire Oberon Garcia, African American college professor. As quoted in the Chronicle of Higher Education, p. B3 (July 27, 1994)
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