Black Vaudeville

was one of the many jazz greats who got their start in Vaudeville American Vaudeville began in the early 1880s, at the end of Reconstruction, and ended with the rise of talking cinema and the Great Depression in the early 1930s. Vaudeville's popularity first started in Northeastern states, then quickly spreading West until there was a centralized American Vaudeville circuit in the 1890s. Each Vaudeville show contained a number of different acts, which might feature singing, juggling, acrobatics, dancing, comedy, and novelty acts. With its roots in variety and Minstrel Shows of the mid-19th century, it was common in Vaudeville for white performers to perform racist stereotypes of Black Americans, using Blackface, minstrel songs, and coon songs, in their acts. Talented Black Americans saw working in Vaudeville as a more profitable and satisfying alternative than the laboring and domestic jobs that were available to them in the 19th century (See: Chattel Slavery). The salary for Vaudeville performances were mainly based on the popularity of the performer but ranged from ~$36 for a single act to ~$200 for a well-known weekly acrobatic performance. others challenged these stereotypes with irony and humor, or performed and produced acts that were more authentic to their talents and experience. though a white actors strike in 1901 opened doors for African American performers. In order to bring less attention to Black performances, African American acts were usually given one of the first or last acts, as theatre managers knew those were the least busy times of the night. Some Black performers opted to work only for Black audiences; others formed their own touring companies, labor organizations, booking agencies and theater circuits. ==Pat Chappelle: early pioneer==

Before 1912, when Sherman H. Dudley put together the Colored Consolidated Vaudeville Exchange, Vaudeville's major circuits usually included only the managers of theaters serving white audiences. But early Black entrepreneurs like Pat Chappelle organized travelling shows and smaller circuits for black and white audiences and helped pave the way for African American performers. Chappelle (1869–1911) was a black showman from Jacksonville, Florida. He learned the show business ropes from his uncle Julius C. Chappelle, who allowed him to meet Franklin Keith and Edward F. Albee, producers of Vaudeville. Pat ended up working for Keith and Albee as a piano player. During his Vaudeville debut, he met Edward Elder Cooper who was a journalist interested in black entertainment and the first to write a journal about the African American race in 1891. In 1898, Chappelle organized his first traveling show, the Imperial Colored Minstrels (or Famous Imperial Minstrels), which featured comedian Arthur "Happy" Howe and toured successfully around the South. On Chappelle's tour, The Freeman described their travel accommodations as “their own train of new dining and sleeping cars, which ‘tis said, when finished, will be a ‘palace on wheels.” Like his Famous Imperial Minstrel show, ''A Rabbit's Foot'' contained minstrel and a variety of acts while maintaining the expected Vaudeville staging flare. Chappelle offered a show for everyone. got her start with Pat Chapelle's Company, A Rabbit's Foot In mid-1900, Chappelle decided to put the show into theatres rather than under tents, first in Paterson, New Jersey, and then in Brooklyn, New York. In October 1901, the company launched its second season, with a roster of performers again led by comedian Arthur "Happy" Howe, and toured in Alabama, Mississippi, Georgia and Florida. The show grew in popularity throughout the early years of the century, and played in both theatres and tents. Pat Chappelle and his brothers, James E. Chappelle and Lewis W. Chappelle, rapidly organized a small Vaudeville circuit, including theatre venues in Savannah, Georgia, as well as Jacksonville and Tampa. By 1902 it was said that the Chappelle Bros. Circuit had full control of the African American Vaudeville business in that part of the country, "able to give from 12 to 14 weeks [of employment] to at least 75 performers and musicians" each season. and was known as one of the few "authentic negro" Vaudeville shows around. It traveled most successfully in the southeast and southwest, and also to Manhattan and Coney Island. By 1904, the Rabbit's Foot show had expanded to fill three Pullman railroad carriages, and advertised as "the leading Negro show in America". For the 1904–05 season, the company included week-long stands in Washington, D.C., and Baltimore, Maryland. Two of its most popular performers were singing comedian Charles "Cuba" Santana and trombonist Amos Gilliard. , who became famous as Kingfish in Amos 'n' Andy, worked in Vaudeville Pat Chappelle died from an unspecified illness in October 1911, aged 42, and the Rabbit's Foot Company was bought in 1912 by Fred Swift Wolcott (1882–1967), a white farmer originally from Michigan, who had owned a small carnival company, F. S. Wolcott Carnivals. Wolcott maintained the Rabbit's Foot company as a touring show, initially as both owner and manager, and attracted new talent including blues singer Ida Cox who joined the company in 1913. "Ma" Rainey also brought the young Bessie Smith into the troupe and worked with her until Smith left in 1915. The show's touring base moved to Wolcott's 1,000-acre Glen Sade Plantation outside Port Gibson, Mississippi in 1918, with offices in the center of town. Wolcott began to refer to the show as a "minstrel show" – a term Chappelle had eschewed – though one member of his company, trombonist Leon "Pee Wee" Whittaker, described him as "a good man" who looked after his performers.The 'Foots' traveled in two cars and had an 80' x 110' tent which was raised by the roustabouts and canvassmen, while a brass band would parade in town to advertise the coming of the show...The stage would be of boards on a folding frame and Coleman lanterns – gasoline mantle lamps – acted as footlights. There were no microphones; the weaker voiced singers used a megaphone, but most of the featured women blues singers scorned such aids to volume... The company, by this time known as "F. S. Wolcott's Original Rabbit's Foot Company" or "F. S. Wolcott’s Original Rabbit's Foot Minstrels", continued to perform its annual tours through the 1920s and 1930s, playing small towns during the week and bigger cities at weekends. The show provided a basis for the careers of many leading African American musicians and entertainers, including Butterbeans and Susie, Tim Moore, Big Joe Williams, Louis Jordan, George Guesnon, Leon "Pee Wee" Whittaker, Brownie McGhee, and Rufus Thomas. Wolcott remained its general manager and owner until he sold the company in 1950, to Earl Hendren of Erwin, Tennessee, who in turn sold it in 1955 to Eddie Moran of Monroe, Louisiana, when it was still trading under Wolcott's name. == Sherman H. Dudley ==

Sherman Henrey Dudley (1872–1940) was an influential figure to early 20th century American entertainment. Dudley was born to Margret and Alford Dudley and grew up in Bossier County, Louisiana. By the late 1890s, Dudley became an active member in the Texas entertainment scene by using his comedic talent developed in his medicine show performances to gain traction. Not only was Dudley's showmanship being recognized, but his talent for business managing gave him a distinct edge. In 1895, Dudley joined his first black minstrel show at The People's Theater in Houston Texas. Even though minstrel shows were aiding in the degradation of African Americans, most talented black singers, composers, writers and dancers joined for the opportunity at creating a stable income in entertainment. Through Dudley's success at performing in minstrel shows, he gained traction for his talent at performing and his business-oriented mind. == Dance ==

As Vaudeville became more popular, the competition for the "most flashy” act increased. As minstrelsy became less popular other types of performances were created and carried on to the Vaudeville stage. A performer named Benjamin Franklin had an act that was described by his minstrel troupe leader, “waltzes with a pail of water on his head and plays the French horn at the same time.”, 1920sDance was entertainment that was accepted in almost every act slot on the bill for a Vaudeville show. Tap, with origins in Africa and Europe, was a style that was often seen. A West African dance style called Gioube, a step-style dance, was mixed with Scottish and Irish clog-shoe dances to create tap. Vaudeville saw two types of tap: buck-and-wing and four-four time soft shoe. Buck-and-wing consisted of gliding, sliding, and stomping movements at high speeds. Buck-and-wing tap dance style is characterized mostly by the intense jumping, limb flinging, and rhythmic feet shuffling. Wing was a portion in which on a jump, feet would continue to dance in midair. Soft shoe was more relaxed and elegant, usually performed with a softer sole than other forms of tap dance. Metal plates were added to the bottom of tap shoes to create a stronger percussion sound. Dancer and choreographer Aida Overton Walker was known as the Vaudeville Queen of the Cakewalk. == Music ==

The black musicians and composers of the Vaudeville era influenced what is now known as American musical comedy, jazz, blues and Broadway musical theater. The popular music of the time was ragtime, a lively form developed from black folk music prominently featuring piano and banjo. The fast tempo of Ragtime matched the pace of the Vaudevillian revue type show., who wrote and performed musical theaterThomas Greene Bethune (or "Blind Tom") composed 100 pieces and could play over 7,000. He was exploited by a slave owner John Benthune. For example, John let Tom perform to make himself money. “Blind Tom” made $100,000 in 1866 and only received $3,000 of this. John William Boone was a fellow blind pianist, a professional at the age of fourteen, known as “Blind Boone”. John and Tom shared a piano ragtime style of "jig piano". This consisted of the left hand playing the beat of the tuba while the right hand played the fiddle and banjo melodies. This music portrayed slaves dances, including beats at times created by the only instrument they had, their bodies. Other successful Black composers and songwriters of the Vaudeville era included Ernest Hogan, Bob Cole, Rosamond Johnson, George Johnson, Tom Lemonier, Gussie L. Davis, Chris Smith, Irving Jones, Will H. Dixon, Turner Layton and Henry Creamer. The Hyers Sisters, who began performing in the late 1870s, and Sissieretta Jones, who gave up classic opera to lead a Vaudeville touring company, were pioneers of Black Musical Theater. The jazz pianist and composer Eubie Blake got his start in 1920s Vaudeville, as did Louis Armstrong and other jazz musicians. Notable Black female blues singers who started on the Vaudeville stage included Ma Rainey, Bessie Smith, Clara Smith, Mamie Smith, Mamie Brown, Ida Cox, and Edmonia Henderson. Another venue for up-and-coming musicians and performers was the circus sideshow. ==Comedy==

(left) & Walker, on the 1903 cover to the sheet music for "I'm a Jonah Man" (from the musical In Dahomey) Comedy was one of the mainstays of Vaudeville, singing and dancing acts often incorporated comedy in their routine. Black comedians responded to the prevailing comic Blackface stereotypes by exaggerating them to the point of absurdity, or adding their own, more nuanced authenticity and style. Popular Black comics in Vaudeville included Bert Williams, George Walker, Bob Cole, Ernest Hogan, Billy Kersands, Irving Jones, Charlie Case, Ernie Sunshine Morrison, and the duo Flourney Miller and Aubrey Lyles. Women comedians usually performed as the foil for a male partner; Moms Mabley was the first to create her own solo act in the 1920s, eventually taking it from the Chitlin Circuit to the mainstream. Performers Florence Hines and Andrew Tribble used cross-dressing in their comedy routines. In 1903, the comedic theatrical company The Smart Set, with performer Ernest Hogan and writer/performer Billy McClain, broke with earlier minstrel stereotypes and presented African Americans as more fashionable and sophisticated, touring throughout the North and South. Though they received good reviews, some Southern white theater owners refused to book them because they did not adhere to common stereotypes. Sherman H. Dudley later took over as producer and lead comedian of this company, followed by Salem Tutt Whitney, who created the Southern Smart Set in the 1910s. Producer Alexander Tolliver also used the name Smart Set in his freewheeling Big Tent variety show, which drew heavily upon developing blues and jazz tunes, and included novelty acts and acrobats. Tolliver's show, with an all black crew, started in 1914 and continued to be popular to black and white audiences until 1930. == T.O.B.A and Chitlin' circuits ==

As the live entertainment industry grew, actors, singers, comedians, musicians, dancers, and acrobats began to retain agents to book their acts. TOBA's management was interracial; Black entrepreneur Sherman H. Dudley laid the groundwork for TOBA in 1912 with his circuit of Black owned theaters, continued managing his part of the TOBA theater circuit and had a position on TOBA's board of directors. T.O.B.A dissolved in 1930; by then "chitlin' circuits" for black entertainers had begun. The name stemmed from a regional Southern dish associated with blacks and their slave heritage:“chitlins”, deep fried pig's knuckles and intestines. Chitlin' circuit touring groups would often be forced to perform in venues such as school auditoriums because theaters were not always available to them due to segregation. ” They would also travel directly to black neighborhoods to bring them entertainment. The content of the touring shows was melodramatic and farcical, designed to be enjoyed in the moment. ==Notable people in Black Vaudeville==

, known as "the Queen of the Cakewalk" 1910 • Sherman H. Dudley (1872–1940), performer and entrepreneur who created the first Black owned Vaudeville circuit and the Colored Actors Union • The Griffin Sisters (1870s–1918), performers and entrepreneurs who created one of the first Black women-owned Vaudeville circuits • Florence Hines, (1868–1924) singer/dancer known as "the queen of male impersonators" • The Hyers Sisters (1857–1901), first Black women Vaudeville performers in 1876, toured U.S. with comic operas addressing slavery and freedom • John William Isham (1866–1902), creator of The Octoroons, one of the first Vaudeville shows with all Black performers and chorus line • Moms Mabley (1897–1975), 20th century comedian who got her start in Vaudeville • Sisserietta Jones (1868–1932), world-renowned opera singer who performed with Black Patti's Troubadours. • P.G. Lowry (1869–1942), bandleader and entrepreneur who created musical events for circus sideshows • Sylvester Russell, (1860–1930) theater critic for the Indianapolis Freeman • Tutt Brothers, writers, producers and performers • George Walker (1873–1911), comedian and creator of the Frogs, an organization for advancing Black performers and their work • Whitman Sisters, quartet who ran their own touring company from 1900–1943 • Bert Williams (1874–1922), pre-eminent Vaudeville comedian and actor • Will H. Dixon (1879-1917), musician, composer and orchestra conductor known as "The Greatest Negro Choral Director" ==See also==