000			04256cam a2200445 i 4500
001			22688007
005			20250109140756.0
008			210430s2022 enka b 001 0 eng d
010			_a 2020479839
020			_a1350232688 _q(paperback)
020			_a9781350232686 _q(paperback)
020			_a1350119636 _q(hardback)
020			_a9781350119635 _q(hardback)
020			_z9781350119642 _q(ePDF)
020			_z9781350119659 _q(eBook)
035			_a(OCoLC)on1240305223
040			_cAE-ShPAA
042			_alccopycat
043			_ae-uk---
050	0	0	_aML1731.5 _b.M39 2022
082	0	4	_a782.140941 _223
100	1		_aMayes, Sean _c(Music director), _eauthor. _913759
245	1	3	_aAn inconvenient Black history of British musical theatre : _b1900-1950 / _cSean Mayes and Sarah K. Whitfield.
264		1	_aLondon ; _aNew York : _bMethuen Drama, _c2022.
264		4	_c♭2022
300			_axviii, 275 pages : _billustrations ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_aSIBF2023
501			_aP.B
504			_aIncludes bibliographical references and index.
505	0		_aPart one. Black practitioners and international performance networks. The 1900s in context ; 1. Will Marion Cook and In Dahomey (1903) ; 2. Belle Davis, Laura Steer and Cassie Walmer ; The 1910s in context ; 3. Following a year of Black performance in the UK : 1916 ; 4. Will Garland : Black cultural production on a national stage -- Part two. Black networks of production. The 1920s in context ; 5. The secret Florence Mills Memorial Concert : January 1928 ; 6. Alberta Hunter and Mabel Mercer ; The 1930s in context ; 7. Clarence 'Buddy' Bradley and Clarence Robinson -- Part three. Anti-racism and anti-imperialism in London. 8. Sam Manning, Amy Ashwood Garvey and 1930s anti-colonialism ; 9. Swing from Calloway to 'Snakehips' Johnson ; The 1940s in context ; 10 Calypso and Black resistance -- Epilogue.
520			_a"A radically urgent intervention, An Inconvenient Black History of British Musical Theatre: 1900 - 1950 uncovers the hidden Black history of this most influential of artforms. Drawing on lost archive material and digitised newspapers from the turn of the century onwards, this exciting story has been re-traced and restored to its rightful place. A vital and significant part of British cultural history between 1900 and 1950, Black performance practice was fundamental to resisting and challenging racism in the UK. Join Mayes (a Broadway- and Toronto-based Music Director) and Whitfield (a musical theatre historian and researcher) as they take readers on a journey through a historically-inconvenient and brilliant reality that has long been overlooked. Get to know the Black theatre community in London's Roaring 20s, and hear about the secret Florence Mills memorial concert they held in 1928. Acquaint yourself with Buddy Bradley, Black tap and ballet choreographer, who reshaped dance in British musicals - often to be found at Nol︠ Coward's apartment for late-night rehearsals, such was Bradley's importance. Meet Jack Johnson, the first African American Heavyweight Boxing Champion, who toured Britain's theatres during World War 1 and brought the sounds of Chicago to places like war-weary Dundee. Discover the most prolific Black theatre practitioner you've never heard of, William Garland, who worked for 40 years across multiple continents and championed Black British performers. Marvel at performers like cabaret star Mabel Mercer, born in Stafford in 1900, who sang and conducted theatre orchestras across the UK, as well as Black Birmingham comedian Eddie Emerson, who was Garland's partner for decades. Many of their names and works have never been included in histories of the British musical - until now."-- _cProvided by publisher.
650		0	_aBlack theater _zGreat Britain _xHistory _y20th century. _913760
650		0	_aBlack people in the theater _zGreat Britain _xHistory _y20th century. _913761
650		0	_aMusical theater _zGreat Britain _xHistory _y20th century. _913762
650		0	_aRace in musical theater _zGreat Britain _xHistory _y20th century. _913763
700	1		_aWhitfield, Sarah _q(Sarah Kate), _d1982- _eauthor. _912504
999			_c7402 _d7402