 The Jazz Train
A Musical Revue "Dedicated to the Negro People"
Conceived by Mervyn Nelson. Music and Lyrics by J.C. Johnson.
Choreography by Herbert Harper. Scenery & Costumes by Loudon
Sainthill. Orchestrations by Peter Knight
Piccadilly Theatre, London - 26 April, 1955 (111 perfs)
Synopsis
The Jazz Train was 'A Musical Dedicated To The Negro
People', but was not a conventional book musical. The 'train'
was made up of 'cars' (coaches), each one representing a different
period or stage in the evolution of black American popular music
as seen through the eyes of Mervyn Nelson, the director and devisor
of the show.
The railroad journey started with a prologue, I Got A Train,
sung by Jeff Williams, the engineer (driver) of the powerful
engine, before it started to roll in the 'Congo Car' with a happy
vibrant ritual dance which at once reminded the audience of the
African roots of American black people. The horrors of slavery,
and importance of religion to early slaves, were dealt with in
the 'Spiritual' and 'Plantation' cars, but the show quickly developed
into a celebration of success through 'Minstrel', 'Blues', 'Show'
and 'Calypso' cars.
The Jazz Train, strangely billed as 'The Broadway
Smash Hit' despite the fact that it had only been seen in a New
York night-club, was a moderate success, running for 111 performances
after its April 26, 1955 opening night at the Piccadilly Theatre.
At first sight it was simply a continuation of the Blackbirds
tradition of Afro-American revue, but in the three decades that
separated the shows important social and political events had
occurred giving pride to the black people of America. The cast
impersonated many great black performers: impressions of Paul
Robeson, Florence Mills, Louis Armstrong, Ethel Waters and Bessie
Smith were featured in a section called 'Stars', and in the 'Show
Car' there were excerpts from Porgy and Bess, Carmen Jones and
the original Blackbirds.
The show introduced the great Bertice Reading to English audiences
singing the tale of Frankie and Johnny and impersonating Bessie
Smith; Lucille Mapp was another name which would soon become
familiar to London theatregoers. Of the men, Edric Connor stood
out as the preacher in the Holy Roller Car, and as the whiskered
Mr. Interlocutor in the Minstrel Car. Isabelle Lucas, at this
point in her career still in the chorus, would develop into a
respected performer.
Energy and excitement abounded in The Jazz Train and
it was not a show for those wanting a quiet night out. This was
a rather long train, kept moving largely through the medium of
African and American dance. The entire cast frequently appeared
on stage at the same time, and at one point even spilled into
the auditorium. The show moved easily from spiritual to rowdy
night club scene and the finalé was the confident 'No
Journey's End To My Train' performed by the cast packed into
a railway car that took over the stage.
However, for all its colour and verve the show remained episodic,
picking its specimens of black achievement at will; and this
made the production more akin to an elaborate cabaret than a
revue.
Taken from the liner notes to the Sepia Records reissue of the
Parlophone recordings. (SEPIA 1062) |
