DOCSLIB.ORG

To Buster with Love by Kurt Albert and Klaus Bleis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Buster with Love by Kurt Albert and Klaus Bleis Buster Brown Story To Buster with love By Kurt Albert and Klaus Bleis “Got a stack of magazines about this high I can’t read them and you know why I gotta go tap dancing tonight.” Buster Brown died at Columbus he left for the tap community. St. Peter’s was filled with old and new Presbyterian Hospital in New York City on Buster really loved dancing, especially friends who loved this man. May 7th 2002, ten days before his 89th tap dancing. And through him, the whole birthday. As Heather told us, he went natu- Swing Era came back to life. His swing rally and had a smile on his face. That smile came from deep inside and he really lived it. Baltimore stands for his loving and happy personality He would go out dancing and partying that we all connect with Buster. At the ser- whenever he could, even when he got old. James Richard “Buster” Brown was vice at St. Peters Church where many great That was his life. And he could sing any born on May 17th 1913 in the Brown tap and jazz artists had their service, Jimmy tune that you could think of, and many family’s house on 414 Hamburg Street in Slyde said: “Buster didn’t leave, he left more. Everybody remembers him scatting Baltimore, Maryland. He was the sixth of something for us”. And Gregory Hines got the arrangements of “Fascinating Rhythm” eight children. to the heart of it: When he got into the tap and “Just You” during his tap classes, and The last of his sisters, Ruth Jackson, a business and closer to the circles of tap always ending the classes with “Ballin’ the sweet lady of 86 years and with Buster’s masters, everybody would eventually say Jack”. And he was definitely a “Ladies kindness and positive charisma, told us a some not so nice things about other Man”. One time in Freiburg, asked on stage little about their family life. collegues. But there was one guy who why he got into showbusiness, he looked Ruth: Well, my mother said that when would never do that. That was Buster as we around to the chorus line behind him he was born he was such a little fat boy. And all knew him. A friendly, positive, suppor- saying, “I think it was the girls”. And they then my aunt said: “He’s just like a little ting man who always had a good word for loved him, too. But not only them, every- Buster.” James Richard Brown. But we called the others. And as Gregory said that’s what body did. The auditorium at the service at him Buster. And he kept that name. The mother Mary Brown was born in Brown Sisters (laughs). Alice, Essie and Alberta). They had a six years 1879 as Mary Ella Otho in Calwed County, That was life years ago. We just loved old that could really dance. His name was Maryland. Around 1900 she married dancing. My sisters used to go out Friday Pops Whitman. And that got me interested. I Buster’s father William Brown who worked night to go to dance. They never had any pro- used to see his show, go home, and tear up my as an oyster shucker in Baltimore. The blem getting dancers ’cause guys were laid for basement, trying to do what he was doing. father died young in 1919 when Buster was them. And when the USO times came, they (Albert “Pops” Whitman, 1921 – 1951, son only six years old. So the large Brown always would go to the USO and dance with of Alice Whitman of the Whitman Sisters, family was mostly brought up by his the soldiers and try to entertain them. And toured till 1932 with the Whitman Sisters mother and he was the only male surroun- then they would invite them home and feed Vaudeville Show, and then teamed up with ded by seven sisters. It were Isabel, Mary, them. There were so nice young men. My Louie Williams of the Four Harmony Kings to Lilian, Grace, Sadie, Buster, Ruth and mother always liked to do that ’cause she was build the famous tap and acrobat act Pops Mildred. The family’s income came mostly hoping that wherever my brother was that the and Louie) from the mothers housekeeping for white people would do things like that to him. families and later all the children had to And Buster liked Charleston. In the support the household by taking jobs after twenties, we had Charleston going around. High School – Autumn Follies school. And we both could do the Charleston. We and The Three Aces Ruth: My mother raised us all by her- practiced doing the Charleston, yeah. self practically. And we worked, all of us Years ago, they had carnivals on the Buster went to Frederick Douglass worked all the time, all seven of us. I worked street. And they had the band up on a High School in Baltimore on Calhoun and every day after school and took home my waggon. And the lady came around, said: Baker Street. It was the same school where salary and gave it to my mummy. Buster did “Miss Brown, do you know that Buster is up many later famous musicians and dancers that, too, as long as he was at home. And then there on the thing doing the Charleston up on went through. he was sending money home when he could. the waggon. We were about 14, 15 years old Buster: Noble Sissle, Cab Calloway, And, see, in those days neighbor fami- then. And at that time the Charleston was a Derby Wilson, all those guys were alumni of lies looked after each other. We were just like rage. And I used to like to do it too. I used to Douglass High School. I’m so very proud of one big family. People watched over and made do it all the time. We just liked to dance, the that. sure you didn’t make anything wrong. They whole family. Ruth: See, at that times schools were would tell your mother or they could spank All his life Buster stayed in contact segregated. We only had one school for us. you too. And you go home and get another with his family which always supported him Everybody went there. Buster played basket- spanking. and always was proud of him being a dancer. ball, and the team he played on was called We belong to the same church as when Ruth: We had a big house, on Christ- “The Ramblin’ Horsemen”. And we had a we were babies. And I am the last one in the mas time everybody went home. You know, wonderful music teacher, Mr. Lowell Wilson church. We were Methodists ... Unified Christmas was a big day for us. And when (Eubie Blake’s music teacher). He was a lovely Methodist Church. We all went there as Buster came home, bigger. When Buster came music teacher. He brought everything out of babies. We were all christianized there, every- home, everybody: “Buster’s home, Buster’s you, you know what I mean. body. Buster went to Sunday School every sun- home”. We always looked forward to him. He got friends with his classmate day. And at that time we spent most of the When he came home, we were very happy John Orange, and together with John as his day sundays in church. And these people loved around there. first teacher they learned dancing on the to sing. And in the summertime sunday school Conrad: We called him “the Celebrity” street and in the Brown house’s basement had a picknick down there near the water. Or of the family. He was the celebrity. by exchanging steps with the other kids. we went on the boat. All day long. And we Coming up during the jazz age Buster Here he got one of his biggest influences in danced all day long. We had a band, and we naturally got interested in showbusiness. jazz dance by the later famous Earl were dancing. All the kids were dancing. Then The whole family went, whenever they “Snakehips” Tucker who was an older we would go back to the table to get food for could, to the shows that came through neighbor kid (see Buster’s snakehip moves the band fellows. So they could keep playing town. in Brenda Bufalino’s documentation “Great for us. That was nice. Buster: I started to dance when I star- Feats Of Feet”). The musicality and love for dancing ted to walk. See, all of my family were Ruth: The first act that he had were the was also brought into the family by the dancers, not professionally … We did have a Brown Brothers. Yeah, first it were the two of father William Brown and their uncle. lot of fun home. I had a large family. Seven them. There’s a friend of his from Baltimore. Ruth: My mother had three brothers. sisters, my mother, my daddy, and we were His name was John Orange, and John was One died young, the other one came up to just enjoying our life. My cousin used to come just like a brother. New York and did what Buster did. He was a and play the guitar. (Ruth: His name was Buster: And that’s how I got into show- musician, he played the piano. His name was Carl Wallace) And we just had the family get business. Actually, we were the “Three Aces”, ..
Load more

Recommended publications
  • FOR IMAGES and MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 X132 [email protected]
    FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 x132 [email protected] TIRELESS: A TAP DANCE EXPERIENCE, AT JACOB’S PILLOW JUNE 28-JULY 2 CURATED BY TAP SENSATION MICHELLE DORRANCE June 5, 2017 – (Becket, MA) Astonishing tap artists from across the U.S. and abroad come together in a Jacob’s Pillow-exclusive program curated and introduced by the “tireless ambassador of tap” Michelle Dorrance (The New York Times). TIRELESS: A Tap Dance Experience will come to the Ted Shawn Theatre, June 28-July 2, and features outstanding tap artists including Jumaane Taylor and M.A.D.D. Rhythms of Chicago, siblings Joseph and Josette Wiggan of Los Angeles, Joe Orrach of San Francisco, and Reona and Takashi Seo of Japan. A Tap Program in The School at Jacob’s Pillow, All Styles Dance Battle, and many free public events make this an expansive week celebrating the art of tap dance. “I’m very interested in exploring the practice of artist as curator,” comments Pamela Tatge, Jacob’s Pillow Director. “A year ago, Michelle Dorrance had just returned from Japan where she regularly interacts with their vibrant and innovative tap scene. She told me about Reona Seo and that led her to highlight for me the many explosive tap talents she sees in the U.S. and abroad. I had the idea that we should invite her to bring some of these artists together in an evening that she would curate exclusively for the Pillow. And so, TIRELESS was born. We also invited Michelle and Dormeshia Sumbry-Edwards to host a two week program at The School so that young talents will have the opportunity to learn from them, outstanding faculty, and all of the virtuosic artists performing at the Festival.
    [Show full text]
  • Bill 'Bojangles'
    ‘It’s all the way you look at it, you know’: reading Bill ‘Bojangles’ Robinson’s film career Author: Hannah Durkin Affiliation: University of Nottingham, UK This article engages with a major paradox in African American tap dancer Bill ‘Bojangles’ Robinson’s film image – namely, its concurrent adherences to and contestations of dehumanising racial iconography – to reveal the complex and often ambivalent ways in which identity is staged and enacted. Although Robinson is often understood as an embodiment of popular cultural imagery historically designed to dehumanise African Americans, this paper shows that Robinson’s artistry displaces these readings by providing viewing pleasure for black, as much as white, audiences. Robinson’s racially segregated scenes in Dixiana (1930) and Hooray for Love (1935) illuminate classical Hollywood’s racial codes, whilst also showing how his inclusion within these otherwise all-white films provides grounding for creative and self-reflexive artistry. The films’ references to Robinson’s stage image and artistry overlap with minstrelsy-derived constructions of ‘blackness’, with the effect that they heighten possible interpretations of his cinematic persona by evading representational conclusion. Ultimately, Robinson’s films should be read as sites of representational struggle that help to uncover the slipperiness of performances of African American identities in 1930s Hollywood. Keywords: Bill ‘Bojangles’ Robinson; tap dance; minstrelsy; specialty number; classical Hollywood Hannah Durkin. Email: [email protected] In 1935 musical Hooray for Love, a character played by Bill ‘Bojangles’ Robinson (1878-1949), one of Hollywood’s first black screen stars, declares, ‘it’s all the way you look at it, you know’ to describe his surroundings.
    [Show full text]
  • Sammy Davis Jr.'S Facts on Tap Dancing | Entertainment Guide
    FIND LOCAL: Entertainment Guide Parties & Celebrations | Travel & Attractions | Sports & Recreation | Leisure Activities Entertainment Guide » Arts & Entertainment » Dance » Dancing » Sammy Davis Jr.'s Facts on Tap Dancing Sammy Davis Jr.'s Facts on Tap Dancing ADS BY GOOGLE by Sue McCarty, Demand Media In May 1990, the Las Vegas Strip went dark for 10 minutes to honor one of America's premier entertainers, Sammy Davis Jr. Davis began his professional life on a vaudeville stage tap dancing at the age of 3 and spent the next 61 years singing, dancing, impersonating and acting for an often racially prejudiced public. Tutored in tap by his father, Sammy Sr., and partner, Will Mastin, and advised by the immortal Bill "Bojangles" Robinson, Davis spent his entire life on stages, in films and on television. Fred Astaire once said of Davis, "Just to watch him walk on stage was worth the price of admission." Learning the Craft Davis referred to his tap dancing skills as “a hand-me-down art form" because he was never formally trained in any aspect of dance. He learned by watching and imitating his father, Mastin and other professionals he came in contact with every night on vaudeville stages across the country. According to Davis, he remembered everything he saw, including timing, audience reaction to certain moves and how to direct the mood of the audience with facial expressions and gestures. RELATED ARTICLES Developing a Style Interesting Facts About Irish Step At the age of 10 Davis first saw Bill "Bojangles" Robinson on stage in Dancing Boston, which changed Davis' whole approach to tap dancing.
    [Show full text]
  • Harold J. Cromer, Vaudeville Duo's Stumpy, Is
    'True Blood' Star Will Play Stanley in 'Streetcar' - NYTimes.com JUNE 14, 2013, 1:16 PM ‘True Blood’ Star Will Play Stanley in ‘Streetcar’ By ALLAN KOZINN Joe Manganiello, whose buff physique has been amply displayed as a werewolf on HBO’s “True Blood” and as a stripper in the film “Magic Mike,” will wear (and take off?) the most famous T-shirt in American theater when he plays Stanley Kowalski in Yale Repertory Theater’s production of “A Streetcar Named Desire.” Portraying Blanche DuBois will be René Augesen, who has appeared at the Public and Lincoln Center Theaters. Mark Rucker is directing the production, which opens Yale Rep’s season on Sept. 20 and is scheduled to run through Oct. 12. The season, which had already been announced, also includes “These Paper Bullets,” an adaptation of Shakespeare’s “Much Ado About Nothing,” with music by Billie Joe Armstrong of the band Green Day and plays by Caryl Churchill, Dario Fo, Marcus Gardley and Meg Miroshnik. http://artsbeat.blogs.nytimes.com/.../06/14/true-blood-star-will-play-stanley-in-streetcar/?ref=allankozinn&pagewanted=print[6/17/2013 11:03:39 AM] Of Shakespeare and Superheroes - The New York Times June 13, 2013 THEATER REVIEW Of Shakespeare and Superheroes By BEN BRANTLEY There’s enough plot in Eric Rosen and Matt Sax’s “Venice,” the action-flooded new musical at the Public Theater, to fill a whole year in a Marvel comics series. Though it borrows some of its story from Shakespeare’s “Othello” and much of its tone from apocalyptic movie blockbusters like “The Dark Knight Rises,” this tale of a once-and-future civil war still seems to translate into two-dimensional panels as you watch it.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • ROBINSON, WILLIAM E.: Papers, 1935-69
    DWIGHT D. EISENHOWER LIBRARY ABILENE, KANSAS ROBINSON, WILLIAM E.: Papers, 1935-69 William E. Robinson held positions as a newspaper executive with the New York Evening Journal (1933-36) and the New York Herald Tribune (1936-54), directed his own public relations firm of Robinson-Hannegan Associates (1954-55), and served as president and chairman of the board of Coca-Cola, Inc. (1955-61). In addition to having a long and distinguished career in business, Mr. Robinson also enjoyed a long and close personal friendship with Dwight D. Eisenhower, dating from their first meeting in World War II until their deaths in 1969. Mr. Robinson’s papers reflect both his business career and, especially, his association with Dwight D. Eisenhower. Mr. Robinson first met General Eisenhower in 1944 when the former was in Europe to reestablish publication of the Herald Tribune’s European edition. Their association became more intimate in 1947 when Mr. Robinson prevailed upon the General to write his World War II memoirs. According to arrangements worked out by Mr. Robinson, General Eisenhower’s Crusade in Europe came out in the fall of 1948, published in book form by Doubleday and syndicated to newspapers worldwide by the Herald Tribune. The two men were drawn together by a great admiration and respect for each other’s ideas and judgments, and an abiding common passion for playing bridge and golf. It was Mr. Robinson, in the spring of 1948 after the General had finished drafting his memoirs, who first introduced the Eisenhowers to Augusta National Golf Club. When General Eisenhower became president of Columbia University in New York City, the two had frequent occasions to play bridge together and to enjoy a game of golf at Blind Brook Golf Club where Mr.
    [Show full text]
  • Artist Bios and Piece Descriptions
    1 PERFORMANCE MIX ARTISTS 2013:BIOGRAPHIES Renée Archibald presents Shake Shake, a duet that brings new life to the old cliché of the dancer’s body as instrument. The work investigates sound as a kinetic sense, with rhythm accumulating and dissolving into sempiternal metabolic process and tumbling into finely-tuned cacophony that animates the performance space with lush visual noise. Shake Shake is performed by Jennifer Lafferty and Renée Archibald. Archibald is currently a third year MFA candidate and Teaching Assistant in The Department of Dance at the University of Illinois. After receiving a BFA from University of North Carolina School of the Arts, Archibald lived in New York City for ten years where she performed with independent artists including Christopher Williams, Ann Liv Young, and Rebecca Lazier. Her choreographic work has been presented at NY venues including The Brooklyn Museum, The Chocolate Factory, Danspace Project, Dance Theater Workshop, and The Kitchen. Archibald has taught at Barnard College and White Mountain Summer Dance Festival and has received choreographic residencies through the Brooklyn Arts Exchange, Movement Research, and Yaddo. In 2012, she was awarded the U of Dance Department's Vannie L. Sheiry Memorial Scholarship for outstanding performance. vimeo.com/reneearchibald Oren Barnoy presents Angels My House I Promise. Barnoy dives into an unknown world of dance while investigating not knowing. This experience of dancing is somewhere between ritual, improvisation, score, therapy, and set choreography. It produces itself. Barnoy showed his choreography between 2000-2004 at Joyce SoHo, PS1, Dancenow, Galapagos, WAX. In 2005, Barnoy took a four year break from dance and moved to Miami.
    [Show full text]
  • Black Dance Stories Kicks Off March 2021 Programming with 'The
    Black Dance Stories Kicks off March 2021 Programming with ‘The Professor of Tap’ Dianne ‘Lady Di’ Walker and Choreographer/Dancer Gabri Christa, Thu Mar 4 at 6pm Featured Guests Include Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard (Brooklyn, NY/ March 4, 2021) – Black Dance Stories kicks off its March 2021 programming with tap legend Dianne "Lady Di" Walker and choreographer/dancer Gabri Christa on Thursday, March 4. The popular program will present new episodes during March featuring Black dancers, choreographers, movement artists, and creatives who use their work to raise societal issues and strengthen community. Black Dance Stories also welcomes Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard. The series streams live on YouTube Thursdays at 6 pm EST. Conceived and co-created by performer, producer, and dance writer Charmaine Warren, the weekly discussion series showcases and initiates conversations with Black creatives that explore social, historical, and personal issues and highlight the African Diaspora's humanity in the mysterious and celebrated dance world. Black Dance Stories is presented in association with 651 ARTS. Black Dance Stories Upcoming Live Episodes Thursdays at 6 pm EST • March 4, 2021 | Dianne Walker & Gabri Christa • March 11, 2021 | Gesel Mason & Jamal Story • March 18, 2021 | Sidra Bell & Archie Burnett • March 25, 2021 | Natasha Diamond-Walker & Trebien Pollard In January 2021, Black Dance Stories and 651 ARTS announced their partnership to co-present the series for the Spring 2021 season. The new partnership reflects Black Dance Stories' commitment to support, uphold, highlight, and celebrate Black creatives and mark the first time 651 presents an online series as part of its suite of programming.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Dorrance Dance Program
    Corporate Season Sponsor: Dorrance Dance Michelle Dorrance, Artistic Director Wed, Mar 8 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor: The Lynda and Bruce Thematic Learning Initiative: Creative Culture ACT I Excerpts from SOUNDspace (2013)* I have had the honor of studying with and spending time with a great number of our tap masters before they passed Direction and Choreography: Michelle Dorrance, with solo away: Maceo Anderson, Dr. Cholly Atkins, Clayton “Peg- improvisation by the dancers Leg” Bates, Dr. James “Buster” Brown, Ernest “Brownie” Brown, Harriet “Quicksand” Browne, Dr. Harold Cromer, Dancers: Ephrat “Bounce” Asherie, Elizabeth Burke, Gregory Hines, Dr. Jeni Legon, Dr. Henry LeTang, LeRoy Warren Craft, Michelle Dorrance, Carson Murphy, Myers, Dr. Fayard and Harold Nicholas, Donald O’Connor, Dr. Leonard Reed, Jimmy Slyde and Dr. Prince Spencer. Leonardo Sandoval, Byron Tittle, Nicholas Van Young I would also like to honor our living masters whom I am constantly influenced by: Arthur Duncan, Dr. Bunny Briggs, *Originally a site-specific work that explored the unique acoustics of New Brenda Bufalino, Skip Cunningham, Miss Mable Lee and Dianne Walker. York City’s St. Mark’s Church through the myriad sounds and textures of the feet, “SOUNDspace” has been adapted and continues to explore what is most While we are exploring new ideas in this show, we are also beautiful and exceptional about tap dancing – movement as music. constantly mindful of our rich history. Dr. Jimmy Slyde was The creation of “SOUNDspace” was made possible, in part, by the Danspace the inspiration for my initial exploration of slide work in Project 2012-2013 Commissioning Initiative, with support from the New York socks (in the original work) and his influence continues to State Council on the Arts.
    [Show full text]
  • Dorrance Dance: Jungle Blues, Three to One, Myelination
    PHOTO BY MATT MURPHY DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION Thursday, March 14, 2019, at 7:30pm Tryon Festival Theatre PROGRAM DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION DANCERS Ephrat “Bounce” Asherie Christopher Broughton Elizabeth Burke Warren Craft Brittany DeStefano Michelle Dorrance Claudia Rahardjanoto Byron Tittle Matthew “Megawatt” West Nicholas Van Young MUSICIANS Donovan Dorrance Aaron Marcellus Gregory Richardson Nicholas Van Young Warren Craft Michelle Dorrance, artistic director Donald Borror, executive director Christopher Marc, production manager/sound engineer Tina Huang Abrams, company manager Nicholas Van Young, associate artistic director Olivia Maggi, assistant to the artistic director Elizabeth Burke, rehearsal director Donovan Dorrance, music director Kathy Kaufmann, lighting designer Serena Wong, lighting supervisor Diego Quintanar, technical director/assistant stage manager Margaret Selby, Selby/Artists Management, artist representative 2 JUNGLE BLUES (2012) Michelle Dorrance, choreography Christopher Broughton, solo improvisation Kathy Kaufmann, lighting design Amy Page, costume design Fred “Jelly Roll” Morton: Jungle Blues Courtesy of Edwin H Morris & Company, A Division of MPL Music Publishing, INC. (ASCAP) Full company, with solos by: Claudia Rahardjanoto Elizabeth Burke and Nicholas Van Young Michelle Dorrance and Warren Craft Byron Tittle Christopher Broughton THREE TO ONE (2011) Michelle Dorrance, choreography Kathy Kaufmann, lighting design Michelle Dorrance and Mishay Petronelli, costume design Richard D James: Nannou Published By: BMG Blue (BMI) obo Chrysalis Music Ltd; Used by permission. All rights reserved. Thom Yorke: A Rat’s Nest Courtesy of Kobalt Music Performers: Michelle Dorrance Byron Tittle Matthew “Megawatt” West The creation of Three to One was made possible, in part, by the Danspace Project 2010-2011 Commissioning Initiative with support from the Jerome Foundation.
    [Show full text]
  • Mr. Bojangles - 1968
    Mr. Bojangles - 1968 3/4 G A B C C/B Am Am/G 0 2 4 0 4 2 0 4 4 4 3 4 4 4 Low G 3/4 GAB C C/B Am Am/G F / G GAB C C/B Am Am/G F / G GAB 1. I knew a man Bojangles and he danced for you, In worn out shoes; with C C/B Am Am/G F / G7 / F / silver hair, a ragged shirt, and baggy pants, the old soft shoe. He jumped Em E Am Am7 D7 / G G7 so high, jumped so high, then he'd lightly touch down. Am / G / Am / G / Am / G GAB C C/B Am GAB Chorus: Mr. Bojangles, Mr. Bojangles, Mr. Bojangles, dance! C C/B Am Am/G F / G GAB C 2. Met him in a cell in New Orleans, I was down and out. He looked to me to C/B Am Am/G F / G7 / F / Em E be the eyes of age as he spoke right out. He talked of life, he talked of Am Am7 D7 / G GAB life, then he laugh-slapped his leg a step. C C/B Am Am/G F / G GAB 3. He said the name, Bojangles, and he danced a lick across the cell. He C C/B Am Am/G F / grabbed his pants, a better stance, oh, he jumped up high, He clicked his G7 / F / Em E Am Am7 D7 / G G7 heels. He let go a laugh, let go a laugh.
    [Show full text]