Smokey Joe's Café
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CONTENTS The Play SMOKEY JOE’S CAFÉ Meet the Song Writers THE SONGS OF LEIBER AND STOLLER The Music of Leiber and Stoller Now Playing in the Fichandler Stage You say that music’s for the birds, The Design Team April 25 – June 8 You can’t understand the words. Well, honey, if you did, Historical Context: Rock, Rhythm Words and Music by You’d really blow your lid. and Blues Jerry Leiber and Mike Stoller Cause, baby, that is rock and roll. Three Big Questions Directed by Randy Johnson Choreography by Parker Esse — “Baby, That Is Rock and Roll” Additional Resources by Jerry Leiber and Mike Stoller THE PLAY Move and groove to the hit show Smokey Joe’s Café! In this musical revue of classic American pop tunes. Jerry Leiber and Mike Stoller’s songs share stories that will transport you back to a time when every kid’s dream was to be Elvis or a member of a doo- wop group harmonizing on the street corner in their own neighborhood. The winner of the 1996 Grammy award for Best Musical Show Album and nom- inated for seven Tony awards, Smokey Joe’s Café is the longest-running musi- cal revue in Broadway history. With such classic pop songs as “Hound Dog,” “Jailhouse Rock,” “Stand By Me” and “On Broadway,” this show is full of heart and soul and will have you singing and clapping along! l musical revue – an entertainment form that features skits, dances and songs. Major support for this program is provided by the Paul M. Angell Family Foundation. ELEMENTS MEET LEIBER & StOLLER OF DESIGN amed two of the founding rena Stage’s production of Design renderings by Ilona Somogyi, fathers of rock ‘n’ roll, Jerome Smokey Joe’s Café has brought Costume Designer N“Jerry” Leiber (lyrics) and Mike Atogether a talented group Stoller (music) shared a common of artists to design a revival of Costume designer Ilona Somogyi wanted love for the gospel music and this hit Broadway musical. This a design that would represent the music rhythm and blues that shaped the production uses dance numbers, of Leiber and American pop music industry. musical transitions and design Stoller yet still elements (sets, lights, and resonate with costumes) that change the time, today’s culture. Born only six weeks apart in 1933, place and mood. Here are some While researching, Leiber and Stoller met during the of the ideas, themes and sketches she discovered summer of 1950 in Los Angeles for the show. that many of the when they were 17. The two clothing styles teenagers spent the whole summer revival – a new production of a play or musical that was already produced once. from the 1950s writing songs that reflected their and 1960s era interests in “race music,” (see were being shown article) becoming one of the top Director: Randy Johnson “It’s like exploring my roots… on the fashion song writing teams for African- I’m a rock ‘n’ roll child!” runways of today American performers. Choreographer: Parker Esse in New York City and around the world. Inspired by this retro trend, she decided Only months after they met, Leiber “I hope to use my choreography to incorporate this style into her costume and Stoller sold their first song to tell individual stories in each designs for Arena Stage’s production of “Real Ugly Woman” recorded by musical number and then weave Smokey Joe’s Café. African-American blues singer storytelling from number to Jimmy Witherspoon. Soon hits like number, creating a through line “Kansas City,” “Jailhouse Rock,” with movement and dance.” “Don’t,” “Stand By Me” (with Ben E. Music Director: Victor Simonson King), “On Broadway” and “Hound “Leiber and Stoller were among the Dog” were toping the pop and rock first composers to use elaborate music charts. production values like strings, congas and Latin rhythms in black Originally performed in 1953 by ‘race music’ thereby helping to blues diva Willie Mae “Big Mama” enhance its emotional value.” Thornton, “Hound Dog” broke Costume Designer: Ilona Somogyi records in 1956 when Elvis Presley “When researching for this show, I covered it. This song solidified wanted a design that would be hip, Leiber and Stoller’s ability to write fun, funky and urban. I found that songs that both white and African- many of the styles on the fashion American radio stations would play. runways today are reflective of the styles from the past.” l After more than 60 years of creating hit records, Lieber and Stoller’s partnership ended in August 2011 when Lieber died at the age of 78. They were inducted into the Songwriters Hall of Fame in 1985 ACTIVITY Design your own musical revue based on your neighborhood. and the Rock ‘n’ Roll Hall of Fame in Just like the designers in Smokey Joe’s Café, think about your neighborhood 1987, officially making them a part of and what qualities make it special. Create a list of songs, dance styles, and rock ‘n’ roll history. l costumes that you would like to use for your design. LEIBER AND StOLLER SONGS RaCE MUSIC race music - an early 20th century term used to describe music rooted in the African-American experience of jazz, blues, and soul. uring the Great Migration (1910 – 1930) about 1.5 million African Americans moved from the South to the North Dfor a better life, bringing with them a vibrant culture and style of music that was rooted in the southern African- American experience. Despite the growing popularity of African-American jazz and blues bands in the North, record producers felt that white audiences would only buy jazz Elvis Presley: records from white musicians. Known as “the King of Rock ‘n’ Roll” In 1921 Columbia Records started mar- keting special labels of “race records” – music by and for African-American audiences to capital- ize on the popularity. This new genre of “race music” began The Coasters: to open the door A doo-wop vocal group who for many African- found success with Leiber American artists to and Stoller songs reach a national audi- like “Young Blood.” ence for the first time. • “Smokey Joe’s Café,” The Robins 1955 l • “Hound Dog,” Elvis Presley 1956 The Drifters • “Fools Fall in Love,” The Drifters 1957 • “Jailhouse Rock,” Elvis Presley 1957 THE MUSIC OF • “Yakety Yak,” The Coasters 1958 • “Kansas City,” Wilbert Harrison 1959 LEIBER AND StOLLER • “Love Potion #9,” The Clovers 1959 • “There Goes My Baby,” The Drifters 1959 “It’s about the feeling you get when Ben E. King • “Spanish Harlem,” Ben E. King 1960 you hear the music for the first time.” • “Stand By Me,” Ben E. King 1961 – Randy Johnson, Director • “I Keep Forgettin’,” Chuck Jackson 1962 he songs of Lieber and Stoller were part of a cultural • “I’m a Woman,” Peggy Lee 1962 change in American music. Their songs introduced the TAfrican-American sounds of gospel and rhythm and • “On Broadway,” The Drifters 1963 blues to a mainstream white America that was accustomed to traditional pop music. This would become known as ACTIVITY Leiber and Stoller were inspired at a “crossover,” an entertainer’s ability to become popular in young age by the sounds of a culture that was more than one genre. different from their own. What cultures inspire you? Research these other cultures and their music. How Stoller said, “We felt, in some cases, very successful if peo- does their music differ from the music heard in your ple thought that what we wrote was traditional. We wanted neighborhood? How is this music influenced by the culture people to hear that we were a part of the tradition, rather that it comes from? Share your findings with your class. than imitating something that wasn’t ours.” l Helpful Hints for Theater Audiences As an audience member at the theater, YOU are part of the show! Just as you see and hear the actors onstage, they HISTORICAL CONTEXT: ROCK ‘N’ ROLL can see and hear you in the audience. To help the performers do their best, uring the 1950s and ‘60s, rock ‘n’ roll was the music please remember the following: of a new generation who wanted to rebel against the Dmusic of their parents. Although it was considered Arrive at least 30 minutes early. to be a mainstreamw genre, its roots came from African- Visit the restroom before the show starts. American gospel and blues. Due to segregation, many African-American Before the show begins, turn off your entertainers could not get cell phone, watch alarms, pagers and other electronic devices. If equal radio air time as Leiber and Stoller with anything rings by accident, shut it off their white peers. Record immediately. producers began finding The Drifters. white artists, like Elvis Presley, to ease “race music” into Save food and drinks for the lobby. There is no eating or drinking inside the homes of all Americans. Soon the music of African- the theater. From left, Mike Stoller, Elvis American artists like Chuck Berry, Little Richard and Fats Presley and Jerry Leiber at Domino could be heard in homes all over America. Walk to and from your seat - no MGM Studios in 1957. running in the theater! Do not talk, whisper, sing or hum. ACTIVITY Many generations identify with a genre of music. What genre Do not use cell phones for calls, text does your generation identify with the most? Are there any objections to this messages, pictures or games. genre in society? What are they? Playing songs as examples, discuss how the music of your generation has helped shaped how society perceives you.