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UNIVERSITY OF CALIFORNIA Santa Barbara Employing Africa in the Broadway Musical: Artistic Labors and Contested Meanings of the Racial Body, from 1903 to 2009 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Brian Cornelius Granger Committee in charge: Professor Christina S. McMahon, Chair Professor W. Davies King Professor Stephanie L. Batiste June 2014 The dissertation of Brian Cornelius Granger is approved. ______________________________________________ Stephanie L. Batiste ______________________________________________ W. Davies King ______________________________________________ Christina S. McMahon, Committee Chair June 2014 Employing Africa in the Broadway Musical: Artistic Labors and Contested Meanings of the Racial Body, from 1903 to 2009 Copyright © 2014 by Brian Cornelius Granger iii ACKNOWLEDGEMENTS I could not have survived this dissertation process (or this degree program) without my faith in God and the spiritual support of my two church families: Saint Michael's Episcopal in Isla Vista, under the guidance of their fabulous vicar, Reverend Nicole Janelle; and Saint Ann's Episcopal in Nashville, Tennessee, under the guidance of the wonderful Father Rick Britton. I am deeply grateful for their love and resources. The St. Ann's choir, under the masterful direction of Rollie Mains, was an oasis of sound amid the generally isolated and silent work of writing. I am deeply appreciative of the following individuals who took the time to answer my questions, or to offer advice and thoughtful words: all the professors and staff mentors here at UCSB's Department of Theater and Dance, particularly Simon Williams, Mary Tench and the office staff, Annie Torsiglieri, Suk-Young Kim, Ellen Anderson, Leo Cabranes-Grant, Eric Mills, Michael Morgan, Ninotchka Bennahum, Irwin Appel, Jeff Mills, Susan McMillan, Jamie Birkett and Steve Cooper, Tom Whitaker, Jody Enders, Carlos Morton, Nancy Kawalek (in the Department of Film and Media Studies), Erin Cressida-Wilson, and Risa Brainin; my inspirational and brilliant committee members (Professors W. Davies King, Stephanie L. Batiste, and Christina S. McMahon), who have each personally enhanced my study of musical theater and my writing; all my MA/PhD program colleagues, especially Torsten Sannar, Dan Hodnett, Meredith Heller, and Gerry Hansen; and of course the students in the BFA Acting program. iv I am grateful for the professional guidance and warm reception I found in the librarians at UCSB's Davidson library and at the Nashville and New York City Public Libraries, particularly the staff overseeing NYPL's Billy Rose and Schomberg Collections. I am honored by the generosity of time given to me by: Jim Ferris for his Lion King interview; Jim Lewis, Daniel Soto, and Seycon Sengbloh for their FELA! interviews; and UCSB's Arts & Lectures staff for supporting my audience research. I am indebted as well to all the scholars who participated with me in the numerous conferences that helped shape many sections of this work. For providing uncountable hours of entertainment and stress-release during my dissertation process I have to thank: my housemates in the Santa Barbara Student Housing Co-Op, especially my roommates Grace, Taylor, Edgar, Sarah, Ethan, Maxine, Lizzie, Zulema, and Vicente; my one-time but cherished roommate Kane Anderson; my friend Tiffany DeVries and all the staff, students, and alumni of the Music Academy of the West; my enormous network of friends around the country, especially Kim Faust, Kate Martin, Liam Clancy and Ursula Rothfuss, Marc Lacuesta and Dana Grace Neal. For continuing words of encouragement I thank my friend Kai Bernal and my entire family, especially the female elders who repeatedly told me to “stay in school.” I thank my beloved godson Patrick Vilath Mann for beginning this journey in Santa Barbara with me. Finally, I offer particular thanks to my adviser Dr. McMahon, whose passion for African diaspora performance was the primary influence in my choice to write about Africa-focused Broadway musicals. v VITA OF BRIAN CORNELIUS GRANGER June 2014 EDUCATION Bachelor of Arts in Drama/Dance and English, Kenyon College, Gambier, OH, May 1993 Master of Fine Arts in English (Creative Writing), The Ohio State University, Columbus, OH, August 2000 Master of Fine Arts in Musical Theatre Writing, NYU/Tisch School of the Arts, New York City, NY, May 2002 Doctor of Philosophy in Theater Studies, University of California, Santa Barbara, CA April 2014 PROFESSIONAL EMPLOYMENT 2009-2014: Teaching Assistant, Department of Theater and Dance, University of California, Santa Barbara, CA Summer 2008-2013: Residential Director, Music Academy of the West, Santa Barbara, CA 2007-2008: English Instructor, The Art Institute of Tennessee-Nashville, Nashville, TN 2006-2007: Upper/Middle School English Faculty, Viewpoint School, Calabasas, CA 2006-2007: Weekend House Parent, Besant Hill School of Happy Valley, Ojai, CA Summer 2006: Acting Instructor, Summer Institute for the Gifted [SIG], Vassar College and UCLA 2004-2006: Co-Director of Drama/English Faculty and House Parent, Besant Hill School of Happy Valley, Ojai, CA 2003-2004: Lecturer, Department of English, The Ohio State University, Columbus, OH 2002-2003: Co-Director of Drama/English Faculty and House Parent, Besant Hill School of Happy Valley, Ojai, CA 2000-2002: Teaching Assistant, Department of Expository Writing, New York University, New York, NY vi 1999-2000: Teaching Assistant, Department of English, The Ohio State University, Columbus, OH 1996-1999: Resident Actor/Board Member, Total Theatre, Inc., Columbus, OH 1997-1998: Substitute Teacher, Columbus Public Schools, Columbus, OH 1996-1997: Team Leader, City Year Columbus/Americorps, Columbus, OH 1995-1996: Barista, Coffee Bean and Tea Leaf, Malibu, CA 1993-1995: Drama/English Faculty Intern and House Parent, Brooks School, North Andover, MA PUBLICATIONS Critical/Theoretical Writing “Whistle While We Work: Working Class Labor in Hollywood Film Musicals from Snow White and the Seven Dwarfs to Newsies”. In M. K. Booker (eds.), Blue Collar Pop Culture. Santa Barbara, California: ABC-CLIO/Praeger Press, 2012. “Santa Monica’s Third Street Promenade as near-Utopia,” The International Journal of Art and Technology/Special Issue on Performance and the City in the ICT Age (Jeff Burke, ed.), Vol. 2, #3, Inderscience Publishers: Geneva, Switzerland, 2009. Various literary reviews, The Ohioana Quarterly Review (Kate Hancock, ed.) Ohioana Library Association, Columbus, Ohio, 2001-Present. Various essay entries, The St. James Encyclopedia of Popular Culture (Tom and Sara Pendergast, eds.) 5 Vols., St. James Press: Farmington Hills, Michigan, 1999. Plays “Rebel Moon” (scene), Duo: the Best Scenes for Two for the 21st Century (Rebecca Dunn Jaroff, Bob Shuman, and Joyce E. Henry, eds.) Applause Theatre & Cinema Books: Milwaukee, WI, 2009. MEMBERSHIPS Member of the Association for Theatre in Higher Education (ATHE) Member of the American Society for Theatre Research (ASTR) Member of the American Society of Composers, Authors, and Publishers (ASCAP) vii AWARDS 2013: Theodore W. Hatlen Theater Scholarship 2008-2013: Chancellor's Fellowship, The University of California, Santa Barbara 2008: Dilling Yang Fellowship in Dramatic Art 1998: First-Year Fellowship, Department of English, The Ohio State University, Columbus 1997: Individual Artist's Grant in Music Composition, The Greater Columbus Arts Council, Columbus FIELDS OF STUDY Musical Theatre North American Playwriting (Black, Native American, and Chicano/a Plays) Dance Studies Street Performance and Performance Art viii ABSTRACT Employing Africa in the Broadway Musical: Artistic Labors and Contested Meanings of the Racial Body, from 1903 to 2009 by Brian Cornelius Granger My dissertation looks at representations of Africa throughout Broadway's history in order to explore how these stagings have both supported and challenged racial discrimination, and how they help us reconsider the shared cultural heritage of American musical theater. I investigate how black laboring bodies claimed agency and forged new communities on Broadway stages over ten decades, despite other scholars' notions of Broadway as inherently “white space.” My method combines ethnography, spatial-visual and semiotic analysis to explore how the theatrical black body has re-shaped American social and political imagination through musical stage performances. These performances, in turn, re-circulate in global networks in ways that both challenge and re-affirm the domination of American cultural influences and the “Otherness” of black Africanity within the genre of the musical. Ultimately, I demonstrate that there is a long and continuing tradition within the commercial American theater of utilizing a staged vision of Africa for various ends. As significant as it is to acknowledge the challenging, bold gestures made by a number of Broadway's theater artists, it is also important to show, finally, that the entire trajectory of musical theater has developed in conversation with an African Other and an ix imagined African space (be it a threatening pagan jungle or prehistoric paradise). No matter how progressive, most musical theater histories to date still affirm black musical theater and artists as an additive, rather than reexamining musical theater history as a conversation about race from its inception. My dissertation intervenes in critical race theory, citizenship studies, musical theater studies
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