Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way

by Caseen Gaines

The triumphant story of how an all-Black Broadway cast and crew changed musical theatre--and the world--forever.

This musical introduced Black excellence to the Great White Way. Broadway was forever changed and we, who stand on the shoulders of our brilliant ancestors, are charged with the very often elusive task of carrying that torch into our present.--Billy Porter, Tony, Grammy, and Emmy Award-winning actor

If Hamilton, Rent, or West Side Story captured your heart, you'll love this in-depth look into the rise of the 1921 Broadway hit, Shuffle Along, the first all-Black musical to succeed on Broadway. No one was sure if America was ready for a show featuring nuanced, thoughtful portrayals of Black characters--and the potential fallout was terrifying. But from the first jazzy, syncopated beats of composers Noble Sissle and Eubie Blake, New York audiences fell head over heels.

Footnotes is the story of how Sissle and Blake, along with comedians Flournoy Miller and Aubrey Lyles, overcame poverty, racism, and violence to harness the energy of the Harlem Renaissance and produce a runaway Broadway hit that launched the careers of many of the twentieth century's most beloved Black performers. Born in the shadow of slavery and establishing their careers at a time of increasing demands for racial justice and representation for people of color, they broke down innumerable barriers between Black and white communities at a crucial point in our history.

Author and pop culture expert Caseen Gaines leads readers through the glitz and glamour of New York City during the Roaring Twenties to reveal the revolutionary impact one show had on generations of Americans, and how its legacy continues to resonate today.

Praise for Footnotes:
A major contribution to culture.--Brian Jay Jones, New York Times bestselling author of Jim Henson: The Biography

With meticulous research and smooth storytelling, Caseen Gaines significantly deepens our understanding of one of the key cultural events that launched the Harlem Renaissance.--A Lelia Bundles, New York Times bestselling author of On Her Own Ground: The Life and Times of Madam C.J. Walker

Absorbing...--The Wall Street Journal

Genres: Nonfiction, History, Music, Theatre, Plays, Race, Cultural

435 pages, Hardcover

First published May 21, 2021

Reviews

[Faith · Rating 4 out of 5]

“The musical comedy Shuffle Along was: “ a fast – moving syncopated jazz score with snappy lyrics, beautiful brown dancers, political satire, and a book that challenged the notion of what was socially taboo while also harkening back to America’s familiar, albeit increasingly antiquated, tradition of minstrelsy.”

Shuffle Along opened on West 63rd Street in New York City in 1921. It was created by four African American men who were already successful performers, Noble Sissle, Flournoy Miller, Aubrey Lyles and Eubie Blake. The creators didn’t know how this all African American production would be received, but the show turned into a huge hit with audience members of all colors who loved the music, laughed at the jokes and appreciated the dancing girls (each of whom was required to be light skinned). This was a good thing, since construction of the theater was not yet finished and the production was out of money.

This book traces the development of this innovative musical and the obstacles faced. It also describes the careers of the creators, including their vaudeville experiences and their WWI military service. The book has photos and it’s jarring to see pictures of some of the performers in blackface. After the show left New York it moved on to other cities and finally ended on the road in 1923. The author obviously did extensive research to describe all of the many attempts to bring back Shuffle Along in one form or another. None of the subsequent iterations met with commercial success, although a version created to entertain troops overseas was popular. The participants squabbled, the book became dated and there was competition from other African American shows. This part of the book felt repetitive, probably because the creators were just repeating themselves rather than producing something new. The book has photos and it’s jarring to see pictures of some of the performers in blackface.

In 2015 I saw a Broadway musical called Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed. I had never heard of Shuffle Along before then, and neither had most of the cast members of that new musical, which looked at the story surrounding the production of the original and its aftermath. The new musical retained much of the music from the original (including I’m Just Wild About Harry) but the book was new and omitted aspects of the original (like blackface and racial stereotypes) that would not have gone over well today. Audra McDonald and Brian Stokes Mitchell were two of the many talented actors. I loved the show but it closed early when McDonald had to leave the show and they didn’t recast her role. I was glad to have had the opportunity to learn more about the origins of Shuffle Along. This book should appeal to people interested in theater history and social history.

I received a free copy of this book from the publisher.

[Jennifer Schultz · Rating 5 out of 5]

Read if you: Want an engrossing and moving account of the first all-Black Broadway production.

Librarians/booksellers: This is not just an overview of the show's history; it's also a sobering and unflinching look at the brutality of inequities faced by African-Americans during that time. It is also an entertaining look at the show's legacy.

Many thanks to Sourcebooks and NetGalley for a digital review copy in exchange for an honest review.

[LAPL Reads · Rating 4 out of 5]

From its off-Broadway premiere, Hamilton was a hit. When it moved to Broadway in August, 2015, it became a world-wide sensation. It was nominated for a record-breaking 16, and won 11, Tony Awards. It was also awarded the 2016 Pulitzer Prize for Drama. The show chronicles the life of Alexander Hamilton and his role in the creation and development of the newly formed United States of America. The show’s creator, Lin-Manuel Miranda, cast actors of color in the roles of the historical figures portrayed and used hip-hop, R&B, and a few more typical musical “show tunes” to tell the story, describing Hamilton as "America then, as told by America now".

In 2015, the idea of a Broadway show populated by actors of color was not surprising. There had been earlier hit shows starring all-Black casts, The Wiz, Porgy and Bess, and Bring in 'da Noise, Bring in 'da Funk for example. But when was the first Broadway hit created and performed by people of color? That would be 1921’s Shuffle Along. And now, a century later, historian, educator and author Caseen Gaines tells the story of that groundbreaking musical, how it came to be and how it continues to influence musical theatre today.

Beginning in 1885, Gaines gathers the threads of the disparate stories of the contributors, cultural developments, world events and personal histories that coalesced into the team of Eubie Blake, Aubrey Lyles, Flournoy Miller, and Noble Sissle who wrote, composed, and performed the original production of Shuffle Along. Gaines also documents the career, and premature loss, of James Reese Europe, whose influence on Shuffle Along and its creative team is undeniable. Without Europe, it’s hard to imagine Shuffle Along having happened, even though he died before the show was created.

Moving through the 20th century, Gaines illustrates clearly how the creative team behind Shuffle Along fought, incorporated, endured and overcame every type of impediment from the Spanish Flu pandemic to both World War I & II to Prohibition to the Stock Market Crash of 1929 and the resulting Great Depression. The common theme running through the ages is the continued prejudice against performers of color and the risks and rewards of challenging what white audiences expected of them.

Gaines ends the book with an examination of recent attempts to revive Shuffle Along and the resulting questions about balancing history and earlier sensibilities with contemporary expectations regarding the portrayals of characters of color. As Gaines points out, earlier works from white writers and composers are regularly mounted and reimagined, always dismissing earlier problematic attitudes as “that’s how things were.” And yet, Shuffle Along is regularly dismissed for use because it is dated and problematic. One cannot help but wonder why shows by white sources aren’t subjected to the same scrutiny or why one of the most significant contributions to theatre history from an all-Black creative team and cast isn’t allowed to be viewed through a lens allowing for the passage of time and the changing of attitudes to appreciate the achievement for what it was and is.

Thoroughly researched and engagingly written, Footnotes tells a story that, once heard, one wonders why and how they are just learning of it. It is a story that needed to be told and Gaines has done a showstopping job of telling it.

You can read an interview with Gaines here.

[Suzette · Rating 5 out of 5]

The extent of my knowledge about the history of Broadway is very limited so "Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way" by Caseen Gaines is a revelation. Narrowly, this is the story of “Shuffle Along”, the first all-Black musical to succeed wildly on Broadway in 1921, but Gaines uses the story of the production to journey through history and discuss the pernicious racism in the United States, the service of Black soldiers and musicians in France during World War I, the Harlem Renaissance, and the lives of the performers, musicians, and creators who participated in or had an effect on the musical. Gaines starts his story at the 1921 opening night premier of the musical, with the team of four incredibly talented men, Noble Sissle, Eubie Blake, Flournoy Miller and Aubrey Lyles, anxiously waiting to see if white audiences would embrace the musical or start a race war after realizing it broke social taboos. He then travels back to the origins of the collaboration and takes the reader on a rollicking journey of success and heartbreak through the years. While I was familiar with Josephine Baker, Al Jolson, and Langston Hughes, and had heard of Eubie Blake and Paul Robeson, I was unfamiliar with many of the artists and was riveted by their stories, especially James Reese Europe, bandleader extraordinaire who was killed by a crazed drummer, and Florence Mills, beloved comedian, singer, and dancer whose career was launched by “Shuffle Along”. While reading, I was so interested that I found myself searching Google to look for clips of performances by the people discussed by Gaines, and to seek additional information about events or individuals that Gaines could only touch on peripherally. This is a well-researched and well- written history – highly recommended.

[I received a free copy of this book from BookBrowse in exchange for my unbiased opinion.]

[Alexis · Rating 4 out of 5]

I was vaguely familiar with Shuffle Along due to the George Wolfe production in 2016, which I now realize was less of a revival and more of a backstage story focused on the original show. Nevertheless, I like to learn about theatre history, so this became a priority read.

Even without any meaningful familiarity with the show (including popular numbers like "I'm Just Wild About Harry") I still thoroughly enjoyed this book and had no difficulty grasping the importance of the original work. Shuffle Along and its creators truly did change American theatre, and it's a shame their names are not nearly as recognizable as Rodgers and Hammerstein. Aside from proving the viability of an all-Black show, they also launched the career of several future star, including Josephine Baker. I think Gaines is right to single out their impact on the representation of Black women in particular.

In general, I liked reading about the way shows were created and ran at this time. Shuffle Along had 11:30 pm performances on Wednesdays instead of matinees! Some shows were created without their books being written down formally! Revivals and road shows were launched with dramatically different storylines and songs! It's wild.

I also liked that Gaines clearly celebrates and appreciated what Shuffle Along did while also being honest and open about some of its less-savory elements, particularly the practice of blackface. In the final chapter, Gaines explores the legacy of Shuffle Along as well as questions about whether or not there is space for the show to be performed today. I think those questions are really interesting. The show clearly has a legacy. The book doesn't just focus on Shuffle Along but also on the later works of those involved in it, as well as in the large general output of theatre featuring and focused on Black folks after it. But the questions about whether the show can still be performed or should still be performed and how are more difficult.

Overall, this is an engaging read, and it definitely read better than I anticipated.

[Elliott Folds]

Finally read this bad boy! Such a wonderful addition to musical history scholarship. Accessibly written but immersive in its research and context. So excited to work it into future syllabi.

[Toni]

Music breaking barriers (3/3/2021)
Footnotes by Caseen Gaines is the story of Noble Sissle, Aubrey Lyles, Flourney Miller and Eubie Blake and their musical careers from 1915 to 1952. I had no idea that there was a show on Broadway in the 20s with an all black cast or that originally both white and black performers wore burnt cork commonly known as "Blackface". The racism in the United States only 50 years after the Civil War was rampant in the south but was only mildly better in the north. Many talented black performers emigrated to Europe since they were lauded and considered as equals to whites in France. Even our black soldiers in World War I who were asked to join the infantry and form a band besides were treated so differently on European vs US soil. There is so much unknown history in this book. When Noble Sissle was asked why stay in the US and deal with all of this racism, he responded " We are evangelists. We want to do something for the Negro race to which we belong. ...we compel white audiences to listen to us and if we entertain them...even if one person hears us and thinks better of the colored man than in the past, we have done something that is even better than our salary." Despite all the obstacles, Black performers were capable of exceeding the expectations of whites had of them and overcoming all limitations placed upon them. These four men and Jim Europe, too, launched the careers of many of the twentieth centuries well known black performers.

I found this to be a wonderful history of ragtime, jazz and black theatre on Broadway for both the music buff and for a music history novice. Even though it follows primarily the 4 performers through the years, the reader encounters many other performers whose lives they touched such as Josephine Baker. Besides the musical history, it offers interesting insight into the pervasive racism of the time which unfortunately some of which still occurs today.

After reading this, one must wonder why we have not evolved farther than we have in equality. I recommend it for both of those lessons: Music history and Black History choices. It seems extremely well researched with extensive bibliography and footnotes.

Thank you to Bookbrowse and their First Impressions Program for an ARC of this title. (less)

[Amanda · Rating 3 out of 5]

Received ARC from Goodreads Giveaway

Gaines tells an intricate story of "Shuffle Along", the first Broadway musical comedy mega-hit written, produced, and performed by Black artists. It is a detailed story of the Harlem Renaissance that may otherwise be left to the "Footnotes" of other histories. What Gaines does well are the illuminating tangents that bring along those connected to Shuffle Along with the more famously known early 20th century Black cultural icons including Langston Hughes and Josephine Baker.

I read A LOT of non-fiction...and Caseen Gaines has a good book here. It's jam-packed with history that is both about entertainment and is entertaining to read.

It's regrettable that sometimes the stories of Sissle, Blake, Miller and Lyles get lost. Gaines would sometimes lose these compelling narratives to name dropping that left me confused about who was who. I was sometimes left wanting more when he failed to provide context around a particular aspect salient to Shuffle Along. For example, it wasn't particularly clear that the organizational accomplishments that were learned under the guidance of Jim Europe helped the team be prepared to manage the organizational challenges of Shuffle Along.

Sometimes I want less - or maybe for some parts to simply be organized differently? Maybe, instead of listing all the different performers who held the lead roles as part of telling the story of how the show was managed...maybe pulling out those stories for their own chapter? That may result in better flow for the book.

The author's over use of conjunctions like "but" and "however" is also distracting. It is a small style issue that seemed to diminish in the second half of the book.

I do love the images that are included at the start of each chapter! Theater is such a visual medium and to include the photographs truly brought these artists to life for me. I will strongly encourage a print copy over an audio...unless the audio has supplemental material that includes the images.

[Miesha Wilson Headen · Rating 5 out of 5]

Footnotes is an interesting survey of black American performers from about 1890 to 1935. Gaines unearths the storied history of black comedians. He breathes life into the origin of Harlem as a geographic and cultural location. He shows how black musicians created American music. The story is peppered with anecdotes about Josephine Baker, Paul Robeson, WEB DuBois. I especially enjoyed the long quotes from the storied Pittsburgh Gazette.

I liked it.

[Russell Sanders · Rating 5 out of 5]

With Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way, author Caseen Gaines has put together a remarkable history book, one that should appeal to all history buffs and especially to theater enthusiasts. In 1921, Broadway theater history was made with the first successful all Black musical comedy. Created by composer Eubie Blake, lyricist Nobel Sissle, and comedy team/writers Fluornoy Miller and Aubrey Lyles, the show Shuffle Along featured an all-Black cast with all-Black creators. The show became a sensation with both white and Black audiences. This book chronicles the trials the men went through to first, get their show on the boards, and second, keep it running. Almost closing on the road during its tryout period because of money woes, the show came to New York City and took the city by storm. Tracing the lives of Blake and Sissle, primarily, from prior to their collaboration, through World War I, and on to the show’s Broadway success, the book also follows the aftermath. Several other productions were mounted or planned in the ensuing years, but they either failed or never d came to fruition. The duo created other shows, both separately and together, but, as the book chronicles, nothing was ever as successful as Shuffle Along. And sadly, that show is largely not remembered today. Its jokes are dated and racist—a product of their period—and thus no one has attempted to remount the show in our era. Footnotes can at least remedy the show’s lack of position in history, but sadly nothing can be done, apparently, to recreate the show itself. In 2015, director/author George C. Wolfe created a show that detailed the creation of Shuffle Along, featuring a stellar cast of Black Broadway stars portraying Blake, Sissle, Miller, Lyles, and the star of Shuffle Along, Lottie Gee. Sadly, that show did not survive past one hundred performances because the luminous Audra McDonald, playing Gee, found herself pregnant, and when she left the show, it didn’t survive with her replacement. That is sad indeed, for the newer show at least preserved many of the songs from the original, coupled with the exuberant tap dancing ensemble numbers. Footnotes is quite an achievement for Gaines, preserving a story that needed to be told.

[Shelby · Rating 4 out of 5]

3.5 stars, rounded up to 4 stars.

As a theatre nerd who wrote her final seminar paper on race and representation in musical theatre as it relates to Hamilton and Six, I knew I had to get my hands on Footnotes the second I first heard about it. Overall, I really enjoyed this exploration into an era of music theatre history that's been largely (and wrongfully) forgotten about. It was fascinating to read about these composers, lyricists, and performers who successfully proved that there was an audience for Black theatre in the United States, even in an era where race relations in the country were at a nadir. It was also just fun to get some insight into show business from a century ago--some of the backstage drama covered in this book feels like it came out of the juiciest reality show.

That said, while I found the subject matter of this book incredibly compelling, I often struggled with the writing. Gaines can be an engaging and humorous writer--I never got tired of the moments when he would write about some seemingly random nobody auditioning for Shuffle Along, only for them to be revealed as somebody who would later be a mega-famous performe rin their own right. However, the writing frequently got dry, with just long, unbroken paragraphs of text dominating the book (I'm not saying paragraphs can't be long, but there were definitely moments where I felt like multiple points were being made in one paragraph that should have been split into several). There were also times where sentences got so long and unfocused that I had to reread them several times before I figured out just what the point was supposed to be. While none of these things were enough to ruin my enjoyment of the book, they did sometimes prove a stumbling block, enough so that I ended up bumping by rating down a notch.

Still, I would highly recommend this book for any music theatre nerds like me--or even anyone interested in the history of music and performance in general. There is a lot of compelling stuff here, and so little of it has been covered in our mainstream history of music theatre.

[Jessica · Rating 5 out of 5]

Thank you to NetGalley for an eARC in exchange for an honest review.

If you are like me, you enjoy seeing new Broadway shows coming out and can identify the "big" names. However, anyone who hasn't been deemed "big" by the media has been left behind. Footnotes changes that and brings a group of pioneering performers into the spotlight.
I was fascinated by Shuffle Along, and the creatives behind it. Black performers have always had a complex place in the theatre, and Footnotes doesn't shy away from that. The lasting impact of slavery was still very really in the US, and the team took a massive risk producing their show. I couldn't put this book down, and I think that Gaines has done an incredible job of not only sharing the show's history but placing it in a much wider context. He skillfully examines the show in relation to slavery, the Harlem Renaissance, and even Black soldiers and performers in Europe in the First World War.
And I felt like I didn't only learn about the featured four figures. By following Sissle, Blake, Miller, and Lyles, we are introduced to countless other Black performers and musicians in New York in the early twentieth century. There are so many Black members of the theatre community who have long been ignored and largely lost in Broadway history, and Gaines is bringing them to the forefront. While this book is thorough, it is by no means dry, and is an entertaining and lively read.
With the theatre industry taking a long overdue look at itself and the prevalent racism still in place today, the role of Black performers and creatives is finally starting to be recognised. And as audience members, we have a role to play in that process as well. Footnotes is a must-read for any theatre or performing arts fans.

[MH · Rating 4 out of 5]

A well-written history of Shuffle Along, the African American musical hit of 1921, its four creators, and the many famous figures who were involved with the show. It's very much a history written in the last year, and Gaines cleverly engages with a number of ideas that have become part of the current cultural conversation but are often missing from books on Black show business - he writes about appropriation, colorism, and systemic violence (which is a really smart piece of historiography - so often we read about the Jim Crow indignities of Black stars of the past, without discussing the constant threat of unpunished violence that underlies them). There are so many figures involved in the show, and so much to say about all of them, that some ideas or moments are introduced and then dropped or left unexplored - for example, I wish Gaines had written more about Aubrey Lyles' decision to move to Africa, and immediate decision to return to the states; Flournoy Miller's numerous shady brothers; or the queerness of the chorus girls. Presumably that historical information is unavailable to him (or any further discussion would necessitate a whole new chapter), but he finds so much to write about, and he writes about it so well, that there's already plenty of compelling material here. A great, much-needed history.

I was lucky enough to win an ARC of Footnotes in a Goodreads giveaway.

[Emma · Rating 5 out of 5]

Footnotes tells the story of an all-Black musical in the 1920s, when White audiences weren't sure what to expect from Black performers. The show introduced jazz and tap dancing to White audiences and paved the way for other Black shows to prosper in the 21st century.

The book is extremely well-researched. Interviews, theatre reviews, ticket stubs and the original book and music of Shuffle Along all come together to tell the story of the first successful Black musical on Broadway.

Prior to reading this book, I had no idea that Shuffle Along existed, much less the impact it had on musical theatre and Black history. Gaines writes with an urgency, a need to uncover an important milestone in the history of Black theatre. He takes the story in the context of race relations as they were in the 1920s and acknowledges that certain aspects of the show, considered revolutionary and inclusive then would be taken as racist now.

The book looks at the lives of the creators and performers, the reactions of audiences and reviewers alike, and the lasting impact on the diversity of live theatre and jazz music that Shuffle Along had. A fascinating, well-researched story of a musical that has been more or less forgotten by history. Hightly recommend.

[Scott Martin · Rating 5 out of 5]

From Bookbrowse.com

Footnotes, or how Shuffle Along broke the color barrier of the Great White Way
Written on the centennial anniversary of the premiere of the musical Shuffle Along, this book describes the back story of the men behind the creation of Shuffle Along, how the musical came to revolutionize Broadway and changed the way that audiences viewed African American entertainers and productions.

Throughout this engaging and informative tale, the reader will come to learn about more than just the popular musical. The reader will learn about the start of Jim Crow and its impact on American entertainment during the height of the vaudeville era. This would play a significant role in how Shuffle Along broke the mold in the portrayal of African Americans, showing that they could be more than racial caricatures. The main creators were influenced by stars from vaudeville legend Al Jolson to the legendary Harlem Hellfighter leader James Europe. They, in turn, influenced stars from Jack Benny to Josephine Baker.

Whether you are just an entertainment fan or a student of history, this work will be well worth your time to read.

[AnnieM · Rating 5 out of 5]

I am so glad I read this book -- it shines a light on Black artists who had unsung accomplishments in the history of Broadway - including musicals and comedy. The title is very accurate -- these outstanding writers and performers have only been a footnote in history yet were very influential on theatre yet did not get the credit they so deserved. As outlined in the book, there are cases of white producers appropriating the work or copying and repackaging the work to make it their own. I never knew that the song "I Am Just Wild About Harry" and the dance "The Charleston" were created by Black artists as a part of the show "Shuffle Along." Who knew that Josephine Baker got her start in this show! Eubie Blake was one of the creators of this show and I think the only reason I had heard about him before was because of the Tony Award- winning show on Broadway called Eubie! from the late 1970's. Gaines' book is meticulously researched and we get great insights into the making of the show, the behind-the-scenes lives of the major players as well as the context of what was happening in the theater industry and the world at that time.

I highly recommend this book!

[Jordan · Rating 5 out of 5]

I wish more people were reading this! A convergence of a book that was sent to me by a publisher a number of years ago now and my interest in all things Broadway. I remember the Shuffle Along show on Broadway in 2016 so I already had a base awareness of the story. But Gaines does a phenomenal job of sharing a chronological and incredibly detailed history of the original 1920s musical's development and subsequent lives. He explores the changing mores and how that impacted the show. He doesn't shy away from the difficult conversations that come with a show that may have seemed to echo traditional minstelry, but places those moments in their time, explores how they subverted those stereotypes in many ways, and truly uplifts and celebrates the Black creators who overcame so much to create a platform for Black performance. They were artists, job creators, and complicated humans worthy of being remembered. Artists who helped launch the Harlem Renaissance. The show launched some truly unmatched careers. I'm so glad to have read this and that Gaines has formed this incredible exploration for us. Can't wait to share the good word with anyone who will listen.

[Susan · Rating 5 out of 5]

This was an unexpected find on Audible, and I’m thrilled that I picked it out. It’s a well-researched, well-written, and utterly compelling telling of the story of Shuffle Along, including the histories and influences on and of the four main writers and producers (composers Sissle and Blake and comedians Miller and Lyles), as well as notable stars who got their start in the show. There is plenty of relevant context around the show, from vaudeville and blackface to African Americans serving in WWI, onward to the larger context of Broadway and theater as a whole, and how Shuffle Along changed the arts world right up to Hamilton. There are many characters, but I didn’t have trouble keeping them straight, and that’s a testimony to the excellent writing. Many reviews are cited, but they are worked into the narrative in a way that flows.

This is one of my surprise best nonfiction books of 2022 (surprise for me because I’m not a theater person, so I wouldn’t have guessed this would end up at the top of my list). Excellent book, and highly recommended.

[Kim McGee · Rating 5 out of 5]

Most performers are nervous on opening night on Broadway but few are worried that the evening may result in violence and possibly death. This was indeed the case when Noble Sissle and Eubie Blake's first all- African American cast musical played Broadway in 1921. Thankfully, there was much applause and the success of "Shuffle Along" grew into a long running hit. In a time where the only entertainment showing African Americans was done by white actors in black face makeup, this show broke barriers and introduces theatre goers to the real African American experience and talent. These brave men and women whose careers were launched from that show were fortunate to finally have a showcase for their considerable talent. They still faced racism, inequality in pay and recognition. A solid choice for those interested in early Broadway and African American performers. My thanks to the publisher for the advance copy.

[Kate · Rating 4 out of 5]

Recommended to me by a friend, I was so surprised with how much I enjoyed this wonderfully written and thoroughly researched book. As a high school art teacher, I work very closely with our theatre department every year, painting sets and props for our fall play and spring musical. I like to think I know a thing or two about Broadway, but I knew absolutely nothing about the show, Shuffle Along, or the amazing black men and women who are credited with its creation and success.

The release of this book is perfectly timed for anyone who has a deep love and respect for theatre, an interest in history and a desire to learn about the incredibly talented black men and women in the industry who broke down barriers and overcame incredible odds. All of Broadway owes so much to what the people involved with this show were able to do. I have recommended this book to several of my performing arts loving family, friends, colleagues and students and will continue to!

[Areeba · Rating 5 out of 5]

I have heard such countless stunning audits about footnotes by Caseen Gaines.
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Thank you #partner @bibliolifestyle @sourcebooks  
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My thoughts
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In the 1920s, a popular show starring Black artists was produced on Broadway. The author does an excellent job of connecting early influences such as minstrelsy and the Jim Crow tropes that most White theatergoers expected to see from Black performers. The musical Shuffle Along, written by Noble Sissle, Eubie Blake, Aubrey Lyles, and Flournoy Miller, is the subject of the novel.
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After all, there is a wealth of biographical information on other well-known Black artists of the period.
This book was sent to me as an advance reading copy by @bibliolifestyle and it's one of the best I've read so far this year.
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#footnotes #footnotesbook #caseengaines #bibliolifestyle 

[Mary Buss · Rating 5 out of 5]

I received an early edition from Bookbrowse to read and review. I enjoyed this book very much. It is the story of the making of the all-Black Broadway show SHUFFLE ALONG in 1921. It details how Eubie Blake, Noble Sissle, Flournoy Miller, and Aubrey Lyles overcame racism and many other obstacles to be able to bring the show to the stage. The book then follows the lives and pursuits of these individuals, both here and abroad, through the decades of the 20's, 30's 40's and into the 50's. Mr Gaines, the author, did an incredible amount of research to write about the events and people we read about, as evidenced by the massive amount of footnotes and the bibliography. Anyone interested in theater, music or performance of any kind would enjoy this book. The book is rich in historical detail, including the racism, which many years later is still with us.

[Cam's Corner · Rating 5 out of 5]

thank you so much #partners @bibliolifestyle @sourcebooks for this book mail!

“Footnotes is the story of how Sissle & Blake, along with comedians Flournoy Miller & Aubrey Lyles, overcame poverty, racism, & violence to harness the energy of the Harlem Renaissance & produce a runaway Broadway hit that launched the careers of many of the twentieth century's most beloved Black performers.”

ya’ll know i love me some 20th century African American history, so to read up on Black successes on Broadway prior to The Wiz was really interesting!

what i appreciated mostly about this book is that it reads like a story: very easy to comprehend, straight to the point, & no big words (which is exactly what my brain needs rn post-graduation 🤣😅).

i’m happy Sissle, Blake, Miller, & Lyles were able to get their flowers during their lifetimes

[Susan · Rating 5 out of 5]

Talks about Shuffle Along, the first Broadway show with an all black cast and creators that successfully ran in New York City. Produced in 1921, it was created by composer Eubie Blake and lyricist
Noble Diddle. It both came from and helped develop the Harlem jazz scene and paved the way for people of color on stage and screen. The book covers the play from its inception through tryouts to its final success on the Broadway stage. Colorfully and energetically written, the era and people are brought vividly to life in this popular history. It is a real contribution not only to theater history but to black history as well. Most importantly, the book demonstrates how a group of talented black pioneers managed to succeed in the face of a society that both doubted their skills and denied them the chances to use them. This book was received as a Goodreads giveaway.

[Lee · Rating 5 out of 5]

Great care and attention to detail has gone into this compilation of a defining part of Broadway. Many people think Hamilton was one of the first all Black forays, or at least one of the most important, which tends to nullify the other serious contributions that paved the way. How the duos of Noble Sissle with Eubie Blake and Flournoy Miller with Aubrey Lyles managed to write and act in the dazzling all Black musical, “Shuffle Along,” needs to be recognized. I believe “Footnotes” will pave the way and acknowledge all of the stars and contributors to the Great White Way. I understand it would be impossible to see the original “Shuffle Along” as there was no written script, imagine what improvising that must have been, but many theatre lovers would love to see what has survived.

[Rhonda Hankins]

I really enjoyed getting introduced to the musicians and dancers and others who made Shuffle Along possible. The author's impeccable research and excellent presentation style make this book really accessible. Kudos on "The Notes" section, that's extraordinary work and great details.

This book launched me on a YouTube tour of Josephine Baker who I've heard about forever but really didn't know anything about. She was amazing in so many different ways. Wow.

It'd be awesome to have a website to accompany this read with links to performances and songs. I looked up a lot of stuff on my own so it took a while to finish the book. This book is rich in references.

Very nice work, congratulations to the author on such a good job.

[Melanie · Rating 5 out of 5]

Excellent history of Black artists making a successful show on Broadway in the 1920s. The author does an exceptional job relating early influences including minstrelsy and the Jim Crow stereotypes most White theater patrons wanted to see from Black performers. The book focuses on the musical Shuffle Along written by Noble Sissle, Eubie Blake, Aubrey Lyles, and Flournoy Miller. However, there is good biographical information on other Black artists who were well-known during this time. I received an advance reading copy of this book from an online book group and it’s one of the best selections I’ve read so far this year.

[Christine · Rating 4 out of 5]

I won a copy of this book through Goodreads Giveaways and am voluntarily leaving a review.

This is a well-researched, easy to read look at the all-Black Broadway show Shuffle Along from 1921 and the creatives who made it happen. I am not a Broadway aficionado of any sort, so I found everything about this work to be new and fascinating. It is notable for the historical aspect but also brings a timely conversation around racial discrimination and offensiveness to today’s table. In looking at this ground-breaking musical, one must also revisit layers of racism and race-based discrimination that persist even into today. Highly recommend.

[John Kenrick · Rating 5 out of 5]

Superb theatrical history

This is the detailed, insightful and at times genuinely exciting book this subject deserves. Gainesville puts Shuffle Along and its participants in the fill context of their time -- so different from ours and in some regrettable ways so similar. The author manages to tell the story of this musical in such a way that it provides an overview into black theater's development through the 20th century -- and no less than August Wilson offers valuable insights in the final chapter. One of the best books ever written about any stage or screen musical, and a great read.

[Linda · Rating 4 out of 5]

I found this very interesting but sometimes a bit confusing. The time period is the first decades of the 20th century. Some of the names were familiar to me -- Eubie Blake, Josephine Baker, Paul Robeson -- but most were new to me. Basically, the narrative takes us from Black performers unable to work except occasionally in demeaning roles to producing large shows in New York and touring in major cities. The shows were musical comedies and some of the songs are still familiar. I always appreciate learning new things, especially when it comes to the struggles of Black Americans to be appreciated and fully accepted.