22:
101:
airs. Along with Indian brave and
Swamptown graduate Red Feather, Lowdog kidnaps Minnehaha and takes her back home to the reservation, but she rebels from assimilating into Native life. Minnehaha is romantically pursued by Red Feather, but desires instead to return to Swamptown to reunite with her boyfriend, Plunk Green.
100:
Minnehaha lives with her
African American mother, Lucretia Martin, on a Virginia farm. They are visited by her father, Indian Chief Lowdog, who abandoned his wife Lucretia when Minnehaha was three years old. Lowdog is perturbed by his daughter's pretentious manners, vanity, and condescending social
266:
on May 3, 1909, where it ran for a total of 32 performances; closing on May 29, 1909. Wilbur was one of the owners of this theater. Critical reaction to the work was mixed; with several white critics in particular complaining that the work incorporated Native
American and "white" music and theatre
248:
and operettas with the Wilbur Opera
Company. In March 1909, after performing the work in Montreal, the company toured the show to the nearby Caugnawago Reservation on the St. Lawrence River as guests of Chief Mitchal Dial Bount and performed the work to an audience of Iroquois people. Johnson was
109:
within the plot. After several misadventures Plunk Green and Slim Brown succeed in outwitting Lowdog and Red
Feather, and bring Minnehaha happily back home to Swamptown. Chief Lowdog and Lucretia Martin reconcile and their marriage is rekindled. The show ends with Minnehaha and Plunk Green's
57:
who composed the song "Sambo" for the show, and co-wrote the song "Ada (My Sweet
Potater)" with Cole and lyrics by Charles A. Hunter. Labeled and marketed by its creators as a "sensation in red and black", the work has been classified variously by theatre scholars as a musical and an
243:
as a "popular road musical". The show toured the United States from 1908 to 1910. It was first performed in
Wilmington, Delaware, on August 31, 1908; after which it toured to other cities. The show was produced by A. L. Wilbur; a producer who was known for backing productions of
167:" in Native and African American cultures. The 'red moon' is a bad omen in African American folklore and is seen as a call to war in some Native American traditions. The name of the half African American and Native American main character, Minnehaha, is taken from the
104:
Meanwhile, Plunk Green and his pianist friend Slim Brown decide they must rescue
Minnehaha, and the two arrive at the reservation disguised as a lawyer and a doctor. A rivalry for Minnehaha's heart forms between Plunk Green and Red Feather; forming a central
143:
who taught classes in the new biracial environment. This decision to adopt biracial education drew criticism from some individuals in white society who feared unification between Blacks and Native
Americans could lead to violence and insurrection.
295:
did not designate whether their work was an operetta or a musical, but instead labeled the piece as a "sensation in red and black". Historian
Bernard L. Peterson, a widely recognized authority of African American theatre, labeled the work an
159:, and care was taken to authentically represent both Native American and African American folklore and culture. Emphasis was placed on shared religious beliefs and commonalities in folklore between the two people groups. The title of
231:
as Lily White, Theodore Pankey as Red Feather, and Fanny Wise as Truscalina White Nakomis among others. The show was directed by Cole who may have also choreographed the work. The musical forces were led under the direction of
214:
As with their previous shows, Cole and Johnson crafted the work with starring roles for themselves, creating the comic duo of Plunk Green (Cole) and Slim Brown (Johnson). In addition to Cole and Johnson, the all-Black cast of
236:. Europe, who wrote the music to two of the show's songs, "Sambo" and "Ada (My Sweet Potater)", also contributed some instrumental melodies to the show's score; although the majority of the music was written by Johnson.
62:. The show was created by African Americans and starred an all-Black cast in its original 1908–10 production. The show is regarded as historically important to American theatre because it was the first
89:. The story follows a young half-African-American and half-Native-American woman, Minnehaha, who has recently graduated from the Swamptown Institute. This fictional school is based on the
125:
introduced audiences to African American and Native American solidarity"; and that it "provided audiences with the first rendering of African American and Native American alliances on
148:
opens its story in this biracial education environment, and presents a picture of the value of both higher education and unity between African Americans and Native Americans.
1484:
Seniors, Paula Marie (2009). "Chapter 4: The Red Moon: The Interconnections between Theater and History, the Black and Native Americanization Program at Hampton Institute".
1449:
Seniors, Paula Marie (Winter 2008). "Cole and Johnson's "The Red Moon", 1908-1910: Reimagining African American and Native American Female Education at Hampton Institute".
345:. However, these scholars also described the work as "a fresh amalgamation of 'Indian music', Tin Pan Alley syncopation, ballads, and dialect numbers". Cultural historian
139:. At the time this show was written, Hampton had in the recent past been transformed into a biracial institution for blacks and Native Americans with the support of
203:
of the early 20th century, the music of the show blended Native American music with the classical idioms of European operetta along with the popular styles of
133:
94:
1602:
211:. Examples of this include the song "Bleeding Moon", which told the story of an Indian curse and the Native American love song "The Big Red Shawl".
129:." It was the first stage work in the history of American theatre to feature romantic relationships between African Americans and Native Americans.
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was criticized by white critics for being "too white" because of its adoption of art forms other than stereotypical black musical comedy.
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957:
Wright, Josephine R. B. (25 September 2017). "Concert Music; Post Emancipation (1863-1900); Musical theatre". In Koskoff, Ellen (ed.).
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later made a sub-chief of this Iroquois tribe in 1921 in recognition of his efforts to "dignify stage representations of Indians".
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The following is a list of songs which were published, but were not present in the show at the time it was performed on Broadway.
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in 1907, and this work prompted the creation of many American operettas in its immediate wake, including Cole and Johnson's
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1291:
A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, Or Involving African Americans
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224:
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biographer Reid Badger also labeled the work a musical comedy. The work has also been described as a musical comedy in
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dismissed the show's plot as "flimsy and uninteresting", but praised the performances of its stars and the music. The
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Other writers on the work have avoided labeling the work a musical or operetta altogether. Theatre historians
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Musicologist and ragtime authority David A Jasen and African American music historian Gene Jones stated that
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has been divided on whether the work should be labeled as an operetta or a musical comedy. The creators of
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Beyond Lift Every Voice and Sing: The Culture of Uplift, Identity, and Politics in Black Musical Theatre
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263:
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also labeled the work an operetta, and included the work in his compendium of American operettas
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483:"Ada (My Sweet Potater)" (music by Bob Cole and James Reese Europe; lyrics by Charles A. Hunter)
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893:""RED MOON" UNINTERESTING.; Musical Comedy at the Majestic Put on by Colored Vaudeville Team"
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professor Peter Raccuglia labeled the work as a musical in his 2022 journal article in
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while simultaneously acknowledging that the work could be considered a musical comedy.
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335:"was American operetta at its best" and drew a through line to the work's creation to
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gave a favorable appraisal of the show, its sets and costumes, performers, and songs.
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The following is a list of the musical numbers at the time of the Broadway run of
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The Garland Encyclopedia of World Music; The United States and Canada, Volume 3
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professor of African American, African Diaspora, and American Cultural History
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Profiles of African American Stage Performers and Theatre People, 1816-1960
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show to depict alliances between African Americans and Native Americans.
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42:
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Raccuglia, Peter (March 2022). "An American Musical in Red and Black".
305:
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stated that "although a few of the songs are reflective of the earlier
25:
Front cover of the 1908 sheet music for the song "Bleeding Moon" from
533:"I Ain't Had No Lovin' in a Long Time" (music by James Reese Europe)
373:
An Inconvenient Black History of British Musical Theatre 1900 - 1950
1130:
Gates Jr., Henry Louis; Higginbotham, Evelyn Brooks, eds. (2008).
20:
1267:
Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction
1402:
Blacks in Blackface: A Sourcebook on Early Black Musical Shows
1194:
Spreadin' Rhythm Around: Black Popular Songwriters, 1880-1930
207:, and the ballad and dialect songs of Broadway musicals and
132:
The opening setting at the Swamptown school is based on the
121:
Africana Studies professor Paula Marie Seniors stated that "
181:
was at the height of its popularity on the American stage.
163:
was taken from traditional beliefs about the red moon or "
1058:
A Life in Ragtime: A Biography of James Reese Europe
1132:
The African American National Biography, Volume VII
727:
725:
723:
721:
719:
1216:Laird, Paul R.; Everett, William A., eds. (2017).
1289:Peterson Jr., Bernard L. (1993). "The Red Moon".
1145:Historical Dictionary of African American Theater
357:). The work has also been labeled an operetta in
1343:Encyclopedia of the Harlem Renaissance, Volume 1
1080:Bordman, Gerald Martin; Norton, Richard (2010).
16:1908 musical by J. Rosamund Johnson and Bob Cole
1166:Hill, Anthony D.; Barnett, Douglas Q. (2009).
805:
803:
675:
673:
435:) simply describe the work as "a Black show".
1341:. In Wintz, Cary D.; Finkelman, Paul (eds.).
223:as Minnehaha, Arthur Talbot as Chief Lowdog,
8:
1109:The Complete Book of 1900s Broadway Musicals
709:
707:
705:
703:
701:
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414:The Complete Book of 1900s Broadway Musicals
328:more of an operetta than a musical comedy."
239:Musical theatre scholar Dan Dietz described
1427:Racial Uplift and American Music, 1878-1943
817:
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406:Racial Uplift and American Music, 1878-1943
77:is set in the fictional town of Swamptown,
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392:, "An American Musical in Red and Black".
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1524:The Music of Black Americans: A History
1452:The Journal of African American History
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368:The Garland Encyclopedia of World Music
359:The Music of Black Americans: A History
1219:The Cambridge Companion to the Musical
1169:The A to Z of African American Theater
398:The A to Z of African American Theater
379:) among other academic publications.
302:The Cambridge Companion to the Musical
53:. Additional music was contributed by
1086:American Musical Theatre: A Chronicle
524:"Sambo" (music by James Reese Europe)
429:American Musical Theatre: A Chronicle
7:
1191:Jasen, David A; Jones, Gene (2013).
1241:Letellier, Robert Ignatius (2015).
1149:Rowman & Littlefield Publishers
1113:Rowman & Littlefield Publishers
1107:Dietz, Dan (2022). "The Red Moon".
418:Rowman & Littlefield Publishers
155:ancestry to inform the crafting of
871:"Confessions of A Dramatic Critic"
14:
1603:Musicals about race and ethnicity
1312:Peterson Jr., Bernard L. (2000).
1243:Operetta: A Sourcebook, Volume II
351:Operetta, A Sourcebook, Volume II
191:had been a tremendous success on
97:now known as Hampton University.
477:"Don't Tell Tales Out of School"
1432:University Press of Mississippi
1264:Paulin, Diana Rebekkah (2012).
911:Gates & Higginbotham, p. 55
410:University Press of Mississippi
1376:Johns Hopkins University Press
560:Development of musical theatre
420:) among other academic works.
1:
1593:All-Black cast Broadway shows
1337:Price III, Emmett G. (2004).
1272:University of Minnesota Press
1247:Cambridge Scholars Publishing
833:Jasen & Jones, p. 112-113
355:Cambridge Scholars Publishing
1499:Sotiropoulos, Karen (2009).
1424:Schenbeck, Lawrence (2012).
1032:Bordman & Norton, p. 210
987:Mayes & Whitfield, p. 55
849:. June 21, 1908. p. 29.
843:"Ambitions in High Places".
471:"Life Is a Game of Checkers"
49:and both book and lyrics by
45:in three acts with music by
1492:Ohio State University Press
1461:University of Chicago Press
308:genre, many are written as
177:was created at a time when
1619:
1558:Internet Broadway Database
1553:The Red Moon
1528:Cambridge University Press
1399:Sampson, Henry T. (2014).
1224:Cambridge University Press
1014:Hill & Barnett, p. 108
437:Cleveland State University
363:Cambridge University Press
267:styles into a Black show.
219:included operatic soprano
134:historically Black college
95:historically Black college
1522:Southern, Eileen (1997).
1143:Hill, Anthony D. (2018).
901:. May 4, 1909. p. 9.
797:Jasen & Jones, p. 113
731:Jasen & Jones, p. 112
667:Peterson Jr. 2000, p. 298
590:Peterson Jr. 1993, p. 288
508:"On the Road to Monterey"
427:and Richard C. Norton in
1588:Musicals set in Virginia
1505:Harvard University Press
859:Seniors 2009, p. 125 126
763:Seniors 2009, p. 110-112
740:Seniors 2009, p. 114-115
530:"Run, Billy Possum, Run"
1136:Oxford University Press
1090:Oxford University Press
1063:Oxford University Press
433:Oxford University Press
384:ShanghaiTech University
171:and means "waterfall".
713:Seniors 2009, p. 98-99
312:, similar to those of
29:
1055:Badger, Reid (1995).
809:Seniors 2009, p. 2003
505:"The Pathway of Love"
377:Bloomsbury Publishing
24:
1469:10.1086/JAAHv93n1p21
1384:10.1353/aq.2022.0003
1199:Taylor & Francis
1041:Sotiropoulos, p. 268
965:Taylor & Francis
938:Letellier ·, p. 1047
875:The Theatre Magazine
781:Seniors 2009, p. 124
772:Seniors 2009, p. 123
679:Seniors 2009, p. 115
536:"Love Me, Baby Mine"
283:Operetta or musical?
276:Indianapolis Freeman
227:as Lucretia Martin,
141:Booker T. Washington
693:Seniors 2008, p. 21
521:"Red Moon To-da-lo"
502:"The Big Red Shawl"
47:J. Rosamund Johnson
1367:American Quarterly
898:The New York Times
441:Karen Sotiropoulos
394:James Reese Europe
389:American Quarterly
318:George W. Chadwick
270:The New York Times
234:James Reese Europe
225:Elizabeth Williams
201:Indianist movement
199:. Inspired by the
151:Cole used his own
137:Hampton University
83:Indian reservation
55:James Reese Europe
30:
1598:Broadway musicals
1356:978-1-57958-457-3
1208:978-1-135-50972-9
1183:978-0-8108-7061-1
869:E. B. S. (1903).
322:Reginald De Koven
91:Hampton Institute
85:somewhere in the
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480:"I Love But You"
474:"Keep on Smilin"
468:"Opening Chorus"
347:Robert Letellier
264:Majestic Theatre
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499:"Bleeding Moon"
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451:Musical numbers
402:Scarecrow Press
342:The Merry Widow
287:Scholarship on
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188:The Merry Widow
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527:"Pianologue"
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457:The Red Moon
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445:The Red Moon
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289:The Red Moon
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253:The Red Moon
252:
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246:comic operas
241:The Red Moon
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217:The Red Moon
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175:The Red Moon
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165:harvest moon
161:The Red Moon
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123:The Red Moon
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81:, and on an
75:The Red Moon
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34:The Red Moon
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27:The Red Moon
26:
18:
1573:1908 operas
511:"War Dance"
443:noted that
337:Franz Lehár
183:Franz Lehár
1567:Categories
1339:"Bob Cole"
566:References
1583:Operettas
1477:149001764
1463:: 21–35.
1392:247622214
1378:: 51–72.
1347:Routledge
571:Citations
496:"Prelude"
365:, 1997),
324:, making
314:Amy Beach
310:art songs
110:wedding.
1320:ABC-CLIO
1295:ABC-CLIO
554:See also
486:"Finale"
298:operetta
260:Broadway
193:Broadway
179:operetta
127:Broadway
79:Virginia
64:Broadway
60:operetta
51:Bob Cole
43:operetta
1556:at the
431:(2010,
416:(2022,
412:), and
408:(2012,
400:(2009,
375:(2021,
353:(2015,
306:ragtime
114:History
39:musical
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320:, and
256:'s
1473:S2CID
1459:(1).
1388:S2CID
1374:(1).
881:: 72.
516:Act 3
491:Act 2
463:Act 1
37:is a
1532:ISBN
1509:ISBN
1436:ISBN
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1351:ISBN
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969:ISBN
93:; a
70:Plot
1465:doi
1380:doi
879:III
404:),
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
