Word: liza
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Dates: during 1920-1929
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With "Shuffie Along" as foreunner and example, "Liza" came to the Wilbur Theatre on Monday night. here is another negro musical comedy, and one that is in many respects better than "Shuffic Along" was. Once again the producers have succeeded most where they have aped less the traditions of the average musical comedy. Where the company and the book is most racial it is most satisfactory and most exceptional. If lessons can be learned from the Moscow Art Theatre in the matter of ensemble work in production, lessons can also be learned from the negro writers, musicians, dancers, and comedians...
...first scene is not far behind it. The present company lacks comedians of the first rank. One man presents an imitation of Bert Williams, consciously or not, that does not come up to the Bert Williams standard. But the pugnacious, rambunctious wit that is racial and authentic is excellent. "Liza" has little plot., more than "Shuffie Along" had at that, but it has just the correct amount. The plot never gets in the way of specialties or the dancers, but it does provide a loose unity to the scenes and officers comic possibilities...
...dancing. "The Sheik of Alabain" and "Louisville Lou" are "put across", by Greenlee and Drayton as few songs are ever done, with a limitless enjoyment by audience and actors alike, with syncopation in voice and gesture, and with humor in attitude and tonality. Throughout the dancing stands out, "Liza" is a dancing show. The finales are parables of pep. The cast is fairly popping with pep. And the orchestra, with rhythmic and clever orchestration, catches the spirit of jazz triumphant; "blues" paramount, and echoes it in syncopations of variety and charm...
...William A. Brady, and its direction seemed to be an impromptu affair, varying from night to night with the spirit of the entertainers. But it had real Negro jazz music, real dancing and a quality of speed and verve which was unique and refreshing. Strut Miss Lizzie and Liza, which followed, were progressively poorer. The naivete was gone, the speed became a deliberate mechanical effect instead of a natural exuberance, and the delightful " high yella " and " brown skin " flavor, degenerated into a cheap imitation of white musical comedy plus extravagant caricature of the native jazz tradition. How Come...
...persecuted by amiable clubmen, wins a doubtful point. KIKI - Aside from holding the Broadway endurance record, Lenore Ulric is as brightly captivating as ever in the part of the just barely virtuous little Parisienne. The best current musical shows: Caroline, Chauve Souris, Greenwich Village Follies, Little Nellie Kelly, Liza, Music Box Revue, Ziegfeld Follies...