33:
112:
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.
111:
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
277:
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
259:
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
120:
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
68:
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
254:
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
178:" 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
115:
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
154:
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.
306:
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
170:, 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
242:
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
225:
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
247:. 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.
73:. 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
100:. 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
136:
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
159:
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.
1495:
Seniors, Paula Marie (2009). "Chapter 4: The Red Moon: The Interconnections between Theater and History, the Black and Native Americanization Program at Hampton Institute".
1460:
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".
356:. However, these scholars also described the work as "a fresh amalgamation of 'Indian music', Tin Pan Alley syncopation, ballads, and dialect numbers". Cultural historian
150:. 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
214:
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
451:
222:. 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".
140:." 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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1203:
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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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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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1302:
A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, Or Involving African Americans
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1123:
428:
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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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also labeled the work an operetta, and included the work in his compendium of American operettas
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494:"Ada (My Sweet Potater)" (music by Bob Cole and James Reese Europe; lyrics by Charles A. Hunter)
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904:""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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346:"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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Raccuglia, Peter (March 2022). "An American Musical in Red and Black".
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stated that "although a few of the songs are reflective of the earlier
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Front cover of the 1908 sheet music for the song "Bleeding Moon" from
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324:
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544:"I Ain't Had No Lovin' in a Long Time" (music by James Reese Europe)
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An Inconvenient Black History of British Musical Theatre 1900 - 1950
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308:
189:
89:
70:
53:
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Gates Jr., Henry Louis; Higginbotham, Evelyn Brooks, eds. (2008).
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Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction
316:
1413:
Blacks in Blackface: A Sourcebook on Early Black Musical Shows
1205:
Spreadin' Rhythm Around: Black Popular Songwriters, 1880-1930
218:, and the ballad and dialect songs of Broadway musicals and
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The opening setting at the Swamptown school is based on the
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Africana Studies professor Paula Marie Seniors stated that "
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was at the height of its popularity on the American stage.
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was taken from traditional beliefs about the red moon or "
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A Life in Ragtime: A Biography of James Reese Europe
1143:
The African American National Biography, Volume VII
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732:
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1227:Laird, Paul R.; Everett, William A., eds. (2017).
1300:Peterson Jr., Bernard L. (1993). "The Red Moon".
1156:Historical Dictionary of African American Theater
368:). The work has also been labeled an operetta in
1575:
1354:Encyclopedia of the Harlem Renaissance, Volume 1
1091:Bordman, Gerald Martin; Norton, Richard (2010).
727:
27:1908 musical by J. Rosamund Johnson and Bob Cole
1177:Hill, Anthony D.; Barnett, Douglas Q. (2009).
816:
814:
686:
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446:) simply describe the work as "a Black show".
1352:. In Wintz, Cary D.; Finkelman, Paul (eds.).
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234:as Minnehaha, Arthur Talbot as Chief Lowdog,
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1120:The Complete Book of 1900s Broadway Musicals
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425:The Complete Book of 1900s Broadway Musicals
339:more of an operetta than a musical comedy."
250:Musical theatre scholar Dan Dietz described
1438:Racial Uplift and American Music, 1878-1943
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417:Racial Uplift and American Music, 1878-1943
88:is set in the fictional town of Swamptown,
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403:, "An American Musical in Red and Black".
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1535:The Music of Black Americans: A History
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1463:The Journal of African American History
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379:The Garland Encyclopedia of World Music
370:The Music of Black Americans: A History
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1230:The Cambridge Companion to the Musical
1180:The A to Z of African American Theater
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967:
754:
693:
409:The A to Z of African American Theater
390:) among other academic publications.
313:The Cambridge Companion to the Musical
64:. Additional music was contributed by
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1097:American Musical Theatre: A Chronicle
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535:"Sambo" (music by James Reese Europe)
440:American Musical Theatre: A Chronicle
1202:Jasen, David A; Jones, Gene (2013).
1153:
604:
1252:Letellier, Robert Ignatius (2015).
1160:Rowman & Littlefield Publishers
1124:Rowman & Littlefield Publishers
1118:Dietz, Dan (2022). "The Red Moon".
551:
429:Rowman & Littlefield Publishers
166:ancestry to inform the crafting of
24:
882:"Confessions of A Dramatic Critic"
461:
25:
1625:
1614:Musicals about race and ethnicity
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1323:Peterson Jr., Bernard L. (2000).
1254:Operetta: A Sourcebook, Volume II
362:Operetta, A Sourcebook, Volume II
202:had been a tremendous success on
108:now known as Hampton University.
488:"Don't Tell Tales Out of School"
1443:University Press of Mississippi
1275:Paulin, Diana Rebekkah (2012).
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922:Gates & Higginbotham, p. 55
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421:University Press of Mississippi
1387:Johns Hopkins University Press
745:
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571:Development of musical theatre
431:) among other academic works.
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1:
1604:All-Black cast Broadway shows
1348:Price III, Emmett G. (2004).
1283:University of Minnesota Press
1258:Cambridge Scholars Publishing
844:Jasen & Jones, p. 112-113
576:
366:Cambridge Scholars Publishing
1510:Sotiropoulos, Karen (2009).
1435:Schenbeck, Lawrence (2012).
1043:Bordman & Norton, p. 210
998:Mayes & Whitfield, p. 55
860:. June 21, 1908. p. 29.
854:"Ambitions in High Places".
581:
482:"Life Is a Game of Checkers"
60:and both book and lyrics by
56:in three acts with music by
7:
1503:Ohio State University Press
1472:University of Chicago Press
564:
319:genre, many are written as
188:was created at a time when
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1630:
1569:Internet Broadway Database
1564:The Red Moon
1539:Cambridge University Press
1410:Sampson, Henry T. (2014).
1235:Cambridge University Press
1025:Hill & Barnett, p. 108
448:Cleveland State University
374:Cambridge University Press
278:styles into a Black show.
230:included operatic soprano
145:historically Black college
124:
106:historically Black college
1533:Southern, Eileen (1997).
1154:Hill, Anthony D. (2018).
912:. May 4, 1909. p. 9.
808:Jasen & Jones, p. 113
742:Jasen & Jones, p. 112
678:Peterson Jr. 2000, p. 298
601:Peterson Jr. 1993, p. 288
519:"On the Road to Monterey"
438:and Richard C. Norton in
1599:Musicals set in Virginia
1516:Harvard University Press
870:Seniors 2009, p. 125 126
774:Seniors 2009, p. 110-112
751:Seniors 2009, p. 114-115
541:"Run, Billy Possum, Run"
1147:Oxford University Press
1101:Oxford University Press
1074:Oxford University Press
444:Oxford University Press
395:ShanghaiTech University
182:and means "waterfall".
80:
724:Seniors 2009, p. 98-99
323:, similar to those of
40:
18:The Red Moon (musical)
1066:Badger, Reid (1995).
820:Seniors 2009, p. 2003
516:"The Pathway of Love"
388:Bloomsbury Publishing
35:
1480:10.1086/JAAHv93n1p21
1395:10.1353/aq.2022.0003
1210:Taylor & Francis
1052:Sotiropoulos, p. 268
976:Taylor & Francis
949:Letellier ·, p. 1047
886:The Theatre Magazine
792:Seniors 2009, p. 124
783:Seniors 2009, p. 123
690:Seniors 2009, p. 115
547:"Love Me, Baby Mine"
294:Operetta or musical?
287:Indianapolis Freeman
238:as Lucretia Martin,
152:Booker T. Washington
704:Seniors 2008, p. 21
532:"Red Moon To-da-lo"
513:"The Big Red Shawl"
58:J. Rosamund Johnson
1378:American Quarterly
909:The New York Times
452:Karen Sotiropoulos
405:James Reese Europe
400:American Quarterly
329:George W. Chadwick
281:The New York Times
245:James Reese Europe
236:Elizabeth Williams
212:Indianist movement
210:. Inspired by the
162:Cole used his own
148:Hampton University
94:Indian reservation
66:James Reese Europe
41:
1609:Broadway musicals
1367:978-1-57958-457-3
1219:978-1-135-50972-9
1194:978-0-8108-7061-1
880:E. B. S. (1903).
333:Reginald De Koven
102:Hampton Institute
96:somewhere in the
16:(Redirected from
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491:"I Love But You"
485:"Keep on Smilin"
479:"Opening Chorus"
358:Robert Letellier
275:Majestic Theatre
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252:The Red Moon
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176:harvest moon
172:The Red Moon
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86:The Red Moon
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45:The Red Moon
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38:The Red Moon
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1584:1908 operas
522:"War Dance"
454:noted that
348:Franz Lehár
194:Franz Lehár
1578:Categories
1350:"Bob Cole"
577:References
1594:Operettas
1488:149001764
1474:: 21–35.
1403:247622214
1389:: 51–72.
1358:Routledge
582:Citations
507:"Prelude"
376:, 1997),
335:, making
325:Amy Beach
321:art songs
121:wedding.
1331:ABC-CLIO
1306:ABC-CLIO
565:See also
497:"Finale"
309:operetta
271:Broadway
204:Broadway
190:operetta
138:Broadway
90:Virginia
75:Broadway
71:operetta
62:Bob Cole
54:operetta
1567:at the
442:(2010,
427:(2022,
423:), and
419:(2012,
411:(2009,
386:(2021,
364:(2015,
317:ragtime
125:History
50:musical
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1484:S2CID
1470:(1).
1399:S2CID
1385:(1).
892:: 72.
527:Act 3
502:Act 2
474:Act 1
48:is a
1543:ISBN
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104:; a
81:Plot
1476:doi
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