Jews & Musical Theatre
Jews hand a hand in writing nearly all the great musicals of the 1930s and '40s.
Towering over all the other Jewish composers of Tin Pan Alley stands the figure of George Gershwin. Not only could he write a hit tune and turn out perfectly crafted songs for shows, but he wrote longer orchestrated pieces which bridged the gap between high and popular culture. He combined the traditions of European classical music with pop, jazz, and blues. Rhapsody in Blue is a classic case in point. It is neither a symphony nor is it jazz in a narrow sense. Nor is it an overture to a musical. It combines different musical forms to create something new.
In doing this, Gershwin was representing the position of the immigrant, wide-eyed and open-eared in the newly adopted lands. As Jeffrey Melnick claims, it is no coincidence that it was a Jew who tried to forge unity from such musical diversity, in order to synthesize a new American music. A Jew, such as Gershwin, did not want to remain stuck in the confines of tradition but was eager to embrace new musical influences. He had no hesitation--no restricting prejudices--against celebrating the art of black Americans. In fact, Gershwin grew up in Harlem and from an early age he was fascinated by the music he could hear on the streets. Later, with his brother Ira, George would visit the music cafes and get to know local black musicians and composers, such as Willie "the Lion" Smith and James P. Johnson.
In Gershwin's musical synthesis, Jewish music was not to the fore. Some claim that echoes of klezmer music can be heard in the famous opening bars of Rhapsody in Blue. Tellingly, this echo is soon swamped in the main piece by modern rhythms. Gershwin had made plans to write a musical version of the old Yiddish folktale, The Dybbuk. Significantly, nothing came of this. Porgy and Bess, dealing with black characters in the Deep South, emerged instead. George and Ira collaborated with DuBose Heyward to turn the latter's novel into a musical. Thankfully nothing came of an earlier plan to commission Hammerstein and Kern to write the score and then to use Al Jolson in the main role, complete with blackface.
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