"As Thousands Cheer," a 1933 Broadway revue, stands out as a significant production in American theater history, not only for its creative approach to musical comedy but also for its groundbreaking social impact. With a book by Moss Hart and music and lyrics by Irving Berlin, this show moved beyond the typical revue format, offering a fresh perspective on contemporary events and celebrity culture. It was a successor to the creators' earlier work,
"Face the Music," and marked a pivotal moment in the careers of its creators and cast members.
Innovative Structure and Satirical Edge
Moss Hart and Irving Berlin deliberately sought to avoid the conventional "blackout sketches" and musical numbers that characterized many revues of their time. Their innovative concept for "As Thousands Cheer" was to create a topical revue that drew its inspiration directly from the "front pages of the newspapers." This approach allowed them to weave satirical sketches and musical numbers around current events and the lives of prominent personalities, making the show feel incredibly relevant and engaging for its audience.
The revue's sketches and songs cleverly lampooned the rich and famous, as well as other notable figures of the day. Celebrities like Joan Crawford, John D. Rockefeller Jr., Noël Coward, Josephine Baker, and Aimee Semple McPherson found themselves subjects of the show's witty and often poignant commentary. This unique structure, which mirrored the daily news, provided a cohesive framework for the diverse array of musical numbers and comedic bits, several of which, such as "Heat Wave," "Easter Parade," and "Harlem on my Mind," went on to become enduring standards.
Breaking Social Barriers on Broadway
Beyond its artistic innovations, "As Thousands Cheer" achieved a remarkable milestone in social progress on the Broadway stage. It was the first Broadway show to grant an African-American star, Ethel Waters, equal billing with white performers. This was a significant step forward in an era when racial segregation and discrimination were prevalent, particularly in entertainment. Waters' equal billing was a powerful statement, challenging the established norms of the time and paving the way for greater recognition of Black talent in theater.
The production also holds a poignant place in theater history as the final stage appearance for Marilyn Miller, a celebrated performer of her era, before her passing. The combination of its artistic merit, social impact, and the notable careers it touched cemented "As Thousands Cheer" as a landmark production. Irving Berlin's commitment to the project was evident in his decision to defer his own fees as composer, lyricist, and theater owner, which helped keep the show's cost to a "restrained" $96,000, demonstrating a belief in the show's vision and potential.
Enduring Legacy and Revivals
The success and impact of "As Thousands Cheer" were not confined to its initial run. The revue garnered extremely positive reviews, a testament to its quality and relevance. Its innovative format and memorable songs ensured its place in the canon of American musical theater. The show has seen a number of revivals over the years, both within the U.S. and internationally, indicating its lasting appeal and the timelessness of its themes.
One notable revival was presented by The Drama Department at the off-Broadway Greenwich House Theater from June 2 to June 14, 1998. Directed by Christopher Ashley with musical staging by Kathleen Marshall, this production featured a talented cast including Kevin Chamberlin, Judy Kuhn, Howard McGillin, Paula Newsome, Mary Beth Peil, and B. D. Wong. The positive reception of this and other revivals underscores the enduring power of Hart and Berlin's original vision, proving that a show rooted in the headlines of its day could resonate with audiences decades later.
