'How Many Shopping Days Until Christmas?'

If you landed here because you asked your search engine, "How many shopping days until Christmas?," the answer as this went to press was "27."  If you've landed here after November 27, you can check out this handy countdown clock to find out the accurate answer.

The reason for the headline is more to explore the origin of the phrase "only x shopping days until Christmas."

The conventional story of the origin of "shopping days until Christmas" is that the phrase was coined by Wisconsin-born retailer Harry Gordon Selfridge, founder of Selfridge and Company in Oxford Street (London).  There is renewed interest in Selfridge's life and work due to a popular British TV series about him, starring Jeremy Piven, that has also been broadcast on public television in the United States.

It is clear from both factual and fictionalized portrayals of Selfridge that he was an innovative merchant, but research I have done suggests that he is unlikely to have been the coiner of the now-ubiquitous countdown phrase.

According to Selfridge's Wikipedia entry, which lacks a citation for the point,

While at Marshall Field, Selfridge was the first to promote Christmas sales with the phrase "Only _____ Shopping Days Until Christmas", a catchphrase that was quickly picked up by retailers in other markets. Either he or Marshall Field is also credited with popularizing the phrase "The customer is always right."

The UK-based web site "The Phrase Finder," citing the Encyclopedia of Word and Phrase Origins, repeats the same information:

American retailer H. Gordon Selfridge (1856-1947) coined this expression - " __ shopping days until Christmas" while working for Marshall Field & Co. in Chicago. Later he coined the slogan "the customer is always right" when he opened Selfridge's in London.

An Australian web site, WordBooks.com.au, acknowledges that Selfridge may have heard the phrase somewhere else before he used it in marketing his own store's products. Writer Michelle Holland cites another book (Who Said That First?, by Max Cryer) as her source:

The idea of reminding people how much shopping time is left before Christmas is not new. On 19 December 1900 the Los Angeles Times displayed a reminder: ‘There are only (counting today) five more shopping days till Christmas.’ Four days later the Washington Post took up the cry: ‘Only one more shopping day until Christmas.’

At the time Gordon Selfridge was working with Marshall Field and Company in Chicago. He may have picked up the idea from the newspapers mentioned, but certainly he soon instructed his staff to drive the same slogan, which put a real sense of urgency into the shopping lead-up to Christmas. Before long it was used worldwide.

A careful search on NewspaperArchive.com turns up several uses of the phrase several years before the 1900 citations from the Los Angeles Times and Washington Post. The earliest usage I can find was in 1891 but it was frequently used in the 1890s in locations as various as Boston and Cedar Rapids and in various small towns in the Midwest (Oshkosh, Wisconsin, and Mansfield, Ohio, for instance).

The earliest example I can find from Gordon Selfridge himself comes from 1909, the first Christmas season that Selfridges was open:

London Standard, December 16, 1909

Yet I was not able to find any uses of the phrase in Chicago newspapers during the time that Selfridge worked for Marshall Field. The earliest instance appears to be from the front page of the Chicago Heights Star on December 17, 1908 -- about two years after Selfridge had moved to London to build his own department store.

Chicago Heights Star, December 17, 1908

One Illinois newspaper used the phrase in 1897 -- but that was in Jacksonville, a central Illinois city some 235 miles southwest of Chicago and unlikely to be familiar to Selfridge.

Jacksonville (Ill.) Daily Journal, December 8, 1897

Four years earlier, a Massachusetts merchant, Hollander Bradshaw Folsom, used the phrase in a large advertisement for a variety of products it had on offer:

Boston Sunday Post, December 10, 1893

That Boston Sunday Post advertisement may be the first time the phrase "only __ shopping days before Christmas" appeared in print.

Two years before that, the same retailer posted this reminder in the Boston Globe: "NOTICE--Please bear in mind that only 16 SHOPPING DAYS now intervene to Christmas, and that during the last ten days all of our floors are jammed."

Boston Sunday Globe, December 6, 1891

I believe that Boston Sunday Globe ad is the earliest use in print of anything close to "shopping days until Christmas," although it is expressed in more flowery language.

In 1894, the Herms Dry Goods Company advertised in the Portsmouth (Ohio) Daily Times, admonishing readers to "Do Your Xmas Shopping Now" because there were "Only 18 Shopping Days Before Christmas."

The Daily Times (Portsmouth, Ohio), December 4, 1894

On the same page in that same newspaper was the beginning of the serialization of Stephen Crane's novel, The Red Badge of Courage, up to chapter III. The Daily Times was one of 200 small town dailies that serialized Crane's story that month and helped establish his fame as a writer. Now a high-school lit-class staple, The Red Badge of Courage wasn't published in book form until the following year. (Charlottesville connection: Crane's handwritten manuscript is preserved in the Albert and Shirley Small Special Collections Library at the University of Virginia.)

Advertising in the Boston Sunday Globe in 1895, Jordan, Marsh, & Co. claimed to have "the Grandest Aggregation of Holiday Goods in New England" and reminded readers there were "Only 8 More Shopping Days Before Christmas":

Boston Sunday Globe, December 15, 1895

By the turn of the century, the phrase was ubiquitous. Here are some examples:

The Daily Northwestern (Oshkosh, Wisc.), December 11, 1899

Mansfield (Ohio) News, December 12, 1899

Cedar Rapids (Iowa) Republican, December 23, 1900

Washington Post, November 27, 1904

That last example, published exactly 110 years ago today, is puzzling in that it warns about "only 24 shopping days until Christmas," when it should be 27 days.  The advertiser, Galt & Bro. Jewelers, was at one time the oldest continuously operating business in Washington, D.C.  It closed in March 2001 after nearly two centuries of operation.  It was once managed by Edith Galt, who became the second Mrs. Woodrow Wilson and effectively president after her husband's debilitating stroke.

To summarize:  The claim that Harry Gordon Selfridge coined the phrase "___ shopping days until Christmas" rests on flimsy ground.  Knowing that Selfridge was a notorious self-promoter, the assertion that he first used it while he was at Marshall Field & Co. in Chicago in the late 19th century may originate with him in one of his expansive chats with journalists (like this 1932 interview with The Milwaukee Journal, in which he lays claim to "the customer is always right").

The earliest near-usage I was able to find was in the Boston Globe in 1891.  (I searched as far back as 1860.)  The earliest precise phrasing I found was two years later, in the Boston Sunday Post. The phrase became common in the 1890s in New England and the Midwest but I found no evidence of Selfridge using it before 1909, even in Chicago newspapers that would have published ads for Marshall Field. That doesn't mean no evidence exists -- just that I could not find it.  If anyone can find an earlier usage attributed to Selfridge, I welcome feedback.

Author Interview: Jesse Walker on 'The United States of Paranoia'

Reason magazine books editor Jesse Walker is author of the recent book, The United States of Paranoia: A Conspiracy Theory (HarperCollins, $25.99), which reaches back to the earliest days of American history to examine how conspiracy theories take hold and what kind of influence they have on politics when they fail to fizzle out.

Acknowledging that his new book draws partial inspiration from and is partially a reply to Richard Hofstadter's famous monograph, The Paranoid Style in American Politics, Walker explained in an interview with me last month at the Cato Institute that The United States of Paranoia “grew out of a lot of things.”

'Folklore of conspiracy thinking'
He had “been writing stories that touched on these issues for many years. At one point in the book, I quote from interviews I did way back in 1995 for a magazine article.”

In particular, Walker said, he “wanted to explore the folklore of conspiracy thinking in America and just what we can learn from these stories – even the ones that aren't true [and] hat they say about the anxieties and the experiences of the people who believe them.”

Walker acknowledged that conspiracy theories and urban legends “overlap,” but they are not the same thing.

“The two big differences are that sometimes a conspiracy theory is true and, by definition, no urban legend is true,” while “not all urban legends involve conspiracies, but many do.”

He pointed out that “one rich source of material in the book was just looking at the works by the sociologists and anthropologists who collect urban legends and that sort of folklore.”

Anti-Semitism and anti-Catholicism
Similarly, while some conspiracy theories have anti-Catholic or anti-Semitic roots, not all do.

“There are a lot of anti-Catholic and anti-Semitic conspiracy theories, which is not to say that anyone who believes in a conspiracy theory shares those bigotries,” Walker explained.

“Of those conspiracy theories that involve scapegoating a group, the three that seem to have the most potent influence in American history were those involving Catholics, blacks, or Indians. Obviously, there are also ones involving Jews, gays, liberals, conservatives, and others, but those were the big three.”

On the other hand, he said, “if I were writing a history of European paranoia, anti-Semitism would be much closer to the core,” adding that there are “a number of anti-Semites in the book,” which focuses on American history.

Even little-known and generally forgotten conspiracy theories can re-emerge unexpectedly, Walker said.

Some of them “will continue to be around and mutate and find new forms. I never would have guessed in the 1980s,” for instance, “that there would be all sorts of rap lyrics about the Illuminati” two decades later.

At my prompting, Walker commented on some well-known conspiracy theories involving President Barack Obama, the AIDS virus, and the 9/11 terrorist attacks.

Birtherism
One common conspiracy theory of the past few years has been based on the claim that President Obama was not born in the United States. This has earned the sobriquet “birtherism,” and includes such elements that Obama was born in Kenya and his official birth certificate from Hawaii is a fake.

Jesse Walker

“There's a lot to unpack there,” Walker said about that theory.

In the book, he said, he gives three reasons for why “birtherism has taken hold and even has believers now, even though it's pretty hard to make the case for it being true at this point.”

The first is a “desire for a magic bullet, something that can win you a political victory without the pain of political persuasion. It's worth noting,” Walker explained, “that birtherism initially caught on among the diehard supporters of Hillary Clinton during the primaries in 2008 before it migrated to the right.”

A second reason “is the fear of the foreign.”

If someone is “afraid of foreign Muslims and [doesn't] like the president, it's easy to be attracted to the idea of the president being foreign and/or a Muslim.”

In general, he continued, “if people who are uncomfortable with the idea of America as a multicultural nation, to them, the President is metaphorically foreign for all sorts of reasons and a conspiracy theory is very good at making the metaphoric into the concrete.”

The third reason, Walker said, is that birtherism is “a way to maintain your respect for the presidency while rejecting a president. If you can say, 'he's a usurper, pretender to the throne' – you actually see these sort of royalist metaphors in a lot of birther literature” – the birther can claim respect for the office if not for the man.

Walker added that he is “not saying that every birther subscribes to all three of those. Those groups overlap.” There are people for whom none of those reasons fit, “but those are three themes that often come up in the birther literature.”

AIDS created by U.S. government?
Another conspiracy that emerged relatively recently was the idea that the U.S. government created the AIDS virus.

There a lot of different AIDS theories, Walker said, but the one he addresses in his book “is the idea that white doctors were injecting black babies with AIDS. You might remember that rumor in the '80s.”

That story is “obviously not true,” he noted, but still “it's easy to see how it could catch on among people who have experienced a long history of high-handed or abusive treatment from the white medical establishment, including some genuine conspiracies, like the Tuskegee Experiment. That sort of lays the ground work for believing other conspiracy theories.”

9/11 truthers
Those who refuse to believe that Islamic-extremist hijackers destroyed the World Trade Center by crashing jet planes into the Twin Towers are known as “9/11 truthers.” They often say that the U.S. government engineered the collapse of the buildings in order to trigger a war and reduce Americans' civil liberties.

The question of 9/11 trutherism is “one that has people have adopted that for so many reasons, I really hate to reduce it to any one or two.”

Sometimes, Walker pointed out, “people say that trutherism is a paralyzing idea because everything is stacked against you. The flip side is that you just have to worry about what's happening in Washington not trying to disentangle what's going on in foreign lands.”

That is not, however, “the only reason that trutherism catches on,” and he addresses some of those other possibilities in his book.

As it happens, Jesse Walker was also a guest of Coy Barefoot on WCHV-FM's “Inside Charlottesville” on August 27, talking about The United States of Paranoia.

(This article is based on two previously published pieces on Examiner.com.)

Note: Cross-posted from Book Reviews by Rick Sincere.

Twin Review: 'The Hollow' and 'The Boy Detective Fails'

On September 10, Tim Hulsey and I saw two world-premiere musicals at Signature Theatre in Arlington. Here is my review.

‘The Hollow’ Is Hollow; ‘The Boy Detective’ Not-Quite ‘Fails’

Rick Sincere

Metro Herald Entertainment Editor

Two world premiere musical plays at Arlington’s Signature Theatre are not only being presented in rotating repertory, they are virtually mirror images of each other in tone, theme, and interpretation of the material on which they are based.

The Boy Detective Fails, based upon a novel of the same name, takes dark themes – murder, suicide, mental illness – and presents them in cartoonish colors and bright lights at odds with the underlying source.

The Hollow, a reimagining of Washington Irving’s comic short story, “The Legend of Sleepy Hollow,” takes a well-known gothic satire and nearly empties it of its comedic base, with a dark, brooding set to match its new dark, brooding mood.

* * *

Ichabod Crane (Sam Ludwig). Photo: Scott Suchman.

 

It is a stretch to say that The Hollow is little more than a musical retelling of the familiar Irving story. While the program says the play is "based on” the familiar story, it is more accurate to say that it was suggested (loosely) by characters and situations created by Washington Irving, because the end result bears little resemblance to Irving’s telling of the tale. (Irving’s story, set in 1820s Hudson Valley, New York, has no book burnings, no mute preachers, no rapes, no distant abandoned spouses – all elements invented for this stage production.)

The Hollow borrows a few familiar aspects of Irving’s original – a schoolteacher named Ichabod Crane, a mysterious “headless horseman,” and quirky Dutch-speaking villagers – but transforms them into a modern-day, period-costumed morality play about an American Taliban (or perhaps the Westboro Baptist Church) of intolerant ignoramuses who reject any knowledge not derived directly from the Bible. This sets up a clash with cheerful outsider Crane (he’s from Boston by way of Connecticut) who, like Socrates before him, corrupts the minds of Sleepy Hollow’s youth with such radical books as Gulliver’s Travels, Candide, and Thomas Paine’s The Rights of Man. Needless to say, Irving wrote nothing like this.

Despite the play’s fundamental flaws, there are solid performances by Sam Ludwig as Ichabod Crane, Whitney Bashor as his love interest, Katrina Van Tassel, Harry Winter as Katrina’s father, Baltus, and Noah Chiet as 10-year-old Pieter Claassen. The rest of the cast, unfortunately, plays into the overwrought script and offers little more than two-dimensional caricatures of religious zealots who would sooner burn down the village schoolhouse than allow their children to learn.

Composer-lyricist Matt Conner’s score includes two excellent musical numbers: Katrina’s song of yearning about “Boston” and a trio called “Perhaps” for Ichabod, Katrina, and Pieter, in which they permit their imaginations to run wild. (Something, it seems, that is forbidden in Sleepy Hollow.)

The agitprop tone of Hunter Foster’s deeply flawed book is matched by Matthew Gardiner’s direction while the sets by Derek McLane and costumes by Kathleen Geldard almost make this ill-begotten enterprise worth watching.

* * *

The Boy Detective Fails, though still flawed, succeeds where The Hollow falls short. Even though the main character (Billy Argo, played by Signature regular Stephen Gregory Smith) suffers from OCD or ADHD or Asperger’s Syndrome – it’s never made clear what, exactly, is wrong with him – he comes across as a likable fellow whom the audience wants to cheer on.

Thomas Adrian Simpson & Stephen Gregory Smith.  Photo: Scott Suchman.

Not being familiar with the original source material, it seems that the opening numbers, “Prologue” and “Billy Argo, Boy Detective,” condense what must be about a third of the original novel into a 12-minute expository musical scene. While composer-lyricist Adam Gwon tries to follow the dictum of “show, don’t tell,” the scene has too much “show and tell” – where the Greek chorus describes what the principal characters are doing, as they do it.

If anyone steals the show, it has to be Thomas Adrian Simpson as Professor Von Golum, Billy’s longtime adversary. Von Golum gets three novelty numbers that are quite the highlights of the show: “Old Friends” and “No Such Thing,” both duets with Billy, as well as “Evil,” a scenery-chewing delight he shares with the ensemble.

Billy also gets two affectionate songs with his equally shy romantic partner, Penny Maple (Anika Larsen), “I Like (The Secret Song)” and “Little Mysteries.”

The colorful physical environment created by scenic designer McLane, costume designer Geldard, and lighting designer Chris Lee helps to overcome any of the show’s minor shortcomings. They take full advantage of the expansive stage available to them.

If The Boy Detective Fails has any fundamental flaw, it is that at the end of the show, there is no sense of resolution. The problem is, this is precisely what the librettist – Joe Meno, who also wrote the original novel – seems to intend. That the audience leaves the theatre feeling unsettled and alienated may provide some artistic satisfaction to the creators is really no consolation to the people who bought tickets expecting to see the various plot strands arrive at a logical terminus.

That said, director Joe Calarco’s staging for The Boy Detective Fails – lightheartedly at odds with the central themes of the piece – works precisely because of the juxtaposition. Gardiner’s direction of The Hollow, in contrast, is too earnest by half. Their choices explain the general success of The Boy Detective Fails and the ultimate hollowness of The Hollow.

With a few tweaks to the script (perhaps including some judicious cuts of about 20 minutes of its playing time), as well as a more definitive ending, The Boy Detective Fails might have a life beyond this debut production at Signature Theatre. To salvage The Hollow, however, will require a total overhaul. As currently conceived, the play has little worth saving.

The Hollow and The Boy Detective Fails were commissioned through Signature Theatre’s American Musical Voices Project (AMVP). Both shows continue in rotating repertory through October 16 in The MAX, Signature’s larger performance space, at 4200 Campbell Avenue (Shirlington Village) in Arlington, Virginia. For ticket information, visit the theatre’s web site at www.signature-theatre.org or call the box office at 703-820-9771.

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An Interview with ‘And the Curtain Rises’ Playwright Michael Slade

Tonight is the press preview of And the Curtain Rises, a new musical at Signature Theatre in Arlington, Virginia. Here is an interview with the show's playwright, Michael Slade, which I wrote for The Metro Herald.

Recreating the Birth of the American Musical Theatre:

An Interview with ‘And the Curtain Rises’ Playwright Michael Slade

Rick Sincere

Metro Herald Entertainment Editor

The curtain rises officially on And the Curtain Rises, a new musical at Signature Theatre in Arlington, on Tuesday, March 29.

The play tells the story of The Black Crook, a spectacular originally produced in 1866 that is often identified as the first American musical play. At a time when a run of two or three weeks was considered exceptionally long, The Black Crook was such a sensation that it had 475 performances in its first run, plus two revivals in 1870-71 and 1871-72 totaling 193 performances, according to the Internet Broadway Database (ibdb.com).  It also toured the country for years.

The story of The Black Crook has been told once before on the musical stage, in The Girl in Pink Tights by composer Sigmund Romberg, lyricist Leo Robin, and librettists Jerome Chodorov and Joseph Fields. The Girl in Pink Tights took its title from the phenomenon that made The Black Crook so racy: under the sharp limelight, the pink tights on the dancing girls made their legs look nude, a shocking sight in the 1860s.

The Girl in Pink Tights had a tepid run of 115 performances over three months in 1954, but it marked the Broadway debuts of Maurice and Gregory Hines, who were then 11 and 9 years old, respectively, and featured in its cast Marni Nixon, later known for her dubbing the silver-screen singing voices of Deborah Kerr in The King and I, Natalie Wood in West Side Story, and Audrey Hepburn in My Fair Lady.

Signature’s take on The Black Crook is part of its American Musical Voices Project, which has previously commissioned the new musicals Giant (by Michael John LaChiusa and Sybille Pearson) and Sycamore Trees (by Ricky Ian Gordon and Nina Mankin).

The creative team behind And the Curtain Rises consists of director Kristin Hanggi, composer Joseph Thalken, lyricist Mark Campbell, and playwright Michael Slade, who spoke at length with The Metro Herald about the project, its origins, and the production process.


From actor to playwright
Slade is a New Yorker by birth, having grown up in Syosset, Long Island, and earning a BFA in theatre from Ithaca College. Although he always had a love of writing dating from his childhood, he began his career as an actor, appearing in “hundreds of commercials, a couple of TV pilots, a couple of national tours, and a couple of off-Broadway plays,” he said.

'And the Curtain Rises' playwright Michael Slade / Photo courtesy Signature Theatre

Growing tired of the business of acting – with the many cattle-call auditions, quickly-disappearing jobs, and all the stresses and strains of the profession – Slade, with the encouragement of friends, turned increasingly to writing even though his “agents were disappointed.”

His first play, a one-act called Thanksgiving, was produced by the Manhattan Class Company (now the MCC Theater at The Lucille Lortel Theatre) in New York about 20 years ago.

“It was a wonderful, wonderful production and I got a lot of notice from it from people and that was a great experience,” he explained.

“That was validation for me,” he said, because until a play is performed on stage by actors, “it’s not fully finished.” This is unlike a novel or short story, which can be read in any form even if they are not published. “Production and performance are the components of a finished piece” of theatre, however.

After the success of his first play, Slade went on to write about ten “family musicals” for Theatreworks/USA including Superfudge, Lyle, Lyle Crocodile, The Great Brain, The Three Pigs, as well as a Radio City Music Hall production of Pokemon Live!. In addition, he has written teleplays for the long-running soap opera, Days of Our Lives, and was nominated for an Emmy Award for writing episodes of One Life to Live.

The idea of basing a musical on the making of The Black Crook originated with Joseph Thalken, whom Slade had met in New York. The two of them had been discussing possible projects to work on together for some time.

“It felt like a great match,” Slade said. “We both were intrigued with each others’ way of working. We started kicking around ideas.”

He reacted favorably to Thalken’s idea in part because, he explained, he had had “a theatre history professor who was obsessed with The Black Crook. I don’t know how many weeks of the semester he spent talking about the show.”

When Thalken received the commission from the American Musical Voices Project, they brought on Mark Campbell as lyricist and poured themselves into researching the story, the principal characters, and the era (post-Civil War New York City).

Campbell and Thalken had collaborated on some songs together, but not an entire score. “That felt like a really right third component in terms of personality,” Slade noted. “We jumped into the pool together.”


Beginning in the library
Since And the Curtain Rises is basically a piece of historical fiction, the writing process began with research trips to the library.

“I love the process of researching,” Slade said.

“I was not the best student in school, but afterwards I discovered how much fun research was. One can do almost everything on line these days but there’s something about going places and handling real books and articles.”

To find those “real books and articles,” Slade said he “spent a good deal of time at the New York Public Library for the Performing Arts at Lincoln Center. I read first person accounts by people who were involved in original production. No two told the same story,” which added a twist to the creative process.

“We really didn’t want to write a docudrama. We were more interested in fictionalizing the story and using elements from it but really telling the story we wanted to tell about collaboration and how the theatre builds audiences and artists,” he explained.

“We decided very early on that what we would be doing is taking a lot of the facts and using our own imaginations to create and imagine what was going on at the time.”

Slade found more documents and artifacts at the New York Historical Society, which he calls “amazing.”

He found out less there about The Black Crook itself “than about the times,” the 1860s and ‘70s.

The historical society has “a whole collection of menus from restaurants of those years. There were accounts in newspaper articles about those immediate post-Civil War years in New York -- what people did, where they went, how they interacted.”

Slade was not unfamiliar with the era, having previously written about Ned Buntline, the creator of the dime novel and inventor of a gun known as the Buntline Special.

Buntline, Slade explained, had been involved in the Astor Place riots, a now-obscure episode in American history in which fans of rival actors (one British, one American) each playing Macbeth, showed their support through violent demonstrations. “There were literally riots as Americans stormed the theatre” where the British actor was performing, riots stimulated by xenophobia. There were, according to Slade, “cannons in the streets” brought out to quell the demonstrators.

A lot of “the passion about theatre at the time,” Slade said, “was stirred up by Know Nothing Party. The public perception is that it was all about the passion about who was starring in shows in New York,” but as in the culture wars today, politics was not far beneath the surface.

In addition to what he found in libraries, at the historical society, and the Museum of the City of New York, Slade discovered “a wonderful online site about 19th century actors and actresses and about what their lives were like.”


The collaborative process
Early in the process, all three collaborators did research individually and got together to talk. At about the same time, Campbell had been working on a song cycle set in the Civil War.

“I don’t think we started to put anything on paper for the first six months,” Slade said, immersing themselves in the material, and asking themselves “who were the characters, and what were we trying to say?”

After this initial period, “we started writing,” Slade said, explaining that “the way I like to work is, having hashed things out together, I came out with a fairly strong treatment, where we’d already talked about certain places where there’d be songs. Then I wrote a messy first draft of the script where there might be long monologues or overwritten scenes that could be turned into songs.”

Eventually, he said, came the tailoring and incorporating the two.

Working with his collaborators, Slade said, has “been really fearless. It’s been a really terrific collaboration. There’s been great respect between the three of us since day one. We all have been willing to really listen and take it to heart. Sometimes we have an argument but it’s been a healthy and positive collaboration that has continually made the piece better and better.”

While Thalken decided to listen to the score of the earlier musical, The Girl in Pink Tights, Slade chose to stay away from it.

“I made a distinct choice not to listen because I didn’t think it would help. I didn’t want something to unconsciously come into this play.”

In contrast to The Girl in Pink Tights, “our piece is much bigger” and more ambitious.

“I really think about this piece as a Robert Altman movie. We’ve got 16 characters with lives on stage and off. We tell our story through all of them.” And besides, Slade noted, The Girl in Pink Tights “was not a big hit” – something not desired, naturally, for And the Curtain Rises.


Historic but ‘unproducible’
For all of its legendary status, The Black Crook could not be produced today.

It was, Slade discovered, “scheduled for a third revival within the past 50 years. But they realized it’s unproducible. The original production was back in the day when you could have hundreds of people on stage because you weren’t necessarily paying them all.”

What’s more, the original production’s stagecraft was unprecedented.

“British designers came in and brought on scenic events like nothing before seen on stage. There were fires of hell, a waterfall, and a lake with boats floating on it -- not to mention the March of the Amazons.” It would, Slade pointed out, “be cost prohibitive today.”

Yet despite all the special effects, the crew consisted of “a bunch of ex-sailors pulling ropes.”

Neither was The Black Crook a very good play.

Instead, Slade noted wryly, “it’s almost deliciously bad. It borrows from melodrama and Shakespeare and Faust, all thrown into one. What made it its enormous success was the spectacle and the girls’ legs” in those notorious pink tights.

While Slade and his partners were developing the show, a staged reading of what became And the Curtain Rises was put on at the Human Race Theatre Company in Dayton, Ohio. By coincidence, “there’s an old theatre in Dayton that had been a stop on The Black Crook tour,” which traveled around the country “for decades.” While the tour did not have all of the amazing special effects of the original production, “it was a fair approximation of what had played in New York.”

Coming upon that old Dayton theatre was amazing in itself, Slade said, because the 19th century “was a perilous time for theatres, since they were wood structures using flames as lights.”

As a matter of fact, the legend goes, the way The Black Crook came together was when a theatre hosting a troupe of Parisian ballet dancers burned down and its manager lent them to William Wheatley, The Black Crook’s producer.


Changing the name
Wheatley’s pivotal involvement explains the originally announced title of And the Curtain Rises: “Wheatley’s Folly.”

This was, Slade noted, “a working title but we weren’t in love with it. It always felt like it took a lot of explaining.”

Change came when Kristin Hanggi was added on to the team as director. She asked if they could come up with a better title, so they considered alternatives.

“’And the Curtain Rises’ is the name of the finale in our show,” Slade continued, “and one day we said, ‘How about that? It talks to everything we’re doing here.’”

They took the proposed change to the leadership at Signature, who “graciously” agreed to it, even though the company had “printed quite a bit of promotional material with they other title. They said: ‘We’ll take care of it,’” and they did.

Slade is effusive with his praise of Signature Theatre itself.

“Signature and Maggie Boland and particularly Eric Schaeffer have been incredible with this,” he said.

“They’ve also been incredible in that we did two readings of it with Eric as director in New York. At one point, he said, it needs another character, it needs a stagehand.

“‘Eric,’ I said, ‘I completely agree, but we’ve already got 15 actors. It costs money.’”

But Schaeffer replied, “‘It’s right for the show. Don’t worry about it.’”

Slade explained: “You so seldom hear that. More often it’s, ‘Can you cut three of the characters?’” Yet Signature is going full-bore with this production.

“We have a fourteen piece orchestra,” Slade gushed. “I’m told that the revival of How to Succeed, with Daniel Radcliffe, doesn’t have 14 pieces. I’ve heard it has just 12, For Signature to give us a fourteen-piece [musical ensemble] is amazing and --because of the intimacy of the space -- it’s just terrific.”

And the Curtain Rises (directed by Kristin Hanggi; book by Michael Slade; music by Joseph Thalken; lyrics by Mark Campbell) began previews on March 17, with an official opening scheduled for March 29. Performances continue through April 10. Show times are Tuesdays and Wednesdays at 7:30 pm, Thursdays and Fridays at 8:00 pm, Saturdays at 2:00 pm and 8:00 pm, and Sundays at 2:00 pm and 7:00 pm.

Tickets range from $55 - $81 and are available by calling Ticketmaster at (703) 573-SEAT (7328) or visiting www.signature-theatre.org. Group discounts are available for parties of ten or more by contacting Bethany Shannon at shannonb@signature-theatre.org or by calling (571) 527-1831. For more information please visit www.signature-theatre.org.

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