By Dan Kassell

New Orleans Blue Serenaders On Broadway

The opening number of each act of One Mo' Time, a new Broadway musical, titled "Overture: Darktown Strutters Ball" and "Entr'acte: Muskrat Ramble . . . Band Solo" are only two of twenty-eight band numbers of which five are instrumental and just in time to rid us of the 9/11 Blues.

"At the right is a small dressing room; at left is the performing space under a partial proscenium, with the band dubbed the New Orleans Blue Serenaders," Charles Isherwood Variety's Theater critic described the stage, "on a riser that slides forward for the band's solos and back when the singers step to the fore. . . . The band is sublime. Fleet-fingered clarinet player Orange Kellin, the show's original musical supervisor and arranger, is back on board here, and his solos alone are worth the price of admission."

"ALL RIGHT, All right, Shut UP", the Theatre Owner (Wally Dunn) berates the audience giving us a taste of the 1926 New Orleans Lyric Theatre's atmosphere before Vernel Bagneris (pronounced VER-nel BAHN-er-eese) enters to audience applause (this is the second opening night March 8, 2002) and treats us to how Papa Du ,a well-dressed gentleman, danced down in "Honky Tonky Town" to impress the ladies. (Just the first sample of his own limber-limbed style). Afterwards in the backstage dressing room: dressing tables, luggage and costumes hanging on the wall next to a feather boa, Ma Reed (B.J. Crosby) establishes her character by explaining: "Nobody wants to marry me when I'm drunk and I certainly don't want to marry anyone when I'm sober!"

"Kiss Me Sweet" (Armand Piron, Steve Lewis) is a love song for Thelma (Rosalind Brown) to entice Papa Du. Imagine a strolling couple with the music suggesting each step. The verses tell the story, the music sets an upbeat happy mood and the dialogue embellishes the lyrics.

"Don't Turn Your Back on Me" (Andy Razaf, Clarence Williams) gives Bertha (Roz Ryan) an opportunity to boss "her" troupe. Her amplified vocal over an instrumental background, makes every word and phrase audible and recognizable - unlike current rock & hip-hop but both originated with this '20's vaudeville style.

All three are on stage for "Cake Walking Babies From Home" (Chris Smith, Henry Troy, Clarence Williams) Papa Du in a straw hat skimmer, the gals struttin' energetic and suggestive, a clarinet obligato fills the background, but compared to Britney or Madonna the difference is these gals keep their clothes on and let our imagination provide the sensuality.

"See See Rider" (Ma Rainey) starts with the recognizable lyric, "I'm so unhappy, I feel so blue, I always feel so bad," that while Ma Reed sings I visualize Bessie Smith leaning on the bar in the movie "St. Louis Blues" and listen to B.J. Crosby belt it out like a shouter.

Arriving on stage in blackface, a long black wig, top hat and garish outfit Papa Du shocks this audience. "He's In the Jailhouse Now" (Toots Davis, Ed Stafford) is a period piece from a time that ought to be forgotten. However, Vernel's humorous portrayal only reminds us why so many are still ashamed because back then blacks brought attention to their condition to express their frustration.

Opening with the verse of "He's Funny that Way" (Neil Moret, Richard A. Whiting) pianist Conal Folkes set a romantic mood for Thelma but the highlight of this melodic tune is Orjan "Orange" Kellin's audible chalemeau clarinet obbligatos complementing Ms. Brown's presentation.

Loud and raucous "Tiger Rag" (Ed Edwards, James LaRocca, W. H. Regas, Anthony Sbarbaro, Larry Shields - The Original Dixieland Jazz Band) is the hot instrumental number intended to get the audience excited and trumpeter Mark Braud (yes, he's a distant cousin of Ellington's bassist Wellman Braud) leads this Band as Orange plays all the right ODJB clarinet runs. Surprising us Walter Payton (father of New Orleans trumpeter Nicholas) makes the tiger growl through his huge beat-up brass Sousaphone (a marching band version of the tuba). Mark Braud stands to blast out one and Orange with eyes rolling his back in his head and puffed out cheeks draws huge applause. Drummer Ken Sara keeps that frantic Dixie beat throughout his solo and motivates 1000 people to appreciate New Orleans Jazz. The boys get two bows!

Papa Du tells a "Mary had a little lamb . . .", joke that you've got to hear in person as a segue for Bertha's song "I can't do without my Kitchen Man"(Andy Razaf, Alex Bellenda). It's innuendo with a feather fan concealing almost everything. "It's hot and touches the right spot." The women in the audience love it and the men look pleased to be included. The words are by Andy Razaf who was Fats Waller's lyricist.

All three are dancing, two gals in flapper dresses, Big Bertha in silk and rhinestones (Costumes by Toni-Leslie James) singing as a trio: "Wait Till You See My Baby Do the Charleston", and each strut their "stuff" cavorting while the band works behind them till we're all exhausted and in need of a fifteen minute intermission.

Printed in French Creole as "Entr'acte:" . . . Band Solo, "Muskrat Ramble" (Edward Ory) [spelled in the program as the animal not the wine propagating an old myth] highlight's Walter Payton's tuba counterpoint to Ken Sara's street parade drum, Mark Braud's trumpet floating over it all as Orange Kellin's clarinet weaves in and out reintroducing us to the ambience of vaudeville.

The anthem sounding verse and B.J.'s dramatic presentation draws applause before her character Ma Reed shouts out the "Black Bottom" (Ray Henderson, Lew Brown, B.G. DeSylva) chorus and is joined by Papa Du (Vernel) and Bertha (Roz) with clarinet obbligatos and precise drumming unmistakably providing all those great rhythms for the dancers.

At "The Party" the Band is the entertainment that provides Walter Payton an opportunity to put down his tuba, stand up and shout in his natural gravel-voice "Louise, Louise" (Traditional Blues), "Why do you treat me so bad? you know you're the best gal, that I ever had!" into an antique microphone.

Conal's tinkling piano behind the dialogue for two gals conversing sets the mood for "Get on Outa Here" (Wesley Wilson). It's a party and all are making outrageous drinking talk. Interpreted only by the stop-time raucous trumpet opening of "Weary Blues" (Artie Matthews) with it's opposing clarinet runs, the familiar melody identified by Mark Braud's impromptu sounding vocal story "Shake It and Break It, . . throw it out the window" and etc., followed his dramatic blasting trumpet solo to kick it up another notch.

"A great big old southern town, . . ., they have dance showin' something rare there", Vernel demonstrates and sings over a languid swinging shuffle "New Orleans Hop Scop Blues" (George Thomas). It's one of many special moments in this show when were slyly captured by that native New Orleans charm.

To snake charming music, the audience bursts out laughing when B.J. (Ma Reed) enters dressed in a straw-skirt jungle costume as the exotic dancer the dialogue promised us in the first act. "Hindustan" (Oliver Wallace, H. Weeks) provides the ancient rhythm that mimes Egyptian hieroglyphs. It's another politically incorrect darkie parody so well overdone it's funny.

"Everybody Love My Baby" (Jack Palmer, Spencer Williams) one of the most recognizable tunes is sung by Rosalind Brown (Thelma) and includes an Orange Kellin clarinet solo that's so compelling it initiates it's own applause.

When a bead curtain drops to screen in front of the band, Ma Reed immediately parts it wearing a colorful robe (Costume by Toni-Leslie James) to sasché cross the stage explaining to an imagined Papa Du "Right Key But the Wrong Keyhole" (Eddie Green, Clarence Williams) before she partially disrobes revealing a bright red silky night-slip. Wow!

Lament, lost love, aching heart is a prerequisite for B.J. to introduce "After You've Gone" (Henry Creamer, J. Turner Layton) but a moment later, after the rhythm doubles, the mood turns to joyful struttin' that he's gone!

Conal's ticklin' and swingin' piano background for "My Man Blues" (Bessie Smith), reminiscent of Fats Waller's delicate swing style, sets the tone for the two gals to determine what to do about Papa Du. In Bessie Smith's time, not unlike the present, co-operation is their plan to keep their man!

"Papa De Da Da" (Spencer Williams, Clarence Williams, Clarence Todd) finds Vernel wearing a grey-blue chalk-strip suit and vest, with watch chain, and a soft dark beret, looking exactly like "Jelly Roll" Morton (whose history he researched in assembling the characteristics for Papa Du) leisurely flowing cross the stage casually showing off his bent knee slow spins with elbows flapping. Parts of the chicken, the jig walk, eagle rock or shimmy assimilated from choreographer Pepsi Bethel's experience. The melody propels the band to romp in the background for the three gals to show their appreciation for Papa Du by singing "He's the hottest man in town". The man has it and woman can see it!

Orange Kellin's mournful-toned clarinet sets the mood for "Muddy Waters" (Harry Richman, Peter DeRose, Jo Trent) a lament that Ma Reed captures perfectly and treats us to its story. For the first time the dressing room is illuminated so we can also see Bertha singing her blues.

Relieved by "A Hot Time in Old Town Tonight" (Theo Metz) the audience responds by clapping in time to Ken Sara's street-beat that reves up this joyous song and just like at the Lyric the band plays for bows, curtain calls and standing ovations, then continues playing as few want to leave the theatre. Responding, Orange calls "Just A Little While to Stay Here" and 25% of the orchestra ticket holders move toward the stage to hear more sweet jazz by the New Orleans Blue Serenaders. Add one more Band Solo to the count. Backstage, a note from Walter Cronkite encourages, "What a great show! My hope is that it will inspire a restoration of that old new Orleans beat".

I went to see it another time because I didn't get it all the first time. See One Mo' Time even if you saw the original Village Gate performances twenty some years ago.

Vernel Bagneris (named after his first cousin the New Orleans drummer Vernel Fournier) is the Creator/Director and entertaining Papa Du, who wrote directed and starred in the original production 3 œ years at the Village Gate and sequel Further Mo'; also wrote and starred in two Off-Broadway productions of Jelly Roll! based upon Ferd Morton's Library of Congress recordings about the origins of American jazz. Jelly Roll! was recorded in New Orleans in July, 1996 and is available from GBH Records, 1206 Decatur Street, New Orleans, LA 70116 on "Jelly Roll", BCD-400.

One Mo' Time closes Sunday, March 24th, 2002.