{"id":2926,"date":"2017-04-07T19:42:32","date_gmt":"2017-04-07T19:42:32","guid":{"rendered":"https:\/\/performerstuff.com\/mgs\/?p=2926"},"modified":"2020-05-07T01:34:14","modified_gmt":"2020-05-07T01:34:14","slug":"22-male-solo-ideas-from-the-jazz-age","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/22-male-solo-ideas-from-the-jazz-age\/","title":{"rendered":"22 Male Solo Ideas From The Jazz Age"},"content":{"rendered":"<div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-header-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h3 style=\"text-align: left;\">22 Male Solo Ideas From The Jazz Age<\/h3>\n<font size=\"2\" color=\"grey\"><span style=\"border:1px solid ;-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;-moz-box-shadow: 0 0 3px rgba(0,0,0,.3);-webkit-box-shadow: 0 0 3px rgba(0,0,0,.3);box-shadow: 0 0 3px rgba(0,0,0,.3);margin-right:25px;float:left;\" class=\"fusion-imageframe imageframe-glow imageframe-1 hover-type-none author-image\"><a class=\"fusion-no-lightbox\" href=\"http:\/\/performerstuff.com\" target=\"_self\"> <img src=\"https:\/\/performerstuff.com\/mgs\/wp-content\/uploads\/2016\/08\/large-13015398_10208783920372319_8251907998121298385_n.jpg\" alt=\"\" class=\"img-responsive\" style=\"-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;\"\/><\/a><\/span><p>Written by\u00a0Jackson Upperco<\/p>\n<p>April 6, 2017<\/p>\n<\/font><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><p style=\"text-align: left;\">So you\u2019re auditioning for the role of Jimmy in <em>Thoroughly Modern Millie <\/em>(2002)<em>? <\/em>Billy in <em>Chicago <\/em>(1975)? Aldolpho in <em>The Drowsy Chaperone <\/em>(2006)? Well, put some authentic Roaring \u201820s in your repertoire \u2013 starting with this collection of solo suggestions for audition and study from Musical Theatre\u2019s Jazz Age. All of the selections below, chosen by a self-proclaimed expert on the scores of this era, are guaranteed to put you in the mind and flavor \u2013 the <em>real <\/em>mind and flavor \u2013 of this iconic decade. From classic entries in the Great American Songbook to jazzy (seldom sung) gems waiting to be rediscovered \u2013 this EXCLUSIVE list is one to be studied and bookmarked!<\/p>\n<h4>1. \u201cIn Honeysuckle Time\u201d from <em>Shuffle Along <\/em>(1921) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/39BjwClYFrE?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\"><em>Shuffle Along <\/em>was the first successful Broadway musical starring and written by African Americans to permeate the tastes of the predominantly white theatrical community. The score, by Eubie Blake and Noble Sissle, was jazzy and modern, and this number, in which a gent pines for his lovely Emaline, is a joyous example of the era\u2019s slow transition from ragtime to jazz.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4 style=\"text-align: left;\">2. \u201cAll By Myself\u201d from <em>The Music Box Revue Of 1921 (<\/em><em>Baritone)<\/em><\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/QPQlynBzIhc?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Irving Berlin, who wrote both the music and lyrics for this plainly sincere number, was one of the most prolific contributors to the Great American Songbook, and his efforts for the 1921-\u201824 series of <em>Music Box Revues <\/em>is a terrific source of early \u201820s jazz. Whether you want to spice it up or savor its melancholia, this ballad is a Berlin classic.<a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/64550\/All-By-Myself\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>3. \u201cToot, Toot, Tootsie! (Goo\u2019bye)\u201d from <em>Bombo <\/em>(1921) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/8j0QXb_U2go?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">This number will always be associated with Al Jolson, who performed it in the first talking picture, <em>The Jazz Singer <\/em>(1927), but he originated the song in 1921, in a thinly plotted musical comedy that had him playing a deckhand on Christopher Columbus\u2019 ship. For those interested in examining this memorable song, the key now is making it your own!<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/36194\/Toot-Toot-Tootsie\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>4. \u201cLady Of The Evening\u201d from <em>The Music Box Revue Of 1922\u00a0<\/em>(<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KW-_4ZJf37U?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Never underestimate Irving Berlin, whose tunes (for which he wrote both music <em>and<\/em> lyrics) are seemingly direct and uncomplicated, for every now and again he\u2019d work in a good Cole Porter-esque double entendre, as he does in this ballad, in which a singer exalts a mysterious lady of the evening\u2026 which is also a euphemism for a prostitute!<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/30096\/Lady-Of-The-Evening\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>5. \u201cThe Dumber They Come, The Better I Like \u2018Em\u201d from <em>Kid Boots <\/em>(1923) (<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/OepqTkyqbF8?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Al Jolson\u2019s spiritual rival during this era was Eddie Cantor, who starred in this Ziegfeld musical comedy set in the Everglades of Florida. This kooky little tune \u2013 in which a man professes his preference for dumb women over smart ones (\u201cbecause the dumb ones know how to make love\u201d) regained some prominence when it was featured on <em>Boardwalk Empire. <\/em><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>6. \u201cWhat\u2019ll I Do?\u201d from <em>The Music Box Revue Of 1923\u00a0<\/em>(<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/iFs0b6tL2KY?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">One of Berlin\u2019s classics, this haunting ballad was added in early \u201924 to the 1923 edition of the <em>Music Box Revue<\/em>. It quickly became a hit, for its honest display of a man\u2019s longing for a lover soon-to-be-departed sure tugs at the heart. The \u201820s wasn\u2019t all snap, crackle, and pop \u2013 times were changing and many were disillusioned; this type of jazz reflected that sadness.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/21411\/Whatll-I-Do\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>7. \u201cThere Isn\u2019t One Girl\u201d from <em>Sitting Pretty <\/em>(1924) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/jm-dhv0pFug?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Many a musical theatre debate has been had about which composers were the most influential when informing the emerging sounds of the \u201820s, and while Jerome Kern\u2019s musical substance has never been doubted, it\u2019s easy to overlook just how surreptitiously bluesy he was becoming. This little-known tune is ambitious \u2013 and very reflective of 1924.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>8. \u201cFascinating Rhythm\u201d from <em>Lady, Be Good! <\/em>(1924) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/ywWsrWwH5Zo?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Gershwin is the Musical Theatre equivalent to Beethoven, and the work he was producing in the \u201820s is as vibrant and alive today as it was then. 1924 not only saw the premiere of his landmark \u201cRhapsody In Blue,\u201d but it also gave us a charming vehicle for Fred and Adele Astaire, <em>Lady Be Good!, <\/em>in which this rhythmic hit (which you\u2019ve certainly heard before) was introduced.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/23969\/Fascinating-Rhythm\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>9. \u201cLucky Boy\u201d from <em>The Cocoanuts <\/em>(1925) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/pBtRs9nc2bs?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">A musical romp starring the Marx Brothers, <em>The Cocoanuts <\/em>features a peppy Irving Berlin score that\u2019s inspired by the Florida land boom, which served as the basis of the story. The locale\u2019s warmth is projected throughout the tune-stack, including in the ebullient \u201cLucky Boy,\u201d a prime example of the decade\u2019s counterbalancing optimism.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>10. \u201cChoo-Choo Love\u201d from <em>Kitty\u2019s Kisses <\/em>(1926) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/RrN7M-8YiII?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">From a forgotten 1926 score by Con Conrad and Gus Kahn that was resurrected when it was recorded (almost in full) a few years ago, the buoyant \u201cChoo-Choo Love\u201d is emblematic of Broadway\u2019s embracement of the jazzier sounds that have since come to define the decade. Even in lesser known shows like this \u2013 amiable but unspectacular \u2013 there are delights!<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>11. \u201cThe Birth Of The Blues\u201d from <em>George White\u2019s Scandals Of 1926<\/em>\u00a0(<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/k1AC4r5seB0?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">The songwriting trio of DeSylva, Brown, and Henderson were more known for their contributions to several sporty and youth-oriented book musicals at the end of the decade, but they crafted one of their most indelible standards in the 1926 edition of George\u2019s White\u2019s <em>Scandals <\/em>(the second biggest revue of the decade \u2013 behind Ziegfeld\u2019s). Revel in the blueness!<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/10567\/The-Birth-Of-The-Blues\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>12. \u201cIt Pays To Advertise\u201d from <em>Queen High <\/em>(1926) (<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/pkEKP3YRbak?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">With the country\u2019s economy booming (spoiler alert: for the time being), Broadway also experienced an explosion in both supply and demand, as new shows sprang up seemingly every week. And even in those with scores by lesser known players (like Lewis E. Gensler), fun little ditties were sure to be found. Here\u2019s a great, esoteric, example.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>13. \u201cMy One And Only\u201d from <em>Funny Face <\/em>(1927) (<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Mw5sKvofFh4?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><br><\/div><p style=\"text-align: left;\">The Gershwin brothers\u2019 second show with the Astaires, <em>Funny Face<\/em>\u2019s marvelous score has been split up and used throughout many of the past few decade\u2019s jukebox Gershwin musicals. This solo for Fred Astaire was used in \u2013 and became the title \u2013 for the 1983 production <em>My One And Only<\/em>. It\u2019s quintessential Gershwin, who is quintessentially \u201820s.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/106418\/My-One-And-Only\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>14. \u201cDoin\u2019 The New Low-Down\u201d from <em>Lew Leslie\u2019s Blackbirds Of 1928\u00a0<\/em>(<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/iFFSkDpsgRg?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\"><em>Blackbirds <\/em>was a seminal revue starring African Americans \u2013 this time with songs by Jimmy McHugh and lyricist Dorothy Fields \u2013 that had played London in \u201926 before coming to New York two years later with a new, fresh American score. This number, introduced by Bill \u201cBojangles\u201d Robinson, is one of the hottest on today\u2019s list; can you handle it?<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>15. \u201cSoftly, As In A Morning Sunrise\u201d from <em>The New Moon <\/em>(1928) (<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KWnKoj73XuM?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">For those who weren\u2019t ready to embrace the decade\u2019s newer, jazzier sounds, the \u201820s also offered more traditional forms, like operetta \u2013 a wry, light, and gaily European genre that included material both earnest and knowing. This score by Romberg and Hammerstein is a bit of both, offering some of the \u201820s most gorgeous tunes \u2013 with a wink!<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/27290\/Softly-As-In-A-Morning-Sunrise\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>16. \u201cMakin\u2019 Whoopee!\u201d from <em>Whoopee! <\/em>(1928) (<em>Tenor<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/JV6auYAD13E?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">While Jolson was associated with many iconic songs (like the aforementioned \u201cToot, Toot, Tootsie\u201d), Eddie Cantor had this, the title tune from Ziegfeld\u2019s lavish <em>Whoopee!<\/em>, a Western-tinged musical comedy in which the star played a hypochondriac who picks up a runaway bride. This classic cemented \u201cwhoopee\u201d as a universally understood euphemism for sex.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/18700\/Makin-Whoopee\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>17. \u201cOut Where The Blues Begin\u201d from <em>Hello Daddy! <\/em>(1928) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BRbrcnZ14e8?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">By the last few years of the decade, it was clear that jazz and blues were here to stay, and Broadway composers were becoming jazzier and bluesier! This offering by Jimmy McHugh and Dorothy Fields lives up its name, featuring appropriately cobalt-ish heat, and for interested parties, it\u2019s a tune that\u2019s very much of its time, but not oversung today.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>18. \u201cI Guess I\u2019ll Have To Change My Plan\u201d from <em>The Little Show <\/em>(1929) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/ctjj_cRgVo8?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Clifton Webb introduced this Arthur Schwartz-Howard Dietz classic in the brilliant 1929 revue <em>The Little Show<\/em>, so named for its intimacy of both material and production. This simplicity allowed the performers and songs to shine, and this standard gem has never grown out of fashion, thanks to its inclusion in MGM\u2019s 1953 film <a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-series-the-band-wagon-1953\/\"><span style=\"text-decoration: underline; color: #ba9bc9;\"><strong><em>The Band Wagon<\/em><\/strong><\/span><\/a>.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/31469\/I-Guess-Ill-Have-To-Change-My-Plan\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>19. \u201cHome Blues\u201d from <em>Show Girl <\/em>(1929) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/YSDwtVOhLmw?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Gershwin\u2019s legendary ballet <em>An American In Paris, <\/em>which served as the basis for a film that was then itself adapted into a stage musical a few years ago, originally came from this Ziegfeld backstager starring Ruby Keeler and Jimmy Durante. This song was part of that sequence, and if you\u2019re familiar with the ballet, you\u2019ll recognize the sumptuous melody!<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>20. \u201cA Ship Without A Sail\u201d from <em>Heads Up! <\/em>(1929) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/YdI7wxvZwMA?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Before Richard Rodgers made musical theatre history with Oscar Hammerstein II, he was churning out classy scores with the literate Lorenz Hart. Most of their best stuff was to come in the \u201830s (so stay tuned, fellas, because that list is ahead!), but this classic introduced by Jack Whiting is one of the stage\u2019s most sensitive musical ruminations on lovelessness.<\/p>\n<p><a class=\"ps-content\" href=\"https:\/\/performerstuff.com\/product\/35623\/A-Ship-Without-A-Sail\" target=\"_blank\">Get the Sheet Music Here<\/a><\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>21. \u201cYou\u2019ve Got That Thing\u201d from <em>Fifty Million Frenchmen <\/em>(1929) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/MhuyijWJ1eE?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Cole Porter didn\u2019t become a Broadway sensation until after he composed the score for 1928\u2019s <em>Paris <\/em>(which included \u201cLet\u2019s Do It\u201d), but he certainly left his mark on the decade with a host of playful, sexually charged tunes that well represented the era\u2019s attitude regarding amore. He\u2019s at his best in this bouncy entry from the gem-filled <em>Fifty Million Frenchmen<\/em>.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h4>22. \u201cI\u2019m A Gigolo\u201d from <em>Wake Up And Dream <\/em>(1929) (<em>Baritone<\/em>)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/9-67AjOX_R8?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\">Yes, let\u2019s squeeze in one more \u201820s goodie by Cole Porter \u2013 this one far less well known than the tune above. Coming from a musical revue that opened in the West End before crossing the Atlantic in the following year, this number features a self-proclaimed gigolo \u2013 \u201ca baby who has no mother but jazz.\u201d It\u2019s a lot of cheeky fun in the classic Porter mold.<\/p>\n<p style=\"text-align: left;\">For more information on the scores and composers of this era, visit the author\u2019s blog: <a href=\"http:\/\/jacksonupperco.com\"><span style=\"text-decoration: underline; color: #ba9bc9;\"><strong>jacksonupperco.com<\/strong><\/span><\/a>.<\/p>\n<h3 style=\"text-align: center;\">Listen to a Spotify Playlist of these audition songs here:<\/h3>\n<h3 style=\"text-align: center;\"><\/h3>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/7jdbVV492VI7OazIAn12fZ\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe><\/p>\n<br><h3 style=\"text-align: left;\">Looking for more material? Check out our other stories below!<\/h3>\n<ul>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/guys-25-more-wow-able-solos-from-broadways-golden-age\/\">Guys: 25 MORE Wow-Able Solos From Broadway\u2019s Golden Age<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/ladies-25-more-wow-able-solos-from-broadways-golden-age\/\">Ladies: 25 MORE Wow-Able Solos From Broadway\u2019s Golden Age<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/top-10-contemporary-male-audition-cuts\/\">Top 10 Contemporary Male Audition Cuts<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/top-10-contemporary-female-audition-cuts\/\">Top 10 Contemporary Female Audition Cuts<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Top 10 Traditional Male Audition Cuts<\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-monologues-for-women-who-speak-their-mind\/\">10 Monologues for Women Who Speak Their Mind<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/theatrenerds.com\/10-female-monologues-from-love-sick-characters\/\">10 Female Monologues From Love-Sick Characters<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-monologues-from-male-characters-fathers-brothers-and-sons\/\">10 Monologues from Male Characters: Fathers, Brothers, and Sons<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-monologues-for-people-who-have-a-bone-to-pick\/\">10 Monologues for People Who Have a Bone to Pick<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-great-monologues-from-lgbtq-identifying-characters\/\">10 Great Monologues from LGBTQ-Identifying Characters<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-monologues-for-characters-who-have-theatre-on-the-brain\/\">10 Monologues for Characters Who Have Theatre on the Brain<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/10-male-monologues-from-characters-dealing-with-death\/\">10 Male Monologues from Characters Dealing With Death<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/guys-25-wow-able-solos-from-broadways-golden-age\/\">Guys: 25 Wow-Able Solos from Broadway\u2019s Golden Age<\/a><\/span><\/li>\n<li style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/ladies-25-wow-able-solos-from-broadways-golden-age\/\">Ladies: 25 Wow-Able Solos from Broadway\u2019s Golden Age<\/a><\/span><\/li>\n<\/ul>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><hr \/>\n<h5><em><strong>Jackson Upperco<\/strong>\u00a0is a lover of retro television, forgotten Broadway\u00a0musicals, and Pre-Code Hollywood. He boasts a Bachelors Degree in\u00a0Film and Television from Boston University. You can keep up with all of\u00a0his entertainment interests at\u00a0<a href=\"http:\/\/jacksonupperco.com\/\" target=\"_blank\">jacksonupperco.com<\/a>.<\/em><\/h5>\n\n","protected":false},"excerpt":{"rendered":" [...]","protected":false},"author":2,"featured_media":6034,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[470,262,302,453],"tags":[446,343,344,242,92],"_links":{"self":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/2926"}],"collection":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/comments?post=2926"}],"version-history":[{"count":0,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/2926\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media\/6034"}],"wp:attachment":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media?parent=2926"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/categories?post=2926"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/tags?post=2926"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}