The orator spoke for two hours, and the above is only a personal remembrance put down afterwards. His actual speech is therefore much shortened. But that was the sense and the flavor of it. It was given in a voice of humor and challenge, resonant, and yet everlastingly whimsical. Laughter rippled the whole time. I shook hands with him afterwards; for he was warm and eloquent and moving as few speakers I have heard. He was utterly exhausted, for he had drawn his words from his audience, and two thousand people had been pulling at his spirit for two hours.
It was delightful to listen to a race propagandist so devoid of hatred, malice, and uncharitableness. Some regard humor as the greatest concomitant of wisdom, and this representative Negro certainly had both. He never touched on the tragedy of race hatred and racial injustice, but he saw the humor of them also. And the colored audience saw the humor also. With the English there would have been anger, with the French spontaneous insurrection, with the Jews gnashing of teeth, but with the Negroes it was humor. There was no collective hate or spite, but, manifest always, a desire to be happy, even in the worst circumstances.
It is curious, however, that the Negro has a livelier sense of the humor of tragedy than the white man. For two months I visited a Negro theatre every week, and I was much struck by the fact that where there was most cause to weep or feel melancholy, the colored audience was most provoked to mirth. Negro companies, such as the Lafayette Players, play “Broadway successes,” melodramas, classical dramas, musical comedies, and indeed anything that would be staged in a white man’s theatre. But the result is nearly always comedy. As upon occasion white men burn cork and make up as Negroes, so the Negroes paint themselves white and make up as white men and women. Watching them is an entrancing study, because there is not only the original drama and its interest, but superadded the interpretation by Africans of what they think the white man is and does and says. Some of it is like the servants’ hall dressed up as master and mistress and their friends, but has remarkable felicity in acting. A large party, all in full evening dress, is very striking—only the Negro women are on the average so huge that when painted white and exposing vast fronts of bosoms, they are somewhat incredible. A typical evening party on the stage, with villain and hero, looks very handsome, but not in any way Anglo-Saxon, if conceivably foreign American. The hero may have a perfectly villainous expression. One’s mind is taken away from America to the Mediterranean. Even when painted, it is impossible to look other than children of the sun. The drama is played with a great deal of noise. When the moments of passion arrive, everyone lets himself go, and the stage is swallowed up in a hurly-burly of violent word and action. There is never any difficulty in hearing what is being said. But even the minor characters, such as butler and waiter, who should be practically mute, insist on whistling and singing as they go about, and serve the guests in a pas de danse. In one serious melodrama the butler never appeared but he hummed resonantly the popular air: “Yakky, Yekky, Yikky, Yokky Doola.” The villain or villainess is likely to act the part with great verve, and generally I remarked a true aptitude for acting, an ability which noise and violence could not hide. A white drama is literally transformed on the Negro stage. The Negroes catch hold of any childishness or piece of make-believe and give it a sort of poetry. Thus, for instance, Miss Elenor Porter’s “Polyanna,” with its gospel of “Be glad,” is a cloying sentimentalism in the hands of the ordinary white company. But the Negroes make it into a sort of “Alice in Wonderland,” very amusing, very sweet, and very touching—something entirely delightful. The consciousness of the white person sitting in the colored theater is, however, continually disturbed by ripples of tittering whenever on the stage there is a suggestion of calamity. When it is melodrama that is being played, the audience laughs all the time like a collection of intellectuals who have visited a popular theatre to watch “The Silver King” or “The Girl’s Crossroads.” The very suggestion of disaster is funny.
This is an indication of difference in soul. There are many who would see in these white-painted Negroes another instance of a passion for the imitation of white people. But one could hardly point to anything that shows more readily the sheer difference of black and white people than the Negro stage such as it is to-day.
There is not as yet a Negro drama, but it certainly will arise. Ridgely Torrence’s “Plays for a Negro Theatre” is perhaps the nearest approach so far to a genuine Negro drama, but the author is white. The great success of these plays when acted by Negroes only shows the glory that awaits the awakening of a true Negro dramatist. Every large city in America has its Negro theatre or music hall or cinema shows. The drama could become an organ of racial self-expression, and could give voice to the hopes and aspirations and sorrows of the colored people in a very moving way. I think such a drama would prove highly original. Comedy would be conceived in a different spirit. So far from the Negro imitating the white man, we should all be found imitating him—as we already imitate him in our dances and music. The new Negro humor would infect the whole Western world.
It is generally called “the blues.” We say we have a fit of the blues when we are feeling depressed. It is not at all a laughing matter, but the Negro finds that state of mind to be always humorous. A hundred new comic songs tell the humor of sorrows. All the gloomy formulas of everyday life have been set to music. Telling one’s hard fortune and howling over it and drawing it out and infinitely bewailing it, and adding circumstantial minor sorrows as one goes along and infinitely bewailing them—this is distinctively Negro humor.
I visited one evening a Negro theatre where a musical comedy was going on—words and music both by Negroes. It opened with the usual singing and dancing chorus of Negro girls. They were clad in yellow and crimson and mauve combinations with white tapes on one side from the lace edge of the knicker to their dusky arms. They danced from the thigh rather than from the knee, moving waist and bosom in unrestrained undulation, girls with large, startled seeming eyes and uncontrollable masses of dark hair. A dance of physical joy and abandon, with no restraint in the toes or the knees, no veiling of the eyes, no half shutting of the lips, no holding in of the hair. Accustomed to the very æsthetic presentment of the Bacchanalia in the Russian Ballet, it might be difficult to call one of those Negro dancers a Bacchante, and yet there was one whom I remarked again and again, a Queen of Sheba in her looks, a face like starry night, and she was clad slightly in mauve, and went into such ecstasies during the many encores that her hair fell down about her bare shoulders, and her cheeks and knees, glistening with perspiration, outshone her eyes. Following this chorus a love story begins to be developed—a humorous mother-in-law of tremendous proportions and deep bass voice, her black face blackened further to the color of boots, reprimands and pets her scapegrace son, who is the comic loafer. He confers with his “buddy” as to how to win “Baby,” the belle of Dark City. The “buddy” is the lugubriously stupid and faithful and above all comic Negro friend who in trying to help you always does you an ill turn. “Baby” is the beautiful doll of the piece—“Honey baby, sugar baby!” She is courted also by the villain, who is plausible and well dressed and polite, but still provocative of mirth. The hero and the villain do a competitive cake walk for the girl, posturizing, showing off, approaching and retiring, almost squatting and dancing, leaping and dancing, swimming through the air, throwing everything away from them and falling forward, and yet never falling, blowing out their cheeks and dilating their eyes, and, as it were, hoo-dooing and out-hoo-dooing one another, pseudo-enragement, monkey-mocking of one another, feigned stage-fright and pretended escapes. Seeing this done on a first night, the whole theatre was jammed and packed with Negro people, and they recalled the couple nine times, and still they gave encores. One of them, the villain, gave up, but the other, the hero, went on as if still matched, his mouth open and panting, and perspiration streaming through the black grease on his face—for he also had blackened himself further for fun. The wedding service was danced and sung in a “scena” which would have enravished even a Russian audience. I had seen nothing so pretty or so amusing, so bewilderingly full of life and color, since Sanine’s production of the “Fair of Sorochinsky,” in Moscow.
The most characteristic parts of the comedy, however, were to come. It was very lengthy, for Negroes do not observe white conventions regarding time. It would be tedious to describe in words what was wholly delightful to see. But there were two crises when the audience roared with joy excessively. First, when the young husband suspects his wife of flirting with the villain, and second, when he wants to make it up and every imaginable calamity descends upon his head. He arrives at his home about midnight, wearing a terribly tight pair of boots and a suit of old, dusty clothes. There is a party at the house; everyone is in evening dress. He won’t go in to the dance room. He has to sit down and take his boots off, and henceforth walks about holding them in his hands. He sees his wife dancing with the villain, makes a scene, and then dramatically leaves his wife for ever. Left behind, she stares a moment in silence, and then throws herself full length on a low table, kicks up her heels, and vents her unhappiness in a series of prolonged howls and paroxysms which put the audience into a heaven of delight. The tight boots and the limp they cause are blues; the wife’s grief is a blue; and for the rest of the drama the melancholy husband is seen tramping about in his socks, carrying his wretched boots in his hands. His unhappiness is long-drawn-out, but when at last he decides to forgive and comes back home, he is met by the lugubrious “buddy” outside his house, who tells him all his wife has suffered in his absence. The repentant husband looks very miserable.
“And then a little baby boy was born,” says Buddy.
The repentant husband cheers up.