The Story
Bring In 'Da Noise, Bring In 'Da Funk
Conceived by
GEORGE C. WOLFE

Music
DARYL WATERS, ZANE MARK, ANN DUQUESNAY

Lyrics
REG E. GAINES, GEORGE C. WOLFE, ANN DUQUESNAY

Book
REG E. GAINES
The show tells the story of a people from being captive on slave ships to not being able to get a cab today. It's a history lesson about the African-American experience in this country, and how dance evolved as a way of expression despite the oppression. We learn how tap dance developed in the time of slavery (drums were banned, so the slaves made rhythm with their feet). We see the evolution of tap dance in the movies, and how differing musical styles have affected the culture and the dance.

PHOTOS
Original Broadway Production
Artworks/ Posters

VIDEOS
Savion Glover and the original Broadway company perform 'Taxi' and 'Bring in 'da Noise, Bring in 'da Funk' at the Tony Awards.

MUSIC
Check back soon when music for Bring In 'Da Noise, Bring In 'Da Funk becomes available.

THE STORY

SYNOPSIS

"Bring in 'Da Noise, Bring in 'Da Funk" has been successful not because of its implication of dance, but because of its entertaining artistry that redefines what audiences come to the theater to witness. It shows us once again why dance is so important in the theater; it is a no-holds-barred presentation of all that has the beat.

"'Da Beat," as it is commonly referred to in the production, is the basis for the show's plot. The musical presents the history of 'da Beat as the rhythm of the dance. 'Da Beat is followed from early slavery days of the Unites States up through the current Hip Hop/Rap era of our current decade. We are allowed to witness not only the development and evolution of 'da Beat, but also a slight glimpse into a partial history of Black America. 'Da Beat is also the main character of the show, played on Broadway by Savion Glover himself.

The show is not all dance however. There is one solo vocalist who carries the singing aspect of the production. 'Da Voice, as she is referred. Her gospel-like vocal quality takes one to the confines of a Baptist African-American church service. Her voice is a treasure from a supreme being, and she bestows it upon the show like a blessing. She is the only actual singer in the show and she provides most of the background vocalizing as well. Her amazing talent is alone worth the price of admission.

"Noise/Funk" is structured into 26 musical numbers. Each number has a theme and presents a way in which 'da Beat is passed on from generation to generation. "Slave Ships," one of the show's first numbers, illustrates the way in which the 'da Beat began on a slave ship, making its way from Africa to the Unites States. When the slaves were denied use of drums by their slave drivers, they carried 'da Beat in their hearts and voices, and later applied it in their dancing.

One emotional number, "The Lynching Blues," tells of a long-forgotten incident in American history when 50 African-Americans were slain in 1916 Georgia. The dancing sequence is raw and evokes a sad atmosphere of the brutality and inhumane treatment that occupied the early part of this century.

A highlight of the production is undoubtedly "The Panhandlers," a scene in which the show's two drummers emerge wearing costumes composed of different-sized pots and pans. Using two drumsticks apiece, each drummer whips out rhythm and song on a framework of metal as well as each other, providing one of the many showstopping numbers that the musical has to offer.

The hard-lined complexity of the Blue Collar Working America is showcased in "Industrialization," a scene in which four dancers and two percussionists develop a factory machine using nothing but themselves, a steel framework and chains. Complete with steam and lighting effects, this number is definitely a highlight of the play.

The number "Green, Chaney, Buster, Slyde," is a scene in which the history of tap dancing is delivered by illustrating the styles that each of these dancers contributed to the world. A performer dances in front of a set of three mirrors that face the audience under a single spotlight that shines from overhead.

The transfer of tap dancing into the world of hip-hop seemed a strange and frightening possibility, but after witnessing the show's final number, audience members experienced what is probably some of the best dancing to be featured onstage in quite some time. Transferring 'da Beat from stage to audience probably was not Wolfe's and Glover's original intentions. When middle-aged to elderly women are found dancing upon their exit from the theater, it can be assured that one has experienced a quality display of talent and entertainment.

LIBRETTO

The book and/or lyrics is provided for informational and entertainment purposes only. No copyright infringement intended.

Bring In 'Da Noise, Bring In 'Da Funk lyrics
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CAST & CREATIVES
Creative
Producer THE JOSEPH PAPP PUBLIC THEATER & NEW YORK SHAKESPEARE FESTIVAL
By Special Arrangement THE SHUBERT ORGANIZATION
Direction GEORGE C. WOLFE
Choreography SAVION GLOVER
Orchestrations DARYL WATERS
Scenic Design RICCARDO HERNANDEZ
Costume Design PAUL TAZEWELL
Lighting Design JULES FISHER
Sound Design DAN MOSES SCHREIER
Cast
'da Beat SAVION GLOVER
'da Singer ANN DUQUESNAY
'da Voice JEFFREY WRIGHT
Lil' Dahlin' SAVION GLOVER
Uncle Huck-A-Buck BAAKARI WILDER
The Kid DULE HILL
Grin and Flash VINCENT BINGHAM
Grin and Flash JIMMY TATE
Drummer JARED CRAWFORD
Drummer RAYMOND KING
MUSICAL NUMBERS
ACT ONE

In 'Da Beginning
Bring in 'da Noise Bring in 'da FunkFull Company
The Door to Isle GoreeJeffrey
Slave ShipsAnn and Savion
Som'thin' From Nuthin'Baakari, Dule, Jimmy, Vincent, Ann, Jeffrey
The Circle StompDule, Jason, Jimmy, Omar, Ann and Jeffrey
The Pan HandlersJared and Raymond

Urbanization
The Lynching BluesDule, Ann and Company
Chicago Bound Savion, Ann and Company
Shifting SoundsJeffrey
IndustrializationSavion, Baakari, Dul?, Jimmy, Omar, Jared, Raymond
Quittin' TimeMark
The Chicago Riot Rag Baakari, Dule, Jimmy, Omar, Jared
I Got the Beat/Dark TowerAnn, Jeffrey and Company
The Whirligig StompFull Company


ACT TWO

Where's the Beat?
Now That's Tap Grin and Flash
The Uncle Huck-a-Buck Song Uncle Huck-A-Buck and Lil' Dahlin' with the Company
Kid Go!The Kid and Company
The Lost Beat Swing The Chanteuse and Company
Green, Chaney, Buster, SlydeBaakari

Sreet Corner Symphony
1956, Them ConkheadsFull Company
1967, Hot FunAnn, Jeffrey and Company
1977, BlackoutBaakari, Dul?, Jimmy, Omar
1987, Gospel/Hip Hop RantAnn, Jeffrey, Baakari

Noise/Funk
Drummin'Jared, Raymond
TaxiBaakari, Jimmy, Dule, Omar
ConversationsJared, Raymond, Baakari, Jimmy, Dule, Omar
Hittin'Baakari, Dule, Jimmy, Omar, Jared, Raymond, Jeffrey
Bring in 'da Noise Bring in 'da Funk (Reprise)Full Company

Steel Pier
I Can't Sing! The X Factor Musical
Notre Dame de Paris
SIGHTS & SOUNDS

Original Broadway Production
Artworks/ Posters

Savion Glover and the original Broadway company perform 'Taxi' and 'Bring in 'da Noise, Bring in 'da Funk' at the Tony Awards.

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Check back later when the music for Bring In 'Da Noise, Bring In 'Da Funk becomes available.

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