ABSTRACT
High profile original book musicals were becoming more emotionally complex, often telling stories of emotional ambiguity, existentialism, and realism. But a revue on Broadway was still expected to be spectacle- and nostalgia-driven escapism. Perhaps therefore Broadway only produced a couple of revues during the years prior to Ain’t Misbehavin’. Faria credits Ain’t Misbehavin’ with introducing White Broadway audiences to the idea that large Black women were beautiful, as two of the three female actors (Carter and McQueen) were women of size who were seen onstage as both desirable and having their own desires. The world premiere production of Ain’t Misbehavin’ was an instant hit, raising the profile of Manhattan Theatre Club and quickly transferring to Broadway. Regardless, Ain’t Misbehavin’ was clearly a tentpole revue and a landmark jukebox musical. In the decades since its debut, both genres have increasingly become a staple of commercial musical theater on Broadway and around the world.
