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class="vector-toc-list"> <li id="toc-Genesis_of_the_piece" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Genesis_of_the_piece"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Genesis of the piece</span> </div> </a> <ul id="toc-Genesis_of_the_piece-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Was_The_Black_Crook_the_first_"musical"?" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Was_The_Black_Crook_the_first_"musical"?"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Was <i>The Black Crook</i> the first "musical"?</span> </div> </a> <ul id="toc-Was_The_Black_Crook_the_first_"musical"?-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Synopsis" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Synopsis"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Synopsis</span> </div> </a> <ul id="toc-Synopsis-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Productions" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Productions"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Productions</span> </div> </a> <ul id="toc-Productions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Musical_numbers" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Musical_numbers"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Musical numbers</span> </div> </a> <ul id="toc-Musical_numbers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Principal_roles" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Principal_roles"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Principal roles</span> </div> </a> <ul id="toc-Principal_roles-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Critical_reception" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Critical_reception"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Critical reception</span> </div> </a> <ul id="toc-Critical_reception-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Notes</span> </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span 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.infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above"><i><span class="summary">The Black Crook</span></i></th></tr><tr><td colspan="2" class="infobox-image"><span typeof="mw:File"><a href="/wiki/File:Crookfinale.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Crookfinale.jpg/300px-Crookfinale.jpg" decoding="async" width="300" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Crookfinale.jpg/450px-Crookfinale.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Crookfinale.jpg/600px-Crookfinale.jpg 2x" data-file-width="2800" data-file-height="1867" /></a></span><div class="infobox-caption">Finale of <i>The Black Crook</i></div></td></tr><tr><th scope="row" class="infobox-label">Music</th><td class="infobox-data"><a href="/wiki/Thomas_Baker_(musician)" title="Thomas Baker (musician)">Thomas Baker</a> <br /> Giuseppe Operti <br /> George Bickwell</td></tr><tr><th scope="row" class="infobox-label">Lyrics</th><td class="infobox-data">Theodore Kennick</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Book_(musical_theatre)" class="mw-redirect" title="Book (musical theatre)">Book</a></th><td class="infobox-data"><a href="/wiki/Charles_M._Barras" title="Charles M. Barras">Charles M. Barras</a></td></tr><tr><th scope="row" class="infobox-label">Productions</th><td class="infobox-data">1866 <a href="/wiki/Broadway_theatre" title="Broadway theatre">Broadway</a> <br /> 1870 Broadway <a href="/wiki/Revival_(theatre)" title="Revival (theatre)">revival</a> <br /> 1872 <a href="/wiki/West_End_theatre" title="West End theatre">West End</a> <br /> 1873 Broadway revival</td></tr></tbody></table> <p><i><b>The Black Crook</b></i> is a work of <a href="/wiki/Musical_theatre" title="Musical theatre">musical theatre</a> first produced in New York City with great success in 1866. Many theatre writers have cautiously identified <i>The Black Crook</i> as the first popular piece that conforms to the modern notion of a musical.<sup id="cite_ref-Reside_1-0" class="reference"><a href="#cite_note-Reside-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The book is by <a href="/wiki/Charles_M._Barras" title="Charles M. Barras">Charles M. Barras</a>. The music, selected and arranged by <a href="/wiki/Thomas_Baker_(musician)" title="Thomas Baker (musician)">Thomas Baker</a>, consists mostly of adaptations, but it included some new songs composed for the piece, notably "You Naughty, Naughty Men". The story is a <a href="/wiki/Works_based_on_Faust" title="Works based on Faust">Faustian</a> melodramatic romantic comedy, but the production became famous for its spectacular special effects and skimpy costumes. </p><p>It opened on September 12, 1866 at the 3,200-seat <a href="/wiki/Niblo%27s_Garden" title="Niblo's Garden">Niblo's Garden</a> on <a href="/wiki/Broadway_theatre" title="Broadway theatre">Broadway</a> in <a href="/wiki/Manhattan" title="Manhattan">Manhattan</a> and ran for a record-breaking 474 performances. It was then toured extensively for decades and revived on Broadway in 1870–71, 1871–72 and many more times after that. <i>The Black Crook</i> is often considered a prototype of the modern musical in that its popular songs and dances are interspersed throughout a unifying play and performed by the actors.<sup id="cite_ref-morley_2-0" class="reference"><a href="#cite_note-morley-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>A British production titled <i>The Black Crook</i>, which opened at the <a href="/wiki/Alhambra_Theatre" title="Alhambra Theatre">Alhambra Theatre</a> in London on December 23, 1872, was an <a href="/wiki/Opera_bouffe" class="mw-redirect" title="Opera bouffe">opera bouffe</a> with a new story based on some of the French source material that influenced the New York version, with new music by <a href="/wiki/Frederic_Clay" title="Frederic Clay">Frederic Clay</a> and <a href="/wiki/Georges_Jacobi" title="Georges Jacobi">Georges Jacobi</a>. A <a href="/wiki/Silent_film" title="Silent film">silent film</a> version of <i>The Black Crook</i> was produced in 1916. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Black_Crook.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Black_Crook.jpg/150px-Black_Crook.jpg" decoding="async" width="150" height="332" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Black_Crook.jpg/225px-Black_Crook.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/71/Black_Crook.jpg/300px-Black_Crook.jpg 2x" data-file-width="409" data-file-height="906" /></a><figcaption>Program from original production</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Genesis_of_the_piece">Genesis of the piece</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=2" title="Edit section: Genesis of the piece"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By 1866, <a href="/wiki/Jarrett_%26_Palmer" title="Jarrett & Palmer">Henry C. Jarrett and Henry Palmer</a> had formed a producing partnership with the idea to import European novelty acts to America. They saw the <a href="/wiki/F%C3%A9erie" title="Féerie">Féerie</a> <i>La Biche au bois</i> in Paris, and a <a href="/wiki/Pantomime" title="Pantomime">pantomime</a> at <a href="/wiki/Astley%27s_Amphitheatre" title="Astley's Amphitheatre">Astley's Amphitheatre</a> in London, and they wanted to incorporate into their American productions the original elements of spectacle that they saw in those shows. They engaged some of the lead dancers from the Paris show and purchased the grand transformation scene from the London piece. They hoped to put together a spectacular production at the New York <a href="/wiki/Academy_of_Music_(New_York_City)" title="Academy of Music (New York City)">Academy of Music</a>, but the Academy burned down that summer. Meanwhile, Barras, an actor, wrote a <a href="/wiki/Melodrama" title="Melodrama">melodrama</a>, <i>The Black Crook</i>, with the intention of touring the piece to feature himself and his wife, dancer Sallie St. Clair. He negotiated the show's New York premiere with <a href="/wiki/William_Wheatley" title="William Wheatley">William Wheatley</a>, the manager at <a href="/wiki/Niblo%27s_Garden" title="Niblo's Garden">Niblo's Garden</a>, for a run of 100 performances, which was an extraordinarily long contract for the 1880s. Barras then began to build the scenery and properties in <a href="/wiki/Buffalo,_New_York" title="Buffalo, New York">Buffalo</a>, New York.<sup id="cite_ref-Ganzlblog1_3-0" class="reference"><a href="#cite_note-Ganzlblog1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Jarrett and Palmer approached Wheatley about mounting their unwritten show at Niblo's Garden, but Barras had already booked the venue. Whose idea it was to join the producing forces is not known, but terms were struck under which Barras was given a small flat sum as a royalty and no longer had to pay fees to Wheatley, and Jarrett and Palmer effectively became producers of the New York staging of <i>The Black Crook</i>. Jarrett returned to Europe to gather more ideas, decorations and personnel to change the show from Barras's <a href="/wiki/Melodrama" title="Melodrama">melodrama</a> into a musical piece more like <i>La Biche au bois</i>. He returned with a collection of stage machinery, scenery, costumes, properties, 100 dancers and actors, and the producers completely replaced Barras's scenic and costume designs, also cutting some of the script to add more dance and spectacle.<sup id="cite_ref-Reside_1-1" class="reference"><a href="#cite_note-Reside-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Ganzlblog1_3-1" class="reference"><a href="#cite_note-Ganzlblog1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The new sets were designed by <a href="/wiki/Richard_Marston" title="Richard Marston">Richard Marston</a>, his first for the Broadway stage.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The piece was mounted with unprecedented opulence, and the skimpiness of the costumes created controversy that only served to promote it.<sup id="cite_ref-Reside_1-2" class="reference"><a href="#cite_note-Reside-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Was_The_Black_Crook_the_first_"musical"?"><span id="Was_The_Black_Crook_the_first_.22musical.22.3F"></span>Was <i>The Black Crook</i> the first "musical"?</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=3" title="Edit section: Was The Black Crook the first "musical"?"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In operas, even <a href="/wiki/Comic_opera" title="Comic opera">comic operas</a> with dialogue, like <i><a href="/wiki/The_Magic_Flute" title="The Magic Flute">The Magic Flute</a></i>, the principal singers leave the dancing to the ballet troupe. In <a href="/wiki/Victorian_burlesque" title="Victorian burlesque">Victorian burlesque</a>, <a href="/wiki/Music_hall" title="Music hall">music hall</a>, and <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a>, there is little or no unifying story, just a series of sketches. <i>The Black Crook</i>, with song and dance for the principal actors, built around a romantic story, has been called the first musical comedy.<sup id="cite_ref-morley_2-1" class="reference"><a href="#cite_note-morley-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Grosch_7-0" class="reference"><a href="#cite_note-Grosch-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Cecil Michener Smith dissented from this view, arguing that "calling <i>The Black Crook</i> the first example of the theatrical genus we now call musical comedy is not only incorrect; it fails to suggest any useful assessment of the place of Jarrett and Palmer's extravaganza in the history of the popular musical theatre ... but in its first form it contained almost none of the vernacular attributes of book, lyrics, music, and dancing which distinguish musical comedy."<sup id="cite_ref-Smith_8-0" class="reference"><a href="#cite_note-Smith-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Other dissenters are Larry Stempel<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Kurt_G%C3%A4nzl" title="Kurt Gänzl">Kurt Gänzl</a>, who wrote: </p> <blockquote><p>There are pages and pages of earlier shows ... with scores of original music, rather than the patchwork of old and new. … [The libretto was a] <a href="https://en.wiktionary.org/wiki/hodgepodge" class="extiw" title="wiktionary:hodgepodge">hotchpotch</a>. ... <i>The Black Crook</i> was simply a thrown-together imitation of the French opéra-bouffe féerie, lots of nubile teens in short skirts, a bit of melodrama, and – above all – lashings of moving scenery. Anything less "unified" it would be hard to find.<sup id="cite_ref-Ganzlblog2_10-0" class="reference"><a href="#cite_note-Ganzlblog2-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>The same year that <i>The Black Crook</i> opened, <i>The Black Domino/Between You, Me and the Post</i> was the first show to call itself a "musical comedy".<sup id="cite_ref-morley_2-2" class="reference"><a href="#cite_note-morley-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> In the late 1860s, as post-<a href="/wiki/American_Civil_War" title="American Civil War">Civil War</a> business boomed, there was a sharp increase in the number of working- and middle-class people in New York, and these more affluent people sought entertainment. Theaters became more popular, and Niblo's Garden, which had formerly hosted opera, began to offer light comedy. <i>The Black Crook</i> was followed by <i>The White Fawn</i> (1868), <i>Le Barbe Blue</i> (1868) and <i><a href="/wiki/Evangeline_(1874_musical)" title="Evangeline (1874 musical)">Evangeline</a></i> (1874).<sup id="cite_ref-Kenrick_11-0" class="reference"><a href="#cite_note-Kenrick-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> An apparently similar show from six years earlier, <i><a href="/wiki/The_Seven_Sisters_(play)" class="mw-redirect" title="The Seven Sisters (play)">The Seven Sisters</a></i> (1860), which also had an unusually long run of 253 performances, is now lost and forgotten. It also included special effects and scene changes. Gänzl gives <i>The Naiad Queen</i> (1841) as an example of an earlier musical, concluding that it was only <i>The Black Crook's</i> long run that gave it a reputation as the "first" musical.<sup id="cite_ref-Ganzlblog2_10-1" class="reference"><a href="#cite_note-Ganzlblog2-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Theatre historian <a href="/wiki/John_Kenrick_(theatre_writer)" title="John Kenrick (theatre writer)">John Kenrick</a> suggests that <i>The Black Crook's</i> greater success, compared with earlier shows, resulted from changes brought about by the Civil War: first, respectable women, having had to work during the war, no longer felt tied to their homes and could attend the theatre, although many did so heavily veiled. This substantially increased the potential audience for popular entertainment. Second, America's railroad system had improved during the war, making it feasible for large productions to tour.<sup id="cite_ref-Kenrick_11-1" class="reference"><a href="#cite_note-Kenrick-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Synopsis">Synopsis</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=4" title="Edit section: Synopsis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Niblostage.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Niblostage.jpg/280px-Niblostage.jpg" decoding="async" width="280" height="168" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Niblostage.jpg/420px-Niblostage.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Niblostage.jpg/560px-Niblostage.jpg 2x" data-file-width="572" data-file-height="343" /></a><figcaption>View from the stage</figcaption></figure> <p>The musical is set in 1600 in the <a href="/wiki/Harz_Mountains" class="mw-redirect" title="Harz Mountains">Harz Mountains</a> of Germany. It incorporates elements from Goethe's <i><a href="/wiki/Goethe%27s_Faust" title="Goethe's Faust">Faust</a></i>, Weber's <i><a href="/wiki/Der_Freisch%C3%BCtz" title="Der Freischütz">Der Freischütz</a></i>, and other well-known works. </p><p>Evil, wealthy Count Wolfenstein seeks to marry the lovely village girl, Amina. With the help of Amina's scheming foster mother Barbara, the Count arranges for Amina's fiancé, Rodolphe, an impoverished artist, to fall into the hands of Hertzog, an ancient, crook-backed master of black magic (the Black Crook). Hertzog has made a pact with the Devil (Zamiel, "The Arch Fiend"): he can live forever if he provides Zamiel with a fresh soul every New Year's Eve. As the innocent Rodolphe is led to this horrible fate, he discovers a buried treasure and saves the life of a dove. The dove magically transforms into human form as Stalacta, Fairy Queen of the Golden Realm. She rewards Rodolphe for rescuing her by bringing him to fairyland and then reuniting him with his beloved Amina. Her army defeats the Count and his evil forces, demons drag Hertzog into hell, and Amina and Rodolphe live happily ever after. </p><p>Comedy was provided by servants, especially J. G. Burnett as von Puffengruntz, and the most popular song was "You Naughty, Naughty Men", for the <a href="/wiki/Soubrette" title="Soubrette">soubrette</a> Carline. </p> <div class="mw-heading mw-heading2"><h2 id="Productions">Productions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=5" title="Edit section: Productions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Black_crook_poster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Black_crook_poster.jpg/280px-Black_crook_poster.jpg" decoding="async" width="280" height="187" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Black_crook_poster.jpg/420px-Black_crook_poster.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/de/Black_crook_poster.jpg/560px-Black_crook_poster.jpg 2x" data-file-width="1500" data-file-height="1000" /></a><figcaption>Poster of <a href="/wiki/The_Kiralfy_Brothers" title="The Kiralfy Brothers">The Kiralfy Brothers</a>' 1873 revival of the musical.</figcaption></figure> <p>The original production opened on September 12, 1866 at the 3,200-seat Niblo's Garden. It was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances, and revenues exceeded a record-shattering one million dollars. Wheatley directed the piece.<sup id="cite_ref-morley_2-3" class="reference"><a href="#cite_note-morley-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Barras's script of <a href="/wiki/Faust" title="Faust">Faustian</a> fairytale drama and romance included a full musical score consisting of adaptations of existing songs as well as new ones written for the show by various writers, all selected and arranged by Niblo's musical director, <a href="/wiki/Thomas_Baker_(musician)" title="Thomas Baker (musician)">Thomas Baker</a>.<sup id="cite_ref-Ganzlblog1_3-2" class="reference"><a href="#cite_note-Ganzlblog1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Popular songs from the show included "You Naughty, Naughty Men", with music credited to George Bickwell and lyrics credited to Theodore Kennick, although the song may really have been adapted from an English song or songs.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>The production included state-of-the-art special effects, including a pantomime-style <a href="/wiki/Transformation_scene" title="Transformation scene">transformation scene</a> that converted a rocky grotto into a fairyland throne room in full view of the audience. The cast included <a href="/wiki/Annie_Kemp_Bowler" title="Annie Kemp Bowler">Annie Kemp Bowler</a>, Charles H. Morton, <a href="/wiki/John_W._Blaisdell" title="John W. Blaisdell">John W. Blaisdell</a>, E. B. Holmes, Rose Morton, <a href="/wiki/Millie_Cavendish" title="Millie Cavendish">Millie Cavendish</a>, J. G. Burnett, and <a href="/wiki/George_C._Boniface" title="George C. Boniface">George C. Boniface</a>.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> The poster announced with great emphasis the presence of a French "Ballet Troupe of Seventy Ladies" choreographed by David Costa. This scantily-clad female dancing chorus in skin-colored tights was a big draw.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> It was respectable enough for the middle-class audience, but very daring and controversial enough to attract a great deal of press attention. The dance soloists were two Italian ballerinas from the school of <a href="/wiki/Teatro_alla_Scala" class="mw-redirect" title="Teatro alla Scala">Teatro alla Scala</a> of <a href="/wiki/Milan" title="Milan">Milan</a>, <a href="/wiki/Marie_Bonfanti" title="Marie Bonfanti">Marie Bonfanti</a> and <a href="/wiki/Rita_Sangalli" title="Rita Sangalli">Rita Sangalli</a>, who went on to star in further New York productions.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> The musical was then toured extensively for decades by Barras and others licensed by him and revived on Broadway in 1870–71, 1871–72, and by <a href="/wiki/The_Kiralfy_Brothers" title="The Kiralfy Brothers">The Kiralfy Brothers</a> at Niblo's in 1873; and many more times after that; it also had numerous profitable regional productions and was widely burlesqued.<sup id="cite_ref-morley_2-4" class="reference"><a href="#cite_note-morley-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Ganzlblog1_3-3" class="reference"><a href="#cite_note-Ganzlblog1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> One of these, in 1882, was the opening-night attraction at O'Brien's Opera House in <a href="/wiki/Birmingham,_Alabama" title="Birmingham, Alabama">Birmingham, Alabama</a>.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>A British production titled <i>The Black Crook</i>, which opened at the <a href="/wiki/Alhambra_Theatre" title="Alhambra Theatre">Alhambra Theatre</a> on December 23, 1872, was an <a href="/wiki/Opera_bouffe" class="mw-redirect" title="Opera bouffe">opera bouffe</a> based on <i>La Biche au bois</i>, with new music by <a href="/wiki/Frederic_Clay" title="Frederic Clay">Frederic Clay</a> and <a href="/wiki/Georges_Jacobi" title="Georges Jacobi">Georges Jacobi</a>. The author, Harry Paulton, starred as Dandelion, opposite the comedian <a href="/wiki/Kate_Santley" title="Kate Santley">Kate Santley</a>, who had appeared in the 1871–72 Broadway revival. The plot bore little or no resemblance to Barras's play. The British piece was revived in 1881. A silent film based on Barras's <i>The Black Crook</i> was produced in 1916. A 1954 <a href="/wiki/Sigmund_Romberg" title="Sigmund Romberg">Sigmund Romberg</a> musical, <i><a href="/wiki/The_Girl_in_Pink_Tights" title="The Girl in Pink Tights">The Girl in Pink Tights</a></i>, used as its background a story based loosely on the creation of <i>The Black Crook</i>.<sup id="cite_ref-Ganzlblog1_3-4" class="reference"><a href="#cite_note-Ganzlblog1-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Musical_numbers">Musical numbers</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=6" title="Edit section: Musical numbers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1216972533">.mw-parser-output .col-begin{border-collapse:collapse;padding:0;color:inherit;width:100%;border:0;margin:0}.mw-parser-output .col-begin-small{font-size:90%}.mw-parser-output .col-break{vertical-align:top;text-align:left}.mw-parser-output .col-break-2{width:50%}.mw-parser-output .col-break-3{width:33.3%}.mw-parser-output .col-break-4{width:25%}.mw-parser-output .col-break-5{width:20%}@media(max-width:720px){.mw-parser-output .col-begin,.mw-parser-output .col-begin>tbody,.mw-parser-output .col-begin>tbody>tr,.mw-parser-output .col-begin>tbody>tr>td{display:block!important;width:100%!important}.mw-parser-output .col-break{padding-left:0!important}}</style><div> <table class="col-begin" role="presentation"> <tbody><tr> <td class="col-break col-break-2"> <dl><dt>Act I</dt></dl> <ul><li>Grand Garland Dance – Ballet and Principals</li> <li>Hark, hark, hark! – Villagers' chorus</li> <li>Early in the Morning – Carline</li> <li>You Naughty, Naughty Men – Carline</li> <li>March of the Amazons – Chorus</li> <li>Grand Incantation Scene – Herzog</li></ul> <dl><dt>Act II</dt></dl> <ul><li>Dare I Tell</li> <li>Flow On, Silver Stream – Stalacta</li> <li>(The) Power of Love – Stalacta</li> <li>Rejoice, rejoice, rejoice! – Chorus of Gnomes, Amphibea and Fairies</li> <li>Mortal shadows dimly cast – Chorus of Fairies</li> <li>Pas de Demons</li></ul> <p><br /> </p> </td> <td class="col-break"> <dl><dt>Act III</dt></dl> <ul><li>Bal Masque</li> <li>Pas Espanoil</li> <li>Pas Hongroise</li> <li>Dance de Amazons</li></ul> <dl><dt>Act IV</dt></dl> <ul><li>Dazzling Transformation Scene</li></ul> <p>  </p> </td></tr></tbody></table></div> <div class="mw-heading mw-heading2"><h2 id="Principal_roles">Principal roles</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=7" title="Edit section: Principal roles"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Count Wolfenstein – <a href="/wiki/John_W._Blaisdell" title="John W. Blaisdell">John W. Blaisdell</a></li> <li>Rodolphe (<i>a poor artist</i>) – <a href="/wiki/George_C._Boniface" title="George C. Boniface">George C. Boniface</a></li> <li>Von Puffengruntz (<i>the Count's corpulent steward</i>) – J. G. Burnett</li> <li>Hertzog, surnamed the Black Crook (<i>a hideously deformed alchymist and sorcerer</i>) – Charles H. Morton</li> <li>Greppo (<i>his drudge</i>) – George Atkins</li> <li>Wulfgar (<i>a gypsy ruffian</i>) – E. Barry</li> <li>Jan – Frank Little</li> <li>Bruno (<i>his companion</i>) – F. Ellis</li> <li>Casper (<i>a peasant</i>) – H. Weaver</li> <li>Amina (<i>betrothed to Rodolphe</i>) – Rose Morton</li> <li>Dame Barbara (<i>her foster-mother</i>) – Mary Wells<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup></li> <li>Carline – <a href="/wiki/Millie_Cavendish" title="Millie Cavendish">Millie Cavendish</a></li> <li>Rosetta (<i>a peasant</i>) – C. Whitlock</li> <li>Stalacta (<i>Queen of the Golden Realm</i>) – <a href="/wiki/Annie_Kemp_Bowler" title="Annie Kemp Bowler">Annie Kemp Bowler</a></li> <li>Zamiel (<i>the Arch-Fiend</i>) – E. B. Holmes</li> <li>Skuldawelp (<i>Familiar to Hertzog</i>) – Mr. Rendle</li> <li>Redglare (<i>the Recording Demon</i>) – F. Clark</li> <li>Villagers, Peasants, Choristers, Guards, Attendants, Fairies, Sprites, Naiads, Submarine Monsters, Gnomes, Skeletons, Apparitions, Demons, Monsters, etc.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Critical_reception">Critical reception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=8" title="Edit section: Critical reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The overlong piece survived a rocky opening night, and numerous cuts were subsequently made.<sup id="cite_ref-Reside_1-3" class="reference"><a href="#cite_note-Reside-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> According to Doug Reside, a curator at <a href="/wiki/New_York_Public_Library_for_the_Performing_Arts" title="New York Public Library for the Performing Arts">New York Public Library for the Performing Arts</a>: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p><i><a href="/wiki/The_New_York_Herald" class="mw-redirect" title="The New York Herald">The New York Herald</a></i> published an op-ed piece "condemning" the play for the indecency of the costumes and dancing, suggesting that there may have been "in <a href="/wiki/Sodom_and_Gomorrah" title="Sodom and Gomorrah">Sodom and Gomorrah</a> ... such a theatre and spectacle on the Broadway of those doomed cities," and urging those "determined to gaze on the indecent and dazzling brilliancy of the Black Crook" to "provide themselves with a piece of smoked glass." However, Joseph Whitton, William Wheatley's business manager, explains in his short history of the play, the editor of <i>The New York Herald</i> was likely aware that such condemnation would promote the show and was rewarding Wheatley for his loyalty to the paper. The moral crusade against the show was taken up by Reverend Charles Smyth who preached a fire and brimstone sermon against it as part of a public lecture series. All of this, of course, simply increased public interest.<sup id="cite_ref-Reside_1-4" class="reference"><a href="#cite_note-Reside-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></p></blockquote> <p><a href="/wiki/Robert_C._Allen" class="mw-redirect" title="Robert C. Allen">Robert C. Allen</a> wrote in his 2000 book, <i>Horrible Prettiness: Burlesque and American Culture</i>, that if Whitton is correct, it was the first such "covert advertising ploy on behalf of the theatre management".<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>Audience response was divided – some people loved the beauty of spectacle and some people were offended by it. <a href="/wiki/Mark_Twain" title="Mark Twain">Mark Twain</a> was in the former camp: "Beautiful bare-legged girls … nothing but a wilderness of girls – stacked up, pile on pile, away aloft to the dome of the theatre, diminishing in size and clothing, till the last row, mere children, dangle high up from invisible ropes, arrayed only in camisa. The whole tableau resplendent with columns, scrolls, and a vast ornamental work, wrought in gold, silver, and brilliant colors – all lit up with gorgeous theatrical fires, and witnessed through a great gauzy curtain that counterfeits a soft silver mist! It is the wonders of the Arabian Nights realized."<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Charles_Dickens" title="Charles Dickens">Charles Dickens</a> had an opposite reaction: "[It is] the most preposterous peg to hang ballets on that was ever seen. The people who act in it have not the slightest idea of what it is about".<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Both awe and outrage fueled the show's increasing popularity until "nobody could hold his own in conversation unless he had seen it".<sup id="cite_ref-Smith_8-1" class="reference"><a href="#cite_note-Smith-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=9" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-Reside-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-Reside_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Reside_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Reside_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Reside_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Reside_1-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Reside, Doug. <a rel="nofollow" class="external text" href="http://www.nypl.org/blog/2011/06/02/musical-month-black-crook">"Musical of the Month: <i>The Black Crook</i>"</a>, <a href="/wiki/New_York_Public_Library_for_the_Performing_Arts" title="New York Public Library for the Performing Arts">New York Public Library for the Performing Arts</a>, June 2, 2011, accessed June 21, 2018</span> </li> <li id="cite_note-morley-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-morley_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-morley_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-morley_2-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-morley_2-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-morley_2-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Morley, p. 15</span> </li> <li id="cite_note-Ganzlblog1-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ganzlblog1_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ganzlblog1_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Ganzlblog1_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Ganzlblog1_3-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Ganzlblog1_3-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="/wiki/Kurt_G%C3%A4nzl" title="Kurt Gänzl">Gänzl, Kurt</a>. <a rel="nofollow" class="external text" href="https://kurtofgerolstein.blogspot.com/2016/10/the-black-crook-real-story-of.html">"'<i>The Black Crook</i>. The real story of the mythologised legshow"</a>, Kurt of Gerolstein, October 4, 2016, accessed June 18, 2018</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFBordmanHischak2004" class="citation book cs1">Bordman, Gerald; Hischak, Thomas S. (2004). "Marston, Richard (1847–1917), designer". <a rel="nofollow" class="external text" href="https://www.oxfordreference.com/display/10.1093/acref/9780195169867.001.0001/acref-9780195169867-e-2029"><i>The Oxford Companion to American Theatre (3 ed.)</i></a>. <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780195169867" title="Special:BookSources/9780195169867"><bdi>9780195169867</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Marston%2C+Richard+%281847%E2%80%931917%29%2C+designer&rft.btitle=The+Oxford+Companion+to+American+Theatre+%283+ed.%29&rft.pub=Oxford+University+Press&rft.date=2004&rft.isbn=9780195169867&rft.aulast=Bordman&rft.aufirst=Gerald&rft.au=Hischak%2C+Thomas+S.&rft_id=https%3A%2F%2Fwww.oxfordreference.com%2Fdisplay%2F10.1093%2Facref%2F9780195169867.001.0001%2Facref-9780195169867-e-2029&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Black+Crook" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEwen1958" class="citation book cs1">Ewen, David (1958). <i>Complete Book of the American Musical Theater: a Guide to More Than 300 Productions of the American Musical Theater From </i>The Black Crook<i> (1866) to the Present</i>. New York: Holt.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Complete+Book+of+the+American+Musical+Theater%3A+a+Guide+to+More+Than+300+Productions+of+the+American+Musical+Theater+From+The+Black+Crook+%281866%29+to+the+Present&rft.place=New+York&rft.pub=Holt&rft.date=1958&rft.aulast=Ewen&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Black+Crook" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://theboweryboys.blogspot.com/2007/11/broadways-first-musical-black-crook.html">"Broadway's first musical: <i>The Black Crook</i>"</a>. <i>The Bowery Boys</i>, November 26, 2007, accessed 1 March 2010; the <i>Encyclopædia Britannica</i> entry on the musical agrees (subscription required)</span> </li> <li id="cite_note-Grosch-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-Grosch_7-0">^</a></b></span> <span class="reference-text">Grosch, Nils and Tobias Widmaier (Hrsg.) (2010) <a rel="nofollow" class="external text" href="https://books.google.com/books?id=ObeD10YDRU0C&pg=PA233"><i>Lied und populäre Kultur – Song and Popular Culture</i></a></span> </li> <li id="cite_note-Smith-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-Smith_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Smith_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Smith, Cecil. <i>Musical Comedy in America</i>, New York, The Colonial Press, 1950</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Stempel, Larry. <i>Showtime: A History of the Broadway Musical Theatre</i>, p. 49: "[T]he claim would be hard to sustain on purely historical grounds whatever criteria one chooses to apply."</span> </li> <li id="cite_note-Ganzlblog2-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ganzlblog2_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ganzlblog2_10-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="/wiki/Kurt_G%C3%A4nzl" title="Kurt Gänzl">Gänzl, Kurt</a>. <a rel="nofollow" class="external text" href="https://kurtofgerolstein.blogspot.com/2018/06/the-black-crook-or-how-to-invent-history.html">"'<i>The Black Crook</i>, or How to Invent History"</a>, Kurt of Gerolstein, June 20, 2018</span> </li> <li id="cite_note-Kenrick-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Kenrick_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Kenrick_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKenrick" class="citation web cs1">Kenrick, John. <a rel="nofollow" class="external text" href="http://www.musicals101.com/1860to79.htm">"Stage 1860s: The Black Crook"</a>. Musicals101.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Stage+1860s%3A+The+Black+Crook&rft.pub=Musicals101&rft.aulast=Kenrick&rft.aufirst=John&rft_id=http%3A%2F%2Fwww.musicals101.com%2F1860to79.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Black+Crook" class="Z3988"></span></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Gänzl, Kurt. <a rel="nofollow" class="external text" href="https://kurtofgerolstein.blogspot.com/2016/10/the-black-crook-demystification-part-2.html">"'<i>The Black Crook</i>: Demystification Part 2"</a>, Kurt of Gerolstein, October 8, 2016, accessed June 18, 2018</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.musicalheaven.com/Detailed/645.html"><i>The Black Crook</i></a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070928060521/http://www.musicalheaven.com/Detailed/645.html">Archived</a> 2007-09-28 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Musical Heaven</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">"Revival of the Ballet", <i>The New York Times</i>, September 1, 1901, p. SM3</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">"Revival of the Ballet", <i>The New York Times</i>, September 1, 1901, p. SM3</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">According to <a href="/wiki/Kurt_G%C3%A4nzl" title="Kurt Gänzl">Kurt Gänzl</a>. Barras's wife Sallie, for whom the piece had been written, died in April 1867, before the New York run had ended, and Barras became depressed. In 1874, he threw himself from a moving train. See Gänzl, Kurt. <a rel="nofollow" class="external text" href="https://kurtofgerolstein.blogspot.com/2018/06/putting-emily-in-order-w-s-gilberts.html">"'<i>The Black Crook</i>. The real story of the mythologised legshow"</a>, Kurt of Gerolstein, 18 June 2018</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Baggett, James (November 2007) "Timepiece", <i>Birmingham</i> magazine, vol. 47, No. 11, pp. 266–67</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Gänzl, Kurt. <a rel="nofollow" class="external text" href="http://kurtofgerolstein.blogspot.com/2018/06/blog-post_17.html">"Mary Wells: From Boucicault to burlesque to <i>The Black Crook</i>"</a>, Kurt of Gerolstein, June 17, 2018</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Allen, Robert C. <i>Horrible Prettiness: Burlesque and American Culture</i>, University of North Carolina Press (2000), p. 113 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0807860085" title="Special:BookSources/0807860085">0807860085</a></span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Lewis, Robert M. (ed). <i>From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830–1910</i>, JHU Press (2003), p. 221, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0801870879" title="Special:BookSources/0801870879">0801870879</a></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Forster, John. <i>The Life of Charles Dickens</i>, Vol. 2, Chapman and Hall (1870), p. 232</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=10" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Sheridan_Morley" title="Sheridan Morley">Morley, Sheridan</a>. <i>Spread A Little Happiness</i>, New York: Thames and Hudson, 1987</li> <li>Barras, C. M. (1866). <i>The Black Crook a most wonderful history</i>. Philadelphia: Barclay.<a rel="nofollow" class="external text" href="http://purl.dlib.indiana.edu/iudl/wright2/wright2-0304">text available here</a>.</li> <li><i>New Complete Book of the American Musical Theatre</i> by David Ewen, 1970</li> <li><i>Appleton's Cyclopedia of American Biography</i> edited by James Grant Wilson, John Fiske and Stanley L. Klos, 1999</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=The_Black_Crook&action=edit&section=11" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:The_Black_Crook" class="extiw" title="commons:Category:The Black Crook">The Black Crook</a></span>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://www.ibdb.com/broadway-show/10289"><i>The Black Crook</i></a> at the <a href="/wiki/Internet_Broadway_Database" title="Internet Broadway Database">Internet Broadway Database</a></li></ul> <dl><dt>New York Public Library</dt></dl> <ul><li><a rel="nofollow" class="external text" href="http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=142115&word=">Photos of <i>The Black Crook</i></a> from the <a href="/wiki/Billy_Rose_Theatre_Collection" class="mw-redirect" title="Billy Rose Theatre Collection">Billy Rose Theatre Collection</a></li> <li><a rel="nofollow" class="external text" href="http://www.nypl.org/blog/2011/10/07/musical-month-listen-music">Audio files to several songs from <i>The Black Crook</i></a>, from the <a href="/wiki/New_York_Public_Library_for_the_Performing_Arts" title="New York Public Library for the Performing Arts">Library for the Performing Arts</a> "Musical of the Month" series</li> <li><a rel="nofollow" class="external text" href="http://www.nypl.org/blog/2011/06/16/musical-month-music-black-crook">Sheet Music</a> from the <a href="/wiki/New_York_Public_Library_for_the_Performing_Arts" title="New York Public Library for the Performing Arts">Library for the Performing Arts</a> "Musical of the Month" series</li></ul> <dl><dt>Additional sites</dt></dl> <ul><li><a rel="nofollow" class="external text" href="http://hrc.contentdm.oclc.org/cdm/landingpage/collection/p15878coll29"><i>The Black Crook</i> Digital Collection</a> from the <a href="/wiki/Harry_Ransom_Center" title="Harry Ransom Center">Harry Ransom Center</a> includes books, sheet music, photographs, playbills and news clippings.</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20061010152654/http://www.c20th.com/GSnon.htm">Information about NY and London productions</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070610143834/http://www.brown.edu/Facilities/University_Library/exhibits/SMC/blkcrk.html">Cover art for the 1867 <i>Transformation Polka</i> musical arrangement</a></li> <li><a rel="nofollow" class="external text" href="https://s3.amazonaws.com/lpa-musical.nypl.org/MusicalMonth/BlackCrook/BlackCrook.html">Complete text of the libretto</a></li> <li><a rel="nofollow" class="external text" href="http://nrs.harvard.edu/urn-3:FHCL.Hough:4645388">Full-color digital images of annotated 19th century promptbook for <i>The Black Crook</i></a></li> <li><a rel="nofollow" class="external text" href="https://www.loc.gov/item/ihas.100004699">Sheet music for "You Naughty, Naughty Men"</a></li></ul> <table class="wikitable succession-box noprint" style="margin:0.5em auto; font-size:small;clear:both;"> <tbody><tr style="text-align:center;"> <td style="width:30%;" rowspan="1">Preceded by<div style="font-weight: bold">—</div> </td> <td style="width: 40%; text-align: center;" rowspan="1"><b> <a href="/wiki/List_of_the_longest-running_Broadway_shows#Timeline_of_longest-running_Broadway_shows" title="List of the longest-running Broadway shows">Longest-running Broadway show</a> </b><br />1867–1869 </td> <td style="width: 30%; text-align: center;" rowspan="1">Succeeded by<div style="font-weight: bold"><i><a href="/wiki/Humpty_Dumpty" title="Humpty Dumpty">Humpty Dumpty</a></i></div> </td></tr> </tbody></table>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=The_Black_Crook&oldid=1222465510">https://en.wikipedia.org/w/index.php?title=The_Black_Crook&oldid=1222465510</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Broadway_musicals" title="Category:Broadway musicals">Broadway musicals</a></li><li><a href="/wiki/Category:1866_musicals" title="Category:1866 musicals">1866 musicals</a></li><li><a href="/wiki/Category:Musicals_set_in_Germany" title="Category:Musicals set in Germany">Musicals set in Germany</a></li><li><a href="/wiki/Category:Musicals_set_in_the_17th_century" title="Category:Musicals set in the 17th century">Musicals set in the 17th century</a></li><li><a href="/wiki/Category:Demons_in_popular_culture" title="Category:Demons in popular culture">Demons in popular culture</a></li><li><a href="/wiki/Category:Works_based_on_the_Faust_legend" title="Category:Works based on the Faust legend">Works based on the Faust legend</a></li><li><a href="/wiki/Category:Musicals_by_Thomas_Baker" title="Category:Musicals by Thomas Baker">Musicals by Thomas Baker</a></li><li><a href="/wiki/Category:Plays_set_in_the_1600s" title="Category:Plays set in the 1600s">Plays set in the 1600s</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Webarchive_template_wayback_links" title="Category:Webarchive template wayback links">Webarchive template wayback links</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:Commons_category_link_from_Wikidata" title="Category:Commons category link from Wikidata">Commons category link from Wikidata</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 6 May 2024, at 03:27<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; 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