Hit Parade

By Christopher Porterfield

BLACK BROADWAY

One generation's nostalgia is another's discovery. How many of today's theatergoers remember Elisabeth Welch, who introduced Charleston in the 1923 musical Runnin ' Wild? Or Adelaide Hall, who introduced I Can 't Give You Anything but Love in Blackbirds of 19281 Never mind. Black Broadway brings them both back anew for a three-week run at Man hattan's Town Hall. The revue, an out growth of a concert at last year's Newport Jazz Festival, is an amiable, loosely strung hit parade of black musical entertainment from the first half of the century.

Cafe Singer Bobby Short is master of ceremonies. Although his dandified talent is misapplied here, the songs he dusts off (Tall, Tan and Terrific, Posin ') have period charm as well as charm, period. Present-day Broadway is represent ed by Nell Carter, that kitten of brass from Ain't Misbehavin', and Tap Dancer Gregory Hines from t, a one-man funky fusillade.

But the evening belongs to their el ders. Jazz Singer Edith Wilson, who made her Town Hall debut in 1921, shows that she can still command the stage with a witty, mischievous He May Be Your Man.

Tap-Dancing Legend John W. Bubbles, who created the role of Sportin' Life in Porgy and Bess, lifts a still rakish derby and a still raffish tenor in It Ain't Necessarily So. Wilson is now halting of step and Bubbles is confined to a chair. Their performances affirm that careers may be long to a particular age, but talent is ageless.

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