Host Peter Schmitz reveals how 1927 marked the peak of U.S. theater, with Philadelphia as a key tryout town.
This episode examines the peak of Philadelphia's theatrical influence in the late 1920s and the industry's subsequent decline. Host Peter Schmitz continues the show's third season, "Philadelphia, the Tryout Town." The narrative builds from a previous episode featuring Bradford Rope's fictionalized account of a Broadway musical opening night in the city.
The year 1927 marked the absolute peak of commercial theater production in the United States, with 264 shows produced on Broadway. Most of these Broadway-bound shows either premiered in Philadelphia or returned there for touring engagements after their New York runs. That same year, Al Jolson, a massive musical theater star, appeared in the first motion picture with Vitaphone sound, *The Jazz Singer*. The film told the story of a Jewish cantor's son who becomes a successful black-faced soloist on Broadway. This technological innovation signaled a major shift for the live theater industry. The episode traces how the confluence of new technology and economic catastrophe impacted Philadelphia's status as a pre-Broadway tryout hub. It details the specific mechanisms by which talking pictures and the Great Depression eroded theater attendance and production. The narrative likely contrasts the vibrant activity of 1927 with the rapid changes that followed.
A key insight is that 1927's record of 264 Broadway productions has never been surpassed, establishing a definitive high-water mark. The episode frames *The Jazz Singer* not just as a film milestone but as a direct disruptor to the established tryout system. It suggests Philadelphia's theatrical economy was uniquely vulnerable due to its deep integration with the Broadway production cycle. The host implies that the cultural shift toward cinema was both sudden and devastating for local theaters. The use of Bradford Rope's earlier fictional account provides a human-scale reference point for the industry's golden age. The focus on a specific year and star like Al Jolson grounds the broader historical forces in concrete details.
The tone is educational and narrative, weaving together specific statistics, cultural milestones, and economic history. The style is conversational but meticulously researched, presenting a clear cause-and-effect storyline.
This episode would appeal to theater history enthusiasts, Philadelphia locals interested in cultural history, and anyone curious about how technological change disrupts entertainment industries. Listeners seeking purely biographical stories or contemporary theater analysis might find it less engaging.
