This is an interesting performance to consider, especially for those who saw many film appearances of Ethel Waters, later in her career, dressed as a maid. Here she's the strong, confident, dominant Birmingham Bertha who is determined to track down a guy who took her money and went to Chicago, dressed in aggressively stylish clothes and asserting her intentions to get her way, warning that if you cross her you'd better watch out. She is miles ahead of Queenie in Show Boat.
Also, in a kind of show business gender bend, the dancer, there for decorative purposes, is a good looking guy as the equivalent of a dancing girl usually found in a similar musical short of the period. Together with Ethel Waters' performance, it gives you a lot to think about.
Forget the white audience, they're not important.
Update: You can contrast her with the pathetic character who sings Surabaya Johnny (begins at 5:19) in Brecht and Weill's Happy End, which premiered the same year as Ethel Water's performance above did, Brecht's play also set in 1929 Chicago.
It's a great performance but, geesh, what a whuss! Interesting, if a bit stilted, commentary from Aaron Copland and the definitive singing of Lotte Lenya, for whom the role was written, I believe.
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