Shows · Don’t Bother Me, I Can’t Cope
A generally good-humored look at the social problems faced by black people today, Don’t Bother Me, I Can’t Cope was essentially a procession of musical numbers, both sung and danced, based on gospel, rock, calypso, and folk music. The show originated as a workshop project of Vinnette Carroll’s Urban Arts Corps Theatre, after which it made appearances in Washington, Philadelphia, and Detroit before opening in New York…
- Opened
- 1972
- Performances
- 1,065
- Type
- Musical
- Era
- Revolution
Productions1 on Broadway
| 1972 | Playhouse Theatre Original. April 19, 1972 · Vinnette Carroll | 1,065 performances |
Every Broadway staging held in broadway-data, sourced to IBDB. West End runs are not yet held.
12 passages naming Don’t Bother Me, I Can’t Cope, found by keyword across 178 books. It's where this show turns up in the literature, not curated trivia about it.
Among criteria for selection were length of run (all book musicals remaining over 500 performances are here), seminal importance, people involved, uniqueness of approach or subject matter, quality of the score, and general acceptance as a significant work in the field. Broadway revivals were included if they ran longer… book:broadway-musicals-show-by-show-seventh-edition-stanley-green-cary-ginell#p7
Bradford, Alex Don’t Bother Me, I Can’t Cope book:broadway-musicals-show-by-show-seventh-edition-stanley-green-cary-ginell#p397
Additional credits include The Connection, Don’t Bother Me, I Can’t Cope and Step Lively, Boy. book:the-broadway-design-roster-designers-and-their-credits-owen-bobbi-bibliographies#p489
Don’t Bother Me, I Can’t Cope had a run of 1,065 performances. book:the-best-musicals-from-show-boat-to-a-chorus-line-by-arthur-jackson-foreword-by-#p13
Micki Grant’s 1972 Don’t Bother Me, I Can’t Cope was a revue exploring inner-city African-American life. Musical numbers about ghetto life, black power and women’s rights spoke to a newly emerging market of hip, young ticket buyers. book:a-history-of-the-american-musical-theatre-no-business-like-nathaniel-hurwitz-tay#p221
Bubbling Brown Sugar may not have won any big prizes, but they each lasted over a year. Black musical theater was here to stay, and Purlie was one of the reasons why. book:b007l4owcu-ebok-peter-filichia#p94
Something wrong here? Correct a field or report the problem. Every change is recorded in public under the contributor licence.