All the songs in Ain't Misbehavin' were either composed, collaborated on, or recorded by Fats Waller, pianist and singer. Some of the big hits (and Waller standards) include "Honeysuckle Rose," "Keepin' Out of Mischief Now," "Black and Blue," "I've Got a Feeling I'm Falling," "The Joint is Jumpin'," "Lounging at the Waldorf," and the title song. As a recording star, his big hits include "Two Sleepy People,"(music by Hoagy Carmichael, lyrics by Frank Loesser) "I'm Gonna Sit Right Down and Write Myself a Letter," (music by Fred Ahlert, lyrics by Joe Young) and "I Can't Give You Anything But Love," (music by Jimmy McHugh, lyrics by Dorothy Fields.)

Here is the list of songs included in Ain't Misbehavin':

HISTORY OF THE SHOW: Ain't Misbehavin', which began as a cabaret revue at the Off-Broadway Manhattan Theater Club, quickly became the hot theater ticket in New York City. It transferred to Broadway's Longacre Theater and opened May 9, 1978. It was conceived and directed by Richard Maltby, Jr., choreographed by Arthur Faria, and starred Nell Carter, Charlaine Woodard, Armelia McQueen, Andre De Shields, and Ken Page.

ABOUT FATS WALLER: Thomas Wright Waller grew up in the exciting musical atmosphere of Harlem in the teens and 20's. His parents were deeply religious, and Fats started out playing the organ in the Abyssinian Baptist Church and studying classical piano technique. Read more about FATS WALLER

WHAT IS A REVUE? A revue is a topical show consisting of a series of scenes and episodes, usually having a central theme but not a dramatic plot, often with spoken verse and prose, sketches, songs, dances, ballet and specialty acts. Read more about WHAT IS A REVUE

THE EVOLUTION OF JAZZ: Jazz as we know it today has varied and diverse roots in the African-American cultures of the late 19th and early 20th centuries. Read the BRIEF HISTORY OF JAZZ

HARLEM: A HISTORY: For centuries after European settlement, the area in upper Manhattan - named Haarlem by the original Dutch settlers after the city of Haarlem in Holland - was a place of farms and villages. Read about HARLEM

THE HARLEM RENAISSANCE: The 1920s, the era when Fats Waller became famous in Harlem, was known as the Roaring Twenties. The economy was booming. Girls cut their hair short and adopted loose, boyish dresses with hemlines at the knee showing a shocking amount of leg. Read more about the HARLEM RENAISSANCE

In live theatre, unlike movies and television, the actors can hear (and often see) you as easily as you can hear and see them. If you comment out loud at a live show, or read or eat, you disturb not only other members of the audience but also the people on stage, thus diminishing the performance and, ultimately, your enjoyment of it.

This doesn't mean you have to remain silent. Actors want you to respond with laughter and applause; but such responses should always be genuine and appropriate to the moment. Such inconsiderate behavior as shouting, catcalling or sustained whispering, even during blackouts, can ruin the concentration of actors and audience members alike. And throwing paper or objects of any kind towards the stage is not only rude, it's also extremely dangerous to the performers.

In the event of any student misbehavior, the relevant school will be contacted and its principal informed.

We want you to enjoy your visit to Seaside Music Theater, and we rely on you to exercise your common sense and mature judgment. Thank you for being a valuable part of our audience this season.

FATS WALLER: Man, music larger than life
Thomas "Fats" Waller is big, but nowhere bigger right now than at SMT Downtown. That's where rehearsals are under way, and where the Seaside Music Theater's musical revue of great hits by Fats, "Ain't Misbehavin,'" opens Friday.

WALL TO WALLER: Vet retraces steps in Misbehavin'
Ray Hatch may not have been born to choreograph and act in Fats Waller's revue, "Ain't Misbehavin'." But it would be difficult to imagine anyone better suited.

Rose of a show gets joint jumpin'
According to the liner notes from the original Broadway cast recording, when Ain't Misbehavin'" opened in 1978, critics used all the powers of their vocabularies to sing its praises. A review of Seaside Music Theater's production, however, could easily be stated in two simple words: See it.

VIDEOS: (available through the State of Florida Library in Tallahassee)
– Against The Odds: The Artists of The Harlem Renaissance: Produced by the New Jersey Network. 1998 PBS documentary coinciding with the Newark Museum's exhibition of 130 rarely seen paintings, sculptures, prints, and photos of the artists from the Harlem Renaissance. Lots of rare archival footage.
– Langston Hughes, Poet: Produced by the Library Video Company. 1994. Shows Langston Hughes in Daytona Beach with Mary McCloud Bethune.
Harlem in the Twenties: Produced by Encyclopedia Britannica. 1974. An excellent ten minute film with an extraordinary amount of pictures of Harlem's golden age.

BOOKS: (available in the Volusia County Library System)
– Anderson, Jervis. This Was Harlem: A Cultural Portrait 1900 - 1950. New York: Farrar, Straus, Giroux, 1981.
– Candaele, Kerry. Bound For Glory, 1910-1930: From The Great Migration To The Harlem Renaissance. Philadelphia: Chelsea House Publishers, 1997.
– Chambers, Veronica. The Harlem Renaissance. Philadelphia: Chelsea House Publishers, 1998.
– Donovan, Richard X. Black Musicians of America. Portland, OR: National Book Co., 1991.
– Fox, Ted. Showtime at The Apollo. New York: Holt, Rhinehart and Winston. 1983
– Haskins, Jim. The Cotton Club. New York: New American Library, 1977.
– --------------. The Harlem Renaissance. Brookfield, CT: The Millbrook Press, 1996.
– Johnson, James Weldon. Black Manhattan. New York: Atheneum, 1977.
– Kirschke, Amy Helene. Aaron Douglas: Art, Race, & The Harlem Renaissance. Jackson, MS: University of Mississippi Press, 1995.
– Lewis, David Levering. When Harlem Was In Vogue. New York: Penguin Books, 1981.
– Old, Wendie C. Duke Ellington: Giant of Jazz. Springfield, NJ: Enslow Publishers, 1996.
– Ottley, Roi. New World A-Coming: Inside Black America. Cambridge, MA: The Riverside Press, 1943.
– Schoener, Allon, ed. Harlem on My Mind: Cultural Capital of Black America: 1900-1968. New York: Random House. 1968.
– Waller, Maurice and Anthony Calabrese: Fats Waller. New York: Schirmer Books, 1977.
– Willis-Braithwaite, Deborah. Van Der Zee, Photographer 1886-1983. New York: Abrams, Inc. 1993.
– Willis, John. Theatre World, Volume 34. New York: Crown Publishers, 1979.

BOOK: (available through Inter-library loan)
– Cuney-Hare, Maud. Negro Musicians and Their Music. New York: DaCapo Press, 1936.
– Fox, Charles. Fats Waller. "Kings of Jazz" series. New York: A.S. Barnes and Co., 1961.
– Machlin, Paul S. Stride: The Music of Fats Waller. Boston: Twayne Publishers, 1985.
– Shipton, Alyn. Fats Waller: His Life and Times. New York, Universe Books, 1988.
– Sill, Jr., Harold. Misbehavin' With Fats: A Toby Bradley Adventure. Reading, MA: Addison-Wesley Publishing Co., 1978.
– Vance, Joel. Fats Waller: His Life and Times. Chicago: Contemporary Books, Inc., 1977.
– Wright, Laurie. "Fats" in Fact. Essex, England: Storyville Publications, 1992.

ON THE WEB: The following are some great websites for music and jazz history, theater, and bibliographical information:
www.allmusic.com
www.jazzhall.org
www.redhotjazz.com
www.music.indiana.edu
www.playbill.com
www.nypl.org