Smokey Robinson Jokes ‘Retiring Didn’t Work’ as He Returns to the Apollo Theater
The Apollo Theater, a historic landmark in Harlem, has seen countless legendary performances since its inception. Despite the ongoing gentrification of Harlem, the five-story, 1,506-seat theater at 253 West 125th Street remains a cultural cornerstone. Declared a city, state, and national landmark in 1983, the Apollo’s legacy is preserved both inside and out. Outside, the “Walk of Fame” honors some of the greatest performers who graced its stage, including Richard Pryor, Charlie “Yardbird” Parker, Etta James, Little Richard, Ella Fitzgerald, Louis Armstrong, Quincy Jones, Chaka Khan, James Brown, Billie Holiday, Stevie Wonder, and Prince. Inside, the maroon-carpeted lobby features a world-famous mural depicting celebrated jazz musicians, comedians, singers, and musicians who performed there, such as Pearl Bailey, Sammy Davis Jr., Duke Ellington, Nina Simone, Nat “King” Cole, Lena Horne, the Temptations, Ray Charles, Odetta, Eartha Kitt, Smokey Robinson, and Fats Domino.
The Apollo Theater, which opened in 1914 as a whites-only vaudeville house called Hurtig and Seamon’s New Burlesque, changed ownership and reopened to black patrons as the Apollo in 1934. Over the decades, it has hosted a myriad of iconic performances. In the 1930s, comedian Pigmeat Markham performed regularly, and Ella Fitzgerald and Billie Holiday won $25 prizes on Amateur Nights. The 1940s saw the end of blackface performances, and the debut of Sammy Davis Jr. with the Will Mastin Trio. The 1950s brought appearances by Josephine Baker and visits from Elvis Presley, who marveled at the famous mural in the lobby. Jazz legends like Charlie Parker, Miles Davis, Thelonious Monk, and John Coltrane also graced the Apollo stage.
The 1960s were a transformative period for the Apollo, with Jimi Hendrix winning an Amateur Night contest and the Motortown Revue bringing Motown artists like the Supremes, Marvin Gaye, the Temptations, and Stevie Wonder to the stage. Michael Jackson, then a nine-year-old, traveled from Gary, Indiana, with his brothers to perform as the Jackson Five, winning an Amateur contest in 1967. Smokey Robinson recalls Michael watching every act from the wings, studying their performances.
Smokey Robinson himself has a storied history with the Apollo. He remembers the early days of Motown when the Miracles performed at the Apollo without proper arrangements for the horn players. Their initial performance was so poor that the owner refused to pay them. However, this experience motivated them to improve, and when they returned with their hit “Shop Around,” they were a sensation. By the time they became regulars at the Apollo, they were earning $3,500 a week, a significant sum at the time.
The Apollo’s influence extends beyond music. Keith Richards of the Rolling Stones recalls the theater as a legend even in England, especially after the release of James Brown’s “Live at the Apollo” album in 1962. Mavis Staples of the Staples Singers fondly remembers sewing and knitting between shows and enjoying cream cheese on date-nut bread sandwiches from Chock Full o’Nuts. Sean “Puffy” Combs, who grew up in Harlem, saw his idol James Brown perform at the Apollo and was inspired to pursue a career in music.
The Apollo’s Amateur Night is infamous for its discerning audience, known for booing off performers who don’t meet their high standards. Lauryn Hill was once booed as a 13-year-old but eventually won over the audience. Lenny Kravitz recalls Lionel Richie warning him not to invite audience members onstage, as they might outshine the performer. The Apollo audience’s brutal honesty is a rite of passage for many artists, teaching them resilience and the importance of delivering a stellar performance.
The theater fell into disrepair in the 1970s but was revitalized in 1982 by a group led by former Manhattan borough president Percy Sutton. It reopened in 1984 and was purchased by New York State in 1991, becoming a nonprofit. Under the direction of CEO Jonelle Procope, the Apollo continues to thrive, with a board that includes notable figures like former Time Warner chief Richard Parsons, McAndrew & Forbes CEO Ronald O. Perelman, musician and producer Quincy Jones, chef Marcus Samuelsson, and musician Pharrell Williams.
The Apollo’s rich history is also marked by its backstage lore. Billy “Mr. Apollo” Mitchell, the theater’s historian, recounts tales of barbecues, card games, and various illicit activities in the back alley. The dressing rooms, with a pecking order based on star status, have hosted countless legends. Aretha Franklin, for instance, once stopped mid-song because she felt air from the cooling system, which she had insisted be turned off.
The Apollo’s signature wall, signed by performers and visitors like Barack and Michelle Obama, Hillary and Bill Clinton, Metallica, Prince, Kris Kristofferson, and Paul McCartney, stands as a testament to its enduring legacy. The famous tree stump on stage right, reportedly from a tree cut down in front of the theater in 1934, is traditionally rubbed by performers for good luck.
The Apollo’s influence on music and culture is immeasurable. James Brown’s “Live at the Apollo” album, which he financed himself, is considered one of the greatest live albums of all time. David Bowie cited it as an inspiration, and Lee Daniels says it was in every black household he knew, “along with the Bible.” The theater continues to host a diverse array of performances, from music and dance to opera and comedy.
For Smokey Robinson, the Apollo is a place of both nostalgia and ongoing inspiration. Despite joking that “retiring didn’t work,” his return to the Apollo is a testament to the theater’s enduring appeal and its role in shaping the careers of countless artists. The Apollo remains a beacon of cultural significance, a place where legends are made and history is continually written.
Source: Vanity Fair, Getty Images, NY Daily News Archive, AP/REX/Shutterstock, NBCU Photo Bank
