Taking over a lead role early in the run of a high cost, highly anticipated musical could be daunting for any performer. Taking over the lead role for an actress with more Tony awards than any other woman in history could be down right horrific.
So, no pressure to the sweet soul who will step into Audra McDonald’s shoes in Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed when the six-time Tony award winner takes a scheduled hiatus June 21 – Sept. 25 to fulfill a prior commitment. And OH, what large tap-dancing shoes they are. Here’s who we think has the chops to succeed the diva and thrill the masses while she’s away:
We have to imagine that production knew Audra would be stepping out for a few months before completing casting and thus prepared accordingly when adding this stunning performer to the Shuffle Along roster. This lady would be beautifully suited to assume the role of “Lottie Gee” in Audra’s absence. Warren, who is most known for her role in Bring it On: The Musical, is a strong singer, skilled dancer and versatile actress, as seen in her roles on shows like “Blue Bloods” and “Orange is the New Black.”
For those of you who haven’t seen Something Rotten, maybe you’re not familiar with this tap-dancing kid, but the Baptized by Broadway star is definitely a force to be reckoned with. Not only is she a hoofin’ fool, but a powerhouse belter who could definitely keep up with the likes of Savion Glover, Brian Stokes Mitchell and Billy Porter. Something we’d LOVE to watch.
Vanessa Williams, Brenda Braxton, Adriane Lenox
Shuffle Along could take a page out of the After Midnight book and feature a rotating lineup of special guests over the three month span to appeal to audiences in the headliner’s absence. These three ladies are just a few of the guest entertainers who made After Midnight special and could definitely bring the same star power to the Shuffle Along stage. Williams with that velvety voice, Braxton with those flawless moves and Lenox…just being Lenox, would each make it a beautifully unique and exciting experience.
There have been no details as to what Audra’s “prior commitment” is, but with “Hello Again!” and the “Lady Day at Emerson’s Bar” HBO Special in the works, it could be anything. McDonald will return to Shuffle Along Sept. 27, but we will be waiting with bated breathe to hear who she’ll pass the torch to and you know Broadway Black will have it first. Hopefully, they’ll take our suggestions into consideration. Stay tuned!
Hello, Dolly! The Past, The Present, and The Prospective Future
A few weeks ago, previews began for the Bette Midler-led revival of Hello, Dolly! over at the Shubert Theatre. Midler last appeared on Broadway in her hilarious one-woman show I’ll Eat You Last at the Booth three years ago, and Fiddler on the Roof in 1967, when the actress had last starred in a musical on the Great White Way.
This revival of Hello, Dolly! marks the fourth incarnation of the Michael Stewart and Jerry Herman musical since its first inception in 1964, starring Carol Channing. The original production played well, but after three years and a slight decline in ticket sales, producer David Merrick decided he needed to shake things up a bit.
What better way to achieve shock value than to recast the show and create an all-Black version with the amazingly talented Pearl Bailey as matchmaker Dolly Levi and Cab Calloway as Horace Vandergelder.
Nowadays, a stunt like this would surprise no one, but in the late 1960s –a time of war and protest, racism and hate– the casting was nearly unheard of. The cast, however, didn’t deter people from seeing the show.
In fact, Hello, Dolly! opened to glowing reviews on November 12, 1967, at the St. James Theatre. This new version would later close on December 27, 1970, bringing the total cumulative Broadway run to 2,844 performances, thus making it the longest-running musical of its time.
Due to popularity, producers released another cast recording with the all-Black cast and Bailey received a Special Tony Award in 1968. She would eventually reprise her role in a short-lived revival in 1975 with Billy Daniels.
After her successful run as Dolly, more opportunities opened up for Black actresses to step into the role of the meddling matchmaker including: Thelma Carpenter, who actually went on as Bailey’s alternate on Wednesday matinees and performed in over 100 performances, Edwina Lewis, and E. Faye Bulter — whose 1990 version included the cut song “Love, Look in My Window.”
Looking back on this amazing production, and with the revival set to officially open in April, we got to thinking: If we could recast Hello, Dolly! today, who are some Black actresses we’d like to see?
Check out some of Team BB answers below:
JHD: Jenifer Lewis. She can blow, she has sass, she needs to be on Broadway since yesterday. And she would absolutely make an amazing Dolly. She actually played the title role back in 2009 in a Seattle Regional Production. If not a Broadway reprisal, we’ll settle for a revival of Mame too.
Tristan: Whoopi Goldberg, Queen Latifah, or Vanessa Williams. Here for all three of them, though the Ugly Betty fan in me is truly here for a Wilhelmina Slater-inspired Dolly.
Who would YOU cast? Sound off in the comments below.
BB Casting Agency: The Music Man & More
Last summer I had the privilege of experiencing the Cole Porter classic Kiss Me Kate at Pasadena Playhouse, featuring — get this — an all-Black cast. Starring Wayne Brady, Merle Dandridge and directed by the acclaimed Sheldon Epps, the ingenious adaptation of the beloved musical not only affirmed my adoration for the time-honored piece, but perpetuated my thought that the possibilities for non-traditional casting are endless. Hamilton boasting a multi-racial cast, Keke Palmer as Cinderella, the late Kyle Jean-Baptiste as Les Mis’ Jean Valjean, are all indications that ethnic is IN. So now, I’m like a kid in a candy store, re-imagining entire works, mostly Broadway classics, that would feature some of my favorite Black artists without boundaries. Here is my Broadway Black Wish List:
David Alan Grier & Stanley Wayne Mathis – The Producers
When I went to see Porgy & Bess with the brilliant Audra McDonald and Norm Lewis, I was less than enthused that Grier, that guy from TV’s “In Living Color,” would be making an appearance. Clearly, I was ill-informed. The Yale School of Drama alum approached the role with a wisdom, a professionalism and a personality that made me reevaluate every misconception I’d had. His charisma has since had me pining to see him recreate the role of Max Bialystock originated by Nathan Lane with Mathis as his sidekick, Leopold Bloom. With Grier’s comedic cunning, just a twinge of Mathis’ Schroeder-like wit, and some obvious tweaks to the cultural references, this duo could possibly pull off “the biggest flop in history.”
Nicholas Christopher & Nikki Renee Daniels – The Music Man
I’ve seen Christopher in a few roles, mostly contemporary pieces, and to say he is charming would be an understatement. But many aren’t familiar with his straight-toned, classical music style and I’d love to see him bring that to the stage as the smooth-talking, fast-walking Professor Harold Hill with Daniels as the sensible and sensitive Marian…the Librarian. Daniels’ performance in Porgy and Bess proved that she has the vocal timbre to handle the traditional Meredith Wilson score and, quite honestly, I’d just love to see their chemistry on stage.
Audra McDonald – St. Louis Woman
This show is already traditionally done with an all-Black cast. Most recently, it was seen as part of the City Center Encores Series with Vanessa Williams starring as the belle of St. Louis, Della Green. However, I dream that Ms. McDonald recreates the role of Lila, the scorned, jilted lover who murders her cheating man, because that’s pretty much what we expect from an Audra performance and what she does best – dark with just a twinge of crazy.
In my excitement to devise my Broadway wish list, I came across only one problem: my performer list was too short. I found myself coming up with the same male lead or the same female protagonist, reminding me that though the pool is expanding, we have yet to reach the level of equality that we strive for in this field. We are still outnumbered and often discounted, but art is universal and diversity is on the rise. We’re heading towards an era where inclusive casting won’t even need to be articulated. Go ahead and take it in: non-traditional is the new normal.
BB Casting Agency: Legally Color Blind? A New Elle Woods
I love Elle Woods. I love the color pink. And when I’m indulging in my sensitive side, I love stories about love.
I also love the ability to challenge perspective. I love the idea of a sophisticated, fun, attractive, and driven female lead.
I love the idea of that woman being black.
Delta Nu’s favorite lawyer may be known for her beach blonde hair and pink skirt suits, but I’m sure Elle Woods would agree that blonde is more than a color– it’s a lifestyle. A lifestyle is not constrained or reserved for a woman of any specific race. With that being said, I believe rising star, Alysha Deslorieux (Hamilton, Beautiful: The Carole King Musical) should be cast as Elle Woods in a revival of Legally Blonde.
Legally Blonde will forever hold a special place in my heart because it’s the first professional show I experienced. I sat in the balcony of the theatre, with a couple of tears in my eyes, moved by the energy and enthusiasm behind Laurence O’Keefe’s music. I’ve always been in love with the story of a girl rising to the occasion and discovering that she’s “So Much Better” than what her peers thought of her, and even how she valued herself. Seeing the show on stage further fed into one of my life mantras: nonconformity still reigns.
Elle’s character represents transformation. She has everything going for her but the attention and love of the man she followed to Harvard Law. Everything that glitters isn’t gold and that rings true even with Malibu’s finest. When she’s directed within, we are introduced to a woman that understands her worth and teaches us the importance of forming a “Chip on Your Shoulder” to achieve the goals set for ourselves, while unapologetically refusing to change who we are. A woman that embodies strength, sincerity, and sex appeal must shatter expectations… by being portrayed by a Black woman.
Alysha Deslorieux made her Broadway debut in 2012 in Sister Act. However, I was first introduced to her through her work at University of Cincinnati’s College Conservatory of Music. Deslorieux has a commandng presence even in her supporting roles. I can’t wait to see her conquer a leading lady. You can hear Deslorieux on the Beautiful and Hamilton cast albums. She’s currently understudying all three Schyuler sisters in Hamilton.
Light, yet soulful, Deslorieux will send the heart of audiences soaring as they connect with the first Black Elle Woods.
I’ll be in the audience cheering in all pink!
BB Casting Agency: Viola Davis as Hedda Gabler
The year is 2011 and my college is doing our own production of the Henrik Ibsen classic tragedy, Hedda Gabler. I never read it in high school and this is my first time seeing it performed on the stage. For the last hour I’ve been stuck to my seat, captivated by the performance. In the show’s final moments, I am left with my mouth open as a gunshot rings, a piercing scream is heard, and the lights abrubtly fade to black. Show’s over. That’s it. What. The. Hell.
My most memorable moments with live theatre have come from shows that caused me to think a great deal, were wildly entertaining, and had really strong narratives. Hedda Gabler, in my opinion, is one of the most dramatic, complex, wildly entertaining shows yet. This may seem odd since, when the piece was first introduced in the late 1800s, it had horrible reviews. However, over time it grew on people.
Hedda Gabler tells the story of a not-quite young, very ambitious and controlling woman who enters a loveless marriage with the respectable but dull George Tesman to insure herself economic and social security. Completely driven to control any and everyone around her, Hedda finds the opportunity to wreck havoc on the lives of those closest to her.
When he wrote the play, Ibsen set out to do one thing; “What I principally wanted to do was to depict human beings, human emotions and human destinies upon a groundwork of certain social conditions and principles of the present day.”
Hedda does that. The play touches on human psychology and should be any trained actress’ dream to play such a dynamic, often hated character. It’s easy to want to play a hero, but playing a villain that people can also sympathize with by the end is a real challenge. Who do I think can do Miss Hedda justice? Viola Davis would without a doubt murder (pun intended) the role of Hedda Gabler. The Juilliard grad has shown us time and again that she’s a force to be reckoned with. She can be dark, as evidenced by her historic Emmy-winning portrayal of Annalise Keating on “How To Get Away With Murder.” She can be passionate, as we have seen in her film roles like “Doubt.” We also know she can be everything in between, as we’ve seen in her Tony Award-winning performance in Fences.
It takes a special kind of actress to pull a role like this off. That’s why the last time this show was on Broadway it didn’t do all that well. Viola has already broken down barriers in the TV world. I have no doubt that she’d shatter the glass ceiling on the Great White Way.
BB Casting Agency: Patina Miller as West Side Story’s Maria
One of my favorite musicals is West Side Story, that timeless Shakespearean romantic tale of young lovers who fight against the odds to be together. The story, set in New York’s West side in the mid-1950s during a time of racial tension, explores the rivalry between two street gangs. The Jets are a white gang and the Sharks are from Puerto Rico. In the midst of this drama, “Tony,” a former member of the Jets and best friend of the gang leader, “Riff,” falls in love with “Maria,” the sister of “Bernardo,” the leader of the Sharks. Unfortunately, their love escalates the tension between the gangs and leads to a tragic ending.
Bernardo (George Chakiris) and Anita (Rita Moreno)are hot, hot, hot! Everyone in this film is excellent, but these two really stand out. No wonder they both got Oscars for the role. I also include the little drama before the song because I love seeing them bickering like an old married couple.
In my version of West Side Story, instead of Puerto Rican and white gangs, we’d replace those with African American and Latino gangs. With that switch, the perfect actress for the perfect role – the hopeless romantic female lead, “Maria,” – can only be played by Tony Award winner Patina Miller. While the “Maria” character is “supposed” to be a teenager, most of the actresses who’ve played the role on Broadway and on screen have been in their twenties. Carol Lawrence who originated the role in the 1957 Broadway production was 22 and Natalie Wood was 23 when she played the role on-screen. Miller, at 30, is older but she looks young enough to pull it off.
Miller made her West End and Broadway debuts playing “Deloris Van Cartier” in Sister Act and won the Tony Award for Best Actress in a Musical for her lead role in Pippin. Vocally, she will excel with the Leonard Bernstein and Stephen Sondheim tunes, although the role calls for a soprano. But, it’s my dream, so we’ll have the musical arranger work out those details. She has boundless energy and she’s multitalented enough to pull off any role. Even one that was written for a young Puerto Rican girl.
Patina Miller and the cast of the 2013 Broadway revival of the musical PIPPIN, perform the number “Simple Joys” live on the Late Show with David Letterman.
Patina Miller and the cast of the 2013 Broadway revival of the musical PIPPIN, perform the number “Simple Joys” live on the Late Show with David Letterman.
Seriously, is there someone out there who can make this happen?
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