Photo by Lelund Durond for Broadway Black
The Broadway For Black Lives Matter electric sensation felt at the Roone Arledge Auditorium at Columbia University this past Monday was undeniably an authentic result of the power of unity. It was arguably one of the few spaces, if not the first, where Broadway stars, fans, music icons, and social justice advocates all joined together to discuss a plan for change in relation to the Black Lives Matter Movement. This event confirmed the importance of Broadway Black royalty at BWAY4BLM, operating as our key ingredient to the formula needed for change.
It is no secret that we all have something distinct to offer mankind. What we love to do and who we are explains this philanthropy quite well. That might be the ability to bring people together through music, playing an instrument or singing, and another by the ability to unify others with an inspirational speech or dance, or expression of ideas in a panel discussion. Either way, by opening a discussion between these parties, we are able to stress the importance of everyone working together by bringing their most prized and honorable feature to an event like BWAY4BLM.
With that in mind, I have been reimagining Ledisi’s rendition of the timeless “A Change Is Gonna Come” (by Sam Cooke), all week long. Her triumphant attitude paired with the audience’s irresistible hand raising and forceful movements was simply a transfer of energy. She imparted her power, success, and royalty to every person who tuned in. In fact, all of our participants added their respective talent as a contribution for change in an atmosphere that makes our idea of an equal society more tangible.
These voices: Audra McDonald, Brian Stokes Mitchell, Cynthia Erivo, India.Arie, Billy Porter, Ledisi, and Professor Frank Roberts have bridged the gap between people unconnected (for their own personal reasons) to the BLM movement. They’ve immersed the people who are uninvolved, uninterested, or unmoved by the countless deaths of innocent Black citizens in the discourse of human rights.
Our royalty has made the discourse of Black inclusion a coherent one, which was indigenous to their artistry. And as the art separately in its own division affects the non-supporters of the movement, so does the social platform for justice. That is because the platform is inherent to the artist, which is to say that they’ve skillfully justified Black Lives Matter in front of these uninterested crowds by solely intending to produce art. The same voice/s heard among a wide and diverse population has proven worthy and strong to the point of advocating for change. And during the time of the event, and before, even, our heroes named royalty used their success as a mode of education and communication toward ignorant US citizens who only set out to revere and respect their art.
The idea of opening up conversation and providing as many outlets and opportunities for viewership, involvement, and reflection is invaluable and could not have been done without individuals who are already admired for their accomplishments thus far. Our efforts in organizing this event has traveled far outside the country, beyond the four walls, into the homes of white music fans, and musical theatre kids, producers, journalists, professors, stage managers, make up artists and stylists, script consultants, presidents, colleagues, accountants, and any professional with connections to our artists. We offer our deepest thanksgiving to the commitment of our bold, beautiful, Broadway Black royalty, and on behalf of the team, thank you.
Erika Dickerson-Despenza Addresses Flint Water Crisis with Cullud Wattah
There is limited seating left for Erika Dickerson-Despenza’s new play CULLUD WATTAH at The Public Theater. Opening today, Thursday, March 7th and running until Sunday, March 10th in the Public Studio is about three generations of Black women living through the current water crisis in Flint, Michigan.
“It’s been 936 days since Marion’s family has had clean water. When local activists file a class action lawsuit against the city, Marion—a third-generation employee at General Motors—must decide how best to support her two daughters, sister, and mother while lead seeps into the community, their home, and their bodies. As corrosive memories and secrets rise among them, the family wonders if they’ll ever be able to filter out the truth.”
2018 Relentless Award Semifinalist and poet-playwright makes her Public Theater debut with CULLUD WATTAH directed by Lilly Award winner Candis C. Jones; the cast includes Deonna Bouye (Marion), Alana Raquel Bowers (Reesee), Caroline Stefanie Clay (Big Ma), Nikiya Mathis (Ainee), and Kara Young (Plum).
The creative team includes Production Stage Manager Gregory Fletcher, Stage Manager Priscilla Villanueva, and Movement Director Adesola Osakalumi. Along with scenic design by Arnulfo Maldonado, Costume Design by Ntokozo Fuzunina Kunene, lighting Design by Jeanette Oi-Suk Yew, and sound design by Megan Culley
We believe in this work so much we’re giving away 4 tickets to the performances on March 10th. 2 tickets to the matinee and two the evening performance thanks to our founder Drew Shade and actress/playwright Jocelyn Bioh. Go to our Instagram to find out how!
Also, find out more about how you can help the Flint Water Crisis and support this show HERE.
Listen to Erika talk about her work on an episode of Off Book Podcast below
Surely Goodness and Mercy by Chisa Hutchinson Begins Off-Broadway
Performances begin today, Tuesday February 26th, for the New York premiere of Surely Goodness and Mercy, presented by Keen Company. A story about an exceptional boy living a troubled life in Newark, NJ who does a good deed for an often unnoticed person. Sarita Covington, Jay Mazyck, Brenda Pressley, Courtney Thomas, and Cezar Williams star under Jessi D. Hill’s direction.
Set in an under-funded public school in Newark, Surely Goodness and Mercy by rising playwright Chisa Hutchinson, tells the story of a bible-toting boy with a photographic memory who befriends the cantankerous old lunch lady. Against all odds, Tino and Bernadette help each other through the mess of growing up and growing old.
Surely Goodness and Mercy has spent the last year charming audiences across the country: “Notably absent from Hutchinson’s frank and sobering story: cynicism” – Chicago Reader; “(Surely Goodness and Mercy has) a soul-stirring quality, touching audiences with its sincerity” – Daily Utah Chronicle; “it’s impossible not to like it” – The Salt Lake Tribune. Now, Keen is honored to bring this big-hearted new play to New York for the first time.
Performances for this limited Off-Broadway engagement of Surely Goodness and Mercy will continue through Saturday, April 13th only, with opening night set for Wednesday, March 13th.
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