The New York Pops will present a concert at Carnegie Hall like no other November 13, when its 78-piece orchestra celebrates groundbreaking Black women jazz artists. Led by music director and conductor Steven Reineke, Sophisticated Ladies will feature Montego Glover, Capathia Jenkins and Sy Smith.
The concert pays tribute to Ella Fitzgerald, Sarah Vaughan and Dinah Washington and ultimately commemorates the centennial year of the birth of Billie Holiday – who played Carnegie Hall for the first time in 1948, at age 33, to a sold-out crowd. She returned eight years later to perform two more concerts before packed audiences. Holiday’s career has illustrated her musical sophistication as noted by jazz legend Wynton Marsalis for Time/Life’s “100 Years of Lady Day.”
In its 33rd season, the New York Pops – the largest independent pop orchestra in the United States and the only professional symphonic orchestra specializing in popular music – continues to offer a unique experience with each concert, with influences ranging from Broadway melodies to film scores, jazz, rock, pop and everything in between. This time it is all that jazz, and Reineke has called it “an absolute knockout.”
It means the world to be a part of Sophisticated Ladies and paying tribute to Ella, Sarah, Billie and Dinah. These are icons in music and jazz, and in our culture. The legacy is so grand and huge and continues to give. We reap the benefits of them, Montego Glover said. Each woman has a long and strong legacy in music as icons. In African-American culture particularly, they stand as such examples as icons. The inventiveness and the talent that they use in the rendering in their music is so infectious and relatable but unique. It makes them each unique and one of a kind. They live in their own space.
Capathia Jenkins, who has worked with Glover in Broadway Inspirational Voices, agreed. “I’m really excited about the notion of three Black women today celebrating these Black jazz artists that have come before us. They’re the reason we get to do what we do today. I’m excited about the notion of that. We stood on their shoulders to get here. They each brought a certain thing to the table.”
Each of the guest artists, specifically selected by Reineke, bring a certain thing to the table in their own right.
Glover, a Tony nominee and award-winning artist who made her Broadway debut in The Color Purple, is currently starring as “Fantine” in Les Miserables at Imperial Theatre.
“Performing at Carnegie Hall was a bucket list item,” she said, “and now I’m doing it for the second or third time. New York Pops is one of the best pop orchestras in the country. I’m grateful that Les Miserables is allowing me to take time to do it.”
Prior to her current role, Glover co-starred in the original Broadway musical It Shoulda Been You. She originated the starring role of “Felicia Farrell” in the Tony winning Memphis and received a Tony nomination for Lead Actress in a Musical as well as a Drama League nomination; she won Outer Critics Circle and Drama Desk awards.
Jenkins has appeared as a soloist with symphony orchestras nationally and internationally including The Cleveland Orchestra; the Cincinnati and Philly pops orchestras; the National Symphony Orchestra; and the Hong Kong and Calgary philharmonic orchestras. She also is featured on the soundtracks for “Smash” (Seasons 1 and 2), Nine, Chicago, Mission to Mars and Legally Blonde 2. Her Broadway credits include: Newsies; Martin Short: Fame Becomes Me; Caroline, or Change; The Look of Love; and The Civil War. She received a Drama Desk nomination for (mis)Understanding Mammy: The Hattie McDaniel Story.
Sy Smith – who has been a backing vocalist for Whitney Houston, Chaka Khan and Meshelle Ndegeocello, a supporting vocalist on “American Idol,” and part of Rickey Minor’s band on “The Tonight Show with Jay Leno” as well as the Grammy-nominated Foreign Exchange – is an indie-soul recording artist with four critically acclaimed albums. In September, she garnered an Emmy nod for Best Original Music/Lyrics with “Welcome Back (All My Soulmates)” for the HBO film Dancing. She also received two nominations for Best Supporting Actress in a Musical/Comedy from the NAACP Theatre Awards for her roles in If You Don’t Believe and Body Language.
Broadway Black had the exclusive opportunity to speak with both Glover and Jenkins, who discussed the artists to whom they will pay tribute. Glover said she likens her musical style to Fitzgerald. “I am such an admirer of her. The instrumentality of her voice. She likes to scat across space the way a horn would. The terrific phrasing of music. She took whole lines and beats and made them new every time.” While Jenkins said she is not a scatter herself, she revealed Fitzgerald blows her mind with the way she could scat.
In describing Washington, Glover noted her “sparkly quality, like a wonderful bubble across the music.” Jenkins is inspired by her “raw tone” and that she “was so sure of herself, in her body and who she was.” Yet Jenkins’ feels her most parallel artist is Vaughan, who Glover said “had such a fullness and whimsical nature to her singing.”
“I think of Sarah as hot, molten chocolate,” Jenkins explained. “The tone of her voice is like ‘oh my God.’ She taught me a lot of jazz standards. She is a very kindred spirit to me. I like to learn the ink off the page. I know she was inevitably singing the melody and then makes it her own.”
Just as Holiday recognized “no two people on earth are alike, and it’s got to be that way in music or it isn’t music,” the New York Pops will indeed bring the most sophisticated ladies in jazz to the stage – with Holiday serving as the foundation.
“Billie is the crooner to me. There was a weeping, whining quality in her voice that is enchanting,” Glover admired. “I didn’t understand her at 12 years old the way I do now. What was really behind her singing and her voice and the way the sounds come out of her.”
Influenced by Louis Armstrong and Bessie Smith, Holiday pioneered a vocal style that manipulated phrasing and tempo.
“I’ve never thought of Billie as having great tone or range,” Jenkins admitted, “but the way she can phrase, she can do it conversationally. You can hear everything she had gone through in her life, whatever emotions there were. She sang from her gut. You can’t learn that. It just is. I listen to her for phrasing and truth telling.”
Holiday’s truth consists of much good, bad and ugly. Nevertheless, her legacy is one that proves “nobody sings the word ‘hunger’ like I do or the word ‘love.’”
“It’s going to be a great night,” Jenkins said, “and I’m so excited that the New York Pops has decided to celebrate these great Black women. So let’s sit back and relax and celebrate!”
The two-hour event will begin at 8pm, with one 20-minute intermission. Click HERE for more information about the concert.
We Were There: Sojourners & Her Portmanteau
[vc_row][vc_column][vc_column_text]Playwright, educator, opera singer, and Queen, Mfoniso Udofia has two plays running at New York Theatre Workshop. *pause* TWO PLAYS. In the SAME season!?!? *ends congratulatory gasp* Sojourners and Her Portmanteau are performed in repertory, as two chapters of Udofia’s sweeping, nine-part saga, The Ufot Cycle. Admittedly, before researching each show, I didn’t know the definition of either word; and in the spirit of keeping it consistent with the honesty, I didn’t like either play. I loved them.
Minimalism seems to be the name of the game these days. I sat down to a completely black stage, sans a multimedia display lodged on the ceiling at a 45-degree angle. Clutching my all white program and bobbing my head to the ‘70s pop rock pre-show music, I prepared my heart for the story of Sojourners, well at least that was the plan. The stage begins to rotate and we meet Abasiama (Chinasa Ogbuagu) and Ukpong (Hubert Point-Du Jour), Nigerian expatriates sojourning in Houston, Texas with the plan to start a family, earn their degrees, and go back to Nigeria until life happens.
Charming and handsome, Ukpong becomes defined by his leather jacket, shoulder work and shimmy which match the fascination and yearning for freedom that illuminates his eyes every time he talks of peace, protest, and Prince–all shaping his view of 1970s America, and consequently, the American Dream. But does leather compensate for grit? Is a movement or vibe really a panacea for disappointment, aimlessness, and a need to find yourself? Abasiama enters the play pregnant, purposed, and outfitted in pieces of Nigerian garb, grounded in duty showing a stark contrast to Ukpong who floats in desire. What’s lost in your household is found elsewhere, and this is when we start to see, and root for, Abasiama’s transformation from timid to tenacious.
Enter Moxie (Lakisha May), a colorful prostitute turned protector and friend. There is a mutual respect despite great differences between her and Abasiama, with their love for one another creating moments that make you believe in the beauty of humanity. Enter Disciple (Chinaza Uche), another warm and determined hearted immigrant who has come to the United States to study, rounding out the timely additions of love, support, and security when Abasiama needed them the most.
Through and through this is Abasiama’s story and she glows. Her kindness, her sisterhood, her strength, her worthiness, and the realization of her American Dream, guide her decisions—which is the catalyst behind the entire Ufot Cycle.
Her “portmanteau”, or red suitcase, makes a return as 30 years have passed. Abasiama now has two daughters, one raised in America and the other who has come from Nigeria to reconnect with her family.
This is a good moment to mention that each story is informed by the other, but can certainly stand alone on substance, content, and the amazing direction of Ed Sylvanus Iskandar. The staging is exciting and deliberate, while minimal, putting the full focus on the tension and growth to be expected of a family reunited after a substantial amount of time and distance.
Chinasa Ogbuagu returns to the stage, this time as the American-born daughter, Adiagha Ufot, Adepero Oduye as Iniabasi Ekpeyoung (Ukpong and Abasiama’s daughter), and Jenny Jules as the mother, Abasiama Ufot.
Seated on a couch in Adiagha’s small New York Apartment, no amount of preparation readies your mind and spirit to form the words to make up for 30 years of life, connection, and memories missed. We’re taken on a ride of resentment, hurt, love, and forgiveness, as the portmanteau is literally unpacked. We watch the teeter-tottering between offense and defense as one sister tries to assimilate into American culture, and the other attempts, albeit stubbornly, to fall in formation in honoring a family she shares blood with, but little time or tangible history.
It’s powerful to see a story of history and continuing a legacy despite lost time, faulty promises, and difficult choices explored with an all-woman cast as far too often the idea of legacy is framed in patriarchy. Jules admirably takes Abasiama through the fire to heal, to feel, and to fix her family. The narrative allows us to empathize and understand the struggle that comes with upholding family values versus cultivating a space to achieve personal dreams and happiness.
Her Portmanteau (and Sojourners) is written in a way that finds your soul, gently massaging it with humor, while leaving it with very real questions. I’ve never felt a greater need to binge read nine stories and simultaneously study the story of my own family tree. I left changed. I left wrapped in the strength of my mom and my mom’s- mom’s sacrifice. I left pensive and with seeds of future forgiveness planted. I left changed.
For capturing our hearts with wit and with truth. For putting Black women at the center of a poignant narrative. For unapologetically telling a story you haven’t seen told and telling it in the way you want it to be told.
We thank you Mfoniso. We thank you.
Have you seen the #duetplays? Sound off in the comments below![/vc_column_text][/vc_column][/vc_row]
Our Story in 2 Plays for 1 Price: Mfoniso Udofia’s Sojourners & Her Portmanteau
Last winter, we reported on Sojourners by playwright Mfoniso Udofia, a new play about a Nigerian family who has come to America with the goal of earning a college education, starting a family, and returning to Nigeria. But not without the twists and turns that come along with every plan that seems straightforward.
Thanks to New York Theatre Workshop, we get to relive this moment and continue the dialogue, decades later, with Her Portmanteau. Performed in repertory, these two chapters of Udofia’s sweeping, nine-part saga, The Ufot Cycle, chronicle the triumphs and losses of the tenacious matriarch of a Nigerian family.
Ed Sylvanus Iskandar directs the two-part story in association with The Playwrights Realm, who premiered Sojourners last winter in a limited engagement world premiere production. Her Portmanteau also received the 2016 Edgerton Foundation New Play Award grant.
As if that wasn’t enough to get excited about, we have an exclusive deal for our Broadway Black readers!
Our Story in 2 Plays for 1 Price!
Yes. That’s two shows for one price! The discount code BWYBLACK will take 50% off tickets to ANY performance(s) if purchased by May 15th!
Go ahead and grab your tickets. We have ours!
Sojourners and Her Portmanteau plays at NYTW until June 4th.
We Were There: Condola Rashad and Laurie Metcalf in Lucas Hnath’s A Doll’s House, Part 2
Part of the magic of live theatre is the suspension of reality achieved by sitting in a dark room with strangers as you’re transported to another world. You’re relieved of clearing your work email. You’re unchained from the claws of Sallie Mae. Your anxiety rests. Whether you come to the theatre to laugh, cry, learn, or heal—you come with a clear heart and mind, with the expectation to experience life through a lens that is not wholly yours. Lucas Hnath unapologetically roots us in reality in his play A Doll’s House, Part 2.
In his take on the life after Henrik Ibsen’s 1879 masterpiece, A Doll’s House, Hnath poses the question of what happens when the rocket ship doesn’t take off. What happens when you’re stuck squarely in the confines of your own living room, and more hauntingly, within the raw thoughts of your mind?
15 years later and Nora returns to the very door she slammed, ending the life she shared with her husband and three kids. The question is why.
Walking down the orchestra aisles in John Golden Theatre felt like picking my seat on the floor in front of the television. I cosied myself into my seat and took in the set— the absence of objects that might reference or represent life, love, and family; just as my eyes landed on the enormous black door, the lights went down and the story began.
As a bit of reference, Ibsen’s A Doll’s House is quite “woke,” if I do say so myself, covering topics like the role of women in a marriage, marriage expectations, and women’s rights. Hnath carries this torch into this new work, directed by Fun Home’s Sam Gold, and continues the conversation with poignance.
Laurie Metcalf has the intimidating task of bringing us into the mind of a woman who believes leaving her husband and children was the only way to activate her free will and identity, and she does so with great deliberation. Her Nora, the independent writer who has “made it,” but wants everyone to know the road wasn’t easy, is equal parts sarcastic, petty, touching, and unapologetic.
Image: Brigitte Lacombe
The relatability in Hnath’s voice reverberates back and forth through the fast-paced dialogue. One minute you’re admiring the pleats and frills in Nora’s period-appropriate bodice, and the next you’re realizing, no matter how firm in your beliefs you stand, you empathize and connect with the well-balanced conversations carried out in modern vernacular, from the point of view of Norma, Torvald (played by a sincere Chris Cooper), and Anne Marie (Tony winner Jayne Houdyshell). And did I mention it’s laugh-out-audibly-loud funny?
Smart and endearing, Emmy (Condola Rashad) is a force against her estranged mother’s shameless manipulation. She is curiosity and a second chance, stained, but not damaged, with latent dismay. Although only in the show for one scene, Rashad’s delicate and redeeming grace will leave with you.
We don’t leave the room wondering who was right or who was wrong, rather whose voice is loudest in the back of our own heads as we walk—or not walk—in our truth. Life is complicated, and so is love. What did you take away from A Doll’s House, Part 2? Sound off in the comments below!
For tickets visit A Doll’s House, Part 2
We Were There: Experience Deja Vu With Groundhog Day
What if you had to relive the same day over and over and over AND over again? Would you try something new every time to get a different outcome? Would you drive yourself crazy trying to figure out how to stop it? Now a two-time Olivier Award-winning new musical, Groundhog Day takes us on a whirlwind of adventure and misery through the eyes of a jaded weatherman forced to relive the same day, every day.
Funny enough, Groundhog Day is actually based on a film with the same title, starring Bill Murray and Andie MacDowell, and co-written by the show’s book writer Danny Rubin, about a weatherman caught in time and forced to relive the same day over and over and over again.
The concept seemingly feels like dangerous ground for a musical or a play, for that matter, as it forces the audience to watch the same moments over and over AND over again. Yet, somehow Groundhog Day manages to make what could be dangerous territory and turn it into a brilliant masterpiece of a musical. Largely in part to the catchy, fun music of the brilliant Tim Minchin, Groundhog Day makes deja vu seem kinda… cool.
Like the 1993 film, we meet our snarky protagonist Phil Connors (Andy Karl), a weatherman sent to Punxsutawney, Pennsylvania, to cover the annual prediction of spring, as predicted by “Phil the Groundhog.” Naturally, Phil feels nothing but disdain for the ritual, Punxsutawney, and everyone who celebrates it, including his producer Rita Hanson (Barrett Doss), who he tries to woo while acting like a complete prick to her.
As the Groundhog Day version of Ebenezer Scrooge, Connors needs to deal with the consequences of his terrible, often hilarious, actions. Cue the deja vu, where he must relive the same day over and over.
While he initially spends his days in self-loathing, also encountering a massive groundhog mascot that hilariously hits him on the head as he passes by every day (and he totally deserves it too), he eventually comes to his senses and looks to turning over a new leaf as he tries to win Rita over.
But not before indulging in his share of booze, women, and crime. Repeatedly, of course.
Karl’s charm really comes to play here, as we can easily grow to hate Phil Connors. After all, he’s literally the worst. Yet somehow, watching him suffer this forever purgatory, you can’t help but both root for his liberation and also hope he’s stuck there for all eternity. Karl’s performance in the West End run of the show earned him an Olivier for Best Actor in a Musical last week.
It helps that Broadway newcomer Barrett Doss is an excellent match for Karl, their chemistry undeniable, like her talent. The role (and some of the songs) hint that she’s more than the boring, hard-working producer that we’re led to believe (largely in part to her interactions with Connors), but, underneath the surface, a quirkier soul searching for love. Doss plays that side of Rita with enormous heart and playful charm and wit.
The show also offers a few solos of other Punxsutawney citizens, who express their own joys, worries, and troubles of life in the small town.
Minchin, director Matthew Warchus, Rob Howell (set design), Hugh Vanstone (light design), Paul Kieve (illusions), and Peter Darling (choreography) prove that when the creative team shares the same vision, magic can happen, as evident in the first act’s amazing car-chase number with Phil, two idiot bar patrons, and the Punxsutawney police — one of the most fun sequences I’ve seen on Broadway since … everything in Matilda, which featured the same creative team behind this musical.
All in all, I was pleasantly surprised with how much I enjoyed Groundhog Day, and, honestly, wouldn’t mind being stuck in a suburban purgatory with Phil and company again… and again.
Groundhog Day plays at the August Wilson Theatre.
Billy Porter Returns to Huntington Theatre Company to Direct Topdog/Underdog
Billy Porter is back in the director’s chair! After a busy 2016, the Tony winner has reunited with the Huntington Theatre Company to bring Suzan-Lori Parks‘ Topdog/Underdog to the BU Theatre Stage. The play is as famous as the man calling the shots. With a Pulitzer Prize for Drama and incredible casts from both regional and Broadway productions, it’s a show you don’t want to miss.
Topdog/Underdog tells the story of two brothers and their reliance on each other to survive the world of gambling, relationships, poverty, and racism. Forced to live with his brother after his wife kicks him out, a former Three-card Monte player, aptly named Lincoln, ends up taking a job as a Lincoln impersonator while the younger brother, Booth, turns to shoplifting.
Matthew J. Harris returns to the Huntington stage as the hot-headed Booth, having recently played Antwoine at Huntington in Kirsten Greenidge‘s Milk Like Sugar. Tyrone Mitchell Henderson (Bring In Da’ Noise Bring in Da Funk tour) plays opposite Harris as Lincoln.
The play premiered Off-Broadway at the Public Theater in July of 2001, directed by George C. Wolfe, and starring Don Cheadle as Booth and Jeffrey Wright as Lincoln. It then opened on Broadway in April 2002, with Mos Def replacing Cheadle. One year later, the show’s cast transferred to London’s Royal Court Theatre.
While Billy Porter has given us Tony-winning performances and incredible albums, his return to Huntington brings a special kind of anticipation. His 2015 production of The Colored Museum shook audiences with its grit and unapologetic comedy. Though different in tone, the topical Topdog/Underdog is sure to ignite conversations about family and community. Porter’s attentiveness and exceptional talent have already been praised by local publications, and his keen sense of musicality and gift of communication will give new life to the Broadway classic.
The show currently runs through April 9th. For tickets and more information, visit Huntington Theatre.
Nicholas Christopher Brings the Heat to Broadway in Miss Saigon
The heat is on in Saigon as the Olivier and Tony-winning musical, featuring the epic onstage helicopter landing, returns to Broadway after a 16-year hiatus. Two decades ago, a visually stunning, tragic masterpiece graced London stages and then on Broadway in 2001. Written by Alain Boublil and Claude-Michel Schönberg, and produced by Cameron Mackintosh, the same team that brought us Les Misérables, Miss Saigon celebrates its 25th anniversary, having been reworked in London for modern audiences since its original Broadway debut.
Based on the classic Puccini opera Madame Butterfly, the musical follows the budding romance between an American GI, Chris, and a Vietnamese bar-girl named Kim. There’s an instant attraction, yet with the end of the Vietnam War and the fall of Saigon, Chris must flee the country, leaving Kim behind. In their three years apart, they build new lives, with Kim eagerly awaiting Chris’ return.
Image: Matthew Murphy/The Publicity Office
This time around, Hamilton’s former George Washington, Nicholas Christopher, joins the cast as John. Broadway audiences have seen Christopher in Motown the Musical and Hamilton as well as the Off-Broadway productions of Lazarus, The Tempest, Whorl Inside a Loop, and Rent. Broadway veteran Katie Rose Clarke (Wicked, Allegiance, The Light in the Piazza) stars alongside him, with Jon Jon Briones as The Engineer, Eva Noblezada as Kim, Rachelle Ann Go as Gigi, Alistair Brammer, as Chris, and Devin IIaw as Thuy making their Broadway debuts.
Directed by Laurence Connor, the creative team also includes choreography by Bob Avian, costume design by Andreane Neofitou, lighting design by Bruno Poet, sound design by Mick Potter, and projection design by Luke Halls.
Previews began March 1st with an official March 23rd opening at the Broadway Theatre, incidentally the same theatre it debuted. The show will run through January 2018 before launching a North American tour.
For tickets, visit Miss Saigon.
About Broadway Black:
BroadwayBlack.com is dedicated to highlighting the achievements and successes of African-American theatre artists on and off the Broadway stage. For so long, our voices have been skimmed over inside and outside of The Great White Way. However, we know we have experiences to share that are essential. BroadwayBlack.com serves as a collective of things we all care for. It is a platform for all things Black theatre. Created for the child in all of us who looked up to the stage searching for the faces that looked like ours. Celebrating the dedication of those who hand over their life to give all they have to the stage, shining light on those that continue our journey, & paying tribute to those who blazed the way for our story to be told, seen, and heard on The Great Way.
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