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We Were There: Head Of Passes starring Phylicia Rashad

Jazmine Harper-Davis

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“Why do bad things happen to good people?” It was a question I’ve always asked myself when I read or heard about terrible things on the news. I never quite got the answer I wanted, but I remember being told from an early age it’s all in “God’s hands” and so, I stopped questioning it. Tarell Alvin McCraney brings this question back into the center of our minds with his powerful, emotional piece Head Of Passes. Head of Passes, which gets its name from the part of the Mississippi River that feeds into the Gulf of Mexico, is a piece inspired by the book of Job from the Bible.

For those who are unfamiliar with the story, it’s about a faithful servant of God whose faith is continuously tested when terrible occurrences keep happening to him without warning or explanation. McCraney’s play isn’t a direct copycat of the biblical story, but the elements and message of the story are clear. In his piece “Job” is now Selah (played brilliantly by the remarkable Phylicia Rashad), a widowed mother of three whose children join together to throw her an elaborate birthday party, a party she never wanted in the first place.

The dialogue and family scenes of the first act are so vivid and important, it’s clear McCraney took his time crafting his piece. There were no awkward, unnecessary phrases or lines, every word that left the characters mouths added to the story. The characters spoke with urgency, with purpose like they were running out of time. Perhaps that was purposeful, since the idea of “running out of time” was a reoccurring theme. As we see Selah coughing up blood, we can only assume that she doesn’t have much of it and is trying to make peace with those she loves most.

She attempts to heal the broken relationship between Creaker (John Earl Jelks) and Crier (Kyle Beltran), a father/son duo that work for her. She forgives her dear, old friend Mae ( Arnetia Walker)  of any debts, she advises her sons Aubrey (Francois Battiste)  and Spencer (J. Bernard Calloway) to do their best, and she tries to help her late husband’s illegitimate daughter Cookie (Alana Arenas) whom she loves like her own. She’s  like the spokeswoman for being a good Samaritan, she is almost too good to be true. It’s such a shame, that instead of the audience mourning for her death, she becomes the mourner and I don’t know which is worse.

In the second act the tone of the play is much more somber than the first, I’d almost call it haunting. The end of act one concludes with a storm that ruins Selah’s house, both literally and figuratively. The scenic design of the destruction and all that comes after is mind-blowing, probably the best scenic work I’ve seen done in years. What Rashad and McCraney have done with the second act is absolutely astonishing. In that act alone Ms. Rashad takes us on an emotional whirlwind, something that couldn’t happen if the writing wasn’t as strong as it was. As Selah is hit with bombshell after bombshell her sanity, her faith is slipping from under her. She is sinking, literally (as her house becomes more and more flooded) and figuratively (as the news of her children deaths break her down). In this moment Selah is confused, hurt, and seeking answers. She’s trying to hold on to the faith that she’s kept for so long but is obviously grieving for the children she’s lost. Rashad is able to capture Selah’s confusion and misery in one look, and in the next she’s optimistic, then in the next moment she’s exhausted. One can only imagine the emotions a monologue such as this requires, but Rashad is more than capable of taking on that task.

Theatre is one of those spaces that shouldn’t be limited, it should be free. It should open up dialogue about just about any and everything, from politics to theological ideologies and it’s pieces like Head Of Passes that give me hope for the future of theatre. Not only can it serve as a place of escapism and entertainment, it’s a source that can make us dig deeper into ourselves, question the world we live in, and seek out ways to be able to make a difference.

I’d say The Public Theater has yet another hit on its hands and if this show doesn’t transfer to Broadway, I will be the first to be surprised.

Head of Passes is currently running at The Public Theater until April 24th tickets can be purchased here.

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A Must See

We Were There: Experience Deja Vu With Groundhog Day

Jazmine Harper-Davis

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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.

Image result for groundhog day musicalKarl’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.

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Good Works

The World is Wide Enough: Hamilton Second National Tour to Begin February 2018

Jazmine Harper-Davis

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Only days after launching the first national tour of Hamilton last week, producer Jeffrey Sellers announced that a second national tour will kick off in Seattle starting February 2018. After a six-week engagement, the tour will travel to Portland, Oregon; Salt Lake City, Utah; Costa Mesa, California; Las Vegas, Nevada; Des Moines, Iowa; Cleveland, Ohio; and Minneapolis, Minnesota.

The second touring company will be the fourth Hamilton production to play concurrently in the U.S. Joining the first national tour (currently in San Fransisco before moving to L.A later this summer), the sit-down production in Chicago (which started September  2016), and the current Broadway production, with a London staging debuting in November of this year.

In a press statement, Seller comments:

“Beginning in 2018 more than 8,000 people a night will have the opportunity to see the show somewhere in North America. Indeed, Hamilton is for everyone. There has been tremendous interest in the show from markets across the country. The best way to get the show in front of as many people as possible is to form a new company to crisscross the country.”

The cast has yet to be announced, but keep checking into Broadway Black to be the first in the know!

Visit Hamilton for more information.

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Good Works

Montego Glover Set for The New York Pops at Feinstein’s/54 Below

Jazmine Harper-Davis

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Tony nominees Montego Glover, last seen in The Royale at Lincoln Center, and Tony Yazbeck  are set to star with The New York Pops in a  cabaret performance at Feinstein’s/54 Below in New York City  on September 19 to perform some of their favorite show tunes. Tony Yazbeck replaces the previously announced Joshua Henry. The event, described as “an intimate evening of dining and entertainment” will be led by Pops music director Steven Reineke.

“The New York Pops annual cabaret evening is one of our most intimate and exciting events each year,” said Reineke in a statement. “The event raises money for our vital music education programs, which reach thousands of New York City children each year. Montego and Tony are both extremely talented (and busy) performers, and they are extraordinarily kind and generous people. We are all looking forward to hearing them perform up close and personal. This is going to be a tremendous night.”

All proceeds will support The New York Pops’ PopsEd music programs, which reach over 4,000 New York City students each year.

Single tickets range from $275-$500 and ticket packages begin at $2,500. To purchase, visit www.newyorkpops.org or call 212-765-7677.

 

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Events and Happenings

Broadway Black Stars Take Part In The Covenant House Annual Sleep Out

Kristen Martin

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The Broadway Edition of  The Covenant House Sleep Out is quickly approaching! This year’s goal is $350,000 in service to 51,000 youth as some of our Broadway Black stars take part in Covenant House Sleep Out–Audra McDonald (Executive board member at Covenant House), Adrienne Warren (Shuffle Along), Broadway Serves.

The Sleep Out Movement established by the Covenant House, is a movement that occurs across the US and Canada. Men and women of various lifestyles and professions meet with a cardboard box, sleeping bag, and compassionate heart, to sleep on the street for one night. The movement is comprised of several themed editions such as: Mother’s Edition, Young Professional Edition, Executive Edition, Student Edition and Corporate Edition.

Over the years, the donations and funds received from the Sleep Outs have allowed Covenant House to remain a safe haven for homeless youth. To date, the Sleep Out Movement has raised over $20 million. 

The Sleep Out is not organized to pretend to be homeless. In fact, here’s Audra McDonald’s (Shuffle Along) explanation of the movement, as told to Covenant House:

Our goal for the Sleep Out is not to pretend we are homeless, but to raise money that goes directly for food, clothing, shelter, medical attention, education, job training, and short and long-term housing for homeless kids.

The hope is to raise awareness and demonstrate love toward the children who are without a home. In doing so, sleeping on the streets for one night will extend compassion to the children who are alone.

In 2014, Broadway sleepers sang a riveting impromptu rendition of “Lean on Me” to the kids at the crisis center.

There are also a few fun incentives by joining the movement such as the chance to:

  1. See Hamilton!
  2. Get a personal video from Queen Audra!
  3. Receive memorabilia from Shuffle Along!

To participate in the Covenant House Sleep Out Movement (Broadway Edition), register here.

The event will take place outside the NYC Covenant House (460 West 41st Street New York, NY 10036)  on August 15 from 7pm-7am with several meetings, interactions with former homeless youth and who knows, maybe another impromptu performance.  

 

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Liesl Tommy Is Back With Party People At The Public This Fall

Jazmine Harper-Davis

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Liesl Tommy is back! And as we know, she’s no stranger to making the type of theatre that challenges our way of thinking . This time she’s tackling the importance of two influential social groups directing the New York Premiere of Party People, making it’s way to Anspacher Theater at The Public, starting November 1st through December.

Directed and Developed by Tommy, along with Universes, an award-winning ensemble known for their fusion of theater, poetry, jazz, hip-hop, politics, down home blues and Spanish boleros,  Party People is a “high-energy, infectious mix of theatre, poetry, jazz, blues, hip-hop, boleros and salsa as Universes digs into the story and legacy of an American revolution.”

Universes created Party People based on dozens of interviews with members of the ground-breaking, society-changing groups, Black Panthers and Puerto Rican Young Lords. Party People imagines a present-day reunion at an art opening curated by two young counter culturalists; but the curators themselves have complex relationships with the Party members, who fought injustice and provided free food and medical care for their communities—often at the expense of the people who loved them most. Old wounds and generational divides collide in this astonishing, multi-media theatrical event about the price of being a revolutionary, and what it means for those who come after.

Breaking the bounds of the expected, the members of Universes (Steven Sapp, Mildred Ruiz-Sapp and William Ruiz aka Ninja) and Liesl Tommy —invite audiences of every age, color and creed to join them as they continue to revolutionize American theater and explore the fight to bring power to the people, and the people to power.

Tickets for members of The Public Theater start at $25 – $50. Non-Member tickets starts at $60 + fees. Tickets can be purchased by visiting the site here, calling 212.967.7555 , or at the box office (425 Lafayette Street New York, NY 10003).

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Joshua Henry Joins Hamilton in Chicago

Jazmine Harper-Davis

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WON’T HE DO IT!

When one door closes, God surely opens an even BIGGER one, can I get an Amen? Two-time Tony Award nominee Joshua Henry joins the Chicago company of Hamilton: The Musical in Chicago as “Aaron Burr”, it was announced earlier today. Henry  just concluded the Broadway run of Shuffle Along where he created the role of “Noble Sissle.” Henry, who made his Broadway debut in Lin Manual-Miranda’s In The Heights , received Tony Award nominations for his roles in The Scottsboro Boys and Violet.

#AaronBurr @hamiltonmusical #grateful #Chicago

A video posted by Joshua Henry (@joshuahenrynyc) on

Additional casting announced Jonathan Kirkland, who recently appeared in the Encores production of Cabin in Sky, is slated to play “George Washington.”

As we previously announced Wallace Smith and Samantha Marie Ware joined the cast as  “Hercules Mulligan/James Madison” and “Peggy Schuyler/Maria Reynolds” respectively.

The rest of the principal cast includes Miguel Cervantes (Alexander Hamilton), Ari Afsar (Eliza Hamilton), Alexander Gemignani (King George III), Chris Lee (Marquis de Lafayette/Thomas Jefferson), Joseph Morales (Alternate Hamilton), Jose Ramos (John Laurens/Phillip Hamilton). This also marks Tony Award winner Karen Olivo’s return to the stage as Angelica Schuyler, after a two-year hiatus to teach in Wisconsin.

Rounding out the cast is ensemble members  Sam Aberman, Jose Amore, Amber Ardolino, Remmie Bourgeoise, Chloe Campbell, Joseph Chaikin, Carl Clemons-Hopkins, John Michael Fiumara, Jean Godsend Floridan, Aaron Gordon, Jin Ha, Holly James, Malik Kitchen, Colby Lewis, Dash Mitchell, Justice Moore, Samantha Pollino, Emmy Raver-Lampman, Gabriella Sorrentino and Aubin Wise.

How awesome is it that we’ll have Joshua and Brandon playing the same role, at THE SAME TIME (different cities) for a change. As we know, the two actors are often each other’s replacements and for the first time Shuffle Along allowed them to work along side one another.

If you didn’t get those tickets before, now is the time to figure out how you can be in the room where it happens.

Performances begin September 27 at the PrivateBank Theatre.

 

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