When I took my seat at the Ars Nova performance of Underground Railroad Game, I expected to sit back and simply watch a night of spotlighted social and political taboos that seem to plague our past and present society. That was until Teacher Stuart (Scott Sheppard), who is White, and Teacher Caroline (Jennifer Kidwell), who is Black, included us (the audience) in their fifth-grade history project.
When the teachers instructed us to reach under our seats, rip the taped envelope of either a blue or gray soldier, and forewarned us about discomforting subjects, I speculated that we’d partake in the reconciliation of whatever truth was uncovered upon attending the performance.
Then the unfathomable, even to a person like me who can handle a large deal of discomfort, American education system was blazed before our eyes in a combination of horrifying images, over sexualized content, and cutting dialogue. Yet I lived for the moments onstage where we could see that each truth, of the Black American experience and the White American experience, were indeed valid, but different in their own right. This happens to be one of our deepest battles to date in America. We are not exploring both sides of the education, meanwhile, we are in fact living in a different America than our white fellows.
Caroline and Stuart explore this nuance for viewers to, at the very least, walk away knowing that slavery to each party, means, resembles, and reflects a complicated dichotomy. I hate to bring up the Black Lives Matter movement once again here, well, actually, no, I take that back because it is the effort of the BLM vs All Lives Matter movement to prove that color blindness is indeed a form of racism. That’s as far as I’ll go…For now…
And in recognition of the very conversations that will probably always make us uncomfortable, I gathered that it was needed to propel the interracial romance, albeit via a subplot, of Stuart and Caroline. The ambiguous ending may not have provided the closure we long for in watching a relationship played out on stage, but it did alert us to the only virtue that can heal our present condition: honesty.
This play contains sexually explicit material, strong language and mature themes. Recommended for adventurous audiences ages 18 and up. Now running through Nov. 11th get your tickets HERE
Underground Railroad Game:
GOOD MORNING, AMERICA! WELCOME TO HANOVER MIDDLE SCHOOL, WHERE A PAIR OF TEACHERS ARE GETTING DOWN AND DIRTY WITH TODAY’S LESSON. THE NIMBLE DUO GOES ROUND AFTER ROUND ON THE MAT OF OUR NATION’S HISTORY, TACKLING RACE, SEX AND POWER IN THIS R-RATED, KALEIDOSCOPIC AND FEARLESS COMEDY.
We Were There: “A Midsummer Night’s Dream” and the Beauty in Summer Love
There are several reasons that summer love is so enticing. Whether it be the prospect of having an electric attraction with someone or the short lived nature of a fling, summer love is sure to encompass good times at a fast, flirty pace. All that and more is what you should expect from The Public Theater’s, Shakespeare in the Park A Midsummer Night’s Dream. A midsummer tale of love gone right after going wrong and the beauty in both, because love can be tricky like that.
When Puck (Kristine Nielson), the meddling sprite whose not all there and a little too interested in having a good time accidentally drugs the wrong young Athenian male, “fair ladies” battle it out sumo style. Titania, the fairy queen (played by Broadway Black legend Phylicia Rashad) falls in love with a literal ass (Danny Burstein), and everyone in between is spellbound throughout. At first you think Lysander (Kyle Beltran) only has eyes for Hermia (Shalita Grant)- poor Helena (Annaleigh Ashford)! But then he falls for Helena, poor Hermia! But then Demetrius falls for Helena as well- poor Hermia, again! Poor every courtier whose fallen victim to Puck’s magical negligence. It’s all so rivetingly confusing and captivatingly annoying that Puck had one job and couldn’t get it right. Equal parts touching and humorous as any romantic comedy should be, yet you can’t help but think that it’s all so beautiful. Literally, it is breathtaking to watch Helena and Hermia fight over the men they love in yellow and orange crop tops and blue and teal puffy skirts under a canopy of trees adorned in fairy lights.
Praise for an overwhelmingly colorful show! I mean that in more ways than one, from the costumes designed by Clint Ramos (In Transit)- Hippolyta’s (De’Adre Aziza) wedding dress will remind you of a certain modern day goddess- to the scenic design by David Rockwell (She Loves Me). Original music and orchestrations by Justin Levine (Love’s Labour’s Lost) complimented by the enchanting Marcelle Davies-Lashley, down to the casting which is extremely pertinent given recent events surrounding the casting of Black actors. The announcement of Okieriete “Oak” Onaodowan’s (Hamilton) departure from The Great Comet after a two week run, where it would appear the producers were ill prepared to handle more than one Black lead at a time. The Public Theater’s A Midsummer Night’s Dream reaffirms that Black and Brown people are more than adequate storytellers. In terms of racial representation, The Public Theatre continues to show us what theatre can and should be. Inclusive not divisive or dismissive; or as Oskar Eustis says in the pre-show announcements theatre is “where art and culture meet.”
Under the direction of Lear deBessonet, current resident director and founder of Public Works, A Midsummer seduces you like a determined lover hellbent on winning your heart. You’ll hear planes flying low overhead and the frequent cop car or ambulance wailing outside the park but you’ll be as spellbound as Lysander and Demetrius were with Helena. Phylicia Rashad saunters onto the stage through light smog after ascending a short flight of stairs in a glittering silver gown to address her fairy companions. Marcelle Davies-Lashley croons “Wake me up when summers here,” and you’re hooked.
You’ll forget you’re listening to a play in verse, thanks to a company of actors with impeccable comedic timing. As the Bard’s work did in his day, A Midsummer reflects modern love even in iambic pentameter. In one scene, Hermia has had enough of a pestering Demetrius and regales him with a lofty Shakespearean “leave me alone” but when he persists she lets out a “Boy if you don’t…” and storms off stage to roaring laughter. Here, as evidenced throughout the entire show, the folly of romance is timeless.
“The course of true love never did run smooth” Lysander tells Hermia, but it doesn’t have to when everyone’s falling head over heels in lust on a beautiful stage in lavish costumes under a clear night sky. So, like all summer romances that have to end, A Midsummer Night’s Dream will only be in the park for two weeks, opening Monday July 31 and running through August 13, 2017. Don’t miss your chance to see Phylicia Rashad and experience this enthralling production!
For more information on how to get your free tickets visit ThePublicTheater.org
Location: The Delacorte Theatre in Central Park
Creative: Direction by the Public’s Resident Director and Founder of the Public Works program, Lear deBessonet with choreography by Chase Brock.
Cast: Featuring Phylicia Rashad (Titania), De’Adre Aziza (Hippolyta), Patrena Murray (Snout), Shalita Grant (Hermia) and Kyle Beltran (Lysander); as well as Annaleigh Ashford (Helena); Vinie Burrows (First Fairy, Peaseblossom); Danny Burstein (Nick Bottom); Justin Cunningham (Philostrate); Marcelle Davies-Lashley (Fairy Singer); Austin Durant (Snug); Keith Hart (Third Fairy); Alex Hernandez (Demetrius); Jeff Hiller (Francis Flute); Robert Joy (Peter Quince); Patricia Lewis (Fourth Fairy); David Manis (Egeus, Cobweb); Pamela McPherson-Cornelius (Second Fairy); Kristine Nielsen (Puck); Bhavesh Patel (Theseus); Richard Poe (Oberon); Joe Tapper (Robin Starveling); Judith Wagner (Mote); Warren Wyss (Mustardseed); Benjamin Ye (Changeling Boy).
Running Time: 2 and a half hours, including a 20 minute intermission
Through August 13, 2017
We Were There: The Three Musketeers
At the Richard Rodgers Amphitheater in Marcus Garvey Park, tucked between a baseball diamond and a playground, the Classical Theatre of Harlem’s fast-paced swashbuckling retelling of The Three Musketeer’s, brings a little Paris to Harlem, but not without taking a little Harlem to Paris.
As the sun sets in the trees somewhere behind the stage, you’ll take in a dabbing Porthos (Reynaldo Piniella), an ensemble of dancers from the Elisa Monte company, and Shayshahn “PhearNone” MacPherson on the Aurora violin, leaving one to wonder “Are we in Harlem or in France?”
In Catherine Bush’s adaptation of the Alexandre Dumas classic under Jenny Bennett’s direction, a female D’Artagnan (Miriam Hyman; The Piano Lesson ) moves from the country in hopes of joining the King’s musketeers. Before doing so of course, she must first sword-fight with almost everyone, fall in love with her landlord’s daughter (Ava McCoy), and figure out what it means to be “all for one and one for all.” It’s a tale about the three musketeers that’s less about the classic trio, and more about D’Artagnan the musketeer wannabe who can’t seem to catch a break.
Amidst a simple yet impressive set, Hyman shows us a D’Artagnan as we’ve never seen her before, simply because we haven’t seen her before. As Bennett imagined it, D’Artagnan doesn’t need to man up to be a musketeer but woman up, and woman up Hyman does. With her dred-loc bob and braid clips Hyman bounds around the stage with her sword at the ready as if she were already in the King’s service. “If I wanted to kill you,” she nonchalantly tells an injured Athos (Emmanuel Brown; Spider-man: Turn Off the Dark) “I’d use my sword.” Hyman’s understated confidence and surety ensure that you haven’t any doubt somebody’s dying at her hand before the 90 minutes is up.
The 90 minutes goes by very fast. So fast that if you paused to swat at the many flies that were also trying to enjoy the show, you might miss a connection between a flashback scene happening on the balcony stage left or when they cut to the present to reenact a story-within-a-story center stage. Even so, in a scene cut too short- literally stopped by a 5 second blackout- the three musketeers get into a bar brawl with flying mugs and chairs… in slow motion! Arguably the most visually arresting (albeit random) scene in the whole show.
Concerning design, when the sun finally disappeared and the front lighting hit the stage just right, the park faded into nonexistence and you could fully bask in CTH’s colorful production. Costume designer Rachel Dozier-Ezell’s mix of bold and bright patterns added a layer of captivation to the dancers dresses, the Queen of France’s (Afia Abusham) ball gown, and of course the musketeers. Consider this, could Athos, Porthos and Aramis (Brandon Carter) have made better entrances without velvet capes and striped pantalons paired with floral chemisiers, paisley vests and cheetah print boots? I think not!
If Paris, France represents a little respite amidst the chaos of a troubled world, with sword fights and cautionary tales of love gone wrong, then yes, CTH’s The Three Musketeers definitely brought a little France to Harlem.
Location: Richard Rodgers Amphitheater, Marcus Garvey Park. Free and open to the public.
Creative: By Catherine Bush, adapted from the novel by Alexandre Dumas. Directed by Jenny Bennett. Choreography by Tiffany Rea-Fisher. Fight Choreography by Emmanuel Brown.
Cast: Starring Miriam Hyman, Emmanuel Brown, Brandon Carter, Reynaldo Piniella, Michael Early, R.J. Foster, Anthony Merchant and Piera Van de Weil. Featuring Afia Abusham, Jeffrey Alkins, Jamar Brathwaite, Avon Haughton, Ava McCoy, Nedra Snipes, Jorge Sanchez, Jak Watson and The Elisa Monte Dance Company.
Running Time: 90 minutes, no intermission
Through July 30
We Were There: Kill Move Paradise Rattles With Power, Pain And Joy
Earlier this week, Jeronimo Yanez joined the list of police officers who have been acquitted of charges linked to the shooting deaths of Black men. Yanez is now a free man, while Philando Castile is and the pursuit for justice is dead. In a country more interested in short-sighted ignorance over comprehensive explanation and dialogue, we fight for our humanity against the demonization of our brothers, sisters, sons and daughters. All losing their life for simply being Black in America. Consequently, we pick up the shattered pieces of our human emotion and reassemble the portraits of the lives taken from us.
Philando Castile’s last words were: “I wasn’t reaching for it.” Mike Brown’s: “I don’t have a gun. Stop shooting.” Oscar Grant’s: “You shot me. You shot me!” Trayvon Martin’s: “What are you following me for?”
James Ijames’ daring Kill Move Paradise is now on stage at the National Black Theatre. Through an expressionistic interpretation on the value of life, Ijames demands reform in the way we remember those who have been slain at the hands of state sanctioned violence.
Power, poison, pain, and joy boomerang across the fun house mirrors of Maruti Evans’ set. The audience, although left off the program, is a characterization of America. We look each other eye to eye in a space which eerily calls to memory a one-way mirror interrogation room. However, it is not dark enough. There is no masking their pain, or our pain. There is both freedom and hopelessness as we contort with conviction under strobe lights, checked privilege, and emotional discomfort. So we look on, so we lean in, as 4 men, 4 Black men, query in heartbreaking harmony: where are we and how did we get here?
Isa (Ryan Swain), Grif (Donnell E. Smith), Daz (Clinton Lowe) and Tiny (Sidiki Fofana), give equally dynamic and affecting performances as part of the list, a “cohort,” which includes Mike Brown, Eric Garner, and Trayvon Martin. This list mirrors the circumstance of present day as it grows in length by the moment. As time passes and reality becomes more clear, we squirm as we sit with new questions rooted in the protocol for the perished: What is the rhythm of the first breath on the other side? What is the cadence of these first steps and who is there to hold our hand as we stumble on the terrain of the unknown?
Saheem Ali directs with sharp shears, perfectly inserting humanity into this cavity between heaven and hell. 4 men. 4 beautiful Black men become Heroes. Swain is eloquence. He is grace and the fluidity of our movement. Smith is the sunshine in the eye of a man that carries a dream and is equipped with the tools to carry it out. Lowe is equal parts heart and soul, a fierce protector, a friend. Fofana is the harrowing sound a needle makes when it hits the center of the vinyl, the record is Innocence and there’s no side B. Together, these men represent the hopes, dreams, and aspirations of those snatched from this earth before their time.
Time has a cruel way of repeating itself here. Kill Move Paradise is uncomfortable but it has to be. We sit and watch death repeat itself to the point of satire. In these moments, how can we not be provoked and challenged to rise out of own complacency? The beautiful thing about art is we have the power to use it to metabolize our fear, anger, and sorrow. Let this work be the reminder that we’re here to reclaim our stories. This is the Battlecry which sings we are our brother’s keeper. This is the ignition in the revolution of radical empathy.
Kill Move Paradise is the most urgent play you can see this season. Don’t miss your opportunity! Performances are Mondays, Thursdays, and Fridays at 7:30; Saturdays at 2 and 7:30; and Sundays at 4, thru June 25th.
The production team includes Maruti Evans (Set), Alan C. Edwards (Lighting), Ntokozo Fuzunina Kunene (Costumes), Palmer Hefferan (Sound), Darrell Moultrie (Movement), Darius Smith (Musical Director), and Christina Franklin (Production Stage Manager).
For more information and to purchase tickets visit nationalblacktheatre.org.
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]
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.
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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