In the spring of 2001, Todd Kreidler met his boss, the playwright August Wilson, for breakfast at the Cafe Edison, as was their custom. Mr. Kreidler was assisting Wilson as he brought his play “King Hedley II” to Broadway, but really he was there to learn whatever Wilson wanted to teach him. And that morning, the subject was Tupac Shakur.
After a bit of chitchat, Wilson was exasperated with his charge. “You don’t really know ‘Dear Mama,’ ” he said, referring to Shakur’s signature ode to his mother. He got up, threw money on the table, marched out the door and to the nearby Virgin Megastore. There, he bought a copy of Shakur’s album “Me Against the World” and pressed it into Mr. Kreidler’s hands.
“There’s nothing contained in your life that’s not contained in that music,” Wilson told him, Mr. Kreidler recalled. “There’s love, honor, duty, betrayal, love of a people. There’s a whole universe in that music!” He made it clear, with some vulgarities for emphasis, that Mr. Kreidler wasn’t to return to rehearsal until he’d absorbed it all.
So on the day in 2010, when Mr. Kreidler opened a FedEx box with 23 of Shakur’s CDs and two books of his writings, tasked with building from them a musical rooted in that rapper’s words, he was prepared.
The result is “Holler if Ya Hear Me,” which opens at the Palace Theater on June 19, and weaves 21 songs by Shakur (two of which are musically arranged versions of his poems) into a story about a community struggling to pull hope from the grasp of entrenched social ills. Put differently, it’s not a Broadway-ification of Shakur’s life or vision so much as a repurposing of his words into an emotionally felt, family-friendly context.
“It’s a story about unconditional love that uplifts all of his words,” said Kenny Leon, the musical’s director, a veteran of Wilson’s “Fences” and the current “A Raisin in the Sun.” In that, “Holler” has plenty in common with the rest of Broadway, and the creative team was careful in managing how the play handled what Mr. Leon termed “the things that people think they hate” — bad language, guns, violence.
But it’s an open question whether the familiar Broadway audience, or even the middle-class black theatergoers who have been drawn in by “Raisin,” can make room in their hearts and wallets for Shakur’s words. Hip-hop has made it to Broadway before, but the Tony-winning “In the Heights” tested the waters Off Broadway first, and didn’t have to contend with an implied star whom people find controversial even years after his death.
The $8 million production seems to be splitting the difference; opening directly on Broadway — in a prime Times Square location that last housed “Annie,” no less — but after the Tony awards deadline. (Pop-minded shows like “Bring It On – The Musical” have lately taken a similar route.) Though influential producers were invited to the show’s workshops, they by and large declined to invest. Instead, the lead producers are Eric Gold, a longtime Hollywood manager and producer who is new to Broadway, and Shin Chun-soo, a South Korean theater impresario. “I’m prepared to nobly fail or to nobly succeed,” Mr. Gold said.
Murdered in 1996 in a case that’s still unsolved, Shakur remains, even after all these years, one of hip-hop’s most celebrated figures, a radical thug intellectual with an outsize gift for creating his character in real time. He was prolific and contradictory, a child of activists signed, late in his career, to Death Row, the label that mainstreamed gangster rap.
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The spark of rebellion, the kind that makes a man stand up and fight, has almost been extinguished in Walter Lee Younger. As portrayed by Denzel Washington in Kenny Leon’s disarmingly relaxed revival of Lorraine Hansberry’s A Raisin in the Sun — which opened on Thursday night at the Ethel Barrymore Theater — Walter appears worn down, worn out and about ready to crawl into bed for good. Frankly, he looks a whole lot older than you probably remember him.
That’s partly because, at 59, Mr. Washington, the much laureled movie star, is about a quarter of a century older than the character he is playing, at least as written. (This production bumps Walter’s age up to 40 from 35.) But it’s also because, as this production of Raisin makes clearer than any I’ve seen before, Walter inhabits a world that ages men like him fast.
Listen to how his mama, Lena (LaTanya Richardson Jackson), describes her late husband’s existence: “I seen him, night after night, come in, and look at that rug, and then look at me, the red showing in his eyes, the veins moving in his head. I seen him grow thin and old before he was 40, working and working like somebody’s horse.”
In this engrossingly acted version of Hansberry’s epochal 1959 portrait of an African-American family, Walter is all too clearly his father’s son. Lena may tell him, shaking her head, that he is “something new, boy.” But you know that her great fear is that he is not. Small wonder she shows such smothering protectiveness to Walter’s 11-year-old son, Travis (Bryce Clyde Jenkins).
A claustrophobic fatigue pervades the cramped, South Side Chicago apartment in which A Raisin in the Sun is set. And despite its often easygoing tone, a happy ending feels far from guaranteed. As designed by Mark Thompson, the Youngers’ living room cum kitchen is a narrow corridor that keeps its three generations of inhabitants in close, erosive proximity.
The production begins with a searing vision of bone-weariness. Ruth Younger (Sophie Okonedo), Walter’s wife, stands frozen center stage in a bathrobe, amid sallow morning light. Her face is harrowed, and her arms are braced against the kitchen counter in what is almost a crucifix position. She is trying to find the strength to get through another day.
Mr. Leon relaxes that initial tautness for the scene that follows, in which the Youngers — who also include Walter’s sister, Beneatha (a first-rate Anika Noni Rose), a pre-med student — go through their usual morning rituals. And the play as a whole has a genial, conversational quality; it always holds you, but without trying to shake you.
Still, that opening scene strikes a note that will resonate. Exhaustion is pulling at the Youngers like a dangerous force of gravity. As Hansberry puts it in her stage directions, “Weariness has, in fact, won in this room.”
Tony Award nominee Norm Lewis will join Broadway’s Phantom of the Opera as the show’s first Black lead after 26 years.
On Thursday, producers of the long-running show announced that the stage vet and Scandal actor would make his debut alongside Sierra Boggess on May 12. They noted that he will be the first African-American to play the role.
“I love the show but also to have hopefully set a precedent to see more diversity in casting,” Lewis told The Associated Press.
The thespian’s Broadway credits include Miss Saigon, Les Miserables, Chicago, Side Show, Sondheim on Sondheim, and The Gershwins’ Porgy and Bess (in which he received a Tony nomination), among others.
To date, Phantom has played to more than 130 million people in 27 countries and grossed more than $5.6 billion worldwide.
article by Camille Travis via uptownmagazine.com
Audra McDonald will be spending a lot of time on Broadway over the next couple of years. Weeks after announcing she will star in a revival of the Pulitzer Prize-winning play Night, Mother opposite Oprah Winfrey, McDonald is set to play Billie Holiday in Lady Day at Emerson’s Bar & Grill. The four-time Tony Award-winning actress will play the late jazz icon in the show, which is set in 1959 in a seedy Philadelphia bar, and relives Billie Holiday’s last performance, taking place only four months before her death at age 44.
Lady Day is set to go in front of audiences later this year, making it McDonald’s next turn on the stage. Night, Mother will debut in the 2015-2016 season.
article by Evelyn Diaz via bet.com
Oprah Winfrey is in talks to make her Broadway debut in a revival of the Pulitzer Prize-winning play ’Night, Mother, starring opposite Tony-Award winner Audra McDonald as a mother struggling to stop her daughter from killing herself, according to two theater executives familiar with the plans. Tony winner George C. Wolfe (Lucky Guy) would direct the production, which is being aimed for the 2015-16 Broadway season. The two theater executives spoke on condition of anonymity to share details about a production that is currently confidential.
The lead producer of the project, Scott Sanders, confirmed on Thursday that he was in discussions with Ms. Winfrey to make her Broadway debut, but he declined to identify the play or discuss other details.
“Oprah has had a longstanding desire to act on Broadway,” Mr. Sanders said. “She understands how unique and challenging performing live on stage will be as an actress. She and I have been looking at a number of plays and roles in order to find material and a character that truly resonate with her. We’ve recently read something that we’re both excited about but are not yet ready to officially announce the specifics.”
Ms. Winfrey and Ms. McDonald read ’Night Mother together last year with Mr. Wolfe in Mr. Sanders’s apartment, according to the two theater executives, and all involved were happy with the results. The 2015-16 timing is driven by scheduling availability, according to the theater executives. Ms. Winfrey, who delivered an acclaimed film performance in Lee Daniels’ The Butler last year, and Mr. Sanders are currently working together on a Broadway revival of the musical The Color Purple, possibly for the 2014-15 theater season. They produced the original Color Purple production on Broadway in 2005; the new version would be the stripped-down production that the Tony winner John Doyle directed to much praise in London last summer.
Ms. McDonald, a five-time Tony winner who was last on Broadway in The Gershwins’ Porgy and Bess, and whose last Broadway play was A Raisin in the Sun in 2004 (for which she won a Tony), has theater projects and other work planned for the 2014-15 season. ‘Night, Mother was written by Marsha Norman, who worked with Ms. Winfrey and Mr. Sanders as the book writer on The Color Purple.
The two-character drama originally opened on Broadway in 1983 and ran for a year, earning Tony nominations for best play and best actress for both stars, Anne Pitoniak and Kathy Bates. There was a short-lived revival on Broadway in the 2004-5 season starring Brenda Blethyn and Edie Falco. Representatives for Ms. Winfrey did not return requests for comment; a spokesman for Ms. McDonald declined comment.
article by Patrick Healy via nytimes.com
A new musical inspired by the rap songs of the late Tupac Shakur is heading to Broadway. Holler If Ya Hear Me is scheduled to open at the Palace Theatre in New York on June 19, with preview performances set to begin on May 26. Holler isn’t a biographical account of Shakur, who was killed at the age of 25 in 1996 following a shooting in Las Vegas. Rather, the musical production will use the rapper’s lyrics to tell a story of contemporary inner-city lives.
Among the producers of the musical are Afeni Shakur, the rapper’s mother; movie and TV producer Eric L. Gold; and Chunsoo Shin, the prominent Korean theater producer who recently collaborated with the La Jolla Playhouse on another musical, Yoshimi Battles the Pink Robots. Kenny Leon (Steel Magnolias, A Raisin in the Sun), will direct Holler, which will feature a creative team that includes Wicked choreographer Wayne Cilento. Rumors of the Shakur musical had been circulating for months, though no official announcement from producers had been made until Wednesday.
article by David Ng via latimes.com
AOP (American Opera Projects), and the Schomburg Center for Research in Black Culture will co-present an evening of scenes from Nkeiru Okoye‘s folk opera Harriet Tubman: When I Crossed That Line to Freedom that tells of how a young girl born in slavery, becomes Harriet Tubman, the legendary Underground Railroad conductor. The musical excerpts will be followed by an artist Q&A moderated by WQXR’s Terrance McKnight. The concert will be presented on Monday, December 9, 2013 at 6:30 PM at the Langston Hughes Auditorium: 515 Malcolm X Boulevard, New York, NY 10037-1801. General admission will be $10 ($8 for Schomburg Society Members) and available by calling (212) 491-2206 or visiting www.showclix.com/event/HarrietTubman.
Harriet Tubman will include performances by soprano Sumayya Ali (Lincoln Center, Berkshire Opera, Sarasota Opera), soprano Sequina DuBose (Lyric Opera of Chicago, Opera Memphis, PAB Theater), contralto Nicole Mitchell (Lincoln Center Festival, Sarasota Opera), tenor Clinton Ingram (Metropolitan Opera, New York City Opera, Teatro Real), and baritone Damian Norfleet (Perseverance Theater, AMAS Musical Theater, Prospect Theater Company). The evening will feature a string ensemble with music direction by Mila Henry, stage direction by Beth Greenberg (New York City Opera) and WQXR’s Terrance McKnight moderating a Q&A with the artists.
Using a mixture of opera and vernacular folk music, featuring gospel spirituals, ragtime, early blues, minstrel songs, work songs, call and responses, and field hollers, Harriet Tubman: When I Crossed That Line to Freedom tells this important chapter of American history in the context of Tubman’s tight-knit family of lively characters and two sisters vowing that nothing but death will separate them, despite the slavery threatening to tear them apart. The work is in development at Brooklyn-based AOP who has featured music from Tubman at venues such as Galapagos Art Space, SUNY Albany, and the Brooklyn Public Library Main Branch.
A semi-staged performance of the entire Harriet Tubman opera will be presented by AOP in February 2014 at Brooklyn’s Irondale Center as part of Lines of Freedom, a theatrical celebration of African-American history. Presentations of Harriet Tubman: When I Crossed That Line to Freedom are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and a generous grant from the National Endowment for the Arts (NEA) Art Works.
To learn more about the show, go to: broadwayworld.com
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Twenty-four talented individuals were recognized Wednesday morning after they were named the 2013 class of MacArthur fellows – an honor given to an extraordinary group made up of individuals who have achieved much success in their personal creative pursuits. This year, three African-Americans — Kyle Abraham, Tarell McCraney and Carrie Mae Weems – have been identified by the MacArthur Foundation and join the group of fellows who are each awarded $625,000 to use as they wish towards their creative visions.
“This year’s class of MacArthur Fellows is an extraordinary group of individuals who collectively reflect the breadth and depth of American creativity,” said Cecilia Conrad, Vice President, MacArthur Fellows Program. “They are artists, social innovators, scientists, and humanists who are working to improve the human condition and to preserve and sustain our natural and cultural heritage. Their stories should inspire each of us to consider our own potential to contribute our talents for the betterment of humankind.”
In particular, the work of these three visonaries attempts to teach lessons and transform the ideas associated with the African-American experience. Abraham is a New-York-based dancer and choreographer whose work is often inspired by some of his childhood memories growing up in Pittsburgh, Pennsylvania.
WASHINGTON – Phylicia Rashad is best known for starring roles on stage and television, but as a director she decided to commemorate a historic moment that helped spur the civil rights movement.
The Tony Award-winning actress directed a reading of the play “Four Little Girls: Birmingham 1963” at the Kennedy Center Sunday to mark the 50th anniversary of the bombing at the 16th Street Baptist Church in Birmingham, Alabama. Four girls were killed in the explosion, which was set by white supremacists and helped spur passage of landmark civil rights legislation.
Rashad, who is recognized for her portrayal as the matriarch on “The Cosby Show” TV series and Broadway’s “A Raisin in the Sun,” said she wanted the reading to emphasize the “sanctity of joy, human existence and the value of all life.”
The play, written by Christina Ham, starred students from Howard University and the Duke Ellington School of the Arts in Washington, D.C.
Rashad, an alumna of Howard University, said acting and directing are both challenging and rewarding. In her role as director, Rashad said she works to keep the creative energy in line with the writer’s vision, “while leaving room for people to add to the vision in a collaborative effort.”
article by Stacy A. Anderson, AP via ca.yahoo.news.com
CHICAGO — Act I, Scene 1: Four actors in well-worn coveralls and baseball caps take the stage at the county jail. They’re here to tell a tale of love, friendship, jealousy and betrayal. It’s the stuff of Shakespearean tragedy. The names and themes haven’t changed over the centuries, but the language has a modern beat:
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”