‘A WONDERFUL WORLD’: James Monroe Iglehart as Louis Armstrong. Photo: Jeremy Daniel.

A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL
Book by Aurin Squire
Conceived by Andrew Delaplaine & Christopher Renshaw
Directed by Christopher Renshaw
Studio 54
254 West 54^th Street
https://louisarmstrongmusical.com/

By Scott Harrah

Jazz, like musical theater, is one of the few art forms that is truly “all American.”  Its roots are grounded in New Orleans, Louisiana. And its heart and soul stem from the African American experience in the American South. One of the American legends who embodies jazz at its best is the great Louis Armstrong, the jolly, gravel-voiced vocalist and cornet/trumpet player. Armstrong soared to the top of the American music charts with his signature songs, “Hello, Dolly!” (which knocked the Beatles’ “Can’t Buy Me Love” out of the number one slot in the USA on Billboard’s Hot 100 in 1964) and “A Wonderful World.” However, many of us know little about the man behind the music until now. A Wonderful World: The Louis Armstrong Story is a joyous, colorful celebration of Mr. Armstrong’s life, music, and his rags-to-riches tale.

New Orleans roots

The story begins with a prologue in the 1970s in a rehearsal room with James Monroe Iglehart (best known for his Tony Award-winning role of Genie in Disney’s Aladdin) singing “Now You Have Jazz.”

Next, the narrative steps back in time to New Orleans in the 1910s. Armstrong’s four wives at different stages of his life help tell the story, mostly through flashbacks. In New Orleans, his first wife Daisy Parker (Dionne Figgins) is a prostitute, and she joins him on duets such as “Kiss of Fire.” Aurin Squire’s book relies heavily on the perspective of the wives, and each woman talks about Armstrong’s many shortcomings: He’s a womanizer, unfaithful, drinks too much, smokes cigarettes and marijuana, but he has a big heart regardless.

Chicago in the 1920s

Armstrong’s move to Chicago in the 1920s highlights the second part of the first act. King Joe Oliver (Gavin Gregory), the man who started King Joe Oliver’s Creole Jazz Band, brings Armstrong up from New Orleans. Oliver and Armstrong sing the classic “Do You Know What It Means to Miss New Orleans?”

At the same time, Armstrong meets the woman who eventually becomes his second wife, Lil Hardin (Jennie Harding-Fleming), a brilliantly gifted jazz pianist with an elegant, no-nonsense presence and a sharp head for the business side of music. Lil and Louis Armstrong sing such classics as “Tiger Rag” and King Joe Oliver joins them on “Got a Bran’ New Suit.”

The Hollywood years

Armstrong’s journey to Hollywood in the 1930s is featured in the second act. He is now breaking into the movies and we meet his third wife, Alpha Smith (Kim Exum). He appears in such films as Ex-Flame, A Rhapsody in Black and Blue, Pennies from Heaven, and others. Alpha is the quintessential Hollywood glamour girl and she joins him on such songs as “Big Butter and Egg Man.”

Sadly, Armstrong soon learns that Hollywood is only interested in casting him in stereotypical Black roles such as singing butlers, “Uncle Toms” and “clowns.” Throughout the show, he is told that he needs a “white man” to help oversee his career, and Armstrong fears he might be considered a “sellout” by other Blacks.

To illustrate how Hollywood Blacks felt in this era, Lincoln Perry (DeWitt Fleming Jr.), a Black comedian and vaudevillian of the time who went the stage name Stepin Fetchit, tells him, “Black people here are very-very-very-VERY understanding. We’re a hustling and bustling people. Everyone’s got their angle. Me, Hattie McDaniels, Bojangles….Black folks have no problem with us.”

New York in the 1940s

As a result of getting tired of Hollywood, Armstrong moves to New York in the 1940s. Next, we meet his fourth wife and the woman with whom he had the longest marriage, Lucille Wilson (Darlesia Cearcy). Lucille is a chorus girl at the renowned Cotton Club in Harlem when she meets Armstrong. When he first asks her out, Lucille is blunt. “You can drop the mask in front of me. I want the real Louis Armstrong. The poor kid from New Orleans,” she says, referring to his many stage personas and nicknames from Satchmo and Big Dipper to Pops.

In general, Lucille helps Armstrong settle down and tames his wild ways with women. When he is offered the chance by the U.S. State Department to tour around the world representing the USA, singing his hits “Hello, Dolly!” and “A Wonderful World,” Lucille insists on accompanying him so he doesn’t mess around with other women. Toward the show’s end, Armstrong sings all his patriotic songs, including “Star Spangled Banner.” Of course—spoiler alert!—the finale features the show’s title song “A Wonderful World,” with Armstrong singing with all his wives, Daisy, Lil, Alpha and Lucille and the rest of the cast.

An epic packed with talent

Ultimately, A Wonderful World is a bona fide epic, at nearly two hours and 45 minutes, chronicling his rise from a poor New Orleans musician to one of America’s most beloved entertainers. Is it a perfect bio-musical? No. It is a long show but, despite a couple unnecessary songs, A Wonderful World is never dull and is consistently entertaining. Book writer Aurin Squire broaches the topic of racial inequality in America, especially in 1930s Hollywood, in a manner that is still relevant today without being heavy-handed.

Besides hearing all the outstanding Louis Armstrong classics—orchestrated and arranged by jazz legend Branford Marsalis—other aspects make A Wonderful World a Broadway gem.

Outstanding performances & choreography

First, the superb choreography and musical staging by Rickey Tripp. Decked out in lavish period costumes by Toni-Leslie James, it is a rare treat getting to see old-school dance numbers (including tap dancing) that remind one of Broadway’s golden age, back in the days when musicals were spectacular instead of sparse. In general, the gifted cast and stellar performances and vocals are the show’s biggest assets. First and foremost, James Monroe Igehart is phenomenal as Louis Armstrong. He has the raspy voice, mellifluous vocals and happy-go-lucky attitude that catapulted Armstrong to superstardom. Director Christopher Renshaw has done a remarkable job helping Mr. Iglehart deliver a nonstop, steadily brilliant portrayal of Louis Armstrong as a flawed but good-natured, multi-talented man. What’s more, Gavin Gregory is magnificent as King Joe Oliver, Armstrong’s teacher and mentor.

In addition, the performances by the actresses playing his wives are equally exceptional. Dionne Figgins as Daisy, Jennie Harney-Fleming as Lil, Kim Exum as Alpha and Darlesia Cearcy as Lucille are all top-notch in their performances, and each has a powerful singing voice. Ms. Cearcy is especially dynamic on the solo ballad “That’s My Home,” and her lush, commanding vibrato brings down the proverbial house.

A must-see

In conclusion, A Wonderful World has all the ingredients for a splendid night of musical theater, making it a must-see on Broadway this fall.

Published November 11, 2024
Reviewed at November 10, 2024 press preview

‘A WONDERFUL WORLD’: (left to right) Dionne Figgins, Jennie Harney-Fleming, James Monroe Iglehart, Kim Exum & Darlesia Cearcy. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & cast. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & Gavin Gregory. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & (left to right) Jodeci Milhouse, Alysha Morgan & Kate Louissaint. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: DeWitt Fleming Jr. & cast. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: Darlesia Cearcy & James Monroe Iglehart. Photo: Jeremy Daniel.

YouTube video of A Wonderful World: The Louis Armstrong Musical

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‘HELL’S KITCHEN’: Kecia Lewis & Maleah Joi Moon. Photo: Marc J. Franklin.

HELL’S KITCHEN
Music & lyrics by Alicia Keys
Book by Kristoffer Diaz
Directed by Michael Greif
Sam S. Shubert Theatre
225 West 44^th Street
https://www.hellskitchen.com/

By Scott Harrah

Loosely based on R&B superstar Alicia Keys’ real life, Hell’s Kitchen has arrived on Broadway after playing at the Public Theater downtown. The off-Broadway production received mixed reviews, but director Michael Greif has made many changes and the Broadway production is simply exhilarating and sublime, featuring some of the best songs and vocal talent on the New York stage in years. It received 13 Tony nominations, including one for Best Musical, and rightfully so.

The story focuses on Ms. Keys’ life in the 1990s, growing up in Manhattan Plaza, an affordable-housing complex that provides residences for many in the arts. Ali (beautifully portrayed by Maleah Joi Moon) is 17 when the show starts, raised by her single mom Jersey (Shoshana Bean). Her mother Jersey is protective of her daughter and doesn’t want her hanging out with the “wrong” crowd. Ali gets caught talking to Knuck (Chris Lee), a bucket drummer and part of a group that hangs out in the building. Her mother is not pleased.

Drummers in the complex practice in Manhattan Plaza’s courtyard, and Ali’s friends Tiny (Vanessa Ferguson) and Jessica (Jackie Leon) insist that she pursue Knuck. He turns her down, and shortly afterward her mother Jersey calls the police and has the group thrown out of the building. After leaving her apartment in anger, Ali visits the building’s music-practice area, the Ellington Room, and sees Miss Liza Jane (the outstanding Kecia Lewis) playing the piano. Miss Liza Jane is an older woman, wise and a piano virtuoso. She offers to teach Ali to play piano.

The plot focuses on several themes, from a single mother raising a biracial teenager daughter and struggles with the father who abandoned them long ago to racism, coming of age and grappling with grief when someone passes away. The musical showcases all of Alicia Keys’ iconic hits, from “Like You’ll Never See Me Again” and  “You Don’t Know My Name” and “Girl On Fire,” “Fallin’” to “If I Ain’t Got You,” “No One,” and “Empire State of Mind,” and many more.

The flawless performances and outstanding vocal talent are two of the best aspects of Hell’s Kitchen. Standouts include Ms. Moon as Ali. She has the spunk, sass and vulnerability required for the role. Shoshana Bean as Jersey gives a sincere and touching performance as the doting mother, and Ms. Bean’s powerful vocals are sheer heaven for listeners, particularly in the song “Pawn It All.”

The excellent Kecia Lewis is incandescent and brings down the house whenever she sings, especially at the end of the first act when she beautifully belts out “Perfect Way to Die,” a song about unjust killings of innocent people, police brutality and systemic racism. Brandon Victor Dixon’s vocals are wonderfully melodic on the song “Fallin’,” a jazzy duet with Ms. Bean that is another showstopping number.

Camille A. Brown’s choreography is inventive and wonderfully visual, especially during a new Alicia Keys song “Kaleidoscope” in which dancers twirl around Ali with beautiful kinetic energy.

Hell’s Kitchen is a quintessential New York story about how life is rough here on these mean and dirty city streets, but love from family and friends and neighbors gets us through tough times. It’s a tribute to all who have ever struggled in Manhattan, and one of the spring 2024 season’s best musicals.

Edited by Scott Harrah
Published June 1, 2024
Reviewed at May 23, 2024 performance

‘HELL’S KITCHEN’: Shoshana Bean & Maleah Joi Moon. Photo: Marc J. Franklin.

‘HELL’S KITCHEN’ Maleah Joi Moon, Chris Lee & cast. Photo: Marc J. Franklin.

‘HELL’S KITCHEN’: The cast. Photo: Marc J. Franklin.

‘HELL’S KITCHEN’: The cast. Photo: Marc J. Franklin.

‘HELL’S KITCHEN’: Brandon Victor Dixon & cast. Photo: Marc J. Franklin.

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THE GROUNDBREAKING MUSICAL

THE WIZ WILL OPEN ON BROADWAY ON WEDNESDAY, APRIL 17, 2024

 LIMITED ENGAGEMENT BEGINS PREVIEWS MARCH 29, 2024 AT MARQUIS THEATRE

New York, NY– Producers Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Ambassador Theatre Group, Kandi Burruss and Todd Tucker announced that the all-new production of the Tony Award-winning hit musical The Wiz will open on Broadway on Wednesday, April 17, 2024, in a limited engagement at the Marquis Theatre (210 West 46th Street). Preview performances will begin on March 29, 2024.

To sign up to be the first to buy tickets to this highly anticipated Broadway musical, please sign up for first access at www.wizmusical.com. The Wiz will go on sale exclusively to fans on November 3, 2023 starting at 10 AM ET before going on sale to groups and the general public.

The Wiz launched its pre-Broadway national tour last month with a triumphant opening in Baltimore, where the musical had its original world premiere nearly 50 years ago. The Baltimore engagement is sold out.

The Broadway cast will feature Nichelle Lewis as Dorothy, Deborah Cox as Glinda and Melody A. Betts as Aunt Em and Evillene, Kyle Ramar Freeman as the Lion, Phillip Johnson Richardson as the Tinman, Avery Wilson as the Scarecrow, and Wayne Brady as The Wiz. The Wiz ensemble includes Maya Bowles, Shayla Alayre Caldwell, Jay Copeland, Allyson Kaye Daniel, Judith Franklin, Michael Samarie George, Collin Heyward, Amber Jackson, Olivia Jackson, Christina Jones,Polanco Jones, Kolby Kindle, Mariah Lyttle, Kareem Marsh, Anthony Murphy, Cristina Rae, Matthew Sims Jr, Avilon Trust Tate, Keenan D. Washington, and Timothy Wilson.

‘THE WIZ’: Funny man & ‘Let’s Make a Deal’ host Wayne Brady plays The Wiz & R&B icon Deborah Cox plays Glinda.Photo: Courtesy of OMDKC.

Featuring a book by William F. Brown and a Tony Award-winning score by Charlie Smalls (and others), director Schele Williams (The Notebook, revival of Disney’s Aida), award-winning choreographer JaQuel Knight (Beyoncé’s “Single Ladies,” Black is King), additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (“The Amber Ruffin Show,” “Late Night With Seth Meyers”), Joseph Joubert (music supervision, orchestrations, & music arrangements), Allen René Louis (vocal arrangements, music arrangements), and Emmy Award®-winning music director and Grammy Award® -winning writer, Adam Blackstone (Dance Music Arranger), are conjuring up an Oz unlike anything ever seen before. A dynamite infusion of ballet, jazz, and modern pop will bring a whole new groove to easing on down the road.

 The Wiz design team will include scenic design by Academy Award-winning Hannah Beachler (Black Panther, Beyoncé’s Black is King and Lemonade), costume design by Emmy Award-winning and two-time Academy Award-nominated Sharen Davis (Ray, Dreamgirls), lighting design by Barrymore Award-winning Ryan J. O’Gara (Thoughts of a Colored Man), sound design by Jon Weston (Parade), projection design by Daniel Brodie (Motown the Musical), wig design by Charles LaPointe (MJ the Musical) and make-up design by Kirk Cambridge-Del Pesche (The Piano Lesson).

The production will include ‘Everybody Rejoice’ music and lyrics by Luther Vandross, as well as the ‘Emerald City Ballet’ with music by Timothy Graphenreed.

Joining the producing team with Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Ambassador Theatre Group, Kandi Burruss and Todd Tucker are Elizabeth Armstrong, James L. Nederlander, Hudson/Mann, Cody Lassen/Matthew D’Arrigo, Independent Presenters Network, Amanda DuBois Productions/Ari Edelson, Dori Berinstein, Spencer Ross/Stephanie Cowan, Terry Schnuck/Gabrielle Palitz, Pippa Lambert/Alissa Norby, Gina Vernaci, Common, DECO Entertainment, MC Lyte, Patty Baker, Marlene & Gary Cohen, Concord Theatricals, The Fabulous Invalid, Fakston Productions, Brian & Nick Ginsberg, Gabrielle Glore, Grove Entertainment, Haffner-Wright Theatricals, House Woods Productions, John Gore Organization, Kawana Entertainment, Willette Klausner, MMC Productions, Lamar Richardson, Runyonland Productions, Erica Lynn Schwartz, The Shubert Organization, Lu-Shawn Thompson, Lana Williams-Woods, The Araca Group, Blakeman-Robinson Entm’t/Ricardo Marques, Robert Tichio/Score 3, Best Yet Entertainment/Branden Grimmett, Dkim Caldwell/Mickalene Thomas, DMQR Productions, Jason Turchin, Epic Theatricals/Jeffrey Grove, Joel Glassman/Westin Hicks, Jamrock Productions/Sonya Houston, Sally Johnston/Ann Scott, Judith

The Wiz launched a national tour in Baltimore, MD, home of the 1974 world premiere of the musical opening September 24, 2023, and performances are currently playing through September 30, 2023. Following its run at the Hippodrome Theatre, the tour will slide into Emerald cities across the country before it begins its limited engagement on
Broadway. Additional information on tour cities, venues, performance schedules and single ticket on sale dates are available at WizMusical.com. Fans can now sign up for an email newsletter with up-to-date information as well as follow The Wiz on social media
channels.

Based on L. Frank Baum’s children’s book, “The Wonderful Wizard of Oz,” The Wiz takes one of the world’s most enduring (and enduringly white) American fantasies, and transforms it into an all-Black musical extravaganza for the ages.
The Wiz premiered on Broadway in 1975 and became an instant sensation, going on to win seven Tony Awards including Best Musical, Best Original Score, Best Featured Actor in a Musical (Ted Ross), Best Featured Actress in a Musical (Dee Dee
Bridgewater), Best Choreography (George Faison), and in a Broadway first, Best Direction of a Musical and Best Costume Design (Geoffrey Holder). “Ease on Down the Road” became the show’s break-out single, and “Home” has since become a
bona fide classic. That original production ran for four years (first at The Majestic Theatre and later at The Broadway Theatre) – and 1,672 performances – on Broadway. A 1978 film adaptation starred Diana Ross, Ted Ross, Mabel King,
Richard Pryor and Lena Horne, and marked Quincy Jones’ first collaboration with Michael Jackson.

For more information, please visit the following:

www.wizmusical.com

www.facebook.com/thewizbway

www.instagram.com/thewizbway

www.twitter.com/thewizbway

The post ‘The Wiz’ opening on Broadway in April 2024 appeared first on StageZine.

‘PURLIE VICTORIOUS’: Leslie Odom, Jr. & Kara Young. Photo: Marc J. Franklin.

PURLIE VICTORIOUS: A NON-CONFEDERATE ROMP THROUGH THE COTTON PATCH
Written by Ossie Davis
Directed by Kenny Leon
Through January 28, 2024

Music Box Theatre

239 West 45th Street
(212-719-6200), www.PurlieVictorious.com

By David NouNou

Originally written and produced in 1961, this is the first revival of Ossie Davis’s play Purlie Victorious, written for himself and his wife, Ruby Dee. Mr. Davis played the title role and Ms. Dee played Lutiebelle Gussie Mae Jenkins. I am sure that version was played in earnest seriousness about the remnants of slavery, working on a plantation in the South for the racist white master who has inflicted pain, misery, and cheated them at every turn. Yet they still had to appear grateful that they had a job and had to praise the bigot endlessly for his tyranny.

Spirited preacher Purlie Victorious Judson (Leslie Odom, Jr.) returns to his small Georgia town hoping to save Big Bethel, the community’s church, and emancipate the cotton pickers who work on oppressive Ol’ Cap’n Cotchipee’s (Jay O. Sanders) plantation. Purlie hopes to swindle Cotchipee of the $500 inheritance due to his long-lost dead cousin’s daughter. With the help of Lutiebelle (Kara Young), Purlie makes her play the daughter and use the money to achieve his goals. Ol’ Cotchipee has a son, Charlie (Noah Robbins), who sees things differently than his father. Charlie actually sees and understands the Black plight, and comes to their defense.

Director Kenny Leon has taken a different view of the proceedings. He has updated the plight to comic effect, and in one instance, it resembles a scene from Mack Sennett’s silent film series Keystone Kops. This does not diminish the message, but releases some humor for contemporary audiences.

Leslie Odom, Jr.—absent from Broadway since his Tony Award-winning role as Aaron Burr in the blockbuster musical Hamilton—is dynamic as Purlie. His performance is spirited and forceful and he believes in the cause for which he is fighting.

Two-time Tony Award nominee Kara Young as Lutiebelle will get her third consecutive nomination, and I can’t imagine her losing this time around. She is a force of nature and delivers another indelible performance.

The two most heartfelt and genuine performances belong to Vanessa Bell Calloway (Idella Landy) who has been a servant to the Ol’ Capn’ for more than 40 years and genuinely cares for his son Charlie. The second outstanding performance is given by Noah Robbins as Charlie, a young man who sees the injustices done by his father. Both their performances are so sincere, and neither pander for a cheap laugh. The laughs come from their sincerity. A footnote here: The role of Charlie Cotchipee was originally played by Alan Alda in 1961.

Purlie Victorious is not to be confused with the 1970 Broadway musical Purlie, with the late Sherman Helmsley (George in TV’s “The Jeffersons”) as Gitlow Judson, the late Cleavon Little as Purlie (he won a Tony for the role), and R&B star Melba Moore as Lutiebelle Gussie Mae Jenkins (she also won a Tony for her role). The musical was adapted from the play.

Purlie Victorious holds the test of time, and the issues are just as relevant as they were back in 1961. They are just as potent, but director Kenny Leon deftly helps the cast extract  humor from Ossie Davis’ play in this current revival to underscore the absurdity and injustice of racism in both the 20^th and 21^st centuries.

Edited by Scott Harrah
Published September 29, 2023
Reviewed at September 28, 2023 press performance.

‘PURLIE VICTORIOUS’: Leslie Odom, Jr. Photo: Marc J. Franklin.

‘PURLIE VICTORIOUS’: Kara Young & Heather Alicia Simms. Photo Marc J. Franklin.

‘PURLIE VICTORIOUS’: Noah Robbins & Vanessa Bell Calloway. Photo: Marc J. Franklin

‘PURLIE VICTORIOUS’: (l to r): Kara Young, Heather Alicia Simms, Leslie Odom, Jr., Vanessa Bell Calloway, Billy Eugene Jones & Noah Robbins. Photo: Marc J. Franklin.

‘PURLIE VICTORIOUS’: Leslie Odom, Jr. & Kara Young. Photo: Marc J. Franklin.

‘PURLIE VICTORIOUS’: Heather Alicia Simms & Billy Eugene Jones. Photo: Marc J. Franklin.

‘PURLIE VICTORIOUS’: The cast. Photo: Marc J. Franklin.

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Broadway Celebrates Juneteenth Concert
Returns to Times Square

June 18, 2023
11:00am – 12:30pm

www.diversity.broadway

New York, NY – May 11, 2023 – The Broadway League’s Black to Broadway Initiative announces the third annual Broadway Celebrates Juneteenth concert in Times Square on Sunday, June 18^th from 11:00am – 12:30pm (rain or shine). This free outdoor concert is open to all as the community gathers to honor this important holiday. Black culture and expression will be celebrated by Black Broadway artists performing songs, dances, and spoken word accompanied by live music provided by The Music Performance Trust Fund. Special guest speakers will also make appearances throughout the event.

“We know that the arts can bring people together and it is beautifully evident during Broadway Celebrates Juneteenth as thousands gather in the heart of Times Square to reflect on the importance of this national holiday through live performance,” said Charlotte St. Martin, President of The Broadway League. “We thank the Broadway community for helping to make this third annual concert possible.”

This year’s sponsors include United Airlines, M·A·C (Make-up Art Cosmetics), the NYC Mayor’s Office of Media and Entertainment, The Music Performance Trust Fund, The Araca Group, Open Jar Studios, and The Times Square Alliance.

American Sign Language interpretation will be provided during Broadway Celebrates Juneteenth. Details about this year’s host and talent line-up will be announced soon. For more information, please visit www.diversity.broadway.

Presented by The Broadway League’s Black to Broadway Initiative, Broadway Celebrates Juneteenth creative and production teams include Steve H. Broadnax III as Director and Writer, Rashad McPherson as Music Director, Brian Moreland and Aaliytha Stevens as Executive Producers as well as Co-Chairs of The Broadway League’s Multi-Cultural Task Force, Jhanaë Bonnick as Stage Manager, and Devon Miller of Foresight Theatrical as General Manager.

The goal of Black to Broadway is to inspire deeper engagement with awareness of, and access to Broadway for all Black people. Created by The Broadway League in 2019, this initiative is an industry-wide celebration of the Black community on Broadway – on stage, in the audience, behind the scenes, and as leaders in the Broadway community. To learn more about Black to Broadway, visit BroadwayLeague.com or Diversity.Broadway.

Juneteenth concert in 2022: 2023 Tony Award nominee Alex Newell (‘Shucked’) performs for crowed. Photo: Marc J. Franklin.

EVENT DETAILS

Title: Broadway Celebrates Juneteenth
Date: Sunday, June 18, 2023
Time: 11:00am – 12:30pm; rain or shine
Location: Duffy Square in Times Square (46^th and 47^th Streets between Broadway and Seventh Avenue)
Cost: Free
Website: www.diversity.broadway

About United
At United, Good Leads The Way. With U.S. hubs in Chicago, Denver, Houston, Los Angeles, New York/Newark, San Francisco and Washington, D.C., United operates the most comprehensive global route network among North American carriers, and is now the largest airline in the world as measured by available seat miles. For more about how to join the United team, please visit www.united.com/careers and more information about the company is at www.united.com. United Airlines Holdings, Inc., the parent company of United Airlines, Inc., is traded on the Nasdaq under the symbol “UAL”.

M·A·C (Make-Up Art Cosmetics) is a leading brand of professional cosmetics and part of The Estée Lauder Companies Inc. Since its creation in Toronto, Canada, over 30 years ago, the brand’s popularity has grown through a tradition of word-of-mouth endorsement from Makeup Artists, models, photographers, and journalists around the world. M·A·C is now sold in over 130 countries/territories worldwide. Follow M·A·C on TikTok, Twitter, Snapchat and Pinterest (@maccosmetics); become a M·A·C fan on Facebook (facebook.com/MACcosmetics); follow M·A·C on Instagram (instagram.com/maccosmetics) and watch M·A·C videos on YouTube (youtube.com/maccosmetics). For a M·A·C location near you, visit maccosmetics.com.

THE MUSIC PERFORMANCE TRUST FUND (MPTF) was established in 1948 as a nonprofit independent public service organization whose mission includes contributing to the public knowledge and appreciation of music, as well as making music a part of every child’s life experience. Headquartered in New York City, the tax-exempt MPTF, operating under section 501(c)(3) of the Internal Revenue Code, evolved from a landmark collective bargaining agreement between the American Federation of Musicians and the major recording companies of the day. Today the MPTF is a vital organization that brings music to the public and supplements the income of musicians, all at no cost to those receiving this precious gift of music.

THE BROADWAY LEAGUE (Charlotte St. Martin, President), founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers in nearly 200 markets in North America and internationally. Each year, League members bring Broadway to upwards of 30 million people in New York, on Tour across the U.S. and Canada, and around the globe. The Broadway League’s newest category of membership, League Fellows, affords access and benefits to upcoming professionals who represent a diversity of background, ethnicity, experience, and views. The Broadway League annually co-presents the Antoinette Perry “Tony” Awards®, one of the most coveted awards in the entertainment industry.

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‘FAT HAM’: (Left to right, clockwise): Calvin Leon Smith, Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell & Marcel Spears. Photo: Joan Marcus.

FAT HAM
Written by James Ijames
Directed by Saheem Ali
Through July 2, 2023
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.FatHamBroadway.com

By David NouNou

There is a lot to process in James Ijames’ 2022 Pulitzer Prize-winning play, Fat Ham. There is a lot of fat and gristle to go through until you get to the meaningful middle, and that’s Marcel Sparks as the delicious Juicy.

Since there is no curtain, as one walks into the American Airlines Theatre, the setting is a backyard, somewhere in the Black South replete with tables, folding chairs and a barbecue smoker. In the middle of this set is a wreath with Pap’s picture in the middle. At the onset Juicy and his childhood friend Teo (Chris Herbie Holland) are chatting away and setting up decorations for a backyard party. Pap, Juicy’s dad (Billy Eugene Jones), died last week, and Juicy’s mom, Tedra (Nikki Crawford) has just gotten married today to Rev (again Billy Eugene Jones) who happens to be Pap’s brother, and Juicy’s uncle. Hence the preparations for this festive barbecue.

During setting up, Pap’s ghost appears in a white suit and smoke billowing from his shoulders, and he wants Juicy to avenge his murder by the hands of Rev. This sets up the narrative/comparison to Hamlet. Pap taunts Juicy for being “soft” (gay) and doesn’t have the courage to do it. At this point, Juicy breaks the fourth wall and addresses the audience. Both Pap and Rev have been mean to Juicy while growing up and never gave him the respect he deserves. It also gives Juicy his conscience and dilemma—at what point does one break the cycle of meanness and killing and stand up for one’s own principles and convictions as the kind and sweet-natured man Juicy is?

There are more people arriving to this barbecue: Rabby (Benja Kay Thomas), Tedra’s loud church lady friend and her two children, Juicy’s childhood friends: Larry (Calvin Leon Smith) and Opal (Adrianna Mitchell). Besides Juicy being “soft,” every character has a secret that can’t be revealed till a crisis has to eventually emerge.

There are parts that seem contrived and stereotypical, but at the center of it all is Juicy. A wonderful young man who is kind on the inside, has a heart and a mind and cares about everything and everyone, and who is determined on the outside. Marcel Sparks is the embodiment of Juicy. He infuses life into this complex character and gives him dimension to lift him up from his everyday life and surroundings.

Everyone else gives an over-the-the top quality to their performances that is not always honed, fine-tuned or reined in by director Saheem Ali. The performances are outrageous and all over the place. They lack the discipline Mr. Sparks has given to Juicy.  Despite its shortcomings, Fat Ham has many funny moments and has a lot to say about family ties and adjusting to one’s own true self.

Edited by Scott Harrah
Published April 17, 2023
Reviewed at April 16, 2023 press performance.

‘FAT HAM’: Adrianna Mitchell, Chris Herbie Holland & Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Calvin Leon Smith. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Billy Eugene Jones. Photo: Joan Marcus.

‘FAT HAM’: Adrianna Mitchell & Benja Kay Thomas. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Nikki Crawford. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Adrianna Mitchell. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: (Left to right): Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell, Calvin Leon Smith & Marcel Spears in front. Photo: Joan Marcus.

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‘OHIO STATE MURDERS’: Audra McDonald & Bryce Pinkham. Photo: Richard Termine.

OHIO STATE MURDERS
By Adrienne Kennedy
Directed by Kenny Leon
James Earl Jones Theatre
138 West 48^th Street
212-239-6200, https://ohiostatemurdersbroadway.com/

By Scott Harrah

Six-time Tony Award winner Audra McDonald brings Ohio State Murders—playwright Adrienne Kennedy’s 1992 one-act confessional play recalling a harrowing time in her college days at Ohio State University—to vivid life on Broadway. The show is a 75-minute monologue, with a few other characters added with minimal lines of dialogue popping in and out of Ms. Kennedy’s narrative, as if she’s reliving a nightmare—and indeed she is. Ms. McDonald keeps us spellbound with her consistently engaging performance in this haunting tale of a Black woman’s misfortune and heartbreak in the racially segregated, white world of a mid-20^th century Midwestern college town.

Ms. McDonald portrays Suzanne Alexander (based on playwright Adrienne Kennedy) in a book-filled library back at her alma mater, giving a lecture about her work and its “violent imagery,” with projections of African Americans being lynched and other disturbing scenes. She is telling the semi-autobiographical story of how the author, now 91, entered Ohio State University in 1949 as an undeclared freshman, hoping to major in English. Back then, Black students were not allowed to major in English without taking two prerequisite English courses as a trial to see if they could handle the curriculum. Later, they could apply to be accepted as an English major.

Suzanne took an English class and enjoyed reading Thomas Hardy’s Tess of the d’Urbervilles. She was intrigued by the mysterious professor of the course, Robert Hampshire (Bryce Pinkham), a young British man who did not engage with his students and immediately came to each class, opened the book and started discussing the work. One day, after turning in a term paper about Hardy’s book, Suzanne receives a note from the professor, asking her to meet him in his office. He has little to say when they meet, other than asking her if she actually wrote the assigned essay about Hardy and if she used any reference materials. He is a true academic enigma, an intellectual who wears tweed suits and, as portrayed by Mr. Pinkham, is a taciturn guy and displays almost no emotion when he speaks.

Ohio State Murders is a story that one needs to follow closely while watching because the narrative isn’t always fully explained. We soon learn that Suzanne is pregnant. Suzanne is shunned by her family and forced to go live in New York with her understanding Aunt Louise (Lizan Mitchell).  She gives birth to twin girls and longs to return to Ohio to go back to her university. She becomes an elementary education major but yearns to be studying in the English department.

Instead of being a standard “whodunit”-style mystery, Ohio State Murders is mostly a collection of the character’s grim remembrances of a painful past filled with racism, broken dreams, gut-wrenching loss and misfortune.  Her memories are literally fleshed out by appearances of secondary characters, such as friend Iris Ann (Abigail Stephenson), boyfriend David Alexander (Mister Fitzgerald), and Lizan Mitchell portraying multiple roles such as landlady Mrs. Tyler and college administrative official/spinster Miss Dawson.

Ohio State Murders is a powerful yet flawed story. As directed by Kenny Leon, the narrative sometimes lacks dramatic tension and moves slow, but two aspects help the show transcend its shortcomings. First is Ms. Kennedy’s searing firsthand account of racism back in the days before conspiracy theorists and populist politicians muddied the waters of human rights. Her story will remind audiences of an era, just a few decades ago, when our nation was literally divided by race, before civil rights laws and legislation. The story also shows how, despite some progress, we have sadly made few real advances in modern-day America, with rampant racism, antisemitism and homophobia as everyday fodder for social media and 21^st century politics. Last but certainly not least is the incredible Audra McDonald. She brings this tale (last produced Off Broadway in 2007) to Broadway with verve, reverence for the material and the on-stage dynamics and electric stage presence for which she is known. For her many fans, it’s impossible to take one’s eyes off her as she reflects on Suzanne’s many years of pain and suffering. Ms. McDonald shines with conviction even when the material rambles and lacks focus. Audra McDonald, in her own way, brings a bit of justice and nuance to Adrienne Kennedy’s tragic past.

Edited by Scott Harrah
Published December 8, 2022
Reviewed at December 7, 2022  press preview performance.

‘OHIO STATE MURDERS’: Audra McDonald & Abigail Stephenson. Photo: Richard Termine.

‘OHIO STATE MURDERS’: Audra McDonald, Lizan Mitchell & Mister Fitzgerald. Photo: Richard Termine.

‘OHIO STATE MURDERS’: Audra McDonald. Photo: Richard Termine.

‘OHIO STATE MURDERS’: Audra McDonald. Photo: Richard Termine.

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‘AIN’T NO MO’ ‘: Marchánt Davis & cast. Photo: Joan Marcus.

AIN’T NO MO’
By Jordan E. Cooper
Directed by Stevie Walker-Webb
Belasco Theatre
111 West 44^th Street
(212-239-6200), https://aintnomobway.com/

By Scott Harrah

Playwright Jordan E. Cooper’s Ain’t No Mo’ is a scathing satire about the Black experience in America that is a raucous comedy on the surface. However, beneath the laughter and hilarious jokes in each of the one-act show’s vignettes, Mr. Cooper rips off the proverbial Band-Aid of racial injustice with an ongoing subtext that tackles painful, serious issues about the persecution and systemic racism that African Americans have struggled with for centuries in this country. It is that rare show that initially has the audience laughing but as things progress, makes us really think about the inequities Blacks have suffered through from the era of slavery up to the 2020s in the USA.

The premise of Ain’t No Mo centers on African American Airlines and a nonstop flight to Dakar, Senegal at gate 1619, the same as the year African slaves were first brought to America. The story unfolds in a series of skits that may remind audiences of the groundbreaking Black comedy TV show “In Living Color” from the 1990s. Some of the scenes are outrageous, high-energy parodies loaded with dark humor.

The show opens at a funeral on November 4, 2008, the night Barack Obama won the presidential election and was about to become America’s first African American president. Mourners run down the aisles, jumping in laps of audience members—with actors sobbing and hugging folks in hilarious hysterics—before running up to the stage to a large coffin in a church containing the body of “Brother Right to Complain.” Pastor Freeman (Marchánt Davis) talks about how president-elect Obama’s presidency may help African Americans overcome a long history of oppression while mourners like Crystal Lucas-Perry display funny histrionics. The mourners believe they are about to enter an age of optimism and newfound freedom for Blacks. Hope and change, however, does not last for Blacks once President Obama leaves office.

Next up is airline gate attendant Peaches (Mr. Cooper in drag) on a call at an airport. She is trying to get all African Americans—all of whom received a text message about a free flight to Africa, courtesy of the U.S. government—to hurry up and get to the airport.  The African American Airlines jumbo jet will be leaving soon to take all Blacks to Dakar, and people can then connect to the African countries they wish to start a new life in, based on their ancestry.

Several vignettes follow that give a glimpse into modern-day Black lives. In the next scene, the show’s best, “Real Baby Mamas of the South Side,” a parody of the many reality TV shows about housewives, four women are seen at a taping hosted by Tony (Mr. Davis in one of many multiple male roles). The women all get bitchy, nasty and catty, especially when talking to “trans racial” Rachel/Rachonda (Shannon Matesky) as she is transitioning to become a Black woman. The women sharpen their claws and spew hysterical venom to Rachel/Rachonda, claiming she has no place on the reality show because she is actually white.

Another scene, “Circle of Life,” shows Trisha (Fedna Jacquet) waiting in an abortion clinic while the father tries diligently to talk her out of having the procedure.  Another woman waiting explains that she already has several kids and does not want to bring another into the world. In “Green,” an upper-class wealthy Black family sits in a posh home at a dining room table while Black (Ms. Lucas-Perry again) plays a slave who has been locked up in the family’s basement for 40 years. Black laughs at the affluent family and the snobbish way they look down on those planning to take the Africa flight. Her rapid-fire delivery of dialogue and on-stage antics are outrageous and the highlight of the vignette.

Ms. Lucas-Perry returns in the next scene as an inmate at a women’s prison. The prison has been emptied by the U.S. African exodus policy but she is hesitant about leaving when she realizes some of her belongings are missing. Ms. Lucas-Perry gives a heartbreaking performance here.

The final scene shows Peaches trying to get the last stragglers onto the Africa-bound jet. In addition to the stress of getting the plane ready to leave the gate, Peaches is hurrying frantically to get her own luggage and herself on board at the last minute. What is most troubling for her is lifting up a bag that stores all the accomplishments of African Americans throughout the centuries. Giving more details would spoil the story, but the ending is open to interpretation. The show is worth seeing for the superb performances of the outstanding cast alone. Ain’t No Mo is not a perfect play, but it is a thought-provoking one act comedy-drama about the many levels of inequality Blacks have endured in America since the 1600s.

Edited by Scott Harrah
Published December 5, 2022
Reviewed at December 4, 2022  press performance.

‘AIN’T NO MO’ ‘: Jordan E. Cooper. Photo: Joan Marcus.

‘AIN’T NO MO’ ‘: Crystal Lucas-Perry. Photo: Joan Marcus.

‘AIN’T NO MO’ ‘: Crystal Lucas-Perry & Ebony Marshall-Oliver. Photo: Joan Marcus.

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‘THE PIANO LESSON’: Samuel L. Jackson. Photo: Julieta Cervantes.

THE PIANO LESSON
Written by August Wilson
Through January 29, 2023
Directed by LaTanya Richardson Jackson
Ethel Barrymore Theatre
243 West 47th Street
(212-239-6200), wwwPianoLessonPlay.com

By David NouNou

Of the 10 plays that August Wilson wrote that make up “The American Century Cycle”, The Piano Lesson is the fourth installment. Each cycle, as his bio states, “explores the experiences of the descendants of Africans brought to North America as slaves, decade by decade, over the course of the 20^th century.” Each cycle takes place in a certain decade. The Piano Lesson is set in 1936 Pittsburgh. In this amazing revival, the stellar performances lift the material up and make it shine.

I’ve always considered The Piano Lesson  the most complex and intricate of Mr. Wilson’s works. It deals with two principles: Is the item you possess worth more if you sell it and use the proceeds to put it to good use; or is the item you possess worth more for the history and the legacy of the spilled blood of its ancestors that it leaves behind? In the mix is thrown religious complexities and an exorcism.

Boy Willie (John David Washington) and Lymon (Ray Fisher) have come up from Mississippi in a broken-down stolen truck loaded with watermelons to sell in Pittsburgh. He has come up to visit his sister Berniece (Danielle Brooks) and their uncle, Doaker Charles (Samuel L. Jackson). Doaker and Berniece live together with Berniece’s daughter, Maretha (Jurnee Swan). Willie Boy hasn’t seen his sister in three years because he was in prison and has come up North for a specific reason. Now the conflict begins.

Willie Boy wants to sell the watermelons and the family piano that sits in Doaker’s living room, so he can buy his former boss Sutter’s property. This property is where he, his father and grandfather and other relatives had been slaves. Now that Sutter is dead, he wants to buy the property and own the land that enslaved his ancestors.

Berniece will have none of this and refuses to sell the piano and wants Willie Boy to get out of her house, contending that he has done enough harm to the family with his reckless, destructive behavior. Doaker tells Lymon the story behind the piano and the multiple carvings on it that has the faces and history of Berniece’s ancestors etched on it that belonged to Sutter’s grandfather, and how Boy Willie’s father and others stole the piano, and Boy Willie’s father was killed for it.

Berniece is being pursued by Reverend Avery (Trai Byers), who wants to marry her and make her lead singer in his choir. Wining Boy, Doaker’s brother (Michael Potts), comes on the scene and also tries to dissuade Willie Boy from trying to move and sell the piano. Berniece needs Avery to come the next day to bless the house and expel Sutter’s ghost which she has seen. She needs to exorcise all the demons that are in the house.

As I stated earlier, this is the most complex of Mr. Wilson’s plays and the story does get convoluted. Bringing this epic family history to life is LaTanya Richardson Jackson’s impeccable direction and the blistering performances she brings out from her brilliant cast.

For any theatergoer, the most memorable aspect of any show is witnessing outstanding performances. Starting with John David Washington, I’ve been a fan of his since seeing him in Spike Lee’s BlacKkKlansman; his Broadway debut is phenomenal. His presence on stage is as magnificent as when I first saw his father, Denzel Washington, in the 2010 revival of August Wilson’s Fences.

Danielle Brooks’ Berniece is both shattering and beautiful. Playing sister, mother and a widow who could use some loving, she delivers a heartbreaking performance. Samuel L. Jackson when given a substantive role and delivers another powerhouse performance. This man just ages beautifully as vintage wine.

Included with the three top stars are three thrilling supporting actors, all of whom I’m sure may earn a nomination come Tony Award time. Ray Fisher, as the hapless Lymon, is outstanding as Willie Boy’s friend and ardent pursuer of women. His scene with Ms. Brooks is a joy to behold. Michael Potts as Wining Boy, Doaker’s brother, imbues so much heart and soul into the part that he is irresistible. Third but not least is Trai Byers as Reverend Avery. Mr. Byers is converting and healing souls nightly in each performance.

For an evening of outstanding, perfectly directed and fine-tuned performances, The Piano Lesson is a must-see.

Edited by Scott Harrah
Published November 7, 2022
Reviewed at November 6, 2022 performance.

‘THE PIANO LESSON’: Samuel L. Jackson & John David Washington. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: Danielle Brooks. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: Samuel L. Jackson. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: Michael Potts. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: April Matthis & John David Washington. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: Trai Byers. Photo: Julieta Cervantes.

‘THE PIANO LESSON’: The cast. Photo: Julieta Cervantes.

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‘LACKAWANNA BLUES’: Ruben Santiago-Hudson (center) & (seated) Junior Mack. Photo: Marc J. Franklin.

LACKAWANNA BLUES
Written & directed by Ruben Santiago-Hudson
Through November 12, 2021
Samuel J. Friedman Theatre

261 West 47th Street
(212-239-6200), www.manhattantheatreclub.com

By David NouNou

Set in Lackawanna, New York, past and present, this is an autobiographical play in which Ruben Santiago-Hudson portrays himself as the child Ruben, and the adult version of himself as well as multiple characters from the past fondly remembered. Mostly it is a beautiful tribute to his adopted grandmother, Nanny, Ms. Rachel Crosby.

Nanny took him under her wing at an early age when he was left in her care by his mother. On multiple occasions he states that she was more like a mother to him. Nanny took him everywhere and they shared their life together. Along the way many characters crossed their path. Mr. Santiago-Hudson imbues all these characters, good or bad, with humanity and respect. Utmost is his respect for Ms. Rachel. Their love and their bond is palpable. Not only is the love and respect coming from Mr. Santiago Hudson, but from the many people whose lives Ms. Rachel touched. Their stories are told in little vignettes.

Mr. Santiago-Hudson has written this play and directed it in such a vivid way that you can visualize Nanny and all the quirky characters they both met along the way. You can almost taste the glazed ham and the cornbread that Nanny made for him and all her boarders. The show is mostly noteworthy for the mega-talented Mr. Santiago-Hudson himself. His performance is absolutely riveting, from the twinkle in his eyes when he impersonates Nanny to the tears in his eyes at the end.

Mr. Santiago-Hudson is accompanied by the brilliant guitarist Junior Mack, who anchors the mood of the play with a soulful blues style. Incidentally, in addition to his many talents as actor, playwright/director Mr. Santiago-Hudson is an excellent harmonica player.

Edited by Scott Harrah
Published November 5, 2021
Reviewed at November 4, 2021 performance.

‘LACKAWANNA BLUES’: Ruben Santiago-Hudson. Photo: Marc J. Franklin.

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