The recent controversy around Patti LuPone and Kecia Lewis, compounded by LuPone’s dismissive remarks about Audra McDonald and her derogatory name-calling toward Lewis, has sparked a renewed conversation on Broadway about race, privilege, and the power dynamics that shape the industry. At its core, this disagreement is not just about noise complaints or personal grudges. It exposes a much deeper issue: the marginalization of Black artists in an industry that often fails to recognize the full worth of their contributions.

The Dispute: From Noise Complaints to Microaggressions

The initial controversy began when Patti LuPone, performing in The Roommate at a neighboring theater, found the sound from Hell’s Kitchen—a Broadway musical starring Kecia Lewis—to be disruptive. LuPone contacted the Shubert Organization owner, like we all do (read: no we don’t), requesting adjustments to the sound levels. A standard professional grievance in any theater setting. After Hell’s Kitchen made the changes, LuPone sent flowers to the sound and stage management teams of Hell’s Kitchen.

However, what seemed like a resolved issue to LuPone quickly escalated when Kecia Lewis picked up on the underlying dynamics of the situation. Lewis identified LuPone’s actions for what they were: not only rude and dismissive but racially microaggressive. As a Black woman, Lewis recognized that LuPone’s complaint wasn’t simply about sound—it reflected a deeper disregard for her peers and discomfort with the cultural expression of Black artists. Lewis also shared a troubling instance where LuPone refused to sign a Hell’s Kitchen Playbill, stating, ‘I’m not signing Hell’s Kitchen, they’re too loud.’ This comment, coupled with the formal noise complaint and her swift action in wielding her power without engaging in dialogue with those affected, underscored how Black voices and creative work are often disregarded, even in the same professional spaces as their white counterparts. It’s also crucial to note that Lewis never labeled LuPone as racist; rather, she called out the bullying, privilege, and microaggressive behavior LuPone exhibited. The words Lewis chose in her statement were carefully crafted, respectfully calling LuPone into community with the grace and dignity one would expect from a theater veteran of her caliber.

LuPone’s Recent Remarks: Escalating the Disrespect

The controversy took a darker turn when, in a recent profile for The New Yorker, Patti LuPone not only called Kecia Lewis a “bitch” but also dismissed Lewis’s accomplishments by comparing them unfavorably to her own. LuPone inaccurately inflated the number of Broadway shows she’s been a part of, while downplaying Lewis’s Broadway experience. This wasn’t just a personal attack—it was an attempt to diminish Lewis’s credibility and artistic contributions.

To make matters worse, LuPone’s remarks about Audra McDonald, in which she expressed disappointment over McDonald’s support for Lewis, further compounded the racial dynamics at play. LuPone’s frustration with McDonald’s stance is telling—it reflects how Black artists who stand in solidarity with one another are often criticized, even by their white peers. This attempt to undermine McDonald’s support for Lewis reveals the discomfort some white artists have with Black voices standing up for themselves, particularly when those voices challenge the status quo.

The Implications of “You Should Know Better”: Dismissing Audra McDonald’s Voice

Patti LuPone’s statement to Audra McDonald, telling her she “should know better,” is a particularly telling moment that reveals the implicit biases at play in Broadway’s treatment of Black artists. On its surface, the comment appears to be “not that deep,” but when viewed through the lens of race and power, it takes on a much deeper meaning.

First, the assumption that McDonald “should know better” reinforces a belief that Black artists should conform to white standards of behavior, professionalism, and conduct, regardless of the circumstances. This statement subtly implies that McDonald, The most nominated and decorated performer in Tony Awards history, should already understand her place in the hierarchy of Broadway as a Black performer and that publicy (or privately) challenging or confronting disrespect is out of line, no matter how many Tonys you have. It also minimizes McDonald’s veteran experience and frames her as being less capable of making valid, nuanced decisions—an all-too-common racial stereotype.

Second, the statement places the burden of “knowing better” on the Black artist, subtly suggesting that McDonald should have been more accommodating, more silent, or more deferential in the face of LuPone’s behavior. This type of thinking perpetuates the idea that Black artists should tolerate the microaggressions and disrespect they often face in order to “maintain the peace” and avoid rocking the boat.

Lastly, it undermines McDonald’s authority and voice. To tell a Black artist they should ‘know better’ is to implicitly suggest that their judgment or response to a situation is invalid. McDonald’s advocacy for Kecia Lewis—another Black artist—was not an attack on LuPone’s professionalism but a call for accountability in light of the racial dynamics that the industry has claimed it wants to address since the ‘Broadway Reckoning of 2020.’ LuPone’s response, however, invalidated McDonald’s perspective and reinforced the idea that white voices should be prioritized, while Black voices—especially those speaking out—are seen as unprofessional and unworthy of respect.

This moment exemplifies how power dynamics and racialized expectations work to suppress the voices of Black artists in Broadway’s predominantly white spaces. It exposes how white artists—even those with immense stature like LuPone—are given a pass for dismissing or silencing the opinions of their Black peers, while Black artists should “know their place.” It also serves as a reminder that even established Black artists like Audra McDonald are not immune from being treated as less than in this system, no matter how much they’ve achieved.

The Racial Undertones: A System of Privilege and Power

LuPone’s actions reflect a deeply entrenched problem in the theater world—one that fosters a system of privilege, allowing white artists to control the narrative while Black artists are often forced to remain silent and submissive. The broader industry permits figures like LuPone to dismiss and belittle the work of Black artists without facing the same level of accountability. LuPone’s response to Lewis’s rightful critique exemplifies how power dynamics continue to marginalize Black talent in Broadway’s predominantly white spaces.

The racial undertones of the entire situation are evident in the way LuPone’s words and actions—whether intentional or not—seek to silence and diminish the contributions of Black artists. Her treatment of Kecia Lewis and Audra McDonald is symptomatic of a longtime industry illness where white stars are the first right of belief, while Black artists must constantly fight for equity and basic respect.

The Unseen Forces Shaping Broadway’s Power Dynamics

These microaggressions—those small, often unintentional slights—are an everyday reality for Black artists. LuPone’s refusal to sign a Hell’s Kitchen Playbill is an example of how implicit bias works on an unconscious level. It wasn’t a calculated attack but rather an unconscious reflection of her ingrained biases, where the cultural expression of Black artists and their work are undervalued. What may have seemed like a simple noise complaint to LuPone became, for Lewis, a striking reminder of the subconscious and unchallenged biases that frequently affect Black artists.

In Broadway’s ecosystem, implicit bias influences who gets heard, who gets celebrated, and who is silenced. Black artists like Kecia Lewis and Audra McDonald are often expected to bear the weight of their success quietly, without challenging the established power structures. When they do, even in small ways like calling out disrespect, their actions are frequently perceived as “difficult” or “disruptive,” especially when their white counterparts—like LuPone—are praised for doing the same things.

Implicit bias isn’t always intentional, but it’s just as damaging. When LuPone criticized Hell’s Kitchen in a way that suggested the work of Black artists didn’t deserve the same level of respect as other Broadway productions, it exposed how pervasive these biases are in a world where privilege often goes unchecked. Her behavior toward Lewis and later toward McDonald when she expressed support for Lewis showcases the dynamic of privilege at play. White stars, regardless of their behavior, are often excused, while Black artists face harsher judgment and severe scrutiny for similar actions.

In short, implicit bias is what allows Broadway to continue upholding racial power dynamics without actively acknowledging them. The difference between how LuPone’s actions were excused versus how Lewis faced criticism speaks to the unconscious prejudices that influence even the most minor interactions. These biases are a part of a broader system that continues to marginalize Black voices in the arts, even when those voices deserve to be heard just as loudly and clearly as their white counterparts.

A Tale of Two Responses: Lillias White vs. Patti LuPone

The disparity in how Broadway stars are treated based on their race is starkly evident when comparing two celebrated performers: Lillias White and Patti LuPone. Both of these legendary actresses have had moments of tension with audiences, but the reactions to their behavior could not have been more different.

When Lillias White, a Black Tony Award-winning actress, called out an audience member during a performance for using what she believed to be a recording device (which was later revealed to be a captioning device), the backlash was swift and severe. White was criticized by some for her approach, with many questioning her professionalism and demanding an apology. However, the reality of her frustration was apparent: Black artists are constantly navigating a space where their voices and boundaries are not always given the same respect as their white peers. White was met with harsh judgment for standing up for herself and the integrity of her performance.

In contrast, Patti LuPone has snatched phones from audience members and publicly yelled at theatergoers on multiple occasions. Instead of facing criticism, LuPone is often praised for her outspokenness and boldness. Her actions, while similarly aimed at preserving the integrity of the performance, are seen as “part of her legendary persona.” This stark contrast in responses reveals a deeper issue in Broadway’s treatment of Black artists versus white artists. While LuPone’s behavior is excused or celebrated, White’s is scrutinized, even though both were merely standing up for their space and their craft.

This double standard speaks volumes about the unequal expectations placed on Black artists. This kind of disparity highlights the ongoing need for Broadway to reassess its approach to addressing issues of race, power, and respect within its community.

The Broader Implications: How Black Talent is Undervalued Across Broadway

The implications of Patti LuPone’s behavior are deeply troubling, especially when considering that she felt so comfortable publicly disrespecting Kecia Lewis, a Tony Award-winning actress. Suppose a renowned Broadway icon like LuPone can dismiss and belittle a Black artist of Lewis’s caliber without facing significant consequences. In that case, it raises serious questions about how other Black actors are treated behind the scenes. Black talent in theatre, even those with the highest accolades, is often subjected to microaggressions, marginalization, and erasure. This is not to suggest that an artist without accolades deserves such treatment, but if someone as established as LuPone feels emboldened to act with such disregard, it serves as a stark reminder of how pervasive these issues are. Black artists, especially those without the same platform or recognition, likely face even greater challenges in navigating the industry. It’s a clear signal that Broadway must confront the systemic racism that continues to undermine the voices and contributions of Black performers at every level.

An Industry at a Crossroads

The LuPone controversy, serves as a poignant reminder that the fight for equity and respect on Broadway is far from over. It’s not just about complaints or personal disagreements. It’s about how race and privilege continue to shape the opportunities and treatment of Black artists in an industry that claims to be a space for creative expression and diversity.

As artists, creators, and leaders in the Broadway community, we must continue to push for an industry that genuinely values and respects Black talent. The conversation about race, professionalism, and the impact of language is not and will not be rooted in a single incident. It’s ever evolving and we have to be willing to create a space where all artists, regardless of race, are allowed to thrive, be heard, and be respected. This moment presents a crucial opportunity for the theater community to reflect on its internal dynamics and examine how power and privilege influence not only the work on stage but also the relationships behind it. It’s time for accountability, and for an industry that prides itself on being the most diverse in creativity and inclusivity to truly reflect those values in how it treats all of its artists.

The post Power and Privilege on Broadway: Patti LuPone’s Disrespect of Kecia Lewis and Audra McDonald Explained appeared first on Broadway Black.

After the curtain call, the entire cast took the stage to wish her happy trails by singing the gospel classic I Won’t Complain by Rev. Paul Jones. Led by Tony Award winner Cynthia Erivo, and Antonyo Award winner Danielle Brooks, the emotional send-off was a Broadway Black moment to witness.

The cast also featured Isaiah Johnson as Mister, Jennie Harney as Nettie, and Kyle Scatliffe as Harpo. The production began performances at the Jacobs Theatre on November 10, 2015.

The post FLASHBACK! The Color Purple Revival Cast Sing ‘I Won’t Complain’ appeared first on Broadway Black.

Cooper launched the #SaveAintNoMo campaign on December 9th after its closing notice to prolong the show’s life, which resulted in heightened awareness and sold-out audiences.

Numerous notable figures stepped up in solidarity to support, with performance buyouts received from Will and Jada Pinkett Smith, Gabrielle Union and Dwyane Wade, Queen Latifah, Tyler Perry, Shonda Rhimes, and Sara Ramirez. Queen Latifah also hosted the Saturday night performance on December 17th.

Co-producers Lena Waithe and RuPaul hosted performances on December 13th and 15th, respectively.

Significant contributions were made by Reverend Al Sharpton, Swizz Beatz, D-Nice, Derrick Hayes & Pinky Cole, Jeremy O. Harris, Denee Benton, Debbie Allen, and Dominique Morrisseau

Ain’t No Mo’ opened on December 1st and will have played 22 previews and 29 performances through December 23, 2022. Unless… #SaveAintNoMo continues.

The cast includes Jordan E. Cooper as Peaches, Fedna Jacquet (Passenger #1), Marchánt Davis (Passenger #2), Shannon Matesky (Passenger #3), Ebony Marshall-Oliver (Passenger #4), and Crystal Lucas-Perry (Passenger #5). 

Ain’t No Mo’ was named “The Best New Play of the Year” by The Wrap and New York Magazine said “Brace Yourself, No One is Safe.”  Vulture raved the production is “jubilantly disruptive” and Variety exclaimed its “fearlessly provocative.”

The post PHOTOS: Whoopi Goldberg, Queen Latifah & More Visit <em>Ain’t No Mo’</em> appeared first on Broadway Black.

Producers Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, and Ambassador Theatre Group announced today that an all-new production of the groundbreaking, Tony Award-winning musical The Wiz, adapted from The Wizard of Oz by L. Frank Baum, is easing on down the road toward a national tour before returning to Broadway for a limited engagement in the 2023/24 season.

Featuring a book by William F. Brown and a Tony Award-winning score by Charlie Smalls (and others), this entirely reimagined revival is directed by Schele Williams (in her Broadway directorial debut), choreographed by Jaquel Knight (in his Broadway debut), additional material by Amber Ruffin, and music supervision, orchestrations, and music arrangements by Joseph Joubert.

The Wiz will launch its national tour in the Fall of 2023 in Baltimore, MD, home of the 1974 world premiere of the musical.  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 in the Spring 2024.

Director Williams commented, “I wouldn’t be on Broadway if it wasn’t for The Wiz…the music, the costumes, the choreography and Stephanie Mills! Seeing that show changed my life. It is, in every way, a celebration of Black excellence. I am honored to helm this production and I can’t think of a better time to tell this story.”

In a statement, Mr. Knight said, “It is a dream come true to be a part of what I consider the epitome of black excellence. There’s not one piece of art that has had influence on popular culture like The Wiz. I’m humbled to not only have the opportunity to leave my own mark on a true work of art, but to continue the storytelling and legacy building on the beauty of blackness through dance, movement, & attitude. I’m honored to stand on the backs of those greats who’ve opened this door, such as the Louis Johnson and George Faison; and I am thrilled to be given the opportunity to help show kids who look like me that the Theater is a world where they can see themselves.” 

“I am thrilled my father’s music, and The Wiz is returning to Broadway,” said Michael Smalls, son of The Wiz composer Charlie Smalls.  “I am so happy to know a new generation will be discovering these wonderful songs and learn of my father’s extraordinary talent.” 

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.

Casting is by Tara Rubin Casting. The design team will be announced at a later date.

The post The Wiz To Return To Broadway; Jaquel Knight, Amber Ruffin, & More Attached appeared first on Broadway Black.

Directed by the late theater legend Harold Prince, “The Phantom of the Opera” has been a New York City landmark, playing at The Majestic Theatre on West 44th Street for its entire run. The production, known for its lavish sets and costumes, large cast, and Broadway’s largest orchestra, has long been considered one of the most beautiful and spectacular productions in history.

Producer Cameron Mackintosh said, “The response to the news that ‘The Phantom of the Opera’ is finally going to end its record-breaking original Broadway run after 35 years has been as phenomenal as the show itself.” In light of the demand for tickets, all performances for the final ten weeks will be on sale, except for a major charitable event on April 14 and the final performance on April 16. Proceeds from the charity performance will go to several Broadway charities as a thank-you from the “Phantom” team to the Broadway community.

Composer Andrew Lloyd Webber said, “I am delighted that, after such an incredible reaction from audiences, ‘Phantom’ at The Majestic is extending. If only the theatre wasn’t closing for a major refurbishment, we’d be there for an awful lot longer.”

Tickets for the extension will go on sale on Wednesday, November 30, and can be purchased through the box office, Telecharge.com, or by calling (212) 239-6200. Don’t miss your chance to see this legendary production before it concludes its record-breaking run on Broadway.

The New York production currently stars Ben Crawford as ‘The Phantom,’ Emilie Kouatchou as ‘Christine,’ Jason Forbach as ‘Raoul’ (Paul Adam Schaefer returns December 7 and John Riddle returns January 2), Nehal Joshi as ‘Monsieur André,’ Craig Bennett as ‘Monsieur Firmin,’ Raquel Suarez Groen as ‘Carlotta Giudicelli,’ Maree Johnson as ‘Madame Giry,’ Carlton Moe as ‘Ubaldo Piangi’ and a rotating cast as ‘Meg Giry’ (Sara Etsy returns from a leave of absence January 2).  At certain performances, Julia Udine plays the role of ‘Christine.’

The Ensemble features Giselle O. Alvarez, Polly Baird, Jessica Bishop, Janinah Burnett, Xiaoxiao Cao, Joseph DePietro, Kanisha Marie Feliciano, David Michael Garry, Chris Georgetti, Kelly Jeanne Grant, Satomi Hofmann, Ayaka Kamei, Ted Keegan, Kfir, Kelly Loughran, Scott Mikita, Greg Mills, Justin Peck, Patricia Phillips, Lindsay Roberts, Janet Saia, Carly Blake Sebouhian, Jeremy Stolle, Stephen Tewksbury, Carrington Vilmont, Jim Weitzer, Elizabeth Welch and Erica Wong.

The post <em>The Phantom of The Opera</em> Announces The First & Only Extension Possible appeared first on Broadway Black.

The post <strong>The 2nd Annual Antonyo Awards postponed, with new date to be announced</strong> appeared first on Broadway Black.

The musical, directed by Harold Prince and featuring choreography by Gillian Lynne, is based on the novel “Le Fantôme de L’Opéra” by Gaston Leroux and features a book by Richard Stilgoe and Andrew Lloyd Webber, music by Lloyd Webber, and lyrics by Charles Hart. The current cast is led by Ben Crawford as The Phantom, Emilie Kouatchou as Christine, and John Riddle as Raoul.

The show was forced to shut down temporarily in March 2020 due to the COVID-19 pandemic but was able to reopen to audiences on October 22, 2021. It is produced on Broadway by Cameron Mackintosh and The Really Useful Group.

Mackintosh, a British producer working in New York for over 40 years, said of the show’s closing, “It has been an unparalleled honor to have presented the longest-running musical in Broadway’s history… Our gratitude to American audiences falling in love with The Phantom is infinite.” He added that while the Phantom may be disappearing for now, the show will continue to enchant audiences in London and around the world, and may one day return to Broadway.

The post <em>The Phantom of the Opera</em> Will End Historic Broadway Run appeared first on Broadway Black.

 
The Antonyo Awards were originally conceived in 2020 by Drew Shade of the multimedia company Broadway Black, which is dedicated to highlighting the achievements and successes of African American theatre artists on and off the Broadway stage. 

The inaugural ceremony, presented on Juneteenth 2020, was live-streamed on YouTube and was heralded by international press, including The New York Times, NPR and the BBC. The 2020 Antonyo Awards were the first awards show to feature non-gendered categories.

“The Antonyo Awards were born to remind ourselves of the joy that Black theatre artists have created in a fractured country,” Shade commented. “For almost 10 years Broadway Black has championed Black voices in many different ways and we are thrilled to move from the well-received initial streaming broadcast in our first year to a fully produced awards ceremony at the legendary Apollo Theater, the centerpiece of live performance in Harlem.”

Nominations for the 2022 Awards were announced on Monday, June 20, 2022 (Juneteenth Observed).

The nominating committee consisted of theatre professionals Alaina Newell, Ayanna Prescod, Brittani Samuel, Juan Michael Porter II, Eric Emauni, Drew Shade, Judith Lovell, and Cody Renard Richard.

Nominations for the 2021-2022 Antonyo Awards are: 

BEST FEATURED ACTOR IN A PLAY (OFF-BROADWAY) 
Abena, Merry Wives
Stephanie Berry, On Sugarland
Billy Eugene Jones, On Sugarland
Andrea Patterson, Confederates
Andrea Patterson, Cullud Wattah
Alicia Pilgrim, Cullud Wattah
Britton Smith, To My Girls

BEST FEATURED ACTOR IN A PLAY (BROADWAY)
Ron Cephas Jones, Clyde’s
Chuck Cooper, Trouble in Mind
Brandon J. Dirden, Skeleton Crew
Luke James, Thoughts of a Colored Man
Tendayi Kuumba, for colored girls who have considered suicide/when the rainbow is enuf
Kenita R. Miller, for colored girls who have considered suicide/when the rainbow is enuf
Kara Young, Clyde’s

BEST FEATURED ACTOR IN A MUSICAL (OFF-BROADWAY)
Justin Cooley, Kimberly Akimbo
Adrianne Danrich, Intimate Apparel
Alysha Deslorieux, The Visitor
Tamika Lawrence, Black No More
Ephraim Sykes, Black No More
Lillias White, Black No More

BEST FEATURED ACTOR IN A MUSICAL (BROADWAY)
Charity Angel Dawson, Mrs. Doubtfire
Sidney DuPont, Paradise Square
Ayana George, MJ: The Musical
Jared Grimes, Funny Girl
James Jackson Jr., A Strange Loop
L Morgan Lee, A Strange Loop
Tavon Olds-Sample, MJ: The Musical

BEST CHOREOGRAPHY
Bill T. Jones, Chloe Davis, Gelan Lambert, Paradise Square
Raja Feather Kelly, A Strange Loop
Darrell Grand Moultrie, Space Dogs
Adesola Osakalumi, Skeleton Crew
Ellenore Scott & Ayodele Casel, Funny Girl
Ellenore Scott & Jeffrey Alkins, Mr. Saturday Night

BEST DIRECTION (OFF-BROADWAY)
Saheem Ali, Merry Wives
Saheem Ali, Nollywood Dreams
Stori Ayers, Confederates
Candis C. Jones, Cullud Wattah
Awoye Timpo, Wedding Band
Whitney White, On Sugarland

BEST DIRECTION (BROADWAY)
Lileana Blain-Cruz, The Skin of Our Teeth
Steve H. Broadnax III, Thoughts of a Colored Man
Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf
Zhailon Levingston, Chicken & Biscuits
Charles Randolph-Wright, Trouble in Mind
Ruben Santiago-Hudson, Skeleton Crew

BEST LIGHTING DESIGN
Kathy A. Perkins, Trouble in Mind

Stacey Derosier, Wedding Band

Alan C. Edwards, Twilight: Los Angeles, 1992

BEST SCENIC DESIGN
Chris Cumberbatch, Gong Lum’s Legacy
Lawrence E. Moten III, Chicken & Biscuits

BEST SOUND DESIGN
Rena Anakwe, Wedding Band
Justin Ellington, Clyde’s
Justin Ellington, for colored girls who have considered suicide/when the rainbow is enuf
Jimmy Keys, Confederates
Twi McCallum, Little Girl Blue
Mikaal Sulaiman, On Sugarland

BEST COSTUME DESIGN (OFF-BROADWAY)
Dede M. Ayite, Merry Wives
Dede M. Ayite, Nollywood Dreams
Ari Fulton, Confederates
Kara Harmon, Cullud Wattah
Toni-Leslie James, Suffs
Qween Jean, On Sugarland

BEST COSTUME DESIGN (BROADWAY)
Montana Levi Blanco, The Skin of Our Teeth
Sarafina Bush, Pass Over
Sarafina Bush, for colored girls who have considered suicide/when the rainbow is enuf
Toni-Leslie James, Paradise Square
Emilio Sosa, Skeleton Crew
Paul Tazewell, MJ: The Musical

BEST WIG/HAIR DESIGN (BROADWAY)
Cookie Jordan, Clyde’s
Cookie Jordan, The Skin of Our Teeth
Nikiya Mathis, Nollywood Dreams
Nikiya Mathis, Confederates
Earon Chew Nealey, Cullud Wattah
Earon Chew Nealey, On Sugarland

BEST DIGITAL THEATER PRODUCTION
After Midnight, Signature Theatre Streaming On Demand
The Last 5 Years, Out of the Box Theatrics and Holmdel Theatre Company
Semblance, New York Theatre Workshop

BEST AUDIO THEATER PRODUCTION
Dreamgirls on Clubhouse, Leroy Church
The Lion King on Clubhouse, Noelle Chesnut Whitmore
Mugabe, My Dad & Me, Tonderai Munyevu, Audible Theater
Paradise Blue, Williamstown Theatre Festival, Audible Theater

BEST MUSICAL ENSEMBLE
Black No More
Caroline, Or Change
Intimate Apparel 
MJ: The Musical
Paradise Square
A Strange Loop
The Visitor

BEST PLAY ENSEMBLE
Clyde’s
for colored girls who have considered suicide/when the rainbow is enuf
Skeleton Crew
The Skin of Our Teeth
Thoughts of a Colored Man
What To Send Up When It Goes Down
Wedding Band

BEST MUSIC IN A PLAY
Starr Busby, On Sugarland
Justin Ellington, Tambo & Bones
Justin Hicks, Cullud Wattah
Alphonso Horne, Wedding Band
Te’La and Kamauu, & Keenen Scott II, Thoughts of a Colored Man
Jimmy Keys, Skeleton Crew
Bill Sims Jr., Lackawanna Blues

BEST ORCHESTRATION
Joseph Joubert, Caroline, or Change
Daryl Waters, Black No More
Jason Michael Webb, MJ: The Musical

BEST ORIGINAL SCORE
Masi Asare, Paradise Square
Michael R. Jackson, A Strange Loop
James Posner, Daryl Waters, Anthony Tidd, Tariq Trotter, Black No More

BEST BOOK OF A MUSICAL
Kwame Kweo-Armah, The Visitor
Lynn Nottage, Intimate Apparel
Lynn Nottage, MJ: The Musical
John Ridley, Black No More

*NOTE: A Strange Loop was ineligible, as it won this category in 2020. Productions are ineligible for nomination if they have previously won the category for the same work.

BEST SOLO PERFORMANCE
Ruben Santiago-Hudson, Lackawanna Blues
Laiona Michelle, Little Girl Blue

BEST ACTOR IN A PLAY (OFF-BROADWAY)
Kyle Beltran, Case for the Existence of God
Crystal A. Dickinson, Cullud Wattah
Susan Kelechi Watson, Merry Wives
Kiki Layne, On Sugarland
Kristolyn Lloyd, Confederates
Jacob Ming-Trent, Merry Wives
Daniel J. Watts, The Last of the Love Letters

BEST ACTOR IN A PLAY (BROADWAY)
Uzo Aduba, Clyde’s
Gabby Beans, The Skin of Our Teeth
Laurence Fishburne, American Buffalo
LaChanze, Trouble in Mind
Ruth Negga, Macbeth
Phylicia Rashad, Skeleton Crew
Namir Smallwood, Pass Over

BEST ACTOR IN A MUSICAL (OFF-BROADWAY)
Justin Austin, Intimate Apparel 
Kearstin Piper Brown, Intimate Apparel
Brandon Victor Dixon, Black No More
Britney Nicole Simpson, Penelope, or How the Odyssey Was Really Written
Bryonha Marie Parham, A Commercial Jingle for Regina Comet
Tariq Trotter, Black No More

BEST ACTOR IN A MUSICAL (BROADWAY)
Sharon D. Clarke, Caroline, or Change
Myles Frost, MJ: The Musical
Joaquina Kalukango, Paradise Square
Jaquel Spivey, A Strange Loop

BEST REVIVAL
Macbeth
Skeleton Crew
Trouble in Mind
Twilight: Los Angeles, 1992
Merry Wives
The Skin of Our Teeth

**NOTE: for colored girls who have considered suicide/when the rainbow is enuf
was ineligible, as it won this category in 2020. Productions are ineligible for nomination if they have previously won the category.

BEST PLAY
Clyde’s by Lynn Nottage
Confederates by Dominique Morisseau
Cullud Wattah by Erika Dickerson-Despenza
Nollywood Dreams by Jocelyn Bioh
On Sugarland by Aleshea Harris
Thoughts of a Colored Man by Keenan Scott II
What To Send Up When It Goes Down by Aleshea Harris

BEST MUSICAL
Black No More
Caroline, or Change
Intimate Apparel
MJ: The Musical
Paradise Square
A Strange Loop

LORRAINE HANSBERRY AWARD
This award is given to a Black female-identified or nonbinary femme playwright/book writer whose contributions to the stage have exemplified the balance of dynamic storytelling and social justice ideologies. 

Erika Dickerson-Despenza

LANGSTON HUGHES AWARD
This award is given to a Black male-identified or nonbinary masc playwright/book writer whose contributions to the stage have exemplified the balance of dynamic storytelling and social justice ideologies.

Mansa Ra

THE DOORS OF THE THEATRE ARE OPEN AWARD OR THE DR. BARBARA ANN TEER AWARD
This award is presented to a theatre company or brick-and-mortar theatre that has demonstrated a fervent commitment to celebrating and uplifting the full breadth of Black people’s humanity. 

Karamu House in Cleveland, Ohio

THE WELCOME AWARD OR THE KYLE JEAN-BAPTISTE AWARD
This award is presented to newcomers in the New York Black Theatre scene who show great promise to contribute a great deal to our community.

Esco Jouléy for their work in Wolf Play

THE LIFETIME ACHIEVEMENT ANTONYO AWARD

Leslie Uggams

Shows by nominations:

Black No More – 10 
On Sugarland – 9
Cullud Wattah – 8
MJ: The Musical – 8 
Skeleton Crew – 8
A Strange Loop – 7 
Clyde’s – 7 
Confederates – 7  
Paradise Square – 7 
Intimate Apparel – 6 
Merry Wives – 6
The Skin of Our Teeth – 6 
Thoughts of a Colored Man – 5 
Wedding Band – 5 
Caroline, or Change – 4 
for colored girls… – 4 
Nollywood Dreams – 4 
Trouble in Mind – 4
Chicken & Biscuits – 2 
Funny Girl – 2 
Lackawanna Blues – 2 
Little Girl Blue – 2 
Macbeth – 2 
Pass Over – 2 
Twilight: Los Angeles, 1992 – 2 
The Visitor – 2
What to Send Up When It Goes Down – 2 
After Midnight – 1 
American Buffalo – 1 
Case for the Existence of God – 1
A Commercial Jingle for Regina Comet – 1
Dreamgirls on Clubhouse – 1 
Gong Lum’s Legacy – 1 
Kimberly Akimbo – 1
The Last 5 Years – 1 
The Last of the Love Letters – 1
The Lion King on Clubhouse – 1 
Penelope, or How the Odyssey Was Really Written – 1
Mr. Saturday Night – 1  
Mrs. Doubtfire – 1 
Mugabe, My Dad & Me – 1
Paradise Blue – 1 
Semblance – 1 
Space Dogs – 1 
Suffs – 1 
Tambo & Bones – 1
To My Girls – 1

The post The 2nd Annual Antonyo Awards To Be Presented Live at the Legendary Apollo Theater appeared first on Broadway Black.

Reopening on Sept 14th, 2021, the Disney musical classic did something unprecedented for a Broadway show. They filmed and live-streamed the opening number, “The Circle of Life,” on TikTok. Watch footage from the dazzling opening, the pre-show speech by Tony Award-winning director Julie Taymor, & the company’s curtain call, all from the reopening night performance below.

Talk about a moment! Although the world was watching via TikTok, the tear-jerking night had some of your Broadway favorites in the house. Kristin Chenoweth, Jelani Alladin, and the stars of Disney’s Aladdin: Michael Maliakel (Aladdin), Michael James Scott (Genie), and Shoba Narayan (Jasmine) all came out to support the historic night. The hit musical Aladdin will celebrate its Broadway reopening on Tuesday, September 28th. 

The Broadway cast of The Lion King stars Stephen Carlile as Scar, L. Steven Taylor as Mufasa, Tshidi Manye as Rafiki, Cameron Pow as Zazu, Ben Jeffrey as Pumbaa, Fred Berman as Timon, Brandon A. McCall as Simba, Adrienne Walker as Nala, James Brown-Orleans as Banzai, Bonita J. Hamilton as Shenzi and Robb Sapp as Ed. Vince Ermita and Corey J. alternate as Young Simba, and Alayna Martus and Sydney Elise Russell alternate as Young Nala.

The Lion King also features Lawrence Keith Alexander, Cameron Amandus, Leanne Antonio, Andrew Arrington, India Bolds Browne, Lindiwe Dlamini, Zinhle Dube, Bongi Duma, Angelica Edwards, Jim Ferris, Rosie Lani Feldman, Daniel Gaymon, Pia Hamilton, Daniel Harder, Michael Alexander Henry, Michael Hollick, Pearl Khwezi, Lindsey Jackson, Lisa Lewis, Mduduzi Madela, Jaysin McCollum, Ray Mercer, S’bu Ngema, Nhlanhla Ngobeni, Nteliseng Nkhela, Jacqueline René, Kaylin Seckel, Kellen Stencil, Housso Semon, Derrick Spear, Michael Stiggers Jr., Jamie J. Thompson, Bravita Threatt, Natalie Turner, Donna Michelle Vaughan, Nicholas Ward, and Stephen Scott Wormley.

The post The Lion King Returns To Broadway & Live Streams on TikTok! appeared first on Broadway Black.

Crytsal Monee Hall

Asking the question “Can you hear us?,” Crystal Monee Hall releases a video of her soul-stirring gospel arrangement of “A Beautiful Noise,” originally written by Alicia Keys and Brandi Carlile.

“I wrote this arrangement in celebration and support of the women, Stacey Abrams included,” says Hall, “…who are on the front lines of the fight for democracy and justice in Georgia.” The activated artist Hall continued, “…And if enough of us gather our voices and sing in unison, we will make change. This is about using your voice, and being heard. Standing up and being counted.”

Here are the heavy-hitting supporting vocalists you may recognize and love on this project:  Allyson Kaye Daniel, Adee David, Rosharra Francis, Angela Grovey, Celisse Henderson, Amber Iman, Anastacia McCleskey, Kristina Nicole Miller, Rashidra Scott, Tasha Michelle Smith, Anastasia Talley, and Rebecca Covington-Webber. With music by the incomparable Michael O. Mitchell and Joe Bagale.

Watch the video below & be activated!

The post Crystal Monee Hall Releases “A Beautiful Noise” Reimagined For Change appeared first on Broadway Black.