We had just finished taking photos in the rehearsal hall at Lincoln Center and stepped out into the cool evening. The glow from the building washed over us as we crossed toward The Smith to meet her manager. Our conversation carried easily from the rehearsal hall to the street, shifting from laughter to a shared meditation on what music feeds us now.

Tamara stopped mid-stride and laughed. “We have to be honest with ourselves. Some of this music out right now just isn’t made for us. We’re not the target audience. And that’s okay. We want to be, but we’re not.. Because we have standards.” She laughed again, the kind of full-body laugh that makes you laugh too. “It’s catchy, it’s doing what it needs to do, but we’re grown. We need something we can feel. We need meat.”

It was classic Tamara—funny, unfiltered, and deeply perceptive. Beneath the joke was her constant search for meaning, for truth that resonates.

She grew up in church and trained in classical voice and sociology at Oberlin Conservatory, and that mixture of spiritual grounding and disciplined study lives in everything she does. When asked when she first realized her voice could hold all those worlds at once, she said, “I always knew. When I went to Oberlin, the first thing I told my teacher was, ‘I don’t want to sing opera.’ She looked at me like she had seen a ghost. I told her, ‘I just want to learn how to sing properly. I want good technique for whatever I want to sing.’ I always knew that I could, but college was where I really started to stretch out. That’s where I learned jazz and leaned into opera. I already knew gospel and R&B, but college was when I started doing it all at once.”

That openness to possibility is still how she defines herself. “These days, I tell people I’m a vocalist. I used to say ‘entertainer,’ but ‘vocalist’ feels right. People forget that it’s a real thing. There are folks who use their voices in all kinds of ways—singing, recording, voiceover, sketch comedy. When I did sketch, I changed my voice instead of my body. I could shift my accent, tone, and rhythm to create different people. All of that is vocal work. That’s part of what makes me who I am.”

As she talked, her pace slowed slightly, and her tone softened as she described the rituals that center her before performing. “God and music,” she said. “Just talking to God and centering myself. Sometimes I listen to what I’m about to sing, but most of the time I just listen to what I want to. It might be gospel. It might be D’Angelo—I’ve been on a D’Angelo kick. It might be Doja Cat. Whatever I’m feeling that day. And I pray too. I know it sounds cliché, but I really do pray. My prayer is that love and light go before me, and peace and joy follow, so I’m sandwiched in love, light, peace, and joy. Then I can leave knowing I gave what I came to give.”

At the moment, she is starring in Blue at Lincoln Center, Jeanine Tesori’s contemporary opera about a Black family navigating grief, faith, and community after police violence. “I knew about this opera years ago when the Washington National Opera did it,” she said. “I didn’t know Jeanine then. I just knew the person playing the son. I read about it and thought, Oh, an opera about police brutality. Cool, they’re getting progressive out here. Then, when this came up, I was like, Oh, it’s that opera. And first of all, anything attached to Jeanine’s name, I’m down to do, because I trust it will be both rigorous and rewarding.”

Her expression turned thoughtful. “One of the reasons I stopped singing opera was because I didn’t want to sing about magic and flutes anymore. Real things are happening in the world where my feet touch the ground. No shade to the classics, but they were very Eurocentric and not rooted in the world we live in. And all the other music I love—gospel, R&B, hip-hop—it’s all grounded in reality. ‘They Not Like Us’ by Kendrick Lamar, that’s based on real things, real conflict, real emotion. So there’s no reason opera can’t be that too. The fact that there are people like Jeanine making work that reflects the times, just like Nina Simone told us to, is what made me say yes. And also,” she said with a smile, “a girl always needs a job.”

She described what makes Blue different from anything she has done before. “This is the first time I get to bring musical theater into opera. For so long, it’s been keeping them separate—one or the other. But this time, I get to use everything. I’m painting the text in my chest and in my mix, not doing the whole thing in an operatic voice. I finally get to use all the parts of my voice in one piece. I’m not muting one and elevating another. Everything is working together.”

That sense of integration carries through all her work, including her time as Effie White in Dreamgirls, opposite Joy Woods as Deena. “That show taught me how to carry a story and how to close the book,” she said. “If I carried Effie’s story around all day, I would be downtrodden. You have to step out of it. I think sometimes we love our art so much that we become it, and we forget where it ends and we begin. That show taught me to pace myself. It’s still the hardest thing I’ve ever done. Effie sings tenor when the group sings, so you go from squalling at the top of your voice to singing lower harmonies right after. It’s exhausting.”

Her solution was as technical as it was spiritual. “To make it my own, I didn’t rely on power; I relied on storytelling. Where others might belt, I would belt and run, because for us a good run—clean, centered, and in tune—moves people just as much as a belt. That’s our language as Black artists. That’s how I made it mine.”

Between the worlds of opera and theater, she said she feels most at home in the middle. “I spent ten years in opera, and this is the first time in a long time I’ve been in a room where everyone speaks the same musical language. The casting for Blue feels like friends, like we’ve known each other for years. Maybe that’s why it feels like home.”

Her background in comedy adds an extra dimension onstage. “Comedy taught me timing,” she said. “It helps me catch little moments that aren’t on the page. A look, a breath, a beat—it makes the story feel alive. I don’t add words, but I bring those instincts from comedy with me. They help me read a room and keep the audience connected.”

That ability to connect also shapes how she chooses her projects. “I don’t take work where I can’t see myself in the story,” she said. “In Blue, I have brothers. I’m the only girl in my family. The police talk is real. The fear for the Black men in your life to come home safe is real. Dreamgirls—being overlooked, not fitting how they want you to look—that’s real too. Even The Voice. Everything I sang there was something I would sing in my own show. I still sing ‘Higher Ground.’ It’s funky, it’s fun, and I can church it. Everything I do has to be real to me.”

Then she said, “Every story doesn’t have to be rooted in trauma. I love shows like Abbott Elementary. I want to see more of that—more whimsy, more joy, more silly. We don’t need a white savior in every story just because they paid for the project. Let’s build our own capital so we can tell our own stories.”

Before going inside, she named the women who move her. “Angela Birchett. Ayana George. Kecia Lewis,” she said. “Ayana especially. People think her success came out of nowhere, but she’s been doing the work for years. Watching her finally be right where she belongs is inspiring. Angela told me when I moved here, ‘Learn everything I do because you’re going to do it,’ and she was right. And Kecia Lewis in Hell’s Kitchen—her performance made me sit up straight. It called to the artist in me to operate at my highest capacity. That’s what I want to keep chasing.”

Then she added, laughing a little at the memory, “And Kara Young—she’s that girl. I met her at Black Women on Broadway with you. I didn’t know much about her, and you said, ‘She’s going to win a Tony this year.’ And then she did. And then she won another one! I was like, girl, I don’t know what you’re over there doing, but it’s working.”

She thought for a second, then said, “And Tamika Lawrence in Oh, Happy Day—I was so moved by how she used every part of herself. The body was tea, but beyond that, she was mesmerizing. She acted, she was funny, and then forty-five minutes in, she sang, and I was like, wait, you’ve got that voice in there too? That’s the kind of artist I love to watch.”

When asked what she hopes people associate with her name, she said, “Freedom. I want people to see me and think, that girl is free. And then ask themselves how they can get a little freer. Whether it’s your art, your money, your love life, or where you live, be free. Go live somewhere else for a while. Don’t let anyone convince you it’s not possible.”

The mention of Jeanine Tesori brought a smile back to her face. “Jeanine is like working with my future self,” she said. “She doesn’t take things too seriously, but when she speaks, everyone listens. She meets people where they are. Today she showed the cast how to talk to my belly because I’m pregnant. She came up and did the little zerbert thing, and I was like, yes, that’s exactly it. I want to be that kind of woman—kind, funny, real. I know God sent her to me to pull out the part I’ve been protecting. She welcomes all of me.”

As the restaurant door opened and the warmth spilled out, she turned back for a moment. “I love Broadway Black,” she said. “I’ve been following it since before I moved here. I always knew when I got to New York, I wanted to be a part of this. You built something that makes people feel seen. I’m here for the long haul.”

Her words lingered like music as we stepped inside, laughter from the dining room rising to meet us. Tamara Jade carries every world she’s touched—church, conservatory, comedy, opera—and somehow they all sound like her.

The post Tamara Jade on Freedom, Faith, and the Power of Using Every Part of Her Voice appeared first on Broadway Black.

A Decade of Bearing Witness

Adapted from 12 Angry Men: True Stories of Being a Black Man in America Today, the 2012 anthology published by The New Press and first staged by The Billie Holiday Theatre in 2015, this production marks a decade of evolution. Now reimagined as Freedom Riders: A Journey With No End in Sight, the work expands beyond its origins to encompass the full spectrum of Black experience, including the urgent realities facing Black Trans lives, the trauma of police brutality, and the haunting persistence of systemic racism.

Etwaroo, who first brought the stories to life a decade ago, frames this iteration as both a memorial and a movement. “Those were moments of protest, prayer, and spiritual reckoning,” she said. “Now, a decade later, these stories must be set free at a time when truth is under assault and history is being erased.”

A Cast of Titans

The star-studded ensemble reads like a roll call of artistic excellence across stage and screen:

• Lisa Arrindell (Disappearing Acts, Saints & Sinners)
• Russell Hornsby (Fences, The Hate U Give, Grimm)
• Billy Eugene Jones (A Soldier’s Play, Purlie Victorious)
• Angelica Ross (Pose, American Horror Story)
• Stephen Tyrone Williams (A Master Builder, The Knick)

Together, they embody the living testimonies of survival, resistance, and faith that define the Black American experience. Their performances are underscored by a live trio of musical brilliance—Arden Altino on piano, Daniel Bernard Roumain on violin, and Divinity Roxx, the Grammy-nominated bassist and former Beyoncé musical director. The trio’s original score, commissioned through Harlem Stage’s WATERWORKS initiative, transforms the stage into a living soundscape of struggle and transcendence.

A Theatre as Sacred Ground

Each performance of Freedom Riders functions as more than a show—it’s a communal gathering. Set inside Harlem Stage’s historic Gatehouse theatre, the production invites audiences to sit within a space built from the bones of the Croton Aqueduct system. This structure once carried life-giving water through New York City. Now, it holds something even more vital: truth.

Previews begin October 7–8, with an invite-only opening night on October 9, followed by public performances and student matinees through October 18. In a powerful gesture of access, Harlem Stage has launched a Buy One, Give One ticket initiative: every ticket purchased helps sponsor a student’s attendance, ensuring that young people have the chance to witness this transformative experience.

The Legacy Continues

Founded in 1983, Harlem Stage has built a global reputation as a sanctuary for artists of the Global Majority. The institution’s mission to center radical artistic freedom, equity, and innovation has fostered generations of groundbreaking talent, including MacArthur “Genius” fellows Kyle Abraham, Bill T. Jones, Jason Moran, Vijay Iyer, and Cecil Taylor.

With Freedom Riders, Harlem Stage continues that lineage, proving once again that theatre isn’t just entertainment. It’s testimony. It’s survival. It’s legacy.

Broadway Black celebrates the legacy and future of Black theatre—on Broadway and beyond.

The post Freedom Riders: A Journey With No End in Sight, Harlem Stage Honors 10 Years of Reckoning and Resistance appeared first on Broadway Black.

A Bold Look at Domestic Violence Through a New Lens

First premiering to sold-out audiences at Luna Stage Theatre in 2014, Man of the House has toured throughout the Tri-State area, earning acclaim for its emotional depth, humor, and social impact. The play breaks new ground by exploring domestic violence from the rarely told perspective of a male abuse survivor, revealing the layers of shame, silence, and generational trauma that often surround such stories.

A’ndre Davis stars as ‘James,’ a man struggling to save his relationship while reclaiming his sense of self. The cast also features powerhouse performances from:

• Monifah as Kesi
• C. King (Nick Cannon’s Wild ’N Out) as Isaac
• Trinity Whiteside (Tyler Perry’s Sistas, Zatima) as Walt
• Cortez Smith (The Chi) as Lawrence

Through heart, humor, and hard truths, Davis’s writing opens dialogue on gender, power, and resilience — urging audiences to reconsider how they view strength and vulnerability.

A Homecoming at The Billie

“Bringing Man of the House to The Billie Holiday Theatre is a full-circle moment for me as both an artist and a storyteller,” Davis said. “The Billie has long been a home for truth-telling and for art that challenges us to see the world differently. With this play, I wanted to shine a light on a side of domestic violence we rarely talk about — the experiences of male survivors — while still giving audiences the heart, humor, and humanity that make stories resonate.”

Founded in 1972, The Billie Holiday Theatre stands as a cornerstone of Black arts and culture. As an AUDELCO, Obie, and National Medal for the Arts award-winning institution, The Billie continues to champion work rooted in racial justice and truth, making it a fitting stage for Davis’s deeply personal and socially charged story.

Performance Details

Man of the House
The Billie Holiday Theatre
1368 Fulton Street, Brooklyn, NY 11216

• Friday, October 10, 2025 – 7:30 PM
• Saturday, October 11, 2025 – 2:00 PM
• Saturday, October 11, 2025 – 7:00 PM
• $60 General Admission / $100 VIP (Evening Shows)
• $40 General Admission / $65 VIP (Matinee)

VIP tickets include premiere seating, an autographed playbill, a cast meet & greet, the play’s soundtrack, a complimentary beverage, and a souvenir cup.

Man of the House promises not just an unforgettable night of theatre — but a powerful call for awareness, compassion, and change within our communities.

The post Monifah, C. King, and More Star In Man Of The House At Brooklyn’s Billie Holiday Theatre appeared first on Broadway Black.

Producer Brian Anthony Moreland has officially announced that Golden Globe winner and multi-award-nominated Taraji P. Henson and six-time NAACP Image Award winner Cedric the Entertainer will headline this new Broadway staging of August Wilson’s seminal play. Directed by the illustrious Debbie Allen, the production is set for a Shubert Theatre opening in Spring 2026.

This marks Taraji P. Henson’s Broadway acting debut, although she previously made waves on Broadway as a producer of the Tony-nominated Jaja’s African Hair Braiding. She will portray Bertha Holly, alongside Cedric, who returns to Broadway as Seth Holly following his debut in American Buffalo (2008).

Producer Brian Anthony Moreland—who recently brought us The Piano Lesson starring Samuel L. Jackson, John David Washington, and Danielle Brooks, and last season’s star-caliber Othello featuring Denzel Washington and Jake Gyllenhaal—described the revival as:

“Joe Turner’s Come and Gone is Wilson’s seminal masterpiece—an unflinching exploration of pain, identity, and hope. With Debbie Allen’s visionary direction and this extraordinary cast, the entire company will present a performance that resonates deeply and lingers in the hearts and minds of all who experience it.”

A Legacy of Black Excellence

Debbie Allen, a pioneering figure in Black performance, made her Broadway debut in Purlie in 1970 and has dazzled audiences in Raisin, West Side Story, and Sweet Charity. She directed the all-Black 2008 production of Cat on a Hot Tin Roof, and is set to receive an honorary Oscar at the 2025 Governors Awards.

Taraji P. Henson brings a critical lens and wide-ranging acclaim—from her breakout in Hustle & Flow and Oscar nomination in The Curious Case of Benjamin Button, to standout roles in Hidden Figures, The Color Purple, and Empire. In television, her guest turn on Abbott Elementary earned her an Emmy nomination. Her off-stage impact is equally powerful: she spearheaded mental health advocacy through the Boris L. Henson Foundation and champions Black wellness and inclusion. As a producer, she earned a Tony nomination for Jaja’s African Hair Braiding.

Cedric the Entertainer returns to Broadway after his debut in American Buffalo. The comedian, actor, and author currently stars in CBS’s The Neighborhood, now entering its eighth season, and co-created the Hulu series Kings of BBQ. His debut novel, Flipping Boxcars, weaves familial lore into a crime narrative, while his philanthropic efforts continue through The Kyles Family Foundation, supporting organizations such as Boys & Girls Clubs and St. Jude’s.

A Story of Spiritual Rediscovery

Set in 1911, Joe Turner’s Come and Gone unfolds in a Pittsburgh boarding house owned by Seth and Bertha Holly—a steadfast husband and his warm, nurturing wife. Their home becomes a sanctuary for Black folks on the move, seeking stability in the wake of the Great Migration. But when a mysterious man named Herald Loomis arrives, the house is shaken by more than just passing footsteps. Loomis is searching—not just for the wife he lost, but for the pieces of himself stolen during seven years of illegal enslavement under the haunting grip of Joe Turner.

As buried trauma rises and ancestral spirits stir, Loomis’s path becomes one of spiritual reckoning, identity reclamation, and hard-won healing. Around him, others navigate their own quests for love, livelihood, and liberation—each of them trying to shape a future not defined by sorrow, but by possibility.

The second play in August Wilson’s American Century Cycle, Joe Turner’s Come and Gone is a deeply poetic portrait of Black resilience—one that wrestles with memory, community, and the ever-burning hope of a freedom that goes beyond escape.

Stay tuned for additional casting and theatre details, coming soon. For more information, visit www.JoeTurnerBway.com.

Broadway Black covers the artists, stories, and cultural moments shaping Black theatre. Follow us for all the latest on this extraordinary revival.

The post Taraji P. Henson and Cedric the Entertainer to Star in August Wilson’s Joe Turner’s Come and Gone on Broadway, Directed by Debbie Allen appeared first on Broadway Black.

Fresh from setting London’s West End ablaze with their electric chemistry, Porter and Wallace are bringing their star power stateside to lead the most politically resonant, visually decadent version of Cabaret Broadway has seen in years. Porter will step into the iconic role of the ‘Emcee,’ while Wallace will play the unforgettable ‘Sally Bowles’ in a show that’s been hailed as both “ravishing” and “gut-punching.”

“They brought down the house every night in the West End,” said director Rebecca Frecknall. “I can’t wait for Broadway audiences to experience the electricity they generate together.”

And let’s be clear: Cabaret isn’t just another revival. It’s a mirror to the moment we’re living in. From rising authoritarianism to willful societal denial, this revival feels urgent, raw, and painfully relevant. Joel Grey, the original Broadway Emcee, wrote in The New York Times that the story is “a portrayal of a decadent society willfully ignorant of its own demise.” That hits different in 2025.

Why This Matters

Porter’s casting marks a full-circle moment. After breaking barriers in Kinky Boots and winning the 2024 Isabelle Stevenson Tony Award for his advocacy, his return to the Broadway stage in Cabaret is both a celebration and a warning. His performance is expected to blend his signature defiance with nuance, camp, and truth-telling.

Meanwhile, Wallace—fresh off her critically acclaimed runs in Guys and Dolls, Oklahoma!, and Dreamgirls—brings both vocal fire and emotional depth to the role of Sally Bowles. Her London portrayal was hailed as career-defining, and her Broadway debut in the role is shaping up to be one for the books.

The Legacy Continues

This Broadway revival of Cabaret has already become a historic run. Since opening in April 2024, it’s racked up 21 nominations across major awards bodies and earned 9 Tony nominations. The production has featured a revolving door of powerful talent, including current stars Orville Peck and Eva Noblezada, who will take their final bows July 20.

Cabaret at the Kit Kat Club transforms the August Wilson Theatre into a fully immersive Weimar-era Berlin nightclub, where music, danger, queerness, and decadence collide. It’s more than a musical—it’s a statement. And with Billy Porter and Marisha Wallace at the helm, the final chapter is about to be unforgettable.

The post Billy Porter & Marisha Wallace to Lead Cabaret’s Final Broadway Run at the Kit Kat Club appeared first on Broadway Black.

A landmark of Black television is making its way to Broadway with an all-star team of Black creatives leading the charge. On June 3, 2025, producer Brian Anthony Moreland announced the development of Polly: The Musical, a new stage adaptation of the 1989 Disney film Polly and the novel by Eleanor H. Porter. Two-time Tony Award winner Debbie Allen, who directed the original film, will return to direct and choreograph the Broadway-bound production.

Joining Allen to bring this story to the stage are Emmy-winning writer and producer Lena Waithe and actor-playwright Michael Benjamin Washington, who will co-write the book. The music and lyrics will be handled by Grammy winner Siedah Garrett (Man in the Mirror) and rising musical theatre writer Joriah Kwamé (Little Miss Perfect).

Set in 1950s Alabama, Polly centers around a relentlessly optimistic young Black girl whose joy and positivity challenge the divisions of a segregated Southern town. Originally adapted for television by Debbie Allen in 1989, the film starred Keshia Knight Pulliam, Phylicia Rashad, and Dorian Harewood (The Notebook: The Musical) Barbara Montgomery (Cat on a Hot Tin Roof, Raisin), Vanessa Bell Calloway (Purlie Victorious, Dreamgirls), Brandon Quintin Adams (“Moonwalker,” “Mighty Ducks”), Ken Page (Ain’t Misbehavin‘, The Wiz, Cats), Brock Peters (Lost in the Stars, The Caucasian Chalk Circle), George Anthony Bell (Timbuktu), Michael Peters (Dreamgirls, Comin’ Uptown) Vickilyn Reynolds (Bring in ‘Da Noise, Bring in ‘Da Funk)  and featured the final screen performance of Butterfly McQueen, best known for her role as Prissy in Gone with the Wind. A sequel, Polly: Comin’ Home, aired in 1990.

“The message of Polly is one that we need today more than ever,” Allen shared. “ That the power of a single positive voice can make change in the face of adversity and divisiveness; that the voice of a child could bring unity and hope — is what Polly is about. This musical, with its joy and its unbridled hope, will shine a light on a path for every audience to find unity in their community.”

Producer Brian Moreland added, “This team of creative all-stars is exactly what Polly needs to bring her story to the stage. With Debbie’s brilliant hands back on the steering wheel, I couldn’t be more thrilled to be working together with them to share this experience with the world.”

A Legacy of Black Excellence

Debbie Allen’s return to the director’s chair for Polly is nothing short of full-circle. A Howard University alum, Kennedy Center honoree, and Emmy- and Golden Globe-winning icon, Allen has choreographed the Oscars ten times and directed for shows like Grey’s Anatomy, Scandal, Empire, and Insecure. Her Broadway and Hollywood legacy spans decades—and generations.

Lena Waithe continues to blaze trails as the creator of The Chi, the screenwriter of Queen & Slim, and the producer behind A Thousand and One and Being Mary Tyler Moore. This marks another major step into theatre for the Hillman Grad founder, following her producer credit on Ain’t No Mo’.

Michael Benjamin Washington, a powerhouse in both acting and playwriting, brings a deep understanding of political and cultural storytelling, including his critically acclaimed Blueprints to Freedom: An Ode to Bayard Rustin. His turn as James Baldwin on MGM+’s Godfather of Harlem further shows his range in capturing Black icons with nuance and fire.

Music with Heart and History

Siedah Garrett’s name is synonymous with hits like Michael Jackson’s “Man in the Mirror” and “Love You I Do” from Dreamgirls, which earned her a Grammy and an Oscar nomination. Her work is featured in MJ the Musical and The Color Purple musical film adaptation. Garrett’s songwriting has always held emotional weight—and her theatrical work is no different.

Joining her is Joriah Kwamé, the emerging force behind the viral song “Little Miss Perfect,” and co-writer of “Top of the World” for Lyle, Lyle, Crocodile. Kwamé represents the next generation of musical theatre writers—a visionary voice continuing the legacy of Black storytelling on Broadway.

With a team like this, Polly: The Musical is shaping up to be a powerful blend of nostalgia, Black girl joy, and intergenerational storytelling with modern musical edge. General management will be provided by KGM Theatricals, and additional creative team members and casting will be announced soon.

Broadway better get ready—Polly is coming, and she’s bringing hope, harmony, and a whole lot of history with her.

—

Follow Broadway Black for updates on casting, previews, and more about Polly: The Musical

The post Broadway-Bound Polly: The Musical Taps All-Black Creative Team Including Debbie Allen and Lena Waithe appeared first on Broadway Black.

Lincoln Center Theater has officially announced its 2025–2026 season—and it’s not just a new lineup, it’s a full-on renaissance. Under the visionary leadership of incoming Artistic Director Lear deBessonet, this inaugural season marks a major turning point for one of New York’s most prestigious theatrical institutions.

With a slate that fuses legacy revivals, fresh new voices, and community-forward programming, deBessonet is redefining what it means to serve New York audiences across generations, identities, and neighborhoods. And yes, Black artistry is front and center—from the return of Ragtime starring Joshua Henry, to an ensemble revival of The Whoopi Monologues led by Kerry Washington and Kara Young, to a citywide community choir experience co-created with Jeanine Tesori.

Let’s break it down.

ON BROADWAY: “RAGTIME” RETURNS WITH A STAR-STUDDED CAST

At the Vivian Beaumont Theater, deBessonet kicks off her tenure with a lavish revival of Ragtime, her acclaimed New York City Center Gala production, now reimagined for the Broadway stage. The production boasts a powerhouse cast: Tony nominee Joshua Henry as Coalhouse Walker Jr., rising star Nichelle Lewis as Sarah, and Olivier and GRAMMY nominee Caissie Levy as Mother, alongside Tony winner Brandon Uranowitz as Tateh.

This iteration of Ragtime isn’t just a restaging—it’s a reckoning. Set at the turn of the 20th century, the show follows three families—Black, Jewish, and white upper-class—whose lives intertwine in pursuit of the American Dream. With direction by deBessonet, choreography by Ellenore Scott, and music direction by James Moore conducting a 28-piece orchestra, this production promises not only grandeur but renewed urgency.

Performances begin September 26, 2025.

OFF-BROADWAY: WHOOPI. KENNY. KERRY. KARA. YES.

The Mitzi E. Newhouse Theater will host three bold and deeply resonant productions:

• KYOTO, a sharp political thriller about the 1997 climate summit, directed by Stranger Things: The First Shadow duo Stephen Daldry and Justin Martin.
• Amahl and the Night Visitors, a family opera classic reimagined by Tony-winning director Kenny Leon and starring opera icon Joyce DiDonato. This production marks LCT’s first official seasonal holiday offering.
• The Whoopi Monologues, a reimagining of Whoopi Goldberg’s iconic 1984 solo debut. Directed by Whitney White and featuring an all-star ensemble led by Kerry Washington (American Son, “Scandal”), and Tony^®  Award winner Kara Young(Purpose, Purlie Victorious) lead a remarkable ensemble of 5 women in bringing Goldberg’s unforgettable characters back to the stage, in this new production directed by Tony^® Award nominee Whitney White. This revival reclaims Whoopi’s groundbreaking work for a new era.

Expect laughter. Expect truth. Expect legacy to meet liberation.

LCT3: COMEDY, HEALING, AND BLACK JOY

At the Claire Tow Theater, LCT3—under Artistic Director Maria Manuela Goyanes—continues to be the incubator for boundary-breaking work:

• The Comedy Series featuring Jenny Slate and more, in a dynamic new stand-up/storytelling experiment with Seaview.
• Night Side Songs, a folk-infused new musical by The Lazours (We Live in Cairo), directed by Taibi Magar, exploring illness, caregiving, and resilience.
• A Woman Among Women by Julia May Jonas, a feminist reply to Arthur Miller’s All My Sons, in partnership with The Bushwick Starr and New Georges.
• The Reading Series curated by a dream team of playwrights including Lynn Nottage, Branden Jacobs-Jenkins, and Sarah Ruhl, featuring new voices handpicked for one-night-only staged readings and conversations.

This isn’t just programming—it’s legacy-building.

EXPANDED PROGRAMMING: FROM SILENT DISCOS TO COMMUNITY SINGING

Lincoln Center Theater is breaking beyond the proscenium with a series of free, community-focused events:

• WARRIORS Silent Disco – Inspired by the 1979 cult film, this concept album from Lin-Manuel Miranda and Eisa Davis, produced by Nas and Mike Elizondo, will come to life in a silent disco dance party at Lincoln Center Plaza on July 30.

• COME & SING – A public choir series co-created with Jeanine Tesori, inviting New Yorkers to sing together—no audition, no pressure, just joy and harmony.
• Collaboration with Chef Kwame Onwuachi – Culinary meets culture as the celebrated chef behind Tatiana partners with LCT for a future creative collaboration.

CENTERING COMMUNITY: A NEW DEPARTMENT, A NEW VISION

One of the most exciting announcements is the expansion of LCT’s Education Department into the Education and Community Engagement Department, signaling a deeper investment in connecting the theater’s work to the everyday lives of New Yorkers.

With expanded initiatives like storytelling workshops, book clubs, and artmaking projects, this department—under the continued leadership of Kati Koerner—will focus on making the theater a “third space” for all: a place of belonging, creativity, and cultural healing.

WHAT THIS MEANS FOR BROADWAY BLACK

The 2025–2026 season at Lincoln Center Theater is more than artistically ambitious—it’s inclusive, intergenerational, and deeply rooted in community. Black artistry isn’t a side note; it’s the foundation. With talents like Joshua Henry, Kenny Leon, Eisa Davis, and Kara Young at the forefront, Lear deBessonet’s inaugural season isn’t just a debut—it’s a declaration of legacy in the making.

And we’re watching, front row.

The post Whoopi Returns, Ragtime Rises: Kerry Washington, Kara Young, Joshua Henry Lead Lincoln Center Theater’s New Era appeared first on Broadway Black.

In response to the backlash, Patti LuPone issued an apology, marking a rare moment of humility for the actress. In her statement, LuPone acknowledged the harm caused by her words and took full responsibility for her actions. She expressed regret for her “flippant and emotional” responses, acknowledging that her words were “demeaning and disrespectful.” She admitted that her behavior contradicted the values of respect and collaboration upheld in the theater community, noting, “I am devastated that my behavior has offended others and has run counter to what we hold dear in this community.”

LuPone also aligned herself with an open letter signed by over 600 Broadway professionals, which calls for accountability and equity in the industry. She stated, “I wholeheartedly agree with everything that was written in the open letter shared yesterday… Our entire theatre community deserves better.”

While LuPone’s apology is a necessary first step, it is only the beginning. Words alone cannot dismantle the systemic issues of power and privilege in the theatre community. The real challenge lies in turning these words into action to ensure all artists are treated with the respect they deserve.

As the industry strives for a more inclusive and respectful environment, this moment serves as a reminder that accountability must be a constant priority, not just a reaction to controversy. It’s also important to note that the initial harm—Kecia Lewis’s experience, which sparked the video—was not directly addressed in this apology.

The industry has reached a crossroads, where conversations about racial privilege, power dynamics, and accountability must be translated into real, lasting change. Apologies are valuable, but they must be followed by tangible actions that reshape the culture of Broadway. With ongoing commitment and action, Broadway has the opportunity to create lasting change that values every artist.

The post Patti LuPone Releases Public Apology to Kecia Lewis and Audra McDonald appeared first on Broadway Black.

The letter, initiated and organized collaboratively, speaks with clarity, care, and a commitment to justice. It emphasizes that the harmful behavior exhibited by LuPone is not an isolated incident but a part of a pervasive culture that has tolerated microaggressions and abuse for far too long. According to the letter:

“Patti LuPone’s recent comments, calling Kecia Lewis—a Black woman and 40-year veteran of the American stage—a ‘b**,’ were not just inappropriate; they were a racialized act of disrespect. The language used is degrading, misogynistic, and a form of bullying that has far too often been excused within the theater community.”*

The letter calls for a broader industry-wide reckoning, one that holds individuals accountable, regardless of their fame or legacy. It points out how Broadway has, in the past, taken swift action when others in the industry—such as Scott Rudin—faced public scrutiny for mistreatment and misconduct. However, the letter stresses that accountability should not be the exception but the rule.

The signatories urge the American Theatre Wing and the Broadway League to establish a standard of conduct, ensuring that no artist or leader—regardless of their stature—can use their platform to degrade or threaten fellow artists without consequence. In particular, the letter advocates for:

• Immediate action in response to LuPone’s comments, including not allowing such individuals to participate in high-profile industry events like the Tony Awards unless they’ve completed anti-bias or restorative justice programs.

• Clear, transparent policies for addressing harmful behavior, regardless of an individual’s fame or tenure.

• Consistent application of values such as equity, justice, and respect.

The letter closes with a call to honor the Kecia Lewises and Audra McDonalds of Broadway—artists who not only embody excellence but also deserve protection and respect, not just from the audience but from their peers and the industry as a whole. This letter is a reminder that a stronger, more equitable Broadway is possible—one where all artists are treated with dignity, safety, and respect.

Read the full letter and see the names of the artists who have signed it here:

Below is a plain-text version of the letter above:

OPEN LETTER FROM THE BROADWAY THEATER COMMUNITY

MAY ЗОТН

To the American Theatre Wing, The Broadway League, and the greater theater community,

This is not a petition. It is an open letter — a collective call-in to our community. We write not to shame or isolate, but to speak with honesty, clarity, and care. This is a call for accountability, justice, and respect — rooted in love for the art form and for the people who make it possible. We believe our community can do better. We believe it must do better — especially when harm is done to those who have given so much to this industry.

Recently, Patti LuPone made deeply inappropriate and unacceptable public comments about two of Broadway’s most respected and beloved artists: Kecia Lewis and Audra McDonald. In a published interview with The New Yorker, she referred to Kecia Lewis a Black woman and a 40-year veteran of the American stage as a “b***” This language is not only degrading and misogynistic-it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.

To publicly attack a woman who has contributed to this art form with such excellence, leadership, and grace and to discredit the legacy of Audra McDonald, the most nominated and awarded performer in Tony Award history— is not simply a personal offense. It is a public affront to the values of collaboration, equity, and mutual respect that our theater community claims to uphold.

Let us be clear: this is about more than one person. It is about a culture. A pattern. A persistent failure to hold people accountable for violent, disrespectful, or harmful behavior especially when they are powerful or well-known. This is not about differing opinions. It is about public actions that demean, intimidate, or perpetuate violence against fellow artists. It is about the normalization of harm in an industry that too often protects prestige over people.

We’ve seen what happens when abusive behavior is finally brought to light. Scott Rudin and Walter Bobbie both faced public backlash, professional consequences, and ostracization after repeated reports of mistreatment and misconduct. These moments proved that the theater community can act when it chooses to. But accountability should not be the exception it must be the rule. We cannot continue to welcome back those who harm others simply because of their fame or perceived value. This must stop. We will no longer tolerate violence verbal, emotional, or physical against artists within our own community. No more free passes. If our industry is truly committed to equity, justice, and respect, then those values must be applied consistently, even when it’s uncomfortable. Especially when it’s uncomfortable.

No artist, producer, director, or leader regardless of legacy or celebrity should be allowed to weaponize their platform to belittle, threaten, or devalue others without consequence. Period.

The American Theatre Wing-the very institution that presents the Tony Awards states that its mission is to “champion brave creative voices, support excellence and artistry, and celebrate theatre that impacts American culture.” Among its core values are:

Validate Diversity: Celebrating stories as diverse as the American people.

Champion Creative Expression: Advocating for artists’ right to speak through their work.

Support Growth and Create Connections: Nurturing and respecting artists at every stage of their careers.

Make Excellence Known and Inspire Artistic Greatness: Honoring and uplifting extraordinary contributions to the artform

When artists use their platforms to degrade or demean others especially those who embody excellence and leadership they violate every one of these values. That behavior disrupts community, undermines mentorship, and erodes trust. If these values are more than empty statements, then this moment demands a meaningful and visible response.

We call on the American Theatre Wing and the Broadway League to take immediate action-not only in response to Patti LuPone’s comments, but in establishing a broader standard of accountability moving forward:

Individuals, including Patti Lupone, who use their platform to publicly demean, harass, or disparage fellow artists— particularly with racial, gendered, or otherwise violent language should not be welcomed at industry events, including the Tony Awards, fundraisers, and public programs.

Participation, recognition, and attendance at high-profile events must be contingent on conduct that reflects community values. This includes completion of comprehensive anti-bias or restorative justice programs before re-entry into public-facing spaces.

Theater institutions must adopt and enforce clear, transparent policies for addressing harmful behavior—regardless of an individual’s fame or tenure in the industry.

This would not be tolerated in other industries. In 2021, the NFL fined the Washington Commanders $10 million and removed Dan Snyder from day-to-day operations after a toxic workplace culture came to light. Will Smith was banned from the Oscars for ten years after slapping a fellow artist during a live broadcast. These organizations acted swiftly to preserve their values and the integrity of their communities. Why should Broadway hold itself to a lower standard?

This is not about “canceling” anyone or condemning them — it is about care. Care for our artists, our values, and the future of our shared craft. We write because we want this community to thrive — not just in box office numbers or critical acclaim, but in integrity, safety, and mutual respect. We envision a theater industry where all artists – including Black women — are protected, valued, and celebrated. Where excellence is met with recognition, not hostility. Where harm is addressed, not ignored. Where no one is forced to choose between their artistry and their dignity.

Our industry is under threat. The arts are being defunded, theater programs are disappearing, and artists are being pushed to the margins. We need each other now more than ever. We need community. We need leadership. And we need accountability.

To the Kecias and the Audras of our past, present, and future: You are the soul of this community. We honor your brilliance, your resilience, and your impact. You deserve more than applause. You deserve protection. You deserve respect.

To the leaders of our industry: A belief in justice, equity, and inclusion must mean something — not just in statements, not just in programming, but in how we act when those values are tested. Accountability is not an attack; it is an act of care.

We are calling for action – not to punish, but to protect. Not to divide, but to strengthen. A stronger, healthier, more equitable Broadway is possible – one where all artists are treated with dignity, safety, and respect.

This is a call grounded in commitment. Commitment to the community we claim to be. To the values we profess to uphold.

And to the future we have the power to shape — one rooted in equity, accountability, and collective care.

Let us move forward together, not in silence or avoidance, but with courage and clarity — so that our community can truly succeed and thrive, without inflicting violence or harm.

Sincerely members of our Broadway theater community.

The post Broadway Responds: A Collective Call for Accountability appeared first on Broadway Black.

This production will be a radical reimagining of Andrew Lloyd Webber’s iconic dance musical Cats based on Old Possum’s Book of Practical Cats by T. S. Eliot.  Inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages on runways around the world, it will be staged as a spectacularly immersive competition directed by Zhailon Levingston (Tina: The Tina Turner Musical, Chicken & Biscuits) and PAC NYC Artistic Director Bill Rauch (All the Way), with all new Ballroom and club beats, runway ready choreography, and an edgy eleganza makeover.  Come one, come all, and celebrate the joyous transformation of self at the heart of Cats and Ballroom culture itself.

The company includes Baby (Victoria), Jonathan Burke (Mungojerrie), Emma Sofia Caymares (Skimbleshanks), Tara Lashan Clinkscales (Ensemble), André De Shields  (Old Deuteronomy), Shelby Griswold (Understudy),Sydney James Harcourt (Rum Tum Tugger), Antwayn Hopper (Macavity) Dava Huesca (Rumpleteazer), Dudney Joseph Jr. (Munkustrap), Capital Kaos (DJ), Junior LaBeija (Gus), Dominique Lee (Understudy); Robert “Silk” Mason (Mistoffelees), “Tempress” Chasity Moore (Grizabella), Shereen Pimentel (Jellylorum), Primo (Tumblebrutus), Xavier Reyes (Jennyanydots),  Nora Schell (Bustopher Jones), Bebe Nicole Simpson (Demeter), Kendall G. Stroud (Understudy), Frank Viveros (Ensemble), Garnet Williams (Bombalurina) and Teddy Wilson Jr. (Sillabub).

Performances began June 13, 2024 with an opening night on June 20, 2024. A limited engagement originally scheduled through July 14, 2024, will now run through July 28th, 2024.

The creative team includes Directors Zhailon Levingston and Bill Rauch, Choreographers Arturo Lyons and Omari Wiles, Rachel Hauck (Scenic Design), Qween Jean (Costume Design), Adam Honoré (Lighting Design), Kai Harada (Sound Design), Brittany Bland (Projection Design), Nikiya Mathis (Hair/Wig Design), William Waldrop (Music Supervision and Music Direction), David Lai (Music Coordinator), Trevor Holder (Beats Arrangement), Capital Kaos (Ballroom Consultant), Josephine Kearns (Dramaturg & Gender Consultant), X Casting/ Victor Vazquez CSA, and Sujotta R. Pace CSA (Casting).

The post PHOTOS: Cats: “The Jellicle Ball” Opening Night appeared first on Broadway Black.